Cerca:circle of sound

At the start of the year, Rocafort Records treated us to it's first roots reggae outing in the form of 'The Circle of Confusion' featuring the legendary Studio #1 vocalist 'Cornel Campbell'. ... Warm, feel-good, socially conscious, intergalactic dub.

We hoped for more, and finally it's here! Although slightly more digital in production, "Yesterday was History" cannot be claim to differ enormously from its predecessor. But hey, why mess with the formular when the results are pure and damn-near perfect ... ?

'The Circle of Confusion' are a Swiss production duo: Seb.K (Shakedown productions) and Phil'eas (Black Diamond Sound).
Recorded at Addis records in Geneva on the day of Mandela's passing, this track is another slice of dubby humanity-driven peace and love that buoyantly skips along aided by the sweetest scatting voice in reggae, (not showing any signs of it's 73 years), and all the appropriate studio space-age sound effects, harmonics and vintage keys. Modern roots reggae at its best, where the dub version is as banging and cosmic as the A Side.

Elkka - the London based DJ, producer and founder of record label and DIY art collective femme culture - has announced her latest EP ‘Every Body Is Welcome’ on her imprint, following a very strong year constallated of live perfromances and DJ sets throughout Europe, and a growing radio presence in London and beyond.

‘Every Body Is Welcome’ will be released on 22nd of November. Smudging the boundaries between eras and styles, Elkka’s free-wheeling dance tracks float between club beats, earthy sounds, full of warmth, soft edges and lovely instrumentation which all lead to a completely captivating and blissful listen. The infectious new five-track EP looks set to further solidify her status as one of the artists changing the shape of dance music in 2019.

The EP kicks off with an acid-sounding dance thumper that elegantly moves along the piano melody, for a beautiful house start to the whole project. In typical Elkka style, the EP moves from the atmospheric, sun-soaked rhythms of ‘Compromise for What’ and ‘LVURSLF’ Interlude, to the more club-oriented, 4am nightscapes of ‘Avant Garde’ - ending with ‘Breathe’, the perfect union to these two different sides of her artistry in one elegant, thumping, soulful track.

‘Every Body Is Welcome’ was informed by Elkka’s own deeper understanding of who she is as an artist and what the dance floor means to her, claiming that “​Arriving in London in my early 20s I was a completely different person in every possible way and discovering club culture, the rave scene and queer spaces allowed me to explore myself fully as a woman and as queer person. For me, the dance floor has been a place where I have felt the most liberated, the most myself, unified with friends and strangers by the music and moment we are sharing. This EP is a celebration of those moments, of the dance floor, of dance music that has inspired me creatively and personally. Every Body Is Welcome symbolises what I hope the dance floor to be - a music utopia or haven, somewhere for everyone to feel safe to express themselves, to find themselves, to be whoever they want to be and feel part of a community of acceptance and tolerance. Idealistic? Yes but I think art should be a space to express idealism and where we hope to be.”

Her previous EP​ ‘​Full Circle​’​, released via femme culture, received acclaim and support from Annie Mac, Pete Tong, Tom Ravenscroft and Elkka was also named as one of the artists to watch in 2019 by ​Mixmag​. In addition, Elkka has garnered playlist and radio plays from acclaimed producers Four Tet, Floating Point’s and George Fitzgerald.

Elkka founded the femme culture label and collective in 2016 in response to the lack of support for womxn DJs, producer and artists, later teaming up with fellow DJ and creative Ludo who she now co-runs the platform with. Since then, the progressively minded collective have been swiftly gaining recognition with their boundary-free ethos that champions women, women-identifying, artists and the LGBTQ+ community whilst pushing forward-thinking music through their carefully, curated club nights and events.

Earlier this year they released their second label compilation ‘HeForShe x femme culture.’ Compiled in aid of the UN Women, the compilation featured fresh new sounds from the likes of Lone, Elkka herself, Martin Bootyspoon, India Jordan, Ouri, Nightwave and more - and earlier this summer they hosted their annual alternative Pride after-party ‘PROUD’, in which all the proceeds went to The Albert Kennedy Trust (a charity for homeless LGBTQ youthsworthy causes).

