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It's safe to say that Detroit, a city steeped in economic, cultural and musical history, will soon weave its way into your soul should you spend any sustained time there. This rings all too true for Monty Luke. He has immersed himself in Detroit's scene since moving to the Motor City in 2008. His new eight track LP, released via Dogmatik, showcases the style of a new generation of Detroit producers carrying the beacon for a deep, Detroit sound that blends analogue weight and punchy drum programming together with masterful synth work and raw emotion.
Even at first glance the polarised artwork, an aerial map of Detroit, shows the more introspective nature of this Motor City ingrained release, with Luke purposefully steering away from writing club ready material. Introductory track 'City Lights' gives a first taste of this, combining swelling synths, dreamlike arps and crisp percussive hits. There's a real weight to the bass synth that compliments Abi B's soulful vocals all too well. 'Anton's Room' & 'Crime Wave' follow suit -the former with itslayered gritty bass, expansive stabs, glitchy bleeps and undulating arps and the latter creating a sonic swell between your ears manifested by a surging, panned arp, alongside sirens and punchy, gunshot like snares. Inspirations from Moodymann to Theo Parrish are clear to be seen in tracks like 'Move', taking a range of jazzy loops and samples and chopping them into a low slung, bouncing MPC laden jam.Progressing into the 2nd half of the album there's a transition from deep, Detroit house into harder hitting, electro territory. 'Willie Maze' with its killer drum programming, reverberating Rhodes and dynamic bass and 'Roja', combining emotive late-night chords and melancholic synth melodies, really honeinon that pensive, thought-provoking aesthetic. One of the highlights, 'Wasteland', is the best example of this transition -interlacing a commanding electro drum pattern with squelching, synth melodies and Serene Arena's introspective lyrics.
Then taking it full circle, closing track 'Block Is Hot (Black Hole Mix)' -co-produced by King Britt in Philadelphia (alongside City Lights, Crime Wave & Willie Maze), returns to the 4/4 path with a thumping party track, carrying through that raw nature emanating from the dark melodies and Monty's adlibbed vocals.
'Hard Work/ Not Hype' is a record flying the flag for those underground artists working tirelessly behind closed doors to produce material that's based on feeling, emotion and skill, rather than riding off the back of an inflated, socially constructed image. Monty Luke, as someone that follows that mantra, has been able toconstruct an album showcasing this, creating a real weight and depth to this release; it's raw, powerful and thought provoking, expertly capturing the soul of Detroit -the city that's had such a profound effect on him

DETROIT SWINDLE
Ouch that's HOT! Bring it on.
KRISTIAN RAEDLE/ INNERVISIONS
Yes please. Very nice.
AYBEE
Fanatastic Work Monty!!
ASHLEY BEEDLE
Thanks for sending over the Monty Luke album to listen too. It's a great
contemporary album with of course Detroit running through it's veins! It
really pulls you in and I think the arrangements and productions are great.
Fave tracks are City Lights, Roja, Willie Maze and Block Is Hot.
LAURENT GARNIER
Oh yes..This is so elegant and sexy. Love it Would love to play it
OSUNLADE
This one is a guilty pleasure vibe..hate that I love every song equally

Tone Series Remix Series Is Back At This Beginning Of The Year 2019!

On The Occasion Of Our 4th Release, We Welcome French Dj And Music Producer Djebali, Boss Of The Eponymous Label
( D J E B A L I ) And Co-owner Of Elephant Moon, As Well As Moroccan Artist Adil Hiani, One Of The Two Heads Behind Cosmo Records,
The First Moroccan Electronic Music Label. Whereas Djebali Proposes A Groovy And Swinging Tech-house Remix Of David K's Mind-blowing Featherhand (ts09), That Came Out In June 2016, Adil Hiani Delivers A Clear-cut And Thoughtful Interpretation Of David K's Sunny Hawaiian Jam (ts08),
That Oscillates Between Breakbeat And Dowtempo.

The 45 of Everyday People - World full of people is well known on the modern soul and funk scene and it relatively easy to find a copy for maybe 500 pounds. What was always less well known was that there was also an LP by the same band but labels as People Pleasure. I first came across this LP in Turku, Finland in the early 2000s when at the house of DJ and Collector Felix Manell who pulled a pile of rare and interesting bits that day. I did not really appreciate the true rarity until trying to source my own copy. The next copy I saw was in Japan in 2004 but was not going anywhere. Roll on 15 years, Russell Paine, collector, DJ and super record researcher called me saying he had finally unravelled the mystery and was talking to Bill brown & Al Hall Jr. Russel sets himself the hard task of only putting out unreleased material on his own label so we also work together on LPs and Singles on Athens of the North. After we managed to clear the rights the final hurdle was finding a clean copy, not an easy task. After asking loads of deep collectors, Zaf put me onto DJ Nick the Record who very kindly lent me his minty personal copy, a huge favour considering how rare this record is, almost impossible to replace. So we mastered from the vinyl (no tapes exist) and while it still sound pretty raw it is twice as good as the O.G. Been a long time coming.

