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Fresh on Francis Harris' Kingdoms imprint comes Adamo Golán's seven track LP, 'Exile And The New'. Golán is the alter ego of British-German artist Laurens A. Schmidt, who has been pursuing a more club-focused techno project, while developing an ever deeper fascination with experimental music, ambient and film scores. Drawing influence from his adopted homes Berlin and currently London, the 26-year-old has been uncompromisingly trying to develop his own musical voice.

'Exile And The New' expresses this ongoing pursuit and, being the first full-length and first ever release by Adamo Golán, marks the start of his most personal project to-date. Stretching over seven tracks, it touches upon a diverse set of sceneries, moods, and emotions whilst a distinctive sound design gives the work a subtle framework and guiding thread.

'Fis' starts the proceedings, introducing drones and field recordings and enveloping the listener in Golán's distinct sound world. 'Just Friends' merges distant snapshots of disembodied vocals with granular sound design and a sense of both space and creeping claustrophobia simultaneously. It's an approach the young producer has mastered - 'Replica' maintains an ambience of the deeply personal and a wider, hazy focus, realised via exquisite melodic fragments against a backdrop of pads and chiming electronics. Title track 'Exile And The New' unfolds around another cinematic world scored via a single stringed instrument, static interference and oceans of space. 'Lie to Me' brings a piano refrain to the fore, wrapped in luscious ambience and more fragments of a conversation heard through the rain. 'Then Rely On Me' slowly develops out of a haunting atmosphere and finds an uneasy but strangely beautiful flow, before 'The Hungry Years' closes out the album as it started - floating in space.

The 26-year-old artist sees the album as a journey that should captivate but never impose itself on the listener. It´s a gracious and neighborly invitation to dive in, get lost and explore its facets and peculiarities

In recent times Alex Pletnev has been making his mark on the musical stratosphere with an array of works from from cold wave edits, through gorgeous adaptations of african and world music to tribal techno originals. He joins us as Pletnev for "Aztec Code / Daywalker", a 12" combining his abundant influences to take us to bizarre, far-off places.

"Aztec Code" is a pure dance thing. Inspired by the fat kicks and live bass lines of the Big Beat era, Pletnev combines a jumping beat with african percussion and a charismatic vocal that seems to call out from between the palm fronds of somewhere steamy as we work up a sweat. Tenderly crafted with samples taken from almost 10 records, one-shots, drum layers and melodic licks are treated and mixed, giving rise to a warm, lush atmosphere perfect for circling a fire deep in the tropics.

On the flip, "Daywalker" is a completely original, synthesised outing. A sleazy lead line charms and slithers upwards between layers of syncopated tabla and a sultry acidic groove. The tune spins and twists around this central oriental theme, ever-evolving as layers of detailed percussion and ad-libbed melodies intensify the tone.

Sound artist Eva Geist joins Fleeting Wax label head Mehmet Aslan to spin "Daywalker". The pair create a sonic bridge between the two originals. Their hazy rework dubs out some electronic elements, adding contorted sound design, distant vocals, lofi samples and an italo leaning bass. A mystic incantation for spaced out late morning moments.

It's been 4 years since the last music compilation on MindTrip. Mutable Minds brings together a mixture of five exceptional and talented artists whose sound matches perfectly with the MindTrip philosophy. Head honcho, Pfirter, and Swedish Pär Grindvik contribute the first track of the release with their diversified collaboration embodied in a hypnotic and extraordinary tune whilst Diego Amura takes the lead with a track that is characterized by driving rhythm and haunting sequences. Savas Pascalidis debuts on the label with a trippy-sci-fi interpretation and the release closes with one of the latest guests on MindTrip Podcast, Fanon Flowers, who takes us into a dark, mental and conceptual techno journey. The final outcome is mesmerizing and all four tracks can be seen on different aspects of an all night long set. This is MindTrip!

In the Eighties there was an incredibly interesting underground scene emerging in the Belgian Leuven area. Bands like 'The Neon Judgement', 'Sovjet War' and countless others all came from that area and era. One of the most underestimated bands in that scene was 'Company Of State', a duo with a unique sound that played dark moody guitar-electro with a minimal DIY touch. Influenced by a wide array of artists (such as Joy Division, Velvet Underground & Edith Piaf) the duo Rudolf Hecke & Paul Taes formed the band 'Company Of State' and recorded their self-titled debut (a four track 7'EP) on their self-founded label in 1983. Best described as: wild guitars with all kinds of feedback & distortion combined with a heavy bumping rhythm-box in the background... and once the vocals kick in you get that melancholic magic that makes this EP a true classic. With this kind of pedigree, it was only logical that the band landed in the stable of Ludo Camberlin and his label 'Anything But Records', where Belgian dark & danceable underground groups such as 'The Neon Judgement' & 'Aroma Di Amore' resided in those days. Later the band would move to Maurice Engelen's label 'Antler', in company of similar acts such as '2 Belgen', 'Nacht Und Nebel', 'Siglo XX' and many others.

Optimo Music is thrilled to release the new album from Jacob Yates. Not only is he one of our all-time favourite artists from Glasgow, but he is one of our favourite artists from anywhere. Criminally unknown except to a few who have been long transfixed by his recordings and performances, we hope this release will open a few more ears to his wondrous musical world.

The Hare, The Moon, The Drone' is the third album from Jacob Yates. This recording finds the band exploring dark hawthorn hedged lanes, moors and suburban, new build estates. There's something more earthy about the songs but the menace and darkness remains. Musically there is a big shift on this album, a field recording of a folk band from a dark, pine filled glen. The opener, The Car sets the scene for the rural side of the album, dank and stone cold. The tracks then shift through the woods, people turn into animals, we pass a sunlit glade, do you hear a love song Cassie Ezeji closes the side sweetly lamenting in Gaelic as the snow falls.

Side two is a more urban affair opening with despair in a bedroom in Belgium, we visit a faith healer and drop in on your lonely mother. Lovatt recounts the story of a karaoke addicted murderer before we finally go home to our new build just outside of town where the pylons tower over Michael and his sister Rachel. It's a journey you can go on, looking out of the window of the bus, glimpses of lives glide by, cards on seats promise to help you. Ding! It's time to get off.

