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This debut album is the work of London based producer, sound artist and composer, Paul Cousins. Paul works with meticulously maintained reel to reel tape machines to transform and alter his electronic compositions. His prepared tape loops form the basis of ‘Vanishing Artefacts’ 12 intricate compositions. The original ideas processed through 1/4” tape become a hazy facsimile of their former state as tape is manipulated and effected to mould something new.

“There is great freedom in limitations. The sonic limitations of tape, at least in the lo-fi way I use it, are also a factor. Being able to physically touch and manipulate the sound is a very important and visceral part of this. Opposed to a lot of ambient music I have written, I want this music to be tactile, and very tangible. Yes, it can float away, but I also want to show the string tied to the balloon. For this reason many of the tracks contain the sound of the room, and the wonderful noises these machines make."

"Don't DJ is back with his new album sampler to teach the imitators how it is done.

Leftfield tribalism at it's best, with a pinch of Martin Denny and Les Baxter exotica for some flavour and a little bit of Zoviet France fourth world voodoo for the 5am crew that wants to get hazy in the dance. Florian knows how to incorporate percussion sounds that at first you think that they wouldn't work but it always works and this is only a taste of what is gonna come with the release of his album (soon come).

Morgan Buckley of the mighty Wah Wah Wino crew, takes this deep and intense trip and he goes ballistic while he is playing a live Bodhran to invoke the ancient spirits of Ireland. If the essence of a remix is to keep the original vibe of the tune and add a different flavour to it then Morgan Buckley nailed it in a big way.

Two drum wizards at their best and it's an honour to have them together in one record."

Illustrations by Non Yung Hoon.
Design by NMR.

The Belgian vibraphonist Guy Cabay has played with Toots Thielemans, Philip Caherine or Raoul Faisant. Composer, arranger, musicologist and singer, he also wrote and recorded two extraordinary albums in Liege Walloon. Tricatel is happy to make them available at last, 46 years after their publication.

"Gravity kills us. Perhaps that is the meaning of Adam's Fall. We are condemned to be Newton's apple, not the balloon carried away by the wind. But it happens nevertheless that, by the grace of music in particular, we escape gravity, that time escapes time, that another breath inflates our lungs, so much lighter than the one that usually suffocates us.

We don't take light music seriously, and that's good. Only serious music deserves to be treated so badly. Guy Cabay's music flows from a purer source and speaks to us in a more tender voice. One can obviously describe it as one labels export product. Origin: Belgium. Ingredients: jazz, bossa nova, tropicalism, song - proportions may vary. Calorific value: none.

Non-perishable product. But this would say as much about what this music really is as if, in. order to evoke what the foggy blue of a Norman sky inspires, one were to take note of the variations in the percentage of humidity in the atmosphere at Etretat and make a learned presentation on the laws of refraction.

Guy Cabay did pass through Brazil and still lives there a little, a Brazil that is not the one ofcartographers or travel agencies, a Brazil that is as real as the Far West in which Fenimore Cooper's child readers lived, as blurred and limpid as a dream. It is not the Amazon thatflows through this Brazil, but the Ourthe, a tributary of the Meuse, which makes it morefamiliar, stranger and even more poetic.

To let oneself be bathed in this melancholichappiness, to let oneself be carried by this river is sweet, as sweet as the fluid consonants of the Walloon language, this 'd' which becomes 'dj' in his mouth, as in Portuguese, by the way. To know how to create melodies that hold on a note like Jobim's samba, like a fildeferist above a waterfall of chords, is not given to everyone. It is a gift. Knowing how to lace others on dozens of points, as on Tot a-fet rote cou d'zeur cou d'zos, a poignant encounter between Randy Newman and Robert Wyatt, is another. These are not the only ones that the fairies offered to Guy Cabay and that, by an almost miracle, he offers us again today. Hearts up."

Bertrand Burgalat

Wildflower is a trio comprising Idris Rahman (sax), Leon Brichard (bass) and Tom Skinner (drums).

The trio takes you on an intense, meditative and spiritual musical journey that embodies the spirit of freedom. Based around hypnotic grooves laid down by Brichard’s unswervingly solid bass lines, drummer Skinner plays around artfully with the beats, grooving hard in constantly shifting, unexpected turns of rhythmic play. Rahman’s contributions range from subtle conversational interplay to loudly expressed angry passion to the most delicate of whispers, conveying a depth of emotion and a deep sense of musical structure withIn an ever changing sea of musical conversation.

