Suche:all is well

From the moment of its release, Iñigo Vontier’s El Hijo del Maiz has become one of the most gripping albums of the moment. With South American and Middle Eastern sounds and his conception of music as ritual, the Mexican DJ keeps electronica in check as a valid mix of influences. The EP El Hijo Del Maiz (Remixes) marks the end of an episode which started, in good company, last autumn on the Lumière Noire label. The second track of his album, Bo Ni Ke, is distinguished by its original - almost implausible - universe, with a Japanese-inflected vocal filter and oriental flutes taking the beats into a crazy trance. Leaning on the 4/4 rhythm, Simple Symmetry’s remix of the track is also very playful (Iñigo Vontier recently remixed Nar for Simple Symmetry). The Moscow duo, noted in particular for the brilliant EP Plane Goes East released on Disco Halal (the Moscoman label which makes the link between east and west), pulls the track over to another - less terrestrial more psychedelic - universe, in their well identified ethno-underground style.

The remix of Bo Ni Ke by Nicola Cruz, French-born Ecuadorian producer, enlivens the track by playing on the sounds of voices and South American percussion. Also present in his fascinating album Siku released a year ago on the ZZK Records label, they overlap with the demonological whims of Iñigo Vontier but also those of Nicolas Jaar, who was revealed to him as he was starting out.

The inaugural track of the album Xu Xu (subject of the previous EP, only released as a digital version) has been remixed by Roman Flügel, allowing a vinyl release of this incredible track. You could pick out the science of this headliner in a million. Flügel has been on the electronic scene since the early days, learning the ropes under the aegis of prestigious labels Playhouse, Dial and Klang.
He has recently enhanced some emblematic tracks signed Daniel Avery, Koze, Âme, Radio Slave and C.A.R. and here once again the pioneer of techno is working miracles to create a more cerebral version of this track.

Concluding the EP with Thomass Jackson, his co-founder of the label Calypso Records, who we will soon be able to find on the compilation / family portrait of the label Lumière Noire From Above Vol. 2, Iñigo Vontier offers up a genre-busting version of the title Marijuana, like an ataxic play time, deliberately smoky for an explicitly licentious title.

For years, Rhythm Buro and Zadig have maintained a special relationship. The French DJ and producer (real name Sylvain Peltier,) became involved with the Ukrainian institution when he headlined their first party in Kyiv back in 2014. In the few years since, both Sylvain and Rhythm Buro have developed into strong international brands that have become well-known and trusted. They are thus ready to present another form of collaboration: Zadig's debut record on the Kyiv-based label. "Takara-machi" EP is the sixth release in Rhythm Buro's catalogue, following previous releases by Haze, Na Nich, Cyspe and a few VAs on the imprint.

RB006 is particularly notable for its sonic diversity. Zadig, often known for his uncompromising and hard-hitting techno ventures, explores a deeper musical side here, and delves into his wide range of influences and inspirations. A good example of this is found in the manga series "Amer Beton", with the excellent soundtrack by Plaid, hence the Japanese name for the record's title track. At least three of the six tracks on the record follow this influence precisely and are rather cinematic: these are A and B sides' closing tracks; "Shores of Sorrow" and "Kuro & Shiro". Both of which play to a certain dreamy ambient field. The title track on B2 exemplifies Zadig's passion towards an old-school 100 bpm-ish tempo.

And then there's the more dancey side of the record. The EP's opener, "No-face" on A1, and its following tune on A2, "What We Become" are both a clear take, albeit more modern, to classic Detroit techno. Rich with melodies and 909 patterns, both A1 and A2 are conscious in their reference to Detroit, and pay homage to the master minds that spawned the genre in their studios 30 years ago and started it all. The B-side's opening track is another dance floor friendly stomper, although in a different way: "A World of Children" may be best labelled as "slower-electro". Its synth-heavy, almost naive essence, describe its name perfectly.

Despite its aforementioned diversity of sound and tempos, Zadig's "Takara-machi" EP still possesses and maintains a unique commonality and voice across the spectrum. It is dreamy, it is soulful, it puts substance over form. In other words, it has something the vast majority of today's techno palette is missing. Rhythm Buro doesn't miss the mark in unearthing and releasing pure quality for those who know and care.

