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Schmer has tried to stop, we've all gone into therapy, but there's no hope, short of setting the world ablaze: we can't stop smoking! 2019 see's Schmer pressing TECHNO records in the EU and PRICED in Europe as a domestic release. As if the continent didn't already have enough problems, here we come with our latest COMPILATION!

First to drop a match is Amber Shoshona aka Bastet. She is a live electronic music performer and DJ based in Baltimore, MD USA. Her live set is coarse-grained and atmospheric, developing a slow-burning, hypnotic groove. In the studio she creates genre bending electronic experiments. For Schmer she made 'Torn', which sneaks right up to you and lights you up.

Delivering oil to the blaze from deep in the Russian arctic is Maxim Makarenko aka 777minus111. The unknown hero from the Russian Techno label he remains in the shade and keeps it real! He runs underground parties in Moscow and is a member of Vinyl Ambulance project in India. He keeps our compilation 'Getting Dirty Quick' with his Dan Bell inspired MINIMALISM.

On the flip the fires start with Vague Audio Tapes label head Dominic Martin aka Hero/Victim. Hero/Victim is a sonic attempt at translating unanswered and unheard emotions. Visceral and physical; so as to both, engage and purge the evolving dissonance. Never content. With sound as a context-sensitive metaphor, stories are heard. He also makes weird electronic music and then Schmers all over us with a 'New Stress'.

Schmerhead BPMF hides a track from another release in this inferno. Its super short as in it goes on FOREVER with a LOCKED GROOVE at the end. If you're gonna be an emcee, do it in a Wormhole on a LOCKED GROOVE so that the rock will never stop.

Liza Weinstein, Zach Vietze and Jason Szostek were Jack Move. In 1994 they may have made two tracks together, but this is the only one we found lying around in the basement floor. Long before the skinny jean hipsters were rocking beats deliberately designed to confuse the dance floor with their lack of flow, The Jack Movers were experimenting with cryptic funk... It was a Jack Move on their part and they immediately ran out of town to escape retribution, leaving behind their 'Krippy Shit'.

We Can't Stop Smoking so you'll always be able to find us because where there's smoke, there's fire... and where there's TECHNO there's SCHMER!

The 'Insights' EP is Spinscott's second release on the US based Elm Imprint label, as a highly anticipated follow up to the internationally successful 'Make It Funky / Lovelight' single. 'Insights' features 3 tracks that represent a progression of styles, and satisfies the demand for Classic Jungle sounds, fresh Drum And Bass, and deep '160' flavors.

Side A: 'Phaseout' - This forward-thinking Drum And Bass tune starts out with a moody & mixable intro, staccato drums and bass hits, before dropping into a precisely arranged dancefloor rhythm. Impact exceeds maximum threshold after the break, with the injection of an unexpected layered kick pattern, which has proven to leave no one standing still! But don't mix out too soon... the final phase features an exclusive drum break sourced from a family 45 pressing, circa 1968, sliced and reworked for it's debut appearance here. Phaseout has moved audiences during pre-release plays at Spinscott performances in the US, UK, and beyond.

Side B1: 'Rocker' - This 160 BPM tune was meticulously crafted using drums, effects, and other sounds from multiple genres of dance music, and engineered to make people move! Starting out on a jazzy tip with 808s, sax notes and various fx elements, it doesn't waste time getting to an onslaught of swinging drums and vocal artifacts. Rounding out with some classy Rhodes melodies, strings & short-cut Amens, 'Rocker' delivers an audible message for people to rock, swing, and move to the music! DJs will enjoy cutting in and out of this one, with many changes and elements to mix & blend with.

Side B2: (vinyl exclusive): '#7' - This oldschool style Jungle track FINALLY appears on the vinyl version of this release to satisfy over 5 years of relentless demand! Originally filmed as one of Spinscott's Real-Time Jungle videos, '#7' is the one that opened the floodgates to international recognition and performances worldwide. (see link below) Previously only available in video or performed live at shows, Spinscott has produced a full length 'dj friendly' version, featuring all the original elements of the original performance. '#7' was created and produced 100% on the MPC 1000 (as seen in the video), and features classic drum chops and layers, reverse bass, raw pads, and more.

Two sun shine soaked, Latin infused Eddie Palmieri joints from the 1978 album Lucumi, Macumba, Voodoo get the official, remastered reissue treatment - with original copies of the 7' trading hands for upwards of £60.

Born in New York to Puerto Rican parents, multi Grammy award winner Palmieri is a stratospheric salsa master. And for the Lucumi, Macumba, Voodoo LP he assembled a powerhouse, 30 strong jazz orchestra, featuring the likes of Dom um Romao, Steve Khan, Lew Soloff, Jon Faddis, Hiram Bullock and Palmieri's brother Charlie.

In an era dominated by disco, 'Spirit Of Love' took to the dancefloor, drawing on the glamour and magnetism of the late '70s. Palmieri's distinctive style still weaves its way through though, melding Afro-Caribbean rhythms with modern jazz. 'Spirit Of Love' is full to the brim with striking vocals, cow bells and big horn sections, blended with psychedelic guitars that riff off against clavinet touches and expressive Montunos melodies. Spirit of the salsa, for the disco dancer!

On the flip 'Lucumi, Macumba, Voodoo' is a masterpiece of Latin fusion, with Palmieri's unique arrangements squeezing that Puerto Rican flavour out of every added instrument. Trumpet blasts and sax solos marry with woops and whistles and Latin chants. Couple that with sensuous piano melodies and irresistible percussive elements and it's a recipe of Caribbean spice that'll liven up any record collection.

These Lush Liverpudlian Belters have be supported by Gerd Jason, Michael Mayer and the Innervisions lot - with good reason.

From four individual parts, with distinct musical pasts but also
overlapping histories, a new unified chapter begins with Piroshka and
the quartet's thrilling debut album 'Brickbat'.
The album is named after the word for a missile, which nails the
record's heavyweight lyrics if not the music's gorgeous, bittersweet
and euphoric pop. Think of 'Brickbat' as a wolf in sheep's clothing -
which suits the name Piroshka, the Hungarian take on the wolf
terrorised fairytale hero Little Red Riding Hood - a subtle nod, too, to
a certain red hairdo that stood out in the 1990s Brit-guitar-pop
scene...
The four band members are former Lush vocalist / guitarist (and
former redhead) Miki Berenyi, former Moose guitarist KJ 'Moose'
McKillop, Modern English bassist Mick Conroy and former Elastica
drummer Justin Welch. The connections between them are a
veritably tangled family tree. Before they lived together and raised a
family, Miki and Moose were notable figures on the so-called
shoegaze scene, while Elastica were Britpop peers. After post-punk
pioneers Modern English split for a second time, Mick became a
latterday member of Moose, while Justin joined the reformed Lush in
2015. And when Lush required a bassist for what proved to be their
final show (in Manchester) in November 2016, Mick stepped in.
It was the rehearsals for that Manchester show that laid the
foundations for Piroshka. 'We sounded great!' says Justin. 'Like a
proper punk band. Mick brings a huge amount of enthusiasm and
livens up the room, and I thought, this is the kind of band I want to
be in again.' Mick agreed. 'I'd seen Lush so many times, it was like
playing with old friends. Miki agreed it was good fun too. And with
Moose available, we thought, let's all have a bash, see what
happens.'
Though 'Brickbat' kicks off with a squeal of feedback, the album is far
from a proper punk record, with as much sublime delicacy as physical
force, with guitars to the fore but also electronic flourishes in all
manner of spaces. Combined, they drive the nuggety melodic bombs
long associated with Miki's songwriting
LP format includes digital download code.

