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Austrian Ken Hayakawa keeps up Stripped Down Records' fine run of form with two new tracks that get remixed by John Tejada and Whitesquare.

Hayakawa's mother is Japanese but he hails from Salzburg. He is formally trained in piano and has performed Beethoven's music in a number of prestigious venues. That melodic, minimalist style still informs his own output and over the last decade has come on the likes of Audiomatique and Upon.You.

Superbly soothing opener 'Sonic Wave' is a brilliantly warm and spaced out deep house track that voyages into the cosmos. Dreamy pads drift by as muted acid lines flesh out the supple, subtle drums. It's a late-night groove to really get lost in.

American tech house titan and long-time Kompakt associate John Tejada steps up to remix and takes things even deeper, with pulsing, sonar-like acid blips and icy hi hats all working on melting your mind as warm, gurgling bass drives things forwards.

It is Italian producer and DFTD, 2020 Vision and Freerange house master Whitesquare who then remixes. He brings plenty of spine-tingling chords to his version, which is deep yet driven, with layer upon layer of rich sound all oozing real soul.
Hayakawa then finishes things off in style with 'Lost,' a brilliantly atmospheric track that is cavernous, dubbed out and finished with exquisite ambient details that cannot help but calm you.

This is a beautiful EP of deep, dynamic house music.

Tokyo-based Dj And Producer Tsuyoshi Ogawa Launches His New Record Label tokyo Hell' With tokyo Yakuza Society Ep'. tokyo Hell' Is Tsuyoshi's Mission Of Bringing Back The Japanese Positive Life Values After The Tragic American Bombing During The Second World War In Tokyo. A1 tokyo Yakuza Society' Reflects Human Deeply Connection Giri-ninjo And Taking Care Of Each Other, With Compassion And Empathy. B1 dance Yakuza' Is Tsuyoshi's Personal Version Of The Influence Of Chicago Label dance Mania' In The Tokyo Club Scene Over The 90s. B2 ghost Story In Yotsuya' Pays Tribute To A Strong Japanese Tradition: one Hundred Ghost Stories - The Lantern Ghost, Oiwa' By Hokusai, Extremely Respected Artist In Tokyo.

Ever since his widely acclaimed debut LP "Migrations" was released in 2006, tone color has always been an important aspect of Emanuele Errante's music. Drawing from both electronic and acoustic sources, his compositions paint impressionistic vignettes with sonic intensities.

His fourth LP "The Evanescence of a Thousand Colors", his second solo release on the Berlin-based Karaoke Kalk label, deals more explicitly with color than before. The album's title plays with the double meaning of term and was inspired by a TEDx Talk by the US-American scientist Pratyusha Pilla on the subject of colorism, i.e. discrimination based solely on skintone. "I felt like I wanted to say something about the shameful racist regurgitation that we are experiencing in almost all the countries that claim to be the champions of civilization," says the Italian composer about the topic that informed his new album. "Pratyusha lit a light in me." In fact, a passage of her lecture is sampled on the album's centerpiece "Beauty", making Pitta a protagonist of the album on which voice can be heard loud and clearly.

Errante's music feeds on gentle guitar sounds, classical instrumentation, field recordings, and electronic elements that range from rhythmic ambient to granular noise. The eight tracks at times recall the early works of Oval and Fennesz or even Aphex Twin while showcasing the Italian's trademark approach to electroacoustic minimalism. As a follow-up to Errante's recent collaboration album with Dakota Suite and Dag Rosenqvist on Karaoke Kalk, the sonically rich soundscapes of "The Evanescence of a Thousand Colors" again highlight the importance of listening to one another - they are an almost wordless appeal for a more colorful world.

For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London's dance scene, from where it has ricocheted around the world. Having conducted the first set of major interviews with David Mancuso, Lawrence started to put on Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In early 2004 he published Love Saves the Day: A History of American Dance Music Culture, 1970-79, which tracked the influence of the Loft on the wider New York DJ, dance and disco scene. In 2009 his biography of the iconic musician Arthur Russell became the first book to map the wider downtown music scene. These beautifully written and politically insightful histories have educated, inspired and celebrated the previously overlooked foundations of contemporary dance music.

Lawrence's most recent publication, Life & Death On The New York Dancefloor, 1980 - 1983, published in late 2016, shines a light on 'one of the most dynamic and creative periods in the history of New York City'. Falling between the more regularly celebrated sounds of disco, house and techno, the period produced a uniquely hybrid series of sounds that never acquired a settled name. This led them to be largely ignored by historians and even DJs, yet the power of the period's music and the scenes it birthed, Lawrence argues, remains undeniable. Met with a rapturous response, Life and Death On The New York Dance Floor saw Lawrence on the road for most of the next year as he spread the word about the characters, the records, the clubs and the bands that shaped the post-Disco, post-Punk, and burgeoning Hip Hop landscapes of New York City during the early 1980s—a period when freedom still ruled.

This, the first of a 2-part sonic tribute to the 1980 - 1983 era as well as a musical companion piece to Life & Death On The New York Dance Floor sees recognised musicians (David Byrne of Talking Heads) nestle up alongside the belatedly recognised (Arthur Russell's Dinosaur L and Loose Joints, and Suicide's Alan Vega) and the downright obscure (Gray, 2 Teens Kill 4 and Tuxedomoon). An indication of what's to follow, Dinosaur L's original album version of 'Go Bang' has been dramatically overshadowed by the definitive François Kevorkian remix yet received regular play by David Mancuso and remains an enthralling experimental Arthur Russell jam.

Lovingly curated across 2 slabs of vinyl, the album introduces listeners to a stunning array of sounds, styles, vibes and feelings that encapsulate this most fertile and forward-thinking era, when music, fashion, sound system innovations, leaps in music technology, a DIY attitude and a freedom from corporate politics combined with extraordinary expressivity. All music contained within this album has been hand-picked and programmed by Tim Lawrence. It represents a selective yet rich introduction to one of the most extraordinary periods in New York City's epic musical history.

