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

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

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

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

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

'For The Colleagues Of Ubu & Their Authorities' is the brainchild of Vienna based vinyl enthusiast, DJ & producer The Reboot Joy Confession. What once started as a series of mixes has been expanded into this compilation, on which he brings together diverse genres of music like electronica, modern minimalism, folk, post-rock, avant-garde or modular music, which also reflect his own versatile musical taste. 'As I stopped thinking in genres, my attempt was to merge my musical taste in the most fluent way possible onto one record. There are mesmerizing songs from some of my favourite contemporary artists - I feel a timelessness in their music, I can ´t get tired of. With the compilation I wanted to create a contemplative, fictitious, surreal world, merging those different styles together. Giving it that title, I wanted the listener to be able to imagine a tale that is building up with each song. I am really happy about the outcome of this compilation and hope that many other listeners can feel the magic.' The compilation includes the surreal work of Swiss producer Dim Grimm (also known as Dimlite), as well as a collaboration between Merz & Julian Sartorius Drum Ensemble who radically altered the original version of 'The Hunting Owl' into a monstrous percussive live version. Taken off the debut album from one of Poland ´s most interesting musicians at the moment, Waclaw Zimpel & Kuba Ziolek, 'Wrens' is a fusion of folk, jazz and modern minimal music. Experimental pop musician & filmmaker Tujiko Noriko appears with an emotional piece that challenges the paths between pop and avant-garde. Gerhard Zander, whose musical work started on the outskirts of experimental pop music in the early seventies in Germany, delivers a modular synth masterpiece with unique sounds, textures and a far-out synth choir. Rock and ambient influenced musician Helen Money (also known as Alison Chesley) is a Los Angeles based cellist and composer who appears with a massively dark post-rock song called 'MF', which was recorded at Steve Albini's Electrical Audio studio in Chicago in 2009. Often compared to Frank Zappa and known for their richness of ideas, Liverpool's a.P.A.t.T. contribute the hypnotic 'Young Free & Parasite', with references to British glam, post-punk or synth rock, but in a fresh and obscure sounding outfit. SSELLF, the moniker of New Zealand ´s Christoph El Truento, inspired by post-punk and noise. 'Visitors' is simple and simply in your face, with lo-fi drums, distorted synths and raw vocals by Christoph himself. After a few seclusive years, The Reboot Joy Confession returns with a new, crispy and soulful track. Cinematic strings written by Martin Riedler, arranged by Flip Phillip, and recorded at the established Vienna Konzerthaus, based on a properly arranged drum outfit and played by a villain named Gurlimu. Both strings and drums are guiding through the whole song and culminate in Glockenspiel and Rhodes melodies. Oceaneer aka Japanese pianist Oneechan Nanashi completes the compilation with her beautiful and profound composition 'The Sea, Forever'. She describes her music as 'improvised instrumental underwater music from the bottom of the Pacific Ocean, played with broken instruments, directed by the spirit of drowned people who are talking through the hands of the pianist. It's lonely and bleak music for the dead.'

Bremen finds two luminaries of the Swedish punk underground, Jonas Tiljander (Brainbombs) and Lanchy Orre (Totalitär, Brainbombs, Teenage Graves, etc), coming together to explore the dark side of kraut and progressive rock, early electronic and drone music, whilst also invoking the fathomlessly bleak interior landscapes conjured by Nico/Cale on The Marble Index and Desertshore.

'Following a trio of sprawling, planet-gargling double-LPs, 2013's self-titled LP on Skrammel, and Second Launch (2015) and Eclipsed (2017) on Blackest Ever Black, Bremen - J. Tiljander and Lanchy, previously best known for their contributions to Brainbombs' long rapsheet of genius-and- brutality, but latterly exponents of a rarefied cosmic melancholy - return with Enter Silence, their most concise, and powerful, album to date. Once again the Uppsala multi-instrumentalists combine elements of trogged-out psychedelic rock with a deadly serious Arctic minimalism and weeping modal improvisations that owe more to the outer limits of jazz and burnt-out free music from Japan. It's connoisseur's space music, grown-up and grievously honed; outwardly inclined towards the epic but studded with details that reward attention and introspection. There's always been a strong undercurrent of sadness animating Bremen's work, and that existential burden is present and correct on Enter Silence, culminating in the all-out cosmic anguish of 'Palladium'. Even 'The Middle Section', whose ragged chords are nothing if not the sound of optimism and defiance, sounds like it's navigating some kind of unsayable trauma. But this band has always allowed plenty of room for bonehead slash-and-burn as well: see here especially the Stoogeian/39 Clocks-ish rock'n'roll of 'Aimless Cruising' and the pulpy quasi-cinematic tension of 'Sinister', or the brilliant 'Too Cold For Your Eyes', a blast of voidal motorik that sounds like a cranked-up Clean. It's a cold, cold world out there'

Optimo Music is delighted to release the new album from Lia Mice, Australian-born but UK-residing DJ, producer and instrument designer.

Here's a few words from Lia - "When I moved to London in 2015, many things changed at once - I started going to more techno and electro nights, I changed my live-set setup, and I had access to a fully-equipped recording studio through my music masters programme. At the same time I was reading a lot of books on time travel, not just science fiction but also psychology and neuroscience - like how the human brain perceives time from moment to moment, how we can experience overlapping time, and how we interact with our past and future through memory and imagination. 'The Sampler As A Time Machine' is the result of all these new influences coming together. The tracks were developed out of ongoing studio experiments interpreting these different ideas of time travel by using samplers and tape to re-sample and manipulate original music performed by me on various instruments including my voice."

Georgia Anne Muldrow returns with a modern soul classic in the
making - 'Overload', via Flying Lotus's Brainfeeder record label.
An incredibly talented vocalist, songwriter and producer,
Georgia Anne Muldrow effortlessly spans jazz, soul and hip hop
and, during her 12 year career, has collaborated with Madlib,
Erykah Badu, Dev Hynes aka Blood Orange, Bilal and Robert
Glasper.
'Overload' was executively produced by Flying Lotus, Aloe Blacc
and Dudley Perkins.
For fans of NxWorries, Erykah Badu, The Internet, Madlib.
Notable collaborations on 'Overload' include Dudley Perkins,
Shana Jenson, Moods, Lustbass and Mike & Keys (50 Cent,
Nipsey Hussle, Snoop Dogg, G-Eazy), who contribute
production to four tracks including the sleek, anthemic title
track alongside Khalil (Dr Dre).
CD digipack. LP pressed on 180g heavyweight black vinyl in an
artworked innersleeve housed in a 3mm spined outer sleeve
with digital download card included.
Artwork by Martin Norwood (Nice Dreams Studio). Layout by
Adam Stover.
'No one sings a heavy love song like Georgia Anne Muldrow' -
Pitchfork Best New Track
'Beautifully poised between classic 90s R&B and something
strange, disorientating and psychedelic.' - The Guardian

Quest, transit, chaos, mutation, transfiguration, ascension and illumination. These are some of the steps followed in the journey of life that are embodied on each track of the album Adonai. The solo debut of the multi-instrumentalist composer Marco Paul condenses a career of more than ten years, in which, the search for the truth of oneself and authentic sound has traveled and nurtured from different genres and cultures. Adonai is an odyssey that combines sounds and images of the earthly and oneiric worlds: an audiovisual work that opens several windows to the different perceptions of the facts that make up the life of the human being.

After 9 years of constant international touring, 6 albums and more than 400 live performances with the bands Sour Soul, Ratbot and Funk My Jesus, as well as the conception and musicalization of the award-winning short films "Undermine" and "24K All You Need Is Gold", Marco Paul decided to retire to an island in the Caribbean, where he found and refined his sound. Thus, between 2014 and 2016 he created the music for Adonai, a work produced by Aitor Etxebarria under the label of Forbidden Colours.