It's that time again. The skies are calling and its time to board our trusty jet for the 5th outing of Africa Seven's premiere class compilation Africa Airways. For volume 5 its time to brace yourselves for 10 slices of Afro boogie goodness.

We up the boogie time groove with The Black Bells Group (the first band of lead singer Sidney 'Patrick Duteil' who went on to become the godfather of French hip-hop and a well know TV presenter. Here the groove is swinging... the perfect opener. Next up is German-based Cameroonian musician and cousin of Manu Dibango, Charly Kingson with this bass-synth boogie stomper. Big brass and jazzy trumpets add layers of sparkle too.

Next its time for some highlife inspired boogie from Ghanian Gyedu Blay Amboley. Highlife fused with reggae, disco, boogie and jazz just as the lyrics say.

Next we pair up with Africa Seven friend Eko once more under his Dikalo guise. The Cameroonian master musician is on fine form with his heavy brass and deep percussion with a driving afro boogie groove. To round off Side A its off to Cameroon again to groove with Jean 'Mekongo President'. Think Bernard 'Chic' Edwards on the bass with some African style and you can see it's the bottom end groove and afrobeat drums that power this gem along.

We open the second side slowly and purposefully with the highly sought after 'French Girl' from Fotso. Drippy bass synth grooves and a wondrous percussion and drum shuffle pair with piano riffs to make this a unique sounding track. Our friend Tala AM is next with the foot-stomping 'Sugar Lump'. JK Mandengue is next with most definitely the catchiest chorus you will hear today. Nigerian Jide Obe gets synth and clavinet rich with his doe to sensible dating advice 'Too Young'. We close off the album with a track from label good friend Jo Bisso under his Mulamba guise. Sounding like a long lost TV theme from a late night TV show circa 1977. Let's get down and boogie with the brand new dance in town folks... the Dashiki.

Until Volume Six takes flight it is time to unbuckle those seat belts folks.

With one of the hippest jazz albums of recent years under their belt, Jukka Eskola Soul Trio is back with a fresh new single. It's truly a double-sider of the highest order, as both of the tracks deliver a completely distinct flavor.

"Tiny B" on the A side is a neat bossa jazz number, and as usual in top of the genre, the lightness serves only as a facade. The composition starts to evolve before the listener gets too comfortable, transitioning into a beautiful cinematic section, which is followed by tight solos by Eskola on trumpet and Mikko Helevä on organ. The trio rises beyond its numbers, as the maestro Teppo Mäkynen overdubs his drumming with added percussion and vibes.

Hiding on the B side is a furious jazz dance burner, which sees the trio rise to energy levels that surpass even Five Corners Quintet in their tightest form. "Stick of a Branch" is highly syncopated business that takes its cues from a sound refined by 1970's independent afrocentric jazz groups. It's a style, which is inherently modernist, without a slightest interest in mass appeal, and firmly rooted in the blues.

If you need some no nonsense organic jazz on your turntable, it's hard to go wrong with this single.

A holy grail of European electronic dance music, and a classic at the Italian disco scene and Hamburg's Front club alike (you might have heard it on their recent Mastermix), is finally available again. Produced in 1984 by two mysterious friends during a hazy studio session in the small town of Aschaffenburg, Germany, it is best described by Discogs member goulashdj as 'a funny version of some Imam praying on top of an electronic Groove', .'Kairo' is all you want from an oddball record: fun and funky, weird and wonderful. Featuring original vocals by one of the two friends, it seems to be offensive to religious fanatics and devout Muslims (you better watch, where you play out the original). Therefore, a philosophical advisory or religious warning: 'No religion, god or believer was harmed during the creation of this record. We believe in the right to believe or disbelief in anything and everything that isn't inhuman.' For safety reasons, it includes a persecution-proof instrumental version by Boris Dlugosch as well as the original B-side and completely atheistic 'Kosak 2000'. And to close with Mark Twain: Man was made at the end of the week's work, when God was tired.

Lisbon pals Photonz and Shcuro are two of the city's most active DJs and music makers, sharing a penchant for a moody yet electrifying brand of dance sonics. They've created Shermanworx together in the studio, recording machines live using an ethos of improvisation while relying on their fine-tuned dancefloor intuition. The Sherman Filterbank was the go-to piece of equipment, appearing in every track and eventually naming the EP.
Tribal techno swirls menacingly backed by dark melodies in the opening track, a hypnotic yet vivid peak-time belter that could go on and on.
A synth so textured you can almost touch it is the centrepiece of Sherman2, another driving club beast complete with modulated arpeggios and industrial-tinged percussions.
The record comes to close with a dreamier exercise in Sherman3: a dubby electro beat conducts melodic mutant synth lines and pads to achieve a slow-burning, expansive euphoria.

Nicewon kicks off 2019 with the 'Live on DuPont EP' from Christian James. Christian drops three new cuts, stamped with unmistakable mid-west vibes, fresh from flyover USA and pulls in a super-phat remix, from one of London's most exciting producer's- Cody Currie. Following up on his SummerSota EP, he stays true to his roots with driving drum-grooves, heavy use of samplers and drum machines, with some great synth work and pulls it all together by jamming it out- live. Cody Currie brings that floor-stompin attitude to this remix and cracks the WHIP with those beloved filter disco vibes, for all the heads. This EP kicks some serious Minneapolis warehouse flavor, to fit all corners of the dancefloor. We hope you enjoy NCWN04!

Produced in Minneapolis. Mastered by Rob Small Mastering ( Leeds, UK ). Artwork by Jeff Swiff.

We are proud to present our first release of 2019, Kaleidoscope vol. II, featuring two new roster additions (Dalek One and Phossa) alongside label residents Clearlight and Bisweed.

01 - Dalek One - Frequency Shock

American talent Dalek One shows why he's quickly rising in the 140 scene with this debut release on Subaltern. And what a debut it is - 'Frequency Shock' with its ecstatic bass and synth lines gets everything right in all the right places, and we are honoured to press it to wax.

02 - Clearlight - Stuck Inside

Diving into deeper realms is Subaltern resident and psychedelic wizard Clearlight. 'Stuck Inside' lures the listener into a seductive maze of towering resonating frequencies. Once this pill has been swallowed there's no easy way out - this track is sure to be stuck inside your head for a while.