The soundtrack for Quentin Tarantino’s heavily anticipated music laden film Once Upon a Time… in Hollywood, personally curated by Tarantino himself, the soundtrack is a love letter to the music of 1960s era Hollywood. The Once Upon a Time… in Hollywood soundtrack features over 20 standout tracks from artists such as Paul Revere & The Raiders, Deep Purple, and Neil Diamond, as well as vintage radio advertisements, creating a true time capsule of a golden era of filmmaking.

Quentin Tarantino’s Once Upon a Time… in Hollywood visits 1969 Los Angeles, where everything is changing, as TV star Rick Dalton (Leonardo DiCaprio) and his longtime stunt double Cliff Booth (Brad Pitt) make their way around an industry they hardly recognize anymore. The ninth film from the writer/director features a large ensemble cast and multiple storylines in atribute to the final moments of Hollywood’s golden age. Written and directed by Quentin Tarantino. Produced by David Heyman, Shannon McIntosh and Quentin Tarantino. Georgia Kacandes, YU Dong and Jeffrey Chan serve as executive producers. The film also stars Margot Robbie as Sharon Tate plus Al Pacino, Emile Hirsch, Timothy Olyphant, Dakota Fanning, Bruce Dern, Lena Dunham and more.

WRWTFWW Records is insanely happy to announce the first ever vinyl reissue for both volumes of Yoshio Ojima's superb environmental music project Une Collection des Chaînons I and II: Music For Spiral, originally released in 1988 on CD only. Each volume is sourced from original masters and comes as a double vinyl LP with liner notes in English and Japanese . This marks the inaugural release from the ESPLANADE SERIES by WRWTFWW Records which focuses on the works of Yoshio Ojima and friends.

Une Collection des Chaînons II (along with its complementary predecessor Une Collection des Chaînons I) gathers selected music pieces conceptualized and produced for sound-designing the Wacoal Art Center in Aoyama (Tokyo) also known as Spiral, a hub for a wide range of sophisticated cultural proposals spanning visual arts, theatre, music, design, fashion, and lifestyle.

Named after its superb curled-shaped structures laid in a vast atrium, Spiral is a monumental work of architecture by Fumihiko Maki, designed according to the principles of Metabolism, a movement advocating the fusion of the notions of megastructures and organic biological growth - in essence, evolving designs and constructions, adapting to human needs naturally.

Evolving, organic, adapting, these are notions that perfectly describe Yoshio Ojima's divinely designed brand of environmental music. Continuing, embellishing and bringing the Collection des Chaînons (which translates as collection of links) full circle, this second volume approaches sound design in relation to various contexts, sizes, and shapes. The nanoscopic neoclassical lullaby "Les Trois Grâces" brings attention to the importance of small details, "Pulse at Soothe" starts with the minimalism of a Satoshi Ashikawa piece and slowly drifts into mystical landscapes and cavernous echoes, "Entomology" and its melancholic artificial forest feels like a Twin Peaks mirage, and "Atrium" literally feels like a floating visit of a gigantic open space structure. With each timbre selected with extreme precision, each element placed in space with the utmost care, and textures worked to allow a wide canvas of emotion for the listeners, Yoshio Ojima's music is the constantly transforming connecting point between humanity and architecture.

Sitting alongside Midori Takada's Through The Looking Glass, Satoshi Ashikawa's Still Way, Hiroshi Yoshimura's Green, or Yutaka Hirose's NOVA, Une Collection des Chaînons is a pivotal work of Japanese environnmental/ambient/minimalist music.

A note from Yoshio Ojima: "Please listen to this album at around the same volume as daily life sounds such as air conditioners and refrigerators."

The two collaborators, known separately for contemporary electronic music & free clarinet experimentations team up to create the delirious trip, Footfalls.

Two scenes are presented here, seemingly taken from different sides of the same desolated seaside setting, loosly inspired by poet and novalist T.S Elliot and Samuel Becket. In Towards the Door, Gareth Davis´ bass clarinet breathes slow, wave-like tones that merge with the oft-rythmic electronic textures from his counterpart. A third of the way in, Robin Rimbaud´s synth erupts into a Blade Runner-esque epic harmonic section that disappears as suddenly as it arrives - leaving ripples of oscillation in its wake, slowly unfolding into the sound of waves, as it arrives back where it begun : as a full circle, drawn in echo´s of sound.

