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Led by Saxophonist Rob Mitchell, Abstract Orchestra have been a consistent presence on the u.k. music scene, touring constantly in the promotion of their debut LP "Dilla" and follow up 45 "New Day feat. Illa J", steadily building a loyal and supportive fanbase. Inspired by the legendary live performances of The Roots with Jay-Z and the 40 piece orchestral arrangements by Miguel-Atwood Ferguson of the work of J Dilla, classic arranging techniques underpin modern loop-based structures, breathing new life into familiar material.

The band itself is based on the classic jazz big band instrumentation of saxes, trumpets, and trombones and features the cream of the north of England's jazz scene who collectively have played with Jamiroquai, Corinne Bailey Rae, Mark Ronson, Martha Reeves, John Legend & the Roots, Roots Manuva and Amy Winehouse.

"Madvillain Vol. 2" follows on from the 2018 release "Madvillain vol. 1" and further explores the jazz, TV soundtrack and film score aspect of the original work, combining it with classic big band writing and a focus on improvisation. As with vol 1. there is a strong influence of Quincy Jones, Lalo Schifrin and David Shire(Composer of the soundtrack to The Taking of Pelham 123) on the album, and the arranger Rob Mitchell crafts his own sound that inhabits the space between Madlib's production and Quincy Jones' writing.

As a bonus track to the album, Abstract reworks Dabrye's 'Air' and have included the original vocal of MF DOOM. Dabrye's original is heavily soaked in synths and drum machines, with an almost sci-fi, Blade Runner or Tron-esque sound . Mitchell explores this further and is influenced by Bob Brookmeyer's late work 'Electricity', which explores synths and jazz orchestration.

Madvillain Vol. 2 will build on the success of vol. 1 which received enormous support from Gilles Peterson & Huey Morgan on BBC6 Music as well as numerous airplay on Worlwide FM and Jazz FM, and reviews from soulbag in France and ukvibe, qwest.tv, and vinyl district online.

Deformer is known for breaking down musical barriers as well as crushing taboos and oh boy, are you in for a treat with this latest release. Musically Deformer reinvents his recognisable sound once again and it's no surprise that over the years many people consider Deformer a genre in itself. The record is fierce, it has dark humor, explicit content, original arrangements and the Deformer signature sound. What better to wrap this release with the bizarre artwork of famous Japanese manga artist Shintaro Kago. It's a match made in.. well, a horror hentai dungeon I suppose. I never knew that I would be comfortable in such a place, but all I can say is that I can't get enough of this record! Deformer has gained popularity in Japan in recent years and this is his tribute to his Japanese fans. Inspired by Japanese hentai Deformer introduced a new genre, sexually explicit Japanese Breakcore now known as: 'Bukkakecore'.

The vinyl release comes with a download code containing two bonus remixes by Japanese Hardcore heroes Myosuke and DJ Technorch.

[a] a1 Bukkakecore [Beat-Bukkake]

Debut album from Bay Area producer - 10 tracks spread across 2 slabs of vinyl and a bonus flexi disc.

Vin Sol is a third-generation San Franciscan of Salvadorean descent who has released on Unknown to the Unknown, Clone, Delft, Honey Soundsystem, and Ultramajic. His DJ sets expertly span the genres of house, electro, techno, italo, disco, soul, funk, and whatever other finds he digs up. He's also a musical partner of Matrixxman, AKA Charlie Duff, with whom he started the Soo Wavey label. His current focus is on the wild monthly party and label Club Lonely, which he runs with Primo Pitino and Jeremy Castillo. 'Planet Trash' consists of 10 tracks spread across 2 slabs of vinyl and a bonus flexi disc. Vin started working on the album in the winter of 2017 while taking a break from making club tracks. Simultaneously he also wanted to disconnect from the grip of the internet and 24 hour news cycle. Spending more time outside, he became entranced by the Bay Area fog. Sutro Tower wholly enveloped in mist is a view that inspired the ambient tracks on the album. You will also hear hints of the Latin freestyle and classic acid that informed Vin's youth. By spring of 2018 Vin headed to Berlin to finish the album and work on a collaboration with Matrixxman, an homage to SF musical institution Bottom of the Hill that kicks off side C. Vin's musical approach is honest, using the tools of the trade to both innovate upon and pay respect to classic forms. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each copy is housed in a jacket using photos by Vin Sol, and designed by Kevin McCaughey of Boot Boyz Biz. It includes a 4-color giant newsprint fold-out poster and golden flexi disc.

