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The second EP of remixes from Man Jumping's reissue on Emotional Rescue features luminaries Bullion, Reckonwrong, Gengahr and William Doyle with their reversions of songs from the Jumpcut album.

Nathan Jenkins aka Bullion follows his recent rerub of Thomas Leer (ERC072) to provide two remixes. His remake of In The Jungle keeps the originals (leftfield) dance floor roots, but sprinkles the ubiquitous warm glow and off kilter fun(k) that he evokes; while his retake of Walk On, Bye drifts back, highlighting intricate percussion; congas, bass and vocal atmospherics along some breezy swing.

Reckonwrong is next; turning the bossa vibes of Sqeezi into his own new wave meets italo reversion; topped with his unique 'under the cupboard stairs' vocals. Funky, driving, this overlooked star adds to his cannon for Whities, Pinkman and DEEK.

After a string of impressive releases for Trangressive / Beggars, Gengahr make a surprise addition, lifting Down The Locale from deceptive beginnings to anthemic heights, adding echo-laden guitar and vocals to the original's underbelly, before a bass break and return lifts to the heavens.

Finally, William Doyle provides perfect closure. Moving away from his East India Youth moniker (XL Recordings), his output has drifted towards ambient introspection, however, here points to addtional layers; rebuilding Belle Dux On The Beach with added bass, guitar, drums and finally vocals that culminate in a prefect 'to the skies' outrospection.

written and produced by: Paul Tiedje

In opposite to other Nigerian acts which hardly got known beyond the borders of their homeland, BLO were always very popular in the Western world. Accompanying Ginger Baker of CREAM fame was the first step to break them into the western popular music market of the 70s and what followed could be called an African fairy tale.

Still this, their fifth album from 1979, waited a long time for a proper reissue, especially on hot black wax with originals in good conditions fetching prices of 300 € and more. For fans of 5th Dimension, The Temptations, Hot Chocolate, Earth, Wind & Fire. First ever and long overdue official reissue of this long lost Nigerian disco classic from 1979. Fifth album by one of The most outstanding Nigerian 70's afro beat acts.

From the cosmic creative musical mind of Swiss/Catalan studio whizz, Zeleste Nightclub engineer, video nasty film composer, occasional Jaume Sisa (Muìsica Dispersa) collaborator and future electronic music therapy pioneer J. M. Pagaìn comes the synth-ridden, vocoder-loaded 1984 sci-funk soundtrack to Barcelona’s daytime TV response to the universal E.T. phenomena. Get ready to meet your new alieniìgena amic and the unidentified flying object of thousands of Catalonian kids’ affections through the 1980's as Finders Keepers present Pagaìn’s lost lunar modular synth score to ‘Kiu I Els Seus Amics’ (Kiu And Friends aka Kiu Is Your Friend).

From the same intergalactic phenomenon that brought such delights as Turkey’s exploito cash-in ‘Badi’ or South Africa’s lo-rent homage ‘Nukie’ to our unregulated small screens and the same craze which filled international airwaves with the likes of Extra T’S electro smash single ‘E.T. Boogie’ or the million selling Columbian ‘Cumbia De E.T. El Extraterrestre’ smash hit... not to mention a wide range of unofficial theme-tune cover versions from Holland, Austria, France and Germany (lest we forget an inspired late period Lee Scratch Perry Album).

In 1982 the diaspora from Steven Spielberg’s small fictional mid-American neighbourhood that played host to everyone’s favourite torch fingered, three toed, Skittle-scoffing space goblin touched virtually every family home in every major city resulting in one of the biggest cinematic merchandise phenomenas of the 21 st Century, resulting in an unexpected high-demand / short-supply play-off in which bootleggers, copyists and counterfeiters rose to the challenge like never before.

When Spielberg regrettably told interviewers that he had no intention of making a sequel to ‘E.T. The Extra Terrestria’ it instantly became open-season for the imitators... but way before somebody squeezed-out ‘Mac & Me’, ‘ALF’ and ‘The Purple People Eater’, a team of kid’s TV executives in Catalunya were ready to fill the widening gap in the market without haste. Created in 1983 by Luna Films and Televisioì de Catalunya (TV3) and screened exclusively in Catalunya, ‘Kiu I Els Seus Amics’ was one of the first E.T. ‘tributes’ to make it out of the gate and with a crew of five individual directors and writers to ensure that the five episode, one-off series hit the wave of phone-home-fever, Kiu has since remained a short but sweet micro- memory in the hearts of an entire generation of Catalonian cosmonauts.

