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Art is a matter of different phases and influence. The artists' core reaches out like heat waves. And very rarely do these artists' core merge like Brigitte Fontaine and Arseki Belkacem have. Their Saravah Era lasted ten years (1969 to 1979), ten years of "folle sagesse" (crazy wisdom), above all genres and song limitation.

"Le plaisir secret que donne une chanson, dessin à la craie sur le mur de tes sons" (the personal delight within song, a chalk drawing on your wall of sounds) whispers Areski, right after Brigitte's voice on the penultimate song of the double album "Vous et nous". Released in 1977, this free flowing record contains 33 songs, it's their 6th album after "Comme à la radio", "Brigitte 4", "Je ne connais pas cet homme", "L'incendie" and "Le bonheur", and it continues to spread the wide and generous spectrum of the couple fully blossoming talent. Electronic experiments, North African trance, refined acoustics and medieval drones gracefully blend with the acid and candid tongues of the singers, surprising us each step along the way. The making of this record was also full of twists and turns. It started out as a solo effort by Areski at Jean-Pierre Chambard's studio. Little by little, as Areski was filling tapes with poems and improvised skits, Brigitte would sneak into the studio at nightfall, adding her voice here and there, her whispers then became screams, giving fuel to the fire in a total blaze, a surreal blaze. The solitary work ("je") thrived to become us ("nous") and you ("vous") ...

Benjamin Barouh, June 2018

Martin Buttrich, a name synonymous for decades with expertly curated sonic productions, has had a career as long as it has been prolific. From youthful productions as an 18 year old under the alias 'X-Rotation', to his 2010 debut album 'Crash Test' and its follow-up 'Collaborator, Vol. 1' in 2016, he is an artist who has constantly evolved. Now he's back to showcase his latest EP 'Northeast / Southwest' on Planet E, due for release on 1 February. 'It's been 11 years since my last full release on Planet E and I am so happy to be able to kick off 2019 in style and return to my spiritual home. I spent the last few months working on these tracks at my studio in Barcelona and am looking forward to sharing them with you'. - Martin Buttrich The opening track 'Northeast' sees punchy stabs interlace with a shifting melodic bass, both dancing playfully over and under shuffling snares and hats which carry the listener from start to finish. 'Southwest' continues on with a bouncing percussive groove that provides the platform for a canorous bassline and string melody to emerge.

The compilation album The Best of the Guess Who is the ultimate collection of the best songs The Guess Who recorded in the '60s and early '70s. The multi-talented Canadian band created a masterpiece by recording their single hit "American Woman". The 11 track album shows a versatile band, starting with the keyboard hook and guitar accent of "These Eyes". Other Guess Who classics included on this album are "Laughing", "Share the Land" and "No Time".

The Guess Who is one of Canadian's most successful band's, originated in 1965. Fifty years later they're still performing live, with founding member drummer Gary Peterson sitting behind his kit.

The Best of the Guess Who includes an insert and exclusive poster.

After over 100 million album sales the Backstreet Boys return newly signed to RCA Records. Formats are double LP (1st Feb) and CD (25th Jan). Includes the singles "Don't Go Breaking My Heart", "No Place" and the Ryan Tedder/Shawn Mendes penned song "Chances". Radio support across R2, ILR network, plus ad campaign. Video plays at Vevo and MTV. Ads, features, interviews and reviews across all press. Online/social media activity. Recent TV performances have included Strictly Come Dancing, Loose Women, This Morning, Lorraine, ITN News, 'Stand Up To Cancer'. Sold out June UK arena dates. Poster campaign and database mailout.

Massturbator was originally recorded 1995 in Bizz O.D.'s kitchen in Brooklyn, New York. This hardcore acid 12" went straight to number #1 of the CMJ techno charts back in the days and has not lost any of it's Acid-Punk power. The four tracks are somewhat of a blueprint for bands like Animal Collective's hyper-jazz or Sleaford Mods proto-punk. They mentioned Massturbator in interviews as an inspirational force. For most DJ's too fast, too hard, but thanks to modern technology you can always pitch down 30bpm to please some fat ass, old, Berghain crowd. Jack Off and hail mAssturbator!

Sit down in your comfiest jawn, strap those noise-cancelling jawns on and prepare for those jawns in your eye sockets to tumble out your head when you hear this collection of thumping jawns whipped up by Philadelphia's BPMF. One half of legendary electro duo Synapse with John Selway (who he co-runs the equally-esteemed Serotonin imprint with), BPMF has been churning out no-nonsense electro smangers and experimental techno since the early 90s. Currently he holds the title of Eastern Pennsylvania's premier live-PA electro dad while also running his own label, Schmer. Various Jawns is exactly that; four varied jawns packed on one plate. 'Tell Mommy Bye' is an electro ripper in the true American lineage while 'Trunq' and 'J'pn' are lighter, more noodling affairs. This plate's entrée, 'House of Jawn', is a fourteen-minute knob-twiddling trip through the twisted fever dream of a raver long past. Thankfully our esteemed producer has given us a respite from the beatdown about halfway through. Drop the needle there to start the adventure at the Lower House of Jawn if brevity is your thing, man.

"It's been nearly five decades since Joe McPhee assembled a group of musicians to perform the weekend concerts that would become Nation Time, his debut LP. It was December 1970, thirty-one-year-old McPhee was inspired by Amiri Baraka's poem 'It's Nation Time,' and the students at Vassar College didn't know what hit them. 'What time is it?' shouted the bandleader. 'C'mon, you can do better than that. What time is it?!'

"The music on Nation Time came out of the fertile, but little-known creative jazz scene in Poughkeepsie, New York, McPhee's home base. Two bands were deployed, one with a funky free foundation featuring guitar and organ, the other consisting of a more standard jazz formation with two drummers and the brilliant Mike Kull at the piano. Across the concert and the next afternoon's audience-less recording session, the band was ignited by McPhee's passion and his gorgeous post-Coltrane / post-Pharoah tenor. On 'Shakey Jake,' they hit a James Brown groove filtered through Archie Shepp, while the sidelong title track is as searching and poignant today as it was during its heyday.