The recording includes guest musicians from different countries such as Aitor Etxebarria (synthesizer, electronic magic) and Hibai Etxebarria (double bass) from the Basque Country; Michael Alan Hams (drums and percussion) and Joe D'Etienne (trumpet) from the United States; and Fatima Gozlan from Hungary (Ney and Derbake).

The consummation of the work is a mid length film created in 2018. It consists of 5 chapters directed by 5 different directors.

The audiovisual journey begins with the conception of the philosophical "Filius", an alchemical symbol that represents the inner child, which transforms the experiences of life into the soul's gold. Later, in "Sylvian" (title that refers to the brain fissure that contains the auditory cortex), by listening to the subtle message that surrounds us, our consciousness and perception expand. Then, in "Tiamat", the pristine chaos that gave birth to the gods, embodies chaos, the confusion generated by the multiple voices: on one hand the moral and imposed precepts, on the other hand, the inner voice that seeks the liberation of the infinite possibilities. In "Hawa", through the recognition of the power of solitude and introspection self-reflective awareness is reached. Finally "Adonai" is the ascension to enlightenment: the further connection with the absolute. As an encore (only available in vinyl) "Teurári" is a gift: a tiny flower where all the points of the universe merge.

The group Shake was the brainchild of the elusive soul and funk singer/producer Lenis Guess from Norfolk, Virginia. It is now considered one of the great overlooked funk bands of the late 70s Virginia scene - a tight little combo with a warm style that's just right for the dancefloor! The VA groove of the time was a different take on the styles being used up north in Philly and New York - as the groups were often more traditionally funk-based, especially in their instrumentation - but played in a mode that was upbeat and soaring, perfectly suited for the disco-era dancefloor, yet handled with the sincerity of an indie soul group. Shake communicate a heck of a lot in their music - moving through some great original tunes written by producer Lenis Guess, done with some nicely personal touches that maintain the indie spirit of the set, even though the group's overall sound is tightly professional. Originally released on Guess records, it includes the Kon & Amir favourite 'Lost In Space', but the whole album is just great.

Woven Entity are Patrick Dawes, Lascelle Lascelles and Paul May, three percussionists and drummers with a huge range of playing experience between them, from dance music to jazz, rock and folk to free improvisation and all points inbetween.

Their credits have included Groove Armada, Brand New Heavies, Campag Velocet, The Herbaliser, Petra Jean Phillipson, Richie Havens, Duke Garwood, Beth Orton to name a few.

Woven Entity is an improvisational group, inspired by a diverse range of influences from 70s free jazz to Krautrock to post punk to dub, Afrobeat and Tropicalia. They make a lush, joyful noise that tickles the brain and mobilises the body at the same time. Loose clothing is advised when listening.

Joining the core trio on a regular and irregular basis are keyboardist Ben Cowen, trumpeter Andy Knight, bassist Peter Marsh, saxophonists Alan Wilkinson, es, Lascelle Lascelles and Paul May, three percussionists and drummers with a huge range of playing experience between them, from dance music to jazz, rock and folk to free improvisation and all points inbetween.
Their credits have included Groove Armada, Brand New Heavies, Campag Velocet, The Herbaliser, Petra Jean Phillipson, Richie Havens, Duke Garwood, Beth Orton to name a few.

Woven Entity are Patrick Dawes, Lascelle Lascelles and Paul May, three percussionists and drummers with a huge range of playing experience between them, from dance music to jazz, rock and folk to free improvisation and all points inbetween.
Their credits have included Groove Armada, Brand New Heavies, Campag Velocet, The Herbaliser, Petra Jean Phillipson, Richie HavensWoven Entity are Patrick Dawes, Lascelle Lascelles and Paul May, three percussionists and drummers with a huge range of playing experience between them, from dance music to jazz, rock and folk to free improvisation and all points inbetween.

Their credits have included Groove Armada, Brand New Heavies, Campag Velocet, The Herbaliser, Petra Jean Phillipson, Richie Havens, Duke Garwood, Beth Orton to name a few.

Woven Entity is an improvisational group, inspired by a diverse range of influences from 70s free jazz to Krautrock to post punk to dub, Afrobeat and Tropicalia. They make a lush, joyful noise that tickles the brain and mobilises the body at the same time. Loose clothing is advised when listening.

Joining the core trio on a regular and irregular basis are keyboardist Ben Cowen, trumpeter Andy Knight, bassist Peter Marsh, saxophonists Alan Wilkinson, , Duke Garwood, Beth Orton to name a few.

Woven Entity is an improvisational group, inspired by a diverse range of influences from 70s free jazz to Krautrock to post punk to dub, Afrobeat and Tropicalia. They make a lush, joyful noise that tickles the brain and mobilises the body at the same time. Loose clothing is advised when listening.

Joining the core trio on a regular and irregular basis are keyboardist Ben Cowen, trumpeter Andy Knight, bassist Peter Marsh, saxophonists Alan Wilkinson,
Woven Entity is an improvisational group, inspired by a diverse range of influences from 70s free jazz to Krautrock to post punk to dub, Afrobeat and Tropicalia. They make a lush, joyful noise that tickles the brain and mobilises the body at the same time. Loose clothing is advised when listening.

Joining the core trio on a regular and irregular basis are keyboardist Ben Cowen, trumpeter Andy Knight, bassist Peter Marsh, saxophonists Alan Wilkinson,

Taking a turn to some of its roots, Emotional Rescue offers a reissue of Ramjac Corporation's UK house/breaks anthem Cameroon Massif!. First released on the increasingly cult-status Irdial Discs in 1990, this was very much the sound of the big bang explosion of Acid House morphing and splintering, as subsequent multi-genres developed, formed, imploded and reformed in new ways that still subsists today.

Within the melting pot of anything goes, chemically-enhanced optimism that spread across the UK during that return to the summers of love from 1987 onwards, the nascent sounds coming from Chicago and Detroit were mixed with a hybrid of 80s British influences, taking in European synth pop, US electro, new beat, hip hop and reggae. Out of this appeared a new sound, mixing that love of techno and house with dub bass and break beats into a proto-jungle swirl.

Like many growing up through the ever-evolving 60, 70s & 80s British music scene, Paul Chivers' early years of learning piano and guitar, moved from Beatles era pop to take in punk, jazz and anything an eager musical mind could explore. Developing a long-term interest and study of Cuban and Afro-drumming, his acquisition of an Atari and sampler soon moved to programming of both drum machines and TB303 and with that, Ramjac Corporation was born.

Playing live at some of the earliest raves in 1988, as often through luck and "right time, right place", including the infamous Back To The Future and Energy parties, Ramjac went from playing from 50 to 10,000 ravers in a matter of months, as the nation was gripped, depending on your cultural standing, by either a mixture of drug apocalypse paranoia or ecstatic celebration.

It was a meeting with Akin Fernandez, founder of Irdial Discs, that led some of the first studio experiments and creation of Cameroon Massif!. Utlising Akin's in-house studio and production skills, alongside Chivers' jazz influenced outlook of improvisation over arrangement, the track took shape, mixing the live programmed percussion, heavy doses of phase, delay and reverb and Sun Ra inspired keys that resulted in a number of mixes of Massif!.

Collected here are the original 12" "Massive" and "Massing" mixes, plus a special live version taken from the "Live At The Brain" reunion gig of 2009. The sought after 1990 versions and original Live mix are taken a step further with this 13 mins + mix, in essence a resampling and remixing reversion with didgeridoo and live on mic MCing, that gives a real glimpse of those early live sets. With more Ramjac Corporation material upcoming and a live reel-to-reel show appearing soon, the return of Cameroon Massif! is now.