This is the first release on Reappearing Records, a label led by Tim Lawrence and distributed worldwide by Above Board distribution. Licensing courtesy of Tracksuit Music. Mastering by Optimum Mastering, Bristol UK. Artwork & design courtesy of Atelier Superplus. 2018.

The body never lies. Every dance is a graph of the heart. Nothing is more revealing than movement.

These are the words of Martha Graham, one of the greatest American dancers and choreographers of the 20th century. Massimiliano Pagliara might as well have them tattooed on his chest, close to his heart, being an accomplished dancer, too. He has studied contemporary dance in Milan and Berlin, and went on to dedicate his life to transforming experience into movement, be it musical, physical, or spiritual. Massimilano's message is clear: Don't stand still. Don't keep looking back. Know where you are coming from, but don't remain petrified by the past. Take a chance at Endless Change, instead. Move on! Just like Massimilano did.

Stemming from Lecce province, an area at the south-eastern-most tip of Italy, Massimilano has been based in Berlin for several years where he's been one of the main forces behind recombining the city's hardboiled techno scene with an often overlooked sensibility for the soft and the tender. Call it underground disco passion. Massimilano's last and sophomore album, With One Another, released in 2014, was about celebrating the joy of human encounters and in parts seemed like a big get-together with like-minded artists and friends (among them nd_baumecker, Lee Douglas, and Credit 00). The record quickly hit the number one spot in Groove magazine's album chart - and its creator hit the road.

Besides his busy DJ schedule and far from the usual club circuit routines, Massimilano dedicated himself to intense travelling and exploring the world anew. 'I felt like I have lived more than ever,' he states. 'Getting to discover all these beautiful places around the world and meeting so many lovely interesting people, has inspired me in many different ways. I feel enriched.'

The result of these experiences is Feel Live, Massimiliano's third full-length endeavour. It was recorded in several intimate, sometimes improvised studio settings between Los Angeles, Portland, and Massimiliano's homebase in Berlin as well as at airports and on intercontinental flights high up in the sky. Featuring vocals by Private Agenda, Peaking Lights, Kim Anh and instrumental contributions by Fort Romeau, Tim K, and Jules Etienne, Feel Live is Massimilano's most playful and imaginative work to date. It's as emotional as sensual, as vibrant as the first ray of light after a thunderstorm has cleared the air.

Is it awkward or odd to call this record jazzy Presumptuous to pinpoint its spacial, almost orchestral qualities Unfair on the ruling Cosmic powers to highlight its aspirations of founding a new land of Balearic Harmonia and getting down at a huge fertility rite with electro enthusiasts and house lovers Not one bit. Feel Live is pure grandeur and elegance. It feels like an eternal movement.

Martha Graham has dedicated her whole life to dancing. 'It's permitting life to use you in a very intense way,' she said. 'Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable.' Massimilano couldn't agree more. His advice when facing the inevitable: 'Live what you are feeling, feel what you are experiencing, good or bad, it is an experience.'

The arrival of Marvin Parks on today's musical scene is a perfect addition to the renaissance of the Afro-American Jazz Crooner panorama, deeply rooted in the Black Music tradition. Having his roots in Gospel and in the '50s and '60s jazz singers by the likes of Nat King Cole, Johnny Hartman and Joe Williams, Marvin Parks yet remains by all means an artist of today. In his debut Marvin shapes his light baritone colors within the sound of a well-established group of musicians under the direction and production of Nicola Conte, giving a different light to well-known standards and some originals.

Russian born and very gifted musician Aleceo is a new addition to the ongoing rooster of Copenhagen's prolific Music For Dreams label - Aleceo came to attention of label boss Kenneth Bager with the brilliant first Ep 'Clouds' - (all tracks included here.).
Aleceo has his own musical voice, he produces and composes music that is rich in harmonies and melodies - he sits somewhere between Balearic and Deep House - combining the past and moving forward and this double vinyl 'Teletrip' is an excellent taster of his many talents and a real body of work.

'Liebe Tanzen' is a sunny mood full of vintage Roland vocoders, imagine yourself in a Zeppelin watching the earth from the skies and hearing handclaps, acidic noodling and beautiful rhodes combined with a high-pitched soulful voice repeating 'Take My Love' and you have the mood of a modern soul track supported by the balearic brigade. 'Dipping Into You' is a deep house mood featuring the beautiful voice of Jelila- sounding like a late 80 ties Boy's Own track played in a barn just when the Sunrise appears.
One of the outstanding killer tunes and a real grower on the debut album by Aleceo is the single 'Whisper To the Wind' a track recorded with Canadian singer Wulf SoulFire - ten minutes of powerful Roland 909 drums, talking verses and a sublime chorus.
'Nevesomost' - a cinematic, melancholic acidic journey that was inspired by the old USSR Sci Fi movie 'Moscow - Cassiopeya' where a group of children was sent to Mars. 'Monotone' recorded in Bali and sung by guest singer Masha Verymaryland - a french song about a girl who loves to dance and sing with arpeggios, Xylophones that sets the mood for a dreamy French Riviera. 'Clouds' is first class ambience feat the Siberian multi-instrumentalist Sergi

Kampanella playing the Mandolla. The title track 'Teletrip' is tv samples mixed with 80 ties new wave drum machines. 'Priceless' is a downtempo documentary live recording Aleceo did with his American native friend Kita. 'Dome' full of accordions, balalaika, handclaps and melancholic keys tells the story of Dome of God - the place of peace and happiness and makes you wanna sit by the seaside.

'Know Him' is inspired by gospel from the Mississippi church. 'Mzi' wouldn't sound out of place in a Leo Mas warm up tape from Amnesia in Ibiza - middle 80ties with its obscure breakdown full of 30/40ties voices.

Bonus is the inclusion of Kenneth Bager's reprise of 'Dome'.

