Suche:city 2 city

MANOID returns to Hafendisko this October with his debut long player 'Truth', comprising six original tracks on vinyl from the Polish producer and live act. Rising producer MANOID has been steadily developing his unique approach to electronic music for the past few years, releasing his first tracks in 2014 and co-producing material for fellow Polish artist Pola Rise, whilst taking his live act across the globe to The Netherlands, South Korea,Iceland and more. Here though, we see him marking a milestone in his career with his debut album for hafendisko, the Hamburg-based sublabel of hfn music. Across the Truth LP MANOID delivers an amalgamation of styles ranging from jazz-tinged electronica through to modern classical and techno- due to MANOID's origin often referred to as 'Forest Techno'. One half of Darkness Falls and Trentemøller collaborator Josephine Philip also delivers vocals on 'Take Me', adding yet another musical twist to the package, whilst further ideas came to fruition through field recordings such as 'When' which is based upon recordings from a textile museum in the city of Lodz, and 'For Roses' which was initially made as a lullaby for MANOID's niece but he felt was a little too dark so later developed it into this enchantingly eerie composition for the album. MANOID's debut album radiantly displays charm, maturity and musicality throughout and joins the thread of his musical influences and experiences perfectly.

It Was 1968 When Fania Records President, Jerry Masucci, Received A Phone Call From Conguero George Guzman, Inviting Jerry To Listen To His Band. Jerry Turned The Project Over To Harvey Averne, Who Later Reported To Jerry That The Band Was 'out Of Sight' And Suggested That Masucci Sign Them Up. A Short Time Later, Things Became Complicated For George And His Band. First Of All, The Lead Singer Was Drafted Into The Military, Leaving George High And Dry. By The Time A Replacement Was Found, George Learned That His Trumpet Player Was Leaving To Join Another Orchestra, So The Search Was On For His Replacement. One Problem Led To Another And Before You Knew It Several Months Had Gone By Before George Was Finally Ready To Enter The Studio And Begin Recording. Thanks To George And Harvey's Perseverance, 'introducing George Guzman' Was Released In Time For George To Join The Fray Of Boogaloo Bands That Had Brightened Up The Night Scene In New York City In 1968.

'Jump Trax' is another essential piece of early Chicago house music crafted by the legendary Duane Thamm JR back in 1984. Fusing together a myriad of influences including early 80's Euro pop, Italo Disco and HI NRG, Thamm JR was responsible for helping create and influence the burgeoning House sound that would emanate from the city all throughout the second half of the 1980's. Not only were these sounds new and fresh, they were experimental too, 'Jump Trax' sees the BPM's gradually shift throughout the duration of the tracks seamlessly giving the more adventurous DJ's out there more ammunition and room to experiment with styles and BPM's. A truly visionary approach to production and all recorded and mixed within Chicago's city limits by Thamm JR at his Reel To Reel Studio located in Villa Park, Illinois. 'Jump Trax' continues to be as influential today as it was back in '84, with many top DJ's still citing the record as a 'go to', powerful indeed.

Chicago's Still Music are proud to present this fully legit, remastered and repressed piece of Chicago house history. A truly pivotal record now made available again for 2018. Essential sound for those who love the real deal - snoozing not advised, OG copies of this monster are hard to come by!

By track two we've already blitzed Cutty Ranks samples via Dawn Of The Dead chatter through Street Fighter vamps and Pulse X resurrection subs. All you can do with Mars89's mesh of gutter sonics is pick out the landmarks you recognise: 'oh yeah that's kinda drill, mmmm gqom, oooo Night Slugs' but like the best hallucinations you just shut your eyes and ride it.End of The Deathsounds like it comes from no place in particular.

Slotting way outside of the current batch of hard-to-describe club music that we're all struggling with, End of The Deathis the Tokyo native's third release, his 2nd for Bokeh (after 2017's Lucid DreamEP) and his first official appearance on wax (after a run of 30 'Biological Tides'/'Poltergeist' dubplates). Bokeh pays full respect to Mars89's futuristic intent with a bad acid Akira sleeve airbrushed by Patrick Savile and a limited VR headset edition - accompanied by a 360° video environment by Seth de Silva.

Bokeh Edwards and Mars89 met at the Bokeh Versions x Diskotopia night in Tangram hairdressers, Tokyo (sponsored by Pioneer) in October 2016. He's a crucial member of the Tokyo's Chopstick Killahz, a self-described "Post Tribal DJ Unit" lurking on the fringes of the city's grime scene. Mars89's self released his debut EP East End Chaos in 2016 on a limited run of zines. He's also recently composed music for Amazon Fashion Week Tokyo 2017A/W and started a residency at Bristol's Noods Radio to highlight DJ and production talent elsewhere in Asia.

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

'Bound to shake your walls and rattle your windows' Max Reinhardt, BBC RADIO 3 "The first bit of evidence that Elizabeth Bernholz's next album Pastoral - due out in September - could be her best to date". THE QUIETUS "Will likely be one of the year's very best records.' CLASH 'What species is this What century' Forged in a rural idyll in Middle-England, the new album Pastoral, by Gazelle Twin, exhumes England's rotten past, and shines a torch over its ever-darkening present. Told through a troupe of multi-gender voices, in vernaculars old and new; from the shrill echo of folksong to tabloid-tinged jaunts, the artist aka Elizabeth Bernholz, presents the notion that 'there is horror in every idyll, and danger lurking beyond the 'quaint' '. The village square - once host to centuries of public torture - becomes a floral framed postcard, dolled-up for the Summer Fête. A sunny, afternoon walk over the hills unsettles a cloud of angry flies feeding from unidentifiable remains. Bigoted vitriol gently murmurs amidst tearoom chatter, as the neatly framed pastoral picture dissolves into a solemn ennui. Four years in the making, amidst life-changing events, including a move far out of the city, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014, Anti-Ghost Moon Ray) and is seamlessly on-theme, together with Bernholz's J.G. Ballard-inspired A/V show 'Kingdom Come' (soundtrack released November 2017, Anti-Ghost Moon Ray) - a fascism-infused hellscape, this time set in deepest Old England. As its sole creator, Gazelle Twin 'The Composer, Musician and Producer' has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation - the harpsichord and the humble recorder, fed through myriad electronics - to the compelling, ritualistic application of found sample-looping. Beyond Bernholz's signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of '90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory. In its consummation it is an album that feels pan-century, even pan-species. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin 'The Artist and Performer', constructs an eccentric and commanding visual embodiment of all-of-the-above - a costume fit for a court Jester of the 21st Century. The colours of Neo-Nationalism. Coke cans, and DANGER. 'It' (not 'she') hints at folkloric traditions with a footy mascot twist. The 'Ye Olde' and 'The Everyman' of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder. A jeer and a square dance in red, Adidas Gazelle's, and a mad, fixed GRIN - first glimpsed in the single, 'Hobby Horse' (22 June, Anti-Ghost Moon Ray). A deranged, absurd reflection of deranged and absurd times.

'Bound to shake your walls and rattle your windows' Max Reinhardt, BBC RADIO 3 "The first bit of evidence that Elizabeth Bernholz's next album Pastoral - due out in September - could be her best to date". THE QUIETUS "Will likely be one of the year's very best records.' CLASH 'What species is this What century' Forged in a rural idyll in Middle-England, the new album Pastoral, by Gazelle Twin, exhumes England's rotten past, and shines a torch over its ever-darkening present. Told through a troupe of multi-gender voices, in vernaculars old and new; from the shrill echo of folksong to tabloid-tinged jaunts, the artist aka Elizabeth Bernholz, presents the notion that 'there is horror in every idyll, and danger lurking beyond the 'quaint' '. The village square - once host to centuries of public torture - becomes a floral framed postcard, dolled-up for the Summer Fête. A sunny, afternoon walk over the hills unsettles a cloud of angry flies feeding from unidentifiable remains. Bigoted vitriol gently murmurs amidst tearoom chatter, as the neatly framed pastoral picture dissolves into a solemn ennui. Four years in the making, amidst life-changing events, including a move far out of the city, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014, Anti-Ghost Moon Ray) and is seamlessly on-theme, together with Bernholz's J.G. Ballard-inspired A/V show 'Kingdom Come' (soundtrack released November 2017, Anti-Ghost Moon Ray) - a fascism-infused hellscape, this time set in deepest Old England. As its sole creator, Gazelle Twin 'The Composer, Musician and Producer' has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation - the harpsichord and the humble recorder, fed through myriad electronics - to the compelling, ritualistic application of found sample-looping. Beyond Bernholz's signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of '90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory. In its consummation it is an album that feels pan-century, even pan-species. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin 'The Artist and Performer', constructs an eccentric and commanding visual embodiment of all-of-the-above - a costume fit for a court Jester of the 21st Century. The colours of Neo-Nationalism. Coke cans, and DANGER. 'It' (not 'she') hints at folkloric traditions with a footy mascot twist. The 'Ye Olde' and 'The Everyman' of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder. A jeer and a square dance in red, Adidas Gazelle's, and a mad, fixed GRIN - first glimpsed in the single, 'Hobby Horse' (22 June, Anti-Ghost Moon Ray). A deranged, absurd reflection of deranged and absurd times.

You May Not Have Heard The Name Jackson Almond Before, But You Will Have Likely Heard Some Of His Music. Having Released On Wotnot Back In 2013 Under The Name Real, With A Flurry Of Eps, Remixes And Bootlegs Under This Name And As Part Of Duo Boean (on Bbe, Warner, Xvi & Slowfoot Among Others), Jackson Has Been Delighting Ears For A While Now, With A Particular Knack For Balancing Hooks And Earworms With Original Ideas And Creative Production.

This Ep Began Life As A Series Of Headphone Jams Written When Jackson Was Living Outside Of The City In Self-imposed Exile, Tuning Into The Goings On In Dance Music From An External Position. It Was Then Polished Into Dancefloor Gems At The Wotnot Studio At The Total Refreshment Centre. The Music Reflects This, With The Sonic Palette Reflecting Lo-fi And Outsider House, But With A Warmth, Depth And Musicality Specific To His Own Personal Situation.

The Music Embodies The Hook Of The Title Track - Open Your Head - A Mix Of Influences And Sounds From World, Soul, Jazz, House And Techno Sources. In Oyh, A Child's Voice Floats Over Percussive Drum And Mbira Layers With African Flavours, While Soulful Guitar Stabs Widen The Palette. Ee Ye Follows A Similar Idea With Overseas Sounds Opening To Infectious House Organ Stabs. People, Places, Things In Spaces Is An Immersive Roller With Warming Wurlitzer Chords Providing An Almost Gospel-like Inflection.

The Attention To Detail Throughout The Ep Is Astonishing, The Best Example Being The Arrangement Of Our Personal Favourite Common, With The Irresistible Chord Progression Working Its Way Around Instruments, Patiently Building To Hit Its Peak Halfway Through The Track For The Ultimate Screwface Moment.

Ultimately This Rebirth Of Jackson Almond Sits Nicely With A Label Finding Their Stride Again, With Widely-praised Releases From Danvers And K15 Already This Year, Wotnot Are Staking Their Claim On People's Ears Once Again.

Early Dj Support:
Atjazz, Jimpster, Dave Harvey Futureboogie, &me, Robert Luis (tru Thoughts), Severino Panzetta (horsemeat Disco)

Parisian imprint Hard Beach Entertainment follow up some great releases by Corporation Mindfuck, DJ SCSI and Bastien Carrara with some old-school electro vibes by the mysterious Reflective Souls. This is their second release for the label. Beginning in bold fashion with the brooding retro bounce of "Doom 2020" on the A side, but it's on the flip where this 12" really shines. The evocative Motor City aesthetic of "G Club Live" was a particular highlight, while the tough electro-bass of "Body Control" has a wicked groove that's more than capable of getting some heads-down moments on the dancefloor.

In Sudan, the political and cultural are inseparable. In 1989, a coup brought a hardline religious government to power. Music was violently condemned. Many musicians and artists were persecuted, tortured, forced to flee into exile — and even murdered, ending one of the most beloved music eras in all of Africa and largely denying Sudan's gifted instrumentalists, singers, and poets, from strutting their creative heritage on the global stage.

What came before in a special era that protected and promoted the arts was one of the richest music scenes anywhere in the world. Although Sudanese styles are endlessly diverse, this compilation celebrates the golden sound of the capital, Khartoum. Each chapter of the cosmopolitan city's tumultuous musical story is covered through 16 tracks: from the hypnotic violin and accordion-driven orchestral music of the 1970s that captured the ears and hearts of Africa and the Arabic-speaking world, to the synthesizer and drum machine music of the 1980s, and the music produced in exile in the 1990s. The deep kicks of tum tum and Nubian rhythms keep the sound infectious.

Sudan of old had music everywhere: roving sound systems and ubiquitous bands and orchestras kept Khartoum's sharply dressed youth on their feet. Live music was integral to cultural life, producing a catalog of concert recordings. In small arenas and large outdoor venues, musical royalty of the day built Khartoum's reputation as ground zero for innovation and technique that inspired a continent.

