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Big John K began singing in church at age five and taught himself to play piano. His performing career actually began in Dayton, Ohio around 1957 where he played with Ray Charles and several members of Count Basie's band. In the late 1950s he recorded around twenty different songs but only six singles were released. He then changed his name to Johnny K. and was signed to Epic Records in 1969. He played shows with Jerry Lee Lewis, Charlie Rich, B.J. Thomas and opened for Jimi Hendrix but left Epic Records in 1971. "Poor Souls" and "Marching Home" were both released on tiny indie labels and remained unknown even in collector circles to this day. The Tramp crew is extremely happy to finally re-release these two cuts - 110% rhythm & blues dynamite!

So Here We Go, Album Number Three By Till Von Sein. Attentive
Observers Of Tilly's Record History Might Notice, Something
Different Is Going On With This Cycle Of Tunes. Other Than The
Constitution Of His Previous Two Full Lengths, ocean' Tends To
Elaborate An Idea, A Pallet Of Sounds, An Overall Aesthetic, That
Come From Just One Place. Appropriate To The Release On Von
Sein's Own Label Imprint Tilly Jam, These Cuts Indeed Feel Like
Proper Jams. Deriving From A Certain Mindset, Building Up A
¢ow, Drifting Into Various Spheres, Delving Into Moods, And
Meanwhile, Forgetting About Time And Principles Of Structure,
Most Of His Previous Efforts Complied With. Surprisingly, No Vox
On Here. But Evidently, The Arrangements, Textures And Sonic
Nuances On ocean' Create A Narrative On Their Own. It Is An
Album That Puts Musicality Over Functionality. An Album To
Immerse Into, A Piece Of Music That Claims Attention And
Rewards With An Embracing Listening Pleasure. aloha', As The
Introducing Track, Sets The Tone Of Ever Reoccurring Leanings
Towards Balearic- And Mellowed Down House- And Funk
In¢uences. neptune' Directly Picks Up, Leading The ¢ow Of
Soothing Harmonies Into Slightly More Dancey Vibes. It's
Meeting The Relaxed Tempo Of cruise Control', Introducing Its
Catchy Synthbass And That Heart Melting Piano Hook. We Couldgo On, How The Funk Bass, The Spaced Out Break, The Tender
Chimes And The Harmonica Solo Of mission Muizenberg' Kind
Of Form The Centre Piece Of This Record, How junjung' Refers To
The Inciting Verve Of A Marching Band And At The Same Time
Grounds The Tune On Warm And Longing Melodies. How la
Boum' Is Bringing A Saturated Kickdrum Into Its Organic ¢ow,
How level 61' Merges G-funk Hints With A Neo-disco Attitude
Or How ocean' Lands This Record On A Dreamlike Loop. Yet, It
Wouldn't Paint The Picture Colourful And Bright Enough. Only
ocean' Itself Can Do. Album (release 22.02.19):

Lebanon Hanover's bassist William Maybelline is back with his solo project. After the debut album Sable from 2015, Qual strikes back with a three-track 12' maxi-single. Each one of these new songs explore a different dimension of Maybelline's approach to Body/Wave electronics.

The title-track Cupio Dissolvi is what we may already call classic Qual: gloomy and throbbing, synth-driven and labyrinthine. A Bloody Blob explores new martial slants, with war-like timpani and a marching robot gait. Rape Me in the Parthenon is a 8 minute long dancefloor mayhem anthem scanned by some pounding techno drumbeat and EBM snare and pads. The most alert of you already checked this in some Ancient Methods DJset. By far the most extreme track Qual recorded so far.

'Buried in flowers with hands of gold / Buried together we'll never mold' shall be thy epitaph here, as well as your message engraved on virgin vinyl.

New edition of 300 on clear wax!

The Daktaris is a well-disciplined army of two hundred African Bull Elephants marching relentlessly up your business to the beat from Funky Drummer. Or so began the liner notes on the original pressing of this album.

Truth is often stranger than fiction. In 1998 Desco Records—a precursor to Daptone and Soul Fire records—released The Daktaris' Soul Explosion, ostensibly as a reissue of an unearthed Nigerian LP from the seventies. Though it's now common knowledge that the story was a bit of a hoax, the record's significance as a seminal part of the Afrobeat and afro-funk renaissance of the last two decades cannot be denied. The roots of the Budos Band, Antibalas, and uncountable others can be traced back to this enigmatic afro-funk release.

Now, two decades later, Daptone has remastered the album from the original tapes, including a bonus track that had previously only been available on a 45, and featuring extensive all new liner notes by Bosco Mann telling the bizarre true story behind the Daktaris sessions.

KEY MARKETING POINTS:
- FULLY REMASTERED, including new bonus track, 'In the Middle.'
- Extensive new liner notes by BOSCO MANN explaining the real story behind The Daktaris.
- Features members of The DAP-KINGS and ANTIBALAS.
- Features JOJO KUO (drummer for FELA KUTI) on vox and percussion.
- Originally released on DESCO RECORDS in the 1998, has been out of print for years.
- The spirit of the late, great Fela Kuti runs through The Daktaris' Soul Explosion. - Jazz Times

Emotional Rescue is delighted to offer this compilation of music from Elaine Kibaro and her particular coalesce of chanson, folk, balearic and touch of disco, all encased in her strong French and North African roots.

The music included here, released between 1979 to 1989, is an expression of her development, of music changes matching growth in life, conveyed through her emotions in song. Opening with the spoken word Introduction from her debut album, "Mirrors" and the folk rock of melodies of Le Reveil from the 1981 follow up, Au Soleil, her early works are characterised by band, orchestra and choirs complimenting her voice as one.

This is further heard on the mystical Sorciere, psyche percussion of Secret, the marching Le Guerrier and the inclusion her first "hit" with Aurore, appearing her in all it's extended, off-kilter guitar meets organ form.

Exploring sensitivity and desires the compilation matches these earlier folk and world inspired songs with her move towards electronic production that accompanied a return some 4 years later, adding balearic and even pop dance found on 1985's Le Long De Fleuve Amour and the following 1989 opus, in Kiroel.