The album 'Teletrip' by Aleceo feels like a forgotten balearic album with a modern twist suddenly washed upon the shores on the White Isle.

LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

James Clarke's Mystery Movie was released in 1974 as modern, small group compositions in various moods. Ideally suited to the new Americanised style of T.V. and cinema flm where music is used to create the mood and carry the action'.
So this collection covers a lot of bases, but it does so brilliantly and has absolutely no right to be such a fantastic listen from start to fnish.Mystery Movie is best known for the slick drum breaks underpinning the top-notch jazz-funk chase theme Car Patrol', the fuzz rifng and ARP soloing of The Heavies' and the slow-mo strut of Mystery Moll'. Study In Fear' and Empty Streets' are horror soundtrack fodder of the fnest sort.
However, it's the understated, plaintive pieces that we fnd the most rewarding.
Ambient feels and strung-out fried-folk treats, full of cyclical naïve melodies.
Music that evokes the 'downlifting' Ronnie Lane and Ron Wood instrumentals from their great Mahoney's Last Stand LP, as well as the beautiful soundtrack work of Jack Nitzsche and Ry Cooder. You might also recognise Waiting Game' from being sampled by melodic downbeat masters Express Rising.
Check Relaxed Theme', Quiet Girl', Routine Procedure' and Quietness Sustained' for a melodic, melancholic set, with the last three performed on just acoustic guitar and harp. Gorgeous work.
As with all ten re-issues, the audio for Mystery Movie comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

vailable on 7-inch red vinyl single (includes free digital copy on MP3). Vinyl is limited to 500 copies.

Les Disques du Crepuscule presents All Through the Night, the first of two of newly recorded 7-inch coloured vinyl singles by The Passengers, the late 1970s new wave group from Brussels who subsequently became cult Factory/Crepuscule band The Names.

In 1978, with the Brussels scene still in the grip of raw punk, The Passengers offered a fresh, pop-oriented sensibility, mingled with the darker accents of later post-punk. This was young music in every sense, with none of The Passengers older than 22, shaped more by American than British influences, notably the Velvet Underground, whose radical style was in turn echoed by late Seventies bands like Richard Hell and the Voidoids, Talking Heads and Television. The presence of Isabelle Hanrez on vocals also made comparisons with Blondie inescapable. 

With their first gigs in the five-piece quickly became a local sensation, and in March 1978 won a battle of the bands known as the 'First Belgian Punk Contest' - only to reject the prize (a one-off single deal) as a cynical commercial ploy. Instead, the band chose to tape All Through the Night for Brussels punk imprint Romantik Records, only for the label to fold before this came to pass. 

The Passengers parted company soon after, with Michel Sordinia, Marc Deprez and Christophe Den Tandt becoming The Names on Factory Records, while Hanrez formed own pop-punk outfit, Isabelle et les Nic-Nacs. Four decades on, the original Passengers quintet decided to record and issue the singles denied a release at the time, recorded and played as if it were still 1978!

Cover portrait by Eric de Merkline. Design by Atomluft.

Available on 7-inch clear vinyl single (includes free digital copy on MP3). Limited to 500 copies.

Les Disques du Crepuscule presents All Through the Night, the first of two of newly recorded 7-inch coloured vinyl singles by The Passengers, the late 1970s new wave group from Brussels who subsequently became cult Factory/Crepuscule band The Names.

In 1978, with the Brussels scene still in the grip of raw punk, The Passengers offered a fresh, pop-oriented sensibility, mingled with the darker accents of later post-punk. This was young music in every sense, with none of The Passengers older than 22, shaped more by American than British influences, notably the Velvet Underground, whose radical style was in turn echoed by late Seventies bands like Richard Hell and the Voidoids, Talking Heads and Television. The presence of Isabelle Hanrez on vocals also made comparisons with Blondie inescapable. 

With their first gigs in the five-piece quickly became a local sensation, and in March 1978 won a battle of the bands known as the 'First Belgian Punk Contest' - only to reject the prize (a one-off single deal) as a cynical commercial ploy. Instead, the band chose to tape All Through the Night for Brussels punk imprint Romantik Records, only for the label to fold before this came to pass. 

The Passengers parted company soon after, with Michel Sordinia, Marc Deprez and Christophe Den Tandt becoming The Names on Factory Records, while Hanrez formed own pop-punk outfit, Isabelle et les Nic-Nacs. Four decades on, the original Passengers quintet decided to record and issue the singles denied a release at the time, recorded and played as if it were still 1978!

Cover portrait by Eric de Merkline. Design by Atomluft. e

A collection of Jamaican doo wop & R&B records taken from the late 50s and early 60s. These records represent a period in which soundsystems were just starting to dominate the island, with Duke Reid and Sir Coxsone stepping up their rivalry by beginning to make and release their own records rather than rely on US imports for use in their dances. Many of these records are definitely more-or-less imitations of the American records, as the uniquely Jamaican ska sound was yet to take hold - however many of the future stars of ska, rocksteady and reggae were beginning to cut their teeth in the industry on these records, incl. Jimmy Cliff, Derrick Harriott, Alton Ellis and more, and they provide a unique view into the fledgling independent record industry culture in Jamaica that would prove to be unbelievably proflific and unparalleled for an island of it's size.

Snaketime Series is one of the earliest and rarest of Moondog's recordings, originally released in 1956. Snaketime' is what Moondog himself referred to as his unique sense of time in music, what he called a slithery rhythm'. And indeed, almost nobody else was making music as unique as this in the 1950s, drawing influence from city sounds, and working on many of his own instrumental invitations, Snaketime Series is truly cutting edge American avant-garde. Reissued on 180 gram LP with deluxe jacket, and a download card.

