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Mannequin Records is proud to present a trilogy of reissues from the avantgarde Italian-born producer Doris Norton, "Norton Computer For Peace" (1983), "Personal Computer" (1984), "Artificial Intellingence" (1985).

Apple's first music "endorsement" (later IBM consultant) and early Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro / computer music.

While the beat-oriented style of Norton's music aligns her with such global fellow-travelers as Yellow Magic Orchestra and Kraftwerk, her championing of the personal computer as a tool for self-sufficient musical creativity also connects her to more artsy musicians such as Pietro Grossi, Laurie Spiegel, and the League of Automatic Music Composers. Norton's predilection for the bright, glossy timbres of early digital instruments also recalls Hubert Bognermayr and Harald Zuschrader's bizarre 1982 one-off Erdenklang.

1 year after "Personal Computer", Doris Norton released 'Artificial Intelligence' (previous title: From Art-Physiol to Artificial Intelligence, changed before publishing) in 1985, setting a step up in her deep electronic music research and innovation.

Having Previously Released Some Rare Solo Material From Ende Shneafliet Member Hanjo Erkamp Aka Dr. C. Stein, Artificial Dance Is Now Serving Up Something Special From The Cult Dutch Minimal Wave Band's Lesser-known Side Project, King Ende Shneafliet. The Result Is The First Ever Vinyl Release Of Tracks From The Outfit's Cult Dimension Mix Series.
Adding king' To Their Name In Honour Of Original Dub Maestro King Tubby, King Ende Shneafliet Produced Far More Experimental And Out-there Material Than Their Better-known Big Brother. They Released Their First Cassette, Dimension Mix Chapter I In 1981 Via Cult Label Trumpett, With Batches Of Follow-up Material Trickling Out On Various Obscure Tapes And Later Cd-rs Up To The Year 2000.

Artificial Dance's First Dip Into The Dimension Mix Archives - A Second Vinyl Volume Will Follow Later In The Year - Features Selections From Chapter Ii (1999), Which Was Originally Recorded Between 1981 And '88. The Magical, Mind-altering Music Is Raw, Lo-fi, Spaced-out And Forward-thinking, Combining Effects-laden, Sample-heavy Sound Collages And Reverberating Ambient Soundscapes With Pulsating Proto-electro Jams, Moody Minimal Wave Instrumentals And Kosmiche-influenced Throw-downs. It Effectively Joins The Dots Between Early-80s, Diy Electronic Exploration And Dub Soundsystem Culture.

Die Beta Band war eine britische Musikgruppe, die ihren
eigenen Stil als Folktronic bezeichnete, was eine Mischung aus
Folk, Rock 'n' Roll, Trip Hop und hemmungslos
experimentellem Jammen darstellt.
Die Beta Band wurde 1996 in der Nähe von Edinburgh von
den Musikern Steve Mason (Gesang, Gitarre) und Gordon
Anderson gegründet. Als sie gemeinsam Songs für ihre Debüt-
EP Champion Versions verfassten, stießen mit Robin Jones
(Schlagzeug) und John MacLean (DJ, Sampler, Keyboard-
Pianist) noch zwei weitere Mitglieder hinzu. Im Juli 1997
veröffentlichten sie die von Nick McCabe produzierte EP
Champion Versions, die von Kritikern vor allem aufgrund des
innovativen "Cut'n'Paste"- Sample-Konzepts umjubelt wurde.
Zwei ähnliche EPs folgten bald darauf: The Patty Patty Sound
im März des folgenden Jahres und Los Amigos del Beta
Bandidos im Juli. Alle drei erschienen im September 1998
unter dem passend gewählten Titel The Three EP's in einer
Kollektion.

World Champion turntablist DJ Woody's innovative 7" Flexi-disc scratch record series 'Flexicuts' gets a vinyl release. 'Flexin Hard' consists of all the scratch samples from Flexicuts 1 and 2, but this time on 12" yellow vinyl. Includes 20 original skip-proof scratch phrases plus 2 longer scratch sentences combining the samples.

Berlin-based producer SDX drops an album entitled 'Nocturnal' on Sophia Saze's Dusk & Haze featuring remixes from TXTRL founders 138 and Shipwrec producer SC-164.



