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After just 6 months since first seeing Big Yawn perform, we are thrilled to welcome them to the Research family. A compelling prelude to their debut album "No!" due out in late 2019.

Over six years the Melbourne-based group has evolved, with members of the band running various releases through label and collective Fallopian Tunes. As of 2019, Big Yawn had become a four-member music group, motivated by a history of studio production, prolific collaboration and quality hangout time.

The groups freshest effort 'Skin Rat/Thomas' captures the band performing live in the studio, and it's typical Big Yawn: fat and punchy low-end bass; drums and live drum processing; delay fx samples; thick syrupy synths. 'Skin Rat' is a hyperbolically dubbed out, tongue in cheek, magnetic blend of UK garage, footwork and breaks. And 'Thomas' takes cues from a slightly damaged post-punk sound, amplifying a brittle and sinister type of atomic porn-funk.

Limited to 200 copies. Hand numbered and housed in a screen-printed sleeve, artwork by Julian Hocking.

On 28th June 2019, drummer / producer / composer Myele Manzanza will release his eagerly anticipated third album 'A Love Requited' on First Word Records (winner of Worldwide Awards 'Label of the Year' 2019).

Produced with award winning Australian bassist & long time musical collaborator Ross McHenry and featuring a plethora of New Zealand and Australia's finest young instrumentalists, 'A Love Requited' is as much a musical journey as it is an attempt to process, work through and come to terms with the life around him.

"The music on this record was written often as a place of psychological refuge from the tensions of an ultimately failed relationship at home, as well as an attempt to come to grips with thought patterns and personal history that caused an often problematic relationship to music itself. Meditating on themes of love, fear, family, anger, death, ego and acceptance has helped create a narrative arc that grounds the album as well as a mode of therapy to begin working through these issues for myself.

'A Love Requited' is easily my most personal work to date and my hope is that beyond the music itself it may be of help to others, if only to say that your not alone in your struggle to make sense of the world".

This album also features the stellar talents of APRA award winning NYC based pianist Matthew Sheens (John Pattitucci, Cecil McBee, Ross McHenry Trio), alto saxophonist Jake Baxendale (Antipodes, The Jac), trumpeter Ben Harrison (Dave Douglas, Horns Of Leroy), trombonist James Macaulay (The Lagerphones, Epic Brass), multi-reedist Jason McMahon (The Shaolin Afronauts), flautist Adam Page (NZSO, John Psathas, Noel Gallagher), guitarist Django Rowe (Wizard Tone Records) as well as additional keyboard contributions by longtime collaborator Mark de Clive-Lowe (Ropeadope Records, Mashibeats), Brenton Foster and Jack Strempel.

Where Manzanza's debut album 'One' presented his ability as a producer / beatmaker, and his sophomore album 'OnePointOne' showcased his live performance and band leader prowess, 'A Love Requited' puts Manzanza's skills as a composer to the fore.

"Over the last few years I've really enjoyed the process of getting away from music software tools and just sitting at a piano with some manuscript paper and a cup of coffee and seeing what comes of it. I'm a very amateur pianist and my music theory knowledge is fairly limited, but in some ways that's an advantage as I'd be starting with a basic barometer of "does this sound good to me?", without too much consideration for formal rules and structure. From there, developing the arrangements to present to musicians forced me to get a better understanding of melody, harmony and orchestration and to really hone in on refining my ideas to a point where I now feel as much satisfaction and confidence putting myself out on the world stage as a composer as I do playing the drums."

'A Love Requited' will be available on vinyl & digital from the 28th June 2019.

Yeketelale is the third album from Franco-Ethiopian group uKanDanz, combining a heady brew of rock energy, saxophone zigzags and Ethiopian melodies, all fronted by veteran singer Asnake Gebreyes grooving harder than ever.

In Ethiopia, sons follow fathers and, together, their names tell a story. Some discographies are the same way. After Yechelal (''It's Possible''), Awo (''Yes!''),here's Yeketelale (''It Continues''), the third album from Ukandanz.
The adventure that links Damien Cluzel (guitars) and Lionel Martin (tenor sax), the two founders of the group, with the Ethiopian singer Asnake Guebreyes continues and, with this album, takes on new colors and a new dimension. It is a polished synthesis that keeps the rock energy of their first recordings and gives even more space to the subtle vocal ornamentations that mark great Ethiopian singers. Add to that a groove that is more danceable than ever, carried by Adrien Spirti's synth bass and Yann Lemeunier's drums, and you have the magic formula of Yeketelale.

This came about slowly over the course of a dialogue that began in the early 2000s when Damien Cluzel, arriving with a circus in Ethiopia, met up with the occupant of the next room in their hotel. A stroke of luck: this was Francis Falceto, high priest of the Ethiopiques collection (Buda, 30 volumes to date) which had introduced to the West the treasures of swinging Addis, the capital that vibrates to the sound of big brass orchestras. With him, he dives into the capital's nightlife and meets a galaxy of musicians. The singer Asnake Guebreyes is among them.

Recruited by the famous Police Orchestra at the tender age of 16, he already had all the power, energy and class of his role model, Tlahoun Guessessé ''the Ethiopian James Brown''. He began his solo career at the beginning of the 1990s with several major successes, most famously an explosive duo with the singer Fekker Addis.

This experience made a big impact on the French guitarist. Having learned how to blend in with a uniquely Ethiopian groove, he was now ready to take it to other places and in other directions. In his old friend Lionel Martin, he found an ideal partner to engage in such experiences. But they needed a singer. The idea of Asnake Guebreyes was mentioned. Then Francis Falceto called and suggested going to see him at the Addis Music Festival. Ukandanz, a rock version of Ethiopian groove, was born.

Some pieces, like the disturbing Yene Hassab, call to mind Herbie Hancock's experiments in the seventies, as well as the Juju guitars of the Gulf of Guinea. Others, like the dark Fetsum Deng Ledj Nesh, allow Asnake's voice to soar above the synthetic waves, like a siren song for a freighter in distress. Dance and trance are not left out, with inspiration from the inexhaustible Ethiopian traditional repertoire. In a nod towards Asnaké's first album (Ahadu, also reissued by Buda) Ukandanz returns to its track Ajiré, transfigured by the guitar, claps and synthetic bass and takes us back to the glory days of breakdancing. Listening to the two versions gives the key to understanding the unique touch of Ukandanz and of the rich musical colours of Yeketelale (''It Goes On''), a fusion musical journey that brings the electric spark of the Frendj (Westerners) to Ethiopian lyricism.

Robin Ball's Memory Box builds on the success of early releases with a big new outing that features two of his own tracks and one from the legendary Luke Vibert. Memory Box is a party that has hosted Derrick Carer, Trevino and A Guy Called Gerald among others, and is a place to hear proper acid house. Ball himself is a master of the genre and most often released on his own Groovepressure label, having been making music since his teens. Now his latest labour of love is once again reaffirming his status as a vital voice in the UK scene. Luke Vibert has a rich history that makes him a key part of the UK's dance counterculture over the last 30 years. His always animated music is wild and inventive and comes on greats like Mo Wax, Warp and Planet Mu. Here he offers 'X to C', a wild melange of warped synth tones, grizzled basslines & acid flashes. It will twist and turn the dance floor inside out. Robin Ball's excellent 'Gripper' is a corrugated bit of electric house music that never sits still. Pensive pads in the background are offset by a busy lead synth line and old school stabs that make it a perfectly timeless, energetic fusion of moods and grooves. Lastly, Ball serves up 'The Edge,' a brilliantly brash cut with stepping acid sequences, raw drum work and warped bass that distills decades of UK music into one essential track. These are three devastating club cuts that expertly draw on the past, present and future of acid.

