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For the second release on the Galaxiid imprint, a label of electronic music archeology and quality, we are transported to the strange sonic world of an elusive 90s pioneer. Solar X's 1997 album X-Rated will be released for the first time on vinyl, as well as reissued digitally, with new artwork by the Japanese artist Keiichi Tanaami. Two worlds connecting sonically, visually and culturally.

Solar X enjoyed a burgeoning career in post-Perestroika Moscow making playful, low-tech electronica from Soviet analogue instruments, which he masterfully configured to forge animated compositions and dancefloor rarities. Fascinated by chaos and complexity, his music explores the ways in which our minds can be manipulated by structure - an endeavour quite plausibly linked to his other career as a lecturer and researcher of AI, information theory and cognitive science, his interest in which was in turn triggered by his young experiments in computer music.

Solar X gained international attention at a time when Russia was (quite unfairly) seen as a vacuum for electronic music, but was exploding in the period of piracy, poverty and freedom following the collapse of the USSR. Young Russians had benefited from the soviet education system and there was a strong DIY computer programming and music scene, fuelled by hackers, gear freaks and party animals. Viewed from today, the album is reborn at a time of further political and social strife, which many see as fuelling the huge creativity and radical thinking of modern Russia's young creatives.

X-Rated treats tempo and form as fluid concepts, administering sudden changes to its sonic landscape with disorienting effect, underlain with a subtle dose of humour and experimentation. Downtempo trip-hop sits alongside frenetic IDM and blistering electro, all bound together by peculiar melodic inflections and lively distortions. Warm, trippy harmonies and robotic synths are offset with angular drums, shifting erratically through moods and genres with cunning intent. Much like his contemporaries from the era, it's his ability to breathe life into a humble production setup that makes his music so compelling some twenty one years later.

The track titles are from a book of call girl cards in London phone booths, that reached the artist in Moscow in 1995. "I liked the titles from these cards, which were self-promoting and offering pleasure (e.g. "Mistress awaits you"). So, I thought since my tracks also offered some kind of pleasure, they might as well advertise this through their titles.'

Label head Nina Kraviz was introduced to the work of the 83 year old sensei Keiichi Tanaami by Ukawa Naoshiro, founder of Dommune in Tokyo, one of the brightest figureheads for the arts in Japan, responsible for the graphic design of the cover. In September 2017 Nina played for the opening of Tanaami-san's first exhibition in Moscow at Gary Tatintsian Gallery. Nina performed a live sound palette, to accompany the looping 7 minute animation, of experimental music from the Soviet Union, Russian pioneers of electronic music like Species Of Fishes and SolarX, Soviet-time pioneer Lev Termen, Kuryochin, avant-guard rock mixed with some Stockhausen and just pure abstract sounds, as well as treasured artists like Biogen.

Tanaami's illustrative work has strong sexual elements, so out of the five art pieces Nina selected and commissioned for Galaxiid, the first fits perfectly for 'X-rated'. The vertical line of text on the left is the traditional form for Japanese covers of foreign releases. The cover, together with the accompanying poster and sticker, are printed in Japan to ensure the highest print quality and purity of the colours.

Raar brings his fifth release through his creative outlet Vaerel Records. The four tracks EP comes with his signature approach of combining gritty techno with a sense of restrained melody inside. With this in mind, the record would definitely bring some intensity at a warehouse's darkest hour.

Reinhard Voigt returns to his own label KOMPAKT with another episode of satiric techno to enlighten today’s current trend of deadpan dance music. Since the 1990’s, Reinhard has brought an unparalleled spirit into the techno scene through outrageously energetic live shows and the many releases under alias such as SRI, Pentax plus of course his ongoing collaboration Voigt & Voigt together with esteemed brother, Wolfgang Voigt. Reinhard embraces all that wildlife has to offer with “Was wir spüren”. Starting things off with the future afterparty anthem, “Das singende, klingende Ding” the bass drum is there to guide the lost and found through a voracious bee storm as the rooster crows gloriously towards duck quacking oblivion. “Tausendmal zu viel” fits perfectly as the soundtrack for to the artwork created by Mareena von Cube – a tormented hymn loops its way to the warriors of the never world. “Der Mann, der nie nach Deutz kam” is classic Reinhard Voigt techno at peak-time point. A throttling bass drum is voraciously fuelled by the jungle twilight.

Groove Line Records series of officially licensed disco / funk 12' reissues continues in 2019 with two fabulous cuts of gospel disco from The New York Community Choir (NYCC), 'I'll Keep My Light In My Window' & 'Express Yourself'.

The New York Community Choir (NYCC) began in the early 1970s, a gospel ensemble which developed a style that also gave secular R&B, soul, and pop songs a spiritual dimension; bridging Saturday night and Sunday morning, as it were.

'I'll Keep My Light In My Window' is a slice of joyful uplifting gospel disco, which is as needed in these times as it was when it was released in 1978. This was a great favourite of David Mancuso and Larry Levan at the time, and has remained a much loved dancefloor track for the disco cognoscenti ever since.

This came from NYCC's second LP for RCA, Make Every Day Count, produced by Warren Schatz (who also produced The Brothers, which was Groove Line's first reissue 12' in 2014).

NYCC released a self-titled debut album, also produced by Schatz in 1977 included the dance hit "Express Yourself," the B-side of this release in its 11m45s David Todd & Warren Schatz Disco Mix version.

All Groove Line Records releases are fully licensed and taken from the original master tapes, this 12' has been remastered and cut at half-speed by Matt Colton at Alchemy Mastering (Mastering Engineer of the Year 2013 & 2018). All vinyl is heavy weight 180g manufactured Optimal Media in Germany, one of the world's finest pressing plants.

Groove Line Records cut no corners when making sure that each and every one of our releases has the highest quality performance possible.

Groove Line Records' deluxe reissue of 'I'll Keep My Light In My Window' & 'Express Yourself' is an essential purchase for any serious Disco, Gospel, Funk, or Soul vinyl collector who demands the very best in quality vinyl pressings. Find out more at

Five years after his track 'Mr. Croissant Taker' appeared on Soulwax's Grand Theft Auto V radio station, Belgian producer Transistorcake releases his official debut release, the 'Future Plans' EP on Eskimo Recordings. Featuring 4 tracks of hazy electronica that would sit neatly alongside early releases on Aphex Twin's Rephlex label or recent excursions by the likes of Palmbomen and Betonkust.

Opening tracks 'Future Plan I' and 'Future Plan II' sets out Transistorcake's stall nicely. Swirling synth melodies, an ever evolving bassline that leads you down a labyrinthine maze and diaphanous strings and pads all add up to create an ecstatic yet at the same time melancholic quality to the music that manages to sound both ancient and modern.

"Future Plans I and II are constantly changing routes of ideas, improvisations and coincidences," explains Transistorcake, "nothing is a constant in the two numbers, outside the pulse of the drums. You can see them as two possible versions of the future or as an old version of the future alongside its current variation."

Whilst cut from the same cloth as the previous tracks 'Ribbles' has more than a touch of the Nordics to it. Sparkling, playful melodies glitter like snowflakes caught in the flash of a strobe light before a pulsing disco beat rockets the track into the stratosphere. In his own words the track is "an ode to spontaneity and dancing without braking. I pictured it being played by a live band next to a pool at an LA cocktail party in the '80s."

Closing the EP we have 'Kluts', driven by a stuttering, head-nodding, rhythm that recalls that rapping sound of a woodpecker in the forest, the track is gently swaddled in a warm embrace of synthetic stings that gradually develops and asserts its dominance over the course of nine, all-too brief as it happens, minutes. For all its gauzy textures there's also an undeniable solidity to these tracks, an underlying organic quality and nostalgic warmth that permeates them.

Having previously studied jazz composition and played in several bands over the years, Transistorcake brings a sense of spontaneity to the often all-to-structured world of electronic music. This EP just capturing a snapshot in time of these songs that can be endlessly reworked and reimagined in his live set, where live bass and drums, are added to his collection of vintage synths to an endless back and forth between man and machine.

Architectural returns to Wolfskuil Records with 4 exceptional cuts on his 'Beautiful Life After Death' twelve inch. Complex sound design and a warm and open atmosphere go hand in hand with the Spanish studio wizzard's sonic world. From lush ambient in the title track, the addictive groove in 'Piedras' to wobbly modular bass excursions in 'Luminous Path' and moody textures from the abyss in 'Gris'. Architectural covers a lot of ground in just 4 tracks. Diverse and coherent at the same time, few artists have such a recognizable sound signature as the Barcelona artist.

CTHI Records is back again after a little pause given by the development of the Jaxx Madicine project started initially by the label founder Parker Madicine and Turbojazz. Through out this time the label has productively been joined by Veezo, italian pianist and producer, for the making of their Distant Classic album and various EP’s and remixes published on many different international labels as Local Talk, Visions Rec, Dirt Crew and Eureka. CTHI is now ready , after the recent Japanese tour as Jaxx Madicine Trio, to be again the front stream for the debut EP of Veezo ‘Monolith’. An 8 tracks EP playing the essential “manifesto" and inspiring heritage of the artist. Raw and dirty grooves made in 12bit res, tape delays and acid Ms20 arps on top of which you’ll appreciate afro elements, warm rhodes and pad chords allowing you to perceive the whole Veezo musical ambient creativity. Two singing tracks - unique featurings by David Shorty and the Technoir Duo - are providing deep house/boogie atmospheres and jazzy spiritual moods. There are various musicians participating into this project leading through bass, flutes and drums that will surely provide you the feeling of an orchestral setting guided and directed by a solo person inducting all those elements through an Akai taperecorder. The result: close to a mid 90’s forbidden cartoon enriched by the cover of the Japanese artist Tokio Aoyama.

We are pleased and honored to finally introduce you our ninth release:
Carnera – Colpo Di Mano Nella Zona Grigia
The EP comes out with 4 original tracks and two stunning remixes from Esplendor Geometrico and Ancient Methods.

Carnera was founded in 2014 as a multimedia project by Giovanni Leonardi (Siegfried, Div. Sehnsucht, SNNC) and by visual artist Simone Poletti (Dinamo Innesco Revolution). In 2016 the sound designer Yvan Battaglia and Monica Gasparotto (Les Champs Magnétiques) joined the militant collective.
They have released two albums “Strategia della Tensione” (2015) and “La Notte della Repubblica” (2017), both released for the historic Old Europa Cafè, and several collaborations, remixes and singles.

A creature in continuous mutation, Carnera moves between dark ambient and soundtrack music, Martial and Techno Industrial, evolved EBM and Kosmische Musik, boldly combining new sounds and Old School attitude.

“Colpo Di Mano Nella Zona Grigia” is made by a robust and genuine dose of old-fashioned industrialism and postmodern manipulation, underpinned by a fascination with Futurism.

The EP ends up with two remixes. The first is a martial remix from Esplendor Geometrico recalling the old intelligence behind the industrial music, the epic and the aesthetics of Power, “the geometric splendor and numerical sensitivity” of Marinetti. The second is from Ancient Methods with his rare and own imprint transporting you in middle age landscapes full of metal and agony.

“The history of our country has taught us that terrorist eversion can not change things, in fact, it has often been used by power to address the fate of the community at will. It is not an exaltation of our armed struggle, we would miss it. But I do not see how it would be possible to reconstruct a civilization now in full decadence in a painless and non-gory way. It will not be the flags of peace, the barefoot marches, the fake humanitarian operations to restore dignity to our lineage. Nor are the old ideological contrasts of seventy years and the daughters of a civil war that has never really been overcome.”
credits

A new addition to the label’s extended family, Tracey arrives on Dial with his debut LP, Biostar. Following previous releases on Aus Music, Voyage Direct and Intergraded, ‘Biostar’ pushes the technical and emotional craft of this vital young producer in exciting new directions, submerging listeners in thirteen tracks of sublime electro, ambient experimentation and warm, tonal techno. Based in the Netherlands, Tracey’s music is undoubtedly indebted to a legacy of emotive electronic music, the sort whose stark futurist vision cannot be equalled. Instead he strives and succeeds to create something personal and charismatic from a perhaps familiar palette of sounds. Somewhere between experimentation and understated songwriting, ‘Biostar’ is a worthy edition to Dial’s legacy of unique, artist-led albums. In the tradition of established Dial artists such as Lawrence, Roman Flugel and Efdemin, Tracey’s immediately apparent strength is an almost supernatural ability to conjure affecting and memorable melodies with minimalist intent, often just utilising the raw textures of his machines. From album-opener ‘THRRVL’, Tracey tracks the initially gentle undulations of his studio seemingly waking to life, plotting a neat melodic shuffle on ‘TRR’ and then, by, ‘CCLRT’, something dense, trippy and yearning. From hereon in, ‘Biostar’ plots an intriguing course through hypnotic, clockwork crunch (‘THWRD’), to Drexciyan submersion (‘HDRCSTCS’) and rhythmic experimentation on ‘PHTCPHRK’. Some of the more affecting moments on ‘Biostar’ emerge from it’s more obtuse sections; ‘DTFNK’ deciphers a surprisingly catchy melody among waves of scrambled signals, while the initially skittish ‘DRMRBT’ blossoms into an electro lullaby at 126bpm. By the arrival of wistful closing track ‘CLSTLBNG’, listeners are likely to emerge content from the deepest exploration yet of Tracey’s unique analogue ecosystem.

Kalim Shabazz looks to find common ground between the old and the new. Electronic music with a soul. Organic electronic music that moves the dancefloor in a new, but not unfamiliar, direction…

This 3 track EP with keyboardist Jerrell Battle signify the true organic deep house vibe with "Bassic" a deep melodic journey with guitar riffs that moves you. On the flipside "Dana Byrd" beautifully demonstrates the power of the voice as "She" is dedicated to the most important women in our lives. Delivering that true NY Soulful vibe you would hear at the Shelter. Lastly "Sound Module" finishes the record with straight deepness.
Shabazz a true Brooklyn native, made his mark in New York in 1993 with his legendary Afterlife party with Kim Lightfoot. Since the early 90's Kalim has been working with partner Nick Jones; recording history together with their first release, “Wake Up People”, on Bobby Konders’ Massive B Records which featured Satoshi Tomiie & Cassio Ware. Shabazz and Jones continued this partnership under various studio monikers including ‘Moments of Soul’ and ‘Soul Movement’ with releases on labels like Wave Music, King Street Records and Shelter Records. The rest is history!

Renato Ratier is one of the most important names in Brazilian and South American electronic scene not only as the creator of the d-edge club and partner of Warung club, two of the world's leading electronic music clubs. As a producer and citizen of the world, this time the artist found inspiration in the middle of the Atacama desert in Chile during a trip to a gig in that country. Definitely, the vibe and atmosphere of this unique place, suggested to Ratier a track full of personality as well as his work as a producer. While working on his new album, Ratier offers us a precious and pulsating track, with a striking square bassline and a hypnotic line of chords and synths. To complete this special package, Ratier invited two of the most important djs and Brazilian producers to bring their remixes.Ney Faustini and A.84 with their brilliant jobs.

