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Composed as a means to map the cultural translation between Chinese culture and European traditions, Piotr Kurek’s A Sacrifice Shall Be Made / All The Wicked Scenes is comprised of pieces composed between 2016 and 2018 specifically to accompany theatre performances directed by Tian Gebing (500m and The Decalogue) and Grzegorz Jarzyna (Two Swords). Kurek attended performance rehearsals in Beijing and Shanghai, with additional preparations and recording sessions taking place back in Warsaw.

While most of Kurek’s past work is unaccompanied by other musicians or outside help, A Sacrifice Shall Be Made / All The Wicked Scenes features various Polish and Chinese musicians both from classical and experimental scene (Barbara Kinga Majewska, Grzegorz Hardej, Łukasz Rychlicki and Hubert Zemler) as well as by actors of Paper Tiger Theatre Studio from Beijing. This approach of Kurek exploring new players and places is further juxtaposed as Kurek recycled samples from his own past, including various recordings with musicians he did throughout years, found sounds from the Internet, or cannibalised old solo work.

Recorded over the course of several years, this aural report of a monumental multi-disciplinary venture is in the end an enthralled and enthralling survey of a contemporary composer who is unencumbered by geographic or cultural boundaries. Concurrently, ditching any resemblance to local musical traditions and rearranging the compositions for all three performances, Kurek has formed an architecture that allows the phases of rituals to unfold while projecting social structure assumed in myth making. The regrouping of different moments in these stories is a curious way of narrating another myth — a synthetic, polyvalent story set in a city that strangely reassembles Beijing, Giza, and Prague at the same time.

Piotr Kurek is a Warsaw based musician and composer who straddles the world of electronic music taking inspiration from various genres but fitting comfortably in none. Through his unconventional use of a wide array of instruments both electronic and acoustic, he built a reputation for himself as a qualified inventor of hypnotic worlds drenched in uncanny arrangements.

Kurek has already released a range of idiosyncratic, forward-thinking works on a variety of imprints (including but not limited to Sangoplasmo, Black Sweat Records, Hands In The Dark, Dunno Recordings, Crónica, Foxy Digitalis) and participated in numerous music festivals including Unsound, CTM, OFF, TodaysArt and UH Fest as well as participating in extensive tours in Poland and abroad. In 2014 and 2015 he opened for Bonnie “Prince” Billy’s two European mini-tours. In 2016 he has been selected as a part of Shape platform for innovative music and audiovisual art from Europe.

THE FISRT AUDIOTRIX ALBUM !!!!

10 Tracks by Ixindamix in multiple styles featuring Sim Simmer on The ones that left, Scallywag on Boom Boom Boom and Wotcha Braincells and Roberta Carrieri on Yodelix.
2 X 180G Vinyl in a beautifully designed full-colour picture sleeve with free download code inside.

What Ixindamix says !

"I’m extremely proud to present my new album “The Underground Tree” the first for over 10 years is out on 23rd May !

The title comes from a line in “Reserve the Right” – “We are family, I’ve got my possee and me, we’re fruit from the underground tree” the last track on the album, a rambling rap covering many subjects from climate change to data collection all written under the influence of a heavy hangover, where I foolishly decided it would be a good idea to get back on the mic. You can read more about that here …..

Also featuring on the album are Sim Simmer, Scallywag and Roberta Carrieri on vocals. From Bass House to Drum & Bass with a twist of Acid, Breakbeat, Ghetto, Garage and Swing, these 10 tracks are to be released on a double vinyl album available at the end of May. You can hear the megamix below.

Family is one of the most important things to us, whether it be blood or our larger sound system families, tribes or crews. They are the people that mean the most to us and make our everyday lives the best they can be. This album is dedicated to them all friends and fans the world over xxxx.