"it Sounded All Right Through Two Walls, So What's The Problem" The Final Words Of 'two Walls', The Fast And Very Catchy Leading Track Of Dj Marcelle's New Record, Sum Up An Aesthetic Almost Lost In Today's Musical Climate, Where Often A Pleasing Attitude And Overproduced Music Sadly Rule, Even In So-called 'alternative' Circles.The Quote Comes From The Late Mark E. Smith (1957 - 2018), Legendary Frontman Of The Fall, And Is Taken From Some Of The Conversations Marcelle Had With Smith Over The Years. Smith Is Referring To A Recording Process But For Marcelle His Words Stand For Something Bigger.Although The Fall Have Been With Marcelle During Her Whole Musical Life (which More Or Less Started In 1977 During The Punk Wars) And She Has A Deep Love For Their Music, It Was Especially Smith's Attitude That Inspired Marcelle.Smith Was An Iconoclast, A Surrealist Dadaist Breaker Of Conventions In Music And Art More Generally. A Magically Creative Individual, A Brain-twisting Wordsmith. An Attacker Of The Pretentious And Dishonest Elements In Society And Music Scenes. An Autodidact Whose Singular Vision, Fired By Both Humour And Sharp Observation, Found A Voice In A Body Of Work Unlike Anything Else.The Day After Marcelle Heard Of Smith's Passing She Created A New Track, Lauding Smith, Whose Name Was An Institution In Itself: Mark E. Smith! Therefore, The Repetitious Use Of A John Peel Sample Pronouncing Smith's Name Celebrates The Life Of This Totally Unique Artist.This Track Opens With Another Smith Quote: "you're Probably Right, Marcelle". And Indeed, The Dutch Producer / Dj Shares Many Of Smith's Attitudes In That She Tries To Stay True To Herself, Doesn't Think Too Much About Audience Expectations And Always Tries To Stay Ahead Of The Public. 'punky' Energy Combined With The Avant-garde And Always Going Forward With Fresh Productions And Dj Sets. To Make And Play Music Which Reflects The Present And Doesn't Rest In The Comfort Zone Of One Dimensional Party Music.There Are Five More Versions Of 'two Walls' On This Ep, But They Differ So Much From The Original That You Can Count Them As Different Tracks. 'dubai Muezzin Dub' Was Partly Recorded In The United Emirates When Marcelle Played There Earlier In 2018. 'problematic Dub' Is Pure Industrial Techno Torn Apart By The Wildest Dub Effects, Its Coming And Going Of Sounds Equals A Ride In A Calypso. 'studio Door Dub' Celebrates The Repetition Of The Fall And The 'emerson, Lake & Palmer Symphony Dub' Is Both Pure Avant-garde And Hilarious Fun. And Belp, Who Owns The Jahmoni Label, Comes With A Wicked Abstract Noise Remix. The 'for' Ep Is The Fourth (get It) Vinyl Release Of Marcelle On The Munich Label Jahmoni Since 2016. As Always, Sleeve And Label Are Very Colourful. Both Labels Show Special Photos: On One Side We See An Old Picture Of Smith Embracing Marcelle, The Other Side Depicts The Label Of A 1985 The Fall Test Pressing That Once Belonged To John Peel But Which Was Stolen Out Of His Car In Amsterdam. Later Marcelle Found The Record On A Flea Market, Recognising Peel's Handwriting. "when I'm Dead And Gone" Smith Sang In The 1979 Song 'psychik Dancehall', "my Vibrations Will Live On, In Vibes On Vinyl Through The Years. People Will Dance To My Waves."Now We Can Listen And Dance To A Vinyl 'for' The Incomparable Mes, Made With Total Commitment And Which - Like The Fall - Defies Comparison.

For its third release, Here To Hell welcomes Melbourne (via Adelaide) veteran, Rambl, and his incredible groover 'Doss'.

This third release on the label happened purely by surprise, and what a discovery! The track itself is no accident, but the signing took place after a chance encounter. Richard Campbell aka Rambl, who is one of Melbourne's best and most consistent DJs since the last two decades, had developed a small cult following of viewers via facebook, where he had been providing live video coverage of Australia's wild weather in a kind of comedy-weatherman format. Once these updates caught our attention, the magical facebook algorithm placed all of his content at the top of our feed.

One day his video moved away from the wild South Australian coast and into the studio. Rich - who we also know for his huge stature akin to an NBA basketballer, and his brain for Mathematics and Computational Biology - was bopping that giant brain up and down and making his 'bass face', with a mixing desk and some speakers (and some beers) in the background. The soundtrack to this video was completely mesmerising. We sent him a private message immediately: 'what the hell is THIS!!!'

His reply: 'This is one of mine, it's not finished yet but it feels good'. Our reply: 'It feels INCREDIBLE!!! Finish it and let's put it on wax!'

So today we bring you 'Doss' and we expect you'll love it.

On the flipside we've invited another Melbourne man, Sly Faux, to demonstrate why he's appearing in the playlists of Richie Hawtin and Maceo Plex, and why his EP on Nicole Moudaber's Mood was a bestseller. He's also just remixed The Presets and continues to impress with his tight productions. Sly Faux's remix takes the original Detroit-inspired techno-funk and twists it into a different kind of main room banger.

030303 are back once again and for the first time now with a split 7 inch containing two braindance tunes to your liking. Very limited... dont sleep!!

'It is now clear that humans are no longer the most important things in the universe, that their knowledge, creativity and intelligence are ultimately limited.'

The Posthuman realises that the ultimate questions about existence and being do not require answers and accepts that humans have a finite capacity to understand and control nature. Even just to know the ultimate nature of the universe would require knowing everything about the universe, everything that has happened and everything that will happen. If one thing were not known it would imply that all knowledge of the universe is partial, potentially incomplete and, therefore, not ultimate.

Humans privilege to order over disorder on the assumption that the essential laws of nature are gradually being discovered. This is a fundamental error; nature is neither essentially ordered or disordered. What we perceive as regular, patterned information we classify as order; what we perceive as irregular, unpatterned information we classify as disorder. The appearance of order and disorder implies more about the way in which we process information than the intrinsic presence of order or disorder in nature.

The humanist era was characterized by certainty about the operation of the universe and the place of humans within it. The Posthuman era is characterized by uncertainty about the operation of the universe and about what it is to be human.
What is a human Is there such a thing

No finite division can be drawn between the environment, the body and the brain. The human is identifiable, but not definable.
Consciousness, (the interaction body-brain) and the environment (reality) cannot be separated; they are continuous that defines the being.

All technological progress of human society is geared towards the transformation of the human species as we currently know it; the posthumans regard their own being as embodied in an extended technological world. In such 'synthetik' reality power no longer needs to impose physical regulations, as it is able to manipulate and shape up the minds directly, becoming part of it.
There won't be any resistance from the individual, as he will have embodied the needs of the system in his own being, and their ambition will serve the economy.
Currently the output of machines is predictable; the Posthuman era fully starts when the output of machines becomes unpredictable, so that complex machines, apparatus whose workings we do not fully understand or control, become an emerging form of life.

In the Posthuman era, the future never arrives.
..from ´The Posthuman Manifesto´, Robert Pepperel, 1995

On The 50th Anniversary Of The Band's Inception At An Event In Harlem, Ny To Commemorate Malcolm X's Birthday On 19 May 1968, Influential Spoken Word Artists, Poets And Commentators The Last Poets Are Set To Make A Glorious And Relevant Return With Their First Album In Over 20 Years, 'understand What Black Is'.