03 - Phossa - Vacant

Another young talent - UK based Phossa - makes his first mark on the Subaltern roster with an intricate piece of sub science. Carried by distinctive bells and spooky vocals, the young Bristolian shows off his extraordinary production style.

04 - Bisweed - Profound

Rounding off this showcase of fresh sounds from the Subaltern universe is everyone's favourite Estonian - Bisweed! Following on from the acclaimed Subalt014 EP, this track oozes his trademark confidence in composition and sound design. Percussive fireworks, heavy subs and menacing synths combine to create an enthralling piece of music.

For the first release of 2019, the ever-consistent Play It Say It turns to an established producer who is launching an anonymous new alias. The music speaks of someone with a love of raw, analogue sounding house and techno with machine made soul.

First out of the blocks is the brilliant and adventuring 'Don't Believe The Hype'. Built around expertly programmed drums that remain restless throughout, it has dynamic synths and acid twitches, moments of serenity and chord-based optimism all stitched in along the way. It's the sort of expansive, cinematic track that envelops the whole club and oozes class and production know how.

On the flip, 'One Night Forever' is a totally different but equally unique proposition: it has fizzing synth lines bringing a dystopian feel to dark bass and razor sharp hi hats. Broken drums amp up the energy levels, and the warped synths pump the party. This is a busy, urgent cut of fantastically realised future music that brings plenty of freshness to the dance floor.

Whoever this artist is, they have a genuinely unique perspective and more than enough skills to realise their bold and brave new ideas.

'Bobbie Gentry's The Delta Sweete Revisited' is
Mercury Rev's committed and affectionate
resurrection of an album that anticipated by three
decades their own pivotal expedition through
transcendental America, 1998's 'Deserter's Songs'.
From their recording lair in New York's Catskill
Mountains, the founding core of Jonathan
Donahue and Grasshopper with Jesse Chandler
(previously in the Texas group Midlake) honour
Gentry's foresight and creative triumph with
spacious invention and hallucinatory flair.
Gentry's stories and original resolve are brought to
new vocal life and empowerment by a vocal cast
from across modern rock and its alternative paths:
among them, Mazzy Star's Hope Sandoval; Laetitia
Sadier, formerly of Stereolab; Marissa Nadler;
Margo Price, the fiery new country star with a
punk rock heart; and Norway's Susanne Sundfør,
who cuts through 'Tobacco Road' with arctic-Nico
poise. Phoebe Bridgers, whose first record was a
softly stunning 2015 single for Ryan Adams' PAX
AM label, hovers through the acid-western
suspense of Gentry's 'Jessye Lisabeth' with floating
calm, like a comforting angel.

Silk Road Assassins, a trio consisting of Tom E Vercetti, Chemist and Lovedr0id, return to Planet Mu with their debut full-length 'State Of Ruin' two years after their first EP 'Reflection Spaces'.

The trio recorded over two years, working together to start with, then across different studios and via the internet when their lives became more separated. They also finessed the album at Abbey Road studios, making use of some short time to add in extra layers.

The three producers day jobs are in production music, music designed and created specifically for film and games, and this album uses these skills to explore the musical forms that they love. The album explores how trap and grime's minimalist form can be built and curved into musical architecture: elegant, opaque and layered, turning the sound into lush, melodic world-building.

The work gone into the album is revealed on repeated listens, every sound on this record feels built to sit within it's delicate ecosystem. The fundamentals of the music are given their own sense of purpose: hand claps spray, bells tumble, guitars splinter and lush melodies waft over and fill the track's spaces like light, glinting across snapping, crisp rhythms and deep bass tones.

The record you are holding in your hands is a previously unheard masterpiece of Israeli multimedia artist Ami Shavit. As a professor of both philosophy and art and established kinetic artist in the 1970s Shavit was fascinated with new and interactive technologies. While mostly focusing on visual art and mixed-media installations, a trip to New York in 1972 introduced him to synthesizers and triggered his curiosity to do some explorations into the world of music or "sound" as he preferred to call it.

Ami's research was focused on the concept of meditative music that would help people to relax and create a cosy mood associated to the alpha brain waves and biofeedback. Before starting his artistic career, like all Israeli citizens, he had to serve in the army to his personal regret. Shavit had an operational position, which meant a high probability to get involved in a so called 'hot situation'. When in 1973 the Yom Kippur war broke out, Ami was enlisted again and got the unfortunate opportunity to encounter, in Hanoch Levin's words 'the dead'. Being an operation officer he was in charge of evacuating Israeli wounded officers from battlefields to hospitals. Some 6000 injured men passed through us during that war, he recalled one year later in a newspaper interview.

'I witnessed some sights that I can hardly forget. On the one hand I felt that as an artist I had to express the war events, on the other hand I felt that this is an almost impossible mission. Only Goya and Picasso, in his Guernica, addressed this topic successfully.'

Yom Kippur is the final and seminal of Shavit's sound experiments ever recorded and now finally available to the world. We believe that this is an extraordinary strong piece in which the hectic moods and terrific experiences of war are deeply transmitted to the listener. May all soldiers, who are often forced to go through traumatic experiences beyond their own will, find ways to artistically digest and process the unwanted memories.

Ami Shavit was born in 1934 in Tel Aviv-Jaffa. Known as visual artist, his work involves in creating virtual environments with optic and kinetic art, including structures worked by electricity, moving tubular configurations illuminated by colored lights. He published In Alpha Mood in 1977 on Amis records, his own record company, at 500 copies, republished by Finders Keepers Records in 2015 and Neural Oscillations And Alpha Rhythms in 2018. Yom Kippur is his ultime recordings.

YANGA brings a new dimension to the rapidly growing scene of Afro-Latin independent music taking shape in Los Angeles and concentrated in the fertile enclave known as the Inland Empire. Intertwined with other intrepid musical explorers who call the IE home, YANGA has sprouted their own distinct branch on the tree of Caribbean music and culture.

Much like their cousins and Names You Can Trust label mates of the same Southern California region (QUITAPENAS, EL SANTO GOLPE and BUYEPONGO), YANGA creates new recipes based on a traditionalbouillabaisseof Afro-Carib rhythm, sharing a few ingredients and musicians to develop a deeper chemistry and cohesiveness but cohering into their own piquant flavor.

YANGA's singular focus and strength is their inspiration from and adherence to the beloved rhythms found throughout the Caribbean coast of Colombia — rhythms like cumbia,garabato, tambora and zambapalo. These rhythms form a touchstone and a proud statement of purpose for their debut on Names You Can Trust.

Led by John D'Alessandro's accordion and the fiery female voice of Eddika Organista (El Haru Kuroi), this new recording is an intense ode to the band's fundamental influences, conceptually crystallized in the studio of Chicano Batman bassist Eduardo Arenas with veteran Marcos Garcia (Antibalas, Chico Mann, Here Lies Man) crafting the mix. It's a realized and impeccably executed scene of dark, gritty and saturated drums and bass, the entire sonic landscape dosed with subtle psychedelia and studio wizardry that never overshadows the band's natural performance or their reverence for the classic sounds of the tropical '70s. The finished product is a perfect juxtaposition between vintage and modern. This special edition, double-issue single packed with deep dancefloor grooves are a sure-shot entry into the timeless canon of Afro-Caribbean recordings.