L'Amour Pour Bouclier and Ne Doute Pas lift her music higher towards lovers' heights, with word, melody, and rhythm giving the desire to dance and be free, while her continuing exploration of chanson and spoken word takes on new meanings via the new wave meets estoric Douleur, while the emotionally charged soundscape of Kiroel brings balance.

Inspired by the purity of song, Kibaro's music's has a timeless essence to behold, a voice and words found through life experience - beauty, discovery, nature and dreams.

A love and hope in music, her quest for the infinite potential in song.

Following a first compilation in 2016 and a series of parties, Rinse France & Piu Piu join forces for the first release of her own label : Grooveboxx Records.

Together, they present 'Memorias', the first EP of her new imprint.

Quite explicit through its title, Grooveboxx catalogue stands for an exploration of the grooves across its modern shapes, it embodies the quest of trance throughout music and question the body and the individuals on the dancefloor.

The first release is composed of 5 percussive tracks from producers and DJs Aleqs Notal, Myako and Geena.

All tracks are exploring samples coming from the Musee du Quai Branly's ethnos collection along with some some field recordings captured in a garden in Paris where south American tribes were exhibited during the ""Universal Exposition"" in Paris.

With Salvia Cosmica Myako takes us to a progressive voyage surrounded by all kinds of spirits whispering melodies to our soul while the tribe's marching band marks our footsteps with its strong percussions. Enter the forest.

Influenced by Chicago & Detroit, house producer Aleqs Notal graces us with a percussive jam baptized Finger Prints.
6:45 of pure rhythmics honoring the roots of the music its been sampled from. The rite begins.

La Dansa Del Risa is a conversation between birds and humans overlooking at the tension one night in the forest can impose on our western fears of nature. Stay close to the flames.

Antinote senior, Geena blesses us with Selva Spirit, a slowjam reverie filled with eerie pads and peculiar drum sequences.
We're almost there.

Last but not least, Jungla Encantada seals the EP with a deep wisdom and mastership of the jungle's best kept secrets. It's slow pace and flute melodies appease our senses while mysterious dialects becomes our native language.

The journey is complete.

For Delinquent Delivery's second release, Nathan Jones and Label boss Stephen Mahoney step up for a split Ep entitled Pulsate.

- A side see's Nathan deliver two cuts, the first being Pulsate the title track. It's haunting as it is stomping and infectious in it's groove, something for most record bags. A2 Nathan delivers a forward marching monster that's sure to wreck any club it meets, Red Shift is the name and it is in fifth gear all the way.

- B side see's Stephen Mahoney take the reigns, Faculty X delivers in it's simplistic groove that winds and twists keeping you glued to the floor. B2 Intropception is Detroit influenced with a synth hook that grabs you, strings hover through as the groove is relentless.

This super cult spy thriller made in 1968 and directed by Fernando Cerchio was the third in a successful film series. Previous installments had featured excellent scores by Roberto Pregadio and Romano Mussolini. The master tapes of this incredible PIERO UMILIANI soundtrack were recently discovered in the composer's archives: combining jazz with 1960s beats, a hint of bossa, spanish style guitar, trumpet, sexy vocals and performed by the elite of the jazz and session scenes at the time, this score is a classic of its kind and a potential lounge music hit!

Milan based collective Just This return with their biggest compilation yet, a twelve track package featuring varied entries from label regulars and esoteric talents alike. JT022 is due for release July 20th. Melodic fragments and melancholic harmonies spiral through ricocheting drums and marching kicks. Contributions from Skudge, Hiver, Hunter/Game, Artefakt, Pizetsky and many more combine to forge a formidable package channelling moody, hypnotic techno for darkened dancefloors.

Following a killer acid-piano house 12" and contributing a Test Pressing-certified new-disco chug to a split release with Tuff City Kids (both) on Terre des Pommes in 2014, The Working Elite further refine their ability to soundtrack festivities with Rockman / Born Again. While "Rockman" conveys an understatedly cinematic mood with repeated imitation string cycles over crisp electro foundations, "Born Again" presents a new wave / rave endurance test, summoning perspiration from dedicated day-dancers with its metronomic hammer of a beat overlaid with motivating synth-lines like marching toys. On the flip, Saap and Lauer (Tuff City Kids) provide inventive interpretations of these tunes, reshaping "Rockman" into a stomping, flashing-lights electro jam while "Born Again" gets a delightfully multi-dimensional digi-dub treatment complete with acid-reggae breakdown over a 4/4 house beat.

Planet E are proud to present 'AW18 Collection', a 3 track EP from British producer Tom Flynn due September 14th. Drawing upon a broad and learned musical understanding, 'AW18 Collection' fuses disparate strands from the worlds of fashion, club culture and sound design to forge a highly atmospheric, singular release. 'Packard', the title of which is inspired by parties in the historic Detroit power plant of the same name, establishes an unrelenting energy from the get go. A bouncing kick lays the foundations for rolling synths, unnerving vocal samples and delicate piano refrains to wander. 'Anna' is an indulgent nod to the catwalk, marching with intent amidst immersive chords and subtle melodies. The B side hosts a trippy cut full of interplanetary glitches and melancholic harmonies. Drawing upon hints to the extraterrestrial, 'Marx' creates a dizzying swirl with glistening textures. Carl Craig was sold straight away: 'When Tom sent me his demo of 'Packard' I knew I wanted to release it on Planet E. The mix of looped electronics with soul of the piano brought me back to when I first heard the post-Disco classic 'Beyond the Clouds'. I can imagine the kids on The Scene rockin' hard to this.'

Goatherder is the seventh album from underground London producer Kristian Craig Robinson, AKA Capitol K. This ace manipulator of audio and punk warlord of groove has crossed a tapestry of styles and approaches with his own secret compass since 1998.