Georgia-born, Brooklyn-based Sophia Saze set up Dusk & Haze to release 'genre-free' experimental music, exhibited in the label's debut release entitled 'Solace' EP featuring four versatile cuts from Sophia herself and twisted electro and techno remixes from Umwelt and Benjamin Damage. The second release comes
from the enigmatic SDX, a masked artist who's fiercely championed left-of-centre dance music for decades. Crunchy drums and a thumping bassline kick things off in 'MS 04' before Los Angeles duo 138 provide an outstanding remix incorporating a cacophony of raw breaks. Modulated flutters, warped blips and white
noise create 'MS 08', leading into the organic drums and off-kilter arpeggios of '007' until New York's SC- 164 reworks '007' delivering a pulsating sub and distorted vocal chops.

"With a subject matter of an unsettled consciousness and the schizophrenic tendencies of the Artificial-Intelligence-Era, 'Chris Weeks', aka Kingbastard, has crafted a unique terrain for himself on his new EP, 'Standalone'; a beguiling workout of mind-bending, hardware-based electronic sounds. Weeks fuses Techno sensibilities with an array of Experimental-Electronic techniques, producing an EP which echoes the genius of Aphex Twin & Autechre; making the UK-based Producer one of the most adventurous heirs of the Warp label. The tracks found on 'Standalone' perfectly embody their titles, with glitch infused Techno, IDM innervation and fidgeting-synth flourishes, evoking the electronic-claustrophobia felt from living in our all-encompassing post-Snowden surveillance dystopia.
Championed by the likes of Bleep, Tom Ravenscroft (BBC 6 Music), Rob da Bank (BBC Radio1 & 6Music), CLASH Magazine, Igloo Magazine, IRM (Indie Rock Mag), Future Music Magazine."

* In-demand Bush Chemists sound system killer from 1995 coming on 7" for the first time, backed with a previously unreleased dub cut.
*This track was championed by Jah Shaka in the mid-90s.
*Bush Chemists still have a sizeable following throughout Europe, Japan and beyond.

AE Productions in association with In Effect Recordings are proud to present the next installment from Philadelphia legend Phill Most Chill, this time with beats provided by Nova Scotia based DJ/Producer Jorun Bombay, under the guise of Jorun PMC - with a tip of the hat to Hip Hop legends Run DMC. If you've heard either of Jorun's incredible Rock The Discotek mixes you may have heard one or two tracks from this 12' in their early form as parts of those mixes. Here at AE Productions we thought it was a shame that they weren't available as songs in their own right on vinyl so here they are with an extra track for good measure and with more of Phill Most Chill's trademark artwork making the sleeve look incredible!
The EP opens with Can't Stop Won't Stop and gets straight down to business. Phill Most Chill starts on the first beat of the first bar almost as if he can't wait to rock the spot. This is pure party Hip Hop fueled by uptempo Disco Breaks, but don't be fooled by that statement - this is no crossover rap music, we mean the type of party that could be found in parks in New York in the early days of Hip Hop. Listen for a whirlwind of extended turntable action from Jorun who slices like a food processor throughout.
Magic Disco Machine stays with the classic Disco Break sound with various nods to Block Party Classics which create a great club friendly track. Again with some serious turntable skills from Jorun to complement Phill's hype rhymes, this is the brand new exclusive track for this release and has all the credentials of a summer party classic.
The final track here The Champ stays with the classic block party theme but this time utilising a raw Funk groove that will be a surefire hit with B-Boys and B-Girls worldwide and shouldn't fail to get any Hip Hop party moving. This could be considered the most underground sounding of the three tracks assembled here.

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, it's catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. High Fidelity will be the first in a series of Queen Constance rarities to be reissued, an extremely rare and coveted record that can change hands on the second hand market for big big money, avoid those low rent bootlegs that are out there and cop this fully licensed repress.

The group's self-titled sole long-player is a fantastic 6 track set of gritty, soulful and uplifting funky Disco with a DIY edge. Not too much is known about the artists themselves, or even when the record was performed, recorded or released but it certainly sounds like a group who knew their craft inside out. The energy is high across the record and the group sound like they're on fire, just check the outrageously funkified 'Magic Carpet' and you'll see what we mean. Amazing. The whole project has that enchanting lo-fi, back-street feel to it in terms of production and the mind boggles as to how such a record would have come off had it been recorded at a Motown or any other 'big' studio, but no matter as this release is perfect the way it is, an essential piece of street-level NYC Disco straight from the underground.
This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Australia based artist Inkswel is widely known for his funk infused dance music that incorporates ingenious sample work and memorable vocal cuts. For the ninth installment of the PULP series the 'Edible Pyramid EP' is a journey through the mind of the Australian artist. The package includes a melancholic remix by no one else than long time champion of vinyl and Red Motorbike label boss Eddie C, 'Edible Pyramid' is a work of positivity, the title track excels in it's blissful ambiance that is supported by a back bone of thumping rhythms and jovial vocal cuts. The Eddie C Remix is showcasing a wistful approach by incorporating a rhythm that is reminiscent of those from the early days of Hip hop. 'Let Go' is a confident sounding work of samples. Rhythmically firm with an emotive break that is a welcome change from the slow base-rhythm that flows throughout.