"Originally released in 1971 on CjR, an imprint started expressly to document McPhee's music, Nation Time has a sense of urgency and inspiration. Additional material from those December days would later appear on Black Magic Man, Hat Hut's first release. In fact, the first four records on this seminal Swiss label all featured McPhee.

"Nation Time was largely unknown a quarter century or so later, when it was first issued on CD through Atavistic's Unheard Music Series. On Corbett vs. Dempsey, we reissued the album along with all known tapes leading up to and around it as a deluxe box set, but the standalone LP has long remained incredibly rare. Now is the time for a new generation of freaks to lose their shit when settling into the cushy beat of 'Shakey Jake' and answer McPhee's call with the only appropriate response: It's NATION TIME."

– John Corbett

Continuing on the thematic thread of soundtracking an imaginary short movie, label founder DJ Tennis aka Manfredi Romano, asks some of the greatest contemporary club producers to take on the task of interpreting this idea in their own unique style. Romano explains that 'the score is a translation of our imagination, memories and emotions into music, with no protocols.' Opening the soundtrack, Vatican Shadow swaps his thunderous techno for a more cosmic and gentle approach, setting the tone for an equally serene soundscape from London based DJ and producer Midland. Japanese Future Terror head honcho, DJ Nobu, layers dense cerebral textures exuding the punk spirit of Life and Death. A similar rule defying energy can be heard by Ninos De Brazil who fuse carnival percussions with straight up old school techno. Both Scuba and Uchi bring the futuristic synths of a space age tomorrow we've all been waiting for. German producer Isolee interprets the task with his minimal productions and Italian producer Cosmo closes the compilation with Psychedelic Soundscapes turning into a distorted gabber missile. As the decade edges closer to it's decade anniversary, Romano proves yet again that Life and Death is a label which evolves through each reincarnation of itself, never failing to impress.

New York residing DJ/Producers John Barera & Will Martin update their longstanding body of collaborative work with their first 2MR release since last year's exceptional 'Proceed To The Root' sophomore album... And it might just be their best work to date. Continuing the celestial theme of their last EP 'History Of Space'; the EP is the result of a whole new writing technique and heller time spent jamming on Will's Chroma Polaris synth. Comprising four tracks that simply ooze machine soul and loose-limbed groovemanship, 'Life, The Heavens & The Earth' is an ageless document that digs deep into the foundations while staring out into the cosmos. The tone is set by 'The Meaning'. Outer planetary electroid savoir faire; its crisp breaks are countered by the bulbous textured bassline throughout. It's followed by the title track 'Life, The Heavens & The Earth'; a spatial excursion built around a classic break and coloured with poignant arpeggiated cascades. Deeper into the EP we glide to strike warehouse gold on the venomous acid of 'In The Depths Of Madness', a layered analog jam that writhes and slinks dynamically in the spirit of Pierre, before closing with a track the duo feel is their most accomplished composition to date: 'Searching For Time'. Not just a title we can all relate to but a poignant emotional workout that touches your soul in the same way you first heard the instrumental of Information Society's 'Running'. Beautiful emotive electronica from a duo who keep getting better with every release. The journey to the root continues....

Pi Gao Movement presents their first and long awaited release of the HAdES (Humanoid Advanced Engineering Society ) Network concept on vinyl. Originally released as a digital download, Descendants of Starfish Prime introduces Majestic 12 as a genre - blending mavericks of electronic music. Much like the name implies, Descendants takes a still landscape and captures it in time as it is violently uprooted, stripped to it's base elements and becomes something foreign, something unimaginable, something beautiful. This four song release takes the listener through a journey offering little consolation and no apologies; using varying tempos, patterns, structures, and vocals as operators on a clean canvass. What is the HAdES Network Series The HAdES or Humanoid Advanced Engineering Society Network series will be a collection of works from various artists presenting obscure and diverse facets of electronic music. Man creating machines to replace the human being. Who is Majestic 12 Majestic 12 is not a who, but a what. There are no names attached to this conceptual group. It is a cluster of concepts that have been carefully selected through experimentation. Strains have been extracted, combined, and developed

Alter follow on from the bilingual dark ambient theatricals of Liberez with this four track EP from veteran Hamburg producer Christoph De Babalon.

As an affiliate of Digital Hardcore, Fat Cat and the recently founded V I S, CDB has tirelessly explored the intersections of breakcore, illbient and drum and bass. His work is at once uncompromising yet stylish - broken, punishing rhythms collide with dreary, doom-laden melodies and those eerie in-between spaces of vintage Unit Moebius or Deutsch Nepal. With Hectic Shakes he delivers a meditation on the 'inner abyss', the sort of abyss that lulls the listener into his sound world with next to no resistance.

'Shakes and Shivers' fixates itself on deceptively playful grooves with eerie, nightbus-to-nowhere atmospherics whilst opening cut 'Harakiri' manages to distort familiar jungle tropes into something even die hard devotees of the sound will find fresh. The EP closes with what we can only describe as a homage to 90s ambient techno in a ruff, post-hardcore fashion. Skittering drums weave in and out of longing, futurist synth lines and enough breakdowns to satisfy the dance floor.

Pete 'Bassman' Bain, one of the founding members of the UK cult psych rock band Spacemen 3, formed Alpha Stone after Spacemen 3 and his other band The Darkside split up in the mid-nineties. In 1996 the band recorded the album 'Stereophonic Pop Art Music' and it was released on Bomp! Records on Compact Disc. The album hasn't had a 'proper' vinyl release until now, 2018, when Hoga Nord Rekords continues their collaboration with Pete Bassman by releasing the album.

You can clearly hear that Pete Bassman was the driving force behind Alpha Stone; fuzz, synthesiser -sweeps, programmed drums and processed vocals are the cornerstones in Alpha Stone's sound. Raga-like mantras, heard in Farmer C, lies track to track with more percussion driven grooves and psychedelic pop oriented songs. The album's sound has obviously survived the 20+ years shelved in obscurity and proves the 'Drugby' sound still vital!

It's always hard to sum up a bands particular sound in a few words, but you could say that if you put guitar and bass, synthesisers, a drum machine, and Julian Copes record collection in the hands of an alien, you've got Alpha Stone!

