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Another Van, the label head of Ran Music’s sub-label Ran Groove, is releasing his debut EP “ The Night Is Yours” (RGV010-12) on his own label which includes 6 tracks rang-ing from Acid House to Minimal that he created between 2015-2017 in Beijing and Shanghai, performed and recorded all at once using his hardware live set-up. The immortal acid sound and minimalist groove are his forever loves. In 3 years the time, locations, and people kept changing, and all the memories of his life experiences are being mixed and melted into these 6 musical stories.

The EP name “The Night Is Yours” is inspired by a billboard which says “The World Is Yours” in the movie “Scarface”. Another Van believes that the night never belongs to anyone, the night is itself an eternal DJ, and this EP is full of tracks that touch you the most before sunrise.

Margino (real name Kim Kallie) is a South African artist. She recorded her first song
at the age of eight, when she performed ''Montreal'' with her mother Judy Page. She
sang with the reggae group Kariba and jazz rock outfit Turbo in the early 80's, and
later did backing vocals for Future and others. She first shot to fame as a solo star
with a version of ''Holiday'' (written by Lisa Stevens and Curtis Hudson, credited as
Cathy Hudson), which was released at the same time as Madonna's version.
Margino also had a hit in 1983 with a cover of In-Deep's ''Last Night a DJ Saved My
Life'', that went to #16 on the South-African Top 30 and charted for 10 weeks. She
now runs a Performance Academy from her studio, and continues to perform on
stage at events around Cape Town.
Recorded at RPM Recording Studios (Johannesburg, South Africa) in 1985, Happy
People is a flawless album with dancefloor hits such as ''Happy People'', ''I'm
Getting Out'' and ''One Hot Night'' and downtempo tunes such as ''You Turn Me On'',
''You Need A Woman'' and ''You''. All rhythm tracks were played by Attie Van Wyk
(Keyboards, Synthesizer, Drum Machine) and Danny Bridgens (Guitar). The full
album is a cream of boogie funk, disco and pop.
For this reissue, Jamwax took the pleasure to remaster the sound from the original
tape. The artwork was also remake with Andy Warhol ''Marilyn Monroe'' pop art
style, for your eyes pleasure.

Matt Edwards launches Stranger in The Night with his first solo material since 2017.
The Rekids offshoot will release regular music by four artists, namely Radio Slave, King
Britt, Anthony Rother and Fred P, who will each drop three EPs over the next year.

'With Rekids being 100% focused on releasing music for dance floors I felt the need to
create a new platform to explore a wider musical vision and invite some of my all-time
electronic musical heroes to be a part of the series,' says Matt Edwards.

Both numbers near the 12-minute mark but each track portrays a different aesthetic.
Opening with precision drums and crystalline notes, 'Ground Control' makes a nod
towards the hi-tech soul sound of Detroit and drives forward using a sultry bassline, erratic
chords and the occasional icy stab as an array of contrasting sounds operate in unison.

On the flip, a syncopated rhythm lays the foundation for 'Last Communication' whilst a
tantalising melody joins poignant synths, constructing a profound and hypnotising journey.

Available april 30th

Heavy heavy heavy gospel compilation.. Including a few tracks that are under the radar or recently discovered such as Harrison Jones - On that Other Shore, Converters, I've Been Converted and the super limited self-released 45 by Mr Jesse R. McGuire – Jesus Is On the Mainline. Only 50 copies were ever pressed... Also holds Paradise's brilliant "Keep the Fire.".. TIP!!

Although gospel and disco music seem like polar opposites—one is secular while the other has embraced a hedonistic culture—the marriage of the two genres has birthed the uplifting spirituality and dance floor thump found in gospel disco. By the mid-'70s many established and independent gospel artists started creating records with a tight four-on-the-floor beat that touched both churchgoers as well as patrons of the drug-fueled establishments of the '70s.

Cultures of Soul Records is proud to present the second installment of Greg Belson's Divine Disco. Belson is one of the world's leading authorities on the funky gospel sound; for this collection he dug deep into his crates to
undercover the rarest independent and private press gospel disco records ever recorded. Greg Belson's Divine Disco sound is one that's been heard around the world from his DJ appearances at Glastonbury's NYC Donwlow stage to LA's Funky Sole to soul nights across
Europe.

Many tracks are under the radar or recently discovered such as Harrison Jones - On that Other Shore, Converters, I've Been Converted and the super limited self-released 45 by Mr Jesse R. McGuire – Jesus Is On the Mainline. Only 50 copies were ever pressed. This volume even includes gospel disco from the UK with Paradise's brilliant "Keep the Fire." This compilation also includes remixes and edits by Steve Cobby (who was a member of Fila Brazillia) and the Divine Situation production duo of Greg Belson and Paulo Fulci.

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

Next on Berlin's Renate Schallplatten is Longhair, a project formed by Marko Pelaic and Benedikt Bogenberger, two residents of Berlin's Wilde Renate. Mangostine, a four-tracker, follows last year's 12' on Dutch label Bordello A Parigi and a track contribution on House Is OK. It lands with an Axel Boman remix. The EP opens with the title track, its name drawn from the exotic fruit. Over a brooding bassline we hear light, fluttering melodies and uplifting keys, creating a peak-time roller that'll put smiles on faces across the dancefloor. 'Pans & Pots,' the A2, starts as a darker affair with trippy vocal samples and fluttering drum patterns, before warm keys and intricate instrumentation lift the mood to make for a fun-filled jam peak-hours feel-good jam. On the flip, Studio Barnhus head Axel Boman reworks the title track into a more subtle, deeper cut; the melodies remain but in the background, replaced at the forefront by tribal drums and abstract vocals. Closer 'Aquamen,' meanwhile, opens as a straight-edged techno cut with a heavy bassline and fluttering snares, before playful keys and intermittent sci-fi samples add some texture. It's another late-night jam that'll lift the energy without ever being too forceful. The release is Renate Schallplatten's first since 2017's various artist compilations. Earlier EPs have landed from Moscoman, Sebastian Voigt, Wareika, and more.

