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

Limited Edition Clear Vinyl

Includes 12' Vinyl and Deluxe CD album, 30 page hard back book

Now that I've been to Nashville,' Kylie Minogue says with audible affection, I understand. It's like some sort of musical ley-line...'

Golden, Kylie's fourteenth studio album, is the result of an intensive working trip to the home of Country music, a city whose influence lingered on long after the pop legend and her team returned to London to finish the record: We definitely brought a bit of Nashville back with us,' she states. The album is a vibrant hybrid, blending Kylie's familiar pop-dance sound with an unmistakeable Tennessee twang. It was Jamie Nelson, Kylie's long-serving A&R man, who first came up with the concept of incorporating a Country element' into Kylie's tried-and-trusted style. That idea sat there for a little while, with Minogue and her team initially unsure about how to bring it to life. Then, when Grammy-winning songwriter Amy Wadge's publisher suggested Kylie should come over to collaborate in Nashville, a city Kylie had previously never visited, something clicked. You know when you're so excited about something,' she recalls, that you repeat it an octave higher and double the decibels I was like that. 'Nashville! Yes! Of course I would!'. I hoped it would help the album to reveal itself. I thought 'If I don't get it in Nashville, I'm not going to get it anywhere.''

Kylie's Nashville trip involved working alongside two key writers, both with homes in the city. One was British-born songwriter Steve McEwan (whose credits include huge Country hits for Keith Urban, Kenny Chesney and Carrie Underwood), and the other was the aforementioned Amy Wadge, another Brit (best known for her mega-selling work with Ed Sheeran). It was then a truly international project: Golden was mainly created with African-German producer Sky Adams and a list of contributors including Jesse Frasure, Eg White, Jon Green, Biff Stannard, Samuel Dixon, Danny Shah and Lindsay Rimes, and there's a duet with English singer Jack Savoretti.

However, the album's agenda-setting lead single Dancing was, significantly, first demoed with Nathan Chapman, the man who guided Taylor Swift's transition from Country starlet to Pop megastar. If anyone knows how to mix those two genres, Chapman does. Nathan was the only actual Nashvillean I worked with. He's got a huge studio in his house, which is probably due to his success with Taylor... there's plenty of platinum discs of her, and others on his walls.' There's something of the spirit of Peggy Lee's Is That All There Is, of Dylan Thomas' Do Not Go Gentle Into That Good Night, even of Liza Minnelli's Cabaret about Dancing, a song which not only opens the album but sets out its stall, providing a microcosm of what is to come. You've got the lyrical edge, that Country feel, mixed with some sampling of the voice and electronic elements, so it does what it says on the label. And I love that it's called 'Dancing', it's immediately accessible and seemingly so obvious, but there's depth within the song.'

The experience of simply being in Nashville was an overwhelming one, before Kylie had even arrived. Once I knew I was going to Nashville, people talked about the place with such enthusiasm. They said without doubt I would love it and, I would come back with songs. They were sending lists of restaurants, coffee shops and bars. It really was a beautiful and genuine response and it felt like I was about to have a life changing experience and in a way, I did.' The reality came as something of a surprise, when she found a far more modern metropolis than the vintage one she'd envisaged. I thought it would be like New Orleans: little houses and bars, with music spilling out onto the street. It reminded me more of Melbourne: apartment blocks going up everywhere! The main strip, Broadway, where the honky tonk bars are, that's where the street was filled with music and it was just amazing.' Mainly, Minogue remembers the heat and humidity. It was 100 degrees. It was like it was raining with no rain.' She also relished the chance to wander around unrecognised, visit a few venerable music bars and soak in the atmosphere. I didn't get to the Grand Ole Opry or the music museums but I managed to go to a couple of the institutions there like The Bluebird Cafe and The Listening Room, and just by being there, through some kind of osmosis, you get this rejuvenated respect for The Song, and the writing of The Song. There's no hoo-hah around it. There's a singer-songwriter there, talking about the song and singing the song, to an audience who are there to listen. Although, I have to confess I was guilty of starting to clap too soon during a long pause at the end of one of the songs. The guy made a bit of a joke out of it and got a laugh from it, but I thought 'Of all people in the audience, no...''

It's probably no coincidence, therefore, that every track on Golden is a Kylie co-write, making it arguably her most personal album to date. The end of 2016 was not a good time for me,' she says, referring to well-documented personal upheavals, so when I started working on the album in 2017, it was, in many ways, a great escape. Making this album was a kind of saviour. I'd been through some turmoil and was quite fragile when I started work on it, but being able to express myself in the studio made quick work of regaining my sense of self. Writing about various aspects of my life, the highs and lows, with a real sense of knowing and of truth. And irony. And joy!'

The songwriting process allowed Kylie to get a few things out of her system. Initially, she admits, it was cathartic, but it also wasn't very good. I think I was writing too literally. But I reached a point where I was writing about the bigger-picture, and that was a breakthrough. It made way for songs like Stop Me From Falling and One Last Kiss. It also meant I had enough distance to write an autobiographical song, like A Lifetime To Repair, with a certain amount of humour. The countdown in that song: 'Six-five-four-three, too many times...'. I don't know if that will be a single, but I can just imagine a girl with framed pictures of past boyfriends, and kind of going 'Oh god, when am I going to get this right'' When she listens back to Golden, Kylie can vividly hear the Nashville in it. It is, she'll agree, probably the first time that a Kylie album has sounded like the place it was made. You wouldn't normally relate my songs to the cities. Can't Get You Out Of My Head sounds more like Outer Space than London. But Shelby '68, for example, was written in London but it was done with Nashville in mind. It's about my Dad's car, and my brother recorded Dad driving it! I don't think I'd have written a number of the songs, including Shelby '68 and Radio On without having had that Nashville experience.'

The latter, she says, is about music being the one to save you.' Throwing herself into the making of the record, she says, crystallised that idea. If there's one love that will always be there for you, it's music. Well, it is for me, anyway.' That song, in particular, carries nostalgic echoes of the golden age of Country, as heard through Medium Wave transistors and tinny home stereos in the distant past. Like any child of the Seventies, Kylie had a basic grounding in Country music, mainly absorbed from older family members. My Step-Grandfather was born in Kentucky and though he lived most of his adult life in Australia, he never stopped listening to his beloved Country artists.' If there's any classic Country singer whose imprint can be heard on Golden, it's Dolly Parton.