Repress
UNKNOWN ARTIST WITH REMIX FROM ITTETSU - VINYL ONLY

"This release is a 12"" and it's individually 500 hand-numbered limited edition. The first 100 copies are pressed on CLEAR TRANSPARENT vinyls (AR013).
It contains 2 previously unreleased tracks from TONY ESPOSITO's Viaggio Tribale CD (2004): Dove c'e luce and Veronica song + A SPECIAL BALEARIC REMIX of Dove c'e luce from LucaEffeSunset + 3 previously unreleased tracks from the Lucan (Basilicata) musician Antonio Nicola Bruno CD (2004): Storia della terra mia and Danza e ridanza. In addition to the usual Archeo insert of credits and photos of the original album, it features also of a second insert concerning a beautiful photographic journey of 2004 by Manu-Archeo, related to this Music. Archeo Recordings is a reissue record label that regenerates old, lost, obscure (and forgotten) rare gems of Italian music of the 70s and 80s, and not only.
All outputs are licensed by the artists and the vintage labels, audio tracks are remastered in their original form, the sleeves and center labels are graphically recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.
All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls."

Original copies of this beautiful Chain Reaction 7 inch have been changing hands for £500, so this is a true digger's delight.
Exceptional soul from the late 70's which hundreds before have attempted to license to no avail. Lack of trust was a key issue in these pursuits, after 'Say Yeah' was used in a B grade Hollywood movie without permission, alongside record collectors cleaning producer Harold Sargent out of his original 45s before upping them on Ebay for $1000 apiece.Cue the good people at Rain & Shine, a non-profit organisation based out of New Zealand, who have worked with Chain Reaction directly to license this incredible record properly - returning all net profits to the artists involved.It really doesn't get much better than this - spiritual stuff! Comes complete with picture sleeve , pressed on black vinyl with a large dinked centre hole.

As the buzz surrounding her latest single 'You Gotta Be' continues to spread, UK soul artist, Soulful Emma Louise - S.E.L - celebrates with a vinyl release of this flanked by her new single 'The Sweetest Pain' on the much celebrated Record Store Day on Saturday April 21st 2018.

Having recently featured on TalkRadio's, BadAss Women's Hour with a wonderful accapella and interview, Soulful Emma Louise's cover of Des'ree's wonderfully uplifting song 'You Gotta Be' resonates with authentic old skool hip hop and 90's soul characteristics and is a must for vinyl lovers everywhere.

Making the vinyl release even more special is the flipside's beautiful new recreated version of Dexter Wansel's classic 'The Sweetest Pain', S.E.L's forthcoming new single, which updates the expansive soulful musical message for today's dance floors. Produced by Quantize Record's own Gary Hudgins, this S.E.L double header marks another milestone in S.E.L's on going journey with her first vinyl release.

'Record Store Day' is something really special and I'm so excited to be part of it with the new release. It;s always an amazing day as you connect with fellow music lovers and friends as well as getting the chance to pick up some of the most collectable and distinguished vinyl releases' S.E.L

Stash 01 is the debut release of Stash Trax, a brand new imprint based in France. The label focuses on deep and groovy visions of house music produced exclusively on wax. This first various delivers 4 tracks one from each member of the label. Each artist offering a different definition to the word deepness.

Double Vinyl edition of 300 copies w/ download code and etched d-side.

Breaching is the debut album from Leeds-based, 6-piece, post-metallers Hundred Year Old Man. Hot on the heels of recent EP Rei, Breaching emitsthe same heaving intensity and unforgiving, wall of sound approach. Dense and billowing riffs are intertwined with field recordings and spoken word passages to form an unyielding, sprawling piece of work that delivers the bands artistic vision perfectly. The more ambient, drone sections of the record compliment and allow the real songs to take flight. Debut single Black Fire is reworked to give the track a new lease of life, whilst the other heavy hitters here; The Forest, Long Wall, Disconnect and Ascension are a continuation of the excellent work found on the Rei EP. Breaching contains masses of atmosphere and is a ferocious and immersive listening experience. An epic, monolithic voyage full of texture, depth, aggression and emotion. This is an album that should be approached as a whole, with patience and attention. The rewards will deliver a unique, crushing and quite simply superb record.

Two of the most powerful cuts from Aura's self-titled 1979 LP, now available on 7-inch. Aloha Got Soul's first release of 2018 accomplishes two-fold: it aims to tide fans over while the label wraps up new music projects with young artists from Hawaii (more news to come).Secondly, it gives DJs the chance to bring a much more portable version of these top tunes from the band's now sold-out LP reissue, which enjoyed play from the likes of Theo Parrish, DJ Muro, Gilles Peterson, and Red Greg.Most will head straight to the B-side for the non-stop funk/disco fire of 'No Beginning, No End' (we do!).Fans of DJ Muro and DJ Nori's Captain Vinyl label will know that the A-side's 'Let Me Say Dis About Dat' received a 7-inch treatment in 2017 with a limited, Japan-only run of 500 copies.A solid addition to the AGS catalog, and a welcome contender in the ever-flowing stream of funk 45s that constantly begs the attention of DJs worth their salt.The natural evolution of Aloha Got Soul from a funk- soul reissue label into a fully-fledged representative and curator of progressiv music from Hawaii continues with this throwback 45 preceding the label's upcoming drop of new music from emerging artists in 2018.

New to the Stay Underground It Pays gang, the 11h release on the label comes from one of the most elegant japanese producer we've heard in ages : MOTOMITSU ! We get the chance to get 5 cuts on one ep (!) which is almost a mini album introducing you guys to his astonishing sound. Born in 1977 Hamamatsu, Japan
Motomitsu is a Japanese artist, DJ, children's book author, Musician, Poet, Event organizer living in Paris. He crosses freely the border of music and arts, literature. He is publishing his children's books and releasing his music. He plays DJ as a member of DJ team"Cracki" in Paris, also play the keyboards and accordion for some bands. His art work is influenced by Music and Poem. He has released tracks on various labels such as Cracki, soirée records (detroit) & cherry juice. All in all, another wonderful release that feels straight at home in the Stay Underground It Pays catalogue. Skylax always.