Following up on the waves made by his latest Diaphragm EP, Cri Du Coeur injects his signature high-octane sound into another techno venture. This one comes in the form of the electrifying 4-track EP Warning on the Belgian producer’s fledgling-but- headstrong label Arkham Audio. Featuring three remixes interweaving threatening cosmic soundscapes with pounding industrial beats, this latest EP pulls no punches in delivering a menacing wall of sound. The A-side opens with Cri’s original mix for Warning, showing off his signature style of making jumpy, liquid 303 basslines bounce around a consistent dark pad sound. The combination emanates a lingering sense of dread intensified by warped delayed vocal samples and high-voltage buzzing underpinning the whole experience. Following up is a remix from American producer Dustin Zahn, who delivers a pulsa- ting battleground of modular noise. The essence of the track is the controlled chaos of the abstract mechanical whirring and wailing born from Zahn’s extensive synthesis experience, having worked as a remixer for Adam Beyer, Chris Liebing, Dubfire and many other high-profile acts. UK producer Mark Broom dedicates two remixes for the B-side of the EP. The first is a dark, atmospheric groove with expert attention to detail paid to the percussive effects and the controlled movement of the synth parts, creating a powerful ebb and flow of soundscapes and textures and a set of unique builds and drops. Closing off the EP, Mark Broom’s second track is a track more faithful to Cri’s original, opting to beef up the kick and switch up the pattern for an original clap intonation and, naturally, Broom’s own signature offer of complex intertwined synth effects. The result is an anthemic warehouse filler that feels saturated with organic layers of electronic foliage.

The third release from Night Dreamer’s essential “Direct-to-Disc” sessions sees an incredible meeting between legendary US saxophonist Gary Bartz and leading UK spiritual jazz ensemble, Maisha, featuring two Bartz classics and three brand new joint songs written by both Bartz & Maisha in close collaboration. Having cut his teeth playing with the likes of Charles Mingus, Max Roach, Art Blakey and finally in 1970, Miles Davis at the peak of his electric period, Gary Bartz became a leading figure of the early-to-mid 70s spiritual jazz movement, releasing a string of ground-breaking albums on legendary NYC jazz label Prestige Records with his NTU Troop, featuring classics such as “Celestial Blues”, “Uhuru Dance” and “I’ve Known Rivers”, before collaborating on Blue Note Records with the Mizell Brothers on the anthemic jazz funk of “Music Is My Sanctuary”. An oeuvre much loved by soul jazzers and hip hop fans alike. Led by drummer Jake Long, Maisha have been central to the UK’s jazz explosion, and have fast become the UK’s most exciting and in-demand young spiritual jazz ensemble, from steller shows at Jazz re:freshed, Total Refreshment Centre & Church of Sound and supporting the Sun Ra Arkestra, to releasing their critically acclaimed debut LP, “There Is A Place” on Gilles Peterson’s Brownswood Recordings in 2018. Theirs is an organic & explosive sound that blends influences from afrobeat and broken beat to Persian music, with a deep love and understanding of jazz, particularly the heritage of spiritual jazz led by titans such as Pharoah Sanders, Alice Coltrane and of course, Gary Bartz. Which makes this collaboration even more special. Bartz was first invited to share a stage with Maisha by Gilles Peterson to headline the inaugural We Out Here festival. Their chemistry was rich and instantaneous, certainly a two-way street, with the young musicians reinvigorating the legend’s performance and wowing the intergenerational festival audience. A European tour followed, including a London Jazz Festival highlight at the Royal Festival Hall, celebrating the 50th anniversary of his album “Another Earth”, originally featuring fellow legends, Pharoah Sanders, Charles Tolliver, Stanley Cowell, and John Coltrane’s own bassist, Reggie Workman. Now the relationship has evolved into a special straight-to-disc recording for Night Dreamer Records, that captures the vitality of their collaboration. Whilst Bartz and Maisha reinvent classic Bartz compositions “Uhuru Sasa” and “Dr Follows Dance”, extending the pieces into long piece improvised grooves, their recording session gave birth to three brand new joint compositions, written the very same day. These include the propulsive “Leta’s Dance” that magically combines the Bartz’ soulful musical lyricism with Maisha’s African-jazz influences, and the organic jazz funk of “Harlem to Haarlem”, featuring a hot solo from guest trumpeter Axel Kaner-Lidstrom of Cykada & Levitation Orchestra fame. Like previous Night Dreamer efforts from afrobeat star Seun Kuti & Egypt 80, and the beautiful
collaboration between Brazilian stars Seu Jorge & Rogê, the album was recorded in Haarlem’s Artone Studio, a stones throw from Amsterdam, in just one-take, straight-to-disc, avoiding postproduction embellishments and retaining the purity of the performance lost in modern recording techniques. This record really is an event, in and of itself, a meeting of talents, minds, generations and zeitgeist moments, captured in a unique and pure manner. The music does not disappoint, as Maisha have been inspired to reach new heights whilst we find Bartz truly reinvigorated, and both artists in tune to the spirit of the other.