Kylie saw Dolly live for the first time at the end of 2016, at the Hollywood Bowl. It was like seeing the light,' she beams. It was incredible. Everyone, whether they know it or not, is a Dolly Parton fan. When I was in Nashville, I did pick up a T-shirt that said 'What Would Dolly Do' Maybe that should be my mantra.' And, whether consciously or otherwise, there's a timbre and trill to Kylie's vocals on Radio On that is distinctly Parton-esque. My delivery is quite different on this album,' she says. A lot of things are 'sung' less. The first time I did that was with Where The Wild Roses Grow. On the day I met Nick Cave, when I recorded my vocals, he said 'Just sing it less. Talk it through, tell the story.' This album wasn't quite to that extreme, but a lot of the songs were done in fewer takes, to just capture the moment and keep imperfections that add to the song. I remember on my last album, a lot of producers were trying to take out literally every vibrato they heard. And that's not natural to my voice. I mean, I can make myself sound like a robot, but it's nice to sound like a human!' Working within the Country genre also gave Kylie permission to write in the Nashville vernacular. Because we were going there, I wasn't afraid to have lines like 'When he's fallen off the wagon we'd still dance to our favourite slow song', 'Ten sheets to the wind, I was all confused', 'I'll take the ride if it's your rodeo'. The challenge of bringing a Country element to the album made the process feel very fresh to me, kind of like starting over. I started to look at writing a different way, singing a different way.'

If ever Kylie lost confidence in the Country-Pop concept, and found herself pondering This is great, but back in the real world - my real world - how will this work', Jamie Nelson was there to badger her into sticking to the path. We found a way to make it a hybrid with what we'll call my 'usual' sound. It had to stay 'pop' enough to stay authentic to me, but country enough to be a new sound for this album. The closer we zoomed in, and the more we honed it, I knew Jamie was right. We sacrificed good songs that weren't right for this album, because we wanted it to be as cohesive as possible. The songs that were hitting the mark were these ones, so we decided to be strong, and that's how we wrapped up the album. What he said, that stuck with me, was that 'I'd hate to get to the end of this and really wish we'd gone for it.'' Having worked with Kylie for so long, Nelson was able to put this latest shift of direction into perspective. He said 'You've traditionally done it throughout your career. You had your PWL time, then you did a complete turn when you went to deConstruction, then another complete turn with Spinning Around, and R&B dance-pop, and then another turn with Can't Get You Out Of My Head, icy synth-pop, and this is another one.' He was right. It felt like the right time to have a change sonically. New label, new stories to tell, and a new decade almost upon me.'

Kylie Minogue will, it's scarcely believable, turn 50 this year. This looming milestone is partly behind the album's title, and title track. I had this line that I wanted to use: 'We're not young, we're not old, we're golden' because I'm asked so often about being my age in this industry. This year, I'll be 50. And I get it, I get the interest, but I don't know how to answer it. And that line, for my personal satisfaction, says it as succinctly as possible. We can't be anyone else, we can't be younger or older than we are, we can only be ourselves. We're golden. And the album title, Golden, reflects all of this. I liked the idea of everyone being golden, shining in their own way. The sun shines in daylight, the moon shines in darkness. Wherever we are in life, we are still golden.' One of the album's shiniest moments is Raining Glitter, an exuberant banger which ventures closest to Kylie's traditional dance-pop comfort zone. Eg White, who is one of the producers and writers and a great character, was talking about disco one day. I said 'I love disco, but you know the brief.' We needed to be going down the Country lane, so to speak. But we managed to bring them both together. When I wrote it, I was thinking about the Jacksons video for Can You Feel It where they're sprinkling glitter over everyone. And I think there's a Donna Summer record that's got that feel to it. I think that's my job: I basically leave a trail of glitter after every show I do anyway.'

Kylie is looking forward to the challenge of incorporating the Golden material into her live shows. Mixing these songs in with my existing catalogue is going to be fun. And it could be fun to do some of those songs with just a guitar. It'll make my acoustic set interesting...'Her incredibly loyal fans - to whom one Golden song, Sincerely Yours, is intended as a love letter' - will, she believes, have no problem with her latest stylistic shift. My audience have been with me on the journey, so I shouldn't be afraid that they won't come with me on this part. I've had fun with it, and I'm sure they will too.'

The time spent making Golden has, Kylie says, been a time of creative and personal renewal. I've met some amazing people, truly inspiring writers and musicians. My passion for music has never gone away, but it's got bigger and stronger.' And if there's an overriding theme to the record, it is one of acceptance. We're all human and it's OK to make mistakes, get it wrong, to want to run, to want to belong, to love, to dream. To be ourselves.'

I was able to both lose and find myself whilst making this album.'

Das dritte Album der in Berlin ansässigen Postrock-Band Cavern Of Anti-Matter der beiden Stereolab-Mitglieder Tim Gane (Frontmann) und Joe Dilworth (Drums) und des Synth-Spezialisten Holger Zapf erscheint ebenfalls auf dem eigenen Duophonic-Label. Auf "Hormone Lemonade" erzeugt das Trio aus modularen Synthesizern und selbstgebauten Drum-Machines hypnotische Soundstrukturen, die, angereichert mit minimalen Gitarrenmelodien und Live-Schlagzeug, ein reichhaltiges Gesamtwerk aus Experiment, Improvisation und Raffinesse ergeben.

Pressestimmen zum Vorgänger:
"A delightful head-trip." - Mixmag
"Their official debut is a whimsical, expansive set of cosmic post-krautrock groove." - Pitchfork
"An uber-compelling meld of Kraftwerk/Neu!/Harmonia and early techno." - Shindig!

Fayze came of age in Windsor, Ontario, a diverse, gritty Canadian city in the immediate shadow of Detroit. During the 1980s, this fortunate geography placed the local scene in the inner orbit of the emergent Detroit techno scene. From that starting point, Fayze fell deeply in love with experimental, original sounds. Today, his innovative, genre-defying soundscapes flirt occasionally with global schools like avant-pop and krautrock, but his sound is all his own. Fayze 's new music uses vintage analog synthesizers, which he's been collecting since the early 1990s, to build organic, textural compositions. An idiosyncratic collection of ambient, dreamy soundscapes, the album features inspired collaborations with Detroit, Windsor, and Toronto artists. Its myriad influences include Aphex Twin , Stereolab , Led Zeppelin , and Boards of Canada . A well-travelled creative professional by day, Fayze previously made music with Marc Houle and Marshall Sfalcin of King Kool Flipped . This is his first major solo project.