"The kind of melancholia I'm talking about, by contrast, consists not in giving up on desire, but in refusing to yield. It consists, that is to say, in a refusal to adjust to what current conditions call 'reality' - even if the cost of that refusal is that you feel like an outcast in your own time." (Mark Fisher, Ghosts Of My Life, Zero Books 2014, p. 24) In Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures', the author Mark Fisher outlines - to put it in a big way - a resistant melancholy. This stands in contrast to leftist melancholy resignation', as well as something which Fisher does not talk about: its common masculine counterpart, habitual post-left cynicism - as in seen it all before'. Fisher calls this hauntological melancholy. Haunting, spooks, ghosts and apparitions are an almost constant presence on I Started Wearing Black', the second album by the Cologne-based artist Sonae (pronounced so-nah'). The term hauntology shares a fate with retro-futurism when it comes to inflationary overuse and abuse. It's a conceptual container that looks good and can hold a lot, indeed, too much. Furthermore, hauntology has its peak season behind it, a term on the threshold of its expiration date. Nevertheless, I would like to rehabilitate hauntology and use it properly to characterize I Started Wearing Black', because the term is rarely as compelling to describe music as is the case here. The most recent other example could be Asiatisch' by Fatma Al Qadiri, but with a completely different frame of reference. What are the ghosts of this music It rustles, crackles, ruffles, crunches, rattles, scrapes, sometimes a beat emerges from the constant noise, sometimes an obscure voice mumbles incomprehensibly, sometimes a melancholy piano figure is prevented by this noise from coming too much to the foreground. It definitely is eerie - to bring into play another term used by Fisher in the title of his latest book, The Weird and the Eerie'. In British pop-jargon, eerie first occurred to me more often when referring to particularly leftfield, spooky and... well... ghostly dub, a bass-heavy, echoing noise, from Augustus Pablo to Creation Rebel to Burial. Unlike the Wald & Wagner records by Wolfgang Voigt, Sonae is not a kind of neo-romantic veiling with a tendency for escapist nebula. It is more a noise of latency. The noise signals a latent - not necessarily acute - threat, a latent uneasiness about... yes... about what About a System Immanent Value Defect' That's the name of a track on I Started Wearing Black' where something that sounds like a French Horn (or a foghorn) battles for attention through or against the background noise. An email from Sonae: The piece 'System Immanent Value Defect' should actually be called 'I See Turkey'. I wrote it for my fellow student Elif - she is a pianist and Gezi Park activist from Istanbul. Through her I witnessed the inner conflict and agitation that political circumstances can create: her feelings of guilt when there was an attack, with her safe in Germany as a student, watching the events from afar. It was horrible. When her mother begged her not to come home because she feared for her safety, I felt a cold shiver run down my spine. I started with the piece from this mood, beginning with the piano, then the noise (modulated sinusoidal curves), which reminded me of waves and the then heatedly discussed Mediterranean sea: atmospheric, melancholy motifs. In contrast is the anger, the pressure, represented in corresponding sounds - hopefully audible! - During this time I started to think about world views as they can be found around the globe, in how far they held by societies and their political representation. I realized that I know of no political system that is actually about the people and what would do them good. It's always about positions, power, money. I thought that was a lot more frightening on a global scale than merely viewing Turkey in isolation. That's why the piece is called "System Immanent Value Defect", because our world suffers from precisely that. Everywhere, it's all about the wrong things.' Between the wrong things there are happy moments. In the title track, after 184 seconds of rattling and hissing, a beat is unleashed, like an arrow released from a spanned bow, a beatific relief, if there is such a thing. White Trash Rouge Noir' first meanders along spookily, then after 144 seconds it transforms itself into a distant cousin of Einstu¨rzende Neubauten's Yu¨ Gung', but there is no Big Male Ego to be fed here, and the black in the album title is a completely different type of black from that of the Neubauten. Furthermore, I Started Wearing Black' was finished long before the black dresses were worn at the Golden Globes as a sign of protest against sexual violence. Sonae writes that she herself started wearing black some time ago. Her reasons are so-called personal ones: ... resulting from an individual situation (lovesickness), I started to wear black (gaining weight and feeling ugly).' The political dimension of gaining weight, feeling ugly and therefore dressing in black in I Started Wearing Black' lurks within the noise and never becomes explicit and only rarely manifest - or a manifesto. Sonae writes about the track We Are Here': A piece for minorities... in this case, considering the current pop-feminist discourse, explicitly for women. Female artists have long been saying loud and clear that 'we are here' and 'electronic music is not a boys club!' But this pop-feminist moment should only be seen as one part of the dedication of the piece. It is for minorities, for the oppressed, who didn't belong enough.'

Klaus Walter

Aria Rostami and Daniel Blomquist are from San Francisco, CA, though Rostami has recently moved to Brooklyn, NY. Rostami and Blomquist's work occurs in two stages: the gathering/preparation of source material and the live performance. Rostami and Blomquist's source material primarily focuses on the exchange of information, repetition and decay, and surrendering aspects of creative control. The source material is either sampled and altered by Blomquist or composed and recorded by Rostami. Sometimes this material is repeatedly passed back and forth to be altered, others, it's barely touched.
Following prior albums on Glacial Movements and Jacktone, the duo return with their third full length, "Distant Companion" named after the multiple star Polaris. Comprised of Polaris Aa in orbit with Polaris Ab which in turn, are in orbit with a distant companion, Polaris B. Polaris, aka The North Star, was the star that American slaves followed to freedom. It carries with it a history of Civil Rights, a cosmic history of our origins, as all stars do, and a glimpse into the past as it floats light years away. The first two songs of "Distant Companion" were recorded during a protest performance at Grey Area Foundation of the Arts in San Francisco that featured artists representing communities, cultures and countries on the travel ban list (Executive Order 13769.) For this performance they sampled voice recordings of Persian poets Rumi, Hafez and Forough Farakhzad. Every generation seems to find, in their own way, that the pursuit for equality is not linear, but that we must know our pasts, be in tune with the present and have a will for a better future. This record stands on the shoulders of communities, artists and movements that have made art in protest of oppression, and we hope, in some way, to make a contribution to this conversation. All songs have been mastered for vinyl by George Horn at Fantasy Studios. Cover artwork features a collage by London-based artist Anthony Gerace, and each copy includes a postcard featuring a photo of the duo.

Criminal' is a confessional work. Through the stark lens of shame and guilt that has followed Luis Vasquez since a violent childhood growing up within the humming ambient sprawl of 80s Mojave Desert, here he documents the gut-wrenching sound of going to war with himself. Battling with his own sanity, self-hatred, insecurity, self-entitlement and grappling with the risk of these things transforming him into a person he despises, Vasquez has laid his feelings bare with this: his confession and most self-reflective work to date.    Guilt is my biggest demon and has been following me since childhood. Everything I do strengthens the narrative that I am guilty' Vasquez reflects. The concept of 'Criminal' is a desperate attempt to find relief by both confessing to my wrongdoings and by blaming others for their wrongdoings that have affected me.' 'Criminal' marks a striking and important chapter in his self-exploration, both artistically and emotionally. As a young musician living in Oakland, Vasquez began to try and process the narrative of his difficult upbringing veiled through musical exploration. Taking krautrock's motorik beats and Post-Punk deconstructions and honing them into a hushed percussive incantation, The Soft Moon's self-titled debut album took shape. The album was released in late 2010 by Captured Tracks and was praised by critics and emulated by contemporaries. In 2012 the apocalyptic conceptual work of 'Zeros' emerged, shortly followed by Vasquez moving to Venice, Italy in 2013, acting as a catalyst for 2014's release, 'Deeper'. While previous albums were primarily instrumental records, where Vasquez's voice was diffused amidst the music as another instrument, 'Deeper' marked the beginning of a new musical direction where vocals and lyrics became something more than a mere presence. 'Deeper' was a descent into the womb of childhood trauma, anxiety and fear, and although Vasquez survived this dark exploration of himself, he did not return alone. Working once more with Maurizio Baggio, who produced 'Deeper', at La Distilleria in Bassano Del Grappa, Italy, 'Criminal' sees Vasquez further explore putting his lyrics at the forefront and letting his raw emotions flow. The album is Vasquez's way of holding himself accountable and seeking redemption for the abuse he inflicts on himself and others, and acknowledges roots in the abuse which, inflicted upon him as a child, broke him.

