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Chra is the artist moniker for Austrian Christina Nemec (Bray, Shampoo Boy). SEAMONS is the latest missive in her ongoing exploration of suffocating abstract audio. At once designed and falling apart SEAMONS is rough and crude, a stumbling and staggering electronic expedition where nothing presents itself explicit in intent. It’s a tense obscure record that teases you into it’s peculiar vortex from it’s suggestive nature of exploring the enigma beyond it’s haunted facade.

VICIOUS WATER REGIMES stutters along as an ‘ugly’ mass of grey electronica. CAST(O)RO shines from light from the depths with it’s occasional foray into glistening tones. COLONIA MARINA SERENELLA is a dank squelching backdrop for a dark age. CAST twists tension with flickering electronics chaotic in their perpetual design of order confronting inevitable collapse. LET SHARKS SLEEP is not only a great title but a mind tickling adventure of descending/rising digital dance that builds in intensity with it's relentless repetition. WIDOW WALKS gallops and creaks along a path veiled in whispers. ENGE lunges through time with an air of deep uncertainty. SEAMONS hovers on the outskirts, crawling out of the speakers with endless surprising turns, few of them comfortable.

SEAMONS is progressive ambient, not the kind that makes you escape, but rather one you can't escape from. SEAMONS crawls into the very guts of sound to uncover and unravel the uneasy and unsettling underbelly within.

Compilation album curated by Kaitlyn Aurelia Smith

The directive for the composers featured on Breathing Instruments was, in effect, to accentuate the ways in which instruments sound like they are breathing. Some have recreated the literal experience of feeling or hearing the human breath. Others take a more abstract approach, where “breathing” is more motif than object of emulation.

From hushed pulsations and distant vocals in Kathryn Shuman’s ‘Objects creating a womb-like environment to Julianna Barwick’s blissful ‘Newborn’ the tracks give sonic form to the experience of emerging from the womb.

There is also a striking concurrence of woodland sounds throughout this collection from the ghostly tones of Emily A Srague’s ‘Flew’ to Cool Maritime and Kaitlyn Aurelia Smith’s dew dripped ‘Daybreak’.

Meanwhile the undulating seascape of Geotic’s ‘Uncaught’ conjures moments of Evening Star by Fripp/ Eno, but supplants that album’s crystalline production with the warm crackle of vinyl.
If we learn anything from Breathing Instruments it is that we are inextricable from the natural world.

Hold tight, Cimm's back at the controls. For the fifteenth physical release and his third 12" on the revered Sentry Records imprint, the prodigious UK-based artist reveals some of his finest high-grade sound system combustibles yet. DJ Youngsta's label demonstrates how it's done once again, proceeding with the consistent stream of quality excursions and another four mammoth-sized tracks to shake a leg to and light up the audience. Super-charged, Cimm's murderous sound design in all its glory.

Strut present the first ever compilation bringing together classics and rarities from the seminal spiritual jazz and conscious soul label Black Fire, covering 1975 to 1993. Formed by DJ and record producer Jimmy Gray in Richmond, Virginia, and following in the footsteps of other influential black-owned independent labels like Strata-East and Tribe, the foundation of Black Fire coincided with saxophonist James "Plunky" Branch returning to the city from New York to form Oneness Of Juju. The band's 'African Rhythms' album in 1975 was the perfect fusion of jazz, deep African polyrhythms and empowering lyrics and bassist Muzi Branch, a trained artist, created the first of many Black Fire hand-illustrated sleeves for the label's debut release.

Shine Grooves is a multifaceted artist, and this second record for Kimochi Sound explores two sides of that personality. The delicate, introspective, expressive precision of After All, DPS v55, and Secret move from sublime resignation to summery exuberance to a kind of earnest meditation. On the other side, collaborations with X343 yield a more extroverted approach: spontaneous mutations turn rolling grooves into unpredictable improvisational explorations.

After three years of throwing parties, we’re thrilled to announce something we’ve been
dreaming of for a while now, the launch of our label and the first Awkwardly Social record
release.

Similar to our events and mix series, it is our goal to use the label as a platform for exciting, up
and coming artists from within our community and beyond. Working together with our friend,
the very talented Greek-born, Berlin-based DJ and producer Aroent therefore has been a real
pleasure and something that felt natural from the get go. We hope you enjoy this wicked set of
forward thinking club tracks as much as we do!

Early plays by Ben UFO, Bonebrokk, E-Unity, Gramrcy, Opium Hum, Natureboy Gold, Yushh
and more. Big ups to everyone supporting the record so far!
Artwork by VOJD
Mastering by Andreas Lupo Lubich

