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Unearthed 1997 techno grail from Hamilton, Ontario.
Remastered from the original recordings this 12", created by David Foster of Teste ("The Wipe"), lays down 4 burrowing and bouncing warehouse bombs that are at once psychedelic, frayed, and way ahead of their time.
A taste of the forthcoming Geej re-issue project surveying the Steel City Records catalogue, a wellspring of unsung, singular dance music that arose from the abandoned industrial spaces and uncompromising producers of the fertile but secluded techno zone of Hamilton, Ontario Canada circa 1995-1997.

First time pressed in over 20 years, vinyl only.

Tint is the first new solo recording from Joe Talia in over a decade. Australian-born but now based in Tokyo, Talia is known to many listeners as a drummer (frequently collaborating both live and in the studio with artists such as Oren Ambarchi and Jim O'Rourke) and as a recording and mixing engineer responsible for dozens of releases across the fields of contemporary experimental music, wayward pop, and jazz. Alongside James Rushford, he is also responsible for one of the most legendary releases in the Kye records catalogue, the creaking electronic morass of Manhunter (2013).

Lovingly crafted over many months in his tiny Tokyo studio, Tint is an album-length electroacoustic suite that brings together Talia's expertise as percussionist, studio engineer, and performer on analogue electronic instruments (primarily modular synth and Revox tape machine). Ranging from minimalist austerity to kosmische lushness, Tint refreshingly refuses the dark and moody sonic palette of much contemporary electroacoustic music in favour of an airy, at times almost weightless sound-world of gliding tones, skittering percussion, and burbling field recordings. Drawing inspiration from Jean-Claude Eloy's epic concrète love letter to Tokyo, Gaku-No-Michi, Talia makes extensive use of his own recordings of his new home, but removes any sense of audio verite, abstracting them into transparent glosses of outdoor ambience or unidentifiable chimes and creaks. Flowing seamlessly between distinct episodes, Tint is compositionally controlled while retaining a sense of played spontaneity, eventually building to a maelstrom of analogue synth zaps and tape manipulated percussion that reflects Talia's deep engagement with the relentless yet constantly shifting dynamics of free jazz.

New to the Stay Underground It Pays gang, the 11h release on the label comes from one of the most elegant japanese producer we've heard in ages : MOTOMITSU ! We get the chance to get 5 cuts on one ep (!) which is almost a mini album introducing you guys to his astonishing sound. Born in 1977 Hamamatsu, Japan
Motomitsu is a Japanese artist, DJ, children's book author, Musician, Poet, Event organizer living in Paris. He crosses freely the border of music and arts, literature. He is publishing his children's books and releasing his music. He plays DJ as a member of DJ team"Cracki" in Paris, also play the keyboards and accordion for some bands. His art work is influenced by Music and Poem. He has released tracks on various labels such as Cracki, soirée records (detroit) & cherry juice. All in all, another wonderful release that feels straight at home in the Stay Underground It Pays catalogue. Skylax always.

* Released for the first time on vinyl
* The ultimate collection of rare early materials by this electronic music pioneer
* Comes as a deluxe double LP set with insert and extensive liner notes . Limited black vinyl pressing (700 copies) with obi strip.

Klaus Schulze is a German electronic music pioneer, composer and musician that needs very little introduction. In the late sixties & early seventies he was a member of several iconic bands such as 'Tangerine Dream', 'The Cosmic Jokers' & 'Ash Ra Tempel' before launching a solo career consisting of more than 60 albums released across five decades. Collaborations were numerous and highlights include working with Steve Winwood, Brian Eno & Alphaville... just to name a few.

Klaus Schulze's proto moog-synthesizer work is regarded as a milestone in electronic music & during the decades he released landmark albums in genres catalogued as 'Ambient', 'Electronic', 'New Age', 'Berlin School', 'Experimental', 'Kosmische Musik' & 'Krautrock'. Mr. Schulze had a more organic sound than most electronic artists of the time, often he would throw in decidedly non-electronic sounds such as acoustic guitar and a male operatic voice. Schulze is also known for developing a Minimoog technique that sounds uncannily like an electric guitar, which is quite impressive in concert.