Calling Marcelle a DJ doesn’t wholly represent what she’s doing. (Three) turntables and a mixer is more the medium that she uses to create and share sounds, ideas and moments.

The same goes for her own productions. They don't have a fixed style, as can be heard on all five EP's released by the Munich label Jahmoni since 2016. They are free in attitude and music and cross boundaries between genres. Most tracks are a collision of ideas, a magically gritty, self-aware car crash as if Muslimgauze grew up in sunny Lisbon with the Principe crew as opposed to the grim North of England.

On her new LP 'One Place For The First Time' we find nine tracks brimming with ideas that ignore stale production norms. Sure, the pulsing drum 'n' bass-esque 'Hippies Use Side Door' is weirdly danceable, just like the cackling stomp of 'Respect Caged Animals', but can we dance to 'Technicians And Their Smoke Machines'? (Answer: We’d certainly enjoy trying). It's almost a jazz song, but like with everything Marcelle does, it's jazz from a different world and has proven to be a dancefloor smash when she’s played out the dubplate over recent months.

Marcelle's life-long love for far-out dub is clear in 'Dub (Dub)' and 'Respect My Snack Foods' is in the same 'educational' tradition as was the song about how to deal with constipation (olive oil!) from the 2018 'Psalm Tree' EP. Now we learn how to apologise. 'The Mother Of All Messes' (a UK newspaper headline about Brexit) introduces perhaps a more tender side, a comforting nursery rhyme plays while a muffled kick occasionally growls with distortion - as if it knows the importance of its place in the dance.

By the time the refrain of the intro track returns it seems to carry more significance, Marcelle has made her point quite clear. Defiant til the end… ‘Don’t touch the table!’ This particular sample is taken from Marcelle's legendary Boiler Room performance at 2018's Nyege Nyege Festival in Uganda where the MC of the event repeatedly declares that 'She Plays Vinyl' and therefore asks 'Don't Touch The Table!'. It goes without saying that the latter song is full of banging on the table noises.

The sleeve - as always with Marcelle - is very colourful and features photos of knitted egg cosies and images related to individual songs. It's a bit of a puzzle to find out which photo connects to which song, an enjoyable challenge, just like the LP itself.

Shining on lineups whether they’re cutting edge festivals, big clubs, touring circus shows or DIY garage venues comes naturally given she approaches all with the same mindset ('always the same, always different'), these causes are adopting her rather than the other way round.

Marcelle is a genuine innovator who remains inherently relevant by not following trends, not focusing on technicalities, having a sense of humour, dissolving obsolete structures, being excited, defying others rules while creating new ones, eschewing #tagline posers and ‘tasteless A&R wankers’, supporting artists that need it, supporting places that need it, supporting people who need it and not giving a fuck for as long as possible.

And HUGELY welcome living proof that you can excel in doing things differently and having a bloody good time n all.

James Marrs, London, March 2019

Shimza, one of South-Africa’s shining talents, makes his return to Cadenza with ‘Eminence’, a burning compound of profound percussions and late-night rapturing synths. This Gauteng-born artist is one of the most celebrated African electronic musicians and has garnered the reputation of the “Effect Master” and “Vinyl Assassin” for his technical prowess and intricate mixing abilities. The vibrating drums and persistent arpeggios of ‘Eminence’ make for a captivating peak-time anthem, offering the nostalgic essence of Detroit’s late-nineties splendour. As the EP journeys to ‘Dancefloor Keeper’, the slick trance-inspired stabs and permeating bassline expose its ominous nature as it swells to a seismic drop. On the B-side, Shimza expresses his creative flare with ‘Kunye’; a hypnotic cut that blends the spirit of futuristic synthwave with the soul of African tribalism. ‘Warrant For Arrest’ is a charged number, driven by a snappy compressed kick drum and chiming sequences. As its percussive forces fall away to the second break, a monstrous siren and obscure vocal cuts take focus, guiding it to its summit. The penultimate offering ‘MSC’, is a euphoric gem that flows with expressive phrases and evolving synth pads. The EP’s digital-only bonus track ‘Mirrors’ shuffles effortlessly with a funk-tinged riff, maintaining a high voltage pace, closing the EP in an emphatic manner. Shimza has been on a mission to make 2019 his biggest year to date. Launching his One Man Show concept in Soweto in 2009 to help raise funds for underprivileged children, the project has now matured into an annual event that draws in over 25,000 people each year, hosting some of the country’s most in-demand artists, such as AKA, Black Coffee and Black Motion. The show has seen international editions in France, Spain and Portugal and has helped position Shimza as one o

Navy Cut are pleased to welcome Ramsez! The Bremen ??born, Netherlands ??resident, creates a style of bass music that is deep, modern and energetic.

“Bigboi”, admittedly Ramsez’s most powerful track to date, has a big, bubbling bassline and well-rounded style.

The swinging off beat hats, inspired Ramsez for the title “Swinger Club”. A throwback half-step rhythm with modern sound design.

With a rolling bassline and snarling mid-bass, “Talk Crime” is deep and upfront; one of Ramsez’s most proudest works yet, he is excited to unleash it to the masses.

Regis is the founder of one of techno’s most influential and
uncompromising labels, Downwards Records. His inimitable hard
techno sound, and collaborations with Surgeon as British Murder Boys,
have cemented his legacy as the definition of the Birmingham techno.
Luke Lund is one of the Finland’s fastest rising young composers, with
the ability to move seamlessly between the marshes of dark hop to the
silkiness of deep techno. His own Terranean Recordings label has
been fearlessly documenting the Finnish underground and beyond
since 2010. King Pin Frankie is treasure untold – a live Regis recording
from New Year’s Eve 1997 in Chicago. Pounding classic minimal TR
909 with an accelerating/decelerating arppegiator make this A side a
serious find, with distorted synth moving platforms occurring as the
track winds out. TIP! Luke’s Scourge is an electronic composition
masterpiece – pinning a straight kick underneath a shifting snare,
leaving the question open – is it techno? Is it dark hop? Whatever it
may be, the bass underneath tells it big and fills up a subwoofer.
Limited Edition Print by nem0

The Soulpop Continuum – by Arno Raffeiner
Six songs, one sound signature, one vision. Supreme Beats Series by Drei Farben House is an album
that firmly stands in the tradition of the big records of the disco era: a vinyl disc full of kicks and licks,
just as much as two sides in amazing sound quality can hold.
The album is the latest work of Michael Siegle, the Berlin-based producer and owner of Tenderpark
Records. 13 years after Drei Farben House's first full-length on the acclaimed Force Tracks label, it
features contributions by singer and songwriter Mavin and none other than Robert Owens who's voice
shaped house music forever. The trademark sonic elegance of Drei Farben House blends perfectly
with the timbre of the man behind Fingers Inc.'s Mysteries Of Love. Siegle's work as a producer is not
so much about turning this rich heritage upside down, but about refining it and creating a space within
that realm that's very much his own.
The title of the opening song with Owens states it: I’m Remaining Here. And Supreme Beats Series
invites you to come over and stay there, too, in a refuge of class and funkiness. The record offers
dense layers of rhythm, vintage keyboard sounds, chucking guitar, and vocal samples that indulge in a
many-voiced conversation. Not to forget the prominent, singing rather than walking bass lines
performed by the hands of Michael Siegle himself with his bass guitar.