From the artist:

"pootek" - Paul (Solpara) and I laid down the majority of this track one November night in Berlin. We lived in the same dorm in university nearly 10 years ago and bonded over weird electronic music. We hadn't seen each other in a while and had never made music together. We got so rowdy making this my neighbour who I had never seen before came up to complain we were being too loud.

"whendialupbecomeform" - I was thinking a lot about dial-up modems, especially after I heard a Lana Del Rey song that featured that sort of sound in the background, whether intentionally or not. I woke up in the middle of the night and laid down the main arrangement in a couple of hours. I later added some vocals, random sounds from freesound.org, and what might be described as "dreamy pads."

"dosheepdreamofandroidelectrics" - I don't think the song has much to do with Philip K. Dick. I wanted to make something that someone could introspectively zone out to, maybe under the influence of a plant, either at home or at the club.

Still on their six-legged victory lap following the massive success of the Blessed EP, Tiga & The Martinez Brothers look to the outer limits of techno and beyond for the remixes. “Blessed was a baby born of friendship, and you don’t turn your baby over to some dude making ‘dark, atmospheric bangers’ on Ableton. You take that baby, you put on her bonnet and you entrust her to some of the most successful men in the world so you can take your wife salsa dancing for once,” says Tiga. Longtime Turbo target Ricardo Villalobos delivers his personal magic on the remix of “Cleopatra.” This is not the kind of everyday magic you’d find in a kind word from a stranger or the childlike wonder of a child. This is the good kind of magic. Louis Vuitton Creative Director/Off-White mastermind Virgil Abloh, one of Time Magazine’s 100 Most Influential People in the World, was a big fan of “Blessed,” and turns in a remix that is closer to “future jazz” than Tiga would have accepted from anyone else on that list, except for maybe Hugh Jackman. Abloh also designed the artwork for the release, which depicts the fall of man as seen through the eyes of a jean jacket. “I speak for everyone at Turbo when I say we are delighted and honoured to bring these two friends and creative forces into the fold,” says Tiga. “Some people well tell you that hatred and divisiveness are the answers to society’s ills, but I respectfully disagree. It’s friendship that’s gonna see us through. If I can convince two of today’s leading cultural figures to roll up their sleeves and figure out my remix pack, imagine what I could do if given control of a small country. I don’t see any other labels making these kinds of claims, and to me that says a lot.”

Repress

Another part in the limited Bunker Robot Dystopia serie. Blunt minimal '80's electro/miami bass funk from the notourius

HATEAU: O you singer, solitary, singing by yourself—projecting me;
O solitary me, listening—nevermore shall I cease perpetuating you;
Never more shall I escape, never more the reverberations,
Never more the cries of unsatisfied love be absent from me,
Never again leave me to be the peaceful child I was before what there, in the night,
By the sea, under the yellow and sagging moon,
The messenger there arous’d—the fire, the sweet hell within,
The unknown want, the destiny of me. O give me the clew! (it lurks in the night here somewhere,) O if I am to have so much, let me have more!

Compilation from British post-punk/Futurist group Ghosts of Dance formed in North Devon in 1981.

The members were Yvette Norris (vocals), Kevin Maynard (drums), Daryl Hunt (bass), Mark Butcher (keyboards), and Pete Heaton (guitar). Ghosts of Dance took their name from the song 'Ghosts' by David Sylvian which appeared on the first Japan album. After playing an early gig in Barnstaple, a gentleman in the audience named Richard Newman expressed his interest to start a record label and release their music. Richard scheduled a recording session for the band at Otter Studios in Georgeham with producer Harry Williamson, son of Henry Williamson, member of progressive rock band Gong. The debut single ‘Ghosts of Dance’ was released in 1982 on Plastic Canvas Records to mixed reviews as it was very different from anything being released at the time.