A mythical and misplaced masterpiece of lost soft rock and acidic folk funk by a one-hit wonderer lost in the wilderness for four decades. From the producer of Margo Guryan, writer behind Wool, Gerry Mulligan collaborator, Tarantino soundtracker and Wendy & Bonnie confidant, Paint A Lady now emerges from folkloric obscurity, to bring a wash of soft psychedelic colour to your vinyl collection and quench the repeat requests of a thirsty new found audience waiting for the rain.

Within certain record collecting circles, especially those who gather under the umbrella that covers fragile niches like 'acid folk' and 'soft rock', it's difficult to imagine a time when the legendary Susan Christie album didn't exist. When Finders Keepers Records first shared the unheard 60's songs like Paint A Lady, For The Love Of A Soldier and Echoes In Your Mind with a wide-eyed audience thirsty for organic soul and festival friendly acoustic funk, Susan's new found fan base instantly felt like they had known these songs all of their lives, and with a single needle drop we saw the birth of what could rightfully be described as an 'instant classic'. Which is why it's hard to believe that the music on this lost 60s acetate was only pressed 12 years ago. As our lucky seventh release in an international discography that now surpasses the 100 mark (and one of a small clutch of English language recordings on the label) Paint A Lady has slowly become one of our most requested re-releases, and with this 2018 edition it is technically accurate to say that this pressing is the first-ever reissue of this elusive and essential LP.

The oft over used term mythical applies to this album on many levels. Perhaps it's the woozy nostalgia found within the pop craft of Paint A Lady that has led to false rumours that original 1960's copies used to exist on the collectors market, or the bizarre claim that songs like the head-nodding title track, and the acid-drenched sound effects on Yesterday Where's My Mind were just a product of a contemporary studio band trying to create a fake folk funk red herring. As a result Susan Christie and her producer and husband of 40 years, John Hill have happily taken the repeat phrase 'unbelievable' as a compliment to their songwriting skills and foresight. In all fairness, with a decade to ponder, the original 1969 song titles alone do seem custom-built for the nostalgia market... No One Can Hear You Cry might lament the unrequited yearning for a record deal which never quite followed Susan's won one-hit wonder novelty hit I Love Onions; similarly When Love Comes might allude to the subsequent 35 year wait for the right label to eventually come along. Echoes In Your Mind and the aforementioned Yesterday... could easily allude to the haunting melodies that sat in the can on John Hill's studio shelf while his projects for Margo Guryan, Wool and Pacific Gas & Electric sat proudly in record racks before benefitting successful French cover versions or making their way on to Quentin Tarantino soundtracks. The track Paint A lady itself, complete with it's future-proofed sample-worthy rhythm section, seems like the perfect title for a mock rock pseudo psych contender - at which point you eventually step back and see the bigger picture. These guys were simply one drop too far ahead of their time; a family force of experimental pop perfection that late 60's America simply wasn't ready for. It is just over 12 years since champion record rustler Keith D'Arcy (who you'll meet on the inside sleeve) stumbled upon one of the original acetates that led to the final release of Paint A Lady, and it's almost a longer 50 years since Susan and John added their final touches to these recordings which tragically went into hibernation for over four decades.

Whether this album has been on your wish-list for what seems like a lifetime, or you are taking a plunge into this deep puddle for the first time, when the needle drops on the first track you'll find that Susan Christie, John Hill and Finders Keepers have been saving up for a very rainy day.

YANGA brings a new dimension to the rapidly growing scene of Afro-Latin independent music taking shape in Los Angeles and concentrated in the fertile enclave known as the Inland Empire. Intertwined with other intrepid musical explorers who call the IE home, YANGA has sprouted their own distinct branch on the tree of Caribbean music and culture.

Much like their cousins and Names You Can Trust label mates of the same Southern California region (QUITAPENAS, EL SANTO GOLPE and BUYEPONGO), YANGA creates new recipes based on a traditionalbouillabaisseof Afro-Carib rhythm, sharing a few ingredients and musicians to develop a deeper chemistry and cohesiveness but cohering into their own piquant flavor.

YANGA's singular focus and strength is their inspiration from and adherence to the beloved rhythms found throughout the Caribbean coast of Colombia — rhythms like cumbia,garabato, tambora and zambapalo. These rhythms form a touchstone and a proud statement of purpose for their debut on Names You Can Trust.

Led by John D'Alessandro's accordion and the fiery female voice of Eddika Organista (El Haru Kuroi), this new recording is an intense ode to the band's fundamental influences, conceptually crystallized in the studio of Chicano Batman bassist Eduardo Arenas with veteran Marcos Garcia (Antibalas, Chico Mann, Here Lies Man) crafting the mix. It's a realized and impeccably executed scene of dark, gritty and saturated drums and bass, the entire sonic landscape dosed with subtle psychedelia and studio wizardry that never overshadows the band's natural performance or their reverence for the classic sounds of the tropical '70s. The finished product is a perfect juxtaposition between vintage and modern. This special edition, double-issue single packed with deep dancefloor grooves are a sure-shot entry into the timeless canon of Afro-Caribbean recordings.

As a first listen it was 2 am, 46° in a village Portugal, in a Convent, after a good night out. That moment stroke me from being magic, the energy was perfect, we were laughing and relaxing amongst friends. That listen was pushing the magic further because of the surprises it has all along the journey. A first groaning A simple rhythm Soft realms Noisy Round sounds Type machine sounds, of a sampled hi hat that never reveals, cut cut cut cut. Just because it's fun to not reveal it. And put that fist cut part of the upcoming timber that is not 'yet' one. It's like if the drum pack was used the wrong way, which is a great way. Flipping. (=to flip something) Belp has this ability to bring the most horrible samples in front, and turn over your mind to enjoy what first sounds like 'horrible'. Facade. 'Crocodile' is flipping it over. Rhythmically vibrating, ears are wide open, full attention. I'm into the non-repetition. Track 'Crocodile's call reminds me of the call in 'Klabb' by Deena Abdelwahed as well as within its playful change of tempo, of notes. Who cares The album is like a randomly composed pack. It is not random. It's flipping something, and I like that disturbance, it's what I want to hear. It is alive, through composition, arrangements, falsely randomised, non-arranged, it is a trick; it is the drunk clown playing 'endless preparations for a ceremony' and 'catch'. Not bothering about anything reveals a deep understanding of music and of arts, a crafted album in details. It is years of listening, it is years of challenging ones ears, and putting it all together in this piece.