Exclusively- Remastered 180 Gram, Audiophile Vinyl Pressing!

Sylvia Fagan aka Guardian Angel is the oldest sister of Bevin Fagan which is Matumbi's lead singer. Matumbi was the top british Reggae band from the 70's and early 80's. Bevin Fagan and Euton Jones (drummer and founder member of Matumbi) produced Woman At The Well, the only LP by Guardian Angel in 1980 with a blend of disco, boogie funk, lovers rock and roots reggae. Recorded at Gooseberry and T.M.C. studios (London, UK) in 1980. Produced by Euton Jones & Bevin Fagan. Analog 1/4inch tape transfered at FX Copyroom by Euton 'Matumbi' Jones & Engineer Harvey Birrell on a Studer A810. Mastered and lacquer cutting by François Terrazzoni at Parelies Audio
Visuel. Special thanks to all musicians who made it possible, Dennis and Andy Robinson, Jason and Valerie Fagan, Euton Jones and his daughter Shana Jones, Winston Francis and Dennis Bovell.

GLOK is the electronic solo project from Andy Bell of shoegaze legends RIDE (formerly of Oasis/Beady Eye/Hurricane #1). His debut album under the moniker, Dissident, was originally released last year on a limited edition cassette by Bytes, an offshoot of Ransom Note Records. That sold out in 24 hours, and was followed by a vinyl pressing of 500 copies, on transparent green vinyl, sold via Bandcamp and two online shops. However, with that edition now sold out pretty much on word of mouth, due to popular demand, Dissident is being repressed and is this time being made available to a wider audience via a partnership between Bytes and Republic of Music/K7. The name GLOK is a misspelling of the German word for Bell. The German connection fits well as there is a strong Krautrock influence in the music, especially on the title track, 'Dissident', an epic clocking in just shy of the 20-minute mark, which blends synthwave, minimalism, trance, Detroit techno and John Carpenter soundtracks, with Andy even dropping in some killer John Squire-esque guitar licks.

Ill considered are a group of musicians interacting with each other to create freely improvised music, based loosely around simple pre-written themes or composed on the spot. Deep grooves and plaintive melodies ranging from whispered chants to monstrous climaxes, the group react to the mood of the audience and the sonics of the room to create music that is unique to the moment. ILL CONSIDERED 8 was recorded during the band's European tour in the fall of 2018.

Kristian Craig Robinson, aka Capitol K, is a multi-instrumentalist and record producer with a long history in London’s most interesting under-the-radar music places and spaces. With a musical story like his, you can expect side streams. New record ‘Birdtrapper’ is “the sound of an initiation rave in a utopian hidden village”, and his latest exploration of Mediterranean audio mythos following from ’Goatherder’ (2018). The six track mini-album was similarly formed from ritualistic improvisations performed in Malta (where Capitol K was born), using home-made flutes, reed pipe, bamboo percussion, drum machine, bass guitar, but this time features a wider use of synthesizers, with the alternative dance floor in mind. Where ‘Goatherder’ was an awakening of genetic primitivism, ‘Birdtrapper’ is an evocation of sonic bird callers, proto-rave abandon, ambient resonance and an ecstatic captive state, along with the previous work's visions of hunters, temples and scrub land music
‘Goatherder’ caused a quiet kind of quake and was beloved by The Quietus, BBCR3 and 6Music. Vinyl Factory described it as “like a series of manipulated field recordings that have an ancient, ritualistic quality … Goatherder shimmers with Balearic strangeness, rooted in an earthy outer-national dance music tradition”. For the last seven years K has been behind the consoles at the heavily influential Total Refreshment Centre, recording and mixing records with the likes of Trash Kit, The Comet Is Coming, Rozi Plain, Alabaster DePlume, Dry Cleaning, Flamingods Cykada, Ibibio Sound Machine, BAS JAN and John Johanna. It’s not just recording. He’s also become an influential if understated mentor to a new wave of producers and bands. His experience in studio environments is long and storied, including stints at Studio Plateaux on an island in the middle of the Thames and in the Royal Symphonia’s squatted rehearsal rooms. Capitol K has released seven albums and the 'Birdtapper EP' follows a legacy of influential releases on early 2000s electronica labels including Planet Mu and XL. Aside this he also runs the record label Faith & Industry. It’s a friends and family, love not money affair and he has released music by Champagne Dub, John Johanna, Super Best Friends Club, Blue House & Clémentine March.

