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After a tumultuous period of emotional blows, leaving the majority of the band getting to grips with new life scenarios, the new album is rooted in reflection and redemption, and sees You Me At Six harness those darker experiences as a catalyst for creativity, empowerment and positivity.
Recorded over five weeks at Karma Sound studio in Bang Saray, and continuing their creative relationship with that album’s producer, Dan Austin (Biffy Clyro, Massive Attack, Pixies), ‘SUCKAPUNCH’ is the sound of a band embracing change. You Me At Six have crafted their most experimental, personal and
progressive record to date

Repressed in quantity for the first time in years. Includes the hit single "Strange Harvest". Tempers, comprised of Jasmine Golestaneh and Eddie Cooper, have carved out their own niche within dark indie, electronica and synth-pop circles. Their sound is about exploring tonal and emotional tension as much as it is about actual tracks or singular moments. Adrenalizing yet hypnotic landscapes layer mechanical and sensual impulses, as crystalline vocals weave fever dreams of yearning and alienation. Informed by both Golestaneh's involvement in musical performance and visual art and Cooper's electronic production resume, as well as their time in the States and abroad, they operate as a multi-disciplined entity in the spirit and ethos of Factory Records. Tempers describe their creative process as a telepathic kinship they've developed since they started making music together: "We have these sort of unspoken criteria when we're writing music. We never really need to explain what that is but we both know when it's missing or when we've hit it." After a string of critically acclaimed singles beginning in 2013 with "Eyes Wide Wider" b/w "Hell Hotline," the duo released their debut LP "Services" (2015) on cult imprint Aufnahme + Wiedergabe resulting in the underground club hit "Strange Harvest", extensive international touring and sold-out shows. The album's vinyl edition soon became a sought after collectors item. Their 2017 EP "Fundamental Fantasy" was released as a result of the Vinyl Factory's Volcano Extravaganza artist residency on the Aeolian island of Stromboli. Following their unique creative compass, in 2018 they indirectly moved from the dance floor to galleries, releasing "Junkspace" a conceptual collaboration with famed architect Rem Koolhaas. The record is available in the world's most select cultural hotspots, from The New Museum in New York to Walther Konig museum stores throughout Europe, a testament to Tempers' love for experimental output and unorthodox presentation. In 2019 Tempers signed with Dais Records, promptly releasing "Private Life" and the lead single "Capital Pains," a meticulous evolution of the dark pop that marked the duo's earlier output.

500 COPY LIMITED EDITION ~ INCLUDES 4 INDIVIDUAL FULL SIZE ARTWORK INSERTS. Hyperdub are excited to present our first soundtrack release, Lawrence Lek's score for his debut feature film `AIDOL', which premiered at Sadie Coles HQ in 2019 and has been shown at numerous virtual and physical festivals and exhibitions worldwide. Lawrence Lek is a simulation artist who uses computer-generated animation and video game engines to create films and virtual worlds that play with the language of science fiction, music videos and corporate world building. He has released soundtracks to five of his previous projects, most recently `Temple' OST (Vinyl Factory, 2020). `AIDOL' continues his on-going 'Sinofuturist' cinematic universe, which posits the creative theory that China's technological rise is an emergent form of Artificial Intelligence. `AIDOL' is a CGI fantasy that tells the story of a fading superstar, Diva, who enlists an aspiring AI songwriter to mount a comeback performance at the 2065 eSports Olympic finale. Set in a realm of spectacular architecture, sentient drones and snow-deluged jungles, `AIDOL' revolves around the long and evolving struggle between humanity and Artificial Intelligence; a shifting and seductive virtual reality, punctuated by Diva's songs and the voice of Kode9 as the unforgiving label boss. The soundtrack is a delicate lattice - complex, opaque and entirely synthetic. Diva's yearning vocals - created with a Vocaloid voice synthesiser, sung in English and Mandarin - cast classical melodies over billowing, intricate arrangements. The instrumental tracks, produced with composer Seth Scott, are elegiac and beautiful, hybridising the film score archetype, folding in patterns from game soundtracks, vaporwave, and ambient fourth world music.

Azumah was the coming together of a group of talented young dancer-musicians from Soweto (South Africa) with musician and instrument-maker Smiles Mandla Makama of eSwatini (formerly Swaziland). Long Time Ago is the surprising and enticing, resultant album from 1985, recorded in the house of theatre stalwarts Des and Dawn Lindberg in Johannesburg.