Washed Out is Atlanta-based producer/songwriter/multi-instrumentalist Ernest Greene. Over three enchanting, critically-lauded albums and an EP, his music has proved both transportive and visual, each release inviting listeners into immersive, self-contained universes. With Purple Noon, his fourth album, and his return to Sub Pop, he delivers the most accessible Washed Out creation to date. Life of Leisure, Washed Out's 2009 debut EP, set the bar for the Chillwave era, shimmering in a warm haze of off-the-cuff Polaroids and pre-IG filters. Within and Without, his 2011 full-length debut on Sub Pop, morphed into nocturnal, icy synth-pop and embraced provocative imagery. 2013's Paracosm was Greene's take on psychedelia, with a full live band and kaleidoscopic light show, and saw him playing to the largest audiences of his career. The sample-heavy Mister Mellow (2017, Stone's Throw) delivered a 360 audio/visual experience, with cut-n-paste and hand-drawn animation to match the hip-hop influences throughout the album. With each release, Greene has approached his evolving project with meticulous detail and a steadfast vision. For Purple Noon, Greene again wrote, recorded, and produced the entirety of the album, with mixing handled by frequent collaborator Ben H. Allen (Paracosm, Within and Without). Production of the album followed a brief stint of writing for other artists (most notably Sudan Archives) which enabled Greene to explore genres like R&B and modern pop. These brighter, more robust sounds made their way into the songs of Purple Noon and mark a new chapter for Greene as a producer and songwriter. The vocals are front and center, tempos are slower, beats bolder, and there's a more comprehensive depth of dynamics. One can hear the luxuriousness of Sade, the sonic bombast of Phil Collins, and the lush atmosphere of the great Balearic beat classics. Mediterranean coastlines inspired Purple Noon, and Greene pays tribute to the region's distinct island culture - all rugged elegance and old-world charm - and uses it as a backdrop to tell stories of passion, love, and loss (Purple Noon's title comes from the 1960 film directed by Rene Clement and based on the novel The Talented Mister Ripley by Patricia Highsmith). Much like romantic Hollywood epics, the melodrama throughout is strong: a serendipitous first meeting in "Too Late"; a passionate love affair in "Paralyzed"; disintegration of a relationship in "Time to Walk Away"; a reunion with a lost love in "Game of Chance." Purple Noon adds a layer of emotional intensity to the escapism of Washed Out's oeuvre, taking the music to dazzling new heights.

New album from the Parisian producer.

Label say:
Because, at La Creme Garcia Club, a private circle of discerning smokers in Barcelona, Blundetto was in heavy rotation in the playlists. So heavy that these people of good taste for legal activity on this side of the Pyrenees yet prohibited from profits, had the idea of becoming the privileged partners of a new album. Without scrutiny, without intervention in the artistic, but with a single watchword: let Blundetto return to his first love of world sound.

The result is a stereo trip illustrated by Mossy Giant's artwork. A trip around the world without leaving your couch.
An offer that cannot be refused.

Ten years had passed since Bad Bad Things; it was the occasion to celebrate this decade by reviving its state of mind. The one who mixes collaborations, atmospheres, and styles. Exiled to the green, in musical autarky from several albums, Blundetto has therefore returned to the rhythm of city life and studios. He has changed his way of operating, opened his repertoire, and invited friends to new titles that he had written for them.

The circle of intimates already present on Bad Bad Things (Hindi Zahra, General Electric, Chico Mann) has widened to include regular accomplices (Biga Ranx) and to extend to artists with whom Blundetto felt an obvious connection (Crime Apple, Leonardo Marques). Guided by this roadmap written by Blundetto, all succeeded in painting with their colors and spreading their musical soul in the project, either taking the rhythmic direction of Brazil, Africa, or Latin America, getting dizzy in Jamaican fumes or chopping at the salient angles of hip hop.

Dive into the new openings of Clément Petit’s arrangements, now more sophisticated than those on which Blundetto evolved, and now capable of bringing an orchestral dimension made of strings and brass, creating a direct opening on the emotions, an automatic generator of images to accompany the soundtrack by the producer Blackjoy.

Whatever the orientation, each guest becomes a unique and essential part while Blundetto remains the common thread, the cement and the final varnish of a musical mosaic called Good Good Things.

Four years after launching his last EP, Lugo-based artist, Synth Alien, makes a comeback to lead the fourth release of Noise To Meet You. Six Electro tracks, under the wings of a 100% hardware set up that has allowed his sound to reach a step up.

Repress...!

Approved by Quality Control.

Dead Or Alive have sold more than 30 million albums and 25 million singles worldwide and gave Stock Aitken Waterman their first #1
single. Their first three albums, which the band wrote, all reached the UK Top 30, with ‘Youthquake’ reaching the Top 10. In the 1980s, they charted seven unique singles in the UK Top 40, with two further re-entries this century, with a remix and original version of ‘You Spin Me Round (Like A Record)’. Respected US magazine Billboard, ranked them in their all-time Top 100 most successful ‘dance artists’ chart.
Recorded at PWL Studios, London, “Nukleopatra” is the Band’s sixth studio album and was initially released in Japan in 1995, although
subsequently released in different versions - track existing / versions / durations / artwork - in eight other countries between 1996 and 1998. It contains the singles ‘Rebel Rebel’ and ‘Sex Drive’. The album was not released in the UK, until a re-worked version was included within the ‘Sophisticated Boom Box MMXVI’ box set in 2016. This vinyl edition replicates the original Japanese version, which features longer versions ‘Nukleopatra’ and ‘Sex Drive’, along with rerecorded versions of ‘Unhappy Birthday’ and ‘Gone Too Long’, which appeared on “Fan the Flame (Part 1)”. This special 25th Anniversary Edition of “Nukleopatra” is the first time that the album has been commercially released on vinyl in its original configuration, with original playing durations and will be pressed on 180g heavyweight blue colour vinyl.