Nairobi, Kenya, 1978. In the Phonogram Ltd. music studio, the popular Congolese Rumba band Les Mangelepa is finishing a session. Things are going well: they have recorded all the music they planned and still have an hour to kill before giving back the studio keys. How about improvising one last song on the spot? And this is how “Nyako Konya” was born. An incredible 9 minutes hypnotic jam, that’ll eventually become one of their biggest tunes, earning them a Gold record and international acclaim throughout Africa. Meticulously restored and remastered by French engineer Nicolas Thelliez, the original version is featured here together with remixes by three talented producers: French House/Disco producer extraordinaire Yuksek and his wall of sound skills, Netherlands’ Afro lovers and world famous studio maverick Umoja delivering a space dub Lee Scratch Perry style, and last but not least, the trademarked syncopated stabs from Brooklyn’s Uproot Andy.

Container is the project of American noise veteran Ren Schofield, originally from Providence, Rhode Island, and now based in London. Container first appeared at the turn of the decade with a slew of freakish tapes for various small labels. In wake of thesereleases, Editions Mego offshoot Spectrum Spools –run by old friend John Elliott of the band Emeralds –took the punt to release his debut LP, a collection of mutated Techno tracks simply titled ‘LP’.

The record gained attention quickly in the Electronicmusic scene largely thanks to Schofield’s unique production style that separates him from forms of conventional dance music. Whilst the music of Container sits perfectly fine within the genre and is functional enough to blow apart the walls of any club, years on the US noise circuit have given Schofield’s brand of techno a rawness and direct intensity that stands out in the club and crosses over into other sub-sections of the underground.

His modest set up of Roland MC-909, a four-track porta studio and anarray of pedals allowed him to hone his scuzzy and bewildering beat music over the years, leading to three more well received, and literally titled, LP’s. Over this time period Container also released some EPs on Morphine, Liberation Technologies and Diagonal, did a variety of remixes for acts likeFour Tet, The Body, Panda Bear and Fucked Up plus maintained a healthy touring schedule that reached over every continent.

His exhilarating live show has hit pretty much every major electronic music festival andclub in Europe, as well as tours and gigs with a diverse range of acts such as Wolf Eyes, Zola Jesus, Daughters, Pharmakon and Ryley Walker.Almost a decade since his debut, Container arrives on ALTER with his first non-”LP” titled album called ‘Scramblers’. The title taken from both a Baltimore street drug and a Rhode Island Diner he used to eat at with his father.

Schofield elaborates: “The juxtaposition between these two Scramblers is a great one. I wanted to pay homage to a nice name that lends itself to both depraved and wholesome contexts and do my part to carry on the tradition.” The eight tracks have their origins in live performance and a more high-octane delivery is noticeable when compared with previous Container albums.

‘Mottle’ sits in a mysterious zone between the productions of EVOL and early Ruff Sqwad. Fierce electro cuts like ‘Trench’ and ‘Nozzle’ work alongside the nauseous slink of ‘Duster’, which in typical Container fashion morphs into a frenzy in no time.

A frenzy which may be linkedcosmically to the fact that ‘Scramblers’ was recorded, mixed and mastered in one day, reinforcing further his unorthodox and fun approach to club music.

"The two Portuguese-speaking African islands of Sao Tomé & Principe, located in the Gulf of Guinea, created an unique music called Puxa : a refined mixture of various musical components from both sides of the Atlantic Ocean. A blend of Semba, Merengue, Kompas, Soukouss, Coladeira patterns, often pushing forward with a voodoo-like energy, solid bass lines, delicate melodies and backing harmonies of the rich Sao Tomean melodic traditions. Very first compilation focusing on the golden age of these island’s sounds, the 16 tracks selected will surely set fire on all dance floors !

Léve-Léve is the first ever compilation devoted to music from São Tome and Principe, two small islands situated off the coast of Gabon in central Africa. The album unravels a story of liberation where the music of Africa, Europe and the Americas unify with a carefree spirit personified by a phrase the islanders use all the time: “léve, léve” (“take it easy”). With echoes of Angolan semba and merengue, of Brazilian afoxê, of coladeira from Cape Verde and dance music from the Caribbean, it is a sound fiercely proud of its island heritage, sung in local dialects and using distinctive local rhythms.