Smokefall begins with the words „Invisible choirs“, subtly spoken by a woman’s voice among a blurred distant conversation, as textural sound effects creep forwards to the point where a slow progressing but steady LFO rhythm enters. Water, metal & smoke are absorbed into a creeping tribal passage, acompanied by long clarinet tones. The piece expands further and further into a state of ecstatic harmonic noise that fulfills all parts of your body – if played loud. Both artists from here on move into full on crushing electronics, all while Rimbaud´s Kilpatrick Phenol synth drives the background with its pulses and repetative bassline. The piece has an ellipse like rotation that makes one feel a sort of blissful vertigo that reverberates in your mind after the piece has ended.

Footfalls is an euphoric trip from two artists that – although prolific - manages to arrive at the perfect meeting point to deliver two hard to shake pieces of dizzying electro-acoustic perfection.

Recital publish the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "Avant-Garde" (Calgary is the rodeo capital of the world). From a young age, Sarah was a driven pianist (and figure-skater, although that's a story for a different time). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel.

Sarah is a considered person. I find few people that have the diligence and resolve to take their time with music... especially in a live context. I respect that about her. The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty.

Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On..., recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion.

Two pillars of this album are "Mordents", which to my ears drops hints of her love for Progressive rock music - and "Buhrstone," comparable to a sombre funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics.

Writing this description now, I find it hard to separate "At Hand" from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship - frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul.

This is a lovely album to fill an evening living room with. A blanket, a cup of wine, a dim bulb, a wide window.

Three beautiful photo-prints by Davachi are included with Let Night Come On Bells End The Day. Frames are not included.

- Sean McCann

Born and raised in South London, Hector Plimmer is a multi-faceted producer, composer and DJ whose sound is drenched in tribal rhythms and beautifully crafted bass. Influenced by beat-makers like Flying Lotus and Theo Parrish, but with the subtleties of the classic Metalheadz era drum and bass, his second album 'Next To Nothing' is released on 25th October 2019. The album features guests Ego Ella May, Emma-Jean Thackray, Andrew Ashong, Pie Eye Collective and Alexa Harley.

After featuring on Brownswood Bubblers 11, curated by Gilles Peterson, Hector proved his talent when he was selected as a winner of the PRS Steve Reid InNOVAtion award. At a performance at ‘Sounds Of The Universe’ Record store, Hector caught the attention of Albert's Favourites' label heads Adam Scrimshire & Dave Koor. A conversation was started which led to the transfer of almost a whole album's worth of material and resulted in his debut full length record ‘Sunshine’.

'Sunshine' was met with rapturous acclaim. The record went on to be awarded Gilles Peterson’s album of the week on his BBC 6 Music show and was championed by both Lauren Laverne and Tom Ravenscroft on the station as well as Jamie Cullum on BBC Radio 2. Its success on the airwaves transcended to streaming with the inclusion in the top 50 viral US chart on Spotify.

"This album has been a real labour of love. I spent the most part of a year trying to make music I thought would be fitting to follow my last album, whilst not actually knowing what that might sound like. 'Sunshine' had been received way more positively than I had anticipated and although praise is a lovely thing, it was the cause of much anxiety when the time came to start on this record. I put a lot of pressure on myself to produce music and kept going down routes that felt forced or just didn’t click for me, in hindsight I realise this was me making music not for myself, but for what I imagined other people might want to hear. In a way 'Next to Nothing' is my first real album, 'Sunshine' was more like a collection of four to five years worth of music compiled into the shape of one. This is my first dedicated attempt at creating a cohesive project, something that shows who I am right now and what got me here."
- Hector Plimmer

As a DJ Hector has a monthly slot on NTS radio. He has played alongside the likes of Gilles Peterson, Kutmah, Alexander Nut, MNDSGN, Onra, Dego, Kaidi, Max Graef & Glenn Astro; Hector finds himself in the good company of those talented selectors who play genres across the spectrum of Hip-hop, Beats, Funk, Soul, Disco, Afro-beat, House and Jazz.

E-Missions co-founder P.Leone returns to Radio Slaves’ Rekids Special Projects dropping four high grade techno cuts. Known for releasing on labels such as Work Them Records and his own co-run E-Missions, P.Leone has firmly become of the most exciting artists within the inner circles of driving underground music. The Berlin-based American artist and Radio Slave collaborator is now welcomed back to Rekids, bringing his versatile sound that encompasses dark techno and groove driven house. 'Beyond Me' opens with eerie warehouse glitches, cavernous drums that ring out into a huge open space while unsettling pads and textures grab your attention, 'Hard to Find' is a rugged, relentless cut with perfectly forward moving rhythm with detailed edgy synths that keep you in suspense. 'Lenox' continues the energy with distorted drums, hitting hard beneath a blistering groove, 'The Genes is of A Flower' then takes control as an atmospheric track with structural synths.