Produced by David Marks (3rd Ear Music, Hidden Years Music Archive Project), Des Lindberg and Smiles Makama, this album takes us back to a priceless musical moment in the dark and wild eighties of apartheid South Africa. Smiles Makama is a gifted and visionary music-maker. He was born in South Africa but grew up in eSwatini, the small kingdom enveloped by South Africa and Mozambique on each side. He tells the story of the process leading to the recording of this remarkable album: “I was invited from Swaziland by a Soweto-based group, Azumah. … One of the members knew that there was a wizard in the mountains in Swaziland, building instruments. As I was in the mountains in my hut and then I saw people arrive. They found me. It all started there.”

Instead of simplistic images of a generic ‘Africanness’ or ‘South Africanness’ and pictures of constructed and exotic ethnic identity, a contemporary, fresh listen to this album encourages an appreciation of the composition and musical skill at play in this music. Few people speak about the individual innovation and experimentation involved in the creation of this music (or the music of Amampondo for instance). “Woza Moya” sticks out as a dark and melancholy creation, different tonally to what has come before, evoking the work of Naná Vasconelos or Don Cherry. One thing that remains the same decades later is that encouraging deeper listening to the sounds of the mbira, the nyunga-nyunga, the uhadi or makhoyane bows is still challenging. Discouraging the superficial, short-lived acknowledgement of this ‘unchanging’, ‘African cultural expression’ is the everlasting hurdle. This is made so much easier by albums like Long Time Ago: when artists create music to be loved and entangled with, to be challenged by, derived from the musical roots and structures of these instruments and then expanded upon with creative freedom, risk, humour and funk.

Azumah did this in 1985 and we have this album again today, newly released, to remind us of that moment and the moments since when musicians have urned inward and done similar. As Smiles has it: “Indigenous music doesn’t fade out. It’s just waiting to be discovered, all the time.”

Flute, congas, bass, drums, guitar and clavinet; this unconventional arrangement of instruments intertwine to form the debut album by Badge Époque Ensemble - a group of creative improvisers assembled to perform new, largely instrumental compositions by Maximilian ‘Twig’ Turnbull(formerly Slim Twig - DFA Records).

Badge employs an eclectic cast of characters from the Toronto underground music scene, whose combined experience would take pages to spell out. It includes stints accompanying songwriters Andy Shauf and Marker Starling, outfitting heavies Blood Ceremony and Biblical, and respective careers spent gigging Django-jazz and the classical cannon.

Badge’s distinctive sound arises from the diversity of these musical exploits, creating a palpable chemistry well captured on the live-tracked songs that form the group’s self-titled debut. Part of this crucial chemistry can be attributed to the fact that four of the six players in the Ensemble have been at the core of the live, U.S. Girls band, a group that has scorched stages internationally over the past year and was hailed by Paste magazine as the best live band of 2018. While it may call to mind an improbable collision between psych-era Stevie Wonder and the whimsically dark, Fantastic Planet score, it is clear we are operating in a post Wu-Tang paradigm. If a crate of library, tropicalia, prog and electric jazz records were flattened into a single 12” and then fed into a sampler, we might approximate the process.

Subheim adds a new chapter to his catalog of shadowy raves with ΠΟΛΙΣ – the fourth long player. Pronounced "Polis," the Greek word for "city," ΠΟΛΙΣ doesn't so much evoke the rapid cadences of life in a modern metropolis as it does the unspoken tension between longing to escape and being trapped in some kind of concrete stasis – living together with millions of souls in an expansive emptiness.

Subheim uses ΠΟΛΙΣ as a vehicle to depart from traditional songwriting structures, crafting each track as a piece of a larger sonic collage. Songs come out of nowhere, abruptly come to end before they even get a chance to start or introduce new motifs and surprise reprises long after we expect the next track to cue up. These stutter-start forms reflect the four years it took for the record to take shape: a series of failed musical experiments, indecision, balancing an unstoppable creative drive with the unavoidable emotional ebb and flow of life.

Though this is clearly Subheim working at a new level, listeners will recognize the sound of ΠΟΛΙΣ instantly as his, with both hints of the IDM/electronica of Approach era and the unmistaken human element that is present in all his work. The natural, off-grid time feel of the record is effortlessly augmented with field recordings and found sounds, this time around with the addition of more grit and power, and with heavier use of analog synthesizers.