Fresh off their latest VA, The Press Group hand the reins over to up-and-coming Ukrainian producer Sasha Zlykh, here delivering his debut 12" effort. Clocking in with a quartet of club-oriented weapons and off-road house-y pumpers that shall bring dancefloors to a slow but steady simmer, the Kyiv-based producer blends in an avalanche of breaks-strewn rhythms, bleepy melodies and reshuffled UK bass patterns to create his own distinctive hybrids, halfway straight dance functionality and non-formulaic experimentality.

As playful in essence as it is serious in its execution, 'Lie To Your Mom' EP starts off with the title-cut, which works a wonky swagger that proves all the more infectious as bars fly by. Engineering a finely-woven mix of off-kilter drum programming, raucous analogue belches and volatile harp stabs distorted to the max, the track's shadowy intro is eventually offset by overlapping tides of luminous pads, released as one lets the light break through a vampire den. 'RnB Ritual' follows up close in the vein, meshing a brooding late-night-ish atmosphere with playful percussive mechs and sustained rhythmic accidents.

Flip sides and you'll be treated to a choice pair of remixes from in-house groove traders Rupert Marnie and Youthman. First in line, Marnie turns 'Lie To Your Mum' into a straight jacking and shuffling Chicagoan chugger. Going deeper into soulful terrains and lavishly-textured expanses, TPG's main operator exploits the whole melodic potential of Zlykh's original, bringing its anthemic power to further completion beautifully. More on the dubby end of things, Youthman adds his uniquely vibey touch to the main cut, deftly navigating betwixt a classic deep house kinda vibe, post-rave'y electronics and a Basic Channel-esque sound spectrum, which all in all should have people instinctively clapping their hands as their mind begins to sink into a weirdly introspective sense of euphoria.

Irish mastermind David Kitt aka New Jackson returns to Permanent Vacation with his forth record for the label. This time out he takes his beloved MPC and XOX machines back to Japan, their birthplace, for five imagined train journeys. The results are some of the most stunning and multilayered music he has produced to date with that constant locomotion pushing us on down the tracks and providing the perfect soundtrack to the sights and romance of the land of the rising sun.

After their highly acclaimed debut album »Decadent yet Depraved«, Berlin and LA-based producers Belief Defect invited a variety of artists to join their »Remixed« project. The following 12' EP is a first four-track release of this project. The original tracks of the album are only an approximate starting point for »Remixed«. In contrast to »Decadent yet Depraved«, largely conceived in song structures, this EP is about transferring the pieces back into abstract space, and each remixer does it in his very own way. Alessandro Cortini's one-take live recording is a lesson in classical ambient music. Telefon Tel Aviv's remix is timelessly modern and extremely delicate sound design. Rather opposite concepts are coming from Surachai's brutal pattern design and Kangding Ray's expressive and analogously saturated repetitions for the dance floor.

Names You Can Trust presents the second installment of Rueda de Bullerengue, a collaborative series with NY-based Bullerengue collective, Bulla En El Barrio. Named after the group's ongoing monthly performance and workshop in Brooklyn, Bulla's collaborative spirit and dedication to the tradition of los bailes cantados has made an indelible mark on the bubbling tropical music scene of New York City, and in turn, found their way into the crates and sets of DJs and vinyl aficionados via their first 7-inch release on NYCT in 2017. Since those initial moves, Bulla has continued to grow and add working members while maintaining a philosophy and connection grounded in the traditions of their Colombian origins. They've studied and collaborated with elders and legends like Emilson Pacheco and Darlina Sáenz, and this past year embarked on a recording with Barranquilla-based collective Tonada Baile Cantado — the focus of this edition's recording and release.

Considered one of the premier groups advancing the tradition of Bullerengue within Colombia, this incredibly talented group of young musicians are a rarity for their skill and age. In a region where there are ongoing festivals celebrating the tradition of Bullerengue that still command massive audiences and performers, Tonada is a true representative of what can happen when such an amazing tradition is passed forward to an eager next generation. Produced by Bulla members Camilo Rodriguez and Diana Herrera (aka Carolina Oliveras) in between their time smashing stages across the U.S. for Combo Chimbita, this is a carefully nurtured and powerful bridge to the beloved traditions of Colombia's Caribe region.

Without further ado, here lies Volume 2 of Rueda de Bullerengue, featuring Tonada Baile Cantado, a new generation of traditional Colombian dance music transmitted directly from Barranquilla — Four dance floor crashers in the styles of fandango and chalupa, ready-made for your 45 spins in the inimitable style of Names You Can Trust.

A welcome branching out into the reggae universe, Rocafort is proud to present The Circle of Confusion featuring the legendary sweet falsetto voice of Cornel Campbell. Lausanne Switzerland meets Kingston Jamaica in this heartfelt, stripped back, feel-good homage to the late 70s roots reggaestyle.

The Circle of Confusion are a Swiss production duo: Seb.K (Shakedown productions) and Phil'eas (Black Diamond Sound). Diehard reggae fans, they dared to contact their favourite Jamaican singer and got a result with Campbell delivering the lyrics on the spot, written on the day of Nelson Mandela' death. There's depth and feeling in this wonderfully lilting, plaintive song, typical of Campbell's social consciousness and beautiful soul. Hard to believe it was all strung together in a shiny, clean Swiss studio when the sound is so simply warm and Jamaican. Beautiful run on the keyboards by Jah Lou.

If you were moved by the Rhythm and Sound album of 2001, you will not be disappointed with this splendid roots collaboration. We can only hope there's more to come.

Art is a matter of different phases and influence. The artists' core reaches out like heat waves. And very rarely do these artists' core merge like Brigitte Fontaine and Arseki Belkacem have. Their Saravah Era lasted ten years (1969 to 1979), ten years of "folle sagesse" (crazy wisdom), above all genres and song limitation.

"Le plaisir secret que donne une chanson, dessin à la craie sur le mur de tes sons" (the personal delight within song, a chalk drawing on your wall of sounds) whispers Areski, right after Brigitte's voice on the penultimate song of the double album "Vous et nous". Released in 1977, this free flowing record contains 33 songs, it's their 6th album after "Comme à la radio", "Brigitte 4", "Je ne connais pas cet homme", "L'incendie" and "Le bonheur", and it continues to spread the wide and generous spectrum of the couple fully blossoming talent. Electronic experiments, North African trance, refined acoustics and medieval drones gracefully blend with the acid and candid tongues of the singers, surprising us each step along the way. The making of this record was also full of twists and turns. It started out as a solo effort by Areski at Jean-Pierre Chambard's studio. Little by little, as Areski was filling tapes with poems and improvised skits, Brigitte would sneak into the studio at nightfall, adding her voice here and there, her whispers then became screams, giving fuel to the fire in a total blaze, a surreal blaze. The solitary work ("je") thrived to become us ("nous") and you ("vous") ...