Support for recent album release - Push On

Observer Magzine Feature Dec 2017

Radio:

BBC 6 Music Craig Charles Album of The Year

BBC 6 Music Album of the Day

'That's a great song for the summer' - Alan Carr

"I challenge you not to get down to this!" - Zoe Ball (Entitled to That quote)

'Entitled to That' - Radio 2 (Zoe Ball, Alan Carr & Mel Sykes, Craig Charles) 6Music (Craig Charles, Steve Lamacq, BBC introducing Bristol)

'Main Event (feat. Andy Cooper)' 'Since You've Been Gone' - 6Music (Nemone)

Love That I'm In (Craig Charles, Nemone)

WW International and specialist radio: Jazz FM, WNCW, Solar Radio, Radio One Italy, Radio Krimi, WNCW, Radio Nova Portugal, Kane FM, Radio Pepper Greece, Radio Fg, Radio Z Nurenburg, WUTK FM 90.3, 100.3 Thessaloniki, 1BrightonFM, FM4 Vienna, Radio Z Nuremburg,

Online press: We Plug Good Music, Stereofox, 45Live, Monkeyboxing, The Dutch Guy, Life Support Machine, KBPS magazine, Flea Market Funk, Sphere Of Hip Hop, 45's Corner, AAA badboy,

DJ support: JFB, DJ Food, Renegades Of Jazz, Basement Freaks, Utah Saints, Qdup, Nutritious, Kid Kenobi, Doc Scott, Featurecast, Mat The Alien, Marc Hype, DJ Love, DJ Format

Summary for previous album 'As We Do Our Thing'

Album of The day on BBC 6 music with additional support from Shaun Keaveny, Lauren Laverne, Nemone, Craig Charles, Don Letts, and Radcliffe and Maconie

Andy Cooper (Ugly Duckling) and the Allergies also performed a Dermot O' Leary BBC Radio 2 session and a Loose Ends session on BBC Radio 4.

Hit top 3 in the iTunes UK Hip Hop chart (47 main overall)

#1 on Juno Download

The previous single Rock Rock featuring Andy Cooper was featured on TV Channel 4's Sunday Brunch and

Rock Rock used to soundtrack Euro football qualifiers on ITV (both National television station)

Rock Rock was Tune of the Month in Mixmag

Rock Rock also went to # 1 on Juno Download Hip hop chart on release.

DJ Support: DJ Yoda, Renegades of Jazz, Featurecast, A Skillz, Dom Servini , The Next Men, Aldo Vanucci, All Good Funk Alliance, Mr Benn, Marc Hype, Smoove, Dr Rubberfunk, Fab Samperi, Slynk

A quartet of heavy reworks. Reginald Omas Mamode IV truly does what he does best, bringing a percussive, low-slung funk to one of the most ethereal and beautiful pieces of soul on the album, Sunshine. Glenn Astro, elevates Bossa B to a jostling, bouncing shuffler that eventually turns around and heads skyward with uplifting chords and irresistible bass.
Deoke heads into the darker regions of the original for his huge remix of Bossa B. Finally the ever exceptional Mr Beatnick simply took the stereo track for Kalimba 2 and edited it into a mind-opening dub. Handling bass and harmonics as only he can, a true highlight of this high quality remix package.

An ethereal, unresolved presence fading into the stereo field, Hilja breathes into life with a haunted synth line and self-sampling vocal hook that instantly creates an enchanted space. Hilja is the debut album by Glasgow-based musician Maria Rossi aka Cucina Povera. Named after a style of southern Italian traditional cooking associated with precarity and making-do, a philosophy of simplicity and stoicism that applies perfectly to the spare but beautiful music Rossi experiments with. Hilja's marriage of minimal synth, field recordings and the hymnal dexterity of Rossi's vocal performances creates a new language, sometimes literally, to be spoken in some mythological Fourth World we've yet to create.
Originally from Finland, Rossi brings an acute sense of space, surroundings, and practicality to her working practice, with each composition often relying on a limited sound palette to create deeply affecting messages which transcend language. Cucina Povera's power is to communicate purely, often down to the solo-choir nature of Rossi's multi-layered voice, an achingly beautiful instrument which has seems to have an innate spirituality in its grain. The tension between the means and the end is at the heart of Cucina Povera, the invocation of a kind of secular spirituality at times using nothing but Rossi's voice. Indeed there's almost a Dogme-like purity to the arrangements: Elektra is a soothing song based around the lapping waves of Rossi's wordless backing vocals and a simple field recording of stones knocked together. Kehoitus is completely a cappella, a haunted fairytale told in glossolalia, evoking a quasi-religious experience with very little.
For music often minimal and simple there's a boldness that belies Hilja's status as a debut. Rossi allows each word, each sound and rhythm to exist in its own space, finding its own relationship with its surroundings. Mesikämmenen Veisu is perhaps the most ecclesiastical sounding composition here, burbling water trickles below a virtuoso vocal, with incredible arrangements in several registers undulating above. A meditation to relieve hunger and restriction, it's a perfect summing up of Hilja, a music ambient but completely earthed, finding enchantment in what you have to hand, the realism of magic, the magic of realism.
First Press limited to 300 with hand-screened sleeves.

Hailing from Mali, Amadou Bagayoko and Mariam Doumbia first met as children at Mali's Institute for the Young Blind—both lost their vision at an early age. It was here that they started performing in the institute's Eclipse Orchestra, eventually marrying and began recording together in the '80s.

Over the span of three decades Amadou (guitar and vocals) and Mariam (vocals) developed an international following having recorded eight full-length albums and toured around the world. Their album Welcome To Mali (2008) was nominated for the Best Contemporary World Music Album' at the 52nd Grammy Awards. Tour highlights for the duo include supporting U2 on their U2 360 Tour, performing at the 2010 World Cup for FIFA's Kick-Off Celebration and performing alongside major acts across multiple genres such including Blur, Coldplay and Pink Floyd's David Gilmour.