Despite the album being born out of a feeling of alienation from one’s surroundings, it's impossible to ignore the sense of hope that runs through this LP. In ΠΟΛΙΣ, we hear an arrival at a deeper understanding of oneself, an inner peace amidst the decay and a cautious optimism that comes from someone who just happens to feel most at home in darkness.

COLOR VINYL LP

Indie Retail Exclusive *Cosmic Moment* Color Vinyl LP Multidisciplinary abstractivist Rob Mazurek has made an indelible impact on creative music over the past 30 years. Emerging from the musical nexus of the 1990s Chicago scene, he's written more than 400 compositions and is featured on more than 70 recordings (including International Anthem's very first, IARC0001, Alternate Moon Cycles). He's led many ensembles - including the Chicago Underground (Duo, Trio, Quartet & Orchestra), Isotope 217 (alongside members of Tortoise), Pharoah and the Underground (feat. Pharoah Sanders), and a duo with Jeff Parker. He's been on the cover of WIRE Magazine twice and is well-known as one of the prime 21st century progenitors of "The Chicago Sound."

D Leria debuts on Avian.

Giuseppe Scaccia shows his range on a new six track EP, arriving late 2020.

Produced diligently across the last two years, the record showcases a range of styles. Tonally, the material is bound by a recognisable engineering palette – driven, but not to the point of corrosion, tight and focused in the low end with caustic, percussive synth patches driving much of the more dance floor material.

In the terms of the form, though – Scaccia draws for a disparate arrangement. Opener A Life On The Run clocks in at over 140bpm, with a demented lead synth line providing the action buoyed by a simplistic drum machine rhythm. Divergences offers a more immersive experience in terms of tempo – again letting the lead do the work, while shifting hats operate around the sonic periphery to break up the recording. On Il Giardino Degli Unicorni the artist utilises a single, staccato sequence, letting the sends do the bulk of the business with careful processing and live articulation helping to build the intensity. On the flip, pulsing workout Noises from The Room develops surreptitiously over its run time – fathoms deep kicks are submerged under a heated sequence and Red Flowers, an exercise in careful reduction reintroduces a little musicality to the record, before warping closer Tribalism places the listener back on the dance floor with a half-time rhythm driving the droning sound design.

A careful meeting point at which the multiple styles that underpin Scaccia’s D Leria project meet, Still Standing offers insight into how future work might manifest whilst remaining a valuable document on the current state of both left field Techno music and the artist’s own creative identity.

Unbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows Selected Early Keyboard Works and Selections from 100 Models of Hegikan Roku (named the #1 archival release of 2019 by The Wire), in addition to a two-volume collection of Hennix’s writing titled Poësy Matters and Other Matters.

Recorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, and electronics) and Hans Isgren (bowed gong), Hennix’s realization of Karlheinz Stockhausen’s “Unbegrenzt” (German for “unlimited”) from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. The collection of 15 text pieces written in Paris during May of 1968, Aus den Sieben Tagen, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen’s conception of “intuitive music,” a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo Wärmell, and many others. While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young’s event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. (Cf. Brouwer’s Lattice.) Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen’s 1969 recording, Hennix’s alternative realization of the “Unbegrenzt” score’s instructions to “play a sound with the certainty that you have an infinite amount of time and space” is based on her concept of Infinitary Compositions, the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young and Terry Jennings scores to its repertoire. Taking a mature, minimal iteration of Stockhausen’s compositional method of “moment-forming” to heart, her version’s dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step. Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen’s score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind.

Audio restoration and mastering by Stephan Mathieu, with an essay by Bill Dietz.

Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.

2022 Repress

Raster presents »Il Quadro di Troisi«, a project by Andrea Noce (Eva Geist) and Donato Scaramuzzi (Donato Dozzy). The record is a colorful ode of an Italian scented vision, overflowing of details and profound intensity. The contemporary world condition, the pandemic in Italy and around the world define »Il Quadro di Troisi« as a unique and right-on-time release.

This record is a enigmatic collaboration between the two Italian natives Andrea Noce and Donato Scaramuzzi. Andrea Noce takes lead on the vocals, with Donato Scaramuzzi carving the dreamlike soundscapes of the record. The record was born with a correspondence between the two artists about the late actor and director Massimo Troisi, and this exchange soon became an inspirational source of identification. Andrea Noce’s lyrics are sensitive and multi-faceted, they perfectly cling to the musical phrases and flow like a filmic monologue from the oeuvre of that very Troisi.