Benjamin Barouh, June 2018

White Shadows In The South Seas is the title of a book written in 1919 by Frederick O'Brien as part of a trilogy he wrote based on his experiences living in the Pacific islands in the early part of the 20th century. His book was taken as the starting point for a film to be directed, initially, by Robert Flaherty (famous at the time for his groundbreaking documentary / fiction film Nanook Of The North) with W.S.Van Dyke as his support. The film, ultimately, apart from the title, had little to do with O'Brien's book and Flaherty left the film after a few months leaving Van Dyke to finish it.

I purchased O'Brien's book, along with many others, from Basement Books, a secondhand bookstore in Melbourne/Australia. Part of my 'Islomania' and on going fascination with all things Pacific. When I discovered there was a 1929 silent film based on the book I sought it out and started to present it as part of my 'Live Music/Silent films' repertoire. Tabu by Frederick Murnau, which coincidently also had Flaherty as co-director originally, was the first film I ever wrote / improvised a score for and presented as a live film/music performance. My repertoire extends to over 23 films now.

My eclectic and diverse musical and artistic interests extend into 'Hawaiian', 'Exotica', 'Ambient' and 'Electronic' Music. I have produced several volumes of so called 'Electronic, Ambient, Exotica' on CD and Vinyl, including Kiribati, Globe Notes, Rayon Hula ( on Vinyl, CD and digital format ) and most recently, New Globe Note on Vinyl and White Shadows In The South Seas on CD.
White Shadows In The South Seas features some of the music presented in my live screenings of the 1929 silent film.

The film is the story of Dr. Matthew Lloyd, an alcoholic doctor who is disgusted by the exploitation by white people of the natives on a Polynesian island. The natives dive for pearls, however, numerous accidents occur and one diver dies. In anger, Dr. Lloyd punches Sebastian, the employer. As revenge and to prevent further interruption of his activities, he tricks Dr. Lloyd onto a ship with a diseased crew (thinking they are ill) and his men rough him up and send the ship off into a storm. Dr. Lloyd survives and is washed ashore on an island where none of the natives have ever seen a white man before. Lloyd is rescued and ultimately falls in love with the chief's daughter, who is Taboo, hence Lloyd is prevented from pursuing his love for her. An incident occurs and a young boy is thought to have drowned but Lloyd is able to revive him, earning him points and permission with the chief's daughter. Lloyd begins to realise that the local islanders have no sense of the value of the black pearls which grow in abundance around their island and he starts to dive for them and collect them. One morning the white man Sebastian unexpectedly turns up on a scooner and starts to offer the islanders trade for their pearls. Llloyd tries to interrupt the encounter and is shot and dies. His wife and the islanders morn for his dead body and, symbolically, the passing of a way of life.

Mike Cooper plays - Electric and acoustic lap steel guitars / electronics / Zoom Sampletrack / Kaos Pad / Casio SK1 / Korg Drum Machine / Self Made Instruments.

It also features field recordings made on Pulau Ubin by Mike Cooper during a month as Artist In Residence for The Artist Village / Singapore.

I would like to acknowledge and thank Lawrence English (Room40 Records) for his assistance and encouragement with the original recordings and the CD version of White Shadows In The South Seas.

All music written and played by Mike Cooper PRS/MCPS - except Po Mahina (trad. Arr. Cooper) and Hilo Hanakahi (trad. Arr. Cooper)

Recorded and Mixed at the Steelworks in Rome 2012/2013.

A White Shadow In The South Seas
In February 2014 'A White Shadow In The South Seas' was the title of an audio-visual installation I made at the Teatro In Scatola in Rome, Italy, presented as part of a series of sound installations titled 'Visitazioni' produced by Proposte Sonore.

The essay below, as well as our collection of Hawaiian shirts, Exotica and Hawaiian vinyl records, was an inspiration for this installation.

'..the transformation and reconstitution of the souvenir commodity as an indigenous ethnic art form and a scarce relic of Hawai'i's romanticized past...' from - Clothing and Textile Reasearch Journal - From Kitsch to Chic by Marcia A. Morgado.

And....
Michael Thompson's Rubbish Theory (1979)
' ...a critical aspect of Western culture is the pre-disposition to see objects in terms of two overt categories: the transient and the durable. Objects identified as transient have finite life spans and lose value over time, whereas those identified as durable have infinite lives and over time increae in value....category assignments are arbitrary, but once assigned a category membership determines relative value. Fashion apparel-by defenition-is assigned to the transient category; paintings commonly are designated durables....how is it that transient objects.. ( e.g. Hawaiian shirts and vinyl records ) ..sometimes become durables.

Objects assigned to the rubbish category are largely invisible, have no value and, ideally, no life span. Fashion for example, no longer worn and relegated to the back of the wardrobe has fallen into the covert rubbish category. But rubbish can be rescued and transformed. Thompson says ' What I believe happens is a transient object gradually declining in value and in expected life span may slide across into rubbish. Here it exists in a timeless and valueless limbo where it has a chance to be re-discovered and be successfully transformed to a durable. Such transferes are radical: objects gradually slide from transcience to rubbish, but the transformation from rubbish to durable involves an all-or-nothing leap across two boundaries, that separating the worthless from the valuable and that between the covert and the overt. Things drift into obscurity but they leap into prominence.

The delightful consequence of this hypothesis is that in order to study the social control of value we must study rubbish.

The rubbish-to-durable transformation is accompanied by the development of highly specialized knowledge derived from the discovery of subtle variations and complex details that went unnoticed in the objects transient stage. The discoveries initiate renewed interest in the object and its market value begins to climb. As prices soar beyond the reach of ordinary people, the object becomes available only in high priced collectors' markets. Furthermore, as market values rise, the aesthetic value of the object undergoes a reassessment as well, and it becomes increasingly apparent that the objects intrinsic beauty has been overlooked. Ultimately the object is re -assigned as a durable and becomes recognized as a timeless classic.

Exotica, Ambience and Pacificism - A dialogue with Mike Cooper & Professor Philip Hayward Deputy Pro Vice Chancellor of Research Southern Cross University, Lismore, Australia.

Belgium DJ / Producer ED1999 kicks off the debut release for his newly minted 'Porpax' imprint with 'Melodius Hubbub, a 4-track EP of hypnotic dark Techno saturated with modular wizardry. The release confidently displays ED1999's production power as well as the serious direction the label is aimed at taking. The music featured clearly inspired by the energy found in Tbillisi, Berlin, Detroit and anywhere else heavy duty underground music is celebrated.

'Path Of Hope' is a punchy mover heavy on the reverb, with washes of metallic gray atmospherics floating in and out of the steady analogue drum patterns. The track grows in energy throughout with additional claps, hi hats and melodies generating an absolutely effective tension building weapon.

Title track 'Melodius Hubbub' is pure hypnotic Techno at its absolute finest. Black as midnight elements drive the energy to dark territories. ED1999's perfectly positioned sonic peaks and valleys of thick musical textures ensure the dancefloor never loses a moment getting lost in the incredibly positioned hypnosis of sound.