Produced By Ben Lamdin (nostaglia 77) And Brighton Legend Prince Fatty, Whose Speciality Is Traditional Reggae And Dub Production's, 'understand What Black Is' Is A Ten-track Album Which Speaks Of A Revolutionary Struggle Defined By Both Race And Identity, That Has Never Sounded More Relevant. Released On Studio Rockers, There Will Also Be An Accompanying Single Featuring Remixes Of The Title Track "understand What Black Is" By Mala (south London Collective Digital Mystikz) And Uk Dance Music Innovators Dego And Kaidi.

Since The Initial Line-up Of Dahveed Nelson, Gylan Kain And Felipe Luciano Formed In East Harlem's Marcus Garvey Park, The Last Poets Have Produced Under Various Guises Over The Subsequent Years. However, It Was Their Seminal Output, Namely 1970's 'the Last Poets' Under Both Umar Bin Hassan And Abiodun Oyewole That Secured Their Legacy, Becoming One Of The Most Important Influences In Early Hip Hop.

Throughout The Last 20 Years, The Band Have Remained Largely On Hiatus. But Their Influence Could Still Be Felt With Their Tracks Being Sampled By The Notorious B.i.g, Nwa, A Tribe Called Quest, Dr.dre And Snoop Dogg. Umar Has Recorded Various Solo Albums And Featured On Common And Kanye West's Grammy Nominated 'the Corner'. Abiodun Appeared On The Red Hot Organization's Album, Stolen Moments Which Was Named "album Of The Year" By Time. He Also Conducts Weekly Open House Poetry Readings, Where He Constructively Critiques Upcoming Poets, Helping To Nurture Them. He Has Also Conducted Classes At Columbia University, Where He Teaches Creative Writing.

The Inauguration Of Donald Trump As Us President In 2016 Inspired Hassan And Oyewole To Resurrect The Group To Create A Brand New Record, Modern And Edgy, And Deeply Relevant And Reflective Of Our Times.

Tracks On 'understand What Black Is' Include 'how Many Bullets', Which Bridles With Defiance As Oyewole Works Through A Litany Of Injustices Suffered By Black People In The Us: " You've Tried

To Blow My Brains Out With Bigotry, Chopped Off My Wings, So I Couldn't Fly Free, And Dared Me To Be Me, Took My Drum, Broke My Hands, Yanked My Roots Right Up Out Of The Land, And Riddled My Soul With Jesus" 'what I Want To See' Describes A Utopia - A Refuge From Hurt And Those Who'd Make "our Vision Blurred, And Our Faith Obscure", Whilst The Title Track 'understand What Black Is' Aims To Transcend Ethnicity: "understand What Black Is....it's The Source From Which All Things Come...black Is A Hero, Not A Villain."

The Album Even Takes Reference From Prince's 2003 Album Of Instrumentals, 'news', Which Hassan Drew Comparisons From With His Own Childhood Experiences: "that Poem Took Me About A Year To Write....i Just Kept Writing And Writing But Not Getting Too Far And Then I Heard That Album And The Musicianship Was Amazing. I Was Left Wondering If It Was Jazz, Classical, Rock Or Maybe Something New But All Those Images That I Write About Came To Me From Listening To That Album. I Loved Prince In That Movie Purple Rain Because My Father Was A Talented Musician But He Was Into Brutalising Mama At Times And In The Movie There's A Jerome And My Name Is Jerome, So It Was Like He Was Telling My Life Story As Well."

The Album Acts As A Body Of Work Between Individual Members Each Speaking Of Their Own Personal Journeys, But Feeding Into The Much Larger Narrative Of Struggle And Oppression, Alongside A Fervent Hunger For Social Change. These Are Struggles And Tests Of Personal Resolve That Have Directly Shaped And Moulded The Bands' Unique Sound Over The Course Of An Impressive 50 Years, And Their Powerful And Influential Commentary Remains As Relevant As Ever.

Vactrol Park are Kyle Martin and Guido Zen. Besides responsible for 2 unforgettable eps on ESP Institute in 2015 & 2016 under this alias, Kyle and Guido are prolific producers, with Kyle being part of Spectral Empire (alongside Black Merlin), as well as half of Land of Light (with Johnny Nash) and more, while Guido has been producing under the alias of Brain Machine amongst others. Since Malka Tuti has been a fan of all of the above, it is no surprise the duo found its way into the ever growing family. With an LP scheduled later in 2018, this EP, self titled, is a door into the sound of Vactrol Park and its evolution - ever deeper, abstract, and mature. Always clear, coherent and flowing, never boring. Expect big things from this duo, as their live show, incorporating self-built modular synths and effects is destined for greatness....

Initially paying tribute to the analogue absurdity, sonic diversity and sheer imagination of the early 90s dance music landscape, Future Four returns after a hiatus of several years, pushing into new eras, machines and ideals with 'Connection'. Initially a solo project of Andy Meecham, the brains behind Emperor Machine, Chicken Lips, and Bizarre Inc., 'Connection' is the first Future Four release to feature the contribution of Erol Alkan as a permanent member, and is a coupled with a remix from I:Cube.

A veritable powerhouse of synths, vintage drum machines and all man-ner of effects, 'Connection' unfolds with minimal tempo and maximum impact, as sequences of unexpected electronics gradually build from every direction, each landing with the razor sharp precision associated with their composers. Cascading synths overflow like fizzy drinks, pro-pelling the track along an electronic patchwork of FM synthesis and psy-chedelia.

On the remix, I:Cube takes the unpredictable rhythm of 'Connection' and coaxes it's versatile, multiple elements into a timeless slice of boogie house. Nurturing the outsider Casio feel of the track under a musical heat-lamp, the always forward-thinking Frenchman emerges with a cut that could easily soundtrack both sun deck and space station.

* Out of print since 1997

* Sixteen carefully selected tracks including their most renowned work

* Covering Funkadelic at the height of their career (1970-1976)

* Double LP set that comes with OBI-strip, Limited to 1000 copies

Tidal Waves Music proudly presents: FUNKADELIC Finest

Compilations are tricky and hard to get right ... Finest is that rare one that knocks it out of the park. This release focuses on George Clinton and crew at the height of their career & on their most renowned work.

Comprised out of sixteen carefully selected tracks and covering a six-year period (1970-1976) Finest may be the best-assembled Funkadelic collection from this period yet, as both renowned band standards share space with several oft-overlooked tracks.

The early tracks "I Got a Thing" and "I Wanna Know if It's Good to You" show the band-members still honing their rich 'n' funky sound, before they hit their stride with selections from the classic 'Maggot Brain' album. As a result, you get a healthy sampling of some of the best funk the '70s had to offer, including "Hit It and Quit It," "You and Your Folks, Me and My Folks," "Loose Booty," "Cosmic Slop," "Red Hot Mama," and "Get Off Your Ass and Jam."

Finest is an exceptional sampler for those discovering the wild and wacky universe of Funkadelic. Out of print since 1997 and transferred from the original analogue master tapes, now finally back available as a deluxe Double-LP set with some of the craziest psychedelic crumb-style artwork you'll ever see.

repress

Following on from the critically acclaimed Penya Investigations cassettes and the 12' Acelere EP, Afro-Latin-electronic collective Penya conclude an intensely creative period with a Long Player collection of tracks Super Liminal. 'Liminal' - an in-between state -references the transitional process the four - piece band entered during a series of self-produced recording sessions held at Penya's multi-instrumentalist Magnus P.I's home studio between March 2016 and May 2017. Penya's percussive and futuristic Afro-Latin sound also owes its genesis to the concept of 'liminality': the threshold of disorientation occurring during ritual practices. Penya's hypnotic groovescapes, led by Jim LeM's bata drumming,ancient chants, sung by Lilli Elina, dubbed-out improvisations on trombone by Viva Msimangand lo-fi electronic production by Magnus P.I create a sound that has garnered significant support on BBC 6 Music via Tom Ravenscroft, Worldwide FM via Gilles Peterson, on BBC Radio 3's Late Junction, as well as being praised by a host of producers including DJ Khalab, Will LV, DJ Jose Marquez and Dengue Dengue Dengue. Penya's energised and engaging live show has also toured across UK festivals this summer, including Brainchild, Wilderness, Farmfest and Big Love.