In a highly creative and confident manner, entire decades of national music history are comprehended and transformed into the here and now. The record takes its cue from the italo-disco, synth pop tradition corroborated by the contribution of artists such as the legendary Twilight Music co-founder, Paolo Micioni, as well as Stefano Di Trapani who wrote »L’ipotesi«. With »Il Quadro di Troisi«, Noce and Scaramuzzi prove their eclecticism, and passion for their home country.

»Il Quadro di Troisi« is a collaboration between Raster and the Milan-based festival Terraforma. With this release, the first with a purely Italian focus on the label, Raster celebrates its long standing relation with Italy and the Italian audience, encapsulated in the label's project ›Electric Campfire‹ held in Rome for ten years. Terraforma is an international experimental and sustainable music festival taking place since 2014 in the park of Villa Arconati, where Dozzy has been invited at every edition in different forms, DJing, live performing both in solo and with Voices from the Lake (together with Neel).

2020 PRESS

The original orchestral/electronic score from Karel Kachyna’s 1976 Czech film adaptation of Hans C. Anderson’s The Little Mermaid, composed by Zdenek Liska (The Cremator / Fruits of Paradise) featuring Lenka Korinkova. Available for the first time since being originally pressed in 2011 as part of the ongoing Finders Keepers’ 15th anniversary retrospective. Check!

Liska's legacy in the history of European cinema is huge in volume but relatively modest in it’s celebrity. Having already composed nine scores for Kachyna’s films to add to his 1976 filmography of 150 completed soundtracks.

Back in 2005, five years before Finders Keepers Records released Zdenek Liška’s soundtrack to Malá morská víla for the first time, folklore and fairy tale fanatics around the globe celebrated the 200 year anniversary of the birth of one of the world’s most celebrated children’s authors of the published era. This Danish born writer’s stories have been translated into over 150 languages and have continued to enchant and inspire children and adults, arts and crafts, film and theatre, providing a creative binding substance in modern society’s social fibre. With a life story that entwines equal measures of tragedy, mystery, intensity and majesty to that of his own written work, Hans Christian Andersen’s early years balancing contradictory roles as a weaver’s apprentice, a soprano singer, a fledgling poet and an abused grammar school pupil with speculative links to the monarchy, manifested themselves in his written world of fantasy and fiction. His running themes of mutation, metamorphosis, rebirth, prejudice and class distinction are none more prevalent than in what are perhaps his two best known tales The Ugly Duckling, first published 11th November 1843, and the bittersweet surrealist tale of The Little Mermaid, printed in the third booklet of the first volume of Eventyr, Fortalte For Børn (Tales, Told For Children) in 1837.

One of the most idiosyncratic and haunting undiscovered scores in the annals of European cinematic history, Liska’s forward thinking score has all the hallmarks of a Broadcast record, some 20 years before the band first committed sound to vinyl..

Beautifully remastered with updated liner notes including rare photos ith the full cooperation of the seminal Barrandov studios in Prague.

CoOp Presents an all-new double-album compilation entitled 'Plug One'. It features a plethora of global talent from in & around the world of bruk and beyond - some already well-established in the field, some very much on the come-up and some brand new artists - this compilation is an acknowledgment of a continually evolving sound from the label formed by IG Culture & Alex Phountzi a few years ago. 'Plug One' affirms this electric movement, with a deeply fluid current running throughout, with tracks ranging from the cosmic psych jazz of LCSM, to the classic UKG tweaks of Groove Chronicles, to the thought-provoking vibes of Reginald Omas Mamaode IV, to a veritable who's who of 2020 bruk talent including Xtra Brux, Sivey, EVM128, Cengiz, Wonky Logic & many more.

From its beginnings as a classic club night and label in the early 2000's, CoOp always carried an undefinable and potent creative energy. A sense of freedom and uninhibited exploration was positioned at the core of CoOp's sprawling community and consciousness, communicated via movement and sound. From this seed and throughout the years that followed, this same energy permeated the worldwide underground music ecosystem. As CoOp's legacy continued to influence new generations of music makers far and wide. The syncopated rhythms, soulful keys and infectious grooves synonymous with the broken beat sound, now known simply as Bruk, became entwined with new concepts and progressions, leading to new movements carrying on the essence of the bruk energy.