Do you like Love songs After spending a lifetime spent avoiding this subject in song, Joel Sarakula finally admits that he does. On his new album "Love Club" Sarakula relives the golden age of Soulful and Romantic Pop music and connects it with a modern aesthetic. While a deeper message of love and peace flows through the record, Joel Sarakula is no old fashioned hippie: ",Love Club' is about connecting to reality and re-framing the idea of romantic love and loss in the present, loveless age ". Featuring eleven songs touching all genres from disco to blues, from soul to soft-rock, Joel Sarakula's "Love Club" is a profound pop statement.

Joel Sarakula has travelled the world in search of his muse, experiencing everything from being a victim of Caribbean carjackings to performing in the remote fishing villages of Norway, via the dive bars of Europe and the US. It was the hodge-podge musical tapestry of England's capital that finally drew him to a settling point, in the wake of seemingly never ending run of shows. With personal tastes that span from the more avant-garde to soul and pop greats like Sly Stone, Todd Rundgren and Hall & Oates, there are clear nods to contemporaries like Unkown Mortal Orchestra, Erlend Oye and Toro Y Moi in terms of ambition and style.

With his last two albums "The Golden Age" and "The Imposter" collecting strong radio plays at BBC Radio 2, BBC 6, BBC London, XFM Joel Sarakula has been play-listed nationally in Europe including Flux FM, WDR 5, Radioeins, Bayern 2, Deutschlandfunk and Deutschland Kultur Radio in Germany as well as in Benelux and Italy and Spain. He is a regular fixture on the live festival and club circuit in the UK, Europe and internationally including appearances at SXSW, Primavera Sound, Glastonbury, The Great Escape, Liverpool Sound City, Scala London, Tallinn Music Week, V-ROX (Vladivostok) and Reeperbahnfestival Hamburg.

"Love Club" is Sarakula's bold and unashamedly emotional next step. In essence the album is a homage to the soulful singer & songwriter artistry of the Seventies filtered through a darker contemporary lens - fitting for these uncertain times. "I always shied away from generic love songs," the Sydney, Australia born songwriter admits, "but on this record I embraced the subject wholeheartedly... and intellectually, looking at themes of love, lust, loneliness and everything in-between." Take the first single "In Trouble", co-written with Michele Stodart of The Magic Numbers, as the best example for Joel Sarakula's unique, and honest approach to making music. "We Used To Connect" questions the changing nature of relationships in our social-media addicted world: 'We used to connect in the real world too, now the touch of your hand is a digital cue'.

"Coldharbour Man", on the other hand, examines the identity of the song's narrator and the artist vs. fan dynamic all wrapped up in a disco love song: "There's a lot going on in this particular track. I feel my writing has grown emotionally...", explains Joel Sarakula. "Just best to listen yourself and make up your own interpretation!: 'We met in a song come to life like some fantasy cliché, though I'm known for my moves in the dark you flooded sunshine on my day'. Then there's "Baltic Jam", capturing romantic love and loss in authentic 70s confessional singer & songwriter style and of course "Dead Heat", a song about how there is struggle in the most perfect relationship pairings as the match is so even: "I recall an ex-girlfriend of mine... when we first met, we thought we hated each other but we eventually flipped that emotion and realised we had a deep passion and love for each other, there just was a lot of underlying sexual tension!" : 'It's a battle we could only win, if we lose. We'd be stronger if these lonely ones became two'.

More than a year in the making, Joel Sarakula recorded "Love Club" in various studios around London and Berlin capturing soulful performances from his many musical comrades on vintage analogue equipment. "This record has truly been a labour of love. Recording and privately sharing these performances amongst my collaborators started to feel like a bit like a club - I guess that lead to the album title! I was surprised how much I actually enjoyed the 'love-making process' and I look so much forward to playing these new songs on stage with my band." We can't wait, Joel Sarakula.

The first "Last Gas Station" compilation includes 12 new tracks and aims to showcase artists that the site has followed for many years, as well as promising talents to keep an eye on. Featuring LA's "daytime disco" duo Poolside,Vampire Weekend's bassist Baio, Italian duo Marvin & Guy, Brooklyn's duo Vito & Druzzi, Adelaide-based producer James Curd and Turbotito, California Balearic duo Woolfy Vs Projections, Disco Halal's Moscoman, Mexico's finest Zombies in Miami, NY unstoppable disco funkers Midnight Magic, DFA's Greek mastermind Larry Gus, Crew Love's David Marston, and - last but certainly not least - Peaking Lights Acid Test. This will be a ride to remember...

Scacy and The Sound Service performed top 40 material at Byrne Manor and other cabarets around DC along with fellow go-go pioneers The Soul Searchers, The Young Senators, and Black Heat and opened for artists such as Stevie Wonder, Rufus Thomas, and War. Eager to put out a record Irving Haywood asked his bandmates if anyone had written any songs. Bennie Braxton, the band's new organist had weitten a song titled "Sunshine" which Scacy and The Sound Service recorded in1972. It was sampled by Outkast on his tune "Mighty O" in 2006. 12 years later the original finally receives a proper re-issue on 45rpm single.

'Katalox' is Christian Jay's second 12" for Idle Hands, following on from 'Contrail' in 2016. That release made its mark with a distinctive blend of swinging UK Garage and a deftness of touch usually associated with the best minimal techno. A sound befitting this former Bristol resident and now Berlin dwelling artist. This new 12" picks up where the last one left off. 'Katalox' is propelled by a crunchy, understated breakbeat. 'Del's Kicks' is the more meditative cut.

French label Bright Sounds welcomes prolific Dutch artist Boris Bunnik for a new EP under his most celebrated alias, Conforce. The regular Delsin artist saves this project for his more dance floor driven work and that is the case across all four of the atmospheric tracks here.