Margino (real name Kim Kallie) is a South African artist. She recorded her first song
at the age of eight, when she performed ''Montreal'' with her mother Judy Page. She
sang with the reggae group Kariba and jazz rock outfit Turbo in the early 80's, and
later did backing vocals for Future and others. She first shot to fame as a solo star
with a version of ''Holiday'' (written by Lisa Stevens and Curtis Hudson, credited as
Cathy Hudson), which was released at the same time as Madonna's version.
Margino also had a hit in 1983 with a cover of In-Deep's ''Last Night a DJ Saved My
Life'', that went to #16 on the South-African Top 30 and charted for 10 weeks. She
now runs a Performance Academy from her studio, and continues to perform on
stage at events around Cape Town.
Recorded at RPM Recording Studios (Johannesburg, South Africa) in 1985, Happy
People is a flawless album with dancefloor hits such as ''Happy People'', ''I'm
Getting Out'' and ''One Hot Night'' and downtempo tunes such as ''You Turn Me On'',
''You Need A Woman'' and ''You''. All rhythm tracks were played by Attie Van Wyk
(Keyboards, Synthesizer, Drum Machine) and Danny Bridgens (Guitar). The full
album is a cream of boogie funk, disco and pop.
For this reissue, Jamwax took the pleasure to remaster the sound from the original
tape. The artwork was also remake with Andy Warhol ''Marilyn Monroe'' pop art
style, for your eyes pleasure.

* Version excursion on Partial's rootsy `Free Again' rhythm, featuring Amelia Harmony, Jah Marnyah - both based in the UK, Berlin-based rising star Saralène and Partial Crew aka Liam Partial.
* As well as the three vocal cuts, the 12' includes three dub versions.
* Produced by Liam Partial, and mixed by Dougie Wardrop at Conscious Sounds studio, London.
* Other cuts on the `Free Again' rhythm appeared on the 7' (PRTL7064) - Ital Horns - `Remains Of The Day'.

(Limited edition of 300 copies on clear & black marbled vinyl with full printed sleeve and textured coloured printed insert)

This is the 1st vinyl release on a quiet RIOT, an independent electronic music label based in Scotland.

Following his Interferenza cassette for Osiris Music, Berlin-based sound artist Adam Winchester returns with a new body of work that sees him embracing ever more forthright rhythms while adhering to his established lines of sonic enquiry.

With roots in the Bristol dubstep scene and a long-standing partnership with Christopher Jarman in Dot Product, Winchester has spent the past few years investigating alternative methods of sound generation that deal in hidden electromagnetic frequencies and spectral tones found lurking in circuitry. Bringing these extremities back to a more structured focus, Muutto is a highly personal work that captures the period of transition as he moved from Bristol to Berlin.

While the finely sculpted tonality and artful distortion of his recent work is plain to hear throughout, Muutto is also grounded in arrangement and melody, weaving a tangible narrative that pivots around steely rhythmic architecture, nodding to his roots in club music without expressing anything explicitly 'dancefloor.' Even at its most physical, as on the weighted march of 'Hold,' the emphasis is on atmosphere and mood, no matter how heavy the drums fall. In the distant murmurs of pads and poignant vocal threads, the bittersweet emotional backdrop to the record comes through in abundance.

There's space afforded for the more avant-garde tendencies in Winchester's music too. 'Metaphors' is caked in guttural feedback that comes on like a particularly noisy Albini studio session strapped to a chassis of the swampiest blues rock lurch you're likely to hear all year.

In its needlepoint detail, broad scope of sound palettes and potent expression, Muutto is an accomplished offering, but more significant is the way these facets are bound together by immediacy and form that transcend the freeform experimentation many of Winchester's traits are drawn from.

'a quiet RIOT' is an electronic music label based in Livingston, Scotland orchestrated by Nomad and is the sub-label of the highly renowned 'RIOT Radio Records.'

Since 20th February 2015, Nomad has run his own very successful fortnightly internet techno radio show called the "RIOT Radio Show.' Each show has a resident warm up set then a further hour with a wicked guest, the majority of whom are among the world's top electronic artists. The show gets thousands of listeners on each transmission with every set recorded exclusively for it. You will not hear them anywhere else.

A hoard of very well-known and simply stunning acts always feature on the show along with a whole host of very talented local music makers.

This was the build up to the record label being launched in April 2016 that will show-case major acts and amazing local talent.

London's elusive Lukid has never been one for convention. In the few short years between 2007-2012, he struck out on a seemingly effortlessly impeccable run of releases on fellow iconoclast Darren 'Actress' Cunningham's mighty Werkdiscs imprint, as well as his own label Glum. Those albums and EPs flaunted genre distinctions and embraced a freewheeling approach to melody, rhythm and atmosphere that felt at once exotically psychotropic and yet grounded in a resolutely english eccentricity. Thus, they feel like especially-prescient recent classics that continue to find new fans.

In the intervening years, Lukid's energy has been poured into his stunning monthly transmissions on NTS while his output has been sparse aside from a pair of mindbending EPs via Liberation Technologies and Glum, respectively. Those radio sets serve as a telling blueprint for his contribution to the ongoing Arcola project. From low slung Memphis rap mixtape cuts to clattering industrial cassette rarities, turbulent grime and outsider synth hallucinations there is a warped palette that comes vibrantly alive across the four included tracks here. The stormy bump and spectral melancholy of 'The Drip' and 'Clappers' seems to wed them together as thematic bedfellows across both sides of the EP while 'Head Shrinker' tries to squeeze an overcast psych-pop opus out of a rack of malfunctioning hardware. Spit out the other side of this ride you exit to the chopped-and-screwed goth grime of 'Conked Out', having had your brain smeared with the uniquely viscous ectoplasm that only Lukid can excrete. Perfectly slimy.

Over two years in the making, 'Talisman' is a retrospective and re-interpretative celebration of the work of American musician Robert ÆOLUS Myers. Touched first by the emotional depth of the music, and subsequently by the warmth and wisdom of the man, Origin Peoples sought to capture a snapshot on this special vinyl release.

This newest chapter of the ÆOLUS myth seen for the first time on vinyl are five of his most expressive pieces, alongside a quartet of remixes by kindred spirits from all corners of the globe. This is the first time his music has been interpreted by others, and Robert's delight at the result speaks volumes of his adventurous and open-minded attitude. Approaching the often intangible new age genre with a humanist approach, Robert creates immersive and expansive pieces which connect with the listener on a spiritual and emotional level.

Archetypal narratives are retold through nuanced electronics, evocative motifs and empathetic flute, the varied compositions informed by Myers' classical training, spiritual pursuits and study of ethnomusicology. Part retrospective, part remix project, 'Talisman' is the perfect reflection of Robert ÆOLUS Myers, a musician whose timeless expression of theme and emotion has enriched minds, bodies and souls for almost 40 years.

In 2017 Blair French came out of hibernation to release contrasting but similarly sun-kissed EPs on Rocksteady Disco and Claremont 56.

Here, he returns to action with a scintillatingly sunny and sensual six-tracker on NuNorthern Soul that may well be his strongest release to date.

Given French's chameleon-like musical history, that's certainly a bold claim.
Over the years, he's been a member of a multitude of musical collectives - most notably Cosmic Handshakes and Formless Figures - established his own DIY record label (Fat Finger Cosmic) and released music that touches on a dizzying array of styles, from award-winning movie soundtracks and Afro-fired deep house, to skewed techno, blissful ambience and experimental hip-hop.

On Patio Pastel, French is in full on sand-between-the-toes Balearic mood, delivering a range of lucid, ear-pleasing compositions that will sashay their way into your consciousness.
Contrast, for example, the drowsy organs, glistening pedal steel and undulating hand percussion of opener 'Patio Pastel' with the Serge Gainsbourg style chanson-goes-tropical bliss of 'La Playa De Tercipelo', which features some deliciously breathy vocals from Stephanie Lyon.

Then there's 'Morning Sail', a sumptuously evocative soundscape rich in toasty, dub disco bass, shuffling percussion and lilting, Jonny Nash style guitar solos (see also the effortlessly horizontal Lounsbury Gardens'), and the kaleidoscopic, saucer-eyed Balearic pop brilliance of ;'Human Make Human', where new age synthesizer melodies and the fuzzy vocal refrain of Kasi Seguin gentle dances above an Afro-flecked, mid-tempo groove.

Throughout the EP, French mixes electronic and acoustic instrumentation, drawing together musical elements from a myriad of styles to create sumptuous new fusions.
It's particularly evident on superb closer 'Belle Isle Sunsets', where colourful synth motifs, eyes-closed guitar riffs and Mediterranean-warm chords wrap themselves around a gently pulsating, impressively layered groove.
Like the rest of the EP, it's perfectly pitched, expertly executed and wonderfully atmospheric.

Next on Berlin's Renate Schallplatten is Longhair, a project formed by Marko Pelaic and Benedikt Bogenberger, two residents of Berlin's Wilde Renate. Mangostine, a four-tracker, follows last year's 12' on Dutch label Bordello A Parigi and a track contribution on House Is OK. It lands with an Axel Boman remix. The EP opens with the title track, its name drawn from the exotic fruit. Over a brooding bassline we hear light, fluttering melodies and uplifting keys, creating a peak-time roller that'll put smiles on faces across the dancefloor. 'Pans & Pots,' the A2, starts as a darker affair with trippy vocal samples and fluttering drum patterns, before warm keys and intricate instrumentation lift the mood to make for a fun-filled jam peak-hours feel-good jam. On the flip, Studio Barnhus head Axel Boman reworks the title track into a more subtle, deeper cut; the melodies remain but in the background, replaced at the forefront by tribal drums and abstract vocals. Closer 'Aquamen,' meanwhile, opens as a straight-edged techno cut with a heavy bassline and fluttering snares, before playful keys and intermittent sci-fi samples add some texture. It's another late-night jam that'll lift the energy without ever being too forceful. The release is Renate Schallplatten's first since 2017's various artist compilations. Earlier EPs have landed from Moscoman, Sebastian Voigt, Wareika, and more.

Special Record Store Day 2013 release! LP version includes free download! One explanation for the 90s-fascination with Casio, Korg and other analogue synthesizers is quickly at hand: The 1st video-game generation was coming of age and were happy to hear that their dearly loved “Space Invaders“-soundtrack was suddenly popping up in electronic music. It takes slightly longer to explain why one record from that time - “Beautronics“, the debut by UK-synth-duo ISAN first released in 1998 - kept its appeal until today. “Beautronics“ does not grab you immediately. You don’t hum these tunes after a few listens, in fact you might not even hum them after dozens of spins. It’s not about humming. It’s about soft cushions and a cosy duvet made of sounds, it’s about aural sheets floating around like warm humidity during a hot bath. Occasionally it’s even about IDM, but in a very late-night kind of way. Antony Ryan and Robin Saville, the two English lads behind ISAN, are very open about their goals. They separate the longer tracks with short, often abstract pieces they called “Tints“. So it’s as much about tonal colour, as it is about melodies. The “Tints“ form an interesting contrast between ambient sounds and the more focused tunes. But even their most bass-dominated songs such as “Skeek“ are not exactly four to the floor. There’s no more than one to the floor, while the rest is sailing somewhere above in a haze of beautiful sounds and melodies. The album’s sleeve and title are straightforward about this: it’s all about the human beauty in electronica. Just like your mom’s heartbeat that set the tone for the first nine months of your life, “Beautronics“ produces sounds that radiate a warmth and naturalness that make them feel familiar upon first listen. The 15 years since its initial release don’t change a thing about this. That’s why it’s certain, that “Beautronics“ will win a new generation of listeners with this re-issue.

Vactrol Park, the collaborative endeavor between Kyle Martin (Land of Light) and Guido Zen (Brain Machine), returns to the ESP Institute with II, rounding out the second half of their EP series. For this installment, a sojourn was made to Stockholm to record at the computer music mecca, EMS (Elektronmusikstudion), where the artists had the opportunity to experiment extensively with the legendary Buchla 200 Modular and Serge Modular, two of the rarest and most pornographic modular synthesizers in existence. While both instruments originate from California (Buchla in Berkeley as a commission from pioneer Morton Subotnik, and Serge at the California Institute of the Arts), the music Vactrol Park draws from these machines is far from warm and sunny. Akin to their predecessors on the 2015 debut I, these works materialize a level of taste and measure of craft that's unattainable by most, each retaining an individual cinematic approach yet working collectively toward one consummate goal—paralysis.

Transcendence was not only Alice Coltrane's last studio album for Warner Bros., it would also be her last studio work for nearly three decades. While Eternity and Radha-Krsna Nama Sankirtana followed the composer's muse through an exciting range of musical styles and influences, Transcendence is perhaps the most fully realized of the three LPs, synthesizing the best elements of each into a monumental whole.

Side one consists of intimate compositions with Alice's pointillist harp enhanced by intricate string arrangements. At times, the emotional climaxes in "Radhe Shyam" and the title track sound like the score to an epic film. This would be the closest Coltrane ever came to chamber music, yet rendered with her uniquely spiritual tint.

Side two moves into celestial territory with uplifting chants, light handclaps and bluesy organ. These call-and-response chants, featuring members from her Ashram, completely embody both African-American gospel and Hindu devotional traditions, an uncanny fusion that is transformed through Alice's pure spirit.

What runs through the album's two musical halves is a powerful sense of devotion and discovery. At this point in her life, Coltrane was on a journey toward truth through sound, and Transcendence gives the listener a front row seat to this quest.

Originally released in 1993 by Hani AlBader on his first label Super Doppler Communications. It was primitively programed on 8track sequencer then recorded on a 4 track tape machine in his spare bedroom studio in Denver, Colorado. Only 300 hundred copies were pressed initially. It was not an easy record to sell to distributors at the time due to the various genres & sounds on it. Mailed out few promos to a handpicked list of names. One of them was dj Dubfire whom at the time was starting as Deep Dish. One morning in spring of 93' Hani received a phone call from Ali Shirazinia aka Dubfire who was full of compliments & requested similar tracks for his label.26 years later Hani's name became internationally known & till this day continues to produce & remix under many aliases while running his own label Soterios Records. In 2017 Hani started receiving several purchase requests from seekers of this record. Thanks to Discog they were able to find out who to contact.Jeep Warehouse Beats Vol:1 is now in high demand among techno / rave fans and some deejays are offering up to $110 per copy. Unfortunately it's out of stock. Due to the serge of interest by deejays and collectors, SDc is back! Repressing of this highly sought after piece of vinyl are ready to ship. Hani have also found buried deep in the vault an unreleased Jeep Warehouse Beats Vol:2 plus an extended version of the mainly requested track 1 on B-side called Vector Selector that will be released on future Jeep Warehouse Beats Vol: 1.5 with some help from Synchrophone in France.Here's a quote from the info sheet included in all promo mail-outs back in 1993. 'The Super Doppler Communications laboratory is the brainchild of Hani - technics technician extraordinary Hani takes no shorts on the beats. He deals with compounds and elements from the periodic table of dance. House, techno, trance, garage, and funk groove can be expected to oose from the test tube. SDc has been experimenting with the innovative styles of Burrito revolution, veggie tracks and the erotic magic of Miles Blacklove. SDc is a mile above sea level. All music is the property of the universe. Adults need not be present during lab because they just would not understand these

Dubplate’s Don Persian has repressed this Hardcore Breaks Techno Riddim, seeing there were only 100 in existence before going for crazy prices, now including a mix from S.Bell capturing a shimmering soundscape vibe, adding perfection to his unsung abilities. This E.P. has some speaker destroyer’s on there, introducing the MixMaster Max into the pot alongside the Persian doing what can only be called world dub music. Sterling breaks shuffling at a downtempo 8 bit vibe with a really heavy bass! MixMaster Max’s history is interesting to say the least...