On occasions he would also compose film scores such as Body Love (1977), Barracuda (1978), Next of Kin (1982), & Angst (1983). His best known song 'Freeze' has been used in films like Manhunter (1986) and more recently in Sofia Coppola's 'The Bling Ring' from 2013.

In 2009, producer Klaus D. Mueller and Schulze began releasing La Vie Electronique ( The Electronic Life'), a series of sets that collected rare sought-after early works & unreleased tracks put in chronological sequence. These sets contain some of the best music Klaus ever created and are early 70's masterworks that will appeal to both fans and collectors.

Now available for the first time on vinyl, One Way Static Records presents the first volume in our new archival series 'La Vie Electronique'. This volume (1.0) focuses on the years 1968-1971 and is spread over two glorious LP's containing +78 minutes of Klaus Shulze rarities. This deluxe vinyl set also comes with an insert containing extensive liner notes.

2x12"

Tinfoil is the project of DeFeKT and Sunil Sharpe. Initially forged as a studio collaboration in 2014 (and later as a live show), the pair have since racked up an impressive catalogue of 12s on their own self-titled label. Tinfoil's sound is unique in today's scene, reflecting the versatility of both artists, plus a combined know-how of techno and electro. Their music comes primarily from live studio jams, enforced by a desire to get quickly to the point in what they do. This is no surprise given the fast, technical way in which they each perform solo.

For their debut album, Tinfoil provide a varied but cohesive collection of tracks. Following the intro's epic synth blasts, they open with a bang through 'Caravan Life' - a sinister, bassline-driven destroyer that builds and builds over a blend of claps, filter zaps and crying feedback. 'Beads' continues in a heads-down vein, this time with a more musical EBM type bass and knocking rimshots that mark the first appearance of Sunil's role-playing, haunting lead vocals.

'Friendly Safe Fumes' marries playful bass notes to a singing lead line, as fizzling closed hats and busy claps whip things into a frenzy. Next enter the otherworldly mutant electro of 'Meadow Pulse', signaling a well-timed lull in mood to explore a silkier side to Tinfoil's production. 'Every Saturday Night' starts with a taxi conversation about horses and carbolic soap in bygone Dublin days, before launching into a volley of clattering beats and hip-shaking FM sequences.

'Multi-DOMINATION' retains some of the FM wonk and treads a broken-beated path, featuring vocals this time akin to a ritualistic chant or perhaps the murmurings of a possessed baby. 'Both Roads To Triogue' meanwhile, brings us to a short intersection, splicing odd voices with a dense tribal rhythm. 'The Wolves Of Hellfire' is Tinfoil in more minimal dancefloor mode, as drones filter in and out under a resonating bass that detonates at all the right times.

Closing with 'Resting Point', the climax becomes deadly. The beats are stepped and the bass boisterous, while pained screams become quickly uncontrolled, setting up for a crescendo of roughneck rhythms, ricocheting kicks and turbulent modular wails.

Tinfoil have been on a roll since the beginning but maybe 'On A Roll' emphasizes this a little bit more now.

Ltd. edition of 500 numbered copies on clear vinyl New Zealand-born sound artist and composer Annea Lockwood received formal training at various institutions before exploring the sonorous potential of glass in a series of performances in the late 1960s. With plates of wired glass, glass discs, chunks of green cullet glass, glass tubing, sheets of micro-glass, glass jars and other incarnations of the material, Lockwood elicited a staggering array of sounds, some subtly uncanny and others as outlandish and alien as anything emitted from the era's early synthesizers. Lockwood's glass concerts yielded a text-score published in Northern California new-music journal Source: Music of the Avant-Garde and attracted the attention of South African producer Michael Steyn, who encouraged her to record the glass pieces for his label Tangent. They worked for two years in a small, resonant church in London to document a veritable catalogue of the materials' tone and timbre; Lockwood wished to present each sound as if it were a piece of music in and of itself. Glass World originally appeared on Tangent in 1970.