Musicians in Ethiopia and Somalia frequently point to Sudan's biggest golden era stars as idols. Mention Mohammed Wardi — a legendary Sudanese singer and activist akin to Fela Kuti in stature and impact in his music and politics — and they often look to the heavens. A popular story is of one man from Mali who walked for three months across the Sahel to Sudan because the father of the woman he wanted to marry would only allow it if he got him a signed cassette from Wardi himself. Saied Khalifa is said to be the one of the few singers to make Ethiopian emperor Haile Selassie smile.

Such is the stature of Sudanese singers and the reputation of Sudanese music, particularly in the "Sudanic Belt," a cultural zone that stretches from Djibouti all the way west to Mauritania, covering much of the Sahara and the Sahel, lands where Sudanese artists are household names and Sudanese poems are regularly used as lyrics until today to produce the latest hits. Sudanese cassettes often sold more in Cameroon and Nigeria than at home.

But years of anti-music sentiment have made recordings in Sudan difficult to source. Ostinato's team traveled to Ethiopia, Somalia, Djibouti, and Egypt in search of the timeless cultural artifacts that hold the story of one of Africa's most mesmerizing cultures. That these cassette tape and vinyl recordings were mainly found in Sudan's neighbors is a testament to Sudanese music's widespread appeal.

With our Sudanese partner and co-compiler Tamador Sheikh Eldin Gibreel, a once famous poet and actress in '70s Khartoum, Ostinato's fifth album, following our Grammy-nominated "Sweet As Broken Dates," revives the enchanting harmonies, haunting melodies, and relentless rhythms of Sudan's brightest years, fully restored, remastered and packaged luxuriously in a triple LP gatefold and double CD bookcase to match the regal repute of Sudanese music.
A 20,000-word liner note booklet gives voice to the singers silenced by an oppressive regime.

Take a sail down the Blue and White Nile as they pass through Khartoum, carrying with them an ancient history and a never-ending stream of poems and songs. It takes two Niles to sing a melody.

Absence Seizure Marks Its Tenth Release This September, A Split Package Comprising One Original From Co-founder Abe Duque And Two From Label-founder Matuss.

Since Its Launch Back In 2015 The New York City Based Absence Seizure Imprint, Launched By Abe Duque And Matuss Has Been A Platform For The Latter's Original Material And Across The Past Nine Releases And Picked Up Support From The Likes Of Young Male, Sage Caswell, Dorian Paic And Eduardo De La Calle Amongst Others. Here Though We See Co-founder Abe Duque Join The Part To Mark The Labels Tenth Vinyl Release Alongside Label Regular Julia Matuss.

Matuss Steps Up With 'crashing Hard' A Murky, Stripped-back Number Fuelled By Choppy Bass Stabs, Minimal Percussive Bleeps And Airy Atmospherics . Next On The Package Is Abe Duque's '11-27-2016', A Typically Raw Affair From The New York Techno Veteran Fuelled By Squelching 303 Lines, Robust Analogue Drums And Dreamy Arpeggios.

The B Side Features Matuss' 'sisabuc Fresh' Closes Out The Package, Stripping Things Back Even Further To Minute, Shuffled Percussion, Stuttering Ethereal Chords And Permeating Sub Hits Which All Flow In Unison Across Its Ten Minute Duration.

Reissue of Eblen's fourth album, wonderful experimental music here. Tip!
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Mexican guitarist and ambient artist Eblen Macari's Música Para Planetarios (Music for Planetariums) was originally composed for weekly performances in the Luis Enrique Erro Planetarium in Mexico City to accompany a voyage through the galaxy. The album, released in 1987 was based around Macari's solo performances using Ensoniq ESQ-1, a Korg Poly 800, two guitars and pre-hispanic Ocarinas. The expanded arrangements recorded for the album include a full stable of pre-hispanic percussion and beautiful baroque harpsichord played by Macari's wife. This expansive interplanetary soliloquy is undoubtedly Macari's masterpiece. Remastered from the original master tapes.

Scion of the Urals this devotee called Gedevaan drops a notable classy non-Moscow sound. The city where music can be fake, where anyone can lie to you, where anything can be sold and re-sold for a higher price. Where constantly you suffer from major vanity and notorious capital speedy manner. Moving to that town may change you with no warning. 'Class Compliant' is more about authentic slow-burning undercurrents. Smells like 'rest of Russia' the noise is out of massive roaring cities and their pre-harsh dummy lives. Inclined to withdrawn and introspective synthesis Gedevaan offers an original dim-light feel, warm-wet, woody swamps and mossy rocks. A velvet haze makes your vision blurry. Just look! Is it a Baba Yaga's hut Track the music. To don't forget about your roots. It's pretty nice to accomplish with old stuff by Perc and a brand new one of Electric Rescue - the pure primal perception with a high impact factor.

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Genius work from the Detroit underground of the 70s - one of the greatest records ever on the now-famous Tribe Records label, and a masterpiece of soul, jazz, and righteous spirit! The session's headed by tenor player Wendell Harrison - and it's got an all-star Motor City lineup that includes Marcus Belgrave on trumpet, Phil Ranelin on trombone, Jeamel Lee on vocals, Charles Eubanks on electric piano, and Charles Moore on flugel horn. The tracks have a spacious spiritual approach that recalls some of the later Archie Shepp on Impulse - a blend of soul jazz with slight touches of electric instrumentation, some vocals, and a very progressive spirit overall - stepping proud in the new freedoms of the 70s, yet still swinging and very groovy.

"Square Landscapes" is the latest album of Tbilisi based producer Rezo Glonti under the Aux Field moniker. This work is a synth-curved journey influenced by mutated urban landscapes of his native city. Art-work by Amsterdam based artists Graphic Surgery.

1954 is the fifth vinyl release on the Modern Cathedrals label by recent Detroit export Altstadt Echo. Staying true to the themes of the the 'year series' that began with the 1913 EP and was followed by the 1905 EP, the artist continues to explore somber, broken beat techno with an eroded, highly-textured percussive focus.

In the previous two EPs from this series, Altstadt Echo was joined by Varg, Abdulla Rashim, Stave, and Evigt Morker on remix duty. For the 1954 EP, he's commissioned UK artist Szare, who delivers a highly danceable revision that combines the ghostly vocals of the original with highly frenetic percussive injections.

The artwork of the EP is aligned with the label's greyscale documentation of Detroit, this time featuring the stunning architecture of the New Center district of the city. The photos were taken by the artist prior to his move to Berlin in Fall 2017.

* The second vinyl release on Mirae Arts comes courtesy of Michiru Aoyama, a Japanese ambient producer from the quiet seaside city of Kamakura, just south of Tokyo. Michiru Aoyama's music was hand-chosen by legendary composer Ryuichi Sakamoto in 2006 for a Japanese radio audition and he later flew out to Berlin in 2008 to further his studies in electronic music production. Since then, Michiru has released projects on prominent ambient labels such as Organic Industries, taâlem, and Somehow Recordings.

* Michiru Aoyama's Brilliant Days comprises of two long tracks featuring untitled songs that weave in and out of each other. Michiru's signature guitar harmonics are treated with serene electronic filters and met with youthful under-layers of electronic experimentations and glitchy backdrops. Instead of telling a story, Brilliant Days leaves the listener to their own narrative of nostalgic youth, love, and memories. Mastered by James Plotkin.

* 180g vinyl pressed at the highly reputable Gotta Groove Records, Cleveland, Ohio.

* Comes with insert and download code.

After a liittle hiatus of 2 years the label which was formed back in 2013 by the founder of the ground breaking hedonistic undergound parties Bohemian Grove of the industrial city of Manchester is back. The label will be bringing all kinds of electronic sounds mainly from the reaches of the cities industrial smog but some reaching further around the cosmos. This time we have debuting artist DANE WEAVER with his first release on the label.

* Bristol dubstep mainstay Gemmy, a key figure in pioneering the city's electronic music identity alongside fellow 'purple trinity' producers Joker and Guido, is set to release his latest EP 'Unruly' on his World Of Wonders imprint.

* Since his acclaimed 2008 debut with 'Bk 2 The Future' on Peverelist's Punch Drunk imprint, Gemmy has released on respected labels including Pinch's Tectonic, Mike Paradinas's Planet Mu, Soul Jazz and Earwax before forming his own imprint in 2011. The new three-track EP follows on from his 'Bamboozled' EP for World Of Wonders last year and shows off Gemmy's keen talent for crafting purple wave influenced dubstep.

* 'Unruly' offers three tracks that serve as measured excursions in melody and restraint. 'Na Tek Bak Chat' is an intensely rhythmic and darkly spacious production, whilst the searing 'Sonicboom' bristles with funky, grime-inflected rhythm. The propulsive 'Stop Dat!' is a vividly expansive and minimal exploration of bass music.

* 'Unruly' brings another solid release from one of dubstep's most influential producers. World Of Wonders will release 'Unruly' on July 27th.

The music on this EP was conceived in China, between 1989 and 1993. The original tracks were mixed to DAT in real time, in a small neighbour-proof studio inside my apartment in Macau, a 19th floor with a view to the hurricanes. There's a small, unexpected or improbable story behind each track, some little magic fused with the local atmosphere, certainly guaranteeing their lasting authenticity 25 years later.

TAIPEI DISCO
Late 80s Guangzhou was an exotic city where the traditional past coexisted in harmony with the present and even already with the future.
I'd rather spend my weekends in Guangzhou than diving into Hong Kong consumerism - as most ex-pats in Macau did. I took a cab at the border and travelled 150 Km through chaotic roads with family and friends until reaching the hot, humid, mega South China metropolis.
We ate on street joints in the evenings, went on to a karaoke bar and ended up at Taipei Disco, the only proper club in town. All the others were inside hotels and played generic music or they were seedy, sleazy, smoky cabarets.
Taipei Disco used to be a cinema and played cantonese pop music and anglo-saxon pop/rock (that was new). The spacious dance floor was generously lighted, the atmosphere was airy and modern. Boys and girls were in the habit of dancing in pairs, one in front of the other, observing a respectful yet sensual distance. When the girl took a few steps back, the boy went along and vice versa. With legs and feet (more than the upper bodies) synchronized with the music, they never exceeded in extroversion. Cool.
I always carried a MicroComposer and a portable DAT recorder in my travels through China and weekends in Canton. Any spontaneous musical idea was imediately recorded and memorized. The MicroComposer allowed multitrack recording, which was very handy on the road. Based on the emphatic choreography of Taipei Disco's dancers, i started to compose a rhythm track while sitting at a table, with headphones, listening to Cantopop in the background. As if by magic - not a rare occasion in music - everything began fitting together. Odd as it may seem, the track ended up sounding more germanic (Kraftwerkian) than Cantonese pop.

The story ends in a circle: the cantonese DJ at Taipei Disco, whom i used to ask to play certain records, wanted to play my music at the disco when it was basically only just a rhythm track and little else. From a cupboard under his set up he took out a battered keyboard (unrecognizable brand) and invited me to play over the track with the available sounds on the keyboard. The circle was complete, with Cantonese clubbers happily dancing forwards and backwards, as if it were another Cantopop hit.
I didn't get payed but the house offered us free ice cream cups in which little Portuguese flags were sticked.
The track would be finished later, in studio, with vocoder strings ensemble and synth solos.

TAIPEI DISCO (LIVE)
The live version of 'Taipei Disco' was recorded during a live set at the China Pop venue, in Macau, 1993. China Pop was a rock club built in the ample space of an old fishing warehouse, located in the labyrinthic Inner Harbour area. It was decorated with large Mao Zedong and Cultural Revolution posters and memorabilia and had a unique atmosphere, fusing Pop Art with film noir. We began our performance at 1AM, pretty early for Macau's nightlife standards. We were lucky. An audience showed up. And in Macau there were always several friends among the audience, which tranformed a musical performance into a relaxed party.
The atmosphere was particularly surreal on that night. The front row was dominated by French Crazy Horse dancers, a sort of Oriental Moulin Rouge. The girls had finished their last performance of the evening at the Crazy Horse and were still energized from their show. During our performance, right in front of us and perfectly synched, we could hear the famous irreverent screams of can-can dancers. You always had to expect the unexpected in Macau.