Field Recordings, carefully chosen percussion, electronic spice and acoustic ingredients. This is the foundation for every recipe that Bolivian Belgian artist Suso Perez aka Susobrino creates. In 2018, he presented his debut EP “Mapajo” on Global Hybrid Records. Since then he has won several awards; the “Champion Sound Beat Battle” and “Most Promising Artist” at the Red Bull Elektropedia Awards of Belgium. He introduced his creations to numerous festivals in Belgium and abroad.

His new album “La Hoja de Eucalipto” brings alive a more energetic and aggressive part of Susobrino and presents a work focused on the ethnic and world sounds, mixing his masterful percussion with electronic beats to create a unique and distinctive sound. For fans of the organic electro-latino sound of Chancha Via Circuito, Nicola Cruz and Dengue Dengue Dengue.

In this album Susobrino created a story of 5 beings looking for answers in their individual lives.
The first track “La Hoja de Eucalipto” is the ceremony right before the journey. It’s a three part composition to set the tone of the entire album: question, answer and interpretation.
“Despertar” (wake up in spanish) is the realisation of the journey these beings are getting into. The guitar interprets the rain as a cleansing. A fresh breath in, breath out.
“La Marcha” is the physical start of a long journey. They will be walking for days, weeks or even months. The exciting, courageous travellers leave their families and friends towards unknown lands that they never dared to enter. Many days of walking pass and they reach a new habitat. A dense jungle.
“Dispersion”. This brings tension and fear out of the 5 travellers. A 6min long repetitive song that interprets walking in circles. Everyone gets separated from each other and they question with doubts of getting out of the unknown jungle. Eventually, the 5 beings survive the unknown jungle. Exhausted and lost, they keep walking with no idea where to go. That’s when they stumble upon “Polahimán”. A mysterious entity who’s very eager to help and knows exactly where they have to go. With riddles and poems, he gives them directions.
“El Desierto de Pazmancú” A new habitat. An endless dessert. Yet, the beings are refilled with courage, crossing the entire dessert. That’s where Polahimán is waiting for them.
“El Enfrentamiento de Polahimán”. This is the endboss; The Final Chapter. The 5 grown travellers find themselves in many challenges. This is where you, as a listener, can interpret if it’s a good or bad ending. Or an open ending?

Susobrino plays and records everything in his humble studio in Belgium. Percussion, quena (flutes), guitar, charrango, field recordings and a yamaha dx9.

From Far Out Recordings’ in-house producer, Daniel Maunick’s debut solo album Macumba Quebrada conjures scenes of collective hedonism from start to finish. Spanning Afro-Brazilian spiritual dance ceremonies, late-eighties Detroit techno parties and jungle and broken beat raves in nineties London, Maunick celebrates our instinctive, age-old desire to come together and lose our sense of self.

Daniel Maunick practically grew up behind the mixing desk. As the son of Brit-funk legend Jean-Paul ‘Bluey’ Maunick (of Incognito fame), he found himself immersed in music from an early age, and quickly became involved in London’s drum n’ bass, acid-jazz, house, broken beat and soul scenes, releasing his first production at the age of sixteen on Gilles Peterson and Norman Jay’s Talkin’ Loud label. Since then, he has produced albums by the likes of Azymuth, Marcos Valle, Terry Callier, Incognito, Ivan ‘Mamao’ Conti and Sabrina Malheiros.

Reflecting his dual residence between Rio de Janeiro and East London, Macumba Quebrada features deep house stompers and broken bangers littered with Brazilian rhythms - in the form of both dusty percussion and Maunick’s intricate drum programming. But the album sees Daniel draw inspiration from across the black music continuum, and the rich histories of communal celebration in Detroit techno, Chicago house, London D’n’B and New York disco. Bringing all this together in explosive peak-time club tracks, moments of eerie ambience, South American swing and tribal earthiness, Macumba Quebrada expands on Maunick’s recent vinyl-only EPs ‘A Vicious Circle’ and ‘Sombra Do Dragao’, with a 13-track double LP and 14-track CD and digital release.