Along with everything from Chinese pop to the marching band music of the United Arab Emirates in his early musical vocabulary, the influence of rave, new wave, grunge, and noise-core would collide to create a bold new sound. His early studio experiments gave birth to his debut, Sounds of the Empire (Planet Mu, 1999) built upon a heady balance of samples and live sources that placed Capitol K at the forefront of the UK's electronic scene. The follow-up, 2002's Island Row, was released via XL Records, with lead single Pillow becoming a daytime Radio 1 crossover. Nomad Junk (2005) combined Asian field recordings into a vibrant psychedelic collage, while Notes From: Life On The Wire With A Wrecking Ball (2008) paid homage to London's squats and free anarchistic artistic spaces of which K was a part for many years. Andean Dub (2012) was an exploratory South American-influenced album of heavy synth laden cumbia sound system tracks.

The last seven years have seen Capitol K's stature as a producer elevated with his establishment of the renowned Total Refreshment Studio and recording work with musicians such as the Mercury Music prize nominated The Comet Is Coming, global dance act Ibibio Sound Machine (Merge), the pan-Arabic Flamingods (Moshi Moshi), Serafina Steer and her BAS JAN project, and contemporary folk artist Rozi Plain, among many more.

This latest work was developed and recorded in his native Malta, where he built a studio in a cave (a former goat stable). K gathered bamboo instruments collected around the world, including an ancient Quecha reeded pipe (his new-found lead instrument), and various resonating vessels and percussive objects including dry fennel storks collected from Punic troglodyte sites, and atonal flutes built from fresh cut farmland reed. Ritualistic improvisations took place over a series of seasonal visits, awakening genetic memory and plant communication.

Back in London the tracks were interfaced and expanded with post-industrial machine beat and bass guitar lock down. Homage is paid to New Age synthscapes, while a Spirit Jazz overtone arrives from K's recent years as the sonic muscle behind a plethora of luminous albums born in his Total Refreshment Studio. Goatherder follows on from the 2016 collaborative incarnation LOOSE MEAT and sonically abridges 2012's Capitol K album Andean Dub.

Outside of studio production and his solo repertoire as Capitol K, Kristian has toured as guest musician with multiple bands over the last 15 years, including Brazil's Cibelle (Crammed Discs), Archie Bronson Outfit (Domino) (whom he also co-produced), and recently Du Blonde (Mute Records).

His last project, Loose Meat, was a collaborative album of poetic dance music received lots of radio play in the UK and toured across the country for a year, performing a number of festivals.

He established the Faith and Industry record label which handled his subsequent releases and through which now he releases a number of other artists that he develops and produces.

And now for something completely different...CGI is extremely excited to present the Proof Of Concept EP from Shanghai-via-
Chicago's OSHEYACK. These are productions with a weight and freshness that we at CGI have not previously encountered. While on
a small US tour in June 2016, Osheyack played a set in Atlanta and thoroughly blew everyone in the room away with a mastery of
rhythm, sound, and arrangement that is uncanny.


We approached Osheyack after the gig for demos and what we received was as dense and inspiring as the live set. Words don't do this sound justice but it's perhaps most fun to close your eyes and imagine a demonic cirque-du-soleil-esque techno marching band stomping through the graveyard of your dreams and resurrecting all of the wasted souls to stomp on their
graves in a frenzied trance...

* Bristol's Joker has announced he is to celebrate 10 years of his pioneering Kapsize label with a special series of new 12' Joker releases, the second of which will drop this May.

* Over the past decade, Kapsize has put out some of Joker's most defining work, including the iconic 'Purple City' (produced with Ginz) — a track widely recognised as ground zero for Joker's purple dubstep aesthetic — and 2015 album, 'The Mainframe', as well as early records from Asa & Sorrow and L-Wiz.

* To be released both on special edition orange vinyl and digitally, Joker's second commemorative release lands in the form of 'Boat / Deploy'. A-side 'Boat' is gleefully maximalist, a playful accordion running alongside searing synths before a ominous bassline drops, taking us through his vivid and embellished creative world, while the cinematic 'Deploy' is another intense and larger-than-life riddim.

* To be released in June following the release of 'Anamorphic / Forever' in April, and 'Marching Orders ft. Footsie / Polka Dot' in May'.

Warm return once again... One of the most consistent and influential agencies to have operated in the 2000s, the collective continue to develop their original agency, events and record label, and things are heating up very nicely. Following soul-arresting releases from Elliot Lion and Face + Heel comes this four-track odyssey from Belfast's Lunar Orbit Rendezvous AKA LOR. Ready for take-off

Our mission is set with 'Mystery To The Viewer', but what is the main mystery Is it the gravity-defying thrust of our engines or the identity of the anonymous (yet well spoken) narrator Listen closely for clues amid the heavy pulsating chords as we break away from the earth orbit and plunge deeper into the stars.

'In This Detail' sees us hurtling further and further into the dark unknown. There's a deep chilling aesthetic at play here as LOR makes his 808s weep with the loneliness only a long-stay astronaut can sympathise with. In perfect contrast, the isolation is balanced by the direct and vital 'Oriole'. One of LOR's earliest projects, updated with all the skills and techniques he's learnt on labels such as Exit Strategy and Cin Cin, it's a vital composition that rises and rises as we engage hyperspeed through the cosmos. 

Finally we land back on our home planet to the marching momentum of 'White Light'. Almost stately in its pace and rhythmic stride, things suddenly take a turn for the intense as a warping bass siren triggers a much darker direction and a series of spasmodic kicks and heavily shelved filters. Welcome home...

* The second in Joker's trio of special releases to commemorate 10 years of his Kapsize label is to release this coming May.
* Over the past decade, Kapsize has put out some of Joker's most defining work, including the iconic 'Purple City' (produced with Ginz) — a track widely recognised as ground zero for Joker's purple dubstep aesthetic — and 2015 album, 'The Mainframe', as well as early records from Asa & Sorrow and L-Wiz.
* To be released both on special edition vinyl, A-side 'Marching Orders' features legendary grime MC and producer, Footsie, who goes hard over Joker's monstrous instrumental — think relentless, hyper-distorted club hydraulics — even acknowledging him on the hook; 'Oi Joker this beat's sick, crazy'.

* On the flip, B-side 'Polka Dot' is equally as tough, despite the dizzying melodies and gentle tones of the track's opening throws, landing as a crunching melee of textbook Joker sounds.