IG Culture and Alex Phountzi took the helm of their CoOp Presents label in 2018, with the vision of championing these new waves of emerging artists, continuing the all-important exchange of energy at the heart of the original CoOp movement, but also giving room for the music to be pushed into new and uncharted territories. With burgeoning producers from around the globe being drawn to the explorative and expressive nature of the project, an incubator was created, providing a space and platform for these ideals to take on new shapes and sounds. Just as every generation must rewrite its own history books, CoOp Presents was born from a combination of influences, ideas and personalities, and in turn is now encouraging the next generation to do some re-writing of its own.

'Plug One' will be released on vinyl & digital on CoOp Presents in November 2020.

Original selecta of unrealese tunes, escaping the usual mental tribe sound to explore some more creative ways.

For instence that second tune on each side... crazy stuff !

Mow Records proudly presents L’enfants De Kita, the third album from a series of five, all produced by label owner Mowgan. Each album features vocalists and performers with African heritage, channeling Mowgan’s passion for the continent’s diverse sounds into vibrant, highly emotive productions. On L’enfants De Kita he teams up with Fanta Sayon Sissoko, a female performer from West African nation Mali. Based in Toulouse, where the album was recorded, Fanta’s musical roots go deep - her father played guitar and ngoni for Baaba Maal and her grandmother is Kandia Kouyaté, one of Mali’s best-known griot singers.

Mowgan always dreamed of working with a female singer from Mali, enchanted by their vocal style. After moving back to France a few years ago he bumped into Eric Diaouré, an old friend who he worked with in his teens. Eric is also a musician and just so happens to be from Mali. Mowgan revealed his ambitions to Eric and a meeting with Fanta was arranged - within a few days they were in the studio together.

Like the other albums in this series, L’enfants De Kita is a fusion of Mowgan’s love for African music and his penchant for electronic sounds. Fanta’s raw, affecting vocals are complemented by Mowgan’s considered production throughout with additional instrumentation from a range of performers, including a group of schoolchildren on ‘Tubani’. Featured artists include Solo Sanou (whose album ‘Soya’ was the second release on Mow Records) playing percussion, Mamadou ‘Madou’ Dembele, a multi-instrumentalist who plays ngoni, Yohan Hernandez on guitar and bass plus Madani Touré aka Chanana (a famous Malian rapper from the nineties) contributing to lead vocals on the album’s title track, with Tim Xavier handling mastering.

Mowgan’s approach to creating albums is to get a vibe going with the singer, produce a batch of songs and then select the best seven for each LP. It’s a pressure-free attitude that has led to some truly heartfelt productions, which encapsulate the purity of the creative process when it’s liberated from rigid constraints. You can hear this freedom of expression throughout L’enfants De Kita, Fanta in her element as she sings with passion and grace across all seven tracks.

The album begins with the title song ‘L’enfants De Kita’, which pays homage to Fanta’s hometown, Kita, in Mali. It is the centre of griotism, the local style of passing on knowledge from one generation to the next via spoken-word storytelling. Chanana joins Fanta on this one, which is the most ‘western’ sounding cut on the LP, Mowgan’s deft touch taking us to the dance floor, while Chanana adds extra depth with his rapid-fire vocal refrain. The glorious ‘Tubani’ tells the story of Djene Tubani, a girl who thought she was a bird. She disobeys her parents and neglects her friends, but eventually learns the error of her ways. Fanta’s vocals are amplified by the voices of a group of schoolchildren, including her own daughter.

‘Mobaya’ is a reminder that we can possess wisdom and deep knowing, but we can also enjoy ourselves; dance, sing and party. This is a club-focused production with 4x4 beats and a traditional house feel, which provide a wonderful accompaniment to Fanta’s uplifting vocals. Next up is ‘Dakan’, a cut which is all about destiny: Everyone has been put on Earth for a reason and by working together we can all achieve our destiny. Layers of percussion skip over the warm low end, with a lively trumpet appearing in the second half.

‘Dounouya’ explores the notion that we live in a world where everyone faces negative criticism. Fanta encourages us to take responsibility and move forward no matter what others think of us with this inspiring guitar-led cut. ‘Djonya’ highlights the fact that slavery still exists in today’s world - modern slavery, hidden from public view but still very much alive. “Our Africa is going to be okay if we all hold hands, if we are all together, all united,” she says. Finally,‘Badeya’, a great outtro which focuses on unity. We are all one family on this planet and this song speaks of people coming together but also respecting ourselves above everything else. The pace is slow and the instrumentation perfectly balanced to allow Fanta’s vocals to flourish.