"I wanted to entice people into really listening intensively," Lockwood once reflected. "Into really listening. I wanted a deep immersion in the sounds of themselves, for the audience."

First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.

With its latest reissue, Majik's Back Into Your Heart - Melodies International dug deep into the back catalogue of Hi Records, legendary soul label from Memphis found ed in the 1950s.

Originally signed as a recording artist, Willie Mitchell took the reigns of the label and guided it through its most successful period in the 1970s, notably producing a string of studio recordings for Al Green, Syl Johnson and O.V. right among other eminent soul musicians of the time. Whilst the Hi Records catalogue shifted hands multiple times since the late 1970s, it was mainly exploited as a means to reissue recordings from Al Green and other high profile Hi Records artists (notably by Motown) while the label's more obscure back catalogue remained largely untouched. Years later, a few lesser known one offs from the label's vaults holding the distinctive raw Hi Records production sound and a circling hypnotic quality that makes them potential successful records for modern day dance floors have been getting a second life with record collectors, DJs and on dance floors worldwide. As such, recordings such as Africano's Open Your Hearts have become You're A Melody classics for some years now and Melodies International are glad to bring you one more reissue which in our hearts hold at least the same level of quality and potential as the former. With Back Into Your Heart, Majik pull through with a strong up-tempo disco tune that embodies Mitchell's sound as well as a level of modernity that might explain why it has remained largely unnoticed up until now.

Licensed and re-mastered, MEL010 comes forth in its original 7' format with a folded 14'x14' poster designed by Mafalda.

Limited Edition Clear Vinyl

Includes 12' Vinyl and Deluxe CD album, 30 page hard back book

Now that I've been to Nashville,' Kylie Minogue says with audible affection, I understand. It's like some sort of musical ley-line...'

Golden, Kylie's fourteenth studio album, is the result of an intensive working trip to the home of Country music, a city whose influence lingered on long after the pop legend and her team returned to London to finish the record: We definitely brought a bit of Nashville back with us,' she states. The album is a vibrant hybrid, blending Kylie's familiar pop-dance sound with an unmistakeable Tennessee twang. It was Jamie Nelson, Kylie's long-serving A&R man, who first came up with the concept of incorporating a Country element' into Kylie's tried-and-trusted style. That idea sat there for a little while, with Minogue and her team initially unsure about how to bring it to life. Then, when Grammy-winning songwriter Amy Wadge's publisher suggested Kylie should come over to collaborate in Nashville, a city Kylie had previously never visited, something clicked. You know when you're so excited about something,' she recalls, that you repeat it an octave higher and double the decibels I was like that. 'Nashville! Yes! Of course I would!'. I hoped it would help the album to reveal itself. I thought 'If I don't get it in Nashville, I'm not going to get it anywhere.''

Kylie's Nashville trip involved working alongside two key writers, both with homes in the city. One was British-born songwriter Steve McEwan (whose credits include huge Country hits for Keith Urban, Kenny Chesney and Carrie Underwood), and the other was the aforementioned Amy Wadge, another Brit (best known for her mega-selling work with Ed Sheeran). It was then a truly international project: Golden was mainly created with African-German producer Sky Adams and a list of contributors including Jesse Frasure, Eg White, Jon Green, Biff Stannard, Samuel Dixon, Danny Shah and Lindsay Rimes, and there's a duet with English singer Jack Savoretti.

However, the album's agenda-setting lead single Dancing was, significantly, first demoed with Nathan Chapman, the man who guided Taylor Swift's transition from Country starlet to Pop megastar. If anyone knows how to mix those two genres, Chapman does. Nathan was the only actual Nashvillean I worked with. He's got a huge studio in his house, which is probably due to his success with Taylor... there's plenty of platinum discs of her, and others on his walls.' There's something of the spirit of Peggy Lee's Is That All There Is, of Dylan Thomas' Do Not Go Gentle Into That Good Night, even of Liza Minnelli's Cabaret about Dancing, a song which not only opens the album but sets out its stall, providing a microcosm of what is to come. You've got the lyrical edge, that Country feel, mixed with some sampling of the voice and electronic elements, so it does what it says on the label. And I love that it's called 'Dancing', it's immediately accessible and seemingly so obvious, but there's depth within the song.'