On this record you can hear the cultural and social history of São Tome and Principe, and how live music represented its beating heart. Once known as the “Chocolate Islands” (remarkably, these two tiny islands were the largest cocoa producers in the world, though now this title acts as a reminder of its colonial past), through the years leading up to independence from Portugal, music would be a fundamental voice of liberation and conviviality. Os Úntués were one of the first groups to make an impression, releasing a couple of 7 inches in Angola – the litmus test of success for any of the islands’ groups. They united unique rhythms and dances like socopé, puita and dança-congo – borne from the islands’ largely slave-descendant population – with the sound of pop music beamed in on the radio from Europe, even adding in a little bit of soukous and Brazilian instrumentation. Their main rivals were Conjunto Mindelo, who fused São Toméan rhythms with rebita, an Angolan style, to create high energy puxa, a truly original island rhythm.

From the mid-1970s, coinciding with independence from Portugal in 1975, the islands’ groups featured an even stronger African influence and nowhere was that more apparent than with Africa Negra. They would listen to the latest records from Gabon, Zaire and Cameroon, taking inspiration and trying out phrasing from the greats of Central African guitar playing, developing a devoted fan base off the islands, as well as on. A score of other bands would follow a similar musical path, with a few getting their dues overseas in Angola, Cape Verde, Portugal and across Africa.

Os Leonenses (led by the iconic Pedro Lima), Conjunto Sangazuza, Sum Alvarinho and Conjunto Ecuador were just some of the other bands that formed a lively home-grown music scene that lit up the islands’ bars and open-air shows from the 1950s through to the mid-90s. Regardless of class or age, they were responsible for keeping the population entertained come the weekend, with Sunday matinee shows the highlight of the week, the music not stopping from midday until midnight.

As a Portuguese island colony that was for many years populated with slaves brought from Africa, São Tome and Principe has much in common with other Lusophone countries and boasts a richly complex and idiosyncratic musical DNA. Whilst the musical tapestries of Angola and Cape Verde are well known, São Tome and Principe’s secrets were assigned to the islanders themselves. Until now."

Despite working often alone, Savvas Metaxas is someone who rather thinks in terms of community and connectivity, who prefers alliances over ego, who is a sound artist as well as a musical activist.

Coming from Thessaloniki, Greece, he co-founded Granny Records, puts up local shows, worked with the Goethe Institute, did site-specific sound installations in London, collaborates with other experimentalists like Spyros Emmanouilidis and released brilliant albums on fellow tape travellers Coherent States and Falt, among others.

Why is it important for us to write down these trophies/landmarks/selling points? Because Savvas is not at all about trophies/landmarks/selling points, he is about connecting things, and this, in our humble opinion, is one of the most fundamental qualities of experimental music, and experimental art in general. It is about rearranging disparate materials, transcending different layers of reality, speaking without the use of words or clear significants.

On the four tracks of „Transmitter“, he is exploring sound in a classical set-up, experimenting with chance-operational radio frequencies and their impact on harmonic structures extracted from synthesizers.

The result are compositions with a haptic quality, a glimmering, grainy music that is directly effecting the room in which it is played in. So despite its broad frequential range: don’t play this tape too loud, as it really interacts with its surroundings. Hence, the names, or rather name tags of these tracks are mostly devoid of interpretation and are purely descriptive. „Words“ is, easy to suggest, a composition based on a voice talking in greek, while „Stormy And Colourful“ is a specification of what is heard on that piece. These two are framed by „Heterodyne“ and „Paradoxical“ - characterizations of the techniques used in the working process.

The artwork of the tape is a continuation of this work method. Clear structures, using the specially built typeface and the spinning of letters and words to manipulate perception and to obstruct a simplification, reducing the logic of words to a sign language that obliterates meaning and identity, a process which, as Simon Reynolds put it, induces ecstasy.

ISAN’s Robin Saville reveals an ambient album, which merges the Electronica aesthetics of his main project with field recordings, drones and acoustic instrumentation.