The Current Inside”, Marja Ahti's sophomore album for Hallow Ground, plays with the theme of currents - connecting and animating movements in the form of air, water and electricity. It approaches sound as a poetic medium, focusing both on the experience of sound as form and energy and on a loosely narrative arc, suggesting a riddle on the relations between the sounds. It implements alternative as well as intuitive tunings, analog and digital synthesis, recordings of sonorous spaces and vessels, electromagnetic fields transduced into audio, acoustic close-ups of elements in motion and other field recordings. Fluently connecting quite diverse sound sources, Ahti's music lingers in a zone between abstract sonorities and vaguely familiar acoustic environments.

The first half of the album consists of ”The Altitudes”, a piece commissioned by Ina GRM for Présences Électronique and Sonic Acts. It was inspired by descriptions of the layers of Earth's atmosphere. Imagining a movement through layers of air, the piece unfolds with a slow intensity, interweaving concrete sounds and closely tuned electronic sonorities. Traversing the altitudes, a landscape of entangled elements, masses and currents emerges. The air around us has weight and it presses against everything it touches. As gravity pulls it to Earth, it is sensed as pressure. The rotation of the planet, the angle of the sun at any new moment sets the elements in motion in a chain reaction.

The other side consists of four shorter pieces. ”The Currents” opens with a dance of trembling charged movements. ”Lost Lake” extracts resonant tones from a trail of close-up recordings of winter environments, while ”Fluctuating Streams” channels streaming air in different forms. The closing track, ”Sundial”, could be construed as the steady turning of the planetary angle towards the sun, unfolding through fragments of everyday activity against the backdrop of piercing, slowly twisting, suspended tone.

Marja Ahti (b. 1981) is a musician and composer based in Turku, Finland. Originally from Sweden, Ahti has been a part of the Finnish experimental music scene for more than ten years in different constellations. She is currently active in the duo Ahti & Ahti with her partner and as a member of the Himera artist/organizer collective. Her critically acclaimed 2019 solo debut, Vegetal Negatives, explored a new formal language and sonic palette inspired by a short text by René Daumal.

Studio Mule drops “Anthologia”, the final chapter of a close look on the work of the Tokyo born DJ and producer Takayuki Shiraishi, a jack of all trades, that sways through Tokyo’s vast music scene since the late 70’s, a time when post punk grooves called the tune. As part of the band BGM he released in 1980 the album “Back Ground Music” on the legendary Osaka based underground label Vanity. Last October Studio Mule reissued BGM’s no wave, free funk mini-mal treasure. A few Month earlier Studio Mule already published “Missing Link”, a thrilling retrospect on Takayuki Shiraishi's unreleased material from the late 1980s, a creative period of which only a little ever saw the light of the day.

And now “Anthologia”, a record that is dedicated to his work during the years 1990 to 1996, a time span, in which Shiraishi moved on to produce house, downbeat and playful electronica. In 1995 he released the ambient/techno 12inch “Spectral Colours” on the R&S sublabel Apollo under the alias Planetoid. Two years later he manifested his techno leaning creativity under his given name on the album “Photon”, a record that helped launching Japan’s techno scene. It was followed by two more long players, that display his wide musical taste with ambient, house, breakbeat and other genre blending styles. Besides producing, Shiraishi was also a prominent figure of Tokyo’s club nightlife, DJing alongside Jeff Mills as well as Krautrock icons like Holger Czukay.

“Anthologia” features three unreleased tunes of this lapse of time, as well as highlights some work Shiraishi produced together with his friend Jun Sonohara as Musica Nova and a hidden gem he tuned in for the “Isolated Audio Players 1” compilation, published by the Tokyo based Pickin' Mushroom Recordings label in 2000.