RED MAMBO (IMPROMPTU)
I was familiar with the Portuguese-speaking African countries well before having lived in China. I found myself returning several times to one in particular, always attracted by its magic and very distinct, identitary culture and music: Cape Verde.
During the early years of DWART a lot of the inspiration for drum machine rhythms (Roland's TR series) came from African music, especially from new musical trends that gained full autonomy with Cape Verde's independence from Portugal, as was the case with funaná.
I had the privilege of having known and befriended some of the greatest Capeverdian composers, musicians and singers during the 70s and 80s, such as Bana, Luís Morais, Cesária Évora, Paulino Vieira, Chico Serra, Tito Paris, and historical bands such as Bulimundo (ambassadors of funaná) and Os Tubarões (great innovators of morna, coladera and funaná, with the sonic impact of an afro-beat big band).
When Luís Filipe de Barros began playing Os Tubarões for the first time on Portuguese radio, that was the turning point for African music in Portugal. The 'Tabanca' album was so widely heard and talked about that it quickly got a Portuguese release through one of the big labels of the time.
The mystic of this band from the Santiago Island would reach the East. Os Tubarões played to a packed room in Macau in 1992, and after the bombastic gig we arranged a dinner and party at my place.
We ate and drank generously and the moment came for a jam session at the small studio on the 19th floor. Because Os Tubarões didn't all fit in the studio, we recorded an impromptu with only three of the musicians: Tótó Silva (electric guitar), Mário Russo Bettencourt (bass) and Zeca Couto (piano). And there we were improvising without barriers, suddenly detached from cultural roots, labels and constraints, a truly unique moment. The track is now being released exactly as it was recorded, imbued with the real communion between the musicians. And it could only be titled 'Red Mambo'. I wish to dedicate it to the memory of Ildo Lobo and Jaime do Rosário, founders of Os Tubarões, sadly and too soon departed from the land of music.

The Soul Brothers Inc. hail from Houston, Texas and were likely one of the most important funk/soul groups in the city in the late 1960s until they broke up in the mid '70s. Tramp released The Story of the Soul Bros. Inc. in late 2010, now it is time to pick two lesser known songs for release on 45rpm single. Both sides are equally great, especially Put It On Him with its heavy drums and and wah wah guitar throughout the song.

If you dig this 45rpm single release feel free and check the full-length album of the Soul Brothers Inc., released back in October 2010. (The Story of the Soul Bros. Inc., TRCD/LP-9009

Aussteiger is a Berlin based German DJ / Producer. He runs the Dub Disco label in Berlin and DJ's around the world. Zusammenkunft is his debut album released on Copenhagen's Music For Dreams. Once upon a time a golden boy came back from the shadows. Rumors were told that he once left the big city in a time where the music scene and clubs were dominated by cold music and average beats. He left behind civilisation, living withdrawn in the woody mountains of a covert place. From there on people talked about him as Aussteiger. Connected to the nature and deeply rooted in the harmonic essence, Aussteiger became a part of the great whole. In a full moon illuminated clear night while experimenting with various unique herbs he accidentally found a recipe to create warm and ravishing music. He firmly believes that music is his infinite source to gather strength and positive energy After years of strengthening himself and shaping vibrant sounds Aussteiger decided to share his delightful music with the world. He returned from his retreat in order to enchant the music lovers all over the world with his feel good approach and supernatural sounds. Coming back to the city, he also co-founded the awesome Dub Disco Label with his buddy Serj Nosé.

"For Christian H" is a compilation album from the Arctic Norwegian city of Tromsø, dedicated to the memory of Christian Hollingsæter - the director of the Insomnia festival - who died unexpectedly in May this year, only 35 years old.

All 11 tracks have been gifted exclusively for the album, which is available as a digital download, a CD, and as a LIMITED EDITION LP. Only 100 copies made. All proceeds will go to Christian´s son Julian.

Fernando Sanz has been steadfastly dedicated to the craft of beats and breaks since he was a young sprout of 14 years in the sun baked southern Spanish port city of Algeciras. Under the imprint Orbe Records, Sanz has cultivated his own thriving techno community as artist and label head. Since 2014 Orbe Records has been lashing the block rocking techno of Sanz's comrades Eduardo De La Calle and Steve Stoll, but mostly of Sanz's own prolific moniker, Orbe. As DJ and producer Orbe keeps the mood surreal and dreamy while deploying understated drum machine patterns to hammer the platonic solids that keep his beloved community in tact.

His forthcoming 3-track 'Hohenheim' EP for the Barcelona label, Lone Romantic, keeps the Orbe buzz rolling. 'Hohenheim' kicks the record into motion with the resounding thuds of a multilayered big-room kick while bright synths and sharp edged sci-fi machinery climb the walls in obscure and narcotic patterns. 'Shimano's Tribute' is a study in the fundaments of techno that lull the listener with an extended 4X4 intro into a state of high mental absorption, just in time to drop the centre piece of the track, an eloquently ovular stutter sliced percussion sample. 'Edelweiss' sets the record on a outward course for somewhere between the hypnotic dance floor bliss of a pre-dawn Sunday morning and the impending angst beholden to glimpsing the dystopian sprawl of civilisation when flying out Monday morning.

HOUSEWORX proudly welcomes gary Romalis from the Motor City!
I guess we don't need the introduce this great artist anymore. Gary released on some of the scene's big players like Intangible Records,
Slow Town, RAWAX, HOUSEWAx, Skylax jutst to name a few. W're very excited to share the "Back 2 Basicz" Ep with you!

During the eighties it was possible to observe an Italian fascination with the mysterious Far East. This can be found across art, design and music in Italy during this time, in subtle or obvious ways. Specifically there are Italo-disco records that proudly show this influence, some of the best known being: Fun Fun Living In Japan, Koto Chinese Revenge and City-O' Rose of Tokyo.Following in this theme is Fancy Null Null. Not to be confused with the famous Euro-disco artist behind Slice me Nice, this 'Fancy' is a one-off project from Italo-disco icon Raffaele Fiume, the artist and voice behind many great Italo-disco hits, such as: Helicon You See, Malcom & the Bad Girls Shoot Me and Ralph River Band Strange Vibration.Adding to the original tracks of the 1982 release is a totally ecstatic and powerful remix from Betonkust: one of the most talented and exciting Dutch producers of recent years. Also included is an instrumental edit from Hysteric, for those who find the unique vocals challenging.

Paramida's Love On The Rocks imprint readies its eighteenth release, in this, the year of our lord, 2018 - the latest instalment on the ever-evolving, hard-to-define label is a decidedly non-dancefloor oriented, melancholic/euphoric instrumental number from promising Lon-don/Lisbon producers Elles & Violet.

Elles, fresh from her Netil Radio & Rádio Quântica residences, alongside Violet, with a string of releases under her belt on One Eyed Jacks , Cómeme, Paraíso, Snuff Trax and her own imprint, Naive, deliver big time here with A Life Lived In Fear Is Like A Life Half Lived, a warm and bubbling acid future closing time jam that has all the feels of watching the sun rise over the city with your best friends on ecstasy.

Backed with 4 heavyweight remixes from Love On The Rocks fam Kasra V, Prins Emanuel, Etbonz and Massimilano Pagliara. Pure love.

The unseen forces emitting out around ever being natures forces of destiny. Belief itself is God.

AURA's journey could be best described as a spiritual call to connect man and music.

Each new day brought in new and more difficult problems. In the hardest of times Aura lost their original lead guitarist. Green-Bird real name Dannie Stewart - a Jamaican, humble, handsome, and talented to the bones. He was too nice to die. He was drowned in a river within the historical city of Benin. All friendly hearts cried and cried, a memory too sad to recollect. Aura's journey sorrowly went along. Full of accedents, and frustration. We nearly crash-landed.

Thanks to Sheila, for her love and courage. Uzo, a true frendship that inspired every-body in Aura. He solved so many problems. Gratitude is the only word of our choice. The Lawsons and the Shotade family also have their very noble thanks; they were nice and helpful. Many more thanks to the numerous friends and heart-felt appriciations to Mr. J. H. Booth - Decca's new Director for his kindness and the entire staff that made this great 8 track maiden stereo album possible.

A solid belief in ourselves has pushed this group to this point; Aura making an "Astral Trip". This is an album which is a sincere sweet fruit of determination, soulful enough to turn you loose into true life experiences of good music.

All I owe you is love and appriciation.

Echocord sub-label Echo Echo continues this July with Orbite's 'Interstellar' EP, a threetracker from the Berlin- based producer. Orbite is a brand new project founded in Berlin, Germany with a nod towards the raw, dubby sounds often heard across the clubs in the city, and where better to inaugurate things than the recently launched sub-label of Copenhagen's Echocord, one of the leading imprints in the realms of Dub Techno, home to pioneering acts like Rod Modell/Deepchord, Pole and Fluxion who have paved the way for Orbite's own twist on the genre. The ethereal pad textures of 'Skylar' lead on the package, deftly evolving alongside bubbling synth tones, swelling chords and shuffled percussion to create a create dynamically unfolding six and a half minute cut. 'Moment' follows, edging things further into dubbed-out territories with heavily delayed dub echoes and mesmeric spoken word poetry intertwining to create a, hypnotic beatless soundscape. 'Organi' closes the record with emotive, billowing pads, warm bell like tones and vocal murmurs running alongside swinging shakers and stripped-back micro-house percussion.

First Ever Vinyl Reissue, Limited Edition To 500 Copies Only, Bonus Tracks Not On The Original Lp, Remastered Sound, Insert With Liner Notes By Nick Rossi And Photos, Beautifully Housed In Three Back-flapped 1960s Uk Style Picture Sleeve ! The Wynder K. Frog Story Evolves Around Mick Weaver. After He Switched From Piano To Organ He Joined A Band Named The Chapters That Would Soon Be Renamed Wynder K. Frog And Perform Material From James Brown's Flames, Booker T. And The Mgs Or Even Songs Learned Through Georgie Fame's Recordings And Graham Bond's Repertoire. Wynder K. Frog Moved To London And Became Regulars In The City's R&b Scene Playing At Swingin' London's Clubs Like The Tiles Or The Marquee. A Contract With Island Records Was Secured And -under The Wings Of Producers Like Chris Blackwell, Guy Stevens, Jimmy Miller Or Gus Dudgeon- Wynder K Frog, A Name That Would Eventually Be Used As A Pseudonym For Weaver More Than A Proper Band Name, Did Some Some Amazing Hammond Organ-ized Recordings And Issued In Three Lps And A Bunch Of Cool 45s.

At The End Of The 1960s, Weaver Would Quit The "band Scene" To Become One Of The Most In Demand Session Musicians And Throughout His Career He'd Be Heard Backing Names Such As Eric Burdon, Roger Chapman, Dave Gilmour, Keef Hartley, Alexis Korner, Ralph Mctell, Taj Mahal Or Otis Rush A.o, But His Lps As Wynder K Frog Are Classic Hammond Sound From The 1960s Uk And Will Appeal To Those Into Brian Auger, Graham Bond, The Artwoods, Zoot Money, Jimmy Mcgriff, Booker T. & The Mgs And The Likes.

Out Of The Frying Pan

Released At The End Of The Summer Of 1968, And With A Host Of Session Musicians That Included The Brass Section Of John Mayall's Bluesbreakers, Producer Gus Dudgeon Helped Weaver / Wynder K Frog To Improve The Results Obtained On The Debut Lp And Get One Step Closer To The Live Action. The Formula Was More Or Less The Same, Instrumental Hammond A Go Go Covers Of Hits From The Era, Including The Rolling Stones' "jumping Jack Flash", A Funked Up Version Of The Classic Tommy Tucker Blues Number "hi Heel Sneakers", An Exploding Cover Of "tequila" Or The Standard "green Door", But It Also Included The Sensational Weaver-penned "harpsichord Shuffle".

BIOTIC is our first release on ALLFEELINGS MUSIC, a label focused on emotive dance music. All releases will be available exclusively on vinyl. AF01 is the first self release from London based DJ and Producer ALLFEELINGS. This is a 2 track DJ tool release very reminiscent of Detroit Techno. You can hear crisp and warm sounds alongside Jazz and Funk influenced rhythms. The A side soundtracks a big city during rush hour while the B Side pulls you in with deep synths and percussion.
This release has the support from Mark Broom.

While notorious in the Chicago streets, RP Boo's music had been unfairly confined to a few white labels and self-released mixtapes until his two archival Planet Mu LPs Legacy and Fingers, Bank Pads & Shoe Prints introduced broader audiences to his sonic history, some of it fifteen years after it was first recorded. I'll Tell You What! is the next step in his mission, and the first time he's released an album of contemporary material. The title, a favorite maxim of his, welcomes listeners to sit down and let him narrate in the unforgettable abstract fashion he's known for. He explores familiar motifs such as the cosmos, movement, and opposition, using densely interwoven vocals, unpredictable percussion, and evil humming bass as his tools of choice. RP Boo's music doesn't follow the traditional rules that most compositions do. Layering decades of samples from yesteryear to the present over his commanding vocal cut-ups, he transports the listener to their own realm of the space-time continuum. The main difference between this record and his prior work is now we hear Boo tell new stories about preaching his gospel outside of Chicago, from his experiences frantically touring the globe over the last five years. The words 'things ain't been the same / since I hopped the plane' are repeated on top of engine sounds and rumbling bass on Flight 1235, a glorious paean to his new jet-setting adventures. The spirit of competition runs through RP's veins as much as blood does, something you can't unlearn when you've been making music for Chicago's footwork circuit as long as he has. The local culture has served as a shelter from the violence that has plagued the city, pitting kids against each other with their feet rather than weapons. On At War Boo reminds us 'we are at war in the streets', a double meaning to both the mayhem in this world and the sweetness of rivalry on the dance floor. Another battle-themed track Cloudy Back Yard, one of the spacier moments on this album, is an abstract on the state of footwork's home. Chicago remains the backyard of this artform even though it's left the porch and traveled to new neighborhoods worldwide. Back at home though, competition among the DJs and dancers continues, and as the man himself says, 'with all this hate, there's smoke, and it's cloudy'. I'll Tell You What! throws more than a few curveballs into the mix. Footwork has always borrowed from hip-hop, and many vocal tracks are almost condensed raps, dating back to the street chants pioneered on Dance Mania Records in the ghetto house days. On Bounty, Boo grabs the mic and brazenly lays down a full-on verse of terror over a thick atmosphere of his signature sweltering low-end and erratic Roland R-70 patterns. While he's most famous for his confrontational battle anthems, his melancholy moments are just as powerful. You get the best of both of those worlds on U-Don't No, with soulful samples finishing his own cocky sentences, one of the most elegant tracks RP has made to date. Deep Sole closes the record out, with the words 'It's always beautiful at the end' looping over waves of hypnotic synthesis, confidently looking death straight in the eyes.