The third chapter in the vinyl installments on Gaze ill's Danish Cue Line Records is written by Belgian artist Zygos, Georgio Roumans. An unforgettable piece formed by 3 distinct original tracks plus an outstanding remix by Italy's most wanted, DPRTNDRP (D- Operation Drop).

The EP opens with the toxic symphony of 'Laicism'. By chest pressuring hits right from the beginning, we're pushed into another world where everything is moving though it feels like time stands still for a moment. Mellow melodies formed in layers of feedback alike sounds and endless reverberated stabs generate a persistent tension held tight by the static, marching drums. The title track 'Sudd' forms part 2 of the journey through Georgio Roumans' explorative universe. To think everything can move this fast yet keeping a minimal expression is beyond reality. From 8th to 16th to 24th notes - variations through the bass, percussion, and melody sections - a discreetly conducted progression is reached throughout the track. Accompanied by weird background soundscapes the sub bass takes the lead on the tight Halfstep- package of 'Tapered'. The drums are simple and hard, which is just what's needed to tame and control the strong movements from the sub. Super minimal for the sound system. Italian DPRTNDRP brings new life to 'Sudd', which awakens in a completely different light than the tempo- filled original. Strange sounds and rhythms, raw and dirty. DPRTNDRP makes the remix a must hear.

The vibe is intense from start to end, and the EP hits perfection due to Georgio's naturally alive style, and the clever remix from the ever boundary pushing DPRTNDRP. Signature sound, deluxe on 180 grams heavyweight vinyl!

So, after a little break we're back with a new release. This time we're joined by the multi-talented production powerhouse that is Swarm Intelligence (aka Simon Hayes). Landing heavy with four bruising techno cuts that each find their own unique way of taking your head off, EAR017 is a bumpy journey through darker club flavours. 'Flatlands' opens things up, reminiscent of the type of marching, granite-heavy Brum techno of old - this is minimal in construction but maximum in its impact. Move forward to 'Ground Up' where demonic, dissonant keys take the lead above a rattling midrange that sounds like a corrugated roof ready to fly off. Opting for cleaner, elastic drum patterns on 'Tingla', Hayes swaps tense for dense, with a LOUD take on steppy techno, that'll please fans of some of Blawan's earlier work. 'Skitz' starts out an a more dub tip with a wailing, paranoia inducing hook and snaking rhythms, eventually joined by more hard-hitting broken kicks, leading us comfortably into oblivion.

Astray is the Sublabel of Away, Berlin. Tracklist A Wild Hunt AA Sahara Pump Theory B Wild Hunt (Mark Broom Remix) BB Hell For Leather INFO H4L After Discrete Circuit kicked off ASTRAY, another offshoot of the Berlin party series AWAY, the other half of their joint venture AWAY Soundsystem is in charge for ASTRAY's third installment. H4L, the Berlin-based live studio project, explores some tougher, jam-driven experiments resonating from two decades of warehouse reverberation experience. INFO Wild Hunt EP The title track starts off the release with a dusty, stripped-down pursuit. Marching forward with impelling kick drums, H4L creates an overall organic groove incorporating percussive, distorted sound particles, glancing up in and out of the mix like misty voices. 'Sahara Pump Theory' follows a more robust approach driven by vivid stab sequences and gnarly acidic bass elaborating a vibrant exchange of flow and energy. One of these unfolding weapons that know how to tickle that genuine peak-time madness. Speaking of weapons, UK producer Mark Broom is no stranger to that discipline after hitting dance floors with his ensouled workouts for more than two decades now. Following his old-school compass by calibrating the essentials of groove and melody, Broom's remix of 'Wild Hunt' throws the originals' core parts overboard to empower his highly effective hi-hats as the driving force rocketing into a distant atmosphere. 'Hell For Leather' tops off H4L's package with an unexpected hit-and-run sonic attack. Whether the competing broken and off beats, the IDM rooted drum patterns or the leftfield yet industrial jazz design - this reckless trip is by no means an easy finish, more like a feral crash course about an (almost) forgotten principle: electronic music is either an adventure or nothing at all.

E.D.C wishes to explore electronic music through different universes where spaces, noises and textures are central to the creative process. His researches aim to experiment and think outside the box, allowing us to navigate through purposely-colored music and other worlds where Every Detail Counts.

In this first release, the reverberations in each track create a shaking outcome that warns about the upcoming epic adventure with the wind of indestructibility that the tracks blow in our direction.

Endless is the key to understanding the whole release. Electric from the first second, it explains the journey we are about to embark on. Dark and almost gloomy from the beginning, the break gives the impression of a light breakthrough, as if the way suddenly clears.

The City of Clones takes us to a heavy atmosphere, as if we were waiting in the middle of a fog for the untying of the plot, though the denouement remains uncertain.

When Nobody Cares is an experimental journey through unexplored landscapes, with the discoveries marching under our eyes, which contribute to create an experience of fullness.

Too Many Ifs reminds and completes the cycle. Chaotic on purpose, it unveils the encounter of an intriguing living shape.

Remixes from Ruede hagelstein & Amin Fallaha, Scuba, Julien Bracht and Tom (Alt-J) Hymn to the Night is the debut album from rising electronic post-punk duo, Lea Porcelain. The album was writt en and recorded over a two year period in Berlin's FUNKHAUS, a broadcasti ng house created under Soviet supervision that now houses the world's biggest recording studio. We are proud of what we have made and we have learned a lot through the process,' recall the band. The spectrum of the album is extremely wide.