This special Finders Keepers edition comes complete with all of Pagaìn’s cosmic synthesiser soundscapes fully intact (barring striking comparisons with the likes of Tangerine Dream, John Carpenter, Vangelis and the soundtrack music of Suzanne Ciani), as well as some rare, unreleased, incidental TV edits. The bulk of this LP is made up of tracks taken from the rare full-length album, which was released after the TV programme had already been aired and coincided with sales of jigsaws and rubberised play figures in an attempt to catch-up with the unexpected mega-success of the show, needless to say, with a short promotional window, the LP (and cassette edition) did not benefit a re-press and with most copies sold to children, few vinyl pressings have escaped repeat needle scratches and decorated sleeves.

The relationship between Norm and Core is in terms of sunlight playing over a mountain and a valley. Norm is the brightly lit portion, Core is the dark area occluded by the mountain's bulk. As the sun moves across the sky, Norm and Core gradually trade places with each other, revealing what was obscured and obscuring what was revealed. Norm is solid, focused, hot, dry, and active.

Fire – Sky – The Sun – Day Time.
Core, by contrast is yielding, cold, wet.
Water – Earth – The moon – Night-time.

The Initiation has been made. An oath has been taken. Now we see the return of AKOV to Bad Taste for the end of 2019. This time The Syndicate stands beside him, with members Maztek, Billain, Exposure, Mean Teeth, Zombie Cats and Vegas forming the inner circle. These varied personalities banded together to forge a joined creation and imprint their thoughts upon time itself. ... The last piece of the puzzle is you. Will you become part of The Syndicate?

Alex.Do is best known as part of the Dystopian collective, where he works alongside scene leaders such as Rødhåd and Recondite in pursuing a focused strain of contemporary club music loaded with emotional depth to match its functionality. This attitude comes through in spades on Dusted, where Do presents a selection of tracks that tap into all four corners of the night.

Four freshly dare-to-be different cuts of bass-driven Techno, electro/IDM grooves, atmospheric dub chords, weird percussions and odd-uneven rhythms.

There’s a subtle sense of tension and restlessness in the guts of this music but also a lot of space, both colliding in the powerful dubby synth-solo closing track.

Early Days maps out Nine Circles interpretation of Cold Wave and Minimal Synth. Unbelievably the tracks are mostly from a brief time period, ’80—’82. Alienation and uncertainty course through the 2LP with heavy Yamaha chords, metallic machine beats and brittle vocals.

Nine circles was formed in the early 80s by Peter Van Garderen and Lidia Fiala. In 1980 there was a band called Genetic Factor. This band split up when their three members got girlfriends and they started to make music together with their girls. So at that time there were 3 bands living together in one house.

One of the couples were Peter van Garderen and Lidia Fiala. Lidia had been writing lyrics since she was 15 years old. Nine Circles was born. Within 2 years they wrote about 60 songs.

Also living in the house was Richard Zeilstra, who had a job at the VPRO radio, hosting a show called „Spleen“ where he gave New Wave bands a chance to play. He asked bands to send tapes to him and the best bands had the opportunity to play live at the radio and also got the chance to be on the „Radio Nome“ compilation. Peter and Lidia sent their tape to him and were the only ones from this house to be on the show. Richard knew their music was special. Nine Circles never played a live show on stage, only one concert live at the radio which is also featured on this LP.

Two years later Peter and Lidia split up and Nine Circles disappeared. In 2009 Lidia’s son googled her name just for fun and found a lot about the band Nine Circles. Lidia was surprised, she never knew how popular Nine Circles have been over the years. She got herself on Facebook and since then she got in touch with many people and decided Nine Circles should come back! Peter was not able to join the band these days, he had a different life but he was supporting Lidia and liked that she enjoyed doing music again. Peter still had all the old recordings and sent Lidia a lot of the music they made together back in the days. The best tracks are collected on this 2LP.

Together with Per-Anders Kurenbach Lidia revived Nine Circles. They recorded new material (released on the album „Alice“) and played live until Lidia had to stop playing live for health reasons in 2016. Nevertheless they‘re working on a follow-up album called „Emerge“ which is planned to be released in 2020 and hopefully Lidia will be able to go on stage again soon.

ALTA’s debut release, 'Reasons' is the product of many long nights making music together in a back room at Hannah and Julius’ Brunswick home. It was self-recorded over 10 months, from January 2018 to November 2018, using midnight sessions, tape delay effects and a literal room full of wall to wall synths to carve out a world all their very own. "It's a collection of songs written together in our home studio - No cowriters or anything, just us two experimenting making the music,” says the band.