Working with sonic archetypes rather than genres, in recent years Moscow's Pavel Milyakov has transcended the average practices of what one might call "the electronic music scene" and built his personal artistic universe where the visual and time-based arts are blended into one another. His new conceptual album PSY X, a collaboration between Gost Zvuk and Buttechno's own imprint Rassvet, can be understood as a collection of audio, video and graphic documents fused together in a homogeneous form. Profoundly rethinking the interactions between various media, Pavel utilizes a vast variety of creative tools and technologies - from generative music algorithms to laser equipment - to create (in)determinate "environments", rather than simply "tracks" or "pictures". The result is simply stunning: a meticulously crafted visual container that encases kinetic, alluring and deeply immersive music from one of Russian burgeoning scene's most vivid voices.

The man in the crowd is a wonderer with relaxed habits. In him the course of things and movement of the city is reproduced. The Düsseldorfer Detlef Weinrich is such a man in the crows. Some one who is constantly listening to future winds through rushes of the past. He loves the night for its free will. And his music tells stories about it. You might know him as a member of the band Kreidler. As a solo artist he goes under the name Tolouse Low Trax. And he's already got three Eps and two albums under his belt. His first solo album „Mask Talk“ thrives on a feathery beat frequency and cool new-wave-strength. His recently released piece „Corridor Plateau“, which appeared as a limited edition to accompany the exhibition „Corridor Plateau“ contains percussive electronics and Industrial sounding like its from the second industrial revolution. His third album „Jeidem Fall“, is also not from here. It sounds like music brought down to earth from the heavens. But its a dark cosmos in which there are only fleeting glimpses of light. All eight tracks were composed in a short space of time over the period of just a few months and fit together perfectly atmospherically. With a musical expressiveness that undoubtedly twists your emotions, „Jeidem Fall“ attacks the subconscious and clouds the mind. The drums have more movement that on „Mask Talk“. Along with the constant tapping of drumsticks goes melodical arpeggios dancing dark and dirty. At times longing vocals drift abstractly through the room, as on „Sa Seline“ or „Geo Scan“, without telling any obvious story.

To sound like stylistic cross references from the present and past is all just speculation for nothing on „Jeidem Fall“ really sounds like anything that has gone before. You could compare the dark minimal timbre of the drum computer aesthetic with Craig Leon's first reductive album „Nommos“. There is also a hint of the minimallist industrial of the Spanish band Esplendor Geometrico in the bubbly textures. But Tolouse Low Trax is still looking from the present into the future and filter and filters all his personal preferences through his MPC and his small synth setup to make them come alive here and now in a new way. Again Tolouse Low Trax has created a truly mysteriously vibrating drum computer music which offers hypnotic magic for the shadowy dance floor. Only a little light should illuminate the whole thing and the bodies that move above them should have no fear from threatening percussion which are displaced into a misty trance. A dark swaying shadowy mass, ideal for a journey at the end of the night and all those non-places where longing sleeps and the last romantics dance while getting drunk.

Tomotsugu Nakamura is a musician and graphic designer residing in Tokyo, Japan. His primary artistic practice is to compose music with some fragments of minimal acoustic and electronic tones and some field recordings. In Concert, he has played with various genre of musician such as "Musica Frontera Argentina". With previous releases on Kaico and Audiobulb Records, "Literature" is his 5th complete album.

Late 20th Century outsider music from the outskirts of Buenos Aires featuring Alan Courtis, Pablo Reche, Quum and many more artists from the Argentinian underground.

Setting out as an archaeological excavation, literally exhuming material which has been under the surface for more than two decades, this special compilation features work by established and under the radar artists that helped set the now fertile Argentinian underground.

All tracks were directly digitized from the original cassettes masters (half of them never previously released either). The emphasis being to maintain the original sound quality as it was produced at the time (hence the cassette format). The compilation also showcases a broad spectrum style of music that was done at a specific time with very primitive gear - not by choice but because of the obvious economic restrictions of accessing sophisticated equipment forced these musicians on the DIY road. Domestic tape recorders making cassette loops, broken record players, toy keyboards and the noisy ‘fingers on circuitry’ long before Nicolas Collins championed it on Hand-made electronic music.

Whilst some artists actually had access to professional synths and drum machines (Unoxuno, Quum, Jaime Genovart), they still lacked of standard recording equipment. A crucial document then showing how their unique approach to music making influenced the forthcoming experimental scene of South America making these artists influential cult figures of the underground.



Compiled by Juan José Calarco y Pablo Reche
Digitized & Mastered by Juan José Calarco

Outfitted with anthemic romps, tongue-in-cheek pastiches, and percussions that pivot from rolling adventures to rain hitting the windowpane, Intimacy's 'Across the Bridge' marks the artist's fifth release on vinyl and first release on Bouquet.
A grab bag of fun, dancefloor-ready tracks written across 2019, the EP delivers his aesthetic of old computers, sci-fi movies, and science class educational videos configured into deep, spacey line-toting bedroom techno and melancholic house.

The title track features a catchy electroclash-esque (!!!) saw wave bassline, complete with emo Roland D50 strings and bells, all laid over a very beefy electro beat. It crossbreeds a Drexciya strain of low-end thump with a chewy, Eurotrash bassline evoking that time you lost your wallet at Tresor in '98. Strings and bells from the Roland D50 introduce the same euphoric high found in most of the products crawling out of Perdue's lab these days.