New Release Information
You could think of Supreme Beats Series as a cross-section in time and space. It allows you to take a
closer look at the here and now of a much bigger picture, both aesthetically and socially. Siegle uses
the vocabulary of house music in a way that transcends its conception as merely a genre and speaks
of the historic evolution and the profound roots of this music as a movement. His record takes
inspiration from 60s Motown hits as well as the blue eyed soul of the 80s, you can discover influences
ranging from Philly's pre-disco craze to new jack swing and on to the heyday when house-pop divas
stormed the charts. By drawing these lines, Siegle deliberately opens up the space of a visionary
Soulpop Continuum.
In the 1950s, the American issue of Vogue magazine had their say about Coco Chanel's work and its
ever-lasting impression on fashion and design. They claimed it was all about “infinite variety within
narrow limits,“ and meant that as a compliment, of course. Michael Siegle likes to think about Drei
Farben House in a similar way. And you should, too.
Info about the artwork:
As far as the cover artwork of 'Supreme Beats Series‘ is concerned, the release of Drei Farben
House’s new album shows the second part of an image series which has been started with TDPR
release # 021 and which revolves around architectural photos taken by Achim Valbracht. Tenderpark
art director Till Sperrle and photographer Achim Valbracht like these pictures of various commercial
buildings erected in Berlin in the 1990s to be seen as a critique of investor-driven architecture which
has been dominating Berlin for several decades now.
The fascination of these pictures lies in their ambivalence of staging a normalised and globally
standardised kind of beauty, but at the same time revealing a strong sense of isolation - noticeable not
only but also in the absence of human beings. This new series of images is to some extent a
continuation of art director Till Sperrle's and label manager Michael Siegle’s interest in architectural
photography. However, at the same time the photo series also embodies a new angle on the subject
since all previous picture series on Tenderpark had been an affirmation of socially progressive
architecture which expressed a longing for socio-cultural utopia.

This Ltd edition vinyl release see’s a 50 track digital album whittled down to an 8 track sampler encompassing what label bosses Vinyl Junkie and Rachael E.C have determined to be the tracks that represent them best. The selection is predominantly on the junglist tip with a sprinkling of Drum & Bass here and there, which is basically what their label Ghetto Dub is all about.

The proceedings are kicked off by Birmingham born but Bristol based jungle overlord, the man they call Aries, who comes in with a real deep and bass heavy roller called Pre-Rolled, guaranteed to get everyone on their feet and feelin’ the vibes. This is followed by a rising star of the UK jungle scene; Java, who brings in the amens with a ragga style vocal lick for his track Screwface, which has been slaying dancefloors on dub for the last couple of months. Another artist that is really making a BIG name for himself lately is Veak. He comes in HARD with his first offering Lawd A Mercy which is a definite pull up track with a filthy bassline that will nail your head to the dancefloor. X-E-Dos concludes the first vinyl with Feel For Me which is a hard hitting but atmospheric drum fuelled workout, keeping the vibes rolling and maintaining the energy levels perfectly.

Enter the second vinyl and Veak is back, this time teaming up with another UK jungle don; Kumarachi. The combination of these two production masterminds has manifested something quite special in this awesome track Chrome Siren. Punchy in your face amens laced with more killer bass riffs and a mesmerising female vocal make this a definite for the front of your box. Sypmtom steps up next and adds that dark techy vibe like only he knows how; Come Mash Up maintains the jungle vibe but goes on a journey into the realms of drum & bass. Galvatrons track, Buss Up Shot is pure jungle, no doubt about that. Chopped up amens and a deep rumbling bassline are complemented with a beautifully melodic piano section. Last but by no means least, the man like SR takes the limelight with another wicked amen workout. Special Ops VIP gives a nod to the mid 90’s for sure… Wicked oldskool vibes and a sure fire hit with all the junglists that remember those times.

LillyGood Party! is back with their 5th release of their official and fully licenced Edits.We are very happy to bring some jazz and some south African vibes to our serie of our extended versions.Those tracks have already been tested and played in clubs at our parties or parties worldwide and those ones are sunny, groovy and club ready for the spring and summer vibes coming. Full of joy and energy, those two bulletsare just perfect for those who love music and mix various styles in their dj sets.On the A side Alex Edit is a long road to freedom like the title says. Co written by Airto and José Neto this longer version of this south African fast afro latin number is infectious with a deep slow beginning going into a fast and crazy ride mixing percussions, great bassline and live music to make people dance and sweat with a big smile on the face.On the B side the Attias brothers Edit with added overdubs sounds bigger and phatter than the original version to be played in a dj set. A sort of deep jazz slow house jam for early or late play . A jazz groove with percussions and great Byron Wallen musicians and singer re fixed for you . Don't sleep its limited and never came out this way J

Utopia Music are extremely proud to present UM023, the debut 4 track EP from Belgian badman Mzine. Based in Brussels, Belgium, M-zine (Joeri Deyaert) is no stranger in the Belgian Drum & Bass scene. Having had releases on labels such as Dispatch, Critical and 31 Records and playing big time parties, such as Star Warz, Rampage, Stealth Bombers, Mentality, he has been cooking his way up, slowly but steadily, in it for the long haul.

His release for Utopia is vaired and continues his evolution as an exciting dnb artist. All four tracks contain the poise and posture of a man twice his age whilst keeping the production levels super high.

This is a serious collaboration, two internationally acclaimed artists joining forces on a series of new recordings and live shows showcasing the unending diversity & innovation present in UK Reggae & Dub.

First up is “Sound System Girl” - digging deep into Sandra’s Sound System History on a future sounding re-cut of the Cuss Cuss Riddim , on the flip side ‘Fyah Bun’ is stepping spiritual dub music at it’s best.

Sandra Cross needs no introduction, she is a true legend whose career begun at the age of 14 with a no.1 hit in the UK Reggae charts. Since then she has gone on to be one of THE defining female voices of British Reggae. Sandra’s award winning career has seen her hook up with the likes of Mad Professor and Sly & Robbie for a near endless round of hit singles & albums.
Vibronics, the future sound of dub, have been vibrating the world with bass since 1996. Their music is at the forefront of the UK Dub scene, proven by over 60 releases on their own legendary SCOOPS label as well as a host of albums, singles and remixes for a myriad of other labels such as Jarring Effects, Dubhead and Jah Tubbys. In the studio they have worked with Michael Prophet, Iration Steppas, Macka B, Aba Shanti, Brain Damage, High Tone, Big Youth, Gaudi and an almost endless list of dub & reggae luminaries.