The album also includes the hit single Bofou Safou,' which Stereogum calls the funk, the whole funk, and nothing but the funk.' The band discussed La Confusion and performed new music on a recent stop at KCRW's Morning Becomes Eclectic' during their recent sold out North American seventeen city headline tour — watch HERE. The band played major markets including New York, Los Angeles, San Francisco, Chicago, Washington D.C., Philadelphia, Montreal.

Amadou & Mariam recently released the Bofou Safou EP via Because Music. The EP includes the first two La Confusion singles, Bofou Safou' and Filaou Bessame,' alongside remixes of the EP's title track by Fatima Yamaha, Africaine 808, Henrik Schwarz and more. The term bofou safou' is a Bambara (the Malian national language) nickname given to nonchalant young men who would rather dance than work. Of the new EP, the group notes, We really like the remixes that were made for the EP. You get to hear our music in a different form, which is great. All five remixes manage to catch the essence of our song while really pushing those enticing afro pop and electronic vibes further.'

Album includes the singles Drew Barrymore' and Love Galore' featuring Travis Scott.

The recent release of the Love Galore' single and video were met with rave reviews from fans and critics alike, including Pitchfork, Stereogum, Billboard, Vibe and more. The Fader calls the track a smooth collaboration... SZA and Travis Scott display a magnetic chemistry (in the video)...,' while Paper summarizes the song as a perfect breezy springtime jam for your Carrie-Bradshaw-at-her-MacBook moods, and if you haven't caught major feelings for SZA by the time the song is over then we really have nothing further to discuss.'

SZA, one of the redefining voices of today's contemporary music era, entered the music scene in 2012 with her first critically acclaimed EP, See.SZA.Run. Following that, she released S in 2013 and Z in 2014, both to rave reviews. In 2013, SZA signed to Top Dawg Entertainment, being the first female artist to join the label. SZA wrote and performed on Rihanna's Anti Single Consideration' in 2016 and helped write Nicki Minaj and Beyonce's Feelin Myself' in 2014.

Born in Maplewood, New Jersey as Solána Rowe, SZA grew up listening to classic and avant-garde jazz, alternative, and rap. She renamed herself finding inspiration within the Supreme Alphabet: the 'S' stands for savior or sovereign, the 'Z' for zig-zag, and the 'A' for Allah.

Sgt. Pepper's Lonely Hearts Club Band's 2017 stereo mix as a 1-LP 180-gram black vinyl. Produced by Giles Martin for this year's universally heralded 'Sgt. Pepper' Anniversary Edition releases, the album's new stereo mix was sourced directly from the original four-track session tapes and guided by the original, Beatles-preferred mono mix produced by Giles' father, George Martin. Praised by fans and music critics around the world, The Beatles' 'Sgt. Pepper' Anniversary Edition is 2017's most celebrated historical music release and an ideal gift for Beatle People here, there, and everywhere.

Les Disques du Crepuscule present an extended double disc reissue of Shiver, the acclaimed debut album by seminal Swedish artist  Virna Lindt, originally released by The Compact Organization in 1983.

Written and produced by Virna Lindt and Tot Taylor, Shiver offers 12 slices of chic orchestrated pop informed by 'foreign film' soundtracks, movie composers John Barry and Ennio Morricone, Modernist musique concrete and Cold War spy thrillers. The album spawned three singles: Attention Stockholm, Intelligence and I Experienced Love. For the most part Lindt provides the voiceover for her own narratives, occasionally striking reflective poses amid orchestral swells and multi-layered atmospherics; a clear influence on later acts such as Pulp, St Etienne and Air.

This new edition of Shiver showcases acoustically-enhanced mixes prepared by Taylor and Lindt in 1997, augmented with non-album singles Model Agent and Young & Hip, and immaculate instrumental versions of key album tracks such as Underwater Boy and The Dossier on Virna Lindt. The extended tracklist also finds room for a leftfield cover of Windmills of Your Mind, originally written by Michel Legrand and Alan & Marilyn Bergman for The Thomas Crown Affair and recorded for the Crepuscule compilation album Moving Soundtracks.

Cover photography is by E.A. Janes. The 2xCD edition is housed in a 6 panel digipack with a 12 page booklet. The double vinyl set comes in a stylish gatefold sleeve and includes a free digital copy.

Praise for Shiver:  'Eurocentric Virna Lindt casts herself as a mysterious blonde in a loving pastiche of Continental movie music' (Sounds); 'I think of Shiver as Ingmar Bergman's All These Women cast as 50-odd minutes of musical dialogue. Tot Taylor's fantastic orchestrations cast a brilliant pale of modern love throughout' (Fond/Sound); 'Instead of mere cool styles, there's far more here than a restrictive stereotype' (All Music Guide);

The premiere soundtrack release to Peter Weir's 1977 Australian New Wave classic.
Lost electronic score from the enigmatic composer Charles Wain.
12-track LP sourced from the original stereo master tapes.t.
180g vinyl and deluxe packaging including archival film stills and original press material

The Last Wave (also known as Black Rain in the US) was the final chapter in a trilogy of films scripted and directed by the leading auteur of the Australian New Wave, Peter Weir.

Beginning in 1974 with the absurdist black comedy-horror The Cars That Ate Paris, and followed a year later by the lush gothic mystery Picnic At Hanging Rock, The Last Wave was a landmark in existential horror. Sitting alongside other Australian eco-terror films (e.g. Long Weekend) the film featured a haunting electronic soundtrack that is as mysterious and beguiling as the spiritual themes of the film itself.

With no LP issued after the films premiere in 1977, and together with the mystery surrounding the true identity of its enigmatic composer 'Charles Wain', the score is a largely unheard recording of pioneering experimental film electronics, easily compared to the music that contemporaries Klaus Schulze and Tangerine Dream were composing for Australian films during the same period or the electronic soundtracks of John Carpenter.

Tense atonal electronics, synthesizer drones and manipulated Didjeridu all perfectly capture the film's ominous atmosphere, punctuating the slow hypnotic pace of this brooding supernatural thriller. The Last Wave soundtrack is released in conjunction with the lost film music to Nicolas Roeg's 1971 New Wave masterpiece Walkabout composed by John Barry.