Using simple, arresting melodies as a starting point, the trio create freely improvised waves of emotion ranging from powerful climaxes to hauntingly beautiful breath-like passages and everything in-between, creating unique forms and structures that react to the acoustics and the atmosphere of the situation.

Taking inspiration from the spiritual jazz pioneers such as John and Alice Coltrane, Pharoah Sanders, Yusef Lateef and Sun Ra, compositional influences range from Gnawa music to modal jazz to Bengali folk music but the scope is wider still and the important unifying factor is the spontaneous communication and interplay between the three musicians. Rather than having a tight rigid structure, the tunes are allowed to breathe and develop into new unexplored forms, allowing fresh interpretations that make each performance a unique experience.

The album is a collection of live and studio recordings that have been recorded and mixed by the band.

Legendary Memphis soul brothers William, Bertram and Randy Brown released an album under the group name TEN-63 entitled FACING THE MUSIC, it was published in 2009, but recorded sometime earlier. YOU AND ME was played out and initially covered up by Mike Ward circa 1989/90 receiving cult status.

YOU AND ME and our pick for the flip SAY WE’LL STAY are beautifully constructed songs with each of the Brown brothers serving up a solo part, it cannot be denied their contrasting vocal styles and harmonies are supreme in the extreme!

The Browns’ contribution to the Memphis music scene is etched in history. William, who sadly passed away in 2015 was a member of The Mad Lads. Randy and Bertram were members of The Newcomers, Bertram went on to be a part of soul funk group Kwick and of course Randy had a glittering solo career with LPs on Parachute, Chocolate City and Stax as well as numerous singles; he is regarded by many as being one of the finest vocalists of his genre.

Anyone who has followed Kniteforce and KFA for any length of time will know of Empyreal. His music is unlike anyone else's, being totally unique in sound and style.

Blending classical elements and unusual structure with a wide variety of old skool and banging kick drums, this is his first EP on vinyl, and it absolutely smashes it. A refined taste? Maybe. But there is nothing like this on the planet.

Richard Lamb’s second and (presumably) final release under this moniker is a bit of a special one. Lamb starts off with ‘Salt Lick’. A track with beautiful, lush, sunny sounds that lure you into an unexpected world of electro, heavy bass and more dance orientated tracks like ‘A Life In Harmony’.

Following up his first EP ‘Automatic Tango’ on his own Montreal based Temple imprint, there’s still hints of early Moog greasiness but overall it’s a more decisive production compared to the previous one. Intricately layered percussion mixed together with dreamy pads take you on a journey to a hidden Utopia where tight arrangements and tribal-esque rhythms dictate the pace. Once more we are shown how versatile Lamb’s productions are and how he juggles genres freely, ranging from dub to electronica, experimental, idm and techno.

The second side of this EP features two remixes by non other than Norwegian DJ and producer DJ Sotofett. A heavyweight in the electronic music scene who needs little introduction takes on the EP’s title track ‘A Life In Harmony’ and turns it into two electro-acid pieces ready to tear up any dance floor, or anything else for that matter. Surrender to the acid and indulge in these masterful tracks.

8 years almost to the day after releasing his unique re-interpretation album of his field recordings made in the late 90's in Tanzania, Kink Gong is back with another volume of bushmen madness. Here’s what Kink Gong aka Laurent Jean-neau has to say about his end of millennium trip:

‘’My experience in Tanzania is now over 20 years and most of the so called remix was started in Tanzania and left un-finished, then eventually retouched in Vienna, Paris, Shanghai, Kunming, Dali or Vientiane. 20 years later I searched my Tanzanian files and rediscovered unfinished tracks which are being now refreshed on this new record.

Back to the early days of the XXI century, when I lost my health trying to survive with the HADZAs, the last bushmen in northern Tanzania. In 1999 James Stephenson from NYC invited me to join his Hadzas friends. I would leave the bush to rest in a place with enough food and electricity and start to edit, loop and work on the original recordings, to trans-form them into organic abstract compositions, the only instrument I had recorded a lot with the Hadzas was the malimba and I bought different malimbas in Arusha to take back with me to Europe, I used either the original record-ings or me playing malimbas on some tracks and applied some electronic treatment to it, at that time I used Roland synths for some tracks.