Following on from one of the most sought after reissues of recent years 'MUSICA PARA EL FIN DE LOS CANTOS' on Berlin's Cocktail D'amore, Iury Lechs debut LP 'Otra Rumorosa Superficie' is made available for the very first time on vinyl launching the reissue division of London based Utopia Records set up in 2015 by Alexander Bradley.
This cassette only release from 1989 is a minimal masterpiece practically unheard until now. Arguably a more complete album than '...De Los Cantos', originally composed for two short films 'Final Sin Pausas' and 'Bocetos Para Un Sueno' as a full score, the arrangement is a beautiful listening experience spanning through ambient, meditational and cinematic minimalism of real depth, romanticism and sincerity.

Iury Lech is a Ukrainian born multidisciplinary artist, whose main focus now is as the curator of 'Madatac' a festival based in Madrid focused on new media art, video art and audio visual technologies which has featured the work of Brian Eno amongst many others.
During the late 1970s and 80s he rose as a pioneer within a moment focused on electronically generated audio and visual media. Drawing on the ground gained by Minimalist pioneers like Steve Reich, Terry Riley, and Philip Glass - built from repetitive rhythm and sheets of rippling resonance, drone, and ambience, Lech's work of the period is so striking and beautiful, that it seems shockingly unjust that it was overlooked until now.

The album comes in 180 gram vinyl edit form in deluxe sleeve.
Utopia Originals sets out to promote and reinvigorate music and artists in the most authentic way possible.
'OTRA RUMOROSA SUPERFICIE' has been remastered from original master tapes at Central Dubs, Bern Switzerland and the original artwork licensed through Argentine visual artist Pablo Siquier.

Geelriandre/Arthesis is named for the pieces that fill its two sides. Geelriandre, realized on an ARP 2500 synthesizer in 1972, featuring Gérard Fremy on prepared piano, for whom the piece was originally composed. Arthesis, realized using the University of Iowa's Moog in 1973, comprises the full duration of side B.

Eliane Radigue has received much deserved praise for her transcendent composiitions for tape, synthesizers and acoustic instruments. Her work is deep, slowly changing and timelessly resonant with timbre so dense you can listen through the sound to find infinity. Accute physicality, overtones and psychoacoustic activity fills your space, follows you, grounds you, pulls you in or lets you go. It's all here/hear.

Deep in the Romanian wilderness, beyond the foggy wastelands and the drab greyness of the metropolitan district you can find the base of two musical wizards who invoke the spirit of the past to transmit a very modern interpretation of their nation's musical traditions.

They are known as Livio & Roby and they have been putting their own supernatural twist on house and techno for the past 10 years. Their connection with the global electronic music movement has been channeled via highly influential outlets such as Desolat, VIVa, Saved and Fumakilla. While their physical presence has been felt in a myriad of venues from Buenos Aires to Detroit, and across much of Europe. From dynamic DJ sets and innovative live performances to album projects and a constant flow of cutting edge, dancefloor-based productions the duo remain one of their nation's leading lights in the field.

The tribal rhythms, inspired by Romania's colourful history, penetrate your psyche: the organic instrumentation lifts your spirit; flutes and vocals combine with delicate chimes, while groovy basslines and solemn melodies create a magical concoction. It's a formula that caught the ears of their early supporters, Steve Lawler signed them up to VIVa Music and Berlin stalwart Woody introduced them to the city's music scene via his highly-respected Fumakilla label.

Domestic Exile are proud to present the devastatingly deplorable and malevolent recordings (that are sure to corrode yet electrify your ears) by Glasgow's very own KLEFT.

KLEFT aka Vickie McDonald is rooted in and has actively propagated the underground DIY radical queer punk and feminist movement here in Glasgow. Their projects have included the skull crushing sludge doom of Cartilage, the unflinching and infamous multi- membered hard core stars that were DIVORCE and the sacrificial, druid drone glitch of MOURN. Alongside these projects they have uncompromisingly disrupted, motivated and facilitated collective endeavors to take down the capital power structure of the dominant system of patriarchal club venues and abhorrent fuckers in this town.

For this record 'H+ Sexualis', KLEFT explores the neo-modern space where flesh is left behind. Negotiating, analyzing and tearing to shreds the relationship and balance between flesh and technology. KLEFT's expansive and palpable sonic offerings delve into themes of transhumanism and body hacking and seep into our collective skin begging the question; can flesh ever be created digitally. Does a lack of physicality alienate human experience in a post transhumanism society Are we all destined to be skinless yet digitally connected Will the body become superfluous Toward "the utopian dream of the hope for a monstrous world without gender," as stated on Donna Haraway's essay ''A Cyborg Manifesto.'

From the opening track 'Ossein' the listener grasps a foreboding lethargic build up, lurking out of the spatial ritualistic shadows into a sea of suffocating nothingness. A void where there is no gravity. Skeletal and brittle shattering rhythms which echo DMZ / Skull Disco dubstep alongside the more frozen, glacial ominous explorations of grime are often felt proving KLEFT is an artist whose inspirations run deep and wide and generally exist in the darkest recesses of our subconscious. These fearful, disjointed rhythms are set against weightless atmospheric oscillated synths, as if roaming through bleakly opaque, claustrophobic narrow corridors on a first person survival horror video game such as Resident Evil.

Moving through to 'CMBR', KLEFT's dissonant, degrading soundscape ferociously ascends. The resilient kick drum is propulsive and pulverizing akin to 'ardcore tekno - or intense gabba if you have the guts to adjust the tempo up to +8 - aesthetics that overwhelm and agitate finally revealing it's grotesque biological / amorphous bio structure. Elevating the repetitive 4/4 kick to a destructive, distorted banger of a track as layers of converging atonal noise and sound design simultaneously further enhances the sense of imminent radioactive contamination.

Next is 'Writhe, Squirm, Broken' continuing the convulsive, nauseating permutations of the prior track but reconfigured like a mangled, gruesome Cronenberg-esque parasite that has infiltrated an open wound, excruciatingly feeding off of the inner anatomy of it's hosts body from within. Repulsively reformulating the shape and dimension. The intro is akin to a panic stricken bouncy ball contracting and expanding, the spring reverb building momentum and traveling further away in distance and speed.