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

French producer Erell Ranson's affinity for the deeper shades of Detroit sound is well known, but his ability to absorb those influences and create beautiful music with his own signature is the reason we're so excited to welcome him into our family. Having previously released on labels such as Kalahari Oyster Cult, aDepth audio, Nice & Nasty Records and his own MySelf Recordings, amongst others, Erell's became quite skilled in crafting sophisticated and emotional tracks which still seem to feel perfectly at home in a crowded 3 AM club situation. EP for Barba, titled "Dreams Of Nila", is a 4-tracker consisting of "Dreams Of Nila", "Reminiscence 0f The Past", and "Far Away Of Your Side", with the latter receiving an additional remix treatment by a Rotterdam-based project Duplex. "Dreams Of Nila" is a somewhat more leaning towards Chicago-ish side of things, with its huge bassline enveloped by shuffling 707 drums. Soft-sounding synth pad sequences work as an emotion injection and appear perfectly timed, without removing the edge of this, essentially, club track. "Reminiscence Of The Past" is the most direct of the bunch. Syncopated bass drum, forward-leaning groove and those classic techno snare roll fills make this track hard to ignore as it is, without mentioning complex interaction of synth lines, chords and beautiful detroit-reminiscent string stabs. Wonderfully executed counterpoint of hard edge and soft touch is what makes this cut a truly special one. Techno in its fullest form. "Far Away Of Your Side" is somewhat closer to the energy level of "Dreams Of Nila", and is a well-paced deep cut perfect for later moments in the night when subtle approach is everything. Slow synth pads give your mind some time to relax while the groove keeps your body occupied. Duplex remix of "Far Away Of Your Side" takes the track another notch down but in a more sideways manner. Broken electro groove is what keeps the foundation of the track while Chris Aarse & John Matze (aka Duplex) masterfully work their synths and pads to keep the tension for the whole duration of the track. Melancholy mood is tangible here, and at its best, ready for the dancefloor.

Following their hotly tipped 2018 debut album 'On' - Altin Gün returns with an exhilarating second album. 'Gece' firmly establishes the band as essential interpreters of the Anatolian rock and folk legacy and as a leading voice in the emergent global psych-rock scene. Explosive, funky and transcendent.

Some words from the label:

The world is rarely what it seems. A quick glance doesn't always reveal the full truth. To find that, you need to burrow deeper. Listen to Altin Gün, for example: they sound utterly Turkish, but only one of the Netherlands based band's six members was actually born there. And while their new album, Gece, is absolutely electric, filled with funk-like grooves and explosive psychedelic textures, what they play - by their own estimation - is folk music.

'It really is,' insists band founder and bass player Jasper Verhulst. 'The songs come out of a long tradition. This is music that tries to be a voice for a lot of other people.'

While most of the material here has been a familiar part of Turkish life for many years - some of it associated with the late national icon Neset Ertas - it's definitely never been heard like this before. This music is electric Turkish history, shot through with a heady buzz of 21st century intensity.
Pumping, flowing, a new and leading voice in the emergent global psych scene.

'We do have a weak spot for the music of the late '60s and '70s,' Verhulst admits. 'With all the instruments and effects that arrived then, it was an exciting time. Everything was new, and it still feels fresh. We're not trying to copy it, but these are the sounds we like and we're trying to make them our own.'

And what they create really is theirs. Altin Gün radically reimagine an entire tradition. The electric saz (a three-string Turkish lute) and voice of Erdinç Ecevit (who has Turkish roots) is urgent and immediately distinctive, while keyboards, guitar, bass, drums, and percussion power the surging rhythms and Merve Dasdemir (born and raised in Istanbul) sings with the mesmerizing power of a young Grace Slick. This isn't music that seduces the listener: it demands attention.

Altin Gün - the name translates as 'golden day' - are focused, relentless and absolutely assured in what they do. What is remarkable is the band has only existed for two years and didn't play in public until November 2017; now they have almost 200 shows under their belt. It all grew from Verhulst's obsession with Turkish music. He'd been aware of it for some time but a trip to Istanbul while playing in another band gave him the chance to discover so much more. But Verhulst wasn't content to just listen, he had a vision for what the music could be. And Altin Gün was born.

'For me, finding out about this music is crate digging,' he admits. 'None of it is widely available in the Netherlands. Of course, since our singers are Turkish, they know many of these pieces. All this is part of the country's musical past, their heritage, like 'House of The Rising Sun' is in America.'
As Verhulst delves deeper and deeper into old Turkish music, he's constantly seeking out things that grab his ear.

'I'm listening for something we can change and make into our own. You have to understand that most of these songs have had hundreds of different interpretations over the years. We need something that will make people stop and listen, as if it's the first time they've heard it.'

It's a testament to Altin Gün's work and vision that everything on Gece sounds so cohesive. They bring together music from many different Anatolian sources (the only original is the improvised piece 'Soför Bey') so that it bristles with the power and tightness of a rock band; echoing new textures and radiating a spectrum of vibrant color (ironic, as gece means 'night' in Turkish). It's the sound of a band both committed to its sources and excitedly transforming them. It's the sound of Altin Gün. Incandescent and sweltering.

Creating the band's sound is very much a collaborative process, Verhulst explains.
'Sometimes me or the singer will come in with a demo of our ideas. Sometimes an idea will just come up and we'll work on it together at rehearsals. However we start, it's always finished by the whole band. We can feel very quickly if it's going to work, if this is really our song.'

Just how Altin Gün can collectively spark and burn is evident in the YouTube concert video they made for the legendary Seattle radio station KEXP. In just under 20 minutes they set out their irresistible manifesto for an electrified, contemporary Turkish folk rock. It's utterly compelling. And with around 800,000 views, it has helped make them known around the world.

'It certainly got us a lot of attention,' Verhulst agrees. 'I think a lot of that interest originally came from Turkey, plenty of people there shared it.'

That might be how it began, but it's not the whole tale. The waves have spread far beyond the Bosphorus. What started out as a deep passion for Turkish folk and psychedelia has taken on a resonance that now travels widely. The band has played all over Europe, has ventured to Turkey and Australia and will soon bring their music to North America for the first time.