A lot of things have been written about what happens to the mind when the body starts moving. Instead of reciting poems of the inevitable self-help books, let’s get straight to the point: For many, taking walks on a regular basis is both liberating and empowering. It is not necessarily so much about the exercise, but rather finding one’s own rhythm in life. Robin Saville – of ISAN fame – is such an ambler His walks inspired him to base his third solo album – his first one for Morr Music – on the out of the way places he came to see and experience while being out and about.

Clocking in at just under 40 minutes in total, "Build A Diorama" is both a subtle culmination and a poignant antipode to what Saville has achieved together with Antony Ryan as ISAN. While the aesthetics might seem similar in places, Saville opts for a decisively different pace when it comes to writing and producing. Progress is steady, and change, however, is slow – like looking at a diorama for a long period of time in the ever so slightly changing light or as a flaneur focussing on one particular spot, a found object so-to-speak, waiting for the mind to orchestrate it appropriately, giving it sense and meaning.

Built around quiet field recordings, Saville’s six compositions transform this highly personal and, therefore, difficult-to-convey experience into a comprehensible exploration of beauty. Where ISAN almost exclusively uses electronics, Saville deliberately expands this well-established palette with acoustic instruments like bass guitar, chimes and glockenspiel, aiming for an even more suitable musical manifestation of what the walker sees and feels once he fully engages in his passion. Ranging from blissfully pulsing pads allowing for complete associative freedom ("The Deepdale Halophyte Economy") to the playful minimalism of an orchestra dominated by busy bells ("Bosky"), Saville’s "Build A Diorama" is not just a valuable addition to his musical output, but an essential audio guide for those striving to explore, learn and understand.

The Word is one of the better kept secrets of 1980s Austrian disco music. Yet once you put the needle on this record, you notice that it sounds oddly familiar. The awe inspiring signature piece “Lobster” has the same analogue, slow moving aesthetic as Zenit’s timeless “Waiting” that was featured on Edition Hawara’s first release. The same goes for the three other wonderfully unconventional, proto electronic songs: “Easy”, “All My Life” and the eponymous “ The Word”. And there are even more commonalities with Zenit’s LP: The vocals are Linda Sharrock’s, who here teamed up with Karl “Charly” Ratzer and Peter Ponger, the twin brother of legendary Falco producer Robert Ponger. The result of this collaboration is, well, also quite legendary. How this kind of sound emerged in Vienna in 1984 is still a bit of a mystery, but clearly all the stars were aligned when Sharrock, Ratzer and Ponger were jamming in the studio. We are very proud to share this secret with you. Just as there are very few lobsters in landlocked Vienna, there are very few records like this out there.

Canyons are places of mystery and beauty. The interesting thing is, while they are one of the great wonders in the history of planet earth and attract scientists of all kinds of disciplines, they have also been a popular retreat for artists and musicians. You will have heard of Topanga Canyon, Rickie Lee Jones and Chicago recorded here. Laurel Canyon is even more well known, a mythical place where Crosby, Stills & Nash developed their unique vocal sound while hanging around Mama Cass' place. Or was it in Joni Mitchell's house on Lookout Mountain? Ok, you get the picture. There is something unexplainable, almost magical going on in canyons.

Maybe that's why Andy Platts and Shawn Lee were thinking of "Canyons" when they wrote and recorded their third album as Young Gun Silver Fox. With "West End Coast" and "AM Waves" these two very talented musicians, singers, songwriters, arrangers and producers already explored all things Westcoast, AOR, Softrock and Boogie. But - especially if you are a into the golden age of this sound running from circa 1976 to 1984 - you will be aware that there is no return once you started digging these unconditional musical delights with their timeless compositions, untouchable musicianship and refined arrangements. The great albums from that era appeared when punk broke and the musical establishment was shaken to the ground. Today they sound more up to date than ever. Who would have thought back then?

On "Canyons" Young Gun Silver Fox turned it up to eleven. They are nothing but "Kids" cruising in the fast lane, totally over the top searching for the "Dream Woman", touching down in Tokyo caught in a "Long Distance Love Affair", imagining the theme for a lost 70s TV series starring "Danny Jamaica", being on the winning side in a "Private Paradise", getting deep and soulful in "Things We Left Unsaid" and wondering how to spread "All This Love". Their bass lines, sound layers, brass arrangements and harmony vocals are immaculate. Everything fits perfectly. Just like this. "Who Needs Words" when everything is crystal clear? Exactly!