On the B side The Posse comes up with a remix that cleverly incorporates oozing synth pads and a more upbeat vibe. The original is flipped into a more dancefloor friendly version with an acidic touch to it. The final track is called 'Yesterdays Flava of The Month' this boogie tainted cut uses tasty breaks and lively pads that again depict a positive atmosphere.

PULP09 - Inkswel - Edible Pyramid EP will be available from all specialized retailers starting June 2018.

Lift To The Scaffold Or, In The Original French Title, Ascenseur Pour L'échafaud, Is A Brilliant Film Noir From 1958 That Helped To Establish The Nouvelle Vague And The New Modern Cinema Scenes. No Less Brilliant Is The Score, Composed By Miles Davis And Featuring Mostly French Musicians, Including The Great Barney Wilen On Tenor Saxophone, As Well As Kenny Clarke On Drums, This Is Some Of The Most Lonesome And Morose Music Davis Recorded In His Career. Perfectly Matching The Stark, Dangerous, And Grim Moods Of The Film, This Is A Truly Amazing Score By One Of The Biggest Names In Jazz Music History.

e mighty Man Power returns to Correspondant. One of the earliest labels to champion his explorative technoid landscapes, and deliver his debut album, the Mexico based composer makes a welcome return with three truly singular trips...

'The Zen Of Xen' comes in two segued parts, comprising almost 13 minutes of full intergalactic immersion. Laced with the alluring deep-dream vocals of Tel Aviv's Xen, anchored with tripped-out humanized harmonics and weaved with soaring pads, it's a genuinely emotional narrative that's been cooking away on Man Power's creative wishlist since he first met Xen at a show five years ago.

Elsewhere 'Heart For Yes, Life For No' will have you spitting rainbow emojis all night. An incredible piece of vibrant melodic techno rooted in synthesis, galvanized with emotive layers, driven by feels it sets us up perfectly for the fantastical finale 'Hubris'. Cosmic, soft-focused, sparkling but topped with a choral chant that comes in from nowhere and arrests every sense as the elements rise and fuse with theatre.

By far one of Man Power's most techno-focused and biggest records to date.

Lord Tusk has associated with acts like Klein, John T. Gast, Dean Blunt, Yasiin Bey AKA Mos Def, and released on Jon Rust's Levels, Funkineven's Apron, Soul Jazz Records and Low Income $quad.

Communiqué is made of breathy, glossy Sci-Fi electro, bitcrushed drum samples and Minneapolitan funk feng shui, the hits and stabs of new jack swing and FM boogie, all pieced together with a one-take energy but a meticulous attention to detail. It's songwriting for a miscellaneous kind of soundsystem music, body music, flamboyant across tempo, from the yearning thump of Shyne Eyed Gal to the puffed-up strut of Champion Lovers (sounding like a home-taped Electrifying Mojo opener), the staggered slink of Beyond Limitation's unfiltered tones to the 4x4 uptempo skid of Don't Be Shy or the veering slap-bass groove of Elevation. It's a record that shoots around corners, conjuring lazy romances and smokey vistas, lit by the nocturnal shimmer of an electrified city, streaked with gargantuan, shrill, birdlike call-and-response riffs and visited by the astral bodies of Teddy Riley, Gerald Donald, Prince.

Comprised of Vancouver producers and multi-instrumentalists Nick Wisdom and Astrological, Canadian duo Potatohead People boast a number of noteworthy accolades thanks to a their signature sound drawing influences from 90's boom-bap, future soul, classic jazz, deep house and boogie/funk. Beginning with a series of EP's, including their landmark "Kosmichemusik" EP, Potatohead People's productions quickly made their way to artists like Illa J who tapped the duo to produce his now critically acclaimed self-titled album, as well as producers like Kaytranada (who co-produced Illa J's "Strippers" with the pair). Supporters such as Soulection, Nightmares on Wax, Pomo, DJ Spinna, Big Boi, and Phife Dawg have also played formidable roles in championing the sound of Potatohead People worldwide.