'Not a lot of other bands are doing what we do,' he says, 'playing songs in that style and seeing folk music in the same way.'

Considering He Was A Self Taught Pianist, Brian Auger's Progress Into The Heart Of The British Modern Jazz Scene Of The Late 1950's And Early 60's Was Particularly Impressive. He Gained Invaluable Experience The Hard Way, Paying His Dues At The Cottage Club, And The Original Ronnie Scotts On Gerrard Street, Working With Renowned Saxophonists Tommy Whittle, Dick Morrisey And Jimmy Skidmore - And Sessions In Smoky East End Pubs With His Friend, Arguably Britain's Greatest Jazz Saxophonist Tubby Hayes.

The Inclusion Of Several Of His Rare, Early 60's Piano Trio Tracks On Both Volumes Of 'back To The Beginning - The Brian Auger Anthology' Brought Long Overdue Attention To Brian's Early Jazz Career, Which Many Were Simply Unaware Of Prior To Their Release. The Enthusiastic Reaction To Those Tracks That Stuck In Brian's Mind, And Later, Fate Intervened, As He Himself Explains, "a Couple Of Years Later, Ken Greene, The Music Director Of Bogie's, Called And Told Me That He Was Starting A Project, To Whit, A Week At Bogie's With A Different Jazz Piano Trio Each Night".

The Material Brian Decided To Play Features Tracks From A Selection Of His Musical Influences, Heroes And Friends Including 'chelsea Bridge' By One Of His Favourite Composers, The Great Billy Strayhorn, Freddie Hubbard's Ever Green 'little Sunflower', The Much Loved Standard 'there Is No Greater Love' Which Brian Used To Play In His Original Early 60's Piano Trio, And His Own Composition Victor's Delight He Wrote A Tribute To The Great English Jazz Musician Victor Feldman Who He First Discovered Via His Tenure With The Cannonball Adderley Quintet.

Surprisingly, This Is Brian's Very First Jazz Piano Album Of His Illustrious And Award Winning Career, And Marks A Return To The Instrument And The Music That First Entranced And Enthralled Him As A Young Boy. His Musical Journey, Which Began In Austere Post War London, And On Which He Absorbed So Many Varied Styles Of Music, And Literally Took Him Around The World, Enrapturing Audiences Worldwide, Has Indeed Come Full Circle.

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

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

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

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

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

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

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

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

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

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

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

Info We Release Jazz is ecstatic to present its fifth release (following Ryo Fukui's Scenery and Mellow Dream, Le Cercle Rouge's soundtrack by Eric Demarsan and Stuff Combe 5 + Percussion), the first ever live performance and recording by Marc Moulin's sought-after jazz-funk band Placebo, captured at Casino Kursaal during the Montreux Jazz Festival in 1971 and never released before. Placebo's Live 1971 is available in a limited edition 180g vinyl mastered at half speed, housed in a 350gsm sleeve with UV coating and an obi strip. June 17th, 1971, the Montreux Riviera, its delightful microclimate and postcard scenery, its fabled music history and the luscious wines of the region. A dream setting for Marc Moulin to lead his ensemble on a 26 minutes+ jazz adventure - Nick Kletchkovsky on bass, Freddy Rottier on drums, Johnny Dover on bass clarinet, Alex Scorier on soprano saxophone, and Richard Rousselet on flugelhorn. The magic of that night is dripping through Placebo's sumptuous 'Showbiz Suite", a soulful piece in two parts in which every instrument gets enough room to shine, smoothly navigating between cozy cognac-by-the-fireplace funk and heartfelt grittiness, served with a pinch of Soft Machine vibes. It's the night Placebo was born, when foundations were laid for three classic albums: Ball of Eyes (on which you can hear a shorter studio version of 'Showbiz Suite"), 1973, and their final self-titled album. Born in 1942 in Ixell

After the praise for Morning Worship, released back in 2015 on Royal Oak, Portuguese duo Sabre returns to releases with the EP "Fora de Turf", pointing directly towards the dance floor. There is in "Fora de Turf" a certain idea of transient existence as a series of car journeys cruising the night with no clear sense of direction, recalling the gradual disappearance of public space and loss of community. The weight of Kraut references such as Kraftwerk's Autobahn or Stratosfear by Tangerine Dream is somehow clear in its alignment with a 1995 Carl Craig who had just released Landcruising

On the A side, 'Condor Sense' and 'Sem Terra'. The first one is a banger built around broken beats and repetitive synth chords that guide us through the drone landscapes on the background, very clearly marked by the 808's rhythms. The second one is anchored in a broken kick and on a growing acid line, punctuated by warm chords and some sliced pads that reminds us of the pulsating heart of the city of Detroit.

On the B side, "Condor Senses" and "Driving Bruno" got some sort of a gliding character. "Condor Senses" is the only track on the EP to accept the classic four-on-the-floor to guide some dubby chords along a quieter landscape where organic and natural sounds lurk. Is it dawn arriving No. On the last track of the album, "Driving Bruno," Sabre get in the car and step on the throttle, full speed, on a bassline that could resemble some synthwave releases if synthwave had been lucky enough to be born a decade earlier and in the center of the state of Michigan.

Unshrouded in mystery: what once started as an anonymous underground project with stamped white labels and a clever take on sampling, has since then unfolded to be one of the longest-running and most successful teams in current dance music. Nurtured by the sounds of the past and blessed with the techniques of today, the music of Tiger & Woods always kept evolving in and around the tropes of disco, house and boogie. Classic dance music, if you will.

Celebrating the 10th anniversary this year, Marco Passarani and Valerio Delphi managed to arrive at album number three. A.O.D. is a pun on A.O.R. (adult oriented rock) and a play on their own sound. Defying the restricting rules electronic music record shop crates, it's a departure and an arrival at the same time. Inspired by the faded buildings and images of discotheques on the Italian countryside, the romantic start and bittersweet endings of summer, beach life and the excitement of travelling through the landscape to get to aforementioned temples of dance and subsequently the morning after.