When Yiğit Bülbül knocked on our door and put his debut album on the table, Fever took our hearts in a storm. The Turkish born, London based musician and producer knows how to craft his own contemporary avant-garde pop projections with a rich musical heritage shining through from the 1980s and 90s. His style erupts into silly, absurd moments of synth blurps, percussive extravaganza and psyched horns, It’s always colourful and trippy, but in a light way. It’s exactly what we want to release in a year of distress. The album is framed by two contemplative tracks, which are reminiscent of Holger Czukay’s oeuvre. The saxophone in the opening track "The Heath" undulates like an introvert leading voice in a meditation. The long and meticulously crafted ambient outro "Txalaparta" features a spoken word sample by the Basque folk musician Txomin Artola from 1978. The four tracks at the heart of the album are beat driven, percussion-heavy, loaded with synths and random horn samples. "Alo?" sounds like Snakefinger tries to get on a Skype call with Serge Gainsbourg. "Cacti All Over My Head" could well be a Ween instrumental with long arching synth lines over a slowed down bossa nova beat. Fever is a frivolous album which bursts with exalted charm and guest musicians. This is not another greetings-from-the-lockdown album, but with the obvious reference in the title it’s almost a tongue-in-cheek name about creative obsessions of our times. It's the debut album by the multi-instrumentalist Y Bülbül who has learned his trade working with various interesting artists and bands in London in the past 10 years. He is also a passionate crate digger and DJ. His own radio show is unerringly titled "Bülbül's Gemüsement Park", which airs on Netil Radio, a community broadcasting station in Hackney. Bonus fact, Bülbül is the Turkish name for a brown-eared passerine bird, one that's into singing.

East London record shop World of Echo debuts on the other side of the counter with a reissue of Two Wishes, the solitary 12" by Anglo-German collective, Mutabor!. Seemingly lost to time, Mutabor! were first brought to World of Echo's attention when drummer/singer, Gary Asquith, played at the shop's first birthday celebrations while promoting one of his other bands, Rema Rema. And so the story goes...

Mutabor! emerged wraith-like from the monochromatic grit of Berlin's art punk underground late in 1981 when Asquith left London to set up temporary residence in the city following a chance meeting with Malaria's Bettina Koster backstage at a Birthday Party gig at the Lyceum earlier that year. Beguiled by the possibilities of collaboration, musical and otherwise, he was soon to make his own contributions to what was an already fecund scene. Partnering with Koster, and Gudrun Gut and Manon Duursma also of Malaria!, Mutabor! were publicly birthed via an impromptu performance at punk rock polestar the Risiko. Asquith found himself playing percussion in what would be a first, while the rest of the band ossified in front of him in typically idealistic post-punk democracy. Little documentation of the performance survives beyond that which exists in the memories of those playing - that itself shaky enough - though there was clearly sufficient encouragement for them to commit to a recording session.

Later that winter, the four booked time at Music Lab, the studio operated by Harris Johns, for what would ultimately be their only studio visit. Two songs were laid to tape, and soon after a photoshoot was to take place at Koster's flat, resulting in a handful of images that, along with the music, comprise the sum total evidence of the band's existence. 1001 Nights and Treats both found their way to Peter Kent, a co-founder of 4AD who had recently left the label with the ambition of starting his own imprint. Entitled Two Wishes, the two track 12" was to be the first and only release on Loaded. It seems that Mutabor! were to represent a series of firsts and lasts, a trend that continues now as they open the World of Echo imprint.

It's fitting to think of Mutabor! in these prescient terms given how they sounded. Berlin at that time shared a spiritual axis with New York, the conceptual & aesthetic discordance of no wave and a nascent off-beat dance culture underpinning much of the respective creative activity. There are shared signifiers, but even in that context, Two Wishes sounds oddly out of step, moving to its own unusual rhythm. 1001 Nights stutters along on a tribal beat that seems to run independent of skronking sax, spidery guitar lines and deadpan vocal incantations, the ghosts of two songs meeting in some kind of incompatible voodoo union. On the reverse, Treats slows down and dims the lights further, as Asquith sardonically recites desirous threats as an increasingly malevolent sax and guitar grinds behind him. No surprise the darkness within the music given the parent bands and the backdrop of a crepuscular early 80s Berlin, though there remains a complex compositional element to these songs that suggests a broader spectrum of emotion - desire, romance, and ultimately, infinite possibility.