Born October 1966. Break Dancer in 1984, under the moniker Mad Max, started a crew named The Back Street Warriors, busking all over the UK at places such as Covent Garden/Leicester Square Performing on stage & in clubs. They once jammed with The Rock Steady Crew in Camden Palace in front of an audience.

Then in 1987 he became a DJ, playing all genre’s of music, he first played on RJR Radio, playing Electro, Hip Hop, Soul, R&B & Reggae. Moving forward he started playing Acid House & Four to the Floor Music styles, by the early 90’s he played on Weekend Rush & then went onto Defection, Touchdown, Don & Passion FM, playing Acid & Hardcore Jungle.

In the early day’s, MixMaster Max was one of the Innovator’s of Jungle music by mixing Hardcore, Reggae & Hip Hop together, helping other’s to produce, fuse & gain idea’s in the music industry. He was by Far the most Original, Innovative, DJ anybody had ever heard.

In 1991 he played alongside John Saunderson at the Camden Palace on a Friday night, he also played at the Famous Hacienda Club in Manchester.

He was the first DJ to create the Topsy Turvey, which is one turntable on top of the other, he came runner up in the DMC World Championships in the early 90’s.

He played at some of the Biggest Rave’s back in the day, Pirate club 93, Fantazia 92, Dungeon’s 91/92, Turnmills 92, to mention a few. He also played on Avenues FM & People’s Choice, which were legal Radio Station’s, not forgetting Kool FM & Centreforce.

He performed on stage with the We Papa Girl Rapper’s in 1990 at the Notting Hill Carnival. This Legendary Cult figure is a Master of the Nunchucker’s & TurnTable’s!

His innovative Mixes were ‘legendary’ he was a pioneer precursor to the Art form known as Jungle Music, not to mention his Scratching abilities, which was ‘extraordinary’!

For those that listened to pirate radio back in the day, he was the legendary cult figure that inspired us all, giving us the freshest musical styles that had never been heard before!

He can still be heard on Radio today...What an inspiration this Unsung Hero has been to us All!

Considering He Was A Self Taught Pianist, Brian Auger's Progress Into The Heart Of The British Modern Jazz Scene Of The Late 1950's And Early 60's Was Particularly Impressive. He Gained Invaluable Experience The Hard Way, Paying His Dues At The Cottage Club, And The Original Ronnie Scotts On Gerrard Street, Working With Renowned Saxophonists Tommy Whittle, Dick Morrisey And Jimmy Skidmore - And Sessions In Smoky East End Pubs With His Friend, Arguably Britain's Greatest Jazz Saxophonist Tubby Hayes.

The Inclusion Of Several Of His Rare, Early 60's Piano Trio Tracks On Both Volumes Of 'back To The Beginning - The Brian Auger Anthology' Brought Long Overdue Attention To Brian's Early Jazz Career, Which Many Were Simply Unaware Of Prior To Their Release. The Enthusiastic Reaction To Those Tracks That Stuck In Brian's Mind, And Later, Fate Intervened, As He Himself Explains, "a Couple Of Years Later, Ken Greene, The Music Director Of Bogie's, Called And Told Me That He Was Starting A Project, To Whit, A Week At Bogie's With A Different Jazz Piano Trio Each Night".

The Material Brian Decided To Play Features Tracks From A Selection Of His Musical Influences, Heroes And Friends Including 'chelsea Bridge' By One Of His Favourite Composers, The Great Billy Strayhorn, Freddie Hubbard's Ever Green 'little Sunflower', The Much Loved Standard 'there Is No Greater Love' Which Brian Used To Play In His Original Early 60's Piano Trio, And His Own Composition Victor's Delight He Wrote A Tribute To The Great English Jazz Musician Victor Feldman Who He First Discovered Via His Tenure With The Cannonball Adderley Quintet.

Surprisingly, This Is Brian's Very First Jazz Piano Album Of His Illustrious And Award Winning Career, And Marks A Return To The Instrument And The Music That First Entranced And Enthralled Him As A Young Boy. His Musical Journey, Which Began In Austere Post War London, And On Which He Absorbed So Many Varied Styles Of Music, And Literally Took Him Around The World, Enrapturing Audiences Worldwide, Has Indeed Come Full Circle.

Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018
Mastering: Mathias Durand

Translations: Valérie Vivancos
Layout: Stephen O'Malley
Photos: Stéphane Ouzounoff, Bernard Bruges-Renard

Coordination GRM: François Bonnet
Executive Production: Peter Rehberg

SIDE A
Contrée (2013), 20'

SIDE B
Allégeance volatile (2002), 8'46
Esquive (2010), 10'10

The mastering of these tracks was done by Mathias Durand at François Lê Xuân's Studio 101, in Paris. I would like to warmly thank him for this.

Allégeance volatile and Esquive each tackle the same issue in their own way. Overcoming time: whether it be successive, additional, enumerative, or repetitive. However, there is nothing here about the ensuing nature of so-called "repetitive" music. These are types of high-end music. And it is more about insistence, the obstinacy of an individual who keeps knocking on a door that will never open.

Allégeance's rustic drumming, talkative, acidulous, colourful and overarticulated, with almost clownish desinences, eventually dies out in this very respite. The iterative and puffy shimmering of Esquive with its dull, thin and precise sounds, shifts and is engulfed into another sonic world — which appears as a gaping and collapsed response to this prime insistency.

This is, indeed, a 'volatile allegiance' and 'avoidance' from the sonic to the musical elements: the musical phenomenon anticipated and pursued as the non-sound of sound — or, in other words, the void of sound. This seems to be the lesson of the concrete attitude in music. Such is the kind of questioning that stirs the composer.

He returns with another title: Contrée, which, once again, speaks of a counter-event. Here, the movement is broader, more generous, more confident. Time spreads and stretches out. What seems to be a landscape of entanglements, trajectories, influx, masses and points emerges. "Something" rises and presents itself out of the sounds - these escaping beings, these "relatively short combustion flames " (Schaeffer).

The piece consists of five consecutive and uninterrupted parts: Entrée and Stance I — Véhémence de l'air and Stance II — Grande Allure. It is the central section of an electroacoustic triptych with Sables (2011) as the first and Nil (2017) as the last.

In 2015, Freestyle Records re-issued the groundbreaking 'African Party' album by the somewhat mysterious figure of Ginger (George Folunsho) Johnson. Recorded in 1967, nearly 20 years after he first arrived in post war London and immediately began performing and recording with London jazz stalwarts Ronnie Scott and Pete King.

Credited by those in the know (including Giles Peterson, Louie Vega, Fela Kuti's drummer Tony Allen & writer David Toop) as the godfather of afrobeat, Ginger and his group, The African Messengers enjoyed a varied career as the go to afro-cuban percussion group for recording sessions in the UK, working with Georgie Fame, Osibisa, Madeleine Bell and Quincy Jones - as well as acting us mentor to a young Fela Kuti and members of Cymande who cut their teeth as members of his ensemble. They also performed at The Royal Variety Performance, Ginger's music featured in the James Bond film 'Live & Let Die' and Ginger himself appears on screen drumming in the Hammer Films cult classic 'She', and famously performed with The Rolling Stones in Hyde Park in 1969.

Aside from 'African Party', and several Hi Life singles released on the Melodisc label in the 50's, it was thought that there were no further recordings by this hugely influential musician . Eventually, prompted by the attention afforded the Freestyle re-issues - Ginger's son Dennis Dee Mac Johnson was contacted by Uchenna Ikonne, a renowned African music collector, who told him he had discovered one rather battered original copy of a 45 single, released in the mid 70's on the short lived 'Afrodesia' label,

For Record Store Day 2019, Freestyle are proud to release the 2 tracks on a fresh vinyl 45. 'Witchdoctor' is not the track of the same name on African Party, but it and 'Nawa' (written by Dizzy Gillespie cohort Chano Pozo) demonstrate a musical progression as funk had stamped it's indelible footprint on Ginger's music along with afro-cuban rhythms and jazz.

Thanks to Claudio Passavanti at Doctor Mix Studios in London, who has done quite an amazing restoration and re-mastering job on this long lost music.

Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018
Digital transfer: Jonathan Fitoussi & Diego Losa

Translations: Valérie Vivancos
Layout: Stephen O'Malley
Photos: Jacques Brissot, ARR

Coordination GRM: François Bonnet
Executive Production: Peter Rehberg
Remerciements: Brunhild Ferrari

SIDE A
Music Promenade (1964-1969), 20'29

Electroacoustic Music
World premiere for the Théâtre de la musique, March 16, 1970
" Hétéro-Concert ""

Permanent version for four stand-alone tape recorders. A series of colliding realistic sounds and sonic images. Whilst walking, a man is struck by the violence of his surroundings. Nature has disappeared in a whirlwind of warfare and industry in the midst of which he encounters a dying folklore and a lost young girl.
The "Installation" version is used to sonify a place in which walkers are free to choose their musical itinerary.

SIDE B
Unheimlich Schön (1971), 15'40

Musique concrète made in 1971 in the studios of the Südwestfunk in Baden-Baden.
Voice: Ilse Mengel.

"How does a young woman breathe when thinking about something else "
To be listened to at a low volume.

Honey...rich And Flavorful, Hitting The Deepest Sweet Spot.

Drivetrain (detroit, Usa) - Inside You
Label Founder, Derrick Thompson Sets It Off With A Primetime Floor Filler.
The Gravitational Pull Of The Bass Riff Encapsulates The Vocal Hook As The Keyboard Refrain Perfectly Aligns With An Aggressive Percussion Track.

Rennie Foster (vancouver, Canada) - Detroit City
Demonstrating A Much Deeper Persona, The Sultry Piano Sets A Moody Atmosphere. Luxuriant Strings And Expressive Bell Tones Conjugate As The Vocal Signature Pays Homage To The City Of Inspiration.

Melodymann (ghent, Belgium) - Nobody Else
Explicitly Designed For Maximum Body Movement, A Solid Percussion Theme Is Immediately Established. Soon An Animated Chord Progression Is Introduced,
Then Showered With Kinetic Vocal Samples For Amalgamated Electricity.

Mark Ryal (sitges, Spain) - Imperfect Perfection
This Elegantly Fluid Soiree Debut Parades A Sphere Of Warm Pads Throughout.
Articulated Harmonies, Elastically Weave A Blissful Sonic Terrain Atop An Unyielding Groove Framework.

To happiness through simplicity. Rendering a very personal tribute to well understood minimalism, the same that is based on simplicity and conceptual refinement and that is adapted to the creation and musical production -respecting that electronic maximum canonical of "less is more" - in terms of its compositional process, instrumentation, mixing, effects, etc. 'Simple Things' can be danced throughout the night. It is a collection of tracks with punch, made from the clarity and personality that characterize Nacho Marco, susceptible to being played at very different times and places. Exhale, from beginning to end, a natural love towards the dancefloor. From the simplicity of the search for this objective, its author -in his Warm Studio in Valencia- has used different rhythm boxes -programmed internally- for each track in order to, also based on a raw mix - especially in percussion and basses - to provide the tracklist with a varied air -between digital and analogue- through which to enjoy traveling through deep-house, nu-disco, acid, etc. and, therefore, in funk, soul, jazz, etc. From Chicago to Valencia, passing through N.Y. and Detroit. And all this avoiding arguments and essays of style. From a maximum freedom of creation and enjoyment. Yes, we are facing a "100% Nacho Marco" job.

The sensitive mountain » (la montagne sensible) is the nickname Alain Bashung came up with for Arnaud Rebotini. At the height of his fame, after the success of Fantaisie Militaire in 1998, Bashung readily agreed to create an album with Rebotini. The two men didn’t know each other; their record label had introduced them. Bashung brought in “Mortel Battement” and “Nocturne,” two poems by Jean Tardieu, which he recited in a voice simultaneously warm and flat, and Arnaud produced an impressionist soundscape that ended with an apocalypse of metal. Bashung was so proud of their collaboration that he offered to give several interviews to promote the record. Today, listening back to this moving Léo Ferré influenced "talking singing" exercise, it’s hard not to hear the template for L'Imprudence, the album that Bashung went on to record with Rebotini two years later. In a similar way, the album Organique sparked a productive partnership between Rebotini and filmmaker Robin Campillo, which resulted in their being awarded a César for Best Original Music in 2018. The director, who trusted Rebotini to create the soundtracks for his films Eastern Boys and 120 Beats per Minute, never kept his love for the 2000 record a secret.

Yet it’s an understatement to say that when it was released, Organique was not in the spirit of times. That year was all about the French touch. The funky samples of Modjo’s “Lady” and Superfunk’s “Lucky Star” ruled the sweaty dancefloors. Although Rebotini was familiar with the electronic scene, he had something else in mind when he set about creating Organique. Under his own name or under the pseudonyms Aleph, Avalanche, Black Strobe, Maison Laffitte, and of course Zend Avesta, he had already released several quite bizarre and experimental techno, house, or jungle maxi singles on pioneering labels like P.O.F., Source, and Artefact, run by his friend Jérôme Mestre’s, whom he had met back when both were working as record salesmen at Rough Trade’s ephemeral Parisian store. It was at Artefact, still financed at the time by Barclay and Universal, that he naturally proposed this record project, which was a bit "different." It was his first real album.

Arnaud Rebotini has never hidden his love-hate relationship with the electronic scene. He’s a fan of rave music, Rex, and later Pulp, but he listens mostly to metal and contemporary music, mainly American minimalists such as Terry Riley, Philip Glass, Steve Reich. He wanted to mix this genre with a more French aesthetic inspired by Debussy, whose unconventionality fascinates him. From the first suspended guitar note of Organique, you can pick up another influence, possibly poppier. In the style of Mark Hollis, the erratic leader of Talk Talk, whose only solo album’s silences and dissonances left their mark two years earlier, we hear the fingers touching the keys of the clarinet on “Ondine.” The instruments have presence, character. Nothing is smooth. Everything is organic.

Although it’s sometimes labeled as electronica because of Rebotini’s career, there’s nothing digital about Organique. No "pro tools" editing or samples, only programmed drums and some synth layering. And his guest vocalists. Playing the role of electro producer, he invited Bashung, of course, to join him on the album, but also Roya Arab, who Rebotini first spotted while she was playing in Archive, and her sister Leila, Gus Gus alum Hafdis Huld, Kat Onoma’s Philippe Poirier on the “Samuel Hall” inspired track “Qu’est ce qui m’a pris,” and former KaS Product member Mona Soyoc.

The frustration of a tour where he had "little to do on stage," the desire to sing himself, and the creation of the Black Strobe project, a haunting mix of blues and rock, stopped Zend Avesta from putting out another album. Eighteen years later, the Organique we rediscover today has lost nothing of its strangeness, nor beauty. When it came out, Bashung said, "What is interesting for a musician is to feel that you have a piece of wasteland in front of you, something to clear.” That remains true today.