'Angelo's House' is a full-forced banger built around a well-traveled sample of Angelo Badalamenti's theme from Twin Peaks, recorded from an Intimacy live set early last year.

The flipside leads with the spiritual acid techno masterpiece 'Datalore 66'. Bubbling basslines hit a boiling point when placed in sequence with flutes showing genetic linkage to the Hartnoll family. Highly reactive material.

'Eternal September' opens a portal to the earliest hours of morning via synthesis of swirling pads and snapping drums. Closing the EP in introspective fashion, the track shows just how much emotional range Intimacy can pull out of decades-old disciplines.

ABOUT THE ARTIST

Parks Perdue is a Memphis-born electronic musician. A culmination of internet research and home listening in the club-barren Tennessee city, his style draws from stoned out Dutch West Coast concept albums, video game soundtracks, and old-school midwest house and techno. Perdue made his vinyl debut under the alias Intimacy in 2016 on the short lived UK, DJ Haus-run label Vector Works. Perdue is now based in Los Angeles, California.

Detlef celebrates the launch of his new label “Issues” with a quintessential EP titled “ Dub Clap”. Known for his simplicity and effectiveness, Detlef delivers the same vibe to this release. “Dub Clap” is a groovy track with a sub bassline, a great catchy vocal and a clever arrangement that gives maximum energy to the track. Title “Say Something” is a special groove made by chopped vocals and subby basslines thats creating a driving groove. Also included in the package is “Dub Clap tool” which created with chopped vocals and grooved out tops that Dj’s could use as part of their dj sets.

Detlef is a DJ and producer of the highest order, and has garnered a reputation as one of the most exciting names in the underground scene. The artist has rapidly established himself as one the leading names in the industry, releasing and remixing with well respected labels including Hot Creations, Repopulate Mars, Moon Harbour, and Relief. Detlef is moving towards the next chapter of his exciting career.

The Kenyan music scene is one of the most diverse and vibrant in Africa. However, ask any Kenyan which pop music style truly represents Kenya as a nation and there is only one possible answer: benga.

Benga is a pop style with its roots in traditional rhythms, instruments, and melodies. Luo musicians from western Kenya brought the style to prominence in the late 60s but other cultural/linguistic groups in other parts of Kenya quickly developed their own localized variants. With its pulsing beat, interlocking guitars, extended solos, and rapid-fire bass, benga music has dominated the Kenyan music scene over most of the post-colonial period.

Kakai Kilonzo is one of only a handful of benga artists to attract a broad following across Kenya. He opened up his music to others outside his Kamba language and background by singing in Swahili, which is widely understood throughout Kenya. At the same time, with catchy melodies and engaging lyrics, Kakai sang about subjects that all Kenyans can relate to: songs on all aspects of love and marriage, on social responsibility, societal ills (like drinking and witchcraft), moral guidelines, national unity, economic development, and more.

The songs on this compilation are taken from across Kakai's recording career, spanning from the mid-1970s to the mid-1980s, shortly before his illness and untimely death in early 1987, aged only 33. No Wahala Sounds are proud to present this selection of hard-to-find 45s from Les Kilimambogo Brothers, which are being released on vinyl here, for the first time outside Kenya.

The vinyl version includes a free CD copy of the album.

Due for release on 31 July 2020. Interest for airplay from Tom Ravenscroft and Gideon Coe from BBC 6 Music, DJ Ritu from Resonance FM/SOAS Radio, Roger Hill from BBC Merseyside and Steve Barker from BBC Lancashire.

2020 reboot for Detroit's legendary Metroplex.

The Label Say "Cologne based producer Bas Grossfeldt has crafted an outstanding release perfectly aligned with Juan Atkin’s brilliant Metroplex aesthetic. As a relatively new name in the scene, Bas Grossfeldt’s music sounds as if it were the results of decades of focused experience in the studio.

With a background in installation, choreography and performance art, Bas Grossfeldt is the artists alias to focus on the musical side of things. His deeply rooted interest in the relation of space and body is also translated into his music. The fusion of spaced-out textures, rhythmical distortions, cold waves of synthesis, and enough modern production prowess ensures a release saturated with innovation and abundant imagination. A rare release for the seminal Detroit label, which also represents Juan Atkins’ interest in the arts world and new, different approaches.

The exchange between the label head and the artist, initially came to life because internationally renown conceptual artist Mischa Kuball, knowing Juan from a joint project, sent him the demo of Bas Grossfeldt. Especially intrigued by the track „Lost In Translation“, Juan and Bas started exchanging, approaching the record as an „art project“ and a classical EP at the same time, for example leading into the cover being made by Bas Grossfeldt/Søren Siebel himself and including numerous hidden references to the sound.

Each track embraces an incredible array of sounds and styles, from soundscapes to mind-bending Techno – all equally as effective for the brain as the dancefloor.

“Lost In Translation” opens the release with a cinematic piece of electronica permeating with frozen emotion and melancholic soul. The beautiful track captures a foggy morning’s haze, the first chill of winter with only a gentle kick-drum keeping the cold from completely taking over. It is also accompanied with a hypnotizing abstract video by film-artist Svenja Voß.