Except for the 100% sample-free 1:00 am, everything on A.O.D. is based on a quiver of cleared samples from the Roman institution that is Claudio Donato and his Full Time and Goodymusic emporium. In Tiger & Woods hometown Rome, the often very electronic and futuristic sound of Italo Disco had a different twist. Much more boogie-based and influenced by the song-writing styles of New York City's dance scene, it played in a league of its own. Tiger & Woods use these materials to take them apart, out of context and into contrasting areas. Molding something completely new, one gets fooled to recognize Sade songs that aren't, pop music instrumentals and a reprise of memories that never existed. A ride through ones brain in a convertible with an Italian FM radio station playing in the background. Or to use less stiff poetry: a chill out album you can dance to or a dance album you can chill out to. Adult Oriented Dance.

Midnight Embassy is a ping­pong project by songwriter Angela Aux and producer Sam Irl. During nightly sessions and on walks together, the two artists have created a palette of timeless tracks and futuristic sculptures from pop music flotsam. Like if two archive junkies had synchronized their sketch collections and notebooks so that the different genres and decades seem to effortlessly swirl through each other: Dub, Folk, Beatnik literature, Afrobeat & Electronica. Aux & Irl celebrate a gentle escapism, both cosmopolitan and aloof. This island mentality sparkles unobtrusively through all five tracks of the debut EP. No fireworks, no illuminated advertisements, no selfie thunderstorms: they come at dusk, set shimmering beacons and disappear on a reverberation trail behind the curtain of the night.

Pingipung and Future Nuggets present Cosima, a Bucharest based artist, with two wonderfully poignant songs. Cosima Opa^rtan is widely known as one half of "Raze de Soare" (Future Nuggets). As a solo artist, she files her music under the genre widow pop - melancholically reaching out to the past and the future in one gesture. She sings like someone addressing a beloved but faraway audience, or a trusted, distant relative who can only be seen through someone else's description. Cosima has a background as an architect which she shifted to designing sonic treatments for various spaces such as sound studios. She is also a founding member of the Queer Night, a series of itinerant parties engaging the local LGBTQ+ community and part of Corp., a Bucharest based platform dedicated to supporting and promoting female & female identified musical talent. "Ploaia" has been co-composed and produced by Ion Dumitrescu, known to all Pingipung afficionados for his 7inch as Ion Din Dorobanti (Pingipung 056) who also runs the never failing Future Nuggets label. On the flip side, the two team up with Horatiu Serbanescu, an artist from the Future Nuggets roster releasing music as "Plevna".

Second Lp From French Electronic Talent Thylacine
Regardless Of Whether Or Not The Thylacine, A Species Of Marsupial With A Tiger-striped Back, Still Lives
In Tasmania Or Not, It Is In Argentina That This Young Star Of The French Electro Scene Decided To
Record His Second Album. To Create A Follow Up To Transsiberian, His Brilliant First Album That He
Recorded In 2015 Aboard The Train That Links Moscow To Vladivostok, William Rezé, Aka Thylacine,
Bought A 1972 Trailer, One Of The Famous All-aluminum Airstreams.
After Painstakingly Transforming The Trailer Into A Recording Studio, He Put His Beautiful American On
A Freighter Across The Atlantic And Got It Back A Month Later In Buenos Aires.
He Was Drawn To South America By The Pull Of The Unknown, The Absolute Absence Of Reference. He
Wanted To Immerse Himself In Desert And Lunar Landscapes, Explore Multicolored Canyons, Sand
Dunes, Giant Cacti Forests, Snow-capped Peaks... And Write, Alone, In The Intimacy Of His Nomadic
Studio.
After Making Stops In The Middle Of Nowhere, He Returned With Ten Tracks That Marvelously Combine
Moderat's Aerial Melodies, The Solar Touch Of Nicola Cruz, And The Techno Power Of Paul Kalkbrenner.
His Electronica Is Often Laden With Saxophonehis Instrument Of Choice, Which He Started Playing At
The Age Of 6 At A Conservatoryand Features Vocals From Julia Minkin (of Kid Francescoli), Clara
Trucco (a Member Of The Trio Femina), And Juana Molina, "considered The Argentinian Björk," Says
Thylacine.
Mission Accomplished: The Young Angevin's Vaporous Layers Are Tinged With Charango, A Local
Instrument, And Melodies Inspired By Traditional Argentinian Songs. "i Wanted To Go Back To A Music
With A More Acoustic Sound."
And The Tracks Follow One Another, Telling The Story Of His Extraordinary Odyssey: The Hypnotizing the
Road Expresses The Miles Of Road Traveled; The Captivating Tale Of santa Barbara Evokes The Close
Ties Between Inhabitants Of A Tiny Village In The Andes; And The Rhythm Of 4500 M, Cut By The Flow Of
The American Rapper J. Medeiros, Recalls The High Desert Where Thylacine Once Had To Sleep, Forced To
Stop For The Night By Storms Of A Rare Intensity.
Three Months And Ten Thousand Kilometers Later, This "concept Album" Is Ready; It's Called Roads Vol.
1, And Its The First Installment Of A Collection That The 26-year-old Thylacine Expects To Add To As He
Continues His Travels. His Itinerant Studio, Ingeniously Equipped With Solar Panels, Will Take Him,
Hopefully, Very Far.

Active in the late 1980’s Swedish EBM-scene in bands like Sound Manufacturers, clubs like Piz Off and labels like Osmium, Stockholm based producer Conny Fornbäck reappears after a 30+ year hiatus. This time in the incarnation of Majestoluxe.

On the debut album Septic Shock, Majestoluxe presents nine EBM-tinged experimental industrial pop songs inspired by an actual near death experience. Fully produced on an analogue Eurorack modular system, Septic Shock should appeal to fans of the sounds of the late 70’s UK, the early german 80’s, the mid Belgian 80’s, or last night in Sweden.

Available as a six track high quality vinyl with download card, and as a nine track digital download.

RIYL Front 242, The Normal, Powell, The Klinik or P·A·L.

Born from Music of Life archive tapes (previously believed lost) which were uncovered by Robin Allinson in a Publishers warehouse in 2012.

The source material for this special record is" 1989 Hustlers Convention Live" (SPOCK1) ".