The original recordings are related to scenes at night by the fire with the Hadzas, but also 3 different types of celebra-tions, Epeme Men was recorded on a moonless night with men and women singing and dancing in complete dark-ness in Mangola, an Hadza camp. Irawk Drum Under the Rain was recorded during daytime at a Multi ethnic gathering at the Franciscan Spanish catholic mission with a crowd dancing and singing under heavy rain while an IRAWK large (and wet) drum was being played, Northern Tanzania. Makonde Island was recorded in southern Tanzania at the boarder with Mozambique and is a pure scene of trance taking place on an island where the MAKONDE fishermen off the coast of Mtwara, get wild, hitting plastic containers for the sound, drunk and stoned men and women are hysterical-ly jumping and falling on each other, ending up with a few wounded.
Once again I'm responsible for this act of multicultural sabotage, but don’t forget that you can always listen to the origi-nal recordings on the Kink Gong recs collection. ‘’
Laurent Jeanneau, Berlin 2023

Très toxique is the first ever recording of Un Drame Musical Instantané as a trio, three weeks before Trop d’Adrénaline Nuit, but already a year and a half after Défense De by Birgé Gorgé Shiroc (Nurse With Wound List). On December 21, 1976, it was the first time the three musicians met together in the basement of Studio GRRR. They had no idea what they were going to play, but the session was full of energy. Jean-Jacques Birgé plays the ARP 2600 synthesizer, the cassettes and many other instruments, as does Bernard Vitet, mainly on percussion, but also on sax and violin, while Francis Gorgé supports the backbone on electric guitar. Half a century has passed. Birgé creates the cover of Très toxique entirely by hand, using a white pencil and two acid-burnt images he had created in 1969 and printed two years later by the art printer of Picasso, Dubuffet and the Collège de Pataphysique. The 85 numbered and signed copies of this limited edition have only one side of 19 minutes, already a collector! But can anyone tell me what this music sounds like?

**Debut album from former 'Eighties Matchbox B Line Disaster' front man Guy McKnight's new band.** **ORANGE MARBLE COLOURED VINYL - VERY LIMITED!!** The DSM IV’s debut album, “NEW AGE PARANOIA,” is an impressive collection of stories, beats, guitars, and noise. The album seamlessly weaves together sobering but dream-filled songs that explore the ways in which our collective minds are influenced by mass media, entertainment industries, and social media. Formed by Guy McKnight of critically acclaimed and cult favourite The Eighties Matchbox B-Line Disaster. The DSM IV has a dark sound that blends noise-rock, synth-pop and industrial, that delivers a unique musical experience. Their music is cacophonous and epic, featuring rich textures and melodic hooks that keep listeners captivated. The band’s powerful soundscapes, combined with their thought-provoking lyrics, create a mesmerizing atmosphere that both entertains and encourages introspection. The album prompts important questions about our society, such as what’s driving the normalization of a narcissistic culture that prioritizes personal desires over altruism. It delves into the ways in which technology, social media, and mass media shape our collective psyche and affect our relationships with ourselves and each other. The DSM IV’s music offers a timely and compelling commentary on these issues. The DSM IV is a band that creates music with a powerful message that resonates with people who feel that a kinder world is possible. Their songs are both nasty and nice, reflective and entertaining. With “NEW AGE PARANOIA,” The DSM IV has crafted an album that will captivate and inspire listeners, while also prompting deeper reflection on our society’s values and priorities.

It's been a while since we last had an all-Polish collaboration as part of a single release, but here we are! And what a collab it is! We're bringing to you two of our long-time favourites - Mateusz Dudzinski aka SNIK and Piotr Kalinski aka Hatti Vatti. The occasion? Well, we don't want to spoil too much but there some fresh stuff by SNIK on the horizon, and to shake things up a bit, we decided to release Hatti Vatti's remix of SNIK's track that will be available as part of something bigger in some time first.

The track is called "Absence", but the title is actually a lie - you'll find no absence of solid jungle vibes, riveting synth samples, dubby basslines, and classic vocal bits spread across the entire track. Think autonomic blended with modern-day jungle and you'll get the idea.