Now with three years since their last release, 2015's critically acclaimed debut album Big Luxury, Potatohead People are back their long awaited new album Nick & Astro's Guide To The Galaxy (due out May 11th via Brooklyn label Bastard Jazz) The record picks up right where the pair left off, showcasing a leap forward in production chops, musicality, and songwriting. The first single "Quest For Love" "with it's neck snapping drum break, lush rhodes chords, cosmic synths, guitar & horn flourishes and unexpected musical changeups bring in the hip-hop infected musicality the duo has become so loved for, while Nick & Astro collaborate vocally on top. "Morning Sun" featuring Danish vocalist (and Anderson.Paak collaborator) Nanna.B is in part a melancholy piece with knocking drums, an infectious bassline and a soulful, shimmering hook, while "Do My Thing" featuring Canadian singer Kapok and Illa J is a neck-snapping Hip-Hop joint perfect for the dancefloor. "Liftin' Up" featuring San Francisco's K-Maxx ventures into West Coast boogie territories, while the album's closer "Rituals" goes for a deeper more atmospheric electronic vibe.

Audio-visual artists Soundwalk Collective were granted exclusive access to the personal archive of the groundbreaking filmmaker and present their ambitious New Album and Remix EP: What We Leave Behind released on 18th & 25th May 2018.

The NYC and Berlin based group were invited to aurally explore the archive of the seminal French director Jean-Luc Godard and release their interpretations in an innovative new album What We Leave Behind. Drawing on Godard's personal collection of shot film, reel- to-reels and historical ephemera, the recordings reveal the moments before and after the camera rolls, from stage directions and on-set asides to rehearsals, false stars and outtakes.

'There are boxes filled with sounds, words, chaos, and also silence. For Godard sound is a musical composition and when I began listening to the tapes and heard his voice between takes, it was like little bits of life...each sound has its own value. It has always been part of our working practice to venture into untapped sonic territories, discover the poetics behind them, and explore how we (as humans) relate to it, it is part of a larger discourse.' - Stephan Crasneancki, Soundwalk Collective

Revealing much insight to the director's process and personality, the 6-track album will be followed by a remix EP, featuring unique reworks from Ricardo Villalobos, Jan Jelinek and Petre Inspirescu.

What We Leave Behind, and the subsequent remix EP, arrive 50 years to the day that the the Cannes Film Festival, 1968, was closed after Jean-Luc Godard, Francois Truffaut and Claude Lelouche, publicly announced their closing of the festival in solidarity with workers and students protesting across the country.

The LP features a conversation between Stephan Crasneanscki, of Soundwalk Collective, and Franc¸ois Musy, Jean-Luc Godard's sound engineer, printed on a translucent paper insert. The LP and Remix EP both contain imagery taken by Stephan Crasneanscki of the archives, which he has also filmed to create a series of mesmeric short music videos of original and remix tracks.

An international genre-bending group of artist-musicians with studios in New York City and Berlin, the three members of Soundwalk Collective (Stephan Crasneanscki, Simone Merli, and Kamran Sadeghi) formed in Manhattan to produce concept albums, sound installations, and live performances, and have worked with a diverse range of collaborators, from Nan Goldin and Patti Smith to Berghain and Zaha Hadid.

In celebration of 20+ years since their classic debut Uptown Saturday Night, Bronx duo Camp Lo present a special double-album 2XLP with On The Way Uptown & The Get Down Brothers. On The Way Uptown features a collection of demos and unreleased songs made between 94' - 95', leading to their official debut in early 1997. Aside from the early versions of their hits Luchini (AKA This Is It),' Sparkle,' Black Connection,' and Coolie High', other standouts include World Heist', Coolie High Is Life' & A Piece of the Action'.

On The Get Down Brothers, Camp Lo completely pivot away from their 90's nostalgia into a much more futuristic and experimental sound. Although the production is different, their signature tongue-twisting and hype flows remain, creating a unique and seamless fusion packed into 10 dynamic tracks.