Remixes from Ruede hagelstein & Amin Fallaha, Scuba, Julien Bracht and Tom (Alt-J) Hymn to the Night is the debut album from rising electronic post-punk duo, Lea Porcelain. The album was writt en and recorded over a two year period in Berlin's FUNKHAUS, a broadcasti ng house created under Soviet supervision that now houses the world's biggest recording studio. We are proud of what we have made and we have learned a lot through the process,' recall the band. The spectrum of the album is extremely wide.

Every song works together, playing with very different moods. We would describe it as atmospheric, cinemati c and melancholic'. Including the singles, 'Bones', 'Out Is In', and 'Warsaw Street' The song is rich in vibrant synthesizers and gentle vocals laced with percussion as lively as a marching band, creati ng a track as quixoti c as a lucid dream. - Stereogum

Ominous motorik kraut rumblings and the thudding electronic trickery of prime era Underworld. - Godisinthetvzine

Music-wise, we're thinking of smooshing together Joy Division with Echo & The Bunnymen (sure) coupled with the modern-downbeatness of The XX. So everything dressed in black basically. Brilliant stuff . - Killing Moon

An electronic duo from Frankfurt, Lea Porcelain have a dark, twisted yet oddly enti cing sound. - Clash Magazine

The Doors had one of the most extraordinary debut years in music history in 1967, releasing a string of hit singles and two platinum albums, beginning in January with the band's self-titled debut, followed by Strange Days in September. The latter peaked at #3 on the Billboard album chart and featured classics like Love Me Two Times,' When The Music's Over,' and the title track Strange Days.'

STRANGE DAYS (50TH ANNIVERSARY DELUXE EDITION) was produced by the album's original engineer Bruce Botnick. It includes the original stereo mix of the album on CD for the first time in a decade, with sound that's been remastered for the first time in 30 years. The second disc features the album's original mono mix, which has been remastered for this set and is making its CD debut. Accompanying the set are liner notes by music journalist David Fricke, as well as a selection of rare and previously unseen photographs.

Having a larger budget for Strange Days allowed the band to spend more time experimenting in the studio. They used an eight-track recorder for the first time, which resulted in some memorable overdubs like Krieger's double-tracked guitar on When The Music's Over.' Surprisingly, the trippy keyboard sound heard on the album's title track is actually one of the earliest appearances of a Moog synthesizer in a rock song.

Strange Days mixed new songs written on the road with some written before the band's 1967 debut. In fact, the band performed Strange Days' during its 1966 residency at the London Fog in L.A., while My Eyes Have Seen You' dates back to 1965. Another early track is Moonlight Drive,' which was one of the very first songs that the band practiced together, and where the band heard Krieger's haunting bottleneck guitar playing for the first time. It's also the song Morrison sang to Manzarek at Venice Beach in 1965 when the two former UCLA film students reconnected and decided to start the Doors.

LP Kraft Sleeve, Liner Notes Poster Inlay, Sticker Jun Fukamachi's 1986 never-officially-released highly sought after rarity NICOLE LP available for the first time ever on vinyl and CD, and made in cooperation with the artist's estate. All new liner notes by Masaharu Yoshioka aka The Soul Searcher.

WRWTFWW Records is proud to announce the release of Jun Fukamachi's highly coveted Nicole (86 Spring And Summer Collection - Instrumental Images) album, originally recorded in 1986 for celebrated fashion designer Mitsuhiro Matsuda's Nicole clothing brand and never officially available before. Only ever distributed as a limited promotional item offered to attendees and participants of the 1986 fashion show for the Nicole brand's Spring and Summer collection, Fukamachi's moody magnum opus has become a sort of Holy Grail for fans of Japanese ambient, jazz, and synth music alike...and rightly so! Meticulously conceived, smooth and subtle, Nicole sounds like it came from an ethereal land where Erik Satie and Art of Noise lived together, a sublimely cinematic listening experience perhaps best described by renowned Japanese music writer Masaharu Yoshioka aka The Soul Searcher: If you are driving down the Autobahn at 160 km/h, or even 80 km/h, and Jun's music starts playing on the car stereo, the windshield will instantly turn into your own personal silver screen. Nicole is available in two versions: a vinyl LP cut at Emil Berliner Studios, housed in a kraft sleeve similar to the original promo-only release, and a kraft digipak CD version. Both versions were made in cooperation of the artists's estate and come with new liner notes by Masaharu Yoshioka.

Franco Battiato is often heralded as Italy's answer to Brian Eno. A quizzical composer/lyricist, Battiato turned pop music upside down in the early '70s with three classic LPs - Fetus, Pollution and Sulle Corde Di Aries - that formed a confluence of avant-folk sensibilities and analog electronics.

Pollution from 1972 is the captivating follow-up to Fetus. Like its predecessor, the album features Baroque textures, motorik rhythms, weird tape effects and Battiato's perfectly oblique vocals. Upon hearing Pollution, Frank Zappa joyfully proclaimed it "genius."

While Battiato's core group of collaborators remains largely the same as on his debut, this phenomenal band (joined by an eighteen-year-old Roberto Cacciapaglia on keys) appears even more in the foreground on Pollution. Out of the Ash Ra Tempel-like riffs and urgent guitar strumming emerge hypnotic grooves and cinematic flourishes, suggesting a futuristic meeting point between Stereolab and Ennio Morricone.

Dedicated to the Centro Internazionale Studi Magnetici, Pollution touches on themes of environmental catastrophe. Futurist allusions seep in through eccentric lyrics (at times sung backwards) about hydraulics, magnetic fields, etc., yet listeners don't need to speak the artist's language to grasp his melancholy vision. With Pollution, Battiato solidifies not only his cult figure status, but also many of his forward-thinking ideas on rock 'n' roll.

Superior Viaduct is honored to present the first-time domestic release of Pollution on vinyl. Reproducing the original gatefold jacket, this reissue is part of an archival series that chronicles Franco Battiato's masterful body of work from 1971 to 1978.