The Limiñanas are a couple and a band. They have produced records in their own garage in Cabestany located in the south of France for about ten years. They played in Australia, the US and toured Europe regularly. United Kingdom included. The first opus of the now series 'I have trouble in mind' was released on the initiative of Bill and Lisa Roe (iconic label 'trouble in mind") in the US in 2014. It combines all the 45t , unreleased songs recorded by the couple for 'Mojo magazine", tribute to Beach Boys, fanzines, micro labels. All the titles which were difficult to find and that fans were looking for. And now, here it is: I ve got trouble in mind vol 2. The Limiñanas now work mainly with the European label 'Because music". Thanks to their common forces, 3 albums were released. «Traité de guitarre Triolectique» with Pascal Comelade, 'Malamore", which was a tribute to Dino Risi and in 2018 'Shadow People' in the company of the American psychedelic pope Anton Newcombe. Marie and Lio work a lot, they record all the time and love 45t, maxi's and still collaborate with small labels from around the world for specific projects like the traditional song of Christmas 'Convenanza 'from Andrew Weatherall. In this second opus some covers of their favorite titles will be available. The lords of the new church 'Russia"n roulette", 'two sisters' from the Kinks which is the first song recorded with Anton and remixed by the American producer of the first White Stripes album Jim Diamond. 'Live will Tell' from Polnareff, a tribute to 'Suicide' recorded in Australia from the live version of the band and many others. The artwork was designed by Elric Duffau, as for the first volume. Small bonus: the two album covers placed side by side complement each other for a single piece.

Too Pure and Beggars Arkive reissue 'Peng!' and 'The
Groop Played Space Age Batchelor Pad Music' on clear
vinyl.
'Peng!' is the band's 1992 debut album. 'The Groop
Played Space Age Batchelor Pad Music' is an 8-track
mini album, released in 1993.
Often noted as being one of the most influential and
original bands of the 90s, Stereolab were formed by
Tim Gane and Laetitia Sadier in London in 1990 and
released 13 studio albums, 15 EPs and numerous
singles. Simon Reynolds commented in Rolling Stone
that the group's early records form 'an endlessly
seductive body of work that sounds always the same,
always different.'
They are often noted as being one of the most
influential and original bands of the 90s. Theirs is a
rich, overflowing palette, readily able to blur the gulf
between Os Mutantes and the BBC Radiophonic
Orchestra; merge Krzysztof Komeda with the Velvet
Underground, Francoise Hardy with Neu! and Burt
Bacharach with Esquivel. A deluxe blend, in other
words, with ingredients plucked assiduously from
pop's coolest outposts: 50's lounge, Rive Gauche
chanson, Brazilian tropicalia, North American art rock,
East European film music, Krautrock. hi-fi test
recordings, mood music and more. Somehow they
distil these apparently incongruent components into
an ageless exotica that is all their own.

Too Pure and Beggars Arkive reissue 'Peng!' and 'The
Groop Played Space Age Batchelor Pad Music' on clear
vinyl.
'Peng!' is the band's 1992 debut album. 'The Groop
Played Space Age Batchelor Pad Music' is an 8-track
mini album, released in 1993.
Often noted as being one of the most influential and
original bands of the 90s, Stereolab were formed by
Tim Gane and Laetitia Sadier in London in 1990 and
released 13 studio albums, 15 EPs and numerous
singles. Simon Reynolds commented in Rolling Stone
that the group's early records form 'an endlessly
seductive body of work that sounds always the same,
always different.'
They are often noted as being one of the most
influential and original bands of the 90s. Theirs is a
rich, overflowing palette, readily able to blur the gulf
between Os Mutantes and the BBC Radiophonic
Orchestra; merge Krzysztof Komeda with the Velvet
Underground, Francoise Hardy with Neu! and Burt
Bacharach with Esquivel. A deluxe blend, in other
words, with ingredients plucked assiduously from
pop's coolest outposts: 50's lounge, Rive Gauche
chanson, Brazilian tropicalia, North American art rock,
East European film music, Krautrock. hi-fi test
recordings, mood music and more. Somehow they
distil these apparently incongruent components into
an ageless exotica that is all their own.

Deep late 80's percussion LP created to accompany contemporary jazz-dance classes. African instrumentation meets Western Jazz arrangements and computer technology. TIP!
.
Percussions Pour La Danse was a collaboration between North American born jazz & contemporary-dance instructor Tony Kennybrew and French musician Jean-Pierre Boistel. Tony, a Washington native who had studied, taught and danced professionally since the age of 12, found himself in France in the late 80's. It's here that he linked up with like-minded musician Jean-Pierre; who had recently returned from a 6-month trip to West Africa. A trip that helped refine his craft that begun in the early 70's.

The music was created for Tony to use when teaching contemporary jazz-dance classes and to accompany live performance, allowing students to 'dance slowly, rapidly and change speeds without changing the tempo!'. This work of rhythmic research was based on the 'Balance of The Walk'; in 4 times, in 6 times, in 7 times & in 3 times. In order to reach the spatial possibilities he was striving for, Jean-Pierre would also use computer assisted programming to sample and re-play his own instrumentation. This allowed him to lay down the tempo of the track and then play live over the top, which in turn gave him the freedom to add the desired instruments and effects to each song.

Jean-Pierre's use of instruments such as the Kalimba, Talking Drum & Sanza gives the album a distinctly African feel, while contemporary Jazz-dance time signatures adds a unique perspective to these traditional instrumentations creating an ethereal balance between the old and new.

Move Is The Name Of The Colombian Collective Based In Medellin. After 5 Years Of Hard Work In South American Electronic Scene, Now They Present Their Record Label With 'origen' As It's First Release. Origen It's A Wide Range Of Colorful Electronic Music Created By Some Of The Artists Involved In The Project: Black Propaganda, Retrograde Youth, Merino And Blotketch. A Real And Interesting Sneak Peak Of The Sounds That Are Growing In Latin America.