Continuing in a dubby, winter haze is “Lost In Sensation” which floats alongside a sharp, metallic rhythmic arrangement and a gentle, ever-present kick drum. Deep, heavily saturated atmospheric textures sleep underneath the sounds while lucid melodies float in and out.

“Your Orbit” rounds out the release with the most club-ready production. Disorienting melodies and gritty synths capture a dreamlike perception while a tough kick drum and clattering percussion drives the music deeper into undiscovered dancing territories just left of center. "

Big Crown Records is proud to present Adult Themes, the latest full length offering from El Michels Affair. This album takes the band's "Cinematic Soul" aesthetic literally and sends the listener on a journey through a whirlwind of moods and energies. With their 2005 debut album Sounding Out The City, EMA spearheaded an instrumental funk / soul movement that inspired a slew of bands and even lead to the creation of a few independent record labels. El Michels has since lent his signature sound to artists from Adele to Dr John, Lana Del Rey to Aloe Blacc, and a who's who list of others. In 2016 he co-founded Big Crown Records and has since produced the lion's share of its output. A short stint as the touring band for Wu Tang Clan in 2007 led to the cult classics Enter The 37th Chamber (2009) and Return To The 37th Chamber (2017). Adult Themes marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017 in between producing, playing, and recording on other artists' records Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of `60s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental / orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes." The album plays like the colors on an artists pallet. Songs like "Rubix" and "Villa" are densely orchestrated with the hard-hitting drums that El Michels Affair is known for. On "Life of Pablo", Leon's son makes his first appearance on record and intros a song with an epic arrangement and a moving mood. "Hipps" is a drum heavy ballad that could've easily fit on EMA's debut record, Sounding Out the City. Other compositions like "The Difference" and "Kill The Lights" are bare, melodic mood pieces with sparse drums and sophisticated chord movement. All of these tunes come together to make perfect backgrounds for dialogue and action. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With Adult Themes El Michels Affair has created a "choose your own adventure" in musical form.

Abstrack proudly introduces the first of its new series of edits. The music on the record is a direct echo of the vibes found at Abstrack parties. These have been going on for over 8 years, taking place at roughly any time of day or night. The music on the record, dancing somewhere between dreamy slow motion tracks, peak-time weapons, and french singing anthem, was intended for the party rather than for the record and they’ve been rocking Nantes’ best-hidden dances for a while already. Now we’re happily putting them out for everyone to enjoy and rock their own party.

If you are passionate about local music scenes as much as we are you might already know about the current brood of great bands going on in Cardiff, Wales.
Chain Of Flowers were the first to hail from the Welsh capital, followed by related side projects such as Night Thoughts, more recently came Private World of which the two boys we’re about to introduce are also live members of.
A new wave/synth act from the same city called Plastic Estate is emerging this year.

The duo composed by Nicholas James and Stanley Fouracres have released a few digital singles in 2019 as they’ve opened for The Murder Capital at Sŵn Festival and played alongside the likes of M!R!M, Josiah Konder and The Love Coffin. This Place is their first physical release and it’s due on 7-inch vinyl and digital on June 19.

On the two songs that compose the single, Plastic Estate clearly draw influence from the best UK new wave and pop artists such as Dave Gahan, Paddy McAloon, Roddy Frame and yet there is a sophisticated casualness and an innate freshness in their songwriting that makes them not sounding dated at all.
Amazing composition skills for such a young band and a perfect balance between electronic dance elements and acoustic instruments allow them to pay homage to the above-mentioned masters and to be a perfectly contemporary group at once.

Although it’s possible to pick out some darker lyrics, the overall feel is up-beat and breezy. It’s a contrast that runs through a lot of their music – like a dichotomy between dark, melancholia and happier, brighter feelings.
Whether it’s a happy pop synth riff mixed with sombre lyrics or vice versa, the young Welsh duo is delivering the best 80’s-inspired modern pop craft.
RIYL: Echo & The Bunnymen, Prefab Sprout, Depeche Mode, Orange Juice, Wild Nothing.

A collection of guitar-wielding all-girl bands, drop-dead female frat rock, garage girls and axe-centric she-pop from the 60s. 14 hot nuggets, each one hand-picked with vinyl lovers in mind.

Features a bevy of genuine all-girl bands – namely Goldie & the Gingerbreads from the environs of New York; the Debutantes from Detroit; Florida’s the Belles; the Rums & Coke and Girls Take Over, both from Wisconsin; and Ace favourites She from California, all of whom give their male counterparts a good run for their money. The Belles, incidentally, released only one record – a killer rendition of Them’s ‘Gloria’, gender-switched as ‘Melvin’ – before drifting apart, never dreaming that copies of the disc would one day change hands for $500 a pop.

Some of the other girls receive help from male colleagues. Glenda Collins, for example, is backed by producer Joe Meek’s favoured house band the Outlaws featuring guitarist Richie Blackmore; Merseyside ex-pat Sandy Edmonds is accompanied by the Pleazers, New Zealand’s answer to the Pretty Things; and teenage trio the Chymes are supported by the Turtles.

Pressed on 180g transparent violet vinyl, with a swanky inner bag sporting a fact-filled 4,000-word track commentary and an array of rare photos.