Black Truffle is thrilled to announce the first ever vinyl reissue of legendary performance and sound artist John Duncan's forgotten gem Klaar, originally released by Extreme in 1991 and partly created in collaboration with Andrew McKenzie (The Hafler Trio). Duncan is perhaps most well known for his notorious early performances pieces, which explored violence, self-denial, and the establishment of extreme psychological and physical states in both artist and audience. Alongside these transgressive experiments, Duncan began to create audio works primarily using short wave radio. Where some of Duncan's earlier recordings are composed of magnificently sculpted but abrasive walls of noise, Klaar, recorded while Duncan was living in Amsterdam, occupies a more meditative territory.
Opening with 'Delta', which layers long tones seemingly sourced from slowed down voices over a distant, watery field recording, the remainder of the first side is occupied with the epic title piece, which arranges shortwave radio abstraction, vocal experiments, and field recordings (street sounds, fireworks, monastic chants) into an episodic cinema for the ear. The second side is dominated by the long, brooding 'The Immense Room', where layers of shortwave interference and field recordings are gradually built up into a pulsing, wavering bed of sound infused with a subtly disturbing sense of psychological unrest. This rises to the surface near the end of the piece as sexual moans and ominous rumbles crisscross the stereo image before being abruptly brought to a halt.
A singular work of electroacoustic composition, Klaar is both compositionally sophisticated and infused with a sense of mystery and a vital reality often lacking in more academic experimental music; it sits proudly alongside contemporaneous recordings by Duncan's friends and collaborators Jim O'Rourke and Christoph Heemann and is a must for anyone interested in their work.
- Francis Plagne

How Is It Going To End It's split single time at Studio Barnhus as we come correct with two pieces of proper-not-proper house music for the daredevil deejay. Jonathan Fernandez is only 23 but has lived in Glasgow forever - under his Wheelman moniker and as head of label/party Stereotone, our brilliant new friend has quickly become Scotland's worst kept secret. Track comes overflowing with mind-expanding rave signal and ruff-ruff square bass for your face! Hanky - secret new alias of one of Stockholm's most recent and most exciting dance music exports - delivers a chaotic yet steady super-groove', equally primed for the club floor and the anger management class. Artwork by Johan Jonason, award-winning film director/artist and elusive lead singer of Man Tear. Studio Barnhus, 2017...

Andras establishes a new home for his out-house productions with Punp Records. While House of Dad laboured in detail, 'Sanity' targets club play - speeding tempos laced with the larrikinism of Boiler Room, Australian reality TV and shark siren cut ups. 'Vinyl Only' takes a swipe at the 100% mentality with a stereo bassline threatening to derail the stylus, further sidetracked by being digitally available a week before the 12'. On the P-side, '40k' pulls swimmers from the Bondi rip while 'Sanitiser's simplicity cleanses the grease from Andras' former plumbing exploits.
Words by Michael Kucyk (Noise in My Head)

Norway's PLOINK imprint returns this April with a four-track EP from production duo Dortmund titled Sauerkraut featuring a remix from Christian Tilt.
Hailing from Bergen, Thomas Urv and Miss Mostly's PLOINK events have been championing the Norwegian techno scene for over two decades. Launched in 2014, the PLOINK label has hosted a string of
versatile twelves from the likes of Prins Thomas, Christian Tilt, SkatebÂrd and most recently Mental Overdrive, whoís innovative ëHardwareí album dropped in March. Returning to the label since providing a
track on PLOINKís 20th anniversary release last year, hardware specialist Dortmund, real name Karl Markus Zavodny, is also well known for releases on Montrealís Turbo and Leipzigís Vocabula Recordings.
ëSauerkrautí opens the release with rolling synthetic percussion that builds into an earworm groove, laced with chattering hats in tandem with echoing claps and fuelled by a vibrant acid loop. ëAcid Over Osloí then
motors along, utilising a razor-sharp 303 line within the frame of a crisp drum machine riff with a warmly distorted glow. Christian Tilt then morphs 'Sauerkraut' into an energetic pulsating cut, employing subtly swinging hats bathed in reverb before further processing the acid lead into fresh areas of the stereo field. Echoing bleeps then dissipate in Karl Krankenhaus underpinned by a bone shaking drum groove alongside moments of IDM tinged synthscapes and dubbed out chord stabs.
Dortmund ëSauerkraut EP' drops on PLOINK on 21st April 2017.

* Mastered and lacquer cut by Mike Grinser @ Dubplates & Mastering, Berlin

Jos & Eli might seem unknown to many electronic music lovers but they have been releasing great music since 2013. They have been sending me music for a long time and I think we have spend about a year developing this first release on Noir Music, making sure it represented their debut on the label perfectly. When you hear the Adrenaline Hunt release you will notice that the 2 guys from Tel-Aviv have developed into a great production team over the years and these 3 tracks included here are not only cleverly crafted for the deeper dancefloors but can also be enjoyed on home stereo's. Opener 'Obscured Mind' features immense vocal-work by Jinadu and the song is wrapped in delicious and constantly intensified deephouse flavours whereas 'Initiation' has a more tribal, dubby and africanism edge to it. On the title track 'Adrenaline Hunt' which we build the EP aound things get a little more tech, darker and closer to what you would typically expect from Noir Music. Not only am I always excited to have new artists and talents on the label but I feel Jos & Eli bring a new dimension to Noir Music as well.

12 with printed inner-sleeves; handcrafted covers: manually stamped, numbered and printed (silk-screening) in Berlin, 180g Vinyl.

Fans donated €25,000 to Emika for the project
Fans paid for the album before hearing any music
Electronic & Neo Classical. Fits 2 genres / Cross over
The composition is inspired by electronic music
Emika hired double the amount of bass players in a normal orchestra
Emika created a new seating plan for the orchestra, to sound more like a wide stereo pop album
Echo concepts (electronic music)
Romantic piece, lyrical piece, universal themes of love and sadness, huge beautiful melodies
50 piece symphony orchestra
Silver-toned soprano Michaela Srumova
Composed in Berlin
Recorded in Prague at Czech Radio Studios.

* The crossover between electronic music and classical composition has never been in more vibrant and dynamic health. Multifarious musician Emika explores this fertile ground on her ambitious new opus 'Melanfonie': her first orchestral composition, some four years in the making.

* Funded by a hugely successful Kickstarter campaign that exceeded its target by an impressive €25,000.
* While many rebel from their classical training never to return to it explicitly, Emika has always been attracted to the potential and freedoms offered by the symphony form.