As a musical act, Xeno & Oaklander (Sean McBride and Liz Wendelbo) conflate a rich love of analog synths, melody, and mythology with eloquent nuance and a nod to the heritage they draw from. While that construct is the duo's immediate kiss and crush, there's a deeper importance to their collaboration which began in 2004. As evidenced in their debut Vigils (2004), McBride and Wendelbo's artistic dynamic is more than just a mutual love for electronics but a contrast between architectural precision and painterly expression. From the film scores to the traditional albums they've recorded in their Brooklyn studio, they've both spurred and fostered the global synth wave revival through a commitment to analog-only production and performance as well as a strident respect for the medium.

On their latest album Hypnos and first for the Dais imprint, the duo leveraged the talents of visual artist and live sound engineer Egan Frantz to mix the album. It's a touch that adds both punch and balance, allowing their inherent conceptual voices to converge into a collage with defined edges and warm, synapses of frequency and beat.

'Musically, Hypnos is a return to polyphony after several years of using strictly monophonic synthesizers,' McBride says about the album's ethos. 'This has brought dense harmonies and a more complex counterpoint to the composition. Staying with the same equipment and processes without the inveterate compulsion to update and refashion allows for a clearly perceivable genealogy with our previous work.'

'I felt the desire to tell mythical stories, I also wanted my voice to sit strongly in the mix,' Wendelbo explains. 'I channeled the spirits of 60s French Pop chanteuse Françoise Hardy and 80s New Wave New York icon Tina Weymouth.' Her intentions are best evidenced on the tracks 'Angelique,'and 'Insomnia,' the former a spry track sung in French, against a springy rhythm. Laden with expanding and contrasting frequency and a penchant for strategic rhythm, Hypnos juxtaposes dance with distance, creating an immersive oeuvre that exudes contrast and control.









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Unshrouded in mystery: what once started as an anonymous underground project with stamped white labels and a clever take on sampling, has since then unfolded to be one of the longest-running and most successful teams in current dance music. Nurtured by the sounds of the past and blessed with the techniques of today, the music of Tiger & Woods always kept evolving in and around the tropes of disco, house and boogie. Classic dance music, if you will.

Celebrating the 10th anniversary this year, Marco Passarani and Valerio Delphi managed to arrive at album number three. A.O.D. is a pun on A.O.R. (adult oriented rock) and a play on their own sound. Defying the restricting rules electronic music record shop crates, it's a departure and an arrival at the same time. Inspired by the faded buildings and images of discotheques on the Italian countryside, the romantic start and bittersweet endings of summer, beach life and the excitement of travelling through the landscape to get to aforementioned temples of dance and subsequently the morning after.

Except for the 100% sample-free 1:00 am, everything on A.O.D. is based on a quiver of cleared samples from the Roman institution that is Claudio Donato and his Full Time and Goodymusic emporium. In Tiger & Woods hometown Rome, the often very electronic and futuristic sound of Italo Disco had a different twist. Much more boogie-based and influenced by the song-writing styles of New York City's dance scene, it played in a league of its own. Tiger & Woods use these materials to take them apart, out of context and into contrasting areas. Molding something completely new, one gets fooled to recognize Sade songs that aren't, pop music instrumentals and a reprise of memories that never existed. A ride through ones brain in a convertible with an Italian FM radio station playing in the background. Or to use less stiff poetry: a chill out album you can dance to or a dance album you can chill out to. Adult Oriented Dance.

Switzerland's Alma Negra are known for their deft, tasteful explorations of world roots, anchored in digging, sampling and sharing. On this brand new remix collection, Alma Negra invite a trio of equally curious producers to remix some three of their best-received musical endeavours. French producer and DJ Bambounou capitalises on the quick tempo and raw-energy at the heart of the Maloya sound as the basis for his raw and hypnotic reimagining of 'Kabare', originally sourced from Christine Cabare, one of the most notable stars of the contemporary Maloya scene. Glenn Astro, meanwhile takes on another release, 'Haleto lale lalô'. Originally influenced by the Saho sound, the origins of which lie in the musical history and landscape of Eritrea, the Money $ex Records owner fashions two distinctive reworks out of the already adapted original material. After applying the soft pressure of his weightless, smooth funk for an initial, blissed-out remix, he switches up to a warm, percussive jack session on his 'Rhythm Trax' remix, available here as a digital bonus. Finally, cult producer and musician Michal Turtle, best known for his sensational LPs and compilations on Music From Memory, delivers only his second ever remix in a forty year career, conjuring a magical slice of dreamy, percussive pop from 'Tany Be', awash in signature brass.

- Utopia Music are extremely proud to present UM022, Hydro's debut album 'Lateral Thinking'. - Spread over 3 plates (4 including the sampler), Hydro manages to really showcase the variety and musicality that he's known for. With over 20 years of experience, he manages to comfortably wear his many influences whilst offering something both fresh and new at the same time. The palette covers light and dark, warm & cold, ambience, jungle, funk, soulful, techy, rolling, half time, 130 & 140 bpm, hip hop, jazz, tribal, and even meditative vibes. Inspired by a lifetime of music, travel and memories the aim was to deliver an eclectic album that could satisfy both the DJs and the headz whilst also being able to transport the listener elsewhere on an emotional and cerebral level. Dance music that can work beyond the dance floor.

- Hydro has been releasing incredible music since 2003 on almost all of the big labels. Since his production beginnings collaborating with Break, he has continued to work on many different styles and with many other different producers. He's become known for his musical diversity and his name is synonymous with quality & finesse. It's an absolute honour to be able to introduce his debut album to you. This project also features War, who again establishes himself as one of the best engineers in the game. Since first collaborating in 2011, Hydro & War have proven to be a formidable team, known for consistently delivering essential releases, including for Utopia. The only other artist featured on the album is Mateba, who joins in for two of the more uplifting tracks. A talented French producer and a long time collaborator of both Hydro & War.

Napolitan Techno DJ and heavyweight producer Davide Carbone releases on the French Rave Or Die Records for the very first time! Multiplying records and collaborations just like Mike Tyson was multiplying uppercuts, the co-owner of Repitch Recordings, Cosmo Rhythmatic and 3TH Records and owner of Carbone Records starts with "Dive Or Die" on the A-side: a speedy yet straight to the dancefloor tune based upon trancey acid lines a la Steve Stoll or Leo Anibaldi and aerial melodies. Combined with dark effects, this nostalgic song Made in Italy appears as an authentic Rave anthem from back in the glorious days!

On the flip side, ROD mastermind and dancefloor veteran Umwelt (Voitax, Return To Disorder) delivers a shaking, hefty and tremendous cut. Named with suitability "Tremblements", the jam signs a fascinating ode to smoking warehouses and illegal parties. Metallic pads over no mercy beats fused into industrialized synths and screaming atmospheres characterize this this dark as hell cut interspersed with counter breaks a la The Mover.

Dark, groovy and noisy at the same, two massive absolute bangers with old school roots on ROD twelve release! By the way, if you wonder the significance of the signs on the Rave Or Die logo in the labels, they are taken from the Hobo Code and mean "Keep away, Cops Active, Unsafe Area". You'll be warned.

Italian boss Wrong Assessment makes his Dynamic Reflection appearance with this 4-track EP including a Shifted remix of the title track.

You can hear the years of experience is in this well-produced and strongly written EP. The balance between the rolling drums and the uplifting percussion are capable of bringing listeners into a certain state of mind. The warm and melodic synths fit perfectly into many layers of each track, while Shifted gives it a more dark approach on remix duties.

Wrong Assessment manages to combine the label's vision and sound authentic and refreshing at the same time, causing him to stand out with this 40th EP on Dynamic Reflection.

After Two New Eps Released Last Year On Pont Neuf Records And The Jimpster's Label Delusions Of Grandeur, Cosmonection Is Back On The Parisian Label With A New Ep odyssey'. This New Maxi From The Parisian Producer Presents An Ever More Mature Sound Universe By Confirming Its Attachment To A Deep House Sound With Many Balearic Euphoria Influences And A More Retro-futuristic Approach, Synthesized With Hushed Melodies And Warm Afro Rhythms.

The fourth AF Trax release is a three-track EP from our long time ally The Fantastic Twins, who has the following to say about her EP:

This EP is a small collection of works I crafted over the past couple of years in the process of working on my live show. I have been performing versions of these tracks countless times and yet never played them twice the same way. To me, they have been material in constant motion, so shaping them into a 'finished' form was a risky challenge. Something I was also wary of - would it mean they would become set in stone Would it mean I'd have to somehow 'rationalise" the music - via the mind - as opposed to letting it run into the wildness of its physical live experiences

Whilst editing these tracks into a format that could be released, I realised that instead of shaping them into the mould my mind first intended to give them, I could in fact use the power they revealed each time I performed them to an audience and inject some of that energy - as much as it is possible to capture and recreate it in the studio - back into this EP. Then of course, it meant letting go on things I usually like to control more, and better.

But isn't it the power of music to let it take you where you didn't plan to go And how incomplete would the music be if our inspiration didn't feed off the collective experience of dancing to music together I've lost myself (and my twins) many times throughout the process - not only on German soil - I have sometimes landed in the wrong place, but I may have found one answer yet in the form of another question. Why are we here if we can't dance

That reminds me of the words of Pina Bausch 'Dance, dance or we are lost'. Lost in our internal struggles as individuals (or imaginary twins). Lost in a society where our relation to the other is often marked by fear, power or violence. We feel the need to resist. Yet nowadays, taking a political stance as an artist is too often being instrumentalised as another tactics or accessory to gather more popularity, reducing the political message to nothing else but a branding attempt. Isn't it anyway the power of capitalism to assimilate everything, even contradictory or once-upon-a-time subversive voices All to end up on a 'Rave' or 'Feminist' H&M t-shirt. Slogans that have been emptied of their initial force and substance, now replaced by their commercial value. I strongly doubt that more empty words poured in vain on social media will help us much. But, like Pina Bausch, like JD Twitch, I have always firmly believed in dancing as a physical, social and fundamental act that leads us to share a common space with others and embrace otherness. Standing together, dancing together when everything else forces us to divide.

Jason Letkiewicz has always swum against the musical tides, flitting between different solo pseudonyms (including Steve Summers, Death Commando and Alan Hurst) and collaborative projects (most notably Mutant Beat Dance) in order to explore different aspects of his leftfield inspirations. With his latest release, a first full-length outing for Artificial Dance entitled Mirage Information, the Chicago-based artist is operating under an alias that celebrates this approach: Opposing Currents.

It's an alias he's used once before - for a track featured on Chronditic Sound's 2015 cassette compilation Non-Christian Referent - but Mirage Information sounds like an artistic rebirth. Densely layered, mind-altering and often intense, the album's seven tracks update the Cold War paranoia and pulsating electronics of EBM and industrial music for today's complex and chaotic political climate.

Throughout, Letkiewicz smothers off-kilter drum machine rhythms and throbbing, body-jacking synthesizer basslines in untold layers of hazy audio detail, creating a dystopian sound soup out of which alien electronic melodies, psychedelic acid lines and barely audible vocals emerge. At times, such as on angry opener 'Lying Awake', the extra-terrestrial 'Dissolve' and foreboding 'Shallow Grave', we're invited to dance in the darkness in celebration of impending doom. On other occasions, such as the poignant and melancholic closing cut 'It Awaits', Letkiewicz simply seems exasperated at the chaos that is life in the 21st century. It makes for a genuinely arresting and thought-provoking listen.

Parallel Minds Is A Group Of Like-minded Musicians, Djs, And Graphic Artists Working Together To Bring Compelling, Progressive Electronic Music From Toronto, Canada To The Rest Of The World. Spearheaded By Ciel, And Newcomers Daniel 58, And Yohei S.—who Have Variously Released Music On Labels Like Shanti Celeste's Peach Discs, Allergy Season, Coastal Haze, And Neo Violence—the Collective Offers On Its Inaugural Va Release Four Diverse Cuts Of House, Breakbeat, And Hardcore To Energize Your Body And Comfort Your Soul. The A Side Features Two Slamming House Cuts, With The A1 Offering By Discwoman Signee Ciel And A2 By Yohei S. Clocking In At A Frenetic 134bpm, "hind Sight Is 360" Is A Peak-time Dancefloor Banger Featuring What Has Become Trademark Characteristics Of Ciel's Productions: Intricate Drum Programming And Lush, Jungle-inspired Pads. "eastern Rankin" Is A Slower, More Hypnotic Percussion Track That Demonstrates Incredibly Effective Use Of Space And Delay. Its Minimalist Structure And Echoing Drums Would Sound Ideal In A Dark Warehouse. The B Side Opens With An Even Bigger Bang, With A Track That Would Best Be Described As Indian Hardcore. "mana Sadhana" By Raf Reza Under His New Alias, Radiant Aural Faculty, Is A Vibrant Mixture Of Hindi Vocal Samples Layered Meticulously In Between Freaked-out Synths And Thumping Breakbeat Drums. Completing The B Side Is The Aptly-titled "space Bubble" By Daniel 58. Drawing On Influences From Ambient, Trance, And Breaks, The Promising Toronto Artist Closes Out The Release On A Dreamy Note, Employing Nostalgic Melodies On Top Of Tough-as-nails Drums And Deep Rolling Sub-bass. As First Releases Go, Parallel Minds One Offers A Taste Of Something For Everyone, From A City That Has Perhaps Been Overlooked But Deserves A Second (third, And Fourth) Listen.

Wehbba collaborates with ghetto tech legend DJ Deeon, to deliver another superlative EP on Drumcode.

Since his debut on Drumcode in 2017, Brazil's Wehbba has become one of the most dependable and impressive artists on the roster. Last year saw two standout EP's 'Eclipse' and 'Catarse' drop on the imprint, alongside 'Just', his strong contribution to A-Sides Vol.7. He also made his mark playing Drumcode events at OFF Week, Resistance Ibiza and the much talked about double header in Manchester and Bristol when DC took over Warehouse Project and Motion respectively.

A true master craftsman in the studio, his first contribution for 2019 is typically impressive. A huge inspiration to Wehbba since his nascent raver days, ghetto tech icon DJ Deeon contributes a fierce vocal to 'We Have Bass', after a serendipitous hook up in São Paulo. A peak career moment collaborating with one of his original heroes and the artist responsible for the classic 'Freak Like Me', the resulting percussive-heavy cut kicks like a rodeo bull. 'Third Wave' is coffee geek Wehbba's homage to his favourite brew, constructing the production to mirror the experience of a caffeine fix, as a loopy trance-inducing groove leads to powerful synth stabs that are heavy on impact. 'Steamroller' is a stripped back slice of techno driven by the Brazilian's Korg MS-20 and found form after it initially begun as a studio jam inspired by Richie Hawtin's 'Minus Orange'.

A Jean-Michel Jarre fan stretching back to his childhood, 'Another Mistake' was conceived after Wehbba saw the French legend in concert last year and was subsequently able to meet him backstage through a mutual friend. While creating the track, the producer imagined Jarre playing the main layers of the hook on his famous Laser-harp, eliciting an almost celestial quality with the melody. This is a stirring slice of techno fit for stadiums. The EP ends with 'Purge', the artist's stream-of-consciousness expression recorded in one-take and a beautiful beat-less way to conclude the work.