PAUL LABRECQUE (SUNBURNED HAND OF THE MAN) and GHAZI BARAKAT (PHAROAH CHROMIUM) present two epic cosmic, dystopian tracks where guitars, synths and traditional instruments blend into an anarchic sound system.

After excessive years in rock bands like THE GOLDEN SHOWERS or his solo project BOY FROM BRAZIL, time had come for the German-Palestinian artist GHAZI BARAKAT to develop a new aesthetic - the birth of his alias PHAROAH CHROMIUM where BARAKAT creates "meta-music for meta-people in a meta-world", or in other words:a mutoid blend of post-krautrock, psychedelism, free jazz, ancient rituals, science fiction and electronics. So far the Berlin based sonic performer released a couple of solo albums on labels like GRAUTAG or TAPEWORM and a triple LP with krautrock legend GÜNTER SCHICKERT. For his latest output he decided to simply use his civilian name BARAKAT, as does PAUL LaBRECQUE (SUNBURNED HAND OF THE MAN) who contributesguitar and synthesizer to the two side-long tracks. "Jajouka Pipe Dream" is a clear reference to the MASTER MUSICIANS OF JAJOUKA, with lots of flutes and percussion, a very rhythmical, ritualistic track, while "Planet R-101" turns out a spacey trip with elements of krautrock and Kosmische Musik / Berliner Schule.

What may sound contradictionary on paper functions perfectly on LP - freeform / free-floating music, absorbing and integrating a wide range of influences and inspirations, sounds and styles - and highly psychedelic!

Credits:

Ghazi Barakat: guembri, moog synthesizer, beats, Rauschpfeife

Paul LaBrecque: guitar, synthesizer

Mastered and cut by Rashad Becker at D&M, Berlin

Artwork + photography: Nicolas Moulin

Line Explorations present its first release - a compilation consisting of six tracks by six national artists, producing under the names of T'iwu, HTL, PX, emme, AMSH and Mensaje Sanador, serving as a sampler for what's to come in the future on the label and the sounds the label will evoke such as techno, IDM, ambient, noise, drone and experimental vibrations from the further avant-garde,

The first track focuses on growing an organic and everyday sonic scape with the use of chords and melodies filled with light touch - reminiscent of clear skies and sunshine - which creates an ambient feel similar to that of daily vibrations of life as presented and explored by T'iwu.

HTL enhances the depth of the reflections of today's emotions one can feel by delving deeper into everyday surroundings and exploring the noise/drone side of the ambient musical styles by mixing melodic elements with the out of the ordinary effects which shock and ululate while shaping the musical texture into a darker and deeper atmosphere.

The following track, by PX, elevates the atmosphere into a more jovial soundscape full of '80's inspired electronica and sci-fi soundtracks. The beat rolls off and twists in a funky groove helping develop a danceable pace for the release.

On top of that, emme presents the fourth track - in the shape of techno meets breaks - where more classical elements of industrially influenced electronic music can be traced from yesteryears. The sounds engulf in warmly distorted melodic strings while flowing over and under the rhythmic structure.

In contrast, AMSH's ''Subway'' presents a downpour of heavy sounds, such as noise influenced synths and delayed infected percussion, along with field recording of trains help envision the movement of a manmade machine and its flow through the undergrounds of today's world.

The final piece, of the label's initial release, comes in the shape of a Mensaje Sanador or healing message. The track takes on the elements of the three titles that have preceded it and explores further the dynamics between current and classical sounds of the electronic dance music genres by delving deeper into sound synthesis, melodies and rhythm as to help one submerge further into exploring such sounds, their history and the future to come.

New installment in the Slow Life catalog by Primary Perception, two blood brothers born and raised in the Canary Island, but living in Berlin for the last years. It's in the German capital where they got to meet and support the Slow Life crew since their beginnings, and where they developed their fresh but
matured sound shown on this their first album. "Evidence of a Primary Perception" clearly has the trademark Slow Life character, combining broken beats, pads, acid bass lines, ambient passages, and overall, groovy deepness. They have more music coming soon in 2017, so as the label suggest: "They
are here to stay!".