Betty Harris' The Lost Queen of New Orleans Soul collects together the steady stream of amazing soul and funk singles issued by Betty Harris from 1964 to 1969, under the musical guidance of legendary composer, musician and producer extraordinaire Allen Toussaint, a collection which truly captures the heart and soul of the city of New Orleans during this era.
Betty Harris's powerful, fiery soulful vocals found a perfect accompaniment with the New Orleans' players that Toussaint put together to back her, which by the time of her funk classic 'There's A Break In The Road' were the legendary super-tight, super-funk New Orleans group The Meters.
With the extraordinary song-writing skills of Allen Toussaint alongside the powerful, soaring, confident and emotive singer and the groove of The Meters, you have an unbeatable combination. That Harris never in fact lived in New Orleans (she flew in from Florida for all her sessions with Toussaint's local in-house players) seems almost an irrelevance, a geographical aside to the defining New Orleans sound captured on the recordings featured here.
All of these singles featured here were released on Allen Toussaint and his business partner Marshal Sehorn's local New Orleans label Sansu, widely distributed in the southern city but in only limited quantities elsewhere. As a consequence, Betty Harris' music failed to achieve the commercial success of other New Orleans artists such as Lee Dorsey (who she recorded with) and The Meters (who backed her). And so at the end of the decade she stopped recording, retired from the music business to raise her family in Florida.
This is no reflection of the stunning musical quality of all these songs which encompass everything from southern soul, heavy funk, deep soul ballads and northern soul. Betty Harris has been a cornerstone of Soul Jazz Records' New Orleans Funk and New Orleans Soul compilations. Always soulful and always funky, Betty Harris' music contains the essence of New Orleans music. She is the Lost Soul Queen of New Orleans.
This collection is released on CD, heavyweight gatefold double LP vinyl (+ download code) and digital and comes complete with full biography, original label artwork.

Peter Croce takes the baton back from Blair French for Rocksteady Disco's 9th release entitled Agape. It's vision is similar to Standing Still Is An Illusion, with Peter's unique take on this Afro-Brazilian deep house three-tracker. The a-side holds "Agape (Love Wins)", a deep and emotive house cut, with driving drums and lush strings that tease until they climax. Kicking off the b-side is "Maracatu Detroit", an upbeat love letter to Peter's home city produced through a bouncy Brazilian-funk lens, a track that is sure to bring a smile to the dancers. "Bufe Bufe" closes the release, featuring Peter on live electric bass/guitar and afro-stomp drum execution, brought to a peak with Yoruban talking drum + vox. Mr. PC roots the growing effervescent world beat sound with an explicitly Detroit and Chicago voice.

Moscow Is Mythologized For Its Grandeur And Gravity But Its Parable Pleasures Offer Splendor And Even Absurdity. Over The Ten, Symmetrical Pieces Of For, Kate Nv Scores Her Native Urban Environment With Just Enough Whimsy To Gurgle Through The City Cracks And Grow Psychotropic Foliage. Each Sound Assumes Its Own Personality, Moving Through The Album Metropolis Like Miniature, Mutating Molecules Viewed From Nv's Apartment Window.

Alternately A Guitar-wielding, Post-punker And One Within The Multitude Of Moscow Scratch Orchestra's Avant-garde, Nv Is A Versatile Artist That Maneuvers Instinctively In Whatever Musical Environs She Finds Herself. Nv's Second Solo Album Is An Even More Abstract Endeavor Than The Hybrid Pop Of 2016's Binasu. Inspired By Casual Moments Of Ephemeral Sound From Within And Beyond Her Apartment Walls, The Record Has A Clarity Arrived Altogether And From Right Under Her Nose. Recorded At Home, Nv Says It Was As If The Music Was Not Written By Herself, But Her Chair.

For Inhabits A Stage That Piero Milesi & Daniel Bacalov, Ann Southam, Or Hiroshi Yoshimura May Have Written Music For And Dresses It With Viktor Pivovarov's Psychedelic Depictions Of Moscow - Contorting Bodies, Flying Pencils, And Multi-dimensional Faces Dance With Subtle Arpeggiations, Conversational Voice Synthesis, And Anthropomorphic Midi. Animating Objects Is Essential To The Album. Like A Surreal Still Life, Each Piece Is An Alien Arrangement Of Common Elements That Extend The Everyday Ritual Into An Eternal Landscape Of Unconscious Activity. Somewhere Along That Landscape, Kate Awaits And Greets With Apples For Hands And Fish For Feet.

Like The Album Title, Each Composition Contained Within Is Represented As A Three Letter Word, In Russian And English. The First Half Of For Was Written In The Spring. Starting With yxo Ear,' Previously Released On The Peaceful Protest Compilation Cassette In 2017, Melodies Meander And Lollygag. a Two' Incorporates Human Breath Played Like Notes On A Pump Organ. Oak' Offers A Warm Tune To Tango. How' Loops Curious Notes That Bump Into Each Other With A Chirpy Acknowledgement. You,' The Only Track On For With Lyrics, Sets A Wassily Kadinsky Poem To Song.

The Second Half Of The Album Was Written In The Autumn. The Feathery Edges Of One' Extend Like Watercolors Bleeding Off A Rubber Scroll. See' Is A Subdued, Shadowy Variation Of How', As If The Same Song Were Played In Different Weather, Dimmer Light, Or By Kate's Devious Doppelganger. The Electronics Unravel And Unwind On Dog' Until The Final Track, Who,' Ends With Vague Solemnity And Rattled Metals.

A Short Online Film Series By Shura Kulak Will Accompany The Release Of For. The Films Follow A Solitary Figure Performing Ordinary Tasks Through A Slow, Warped Lens — Each Song Enacting A Daily Habit: Waking, Dressing, Reading, And So On. In Her Live Performances Around The Album, Kate Nv Will Play Each Song From Memory, Allowing For Variation From The Recorded Tracks, And Scenes From The Films Will Be Re-created And Improvised In The Moment.

Steve Reich's Drumming is regarded as one of the most important musical works of the last century. Distilled through his studies of African percussion in Ghana during 1970 and Balinese gamelan music, Reich revolutionized our understanding of polyrhythms, sculpting a new sonic territory to illuminate the radical potential of Minimalism.Divided into four sections, performed without pause, Drumming is written for eight small tuned drums, three marimbas, three glockenspiels, piccolo and voice. The singers recite melodic patterns that mimic the sounds of the instruments, gradually rising to the surface and then fading out. The overall effect can be transfixing - pulling listeners into the rhythm and possessing a raw immediacy, directness and energy.The premier performances of Drumming took place in December 1971 in New York City - first at The Museum of Modern Art, then at Brooklyn Academy of Music and finally at Town Hall where this recording was made - and featured the composer along with a cast of longtime collaborators including Art Murphy, Steve Chambers, Russ Hartenberger, James Preiss, Jon Gibson, Joan La Barbara, Judy Sherman, Jay Clayton, Ben Harms, Gary Burke, Frank Maefsky and James Ogden.Originally released in 1972 by gallerist John Gibson in a small private edition, Drumming represents the culmination of Reich's investigation into rhythmic phase relationships and its early realization captures a remarkably organic feel, especially compared to the more widely known version on Deutsche Grammophon from 1974.This first-time vinyl reissue and first-time CD release has been carefully remastered from the original master tapes.

Tiago's wonderful INTERZONA13 deliver another duo of mesmerising, psychedelic club jams from STELLAR OM SOURCE
A message from Tiago...I met C ages ago when both of us were traveling Europe with our separate experimental music units.
Fast forward to today and we got together again to put out this amazing rocket showcasing her latest work.
Recorded at club Lux in Lisbon in a Interzona13 effort on putting together the city's finest to wrap it with much talent in music engineering, design and poetry in one single object.

One of our humble imprint's closest allies and a longstanding pillar of Philadelphia's electronic music community, Billy Werner has been a constant presence in the booth at parties throughout the Northeast Corridor since 1998. We debuted his M//R alias in 2014 with the 'Gathering Response Data' 12" . Since he's been busy bringing the grit to points beyond the City of Brotherly Love, putting in work for the likes of DetailsSound, L.I.E.S. and JackDept. Most recently, he turned out a remix of Karen Gwyer's 'Why Does Your Father Look So Nervous' for the 'Rembo' remixes on Don't Be Afraid, as well as another for Chaperone's 'Grit Neglect' on the aforementioned 'SnapbackBalaclava'EP.

Written, recorded, and mixed over a period of 15 months,'Among The Methods' is in no small part a reflection of the affinities and sensibilities Billy holds as both selector and producer. Referencing a variety of influences from jazz to dub to electro, the album's allure stems from his deft ability to recontextualize those genres' disparate aspects into a familiar-yet fiercely idiosyncratic-musical context.The end result is at once wildly fractured and precision-focused as 'Among the Methods' finds its own seductive rhythm within a matrix of dub echoes and modulated low-end. It's heady ground,to be sure;as well as the most declarative aesthetic statement fromM//R to date.
Presented without further comment. The music is the message








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Ground is an Osaka native, but his soul is truly that of a nomad, traversing the planet, befriending kindred spirits found in humans, animals and plants. He is exceptionally receptive to the beauty in everything that surrounds him—the incidental music of a city street, the orchestral chaos of a scrambling radio, the syncopated grace of migrating birds, the simplicity of an isolated hand clap—and as his roadmap continuously unfolds, he accumulates a vast catalogue of visceral tools to musically recount his experiences. Sunizm is a cross section of the artist's process—an array of complex microcosms overlapping to comprise a thematic whole—gathering field recordings, found instruments, jagged electronics, synthesized chanting, and weaving all into a dense narrative that appears obsessively constructed yet divinely improvised. Logos is the first of two singles surrounding the album and is complimented with a monster remix by Bartellow (a fellow ESP artist, collaborator and good friend of Ground) as well as a secret weapon b-side entitled Discopazzle, which is exclusive to this single release. Attention all humans, animals and plants, Ground and the ESP Institute present, Sunizm.

LOYOTO are the East-Berlin born Eva Be and Cle from the western part of the formerly dived city. Both started their DJ and producer career almost at the same time in the heart of the then developing scene, the very center of Berlin, just after the wall came down. Originally rooted in very different styles of music, they encountered for the first time DJing together in 2011, finding common ground in more than just music - a gig, that should lead to more: They decided to combine their talents and knowledge and build a studio together. Here, and during legendary back2back DJ sets, they finally united their different musical backgrounds - dub/reggae and underground house music - and defined their very own sound.

Very nice compilation on this artists work - on the ever excellent Born Bad imprint!
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For many decades until quite recently, little was known about music from Burkina Faso (which was formerly known as the Upper Volta). It is still one of the lesser known forms of popular music from West Africa. A few years before the country changed its name to Burkina Faso, thanks to Thomas Sankara's dream of a new society, Voltaic music emerged as some kind of true cultural revolution in the wake of the country's independence in 1960. Remote, poor and isolated, Upper Volta musicians coveted the orchestras and artists from abroad while creating a music of their own, based on rich cultural traditions

Popular music that sprung up from Burkina Faso owed much to the music from neighboring countries like Mali, Ghana, Ivory Coast or Benin, and to the longing for cultural authenticity' conveyed through Guinean music. In capital city Ouagadougou, as well as in Bobo-Dioulasso (Burkina's cultural capital until the 1980s), the first two decades of independence saw the upcoming of such orchestras and artists as Amadou Balaké, Georges Ouedraogo, Volta Jazz, l'Harmonie Voltaïque, Les Imbattables Léopards, Abdoulaye Cissé, Tidiane Coulibaly or Pierre Sandwidi.

Nicknamed the troubadour from the bush', Pierre Sandwidi stands as one of the finest Voltaic artists from the 1970s. He belonged to an unsung elite of Francophone artists such as Francis Bebey, G.G. Vickey, Amédée Pierre, André-Marie Tala, Pierre Tchana or Mamo Lagbema. His entire released output consists of less than ten 7 inches, two LPs and a bunch of cassettes. A man from the provinces, he always favored social engagement and carefully crafted lyrics over instant fame. His words and music challenged General Lamizana's dreary presidency, which ruled the country from 1966 to 1980.