LIMITED EDITION RUN OF 200

A gem of an EP, the "Untitled" track could easily have been mistaken for a Warp Records release or AFX. Techno to drive you nuts.
Written by my Sound Designer friend, Michael Bolton, at University in 1998.

The Driving Me Nuts track is a sample of our tutors reaction to a track I made she hated.

Voodoo Dance Malarky's intro would be worthy of a Chemical Bros track, full of little surprises and an evil break at the end.

Originally recorded to tape. Cleaned up by me years later, remastered by Subvert Central Mastering and cut at Curve Pusher. Pressing by Vinyl Presents on clear Vinyl.

Véronique Sanson is one of the most famous French pop oriented female
singer, songwriter, and composer of the 80s. She began her career in the 70s,
and was the girlfriend of genius composer Michel Berger. Her world turnt
upside down when she met Stephen Stills of Crossby Stills & Nash. One Day,
during a recording session in Paris, she left the studio pretending to go buy
cigarettes, but never came back... She flew overnight to the USA, where she
married Stephen Stills. In LA, she records new music with superstar
composers such as Ray Parker JR and Harvey Mason. "On m'attend là-bas",
produced in 1974, was one of the single of the album Le Maudit.
Funky French League is an intergenerational collective (based in Paris)
formed by Young Pulse (Gamm) , Dabeull (Roche Musique), Arthur Chaps,
Woody Braun (Malka Family), Mr Willy, DJ Asko et Uncle T (Groove
Deluxe). All coming from different universe from hip-hop, to electronic music,
but united by their love for the groove and the funk.

Born from Music of Life archive tapes (previously believed lost) which were uncovered by Robin Allinson in a Publishers warehouse in 2012.

The source material for this special record is" 1989 Hustlers Convention Live" (SPOCK1) ".

A Live Hip Hop Album, famously sampled by The Prodigy for the 'Everybody In The Place' vocal. The tapes of the night were multi tracks with 6 channels of audio recorded, Decks (Mono), 2 Mics (Mono) and the Room (Stereo). Being so old the tapes were first 'baked' and then transferred from a Studer machine in to Pro Tools via Prism Sound A/D converters at FX Rentals / FX Copyroom, Acton, London.

Notable performances by Artists on the Night came from MC Duke & Merlin; Mark The 45 King; Demon Boyz; Daddy Freddy. DJ's on the night were Westwood and Cut master Swift. Sections of their sets between Artists was captured. What did not make the Album was the Battle instigated by Overlord X coming on stage and stopping proceedings to battle MC Duke. As Duke once told me "X stuttered on the Mic".

Listening back, it's gold and puts Queen Latifa popping up in context. While restoring the Album as a multi track mixdown Robin started a series of new music projects plundering the MOL tapes and formed Stay On Target records to release them. Recordings were sent to: Sonars Ghost (SOT000), Stormski, 6Blocc, Bay B Kane and the last instalment was by Robbee Darkhalf.

Salour is a German artist who runs his own esteemed events in Hamburg and has played all over Europe from Watergate in Berlin to Culture Box in Copenhagen. His dub infused style is utterly distinctive and these new cuts prove that once more.

North Scapes opens up with a molten, acid tinged bassline. As it grows more wild there are icy hi hat loops layered in with some big piano chords to finish it in style and mean the floor will really go wild. Liquid Lava is more direct, with hard hitting techno kicks and deft synth sounds colouring in the grooves. Then comes the excellent Urban Signals, a dramatic, dubbier cut with cavernous bottom ends and subtle, supple synths layering in warmth and atmosphere. Last of all, Peter Schumann's LSD25 Restyle of North Scapes pairs it back to a warm, bubbly warm up house tune that will get you moving with its sonar blips and nice, deep cut and churning drums.

All four of these tracks are fresh and classy efforts sure to make their mark.

First Terrace Records is thrilled to announce that Justin Wright - the Montreal cellist & composer hand-picked for support duties by luminaries such as Colin Stetson, Hauschka,  Bing & Ruth, and the late great Jóhann Jóhannsson - is gliding calmly into the spotlight with his debut long player.

With an assembled quartet of violin, viola, cello and double bass, the record was tracked in Rolston Hall at the Banff Centre, in the Canadian Rocky Mountains, and carries in its sound the location's stately beauty.

Over the duration of Music For Staying Warm, nine experimental compositions and improvisations are unwound for the listeners pleasure, each with its own gentle patience, as Justin invites you to 'relinquish your sense of anticipation' and enjoy the drift.

Announcing itself like sunshine on frost, Harmonic Loops opens the record and begins to thaw the path ahead. Throughout the album, woollen strings swell at their unforced pace and combine to swaddle the brain's pleasure sensors in frequent moments of pure hygge.

serenitatem, the fifteenth installment of FRKWYS, RVNG Intl.'s collaboration series pairing intergenerational artists in creative conversation, joins Visible Cloaks with Yoshio Ojima and Satsuki Shibano, two trailblazers of the Japanese avantgarde music and visual arts scenes of the 1980s and 90s.

Yoshio Ojima began his career as a composer of environmental and ambient music, with a particular interest, and optimism, in the possibilities of generative software. His compositional pursuit of human synthesis with computerized forms was realized in its fullest potential alongside Satsuki Shibano, a pianist renowned for her interpretations of Erik Satie and Claude Debussy. Together, they were among a handful of influential Japanese artists whose innovations still resonate, if not more vibrantly than ever, well beyond the tightly-knit scene's original core. In the early 90s, Ojima was among the programmers of the influential satellite radio experiment St. Giga, a constantly-evolving sonic landscape that combined field recordings and sound collage with occasional readings of Japanese poetry. Satsuki was a regular reader for the station. This musical terrarium bloomed out of sight in a small Tokyo studio, a greenhouse of sound with no set start or finish time that audiences could tune into, absorb, and immerse.

The perpetual flow state of St. Giga — recordings of which Ojima shared with Visible Cloaks — would be highly influential to serenitatem's constitution. As Visible Cloaks, the Portland, Oregon duo of Spencer Doran and Ryan Carlile have developed their own set of creative strategies that form an aesthetic fuse point between human intention, aleatoric composition, and improvisation.

These are notions most recently reflected in 2017's Reassemblage and Lex, a respective album and EP in which the duo combined generative software and virtual representations of global instruments into lacy, interlocking patterns. Long time admirers of Ojima's work on albums like 1988's Une Collection Des Chainons, Doran and Carlile discovered after an online introduction that they shared with Yoshio and Satsuki an abiding interest in pre-classical composers, the Lovely Music, Ltd. label, and the British avant-garde, as well as a mutual respect for one another's techniques and processes.

The four musicians met in Tokyo, Japan at Sounduno Studios in December 2017, at the tail end of Visible Cloaks' first Japanese tour, to commence work on serenitatem. Leading up to the studio sessions, Doran and Carlile sent Ojima processed sound sketches recorded while on a European tour, which Yoshio would add to and return. Visible Cloaks would then fold Yoshio's edits back into the original compositions, which Doran and Carlile brought to the exploratory recording session. During that week together in Tokyo, the quartet made use of a number of creative strategies — 'echoing sound together,' as Yoshio puts it. Among the strategies, MIDI randomization gave the quartet melodic lines and what Doran calls 'randomized clouds,' or 'tightly grouped notes that become smeared tonal clusters functioning more like chords in themselves.' Carlile would also feed Ojima and Satsuki's text into Wotja, a generative music software which produced a MIDI language around which the quartet expanded their compositions.

'The aim,' Doran says of serenitatem, 'was to make a work that was not specifically ambient (or environmental), but something more multi-hued, weaving these deconstructive concepts into an album that has a deeper architecture underpinning it.' Accordingly, serenitatem is a marvelously sharp record, its sutures between human and machine virtually impossible to find but suggested everywhere you turn. The collaboration among Ojima, Satsuki, and Visible Cloaks is both musically and conceptually inseparable from the technology that made it possible. Throughout the album, Shibano's playing resonates like Satie's, her rhythms cascading like drops from leaves an hour after the rain. Overtones are stretched and warped like modeling clay, then spun around and shown off from multiple angles.

A single soaring note might seem to be suddenly plunged underwater, its richness of sound made shallow and its sharp edges blunted. Pittering chimes and rapidly warping vocal samples hang in the luxuriously glossy space, water trickles from ear-toear, familiar melodies rise from nothing and dissolve before they can be traced. With the depth of its emotional charge, serenitatem burns away the easy cynicism of the day, presenting itself as the kind of delocalized work of art the internet promised us decades ago — a synthesis of artistic visions, technological sophistication, futurist ambition, and, occasionally, ancient polyphony. Listening to it can feel a bit like tuning in to a 21st Century version of St. Giga: It's a place where the future still grows.

Visible Cloaks, Yoshio Ojima, and Satsuki Shibano's serenitatem, FRKWYS Vol. 15, will be available across LP, CD, and digital formats on April 5, 2019. The quartet will perform select live shows throughout 2019.

Run The Length Of Your Wildness is a weekly dance party held every Monday night at Underground SF in San Francisco, which initially launched on August 24th, 2015 in a small rave cave known as The Basement — formerly and infamously known as 222 Hyde — in San Francisco's Tenderloin neighborhood. Friends and 100% Silk labelmates Cherushii (Chelsea Faith) and Roche (Ben Winans) started the night as an opportunity to DJ more often, honing their skills in the process. But thanks to the intimate setting, The Basement's supportive owner and staff, and the wonderful crowd who attended on a regular basis, Run The Length Of Your Wildness became so much more than that: a community of music-obsessed weirdos, nerds, scene fixtures, first-time ravers, and eccentrics, leavened by the occasional random partygoer passing by, taking a chance, and finding themselves hooked on their new Monday night mainstay.

We book primarily local DJs and live acts, and make an effort to book artists and DJs who have never performed out before. We encourage experimentation, and we're proud to say Run The Length Of Your Wildness has become a place for electronic musicians and DJs to showcase their expressive freedom and GO WILD!

On December 2, 2016, Cherushii, Nackt (Johnny Igaz) and several other beautiful souls were lost in the Oakland Ghost Ship warehouse fire. The loss is beyond devastating — we miss our friends dearly. The San Francisco electronic music community has come together to do whatever we can to champion their legacy, and Run The Length Of Your Wildness is proud to be an enduring part of that legacy.

Hobo Camp is proud to be able to partner with Run The Length Of Your Wildness to produce a release containing music from Cherushii and Nackt, to preserve their legacy and contributions.

All profit from the sale of this record will be donated to the families of Chelsea Faith and Johnny Igaz.

It's easy to fall for a nostalgic approach to dance music, to cuddle oneself in the warm analogue sounds of late 1980's dance productions - especially with the heavy ongoing reissue trend going on. However, we have to stay focus: look out for contemporary sounds and means of production. Parisian producer Nathan Melja makes his debut on Antinote with an idiosyncratic three-tracker and our guess is that it sounds contemporary.

On the A-side: one tune: Deadrums. Both the name and the music speak for themselves. It's hard, it's efficient and at the same time, there's quite a lot going on, tiny bumps on the straightforward road to techno ecstasy. Nevertheless, Deadrums is a precise piece of machinery, an atmospheric banger, yes, but with deadly jaws made out of tempered steel to tear a dancefloor apart, piece-by-piece. On the B-side, Angels stands out as a perfect example of a song that has many dancefloor qualities but, like some of DJ Sprinkles' seminal recordings, turns out to be more of a late-night tale of urban wanderings on wet pavements (think Taxi Driver and its soundtrack by Bernard Hermann). Contemplative, melancholic and - let's say it - sad, its nagging melody can bring a little tear to the eyes of the most sensitive ones. Rounding up the 12' is Candy, a tune under the influence of bad boys like DJ Overdose, or Ghettotech legend DJ Assault - so that you can dry your tears.

It's Nathan Melja's first release on Antinote, but he's definitely not a newcomer. He's been around since Antinote exists, and we're glad to finally collaborate with him.

Mancunian Hidden Spheres has showcased himself as one of the most innovative producers out there, releasing across the likes of Lobster Theremin, Rhythm Section International and his own imprint Fruit Merchant, all of which have been the perfect outlets for his inspiring blend of house and jazz. Church now features as the latest addition, who continue their stellar discography with 'Words Can't Explain', a collaborative EP which sees Hidden Spheres alongside singer-songwriter and guitarist, Oscar Jerome.

The collection begins with the original mix, lowering you into slick jazz guitar licks and echoing vocals, before Hidden Spheres provides a tight groove to lock around the melodies in fine form. The hybrid creation of jazz meets house binds perfectly as warm keys hang effortlessly in the air and popping guitar lines carry you onwards, supporting the sublime vocal from Oscar.

The dub version opens up room for the guitar licks and synth top lines to take centre stage, a real opportunity to marvel at the arrangement here.

On the flip is Yu Su's rework who ups the tempo and dims the lights for a punchier rework.. The half way point welcomes a percussive led break before the hats return and pick up the groove once again, closing the 'Words Can't Explain' EP in style.

After a brief wander 'round the garden, Chilean-born Ricardo Tobar returns to the ESP Institute bearing earthly delights. With 2017's Liturgia, he introduced his creative point-of-view—instantly substantiating a sense of rhythm that was deliberately complex yet slightly rough around the edges, while touching upon his musical origins from the guitar-driven corners of psychedelia— however with his debut 2xLP Continuidad, he leaves us gobsmacked and seeking shelter as he leaps from dancefloor comforts and descends into absolute chaos (in more ways than one). Emotionally, the artist has crossed all previously self-imposed and subconscious thresholds, putting his true imagination on display and exposing an unwavering attraction to all things loud, orgasmic and transcendent. He's not subtly hinting at a fetish, but opening his arms wide with conviction, abandoning genre taboos and personally inviting everyone to join his enchanted caravan. Sonically, his appetite for intensity is clear throughout—epic chord changes, ascending peaks in arrangement, accumulating layers of grit that build into impenetrable blankets of distortion and feedback—a kind of aural hedonism that translates visually into the potent video abstractions our Mario Hugo has summoned for the album's packaging. This follow-up single surrounding the Continuidad album boasts the dirty little secret Bailemix of album track Recife—we wont go as far as uttering the 'T' word, but this is unbridled merciless tops-off festival gear for the massive. The flipside is another exclusive non-album cut Cuatro Meses De Verano, a rhythmic build-up that breaks into a low-slung funky stomper, Tobar's idea of a warm-up weapon.

Life is all about rhythms. We don't know what we're dancing to until we're in so deep we can no longer control ourselves. The rhythm controls us.

Right now both Guti and the Martinez Brothers are dancing to the conga rhythm. Guti's third album, they've been dancing to it since the summer, teasing us with a whole slew of percussive new... And they'll continue throughout 2019. Chance are you will, too. Eventually the rhythm will control all of us. It's too infectious not to.

Here's the 411: 'The Year Of The Conga' is Guti's third and most rooted album to date. It came about through a personal request from brothers Chris & Steve Martinez. Both unapologetic Guti fans they wanted the very first album on their Cuttin' Headz label to be his. The result is a total reconnection back to his Argentinian foundations, his club roots and everything that first lured him to the dancefloor...

'I'm back to my roots and found my Latino groove again,' says Guti who wrote the album throughout 2018, starting it whilst bulleting through Japan by train, the majority crafted in the jungle of Dominican Republic, having collected and sampled native percussion instruments, and then finally mixing down on his return to Europe. 'Every song is full of rhythm and created to make you dance...'