'Virtue Signalling' is slick techno that mixes up sci-fi sounds with cavernous dub pads. It's cerebral and cinematic as well as being driven by the rubbery drums. 'Black Mesa' is darker, with a meaning synth line coming in spurts over punchy, broken drums. It's grand in architecture but still has plenty of rich sonic details. On the flipside, 'Compulsion' is more watery, with little life forms suspended in a backlit ocean above slippery drums, then 'Alka' is another underwater affair, with beams of light penetrating from above as a dubbed out groove undulates way down deep. Once again then here, Conforce marries form with function in exquisite ways.

Here Appear is an invocation, a salutation, and a celebration — of past and perfect lives, forgotten and remembered, exchanged and borrowed. Eve Essex's solo debut is a multi-instrumental fea(s)t combining synthesizer, drum machine, alto saxophone, piccolo, electric organ/harpsichord, harmonica, slide whistle, bells, guitar pedals, and voice— composed, arranged, and performed by Essex herself. What began as an improv set at Berlin's Harlekin bar, developed over the past two years into a complete body of work evoking multiple time periods, genres, characters, and sonic landscapes. The seven tracks that make up Here Appear harness elements of classical, drone, avant-jazz, and distorted pop, coupled with an ambitious vocal delivery that draws on the phrasing and articulations of Essex's own woodwind playing, to create a quasi-narrative me´lange retaining the vulnerability of live performance. On the opening track Grind Away,' otherworldly harmonica strains set the stage for lyrics citing Chinese sci-fi novel The Third Body Problem as source material. Saxophone and piccolo interludes Immediate Communicator' and Colorless Stone' move between medieval-tinged melodic inventions and textural noise, recalling a Pharoah Sanders-influenced fever dream, while the linguistic abstractions of Russian conceptual poet Lev Rubinstein guide the looped, layered, and textured vocals of title track Here Appear.' The album closes with a languid take on Jacqueline Humbert & David Rosenboom's 1978 composition Clear Light' from My New Music, recently reissued by Unseen Worlds. Here Appear owes its minimal production to the conditions of its genesis, evidencing the restrained process of the solo artist, instrumentation is confined to what can be played simultaneously. True to the album's avant-garde roots, each song involves an element of improvisation, often taking the form of prompts or variations on a melody rather than explicit compositions. Even its most structured pieces make use of live-sampled loops, which inject a spirited unpredictability into the songwriting process and subsequent performance. Classically trained in bassoon at New England Conservatory before receiving a BFA in sculpture from RISD, Eve Essex has performed as a solo artist at Artists Space, Commend, Safe Gallery, Signal, Trans Pecos, and U.S. Blues, in New York, Harlekin/Mathew Gallery and StudioAcht in Berlin, and the PUFFERSS Festival in Providence, RI. In addition to her solo practice, Essex regularly performs as one half of Das Audit (with Craig Kalpakjian), as well as in trios Hesper (with James K and Via App) and HEVM (with MV Carbon and Hunter Hunt-Hendrix), and has collaborated extensively with Juan Antonio Olivares as installation/performance-art duo Essex Olivares. Prior to the LP release on Sky Walking (April, 20), Here Appear arrives via New York City-based label Soap Library on March 9, 2018 in both cassette and digital format, mastered by Helmut Erler at Dubplates & Mastering, Berlin and recorded by Al Carlson at Gary's Electric, Brooklyn.

* Released for the first time on vinyl
* The ultimate collection of rare early materials by this electronic music pioneer
* Comes as a deluxe double LP set with insert and extensive liner notes . Limited black vinyl pressing (700 copies) with obi strip.

Klaus Schulze is a German electronic music pioneer, composer and musician that needs very little introduction. In the late sixties & early seventies he was a member of several iconic bands such as 'Tangerine Dream', 'The Cosmic Jokers' & 'Ash Ra Tempel' before launching a solo career consisting of more than 60 albums released across five decades. Collaborations were numerous and highlights include working with Steve Winwood, Brian Eno & Alphaville... just to name a few.

Klaus Schulze's proto moog-synthesizer work is regarded as a milestone in electronic music & during the decades he released landmark albums in genres catalogued as 'Ambient', 'Electronic', 'New Age', 'Berlin School', 'Experimental', 'Kosmische Musik' & 'Krautrock'. Mr. Schulze had a more organic sound than most electronic artists of the time, often he would throw in decidedly non-electronic sounds such as acoustic guitar and a male operatic voice. Schulze is also known for developing a Minimoog technique that sounds uncannily like an electric guitar, which is quite impressive in concert.

On occasions he would also compose film scores such as Body Love (1977), Barracuda (1978), Next of Kin (1982), & Angst (1983). His best known song 'Freeze' has been used in films like Manhunter (1986) and more recently in Sofia Coppola's 'The Bling Ring' from 2013.

In 2009, producer Klaus D. Mueller and Schulze began releasing La Vie Electronique ( The Electronic Life'), a series of sets that collected rare sought-after early works & unreleased tracks put in chronological sequence. These sets contain some of the best music Klaus ever created and are early 70's masterworks that will appeal to both fans and collectors.

Now available for the first time on vinyl, One Way Static Records presents the first volume in our new archival series 'La Vie Electronique'. This volume (1.0) focuses on the years 1968-1971 and is spread over two glorious LP's containing +78 minutes of Klaus Shulze rarities. This deluxe vinyl set also comes with an insert containing extensive liner notes.

Naïf 008 opens a series of five ep´s that will be released around the release of the DJ-Mix-CD also named - naïf which has it´s release in April 2018
The first strike comes with two blinding Techno tracks: Running man is a contribution by the - Gentleman of Techno Steve Bicknell. The other comes from the young swedish Producer that goes by the name of KUF and who is part of the Arsenik Crew.
Besides that we find two compositions by Phillip Sollmann himself that show his abstract and experimental Approach.
While - Aliasing Bells is a texture of sampled tibetan bells - Tag3 by his side-project - Autolyse is a jam on a light-sensor-controlled custom-made synth. Perfect for layering on top of a mix.

After more then three years of silence as a producer, Efdemin a.k.a Phillip Sollmann returns with a striking hybrid concept that merges the album format with the continuous DJ mix' format, presenting completely new material in a seamless manner. The CD-mix, named Naïf, officially reinstates his label of the same name and is a sprawling tour of inner space featuring 19 distinct tracks from fellow producers along with an additional ten that feature Efdemin himself (either as soloist or collaborator). The release condenses his decade-long DJ-ing journey and evolution as a producer into a single potent elixir of contemporary techno.
Naïf consists of completely unreleased material from both himself and valued collaborators, all of which will eventually manifest as EP releases: five on his own Naïf label and two more on Curle.