This compilation includes their debut single along with 9 bonus tracks recorded between 1981 and 1983 on vinyl for the first time. The band call themselves “Vocal Trance Music” on the 7” sleeve credits and it’s accurate. Melancholic pop with gloomy atmosphere and dream-like melodies. The final track shows the band moving in a New Romantic direction with Mark taking over the main vocals. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a jacket featuring original artwork by John Hurford and includes an insert with photos, lyrics and liner notes by Pete Heaton.

Limited edition unreleased 12" containing two italo disco and proto house classics anthems : Who, What, Where, When & Why on the side A and No Promises on the flip side.
Both taken from the Magic Spell Album produced by Mario Boncaldo & Tony Carrasco in 1983, the same guys from Klein & MBO, Plastic Mode, Amnesie and Ris. This unreleased 12" contains for the first time the extended disco versions of these two precious gems taken and re-mastered from the archive collection of the legendary Tony Carrasco.

Brilliant self-released, private-press jazz/soul LP from 1975, recorded at Sunset Sound studios in LA.

This is the super-rare debut album from SpaceArk, a band of brothers on an interstellar voyage to discover 'electrifying new sounds'.

It's another one of those private press treasures - a dynamic group of talents seizing the moment and making magic in an astounding 12-hour turnaround at the legendary Sunset Sound studios.

Official reissue with liner notes by Amar Patel.

Alt-rock icon Josephine Wiggs is best known as bassist in The Breeders, rising to superstardom in the '90s and continuing to draw crowds and critical acclaim in the wake of their 2018 album All Nerve.
But over the years, Wiggs has released several of her own albums, all of which delightfully defy genre. Her new solo record, We Fall, is both a departure and a distillation of an enduring personal aesthetic: moody and spare but also melodic, at once contemporary and nostalgic.
Some influences are clear: We Fall is reminiscent of the experimentalism of Brian Eno's Another Green World and recalls the delicate, languid minimalism of Harold Budd. The album's classical inflections, sharpened by a dialog with electronic elements, evoke Alva Noto and Ryuichi Sakamoto. This is an album of juxtapositions: minimalist at moments, richly layered in others; ambient while also sharply focused; melancholy yet resolute.
There's something both dreamy and scientific about We Fall. Wiggs, an enthusiastic amateur mycologist, has an impressive collection of mushrooms she's photographed in her travels. We Fall could be the soundtrack to what can't be captured in a single photo—the growth and decay of miraculous creatures that a less astute and sensitive eye might overlook entirely.
Composed, performed and recorded by Wiggs, with drums and electronics by her longtime friend and collaborator Jon Mattock (Spacemen 3, Spirit , We Fall is a lyrical, bucolic album with an undercurrent of disquiet. Think of a wintertime walk in the woods as dusk falls too soon. True to the classic album form, the 10 almost entirely instrumental tracks on We Fall form a compelling whole: a crystalline meditation on paths not taken and words unspoken, an elegy for moments lost and last embraces.
JOSEPHINE WIGGS BIO
Josephine Wiggs grew up in an unconventional family north of London. Returning home from a summer holiday with a donkey riding in the back of the family's 1927 Rolls Royce was not considered at all bizarre. Wiggs studied cello as a child, segued from college in London to undertake a master's degree in Philosophy, and then, in a move few would have predicted, joined a rock band.
After making three albums with The Perfect Disaster (1987-1990), Wiggs left to join Kim Deal (Pixies), Tanya Donelly (Throwing Muses), and Britt Walford (Slint) in forming indie supergroup The Breeders, whose debut album Pod came out in 1990. Following a shift in line-up—with Kelley Deal on guitar and new drummer Jim Macpherson—The Breeders released Last Splash in 1993; with its hit single 'Cannonball' and 'Divine Hammer,' they became alternative rock superstars.
During the same period, Wiggs released two lower-key albums with Jon Mattock (Spacemen 3, Spiritualized): Nude Nudes (1992) under the name Honey Tongue, and Bon Bon Lifestyle (1996) using the moniker The Josephine Wiggs Experience. She also recorded and produced Klassics with a K (1996), the beloved and only album by the Kostars (Luscious Jackson's Jill Cunniff and Vivian Trimble). During a brief run of shows, Wiggs joined the band on drums, showing her range of musical ability.
In the late '90s Wiggs collaborated with Vivian Trimble as Dusty Trails, whose eponymous 2000 album is an homage to neo-noir soundtracks, spaghetti westerns, and Gallic pop. Time Out described it as 'one of the most subtly suggestive, understatedly elegant...things likely to have caressed your cochlea in years.'
Allusions in Dusty Trails to film music foreshadowed the next stage of Wiggs's career, writing scores for feature and documentary films—from Happy Accidents by Brad Anderson in 1999 to Appropriate Behaviour by Desiree Akhavan in 2014. Her new album We Fall began as a suite of short pieces for the documentary film Built on Narrow Land. Wiggs has also composed and recorded music to accompany live performance and short films by the acclaimed Brazilian choreographers chameckilerner.
In 2013, following the 20th anniversary of Last Splash, the classic lineup of The Breeders reunited for a world tour. Five years later in 2018 they released All Nerve, with Wiggs co-writing two songs and singing lead on the standout track 'Metagoth.' We Fall, Josephine Wiggs' third album of her own design and ninth album in a career spanning three decades, will be released on vinyl and available for download and streaming on April 12, 2019 by Sound of Sinners.