"Canyons", after all, are magical places of rare beauty. (Mr. Mellow - Porcaroc Club/Mr. Mellow's Sunday Scene/Soho Radio).

First Word Records is incredibly proud to present 'Starts Again', the debut album from Tawiah.

The latest signing to the Worldwide Award-winning indie label, Tawiah is somewhat of a trailblazer in the world of alt-soul. Despite this being her debut album, she's long-established in the UK music scene, having previously self-released two EPs and a mixtape, as well as high-profile collaborations with Cinematic Orchestra, Blood Orange, Mark Ronson, Kindness, Cee-Lo, Wiley, Zed Bias and Eric Lau. Additionally being championed by the likes of Zane Lowe, Gilles Peterson and The Guardian, and supporting Moses Sumney on his recent EU tour, it's finally time to unleash a full solo project into the world.

'Starts Again' is an exploration of her identity as a queer woman of colour, raised in a pentecostal family, and a determination to express her musicianship in all its raw glory, free of the constraints of major label wrangles from before.

Co-produced with Sam Beste (Hejira), the album also features vocals from Sharlene Hector, Vula Malinga, Ladonna Young, Ade Omotayo and Rahel Debebe-Dessalegne, as well as glorious string arrangements composed by Miguel Atwood-Ferguson, with a series of field recordings from Ghana, amongst the varied components.

In Tawiah's words; "the process of creating this record independently has taken years!! From self-produced demos to live recording sessions with my good friends; Blue May, Sam Beste, Alex Reeve, Alex Bonfanti, Nathan Allen and Lewis Wright. Sam and I then had two years of long joyful studio sessions working on the post production. With no external deadlines or briefs we had the freedom to create whatever came. It was a privilege to collaborate in this way".

A triumphant 10-piece opus, the music seamlessly blends avant-garde sensibilities with low-slung beats and layered harmonies. The vestiges of Tawiah's early church vocal training contrast subtly against a distinctive South London accent, which has helped place her firmly at the vanguard of the British alternative soul movement, and establish a rep as one of the country's most exciting live performers. Time Out even saying "she slays so hard, you better hope there's a doctor in the house".

With a series of immersive live shows being planned in collaboration with spatial artist, Studio Myrrh, the latter half of 2019 headed into 2020 is looking to be a busy time for Tawiah. A decade on from her debut EP, 'Starts Again' is a creative reset of-sorts, though she is already highly revered within the music industry. A unique talent, this debut album should rightly cement her status as one of the UK's finest recording artists and songwriters.

7"

Kalakuta Soul Records is back and starts the year with a new collaboration with one of the most inspiring record stores and well of fortune for all music lovers, especially for those who enjoy carribean music and the profound musical heritage of Jamaica - the infamous Bahlo Records.

For this first release, both have created a new imprint that brings both labels together and goes by the name KABA that stands for (well…) Kalakuta Soul Bahlo Records.
For their first collaborative release, they were able to license two songs originally released on a private pressed LP by the mighty "Golden Sunshine Steel Band" in 1980 that will definitely wave you through day and night, whether you're listening to it at home, on the road or in a furious set on a mind-blowing sound system.

More releases will follow through 2020!!

Side A: Band' Azul - Melo Do Fricote
Licensed From Top Tape Musica Ltda ©1982

Side B: Octavio Burnier - Que Nem Sol
Licensed From Top Tape Musica Ltda ©1980

Club Internacional unearth more long lost Brasilian grooves from the archives of Rio imprint Top Tape for lovers and collectors around the globe.

This edition kicks off with the funk-driven sounds of Melo Do Fricote by Band' Azul.
Fusing rapturous vocals, guitar and horns this track originally appeared in 1982 and was the band's only 45 single release.
Here it is in its original format at last.

The flip side features the much more established artist and celebrated guitarist Octavio Burnier. As one half of Burnier & Cartier he produced one of the most sought after LPs in Brasilian music in 1974, which became like gold dust to collectors of Brasilian music. It was recently reissued by the excellent Mr Bongo to the relief of all lovers of Brasilian sounds.