The experience of simply being in Nashville was an overwhelming one, before Kylie had even arrived. Once I knew I was going to Nashville, people talked about the place with such enthusiasm. They said without doubt I would love it and, I would come back with songs. They were sending lists of restaurants, coffee shops and bars. It really was a beautiful and genuine response and it felt like I was about to have a life changing experience and in a way, I did.' The reality came as something of a surprise, when she found a far more modern metropolis than the vintage one she'd envisaged. I thought it would be like New Orleans: little houses and bars, with music spilling out onto the street. It reminded me more of Melbourne: apartment blocks going up everywhere! The main strip, Broadway, where the honky tonk bars are, that's where the street was filled with music and it was just amazing.' Mainly, Minogue remembers the heat and humidity. It was 100 degrees. It was like it was raining with no rain.' She also relished the chance to wander around unrecognised, visit a few venerable music bars and soak in the atmosphere. I didn't get to the Grand Ole Opry or the music museums but I managed to go to a couple of the institutions there like The Bluebird Cafe and The Listening Room, and just by being there, through some kind of osmosis, you get this rejuvenated respect for The Song, and the writing of The Song. There's no hoo-hah around it. There's a singer-songwriter there, talking about the song and singing the song, to an audience who are there to listen. Although, I have to confess I was guilty of starting to clap too soon during a long pause at the end of one of the songs. The guy made a bit of a joke out of it and got a laugh from it, but I thought 'Of all people in the audience, no...''

It's probably no coincidence, therefore, that every track on Golden is a Kylie co-write, making it arguably her most personal album to date. The end of 2016 was not a good time for me,' she says, referring to well-documented personal upheavals, so when I started working on the album in 2017, it was, in many ways, a great escape. Making this album was a kind of saviour. I'd been through some turmoil and was quite fragile when I started work on it, but being able to express myself in the studio made quick work of regaining my sense of self. Writing about various aspects of my life, the highs and lows, with a real sense of knowing and of truth. And irony. And joy!'

The songwriting process allowed Kylie to get a few things out of her system. Initially, she admits, it was cathartic, but it also wasn't very good. I think I was writing too literally. But I reached a point where I was writing about the bigger-picture, and that was a breakthrough. It made way for songs like Stop Me From Falling and One Last Kiss. It also meant I had enough distance to write an autobiographical song, like A Lifetime To Repair, with a certain amount of humour. The countdown in that song: 'Six-five-four-three, too many times...'. I don't know if that will be a single, but I can just imagine a girl with framed pictures of past boyfriends, and kind of going 'Oh god, when am I going to get this right'' When she listens back to Golden, Kylie can vividly hear the Nashville in it. It is, she'll agree, probably the first time that a Kylie album has sounded like the place it was made. You wouldn't normally relate my songs to the cities. Can't Get You Out Of My Head sounds more like Outer Space than London. But Shelby '68, for example, was written in London but it was done with Nashville in mind. It's about my Dad's car, and my brother recorded Dad driving it! I don't think I'd have written a number of the songs, including Shelby '68 and Radio On without having had that Nashville experience.'

The latter, she says, is about music being the one to save you.' Throwing herself into the making of the record, she says, crystallised that idea. If there's one love that will always be there for you, it's music. Well, it is for me, anyway.' That song, in particular, carries nostalgic echoes of the golden age of Country, as heard through Medium Wave transistors and tinny home stereos in the distant past. Like any child of the Seventies, Kylie had a basic grounding in Country music, mainly absorbed from older family members. My Step-Grandfather was born in Kentucky and though he lived most of his adult life in Australia, he never stopped listening to his beloved Country artists.' If there's any classic Country singer whose imprint can be heard on Golden, it's Dolly Parton.