We are delighted to welcome again our beloved Skylax Records label the 'italian stallion' : DJ Soch ! He's one the few producers around able to merge the old school sound by making a new unique sound. The owner of Black Angus delivers on this new 12 inch, 3 rough & amazing deep house cuts and as a bonus, we got a great remix from the mighty the analogue cops. Tips!

‘Verdigris’ the new EP from Japanese artist Atsushi Izumi, is a deep dive into the crevice of the mind. It is an exploration of where fearful emotions lie and confronting them. It is only through this conflict that light can shine through in the end.

The Osaka native has a background in music and sound design and as such found his sound going through a metamorphosis from Drum n Bass to a more experimental sound. His EP ‘Snow’ was released under the subtract imprint last year and saw the initial phase of this transformation. It was followed up by ‘Lansing / Mistrust’ via The Collection Artaud, which continued his growth of using slowed out heavy percussions surrounded by frantic synths and modulations.

Atsushi Izumi’s use of long drawn out hallow synths is like an ominous cemetery at night before these powerful percussions detonate in. He uses heavy spaced out bass drums, either as a single or double beat, which simmer as they echo and roll. They are surrounded by these chaotic, textured synths, which can sound like a cicada, hovering and distorted to give a mechanical effect. It feels like being thrown into the woods late at night, eerie yet calm in the beginning, before extreme panic sets in and you feel like you’re being chased.

Japan witnessed the end of the world up close and it is still reflected in their art and music: it delves into the sadistic and explores deep themes of melancholy and the apocalypse. This is juxtaposed against pure joy and serenity, showing that life is there to be enjoyed and struggles have an end, which is translated quite coherently to this piece.

As an extra bonus to all this, there is a scintillating remix from ANFS. The Greek adds a bit of pace to the track Zeit. He is an artist who enjoys frantic distorted techno and it shows in this cut. He takes the basic elements but whereas the original slowly introduces the percussions, ANFS bangs straight in. It’s structured yet frantic and a massive sound.

‘Verdigris’ is due for release on 17th May 2019 under the mysterious Swiss label Thrènes, that is known for eye-catching signature artwork and a deep and dark techno sound.

* The latest EP (S.U.F.O.S. Save Us From Ourselves) from South London based producer, arranger and multi-instrumentalist, Wu-Lu.
* Pressed using 180g clear heavyweight vinyl
* Includes collaborations with long-term friends, Binisa Bonner, Kwake Bass, Nubya Garcia, Eun, Demae Wodu, and Morgan Simpson.
* Recorded at The Room and Abbey Road Studios
* Limited edition of 300

Having worked with the likes of MNDSGN (Stones Throw) and Andrew Ashong on his previous 2015 EP Ginga, Wu-Lu has already secured some strong production credits. These include Ego Ella May, Oscar Jerome and Poppy Ajudah, as well as work alongside Joe Armon-Jones (Ezra Collective) and Kwake Bass (Kate Tempest, Sampha) on a brand new project coming in 2020.