Taking its title from a syncretism of South American spiritual practices, the cover art is photograph taken by acclaimed French photographer and self-taught ethnographer Pierre Verger, who travelled the world documenting civilizations that would soon be effaced by progress. Settling for good in Salvador, Brazil, Verger became initiated into the Candomblé religion, eventually officiating rituals and ceremonies within the community. Without having become an ordained priest, Daniel Maunick shares both Verger and Far Out Recordings’ love for Brazil: its people, its culture and its music.


"He's been producing Azymuth and all kinds of great musicians in Brazil, and finally his debut album is about to be released." Gilles Peterson (BBC 6 Music)
"This one is a good one. Thanks!" Derrick Carter
"Wow couple of killers on there so it sounds!! Thanks a lot" ?? San Soda
"He is always brilliant!" Voclov (Neroli)
"Energetic, summery and full of groove. "It's like Theo Parrish went to Brazil and never decided to come back." Errol (Touching Bass)
"Super dope release from Daniel! proper Venom / Viper Squad vibes!!" Pablo Valentino (MCDE/Faces Records)
"Organic and bumpy...healthy dance music!" Mad Mats (Local Talk)
"really diverse, great sound" Chris Todd (Crazy P)
"super dope" Nick Tyson (XOA)
"Keep em coming man! ... Nice one" Earl Jeffers
"Feeling this! As always with Mr Maunick." Opolopo
"Dirty Trix is real nice!" Jkriv (Razor N' Tape)
"This is great!" Danny MoodyManc
"He's right on the money with this one, isn't he? Deep, profoundly funky stuff that Larry Heard would be proud of. You can feel it!!!!" Mark Webster (BBC 5 LIVE)
"this is so dope" Alex Attias (Visions Recordings)
"Love these tracks" Serkan Cetin (SunSplash)
"Great release, I love It! I-Robots approved!" I-Robots
"This is excellent. Dirty Trix and Somra Do Dragao are the ones!" Dane (The Love Below)

Introspection Recordings is proud to present his new limited 300 copies series.

A four-track EP that practically oozes class, the debut offering from Italian label Introspection is nothing if not an auspicious one. Featuring four tracks from an evidently shrewdly chosen bunch of artists, Introspection001 takes on numerous different styles and sounds, with the end result one that's thoroughly uncompromising and always engaging throughout. Featuring the work of four Italian producers; E-dward!, Matthew Redden, Lorenzo Magnozzi and BCFHBH, it's a release that dazzles from start to finish.

We get going courtesy of Edoardo Scarpellini aka E-dward!'s 'Got It'. A firm fixture in discerning Italian circles, as a DJ he has played in practically all of his country's foremost nightspots, not least Cocoricò in Riccione, Spazio 900 in Roma as well as Tenax and Fortezza da Basso in Florence. Equally renowned as a producer, his sounds have brought him to a wide range of respected outlets, including Bosconi, Stardub and Apparel Music. A minimal track that's but a sum of a few parts, Scarpellini's contribution here is a dubby, weighty, emotional cut that's high on intensity throughout.

Next up is Matteo Salvadorini aka Matthew Redden. A native of Livorno, Redden's contribution here, the whimsical, curious strands of 'Melancholic Probe In A Sad Space' serves up a very different sound to what's come before. A nimble, microhouse-inspired cut that's both happy and sad while serving up a host of introspective vibes, Redden's contribution here is truly a joy to behold.

The B side kicks off courtesy of label owner Lorenzo Magnozzi and his track, the wonderful 'Acid Morning (Space Time)'. Another track on display here that's been suitably named, it's teeming with peak-time prowess, with its sporadic vocal stabs only adding to the sense of drama. A considerable move into a different sound sphere, it signals the EP's intentions with some prowess. Supported by a host of respected names such as Ricardo Villalobos, Dana Ruh, Raresh, Tobi Neumann and Nastia, his is a sound that defines categorisation but one that always follows a discerning script.

Born in Huntingdon in the UK but raised in Pisa, BCFHBH started his musical journey at the age of 11, meddling with his parent's vinyl collection, a move that would ultimately inspire a life-long love affair with all things electronic music. His deep house flavoured track, 'Kin' is a wonderfully deep number that harks back to the days when deep truly did mean deep. A classy, sophisticated and wonderfully restrained track, it signs off the release in some style.