'Winding Course' is centered around a gurgling synth ride which gives the track an uneasy and twisted vibe throughout. Additional melodic effects join the main synth, adding a romantic sense of danger and dancefloor movement. Akin to ED1999's brilliant ability to keep his music restrained and effective for serious club-goers.

'Sleazy Nook' is the darkest of the dark tracks found on the release, with shudder inducing effects and ice cold soundscapes residing alongside the winding rhythms. A truly intense breakdown midway through the track generates a clever sense of sinking, with only the kick drum returning to keep people safe from going under.

In the cracks that sprawl between electronic and analog music, visual art, and craft creation, Yamila dances on the edge of sound and conceptual heights. The Spanish composer, cellist, singer and producer is based between Belgium, Holland and Spain. In recent years Yamila has created music for contemporary dance productions in places such as The Gothenburg Opera, Netherlands Dans Theater, and Dance Forum Taipei, among others. Her projects have been presented at festivals such as Sonic Acts Festival (Amsterdam), Arts Electronica (Linz), Seoul International Computer Music Festival, STRP Festival (Eindhoven), and Today's Art festival (The Hague) to name a few.

With 'Iras Fajro' (Forbidden Colours), her debut album, Yamila, summons in 11 songs with the strength of electronic sounds in front of a fragile voice that at times unfolds in small coral clusters. The brilliant electronic arpeggios and rhythms dissolve in the velvety voices of the cello, which are sometimes intertwined with the creations of two collaborators, the British producer and composer Clark (Warp) and the multifaceted ex- flamenco Nin~o de Elche (Sony).

My love wears forbidden colours My life believes My love wears forbidden colours My life believes in you once again

'Sometimes it's hard to say how you feel,' says songwriter-vocalist
Jade Vincent. 'These songs are vulnerable stories for me to tell -
they're things I couldn't say out loud. But I found that I could sing
them. And then I closed my eyes when they would listen.'
Listening to Vincent's songs were her partner - producer/composer
Keefus Ciancia - and DJ and producer/composer David Holmes.
Together, Vincent, Ciancia and Holmes make up Unloved, the musical
project that evolved out of a late-night Hollywood bar in 2015,
releasing a stunning debut album the following spring and this year
crafting the soundtrack to Phoebe Waller-Bridge's acclaimed new
series 'Killing Eve'.
Introduced to Ciancia through soundtrack work, Holmes found
himself invited to DJ one night and to curate other nights at the
Rotary Room. To invite Holmes to DJ is to unleash a kind of whirling
dervish of musical enthusiasm but through those nights the trio
discovered a shared love for 60s girl groups and French pop and film
noir soundtracks, Brigitte Fontaine, Shuggie Otis, George 'Shadow'
Morton, Bruno Nicolai, Lee Hazlewood and Jack Nitzsche, along with
a tremendous desire to work together.
Their debut EP - 'Guilty Of Love' - and the full-length, self-titled
album that followed in the spring of 2016, offered a quite remarkable
thing: a sound at once hauled out of the silty depths of the past and
simultaneously wholly modern. There was the soft hiss of a lo-fidelity
recording - the murky crackle of sample, beats and half-remembered,
long-lost favourite tunes. However, much of the songs' success
belonged to Vincent's sublime voice and lyrics, both possessed of an
aching, rich-smoked tone of loss and love.
Unloved's second album, 'Heartbreak', is about love. The album plays
out each song like a vignette of nothing but love. The songs that rose
up were in some ways surprising, but also felt insistent. 'They're real
feelings and real experiences that I had the guts to finally say, but
always ambiguous, this is very important to me,' she explains, 'and
always about love, one way or another.'
LP pressed on red coloured vinyl with digital download code.

Phil Ranelin's first record as a leader is worlds away from his later 1976 offering, Vibes From the Tribe. The Time Is Now is a vanguard jazz record, full of the spirit, determination, and innovation inspired by John Coltrane, Eric Dolphy, Cecil Taylor, Pharoah Sanders, and Archie Shepp. Recorded in 1973 and 1974 and released at the end of 1974, the set shows Ranelin to be an imposing composer and frightfully good trombonist. The original album contained six compositions that are a deep musical brew of avant-garde improvisation, hard bop jazz esthetics, and soulful melodic ideas that were superimposed as a jump off point for both harmonic and rhythmic (read: Latin) invention. The stamp of Detroit is all over this thing. Tracks like the title and "Black Destiny" reflect the anger and vision of the era, while moving it all in a positive musical direction. Soloists on the set include the rest of the Tribe collective -- Marcus Belgrave and Wendell Harrison -- as well as local players who deserved far more than they received in terms of national recognitions: bassist Reggie "Shoo-Be Doo" Fields, trumpeter Charles Moore, pianist Keith Vreeland, drummer Bill Turner, and others including Ranelin himself. The arrangements on The Time Is Now were ahead of their time, clustering a rhythm section as part of the horn's front line ("13th and Senate" and the title track) and a stylistic angularity that reflected both musical history and futurism in jazz and R&B ("Time Is Running Out" and "Times Gone By"). The Time Is Now is a must for any vanguard jazz aficionado or anyone interested in the strange, rhythm-oriented evolution of Detroit music. Thom Jurek/AMG

The blues roots grow surprisingly deep in the Finnish music scene. From this fertile ground rises singer Emilia Sisco, who debuts on Timmion with her phenomenal single "Don't Believe You Like That". With her strong background in fusing blues, r&b and jazz, Emilia apparently slips also nicely into the dark soulful grooves of Cold Diamond & Mink.

In "Don't Believe You Like That" Emilia sets herself into the role of a mistreated lover, who still tries to see a speck of hope in the doomed relationship. By dubbing herself, and accompanying the lyric with graceful harmonies, she succeeds in building a powerful beat ballad, that should appeal to the darker end of the dance floor.

There's a special lane in history for soul music this understated. It's cool and intimate at the same time, like there's something dangerous lurking under the surface. So roll up something nice, if that's your thing, and hop along for the ride.

Ella's 1960 Christmas album is a sultry, swinging holiday classic. Originally released on Verve and her only full length Christmas album for the label, it features arrangements by the great Frank DeVol who worked with a who's who of 50s/60s pop and jazz vocalists from Nat King Cole and Sarah Vaughan to Tony Bennett and Dinah Shore. A beautiful collection from one of jazz music's finest all-time vocalists. Perfect for that swinging holiday party!

Rich, Deep, Percussive Soulful Folk Album From Master Togolese Singer, Akofa Akoussah.

The Album Moves Through Uptempo Afro-folk-funk On 'tango' To Deep Ballads Of 'ramer Sans Rame' And 'i Tcho Tchass' And Lighter Moments On 'g Blem Di' And 'mitso Aseye'. Akofas Exceptional Songs And Soaring Vocals Are Decorated With Percussion, Guitar Lines, Subtle Backing Vocals And Horns To Create A Unique, Rich Sonic. The Album Was Recorded For Release By French Label Sonafric In 1976. Produced By Gérard Akueson; Founder & Owner Of African Record Label, 'akue', Based In Paris.