S.U.F.O.S. sees Wu-Lu collaborate with long-term friends Binisa Bonner, Kwake Bass, Nubya Garcia, Eun, Demae Wodu, and Morgan Simpson (drummer from band Black Midi). Thematically, it’s a reflection of where Wu-Lu sees himself and his people in 2019 London. This EP taps into racial injustice in Britain, black empowerment and self-exploration. Spending much of his time working behind the scenes for a range of artists, this EP helps define him as a soloist.

Speaking about S.U.F.O.S. Wu-Lu says, “The EP is about family in every sense of the word: blood family, spiritual family, extended family, your family. It’s the perception of my own experience and the young people who haven’t got a loud enough voice yet”.

Wu-Lu is no stranger to experimentation within his music. He has constantly been experimenting with the various influences on his Brixton doorstep, as well as some of the complex issues that a young, mixed race man living in London may face. It’s the live stage where the impact of Wu-Lu’s passionate retellings really come into their own. Recent standouts include sharing the Field Day main stage with the likes of Erykah Badu and Loyle Carner, Brainchild Festival and a feverish Clash Music LIVE appearance at Metropolis Studios alongside Masego.

Catch Wu-Lu headline The Windmill, Brixton on the 25th April 2019.

Heritage finds Mark de Clive-Lowe in the process of grand introspection about his Japanese heritage, with specific tracks as memories from the past illustrating the right history of Japan. The albums have a sweeping, almost majestic feel with signature electronic soundscapes throughout.

Day turns to night as Mark de Clive-Lowe's Heritage II takes us from the meditative zen of Heritage into a world of jazz and Japanese roots culture fused with hip hop, drum'n'bass and broken-beat.

On Heritage II, de Clive-Lowe is joined by a cast of world-class musicians: Josh Johnson (Leon Bridges/Esperanza Spalding), Teodross Avery (Talib Kweli/Mos Def), Brandon Eugene Owens (Terrace Martin/Robert Glasper), Brandon Combs (Moses Sumney/Iman Omari), Carlos Nin~o (Build An Ark/Lifeforce Trio) and Tylana Enomoto (Kamasi Washington/Bonobo) - who all contribute stellar performances in support of de Clive-Lowe's music.

Erstmals Auf Vinyl: Das Debütalbum Des Synth-pop-trios Gunship Aus 2015. Exzellenter 1980er Retro-sound Aus Analogen Synths, Cineastischen Vocals Und Cyperpunk-attitüde, Mit Einem Feature Von Horror-meister John Carpenter Höchstpersönlich. Exklusiver Bonustrack Ist Der Gunship-remix Für Lionface "no Hope State" (2017), Der Hier Seine Erstveröffentlichung Auf Tonträger Erfährt. Für Fans Von Empire Of The Sun, Mgmt Oder Röyksopp.

Two Sided Agency's third release delivers four rolling techno and acid work outs for sweaty basements and concrete dance floors. The full sleeve artwork expertly executed by New York artist Alex Heir completes the release after a one year hiatus. Two Sided Agency consistently maintains the quality of it's nuanced output. Direct and full of energy, acid lines and pure groove instantly captured the listeners attention. We are excited to present you our most recent four track EP and hope you enjoy the fruits of our hard labour. Thank you for listening!

4 underwater trippers extracted from another planet featuring Konsistent, Second Life, Jack Patern & Andy Rantzen.

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

Cypress Hill is widely respected and considered to be amongst the main progenitors of West Coast rap and Hip Hop in the early 1990s. With megahits like 'Insane in the Brain', 'I Wanna Get High' or 'Tequila Sunrise' they crossed-over to mainstream breaking all records for a rap band up until
that time. Cypress Hill were the first Latino-American hiphop group to have RIAA Certified platinum and multi-platinum albums. As musicians they
became famous for the crazy sounds produced by DJ Muggs and Bobo and the stoner sympathetic lyrics of B-Real and Sen Dog. They redefined
and shattered the boundaries of hip-hop, crafting gutter-dirty tracks that fused deep bass lines with blissful, stoned-out melodies and aggressive
hard rock riffs, creating a unique imprint.