Compilation and note by Mick Patrick

Repress

Pink Vinyl

The DJ Producer is a legend and has been a force to recon with for well over 2 decades. Unlike some veterans this hot piece man meat still keeps reinventing himself, pushing the envelope with every new piece of music he creates. That's what true artists do, they push boundaries and keep their hearts and souls in it full force till the bitter fucking end and amen for that.

So yeah.. about this record.
Can't Describe It (Finally) is a killer uplifting Rave slammer using a classic sample from the past in a track for the future.
Cant Fuck With Me on the flip is a 210 BPM UK Hardcore Techno banger that embodies everything great about that signature UK sound filled with a ton of Fuck you's for that extra dose of Fuck Off Power.

No A or B sides on this Pink Punk as Fuck vinyl. This one is AA all the fucking way!
Blast these fuckers loud & proud people. This ain't no easy listening elevator music I can tell you...

Infernal Sounds show no sign of letting up during 2020 as they present their 5th release of the year, this time with a debutant to the label, SWR. The relatively unknown artist (formerly known as Widowmaker) has been making fluctuations since arriving on the scene - his release with Cocobolo Sound receiving high plaudits as he created two tracks which perfectly paid homage to the original '06 sound. As for his Square Soulja EP for IFS022, he's plated up four cuts that showcase his vast variety in skill and sound, taking influence from grime and lacing a future sound within his productions. Whether you prefer the more surreal sounds of 'Vertigo', the downplayed filth on 'Isshin's Theme', or the more in your face skankers in both 'Square Soulja' and Cypher Zero', this is a 12" you'll want to be packing.

Having already received heavy support from the likes of Truth, N-Type, and many other reputable artists in the scene, this is an insta-bag.

French artist WOODKID returns this year with his long awaited sophomore album.

7 years after his highly acclaimed debut album THE GOLDEN AGE (800K sold worldwide, Platinum certified in both France and Germany, 200 shows around the world, 2 Grammy nominations and one French music academy award to name just a few), WOODKID is back with a brand new track ‘Goliath,’ out now.

30D Records sublabel ‘Close Encounters’ publishes its third release ‘Third Contact’ EP on April 24th 2020, (initially on digital release) bringing together a range of artists to express their musical vision as a virtual union, somewhat reflective of the globes current confinement. ‘Third Contact EP’ delivers four tracks from an alliance of artists who are at a peak in their careers; Denise Rabe clearly defines her dark, hypnotic trade-mark aesthetic in ‘We’ll Meet In Shanghai’, a timeless track even before its release. Geistform combines industrial-electro with a raw techno drive, continuously channelling his masterful energy in ‘3C 273’. A more dancefloor-oriented B side features ‘Stolen’ from Temudo, delivering rolling groove and distorted bass-lines, Adriana Lopez closing the EP with her high energy, spellbinding ‘SMV’, both B-side tracks perfectly geared toward a wide variety of DJ sets. 30D Records are thrilled to debut all four artists on this special release and all the artists are equally happy to be able to share their creativity and vision through music with you at these strange times.

Here is the highly anticipated sixth volume of the well received electronic compilation series from the relaunched 1980's color tapes label. As with the other volumes you can find great examples of cold wave, minimal wave and synth electronics and pro to EDM made by obscure British bands in the 1980's such as: Berserk In A Hayfield, Lives of Angels, Silicon Valley, Modern Art, Disintegrators, Echophase, The Lord and Mystery Plane

"Up there with V-O-D selections, the Color Tapes series so far has provided invaluable insight to hidden or much lesser-known currents of the ‘80s cassette subculture which gave birth to myriad artists, styles and industry conventions whose influence can still be felt over 30 years later. " - Boomkat

“Electronic work that’s way different from mainstream pop of the period - often forgedout of the same instrumentation as the hits - but in a stripped down way - with lots of dark and moody corners!” Dusty Groove

“Evil Synths and evil beats” - Norman Records

“Gary Ramon’s re-born Color Tapes imprint is every bit as essential as it’s Minimal Wave and electro-focused predecessors” - Juno

Limited edition of 500 copies comes with poster insert

On the Corner Records was awarded 'Label of the Year' at the Worldwide Awards 2018. OtC is a story of artists and scenes that goes way beyond being a record label. DJ and label owner Pete On the Corner has created a home for innovative, bordercrossing, genre pushing artists. The OtC vision is to bring music to the world that is knocking at the 'Door To The Cosmos'. The label is an inimitable mixture of Miles Davis 'call it what you want' attitude, Sun Ra's Afro Futurism and the ecstatic soul lifting influence of black music on electronic dance music. On 'Door To The Cosmos - Dancefloor Sampler' Pete has curated a volume of cuts from present and future label family. This first in the series, is not just knocking at the door but giving it a kick! It's club music referencing the source, be it Detroit, or UK bass culture combined with future sounds rising from cosmopolitan hotbeds of sonic heat. On this maxi EP Venezuela meets India via New York, the street sound of Dar Es Salaam, Tanzania pulses through UK Jungle. Undergrounds pushing the dance, breaking borders and genre alike. Rhythms from the ancestors channelled for future times.

Musique Pour La Danse presents Roomservice, Dutchman Orlando Voorn's forgotten yet unforgettable IDM-leaning, home-listening electronica / techno album from 1994 under his Living Room alias, originally released on the producer's cult Night Vision label.