Mellow Waves, Cornelius' first album in over 11 years will be available in a limited deluxe edition pop-up gatefold vinyl (including phenakistoscope animation insert), standard package on 180g, CD and cassette format on January 26, 2018. The album, released July 21, 2017, was previously a digital only release. Pre-orders for these formats are available now.

Cornelius announced eight North American tour dates for March 2018, including shows in Mexico City for the NRMAL Festival, New York's Irving Plaza, the Carnegie Music Hall at Pittsburgh's Andy Warhol Museum, and LA's Fonda Theater.

Filmed live at his record release shows at Tokyo's Liquid Room, Helix / Spiral' captures the Cornelius live experience, with its Kraftwerk-esque roboticism and immersive visuals meticulously synchronized with the performance from The Cornelius Group.

For the uninitiated, Cornelius is the brainchild of Japanese multi-instrumentalist Keigo Oyamada. A performing musician since his teens, Oyamada created his creative alter-ego (the name is an homage to the Planet of the Apes), in the early 1990s from the ashes of his previous project, Flipper's Guitar.

With the 1997 release of Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records. Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown.

With 2002's Point, Cornelius' music took a quantum shift, going from sampling found sounds' to looping organic elements and creating lush soundscapes. Using water drops as the rhythmic backbone of Drop' on his vocoder-infused cover of Brazil', the album dazed and amazed fans and set the path for the next phase of his career.

2007 brought this philosophy to an even higher level with the release of Sensuous. Cornelius' live shows are known around the world for spectacular visuals (all perfectly synchronized to the performance), custom lighting that doesn't simply augment the performance, but becomes another instrument within it, and a full band of equally talented and diverse players.

The companion piece to the album Sensurround + B Sides, earned the nomination for Best Surround Sound Album' at the 2009 GRAMMY Awards.

The summer of 2016 saw the release of Fantasma Remastered, on Lefse Records. The package, a 2LP reissue of his classic album, also included 4 additional outtakes and earned Pitchfork's Best New Reissue'.

Cornelius has recorded music for Edgar Wright's Scott Pilgrim vs. the World, scored the anime mega-film Ghost in the Shell Arise, performed as the backbone of Yoko Ono's reformed Plastic Ono Band, played the Hollywood Bowl with Yellow Magic Orchestra, and co-wrote and produced the Japanese artist salyu x salyu.

We are very excited to present the new collabo release between Cosmic Compostions and Jitwam's selftitled album " ".

Born in Assam, Gauhati, in Northeast India, but currently based in New York's storied borough of Brooklyn, Jitwam spent his formative years in New Zealand and Australia, before living in monasteries in Thailand, orphanages in South Africa, and washed out apartments in London. Of everywhere and nowhere, his music draws influence from a litany of iconoclasts including, but not limited to RD Burman, Moondog, The Velvet Underground, Yayoi Kusama, Jay Electronica, Jay Dilla, Moodymann, Leon Thomas, Madlib and Asha Bhosle.

Across " (selftitled)", he utilizes knowledge acquired through years spent digging through dusty crates, and talents honed as a multi-instrumentalist, producer, and vocalist. A series of stumbling, jazz/soul-rooted beat sculptures, each buried beneath a haze of fuzzy psychedelia, broken microphone blues, and articulated through a freestyled process he describes as "first thought, best thought", " (selftitled)" solidifies Jitwam's spot as a major emerging talent.

Recalling the fourth world dreamscapes explored by oddball songwriters like Connan Mockasin, Clarence Clarity, Jai Paul, Silicon, and Unknown Mortal Orchestra, it represents a time of transition and remembrance for Jitwam, while still fulfilling the core qualities he looks for in song. In his words, "Music is a refuge. A shelter from the storm. A place you can go to close your eyes."

Since he first shared his music with IZWID Records boss Kutmah at a Brainfeeder afterparty in London, Jitwam has released through Leaving Records, Cosmic Compositions, and The Jazz Diaries (the label he co-runs with Casey Van Reyk and Nigel Mphisa). He's also written with Inkswel (BBE) and Paul White (R&S), featured on Moodymann's K7! "DJ-Kicks" compilation and been championed by Gilles Peterson, Alexander Nut, Andrew Jervis (Bandcamp), and Funkineven. Mainly mixed and mastered by Matthewdavid at Stones Throw studios in Los Angeles, " (selftitled)" will be available on vinyl and digital formats.

Originally issued as a cassette on the ROIR label alongside the likes of Bad Brains, Suicide and The Contortions, this second album from 1983 is an uncompromising collection of heavy dub manners and experimental studio soundscaping. Dreader than dread roots rhythms sit alongside delay-baked post-punk instrumentals such as Drilling Equipment' and Synchroniser'.
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First ever international vinyl edition, re-cut as a double LP at 45rpm for improved frequency response, includes bonus track Blood Shed Dub' from the classic disco plate series, download card, and gatefold sleeve with sleevenotes by Michael Dub' Shore and Steve On The Wire' Bar

We deliver an electro­braindance­hybrid: 8 tracks of gorgeous analogue machinery music recorded during midnight jams. YUYAY's third vinyl installment steps back three catalog­numbers and brings this LP to physical life upon heavy request. Including the hit 'Chord Memory' and gems like 'Sunrise Faders' and 'Accumulator'. Comes in silk­printed and hand­numbered cardboard sleeve

includes 10 classic reworks remastered and spread across the 5 pieces of vinyl, an exclusive interview and download code to the full digital album containing a further 10 reworks. Box is covered in linen with a red foil print.

DISC 1 (PH61)
DISC 2 (PH62)
DISC 3 (PH63)
DISC 4 (PH64)
DISC 5 (PH65)

Grammy® Award-winning Rock and Roll Hall of Fame inductees Green Day will release Greatest Hits: God's Favorite Band on 17th November. The playlist includes 20 hits spanning the band's prolific 21 years as a band, plus a brand new song called Back In The USA' and a new duet with award-winning Country Music superstar Miranda Lambert on Ordinary World.' Green Day frontman Billie Joe Armstrong previously collaborated with Lambert at the 56th annual Grammy® Awards in 2014 for a live duet in tribute of the late Phil Everly of The Everly Brothers.

On 22nd March, God miraculously came down to the Ed Sullivan Theatre to introduce Green Day as God's Favorite Band' on The Late Show with Stephen Colbert. When God speaks people listen, and he granted Green Day the title: Greatest Hits: God's Favorite Band. The collection chronicles the sonic journey of one of the most essential and dynamic rock bands in recent history. Formed in 1986 in Berkeley, CA, Green Day achieved breakout success with 1994's Dookie which has sold over 10 million copies to date in the U.S. alone. Widely credited with popularizing and reviving mainstream interest in punk rock, Green Day would go on to release Insomniac (1995), Nimrod (1997), and Warning (2000). In 2004, Green Day released the rock opera American Idiot which captured the nation's attention and sold more than six million copies in the U.S. Mojo declared It's exhilarating stuff, the kind of record that sets new parameters as to what is possible from a punk rock'n'roll band in the 21st century.' In 2010, a stage adaptation of American Idiot debuted on Broadway. The band went on to release the critically acclaimed 21st Century Breakdown (2009) and the album trilogy Green Day ¡Uno!, Green Day ¡Dos!, and Green Day ¡Tré (2012).