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

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

Coordination GRM: François Bonnet
Executive Production: Peter Rehberg

SIDE A
Contrée (2013), 20'

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

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

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

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

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

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

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

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

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

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

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

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

In 1980, the 9th Creation began working on new music at a Modesto studio, South East of Stockton. The studio was suspiciously cheaper than all of its competitors. After recording weeks of material, the band discovered the reason. 'We didn't know that the guys that were running the studio were drug dealers,' A.D. Burrise recalls. 'There was a big raid.' All the studio's master tapes were confiscated by the DEA. J.D Burrise unsuccessfully sued the DEA to recover the tapes but to no avail. Luckily Mike Micenheimer saved cassette mix-downs of some of the group's songs from those sessions. 'A Step Ahead' is the the 9th Creation's lost album. 8 unreleased songs of pure soul, funk, disco and boogie.

We are proud to present this lost album for the first time. The ultra talented Jacob Arnold also wrote the complete story of the band that we are presenting with never seen before pictures.

Finally the CD version includes bonus tracks from the Love Crime 12', the Mellow Music 7' and 3 previously unreleased (rough) demos.

(Because of the source of these recordings, please know that (sadly) some of the songs have drops in stereo and are not 100% audio quality.)

Repress!

Following on from the standout D.J. Rogers release, South Street Disco turn their sights to reissuing two seminal and much sought after '70s jazz funk Loft classics. One side houses Miroslav Vitouš' cosmic disco delight 'New York City', the other uncovers the Latin infused whirlwind 'Whistle Bump' from Eumir Deodato.

First up, the Czech jazz bassist and founding member of Weather Report, Miroslav Vitouš, supplies the infectious vibrations of 'New York City'. Harnessing the spirit of the bubbling NYC underground club scene of the mid '70s, Vitous lays down a proto Arthur Russell flavoured jam, that blends whirling new-wave-esque vocals and brazen basslines over trademark cosmic keys from the master, Herbie Hancock. Combined with tight drumming and fiery, overdriven riffs it paved the way for this to become a dancefloor hit and a clear precursor to the early house scene. With originals trading hands for £120+ it's high time 'New York City' got an official remastered reissue.

On the flip side, a timeless Brazilian instrumental jazz-funk gem from Eumir Deodato that likewise became a certified classic through heavy rotations on New York's revered dancefloors, most notably via David Mancuso at The Loft. Feel good feelings amplified by spirited Rhodes, psychedelic strumming and that sure-fire Latin infused bongo / whistle carnival combo. Carefree, unbridled energy that sees Pops Popwell's funk bass perfectly accompanying blazing guitar solos and a horn section from heaven, it's impossible not to get down to. Pure South American sunshine bottled up and ready to be supplied at will.

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

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

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

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

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

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

SIDE B
Unheimlich Schön (1971), 15'40

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

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

Das technisch versierte Naturtalent Leafcutter John (Planet Mu, Staubgold)präsentiert sich mit seinem siebten Album auf Border Community in Höchstform. "Yes! Come Parade With Us" ist ein kleines, perfektes, freudiges, utopisches Folk-Electronica-Kunstwerk, erstellt aus mehrschichtigen, gefühlvoll-modularen Synths, gelegentlichen Drum-Features (von Tom Skinner/Hello Skinny und Sebastian Rochford/Polar Bear) und Field Recordings, aufgenommen im Sommer 2017 auf einem 60-Meilen-Spaziergang entlang der Norfolk-Küste. Limitierte Formate.

Remix extravaganza ahead! What started as an attempt to transport Feater's brillant outsider pop 'Time Millionaire' (taken from the Socialo Blanco album) onto a dance floor with one or two remixes, ended up as a feast served on three different platters with some heavy hitters. First up, Pépé Bradock and Ricardo Villalobos are crossing their beams. Spread over two 12s, the masters of idiosyncrasies and splendid aural design, Bradock and Villalobos treat the voice of Vilja Larjosto with love and care and bring it into their respective universe during peak time: vocals, dubs, acapellas and bonus bits included. Expertly, tricky and inventive. Remix EP no. 3 merges different trajectories of UK dance music traditions (or Ireland for that matter). Man of the moment Krystal Klear takes the material down to love town: the sound of 1980s Island records meets NYC boogie and UK street soul sounds. Hessle Audio's Pangaea follows the other path: uptempo bass fun with a driving dub and an instrumental pass. Last but not least, Feater & Sam Irl themselves deliver a blissed out dub of the original. Oh, and if you have enough time, flip over to the 10 with an Aba Shanti-I approved UK reggae and lovers rock take on it by Blood Shanti.