New LP from French beat-makers La Fine Equipe featuring Illa J, T3, 20Syl, Mr J Medeiros, Georgia Anne Muldrow, Fakear ...

Let's be clear: La Fine Equipe is a band. The numerous hats wore by its four members are so various that it could mislead one's. Indeed, surrounding Blanka, oOgo, Chomsky and Mr. Gib, there are recording studios, collaborations, lives, side-projects... There is also and especially a whole universe built during the past ten years around their passion for beatmaking, embodied by the release of « 5th Season », new album.
So yes, La Fine Equipe is a band, but it's also much more than that.

Since their creation in 2006 and their first album « La Boulangerie » two years later, the four producers became inevitable when you think about a new scene breaking the barriers between musical genders. Hip Hop is at the heart of their craft, corner stone of their musical background and inspirations where the paths of J Dilla, Madlib, Flying Lotus, Kaytranada and the turntablists A-Trak, C2C and Birdy Nam Nam are crossing ways. Two things gather La Fine Equipe and those big names, the constant need of collaboration with other artists, and this thirst of discovery, main feature of the digger.

From 2008 to 2014, La Fine Equipe mastered its craft with the « Boulangerie », compilation gathering 34 beatmakers on 113 tracks. They also work on the creation of the label Nowadays Records (Fakear, Skence, Unno, Clément Bazin, Leska, Douchka...) and released more than 75 EPs and LPs in five years.
With an outrageous number of shows across the world, tour in Asia, South America, collaborations with several international artists... Their success changed the game: Whereas many producers coming from this environment where isolated, La Fine Equipe federated a growing scene and became its reference.
After years spent paving the way for other artists and creating a structure that could support the growth of a musical scene, they decided to go further and launch a new era with « 5th Season ».

Because the band works with eight hands and four brains, there's nothing surprising in the fact that the album sounds like a condensed of each and everyone inspirations and experiences, from hip hop and sampling, to electronica, jazz and Latinas inspirations. If homogeneity is the new trend, La Fine Equipe isn't ready to sacrifice its wishes to fit the mould.

« 5th Season » is also a glance at the world looking over our planet's current state, the cosmos, the vegetal and these things that are greater and stronger than us, and the things and behaviour that could led to our loss.
It's an almost apocalyptic vision of our future, but full of optimism at the same time. There is something solar and cinematographic in this album, a format that goes beyond the one chosen before, closer to playlist and compilations such as the three Boulangerie opuses remind us.

Loyal to their status of ambassadors, the four beatmakers keep on inviting other artists to complete their universe. Illa J and T3, respectively brother and partner (Slum Village) of the late J. Dilla, make the connection between a glorious past and the future embodied by La Fine Equipe on the track « The Source ». With « Aurora », it's the solemn and mystical voice of Madjo that take this electro-pop track to another level. The American rapper Mr. J. Medeiros on the boom bap anthem « What Eva », the Montrealer ZeFire on « Typical », each and every artists brings its stone to the edifice of « 5th Season », giving to the album a limitless and freed musical richness.

But to release an album isn't enough. In parallel, each member of La Fine Equipe continues to fulfil its multiples tasks and work on a new concept live show bringing a scenic and visual show in addition to their music. It is what the artists looking toward the future do, and La Fine Equipe is looking straight ahead.

_________________________________________________________________________

TRACK BY TRACK

AURORA (Ft. Madjo)
Already remixed by the quatuor on the beautiful track « Choose The Heart », it's Madjo's turn to be invited by La Fine Equipe for a collaboration. Her mystical voice, which fragility paradoxically seems to strengthen its power, turns the track into an epic pop anthem.

NOBU (Ft. Grems & 20syl)
The association of these three names seems obvious, like a family reunion. Grems did the visual of the anniversary box of La Boulangerie, 20syl (C2C, Hocus Pocus) was one of the beatmakers who took part in the project.
This time, the two big brothers are side by side behind the mic, for the first French speaking collaboration of La Fine Equipe.
On this trapy/footwork beat, the two rappers ring the alarm before it's too late to save our house, the earth.

THE SOURCE (Ft. T3 & Illa J)
In the family of Hip Hop jewels of 5th Season, here is one coming from the USA. Fans of J Dilla and Slum Village since the first hour, La Fine Equipe pays its respects to its influences by inviting T3 and Illa J. Respectively member of Slum Village and brother of the legendary Detroit producer, these two MCs build a bridge between the eras and let their sharpened flows confuse our perception of time.

5TH SEASON (Ft. Fakear)
A second collaboration with their little brother from the Nowadays Family, Fakear. Eponymous title, it represents the universe of both entities, true road trip through Fakearians melodies and La Fine Equipe's funk declined in five seasons.

TYPICAL BOY (Ft. ZeFire)
With « Typical Boy », La Fine Equipe express its love for House music with chopped rhythms and a heavy but swaying bass line. The freed track oscillate between power and lightness. A beat that quickly becomes ZeFire's playground. The Montreal singer, already heard on Her's tracks, brings a missing r'n'b touch to create the perfect chemistry.

Over the years, Claremont 56 has played host to some memorable collaborative
projects, most notably Bison, an unlikely super-group whose members included
Holgar Czukay, Ursula Kloss, Liquid Liquid’s Sal Principato, Ben Smith and label
boss Paul ‘Mudd’ Murphy. Now Murphy is at the helm of another collaborative
outft, Hillside, whose seductive debut single contains two deliciously pie eyed
instrumental workouts.
Hillside is very much a family affair, with Murphy joining forces with two old
friends: bassist/guitarist Alex Searle and percussionist Patrick Dawes. The trio
has a collaborative history that stretches right back to Murphy’s time in Akwaaba
in the mid nineties. For their debut outing, Hillside has also welcomed a very
special guest musician: award-winning jazz violinist and long-time Bert Jasch
collaborator Mike Piggott.
As opening gambits go, “Hidden Port” is an emphatic statement of intent. The
audio equivalent of sailing slowly around a cluster of sun-baked islands in
search of shelter from an approaching storm, the track sees Searle wrap bluesy,
Peter Green style guitar passages around a shuffing, Latin-tinged groove rich
in Dawes’ distinctive percussion patterns and Murphy’s languid electric piano
and synthesizer lines. As the track progresses, Piggott steps up to make his
mark, with his undulating electric violin lines complimenting Hillside’s impeccable
instrumentation while adding extra emotional weight to proceedings. It’s a
stunning beginning to the Hillside story.
Piggott also makes a big impression on accompanying cut “The King’s Tun”,
delivering fuid and energy-packed solos that weave in and out of a bright
and breezy instrumental track rich in jangling acoustic guitars, subtly spacey
electronics, freside-warm bass and more sparse-but-intricate percussion
courtesy of the effervescent Dawes. Searle’s eyes-closed, rock style guitar solos
cap another memorable excursion from Claremont 56’s latest in-house band.