He's not messing around; from the writhing snakelike percussion and rousing calls and cries of opener 'Aee' right through to the final mesmerising waves and farewell struts of finale 'Voladora' this an album is born both for and from the dancefloor. No overthinking, no purism, no exclusion; just unabashed physical hypnosis, fuelled for the floor, guided with gut instinct and years of groovecraft. It's the sound of an artist who's disconnected, explored and reconnected. He's older, he's wider and more in tune with his own pace and palette. One of the most diverse and explorative artists to come from Loco Dice's Desolat stable, this is Guti simplifying his passions down to an essence of everything that's magic about his roots and our shared dancefloor culture.

The highlights are in abundance; those hazy-but-persistent New Jersey organs on 'Telling The Truth', that wobbly sub on 'Red Eye', that shimmering sinewy acid line on 'Se Baila', the spicy pianos and wet horns of 'La Orchestra Fantasma', the list goes on. Each cut designed for deep mix pleasure, each cut rolling with a strong organic flavour and alluring percussive dynamics, each cut showing Guti at his most inspired, warmest, playful and ready to wrap you up so deep in a conga you'll soon lose yourself.

Cuttin Headz, cuttin straight to the chase but never cutting it fine... Let us be the first to wish you happy new year with the first ever album on the currently unstoppable label. We'll wish you a happy new conga, too. 2019's going to be a vintage and Guti and the Martinez Brothers are leading the charge.

Next up on LOVEiT is head honcho JK himself, presenting a fine Reminiscence to 90s french house on the A1. With his remix, italian Jo Pariota transforms the title track into a veritable detroit house groover by adding warm pads and driving hats. JKs B1 is a moody deephouse affair including jazzy keys and a thought provoking spoken word sample by a certain saturn-visiting cosmic poet. The Rare Sun Recall Mix by .WS takes you places: riding out on an uptempo tribal beat, it slowly starts to fall apart before vanishing into ambient bliss. - morri313 Early Feedback: Lay Far (Atjazz Record Company / Local Talk / 4 Lux) Congrats on the release! Loving the 'Being Neglected As An Artist

Movente Is A Debut Lp From A Vital And Long Standing Figure Of Italy's Clubbing Scene Under A Brand New Alias. That Alias Is Cleptophonic, And The Album, Due In 2019, Is An Autobiographical Collage Of Experimental Trip Hop Sounds That Is Truly Immersive.

Under A Former Alias, Cleptophonic Has Spent Years Djing And Experimenting In The Studio And Has Made A Real Impact On His Native Scene As A Result. He Is A Very Delicate Person With Serious Attention To Detail That He Puts To Best Use By Delving Deep Into What He Loves: Playing On Turntables And Immersing Himself In A Sonic Realm Cuts Him Off From The Real World And Acts As Therapy For This Meticulous And Selective Person And Artist.

He Is A Master Of A Stylish Musical Collage Technique - Both In Sound And Images. As Such Movente Is A Collage Of Different Sounds, Sampled With The Turntables And Put Together With Logic, While His Passion For Collage Also Spills Over Onto The Album Cover, Which Is Made By Pieces Of Paper From Magazines, Newspapers And Comic Strips. The Result Is An Experimental Trip-hop Album With A Singular Sound That Puts Together Pieces Of Life, Sounds And Images That Are Meaningful For Him, Especially The Last Song, Which Is Dedicated To His Mother Who Sadly Committed Suicide A Few Years Ago.

There Is A Beauty And Delicacy To The Music Throughout This Most Excellently Escapist Album That Is Utterly Absorbing. Pads Swirl Round Louche Beats, Crisp Hits Ring Out Into The Night And You're Left In A Deep State Of Contemplation Throughout. There Are Warped And Shimmering Cuts, Dub Tracks Drenched In Reverb And Melodically Rich Broken Beats. The Whole Thing Is So Spacious You Get Sucked Right Into The Centre Of It All And The Thoughtful Moods And Deft Sonic Details All Making A Truly Lasting Impact. This Is An Exquisite Album That Encourages You To Really Get Lost In A Unique Musical World.

Serenace, a mysterious duo based in Chicago and Berlin joins the Shaw Cuts squad with 'The Flying Guillotine' - a weapon shaped like a hat with a blade rim and chain attached.
The weapon serves to brutally quash any defiance against the ironfisted Emperor Yung and his regime. The enforcers are twelve specially trained fighters, The Flying Guillotine squadron. 'Sheltered In Absence', its pushing drums and energetic synth elements, chimes to the cruel deeds of the squadron.
The guard Ma Teng flees when he witnesses the brutality unleashed by the men and the lethal weapon. The raging emperor commands his fighters to capture him, but Ma has disappeared into thin air. - Vitrine', a diverse groove combining swinging percussions and warm melodies circles over head, helping Ma to stay undercover.
The slaughter continues as the squadron relentlessly search for Ma. Ma turns back and confronts the army. Equipped with his own deadly weapon, he joins forces with Kreggo and his - 2in1' remix version, wiping out the squadron one by one.
- Spun Coral' sweeps in, drowning out the sound of guillotines gliding through the air until the last member falls. Silence reigns over the battlefield. But the myth of the fatal weapon remains.

Emotional Rescue and Mountains In The Sea are thrilled to team up to revive a lost rarity of American ambient music: Chris Spheeris and Paul Voudouris' 1982 album 'Passage'.

Living and recording in Milwaukee, Wisconsin, Chris and Paul composed and released several albums of folk-rock and album-oriented synthpop before their attentions turned towards sound healing music in the early 1980s. The duo was approached by a company doing biofeedback therapy and asked to create an aural component for patients looking to regain control of nervous disorders. After extensive preparations and just one day of studio time, 'Passage' was the result, recorded live with no additional overdubs.

The LP consists of 3 long tracks which flow together as a single piece. Opener 'Prism' contains the album's most frenetic moments, glittering guitar and synth tones designed to draw the listener out of their distressed state. Next comes the soaring 'Mosaic', a renewing sunrise of warm chords that beckons slowly towards the album's summit, the over-20 minute title track which contains a sonic ecosystem of it's own. The album concludes in a state of pure serenity, in which the passage of time has seemed to slow to a halt, and the outside stresses of the world eradicated.

Over 3 decades since its initial conception, 'Passage' still retains all of its inestimable healing power, but remains incredibly difficult to find. It's an album that belongs in discussions of landmark early American ambient works, alongside names like Michael Stearns, Constance Demby, Kerry Leimer and Pauline Anna Strom. ER and MITS have worked with original cover artist Vinayak to render the album artwork as originally intended, in even greater detail than on its first release. We're overjoyed to be able to share this

Turning Jewels Into Water Is A Live Electronic Duo Led By Indian-born Drummer/producer Ravish Momin With Haitian Electronic Musican Val Jeanty, Who Blend Futuristic Turntables, Ritual Chants, Polyrhythmic Percussion, And Synth Melodies With Global Dance Rhythms. 'map Of Absences' Is A Reflection On The Regressive State Of Human Rights, Refugee Crises And The Worsening Impacts Of Climate Change.

Find Out' is the fifth release on Supervoid Records by Berlin-based DJ and producer, Dustmite.

Sparing no time to fuss about, Dustmite comes storming straight out of the gate with 'Find Out (Remapped)'. Heaving kicks, cutting hats and slapping claps push momentum forward with serious authority. 'Charter' takes a more metronomic approach while maintaining an equal sense of impact with its pulsating basslines and encircling arps. On the flip, 'Find Out' reels the speed back a couple notches with a cinematic pad atmosphere and distant vocal samples ideal to warm up a club at the beginning of a night or to cool down a dancefloor early in the morning. Lastly, 'Combining' favors an optimistically melodic tone with a singing glissando lead synth that makes for a triumphant finish.

Claremont 56's latest release is very much a family affair. It sees Idjut Boy Conrad McDonnell - a regular remixer of Claremont 56 releases since the label's inception - serve up two spaced-out, dub-wise revisions of a little known cut by Bison, the imprint's very own 'super-group'. The 12' has extra emotional resonance for Bison's Paul 'Mudd' Murphy and Ben Smith, as it marks the band's first release since the passing of fellow founder members Holger Czukay and Ursula Kloss.
Clutching his cherished space echo and tape delay units, McDonnell has delivered two tasty new dubs of 'Salmon Spungcake', a spacey, gently throbbing Bison cut that he co-wrote, produced and mixed for Claremont 56's 10th Anniversary box-set in 2017.
While the original version shied away from the dancefloor in favour of creating a hazy, horizontal mood, McDonnell's 'Zip It Shrimpy Mix' re-invents the cut as a hypnotic dub disco shaker rich in weighty bass, layered hand percussion, locked-in kick drums and spaced-out vocal snippets. In true dub fashion, flashes of the band's original instrumentation - effects-laden guitars, hazy electronics and meandering, deep space chords - float in and out of the mix at irregular intervals. It's the kind of remix you want to get lost in while wearily shuffling at 5am in a dark, sweaty basement.
The glassy-eyed, head-in-the-clouds fun continues on the 'I Think I've Got Gout Mix', an even more spaced-out affair that recalls some of the other inspired dancefloor dubs McDonnell has produced alongside Idjut Boys partner Dan Tyler. Stripped back, heavy, percussive and driven forward by sturdy kick-drums and the track's rich, warm bassline, this is a deep space dub disco tailor-made for space cadets and intoxicated sunrise dancers.

Warehouse Find!

Time flies when you're having fun and we can't fathom how this can be Ben Sun's 5th EP for Delusions Of Grandeur but it's true enough and once again he comes up trumps in the form of the Place Of Worship EP. Having previously graced such esteemed imprints as Royal Oak, Tru Thoughts, Razor n Tape as well as his own vinyl-only label Voyeurhythm the London based Australian producer continues to be both highly regarded, yet somewhat under the radar but we're sure that's about to change with this incredible new three tracker.

Opening up we have See It Come Shining, just the kind of life-affirming club track which seem to be in such short supply these days, but that we need now more than ever. Gospel flavoured piano chords tug on the heart strings whilst a simple, raw disco groove with added 909 punch creates a warmth and energy that transcends the dance floors that it's destined to liberate.

Flipping over we have Oceanways T150, a deep, analogue jam that harks back to simpler times when breakbeats collided with a house thump, uplifting pianos meld into punching basslines and discovering music through muffled old cassette mixtapes or patchy pirate radio reception was all we knew.

Rounding off the EP we have the perfect closer Atlantis Transfer. Here Ben puts more early influences into the mixing pot with ambient washes cascading down over a sublime 90's deep house bassline. Analogue hats and tripped-out sound FX skirt around a naive synth melody making for a heady late night treat to get lost in.

With "Being Water" Lali Puna refine their distinctive take on pop and electronics, pushing the boundaries towards classical songwriting. The four songs - equally affecting and catchy as self-reflected and aloof - are complemented by the airy tripiness of a remix by Dave DK (Kompakt, Pampa Records).

Although singer Valerie Trebeljahr wrote "Being Water" mostly by herself, being backed by bandmates Christian Heiß and Christoph Brandner, she rejects the idea of authorship: "Nothing comes out of myself. I'm a sampler: I write music because I listen to music. And I write lyrics because I read". Accordingly, topics and references of "Being Water" vary quite widely: "Who's That Genius" pays tribute to Virginia Woolf and Madonna - and questions why the term 'genius' is still connoted primarily with maleness. The title track refers to the famous Bruce Lee quote "Be formless, shapeless, like water" - but here it is turned upside down: It was Hito Steyerl's video work "Liquidity Inc." that got Valerie's attention, re-reading the quote as a neoliberal paradigm. In contrast, a title like "For Only Love" might sound a little naive as Valerie claims - but: "It surely won't be hate that will save us all". The lyrics were written after watching Obaidah Zytoons and Andreas Dalsgaards documentary "The War Show".

"Diversity is queen" - this goes for the music as well. While the dreamy pop of "Who's That Genius" or the catchy guitar loops of "Being Water" are in the same vein of Lali Puna's earlier albums, the free-floating piano chords and tricky rhythm patterns of "Beatx" in some ways mark new territory as Valerie explains: "I am very proud of this song because it is so fiddly. I thought that was something reserved for men".

After a brief wander 'round the garden, Chilean-born Ricardo Tobar returns to the ESP Institute bearing earthly delights. With 2017's Liturgia, he introduced his creative point-of-view—instantly substantiating a sense of rhythm that was deliberately complex yet slightly rough around the edges, while touching upon his musical origins from the guitar-driven corners of psychedelia— however with his debut 2xLP Continuidad, he leaves us gobsmacked and seeking shelter as he leaps from dancefloor comforts and descends into absolute chaos (in more ways than one). Emotionally, the artist has crossed all previously self-imposed and subconscious thresholds, putting his true imagination on display and exposing an unwavering attraction to all things loud, orgasmic and transcendent. He's not subtly hinting at a fetish, but opening his arms wide with conviction, abandoning genre taboos and personally inviting everyone to join his enchanted caravan. Sonically, his appetite for intensity is clear throughout—epic chord changes, ascending peaks in arrangement, accumulating layers of grit that build into impenetrable blankets of distortion and feedback—a kind of aural hedonism that translates visually into the potent video abstractions our Mario Hugo has summoned for the album's packaging. This might all sound like a warning for Hurricane Ricardo, but fear not, listeners will still find some security in the album's rhythmic underpinnings, and although this foray into primitive, ritualistic bang-the-drum percussion is significantly more dangerous than his previous programming, its the imperfection in his passionate studio performances that imbue Continuidad with something remarkably human.

In 2011 composer Ramin Djawadi was first asked to score a new TV series called Game of Thrones. In its first season much of the music was written for a small string ensemble, and filled out with synthetic pads and percussion. Over the course of the next six seasons the music budget got bigger and bigger to match the ever-increasing viewing figures the show was enjoying. This release celebrates the rich tapestry of music over the six series with the full firepower of an 80-piece symphony orchestra and choir.

Game of Thrones really is a television phenomenon. HBO's epic small screen adaptation of George R.R. Martin's series of fantasy tomes continues to draw in record audiences around the world and shows no signs of slowing down. Indeed some 8.9m people tuned in to the Season Six finale in the US and with repeats, recordings and on-demand viewings taken into consideration, it is estimated that Game of Thrones enjoys an average of 23m viewers per instalment. With a whopping thirty-eight Emmy Awards (and counting), this series remains the darling of prime-time pay TV.

With so much music created for the sixty episodes so far broadcast, this album can of course only take in so much. The particular cues and themes it does highlight, though, lend themselves beautifully to this symphonic re-imagining.

The long awaited new LP from Hunter Complex features 10 tracks of supreme synth goodness that are at the same time retro and yet totally futuristic. It's musically rich in ideas; melodies intertwine with soaring synths and '80s style drum machines, but it never once feels like pastiche or a carbon copy of a bygone era. The hooks on this record are incredible; it's mix of warm analog and bright digital synths feature a layer of complexity that most records in this genre can't hope to achieve.