For those who will know Baggy Leggins for previous release 'Expensive Sheeeeet'
& 'Disco Lando' this put together Hand Stamped 7" press will pop your joints, the
run is 300 copies hand stamped.
Side A.
Mondo Disco
Heres a fury filled foundation of bongos, beats and bass, with layers of rolling piano
and hypnotic movement of brass, giving nothing else but good time vibes for the
dance floor with plenty of outro for any discerning DJ.
Side B.
Bug Wax
Rewind for vintage 70's retro kitsch ditchsco , rhythmic bass guitar, enchanting flute
and swirling strings, sprinkled with subtle vocals and hints of electronic glitch over a
pumping beat.

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

Remix extravaganza ahead! What started as an attempt to transport Feater's brillant outsider pop 'Time Millionaire' (taken from the Socialo Blanco album) onto a dance floor with one or two remixes, ended up as a feast served on three different platters with some heavy hitters. First up, Pépé Bradock and Ricardo Villalobos are crossing their beams. Spread over two 12s, the masters of idiosyncrasies and splendid aural design, Bradock and Villalobos treat the voice of Vilja Larjosto with love and care and bring it into their respective universe during peak time: vocals, dubs, acapellas and bonus bits included. Expertly, tricky and inventive. Remix EP no. 3 merges different trajectories of UK dance music traditions (or Ireland for that matter). Man of the moment Krystal Klear takes the material down to love town: the sound of 1980s Island records meets NYC boogie and UK street soul sounds. Hessle Audio's Pangaea follows the other path: uptempo bass fun with a driving dub and an instrumental pass. Last but not least, Feater & Sam Irl themselves deliver a blissed out dub of the original. Oh, and if you have enough time, flip over to the 10 with an Aba Shanti-I approved UK reggae and lovers rock take on it by Blood Shanti.

Formed in '92 with voice, distorted bass and drums. Band's symbol comes from a sign placed on witches graves, which is jolly. The assurance of the old sound sustained through energetic expression rather than shallow noise. Two MC's through Energeia, 'Simon Dreams In Violet' ('93), 'Dreaming The Lost' ('94).' Had Mick Mercer's 'Hex Files: The Goth Bible' been published a year later he would have added: 'and the self-released MC 'Follia' ('95) on their own label Interior Deus.'
25th anniversary limited edition vinyl of 341 numbered copies. Comes with a 16 pages insert also including digital album + bonus track.

Mark Is Releasing A New Ep Called Integriert Euch Nicht. It Features Two Tracks Taken From His Berghain Debut And A Freshly-composed Drum & Bass Missile. 'fucking Sick Of Myself Since Day One (hot Desk Mix)' And 'hats Off To Herr. F' Were First Performed At Mark's 2018 Berghain Live Set During Ostgut Ton Nacht. The Former Is A Breakcore-adjacent Call To Arms For The Self-loathing, The Latter An Antarctic Shiver Of Predator- Mode Idm-illektro. 'integriert Euch Nicht (commercial Jump Up Mix)' Features Singing From Blackest Ever Black Alum Silvia Kastel. Mark Wrote The Vocal Parts With Sine Waves Before Kastel Recorded Each Tone Individually, Creating Microtonal Clusters In The Vein Of Luigi Nono. The Sax-like Sounds Are Wilted Woman Playing The Aerophone, An Electronic Woodwind Instrument. Otherwise, It's Mark's Most Deliberately Straight Ahead Drum & Bass Track To Date, Trading The Beat Science Of Former Releases For A Stubbornly Boneheaded Approach In Line With The Title's Message. Integriert Euch Nicht Is Something Of A Spiritual Successor To Last Year's Tech/gentrification/real- Estate-investment Themed Integrier Dich Du Yuppie And A Ruffer, More Floor-focussed Elaboration Of The Techniques Tested On His Unterton Debut The Least Likely Event Will Occur In The Long Run. Under His Klon Dump Alias, Mark Has Also Previously Released A Psych-mnml Double Ep Called Klon Dump Vs. The Open Air On A Colourful Storm And Two Rooms, A Tape Of Sound Art Improv And Knackered Pop-strumentals On Bristol-based Imprint Nocorner. When Not Playing Solo, Mark Also Accompanies Blackest Ever Black's Carla Dal Forno On Live Electronics.