A Live Hip Hop Album, famously sampled by The Prodigy for the 'Everybody In The Place' vocal. The tapes of the night were multi tracks with 6 channels of audio recorded, Decks (Mono), 2 Mics (Mono) and the Room (Stereo). Being so old the tapes were first 'baked' and then transferred from a Studer machine in to Pro Tools via Prism Sound A/D converters at FX Rentals / FX Copyroom, Acton, London.

Notable performances by Artists on the Night came from MC Duke & Merlin; Mark The 45 King; Demon Boyz; Daddy Freddy. DJ's on the night were Westwood and Cut master Swift. Sections of their sets between Artists was captured. What did not make the Album was the Battle instigated by Overlord X coming on stage and stopping proceedings to battle MC Duke. As Duke once told me "X stuttered on the Mic".

Listening back, it's gold and puts Queen Latifa popping up in context. While restoring the Album as a multi track mixdown Robin started a series of new music projects plundering the MOL tapes and formed Stay On Target records to release them. Recordings were sent to: Sonars Ghost (SOT000), Stormski, 6Blocc, Bay B Kane and the last instalment was by Robbee Darkhalf.

London's Release/Sustain imprint returns this April with a four-track package featuring material from Eduardo De La Calle, XDB, Joey Anderson Moody Waters feat. Carolina Damas.
The Release/Sustain imprint has gone from strength to strength over the years, welcoming the likes of Alton Miller, DJ Aakmael, Benjamin Brunn, Losoul, Norm Talley and many more respected names in underground house and techno over its past twenty nine releases.
Here we see this continue with some more welcome additions, first up is Eduardo De La Calle with 'The Protosoul' and as always the Spanish artist offers up a perfectly crafter slice of hazy, groove-driven Techno, led by bleepy arps, winding stabs and robust analogue rhythms. XDB then offers up heady, subtly blooming leads, pulsing subs and shuffled drums with 'Another Night' next.
Opening the flip is New York's Joey Anderson with 'Drum Play' which as the name suggest sees the percussive aspects dynamically evolve throughout amongst choppy bass hits, stutter arpeggio blips and warm string melodies. Moody Waters then teams up with Carolina Damas, vocalist on anthemic house cut 'Sueno Latino' for 'Acid Lovin'', edging into deeper territory with ethereal pads, crunchy drums and squelching 303 licks while Damas' soft, spoken-word Latin vocals wander within.

'Voices In The Night' is 23rd Underpass' third full-time length album, and Costas Andriopoulos has not lost a bit of his talent to write classy and catchy yet dark synth pop-infused Italo disco tracks. Again aided by Nadia Vassipoulou, John Britsas and Panos Papapetros on vocals, the album is comprised of eight brand new tracks including smash hits 'I Hear Voices In The Night' and 'Together Forever', for you to dance on your favourite disco's dancefloor, alone at home or just to dream away on Costas' haunting melodies.

Run The Length Of Your Wildness is a weekly dance party held every Monday night at Underground SF in San Francisco, which initially launched on August 24th, 2015 in a small rave cave known as The Basement — formerly and infamously known as 222 Hyde — in San Francisco's Tenderloin neighborhood. Friends and 100% Silk labelmates Cherushii (Chelsea Faith) and Roche (Ben Winans) started the night as an opportunity to DJ more often, honing their skills in the process. But thanks to the intimate setting, The Basement's supportive owner and staff, and the wonderful crowd who attended on a regular basis, Run The Length Of Your Wildness became so much more than that: a community of music-obsessed weirdos, nerds, scene fixtures, first-time ravers, and eccentrics, leavened by the occasional random partygoer passing by, taking a chance, and finding themselves hooked on their new Monday night mainstay.

We book primarily local DJs and live acts, and make an effort to book artists and DJs who have never performed out before. We encourage experimentation, and we're proud to say Run The Length Of Your Wildness has become a place for electronic musicians and DJs to showcase their expressive freedom and GO WILD!

On December 2, 2016, Cherushii, Nackt (Johnny Igaz) and several other beautiful souls were lost in the Oakland Ghost Ship warehouse fire. The loss is beyond devastating — we miss our friends dearly. The San Francisco electronic music community has come together to do whatever we can to champion their legacy, and Run The Length Of Your Wildness is proud to be an enduring part of that legacy.

Hobo Camp is proud to be able to partner with Run The Length Of Your Wildness to produce a release containing music from Cherushii and Nackt, to preserve their legacy and contributions.

All profit from the sale of this record will be donated to the families of Chelsea Faith and Johnny Igaz.

Profit Prison is the solo work of Seattle-based Parker Lautenschlager, previously in the hardcore band Marrow, power electronics act Anteinferno, and black metal cult Bhereg. Conceived in 2016, Profit Prison explores lyrical themes of isolation, estrangement, deprivation and paranoia against an aural backdrop of synthpop, post-punk and abstract industrial music. Inspired by Franz Kafka as much as Kraftwerk, Profit Prison achieves a cold minimalism that speaks to the nightmarish dystopia in which it was created. The debut Myra was released on cassette by Dominick Fernow's Hospital Productions in 2017.

On March 29 Avant! will release the 12' vinyl debut Six Strange Passions. Six tracks where Hi-NRG disco beats and 70's throbbing synths melt with trembling, reverberated vocals and dark dungeon synth passages.

Limited edition of 300.

Artwork by Italian Noise legend Matteo Castro (Lettera 22, Kam Hassah, Second Sleep label)

It's easy to fall for a nostalgic approach to dance music, to cuddle oneself in the warm analogue sounds of late 1980's dance productions - especially with the heavy ongoing reissue trend going on. However, we have to stay focus: look out for contemporary sounds and means of production. Parisian producer Nathan Melja makes his debut on Antinote with an idiosyncratic three-tracker and our guess is that it sounds contemporary.