In this later solo track 'Que Nem Sol', Burnier demonstrates his exquisite guitar playing as well as his talents as a composer and singer.
A seriously delicious slice of soft boogie funk it was released only on 45 single on the Top Tape label back in 1980, and again has never been repressed.

Club Internacional hopes you enjoy bringing these long lost, blissful funk vibes back to life via this limited edition vinyl 45 pressing.

The Death To Digital series comes to a (perhaps temporary) end with volume 5. And what a way to end, with four slamming tracks that maintain the original concept of diversity in style while staying true to the Kniteforce ethos of, well diversity and style!”. Sunny & Deck Hussy drop a traditional styles beakbeat piano anthem, while Shadowplay brings something that is not quite everything. Abyss shocks us all by making something a little happier than usual while retaining the heaviest of beats and bass, and Idealz brings a rolling, thoughtful d’n’b tinges lick to close the series. Big stuff.

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

Die Cut Sleeve with download. It’s a strange betweenworld, bookended by sleep and the jolt of being wide awake in a place where you wonder how you got there. You know the feeling… It seems familiar but the colours are, well, unreal. In a high-ceilinged room, a grand piano plays lush melodies as, meanwhile, somewhere, an Alice In Wonderland clock ticks, cellos are bowed, a swarm of something vibrates and the hallucinatory crowd around Rosemary’s Baby babble. An echoey electronic hum builds and falls like a 50s refrigerator passed through and effects board, things run backwards, staccato strings are plucked… and that’s not the half of it. “I’ve never been happy staying in one particular school of musical thought. The fun has been turning things on their heads, to try something you were not supposed to do.” We’re on an immersive and adventurous travelogue with the former member of the legendary Tangerine Dream, Paul Haslinger - this is a man who knows how to build tension, hold moods, illustrate contempt, lies, passion and pleasure; He can create fear, loathing and love - he’s been unlocking the nuances of such emotions in a hugely successful career as a TV and film soundtrack composer (Halt And Catch Fire, Underworld and the Golden Globe-nominated Sleeper Cell). ‘Exit Ghost’ is his long thought out opus, a moment caught in time, flicking through reference points, taking an ethereal excursion that permeates musical genres as it becomes awash with intricate sounds and cross-pollinating rhythms. Built originally from the warmth of his grand piano ‘Exit Ghost’ resonates with purity and power, from an eerie and evocative betweenworld, that’s at once expansive and rolling, then intoxicating and suffocating in equal measures; modern composition at its most uplifting; cerebral, celebratory, intense and beautiful. “The soul searching in connection with this record was extensive. Finding places of resonance, giving a colour to your memories. It was more challenging because it’s not somebody else’s narrative. Finding the core of your own story can be the most difficult task of all.” Created over the span of eight years and filled with literal and personal references, the album itself is a testament to the search - a quest filled with hints, particles and suggestions.

The difference is there, in front of you : fantastic record.

Doom or Hardtechno users will love this melt of downtempo dark old school minimal Hardcore, doom-*like and the pinch of technoïde acidification... A imple story telling with a fabulous sound (Mastered by Martyn Haar in Berlin, Cut at The Exchange in London, this Toolbox Handled press is a PERFECT... Faor his first EP, CUIFTEN is very well served, and we all are ! NEEDED !!

When Elena Colombi launched the Osàre! Editions label in the autumn of 2019, she explained that the label would become home to bold, daring, future-facing music rooted in experimentation and free-spirited musical abandon. These are all descriptions that could apply to the label’s latest release, a retrospective album of little-known works by Greek musician and producer Thanasis Zlatanos.

Many will not have heard of Zlatanos, or Nekropolis, the band he fronted alongside dear friend and regular collaborator Trygve Mathiesen, yet the music he made during the 1980s was otherworldly, intergalactic and undoubtedly alluring. These songs and instrumentals made extensive use of analogue synthesizers and lo-fi drum machines, as well as Zlatanos’s trusted Gibson Les Paul guitar and his own distinctive voice.

Stylistically, the musician and producer refused to settle on a specific sound, preferring instead to create inspired, often mind-altering pieces that join the dots between wave music, skewed leftfield pop, ambient, prototype electronic and Madedonian folk music. Operating for much of the period from a crumbling house earmarked for demolition, Zlatanos kept up a daily music-making vigil that resulted in a vast vault of music, most of which has remained unissued since the 1980s.