Every song works together, playing with very different moods. We would describe it as atmospheric, cinemati c and melancholic'. Including the singles, 'Bones', 'Out Is In', and 'Warsaw Street' The song is rich in vibrant synthesizers and gentle vocals laced with percussion as lively as a marching band, creati ng a track as quixoti c as a lucid dream. - Stereogum

Ominous motorik kraut rumblings and the thudding electronic trickery of prime era Underworld. - Godisinthetvzine

Music-wise, we're thinking of smooshing together Joy Division with Echo & The Bunnymen (sure) coupled with the modern-downbeatness of The XX. So everything dressed in black basically. Brilliant stuff . - Killing Moon

An electronic duo from Frankfurt, Lea Porcelain have a dark, twisted yet oddly enti cing sound. - Clash Magazine

Two years after his last outing on Get Physical, Roland Leesker returns to the label of which he is Managing Director with a brilliant new track that comes with a remix from Cardopusher. Leesker has only put out a select few releases over the last 15 years-both solo and as DJ Carrera and R&R with none other than Ricardo Villalobos-but he has a truly fully formed sound. This tune has been doing serious damage in the clubs for a while now and makes you wonder why Leesker doesn't release more! Entitled 'Thunderstorm' it is seven minutes plus of moody and dramatic tech with heavy synth clouds, whining machines and turbulent drums all whipping up a storm. Manic keys and heavy chords come in and out as fizzing textures all make it a real synapse firing affair that is designed to arrest the attention of huge crowds, and it sure will do that. Venezuelan born Cardopusher has a diverse and experimental sound that takes him from techno to electro to acid to rave to house on labels like Super Rhythm Trax, Zone and BNR. Here he masterfully cooks up another frenzied track with spraying acid, heavy, marching and industrial drums and a real sense of rave energy that will dazzle as much as delight in any set. Finally, Leesker offers up his own 'Dschinn mix' providing even more raw energy. Angry drum rolls, stomping kicks and huge hi hats all piled up and force you onto action. It's a superbly metallic, in your face track to wake up a crowd in the late night hours. With this EP, Get Physical's sensational 2017 keeps on getting better.

San Francisco's Christina Chatfield brings her signature acid sound to god particle with 'The Circle' EP. 'Circadian' reflects and evokes the natural cyclical rhythm of the track as the pitch naturally rises and falls over a steady bassline and consistent tempo. A perfect track to draw the dancer deeper. A2.Black_Hole Steady prominent kick drums keep feet marching through crunchy, distorted sounds and clicking. 'Black Hole' is an otherworldly track that pulls you into the space and won't let you go..B1.Voyage is a visionary guest through alien atmospheres. Chatfield's signature rolling acid lines, panning synths and rapid hi-hats make this one a bottomless groove, perfect for peak energy..B2.Acid_Exhibition. Crisp hi-hats and a kick drum are quickly met by an intrepid acid line. Dreamy synths softly grow throughout 'Acid Exhibition", adding more atmosphere along with steady claps and a vocal sample.

No-one else makes music like this: devilishly complex but warm and intuitive, stirring together a dizzying assembly of outernational and outerspace influences, whilst retaining the subby funk-and-hot-breath pressure of Shackleton's soundboy, club roots.The result is an evolutionary, truly alchemical music — great shifting tides of dub, minimalist composition and choral song (Five Demiurgic Options), ritual spells to ward off the darkness (Before The Dam Broke, The Prophet Sequence), radiophonia and zoned-out guitar improv (Seven Virgins), even the febrile, freeform psychedelia of eighties noise rock (Sferic Ghost Transmits / Fear The Crown). Over the five years since Music For The Quiet Hour, Vengeance's vocal and lyrical range has rolled out across this new terrain. Throughout these six transmissions he's hoarse preacher, sage scholar and ravaged bluesman, blind man marching off to war, and exhausted time-traveller warning of impending socio-ecological catastrophe. Six dialogic accounts of our conflicted times, then, expanding beyond the treacly unease of the duo's early collaborative work into something subtler and more emotionally shattering — its shades of brightness more dazzling, and its darkness even murkier. "We almost didn't hear it when the foundations went."

This obscure and difficult to find LP is the Heath Brothers' debut album and is considered to be their best. 'Marchin'on' is unquestionably a masterpiece and is a much sought-after album. With its wealth of riffs, it is much appreciated by samplers and has been sampled by various contemporary artists. It was originally released in 1976 on Strata-East, a label at the time co-owned by Stanley Cowell. The album flows fluidly, meticulously in a warm rich blend with the four part 'smilin' Billy suite being a tour de force on its own. All suites have the same anchor in melody but each branches out to its own distinctive song varying from relaxed to light to dramatic and upbeat. The Heath Brothers was formed in 1975 by brothers Jimmy, Percy, Albert Heath and the much celebrated pianist Stanley Cowell in Philadelphia. The band later on continued with the brothers and alternate new members, with at one point the very talented 'Mtume' who is Jimmy Heath's son, joining. - Rachel Kinoti

The new ef ort from Brazilian label Easytiiger.Easytiiger__001 comprises 4 songs by 4 new acts - Mootron, BRZLN Air, Cacos and San Y Mayo. 'No Rave', a rebellion-track led by drunken synthesizers by Mootron, fl oats between bending arps, sharp leads and echoverb nukes land on a big fat drum kick and bright laser shots hi-hats - no rave! 'Detroit', by the young producer BRZLN Air, contemplates an ode to the whole history on electronic music that made the american city be known for what it is: drums, synths and love, a pure obsession. Cacos brings to life his exquisite dream-lover 'Sarah', a dark & mystic techno combined with elements of obscure chant rhythms - it's Sarah. San Y Mayo closes the 4-song compilation marching from the sea into the jungle - you might know what to expect but it doesn't mean it's there.

Musically and emotionally, Superpitcher's third full-length studio album, The Golden Ravedays is a one sound autobiography that exhibits the skill, feeling and style that the artist has honed over a period of twenty years, musically, and forty-plus-years, emotionally.

And full-length it is:

The Golden Ravedays is an epic album of 24 tracks that was released in January 2017 and is stretching over 12 respective chapter albums during a one-year period.
The sixth piece of The Golden Ravedays puzzle will be released on Hippie Dance in June 2017.

Number 6 of the series introduces two further tracks of the sound adventure that Superpitcher is taking us on this year.
Side A features Protest Song. If music is a way of transporting us to other places, Protest Song takes us to a desolate, scary and loveless environment, a burnt-down, burnt-out place where the flesh of its former inhabitants is smouldering, void of goodwill and kindness in a cloud of toxic and greedy smoke. It's all Kafka and Orwell and Suffering - the most twisted and eerie track so far in The Golden Ravedays saga. What is undeniably clear is an acute sense of regret and loss - a warning that it could have been avoided, had we only listened to our hearts and protested.
In the same vein on Side B we hear powerful Resistance. Produced after the Paris attacks of 2015 Superpitcher outdid himself with this strong message of Resistance. Where Protest Song paints a picture of under-worldly doom, Resistance's techno beat and insistent refrain sweeps us to the surface of the muck of hatred and intolerance we've politically been dumped in. A voice that seems like a trapped animal is calling out to us. What is it trying to say Is it crying out for help Is that animal all of us Resistance represents hope and encouragement and could be the perfect marching track to any demonstration against negative forces. Much needed in this age of bigotry where it seems like time has leaped backwards to a darker side of history. As for the dancefloor - Resistance is irresistible!