Project Runaway brings together two of Tel Aviv's new breed of talented DJ / producers in a meeting of tripped out, expansive, psychedelic, club music. Landing on Especial to expand horizons is Met, their debut EP of deep, percussive dubs for late night tribes. A name on many leftfield lips, Alek Lee's journey continues following two acclaimed solo releases for the wonderful Antinote crew and new project, Shame On Us (alongside Naduve and Yovav Arzi) for that brightest star, Hivern Discs. Teaming up with the sound production skills of Stephan Bazbaz they create Project Runaway. Holding down his own citywide residencies, Bazbaz has developed a studio mastery of minimal dub, crispy house and trippy techno via a growing stream releases on numerous labels, as well as setting up his own No Wave records in 2016. After their welcoming, simple, yet wall quacking remix of Persian (EES031), Met, or 'dead' in Hebrew, bring their strands together as one sound. In original form, a vibrating drum takes on bass backbone is broadened with tight layers of percussion overtones and warped vocal interplay. Lee's psychedelic imaginings are a perfect fit across Bazbaz's wide production expanse, before horns raise the heat to extreme. For deeper DJs and big system dwellers, Met (Dub) does as it should, stripping away and opening wide. Hand percussion and vox ride the channels, coming in and out of the mix, while dub stabs transfix and could run for days. A meeting of minds, drums, psychedelics and pure club love.

Having burst onto the scene with his stunning debut release on Influence back in July, and with Aaron Jay’s label continuing to fly the flag for this exciting producer, Easy returns and this time with partner in crime – Geeks. This Belgium duo are beginning to create a stir in the dnb scene with heavy support from Fabio, who played three of the forthcoming tracks from this ep on his Rinse FM Show in October 2018. Also getting support from LTJ Bukem and radio play/premiere of Steady from Skank and Bass plus Big Bud and Stunna were showcasing some of the tracks at this year’s Sun and Bass Festival in Sardinia. The future is looking bright for these two talented producers!

elected DJ feedback:

Fabio – ‘Wkd tunes’
LTJ Bukem – ‘Feelin Natural and Shadows’
Doc Scott – ‘Thanks for the beats’
Random Movement – ‘Wow these tracks are fire’
Ben Soundscape – ‘Nice EP, fav track is Shadows’

A year after Floyd Lavine & David Mayer served up the afro house bomb ‘Sondela’ from the EP of the same name, it now gets remixed by a carefully selected list of names including Jimpster, Auntie Flo, Tunnelvisions and Kususa. First up is deep house master and Freerange label boss Jimpster, who serves up the sort of quality you would expect on his remix. His cool and immersive journey brings new soul and feeling to the original with timeless melodies that have a lasting effect. Dutch duo Tunnelvisions are an act on the rise and always bring plenty of Afro, Latin and Caribbean vibes to their sounds. Here they masterfully flip the track ‘Xi’ from the Sondela EP into a percussive groove with psychedelic warmth and melodic bass that goes deep. Kususa are also rising stars of the South African scene who have Black Coffee supporting their work and have mixed the upcoming Africa Gets Physical vol.2 album. Here they pump up the beats: their percussion, arps and big synths will get hands in the air and as the bassline envelops you in warmth you cannot help but feel it deep inside. Highlife artist and recent album man Auntie Flo brings his authentic understanding of worldly groove to a fantastic remix that oozes beauty and quality. It is understated and stripped back with delicate hand percussion and an otherworldly aura that brings real mystery to the EP. An acapella version is also included as an exclusive addition to the vinyl release.

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.

Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward. Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.

When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).
Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Credits:

Keyboards: José Roberto Bertrami (Mini Moog Series One, Arp Omni, Arp 2600, Arp Solina Strings, Fender Rhodes 88, Hammond B3 with box speaker, Clavinet with Wah Wah)
Drums: Ivan ‘Mamão’ Conti
Bass: Alex Malheiros
Percussion: Ariovaldo Contesini
Produced by Azymuth and Jose Roberto Bertrami
Recorded at José Roberto Bertrami’s home studio in Laranjeiras, Rio De Janeiro, Brazil between 1973–1975.
Issue and project co-ordinator: Joe Davis
Tape transfers by Roc Hunter (thanks to Simon Hitner)
Mastered by Daniel Maunick at the Sugar Shack, Lanark, Scotland
Mastered by Frank at Carvery Cuts
All tracks published by Far Out Music Publishing/Westbury Music LTD

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.

Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward. Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.

When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).
Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Credits:

Keyboards: José Roberto Bertrami (Mini Moog Series One, Arp Omni, Arp 2600, Arp Solina Strings, Fender Rhodes 88, Hammond B3 with box speaker, Clavinet with Wah Wah)
Drums: Ivan ‘Mamão’ Conti
Bass: Alex Malheiros
Percussion: Ariovaldo Contesini
Produced by Azymuth and Jose Roberto Bertrami
Recorded at José Roberto Bertrami’s home studio in Laranjeiras, Rio De Janeiro, Brazil between 1973–1975.
Issue and project co-ordinator: Joe Davis
Tape transfers by Roc Hunter (thanks to Simon Hitner)
Mastered by Daniel Maunick at the Sugar Shack, Lanark, Scotland
Mastered by Frank at Carvery Cuts
All tracks published by Far Out Music Publishing/Westbury Music LTD

Italo-disco inspired house music, IN MY DREAMS is the latest single from New York/Moscow duo IPF aka INTERNETPOWERLIFTINGFEDERATION. A warm, galloping bass line fuses with razor-sharp synth stabs, creamy pads and late-80’s house drums. A dual-vocal exchange explores self-delusion, obsession and a single-sided relationship between girl and the boy who lives in her head. Melancholic yet pop-y, IN MY DREAMS wouldn’t be out of place in club run by Erasure, Depeche Mode or Human League at their most soulful and dancefloor-ready. In the spirit of classic 80’s dance music traditions, the original mix gets three additional reworks: a classic Electro version, a “big room” friendly HI-NRG version and stripped down version. This is the first release from New York city based label Daddy Issues, limited pressing 150 copies only.

It’s no secret that in recent years Brazil has become a breeding ground of sorts for Dirtybird talent, and two artists at the top, Bruno Furlan & DJ Glen, come together for the massive “Another Planet” EP.

Truly sounding like they were made in a studio from a different world, both the title tracks and the flip side, “Ducking”, will stop your feet in your tracks when you hear it, and then get them going full speed when it comes back end.

Colossal basslines, mammoth breakdowns and a bunch of extra terrestrial sounds and rhythms make this one of our most unique releases of the year, and will surely be on of the biggest.

Presenting 'Fire Zone'. Album written, produced & mixed by Zane Reynolds and pressed on 180g vinyl, by Ekster. Coming out May 2019, including poster 57x57cm artwork by the artist. Mastered & cut by Helmut Erler at Dubplates & Mastering.

The music of Zane Reynolds AKA SFV Acid celebrates lysergic life in small town America. His are urban hallucinations. Conceived in 'business parks, strip malls', in 'blue collar luxury'. On a diet of 'diner burgers'. From the self-released, hand-painted cassettes of his high school years, he has moved to work commissioned by locals 100% Silk, Japan`s Big Love, and Dutch imprint, BAKK. His latest long-player, Fire Zone, will be issued by Belgian label, Ekster.