On the A-side: one tune: Deadrums. Both the name and the music speak for themselves. It's hard, it's efficient and at the same time, there's quite a lot going on, tiny bumps on the straightforward road to techno ecstasy. Nevertheless, Deadrums is a precise piece of machinery, an atmospheric banger, yes, but with deadly jaws made out of tempered steel to tear a dancefloor apart, piece-by-piece. On the B-side, Angels stands out as a perfect example of a song that has many dancefloor qualities but, like some of DJ Sprinkles' seminal recordings, turns out to be more of a late-night tale of urban wanderings on wet pavements (think Taxi Driver and its soundtrack by Bernard Hermann). Contemplative, melancholic and - let's say it - sad, its nagging melody can bring a little tear to the eyes of the most sensitive ones. Rounding up the 12' is Candy, a tune under the influence of bad boys like DJ Overdose, or Ghettotech legend DJ Assault - so that you can dry your tears.

It's Nathan Melja's first release on Antinote, but he's definitely not a newcomer. He's been around since Antinote exists, and we're glad to finally collaborate with him.

Burke Is A Producer & Dj From Ireland Residing In The Uk Since 2015. He Started Working At Idle Hands Record Store In 2016. Tracks From Burke Have Been Supported By The Bandulu Gang (kahn, Neek, Boofy & Hi5ghost), Compa, Trends, Spooky, J:kenzo, Sicaria Sound And Many More. The Aforementioned Tracks Have Also Featured On Radios Such As Bbc 1xtra, Rte, Rinse, Resonance Fm, Pyro Radio, Reprezent, Mode Fm And Many More.


Dj Support
Dream Eater 007 Has Been Supported On Radio Stations Including Mode Fm, Rinse Fm, Subtle Fm By Several Djs Including Spooky, Scratcha Dva & Nights,
Press
Mixmag - Review In May Issue (printed)
Magnetic Mag - 'bram Stoker' Premiere - *live This Evening*

Billie Eilish's meteoric rise to global stardom has been nothing short of phenomenal and arguably unparalleled to date. Since her 'ocean eyes' debut, Billie has quietly, yet unapologetically infiltrated the forefront of pop. Thanks to a growing legion of loyal followers across the globe, an EP that has sat in the Billboard Top 200 for more than 18 months now, on the cusp of going Gold in the UK and more than 5 billion combined streams globally, her tours have sold out consecutively around the world, and this week, the teenage marvel has confirmed she will be releasing her highly anticipated debut album 'WHEN WE ALL FALL ASLEEP, WHERE DO WE GO' on March 29 on Polydor.   'When we made 'bury a friend,' the whole album clicked in my head,' Billie explains. 'I immediately knew what it was going to be about, what the visuals were going to be, and everything in terms of how I wanted it to be perceived. It inspired what the album is about. 'bury a friend' is literally from the perspective of the monster under my bed. If you put yourself in that mindset, what is this creature doing or feeling' She continues. 'I also confess that I'm this monster, because I'm my own worst enemy. I might be the monster under your bed too.' 'WHEN WE ALL FALL ASLEEP, WHERE DO WE GO' was written, produced and recorded entirely by 17-year-old Billie Eilish and brother Finneas in their childhood home of Highland Park, Los Angeles. Recorded in Finneas' bedroom opposite Billie's, the pair spent most of 2018 writing songs on the road, then spending many days and nights when off the road, at home, recording the album. The first to be revealed since the album announcement is 'bury a friend,' a driving tour-de-force of a song, trailblazing its way into the world and sounding quite unlike anything else that's out right now. Reaffirming Billie Eilish's place, always ahead of the curve, never compromising her sound or vision.  More exciting news to come from Billie Eilish very soon. 

Transversales Disques presents KSHATRYA, (The Eye Of The Bird), never released before
recording by french avant-garde electronic composer Igor Wakhevitch, who composed a bunch of
major experimental albums in the 70's such as Logos, Docteur Faust, Hathor, Les Fous d'Or,
Nagual and Let's Start.
During this 10 years period, Wakhevitch was close to Jean-Michel Jarre, the Pink Floyd, the Soft
Machine, and legendary choreographer Maurice Bejart having with him many conversations around
dance and music, human body and soul, spiritual path, collective life, new society, human evolution.
As a composer Igor Wakhevitch collaborated with Salvador Dali, Carolyn Carlson, and Terry Riley to
name a few. He's considered as one of the first French composer using synthesizers like Synthi
AKS, ARP2600 or Moog modular systems.
After spending almost 30 years in India, Igor Wakhevitch dug in his archives this unreleased work
recorded in 1999 on his 'Mysterious Island 88' system. Esotheric, sacred and cosmic, KSHATRYA,
(The Eye Of The Bird) is the logical follow up of Igor's early works and a monumental piece of
electronic music. A must!

For its 2nd release, Nanga boko Records is very proud to present you Ye Mot Ai Kare Mot,
the official 40 years anniversary reissue of the first album of the Cameroonian musician
Atangana Pascal 'Quelqu'un'.
7 raw Bikutsi & Soukous tracks (+ one exclusive bonus track !), recorded after midnight in a
single recording session in a nightclub of Yaoundé.
Deluxe hand-numbered edition, limited to 300, includes a bonus track never released on vinyl
before!
Each record comes with an insert that includes exclusive pictures and very detailed biographies
in both English and French languages, an HQ Digital Download Card and a A2 format (40 x
60cm) poster!
Approved by the artist himself, 100 % legit, all 8 tracks are under exclusive license of Nanga
Boko Records.