In the expansive sleeve notes accompanying this superb triple-album, Analog Africa founder Samy Ben Redjeb accounts, in great detail, the epic tale of Dur-Dur Band, a Mogadishu-based deep funk outfit that took Somalian radio by storm during the early 1980s. It's a remarkable story, all told, but nowhere near as remarkable as the music contained on this essential retrospective. Redjeb has managed to license both of their previously cassette-only albums, stretching them across three slabs of wax. Brilliantly played and performed, the songs mix killer American and African style funk grooves with hooky Somalian vocals, spacey synths and occasional nods towards other styles (most notably reggae on later period cut "Diinleeya" and Juju on "Salkuu Dhigey"). Simply essential.

Nick Klein is an artist making electronic music born in southern Florida and based in Brooklyn, New York since 2012. Upon moving to New York the concentration of his works output has been to mine and investigate the troped qualities in various forms of electronic music, and then to realize singular directions in how to communicate these ideas himself. Alongside Miguel Alvarin~o he runs the music imprint Primitive Languages.

His latest offering since the January 2018 EP "Lowered Flaming Coffin" (Alter) is a continuation of his burnt dance music explorations with "The Bathroom Wall" on Bank Records. As a totem to reflect onto with text, to rest ones eyes in blur, or to physically hold ones self up in the throes of intoxication, the bathroom wall takes and gives numerous gestures of use. Klein uses the symbology of the bathroom wall to construct five disparate wall scrawlings and hazed meditations into the compositional grounds for four meaner mid-tempo, rhythmic purges. Tracks "The Worst Band In The World" and "American Gut" take on the pulsing build of an intoxicated night out. The record divides in on and itself in tone with "Rather Be Your Enemy", an homage in title to the legendary Lee Hazelwood song, wherein the synthesizer convulses slowly conjuring the bleaker qualities of tinnitus taking the lead over your senses. Side B of the record throbs quickly with the blown bass drums and hissing rhythms of "Pushing Your Luck" and comes to a drawn conclusion with the ten minute come-down at sun rise burner of "Poor Me Another".

The record was recorded using a modular synthesizer to tape by Nick Klein and mastered by Josh Bonati. Design work taken on by visual provocateur Chris Norris (Steak Mountain).

Since 2010, Buyepongo has led a steadily growing Los Angeles underground movement that combines the vast influence of traditional tropical sounds with the streetwise edges of the Latin American diaspora. Much like their name implies (translation: to cause a ruckus), their hybrid style is focused on the celebration, an infectious, energetic vibe that is universally and rhythmically connected. It'll get your feet moving, and much like many of the records from the golden age of cumbia, these two offerings demonstrate an updated and adapted reverence for the roots that is truly distinct to their own unique place and time.

For the group's latest single, that place, the sprawling Latinx scene east of Los Angeles, met head on with the east coast hot pot of Brooklyn. Recorded and produced in collaboration with Names You Can Trust during the band's serendipitous 2017 trip to NYC, this new release takes two of Buyepongo's most fan-favored and party-tested original songs, two that had yet to be recorded, and combines them with the NYCT forty-five ethos: a stripped-down, warm analog recording that perfectly captures Buye's live, bring-the-ruckus style in the room as it happened. "Por La Vida" romps over the A-side, a modern-day classic in the making whose lyrics (how beautiful is life, always full of surprises...) compliment a sunny, easy-going house party vibe, while "Miri" on the flip evolves from a loping, almost reggae groove into a transcendent journey through Caribbean feel-good sounds.

Mit fast 18 Milliarden Streams ist Post Malone der meist gestreamte Newcomer aller Zeiten. Auf Spotify verzeichnet sein zweites Album - beerbongs & bentleys' in den USA vorrübergehend die meisten Streams innerhalb der ersten Woche nach Release - Anfang Mai waren neun Songs in den Top 20 und alle 18 Songs in den Hot 100 in den USA vertreten. Die Single "Rockstar," ft. 21 belegte über 100 Tage Platz 1 der Spotify Global Charts. Nicht ohne Grund ist Post Malone in der Kategorie - Artist Of The Year' bei den diesjährigen American Music Awards nominiert und begeisterte sein Publikum bei einem ausverkauften Konzert in Köln dieses Jahr. Nun erscheint das Erfolgsalbum - beerbongs & bentleys' am 26.10.2018 auch als Vinyl.

Two all-time George Duke greats, 'I Want You for Myself' & 'Brazilian Love Affair', get the official remastered, reissue treatment.

First up, 'I Want You For Myself' Duke's 1979 jazz funk, R&B tinged gem has got all the ingredients of classic from his illustrious catalogue. A funked up guitar and exuberant percussion, compliment Lynn Davis' fabulously soulful vocals perfectly to make this a love song that's sweeter than most. A Duke classic wouldn't be complete without a killer, keys solo and 'I Want You For Myself' shows off his talents in abundance. The infamous Tom Moulton takes on edit duties splicing it into a 10-minute exploration of this fusion powerhouse, extending and enhancing elements in the mix, alongside adding an epic breakdown in a way that only he knows how.

On the B side, the stone-cold killer 'Brazilian Love Affair' is a Latin American, jazz funk classic. Recorded in Rio de Janeiro, Duke drafted in a host of greats to guest on the track, each bringing something unique to the table. From Airto Moreira's expert latin drumming, to Byron Miller's heavyweight bass and Roland Bautista's overdriven guitar. Duke supplements this to a tee with his blissful vocals and an otherworldly Rhodes solo. Much sampled, much loved, this is a masterpiece that needs a place in the collection.

Pete Herbert, Afro fusion outfit Oyobi and Neo Soul singer Andre Espeut jump on the train to the South American territories in order to meet Juan Laya & Jorge Montiel for the continuation of their latest sonic excursion: Electropical Part 2.