The album continues to reference Zane's Los Angeles home, and in this case the devastation that rages there every Summer. The concept however, reaching away from the horror and flames, to offer an escape.

There are moments, interludes, that hint at, and hide, something darker. Where drone twists from tape hiss. Bends. Out of shape. Where chords distort. Their degraded edges disintegrating. Charred perhaps But Ai welcomes you to 'San Fernando Valley', and a low-riding 808 booms. Less L.A. More Overtown, or Liberty City. Its racing booty bass calmed by wind chimes. The rapid Electro-Funk clip countered by modal synths. Its sunny disposition reflecting the SFV climate.

Playful rhymes, fragmented dialogue, and answer phone messages, rub up against Rave sirens. Roland`s silver box squeezes out a Sci-Fi Jazz. Through ping-ponging percussion. Through a drum and bass battery. Punched by keys that wanna be horns. Rewinds that create a bin-blowing vacuum. Shore-line samples washing the more head-nodding tempos. Euphoria rising while a perfect beat pops and locks. (text: Robert Harris)

Warehouse Find!

Danish producer Paxton Fettel joins Delusions for his debut EP for the label entitled Night Waves. Despite his youth, he has notched up an enviable catalogue of original, eclectic releases including two LP's for Greta Cottage Workshop as well as EP's for Plumage, Kolour LTD and Apersonal. Paxton's unique sound and audiophile approach to production has led to remixes for Uffe on Tartelet, Chocky on Secret Reels and most recently Sunrom on edgling vinyl-only label The Bricks.

For his Night Waves EP we get a snapshot of the mans diversity across three original tracks. The opener sees Paxton in his most raw, jacking, dance oor focussed mood to date and the result is a high energy house track which punches hard on a big system. Featuring his own bass playing, snipped and squeezed through the sonic mangle, Night Waves steams along with big bold pianos, swinging hats and just the right amount of oating synths. Simple elements which combine to be so much more than the sum of its parts and one of those stand-out cuts that will be stuck in your head long after you've left the danceoor.

Flipping over we have Paxton going full-on jazz mode in Pacica 399 To Freedom. A track which once again has his beloved Sandberg California live bass part pushed to the fore, pianos, strings and synths building around the driving disco groove. Feel-good sunshine vibes oozing from the speakers as little melodies dance around the sizzling hi hats and encompassing pulse of the kick drum.

Finally we have a deeper note to close on with It's Clear. A repeating vocal hook runs throughout the intro while intricate drum programming gives a nod to the sounds of broken beat and live jazz sensibilities. The end result is a warm, loose and dubby jam which completes the package in ne style and leaves us looking forward to hearing more from this talented young producer from Copenhagen.

What kind of band would choose a double vinyl, gatefold LP for their first release The Hare and Hoofe. Their eponymous first release consists of two discs. Disc One rounds up their 'hits' so far - 2018's smash hit White Blindness, the space gregorian
chant that is Voyager, and the pastoral tale of Appledore Fayre. The second consists of their rock opera, The Terror of Melton. Time-travelling scientists. Giant laser-eyed robots. A rock opera to end all rock operas...

Pitched somewhere between The Who, The Stooges, ELO, Sparks, Pink Floyd, Voivod, Pete Townshend, Brainiac, Bowie and Judas Priest, The Terror of Melton is a headspinning,
ambitious journey. In turns stomping, tear-jerking, full-on rocking and dreamlike, it will transport you. Prog Magazine's Dom Lawson described it as 'absurdly entertaining and deliciously weird... An unmissable trip for fans of the fuzzy and farout'.
2018 saw the band recording a BBC6Music Marc Riley session before even releasing a physical record. In addition, they've had plays on Stuart Maconie's Freak Zone. The band have also gained a monstrously good live reputation, playing an instantly
legendary set at Hastings' Beatwave festival, as well as headlining Tannerfest, Pitch Fest, playing with Focus and The Fierce and The Dead, and the John Snow Society's annual celebration of the eminent epidemiologist.
Some describe them as 'educational psych', others prefer 'polytechnic beat', still more as 'a seventies garage band'. There's certainly primeval drums, fuzz bass, lashings of guitar and synth noises from another planet.
Formed from a gang of friends from Folkestone, Hoofe members have played in groups including The Heliocentrics, The Priscillas, Ye Nuns, Jail Cell Recipes, The Frank Sidebottom Oh Blimey Big Band, Chalet and Hyperglo.

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

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

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

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

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

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

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

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

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

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

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

* Dom & Roland Productions, the label, has gone from strength to strength since its conception in 2006.
It Features Dom's new solo work and his collaborations with other visionary artists such as Noisia, Hive and Amon
Tobin. The label has continued to push sonic boundaries whilst staying true to it's ethos of 'not selling out'.

* BEACH BUM - DOM & ROLAND

There's someone on the beach playing a catchy picked out guitar riff. The waves are lapping. A surfer walks along the beach carrying their surfboard, their hair is blowing in the wind. They are thinking about how powerful and awesome the ocean is in it's contrast to the serene and quiet sunset beach, They like the guitar a lot!

* DRED SOUND - DOM & ROLAND

Big Sound! In a large warehouse in Kingston Jamaica, a kid turns up with his laptop and a keyboard full of playable samples. The kid's twisted some funk era breakbeats into gigantic proportions and is trying out song structure ideas whilst listening back on the the huge sub bass system. There are a lot of people sitting around, everyone stops to listen, they never heard anything like this. It's raw, and powerful, and they like it!

After The First Wave Of Artists That Have Broken The Ice With Their Way Of Combining Contemporary Symphonic Music With Electronica And Jazz On The European Side (olafur Arnalds, Nils Frahm, Max Richter) - Now There Is A New Generation Of Young Musician Breaking Boundaries On A New Level. Especially In Germany There Is A New Wave Of Artists That Bring The Thing On A Whole New Level. These 20 - 25 Year Old People Don't Just Imitate What The Bigger Names In The Scene (the Fathers) Have Done But Develop The Style To A Totally Different Level And Add New Ideas Instead Of Just Copying What The Older Guys Did. This New Wave Of Artists Have A Huge Musical Knowledge, Have Studied At The Best Music Academies, Learned To Play "classical" Instruments And Know How To Improvise On A Very High Level. They Have Been Raised In 2 Different World: Studied The History Of (contemporary) Classical Music And Also Been Influenced By What's Happening In Electronica Evolution Of The Last 25 Years. Ralph Heidel Is One Of These New Kids In The German Scene. Coming From Munich, The 25 Year Old Extremely Talented Musician Studied Saxophone And Composition At The Munich Academy Of Music (known For Being The Best Music School In Germany. Think Julliard Or Berklee). He Graduated In 2018.leering Everything About The Music Of 20th Century Composers (charles Ives, Alfred Schnittke, Giöyrgi Ligeti Etc). At The Same Time He Grow Up With The Music Of Electronic Producers Like Alvo Noto, Boards Of Canada, Jon Hopkins, Jan Jelinek, Four Tet Since Early Days. And: He Comes From A Jazz Musicians Family And Has Grown Up By Listening To The Jazz Collection Of His Father. Studied Saxophone Since Age Of 12 With A Big Passion For The More Advanced Jazz. In His Own Music All This Comes Together. "moments Of Resonance" Are Seven Compositions Full Of Brilliant Little Ideas, Harmonic Complexity, Unheard Music Surprises, Clever Citations, Dramatic Evolutions, Big Explosive Moments, Meditative Moments And Euphoric High Points. This Album Is An Extremely Emotional Work Of Art For Strings, Saxophone, Drums, Bass And Electronics. Ralph Heidel And His 7 Piece Ensemble Homo Ludens Connect Contemporary Chamber Music With Electronica, Ambient, Post Rock And Avant-garde Jazz. On A Highest Possible Musical Level - Without Getting Too Abstract And Incomprehensible. Everything Is Composed And Improvised. Nothing Is Sampled. You Find Wild Punk-jazz Parts That Recall John Zorn Or Mahavishnu Orchestra And Romantic Passages That Make You Think About European Impressionistic Composers Like Ravel Or Debussy. But Nothing Is Imitated, Everything Gets Broken Up Through An Expressive New Way Of Using Harmonization And Melodic Composing. Sometimes The Band Flies Through An Ambient And Drone Universe But One Moment Later The Music Evolves Into An Explosive, Impossible To Describe Musical Moment. One Of Heidel's Biggest Ability Is To Melt Electronic And Organic Elements Into A New Unheard Sound.