* As well as taking inspiration from her electronic music background in composing the music itself, Emika also applied some of production and playback principles from that realm to create a piece whose every element has been carefully considered.

* Emika is on a quest to try and change what we mean when we talk about 'classical music'. For her, the magic of the 'genre' is about the instruments themselves and more importantly the people who play them; not the restricting traditions and conventions of the classical world itself.

* I want to change the face of classical music and give it a more honest and real image. It is time we had something other than pomp and circumstance and avant-garde squeaks and pops..

Supported by
Chilly Gonzales, Zola Jezus, Ellen Alien, Nina Kraviz, Mala, Christian Kellersmann, The Barbican, Francesco Tristano.

New project from Massimo Vanoni in which his black streak with Slow-Down & Nu-Disco-Funk features prevails.
The tracks have strong groove rhythms, with intense, rather thick and ascent.loops. The contaminations collected
by the club consoles seem to merge in the creation of unreleased songs which recall an interesting return to the
old beat with dynamic rhythm. Deluxe package Artwork.
For fans of Frank Booker, LTJ Xperience, Stereo 12", Tee Mango, Fouk, Inkswell, The Revenge, Session Victim, Debonair...

Debut album from Pacific NW rising star, named "Best Electronic Act" in 2015 by the Seattle Weekly. ** Past Press Coverage as included: A NPR Weekend Edition Feature, Spin, Stereogum, KEXP Live in studio performce, CMJ. ** Past performance highlights: Bonarroo Decibel Festical, Bumbershoot, Capitol Hill Block Party, Sasquatch Festival, What The Festival, & Bonnaroo, as well as national tours with acts like Emancipator, Blockhead, Blackbird Blackbird, Chad Valley, Yppah, ** First single from the album "What We've Got" feat. Flint Eastwood passed 500,000 Spotify plays and 135,000 Soundcloud plays in a month's time.

Amidst the lush environs of his northwest roots, Manatee Commune has fermented an organically molded electronic sound that has been teasing the synapses of audiophiles over the last few years. While not a stranger in the Pacific Northwest, Grant Eadie's tracks have grown tentacles that stretch deep into the dance floor, fueled by natural overtones that he extracts from field recordings. Following the head-turning EP 'Thistle' on Brooklyn-based label Bastard Jazz Recordings (Illa J, Lord Echo, & others) from earlier this year, he comes to the label armed with violin arrangements, nuanced programming and pressure-sensitive LED drum breaks peppering the audio-visual experience of his participatory live performances. His debut album Manatee Commune is set for a September 16th release on Bastard Jazz, and displays the elevated confidence and deft touch of a producer truly finding his footing. Already opening for Bonobo, and recently touring with Chad Valley and Blackbird Blackbird, Manatee Commune has been featured on NPR, Stereogum, and Spin, amongst other outlets.

Eadie describes the inspiration behind his approach: "Learning how to share my creative process with my friends completely revolutionized the last of year of music for me. Inviting those I trusted and loved into my studio to spend even just an hour talking or jamming opened fountains of inventive energy for me, especially from the ones who lacked any musical knowledge. I soon found myself incredibly inspired by the originality of even the smallest interactions with people, and so I pointed my field mic at anyone who had a story, a melody, or a stumbling beat they had been absentmindedly drumming, all in the hopes of capturing their individuality and framing it with my ever expanding insight into audio production."

Reimagining his musical approach by opening his studio and microphone to friends, collaborators and loved ones, Eadie was able to release fountains of inventive energy from these deeply personal interactions, inspired by anybody who had a story, a melody or a stumbling beat to share. Key elements are amplified that get Manatee Commune audiences bouncing, while cultivating his warm and textured production aesthetic to further complexity, layer by shimmering layer.

Ital & Halal return to Lovers Rock with 'Tower B,' an EP of enigmatic techno explorations. 'Shenzhen River' opens: an ominous, questing acid line stretches its tendrils around nocturnal atmospheres. 'From the Brink' counters with glints of warm melody. On side B, the title track unfurls with slithering percussion and a menacing drone. Ambient closer 'Where Exactly I Am' picks up the pieces, lost voices traveling across the stereo field, searching for answers through an endless pale haze

The 2nd release for Re.You on connected - The Brixton / Berlin based label - distributed by Kompakt Records and run by Terranova and Stereo Mc's.
1. 'They Vibed' Featuring Lazarusman. The Master of Tech House electronic soul grooves Re.You teams up with Lazarusman South African Slam Poet and vibemaster. A machine-like groove with driving pistons and staggering drum stabs rises with the introduction of shakers and bass synth pulse and prophet like counter strokes on Re.You's musical canvas. Lazarusman strolls through this mechanical environment scattering his train of thought from the beatbox of my mind' , this really does groove and vibe' .....easy riding and freeform.
2. 'Try To Sleep' . Classic Re.You- An energetic , springy groove that feels like an early summer day with hypnotic , spiral movements in synthesis and female cinematic whispers and shimmering hi-hats and a very 808'esque feel to the groove. Atmospheric Hypnotic and vibrant. Future music.
3. 'They Vibed' Featuring Lazarusman. (Vinyl Version) Excellent vinyl only version stripping back to the original and providing minimal/drone landscape and enhancing the Lazarusman poetry to full effect.

In the years since the release of Adrian Younge's Something About April, he has been coined America's black genius: the evocation of analog vestige in a digital era. His majestic music has garnered him reverence, likened to Ennio Morricone's best work and the Beatles' tenacity to create new sounds. Fortuitously, Something About April has made an indelible impression on modern vinyl heads and producers alike, being sampled by DJ Premier, Jay-Z, Common, 50 Cent and more. The Something About April brand is an axiom to the modern 'Breakbeat' and Linear Labs is happy to announce its successor: Something About April II. Recorded with Younge's collection of rare instruments, Something About April II advances his musical paradigm with enterprising concepts and grander compositions — it synthesizes the boundaries between dark American soul and classic European cinema. With effervescent conviction, Younge executes with an array of entrancing vocalists: Laetitia Sadier (Stereolab) and Bilal perform duets on 'Step Beyond' and 'La Ballade,' reminiscent of Serge Gainsborg and Jane Birkin; Raphael Saadiq blends 'Black Jazz' vocals with psychedelic soul on 'Magic Music;' Israeli star, Karolina, delivers haunting chants over concertos like 'Hear my love' and 'Winter is Here;' Loren Oden croons as if the apparent ghost of Donnie Hathaway created one last love song, 'Sandrine.' Younge is the experimental spirit of the modernist vanguard, looking at the past to create the future. What this album extrapolates, from vinyl culture, will become further magnified by its sampling down the line. Something About April II will replace the former as a holy grail for producers and collectors alike.