The album was later mixed by Seekae’s George Nicholas in Sydney and mastered by Grammy-winning engineer Chris Gehringer at Sterling Sound (Rihanna, Janelle Monae, Chvrches).

Thematically, the album’s title alludes to the sense of complacency that often sets in when people start making excuses for themselves.
“It’s this internal thing,” Julius explains, ‘always coming up with reasons why things did or didn’t happen, or reasons why someone else did something. Often it’s self-preservation but it’s also bullshit.”

‘Push’ follows on from previous singles ‘Figured Out’, ‘Back On It’ and ‘Twisted’, which have just under 2 million streams on Spotify since their release and are receiving global attention, with spins on BBC Radio 1 and praise from the likes of The Line of Best Fit and CLASH.

At streaming, ALTA have seen huge support locally and internationally, with their 2019 releases featuring in Spotify’s New Music Fridays, Indie Arrivals, The Local List, Just Chill, Front Left, New Dance Beats and The Office Stereo, plus Best Of The Week on Apple Music.

Melbourne fans will witness ALTA performing tracks from Reasons for the first time ever at Northcote Social Club on Saturday 5 October. Tickets are on sale now via Northcote Social Club’s website.

Reasons is an intricate and emotional body of work that will see ALTA step out from Melbourne’s underground scene, and into the international limelight. Pre-order your copy today.

It's been a busy 2019 so far for Ivaylo.

Not content with cranking out yet another heavy 4-tracker there's rumours of a full album next year.

Bell Towers is back for an extra juicy episode in his Œuvre.
Widely appreciated for his Pop sensibility he has been good for more than one surprise already.

Having experimented w/ his voice in the past, “Juicy Blend” sees him combine his abilities for creating memorable melodies with his soft touch for lyrics & intonation in a new and exciting way that leaves you eager for more ;-).

The EP also includes two stellar remixes by fellow leftfield stalwarts Bullion and Jaakko Eino Kalevi.

Europe’s leading reggaeton experimenters DJ Clara! And Maoupa Mazzocchetti. exert a tripped-out spin on modern Latin dance and vintage Galician folk styles for Low Jack’s boundary-stepping club division of Editions Gravats. Following the duo’s 2018 debut EP
and Clara!’s ‘Meiga de Acero’ single in 2019 for Les Disques De La Bretagne, ‘Luna Nueva’ binds the duo’s astrological, spiritual and romantic dancefloor cues in a significant new take on Caribbean futurism.

Designed to make you sweat - and maybe check your head -
the album pairs Clara!’s effortlessly nimble vocals with lean and spacious co-production by Maoupa Mazzocchetti in a way that faithfully and daringly plays with reggaeton convention, and, by extension, offers a critique of global electronic dance music currents.

Based in Brussels, Belgium, but originally from northern Spain, Clara! brings a strong knowledge of reggaeton, perreo and trap absorbed from beach parties and clubs back home to a wickedly offset batch of productions by Maoupa, who’s arguably earned a mean reputation in recent years for his killer mixtapes with the PRR! PRR! gang, as well as a slew of 12”s for everyone from Unknown Precept and Mannequin to Arma since 2014.

Together they throw down eight distinctive vocal cuts on disc 1, while disc 2 is loaded with their singular instrumentals. Clara! dispatches ice cool but barbed bars in diverse flows, bewitching Maoupa’s rhythms with on point style in the dramatic ‘Badman’ - a bullet for the male gaze - while layering herself in choral cadence on a spellbinding cover of Faltiquera’s Galician folk song ’Sum Sum’ over unusual tablas and drones...

But while the finer details of Clara!’s pointed but humorous lyrics may be lost on non-Spanish speakers, her co-productions with Mauopa are bound to resonate regardless of tongue, with strong, dare-to-be-different highlights in the hard and psychedelic drive of ‘Gaviléan’ and the bolshy bashment grind of ‘Virgo’, along with straight up freaky gear such as ‘Baja Y Suda’, plus their cold fusion of reggaeton and Mahraganat influences in ‘Secreto Ritual’, and warped hypermodernism in ‘Clarividencia.’ No matter what angle or
language it’s approached from, ‘Luna Nueva’ cycles fresh and luminous with a steadfast yet experimental call to the ‘floor while the world collapses around them.