Headz up! Guti's current club cutter 'Red Eye' continues to wriggle and writhe its way hypnotically into our sets and psyches with these two crucial versions from one of house and techno's most respected gentlemen... The one and only Kenny Larkin.

Weighing in at a combined length of 20+ minutes, both remixes capture the Detroit legend at his deepest and most cosmic with his hands glued to the dials. Not just part of the biggest single from Guti's 'Year Of The Conga' album so far, they also tell a unique tale of their own...

These mixes were originally meant for the full release earlier this year, alongside killer mixes from Loco Dice and Priku. But when Larkin received a shiny new Moog One he rang Guti and label bosses the Martinez Brother and told them that they'd have to wait... He was about go back in with a whole new modular perspective.

You can feel it, too; that deep throb on the subs and trippy psychedelic swirls of his 'Black Eye' mix and that wobbling voluptuous bassline in his 'Pink Eye' mix are just two examples of Kenny's attention to sonic detail and pure analogweight on these two immersive, alluring remixes.

Well worth the wait, and another precision chapter to the beautiful back-to-roots adventure that is Guti's third artist album 'Year Of The Conga', don't sleep on these... They're going out strictly as Record Store Day specials. Vinyl crew, this one's for you.

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

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

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

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

One of Brazil's most prolific artists, Eumir Deodato has participated in the creation of over 450 albums, racked up 16 platinum records, won a Grammy (and received two more nominations), and sold over 250 million records in the USA alone. Over the course of his career, he has written for, arranged music by and played with artists including Frank Sinatra, Tom Jobim, Kool & The Gang, Earth, Wind & Fire, Marcos Valle, Aretha Franklin and Bjork, among others.

At the height of Deodato's productivity in the early 70s, Os Catedraticos 73 was recorded between Rio de Janeiro and New York, featuring a Brazilian rhythm section comprising Azymuth drummer Ivan 'Mamão' Conti, percussion master Orlandivo, and Sergio Barroso on bass, while the horn section features some of the big apple's top players from the CTI in-house brass.

A firm favourite with rare-groove enthusiasts and fans of Latin jazz alike, Deodato melds the musical sensibility of post-bossa nova Brazilian jazz with North American soul & funk, and the explosive Latin influences of '70s New York. Os Catedraticos 73 certainly swings harder than some of Deodato's earlier releases and opening track 'Arranha Ceu' (Skyscrapers) is a euphoric dance floor classic, which has been lighting up clubs for years.

With the blessing of Deodato himself, this official Far Out reissue has been remastered and pressed to 180g vinyl, with replica original artwork from the OG Equipe release.

Recorded Between The Release Of Sand (1977) And Lost Secrets(1981), Symphonic Songs Is A Formerly Unreleased Work That Chronicles The Dynamic Shift And Development In Experimental Swedish Composer Ragnar Grippe's Canon.

Following His Seminal Release Sandin 1977, Swedish Experimental Composer Ragnar Grippe Worked On Various Art And Performance Commissions, Often Returning To Stockholm During The Summer Months To Focus His Efforts On His Compositional Practice. It Was There At The Famed Ems Studioswhere He Began Employing The Buchla Synthesizer And The Facilities Multi-tracking Capabilities As New Instruments To Map His Mining Of Sound And Movement.

During The Late 1970's, Grippe Formed A Creative Collaboration With Choreographer Susan Buirge, Specifically Writing Compositions For Her Works restes And tamis, Thus Pushing Grippe To Start Working In A More Intricate Studio Environment. These Passages Inspired Grippe Into A More Complex Layering Process That Focused More On Placement And Structure, Rather Than The Aural Floods And Flourishes Of His Previous Sand Album, Eventually Germinating In His First Full 24-track Composition Entitled orchestra.

After Debuting orchestra In 1980 At The Electronic Music Festival In Stockholm, Grippe Holed Up At Ems Studios With Those Lessons And The Fussy Buchla Synthesizer, In Which Grippe Affectionately Recalls needed To Be Tuned And Calibrated Every 20-30 Minutes. He Emerged With A New Commission For Susan Buirge Later Formally Titled Symphonic Songs And Used In Her Avant-garde Theater Piece ci-déla Which Debuted In Paris In 1981.symphonic Songsshowcased Grippe's Sound Au Courant, Pushing Dense Against Sparse, Calm Into Cacophonous, Using Each Track As Its Own Intersecting Plane. Using The Machinations Of Studio And Structure To Drive Symphonic Songs' Voice, Grippe Culled A Haunting, Often Cinematic Electronic Work That Dots And Darts Into Unexpected Corners With Curious Aplomb.

Listen To The Words, Both Terms Have Their Root In Classical Music, But Not In Its Form But Because Now I Had So Many More Stems Or Voices That Could Be Played Simultaneously Compared To My Earlier Pieces. Coming From A Classical Background, But With Big Nostrils For Pop And Jazz Music, I Can Now See A Thread In Which Classical Got A New Costume, Dressed Up In Buchla Synthesizer And Real Bass Sounds Grippe Says. Since Its Live Theater Debut Over 37 Years Ago, Dais Records Releases For The First Time Symphonic Songs, One Of Grippe's Most Ambitious Compositions, As A Deluxe Double Vinyl Lp (with Limited Edition Color Variants) And On Digital Formats. Artwork Packaging By Artist J.s. Aurelius (ascetic House) With Reflective Linear Notes By Ragnar Grippe.

**UNRELEASED AFRO-CUBAN JAZZ**

Afro-Cuban Jazz of the highest orderl! And even better, these two songs have remained UNRELEASED for the past 52 years! Vibraphonist, flutist, and band leader Ulysses Crockett was a big name on the Bay Area latin-jazz scene of the 1960s. He started out with his own group Afro Blue Persuasion which included a very young Paul Jackson on bass who later became famous as a member of Herbie Hankock's fusion-jazz masters The Headhunters.