Green Day is one of the world's best-selling bands of all time, having sold more than 75 million records worldwide. The group has won five Grammy Awards. On April 18, 2015, the band was inducted into the Rock and Roll Hall of Fame as a part of the 2015 class in what was their first year of eligibility for induction. Green Day's 12th studio album Revolution Radio was released on 7th October, 2016 and debuted at No. 1 on the UK Official Album Chart. Upon its release, People proclaimed: The punk vets still have a tattooed finger on the national pulse.'

Serotonin Records, the little neuron that could, returns with a compilation of futuristic electronic funk.

'It's What We Live For: Volume 1' is the first in a series of compilations sharing our vision of tomorrow and/or the sound of the day after yesterday... Serotonin has always been what we've lived for, now we'll try and make sure it's what you live for too.

John Selway takes us 'Solar Sailing' on a tour of classic Serotonin themes set in the deep space between our ears. Of course it sounds like Selway, but it's the unique sound of Selway on Serotonin.

Alex Cortex has been making electro for years and Serotonin is excited to finally catch up with him. His contribution 'Proxy' is a deep, fat and brain chemistry-altering groove.

Synapse, the duo consisting of label heads John Selway and Jason 'bpmf' Szostek, reach into their archives to deliver 'Payback'. What was the debt Well, that was already paid back with another track so we can share this golden slice of the electro dream with you.

TCMF with isti.f can transform your body with laser beams and bass. 'We Are The Almost People' is just weird enough to rock you out of your seat so you can get up and jam.

Pointsman and bpmf each deliver a loop so that the Serotonin never runs out.

Watch out for more releases soon, including a full Synapse EP and some old friends doing new tricks.

Serotonin, It's what you we live for...

The return of Brain Machine, with their Peaks album, was one of the highlights of last year for Emotional Response. Juan Tripp (aka Jon Tye of Seahawks), Guido Zen (Vactrol Park) and Kyle Martin's (Spectral Empire/Land Of Light/Vactrol Park) acclaimed kosmiche opus is followed up with 2 remix EPs featuring some of the best proponents, peers and friends of deep electronic music.
Remixes One is given over to a quartet of trusted hands including man of the moment, Tolouse Low Trax, ambient visionary Gigi Masin, afro-techno-dub specialist Harmonious Thelonious and stalwarts Ronny & Renzo.First Detlef Weinrich shows his mastery of a unique percussive sound that has seen his identity become as respected outside of his native Dusseldorf as he is in it for his role as one of the founders and curator of Salon des Amateurs. A brooding, propulsive culmination, the original's haunting ambience is retained for a subtle, driving rework that hits the mark.
Surprise of the EP is Gigi Masin's remix of Crystal Clouds. Eschewing the original's celestial soundscapes, scattered percussion interplays with sub-bass to change the context, giving a rhythmic dimension while retaining the shimmering guitar and arpeggio infused cohesion.Starting the B-side is another Dusseldorf elder statesman, in the afro-visions of Harmonious Thelonious. Solo, as well as one third of The Durian Brothers, Stefan Schwander, has carved a distinct sound. Chrematistic percussion is matched with an atmospheric, dub-techno feel that perfectly fits the EP. Play loud for full understanding.
Finally, Remixes One concludes with the return of Ronny & Renzo. Long time associates of Brain Machine, their 10 minutes plus remix takes the glacial original's ambience to a darker plain, fusing rhythmic pulses with alluding acid intent.

Dark Entires is honored to reissue the long out of print debut album Elevator to Eden by LIVES OF ANGELS. Lives of Angels was the brainchild of GERALD O'CONNELL from London, England. In 1974 he worked at CBS studios mastering recordings from tape to disc. By 1977 he joined his first band MYSTERY PLANE, led by school mate Mark Harvey and later joined by his soon-to-be wife Catherine. Gerald branched off in 1980 forming Lives of Angels as an outlet for his own compositions. He recorded, produced and played all of the instruments on Elevator to Eden' between 1981 and 1983, using a primitive set up of drum machines, one keyboard, guitar and a tape echo. Influenced by the Krautrock sounds of Neu! and Amon Duul II as well as US psychedelic rock, Lives of Angles crafted their own unique post-punk sound. Elevator to Eden was originally released in 1983 on cassette by Color Tape Records, the label started by Gary Ramon of Modern Art. Then in 1986 Fire Records remixed and re-released the album on vinyl but the band was not happy with the mixes. This reissue features the original 4-track cassette mixes of Elevator To Eden on vinyl for the first time ever. The LP includes 9 songs featured on the original Color Tapes release. All songs have been remastered for vinyl by GEORGE HORN at Fantasy Studios in Berkeley directly from the original master tapes. Each LP comes with unreleased photos, original artwork and a lyrics for all songs.

'Spirit Reflection' is the third album LP from Los Angeles singer-songwriter
Gaby Hernandez. Blissful layers of instrumentation, electronics, vocal harmonies and folkloric percussion intertwine with west coast feel to create aunique, beautiful and multi-layered album.
The album features a stellar line-up of LA talent, jazz star Kamasi Washington, Stuart Howard (AKA Lapalux), Kelis and Gaslamp killer collaborator Dexter Story, plus Ninja Tune, Plug Research and Soul Jazz artist Carlos Niño, Miguel Atwood-Ferguson and Gabriel Reyes-Whittaker all accompany Gaby, with stunning results. Even before Spirit Reflection had been finished, the demo mixes caught the ear and gained support from Gilles Peterson, Lefto, Toshio Matsuura (U.F.O.) and JRocc (Beat Junkies). Born, raised and based in Los Angeles and of Chilean descent, Gaby Hernandez has been writing and recording since 2001. She was a founding member of the 'creative music ensemble' Build An Ark alongside others including Carlos Niño, Dexter Story and Dwight Trible.

Gaby was the only vocalist on Teebs' debut Brainfeeder release Ardour. She made major contributions to AmmonContact's Ninja Tune releases New Birth and With Voices, plus The Life Force Trio's Plug Research album Living Room. She was also the vocalist on Dimlite's Outernational Duet - released as part of his highly acclaimed Sonar Kollektiv longplayer This Is Embracing.
Hernandez was invited by Mia Doi Todd to sing on the Jonathan Wilson produced song Canto de Iemanja, which was included on Todd's City Zen record Cosmic Ocean Ship and the Red Hot + Rio 2 compilation, which also featured Beck, Seu Jorge, Aloe Blacc, David Byrne and Madlib. Among her main musical comrades is the prolific multi-instrumentalist, composer and producer Dexter Story, for whom Hernandez sang on the track Water Bearer from his LP Seasons, on Kindred Spirits. David and Graham from Mr Bongo met Gaby and Carlos Nino at the end of their hugely successful Arthur Verocai album launch and rare record sale at the RAPPCATS venue in LA. Gaby and Carlos passed us a copy of 'Spirit Reflection'.and we put it on the deck. It immediately grabbed us and we couldn't stop listening to it. When we got back to the UK we got in contact straight away and signed the album. We're very proud to be releasing it'... ...this is a future classic, an 'album' in the truest sense of the word. Brilliant.' says Graham.

Al Massrieen: Disco, Funk and modernized Arabic Pop from Egypt

In the beginning of Habibi Funk, our search was focussed on vinyl records. Around a year ago though, we got to the point where we realized that it became substantially harder to discover music, that we enjoyed and hadn't heard before. It became apparent that it was time to start looking for other formats. Cassette tapes were the obvious alternative. These were introduced in the arabic world around the late 1970s. In some countries they took over a bit earlier, in others a bit later, but eventually they pushed the vinyl format out of the market in the 1980s. In Egypt this trend already even started in the late 1970s.