Curated by Phillip Sollmann, Berlin 2018
Mastering and Cut: Kassian Troyer
& © Naïf Recordings 2018

Synthònia' is an electronic ambient album released only with analog synths (Roland System 100, Roland TB 303, Roland Jx 3p, Korg Polysix, Korg ms 10, Korg ms 20, Yamaha cs 15, Kawai 100f, Teisco 100f) which refers to Tangerine Dream, Jean Michel Jarre, Klaus Shulze and The Berlin Shool' and John Carpenter.

Dyno, from Pesaro, Italy, discovers the passion for electronic music and analog synthesizers at the early age of 15. His first single was released in 1995, for over 2 decades Dyno has established himself as one of the most eclectic and respected italian producers of techno music for many important labels (Global Underground, Yoshitoshi, ZYX Music, DJ Mag, Traum, ecc) supported by artists like Joris Voorn, James Zabiela, Sasha, Sharam (Deep Dish) and Umek to name a few.

His passion for analog synthesizers led him to realize this ambitious Ambient work that float just above, in a perfect geosynchronous orbit, casts enough shade to dampen the extraneous while causing a shift in our perceptions, enough to take us out of time and place, to wherever we need to be.

Haiku's Raw Waxes label is delighted to welcome the famously unconventional Stanislav Tolkachev with a new track EP of experimental techno and IDM sounds. Entitled Champions' Breakfast and with brilliant artwork from German Benedikt Rugar, the releases features six cuts, one of which is a previously digital-only track landing here on vinyl for the very first time.

Haiku has long been a fan of Ukrainian Tolkachev having previously collaborated on a remix for the label, while Tolkachev has also released on Haiku's other label Inkblots. This new EP is one that not only shows off the label's willingness to take risks and put out diverse and interesting electronic music, but also one that proves Tolkachev is a truly unique artist with his own musical voice. He has been that way for more than a decade now, and has put out three long players as well as countless EPs that get heavy support from the tastemakers of the day. This latest offering contains his take on the essentialness of groove, enriched by his use of atonality, dissonance and acid-not-acid textures, all in a minimal style.

The deep 'Shady' kicks things off with spangled synth lines and eerie pads off in the distance. It's a lonely and insular piece with kinked rhythms that keep you locked. The excellent 'The Main Thing Is To Survive' is then less constrained, with kicks that rock back and forth as off kilter synth lines warp and wrap around each other in mind melting and tripped out fashion. Switching up the mood with ease, 'Fuck This Guy' is a dark and musty passage of humid ambient techno with static electricity buzzing about over smeared pads that are filled with menace, then the curious 'Hair In My Mouth' is about blurting, busted frequencies, loose and scattered drums and glassy melodies. It's a mangled and mashed up track that sounds like little else. 'Negative Space' is horror soundtrack techno with urgent, driving drums and nervy sound design that keeps you on edge, and closer 'Self Destruction' is built on broken, bristling beats. A rhythm slowly emerges from the haze and it is one that is physical and restless and sure to make a big impact in the club.

This is a varied and vital EP that oozes essential electronic invention.

Circuits is the new collaborative project from InsideInfo and Kasra. Two artists coming from different angles sharing a similar musical grounding to create minimal but heavyweight drum & bass. 'The Coming Through EP' is the first of several releases planned for 2018 and beyond.

needs (not-for-profit) is a nonprofit record label & collective lovingly curated by Bobby Pleasure. We believe in people. The concept of the label is to use music as a medium to spread love, unity and the idea of giving back. Promoting harmony and togetherness rather than isolation and estrangement, each release and accompanying event will act as a support stream to various issues within society such as mental health, homelessness and equality. For the third release we have tracks from Lord Of The Isles, Mehmet Aslan, Petwo Evans, Bartellow & Nick Gynn. Five artists from different countries of the world who all have the needs factor, and have very kindly donated their music to the dancefloor.

Sound Warrior Records founded by Jenifa Mayanja & Dakini 9 aims to balance the playing field for female producers and exclusively release their music. SW006 "Warrior Formulation" is rooted in soul-stirring house with its heart arching towards the future. Lady Fingers returns with an engrossing slice of dub house. The North Carolina artist/DJ was recently a featured DJ at Moog Fest. Jenifa Mayanja Bumako records, shows up with a broken ambient house break. On the flip side Sound warrior teams with well known Berlin underground heroines "Mint Berlin" the female only booking agency. Representing Mint Berlin is co-founder Ena Lind who has been pushing boundaries in the electronic music scene in Berlin for over a decade. Lady Blacktronika comes with a soul house soaker. She has made quite a splash with her labels Sound Black and Sound Keymstry in the process earning the title "first lady of beatdown".

Subsequent's first release of 2018 sees new artist Second Player provide the goods in a variety of styles, ranging from the acid flecked 'N 001' to the grittier, underground shimmer of 'M202'

- Latest ambient work from Fred Welton Warmsley III, formely known as Lee Bannon (hip hop producer and collaborator with Joey Bada$$, Souls Of Mischief, Hieroglyphics, and others)
- Former albums on labels such as Hospital Productions, Ninja Tune, NON
- Has received praise from Pitchfork, NPR, Boomkat

- Northern California electronic producer Fred Welton Warmsley III's solo work as Dedekind Cut
(pronounced dead-da-ken cut') has evolved from fractured industrial design into increasingly subdued and sublime ambient meditations across two years of dedicated activity. His second full-length collection, Tahoe—so named after the mountain lake town he now calls home—swells with widescreen grandeur, evoking vistas both inner and outer. There are echoes of his earlier, more tempestuous mode in tracks like MMXIX' and Spiral' but overall the album skews panoramic and pensive, muted synthetic mists contoured with choral melody, field recordings, and radiant drone. His compositional instincts feel alternately classical, contemporary, and conflicted, befitting an artist whose discography spans labels as divergent as Hospital Productions, Ninja Tune, and NON.

- Warmsley characterizes Tahoe as a time peace,' sifting through the past, the present, future, and fantasy.' Recorded primarily in New York, with additional sessions sourced from Berlin, Cambridge, and Placer County, California.

Musique Pour La Danse takes a short break from reissuing rare and essential music to bring you a selection of four new and exclusive tracks from the French underground entitled Equipe de Danse. Curated by label co-manager Ed Isar, a DJ and promoter active in the Paris underground since more than a decade, this EP brings together different producers and styles, highlighting the diversity and the creativity currently flowing through the French scene and providing DJs and ravers with quality tunes to work with and dance to.