PLOINK regular Christian Tilt drops 'Live EP' this April featuring three murky techno cuts and a remix from Gra°tone founder +plattform.

Much like PLOINK founder Thomas Urv, Bergen-based producer Christian Tilt is a long-time stalwart of Norway's techno scene. The pair have been DJing together since the 90s, enthusiastically flying the flag for Norwegian techno whilst also proving themselves as driving forces in pushing it forward.

Echoing stabs and rattling drums introduce 'Dinner With The Devil' as ominous elements fade into the mix generating a brooding aesthetic. Heavy atmospherics and a skipping beat then make up 'Clearly Innocent' before the intricately produced 'The Wedding' combines a cacophony of percussion with sinister drones and twisted effects. Finally, +plattform, who was recently nominated for a Norwegian grammy ('Spellemannprisen') for his 'Twelve LP' on PLOINK, concludes the release with a meandering remix of 'Dinner With The Devil' that's exemplary of his esoteric approach to techno.

In a career spanning 45 years, Leo Sayer has sold more than 80 MILLION records worldwide.
To coincide with Leo's forthcoming return to the UK for his 22-date 'Just A Boy At 70' tour, 'The Hollywood Years
1976-1978' is the second of a series of three Vinyl LP box sets.
'The Hollywood Years 1976-1978' comprises Leo's three studio albums. 'Endless Flight' (released 1976/UK
#4) 'Thunder In My Heart' (released 1977/UK #8) and 'Another Year' (released 1978/UK #15) and marked a
clear departure from his early albums.
Leo recorded these three albums with legendary producer Richard Perry, who brought in a variety of songwriters
and collaborators to work on the projects with Leo; it was a venerable Who's Who of the record industry.
Each vinyl LP Box set in this Limited Edition release, will be pressed on heavyweight 180g clear vinyl and contain
a signed 12'x12' print.
This project has been overseen by Leo Sayer, who remains one of the UK's great singer/songwriters of all time.

A haunting collection of experimental music by the celebrated electronic artist and sound designer, 'Refraction' continues Caminiti's exploratory path of deconstructed electronic sounds and structures as showcased on his last album (2017's 'Toxic City'), presenting four new pieces created on a Make Noise modular synthesizer with an emphasis on tranquil atmospheres and dub-influenced production.

This Make Noise Records release was Mastered by Rafael Anton Irisarri at Black Knoll Studios.

Pressed to 12" Clear (140gm) vinyl and inserted into a black inner dust sleeve
and Matte Jacket featuring artwork by Sean Curtis Patrick.

This release is pressed in an edition of 500.

'Best electronic live set i've seen in two years!' CHRIS CUSACK (BOOKER, BLOC GLASGOW)

Fresh and heady slice of cerebral techno and out-there electro flavours.

EXTERIOR is the artist moniker of Edinburgh producer Doug MacDonald. Exterior represents his transition to electronic music and an embrace of the dancefloor. Doug played hardcore and noise-rock for a long time before eventually abandoning collaboration, nostalgia and formulaic rebellion in favour of synthesis. What he gained on the way was an understanding of the power of live drumming and years of finely honed performance-skills, something of an aberration in dance music.

Exterior thus represents a convergence of disparate personal and musical pleasures. Accordingly Exterior draws on rhythmic mavericks as divergent as Fugazi//Battles//Swans as well as DJ Spoko//Clark//Hieroglyphic Being. In addition, there is a deep undercurrent of melody and texture, drawing on the likes of Burial//Miles Davis//Bjork. Eschewing the modern home computer in favour of an exclusively hardware based approach, Exterior espouses a physical relationship to what is at heart an abstract practice, composing electronic dance music.

Perhaps it's unsurprising, then, that one of the things which really sets Exterior apart is his intoxicating live show. He gets the crowd going every single time he performs, so infectious is his energy, as he throws shapes and struts his stuff behind the gear, clearly 100% in the moment and his element.

His debut EP 'Public Transport' was released on London/Barcelona-based Land Recordings earlier in 2018. Having made his international headlining debut in Berlin in September, more continental sorties are currently being arranged (see below).

This record represents a significant move forward in sophistication and club-readiness.

On remix duties, anonymous analogue techno lover DALI returns on the back of four slices of extended club gear released via two Hobbes Music 12"s (2017-18), boasting colour-themed, screen-printed sleeves and an uber-simple design for that evergreen minimal aesthetic with a hint of mystique. These gained excited support/plays from the likes of Ben UFO, Nina Kraviz, Daniel Avery, DJ Deep, Laurent Garnier, Avalon Emerson, Twitch, XDB, Bill Brewster, Bawrut, Tom Findlay (Groove Armada) and many more... Clocking in (again) at just over 9 minutes, her 'Collapsing Star' remix is another marathon-length effort and does exactly what it says on the tin. Setting the beats to classic electro, everything's pushed hard until it all seems ready to fall rapidly apart (and it very nearly does), before dissolving in a fiery sizzle: a more visceral, dance floor accompaniment to Exterior's heady affair.