Kylie saw Dolly live for the first time at the end of 2016, at the Hollywood Bowl. It was like seeing the light,' she beams. It was incredible. Everyone, whether they know it or not, is a Dolly Parton fan. When I was in Nashville, I did pick up a T-shirt that said 'What Would Dolly Do' Maybe that should be my mantra.' And, whether consciously or otherwise, there's a timbre and trill to Kylie's vocals on Radio On that is distinctly Parton-esque. My delivery is quite different on this album,' she says. A lot of things are 'sung' less. The first time I did that was with Where The Wild Roses Grow. On the day I met Nick Cave, when I recorded my vocals, he said 'Just sing it less. Talk it through, tell the story.' This album wasn't quite to that extreme, but a lot of the songs were done in fewer takes, to just capture the moment and keep imperfections that add to the song. I remember on my last album, a lot of producers were trying to take out literally every vibrato they heard. And that's not natural to my voice. I mean, I can make myself sound like a robot, but it's nice to sound like a human!' Working within the Country genre also gave Kylie permission to write in the Nashville vernacular. Because we were going there, I wasn't afraid to have lines like 'When he's fallen off the wagon we'd still dance to our favourite slow song', 'Ten sheets to the wind, I was all confused', 'I'll take the ride if it's your rodeo'. The challenge of bringing a Country element to the album made the process feel very fresh to me, kind of like starting over. I started to look at writing a different way, singing a different way.'

If ever Kylie lost confidence in the Country-Pop concept, and found herself pondering This is great, but back in the real world - my real world - how will this work', Jamie Nelson was there to badger her into sticking to the path. We found a way to make it a hybrid with what we'll call my 'usual' sound. It had to stay 'pop' enough to stay authentic to me, but country enough to be a new sound for this album. The closer we zoomed in, and the more we honed it, I knew Jamie was right. We sacrificed good songs that weren't right for this album, because we wanted it to be as cohesive as possible. The songs that were hitting the mark were these ones, so we decided to be strong, and that's how we wrapped up the album. What he said, that stuck with me, was that 'I'd hate to get to the end of this and really wish we'd gone for it.'' Having worked with Kylie for so long, Nelson was able to put this latest shift of direction into perspective. He said 'You've traditionally done it throughout your career. You had your PWL time, then you did a complete turn when you went to deConstruction, then another complete turn with Spinning Around, and R&B dance-pop, and then another turn with Can't Get You Out Of My Head, icy synth-pop, and this is another one.' He was right. It felt like the right time to have a change sonically. New label, new stories to tell, and a new decade almost upon me.'

Kylie Minogue will, it's scarcely believable, turn 50 this year. This looming milestone is partly behind the album's title, and title track. I had this line that I wanted to use: 'We're not young, we're not old, we're golden' because I'm asked so often about being my age in this industry. This year, I'll be 50. And I get it, I get the interest, but I don't know how to answer it. And that line, for my personal satisfaction, says it as succinctly as possible. We can't be anyone else, we can't be younger or older than we are, we can only be ourselves. We're golden. And the album title, Golden, reflects all of this. I liked the idea of everyone being golden, shining in their own way. The sun shines in daylight, the moon shines in darkness. Wherever we are in life, we are still golden.' One of the album's shiniest moments is Raining Glitter, an exuberant banger which ventures closest to Kylie's traditional dance-pop comfort zone. Eg White, who is one of the producers and writers and a great character, was talking about disco one day. I said 'I love disco, but you know the brief.' We needed to be going down the Country lane, so to speak. But we managed to bring them both together. When I wrote it, I was thinking about the Jacksons video for Can You Feel It where they're sprinkling glitter over everyone. And I think there's a Donna Summer record that's got that feel to it. I think that's my job: I basically leave a trail of glitter after every show I do anyway.'

Kylie is looking forward to the challenge of incorporating the Golden material into her live shows. Mixing these songs in with my existing catalogue is going to be fun. And it could be fun to do some of those songs with just a guitar. It'll make my acoustic set interesting...'Her incredibly loyal fans - to whom one Golden song, Sincerely Yours, is intended as a love letter' - will, she believes, have no problem with her latest stylistic shift. My audience have been with me on the journey, so I shouldn't be afraid that they won't come with me on this part. I've had fun with it, and I'm sure they will too.'