Automat - Disco Trax
Everyone has a story about how one electronic music experience changed their lives forever, for Ed it was seeing Automat live in Paris in 2006 when he was 18. Automat's Electrospectif LP is still one of the best and most underrated French electro albums of the 21st century. Hearing Disco Trax many years later and realizing this fast-paced banger never got pressed on vinyl was the spark that encouraged Ed to work on this EP. This is irresistible jakbeat with electro and italo influences, timeless and compelling.

Cuften - bgt55ujp0
Cuften is a unique artist from Normandy who prefers being called a musician rather than a producer: he creates and records all his music live on a 100% hardware setup with absolutely no computers involved. With IDM and acid influences as well as a passion for hardcore, his music bridges the gaps between Aphex Twin, Marc Acardipane and Legowelt. This track is a perfect introduction to his world where hard hitting kicks get bodies moving while acid madness gets minds melting and it's actually his first tune ever released on vinyl. Keep an eye out for Purusu, Cuften's own record label which he runs with the help of Ed, a strictly underground affair that is already gathering support from established DJs around the world.

Sina - Faith
This is the very first track by Sina pressed on vinyl and what a belter it is! He is part of the new wave of electronic music activists in Paris with his Subtyl parties that were among the first to encourage today's ravers to side-step the clubs and go party in warehouses half a decade ago. We immediately signed Faith upon hearing it for the first time, spellbound by pounding and dreamy atmosphere, full of dramatic and ecstatic moments. This track exists in a techno universe of its own, as gritty as it is melodic. It never fails to get a reaction from the crowds and has been a staple of Ed's peak time sets lately.

Raymond D Barre - I Don't Know Dave
He's an up and coming producer and live performer from Paris who released a great EP on Nocta Numerica in 2016 and has several projects in the works. Clocking at 108 BPM, this tune is the downtempo cut on the EP. Driven by an 808, structured by FM bass and embellished with some lovely acid touches, this track could be described as 21st century orientalist New Beat or perhaps Egyptian Lover on codeine. Either way, this nod to Belgian vibes and BPM did not go unnoticed by both label managers and this fun and quirky track is often the highlight of downtempo sets.

Points of interest
- Four essential and totally exclusive tracks outside the beaten path and the usual formulas, a great snapshot of the French underground in 2018
- Various Artists, different vibes, something for everyone
- A Musique Pour La Danse release (Frankie Bones, Orlando Voorn, Cron aka Todd Sines, Break The Limits aka Bay B Kane, ..), a label founded and curated by Olivier Ducret of Mental Groove (Miss Kittin, Orbe, Donato Dozzy, Brodinksi...) and Ed Isar (33RPM +8% and Radio Belleville in Paris), releasing forgotten and unforgettable dance music of yesterday and tomorrow.

Belgium-based Composer Christina Vantzou's Fourth Full-length For Kranky Ventures Further Into The Uniquely Elusive And Evocative Mode Of Ambient Classical Minimalism Which Has Become Her Signature: A Fragile Synthesis Of Contemplative Drift, Heady Silences, And Muted Dissonance. In Regards To The New Album She Speaks Of Focusing Particular Attention On The Effects Of The Recordings On The Body, And Of 'directing Sound Perception Into An Inner Space.'
No. 4 Took Shape Across Roughly Two Years, Incorporating A Diverse Array Of Musical And Conceptual Collaborators, Including Fellow Kranky Artists Steve Hauschildt And John Also Bennett (of Forma) As Well As Angel Deradoorian (ex-dirty Projectors), Clarice Jensen, Beatrijs De Klerck, And Members Of Belgium's Echo Collective. During The Creation Process Vantzou Wanted To 'blur Lines Of Hierarchy,' And Thus Allowed All Ensemble Members And Technical Assistants To Add Or Delete Elements. Despite Such A Spectrum Of Input The Eleven Tracks Feel Distinctly Cohesive, Weaving Elegant Textures And Resonant Open Spaces Within A Twilit Landscape Of Eclectic Instrumentation: Piano, Harp, Vibraphone, Voice, Strings, Marimba, Synthesizers, Gong, And Bells.
Vantzou Describes The Recording Process As One Of Prepared Spontaneity: That Is, 'having Plenty Of Ideas Ready To Explore Going Into The Session, But With Enough Time To Depart From Those Ideas And See What Happens.' This Mindset Of Premeditated Exploration Informs The Album's Emotive Textural Intuition, With Hushed Drones And Delicate Gestures Eliding In The Periphery Of The Mix. She Cites Sleep And 'the Loosening Of Time' As Two Formative Practices In Her Private And Professional Life, Which Manifests In The Quietly Hallucinatory Properties Of Vantzou's Music. No. 4 Feels Both Endless And Ephemeral, Immersive And Immaterial. It's A Music Of Horizon Lines And Half-light, Mapped With Feeling And Foresight.
Recorded In New York City And Brussels. Mixed In Berlin.
A Portion Of This Work Was Funded By A Generous Grant From The Flemish Community In Belgium.

2x12"

Tinfoil is the project of DeFeKT and Sunil Sharpe. Initially forged as a studio collaboration in 2014 (and later as a live show), the pair have since racked up an impressive catalogue of 12s on their own self-titled label. Tinfoil's sound is unique in today's scene, reflecting the versatility of both artists, plus a combined know-how of techno and electro. Their music comes primarily from live studio jams, enforced by a desire to get quickly to the point in what they do. This is no surprise given the fast, technical way in which they each perform solo.

For their debut album, Tinfoil provide a varied but cohesive collection of tracks. Following the intro's epic synth blasts, they open with a bang through 'Caravan Life' - a sinister, bassline-driven destroyer that builds and builds over a blend of claps, filter zaps and crying feedback. 'Beads' continues in a heads-down vein, this time with a more musical EBM type bass and knocking rimshots that mark the first appearance of Sunil's role-playing, haunting lead vocals.

'Friendly Safe Fumes' marries playful bass notes to a singing lead line, as fizzling closed hats and busy claps whip things into a frenzy. Next enter the otherworldly mutant electro of 'Meadow Pulse', signaling a well-timed lull in mood to explore a silkier side to Tinfoil's production. 'Every Saturday Night' starts with a taxi conversation about horses and carbolic soap in bygone Dublin days, before launching into a volley of clattering beats and hip-shaking FM sequences.

'Multi-DOMINATION' retains some of the FM wonk and treads a broken-beated path, featuring vocals this time akin to a ritualistic chant or perhaps the murmurings of a possessed baby. 'Both Roads To Triogue' meanwhile, brings us to a short intersection, splicing odd voices with a dense tribal rhythm. 'The Wolves Of Hellfire' is Tinfoil in more minimal dancefloor mode, as drones filter in and out under a resonating bass that detonates at all the right times.