Max Duke's first LP “My Sins” is a journey between house and Techno via electronica, with a unique french house touch that forms an unusual and cohesive debut album. It’s the sound of the musical universe and the influences that have taken hold of the french artist. The album unfolds over the course of 11 tracks, each piece serving as a building block and the result of many months of Max’s work. It is the product of experimenting in the studio, seizing the mood of the moment and reflecting on life experiences. Each song has its own story and helps to complete and close the circle of this captivating musical journey. Guitar, piano and synths are his words in the story; the channel that perfectly transmits all the emotions and feelings bottled up in the album. The range of moods, tempos, impressions, sounds and rhythms oscillates between
downtempo and techno with hints of breaks and house.
Straight up dancefloor cuts like “Almost Done”, “Echoes” and title track “My Sins” rub shoulders with the closed-eye mind wandering soundtrack of “Covered”. “A New Reality” emerges as a tribute to 90s trance. The two sections of “Characters” explore an instrumental middle ground between almost orchestral and minimalism. “My Sins” is the work of an artist in constant movement and evolution who opens the door to his unique world in full. The album will be released 30th September on Redlight Music.

“Bandiera Di Carta” represents the ongoing collaboration between instrument builder and composer Pierre Bastien and the
London based experimental duo Tomaga (Valentina Magaletti and Tom Relleen).
Bastien has been called a “mad musical scientist with a celebrity following” by The Guardian (UK) having collaborated with the
likes of filmmaker Pierrick Sorin, fashion designer Issey Miyake, singer and composer Robert Wyatt as well as Aphex Twin,
who released three of his albums on his label Rephlex.
Tomaga have made more than a dozen records since forming in 2014, pursuing a path of fearless experimentation and sonic
brinksmanship that has won them fans and plaudits from far and wide, including Thurston Moore, with whom they collaborated
on the CAN Project with Malcolm Mooney, Deb Goodge and others in 2017, as well as Wire, Silver Apples and Stereolab, with
whom they toured extensively in summer 2019.
The artistic collaboration between Pierre and Tomaga began with two commissions: from Fructose Festival in Dunkirk and the
revered underground festival Supersonic in Birmingham UK. Recording initially at a studio in the industrial port of Dunkirk, the
uneasy bond between borders and states seems to have been a theoretical motor to the collaborative sessions, as well as the
bleak landscape of the seaport frontier. This inspiration found further manifestation in the cover image for ‘Bandiera Di Carta’.
Resembling a white paper flag, it is, in fact, a photograph of Bastien’s paper and air sound machine installed on stage at
Teatro Carignano in Turin as part of the trio’s performance there. This charged, ambivalent image of a blank flag evokes the
transcendence of the national, a prescient visual motif that meditates on the contemporary uncertainty around notions of
national identity and borders but perhaps also a ‘carte blanche’ for the artists involved, in which they can deviate from the
confines of their usual practice into new and strange territories.
For each piece, Bastien’s unique sonic style: by turns his kinetic mechanoid motors, capriciously arrhythmic pipes, or the
peculiar susurrus of paper, creates a world in which Tomaga introduce their musical palette. Magaletti’s percussion anchors
these sometimes chaotic forces into beguiling syncopations, with Relleen’s synthesizer and organ work creating harmonic
counterpoints and interruptive provocations, to which Bastien responds with lyrical turns on prepared trumpet, rubber band, tin
foil and bass ocarina.
The results are curiously evocative of free jazz by the likes of Sun Ra or Art Ensemble of Chicago paired with the percussive
sound worlds of artists like Francis Bebey or Muslimgauze along with unique and sometimes bizarrely exotic tonal landscapes
of composers like Catherine Christer Hennix, Carl Stone, or Egisto Macchi. All three musicians seem to find space to bloom in
ways that are markedly different from their individual work and the resulting album is a strikingly original and powerfully bold
affirmation of what can happen when venturing beyond the normal in pursuit of the other.All tracks written & produced by Tomaga (Tom Relleen & Valentina Magaletti) & Pierre Bastien.
Mixed and mastered by Rashad Becker.

The second full-length LP from Jungle Brown, ‘Full Circle’, drops on Mr Bongo in September 2019. Featuring collaborations with Sampa The Great, Fliptrix (High Focus) and Terri Walker amongst other super-talents.