Seasoned Producer Oliver Kapp Takes Us Back To The Glory Days Of Underground Techno Where Pounding Sound Systems Ruptured The Space Time Continuum For Fun. The Old Guard Will Already Know That Kapp Has Pedigree, From Running And Releasing On His Own Record Labels Indulge And Raygun To A String Of Appearances On Stockholm Ltd, Logistic And Gigolo, His Dedication To The Cause Is Unquestionable. Which Is Why His First Appearance On Cocoon Recordings Is Long Overdue. What We Get Are Dj Friendly Tools Designed For That Time Of Night When The The Second Hand Stops Ticking. Kapp Presents A Perfect Collection Of Timeless Warehouse Techno, Like The Genre Itself There Are No Beginnings Or Ends, Just A Constant Barrage Of Hi Octane Machine Funk, Underpinned By Heavy Duty Beats That Somehow Manage To Induce A Sense Of Weightlessness On The Dance Floor. Scaling Down The Bpms To A Sub 130 Tempo, The Ep Is A Masterclass In How To Balance The Old School With The New. - loud Whisper Is Both Tough And Relentless, Generating An Hypnotic State That Ensnares The Dancer In Suspended Animation As Strobe Lights Flicker Across Closed Eyelids. Scattered Hihats Motor Forward And Trance Inducing Sequences Splice And Dice Causing Mind And Body To Drift Apart. - mantash Is An Altogether Gentler Excursion. Loose Tribal Rhythms Slalom Through The Metronomic Kicks Before Giving Way To Distant Chords That Embrace The Dancefloor In A Warm Fuzzy Glow. This Lush Vibe Extends Over The Rest Of The Track While The Beats Roll On, Accompanied By Delicate Melodies That Enhance The Ride. Euphoria And Delirium Combine On The Aptly Titled - rapture , As Chopped Up Vocal Fx Alternate Across A Hard Hitting 909 Pattern Complete With Angular Snares And Ride Cymbals That Bang The Box Into Submissio

Osaka,Japan-based electronic music producer/musician 'ind_fris' will release his first LP record 'Sink in' from his own Scaffolder recordings. This LP includes 7 soft & watery sounds recorded with analog synthesizers, drum machines, guitars, and vintage Rhodes piano. Under the influences of ambient, newage, jazz-fusion, and deep house sounds, 'ind_fris' came up with the ideas of making something odd but sounding familiar to our daily lives. Meanwhile many inspirations of psychedelic feeling from Osaka underground's night club experiences underlie this album. 6 tracks are originally composed by himself. Track B4 is cover of jazz standard number 'Blue moon.'

Following "Night Moves" and "Kids We Own The Summer" and its harmonious keyboards, H-Burns goes back to the quintessence of his music style: an impeccable songwriting praised internationally and an interpretation undeniably precise. To narrate in one album the only two stories worth being narrated " the one about a man living his home, and the one about a man coming back to his home " H-Burns (aka Renaud Brustlein) first matured his project isolated in a home-studio owned by French underground collective La Souterraine before bringing it to the studio with a team of musicians and engineers that he meticulously picked as usual : Earl Harvin from Thidersticks on the drums, Kate Stables from This Is The Kit as a vocal guest, Noah Georgeson (The Strokes, Andy Shauf, etc.) for the mixing, etc.
Understandably title "Midlife" this new album recorded on analog tapes tells the story of a man who looks back over the journey of his life, remembering his dreams of glory, the lost love stories, what he left behind from the others and from himself.

Time Horizon's second episode enlists another team of dancefloor snipers delivering 5 brain-dancing tunes crafted appositively for late night use.
After his appearance on the first XCPT record, Andrea is back on the label with his unmistakable shuffling drums and a heavy square bassline followed by Anybody Anytime covering the uptempo-zone with a rotative junglistic tool dressed with celestial pads, closing the A side TANS reveals his new robot alias The Sympathizer' providing a neurotic electro progression fully based on his modular system.
Flipping the records you will find two XCPT homies bringing the audience straight into Matera landscapes: Farron gets a 909 unceasing toms orchestra surrounded by his atmospheric leads while Kreggo illustrates clearly his hypnotic mid-low vision of breakbeat locked by a mystic bass for the whole track.

ltd 250 hand-numbered units (12' + insert)
mastered by Marco Pellegrino at Analogcut Mastering Studio, Berlin

Movente Is A Debut Lp From A Vital And Long Standing Figure Of Italy's Clubbing Scene Under A Brand New Alias. That Alias Is Cleptophonic, And The Album, Due In 2019, Is An Autobiographical Collage Of Experimental Trip Hop Sounds That Is Truly Immersive.

Under A Former Alias, Cleptophonic Has Spent Years Djing And Experimenting In The Studio And Has Made A Real Impact On His Native Scene As A Result. He Is A Very Delicate Person With Serious Attention To Detail That He Puts To Best Use By Delving Deep Into What He Loves: Playing On Turntables And Immersing Himself In A Sonic Realm Cuts Him Off From The Real World And Acts As Therapy For This Meticulous And Selective Person And Artist.

He Is A Master Of A Stylish Musical Collage Technique - Both In Sound And Images. As Such Movente Is A Collage Of Different Sounds, Sampled With The Turntables And Put Together With Logic, While His Passion For Collage Also Spills Over Onto The Album Cover, Which Is Made By Pieces Of Paper From Magazines, Newspapers And Comic Strips. The Result Is An Experimental Trip-hop Album With A Singular Sound That Puts Together Pieces Of Life, Sounds And Images That Are Meaningful For Him, Especially The Last Song, Which Is Dedicated To His Mother Who Sadly Committed Suicide A Few Years Ago.

There Is A Beauty And Delicacy To The Music Throughout This Most Excellently Escapist Album That Is Utterly Absorbing. Pads Swirl Round Louche Beats, Crisp Hits Ring Out Into The Night And You're Left In A Deep State Of Contemplation Throughout. There Are Warped And Shimmering Cuts, Dub Tracks Drenched In Reverb And Melodically Rich Broken Beats. The Whole Thing Is So Spacious You Get Sucked Right Into The Centre Of It All And The Thoughtful Moods And Deft Sonic Details All Making A Truly Lasting Impact. This Is An Exquisite Album That Encourages You To Really Get Lost In A Unique Musical World.

Turning Jewels Into Water Is A Live Electronic Duo Led By Indian-born Drummer/producer Ravish Momin With Haitian Electronic Musican Val Jeanty, Who Blend Futuristic Turntables, Ritual Chants, Polyrhythmic Percussion, And Synth Melodies With Global Dance Rhythms. 'map Of Absences' Is A Reflection On The Regressive State Of Human Rights, Refugee Crises And The Worsening Impacts Of Climate Change.

Find Out' is the fifth release on Supervoid Records by Berlin-based DJ and producer, Dustmite.