Closing with 'Resting Point', the climax becomes deadly. The beats are stepped and the bass boisterous, while pained screams become quickly uncontrolled, setting up for a crescendo of roughneck rhythms, ricocheting kicks and turbulent modular wails.

Tinfoil have been on a roll since the beginning but maybe 'On A Roll' emphasizes this a little bit more now.

Futile Demise EP is an emotional and disconcerting journey through the mind of Finnish artist Juha Puupera¨. Drawing on influences from Norwegian black metal, UK sound system culture and Italian horror cinema of the 1970s, Gruth mixes dark and aggressive tones in his sonic palette. His production methods are often experimental and the style rarely fits into one box as it spans forward-thinking techno, black ambient and doom industrial.

With his EP, Gruth shapes Montevideo-based Tormenta Electrica label's first release. Of the four tracks featured, two are collaborations with the Finnish techno and ambient artist Ikola, known for his Etherwerks label, while the mysterious Helsinki-based violinist and sound designer KuJo contributes to the other two.

Over the past few years orchestral instrumental music from outside the classical establishment has become huge, and Neil Leiter and Margaret Hermant of the Belgian Echo Collective have witnessed the evolution and extraordinary rise of this movement right up close. They've worked with some of the most important players, including Stars Of The Lid, Dustin O'Halloran and Adam Wiltze's A Winged Victory For The Sullen and O'Halloran's solo projects, as well as Jóhann Jóhannsson. And though the Echo Collective members themselves very much do come from within the classical music establishment, they don't care which side of the fence they are seen to be on. It was this which grabbed the attention of German music hub !K7's new sub-label 7K! - who have signed them for a two album deal: first to release the Amnesiac reinterpretation, then for a record of Echo Collective's own compositions. Not only that but they have been signed for publishing by Mutesong, which led to a hook-up with Mute mainstays Erasure, re-arranging and re-recording their latest album World Be Gone with classical instrumentation backing Andy Bell's vocals. This ability to flow easily from black metal to Radiohead, from Erasure to Stars Of The Lid shows exactly what kind of musicians Echo Collective are. The album, which features artwork by the renowned photographer and artist Roger Ballen, will be released on 30 March on CD, 2LP and digital platforms.
- New album by belgian band Echo Collective covering Radiohead's classic Amnesiac'.
- Perfect balance between classical, neoclassical & indie.
- Past and ongoing collaborations include Erasure, A Winged Victory for the Sullen, Stars of the Lid, Johann Johannsson and Dustin O'Halloran.
- Echo Collective have produced, arranged and performed on Erasure's upcoming album due to release early March on Mute.
- Artwork by renowned photographer / artist Roger Balle.

Niemoc is a young trio from Zielona Góra on western border of Poland. Their debut EP came out on a Polish boutique vinyl label Father And Son Records And Tapes in 2016. A two-tracker Mikrofale (eng. microwaves) blends influences from wave and shoegaze with dancefloor oriented disco-not-disco.

The material has been first released digitally in May 2017 via another Polish imprint - Brennnessel and now is available on vinyl as a collabo release with MOST Records. For the physical release, the EP gained two versions prepared by MOST associated artists Eltron & Hatti Vatti. Eltron's 'Dysko-Miks' of Trynidad, Tobago is a straight-to-the-dancefloor approach with strengthen drum break and funky arpeggio. For Wyspy Chlodne, Eltron worked together with Hatti Vatti which resulted with a dubby hybrid.

Since the release is an unusual cooperation of two Warsaw-based labels and multiple artists, it's scheduled to hit the stores around Record Store Day.

Mouse on Mars' Andi Toma and Jan St. Werner return with their most
inventive album to date, Dimensional People. The electronic music pioneers
have been critically acclaimed for their playful and inventive sound and
production techniques on releases spanning from the early '90s to now. In
demand from a surprising array of artists their most recent contributions are
featured on the Grammy award winning album Sleep Well Beast by The
National.
The duo are joined on Dimensional People by an impressive list of guests
: Justin Vernon (Bon Iver), Aaron and Bryce Dessner (The National), Zach
Condon (Beirut), Spank Rock, Swamp Dogg, Eric D. Clarke, Lisa Hannigan,
Amanda Blank, Sam Amidon, Ensemble Musikfabrik, and about 20 more
musical collaborators. The cast of characters are as unique as they are vast,
clearly a rich quarry for the prodigious duo.
Dimensional People is by it's nature a collaborative album. Originally
premiering as a spatial composition using object-based mixing technology
playing with the possibilities of sonic design (4D Sound) and collective
musicianship, the recording expands upon these ideas. Dimensional People
expresses itself as a dynamic 50-piece orchestra, telling a story in sound.
Mouse on Mars offer sound as a means to encourage open-minded societies,
aided by cutting-edge technology including their own MoMinstruments
music software or a spatial mixing technique called object based mixing,
with which a spatial version of the work was created. It is a conceptual
puzzle composed around one harmonic spectrum within one rhythmic
scheme, mostly in the tempo of 145bpm (inspired by Chicago footwork,
so the dance oor is not entirely absent). Looking ahead, Dimensional
People will also be realized through installation, presenting the work as an
immersive listening experience, as well as performance.

Memento is proud to announce a brand new maxi-single of the
extraordinary Lithuanian producer Mario Basanov, better known as Ten Walls. With this moniker, Marijus Adomaitis has been releasing a bunch of deep house gems, and has remixed artists such as Robert Owens and Hercules & Love Affair "Swan" begins with a smoky dramatic introduction, that in a rapid
glance become a obscure minimalistic dancefloor killer with a grueling bass line and unremitting hi-hats. Finally taking off with a gust of monochromatic sequences and a whirl of dampings.
In "Lake", after a dense windy evocative prelude, metallic percussion leave the footprint to the headway of a stomping kick drum and a mesmerizing bass line. Sedately flowing synthetic notes, filtered bleeps and rapid beads lead the track to a grandiose finale in which whiffle and wafts become an ubiquitous polyphonic pad.

(12"+ Poster)

What is Infoline Infoline indicates new content components via an intuitive union of several media forms. We see the medium record/cover as a placeholder that does not contain enough information or limits itself only to the audio (music). The goal is to break open that standard by collaborating with designers, artists and musicians to find the improbable (formula) within the limit (format). The label Infoline is built on that collaboration because via that connection the network of possibilities grows and the intensification becomes more complex. POSTER & BLOTTER ART BY MARC JAUSLIN A SIDE PROVIDED BY LUCA DIGILIO AS AUDIOGUIDE AND B SIDE BY FLAVIO AUDINO & WALID EL BARBIR AS MEMBERS OF INFOLINE