The trio – Ric Flo, MAEAR & Tony Bones – have spent the last two years redefining soulful hip-hop – the sound is bigger, more thought-provoking, and it has matured with a rich soulful underpinning. They have also entered territories fans are yet to hear from them as they glide effortlessly over Tony Bones’ productions that introduce trap and house into their repertoire. The
project is an eclectic array of their influences, twisted and blended together to create a ground-breaking release for UK music.

Jungle Brown’s debut album ‘Flight 314’ has achieved more than a million streams without any budget for marketing or promotion. They spent much of 2016 in Apple Music’s ‘Best of 2016 category, featuring on Spotify and SB.TV, were requested to curate an exclusive playlist for Tidal and attracted attention from New York with Beats 1’s very own, Ebro.

They’ve shared the stage with the likes of De La Soul, Ghostface Killah, Lowkey, Akala and Donaeo, played major festivals including Glastonbury, Boomtown and Lovebox as well as a huge number of clubs shows across the UK.

Repress

The fourth output on the imprint GEN X is a various artists EP featuring Remy-X, AADJA, Dave Simon and label owners Deep Dimension.
Featuring four hard-hitting old school ravey cuts with new age soundscapes. Bringing back the energy of the early nineties raves.

Supporting artists:
Marcel Dettmann, Pan-Pot, Ramiro Lopez, VII Circle, Dubfire, Ilario Alicante, Noir, Paco Osuna, Richie Hawtin, Marco Bailey, Endlec, Joseph Capriati, Rebekah, Marco Carola

Concentric Circles presents ''For the Moment'', which features tracks from some of Di Stefano's early cassette releases, as well as a number of unheard explorations of Indian polyrhythms from the early 90s. Di Stefano’s prescient and unique work will appeal to fans of Cybe, Joel Graham, UnknownmiX, Zru Vogue, and provides a fascinating view of the 80s US electronic underground.

American-born, Japan-based composer John Di Stefano self-released a number of cassettes as part of the 80s DIY underground on his own imprint Oktron Produktions, including Klang's Drift, a collaboration with Joel Graham.
Living in San Francisco, Di Stefano had access to multiple University electronic music studios, where he had an impressive array of synthesizers at his fingertips, including both Buchla and Serge modular systems. Combining his knowledge of modular synthesis with a background in percussion, his early releases were a uniquely human approach to electroacoustic music, with flourishes of post punk in the mix. Di Stefano developed an interest in world music, studying Indian music theory and tabla, and after an extended trip to Indonesia in the mid 80s, he was particularly drawn to Javanese gamelan music. Future recordings would forever be indebted to the sounds he heard during those travels.

Following up on the 2017 debut EP 'Don't Get Me Wrong’, Dazion returns with his second release on Second Circle.

On his latest EP; 'A Bridge Between Lovers’, we hear the Dutch multi -instrumentalist take even more unexpected swerves and turns in the form of fi ve new tracks recorded in his home studio in Den Haag. Setting himself loose from any musical confines, his process develops spontaneously; a Spanish guitar connects with an Indonesian wind instrument, wood sticks are channelled through a gritty sampler, while weird drum pattErns make their way out of Alesis HR 16-B and Yamaha computers. The results of these recordings are a fluid yet familiar Dazion sound; typically utilising electronic and organic sounds in his own distinctIve way. As with its predecessor, the tracks on ‘A Bridge Between Lovers’ are heavily rhythmically fuelled as well as rich in melody. Not least during another collaborati on with the Portugese vocalist Paulo on the alluring opening track ‘Eu Ñ ao Sei’, where Dazion again radiates what he himself calls, his "musical message of love to everyone".

Season Four of Outlander continues the story of time-travel 1960’s Claire Fraser and her 18th century husband Jamie Fraser as they try to make a home for themselves in the rough and dangerous ‘New World’ of America. The score to the series is composed by American film and television composer Bear McCreary (The Walking Dead, Cloverfield, Black Sails). The settings of the series were a challenge for the composer, because each culture and geographical location offers other potential musical influences for the score. The score supports all these different locations and he even used the banjo this time. As it was one of the most exhilarating creative challenges of his career you’ll hear the integration of both bagpipes, fierce Afro-Cuban polyrhythms and French baroque ornaments. Above all the typical folk music will set the tone for all the settings in the movie.