This sampler 12" contains a special selection of Prins Thomas edits. Includes tracks by The Mackenzie, A Thunder Orchestra, Zazou Bikaye & CY1, and A Split - Second.
Dear Vinyl Enthusiast,
Thank you for purchasing this individual Paradise Goulash sampler 12".
I've cherrypicked 4 very special songs, edited them slightly where I thought they could benefit from it, quality checked the mastering personally and made sure only the highest quality virgin vinyl was used in the pressing.
All audio has been sourced from the highest quality formats available to use and they can (should) be played loud on both big club rigs as well as on your home stereo.
Prins Thomas, 28th of July 2015

Fantastic venue on Psychodynamik ! With Ed Solo, Benny Page, Ragga Twins, Freestylers... Crazy tunes full of skillz ! Be Fast !

With releases on established labels like Force Inc., Cytrax, Lo-Fi Stereo, Morris / Audio, Delay or Background, he made his way with his tricky electronic sound. He started his own label, Edit that embraces the concepts of reuse and redefinition. Components are generated, arranged and fine-tuned. They are stripped apart, processed and rearranged. Sophisticated editing techniques enable this process to continue without end. The resulting audio productions become remixes of themselves.

Fatima Al Qadiri is a multidisciplinary artist and musician from Kuwait. In just a few years, she has quickly built a reputation as a conceptual artist, exploring themes informed both by her own background and global pop culture, through a number of highly acclaimed EPs, multimedia projects and writings. She is also a founding member of the production team Future Brown. Fatima's debut album is called 'Asiatisch', and as the track titles suggest, the record provides a simulated road trip through an imagined China. Musically, the album is an homage to that quietly influential sub-strain of grime, often loosely termed 'sinogrime' due to its preoccupation with Asian motifs and melodies, pioneered by the likes of Wiley and Jammer at the beginning of the 2000s in East London. 'Asiatisch' is a provocation which asks more questions than it answers. The title is the German word for Asian. Unlike its title, however, the music on 'Asiatisch' revolves around the fantasies of East Asia as refracted through pulpy Western pop culture, in particular Hollywood, literary fiction, music, cartoons and advertising. Fatima asks what is meant by the term 'Asian' in a digital age of viral interchange and the hi-speed trading of cultural bytes; the concept of 'shanzhai' proves pivotal, a term whose meaning stems from a wild, out of control zone of banditry, but which has come to be used to refer to the Chinese counterfeiting of Western brands and goods. While a number of producers have made takes on 'sinogrime' over the last few years, 'Asiatisch' is really the first record that attempts to articulate this weird complex of sonic interchanges between the West and China. With the exception of the opening track, 'Shanzhai', a haunting cover of 'Nothing Compares to You' with nonsensical Mandarin lyrics, and the shimmering 'Loading Beijing', 'Wudang' and 'Jade Stairs' which sample and distort classical Chinese poetry staging an epic confrontation between China's ancient soul and the onslaught of the industrial factory machine, most of the tracks blend mallets, bells, gongs, flutes, steel drums and choral atmospherics with the searing synth-brass and the skittering drums of grime, playing melodies that are inflected as much by classic R&B as to synthetic versions of traditional Chinese music. On "Dragon Tattoo" for example, stereotypical iconography of imagined China is slotted into a threatening, robotic R&B format. The carefree pirating of Western brands blurs into a soft-synth pirating of Chinese musical signs.'Asiatisch' is wrapped in pristine artwork by Babak Radboy from Shanzhai Biennial, and the music was given a 3D sheen by in demand mixer Lexxx. Proclaiming both its love of both ancient and imagined China, 'Asiatisch' is a rare album that is both icily beautiful and conceptually layered.

ALREADY SUPPORT BY OSCAR (STEVE HAZE REMIX), HALF STEREO, SECRET CINEMA, NUDISCO!!
DIE STRICHCODE E.P. IST EINE KOOPERATION VON ALEXANDER STOYAN (AKA 1112X) UND SVEN HANKE. IN DER SUMME STEHEN 3 ABWECHSLUNGSREICHE STÜCKE UND DER REMIX ZU "PETER UND DER WOLF" VON STEVE HAZE, SOWOHL FÜR DEN FLOOR ALS AUCH FÜR DAS OHR BEREIT. DER SCHWERPUNKT LIEGT AUF DEN HARMONISCHEN TECHNOGRUNDGERÜSTEN ALS AUCH BEI DER OPTIMALEN KRÄFTEBÜNDELUNG FÜR DIE BELANGE DER TANZBEINE. DIE ENTFALTUNG FEINER DETAILS SPIELT EBENSO EINE TRAGENDE HAUPTROLLE. PUREPUREMUSIC !!!!

Over the past fifteen years, Florida-based multi-instrumentalist Eric Lanham has quietly generated a diverse and remarkable body of work both as a solo artist and in group settings. From the disorienting drone/collage ecstasies of Caboladies, his trio with Christopher Bush (Flanger Magazine) and Ben Zoeller, to wildly divergent solo flights under both his own name and as Carl Calm, Lanham’s carefully meted out recordings display the talents of a chameleonic composer who is as capable a sound designer as he is unconcerned with trend in experimental electronic music or notions of prolificness. “Objet Dirt” arrives ten years after “The Sincere Interruption,” his excellent longplayer for the now defunct Spectrum Spools imprint. Captured live, these compositions are brimming with kinetic, elastic, off-grid rhythms, an articulate and enigmatic language that restlessly darts around the stereo field. Of the collection, Lanham says "I haven't made a single piece of music that sounds like this since and it is hard to imagine doing so again.” If this is the case, the 20+ minute closer is a formidable final document. At once chaotic and tightly controlled, it is a torrent of coiling low-end, submerged and stretched rhythms, and seething high-end filigree that is as indebted to the hungry ghosts of free improvisation as it is anything resembling techno.