Tresor is glad to announce the release of Manni Dee's first album 'The Residue', on June 15th.

Based in London, Manni Dee is held in high esteem by many for his spotless production and relentless DJ sets. The gleaming rendition of Manni's creative vision stuns. He knows sounds inside-out, making his studio a favorite stop for many to receive Manni's expertise.

The production of 'The Residue' was inspired by the city of London and its general living conditions. More particularly, how social cleansing, inequality and the political situation generally - and on a holistic scale - informs internal and external locus of control.

'The Residue' is disconsolate, and with such heart-wrenching tracks as 'In Communal Solitude', 'Vicarious Living' or 'Submit. Breathe.' or the mutinous 'At Mercy of the Muse' and 'Paroxysm' Manni Dee clearly cuts out his insurgent statement.
In parallel to his regular DJ schedule, Manni Dee will also take his sonic proclamation in its live PA form out to the most advanced stages starting this summer.

Red Hare's roots run all the way back to the Washington D.C. music scene of the 80's and 90's, where Shawn Brown, Jason Farrell and Dave Eight immersed themselves in the braids and tangles of that city's unique strain of hardcore.
In 1987, Brown (the original (and current) singer of Dag Nasty) and guitarist Farrell founded Swiz— a harsher take on melodic hardcore released via Dischord's sister-label Sammich and their own freshly-minted label Hell- fire. Eight joined Swiz on bass in 1989 and remained until the band wrapped it up in 1990.
By 1995, Farrell and Eight reconvened to immerse themselves in the angular post-hardcore stylings of Bluetip, yet found enough juice to again tap Brown for the short-lived Swiz reboot, Sweetbelly Freakdown. Meanwhile, Joe Gorelick was living a parallel existence drumming in the band Garden Variety. A fortuitous string of circum- stances led him down the Jersey turnpike straight into Bluetip's empty drum chair. Although Gorelick did not record with the band, his prowess was nonetheless noted and cataloged for future missions — first in 2002 with Farrell in Retisonic and now with Brown, Farrell, Jason and Eight in Red Hare.
Red Hare are set to release their second album Little Acts of Destruction on May 11th through a joint effort with Dischord and their own label Hellfire. Like their debut Nites of Midnite (2013) and their stop-gap 7', Lexicon Mist (2016), the album was recorded and mixed by longtime collaborator and friend J.Robbins. These 14 songs are a heady/hearty mix of the familiar and new that bristle with the energy of the hometown sound they helped shape.

teppas Records presents 'Osaka Steppas' Vol. 3, the third in a series of releases showcasing the Japanese underground dub movement. This edition features Osaka producers Hiroshi and Roots Masashi in collaboration with Spanish producer Ojah and well-respected UK singer Rudey Lee. The Osaka Steppas' raw and unrelenting sound developed in the subterranean clubs of Osaka, a port city famous for its counterculture night life. Inspired not only by the sounds of Jamaica, but also drawing inspiration from UK and European soundsystem culture with enough bassweight to test even the toughest of soundsystems. Presented in a beautifully designed full colour sleeve inspired by the works of the legendary ukiyo-e woodblock artist, Hokusai. This release is not to be missed.

Side A features an earth rocker riddim from Ojah & Hiroshi, with conscious lyrics sung by the legendary Rudey Lee.

Side B features a much sought after dubplate from Osaka producer Roots Masashi, a deep, dark & mystical steppa.

Following his R&S debut, Afriqua (aka Adam Longman Parker) presents Vice/Principle, his second release for the renowned Belgian label.

Recorded in the summer of 2017, Vice/Principle began as one of Afriqua's seasonal music packs, a quarterly offering of original tracks shared privately with a small cohort of friends and collaborators. R&S quickly picked up the collection, which expands on the melodicism and textural depth explored on his previous release for the label, Aleph.

The extended EP sees Parker veering into psychedelic territory, inspired by the cosmic departures of '70s krautrock and jazz. The title, Vice/Principle, more a coy bit of humor than a philosophical statement, reflects a wittiness that Parker often embeds into even the brawniest of his productions. This offbeatness is active in the music as well, which makes use of his voice, and edges past familiar four-on-the-floor patterns with interwoven polyrhythms and modality. Vice/Principle is confident in its curiosity, harnessing a wealth of artistic threads into a tightly knit, futuristic vision.

Parker currently resides in Berlin, Germany, where he works from his home studio in the city's quiet Charlottenburg neighborhood. Born and raised in Hampton, Virginia, Parker developed his craft as a producer while studying classical piano and practicing hip-hop turntablism from a young age.

After several years developing a hefty catalog of releases, Parker has embraced his R&S signing as an opportunity to dive deeper into his signature, yet versatile sound. His successful winter 2017 tour through the U.S. was a career first, and preceded international events at Comunité in Mexico, Concrete in Paris, and The Block in Tel Aviv.

Mehmet Aslan returns to his own Fleeting Wax imprint, in order to deliver the first in a series of releases as part of a new project, ghost station, including a collaboration with fellow Turkish singer, songwriter and vocal producer, Idil Mese.


Efsun, translating to enchantment in Farsi, is the sound of Idil Mese transforming an understated, somewhat folksy instrumental of Aslan's into a bewitching and subtle musical spell. Initially tense,
Idil Mese's vocal spell wraps beautifully around a brittle guitar motif, inches above a sea of atmospheric ambience. In it's second half, synthesis and sitar unite, taking efsun into more revelatory territory, employing a playful melody and warm, cosmic textures.

Meanwhile, on 'ghost station', from which the project takes its name, layers of meaning and recording slowly unravel, revealing a compelling soundscape. Recorded in one take, and completed across one night, 'ghost station' began with Aslan and his sampler surfing the busy radio waves of Berlin, eventually settling on a beautiful score broadcast on one of the city's classical stations. Just as soon as Aslan had the frequency on lockdown, the signal disappeared unable to be retrieved quickly enough, if ever. Loosely inspired by the work of Swiss visual artist and musician Pipilotti Rist, the track instead unfolds woozily like a dream, undulating through offbeat bleeps, ghostly voices and improvised swells of noise, while still maintaining it's own quietly propulsive groove.

Sounding more like himself than ever on his own Fleeting Wax outlet and incorporating an impressive range of musical techniques over just two tracks, 'ghost station' further establishes Mehmet Aslan as a restlessly inventive musical talent. -Text by John Thorp

Iberian Juke Is Extremely Proud To Present 'take Me Back To The South', Sophomore Album By Label Founders Bsn Posse And Our First Ever 12" Vinyl Release. After Their Debut Lp 'forever' For British Label Slime Recordings 2015, The Duo From Málaga Has Been On Quite A Strong Form With A Handful Of Powerful Releases Including Several Eps For Iberian Juke, Modern Ruin Records, Below Music And Breaking Bass, The B-sides, Bootlegs And Remixes Project 'summer Madness Series', And Incursions For Label Imprints Sequel One Records, Hyperboloid Records Or Vandal Records.

With This Album Bsn Posse Want To Reflect Their Love, Respect And Passion For The Footwork Culture In General And For The City Of Chicago In Particular, With Its Guetto Suburbs Being The Origin And Starting Point Of The Juke And Footwork Movement. 'take Me Back To The South' Combines Masterfully In Eight Tracks Elements Of Jungle, Drum & Bass, Soul And Funk With The Classic Juke And Footwork Take At 160bpms.

The Lp Is A Sincere 'thank You' From The Duo To All The Humble Artists That Work Extremely Hard To Put Footwork Into The International Electronic Music Scene. Thanks To This Culture We Have Travelled To Incredible Places And Meet New People With The Only Aim Of Sharing Our Passion For The 160bpms.

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

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

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

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

Norm De Plume has been quietly making a name for himself the last eight years with remixes for Tornado Wallace and Ben La Desh and EP's for Kolour LTD and his own vinyl only imprint Plumage winning him a solid fol- lowing along the way. His passion for all things disco and deep, dubby, un- derground house inspired by his musical hero Ron Hardy feeds through into his production style as well as his recently formed Peaches & Prunes party which boasts an audiophile sound system and vinyl-only sets from the DJ's. So when the opportunity arose to do a full EP with Norm we jumped at it. Here we present you with the Castlecrag EP, a nod to the Londoner's new adoptive home of Sydney, Australia, and whilst his sound may be more akin to the recent musical movements of Melbourne, the laid-back sun-kissed melting pot of The Harbour City certainly shine through in the two originals and Folamour remix on offer here.
Title track Castlecrag leads the charge with a deep mood-setter driven by a cowbell riff and filtering pads. The spacious mix and less is more arrange- ment ensures that the drums and rolling bassline punch through making for a track that sounds both unique yet accessible and demonstrates Norm's sense of musicality as well as DJ instinct for setting the right mood on the dancefloor. Next up we have Whole In One which treads a similar path whilst dropping the BPM's a touch and building up layers of synth strings to create a subtle yet engaging track to immerse yourself in. Finally, man of the moment Folamour gets busy on the remix of Whole In One working his magic by upping the tempo and going heavy on the jazz- inspired drums. By laying down a driving groove and pushing the string stabs to the fore, the Lyonnais producer behind the wonderful Moonrise Hill Material label has delivered a fresh-sounding take that will work like magic on discerning dance floors out there.

Born in Munich, Sebastian Schnitzenbaumer aka BELP partially grew up on the Seychelles islands off the coast of East Africa. Educated in classical piano, those two gravitational poles, European and African influences, became the basis for his musical development. Having travelled extensively with a closer connection to London over the years, BELP kept his base in Munich, becoming part of a small alternative scene questioning the predominantly rich and posh surface of the city. Blending jazz, dub and noise, an emphasis on darkness in his broken beat oriented works evolved as a reaction to a rather hedonistic society preferring warm and uplifting sounds.

Following 2017's 'Path of Ruin', DJ Richard returns to Dial with his much-anticipated sophomore LP, 'Dies Iræ Xerox'. Undoubtedly one of the most distinctive and fully-formed electronic producers in recent memory, DJ Richard imprinted the sound of a bubbling US underground with his label, White Material, founded in 2012 alongside Young Male. His first solo LP for Dial, 2015's 'Grind', found DJ Richard delicately establishing a discipline between his East Coast noise heritage and a physical, emotive tradition of house music, mastered during an extended stay in Berlin. Now firmly settled once more in his hometown of Providence, 'Dies Iræ Xerox' is a personal and uncompromising journey that finds the Rhode Island native in reflective form, journeying without compromise into both his creative influences and personal psyche. In part adapting its title from the Latin hymn 'Dies irae', otherwise known as 'Day of Wrath', 'Dies Iræ Xerox' melds the physical and psychological aspects of DJ Richard's production ethos in sharper, more widescreen vision than before; the oceanic swells of ambience yet more powerful, and the rigid basslines sharper still. With the chaos of the Berlin club scene an increasingly distant memory, the album is enriched with a contemplative, even brittle tone, as informed by film soundtracks and literature as the pulse of city living. Still, this is new material from DJ Richard, a touring DJ as distinctive as any other to be found behind the decks at some of the world's finest clubs and festivals. On 'Dies Iræ Xerox', the artist finds the space to write 'the records I really want to play', and each suggests a template for genuine dancefloor transcendence, beginning with the electrifying 'Vanguard' . The sludgy yet sophisticated crawl of 'Tunnel Stalker' sets the tone for the menacing yet somehow melancholy EBM of 'In Broad Daylight', while the record draws to a breathless close with the affecting, drum machine lethargy of 'Gate of Roses'. Drawing little distinction between his more physically rousing material and searching soundscapes, 'Dies Iræ Xerox' instead finds a passage of catharsis throughout both. 'Dissolving World', the album's breathtaking centerpiece, is a choral feature hypnotically overwhelmed by walls of electronic feedback, forging a dramatic link between old ways and new. On the bold and near-beatless 'Ancestral Helm' and 'Final Mercy', DJ Richard seems to grant both music and raw emotion the ability to simply float in the air, brilliantly, poignantly unresolved. If 'Grind,' inspired by the weathered coastlines of Rhode Island, was a record concerning "the border between civilization and the ocean," then 'Dies Iræ Xerox' is an unapologetic follow-up concerning that between macabre obsessions and fear of death. Produced during a murky, transitional period, DJ Richard found himself particularly drawn to Medieval European art and mysticism, fascinated by depictions and philosophies of the antichrist and end-times. Greatly influencing the uncompromising, apocalyptic tone of the album, these investigations have created an engaging and personal vision of the 'Day of Wrath.'