Outlander Season 4 is available as a limited edition of 500 individually numbered copies on coloured (gold & black mixed) vinyl. The package contains an insert.

Legitimately available again on vinyl for the first time since its original release in 1983, Outernational Sounds proudly presents a major statement from a crucial figure on the Los Angeles jazz underground – pianist Nate Morgan’s spiritualised deep jazz classic, Journey Into Nigritia.

How many 16 year olds would have the confidence to walk up to a revered bandleader at a gig, and inform him that one day they’d be playing together? As improbable as it sounds, this is how pianist Nate Morgan introduced himself to the great Horace Tapscott, founder of the Pan Afrikan Peoples Arkestra. The teenage Morgan had heard Tapscott’s Flying Dutchman LP The Giant Is Awakened being played by Greg Kufahamu on local Los Angeles radio station KUSC, and Arthur Blythe’s wailing sax had gone ‘straight to the heart. It was a spiritual experience.’ Morgan showed up to all the Arkestra shows he could find. He was already studying with Joe Sample and Hampton Hawes and playing in local bands, but the draw of the Tapscott’s band was too much for the gifted young pianist:

‘I could only take about two or three more concerts before I had to run up on stage. When I first introduced myself to Horace, he tells everybody that I said, “Yeah, I’m Nate Morgan. I’m going to play with you all.” Not that I want to, but that I’m going to.’

Over the next decade and beyond, Morgan would become a central figure in Tapscott’s UGMAA (Union Of God’s Musicians and Artists Ascension’), bringing new figures into the fold (it was Morgan who first hipped Jesse Sharps to Tapscott’s circle; they were lifelong friends), running jam sessions, and eventually being given the task of organising the Arkestra songbook. During the early 1970s he also worked commercially, doing a stint with Rufus and Chaka Khan and appearing on Willie Hutch’s Foxy Brown soundtrack. Into the 1980s and 1990s he remained active, keeping the UGMAA flame alive in late night jams and private sessions, and working tirelessly around LA, including collaborations with Bone Thugs N’ Harmony; he was also part of the early 2000s LA jazz collective Build An Ark. A true musician’s musician, Morgan died in 2013.

Journey Into Nigritia, featuring firebreathing reedsman Dadisi Komolafe, was the first of two LPs Morgan recorded for Tom Albach’s storied Nimbus West imprint. A committed, spiritualised work that showcases Morgan’s heavy composing as well as his McCoy Tyner- influenced and technically flawless playing, Journey features dedications to Coltrane (‘He Left Us A Song’) and Cecil Taylor (‘Study In C.T.’). Surging, modal jazz from the LA undergound, Journey Into Nigritia is a crucial recording by an unsung jazz legend.

Mario Pierro aka Raiders of the Lost ARP (ROTLA) returns to Edizioni Mondo. “Trasmissioni” is his debut LP under this moniker, using fictitious TV show themes as an excuse to create his musically most eclectic record so far. Departing slightly from the Balearic and prog rock influences of the previous “Laguna” EP, in “Trasmissioni” ROTLA covers many territories: opening with the science-celebrating arpeggios of “Progressi della Scienza” (Italian for “advances in science”), to the funky, off-beat grooves of “Telemusic”, then taking a step into a disco during “Nightlife”, before programming his rocket towards eerie nordic drum machines and Hammond organs in “Esterno Neve” and “Effetto Notte”, and many planets more. A welcome edition to the ever expanding Edition Mondo universe and a record you can’t grow tired of. Eco-Friendly green artwork that shows how tiny we all are. Good listening!



The name MONDO has its roots in “MONDO MOVIES", an italian movie genre born in the 60’s. Mondo movies are characterized by documentary-like content that addresses several topics from around the world ("mondo"). The Mondo label has the goal to produce music that is descriptive of concepts, images and environments. Mondo is inspired by library music, a genre frequently used as theme or background music in radio, film and television in that very same period. Production music libraries typically offer a broad range of musical styles and genres describing everything ranging from deserts to war and sports. Library music composers and session performers had no constraint at all. They typically work anonymously, have rarely become known outside their professional circle and they have produced what probably is the most creative music catalogue ever. The Mondo productions start with four releases dedicated to seascapes; scenarios range from sea fauna to poaching, from natural parks to sea dunes.