A very welcome reissue of one of the highly regarded pieces of music by the great pianist and composer Mary Lou Williams. The concept behind "Black Christ of the Andes" is about the ideal meeting between Jazz and Spiritual. From the dark, smokey atmospheres of the Devil's music to the luminous sound of the African American Church. A very enjoyable record made up of different materials like "Jump Blues" numbers, a cappella choral pieces and some striking piano trio cuts. All arranged and conducted by the great Melba Liston and featuring performances of Jazz luminaries such as Milt Hinton, Grant Green, Percy Heath, and Mary Lou Williams herself.

Sao Paulo's acclaimed 10-piece instrumental collective return for their 4th album. Urban Afro-Brazilian grooves, empowered horn-driven melodicism and massive dance floor inspiration. One of South America's

most exhilarating musical propositions. Available on CD or Double 180gr Heavyweight Vinyl that includes a digital download. Quebra Cabe a is a very memorable set of hummable earworms, from the title

cut that opens up the album and continuing, sinewy and cool and relentless, all the way to the final note of 'Portal.' Throughout though, the heartbeat of everything remains utterly African, refracted through the prism of the band's

home in the Bixiga neighbourhood of Sao Paulo. And Bixiga 70 has always been a reflection of the streets where they live. The result still captures the incendiary excitement of Bixiga 70 live, but the

freedom of the studio brings more shade and subtlety than before. The rhythms are more sinuous than ever, snaking through the funk in way that looks more to Ghana or Nigeria than Memphis or Muscle Shoals, while the horns strut in

powerful harmonies. It's music that forges connections and retraces history while sounding absolutely contemporary. But for Bixiga 70, African will always be the root, and Brazil its beautiful, vibrant flower.

Hosono's solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO), who made their debut in 1978. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.
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The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer.

Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom.

This is a very limited 7" picture disc of the brand new Clutch tracks "How To Shake Hands" (Blue Side) and "Gimme The Keys" (Green Side). It comes in a PVC sleeve with flap and has a product sticker on the front. The Pennsylvania Dutch hex motif of the two sides of this 7" goes with the general Americana feel of this overall release campaign. A Clutch collector's item if there ever was one.

Since 2008 Düsseldorf based producer and live wizard Stefan Schwander deeply concentrates on his always evolving electronic venture named Harmonious Thelonious. It besprinkles the world with fractional musical structures in the spirits of American minimal music, in order to immingle them with African rhythm patterns. Exceptional hypnotic opiates, enlarged with twisted harmonies and tricky rhythm archetypes. All heavy danceable!

After five magnetic albums for labels like Emotional Response and his old home base Italic as well as a highly acclaimed string of EPs for in-demand platforms like Asafa, Diskant, Disk, Kontra-Muzik, Meakusma, The Trilogy Tapes or Versatile Records, he now produced a heavy arresting 'Petrolia' LP for Marmo Music - a label that is not new to Harmonious Thelonious. Already on the label's second release Tru West: 'The DOWC part 2' his 'Sunset Liturgy' fingerprints are audible with a moving remix. Now he delivers six epic tunes that only partly dance the familiar Harmonious Thelonious dance. There are deeply traces from Africa and Arabia. There is the polyrhythmic witchery that makes his music special. But in contrast his new tunes are more mental then his former ones. They have a menacing industrial feel but yet continue to be enlarged with the enchanting spirits of the land of the Sahara. Furthermore, there is a slight manic touch arising from nervous electronic and foremost organic melodies. The live played jittery is coming from the Berlin based experimental musician Ghazi Barakat, also known under monikers like Pharoah Chromium or Crème de Hassan for mind shredding ambient, drone, experimental, noise, industrial, free jazz and free improvisation music from beyond. For Harmonious Thelonious Barakat, who also produced together with Marmo Music artist Günther Schickert the collaboration album 'OXTLR' in 2014, tuned his wind instruments Rauschpfeife and Kangling elflock-stricken the Master Musicians of Jajouka way. And instead of giving them a prominent lead position, Schwander deeply implements his tones into his propulsive creations to evoke a modern rhythmic meltdown of Occident versus Orient spheres that exhale a deeply absorbing soul.

A record, who's psychedelic energy fits perfect into the Marmo Music cosmos - a world where the progressiveness of the 70ties continues to live in the current to disband all white bread musical norms for the energy of music without classes. Dancers of the world, unite!

is it the best jazz record from japan, as the french-born english disc jockey, record label owner and music collector gilles peterson once assumed or is it maybe the best jazz record of all jazz records
well, everybody needs to decide by himself and has to listen to 'watabase', the second solo piano album of the japanese jazz pianist fumio itabashi, that was originally released in 1982.
tokyo based mule music unearth it, remastered the original recordings and brings it back to the global stores in order to seduce all music lovers that embrace notes who come straight from the heart and soul.
while diving deep into the seven compositions on 'watarese', any sensible listener finds out, that the instrumental piano pieces are somehow soulfully connected to what keith jarret plays on his legendary 'the köln concert' live album for the munich based ecm record company.
like jarret, itabashi does not play his notes academic. he let them fly, gives them some kind a life of their own, hits the piano keys deeply emotional and injects his compositions and interpretations some kind of nervous human soul.
in terms of style some call his 'watarase' recordings post-bop, others contemporary jazz. none of such definitions fit really, as all is just that kind of agitating jazz that melts spirituality with humanity. three tunes, the epic 'someday my prince will come' as well as 'msunduza' and 'i can't get started', are interpretations of compositions by the us-american movie score pioneer frank churchill, south african pianist dollar brand and russian-american composer and songwriter vernon duke.
all other four compositions been written and recorded by the 1949 born itabashi who started to play the piano when he was eight years old. while studying at the tokyo based kunitachi college of music, he fell in love with jazz.
his love was so deep, that he starts to work in the 1970's with such legendary japanese jazz musicians like trumpet player terumasa hino, drummer takeo moriyama and saxophonist sadao watanabe.
till today fumio itabashi is a vital part of the japanese jazz culture as a live performer and film score composer. those who want to see how he makes love with his piano should check the world wide web for the french documentary 'jazzed out', that captured his unique way of playing in one episode.
but as music is always firstly for the ears, and not for the eyes, this little letter in-front of you would rather like to recommend to play the 'watarase' recordings loud to get hooked by the highly infectious piano gems that have been recorded at nippon columbia 1st studio in tokyo on 12th and 13th of octo-ber 1981.
they will haunt you. they will come for good. and they will force you to be a good friend with the repeat button - whatever medium you chose to surrender to the piano jazz music of fumio itabashi.