The breadth of and width of Zlatanos’s distinctive approach is laid bare on Retrospective, a compilation album prepared by Colombi and the artist himself that draws on tracks from his numerous albums, those by Nekropolis – whose sophomore set “The New Europeans” was banned in Norway – and his epic archive of previously unheard material.

The artist’s singular but wide-ranging musical vision is free for all to see across the 13 tracks stretched across the vinyl version of the album (digital buyers also get a further four superb cuts). It veers attractively from the ghostly, traditional-meets-futuristic new age electronica of “The Crystal Sight (Excerpt)” and the doom-laden coldwave throb of “Master Chameleon”, to the undulating, soft-touch creepiness of “Surreal Moment”, the Vocoder-laden operatic poignancy of “The New Barbarians” and the squally guitar solos and effects-laden electronics of “The Light”.

Words from the artist___:
"I live in the Internet. Visits from outer space make me compose. I breathe here. I am the master chameleon, the psychedelic clown. I am not here anymore, neither in the picture, nor the reflection. Our bed is a boat that takes us tomorrow without us.

Here is an album of dreams and digital emotions. Analogue recordings made with a Prophet, a Moog Rogue, a tape recorder and a Gibson Les Paul guitar.

As far as I can remember I have always been in a recording studio. I listen to, understand and live my life through songs and music. I have worked alone and with friends such as Trygve Mathiesen. Although I am a guitarist, I continue to work with synthesizers on music that blends elements of Macedonian folk music, recordings from the streets and embryonic electronic sounds.

Some of my albums have been critically acclaimed, others banned by radio stations. For years I worked on endless recording sessions in a crumbling house that should have been torn down. The music on this retrospective compilation was recorded at various points between 1982 and the present day. Some of the compositions first appeared on previous albums, while others have never been released before. They were sat on tapes waiting for a saviour. Now that saviour has arrived and they can be free.

For further proof of Zlatanos’s unique sonic approach, check the startling contrast between the bass-laden slacker pop headiness of “No Expectations” and the spacey ambience of “The Dead Don’t Remember”. Considered together, the selected pieces and those elsewhere on Retrospective forms a snapshot of a genuinely unique and visionary musician, composer and producer. It’s a celebration of someone whose work has previously been overlooked."

Italian cult combo CALIBRO 35 release their highly anticipated 7th studio album "MOMENTUM" on January 24th 2020. "Momentum" follows "DECADE" their previous studio album released in 2018 that had marked 10 years of Calibro 35 and it stands out as a new starting point for the project. In the last 10 years Calibro 35 have dug the golden age of soundtracks and they had been to the future with "S.P.A.C.E.", "Momentum", as the band stated: "represents a look at nowadays and a reflection about making music right in the time that we're living".

Inspired by the work of artists such as Tortoise, Jagajazzist, Dj Shadow, Budos Band, Stelvio Cipriani, Ennio Morricone, Sandro Brugnolini, White Noise, Comet is Coming, JPEGMafia and DJ Signify, compared to the previous Calibro 35's full lengths on the 10 tracks that make up the new album, band's instruments and sounds have increased in number and complexity as well as reality.

The music palette is further extended by incorporating even more synths and electronic sounds, but keeping everything true and 100% real, with all the instruments played live and with no presets or programming. The two featurings on the album serve the cause as well. On the first single "Stan Lee", they collaborated with rapper, producer and songwriter Illa J a former member of super group Slum Village and younger brother of the late legendary hip hop producer and rapper J Dilla.

On "Black Moon", the combo from Milan provided the groove for London-based artist MEI. "If Decade was the sum of everything that the band had felt in the previous ten years", Calibro 35 says, "Momentum is the prequel of what you will hear in the next ten".
To mark the new beginning and come full circle, the recordings took place under the expert hands of usual suspect Tommaso Colliva, in the same studio where Calibro released their self titled debut album twelve years ago.

Soul Jazz Records continues its journey into the world of Afro-Caribbean roots music with this album of newly recorded music of Gwo Ka music recorded and produced by Soul Jazz Records on the island of Guadeloupe, French West Indies.

Gwo Ka music is a fantastic fusion of African-­derived musical form ( call and response), with vocal styles that draw upon the equally powerful French chanson singers to create a truly unique combination.