The time spent making Golden has, Kylie says, been a time of creative and personal renewal. I've met some amazing people, truly inspiring writers and musicians. My passion for music has never gone away, but it's got bigger and stronger.' And if there's an overriding theme to the record, it is one of acceptance. We're all human and it's OK to make mistakes, get it wrong, to want to run, to want to belong, to love, to dream. To be ourselves.'

I was able to both lose and find myself whilst making this album.'

DELUXE VINYL EDITION !!! By the start of the 1980s, following a string of multi-Platinum albums and electric live performances - due in no small part to the onstage chemistry between guitarist Eddie Van Halen and singer David Lee Roth - Van Halen were an unstoppable force. Their 1982 album Diver Down followed peaking at No. 3 on the Billboard chart and went four times Platinum in the U.S. alone. In support of the album, the group toured worldwide through 1982 and 1983. 1983 would also be the first and only time the group would travel to South America, and it is from this leg of the tour that the show featured on this release originates. Recorded at the first of three dates at Venezuela's 20,000-capacity Poliedro de Caracas, the performance was broadcast simultaneously over FM radio. On top form and playing a rich selection from their current and back catalogue - including '(Oh) Pretty Woman', 'Eruption' and 'Ain't Talkin' 'Bout Love' among numerous other Halen classics - this extraordinary show is now finally available for fans of this enduring collective to add to their collections.

DELUXE VINYL EDITION!!!
By the time of their performance at the Bizarre Festival on 17th August 1996, Nick Cave and The Bad Seeds were enjoying their most successful era to date. Their latest album Murder Ballads, released in February that year, was their best-selling record yet, having topped the charts in three countries and reached the Top 10 in a further five. This was aided in no small part by Nick Cave's duet with Kylie Minogue on 'Where the Wild Roses Grow', which was a worldwide hit and earned the band two ARIA awards. The video received repeated airplay on MTV, who would later nominate Nick Cave for Best Male Artist at the MTV Awards. Nick and the Seeds toured Europe, Asia and South America in support of the album, and it is their entire performance at the Bizarre Festival that is included here. Recorded and broadcast on FM radio throughout the United States, who had curiously been left off the tour's itinerary, the group captured the dark, brooding nature of Murder Ballads perfectly in their set, which included too classics from their back catalogue such as 'The Weeping Song' and 'The Mercy Seat'. As a grand finale, the band were joined by PJ Harvey - with whom Cave was romantically linked at the time - for a rendition of 'Henry Lee'.

Label stalwart HumaNature's track Eleventh Hour gets a remix treatment by Zero T. We have an altogether different beast. Stripped back to that infectious groove which he is renowned for, Zero T delivers a funk laden remix. Eyes down business.

On the flip we have Polish wonderboy SATL on the remix duties! He gives his own unique spin to the track Untold Stories by HumaNature & Critical Event.

I cannot think of a better way to kick off our vinyl catalogue

LA's Private Selection imprint returns, this time to shed light for the first time on a producer from Argentina who goes under the guise of 'Crash ID'. All 6 tracks on PS003 are primed for the dance floor, touching on a kind of ritualistic, electro industrial body music that feels right at home with the labels current catalogue and event series.

The Empire strikes back! Phi has dug deep into the Slovenian electronica heritage only to return with the 4th chapter containing three mid 90's unreleased tracks by the cult duo Random Logic. Once the pioneers of adventurous acid and techno sounds having released on labels such as Thee Blak Label and having played in legendary places like the old Ostgut Ton, Random Logic are no strangers in playlists by the braver big shots such as Nina Kraviz. Their signature acid melancholy and drive hasn't aged and syncs perfectly with Phi's growing sci-fi catalogue.

Biosphere is the main recording name of Geir Jenssen, a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.

The Hilvarenbeek Recordings are based on field recordings from the Dutch farm Biologische boerderij 't Schop in Hilvarenbeek. The work was commissioned by Incubate Festival in Tilburg.