Sparing no time to fuss about, Dustmite comes storming straight out of the gate with 'Find Out (Remapped)'. Heaving kicks, cutting hats and slapping claps push momentum forward with serious authority. 'Charter' takes a more metronomic approach while maintaining an equal sense of impact with its pulsating basslines and encircling arps. On the flip, 'Find Out' reels the speed back a couple notches with a cinematic pad atmosphere and distant vocal samples ideal to warm up a club at the beginning of a night or to cool down a dancefloor early in the morning. Lastly, 'Combining' favors an optimistically melodic tone with a singing glissando lead synth that makes for a triumphant finish.

This is part three and the last of the collaboration series between Ethopia's legendary soul singer Alemayehu Eshete and the Philophon house band The Polyversal Souls.

On the A-side you hear Alemayehu's classic song Addis Abeba Bete in an intimate live performance. This recording happend during a cultural exchange programm organized by Galerie Listros, Berlin's finest gallery for Ethopian art, with support from the Bundeskulturstiftung der Bundesrepublik Deutschland.

The flip side is the complimentary portrait to the recently released Portrait of Alemayehu (Daytime) - now, on Portrait of Alemayehu (Night-time), you get an idea of the masters fiery stage persona as it is documentated on the A-side. It's night-time now - booooooom!

Baby Buddha is the experimental new wave duo of Charles Hornaday (vocals, guitar, electronics, drums) and David Javelosa (vocals, electronics, clarinet). Born from late night improvisations of San Francisco synth-punks Los Microwaves with a rotating cast of musicians. Live shows would include music, projections, dance and performance art in both clubs and gallery spaces. In 1980, Howie Klein's 415 Records released their first single of Tammy Wynette's 'Stand By Your Man'. In 1981, 'Music For Teenage Sex' was their first full length album released via Poshboy Records. It featured Los Microwaves' Meg Brazill, Poshboy boss Robbie Fields, and Kathy Peck as "Tammy Why-not", who later went on to found H.E.A.R (Hearing Education and Awareness for Rockers). In January 1983 Kathy, Charles and David went into the studio with a couple of Kathy's original 'country' songs and began working on a sophomore album. They also incorporated songs from a live multi-track recording of a concert at the Graffiti Club on June 6th 1984. The album titled 'Everyone Is My Age' sat unreleased until 1987 due to relocation to Los Angeles and eventually found a home on David's Hyperspace Communications, the original label for the first Los Microwaves singles. For this first time reissue we've added a previously unreleased bonus song 'What's Going On,' a Kathy Peck original. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in the original jacket featuring a collage by David Javelosa and includes an insert with lyrics, photos and liner notes. Alternative.

Fresh of their most busy year actively djing in Milan and across Europe, Ayce Bio, Turenne and Borbo are ready to launch a new Ep: One track each + a Remix by Bologna's finest producer and vinyl collector DJ Rou.

Mixed and mastered by Reel Mastering, distributed by Rubadub Uk.

Funclab records runs a monthly show on Rocket Radio and a club night at Apollo club, inviting al- ways different dj's and producers to share the decks with them, among others they played with San Proper, Boo Williams, Eclair Fifi and Pangea.

After the first release 'House al dente', they spent one month during the summer touring with a van around Europe to promote the vinyl, going to their favourite radios and vinyl stores to bring it personally, ending at Barrakud festival in Croatia in front of two thousand people with a dj set and set design.

The collective is the real strength behind the newborn record label, collaborating with a lot of local producers they're always working on new things, in the next few months they are going to release also a various and other two eps.


A1 AYCE BIO - COME IN TO GET HER

909 patterns and jazz funk chops with crispy bass cuts, let your children know who play funk.

A2 AYCE BIO - COME IN TO GET HER (DJ ROU REMIX)

Bass infused remix from Bolo's finest producer and collector.

B1 BORBO - STUNTMAN MIKE

Deep atmosphere, '70s hypnotic rhodes with lofi-esque drums and vocal cuts from Grindhouse.

B2 TURENNE - REALLY COOL

Funk/Soul samples with groovy drums and a really cool vocal.

*Limted to 300 copies worldwide* It all began in summer 2017 when Peter Broderick's former Efterklang bandmate Rasmus Stolberg invited him to perform at his new festival in Denmark, with the specific idea that Peter would play an entire set of Arthur Russell songs. As a long-time lover of Arthur's work, Peter immediately accepted the invitation and began to learn a collection of Russell songs. Stolberg put together a band of Danish musicians to join Broderick on stage, and the festival performance went off without a hitch.

Immediately after, Peter starting receiving invitations from other festivals, asking for the same thing — a full set of Arthur Russell songs. Even Arthur's long-time partner Tom Lee took notice of these performances of Arthur's work, and reached out to Peter personally. It wasn't long before Broderick was invited to examine some of Russell's archival work, and asked to do audio restoration work on the old tapes.

Peter's strong love for Arthur's work grew exponentially as he dove into the psyche of his hero, listening to hours and hours of unreleased material. He discovered that some of his favorite Russell songs have yet to be heard by the masses, and felt inspired to learn some of these tunes himself.

It was inevitable that Peter would record an album of his own renditions of Arthur's songs. And there was no better place to do it than the state of Maine, where most of Arthur's surviving family are based, and where Broderick himself was born back in 1987. With a large cast of friends and family, including Arthur's niece Rachel Henry and nephew Beau Lisy, Peter set out to capture his love for Arthur's music with a diverse collection of 10 songs, two of which have yet to be released in their original versions.

Its cover adorned with an original painting by Tom Lee, 'Peter Broderick & Friends Play Arthur Russell' is a vibrant and joyful tribute to one of Broderick's greatest heroes. Peter extends his deepest gratitude to all of Arthur's family, friends and fans who have so warmly welcomed his own versions of these tunes. It is hoped that these recordings will serve to honor the truly staggering legacy of Arthur Russell.

The long awaited new LP from Hunter Complex features 10 tracks of supreme synth goodness that are at the same time retro and yet totally futuristic. It's musically rich in ideas; melodies intertwine with soaring synths and '80s style drum machines, but it never once feels like pastiche or a carbon copy of a bygone era. The hooks on this record are incredible; it's mix of warm analog and bright digital synths feature a layer of complexity that most records in this genre can't hope to achieve.