'Hackfleisch Deluxe' is a muuurrderous stomper and is one of the more grime / bass orientated tracks that deconstructs and disrupts the tempo familiar to sub-low producers on Black Ops / Jon E Cash / DJ Dread D. The crawling, plummeting frequency of the synth is a nauseating rush of coagulating blood to the heed; a deep throbbing sensory depravation in sharp, paradoxical contrast with the driving harmony layered on top which proves to be infectiously addictive. Furthermore are splintering programmed vocal samples that gives a sense of artificial disorientation, mind over matter, a possible hint at our evolving sentient cognition within a nightmarish simulated, augmented reality

Second to last we have 'Keratin' which is filled with the near fatal dissolving thud of Djax-Up acid that gives the impression that you're a biologist peering through a microscope into a petrie dish and witnessing the rapid and furious genetic cellular replication of bacterial and viral organisms.

Culminating in 'Bruised and Bleeding Hands' where the squashed density of a deflated and depressurized helium filled balloon and elastic umbilical cords, barbed wire and copper wires grind n' coil around the lens of a zooming camera. Taking no prisoners, this is a punishing grime weapon. A phat, surgical kick drum bulldozes its way thru causing carnage, syncopated punching snares after every rave stab and dizzying third beat. It won't be long until ye hear this on Silver Drizzle's youtube channel in the near future.

This record transports us to the hyperkinetic mutation scene on the cult cyberpunk film Tetsuo The Iron Man where the organic flesh / mechanical rust of the Iron Man metamorphoses with the Metal Fetishist during the rebirth sequence and we say 'LONG LIVE THE NEW FLESH!''.

Lance Ferguson's Raregroove Spectrum is a collection of newly recorded versions of classic funk, soul, jazz and latin vinyl rarities, which features some of Melbourne's finest musicians across the album, including past and present members of The Bamboos, The Putbacks and Hiatus Kaiyote.

As the man at the helm of many musical projects over the years including Cookin' On 3 Burners, Menagerie & his solo project Lanu, Lance is no stranger to the art of imaginative musical re-interpretation, be the material soul, funk and jazz based or the works of James Blake, Roxy Music and Prefab Sprout.

For Raregroove Spectrum, Lance explains that much of the inspiration for the re-works comes from his experience as a DJ, "Some of these versions can almost be looked at as DJ re-edits, sometimes we're extending what may be a really short track into something longer, or teasing out the elements in a song that really make it work on a dance-floor. It's essentially what someone does with a club re-edit, except we went the extra step and re-recorded the whole thing with a live band".

In other cases, top-shelf classics have been re-imagined in different guises: James Mason's 'Sweet Power, Your Embrace' as a sun-drenched Samba, or Anderson Paak's sure shot tune 'Am I Wrong' given an 1980's style Boogie/Jazz Funk makeover. Stir into this musical gumbo stew the raw Deep Funk of 'Egg Roll', the swinging Mod R&B of Googie Rene's 'Smoky Joe's La La' to the epic, widescreen Jazz-Funk of Pleasure's 'Joyous' - Rare Groove Spectrum provides new perspectives on the obscure to the well-loved, from old-school to new sounds - this is rare grooves re-grooved... beautifully.

Jac Berrocal, David Fenech and Vincent Epplay return with Ice Exposure, their second album for Blackest Ever Black. A sequel and companion piece of sorts to 2015's Antigravity, its title couldn't be more apt: sonically it is both colder, and more exposed - in the sense of rawer, more volatile, more vulnerable - than its predecessor, capturing the combustible energy and barely suppressed violence of the trio's celebrated live performances with aspects of noir jazz, musique concrète, no wave art-rock, sound poetry and spectral electronics all interpenetrating in unpredictable and exhilarating ways. While there are moments of great sensitivity and even a cautious romanticism, the prevailing mood is one of anxiety, paranoia, and mounting psychodrama: close your eyes and Ice Exposure feels like a dissociative Hörspiel broadcasting from the seedy backstreets of your own troubled mind. Before he picks up an instrument or opens his mouth, Berrocal's unique and compelling presence can be felt: a combination of studied, glacial cool and anarchic, in-the-moment intensity that has served him well over a long and storied career. It was honed during his time as a theatre and film actor, and in the 70s Paris improv scene, it powered his influential Catalogue group in the 1970s, numerous seminal, sui generis solo sides, and far-sighted collaborations with the likes of Nurse With Wound, Lol Coxhill, Pascal Comelade and James Chance which have seen him come to be valorised by two generations of avant-garde agitators and eccentrics. Now in his eighth decade, it comes with an added gravitas, perhaps, but no less energy or vitality. On Ice Exposure, his lyrical, instantly recognisable trumpet playing is a key feature - see especially the ghostly, dubwise take on Ornette's 'Lonely Woman', the dissolute exotica of 'Salta Girls', and the sublime echo-chamber soliloquy 'Opportunity'. But more often it's his voice that commands centre-stage, whether casually discharging surreal poetic monologues or moaning in animal despair - a vocal tour de force that transcends language and culminates in the Dionysian frenzy of 'Why', Berrocal's half-spoken, half-howled exclamations jostling with David Fenech's slashes of dissonant guitar, over Badalamenti-ish, panther-stalk drums. Fenech's origins are in the mail-art scene of the early '90s, when he led the Peu Importe collective in Grenoble, and since then, in addition to his own recordings he has worked as a software developer at IRCAM and played with Jad Fair, Rhys Chatham and many others. Together with Vincent Epplay he is responsible for Ice Exposure's inspired arrangements and vivid, vertiginous sound design. Epplay is a visual artist and composer with particular interest in aleatory composition, concrete, and the reappropriation of vintage sound and film material. He and Fenech fashion a remarkable mise-en-scene for Berrocal to inhabit, one that embraces cutting-edge electronics while also paying homage to the best traditions of outlaw jazz and libidinous rock'n'roll ('Soundcheck' invokes the brutish spirit of Berrocal's hero Vince 'Rock N Roll Station' Taylor). On 'Blanche de Blanc', Berrocal's voice is framed by a groaning, ghoulish orchestra of industrial drones, while 'Equivoque' evokes the most humid and hostile Fourth World landscapes and 'Panic In Surabaya' lives up to its name, a hectic, pulse-quickening concrète collage that leaves you gasping for air. This is a searching and singular trio operating at the absolute peak of their powers, with an interplay that transcends studio and stage and occurs at an almost telepathic level. Ice Exposure is a triumph of that group mind, an underworld dérive as life-affirming as it is unnerving and psychologically precarious.