His latest release I KNOW from Elypsia Records is a quintet of Detroit inspired remixes of the song 'I Know'. Inspired by Kevin Saunderson, his original TECHNO MIX (7:06) is a hardcore and high energy track with intensity to match the wildest of crowds. The EP also contains 3 remixes of the track, each exposing and accentuating the brilliant aspects of his complex tune. It begins with the LUCIEN FOORT REMIX (6:41), a lively big room hit with a punch fit for an epic Saturday night. UK MIX (6:46) follows with subtle electric melo-dies and rhythmic drum and bass patterns that give listeners the feel of wonder and excitement under a clear starry sky. With a clean and gravitating groove BIT FLOAT REMIX (7:42) would fit perfectly in any Ibiza party with flair and style. This release is a masterpiece of its own and nothing less than the product of a man who was born with beats and melodies ingrained in his soul. For Orlando Voorn, making music is more than a way of life, it's a necessity. From the early age of 9 his natural intuitions became apparent when his drum teacher told his parents he could play everything that was shown to him, even though he had no ability to read a score. He began to DJ at the age of 12, and 3 years later won the World Mixing Championships of 1983 at just 15 years old. Steve Clisby, from the popular American band 'American Gypsies', recognized Voorn's ability and taught him chord structures, which gave him the tools to begin composing tracks using keys and bass. His artistry then took off, making a name for him-self with his vibrant dance tracks under the alias 'Frequency". Today, he's known as one of the Netherland's most inventive and ingenious producers in the world of electronic dance music. Having produced a wide variety of music under a number of monikers including 'Fix', 'Format', 'Urban Nature' and 'X-it', his diverse ability stems

Family Affair Records inaugural release steps out of the shadows bearing a quadruplet of vibrant edits by the faceless Yondo.
Re-imaginings of 80's club staples by Mary Jane Girls & Evelyn Champagne King and 90s R&B-sides by SWV & Lucy Pearl breathe new life into some familiar jams while keeping their essence - all updated and re-birthed for 2018. This record is a bow and your ass is the arrow, aimed directly at the dancefloor.
Hand screen-printed and hand-stamped with vibrant fluoro solvent ink. Get it while you can cuz it ain't ever coming back.
Family Affair Records is a record label started by Raj Chaudhuri (Livin' Proof / NTS / Boiler Room). Artwork by Mason London.

Soul Of Hex's Vicario Musique is making a comeback in 2018, with Cedillo's most personal EP to date. The main track ''Tetro'' is a futurist, simple but effective track dragging influences of the highest order on Chicago, Berlin and Detroit. ''Shadow Aspect'' moves into a darker perspective combining analog and modular synthesis and clever drum breaks. On the bright side of the EP, ''Sun Compass'' a collaboration with his brother Anttares is reminiscent of a Paradise/balearic inspired track showing Cedillo brothers versatile style. To finish the EP, the melancholic ''There are no words'' is a dedication to the memory of Cedillo's grandfather. Tetro has been already being championed live on Soul Of Hex's Live Boiler Room session, and at Tim Sweeney's Beats in Space Mix by Zombies in Miami.

Haiku's Raw Waxes label is delighted to welcome the famously unconventional Stanislav Tolkachev with a new track EP of experimental techno and IDM sounds. Entitled Champions' Breakfast and with brilliant artwork from German Benedikt Rugar, the releases features six cuts, one of which is a previously digital-only track landing here on vinyl for the very first time.

Haiku has long been a fan of Ukrainian Tolkachev having previously collaborated on a remix for the label, while Tolkachev has also released on Haiku's other label Inkblots. This new EP is one that not only shows off the label's willingness to take risks and put out diverse and interesting electronic music, but also one that proves Tolkachev is a truly unique artist with his own musical voice. He has been that way for more than a decade now, and has put out three long players as well as countless EPs that get heavy support from the tastemakers of the day. This latest offering contains his take on the essentialness of groove, enriched by his use of atonality, dissonance and acid-not-acid textures, all in a minimal style.

The deep 'Shady' kicks things off with spangled synth lines and eerie pads off in the distance. It's a lonely and insular piece with kinked rhythms that keep you locked. The excellent 'The Main Thing Is To Survive' is then less constrained, with kicks that rock back and forth as off kilter synth lines warp and wrap around each other in mind melting and tripped out fashion. Switching up the mood with ease, 'Fuck This Guy' is a dark and musty passage of humid ambient techno with static electricity buzzing about over smeared pads that are filled with menace, then the curious 'Hair In My Mouth' is about blurting, busted frequencies, loose and scattered drums and glassy melodies. It's a mangled and mashed up track that sounds like little else. 'Negative Space' is horror soundtrack techno with urgent, driving drums and nervy sound design that keeps you on edge, and closer 'Self Destruction' is built on broken, bristling beats. A rhythm slowly emerges from the haze and it is one that is physical and restless and sure to make a big impact in the club.

This is a varied and vital EP that oozes essential electronic invention.