One of the original catalysts of Latinx music in New York City, MAKU Soundsystem has been the connective tissue for several creative projects, bands and community roots for over a decade. As a group with a rotating membership, they've recorded multiple albums both DIY and for worldwide labels. Throughout their various iterations, the heart and mission of the ensemble has consistently built bridges, rather than tearing them down, remaining a remarkable beacon of positivity in a consistently competitive environment. The inspiring atmosphere has nurtured several notable musicians and acts over the years, including members of Combo Chimbita, Dilemastronauta, Bulla en el Barrio, Leon Brothers and Prince of Queens. Now down to a core group of three musicians, alongside percussionist Moris Cañate, MAKU and Names You Can Trust have finally teamed up for a vinyl edition after many years of collaborative shows and connections.

Perhaps their rawest and darkest recordings to date, this stripped down quartet is an ode to the creative source of their core members, lead singer & bassist Juan Ospina, drummer Andres Jimenez and guitarist Camilo Rodriguez. The A-side, "Culebra Coral" is a snakebitten taste ofla cumbia, played with an experience and restraint that only enhances the end result. It's a free driven approach born from familiar experimentation, rather than modern day trends — a singular jam, refined from years of playing together. Part psych, part cumbia, total MAKU. The B-side, "Contra Tambor," is emblematic of the group's roots in the traditional sounds of thetambora, a drum-forward percussive arrangement that follows Jimenez and Cañate on a free-driven approach to the ritualistic movements of the drums, this time drowned with an antidote of analog FX, synthesized glitches and atmospheric coros.

All Music Written & Recorded by David Drucker at The Skinny Apartment in Ridgewood, Queens, 2017
Featuring Mike Green (Mezzanine Swimmers) on guitars on "I Took Too Much Acid in 7th Grade," Cop Funeral on
electronics on "Seafood Special," Chris “Mr Transylvania” Shields on background vocals on "Massachusetts Is a Magical
Place," Eva “Nighttime” Goodman on violin & backing vocals on "The Ridgewood Ripper"
Painted Faces is the long (strange/trip) running voyage of weirdo David Drucker, began in Florida in 2009 and decamped
to NYC in 2011. It has sometimes been a loose band in the past with a revolving lineup of outsiders and interlopers
(known as The Freak Band), but is usually a solo endeavor, and the bulk of the recordings have been done as such. PF
has always been a home recording solo project, one-man-band style heavy on psychOdelic/outsider
folk/noise/experimental vibes. He started self releasing CD-Rs in the early days and quickly jumped to tapes on a variety
of labels including Already Dead, Lava Church, J&C, Null Zone, Tall Tapes. A "legendary" CD compilation on Gulcher
Records and an LP from Already Dead and Almost Halloween Time in Italy brings us to the here and now. Tales from the
Skinny Apartment is somewhere around the 20th or so Painted Faces release...he has long lost count.
Drucker runs/curates gigs (and records at) the Skinny Apartment, his dwelling place in Ridgewood Queens,
which some folks have called the "realest DIY zone in NYC." He also rips in Dead River Company, Big Hiatus, Shecky,
Canyon River Blues and countless other unknown subterranean improv zoner outfits. "Ripping" involves keeping it
freaky and weird and ripping sets wherever/whenever, i.e. always being down to perform whether in a kitchen or a
packed ballroom....no diva bullshit, just plugging in (or going sans electricity) and playing...always giving it your
all...Ridgewood Rippers are the crew of artists that populate Ridgewood and the loose "scene" around the Skinny
Apartment...much of it is in jest, a self-inflated mythology of nonsense which is pervasive in all rock and roll "scene"
histories. As a student of rock/pop history, Drucker is fascinated by the loose associations that connect folks from
various zones together...i.e. Miles Davis and The Grateful Dead...it's all the same though, the labels and genre
distinctions are completely arbitrary. We're all in this together, now more than ever...to be a "ripper" is simply to
"rip"...no nonsense!
Painted Faces has toured all over the USA and Canada numerous times, spreading the ripper gospels, and is
gearing up for their second European tour. He is known for falling apart on "stage," with performances heavy on humor,
horror, stoned digressions, and cathartic bouts of therapy, part performance art/part standup comedy, eradicating the
lines between performer, performance, and audience one show at a time

Recital publish the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "Avant-Garde" (Calgary is the rodeo capital of the world). From a young age, Sarah was a driven pianist (and figure-skater, although that's a story for a different time). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel.

Sarah is a considered person. I find few people that have the diligence and resolve to take their time with music... especially in a live context. I respect that about her. The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty.

Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On..., recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion.

Two pillars of this album are "Mordents", which to my ears drops hints of her love for Progressive rock music - and "Buhrstone," comparable to a sombre funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics.