Lunar Disko presents...
Time marches on with two Various Artist EPs to celebrate the 20th release on Lunar Disko Records. Eight tracks encompassing the modus operandi of the label since the beginnings
Part 2 features another selection of Lunar Disko favourites, with the return of DJ Overdose and Raiders of the Lost ARP, while two of Ireland's finest in Tr One and Automatic Tasty complete this stellar line-up.
..and time is still marching on

Lunar Disko presents...
Time Marches On (Part 1)
Time marches on with two Various Artist EPs to celebrate the 20th release on Lunar Disko Records. Eight tracks encompassing the modus operandi of the label since the beginnings...
Part 1 features three Lunar Disko favourites in the form of John Heckle, 214, and VC-118A, alongside a label debut from upcoming Dublin producer Conan_ aka Conan O' Donnell. Detroit influenced electro and techno on the A-side, while the B-side transports the listener into deeper electro soundscapes.
..and time...is still marching on...

UNKR enslave dust-coated synthesizers, dilapidated drum machines and rusty FX boxes to craft 4/4 tunes for their impatient overlords. Their vision is clear - they will make techno, they will make house, they will make electronica, and you will listen and dance. It's not yet clear if BUNKR is the work of one frenzied human or many lazy individuals but we do know one thing - the ringleader is one James Dean, who previously released as Lost Idol on labels such as Pork Recordings, Nature, Final Frontier and Cookshop. Following a prolonged spell of writing music at slow tempos, Dean initiated BUNKR as a reactionary desire to speed things up. Too much time had been spent just sitting around - it was time to stop sitting and start dancing. True to their vision, here we have 'Cloud Chaser', a bubbling jam backed with a huge remix from Shan, who flips the mix with dramatic strings, sprinkles of magic dust and massive amen breaks. No less impressive is 'Juno's Revenge', a track you'd turn up on your headphones while taking a nice afternoon stroll on the moon, on a sunny morning after a long interplanetary rave. Igor Tipura delivers the rework, complete with a marching percussion workout and acid chemtrails that will send you right back to 1993.

Amsterdam's cult producer and DJ Steven van Hulle a.k.a. Awanto 3 likes his samples vibrant, his drums wobbly and his synths sweaty as a Detroit summer breeze. The MPC wizard returns to Dekmantel delivering his second, full-length album. Gargamel is arguably his most compelling piece of work. Spread over the course of nine tracks, van Hulle shows he's capable of serving up many different styles and genres in his ever-expanding arsenal.
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The Rednose Distrikt affiliate kicks things off with his friend and co-producer Darling. 'Azrael' builds over shuffling, infectious rhythms, a cluster of vocal stabs and heartfelt keys.
'This Is When We Met', 'Why Don't You' and 'Gargamelancholia' on the other hand, are aggressive, batty-jackin peak-time tracks embracing classic acid aesthetics, while 'Positive Negative' is a stretched-out house jam incorporating the tussle of wonky boogie and tribal bumps.

Van Hulle drops the tempo on 'Hooli Goose', taking slow release hypnosis turns while making a marching band sound cool. The dry drum machines, melted bass and schizo sounds of 'Ride The Dragon' will appeal to the freaks, and the dreamy 'Happy Bird' is a tripped-out set of ambient and lo-fi themes. Last but not least, Dexter enters the stage to do what he does best with 'Thick': showing who's boss of the 808 with a straight-up electro essential.

ZK Bucket lives in his own universe. His Universe is called ZAUN and with Concierge he is now no longer alone there.
"The EP is produced on a minimal setup: Jupiter 4 & Minibrute
on a 4-track cassette Recorder and comes in a hand printed Sleeve."Resup" is a controlled stomping chaos with reverb drowned Stabs - this opens the water for "Kon Tiki Sinkt", a hommage to explorers and death. "Grounded" supports the robots with its marching drums and "Fasen" wraps the package in an almost warehouse-fashion." ZK Bucket

Novoline makes music with equipment that was manufactured in 1988 and 1989, controlled via midi by two ATARI STs. As a sequencer he is using an algorithmic composition program that is 25 years old. With this program he creates sequences that he modulates live by shifting numbers and settings while recording. The process is improvised and contains a good portion of randomly generated melodies and drums, carefully selected and combined by Novoline. The Result sounds a little like something between a dark 80's sci-fi soundtrack and an endless marching New Beat Extended Version. Enjoy the ride !