Al Massrieen was one of the first bands I learned about once I discovered the tape format for myself. They were really popular in Egypt in the 1970s and the more of their music I found on either tapes or Arabic pirate mp3 sites, the more I was becoming a fan. Only very few bands from the region can match the band's versatility as well as their strive for innovation. Hany Shenoda is the man behind the Al Massrieen band. He is a reknown figure of the Egyptian music scene and has worked with everyone from Abdel Halim Hafez to Mohamed Mounir. Al Massrieen was his attempt to introduce his ideas of modernizing Egyptian music, heavily encouraged by Naguib Mahfouz (Egypt's only winner of the Nobel Price for literature) after discussing his ideas with him.
Al Massrieen's sound goes from lush disco like 'Sah' to psych rock like 'Horreya' or incredible jazz fused pop on songs such as 'Edba Mn Gded'. I was shocked to realize the band seemed to be hardly known outside Egypt, even though I feel they're at least on the same level as Ahmed Fakroun. An relative obscurity which I largely attribute to the fact that their releases never have been pressed on vinyl (apart from a Greece best of LP which wasn't a strong compilation of the group's songs). One way or another it felt like this band and especially their composer, band leader and overall brain Hany Shenoda was in need to get some recognition outside of Egypt. The release is fully licensed from the band and comes with an extensive booklet with liner notes, interviews and unseen photos.

EMERGENCE is an epic, operatic, ambitious amalgamation between audio-visual show, scientific research project, art installation and IDM record, the debut release on Max Cooper's Mesh label and his second full-length release.2 LPs housed in a gatefold sleeve, featuring black and gold ink printed onto silver laminated board to create a unique and beautiful effect.The record was conceived as a soundtrack to a new series of 11 pieces of video art, each exploring a different facet of the concept of 'emergence'. The full A/V live show will premiere at Mutek, Japan on November 2nd 2016. Together the work is a marriage between the cosmic awe of a Carl Sagan film and the musical wonderment of Sigur Ros, made for meditating on the mystery of our emotional connection to fundamental natural form.
Cooper collaborated with film composer Tom Hodge and vocalist Kathrin deBoer to put together a rich piece of music that incorporates post-rock, Warp-y brain-dance, hi-def digital techno and shimmering neo-classical. Few musicians are as qualified as Max to tackle as profound an idea as 'emergence' through electronic music. Emergence is the story of the development of the universe, the way in which, very complex things like human beings where created from the immaterial by the action of simple laws.Max has synthesised his skill as a producer and his deep interests in science to create a Hadron Collider-grade ambient techno world, in the lineage of The Future Sounds of London's 'Lifeforms' for 2016. It's also one of the most beautiful records you'll hear all year. Early support at radio pledged from Lauren Laverne and Mary Anne Hobbs.

Bocal 5 were a No Wave art group composed of Doc Pilot (synths, vocals), Zouka Dzaza (bass), Florian Guillou (synths), Mickey Lepron (electronic drums, bass) and Evy Tinguette (lead vocals). The project was born in November 1980 in Tours, France as the brain child of Doc Pilot. Between 1981 to 1986 Bocal 5 recorded one 7' single and a cassette-only album before taking a year off in 1984 to launch X-Ray Pop. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music "minimum naive new wave."

Musique Électronique' is a 19-track compilation of songs recorded across 1983, most of which have never been released on vinyl before. 16 tracks appeared on the From Bocal 5 To X-Ray Pop' album originally released on cassette by Sound of Pig in 1984. Both tracks from their debut 7' originally released in MB5 1984 are included and show a progression in sound as a result of newer recoding equipment and techniques. Also present is a song from the tape compilation Andreas N°3 L'Animal" released by Fraction Studio in 1984. Armed with a Korg 770, MS-10, Prophet Pro-One, Roland TR-707 and TB-808 they crafted their own brand of quirky synthesized electronic pop. Songs are short, concise and well structured, richly textured, moving at a quick speed with hardly a pause. Evy's pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. This collection shows the group's sense of humor, vitality and carefree playfulness.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each jacket displays a bright neon green collage of photos and ephemera from the band's archives designed by Eloise Leigh that exudes the project's DIY spirit. Each copy includes a 6-page xeroxed booklet with photos, original artwork and press clippings.

First complete Sonic Youth album is one of Thurston Moore's favorites. Includes live cover of The Stooges' I Wanna Be Your Dog'. Vinyl includes digital download. Originally slated to be a 7' to follow up their self-titled debut, Sonic Youth's Confusion Is Sex blossomed into the band's first album: a brain-bludgeoning, completely fried endeavor of dissonance and disarray, a perfect soundtrack for running from a chain-wielding gang near the SIN Club. This was the sound of 1983 New York City, nothing like the jangly roots of college radio rock starting to formulate in Athens, Georgia. It sounded like no one else on Earth, for that matter. The raw, Wharton Tiers 8-track production is dark, the Kim Gordon- scrawled cover figure art of Thurston Moore is dark, Lee Ranaldo's back cover photo-collage and Catherine Ceresole's crumpled-xeroxed images that adorned the inside are dark. It's an album that moves Sonic Youth forward from their first EP almost by devolving backwards into true ugly, lo-fi primitivity. The bareboned arsenal of junkpile guitars and implementation of alternate tunings was growing, and so were the songs that matched the individual attributes of each instrument: certain ones groan and growl a specific way that the band started to realize itself could become the compositional germ of a song. Herein is the threshold of a new explosion of the band's creativity, replacing the comparatively cleaner buzz of the Sonic Youth EP with guitars that spew fractured, uglier chunks of sound everywhere, held down by menacing minimalist basslines (actually played by Thurston on half of this LP, and for the only time ever on Protect Me You,' Lee) and the brutal-yet-controlled metronomic drumming of Jim Sclavunos, augmented with replacement drummer Bob Bert's notable bashing on Making the Nature Scene' and grotty no-fi live rendition of I Wanna Be Your Dog.' Hearing the crashedwindow intro of Inhuman' and subway-brake screech of The World Looks Red,' you can attest that while Sonic Youth's guitars are not quite yet being utilized in the totally controlled, lyrical fashion seen later on albums like Evol, Daydream Nation et al., they were well aware of the colors and tonalities that were unfolding and the possibilities presented. Also, they were getting a grasp on adding colors to the chaos with tempered, simmering moments like Gordon's Shaking Hell' and Renaldo's chimy, home-taped Lee is Free.' Making the Nature Scene' and The World Looks Red' even toss in glints of hip-hop vocal approach way ahead of its time, albeit through a blender. While its confrontationalism might have put off some critics, time has rewarded Confusion with a truly distinctive air and atmosphere in the Sonic discography, enough to have Moore declare it his fave along with the band's swan-song The Eternal. Brian Turner, WFMU.

Gone beyond. That's what they say when an (astro) pilot crashes to earth and takes the journey into the big sky.

When Juan Trippe took that last flight little did he know that his re-incarnated self would be an electronic pioneer. In tandem with his co-pilot Guido Zen (his own father also a pilot) and Kyle Martin (from the Land Of Light) they formed Brain Machine and scaled the highest Peaks to bring back music both unearthly and intensely human.

Are we all not stardust anyway This music proves it, takes you out flips you over and rolls you in stardust. Don't try and think it through, make sense of it, grasp it - just wander in wonder and bask in beauty.
Get lost again.