Belgium's favourite underground house DJ Red D celebrates the 10 year anniversary of his We Play House Recordings label with 6 vinyl samplers containing new tracks and some very wanted gems from the catalogue. Artists featured are San Soda, Fabrice Lig, FCL (featuring Lady Linn), Kiani & His Legion, krewcial, Reggie Dokes, Raoul Lambert & Nacho Marco, Art Of Tones and many more. Voices Near The Hypocentre
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About We Play House Recordings

We Play House Recordings - WPH - is the work of Belgian DJ & producer Red D. Started 10 years ago to release the music of his friend san Soda, the label had (and has) the aim to release house music in all its shapes and forms. WPH's house ethics date back to the days where house was just a name for music that was played in clubs. There is no such thing as tech house, no such thing as deep house or minimal, there is simply (house) music, good or bad.

We Play House Recordings is lovingly led by Red D (real name Bart Van Neste), one of Belgium's leading underground music figures. Be it in his role as DJ, A&R, promoter, music panel host or general nitelife instigator, Red D does things with passion, humor and a healthy dose of keeping-both-feet-firmly-on-the-ground...with a twist...

WPH was started in 2007, so it takes no math genius to know that in 2017 the label is celebrating its 10 years anniversary. Running from the spring till winter 2017 this anniversary will be celebrated with special vinyl releases, a triple CD, a digital compilation, a Spotify playlist and a series of label nights all over Belgium and beyond. True to form the compilation will have WPH classics but also a BIG bunch of new material from core artists of the label like Locked Groove, San Soda, Kiani & His Legion, Fabrice Lig and many more.

A great strong man with a brush in his hand once said: everything you can imagine is real and art washes away from the soul the dust of everyday life. So is making music just another form of keeping a diary In terms of Ana Helder, the Argentinian girl with the special twist, the answer is: maybe. More than two years after her last release on Cómeme she is back with a hand full of tracks. Five to be precise. She got more, but this is what the Müstique's received. They are mean, dirty, harmful, amorevolous, seductive and addictive. Surrender tunes from a producer and DJ that does not think in boxes. Her three Eps 'El Groove De Tu Corazón', 'Fiebre De Marte' and 'Beating PC' mark some warped grooving heights in the edgy catalogue of Matias Aguayo's label Cómeme. Also on the French label Astro Lab she already dropped the 12inch 'Soy Canalla' with a playful psyche tune, that additionally got remixed by folks like Les Disques De La Mort seducer Ivan Smagghe or the mysterious West-German ghost-(w)rid(t)er Frank West. Furthermore, she re-tuned tunes from Chilean friends like Alejandro Paz or Mamacita and sang on songs of colleagues. For Müstique she now looked into her always-growing production crate and found some post-punk waving funk odes, which want more than just to dance this mess around. They bring soulful LSD-melodies for Jazz lovers with techno legs that like to get high on Liquid Liquid. They are electronic but yet so organic. And they move deeply while spreading the feel of a meditative rest. When Diagnose heard them first, he came to the idea of writing a script for a flick that tells the story of a music-making machine, which has more to offer than answers. It forms sound with no traces of reality, but is so human that humans fear it. Why did he think that way Only because of what Ana Helder recently got to say Well, let the music play...

FUN FARE is the experimental pop laboratory of Friedrich Günther, Julia Boehme, Joseph Heinze and Jakob Zander, which hails from Leipzig. In combining and distilling their respective influences they are constantly withdrawing from all possible expectations and presumptions. Krautrock meditations are interrupted by synth-pop intermezzi and bathed in waves of post-punk without laying false or random trails. It's more like an experiment under controlled conditions or an elaborate construction that is spontaneous and playful. In the autumn of 2015, Fun Fare recorded their debut album - Wrong Gong , which was released in February 2016 via Hartnack Records and played shows with Candelilla, Soft Grid, Friends Of Gas and Priests. Recently they released a split tape with Berlin post-punk band Plattenbau via Flennen and at the Trans Century Update Festival in UT Connewitz in Leipzig shared the stage with John Maus, Alex Cameron and Thurston Moore Group among others. Their second album Trifles & Events Are Your Concern' promises to deliver on the promise of their early releases and is a strong addition to the catalogue of Späti Palace.