Recut and mastered, Two Wishes is now presented with the original front cover artwork alongside additional imagery, including a 16 page booklet, all culled from Asquith's own archive. A brief bolt of energy at a crucial juncture in music history, Mutabor!'s story is emblematic of the mutli-verse of post-punk and the creativity its ideology necessitated.

East London-born music legend and all round boundary-breaking innovator, Dizzee Rascal, today announces the release of his 7th studio album, entitled ‘E3 AF’ and new single ‘L.L.L.L (Love Life Live Large)’, out via Island Records.

This new release marks the genesis of a new era for Dizzee and is the first album wholly written, recorded and produced in the UK in over a decade. ‘E3 AF’ is a 10-track layered, purposeful statement of intent, rooted in Dizzee’s inedible ties to both east London and Black British music’s legacy. He sound is sharper, stronger and more self-assured than ever, and it is obvious that he has poured the creative energy of the past few years into ‘E3 AF’ as a body of work. First single, L.L.L.L (Love Life Live Large), features Tottenham born MC Chip and kicks open the door with the force of a steel toe capped boot. Chip, adds another thwack of bravado to the rumbling, Dizzee-produced beat. ‘E3 AF’ confirms Dizzee’s status as an artist still very much in his prime, sonically it draws on the infectious pace of grime and resolutely forward-thinking UK rap. From one song to the next, you are taken on a journey through Black British musical excellence. Ice-cold UK drill drips on Smoke Boys-featuring ‘Act Like You Know’ (produced by MK the Plug) and Eastside pulses with pure grime courtesy of Chubby Dreadz and Platinum 45. Self-produced opener ‘God Knows’ (featuring P Money) and high-octane ‘You Don’t Know’ pull from dubstep, grime and drum ‘n’ bass while threatening to wreak havoc with your speakers. By the time Alicai Harley’s warm up vocals float over sunny syths on the deeply personal ‘Energies + Powers’ (produced by Steel Banglez), the album practically radiates heat. Dizzee Rascal is a unique artist that has inspired many for multiple generations. From his 2003 debut album release, the Mercury Prize-winning ‘Boy In The Corner’ to date, Dizzee has continued to push expectations and boundaries. He is British musical royalty. Every album that followed stacked up another marker of success. Between 2004 and 2017 all album releases blasted firmly into the Top 10 Official album chart, won awards, critical acclaim and amassed Dizzee a huge following of devoted fans. ‘E3 AF’ is set to confirm Dizzee Rascal’s status as the master at the top of his game.

Svart Records is proud to present the original soundtrack to the supernatural thriller series Requiem! Debuted by BBC One in the UK and NETFLIX globally, psychological horror series Requiem became an instant hit, not least because of it’s haunting, spine-tingling score. Conjured by award-winning composers Dominik Scherrer (The Missing, Ripper Street & Marple), and Natasha Khan of Bat For Lashes, Requiem is an eerie landscape of sharp, scraping cello, soothing harps and tense string sections. From the urban uncanny to folk horror, there is a distinct atmosphere in the fresh collaborative dynamic between the British-Swiss decorated grandmaster of unique television series soundtracks Scherrer, and the rising enigma of alt-pop, twice Mercury Music Prize-nominated singer/songwriter Khan. Of their alchemical and otherworldly creative chemistry, composer Dominik Scherrer recalls: “Natasha Khan and I spent some weeks in my studio in Brick Lane, coming up with themes and recording outlandish vocals and terrifying sounds. There is a cheeky element to the show, as well as a genuinely scary one. Together with a pastoral spookiness of the cello and strings themes started to give Requiem its own unique atmosphere. We experimented with deviant playing techniques and unconventional recording approaches, to complete a moody air of retro horror and pastoral spook.” Available for the first time on CD and LP, this highly celebrated “spooksome” score harkens back to the 1970s lo-fi soundtracks from BBC’s Radiophonic Workshop or 1970s horror soundtracks. Winning an Ivor Novello award for the “Best TV Soundtrack” in 2019, Requiem is a one of a kind treasure, now rightfully preserved and beautifully presented on lush vinyl and CD format by Svart Records. “Requiem promises much, not least in way of sound. Nominally just another spooksome BBC tingler – old castle in Wales, birds flying into windows, locked room, pagan symbols, creepy locals – it is rendered a whole cut above by not having the heroine’s every move into peril foreshadowed by dissonant eek-eek string” (The Guardian)

Previously unreleased and unheard until now, unearthed, cleaned, re-edited and remastered, these tracks capture that 90s drum and bass sound. Fusing the creative ideas, stems and music from well known original artists Omni-Trio and Syko under 'Persons Unknown'. We have worked meticulously to create these timeless tracks; adding to the Persons Unknown story.