Cadenza Records displays a deft touch in showcasing new talent, just as much as it leans on its core of established producers. The 'Split' EP shines a bright light on the musical endeavors of Enrico Gasperini AKA gAs, and fellow Italian, Lino Pugliese. One side of vinyl each, and gAs opens up Side A with 'Rack Attack', its woody hits and scattering hi-hats holding a solid groove whilst gentle keys entwine a melodic touch with a stuttering synth riff that's designed to circulate around the brain. Splashes of cymbals and white noise provide the all important drama as the track rises to a crescendo. Enrico's second contribution, 'Agogo', keeps up the ante with another slice of exquisite house grooves. The inner-city street ambience opening gives way to an undeniably funky rhythm track, incessant spongy stabs and frenzied percussion that makes this one a sure fire winner. Over on Side B, Lino Pugliese gets to flex his sonic palette after recent releases on Cadenza Lab and Memento. 'Banging On Your Door' takes its time to unfurl; a percussive swing not too dissimilar to the Stones' 'Sympathy For The Devil' sets the tone magnificently, as low frequency synth sweeps and distant vocal effects build, the kick drum jolting the track into life with bursts of furry snares and handclaps. More ambient soaked business on 'Aniwama' as Lino forges melodious piano and clanging ride cymbals with low end sonics as the track deconstructs as quickly as it builds, tearing up the arrangement rule books to create a unique cut that can perform as a mood-setting piece just as well as a peak time genre-shifter.

A1, "Capitulo 4". We find Gregor surprisingly accepting of his new reality: far from going crazy, he has serenely discovered in his new self everything he didn't know and didn't perceive as a human being. "Capitulo 4" is an incredibly precise description of the awakening of the new Gregor. Shadows, fog, sinuous silhouettes that are impossible to identify. In one word: confusion.
B1, "Capitulo 5". Vertigo starts to ease, we can hardly feel the anguish and the heartbeat is gone. We are in a new reality and although it seems a done deal, every movement he makes tells Gregor that understanding this new world and his perception of it will not be easy. Chapter 5 demands our everything while we listen: our full dedication and attention to the last minute detail that reveals a new horizon and its new colour, or lack of it. A horizon that, nevertheless, is more perceptible for Gregor, because he can now capture all sorts of colours and emanations.
B2, "Capitulo 6". Light. Gregor still ignores that most domestic insects have a strong aversion to intense light, but his human conscience is still intact and it will take him a long time to reprogramme certain habits, instincts and automatic behaviours, like a preference for lit environments. The painfully intense sensation that his antennae convey to his tiny brain when faced with light is an effective path to learning: little shocks that Reeko reproduces in this track, surrounded by an oscillating and changing ambience that redefines itself each time we listen to it.

! Irreal, the fth long player from Chicago's Disappears, is another trip down the rabbit hole. The album plays out as a dream sequence - hazed dub landscapes give way to the group's most experimental and open music yet.



If their last album Era conrmed the fact that Disappears are on their own trip, then Irreal is where it kicks in. Eternalism, roboethics, identity - it's a Ballardian mix of imperfect melodies, half thoughts and good ol' dystopian modernity. It's a master class in texture, pace and control.



Produced by John Congleton at famed Chicago recording institution Electrical Audio, Irreal sits in the negative space where art rock and post punk collapse onto each other. It's the sound of Disappears reporting back from The Void.



track listing:

1.Interpretation 2. I _ O 3. Another Thought 4. Irreal 5. OUD 6. Halcyon Days 7. Mist Rites 8. Navigating the Void



press quotes for Era:



'On Era, Disappears begin to pave a path to transcendence that's a little more varied, grabbing the more anemic sounds of Clinic and Liars, while keeping the forward momentum of their most obvious influences Spacemen 3 and rough-edged Velvet Underground. They know they trade in the business of the past and work within confined musical language, but they play on, middle fingers scratching their eyebrows.' 7.3 Pitchfork



'For Chicago based quartet Disappears, time seems to move at a different, altogether more indeterminate pace. Era is a work of magic; a record you could lose days or even weeks in, without noticing at all.' Drowned in Sound



'It's an incredible mix of legitimately haunting energy and maturity that is really, really hard to nd, and even harder to nd in an exciting form that doesn't come off cynical or jaded.' The Talkhouse



'Era is truly a landmark album for this formidable foursome' -Brainwashed

Includes limited edition hand painted sleeves.





Following on from their inaugural release DSNT Records are back with a second helping of unvarnished, pummeling tracks in-keeping with the label's clear focus of releasing only the highest quality techno.

Dead Sound (aka Paul Carroll) has made a name for himself after breakthrough releases with Videohead on Ali Wells' heavy duty Perc Trax imprint ('Murder EP', 'The Chosen'), as well as on Australia's Elektrax Recordings, ('DSGL EP'), and sub-label Gynoid Audio ('Your Move', 'Behind Time'), Acroplane Recordings and Counter Pulse ('It's Over').

Bolstering and reinforcing the power of the originals, this release comes fully equipped with some of the finest names in deep, dark and visceral techno on remix duties: Stroboscopic Artefacts' Xhin, Pole Group's Exium and an abstract cut from Monster X.

Support from:
Truss/MPIA3, AnD, Bas Mooy, Perc, Dj Skirt, Sawf, Inigo Kennedy, Raiz, Lakker, Roman Lindau, Donor, Sunil Sharpe.

The Descent of Man EP is the third and last part of a trilogy on vinyl dedicated to Charles Darwin studies. This final chapter is focused on the darkest side of electronic music and his impact on human psychology. As Charles Darwin studied the evolution of physical and mental traits, we want to show how obscure, trembling and aggressive sounds generate an increasing sense of agitation and loss while mild and gloomy atmospheres can relieve the body and brain, achieving a peaceful state of mind.
Don't be afraid to move into a shady space. This is not the end even if it could be.

If geography has an impact on music, then Vienna has coloured Tosca's music at every turn. Over the course of a career spanning two decades, the Austrian capital has inspired Richard Dorfmeister (of Kruder & Dorfmeister fame) and Rupert Huber to make electronic mood pieces coloured with Mitteleuropean melancholy.It's a bittersweet juxtaposition that is much in evidence on the pair's new album, 'Odeon'. It opens with the hazy strings of 'Zur Guten', which ebbs into the oozing keys and pizzicato steel string guitars of 'What If', which features a smokey vocal from Sarah Carlier. Lead single 'Jayjay' is a haunted combination of sombre piano chords, rolling drums and weird, otherworldly vocals from JJ Jones. It's the pivotal track on a record that sees Tosca tapping into gothic atmospheres. It's darker than their previous five albums, more downbeat, at times ambient. It's unlike anything else out there at the moment.Is there a reason for this sombre tone Nothing specific. "Obviously our music is influenced by our experiences of life - it couldn't be any other way - so in some senses it's a kind of diary, but there weren't any single incidents that caused the record to be that little bit darker," says Dorfmeister. If anything, the exact opposite is true: life has been good. "Over the last year I think we've both learnt to be more generous and to understand our own limitations and other people's" says Huber. A case of musical yin and personal yang, then.The album's name, meanwhile, comes from the venue in Vienna where Tosca debuted the new material in October. The performance went so well they decided it would make a fortuitous name - the music/place interface in action once again. The performance features as a bonus disc on the deluxe version of the album, which will be available exclusively via !K7's webstore. More than anything, 'Odeon' is the sound of a band at the top of their game. A good time for them to release a career retrospective then. Dorfmeister reflects on the band's history. "It sounds like a cliche, but we've never really thought about other people's music when we're writing our own," he says. "We try and create our own sound. We really have always been like that. And I think we've developed a trademark sound because of that." They certainly have. It's been called the "Vienna sound". And, in updated form, it still sounds like nothing else.
Double Gatefold LP with bonus CD of the entire album