Love for the music should be the driving force of any producer and Lee Gomez aka Wipe The Needle clearly shows this with his latest release for Local Talk.

'Enchanted' features Alex Lattimore's soulful vocals together with stunning instrumentation and takes you on journey that goes beyond the house genre, it is hypnotic as much as it is bumping.
Flip it to the B-side for a North London dub courtesy of Wipe The Needle.
It's the kinda track Joe Claussell would drop at Body & Soul and keeps you dancing until closing time.

Swordfish Proudly Continues Its Reissue Series Of Classic Vintage Arthur Brown Recordings With The Third Kingdom Come Album 'journey'. The First Album To Be Constructed Around A Drum Machine, It Is One Of The Most Original And Innovative Albums Of Its Era Pointing Towards Musical Developments That Would Become Clear Decades Later. Issued Under License And Fully Remastered, Featuring All The Original Artwork And An Insert With Newly Written Notes/image From Arthur Brown.

GREY Area is the new album from Little Simz, her third to date following

mixtapes/EPs and two critically acclaimed albums.



Simbi Ajikawo, crowned Little Simz, lets her work do the talking - and her prolific releases and

boundary-breaking achievements clearly tell a story of a pioneering Hip Hop artist who leads the

way on her own terms. Giving lauded, energetic performances, critically acclaimed albums, sold-out

headline shows around the world, and international tours with the likes of Gorillaz, Anderson .Paak and

Ab-Soul, this visionary 24 year old woman from North London is living out her childhood dreams to heights of

excellence - and inspiring her generation to do the same.

Lebanon Hanover's bassist William Maybelline is back with his solo project. After the debut album Sable from 2015, Qual strikes back with a three-track 12' maxi-single. Each one of these new songs explore a different dimension of Maybelline's approach to Body/Wave electronics.

The title-track Cupio Dissolvi is what we may already call classic Qual: gloomy and throbbing, synth-driven and labyrinthine. A Bloody Blob explores new martial slants, with war-like timpani and a marching robot gait. Rape Me in the Parthenon is a 8 minute long dancefloor mayhem anthem scanned by some pounding techno drumbeat and EBM snare and pads. The most alert of you already checked this in some Ancient Methods DJset. By far the most extreme track Qual recorded so far.

'Buried in flowers with hands of gold / Buried together we'll never mold' shall be thy epitaph here, as well as your message engraved on virgin vinyl.

New edition of 300 on clear wax!

Love story...
Middle M side starts with a banging 200 BPM industrial hardcore full of breakcore temptation... second tune "calm down" to 180 bpm, a noise-acid mining deeper and deeper..
The flip, the Husband side then, from SOAM, also starts with a 200 BPM dark industrial hardcore, bassy and dancefloor to death... my fave tune is the last one, "I'mDown" : a regular 220 BPM clear attack in a old school motion, very 90's, the moste SODOm's spirit tune of this gentle EP

The Seeds of Fulfillment by David Drazin (November 2018)

Andrew Venson founded Seeds of Fulfillment (SOF) in early 1978. In the 1960s he had played electric bass with Arthur Conley, and later the original Peaches and Herb. On the same bill with Big Brother and the Holding Company, he hung out backstage with Janis Joplin. Yes! Vince was hoping SOF would get all of us to the top. He composed three tunes for the band, and we always had a ball playing them.

Roger Myers is a marvelous drummer. We co-composed Namaste. Roger would settle on a drum pattern of four measures at a time that he wanted to keep, and I'd put chords and melody right on top of his pattern. When he layered a second drum pattern on top of the first one, we'd get two melodies at the same time. We thought we were going to collaborate on more songs this way, but it didn't happen.

Lee Savory is a very inventive jazz man. He's musically literate, and wrote excellent transpositions. I remember Lee's asking for my input while he was composing Tight Squeeze, but it was clear he had it down. Once when I was visiting a DJ who played the album in a local radio station, the total of checks next to Tight Squeeze for number of plays was by far the highest!

Randy Mather's sax playing always knocked me out. I could hardly wait to hear him solo. When he left SOF to go with Woody Herman's orchestra it was amazing, but true.