Praised unequivocally by those lucky enough to have heard it, this criminally underrated record nonetheless deserves pride of place when talking about forward-thinking electronic music from the early 90s.

While it is widely acknowledged that Orlando Voorn's productions are one of the most fascinating prisms through which to experience a European take on the Detroit sound, Roomservice is also a strong reminder that the paradigm shift from sweaty raves to enhanced home listening, championed by Warp's Artificial Intelligence series, early Rephlex releases, along with projects such as The Black Dog, Plaid or Autechre was in fact not only limited to British artists.

As its name indicates, The Living Room is not geared for warehouses but instead interested in a more intimate and domestic setting. As such, it does not contain over the top bangers, but it's hard to find any filler in this album where all the tracks are killer, catchy and memorable. All displaying a sophisticated yet immediate focus on warm melodies and grooves no heavier than a feather, these emotional cuts provide a wonderful and intricate soundscape for introspective listeners to explore, and they will surely find echoes of ideas developped by Manuel Gottsching, Steve Reich and Pat Metheny scattered accross the album.

While some tracks are rhythmic and would fill a dancefloor in a second with their four to the floor or broken beats, the album also gives room for more ambient excursions to occur and develop brilliantly. But once again, it's more likely you'll end up dancing on your couch rather than dozing off.

2020 might be the most difficult year in recent history for dancefloors worldwide, yet that's not going to stop Musique Pour La Danse from reissuing this gem of an album for listeners, dancers, and DJs of today and tomorrow.

Words by Ed Isar.

Principal is the new solo project by producer and musician Rasmus Allin, who’s first album Treacherous Dub will be released on the Copenhagen-based label StereoRoyal in July 2020.

Best described as an homage to old-school Jamaican dub, Principal’s music features live recorded drums and other instruments. Fused with electronic elements, it celebrates the sound of the original dub pioneers.

Born in 1970, Rasmus Allin has been working as a producer, musician, and songwriter since the mid-nineties, primarily within the realm of electronic music. Inspired by the British trip hop and drum ‘n’ bass scene, he soon gravitated towards Jamaican dub, rocksteady, and reggae. "I found my inspiration in the old Jamaican dub masters like Lee Scratch Perry, King Tubby, Augustus Pablo, and Scientist. I’ve spent endless hours in the studio trying to replicate their sound, using old tape delays, filter boxes, and modulation effects,” he says.

In 2002, Allin formed the band Junkyard Productions, playing major venues and festivals like Elysee Montmartre, Le Triptyque, Télérama Dub Festival, and Roskilde Festival while touring through Denmark, Germany, Switzerland, and France. Alongside this, he continued to hone his skills in producing, co-writing, and remixing music, working with top Danish pop and reggae acts the likes of Natasja, Pharfar, Wafande, Shaka Loveless, and the British girl band All Saints.

Treacherous Dub will be released on vinyl and all major streaming platforms, and will be Allin’s first album of pure instrumental dub tracks —an ambition he’s been wanting to fulfil for years. Marking his debut as a solo artist, the album also marks his premiere as a visual artist, with the album cover lithograph made by Allin himself. For Rasmus Allin, the collaboration with StereoRoyal offered “the perfect opportunity to give the tracks the finishing touches.”

StereoRoyal is a Danish library music label founded in 2010 by and specializes in off-kilter music for film and TV. Originally, the label focused on electronic genres, but over the years has grown to include a broader variety of music produced by some of the most talented composers in Scandinavia.

First up is Nehuen, an Argentinian born but Barcelona based artist who is notorious for his abrasive dance floor workouts on I Love Acid, BNR Trax and the Classicworks label he co-owns with Cardopusher. Cardopusher is, of course, a true electronic legend from Venezuela. His dizzyingly diverse sound takes in rave, acid, electro, techno and house influences and distills them into hugely
Raw and energetic new forms.

Nehuen's Psyops Part One kicks off with the excellent title track, which contorts acid and electro into a writhing monster filled with dark energy. The visceral 'Toxic' is built on slapping hits and spangled basslines that will tie you in knots as the bumping drums drive things forward. The late-night menace continues on 'Bailar', with tight synth arps layered up in robotic forms over clunky drums that are industrial and futuristic in equal measure. Last but not least, the eerie 'Desire' strikes a more twisted note with double kicks juddering beneath echoing hits. It's pure, filthy, brilliant body music.

Cardopusher kicks off Part Two with the fantastic 'Disobedience' (feat. Lbeeze) a slow-motion drum
workout that is like dark disco mangled through a psychedelic filter, with robotic vocals and stiff arp
jerking your body. 'Abyss Antidote' is then a flurry of drum breaks and electro bass, frazzled synths and whipping hits that keep you on the edge of your seat. Darkness abounds on the gritty 'Initial Decay' (ft. Lbeeze), which layers up taught drums and hits with spraying synths that come from a dystopian planet.

Closing out this epic mini-series is 'Mutant Brain', a cyborg techno meltdown with manic acid for
company.

These are devilishly distorted tracks from two of the best producers around.