Tradition Ka, made up of some of the island’s finest singers and master drummers, is part of a powerful network of politicised Gwo Ka groups on the island – upholding the traditions and cultural importance of Gwo Ka as part of a larger process of defining the identity of Guadeloupe and its culture.

This album is newly studio recorded in Pointe-­A-­Pitre, Guadeloupe by Soul Jazz Records. Like the cult music of Haiti’s Vodou and Cuba’s Santeria or the roots music of Belize’s Garifuna (all of which Soul Jazz have also released), Gwo Ka is the musical and cultural product of the region’s African ancestry, forcibly brought to the Caribbean through slavery.

Gwo Ka exists only in Guadeloupe, a very different island from much of the Caribbean, in that it remains a ‘department’ of its original colonial master, France. Here, the currency is the Euro and the baker sells croissant and café au lait.

This constant ‘European-­ising’ of the island means that Gwo Ka plays a fundamental and important role in the defining of Guadeloupean identity. As an African-­derived music, its position as a counter-­balance to French influence means that the definition of how and what Gwo Ka represents is also in a constant state of flux.

These new recordings show how Gwo Ka is both a modern Caribbean music form and one firmly rooted in ancestral history.

Over the last 20 years Soul Jazz Records have been documenting and presenting the often hidden histories and deep musical worlds of Cuba, Haiti, Jamaica, Belize, Trinidad, the Bahamas and more. This documentation encompasses reissuing lost recordings, such as the mighty Studio One catalogue of reggae, producing films/dvds (such as the 3-­hour documentary Mirror To The Soul in conjunction with British Pathé, and Dub Echoes), books (check the forthcoming photography book on the Caribbean 90 Degrees of Shade, with text by Paul Gilroy, and Kanaval) as well as travelling to the region to produce new recordings.

Peter Brown is one of the ultimate in Harlem underground music business entrepreneurs. From the 70's, all through the 80's he had a stream of releases on a plethora of labels, but ultimately under the
P&P banner. From soul, to disco to the birth of hip hop, he covered all the street sounds of New York and in a series of comps Demon are exploring his legacy. P&P soul and funk covers the 1970's with a number of rare, sought after masterpieces and some
equally essential obscurities.

From the former category we have the magnificent ESP by Four
Below Zero, Dennis Mobley's Rare Groove instrumental version of Superstition and Florence Miller's soul floor filler 'The Groove I'm In' Super rare funk is present from Wild Honey, Smokey Brooks and Flame & The Sons. The roots of disco is well represented with Magnetic Touch's original version of Ain't No Big Thing and Ella Hamilton's I'm Gonna Fool You.

Portuguese artist Armando Mendes makes a huge statement with his debut album 'Parallel Universe', which was written and recorded over two and half years between LA, London and Berlin with legends including Robert Owens,Ithaka from the N.W.A. crew and Defected's Jinadu.

Armando Mendes is one of Portugal's most assured artists. His rich and musical sound is informed by jazz and funk and he has played all over the world from Russia to Australia, all while picking up more than 80,000 monthly plays on Spotify for his music. His tremendous debut album ranges across the electronic music spectrum from downbeat and jazzy to deep house and electronica.

Ithaka is the guest on the album opener 'This Life's All We Got,' which is a lush downbeat song with pensive lyrics. Late night jazz house stylings define 'Things U Do 2 Me' while 'Acid Yardies' looks to the club with its serrated 303s and dub wise drums. Chicago vocal royalty Robert Owens lends his heartfelt and buttery tones to the perfectly deep 'No Regrets' and after an acid and piano ambient fusion on 'MS20 Interlude' there is more rich, spiritual and jazzy house ('Parallel Universe,' ' Khun Pui - Mae Nam' and 'The Melody Inside') as well as more synth laden and electronic grooves to get dance floors moving ('One Night in Bangkok').

The majestic, percussive and colourful 'Tropical Affair' is just that, then things get tender and introspective on the gorgeous 'Electric 88' before a radio edit of the classy pop house that is 'The Melody Inside' feat. Jinadu closes things out in emotional fashion. This is a widescreen musical journey that makes a lasting impact from an artist who is looking set for big things.