Music Was Truly In The Blood Of Julie Akofa Akoussah. She Began Singing At The Age Of Three, Inspired And Led By Her Mother And Older Sister And Became Principal Soloist In Her School Choir, St. Peter & Paul Choir Of Our Immaculate Conception Parish Of Nyékonakpoé, At The Age Of 8. From There Her Career Blossomed, And Singing Often Took Precedence Over Her Studies. In Order To Master Her Art She Spent Time Studying And Working Closely With Local Groups Including Mélo Togo, Rocka Mambo, Rio Romamcero, Ok Fiesta, Eryco Jazz, Afro Cubano, Los Muchacho, Elégance Jazz And Togo Star Amongst Others. In Her Own Words: 'luck Opened The Door In January 1966 Where I Had The Honour Of Being Selected To Share The Stage With Bella Below - One Of The Best Voices Of

Africa - At The 1st 'negro Arts Festival' In Dakar. On My Return, I Was Approached By Ambroise Ouyi, The Highly Respected Singer & Poet, And We Wrote 'tu Ne M'écris Plus', My Very First Opus.'

The Popularity Of Her Work Led To An Increased Exposure For Togolese Music Outside Of The Country, In Neighbouring Ghana And Benin Most Notably. During Her Career She Collaborated And Performed With Greats Including Manou Djibango, Queen Pelagie, Abeti Massikini, Aycha Koné And Myriam Makeba. Akoussah Was Also Dedicated To, And Widely Recognised For, Her Work For Social Causes, Championing And Nurturing Young Musical Talent, And The Fight Against Aids. She Was President Of The National Union Of Artists Musicians Of Togo (unam) Before Sadly Passing Away In April 2007 After A Long Illness, At The Age Of 57.

Jaye P Morgan's 1976 million dollar private press featuring the cream of the LA jazz and funk scene and one of David Foster's first productions is finally reissued. Wewantsounds is delighted to announce the release on deluxe LP and CD of Jaye P. Morgan's ultra rare private press originally released in 1976. This lost classic recorded in LA at the legendary Sound City Studios is also the first full-blown production by David Foster two years before he co-produced Earth Wind and Fire's album I Am and went on to become one of the hottest producers on the scene. Featuring an extraordinary line up of the best LA musicians including Harvey Mason, Ed Greene, Jay Graydon, Ray Parker Jr. Tower of Power, Ernie Watts and many more, it's probably one of the most expensive private press ever produced and a delight of sophisticated Los Angeles funk featuring Jaye's superb soulful vocals. The LP edition will come with the original 4 page insert full of session photos and credits.

With a line-up that reads like a who's who on the 70s Californian scene, this album was a bold move for the singer who had made her mark in the 50s and 60s as a popular music singer and actress. Hiring Foster was a masterstroke as he hadn't yet produced any noticeable hit but together they gathered the most impressive crew of musicians you could think of including two of Foster's closest associates, guitarist Jay Graydon and singer / arranger Bill Champlin (of Sons of Champlin's fame) and created the perfect white Soul album with a breezy California feel.

Featuring masterful renditions of such iconic songs as Stevie Wonder's songs as Seems So Long and Earth, Wind And Fire's Can't Hide Love (for the anecdote, Foster, Champlin and Graydon would soon pen After The Love Has Gone which would become a mega hit for Earth Wind AND Fire two years later), together with a handpicked selection of originals, the sound alternates between uptempo funk and soulful mid-tempo ballads, all served by Morgan's superb vocals. The missing link between Steely Dan and Earth, Wind and Fire, Jaye P. Morgan is pure, undiluted Funk music and an essential LA classic which Wewantsounds is glad to make available for the first time.

CYRK, the Belgian-German duo of Sammy Goossens and Pascal Hetzel, is giving its debut release on Vakant with three fast-paced no-holds-barred electro jams topped off with a remix by French producer Voiski.

'Superior Things', the eponymous title track, kicks off the EP with driving funk and and acid lead synths, followed by 'Heatwave', another futuristic high-tech-funker. On the flip we have 'Chappers Said So', a sublime homage to classic Detroit electro and last but definitely not least Voiski's remix of the latter, an immersive and trance-inducing techno re-work for you to get lost in.

Artwork by SEO

Pi Gao Movement presents their first and long awaited release of the HAdES (Humanoid Advanced Engineering Society ) Network concept on vinyl. Originally released as a digital download, Descendants of Starfish Prime introduces Majestic 12 as a genre - blending mavericks of electronic music. Much like the name implies, Descendants takes a still landscape and captures it in time as it is violently uprooted, stripped to it's base elements and becomes something foreign, something unimaginable, something beautiful. This four song release takes the listener through a journey offering little consolation and no apologies; using varying tempos, patterns, structures, and vocals as operators on a clean canvass. What is the HAdES Network Series The HAdES or Humanoid Advanced Engineering Society Network series will be a collection of works from various artists presenting obscure and diverse facets of electronic music. Man creating machines to replace the human being. Who is Majestic 12 Majestic 12 is not a who, but a what. There are no names attached to this conceptual group. It is a cluster of concepts that have been carefully selected through experimentation. Strains have been extracted, combined, and developed

Tikita return with more of their deep and groovy techno, this time from Lapien, who is one half of Artefakt and a master of deep voodoo sounds. His 'Brumal' EP includes a remix from label mainstays natural/electronic.system. that completes a deep and powerful three track disc.

Lapien s 'Brumal' kicks off with deep, swirling pads and punchy drums. It s soft and atmospheric techno with a dubby bottom end and cosmic moods that is soothing and warm. The natural/electronic.system. remix of 'Moonset' is simmered down into an absorbing ambient soundscape with rolling, rubbery drums deep down below. It s thoughtful mind music to get utterly lost in. Last of all, the original 'Moonset' is another richly layered and spacious techno groove, with gentle percussion over underlapping drums and synths smearing out in all directions. It s brilliantly expansive music for intimate dance floors.

The Chakachas are best remembered for their hit disco single 'Jungle Fever'. The album by the same name is a revelation of Latin funk, with horns playing against groovy rhythms and some fine vocal work. Exiting in every aspect it's a real tasty and nasty combination of sounds. The album is characterized by its versatile percussion, consisting of maracas, congas and drums, and funky guitar riffs and horns. There's a beautiful version of Earle Hagen's classic standard 'Harlem Nocturne', known for its groovy bassline and guitar breaks. Jungle Fever is a classic which should be included in every collection of funk and Latin music.

The Belgian based group of The Chakachas were a Latin soul studio musicians. They're also known as Les Chakachas or Los Chakachas. They started in the late 1950s, recording a playful mixture of Latin music, jazz, and European-style exotica.

Straight Outta...Belpaese, a label fast becoming a go-to for those curiously catchy, exotic edits.

Maxing out that luggage allowance with Latin, Disco and Italo-funk rarities for the demanding digger... be quick - these edit EP's are snap up on sight business!