Panic In Surabaya

ad ass a-side with this long progressive tune of acid cheap kick... that can sound really good on a sound system, but soudns so low-fi on a HiFi^^... The flip offers 2 jewel of minimalItalian hardtek. A rising style that gonna boost the dancefloor up to crazyness ! MASSIVE IS THE LAST TUNE !! SOLID SHIT BABY !!

When Dunham Records/Daptone producer and musician Thomas Brenneck first heard the close family harmonies of the Sha La Das he had a revelation; he knew he had to get it on tape.



Direct from Staten Island, the four Schaldas, father Bill and sons Will aka Swivs, who also toured the world playing keyboard for Charles Bradley and his Extraordinaires, Paul of Paul and the Tall Trees and Charles Bradley and his Extraordinaires, and Carmine had come into the studio in Brooklyn to record background vocals on Charles Bradley's Victim of Love. It was a passion that drove Brenneck from the very beginning.



'Hearing them sing together in the studio was incredible', says Brenneck. He collaborated with Bill Schalda writing songs and applying harmonic sensibilities rooted in doo wop, blues and soul. It wasn't a stretch for Bill, after all he'd been second tenor when still a teen in Brooklyn vocal group, The Montereys in the 1960s (their 45, Face In The Crowd/Step Right Up on Blast records sells for $500 these days) who would play venues from neighborhood bars to the 1964 World's Fair in Queens.



'Bill is the genuine article, just like Charles Bradley and Sharon Jones, he came directly from the source,' says Brenneck. Indeed, Bill Schalda was right there amongst doo wop and r&b groups of the era, singing Moonglows and Flamingos tunes.

'You'd go out on the street and constantly hear a bunch of guys singing on the corner, they'd finish playing handball in the schoolyard during the day and then they'd start singing at night,' says Bill. 'We were all just guys in the neighborhood in Brooklyn, who gradually found each other.'



After their children were born, Bill and wife Linda moved the family across the Verrazano-Narrows bridge to Staten Island. Growing up, sons Will, Paul and Carmine remember summer nights singing group harmonies on the stoop of their home with their father Bill guiding them. 'He would bring us out on the stoop on Staten Island and he would teach us each parts of say, the sesame street song - we were his backing group very early on - that was fun,' says eldest son, Will.



On this, their debut, the talent is harnessed in 11 songs, each tender-voiced delight delivered with absolute conviction combined with musicians that have help define the Daptone/Dunham Records sound including Brenneck, Homer Steinweiss, Dave Guy, Leon Michels, Nick Movshon and Victor Axelrod. 'I wanted to take the Sha La Das outside of the doo wop genre,' says Brenneck. 'To take the whole vocabulary of doo wop harmony and reapply it to soul - so you get super soulful harmonies along the lines of The Manhattans & The Moments.'



From the opening atmospheric guitar strum of Open My Eyes via a walk along the Coney Island boardwalk catching the last glimpse of sunlight at dusk of Carnival to the sublime crescendo of harmonies of the winsome Love in the Wind, each song evokes a deeply personal yet universal yearning that none of us can escape. Quite simply every song yields magic.

There's something special when a family can meld voices in close harmony. The Everly Brothers had it, The Beach Boys had it, the Schalda's have it.

Zodiak Commune Records presents the first TRIP release. This is a new series pressed on 10 inch containing long, deep and storytelling acid tracks one on each side.

On the A-side u can find the young common player Vikkei. His alternative downtempo style got our attention immediately. The B-side is dedicated to Yakh, known from his debut release ZC013 "The Earwig EP from the Insectum serie.

Vikkei - 808 In The Sand
It is in this moment when you are desperate in need of water in the desert. Frustration is building up, the sun is getting hotter and hotter, crawling with your 808 in the sand.

Yakh - Expression Army
Completely lost in a world that doesn't exist anymore. Once you are aware of that, the only thing you can do is adapt.

Zodiak Commune Records presents the first TRIP release. This is a new series pressed on 10 inch containing long, deep and storytelling acid tracks one on each side.

On the A-side u can find the young common player Vikkei. His alternative downtempo style got our attention immediately. The B-side is dedicated to Yakh, known from his debut release ZC013 "The Earwig EP from the Insectum serie.

Vikkei - 808 In The Sand
It is in this moment when you are desperate in need of water in the desert. Frustration is building up, the sun is getting hotter and hotter, crawling with your 808 in the sand.

Yakh - Expression Army
Completely lost in a world that doesn't exist anymore. Once you are aware of that, the only thing you can do is adapt.

Atuy So Kata is the closing track of Umeko Ando's Ihunke album. It is a poetic dedication to the surface of the ocean. Her voice is especially mesmerizing in this traditional Ainu song, and it perfectly captures all the brittle and enchanting qualities of her vocal art. Patric Catani (aka Candie Hank, aka Ill Till) is an artist of many faces who has already appeared on a couple of Pingipung releases. He is widely known for his recent soundtracks for video games such as Minton and Pit People. His playful remix approaches the Ainu folk song with an offbeat punch, spacing out on delays and dub textures. "Many white waves on the ocean They look like rabbits jumping." After the Iuta Upopo 7'' (Pingipung 058, 2017), the Ihunke re-issue 2LP (Pingipung 060, 2018) and the Ihunke Remixes 12'' (Pingipung 062, 2018), this single is latest step in Pingipung's explorations of Umeko Ando's legacy and contemporary interpretations of her unique music.