Dynamic composer Neil Cowley is set to release 'Spacebound Tapes' a four track EP featuring remixes of his Trio's 'Spacebound Apes' album ("A miss- this-at-your-peril release" Drowned In Sound 9/10) by Rival Consoles, Throwing Snow, Christian Löffler and Vessels

'Spacebound Apes' was written by Cowley for his trio and long-time bandmates drummer Evan Jenkins and bassist Rex Horan, with contributions from Brian Eno collaborator Leo Abrahams on guitars and FX. A bold exercise in atmosphere and emotion, the album was woven together with some of the most breathtaking, impassioned music that Neil has created. Originally inspired by Arthur C Clarke's 1956 sci-fi book 'The City and the Stars' the album was recorded at Cooper Hall, a studio and cinema set deep in the Somerset countryside with Stanley Kubrick's '2001 A Space Odyssey' running on permanent rotation.

The sci-fi aesthetic is firmly grasped by the four remixers, echoing the theme in their own reinterpretations. The reimagined tracks retain the inventiveness of the originals while exploring progressive but considerate paths. In his version of 'Weightless', Erased Tapes signed Rival Consoles feeds off of the electronic songwriter's critically lauded humanised techno, while rising German musician Christian Löffler brings new dimensions of space and scale to 'Death To Amygdala'. Houndstooth's Throwing Snow delights in deconstructing 'Duty To The Last' with pulsing energy and Vessels' take on 'Echo Nebula' applies machinic facets to the delicate sounds of the original.

Soul Jazz Records' latest album 'Yoruba! Songs and Rhythms for the Yoruba Gods in Nigeria' is newly recorded in Lagos, Nigeria. The album is co-produced by Soul Jazz Records label head Stuart Baker and Laolu Akins (founding member of the legendary 1970s Nigerian Afro-Funk/Rock group Blo). Yoruba! features an array of local master drummers led by Olatunji Samson Sotimirin and singers (featuring the lead vocals of Janet Olufanmilayo Abe) performing heavyweight Afro-rhythms, with talking drums, Bata and Dundun drums and a mass of percussion in these deep spiritual and sacred songs used to honour and worship the traditional and ancient Yoruba gods in Nigeria, West Africa. 
The enormous impact of Yoruba and West African music and culture is worldwide - from the first Afro-centric explorations of African-American jazz musicians in the 1950s such as Art Blakey, Randy Weston and Dizzy Gillespie, the explosion of Nu Yorican Latin music in New York City starting in the 1960s - Mambo, Boogaloo, Latin funk and soul - through to the sacred and powerful Afro-derived music of the religions of Santería in Cuba, Candomblé in Brazil and Voodoo in Haiti, which all came into existence on account of the Atlantic slave trade which began over 400 years ago. On a wider scale West African music remains the primary root of all African-American musical forms - from New Orleans jazz to Bronx rap, gospel, soul and more.
This album features songs honouring the Nigerian gods of the Yoruba traditional religion - Yemoja, Obatala, Ogun, Sango and others - as well as a selection of instrumental cuts focussing on the Bata and Dundun drums. The album comes complete with extensive text and photography included in the 40-page outsize booklet/gatefold double vinyl + inners showing the influence of Yoruba culture throughout the world and the social and historical context for the music contained here.
Watch out for a limited edition remix of the project by Osunlade, also forthcoming on Soul Jazz Records.

The remarkable thing about BELP's new album is its two-dimensional function. It works both on a loud and a quiet volume. Some tracks would go down well as a club track, like opener 'Travelling Thru Galaxies'. This track brings back memories of the best work released on the Hyperdub label, with it's fine combination of synths and irresistible, dubby beats. Elsewhere, 'Off Ending' might start off as 'dancehall-but-not-quite dancehall' track but when half way the synths kick in they change the feeling of the track to a more cerebral level.

BELP is the artist name of Sebastian Schnitzenbaumer. Born in Munich, he partially grew up on the Seychelles islands off the coast of East Africa. Educated in classical piano, those two gravitational poles, European and African influences, form the basis for his musical development. Currently he has close ties to the (dub) Sausage Studio in Hackney, London. In his hometown Munich, the Bavarian capital, BELP took a central role in a series of discussions and events aiming to improve the image and possibilities of Munich, which to his regret is a predominantly posh and hedonistic city where optimistic and uplifting music take central role.

In different guises Schnitzenbaumer works as a much needed antidote. Since 2013 he runs the Schamoni label, focusing on supporting local artists like Leroy and Protein. Its sublabel Jahmoni is responsible for recent works by international artists like Aaron Spectre and DJ Marcelle/Another Nice Mess.

BELP's music is dark, serious and layered. His love for dub and dancehall shines through in his broken beats. At the same time the synth layered tracks give the album an atmospheric feeling.

This also is what makes this album essential: it's refusal to be pigeonholed. The last track on side A, 'By Beauteous Softness', is an a cappella rendition of a 17th century Henry Purcell piece, beautifully sung by Alexander Schneider. This track is preceded by 'Transmission', which is a brilliant abstract work, sounding like wind closing on you from all sides. And you can sip a cocktail whilst listening to the jazzy 'Time And Again' (BELP once worked as a jazz pianist).

It's clear to hear BELP took a long time recording this album. Every note, synth, drum beat, is carefully placed. But what the album might lack on spontaneity it more than compensates this with its sheer musical beauty. This also reflects on the abstract sleeve, like 'Elephants' designed by BELP himself.

Enjoy this album on big speakers, as background music or simply on headphones. There will always be new sounds and layers to be discovered!

For our next Excursion, we're off to the library. In search of library records that is - you know the type, the crazy rare records used for soundtracks and such and such. We have a sick selection of synthed-up beats and pieces chopped together by one Earl Jeffers, making the most out of his international library digging card* (*not a real thing).

For those that don't know, Cardiff's Earl Jeffers is one half of Darkhouse Family, regular family at our sister label, First Word, on which they released their debut album 'The Offering' late last year. Earl is a prolific producer in his own right, also releasing over the years under the aliases Chesus and Metabeats on labels like MCDE, Fat City and Local Talk, collaborating with artists like Byron The Aquarius, Action Bronson and Kamaal Williams / Henry Wu, turning his hand ably to house, hip hop, jungle, jazz and more. All this in addition to running his own label, Mélange Records.

A dedicated digger and record collector first and foremost, Earl has provided us with a quadruple set of heavyweight stuttery sci-fi boom bap. In Earl's words: "This record was mostly inspired by my penchant for the more electronic / synthesized jams, mostly replayed from the original compositions then thrust in to 2028 and beyond...."

Jaar's Other People is pleased to present a new solo record of guitar and live custom electronics artist Patrick Higgins, an American avant-garde composer and producer from New York City. Higgins is known for his work in experimental and contemporary classical music, playing guitar and composing in the mythical avant-noise-jazz ensemble Zs. His solo work as a composer unites European avant-garde forms with the post-minimalist howl of New York. His upcoming release on Other People, 'Dossier,' is a four-movement piece performed live without overdubs or edits. All of the samples and synthetic patches were custom built and specifically engaged to become elements of live guitar manipulation. The sound world is post-apocalyptic in spirit but builds to an intimate and reflective end. The material was developed over a two-year period and finalized at the end of 2016. Cover art is by Alfredo Jaar.

The spaniard act AM is our last national discover. Coming from Valencia, a city that on the mid 80's has been with Brussels and Manchester at the european vanguard of the most advanced and darkest beats. AM, clearly influenced by those days of glory, presents on their vinyl debut an outstanding EP that sometimes could remind to the best FRONT 242 period and sometimes could remind to be listening to the late 80's NewBeat top hymns at Boccaccio, surely anyone will remain indifferent to AM. It will be presented on 12 EP format and produced in a ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid black vinyl. All tracks have been specially mastered and remastered for LONG CUT vinyl by Eric Van Wonterghem

Nicolas Lattansio, aka SHIT, was raised in Temperley, a small borough in the city of Buenos Aires, Argentina. In 1996, he had his first encounter with electronic music and has been inseparable ever since. Hes in love with the beats and the dance floor. His tracks are played by the likes of DJs Pareja, Alejandro Paz, Carisma and Mijo. Hes the founder and resident DJ of Te Re Cagamos La Fiesta and TOKYO, the Festival. He defines his music as indie techno, with strong beats, vocals and plenty of attitude. Without a doubt, SHIT is one of the most powerful projects in the neighborhood.


The Solo En La Pista EP shows SHIT's veritable force in the blooming indie-techno scene growing out of Mexico and South America, and the remix with Mexico City's Ali X x Ximena (former Azari III) is an extremely strong dance floor track that has proven itself upon many floors and festivals from Burning Man and beyond over the course of 2017 in preparation for it's public launch this year.

Belgrade's infamous club night launching the label with a split 12" by these hidden jewels of the city's underground. Slow, dark and to the left.

"After a deceptively quite 2017, Especial picks up the pace pace by welcoming back the peroxide, youth filled Fairplay (re)version and a 2nd EP of old-skool-meets-the-new-school flavoured House and Breaks to lock, jock and spin.

After the criminally overlooked 'How Do You Like Me Now' EP - how is Classic Version not a...classic...version - Junior gets back on the (lino) floor. The EP starts with a look north to the 'other city of 7 hills' that birthed a Warp'd British retake on House in his bleep-dub ode, End Of Love. The autobiographical title belies a forward approach with his trademark echobox kick'n'hats underpinning uplifting keys and nodding bleep finger solo.

Who to join the party then, than another man of mystery, Roy Of The Ravers. After his debut EP on sister label Emotional Response became a most played from Aphex et al, it is only right bring him to E'Special. His brooding, hoover rush Remix 1 heightens the vibes with a heads down bleeping half-steppa. Righteous!

The flip is given over to Junior's roots, bringing the hip-hopper back with the anthemic The Shazsquatch Goes Back Into The Woods. No shoc(k) horror here, just more upwardly mobile breakbeat meets UK techno licks. You can hear Fairplay at one with man and machine, pushing a sound that looks back but most definitely goes forward with 'Sunrise' on the mind.

To close is the swagger of EP title cut, Faxes From The Future. Hair of the (black) dog fuses a swinging break with proto-dub-meets-Giallo stylings to rework the senses and say, now is (still) the time!

A return to making the noise while keeping tongue planted firmly in cheek. What are u like Top. Buzz."

Rugged and lustrous, Nacre is Air Max '97's first full-length release. Written between Melbourne and Berlin and mixed in Mexico City, the album bears traces of fleeting yet profound geographic and emotional immersions. Air Max '97's signature baroque momentum is suffused anew with pungent and labile tonal atmospheres, through which organic sonic events and incomprehensibly abstracted vocals wreathe. The record's disposition spans the darkly playful arpeggios of Veneer to the dirge-like Kermes and paranoiac Karyon. Fiendishly twisting tracks are interspersed with more tender moments such as Queriensteiger, Nacre and Gousse (formerly released on Stoscha's 2017 Klink compilation). The totality is uncompromising and affective, yielding a broader spectrum of Air Max '97 sonics than ever before. Nacre will be released on 12' vinyl and digital on 1 June 2018. Air Max '97 will tour a new live show in support of the release.

Mgun, Or Manuel Gonzales To His Friends, Has Long Been A Fixture Artist For Dba. Since Making His Uk Debut On The Label In 2012, Having Already Featured On Detroit's Celebrated Wild Oats Imprint, He Has Smoothly Yet Slowly Progressed Through The Presses Of Fellow Dance Music Tastemakers Third Ear Recordings And Kiev's Wicked Bass. Following 2016's Warmly Received 'gentium', 'axiom' Finds Manuel Gonzales Back On Dba With An Index Of Offbeat Jams That Couldn't Have Emerged From The Mind Or Studio Of Any Other Producer.

Once More Envisioned And Engineered In His Native City Of Detroit, The Record Finds Mgun In More Auspicious And Domestic Circumstances. Now Firmly A Father And A Homeowner, 'axiom' Allows Gonzales To Flex His Party Muscle, While Further Pushing The Elastic Boundaries Of His Notoriously Unpredictable And Brilliantly Raw Production Style. Across Twelve Tracks, Listeners Are Offered An Unpredictable Trip Into The Restlessly Experimental Snatches Of Studio Time Gonzales Is Afforded Away From His Day Job At The Legendary People's Records Store. It's Here That Gonzales Absorbs Endless Releases And Rediscoveries Passing Through The Stock, Trading The Occasional Tip With Some Of Detroit's Best Known Producers.

Beginning With The Off-kilter Funk Of 'you Inside Me', 'axiom' Expertly Toes The Line Between Full-bodied, Soulful Club Weapons ('you're Never Home', 'nichrome'), And The Sort Of Lo-fi Tinged Jams That Enable Gonzales's Unusual Weirder Hooks And Rhythms To Extend Into Something Altogether More Hypnotic And Psychedelic ('kartwheel', 'sil').

There Are New Sounds And Approaches Throughout. Centrepiece Track 'see It For Myself' Finds Gonzales On Vocal Duties For The First Time, And The Dystopian Tinted 'vap' Finds His Sound Expanding Into Weightless, Dreamlike Electro. And While Certain Tracks Date Back Years, Having Slowly Matured To Full Funk, Others, Such As The Gloriously Unhinged '359' Were Rapidly Produced To Capture The Inspiring Energy Of A Late-night Glaswegian Rave.

Simply Put, 'axiom' Does The Work Of Representing Mgun At His Musical Best, An Analogue Celebration Of Pure Party Potential.