Moroccan-French power quartet, Bab L’ Bluz, reclaim the blues for North Africa. Fronted by an African-Moroccan woman in a traditionally male role, Bab L’ Bluz are devoted to a revolution in attitude which dovetails with Morocco’s ‘nayda’ youth movement – a new wave of artists and musicians taking their cues from local heritage, singing words of freedom in the Moroccan-Arabic dialect of darija.

Punk icons Crass have announced details of their latest EP, ‘Normal Never Was’. Featuring two new remixes of tracks from their seminal 1978 album, ‘The Feeding of The Five Thousand’, with the profits going to charity Refuge.

Heading up the remixes are Richard Russell, head honcho of XL records (under the guise of rLr), and synth-pop artist Glasser. Each of them tackling tracks, ‘They’ve Got Bomb’ and, ‘Do They Owe Us A Living?’ respectively.

Limited red vinyl 12". Edition of 1000 copies.

Belgian techno wizard Cri Du Coeur is back with a new 2-part vinyl release on his label Arkham Audio titled 'Erickson' & 'Erickson on Acid', which features remixes exclusively from French artists. Jerome D., the man behind the Cri Du Coeur alias, is prized in the industry for giving platforms to Belgian and French artists throughout his career, so it comes as no surprise that he is showing his francophile roots by having a solely French lineup for the remixes on this release. Following the recent release of his EPs 'Diaphragm' and 'Warning', and now bringing us the inebriating 'Erickson' & 'Erickson on Acid', Cri Du Coeur has established that his new alias and freshly-founded but tenacious Arkham Audio label are a force to be reckoned with. The entrancing yet adrenalizing sound that he has adopted shows that his approach to industrial electronic music knows no boundaries or compromises.

The first part of this release features the original mix of 'Erickson' by Cri Du Coeur and remixes of the track by Electric Rescue, Wex 10 , and Trunkline. The second part 'Erickson on Acid' puts a squelching acid twist on things and features remixes by Roman Poncet, Umwelt, and Zadig.

The original mix of 'Erickson' leads with a strong beat and a mixture of industrial sounds that makes for a sublime dark dancefloor track. Electric Rescue follows on with a remix that engages the listener with a terrorising yet intoxicating heavy baseline. Next up is Wex 10 who enchants us with a bouncy laserbeam rhythm and muffled looping vocals. Last but not least on the 'Erickson' lineup is Trunkline's remix which delivers an addictive hazy melody and a deep and dirty mechanical synth horn.

Cri Du Coeur plays with tensions in 'Erickson (on Acid)', putting the listener into a state of hypnosis with squelching sounds that give the song a raunchy character. We are implored to dance as Roman Poncet's remix bears layers of lively percussion beats with twangy synth melodies. The mood intensifies once more as Umwelt's remix features a dark and fuzzy baseline that contrasts with a screeching siren sound creating an ultimate thrilling experience for the listener. Zadig closes off this immense concoction of remixes with a relentless distorted base and scintillating machinelike background noises.

Cri Du Coeur has outdone himself by bringing together such a well-suited selection of artists to create a visceral and magnetizing collection of tracks that showcases his competence in making industrial techno.

Belgian techno wizard Cri Du Coeur is back with a new 2-part vinyl release on his label Arkham Audio titled 'Erickson' & 'Erickson on Acid', which features remixes exclusively from French artists. Jerome D., the man behind the Cri Du Coeur alias, is prized in the industry for giving platforms to Belgian and French artists throughout his career, so it comes as no surprise that he is showing his francophile roots by having a solely French lineup for the remixes on this release. Following the recent release of his EPs 'Diaphragm' and 'Warning', and now bringing us the inebriating 'Erickson' & 'Erickson on Acid', Cri Du Coeur has established that his new alias and freshly-founded but tenacious Arkham Audio label are a force to be reckoned with. The entrancing yet adrenalizing sound that he has adopted shows that his approach to industrial electronic music knows no boundaries or compromises.

The first part of this release features the original mix of 'Erickson' by Cri Du Coeur and remixes of the track by Electric Rescue, Wex 10 , and Trunkline. The second part 'Erickson on Acid' puts a squelching acid twist on things and features remixes by Roman Poncet, Umwelt, and Zadig.

The original mix of 'Erickson' leads with a strong beat and a mixture of industrial sounds that makes for a sublime dark dancefloor track. Electric Rescue follows on with a remix that engages the listener with a terrorising yet intoxicating heavy baseline. Next up is Wex 10 who enchants us with a bouncy laserbeam rhythm and muffled looping vocals. Last but not least on the 'Erickson' lineup is Trunkline's remix which delivers an addictive hazy melody and a deep and dirty mechanical synth horn.

Cri Du Coeur plays with tensions in 'Erickson (on Acid)', putting the listener into a state of hypnosis with squelching sounds that give the song a raunchy character. We are implored to dance as Roman Poncet's remix bears layers of lively percussion beats with twangy synth melodies. The mood intensifies once more as Umwelt's remix features a dark and fuzzy baseline that contrasts with a screeching siren sound creating an ultimate thrilling experience for the listener. Zadig closes off this immense concoction of remixes with a relentless distorted base and scintillating machinelike background noises.

Cri Du Coeur has outdone himself by bringing together such a well-suited selection of artists to create a visceral and magnetizing collection of tracks that showcases his competence in making industrial techno