Jurek Przedziecki's solo Epi Centrum project thunders back with a brand new LP out on Damon Wild's Synewave Records imprint. After a handful of enthusiastically received (supported by, among others, Laurent Garnier, DJ Hell and Joey Beltram) records on numerous renowned Euro labels, Warsaw-based classically trained composer and Buchla System 200e affictionado, delivers a massive dose of muscular-yet obsessively detailed acid funk techno. His 8-tracker - Excrescence" mixes old and new, tapping on seminal Detroit retrofuturism and heavy-duty pounding mania. One can also hear ghostly echoes of his 90s post-industrial faves like Coil or SPK. Record, quite varied in itself, ranging from relentless bangers ('Association') to mental acid cuts ('Blaming Others') and slow bass pulsations ('Limited Useful Life'), should fit nicely in the Synewave repertoire. Simply unmissable.

Italian directors GUALTIERO JACOPETTI and FRANCO PROSPERI gave birth to a whole new subgenre of 'non-fiction' exploitation movies with their 1962 hit MONDO CANE. After repeated accusations of forgery, unethical behaviors and war crimes, they decided to make a movie about the atrocities of American slavery as an apology of sorts. It was 1971 and the movie was FAREWELL UNCLE TOM (ADDIO ZIO TOM) The famous critic Roger Ebert called the result 'the most disgusting, contemptuous insult to decency ever to masquerade as a documentary' Naked flesh, voyeurism and violence is constantly used but gorgeous photography and a memorable score from Academy Award nominee RIZ ORTOLANI add a sickening slickness to it all: rock- beat tunes mixed with classic big band themes, waltz and funny marches and the beautiful OH MY LOVE, with the vocals from Katyna Ranieri, used, among many others by Winding Refn in his cult movie DRIVE (2011).

FIRST VINYL REISSUE EVER
LIMITED EDITION OF 500 COPIES
COMPLETE EDITION WITH EXTRA TRACKS

SRSQ (pronounced seer-skew) is the solo project of Kennedy Ashlyn (vocalist/keyboardist of Them Are Us Too). Creative voids aren't filled, but rather holes left that push the edges of the present into new realms of consciousness.

Ambient synthesizers that approach harshness, relentless arpeggiations act together with Kennedy's vocals as a lush weapon, weaving cloudlike fables over orchestration that's familiar and foreign. Trance-like at times, yet always rooted in cadence and structure, the synesthesia of sound and feeling takes cues from the delicate miasma of Cocteau Twins, My Bloody Valentine, or Dead Can Dance, using their example as the ground floor for building a new temple of frequency.

1963 album from the Cuban conguero Mongo Santamaria. Featuring his brilliant cover version of Herbie Hancock's classic title track, along with numerous compositions of his own, this is one of Mongo Santamaria's most famous and coveted albums. From the iconic cover to the brilliant grooves contained within, this album has the whole package. Excellent latin jazz and latin-soul groovers from a Cuban hero, and one of the most famous performers, full stop, of the middle 20th Century.

"Torino" is SONAR's sophomore album. Once again music was produced by Lukasz Stachurko, pianist Artur Boguslawski and drummer Rafal Dutkiewicz with beautiful vocal from Lena Osinska. With this4
album SONAR would like to make you dance.

It's been just a year and a half since the release of SONAR's debut 'Petle'. The band returns with an album of 11 premiere songs! Among which you can hear Lena singing in English for the first time. SONAR's collaboration with US-based singer Miles Bonny and rapper from Chicago - Squair Blaq presents that distance is not an obstacle to
create good music.

Several people are responsible for the lyrics -Mateusz Holak, Wanda Berger, Arek Sitarz (Ras) and Lena.
Michal "Eprom" Baj was responsible for mix and mastering. Karolina Zajaczkowska designed the cover and made all the photos. Album also features incredible hand-painted artwork from Zbiok Czajkowski.

CD and digital verison was released on March 2018 and received great response:

SONAR "Hidden Garden" (official video http://youtu.be/KCg8bkQ0bHE more than 590k views)

SONAR "Face The Sun" (official video http://youtu.be/ji9x1rxlhi4 more than 660k views)

The vinyl version was released on 180g black vinyl with printed inner sleeve. 300 copies only.

User Experience welcomes young German and living meme, Nils Viktor Voss, or Corroid as the world will know him from now on. Corroid sent me a track a while back for mastering... an absolute face melter. I asked him via the medium of dance if he had any more tracks. Now I cannot get rid of him, he sends stuff all the time, if it's not music it's memes. The only way I am able to deactivate the meme machine is to try and divert his attention elsewhere. So, find him on facebook, meme him until he is unable to function. Thank you.

Joining Corroid on this record are two fucking amazing artists who I admire a great deal; Myler and Jasmine Azarian who both execute their remixes with precise brutality. As for the track names I considered translating for the ignorant English (myself included) then I heard Corroid's flatmate say: "YOU CANNOT TRANSLATE THEM, THIS IS TRUE ART". Well that's bollocks but tbh I don't have time for translations.

Part II The title of the project is: "An Intermediary Plane of Existence", an in-between world, a shadow zone, two universes, the place between the entrance and exit of a portal. Most electronic music producers probably know the feeling where they, after producing and recording a track they are extremely content with, are suddenly overcome with a slight fear: "what if my computer crashes, what if the file of the recording gets lost somehow and the music gets lost, it's gone forever...". That feeling and the fact that all music, ever written and even the music that has yet to be written, is "somewhere" when it's not
being played or made. It's either written down in notes, stored in
someone's mind, cut into a piece of vinyl, recorded on tape, converted into 0's and 1's hiding somewhere on a hard drive, a cloud, a CD or a USB stick. It's been taken form the place it was before it was made and stored in another place, in an intermediary plane of existence, waiting to be played, to come back to life and listened to again. We wanted to do this various artists album not with just any talented artist, but with people we've met the past years who became our friends and people we admire for their music and personalities. Friendship is also something that most of the time resides in an intermediary plane of existence. When a friend is not in the same room, city or even country it doesn't mean the friendship is not still there. If you've never even met
someone in person, it doesn't mean you can't be friends. Even if you haven't spoken to your friend for a long period of time, it doesn't mean the friendship doesn't exist anymore. The same goes for love I believe.
Some people you will never stop loving, alive, or dead. Both owners of P-RT-L lost their fathers within a week from each other last year, but I also know people who haven't seen or spoken to their dads or moms in over a year, yet somehow it feels completely different not seeing someone for a long time if you know a person is still alive, even though it's not sure you will ever see him or her again. Their dads went back to the place they were before they were born and they will never come back the way they knew them. Just like all music that went lost before we as humans had the ability to write it down, store it on a medium or pass it on otherwise. That exact music, just like their dads, is lost forever. I know this will probably sound a bit too philosophical for some of you readers, but it's something that keeps me awake at night, sometimes. This albums is a way for us to celebrate the fact that the music on it, will never be lost because we as humans have found a way to store and contain it in a place where we can easily reach it, for ever. We hope you will enjoy the music! P-RT-L Featuring artists: Alex Bau ,AnD,Anouk De Vos, D-Leria, Daniel Kane, Dasha Rush, Frame Six Micol Danieli