Writing this description now, I find it hard to separate "At Hand" from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship - frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul.

This is a lovely album to fill an evening living room with. A blanket, a cup of wine, a dim bulb, a wide window.

Three beautiful photo-prints by Davachi are included with Let Night Come On Bells End The Day. Frames are not included.

- Sean McCann

Cork native Colm K has been making waves on both the Irish and international scene since his selection for the Red Bull Music Academy in 2003. With releases on Bastard Jazz, r2, and his recent efforts on All City Records, First Word Records and Tiff's Joints, Colm K has earned his place on both critics' and fans' radars.

KFU(RN) sees Colm return to Tiff's Joints after 2018's Beginnings/Six Four Hundred with four of his heaviest dancefloor offerings yet, which have already picked up support and plays from the likes of Alexander Nut, Laurent Garnier, Detroit Swindle, Red Rack 'Em and more. One the A-side, Lady is a heavily swung uptempo house jam, built around a masterfully flipped vocal and piano line while "Apart" sees an ominous arpeggio dart between warping sub bass and gritty drums. On the B-Side, "KFU(RN)" delivers a riotously fun synth line backed up by a rock solid groove and "Diffraction" bounces from start to finish with a Mr. Fingers-esque bassline, driving the track forward and a celestial pad drifting in and out of the mix, bringing the EP to a close.

An ode to the music of Zimbabwe past and future, representing the country’s two major cities - Bulawayo and Harare.
The Bulawayo side sees longtime township legends Bulawayo Kwela meet UK producer Danalogue (The Comet is Coming). Reverb-drenched drums and snatches of Penny whistle back the words of the poet Albert Nyathi for a leagues-deep dub Conference. “Nomalenga” stays true to the Township Kwela style that the group has been playing for over 30 years.
The Harare side sees David Tapfuma (longtime collaborator with Stella Chiweshe) deliver an ode to the ghettoes of the capital, accompanied by a solo mbira. Cape Town’s ESA delivers a subtle treatment of the original, drifting the mbira hook into 3am dancefloor territory on a cloud of synths…

Field Recordings, carefully chosen percussion, electronic spice and acoustic ingredients. This is the foundation for every recipe that Bolivian Belgian artist Suso Perez aka Susobrino creates. In 2018, he presented his debut EP “Mapajo” on Global Hybrid Records. Since then he has won several awards; the “Champion Sound Beat Battle” and “Most Promising Artist” at the Red Bull Elektropedia Awards of Belgium. He introduced his creations to numerous festivals in Belgium and abroad.

His new album “La Hoja de Eucalipto” brings alive a more energetic and aggressive part of Susobrino and presents a work focused on the ethnic and world sounds, mixing his masterful percussion with electronic beats to create a unique and distinctive sound. For fans of the organic electro-latino sound of Chancha Via Circuito, Nicola Cruz and Dengue Dengue Dengue.

In this album Susobrino created a story of 5 beings looking for answers in their individual lives.
The first track “La Hoja de Eucalipto” is the ceremony right before the journey. It’s a three part composition to set the tone of the entire album: question, answer and interpretation.
“Despertar” (wake up in spanish) is the realisation of the journey these beings are getting into. The guitar interprets the rain as a cleansing. A fresh breath in, breath out.
“La Marcha” is the physical start of a long journey. They will be walking for days, weeks or even months. The exciting, courageous travellers leave their families and friends towards unknown lands that they never dared to enter. Many days of walking pass and they reach a new habitat. A dense jungle.
“Dispersion”. This brings tension and fear out of the 5 travellers. A 6min long repetitive song that interprets walking in circles. Everyone gets separated from each other and they question with doubts of getting out of the unknown jungle. Eventually, the 5 beings survive the unknown jungle. Exhausted and lost, they keep walking with no idea where to go. That’s when they stumble upon “Polahimán”. A mysterious entity who’s very eager to help and knows exactly where they have to go. With riddles and poems, he gives them directions.
“El Desierto de Pazmancú” A new habitat. An endless dessert. Yet, the beings are refilled with courage, crossing the entire dessert. That’s where Polahimán is waiting for them.
“El Enfrentamiento de Polahimán”. This is the endboss; The Final Chapter. The 5 grown travellers find themselves in many challenges. This is where you, as a listener, can interpret if it’s a good or bad ending. Or an open ending?

Susobrino plays and records everything in his humble studio in Belgium. Percussion, quena (flutes), guitar, charrango, field recordings and a yamaha dx9.