The three unreleased tracks display his love for diversification. “Distant Thunder” is a drone driven ambient voyage, that slowly melds into a gentle rhythmic sensation driven by loose hi-hat patterns and a soft chord crescendo. On the opposite, “Lapis Lazuli” comes around as a mellow melodic downbeat trip enlarged with twisted rhythms and cosmic infiniteness. “A Voy-age” shows his love for house music with a grooving arrangement that comes close to the kinky house gems of contemporary producers like Lowtec. Also, the already known “Isolated Audio Players 1” compilation tune “Flicker” is located in the house spheres, delivering nervous jacking minimal vibes emerging from a precise produced dance of melodies, grooves and sound effects.

In comparison, the four Musica Nova tracks show again another side of Takayuki Shiraishi’s many musical talents. “Birds in Paradise” is an elegant triphop tranquilizer, while tunes like “Nocturnal Tribes” and “Green on Green” express his passion for electronic arrangements that think out of the box with airy melodies, slow-motion big beat rhythms, jazz particles and an overall cosmic sound complexion. The tune “Shifting Sand” goes the same direction, while adding esoteric reverberations and a touch of Drum and bass.

Together the eight tracks turn “Anthologia” into something more than just an anthology of Takayuki Shiraishi’s work. In association, all compositions work like an album that overwhelms with a reasoned story-arc, who slowly rises to a hypnotizing peak, from where all downswings to a calm finish, that makes you want to start all over again.

Kicking off the new decade, Control Freak co-founder Customer Service makes his production debut with five tracks of adventurous outsider electronics.

On the A-side, ‘Dance First, Think Later’ is a bass-heavy dancefloor destroyer guaranteed to send the club west. It's followed with the ethereal sound design and off-kilter rhythms of ‘Recalcitrance’.

On the flip, ‘Betty’s Audition’ takes the pace down a notch with rolling, hypnotic drum programming and plenty of low end punch, whilst ‘B1SM’ deploys a skeletal breakbeat - one for the early hours. Rounding things off, ‘Exquisite Corpse’ locks into a rigid 4/4 groove combining acid with delicate, textured pads.

Control Freak Recordings is the sister label of London-based party Cabin Fever. They are next at The Cause on 20th March with Inga Mauer and Dark Entries. In April they head to Corsica Studios with Anthony Linell and Barker.

Ital Tek (a.k.a. Alan Myson) returns to Planet Mu with his sixth album ‘Outland‘. The album was written during a period of new beginnings following a move out of the city to a quieter space and the birth of his first child. During this time of self-imposed isolation Alan recorded a huge amount of source material and spent weeks and months sitting up at night with his newborn, listening back and making notes on how the new record should take form, focusing and developing ideas to shape this lean ten-track album.

Alan talks of the record being a collaboration between two parts of himself, something that definitely comes across as the album unfolds. Textures are something Alan excels at and on his last album, the largely beatless ‘Bodied’, it felt as if he was building a new sound-world. On ‘Outland’ he expands upon this. The album brings together the extremes of Alan's sound, contrasting roughened bass and beats with starker more detailed atmospheres and emotions.

The most beat-driven song here is ‘Deadhead’, with its gnarled bouncing bass, angular distorted melodies and cavernous textures. On tracks like ‘Bladed Terrain’ the contrasts are even more defined with buzzing drones and razor sharp drums plunging into a grainy fog, giving the track a dramatic 3D feel.

Then there are the stop-start pauses of ‘Leaving The Grid’, where the song evaporates into space before reemerging with shuddering rhythms and ghostly textures. Melodies crawl around these tracks as if they’re just waking up, as heard on the atmospheric ‘Angel In Ruin’.

The sleep-deprived fraying of the senses became Alan’s routine and one which he says gave him a renewed creative energy; half-asleep, working through the night, and then into the daytime super-focused but exhausted. Prone to audio hallucinations whilst writing the album, he aimed to capture these distortions in his perception of pitch and time, and you can hear these effects interpreted on tracks like ‘Endless’ and ‘Open Heart’ as melodies phase and slip out of time like an emotional Doppler effect.

This is also true of the soaring atonal synths at the peak of ‘Diamond Child’, which feel like the aural equivalent of eye floaters. These intuitive feelings and functions are a difficult thing to capture in sound, but Alan manages it beautifully and always makes the result feel warm and adventurous, heartfelt and epic.

Reconnected is compiled from Harold Lucious’ addictive 1990 release Connections, a visionary mix of soulful house, New Jack Swing and RnB, an American predecessor of street soul.