Rebar, the duo behind the >made of CONCRETE Rebar Rebar Rebar 1< sees a versatile three piece assortment with a seemingly common theme. Field recordings make ample appearances in Rebar s work and this release makes no exception: a large part of the elements were recorded in and around train stations of a famous metropolis. Further info can be revealed on the flipside of the vinyl.

PLEXITY
...the simplistic complexity of subliminal melodic aggression.
Drivetrain (Detroit, USA) - 'Lozen'
A paradoxal tribal eruption crafted by label chief, Derrick Thompson.
Filtered patternization built on barbaric harmonic algorithms.
Teknobrat (Ottawa City, CANADA) - 'Relapse'
A vicious debut headlining a twisted, distorted analog synth abducted by
a rancid 909 beat machine.
DJ Mourad (Tunis, TUNISIA) - 'All Fixed Up'
We welcome another revered DJ/Producer, this one takes
an expedition through incalculable rainbows of acid-tech and the unexplained.
Hughes Giboulay (Beaucaire, FRANCE) - 'Genése'
Another first installment to Soiree...highlighting an emotionally driven
chord progression with encapsulating rhythm incisions, biting at the bass foundation.

Its Rap and Roll, 2nd Generation.(1st generation was Run DMC, Beastie Boys,LL Cool J).A mash up of styles all under one album.. 

Trying to explain the immoral wrongs of the world within the world we come from... Re educating our selfs and saying what we believe in our songs.. Hence 'Teach Peace'. Education, housing, healthcare, food banks, racism, corporate greed, tax evasion, climate change, child abuse and religion all need to be addressed properly.

Not swept under the carpet to be covered up by the next scandal.. We need moral leaders who are strong and willing to die for they're beliefs.. Not selling their people down the river to the highest bidder!!... We all need to be speaking our minds about whats going on... Peace is the only way for everyone... Peace can be just as prosperous as war.. Even for the corporations..there's nothing wrong with making money. It's what you do with it that counts..

It just takes a little bit of time and thought. But greed leads to the inequality of more than 80% of our world.. We need to help people become aware of this.. It's not where we're from, it's where we're at!

Raised in the outskirts of Paris, his career has embraced music, fashion and film and established Kiddy as a key figure in Paris's LGBTQ community and the voguing and ballroom scenes.

'One Trick Pony' sees Kiddy working with such talents as Rouge Mary (Hercules & Love Affair) Be Honest, Burn The House Down & One Friend and Crookers Dickmatized. Citing gospel and hip-hop, 90s Chicago and Detroit as influences,

Kiddy has delivered an album with house DNA at it's core whilst embracing a pop sensibility. It explores intimate, personal topics - unrequited love, paternal desertion and acceptance of one's body.

'I define myself as a house-music artist. Queer is limiting. My music reflects my everyday life. I talk about me and being black and gay. My songs are about love. They're not political, but my work is.

The lead single Dicktamized is about 'toxic relationships, the ones you know you would be best to remove yourself but you're almost hypnotised into thinking if the sex is good you should carry on.' 'It is taken from the soundtrack

of Gaspar Noe's latest and critically acclaimed movie 'Climax' premiered at this year's Cannes Film Festival and also featuring Kiddy. Kiddy Smile is supporting Beth Ditto around Europe from May to July 2018.

Turbo Kid Is A Contemporary Classic From The Depths Of Cult Cinema With Quebec-duo Le Matos' Score To This Acclaimed Science Fiction Picture.

Turbo Kid. A Stirring Tale Of A Boy, A Girl, And A Bmw Amidst A Post-apocalyptic Landscape, The Film Is A Delightful Throwback To The Teen Wish-fulfilment Fantasy Films

Of The 1980's Through The Prism Of Modern Splatter, Complete With A Deliciously Villainous Performance By Legendary Genre Character Actor Michael Ironside (scanners, Total Recall).

Propelling This Insanity Is An Incredible Score That Cherry Picks Its Influences From The Best Of Electronic Film Music From The Past Thirty Five Years,

Running The Gamut From The Inevitable John Carpenter Bleed Through - With Some Beautifully Malevolent Atmospheric Pieces -

To Riffing Off Of The Classics Of Van Halen All The Way Through To Modern French Electronic Music From The Like Of Daft Punk & Ed Banger Records.

Turbo Kid Is Diverse But Not Disparate; It Plays Fast And Loose But Not At The Expense Of Cohesion, So There Are Moments Where You Can Just Lie Back And Relax

To The Mesmerizing Ambience And Dream Of Authentic Alien Landscapes, Or Freak Out To The Best Of The 80's Hedonistic Synth-pop,

Or Let Yourself Be Inhabited By An Eerie Chill From The Evocative Electro-goth Vocals.

Turbo Kid - A Place Beyond Your Dreams, A Record Beyond Your Imagination.