Jeanette Williams had recorded 45s for the Duke and Peacock label when she was 17 years old. Her powerful singing was incredible to me. When we needed an original for Jeanette, Vince composed it, and Roger's wife Linda wrote the lyrics.

In 1978 I was in my senior year at Ohio State University when I met Vince. He came into a bar called My Brother's Place where I was playing with a trumpet player named Bobby Alston. When I was a freshman at OSU I'd played in an off campus band called Akadama. Before that I played in my home town of Cleveland, Ohio in the Brush High School Stage Band and a jobbing band called The Midnight Combo.

Everyone in the band contributed something to Egg Cartons in a composition jam session. We rehearsed in Vince's basement, and he had covered the walls with egg cartons to make the room sound more like a recording studio. The Provider was inspired by Country Preacher by Joe Zawinul. In those days I especially admired the way Zawinul would get his soulful feelings across, but also loved Herbie Hancock and to a lesser degree Chick Corea too. It took two years (with a break of several months) for the band to conquer Self-Fulfilling Prophecy. It shows you what consideration and dedication is, that ultimately they felt it was worth learning.

We recorded at Fifth Floor Studios in Cincinnati, Ohio. While we were there I got to shake hands with Bootsy Collins, who was recording in the rooms downstairs at the same time. Years later, Fifth Floor burned down and all the master tapes were destroyed.

We are proud to present our first release of 2019, Kaleidoscope vol. II, featuring two new roster additions (Dalek One and Phossa) alongside label residents Clearlight and Bisweed.

01 - Dalek One - Frequency Shock

American talent Dalek One shows why he's quickly rising in the 140 scene with this debut release on Subaltern. And what a debut it is - 'Frequency Shock' with its ecstatic bass and synth lines gets everything right in all the right places, and we are honoured to press it to wax.

02 - Clearlight - Stuck Inside

Diving into deeper realms is Subaltern resident and psychedelic wizard Clearlight. 'Stuck Inside' lures the listener into a seductive maze of towering resonating frequencies. Once this pill has been swallowed there's no easy way out - this track is sure to be stuck inside your head for a while.

03 - Phossa - Vacant

Another young talent - UK based Phossa - makes his first mark on the Subaltern roster with an intricate piece of sub science. Carried by distinctive bells and spooky vocals, the young Bristolian shows off his extraordinary production style.

04 - Bisweed - Profound

Rounding off this showcase of fresh sounds from the Subaltern universe is everyone's favourite Estonian - Bisweed! Following on from the acclaimed Subalt014 EP, this track oozes his trademark confidence in composition and sound design. Percussive fireworks, heavy subs and menacing synths combine to create an enthralling piece of music.

We are extremely proud to have 4 tracks from Dominic Stanton aka Domu aka Sonar Circle aka Sonar's Ghost.

Dom's vast back catalogue spans over 20 years, the music on over 15 labels and many different genres. This body of work includes a number of Sonar Circle releases for the legendary Reinforced camp including a stunning long player entitled 'Radius'.

For Dope Plates Dom has lovingly and expertly put together 4 nostalgic and authentic tracks clearly taking inspiration from early 90s jungle, drum & bass and hardcore.

Enjoy the ride!

180g, clear vinyl

Three 1982 disco classics from boogie trio Plush formed under the guidance of Angela Winbush, René Moore and Bobby Watson get the official, remastered reissue treatment from the original tapes.

Opening up the EP, an Angela & Rene original 'Free & Easy' is taken on by the Plush troupe, with the legendary Tee Scott providing a trademark extended mix. It kicks off with cosmic synths that dissipate into heavy funk, electric bass riffs, whilst scorching top lines and choice guitar licks trade off over the top. Scott's magic is clear to see in the composition of this extended mix. A man who clearly knew how to work a dancefloor, his use of breakdowns especially, extending the anticipation and power the track commands on its dancers. From the bass breaks that weave in modulated synths, to those that utilise the glorious sustained piano chords, cutting to just vocals and percussion before everything is added back in for ultimate dancefloor elation.

First up on the B side, 'We Got The Love', a more soulful, slowed down tip where staccato guitar plucks and chunky slap bass marries with warm Rhodes chords, and lush vocal harmonies blend with the power of Siedah Garrett commanding the lead vocals. A passion ingrained in their voices that cannot be taught, hanging in the air, as they hang onto their phrases.

Lastly, 'Livin For Your Love' a boogie-based serenade written by Herman Chainey and Tony L. Phillips, intertwines Phillips' deep dulcet tones with Plush's backing. Add in a dose of pure '80s bass synth, twanging funk flashes and juicy bass guitar ripples and you've got a recipe sure to woo any wandering hearts out there.