Following the recent reissues of Jose Mauro's Obnoxius, Piri's Voces Querem Mate and Victor Assis Brasil's Toca Antonio Carlos Jobim, Far Out Recordings presents a second album from Victor Assis Brasil from the treasure trove of the Quartin Records catalogue, Esperanto. Over the course of the 1960s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato, Quarteto Em Cy, Baden Powell and Vinicius De Moraës. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade's first year. These singular gems in Brazilian music, difficult to categorise yet compellingly beautiful, have for too long gone unheard.Gifted his first saxophone by his aunt at the age of fourteen, only four years later the inherently gifted and determined young musician Victor Assis Brasil recorded his debut album, with a second to follow only a year later. The prodigious young carioca was subsequently granted a place to study at Berklee College of Music, where he played alongside the likes of Dizzy Gillespie, Clark Terry, Chick Corea and Ron Carter. It was also during this period he recorded Esperanto and Toca Antonio Carlos Jobim with Roberto Quartin, upon returning to Brazil in the summer of 1970.Recorded in the same sessions as the Toca Antonio Carlos Jobim album, Esperanto consists of five deep jazz cuts: original compositions except for a heavy-swinging latin-jazz cover of Jimmy Heath's 'Ginger Bread Boy', alongside more moments of wild frenetic jazz, like 'Quarenta Graus A Sombra', amongst more melancholic, but no less captivating compositions like 'Marilia' and 'Ao Amigo Quartin'. Esperanto's influences span both American continents, finding a meeting point for Latin jazz and North American post-bop, with Roberto Quartin's perfectionist approach to sound elevating the already incandescent music to divine new heights. The band consists of some mercurial greats of Brazilian music: Dom Salvador (bass), Edison Machado (drums), Helio Delmiro (guitar) and Edson Lobo (Bass).Victor Assis Brasil passed away aged just thirty-five, due to a rare circulatory disease, but by this point his status was already cemented as one of the most talented musicians in Brazil's history.

Picture disc LP housed in gatefold sleeve. Includes CD with bonus track.
With his second release for the Swiss-based Hallow Ground imprint after 2016's Soisong reissue, Ivan Pavlov pays tribute to the late Sentrax founder and prolific musician John Everall, who passed away in September 2014. Sourced from analogue material provided by the artist widely known for his output under the Tactile moniker for a collaboration that never came to fruition, the six tracks are an exercise in minimalism and subtlety singular even in Pavlov's impressive back catalogue. On COH plays EVERALL, Pavlov focuses on swirling arpeggios whose colourfulness is mirrored in the Ruth Stofer's artwork for the limited picture disk release. From the joyful, handclap-driven »2016« to the hectic gabber derivate »OVERBEAT«, the Russian producer explores a minimalistic yet organic palette of synthesizer sounds that stylistically reach from the hymnic poise of »WAVETRAP« to the playful and warm vibes of »ALONE (MINIMAL SELFIE)«. While it might sound almost pointillistic on first listen, COH plays EVERALL unfolds its multitude of layers slowly over time. With a feature of Coil's Jhonn Balance on the CD-only bonus track »Hunger Remix«, Pavlov adds yet another facet
to this evocative marriage of sonic purity and emotional rawness. Over a throbbing rhythm, the late poet's dry intonation serves as an eerie coda to this tender tribute to lost friends. As a dialogue between this world and the other, CoH's digital manipulation and Everall's analogue source material as well as stark minimalism and tonal richness, COH plays EVERALL captures two kindred spirits bidding each other farewell.

Tevo Howard was a new name when he originally dropped Without Me on his own label Beautiful Granville back in 2008. Since then the US house music hero has graced labels as respected as Rush Hour, Permanent Vacation and Buzzin Fly with his warm, charming and deceptively simple confections, but in the swirl of the considerable catalogue Howard bas built up in the past eight years it's a welcome treat to wind things right back to the beginning. This reissue of Without Me serves as a potent reminder of the gift the man has for heartfelt melodies and unfussy compositions that speak a pure and instinctive message from beginning to end.