Gear, Sniff, Chisel, Bump, Nosebag, Charlie, Toot, Chang, Bugle, Gak, Beak, Chabayo, Nose-Up, Chop, White Powder, Yayo, Showbiz, Hurry Up, Noriega, Industry Powder, Blow, Snow, White Lady, Nose Candy, Dancing Dust, Bolivian Marching Powder, The Devil's Dandruff, Tokyo, Bazooka, Chicken Scratch, Nose Rave, Personality Powder, Percy, Gear, Sniff, Chisel, Bump, Nosebag, Charlie, Toot, Chang, Bugle, Gak, Beak, Chabayo, Nose-Up, Chop, White Powder, Yayo, Showbiz, Hurry Up, Noriega, Industry Powder, Blow, Snow, White Lady, Nose Candy, Dancing Dust, Bolivian Marching Powder, The Devil's Dandruff, Tokyo, Bazooka, Chicken Scratch, Nose Rave, Personality Powder, Percy, Gear, Sniff, Chisel, Bump, Nosebag, Charlie, Toot, Chang, Bugle, Gak, Beak, Chabayo, Nose-Up, Chop, White Powder, Yayo, Showbiz, Hurry Up, Noriega, Industry Powder, Blow, Snow, White Lady, Nose Candy, Dancing Dust, Bolivian Marching Powder, The Devil's Dandruff, Tokyo, Bazooka, Chicken Scratch, Nose Rave, Personality Powder, Percy, Gear, Sniff, Chisel, Bump, Nosebag, Charlie, Toot, Chang, Bugle, Gak, Beak, Chabayo, Nose-Up, Chop, White Powder, Yayo, Showbiz, Hurry Up, Noriega, Industry Powder, Blow, Snow, White Lady, Nose Candy, Dancing Dust, Bolivian Marching Powder, The Devil's Dandruff, Tokyo, Bazooka, Chicken Scratch, Nose Rave, Personality Powder, Percy, Gear, Sniff, Chisel, Bump, Nosebag, Charlie, Toot, Chang, Bugle, Gak, Beak, Chabayo, Nose-Up, Chop, White Powder, Yayo, Showbiz, Hurry Up, Noriega, Industry Powder, Blow, Snow, White Lady, Nose Candy, Dancing Dust, Bolivian Marching Powder, The Devil's Dandruff, Tokyo, Bazooka, Chicken Scratch, Nose Rave, Personality Powder, Percy, Gear, Sniff, Chisel, Bump, Nosebag, Charlie, Toot, Chang, Bugle, Gak, Beak, Chabayo, Nose-Up, Chop, White Powder, Yayo, Showbiz, Hurry Up, Noriega, Industry Powder, Blow, Snow, White Lady, Nose Candy, Dancing Dust, Bolivian Marching Powder, The Devil's Dandruff, Tokyo, Bazooka, Chicken Scratch, Nose Rave, Personality Powder, Percy..... Daniel Wang

During the '70s, work days at Umiliani's Sound Workshop Studios were hectic; thousands of sessions were held in order to keep up with a very busy Italian movie industry: Hundreds of soundtracks alongside with music library were recorded and released on vinyl in very limited quantities for TV and film production use only. Those LPs are now proper collectors' items, extremely hard to find.

Filled with hypnotic bass lines, heavy drums and screaming fuzz guitars "Underground", the first LP of the fictitious group known as Braen's Machine, is one of the rarest and the most expensive of them all, always "reaching" sky high prices throughout the second hand vinyl market. A fast-beat jam with hammond scales and a twin lead guitar theme ("Flying") opens the A Side soon followed by "Imphormal", a classicfunk-beat-meetsfender- rhodes-and-psychedelic-guitar number. The music then switch to "thriller territories" with "Murder" which is based on prepared piano swells and a deeply hypnotic walking bass, reminiscent of the best Morricone's soundtracks for Dario Argento's movies. Two highly percussive songs complete the A Side: "Gap" is an improvised song with guitar and keyboards dwelling over an infectious drum rhythm while a marching snare and a vibraslap effect are the special features on "Militar Police".

The mood relaxes slightly on the opening of the B Side with a lazy jazz groove on "New Experience" but the rock influences are soon brought back on the following track "Fall Out". "Obstinacy" is all about keyboards with syncopated rhodes themes and distorted hammond sustained notes whilst the fuzz guitar is back again screaming through the left channel on the last song of the album, "Description". We could happly say that that was the golden age of the Italian music library. But who's behind the name "Braen's Machine" On the original cover the songs are credited to the composers Braen and Gisteri. Braen was a pseudonym often used by Alessandro Alessandroni, an extremely skilled and versatile musician, and one of Umiliani's closestcollaborators. He could write, conduct and arrange, he could sing (ever heard "Mah Na Mah Na"), he could whistle (ever heard Morricone's "For a fistful of dollars") and he could play almost anything: guitar, bass tuba, accordion, sitar and the list grows..... His first album "Alessandro Alessandroni e il suo complesso" (Sermi, 1969), had transformed the Italian library music from orchestral sound beds into the psychedelia we all love; the extremely fuzzy guitars are very "present" on "Underground" too. For a long time Gisteri's real identity was rather mysterious; often wrongly attributed to Umiliani. Gisteri was the pseudonym of Oronzo De Filippi, art name of Rino De Filippi, music supervisor to the Italian public broadcast company (RAI) between the '60s and the '70s. De Filippi composed other notable pieces such as "Riflessi" (Edipan, 1975) and "Nel mondo del lavoro" (Sermi, 1972).

De Filippi passed away few years ago but we were able to contact Alessandroni to talk about this LP. Remembering "Underground" recording session as one of the thousands he took part of, Alessandroni told us that this record was produced very quickly, in two days maximum. This was made possible by a team of wonderfully capable session musicians and the creative genius behind the mixing desk; this incredible combination helped to focus on the mood of each track even more. Unfortunately there are no liner notes but Alessandroni's memories and speculations, based on other music tracked in the same period at Soundworkshop by resident engineer Claudio Batussi, led us to identify this as the most probable lineup: Munari on drums, Majorana on bass, Vannucchi on keyboards and Alessandroni himself on guitar. For this reissue the sound has been restored and the cover art reproduced exactly as it was.

Lopasura again delves into picturesque soundscapes drenched in emotion and melancholy, illustrating a typically dystopian setting for its latest offering. The A-sides opening track by Mark Forshaw is lean and mechanical in its make-up with an off-kilter combination of thick, stuttering bass stabs and percussion; creating a rather menacing undertone.
As a stark contrast, 'In the Smoke' by The Acid Mercenaries is a nine-minute tracky, steam train of clean and crisp scuttling hi-hats and razor-sharp percussion that dance around the relentless 303 acid line and beautifully soft 808 kick to devastating effect. On the flip side, a thunderous bass drum and freakish electronics stalk the discordant and arpeggiated synth that opens 'Hierarchy of Heritage', evolving it into some kind of hellish themed marching tune for the underworld. Frey then rounds off the EP with a typically rugged yet deliciously intricate piece with Gdn, effortlessly maintaining an intelligent groove throughout.
'Connect Four' is a rather fitting title for this EP, given the undeniable chemistry between all the tracks in how a story is told and tension is created; as Frey has done with the two previous Lopasura releases. The introduction of three debut artists on this release has paid off however, nestling comfortably into the label's aesthetic without compromising on the quality.