Plug in and dream .... Lullabies for Robots continues the run of fine EPs on Verdant Recordings exploring the melodic, deeper side of techno. This release a split shared by Vancouver's ESB known for his meandering soulful analogue jams. Verdant Recordings has been lucky to sign two exquisite tracks. 'Subliminal Wave' is R2D2 getting off to an acid groove whilst 'Phayse Distance' holds a more relaxed droid after party vibe. On the other side Mihail P is back for Verdant after his debut appearance on Emerald City. Memory Upgrades features warm bumping percussion underneath a joyful hook. Memory Upgrades is a masterful piece of delicate electronica with references back to Warp's seminal Artificial Intelligence series. Another beautifully presented EP on heavy vinyl and printed sleeve with artwork by Sophie O'Leary: perhaps the best cover of the series to date

æ Productions in association with Sure Shot! are pleased present the new single from Oxygen and Paul Nice.

The main cut 'Body Language' has Oxygen weaving tales of New York City nightlife over a hunk of obscure b-boy Funk from the crates and sampling wizardry of Paul Nice. Perfect record bag flavour for Hip Hop DJ's!

The B-side 'Feel Good Music' has been rescued from the Paul Nice vaults and thankfully given a vinyl release. The microphone mastery of Oxygen has the perfect bedrock of a familiar laid back Funk groove that will have your neck snapping within seconds!

Available on black vinyl 7' in a limited run of 350 retail copies not to be repressed and presented in full colour sleeve designed by Mr Krum with artwork by the incomparable Dan Lish. Also available on download.

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.

repressed !

AAL record on Other People. Pressed on to wax due to popular
demand.

Here We Are Releasing The Second Album Of Cologne Born Producer Thyladomid Who Is Familiar To Many Through His Work On Hamburg Label Diynamic Which Has Lead Him To Perform Around The World, Together With Artists Such As: Adriatique, Solomun, Kollektiv Turmstraße, Hosh, David August, Stimming, And Many More. More Then 30 Minutes Playing Time, 6 Tracks And Artwork By Florian Kramer Offer A Lot To Discover. Thyladomid Is Famous For His Forward Thinking Deep Melodic Dance Music Which Earned Him Respect And Support From Many People Of The Scene And Evolved Also In Cooperations With Adriatique And The Singer Mahfoud. You Can Find Two Tracks Featuring Mahfoud On The Album. With His First Album "interstellar Destiny" In 2015 Thyladomid Has Already Changed Towards More Introspective Music And You Will Hear He Has Taken That A Step Further Here. In Comparison To His First Album, "places" Refers To Different Places Which Inspired Him To Write The Album And Offers A Higher Level Of Complexity In The Making Of Music Which Has Helped Thyladomid To Enhance The Moody Quality In A Dazzling Way Sometimes Even Spine Tingling When You Let Yourself Go To Explore The Abundance Of The Trax. As He Said In His Own Words: - the Albums Intention Was That Of An Organic Produced Album With Different Moods. Instruments Such As Piano And And Violin As Well As Field Recording Bring Alive A Special Quality. The Bouncing Of Stones On A Frozen Pond Recorded With Multiple Microphones Suggest For Example An Authentic Spacious Quality. The Self Recorded Percussion, Sometimes Quite Exotic Were Included In All Of The Tracks. The Combination Of Synthetic Sounds With Traditionally Instruments Was One Of The Big Challenges For Me. The Piano And Prophet 6 Und The Moog Sub37 Were The Main Instruments Used For The Album'. Thyladomid Started Working On The Album 2 1/2 Years Ago. His Classical Training On The Piano Helped To Quickly Come Up With A Musical Theme Which Is Based On Different Tonalities Which Were Then Linked To Each Other And Which Actually Helped To Structure The Whole Release. The Good Weather In Summer Was A Good Inspiration And Finally Led To The Idea To Dedicate Tracks To A Certain Place, A Place Which Means A Lot For Him. From That Idea The Title Of The Whole Album Derived: "places ". "a Little Church In Amsterdam" As He Says "is Such A Track Encouraged By The City Of Amsterdam I Love And Respects So Much And Actually Have Spend So Much Time In. It Is A Track I Played Outside In My Garden To Friends And Which Works Perfectly For Me.' "a Little Church In Amsterdam" Is A Track Where Melodies Bloom And Flourish. It Feels Like Zooming In On Nature Grasping A Time Lapse Symphony. "blossoming Limburg Ft Mahfoud" Was Born In The Capital Of Limburg Which Is Located In The South Of The Netherlands And Reflects The Summer Of 2017 And Was Recorded In A Warehouse. It Reflects The Intimacy And Synergetic Level Between Mahfoud And Thyladomid. The Fantastic Deep Vocal Track Is Spiced Up With Lots Of Acoustic Details Which All Happen In The Background But Effectively Surface To Pull The Listener Into His World. "night Owl" Is A Lyrical Dreamy Piano Piece With A Melancholic Note And An Ear For Details. Acoustic Finesse Presented On An Episodic Scale. We Guess The Track Was Influenced By The Works Of Four Tet Or Pantha Du Prince. "kollwitzplatz" Is A Small Park In Berlin's Prenzlauer Berg Which Was Thyladomid's Home For 2 Years . - the Cafes And Restaurants Laced By The Alleys Of The Kollwitz District Resemble A Piece Of Home For Me And Represents The Time Of My Stay In Berlin'. Musically "kollwitzplatz" Is Full Of Life. You Can Hear Children Talking While The Piano Attracts Sounds Like Moths Are Attracted To Light. The Track Offers This Richness Of Percussive Elements And Sound Sources Creating A Stunning Complexity Which Does Not Limiting Itself But Rather Creates This Free Flow Of Acoustic Signals. You Instantly Will Feel: There Is A Lot To Discover At "kollwitzplatz". "underwater Rhapsody", The Title Says It All: It Has That Episodic, Free-flowing Structure, Featuring A Range Of Highly Contrasted Moods, Color And Tonality. What It Actually Means To The Listener Is That Grande Chords Meet Dissonances Of Sound That Fly In Like Drones Cross The Big Time Melodies That Gain A Centrifugal Force At Times... And All This Leaves You Dizzy And Creates Another Big Listening Experience As The Whole Album Is Directed To Entertain You In A Smart And Distinguished Way.






[E b2 | Places Ft. Mahfoud

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

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

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.

Grammy-nominated Ostinato Records presents "Abu Obaida Hassan & His Tambour: The Shaigiya Sound of Sudan" in a gatefold LP packaging with vintage photos and authentic Sudanese designs.
A complex blend of Arab melodies, Nubian rhythms, and signature Sudanese call and response by a legend of Shaigiya music from nothern Sudan.

Abu Obaida Hassan and the wonders of his five-string tambour remained largely a mystery. In the early 2000's, a prominent Sudanese newspaper declared him dead. Internet forums confirmed his passing. Many in Khartoum, Sudan's capital, said he had indeed died.
But rumors that he was still alive persisted.

What was always certain is Abu Obaida Hassan's mercurial talent.
His command of a modified tambour, backed by a chorus and two drummers, unleashed swirling melodies alongside complex Nubian rhythms and hypnotic Sudanese call and response. His bands roster constantly changed, but he remained at the helm, playing for sold out shows in cities across the country and capturing the dancefloors and youth of 1970's and 80's Sudan. This is a rich, raw example of the human experience with sound from northern Sudan, an ancient part of the world, and the birthplace of civilization. Music like this isn't mastered overnight.

The Ostinato team first came across Abu Obaida's recordings in 2011, finding scratchy bits and pieces along the years. We traveled to Sudan in 2016 to find the clues to piece together the Abu Obaida Hassan puzzle. Through some extensive detective work with our man in Khartoum, Ahmed Asysouti, and a generous dose of good fortune, we tracked Abu Obaida to the rural outskirts of Omdurman, the old capital just across the White Nile from Khartoum. Age has taken its toll, but he remains full of life and music, ready to jointly curate a selection of his eight best cuts. He has written over 100 songs, only 30 were recorded.

Abu Obaida comes from the Shaigiya people, whose culture is spread around the ancient city of Merowe, home of traditional Nubian culture, where pyramids older than those in Egypt still stand. They trace their entire lineage to one man, Shaig, who migrated from the Arabian peninsula in the 15th century. An endlessly rhythmic syncretism between Arab and Nubian styles, Abu Obaida's Shaigiya music was an in demand party affair in an era when a vibrant nightlife and roving sound systems were a staple of life in Sudan.

It was music for a modern era, and Abu Obaida, at just 19, rebelliously abandoned traditional Shaigiya music traditions, pioneering a new sound by adding an extra string to his tambour and electrifying an instrument adored across East Africa. The result was complexity in simplicity and a hyper-talented artist who mirrors the story of Sudan's highs and lows, from the leading tambour maestro of the hour to such obscurity on the fringes that he was believed dead. "They killed me!", he likes to joke.

Abu Obaida Hassan, his music and the musical traditions of the Shaigiya remain alive and kicking. A culmination of a 7-year journey — from first hearing Abu Obaida's distinct sound, found only in Sudan, to finding the man — has produced the first global release of Shaigiya music and is just the beginning of Ostinato's immersion into Sudan, with a full compilation of the lavish musical history of one the most diverse countries in Africa due later this year. All brought to you by the Grammy-nominated team behind last year's "Sweet As Broken Dates."

Coletivo Vandalismo kick-start a new 12" series for the Contort Yourself label. Hailing from the city of Porto the duo also DJ under the name GAM and released their debut LP on Lake Haze's Eye For An Eye label. Their music has an immediacy that seems to stem from a background in live performance as opposed to polished studio sessions - an improvisational punk aesthetic that manages to carry this EP so strongly. Wild, crashing fx and unrecognisable vocal distortions layer atop wonky 90bpm drum machine grooves and the pair even show off what may be their turntablism skills on 'Zombie Zombie'. There's a nod to early concrete on the closing track 'Black Sun's Demise' with whirring, mechanical noise motifs suddenly jolting us into punishing gabber-at-33-minus-8 territory. The DIY spirit is alive and well here and the feeling that things could fall apart at any minute just adds to the tension.

Following on from their 'Ususmood' EP in February, Finnish duo Shuffless return to Paris based record store and distribution company Synchrophone this May to deliver the enigmatic 'Puoliaskel'.

Taking inspiration from music, nature and the elements that surround them, Jukka Hänninen and Mika Hanka aka Shuffless have quickly garnered the attention of many within house and techno since making their production debut in 2016. Written at the Vislampi Studio, located in Ruutana City, Finland, using a combination of hardware gear from the likes of Roland, Korg and Arturia, here we see the duo reveal their latest work with four diverse and expansive cuts set for release this Spring as they return to Syncrophone's in-house imprint. Opening up the EP, Hänninen and Hanka fluently introduce 'Chi', a complex and evolving cut that effortlessly fuses deep, rich chords, and delicate, skipping hi-hats, before easing into the flowing groove of 'Lahti' with its jazz-tinged melodies and heady tones guiding the production into lighter territories.

On the flip, 'Nime Ñvailla' introduces a matrix of hazy textures amongst crunchy percussion licks and dubbed out atmospherics as the duo return to deeper, darker realms, before title cut 'Puollaskel' punctuates the package in classy fashion, laying down gritty analog percussion, resounding kicks and subtly programmed nuances to conclude an excellently worked EP.

Truly nuts and really kind of essential... the Starship Commander had his whole approach to the Synthesiser Voice technique. B-Boys/Girls delight. Check the instrumental cut, Mastership - a head nod synth voyage of the highest order. Limited copies. TIP!
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'How are you doing, Earthling' That's how Omer Coleman, Jr. addressed his public in the 80s, driving around Kansas City, Missouri in the electric space-car built especially for his alter ego Starship Commander Wooooo Wooooo.

Left Ear Records went back to Coleman's original master tapes for their vinyl reissue of the Commander's 1981 private press album Mastership, a lost electronic funk classic. Coleman performs in an alien voice that comes not from electronic filtering but from his own natural vocal distortions. This visitor from Mars wants people to be happy and, like his song goes, 'Laugh and Dance.' It's an endearing and very personal space-age funk that blends George Clinton and Kraftwerk in a vision of a better and happier world.

Born and raised in Kansas City, Coleman was musically inclined from an early age. His parents couldn't afford to buy him a real drum for orchestra, so he took up electrical wiring and wood shop instead, which fed his muse in a different direction. Omer built enormous speaker cabinets. In the late '70s he was a DJ, and ran a Mobile Disco business that took him across the country, hosting parties. After a trip to California, he came back to Kansas City inspired to dress up as Commander Wooooo Wooooo.

The future commander began working at the Armco Steel Mill in Kansas City when he was 18. He was inspired by older machinists who demanded perfection in their work and in their character. It was while he was working at the steel mill that Coleman came up with Starship Commander Wooooo Wooooo. One day coworker John Manley came up to Coleman with a vision of an electric car, and built it. His coworkers built all of his equipment, from lighting and fog machines to big steel eyeglasses. Coleman's sister, a seamstress, created his outfits.