16 early vocal & jazzy tunes from the Golden Age of Jive & Kwela in South Africa. Released originally on fragile shellac discs only. Shellac is a very delicate material but the music survived thanks to the archives of ILAM. A truly great source of South African music is being preserved here for new generations, to inspire young and hopeful musicians and singers from all over the world. 180gram vinyl.These pearls of musical genius were recorded in the glory years of jive and kwela, the years 1940-1965 . On side A it is not difficult to recognise the similarities to American popular music like R&B and small combo close harmony singing.
But most of all notice that typical South African swing, that jive, that incredible smooth form of African jazz on side B; Kwela!
The rarest and most treasured finds are collected here, some with the original spoken intro's, 'sketches' as these were called. Characteristic conversations between the musicians, often in a humoristic slang, always extremely funny.
Now available as the fourth issue in the series 'Township Jive & Kwela Jazz'.

It was like a bird of rarest-spun heaven metal or like silvery wine flowing in a spaceship, gravity all nonsense now - Anthony Burgess, A Clockwork Orange

After their LPs 'Ike Yard' (also known as 'A Fact A Second' Factory America, 1982) and Nord (Phisteria and Desire, 2010) Ike Yard delivers their last album 'Rejoy' on Noiztank, 2018 as the culmination of their recent years reinvented sound. As the perpetual flag bearers of the cutting-edge post-punk spirit, the NYC- based band shows muscle in a LP fully loaded with abrasive synth pads, scrap metal percussions, and whispered vocals. Following the previous criteria of 'Sacred Machine' 2017, it is worth to remark the inclusion of external vocals in the pieces 'Sister M' and 'Beyondersay', which feature Yuki Osaki and MAYa. The nine tracks move through different atmospheres, tensions and moods that would perfectly represent a new contemporary soundtrack of the S. Kubrick film 'A Clockwork Orange', a major influence and source of inspiration for the group this time around.

Repress!

Copenhagen's Terry Tester (Brownswood / BBE) merges his love for Midwest house and cosmic funk butter on four-tracker 'Space Million' for Creak Inc., journeying through dream state deep house, gritty MPC workouts and low-end boogie territory for an undeniably original take on four-to-the-floor rhythms.

Within Terry Tester's two-decade long career as a turntablist and beatmaker his eminent take on house, hiphop and soul has been commissioned by Gilles Petterson for his 'Bubblers' compilation series on Brownswood Recordings, Jahi featuring american neo-soul singer Dwele, and Marc Mac (4Hero, Visioneers, Nu Era) on BBE remixing alongside DJ Jazzy Jeff, as well as releasing two full-length solo albums 'Horses and Diamonds' and 'Short Suite'.

From the inheritor of John Coltrane's mouthpiece a re-integration of deep South African jazz roots with the Black Atlantic spiritual jazz continuum.

Celebration's release trumpeted the emerging dawn of South Africa's epochal changes. Sainted and blessed, Bheki Mseleku appeared as the herald of a new era, a prophet of rebirth and reconnection. This is a work signalling transition and change, and a sign of a South African music that was properly reconnected with global currents - a music that could journey far beyond the stifling combination of exile and oppression in which it had been bound.

Recognising Bheki as a kindred spirit to her late husband, Alice gave him the saxophone mouthpiece that John Coltrane had used during the recording of A Love Supreme. Coltrane was a permanent touchstone for the pianist, one of the few who Bheki felt had the same esoteric and spiritual focus as himself: 'the only musicians I know of who were deeply into this were Coltrane, and Pharoah and Sun Ra', he told an interviewer in 1992.

While the idioms of post-Coltrane spirit jazz are certainly to the fore on Celebration, they are energised by a swift and original musical vision, quite specific to Bheki's music, in which whole musical systems - the marabi and mbhaqanga jazz of the townships, American jazz, European classical, and more - are seamlessly mended together by the pianist's quicksilver musical sensibility and legendary technical ability.

Celebration was originally released on compact disc and cassette in the middle of 1992 by World Circuit. It was Bheki's first statement under his own name, and the first recorded presentation of his personal musical vision. This vision had been tempered across two decades which had combined intense professional playing with profound personal trials in both the spiritual and earthly domains, all set against the greater backdrop of South African political turmoil and exile in Europe.

The band brought together musicians hailing from three signally important points within the interconnected, communicating spaces of the Black Atlantic continuum - North America, post-colonial Britain, and southern Africa. With them, Mseleku created the first major South African-led musical statement to be produced after the sufferance of exile was ended. The ultimate and most egregious remnant of the centuries-long colonial era, apartheid, was finally being dismantled as they played. At this critical point, Mseleku's musical spirit work, channelled from a higher source, spoke of a time to come where all divisions might be transcended by a greater unity.

Producer, multi-instrumentalist, composer, songwriter and vocalist Devonté Hynes returns with his fourth album as Blood Orange, Negro Swan, released on Domino on August 24, 2018.

Raised in England, Hynes started out as a teenage punk in the UK band Test Icicles before releasing two orchestral acoustic pop records as Lightspeed Champion. In 2011, he released Coastal Grooves, the first of three solo albums under the moniker Blood Orange. His last album, Freetown Sound, was released to critical acclaim in 2016, and saw Hynes defined as one of the foremost musical voices of his time, receiving comparisons to the likes of Kendrick Lamar and D'Angelo for his own searing and soothing personal document of life as a black man in America. He has collaborated with Solange Knowles, Skepta, fka twigs, Carly Rae Jepsen, A$AP Rocky, Charlotte Gainsbourg, Blondie, and many other artists, and was recently one of four artists invited to the Kennedy Center to perform alongside Philip Glass. In addition to his production work, he scored the film Palo Alto, directed by Gia Coppola.