Deeply connected to music from an early age, Harold started his music career in the early 70s at the age of 16. He sang in his first group, The Final Seconds, who pressed a 7” single in New York City in 1973. The group would go on to record a full album called Neo Cosmic Blues, but never had the chance to press it. They would continue to perform and write together throughout the 70’s and searched in vain for a label to work with.

During that time, Harold landed a guest spot on the legendary Brother Ahh record Move Ever Onward, set up by his manager who was Brother Ahh’s sibling. Harold is listed as having played koto, but really he provided background vocals. Throughout the 80’s, Harold worked at WBI radio programming talk shows. On air, he would act out modified scripts to Richard Wright novels like “The Outsider”.

Connections was his effort to finally release a record after years of recording and playing music. Experimenting with dance music he came up with an album that was inspired by his love of house music and RnB. He sold the record out of his backpack, ending up with boxes of copies that were eventually destroyed when he had to move from his long-time apartment in Brooklyn. Few of the original LP remain, and it has become almost impossible to find.

Reconnected is a remastered redux with four songs taken from the original LP, and pressed onto a loud 45rpm 12” for maximum dance-floor potential. Mixed Signals is honoured to introduce Harold’s music to a contemporary audience around the world.

The sickest French band, a trio called France, drums, bass and amplified hurdy-gurdy. They only performs live, in the middle of the audience - turned in to face each other - full on smoke machines and strobes. And they play only one ‘song’ for the duration of their hour-long set. And it’s the most transfixing live experience of intense physical and mental focus, and there is something of early rave too, the togetherness, the energy, the euphory. The distorted hurdy gurdy plugs France’s sound into the country’s history of folk music and popular festivities, of communal trance and immersive pleasure. The rhythmic basis is pretty much the same throughout the whole live. One doesn’t need to actually be tripping balls for the auditory illusions to start coming thick and fast. Those who’ve stayed for the whole duration of their performances know they’ve shared something. However disparate the phantom forms each might have discerned in the midst of the howls and groans. Gigs like this you leave feeling you’re not quite the same person who went in, even though you’d be hard-pressed to pinpoint precisely what has changed. Far Out Far West was the band’s first gig outside of their usual comfortable friendly circle and thus was perceived as a somewhat hostile environment. This was where they met the fellows of Les Potagers Nature who will later release France’s debut untitled album. One certainty remains at least, that there is still a France we can believe in. David McKenna (The Quietus). Sales Points: - New album from trio France - All previous releases now sold out and sought after - For fans of drone, rural trance, stoner, psychedelic - 131st release on Mental Groove Music, home of WRWTFWW

Open minded EP opening on a 145 BPM kicker, straight solid and heavy in da bass from Spered... Then comes Ludien with his mental light speed kicks hiding a secret little melodies full of beauty and nostagly... The flip opens with Ito and a solid mental crucher, loud basses and hypnotic hardcore kick. Kebrat finally comes with a broken 165 BPM hardtek tune. Hardfloor loudness ! Fat ! With anonymous style.

Bunny Wailer’s album Sings the Wailers successfully reworks many of The Wailers songs with the backing of top Jamaican musicians, Sly and Robbie. The way he edited the songs for the modern age is impressive. At some moments he’s harmonizing with himself, to keep the spirit of The Wailers alive. Dubby overtones and well produced arrangements are all part of the wonderful sound created by Bunny and Sly and Robbie.

• 180 GRAM AUDIOPHILE VINYL
• INCLUDES “MELLOW MOOD”, “HYPOCRITE”, “RULE THIS LAND”, “I’M THE TOUGHEST” AND MORE REGGAE SONGS
• REGGAE SERIES WITH SELECTED REGGAE CLASSICS STICKER ON SEAL

Hendrik Weber aka Pantha Du Prince (‘a fantasy character...a poetic transporter for the concept behind the music’) has carved a niche for a style of techno he calls, ‘layered and cinematographic.’ He released the Diamond Daze (2004) and This Bliss (2007) albums on Berlin dance label Dial before signing to Rough Trade and widening his audience with Black Noise (2010) and The Element of Light (2013).

On “Conference of Trees”, Pantha Du Prince explores the communication of trees and creates a sound concept based on it. What we experience here is a break through recording of experimental music, visual poetry, club culture and speculative science.