"Cuban Fantasy" and "Poinciana" were both recorded live in 1967 but remained unreleased until now. Both songs are taken from the soon to be released 33rpm record titled "Live at Haight Levels" which includes more unreleased material as well as the full length version of both of these two edited tunes.

This 7" runs at 33rpm to provide the best sound quality possible.

Resilience is an album that calls on the classic rave sounds of Chrissy's Midwestern youth to explore themes of love, positivity, perserverence, acceptance, and the fight against cynicism. Get ready for big piano melodies, chopped breakbeats, heavy bass, and jacking Chicago drum programming, plus guest appearances from some of Chrissy's friends: vocalist Carrie Wilds, Portuguese DJ/producer/singer Maria Amor, and Berlin-based techno artist Dean Grenier. RAWAX will present it on three ep's!


Chrissy is a genre-bending DJ/producer with releases on Classic, Freerange, Razor N Tape, Hypercolour, and Planet Mu, and a 20-year DJ career spanning Chicago house, disco, rave, jungle, footwork, and more. He ran the influential 'My Year of Mixtapes' blog, and currently runs two record labels: The Nite Owl Diner and Cool Ranch.

'Chrissy is one of the best DJs to ever walk the earth and I am just going to keep saying it until everyone agrees with me.' — The Black Madonna.

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

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

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

As humans living on the planet today, we have become so removed from our original, natural habitat—the forest—that we forget our wild roots, our primal, animal origins. Music is one of the things that can bring us back to that place, that can put us in contact with a felt world of instinct, immediacy, and presence: a world where language and the problem-solving mind are not needed, where the music keeps your mind and body in the present moment, and the point of dancing becomes the dance of our inner wildness and animality itself. Hans Berg's Sounds of the Forest Forgotten affirms that music can bring us to a state of mind and body that can help us feel what we've forgotten from the forest. The overlaying project of the album is to conjure musical and conceptual resonances between mysticism and nature, summoning the incredible depth and force of nature that we usually miss, especially living in contemporary urban cities. Sounds of the Forest Forgotten channels the creativity, playfulness, and freedom of a life both before and beyond ours through the sounds of analog and digital synthesizers, a modular system, drum machines, and computers. Recorded between Hans's studios in Berlin and on the Swedish countryside, the album similarly shuttles between contemplative and ecstatic, between delicate and powerful, mixing sublime psychedelic techno compositions like 'Emerald Sea' with acidic dance-floor bangers like 'Storm' and 'Milk Thistle,' all nestled between contemplative and textural ambient compositions like 'Butterfly' and 'Glow Worm.' Berg is known for his enthralling productions and energetic livesets that capture dance floors with his particular brand of hypnotic techno, replete with angular lines, affecting melodies, pulsating basslines, and big drums. He also produces atmospheric scores and ambient soundscapes to accompany the video art and installations of long-term collaborator and celebrated artist Nathalie Djurberg. Berg's live sets have found a home in nightclubs around the world, with recent gigs in Berlin, Stockholm, New York, Tokyo, and Melbourne, to name a few. In addition to 2MR, he has released his solo work on record labels including Ian Pooley's imprint Montage, Klasse Recordings, and The Vinyl Factory. His ongoing collaboration with fellow Swede Johanna Knutsson - as Knutsson/Berg - has led them to start the label UFO Station Recordings, on which they release their own material. The duo also has released on labels such as Idle Hands, Default Position, Kann, and Random Island.

Alt. folker Will Oldham - better known as Bonnie 'Prince' Billy - is set to drop a joint record with gently psychedelic crew Trembling Bells

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

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

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

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

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

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

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

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

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

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

Resilience is an album that calls on the classic rave sounds of Chrissy's Midwestern youth to explore themes of love, positivity, perserverence, acceptance, and the fight against cynicism. Get ready for big piano melodies, chopped breakbeats, heavy bass, and jacking Chicago drum programming, plus guest appearances from some of Chrissy's friends: vocalist Carrie Wilds, Portuguese DJ/producer/singer Maria Amor, and Berlin-based techno artist Dean Grenier. RAWAX will present it on three ep's!


Chrissy is a genre-bending DJ/producer with releases on Classic, Freerange, Razor N Tape, Hypercolour, and Planet Mu, and a 20-year DJ career spanning Chicago house, disco, rave, jungle, footwork, and more. He ran the influential 'My Year of Mixtapes' blog, and currently runs two record labels: The Nite Owl Diner and Cool Ranch.

'Chrissy is one of the best DJs to ever walk the earth and I am just going to keep saying it until everyone agrees with me.' — The Black Madonna.

First Word Records are thrilled to announce a brand new addition to the label - LA beatmaker and producer 14KT.

Known for his deft, soulful hip hop production, KT has broadened his palate for his FW debut to create 'For My Sanity', the first offering from his jazz-influenced project IAMABEENIE.

The album will be released in early 2019, but we couldn't wait that long to share this taster of what 14KT created as a form of escaping from his "normal" ways of making music. Case in point: the first single taken from the project - 'The Power of Same' feat. Muhsinah.

Strongly rooted in KT's spiritual practice, 'The Power of Same' is a bass and synth-heavy ode to consistency and unconditional love, laced nicely together by his signature drum lines, harmonious guitar riffs (played on the track by Stro Elliot) and the unmistakable sound of James Poyser (The Roots). Vocal powerhouse Muhsinah adds layers of emotion via her endearing delivery of the core message, and, deep in the background you can hear KT sharing a very personal routine with us all - giving thanks to God.

How much of a personal project this is, in 14KT's words "This was inspired by a bible study plan I was reading called The Power of Same. It spoke about the power of being consistent in our lives. I thought about how consistently God's love and my family's love have gotten me through my journey of life. Once I made a "skeleton" of the song, I reached out to the brother James Poyser who I was extremely blessed to work with. My brother Stro Elliot was living right down the street from me at the time. One night he walked over to my house, I played the record for him, he picked up my electric guitar and played the first thing that came to mind - which was perfect. I played the record for my brother Tall Black Guy, who suggested I reach out to Muhsinah to add vocals. I sent the record to her and two days later she sent me exactly what you hear. Amazing. That was definitely the spirit of God working. Huge shout out to my Playlist family. Love y'all."

To date, 14KT has released seven solo albums, as well as his collaborative hip hop album, 'Takin' Ls' with emcee Ozay Moore, R&B/soul album, 'Saturn Return' with singer/songwriter AB, and 'The Big Knock', together with Mayer Hawthorne as Jaded Incorporated.

Last year saw another duo collaboration album with Michigan rapper Ro Spit, entitled 'RSXGLD', a project held in high regard by the global hip hop community.14KT is also part of Jazzy Jeff's Playlist Retreat, alongside our very own Eric Lau, Tall Black Guy and Kaidi Tatham, who also turns out an unmistakably dope remix on this 7" single.

A very warm welcome to the family, KT!

'The Power Of Same' is available on 7" and all digital platforms on March 1st 2019.