Negro Swan was written and produced by Hynes. Says Hynes:

'My newest album is an exploration into my own and many types of black depression, an honest look at the corners of black existence, and the ongoing anxieties of queer/people of color. A reach back into childhood and modern traumas, and the things we do to get through it all. The underlying thread through each piece on the album is the idea of HOPE, and the lights we can try to turn on within ourselves with a hopefully positive outcome of helping others out of their darkness.'

Those of you who have followed Lucky Brown's tireless efforts since joining the Tramp family in 2007 can hear without a doubt the progress he and his various ensembles have made in almost every musical aspect. His songwriting skills amazed us right from the start of our relationship. What deserves much more respect is that during the past years he has proved to be probably one of the most authentic and steady but at the same time most innovative creative minds on the contemporary funk scene. Sure, many of today's funk bands are able to deliver a two-and-a-half minute funk killer, what distinguishes Lucky Brown, however, is his ability to create compositions which also employ the idiom as a means to deliver an artistic message, a hard-to describe feeling, or a conscious concept, just like James Brown and Fela Kuti mastered in the 1970s. Furthermore, Lucky has developed his own trademark production and sound whose depth and honesty form a basis from which his work will ever remain timeless.

But that's nothing new as you can hear on both of his first two albums for Tamp ("Lucky Brown's Space Dream, 2011 and "Mystery Road", 2015) On "Mesquite Suite" he is forging new paths by soaking up musical styles from all over the world to infuse with his own totally unique way of producing. Perfect examples are the Mulatu Astatke-ish tracks "Pauraque" and "Mother Corn Stalk" with its distinctive New Orleans Swamp-Jazz flavor. Fans of the Menahan Street Band or El Michels Affair may see in "Taterbug" and "Estrellas De La Tierra" their favourite tracks. But it's the entirety which makes this album standout.

It has been Lucky Brown's aim to paint for the world a picture of the vernacular jazz that America's neighborhoods once crafted as their own homegrown cultural heritage. Lucky Brown's music is a rejection of the elitism, classism, and status of the music industrial complex and is an antitoxin to it's resultant homogeneity. He wants with his heart and his art to transmit an everyday people's sound, made by everyday people, dedicated to the upliftment of all people.

Tobias Kirmayer, August 2018

key-selling points:
- limited to 500 hand-numbered copies
- incl. full album download code
- double vinyl LP with deluxe gatefold cover

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

1972 saw the release of The Sixth Ear (Narco NR666), this time credited to Nik Pascal. A more complex work than Beyond The End..., it adds consistent rhythmic patterns to the mix with the addition of bongoes and also explores some interesting chord progressions.

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes." (progarchives)

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same." (twoheadeddog)

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

Magnetic Web was released in 1973. It appeared under the Nik Pascal monicker and showed a clear evolution in sound, favoured by the addition of an Arp 2600 and some rhythm boxes. It also included percussions and cymbals. The Two Headed Dog site thinks "this is his masterpiece in all of its acid-laced glory."

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes."

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same."

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself, and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

Nik's last album, Zero Gravity (Narco NR123) came under the Nik Pascal name and had a fantastic side long piece on the title track which reminisces of the works of Cluster. B side features four tracks that also bear some Conrad Schnitzler reminiscences. This was to be Nik's last LP before he would sell all his synths to ex car racer and future electronic/ambient music star Steve Roach.

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes."

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same."

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself, and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

American composer and multi-instrumentalist Alvin Curran has remained one of the great emblems of experimental music for the last half-century. In 1966, along with Frederic Rzewski and Richard Teitelbaum, Curran co-founded Musica Elettronica Viva, a seminal gesture in collective free improvisation. In the early '70s, his solo work would become a crucial bridge between minimalist traditions on both sides of the Atlantic.

Canti E Vedute Del Giardino Magnetico, Curran's solo debut, was recorded by the artist himself and issued on Ananda, the small Italian imprint started by Curran and fellow composers Giacinto Scelsi and Roberto Laneri. The piece itself was put together in the winter of 1973 and presented for the first time at Teatro Beat 72 (Rome's The Kitchen).

Encouraged by the work of Terry Riley, La Monte Young, Charlemagne Palestine and Simone Forti, Curran binds the listener to aberrant notions of place and time: blending field recordings (wind, high-tension wires, beach waves, etc.) with simple and often primitive instruments. Across two sidelong tracks, Giardino Magnetico forms a lyrical collage of synthesizer, glass and metal chimes, plastic tubes, brass and the composer's alluring voice - converging in an immersive realm of Curran's inner / outer experiences.

This first-time vinyl reissue is recommended for fans of Harry Bertoia, Michel Redolfi and Lino Capra Vaccina.

"At the crux of American-born, Shanghai-based producer Eli Osheyack's debut album, Sadomodernism, is a question of agency. Borrowed from film theory, the album title was originally coined by writer Moira Weigel to describe a waning European art house tradition that vehemently rejects 'naïve pleasure'—the tranquilizing comfort of conventional cinematic narrative, like mainstream Hollywood—and opts for violence and pain, with the aim of shaking audiences out of cinematic manipulation and into their own position vis-à-vis the malaise of contemporary life. Echoing the work of sadomodernist auteurs, Osheyacks's Sadomodernism is a deeply political project with critical ambitions. The smashing and blending of genres, from techno, industrial, noise and gabber to ballroom and metal, even opera, and spontaneous percussion arrangements, sometimes mixed with distorted spoken word, do not mean to please, but provoke through disorder and chaos. Laden with Brechtian alienation affects, Sadomodernism interrogates the notion of autonomy in contemporary music, club culture, and social-political life."