Literature Recordings Are A Brand New Label Who Have Launched At One Of The Most Successful Times For Independent Dance Music Imprints. It's A Time Where They're Currently Reigning Supreme Over The Charts, Becoming A Formidable Force Against The Majors Who Have For Too Long Dominated The Scene And Proving That Music Is Just As Expansive And Full Of Ideas As It Has Ever Been. The Different Music Alumnus Cuelock Stands At The Helm Of This Brand New Project And He Brings With Him A Range Of Experience To Help Give His Expert A&r Advice To The Artists About To Make Their Debut On The Label. And The First Vinyl Release Comes From Eusebeia - The Upcoming Producer Has Shown His Hard Work And Dedication Through His Forthcoming 'breakdown Of Illusion' Ep, Where He Delivers Seven Brand New Records Which Pedestal His Stellar Talents As An Artist. Between 'truth Is Stranger Than Fiction' And 'annihilation Of Inhibition' There's A Range Of Diversity Which Eusebeia Shows His Audience Throughout The Journey Of 'breakdown Of Illusion'. The Carefully Sequenced Drums And Weaving Bassline Of 'truth Is Stranger Than Fiction' Is The Perfect Way To Begin The Ep, Whilst Tracks Like 'charade' And Titletrack 'breakdown Of Illusion' Continues Eusebeia's High-reaching Trend. Coming Along Next, Both 'no Stone Unturned' And 'camouflage, Pay Homage To The Roots Which Have Built Eusebeia As A Multi Faceted Artist And Demonstrate Why There's So Much Heat Around The Newly Discovered Artist. They Also Highlight The Eye For Blossoming Newcomers Which Cuelock Has Administered For This Release, It'll Be The Gift Which Enables Literature Recordings To Build A Roster Which Will Hold Themselves Up Against Their Counterparts.then Finally You're Left With Both 'dreams Into Reality' And 'annihilation Of Inhibition', Which Leave A Lingering Aftertaste - The Type Which Keeps You Coming Back For More Listen After Listen. It Completes A Package Which Proves The Capabilities Of Eusebeia As Well As Literature Recordings As An Imprint. You Can Expect More Music And Artists Of

To throw a CANDELA is a popular expression for hosting an impromptu encounter revolving around tobacco, fire and music. CANDELA and fire are used as metaphors of passion, warmth and love, and this is what CANDELEROS transmit in their live performances, delivering their very own unique Afro-Caribbean vibes with a strong identity: folklore and psychedelia given a modern twist in a ritual of catchy drums, surf guitar riffs and South American percussions.
Infusing punk energy into their remarkable interpretation of traditions, the six-piece band embarks on a journey through the vibrant and immensely rich musical culture of the Caribbean, fusing merengue, champeta, salsa, and son, with bullerengue and cumbia; constantly reinventing themselves.
William, Fernando, Urko, Sergio, Alex and Andrés, come from different regions of Colombia and Venezuela. Their paths crossed in Madrid, Spain, where the Latin American family comes together through art and culture, gathering in diverse groups that focus on bringing their common cultural heritage to the world.
Their passion for endless musical improvisation, always crossing the thin line between genres, can be felt in these two tracks selected by Galletas Calientes Records .
A-Side 'La Cumbia Del Chinche' is an experimental, mind-bending cumbia, driven by a heavy mix of electronic and acoustic drums, hissing guacharacas and hallucinogenic guitars.
B-side 'El Boleta' is a totally freaked-out, uptempo merengue; a clever blend of subtle electronic drums, organic and hard-hitting percussions, psychedelic guitars and keys with the iconic ghostly tremolo and trippy reverb of seventies Peruvian cumbia.

Marco Faraone returns to Drumcode with some of his most inspired work ever, comprising of four tracks crossing the Techno spectrum.Growing up Marco was surrounded by 90s Italo house and techno, which have all had a part in the current sound he produces today. Never one to stick to any individual style, he can often surprise his fans with a set pumping out peak time beats to down tempo house cuts with catchy vocals.
'With this release, I took some inspiration from listening back to some old Vitalic sounds and giving some extra power to the use of synths in each track. It's got a festival vibe to it, which is something I wanted to achieve' - Marco His last Drumcode EP was back in 2016, so this October he makes a welcome return showing his multiskilled productions at their full potential on this mega 4 tracker, opening with the gargantuan 'Never Forget'.Mutating rhythmic synths hark back to the good ol' days of BXR and the limitless talent of the Italian Techno scene in the late 90s. Boiling over in the main break this is crowd-pleasing dance music at its finest.
'Cruiser' is a bumpy upbeat ride with a strong melodic hook that will have the hands raised and the feet stomping.Title track 'Lunar Eclipse' is a dense, at times claustrophobic roller. Menacing to begin with, the addition of the main melodic motifs lifts the mood midway. 'Take This Trip' rounds out an incendiary EP. Lighter and more musical that the previous three, it offers a joyful, softer message. 'This is a special release for me, I wanted this to have explosive power yet the perfect balance of melodies and sounds to create a different and unique atmosphere for each track'
- Marco Faraone

'Larry Jon Wilson He can break your heart with a voice like a cannonball.' - Kris Kristofferson. Larry Jon Wilson came to the party late. When he arrived in Nashville, country soul pioneer Tony Joe White had already made six albums. Townes Van Zandt had made seven, Mickey Newbury eight. Kristofferson, the accepted High Priest of the New Nashville, had made five. Larry Jon, by the time he arrived, had spent ten years in corporate America. He did not start playing guitar until the age of 30, but five years later he released his debut, New Beginnings (1975) and followed it just a year later with Let Me Sing My Song To You, both on Monument Records. A revelation among the hipsters and critics of Nashville, the LPs ensured Larry Jon was immediately embraced as part of the mid-70s 'outlaw country movement' that eschewed slick production in favour of a raw, gritty approach. When a film crew came to document this burgeoning sound, they made straight for Larry Jon's door. The legendary Heartworn Highways (1981) featured his mesmerising performance of 'Ohoopee River Bottomland'. He was a singer and writer of intensely private, painfully moving tales of southern life. With his deep, papa-bear voice, funky southern groove, and richly evocative narratives of rural Georgia, Larry Jon was a unique stylist but his gutsy, greasy sound did not translate into sales. Too funky for the country crowd, too heartfelt for pop radio, he fell between the cracks.