Coleman started his own label in 1985 but took some time off from music to raise his children, and when they came of age his son recorded with Coleman as a gospel vocalist. When his son was killed in an auto accident in 2004, it took something out of him, and he stopped making music. But he's starting to get the feeling again.

Now 62, he's currently enjoying his retirement from a long stint with the IRS. The former Commander is in the middle of a house project where he's using metal ceiling tiles to line his walls. It's starting to look like a spaceship. Coleman promises, 'There is a real good possibility that we have not seen the last of Starship Commander Wooooo Wooooo!
Pat Padua'

proper mixed bag this one.. soothing, grinding, banging, and disturbing!
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New York City by way of Miami, Alex Suarez delivers his debut lp the eight track "Autogolpe" for L.I.E.S. Autogolpe, is a term for military coup initiated by a dictator to take control of an existing government and Suarez uses this loose idea to create the sonic equivialent of the pain, strife, oppression, isolation, and joyous freedom associated with said act. Musically he expands on his prior releases for Bank and Primitive Languages as heavy industrialized sonic beatings sit next to somber passages, oil drum slow beat tribal clangers provide a back drop for screams shooting out of the dark. Musically it paints a distorted picture of world in decline, an exile from another land and arrivial to anothers in chaos or the clinging hope of something better on the other side.

On this joint EP with Reggie Dokes, Gari explores the world of deepness without hesitation. He takes us on an intergalactic mind trip, while keeping it true to the dancefloor.
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On the A side is Reggie Dokes, who gives us deep house, then without shame moves us into that Detroit style of techno, cultivated by the Motor City. Mr. Dokes likes to walk in both worlds of house and techno, and not confine himself to one particular genre. This EP is the perfect
marriage of two creative producers, who bring excitement and inspiration to the dancefloor.

RSD2018 TITLE
London Artist MAL-ONE is releasing a limited edition 7'' single to celebrate everything Punk and as a lead up to his PUNK Art show 'Never Mind The Punk 45' .

The show feautures decallages of the debut singles of the leading names in PUNK,such as Adam and the Ants,The Clash,The Damned all the way to X Ray Spex.
It seemed only fitting to record a single that name checks some of the great record shops that sold these PUNK tunes in this fine city of ours for a Record Store Day release..

Artist MAL-ONE emerged at an early age from the Punk scene in West London and now has successfully exhibited alongside such artists as Banksy, Goldie and Peter Blake amongst others.
Inside the 7'' sleeve which is made up of a collage of a 100 PUNK singles you will also find an invite to he exhibition in May in The Herrick Gallery,Piccadilly.

One of Sonic Groove's longest standing label artists, Realmz returns with an infectious well rounded four cut extended EP entitled 'Mindfold'. Straight out of Pittsburgh the steel city capital of the USA Realmz has been involved in electronic music since the last decade of the 20th century. Growing up on a steadfast diet of Industrial/EBM/IDM/Detroit techno and Drum & Bass, Realmz has taken inspiration from these many underground forms of electronic music. In his signature style, the Sci-fi sound design on 'Mindfold' weaves it's way in an out of bleak futuristic overtones set across a multitude of uniquely written broken beat and 4/4 drum rhythms. This heavily thought provocative & extremely well produced, contemporary Industrial Techno EP is a must for any aficionado of the genre.

Crown Of Brahma are Charles Stella, Nicole Willis & Daniel Wyatt. The songs An Angel On My Shoulder & And I'll Be Free As A Bird were recorded in the period between 1995-1997, originally set for release on an LP on Rawkus Records in 1997. This album would have followed the release of the group, Repercussions, album Charmed Life (Pony Canyon, 1997).

Nicole Willis was the lead singer / songwriter of this group. Charles Stella & Daniel Wyatt worked together at Temple Of Soul in New York City, where some of Charmed Life was also recorded. These two vocal tracks have never been commercially released, however were heard by Tommi Grönlund of Sähkö Recordings and Leftfield, who requested to work with Ms Willis in result.

The two tracks have been remastered in 2017 by Charles Stella.

Re-issue of forgotten minimal techno abstraction from Hamilton, Ontario. The unsung genius of Secret Werewolf is fully on display on this 1996 gem.
Rubbery and polymetric, akin in mood to Robert Hood/Metroplex productions of the same era, but full of eerie metallic timbres and flexing grooves which combine into a lysergic hypnosis unlike anything else from then or now.
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.

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.

The 2nd release on Steady Work By Dear Friends features Conti with his exceptional consignment to all lovers of left field approaches to house and bass loaded music. Contis MA Lumps EP allows you to get a feeling for the crocking of the toxic but cheering industrial spheres of the city of Mannheim. This Ep is an emulsion out of distorted beats, field recordings, sampled baselines and vocal snippets, processed through a mpc, tracks in a rough tape compression mix style. Funky-But-Not-Funky-Kraut-Hop-House at it`s best. Slope down from your faith by those lumps.

* In come the first of three releases celebrating a decade of pioneering label Kapsize. Fronted by leading light of Bristol dance music, Joker showcases one of his most iconic sounds to date.

* Suave sophistication not out of place in a Bond or Bourne film, backed with dancefloor aggression, 'Anamorphic' oozes the hi tech international espionage Purple sound Joker has carved out for himself. Opening with plush synth and horn washes, leading into unmistakable arpeggiators and guitar riffs, 'Anamorphic' manages to combine Joker's signature sexy RnB vibes into perfectly engineered system smashing bass lines with ease and style.

* 'Forever' explores the same theme with soundscapes and synth washes that Vangelis would be proud of. A textural flight over the landscape Joker painted with 'Anamorphic', 'Forever' gives listeners a chance to take in the sights and sounds of the neon cities and skylines that Joker made his name on.

* Joker continues the exploration and continuation of the sounds that made his name, elements of 'Snake Eater', 'Tron' and 'Neon City' can be found here with a new slant. A showcase of a unique pioneer at the top of his game.

One of the earliest MC5 singles! Packaged in new envelope style sleeves, with rare unseen band photos! The Motor City 5 pressed on black vinyl at Third Man Pressing in the Motor City! Includes brand spankin' new liners by David Fricke of Rolling Stone, who says, "In a 1966 live recording, the MC5 played 'Looking at You' like Motown raga. At United Sound, the band hit the zigzag riff at light speed and stayed there, framed by searing lead guitar and explosive drumming. 'Borderline' was a frantic jigsaw of power-chord jolts and sheet-like harmonies detonated again, at the Grande, for the live recording of the MC5's first LP, Kick Out the Jams."

Do you like Love songs After spending a lifetime spent avoiding this subject in song, Joel Sarakula finally admits that he does. On his new album "Love Club" Sarakula relives the golden age of Soulful and Romantic Pop music and connects it with a modern aesthetic. While a deeper message of love and peace flows through the record, Joel Sarakula is no old fashioned hippie: ",Love Club' is about connecting to reality and re-framing the idea of romantic love and loss in the present, loveless age ". Featuring eleven songs touching all genres from disco to blues, from soul to soft-rock, Joel Sarakula's "Love Club" is a profound pop statement.

Joel Sarakula has travelled the world in search of his muse, experiencing everything from being a victim of Caribbean carjackings to performing in the remote fishing villages of Norway, via the dive bars of Europe and the US. It was the hodge-podge musical tapestry of England's capital that finally drew him to a settling point, in the wake of seemingly never ending run of shows. With personal tastes that span from the more avant-garde to soul and pop greats like Sly Stone, Todd Rundgren and Hall & Oates, there are clear nods to contemporaries like Unkown Mortal Orchestra, Erlend Oye and Toro Y Moi in terms of ambition and style.

With his last two albums "The Golden Age" and "The Imposter" collecting strong radio plays at BBC Radio 2, BBC 6, BBC London, XFM Joel Sarakula has been play-listed nationally in Europe including Flux FM, WDR 5, Radioeins, Bayern 2, Deutschlandfunk and Deutschland Kultur Radio in Germany as well as in Benelux and Italy and Spain. He is a regular fixture on the live festival and club circuit in the UK, Europe and internationally including appearances at SXSW, Primavera Sound, Glastonbury, The Great Escape, Liverpool Sound City, Scala London, Tallinn Music Week, V-ROX (Vladivostok) and Reeperbahnfestival Hamburg.

"Love Club" is Sarakula's bold and unashamedly emotional next step. In essence the album is a homage to the soulful singer & songwriter artistry of the Seventies filtered through a darker contemporary lens - fitting for these uncertain times. "I always shied away from generic love songs," the Sydney, Australia born songwriter admits, "but on this record I embraced the subject wholeheartedly... and intellectually, looking at themes of love, lust, loneliness and everything in-between." Take the first single "In Trouble", co-written with Michele Stodart of The Magic Numbers, as the best example for Joel Sarakula's unique, and honest approach to making music. "We Used To Connect" questions the changing nature of relationships in our social-media addicted world: 'We used to connect in the real world too, now the touch of your hand is a digital cue'.

"Coldharbour Man", on the other hand, examines the identity of the song's narrator and the artist vs. fan dynamic all wrapped up in a disco love song: "There's a lot going on in this particular track. I feel my writing has grown emotionally...", explains Joel Sarakula. "Just best to listen yourself and make up your own interpretation!: 'We met in a song come to life like some fantasy cliché, though I'm known for my moves in the dark you flooded sunshine on my day'. Then there's "Baltic Jam", capturing romantic love and loss in authentic 70s confessional singer & songwriter style and of course "Dead Heat", a song about how there is struggle in the most perfect relationship pairings as the match is so even: "I recall an ex-girlfriend of mine... when we first met, we thought we hated each other but we eventually flipped that emotion and realised we had a deep passion and love for each other, there just was a lot of underlying sexual tension!" : 'It's a battle we could only win, if we lose. We'd be stronger if these lonely ones became two'.

More than a year in the making, Joel Sarakula recorded "Love Club" in various studios around London and Berlin capturing soulful performances from his many musical comrades on vintage analogue equipment. "This record has truly been a labour of love. Recording and privately sharing these performances amongst my collaborators started to feel like a bit like a club - I guess that lead to the album title! I was surprised how much I actually enjoyed the 'love-making process' and I look so much forward to playing these new songs on stage with my band." We can't wait, Joel Sarakula.

Here Appear is an invocation, a salutation, and a celebration — of past and perfect lives, forgotten and remembered, exchanged and borrowed. Eve Essex's solo debut is a multi-instrumental fea(s)t combining synthesizer, drum machine, alto saxophone, piccolo, electric organ/harpsichord, harmonica, slide whistle, bells, guitar pedals, and voice— composed, arranged, and performed by Essex herself. What began as an improv set at Berlin's Harlekin bar, developed over the past two years into a complete body of work evoking multiple time periods, genres, characters, and sonic landscapes. The seven tracks that make up Here Appear harness elements of classical, drone, avant-jazz, and distorted pop, coupled with an ambitious vocal delivery that draws on the phrasing and articulations of Essex's own woodwind playing, to create a quasi-narrative me´lange retaining the vulnerability of live performance. On the opening track Grind Away,' otherworldly harmonica strains set the stage for lyrics citing Chinese sci-fi novel The Third Body Problem as source material. Saxophone and piccolo interludes Immediate Communicator' and Colorless Stone' move between medieval-tinged melodic inventions and textural noise, recalling a Pharoah Sanders-influenced fever dream, while the linguistic abstractions of Russian conceptual poet Lev Rubinstein guide the looped, layered, and textured vocals of title track Here Appear.' The album closes with a languid take on Jacqueline Humbert & David Rosenboom's 1978 composition Clear Light' from My New Music, recently reissued by Unseen Worlds. Here Appear owes its minimal production to the conditions of its genesis, evidencing the restrained process of the solo artist, instrumentation is confined to what can be played simultaneously. True to the album's avant-garde roots, each song involves an element of improvisation, often taking the form of prompts or variations on a melody rather than explicit compositions. Even its most structured pieces make use of live-sampled loops, which inject a spirited unpredictability into the songwriting process and subsequent performance. Classically trained in bassoon at New England Conservatory before receiving a BFA in sculpture from RISD, Eve Essex has performed as a solo artist at Artists Space, Commend, Safe Gallery, Signal, Trans Pecos, and U.S. Blues, in New York, Harlekin/Mathew Gallery and StudioAcht in Berlin, and the PUFFERSS Festival in Providence, RI. In addition to her solo practice, Essex regularly performs as one half of Das Audit (with Craig Kalpakjian), as well as in trios Hesper (with James K and Via App) and HEVM (with MV Carbon and Hunter Hunt-Hendrix), and has collaborated extensively with Juan Antonio Olivares as installation/performance-art duo Essex Olivares. Prior to the LP release on Sky Walking (April, 20), Here Appear arrives via New York City-based label Soap Library on March 9, 2018 in both cassette and digital format, mastered by Helmut Erler at Dubplates & Mastering, Berlin and recorded by Al Carlson at Gary's Electric, Brooklyn.