*Limted to 300 copies worldwide* It all began in summer 2017 when Peter Broderick's former Efterklang bandmate Rasmus Stolberg invited him to perform at his new festival in Denmark, with the specific idea that Peter would play an entire set of Arthur Russell songs. As a long-time lover of Arthur's work, Peter immediately accepted the invitation and began to learn a collection of Russell songs. Stolberg put together a band of Danish musicians to join Broderick on stage, and the festival performance went off without a hitch.

Immediately after, Peter starting receiving invitations from other festivals, asking for the same thing — a full set of Arthur Russell songs. Even Arthur's long-time partner Tom Lee took notice of these performances of Arthur's work, and reached out to Peter personally. It wasn't long before Broderick was invited to examine some of Russell's archival work, and asked to do audio restoration work on the old tapes.

Peter's strong love for Arthur's work grew exponentially as he dove into the psyche of his hero, listening to hours and hours of unreleased material. He discovered that some of his favorite Russell songs have yet to be heard by the masses, and felt inspired to learn some of these tunes himself.

It was inevitable that Peter would record an album of his own renditions of Arthur's songs. And there was no better place to do it than the state of Maine, where most of Arthur's surviving family are based, and where Broderick himself was born back in 1987. With a large cast of friends and family, including Arthur's niece Rachel Henry and nephew Beau Lisy, Peter set out to capture his love for Arthur's music with a diverse collection of 10 songs, two of which have yet to be released in their original versions.

Its cover adorned with an original painting by Tom Lee, 'Peter Broderick & Friends Play Arthur Russell' is a vibrant and joyful tribute to one of Broderick's greatest heroes. Peter extends his deepest gratitude to all of Arthur's family, friends and fans who have so warmly welcomed his own versions of these tunes. It is hoped that these recordings will serve to honor the truly staggering legacy of Arthur Russell.

It is the duo integrated by Miguel Dahbar (ARG) and Alexis Cabrera (ARG) at the end of 2016 in Berlin, Germany. Inspired by the rhythmic trips of the Andes and Central America, they began to fuse that essence with electronic instruments, afro-latin percussions, guitar and soundscapes. Conditioned by their fantastic and emotional narrative, the performance travels through experimental Latin compasses and warm dreamy textures on a magical South American journey, WOLKE7s Iniciados tells the story of a young magician's apprentice, a long emotional way through the nature that surrounds him, to understand the laws of the universe and develop his powerful essence.

The Indigenous - A Minimal Jazz House Track With A Climax. Perfect For Starting Out Or Finishing Off A Set.

Stand Alone - A Driving Track With Chaotic Vibe That Fits Nicely In An Up Tempo House Set

Adrift - Minimal Techno That Builds Into An Atmospheric Groove.

Red & Black Flowers - Some Call This Chicago House And Others Say It Leans More To Techno. A Stormer With A Detroit Chord And Vocal Samples From the Warning'.

These Tracks Were Recorded At The Vibenotic Recording Studio With The Following Instruments: Clavia Nord Lead 3, Korg Minilogue, Elektron Monomachine Sfx-60, Machinedrum Sps 1uw Mk Ii, Analog Keys And Digitakt.

° +

Under pseudonym "Jean Eon,' Johnny Quinn Alston is the artist behind the project _ - / _ EON, a performance endeavor born out of an intense personal and familial experience in 2011.

_ - / _ EON is a portrait of the various manifestations of energy throughout the wide span of time and space we inhabit, from human experience to multidimensional mystery, as well as a peek into the many emanations that eternal power can create.

Jean Eon is merely a human form attempting to channel what bits of existential mystery he can interpret into sensual experiential form. He aspires to be as comfortable as possible with existence as a flawed, but striving, human being, and is not to be confused with the immortal and cosmically balanced EON itself.

_ - / _ EON is larger than Jean, and the EON is also you, we, and everything in between. We are all already avatars of the EON, and this project makes an attempt to shape truths of the great æther from which we are carved and will presumably* return to, however bittersweet or glorious that eternal promise may be.

+ °

* do we ever really die

+ °

The music released under NEW YORK TRAX 08 results from physical expression as . _ - / _ . EON focuses on channeling physiognomy over dictation. The EP explores pre-existing textural combinations discovered and rescued from stone as opposed to built step by step.

The initial inspiration for this EP arose from driving past randomly unfolding rural scenes. A majority of . _ - / _ . EON's resulting work similarly gravitates towards a series of landscapes discovering each other rather than 'arrangements' played on repeat.

In the back of your head, you know those blinking aircraft warning lights on towers, but how mysterious and ominous they look before you discover what they really are On the surface, this project represents the sound of being struck by the sight of something for the first time, and the ominous, transfixing, thrill of not knowing what it is.

Regen, Sonne, Bogenlampe - Fern Aller Entgeisterung Schwebt
Euphorie Übers Parkett. Kaum Faerlezt Und Seicht Ent¢ammt
Verbiegen Sich Vergangene Räume. Leise Und Voller Durst
Entgleist Die Struktur Hinzu Frohlockender Ekstase.
Charismatisch Windet Sich Carlotta Aus Den Trümmern Der
Ideenlosigkeit - Die Sanftmütigkeit ¢attert Elektrisierend Wie
Eine Lockenpracht Vor Dem Inneren Auge Des Ersten Eindrucks.
Lag Er Direkt Am Fuße Ihres Berges, So Hat Er Doch Vergessen
Ihr Wesen Ohne Reue Einzufangen. Ungebändigt Gestikuliert Der
Letzte Moment Trauter Unverbindlichkeit Wie Ein Morsezeichen
Und Ohne Jeden Titel In Eine Gestanzte Leere. Heiser Legt Eine
Bekannte Versuchung Wärmend Und Voll Von Wahrhaftigkeit
Die Kühle Hand Auf Des Treibenden Schulter. Es Scheint Wie Ein
Werk Der Analogen Entfaltung - Episch Knacksend Und Mühelos
Rudernd.

Rian Treanor will release his anticipated debut album 'ATAXIA' on Planet Mu this March. The striking full-length follows singles for The Death Of Rave and Warp's Arcola imprint as well as live sets at Boilerroom x Genelec, Nyege Nyege festival, tours in India and various high profile EU shows.

The title 'ATAXIA' means 'the loss of full control of bodily movements' and relates to Rian's music which is 'intended to make people's bodies move in unpredictable ways.' He adds 'the angles in the letters, the phonetics seem to mirror the geometry and idiosyncratic patterns in the music.' Rian explains that components of the tracks were made by generating a series of irregular events and re-structuring them, or by destabilising a pattern that is constant.

When asked how the album compares with his previous releases, he says 'My earlier EPs share a similar interest in angular and asymmetrical rhythms that are designed for club sound systems,' adding 'they were more improvised, focusing on sequencing and pattern modulation, using standard drum sounds and synthesiser patches. ATAXIA is more focused and stricter, it's more co-ordinated in terms of the track selection and the rhythmic structures. I spent more time refining the synthesis and sound design, pushing it further than the previous releases.' He expresses an interest in exploring opposites in his music: 'fluidity and syncopation,' 'systematic and unpredictability,' 'reduction and extremity,' 'irregular symmetry,' 'easy listening and brutal'.
There's clear a conceptual backdrop, but the music itself is not overthought. There's an immediate joy to much of the album - check out ATAXIA_D3 with its wonderful cut-ups and modulations of the phrase 'people don't understand people.'

The roots of Rian's playful sound are directly linked to his love of the music he grew up with. Coming from Sheffield, you can hear elements of industrial, synth-pop, bleep, extreme computer music and speed garage at play. From Cabaret Voltaire to Warp and beyond; the sound of his city has been, and is, an integral part of his musical development and is still a direct influence.

Last year, he noted in an interview that "I'm not a computer programmer, I'm not an articulate person in that kind of way. I'm a visual artist." Now he elaborates 'I meant more that I'm a visual thinker.' Drawing and visual art have been a fundamental part of his life 'since I was a child. I got really into graffiti as a teenager and around the same time I got into mixing and these both developed together.' You can sense the mind of a visual artist at work in his music which is also reflected in the artwork he created for this project.

As well as his visual art, installations and multichannel sound works he is involved in numerous collaborations such as with composer Nakul Krishnamurthy exploring the common ground between Indian classical music and electronic music and his work with improv saxophonist Karl D'Silva, plus his time studying with Lupo at Dubplates and Mastering in Berlin (who taught him the 'importance of reduction') have all helped shape and push his sound into other unique and adventurous zones. Treanor is developing on different levels and in different forms all at the same time, re-imagining the intersection of club culture, experimental art and computer music, presenting an insightful and compelling musical world of fractured and interlocking components.

We are very excited to present you this new signing and debut EP by Dampé. A studio and live project from South East London. Since moving to the city, Dampé has been intimately involved in its club culture " from running warehouse spaces and booking venues to DJing and performing in groups across the city and Europe, under a slew of different aliases.

The music is made on a boat on the Thames and is a combination of dusty analogue gear, live instrumentation, and samples. For Dampé, influential parties were "Co-Op, FWD>>" and "You're A Melody" and echoes of those dances can almost be felt in the sound. Across five original tracks, the EP explores weirder and worldlier ends of house music, all with a nod to undeniably UK sounds.

"Peach Shuffle" is a made-for-the-floor, broken beat work-out that has this great warped and chopped Persian vocal sample giving the track a unique and world-wide touch, followed by "St James" Road", a crunchy live Rhodes jam and ode to a favourite street south of the river. "Move Me" is all garage-infused vocal loops and singing bowls and acts as an experiment-come-DJ tool. "Carn" is a super-swung hip hop beat featuring "SMBD" aka "Simbad" providing additional keys. Closing out with "Zongo Junction, At Night", a late night roller with material pieced together from saturated CR 78 samples and field recordings made when Dampé was recording sound for a film about witchcraft and the internet across rural Ghana.

To round up this exciting EP we ask a fellow SE London enthusiast "Nebraska" to make a remix of the title track "Peach Shuffle". Cutting up the vocal of the original, adding some mean bass and pouring a smooth "dance floor" sauce over it. The delicious end result is something we are very proud off and we hope you will enjoy as much as we do!

Chicago-based Matt Warren has been a DJ for forty years and has been a producer since 1984, when he released his debut single Rock The Nation. This inspired Matt to cofound Sunset Records in 1985, which released several house classics. However, in 1987, Matt resigned from Sunset Records and founded AKA Dance Music.

The first single that AKA Dance Music released was Bang The Box, which sold over 50,000 copies in America and nowadays, is regarded as the first hard house track. Bang The Box was the first of seven singles that AKA Dance Music released between 1987 and 1988. By then, Matt's second label was part the history of house music.

After the demise of AKA Dance Music, Matt Warren continued to travel the world DJ in some of the top clubs. Meanwhile, Matt continued to produce new music, remix tracks by some of the biggest names in music.

By the nineties, Matt was also writing, arranging, mixing, and producing a wide variety of artists and bands. He sometimes was asked to play on a number of albums. However, he still loved house music, and worked on several releases.

As the new millennia dawned, Matt continued to work in a variety of roles in the ever-changing music industry, and occasionally released some new music. Over the next few years, Matt has been working as a producer, engineer and remixer, which meant he had to put his own career on hold, until he began working with a familiar face.

In 2016, Matt was reunited with house diva Pepper Gomez, who was now running her own label Wake Up! Music. By then, Pepper Gomez had dawned the MyMy Lady G moniker and embarked upon a career as producer. She had travelled to Chicago, to record Elena Andujar's genre-meting album Flamenco In Time at Matt's Sound Studio Recording. Matt took charge of engineering, programming, mixing and production on Flamenco In Time while MyMy Lady G added backing vocals and assumed the role of executive producer on this groundbreaking project. After the completion of Flamenco In Time, MyMy Lady G asked Matt Warren if he would like to record an album

It didn't take long for Matt to answer in the affirmative, and in early 2018, he hit the comeback trail. He was accompanied by a group of talented musicians and vocalists including gospel singer and soulful diva Jan McGhee, Elena Andujar and legendary house diva Pepper Gomez who plays a starring role on the album. That album was recorded over the course of several months, and eventually became Music Is My Life which marks the comeback of Mark Warren.

Matt Warren has been away to long, now one of the pioneers of Chicago House makes a welcome return with a groundbreaking new album. This is Music Is My Life, the first ever Nu House album, which is guaranteed to transform Matt Warren's career and become part of dance music history.

Patrick Topping has announced that he will be launching his own record label, TRICK , a home for Patrick to exhibit his versatility as a producer, as well as a platform to showcase the wealth of the emerging talent which he has been pushing in his DJ sets.

Packed with three original tracks from Patrick, the EP-titled 'Watch What Ya Doing ' comes with the launch of his label TRICK and as a much anticipated follow up to the late 2017 Hot Creations smash 'Be Sharp Say Nowt', which continued to dominate throughout 2018. A year which proved another hugely successful one for the UK producer who was called on for the remix duties for Calvin Harris and added Music Radar 's ' Best House Producer/DJ 2018' ' and his third DJ Award for Tech House Artist to his list of accolade that include his DJ Mag ' Best of British ' award and reaching number 11 in Resident Advisor 's 2016 top DJs poll.

This debut release on TRICK showcases a change in sound from the acclaimed artist and an evolution of Patrick 's ever-maturing style. The British DJ displays a new style as a producer, one which has always been a part of his genre-hopping DJ sets, but for the first time as a producer, Patrick delivered an EP packed with darker techno undertones and raw influences.

The imprint's launch follows the British producer's sell-out headline shows at Manchester Academy, two consecutive nights Dublin's District 8, London institution fabric, his very own takeover at The Warehouse Project and as far as Melbourne's huge Shed 14 . Entering a refined and developed chapter of his career, the announcement follows Patrick' s Boxing Day set at Digital, Newcastle , the last ever party in his acclaimed Motion event series, with the UK producer looking to support and nurture emerging talent in future via the launch of ' TRICK.'

Nyami Nyami Records present a lost piece of Zimbabwean musical history: the only album from local legends the New Tutenkhamen, combining Jazz, Soul, Folk and Township rhythms. There are only 2 known copies of the original LP - this reissues make the music available again for the first time in over 40 years.

The New Tutenkhamen included many stars of Zimbabwean township music: Elisha Josamu was an alumnus of the fabulously-named Hallelujah Chicken Run Band (alongside Thomas Mapfumo), and Green Jangano's long-running Harare Mambos, and would later form Two Plus Two with bassist Christopher 'Chex' Tavengwa. Jethro Shasha played the drums, and would arguably become the New Tutenkhamen's most famous export, making continental waves working with likes of Salif Keita. Paul Sekerani played the rhythm guitar, with Amos Chatyoka on the organ, while the enigmatic Maggie Mbuli provided vocals and F. Manda played the sax.I WISH YOU WERE MINE was recorded at Teal Records and was produced by Crispen Matema, a talented jazz drummer in his own right who had played drums on the all-time classic 'Skokiaan', and had backed Louis Armstrong on his 1960 Rhodesia visit. Combining the heavyweight producing talents of Matema and the writing chops of Josamu, the New Tutenkhamen band created an album showcasing various musical styles popular at the time.