Max Herre hat ein MTV Unplugged aufgenommen. Das rückt ihn in eine Tradition mit Udo Lindenberg, Eric Clapton, Lauryn Hill, Jay Z. Mehr noch als ein konsequenter Karriereschritt und popkultureller Ritterschlag aber ist das Konzert eine Rückkehr zu seinen Wurzeln. Denn lange bevor er als Texter und MC einer ganzen Generation eine neue Stimme geben sollte, war er vor allem der Junge mit der Gitarre, der einfach nur spielen wollte. Das Gefühl, das er als 15-Jähriger im Proberaum suchte, hat er nun im 'Großen Saal'des altehrwürdigen Funkhaus Berlin Nalepastraße wiedergefunden.

Die Geschichte dieses besonderen Abends beginnt vor knapp 25 Jahren in einem Keller in Stuttgart-West. Dort jammte er mit Freunden zu dem Funk, Soul und Reggae, den er liebte - und legte, ohne es zu wissen, den Grundstein für das, was da kommen sollte. Zwei klassische Alben mit Don Philippe und DJ Friction als Freundeskreis zum Beispiel, die sich nicht nur weit über 500.000 mal verkauften, sondern eine ungehörte Musikalität in die deutsche Rap-Landschaft einführten. Drei Soloplatten, die den Bogen spannten von der '1sten Liebe' HipHop zu fragilem Folk im Stile eines Singer-Songwriters (und zurück). Eine Zweitkarriere als Labelbetreiber und Produzent. Und dazwischen immer wieder Auftritte, bei denen all diese Erfahrungen und Einflüsse auf fast magische Weise zusammenliefen.

Max Herre hat Rap immer in einem Bandkontext gedacht, HipHop stets in einem Kollektivgedanken gelebt. Das war Anfang der Neunziger so, als er als Kind der Kolchose seine ersten Live-Auftritte in süddeutschen Jazzclubs hatte. Das war später so, als er aus Freundeskreis die FK Allstars erwachsen ließ und mit ihnen über die größten Festivalbühnen des Landes tourte. Und das ist heute nicht anders, wenn er wie 2012 auf seinem fulminanten Gold-Album Hallo Welt! alte wie neue Inspirationen zu seelenvoller Rapmusik mit Ewigkeitsanspruch bündelt.

So ist es nur konsequent, dass für MTV Unplugged / KAHEDI Radio Show zahlreiche Featuregäste und Freunde nach Berlin gekommen sind: wichtige Weggefährten wie Joy Denalane, Afrob, Sékou, Gentleman, Samy Deluxe, Patrice, Sophie Hunger, Philipp Poisel oder US-Ausnahmesänger Gregory Porter, aber auch das 26-köpfige, eigens für den Abend zusammengestellte KAHEDI RADIO ORCHESTRA. Unter der Führung des musikalischen Leiters Lillo Scrimali kommen so mehr als 40 Musiker aus drei Generationen zusammen. Produzent Samon Kawamura und Host Fab 5 Freddy, einst erster Moderator der wegweisenden HipHop-Sendung Yo! MTV Raps, ziehen im Regieraum zusätzlich dramaturgische Fäden.

'Ich bin sehr dankbar und glücklich, dass ich für dieses Projekt mit einigen der besten arbeiten durfte: viele davon langjährige Freunde und Wegbegleiter', so Max über das mehr als zweistündige, komplett akustische Konzert. 'Sie alle haben nicht nur ihr Spiel und ihre Fähigkeiten eingebracht, sondern ihr Herz und ihre musikalische Vision.'

Den passenden Rahmen bietet das Funkhaus Berlin Nalepastraße am Köpenicker Spreeufer. In dem ehemaligen Hauptsitz des DDR-Hörfunks, in dem schon Barenboim und die Bartoli, aber auch Portishead und Sting gearbeitet haben, vereinen sich Feierlichkeit und funktionelle Strenge auf ganz erstaunliche Weise. Max Herre hat diesen geschichtsträchtigen Ort für MTV Unplugged / KAHEDI Radio Show neu erdacht, indem er seine ursprüngliche Funktion als Aufnahmeraum unterstrichen hat. Vom Publikum umgeben spielen die Musiker in einer 360°-Konstellation zueinander und empfinden gemeinsam nach, wie in den siebziger Jahren Soulmusik gemacht wurde.

MTV Unplugged / KAHEDI Radio Show ist ein erlebtes Experiment mit offenem Ausgang und maximaler künstlerischer Freiheit. Eine kollektive Verneigung vor Soul, Jazz, Funk, Reggae und Rap. Und die in Musik gefasste Botschaft, dass Zukunft stets auch ein Stück Vergangenheit in sich trägt.

Zumindest, wenn sie so klingt wie die Musik von Max Herre.

Kill Frenzy, our Belgian booty-loving Jean-Claude Van Damme look-alike returns with his latest ode to the female form. It never ceases to amaze us that the crew member with the tightest pants consistently turns in some of nastiest ghetto funk.

Whilst radio producers will be quaking in their boots, fans of his crunkin' creations will be singing 'Tongue n Lick' for months to come. A summer hit for the dirtybird crew its now set to make your winter walls sweat. Taking an even heavier path, Kill Frenzy brings together classical piano, lazer-edged synth, marching snares and a bulbous bassline on the epic, Naked Piano.

Hailing from Dubstep's home town of Croydon, Wheel & Deal Records introduce Surge. With a signature deep and base driven sound you'll come to recognise instantly, trust us when we say, you'll be hearing a lot more from this guy.'Leech' starts us off with a hauntingly atmospheric vocal track featuring vocalist Phxis. Sub heavy with marching beats and harmonic tones, this is a perfect mix of angelic vocals, and hard metallic beats. With exclusive support from N-type & Walsh.'Swaying Mantis' sounds exactly as you'd imagine. Intelligent beats, heavyweight and dramatic, you may have heard N-type starting many of his sets over the summer with this one. Unapologetically bass driven with relentless sway this one will get in your head and stay, in a good way!