Private Selection's first full length LP comes in blistering form from Santiago Leyba. Recorded in L.A. and his hometown of Albuquerque, New Mexico, the songs on 'Western Vices' are a reaction to some of the bleaker circumstances that exist in these places. Not unlike Santiago's past work, this music reflects the paranoid and altered states that some people live in as a result of their surroundings. It lies in contrast to escapism and revels in dreadful realities to bring to life a highly rhythmic, woozy and disenchanted collection of tracks. The 12 songs are named after characters, landmarks and phrases associated with L.A. and Albuquerque, acting as reference points for the dialogue of sounds that hold them together.

Santiago Leyba has been producing music as a solo artist and in collaborative affairs since 2010. Raised in New Mexico, he currently lives and works in New York City. Leyba has recorded and performed most recently as Santiago (Unknown Precept, Private Selection Records), Western Versions (Pastel Voids), and U.S. Hard (Pastel Voids, Blankstairs).

From the artist --

"Western Vices is meant to be listened to at high volumes."

Crayon Unveil "flee", His Last Ep Available On Roche Musique.
Animated By The Desire To Produce His Own Music, As The Artists Who Have Influenced Him, He Has Relied On His Abundant Imagination And Quickly Develops His Own Aesthetic.
The Same Way He Did As A Designer, Crayon Transcribes Mental Images Through A Suave, Heavenly And Melancholic Music.

Critically acclaimed jazz reissue on the Disques Vogue label. Red vinyl with white splatters. Specialist marketing.

Letherette return to Wulf with a selection of DJ edits from last years Mander House Volume 1. The vinyl release comes with 3 extended tracks from the original release as well as an unheard track from the vaults - 'Just For You'. Vinyl purchases will come with a free download of bonus track 'Just For You (Live)'

Wow !

A bona fide genius from the formative 12" remix era of NYC's Disco explosion opens up his secret vault !!

These are previously unreleased gems from one of the pioneers
Super limited...

moogmemory is the latest album from multi-award winning pianist and composer Matthew Bourne, who has turned his considerable talents to the world of analogue synthesizers.

Very much in demand as a collaborator and co-conspirator, Bourne has his fingerprints on a huge number of projects, having worked with artists as diverse as John Zorn, Annette Peacock, Nils Frahm, Nostalgia 77, Amon Tobin and Broadway Project.

Growing from spontaneous improvised live performances, the album took shape in the studio as Bourne explored and moulded the vast sonic possibilities of voltage-controlled oscillators, creating beautiful, brooding landscapes of thick impasto and translucent sunbursts.

The seed for this project was planted when Bourne acquired an uncooperative 1982 Memorymoog, having it painstakingly modified and upgraded by Rudi Linhard in Germany .

Created without the use of computers or sequencers,Moogmemory is the first album to be recorded using only the Lintronics Advanced Memorymoog.

Bourne will tour moogmemory in collaboration with brilliant visual artist Michael England, who has worked with Autechre, Bola, Leila, Demdike Stare and many more.

The album will be available on CD and as a limited edition LP (with CD) in an intricate embossed sleeve designed by England.

Album press release written by Bourne fan Graham Massey (808 State).

The album follows the critical success of Radioland: Radio-Activity Revisited, a visceral live audio/visual experience created to mark the 40th anniversary of Kraftwerk's seminal album, with Franck Vigroux and video artist Antoine Schmitt.

Bourne's first solo studio album, Montauk Variations (The Sunday Times' Leftfield Album of the Year in 2012), was celebrated for its sense of stillness and serenity, marking an important musical turning point in his career and the beginning of a new creative direction.

Tracks from Montauk Variations have appeared on compilations by Bonobo and Needwant.