From the afro-jazz jam session aesthetics of 'Tutenkhamen Theme', 'Big Brother Malcom' and 'Forever Together', to the almost Van Morrison-sounding 'Sunday Morning'; from the upbeat rock ballad 'True Love', to the funk-infused dance song 'Togetherness'; from the bouncy jazz exhortations to work hard in 'Ane Nungo', to the brassy, raunchy foot-stomper 'Me & Dolly'. The title track 'I Wish You Were Mine' is a ska-infused ballad that wouldn't be out of place in post-war Birmingham, while the star of the show is 'Joburg Bound', itself a fast-paced rock piece with Motown undertones and funky guitar lines.

New album from London-based Dutch-Zimbabwean pop
innovator Rina Mushonga.
Mushonga doesn't follow a linear path. The artist's music -
a blend of Afropop, indie and electro flourishes - is
informed by her own zigzagging life journey: Mushonga
emigrated from Zimbabwe to the Netherlands, then to the
diverse South London suburb of Peckham, where she now
lives and works.
Having read 'Metamorphoses' for the first time,
Mushonga's self-confessed 'year of transformation' ensued,
drawing upon myriad ideas and personal experiences.
Full of reflections on the cosmos and our place within it,
'In A Galaxy' is the musical embodiment of these musings,
whilst Mushonga also admits there's more than a passing
nod to the opening text on 'Star Wars' but on the whole
refers to how relative space and time are in how we
interact.
Four years in the making, 'In A Galaxy' was recorded in
Mushonga's adopted home in Peckham with producer Brett
Shaw, whilst having laid much of the foundations of the
tracks together with musical bestie and synth whisperer
Frans Verburg in his Rotterdam basement studio. The
resultant cornucopia of intelligent, diverse pop - that
Mushonga herself describes as sounding like 'Paul Simon
in a sweaty, African dancehall club' - is a welcome
introduction to 2019.
LP pressed on pink vinyl

April 2017, Osaka, Sakura, the beautiful time of the cherry blossom. We quickly get a warm coffee from the drinks vendor down the street, then off to Kabamix' LMD studio downtown. Time is short, the off-days are counted on tour. As the year before at the SVS label camp in Budapest, we stick to the plan: one track a day. This time we have guests! Marimari, Arihirua and Ryoko epitomize the perfect antipodes to the lonesome samurai on his white horse (Shiroi Uma) we had in mind on our first EP (SVS010). Everything flows, everything is improvised, the music itself is the place where we meet, no much talking about what´s happening, we just carry on doing the thing. The studio of Kabamix, longtime soundengineer of Haruomi Hosono, has built up over many years, it´s a hoard of like-minded people. Gekko No Odoriko translates to 'Moonshine Dancer'. The rhythm, as usual a driving force in our music, is converting every listener unwillingly into a squirrelly moving dancer. Heavy, yes, bassy, yes, yet never isolated drums build the foundation of the beatgrid as well as the arrangement. With an ascending condensation of musical events, the track enfolds it´s physical energy vertically and horizontally. And just as the spacey synth enters the track, Mari Mari has entered the studio, a Korg Prophecy under her arm, straight into the recording cabin, recording 'it'. Vocals by Ryoko aka Mt.Chills and us happy bunch. Holy Water: Visiting the holy mountain near Nara national park, the impossible seemed so simple: capturing water. An old man mumbling on the floor next to the entrance, little volvic bottles making their rounds to this special zone, bamboo growing high all over the place, deers walking close by as if there was no distinction between us living beings.

Shortly after Joe Lewandowski's afro-house explorations comes the sophomore EP of Les Yeux Orange Records young alumni Ensthal (formerly known as n.stal) with a four-tracker depicting the dream-like state and excitation of a hazy night wandering in Paris, his hometown. While its opener, « Selective Behavior », is a full-on disco-house joint inviting us to put an end on quick judgments and hypocrisy, N.M.W. channels a Parisbound Detroit techno vibe and takes us to a journey of unadulterated warehouse fun, one organ at a time. On the flip comes « The Liquor Store », a five-minute auditory hallucination where keys and strings collide and disappear in the echoes of the heights of Montmartre. « Charlotte À L'Étage » finally closes our adventure on a jazzier note, an improvisation of sorts for the early-risers and those who, most likely, did not chose to sleep.

The Conspiracy Hailed From Mount Pleasant, A College Town In The Center Of Michigan. Originally Formed As The Allusions, They Became Nino & The Nomads Before Changing Their Name To The Conspiracy In 1966. For The Next Few Years The Group Stayed Busy On The Live Circuit. "we Were Booked All Over The State," Remembers Singer Aquilino Soriano. "every Weekend We'd Be Somewhere. We Were About Two And A Half Hours From Detroit, So We'd Go Down South, We'd Go Up North, We'd Go Everywhere. There Was This Network Of Teen Clubs Where Kids Didn't Have To Be 21 And Everybody Could Go. It Was Fantastic." In 1967 The Group Had What Aquilino Describes As "probably Our Apex Moment". Kustom Amplifiers Sponsored A Statewide Battle Of The Bands Tournament, And The Conspiracy Battled Through Several Rounds Of Competition To Make It All The Way To The Finals In Saginaw. "it Was A Statewide Thing That Culminated There," Remembers Aquilino. "question Mark & The Mysterians And A Couple Of Others That Were Notables Were Also In It - And We Won It! We Got Our Award From Bob Seger." The Prize Was Thousands Of Dollars Worth Of Gigs And A Tuck And Roll Kustom Pa System, Which The Band Put To Use As They Moved Forward Into 1968, Brimming With Confidence. A Roving Capitol A&r Man Caught Their Show In Cadillac, Michigan, And Encouraged Them To Write Some Original Songs And Go Into The Studio. So In 1968 That's What They Did. `dream World' And `with You' Were Recorded At A Studio In Grand Rapids And The Session Turned Out Exceptionally Well. "it Just Floored Me That We Didn't Sit Down And Write Some More Songs," Says Aquilino, "because I Thought We Did A Pretty Good Job." `dream World' Is Particularly Great With A Soulful Lead Vocal, An Insistent Fuzz Guitar Line, Waves Of Hammond Organ, A Catchy, Harmonized Chorus And An Insistent Dance Groove. Shades Of The Doors, The Young Rascals, The Blues Magoos And Src. A Mixdown Of The Tape Was Forwarded To Their Contact At Capitol Records, But Ultimately No Deal Was Signed. "we Were Just Starting To Separate From High School," Remembers Aquilino. "it Was The Start Of That Transition. I Was Class Of '67, They Were Class Of `68. There Was The War In Vietnam. You Could Go To College To Avoid The Draft. It Was A Lot Of Decisions And I Guess What Happened Is Nothing Really Happened From Us Recording. I Mean They Liked It, They Made Us An Offer, But I Think That The Parents Weren't Really Happy With That. I Think That There Was Some Dissent In The Band Too." The Conspiracy Broke Up In Early 1969 And The Tape Of The Only Original Songs They Ever Played Remained Unreleased And Unheard Until 2018, When Soriano Brought The Original 1" 8-track Session Tape Into Earthling Studios In El Cajon, California, Where It Was Mixed And Mastered By Mike Kamoo For This Release. "getting This Out On Vinyl - It's What We Dreamed Of!" Aquilino Grins. "even If It Took Fifty Years To Happen!" Mike Stax

Line Explorations present its first release - a compilation consisting of six tracks by six national artists, producing under the names of T'iwu, HTL, PX, emme, AMSH and Mensaje Sanador, serving as a sampler for what's to come in the future on the label and the sounds the label will evoke such as techno, IDM, ambient, noise, drone and experimental vibrations from the further avant-garde,

The first track focuses on growing an organic and everyday sonic scape with the use of chords and melodies filled with light touch - reminiscent of clear skies and sunshine - which creates an ambient feel similar to that of daily vibrations of life as presented and explored by T'iwu.

HTL enhances the depth of the reflections of today's emotions one can feel by delving deeper into everyday surroundings and exploring the noise/drone side of the ambient musical styles by mixing melodic elements with the out of the ordinary effects which shock and ululate while shaping the musical texture into a darker and deeper atmosphere.

The following track, by PX, elevates the atmosphere into a more jovial soundscape full of '80's inspired electronica and sci-fi soundtracks. The beat rolls off and twists in a funky groove helping develop a danceable pace for the release.

On top of that, emme presents the fourth track - in the shape of techno meets breaks - where more classical elements of industrially influenced electronic music can be traced from yesteryears. The sounds engulf in warmly distorted melodic strings while flowing over and under the rhythmic structure.

In contrast, AMSH's ''Subway'' presents a downpour of heavy sounds, such as noise influenced synths and delayed infected percussion, along with field recording of trains help envision the movement of a manmade machine and its flow through the undergrounds of today's world.

The final piece, of the label's initial release, comes in the shape of a Mensaje Sanador or healing message. The track takes on the elements of the three titles that have preceded it and explores further the dynamics between current and classical sounds of the electronic dance music genres by delving deeper into sound synthesis, melodies and rhythm as to help one submerge further into exploring such sounds, their history and the future to come.

So Here We Go, Album Number Three By Till Von Sein. Attentive
Observers Of Tilly's Record History Might Notice, Something
Different Is Going On With This Cycle Of Tunes. Other Than The
Constitution Of His Previous Two Full Lengths, ocean' Tends To
Elaborate An Idea, A Pallet Of Sounds, An Overall Aesthetic, That
Come From Just One Place. Appropriate To The Release On Von
Sein's Own Label Imprint Tilly Jam, These Cuts Indeed Feel Like
Proper Jams. Deriving From A Certain Mindset, Building Up A
¢ow, Drifting Into Various Spheres, Delving Into Moods, And
Meanwhile, Forgetting About Time And Principles Of Structure,
Most Of His Previous Efforts Complied With. Surprisingly, No Vox
On Here. But Evidently, The Arrangements, Textures And Sonic
Nuances On ocean' Create A Narrative On Their Own. It Is An
Album That Puts Musicality Over Functionality. An Album To
Immerse Into, A Piece Of Music That Claims Attention And
Rewards With An Embracing Listening Pleasure. aloha', As The
Introducing Track, Sets The Tone Of Ever Reoccurring Leanings
Towards Balearic- And Mellowed Down House- And Funk
In¢uences. neptune' Directly Picks Up, Leading The ¢ow Of
Soothing Harmonies Into Slightly More Dancey Vibes. It's
Meeting The Relaxed Tempo Of cruise Control', Introducing Its
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Alt. folker Will Oldham - better known as Bonnie 'Prince' Billy - is set to drop a joint record with gently psychedelic crew Trembling Bells

Just four years after their debut album Carbeth, Trembling Bells are amassing a formidable body of work at a startling velocity. Just twelve months after the release of their critically acclaimed third album The Constant Pageant, the Glasgow quartet return to share the billing with a similarly restless creative spirit. A few thousand miles separate Will Oldham and Trembling Bells' drummer and principal songwriter Alex Neilson, but their stories intersect as far back as 2005, when the young Leeds-raised Neilson found himself playing drums on Alasdair Roberts' No Earthly Man, with Oldham producing. In time, a friendship between mentor and student became one between two kindred musicians. Neilson augmented his work with free-psych-drone practitioners Directing Hand by playing with the Bonnie 'Prince' Billy band. The drummer's eagerness to experience new epiphanies yielded unforgettable memories. In Big Sur, he recalls, 'we took mushrooms at midnight, then visited a natural hot spring built into the dramatic cliffs overlooking the Pacific Ocean. The stars were as vivid as frozen fireworks.' All of which is worth dwelling on, because without that background of mutual openness and empathy, it's hard to imagine The Marble Downs existing.

Neilson recalls a conversation about a 'collaboration' in the summer of 2010, though stresses that it 'was nothing too formal at first'. By the end of that year, a limited-edition seven-inch New Year's Eve Is The Loneliest Night of the Year showed what an inspired match the vocals of Trembling Bells singer Lavinia Blackwall and Will Oldham made. The cut-glass precision of the classically-trained student of medieval music and the worldly, careworn tones of Oldham created an unlikely chemistry. It must have seemed that way to Neilson too. He set about assembling a cache of songs with the purpose of further harnessing that chemistry. The result is an album that has, once again, redrafted the boundaries of what Trembling Bells can achieve together. Indeed, genre-lines aren't terribly helpful this time around. Yes, Trembling Bells' love affair with traditional music remains a constant — most emphatically so on the unaccompanied Blackwall/Oldham two-hander, My Husband's Got No Courage In Him. Then there is Blackwall's musical setting of Dorothy Parker's poem Excursion Into Assonance — and the thorough-going new-found classicism of Neilson's increasingly assured songwriting. Albeit delivered with Trembling Bells' rain-lashed sense of abandon, Love Is A Velvet Noose sounds like a standard of sorts — a warped consequence of Neilson's increasing fascination with the songbooks of Cole Porter and Hoagy Carmichael. 'I'm not saying I stand any chance of emulating them,' he adds, 'but the appreciation is definitely there.'

The knowledge that Oldham and Blackwall would be sharing centre-stage on The Marble Downs gave Neilson extra impetus to flex his songwriting muscles. I Can Tell You're Leaving finds both vocalists on irresistible form, dissecting their dying relationship with no heed to the other's feelings. 'You treat me like a child,' sings Oldham. 'I need a man,' she responds, barely catching breath. 'Now like Merle Haggard, you'll see the fighting side of me,' he later promises. 'I guess that's one of the lighter moments on the album,' ponders Neilson, 'I was trying to get a Planet Waves-era Bob Dylan feel there, with the piano and walking bassline.'

Here and elsewhere, the band — Blackwall, Neilson, bassist Simon Shaw and guitarist Mike Hastings — has never sounded more psychically attuned to one-other. On the slow-reveal sonic establishing shot of I Made A Date (With An Open Vein), two minutes of manic modal chaos elapses before Oldham takes the narrative reins of a majestic call-and-response folk-rock epic. The electrifying free-folk portent of Riding — a revival of the Palace Brothers classic — is no less compelling, calling to mind the words of broadcaster Stuart Maconie when he praised Trembling Bells for their ability to invoke simultaneously 'the charm of folk music and the power of rock.' Ditto Ain't Nothing Wrong With A Little Longing, in which Neilson slams down a four-to-the-floor beat over a synergy of demonic krautrock keys and a dialogue between Oldham and Blackwall that scales Nancy & Lee levels of romantic intrigue.

With nine songs gone and one remaining, the album's sonic undulations find an arresting denouement in the form of an inspired cover. Adapted from Robin Gibb's 1970 solo masterpiece Robin's Reign, Lord Bless All sees Trembling Bells tease out the hymnal qualities of Gibb's original with a slow volcanic upswell which — on four minutes — explodes into heavy psychedelic technicolour. What pleases Alex Neilson when he listens back is 'a sense of a common vocabulary and identity being forged.' If, by that, he means that there isn't another band on the planet that quite sounds like Trembling Bells, it would be hard to disagree. The evidence is right here.

'I didn't know anything about Trembling Bells. I just heard them and was knocked out. I instantly became a fan.' Paul Weller

'Trembling Bells are my kind of band.' Joe Boyd

"Jesus fucking shit! These jamz claw so hard at the tatties below methinks the Lord misnamed them, having intended to say Trembling BALLS." Will Oldham

'A poetic incantation of British identity far brighter than Michael Gove's GCSE syllabus.' Stewart Lee

'This time, I'm attempting to reclaim the art of songwriting from the charity shop bargain bin.' Alex Neilson