After being summoned from Ohio to London by Adrian Sherwood, Nick Riggio and Rebecca Magnetic have brought their Midwest musical experience to the South London electronic music scene with a unique creative vision. Fusing elements of techno, post-punk and psychedelic rock they explore spiritual connections and transcendence while Rebecca Magnetic's introspective vocals set against a tough backdrop of Detroit influenced rhythms and vibrations leave you in awe.

Their superb single 'My Future' is a brilliantly cosmic exploration of spaced out and spacious grooves. Crashing hits bring an edgy mood, while lurching drums drag you forwards.
Molten acid synths and the strained and pained vocals from Rebecca add further layers of intrigue to this most adventurous electronic trip.

First to remix is Oosh! man Dan Wainwright, and his version is laced up with sci-fi chords and echoing vocal sounds. The downtempo drum rotations are superbly heavy and trap you in a trance.
Next up, Retroforward is Al Mackenzie's solo remix/music project named after his successful Birmingham night.
Al is one half of Field Of Dreams. His 'No Future' remix is an airy and atmospheric remix that takes the track to the farthest edges of space on smooth, hypnotic grooves and beautifully astral melodies.

Lastly, Richard Sen has already been getting support for his remix from ALFOS man Sean Johnston, and he goes for a superbly rugged yet slow motion chugger that is dubbed out and expansive thanks to the arching guitar riffs that ring out to the heavens above fat-bottomed drums.

Whether experienced on the dance floor or in metaphysical states, this music is medicine for the mind and body.

Motus is more (to me) than just music made with analogue synthesizers, it is about attitude, a way of relating to sound and the (e)motion it affects. A lifestyle, where movement, being moved and moving become one. My practice is vibrational, about the skin, touch and surfaces and the gaseous medium in between. I dream of a dance floor where Motus would be enjoyed. What kind of world, or rather, what kind of society would allow that? And when? Is this futuristic? A situation-to-come, where the understanding of music expands greatly, when blissful moments are independent of simple melodies, where harmony appears beyond I-V-vi-IV chord progressions, when the techniques of social alienation, which determine the use of all the drugs that accompany recreational music, are reversed into creative tools of exploration. ‘Motus’ is part of this exploration: to find dance, free of clock, and groove, free of rhythm. There is pulsation, and the downbeat connects to the downward beings as in stones and minerals, the upbeat connects to the upward beings as in grasses, flowers, trees and stars. Binding both together, connecting sky and earth, is the dancer. The moves / the movement is pure. It is the kiss of spirit and matter.” (Thomas Köner)

Even if you don't know her name - you will know her voice. It's 'Melbourne's High Priestess Of Soul' Kylie Auldist's unmistakable vocals on the 2016 global dance hit 'This Girl' by Kungs vs Cookin' on 3 Burners - the track that not only topped almost every pop chart across the planet, featured in many TV shows, adverts and films and social media memes, and has achieved over 1 billion streams & climbing. But of course, that's far from the whole story. Kylie established her enviable reputation as the featured vocalist in the awesome Australian outfits The Bamboos, and Cookin' On 3 Burners, and her fantastically well received solo albums for Tru Thoughts; 'Just Say' (2008), 'Made of Stone' (2009) and 'Still Life' (2012) and 'Family Tree' Freestyle Records (2016). Kylie's brand new album - 'This Is What Happiness Looks Like', her first for Greg Boraman's brand new label Soul Bank Music, further develops the musical approach she began on it's predecessor 'Family Tree' - and is very firmly entrenched on an electro boogie tip, rooted deep in the New York club scene of the early 80's. The opening track 'Everythink' sets out that 1980's electro-boogie sound and then fuses it with the song writing of a classic Wham or Hall & Oates tune - it has an infectious, slinky Moog synth bass line that will lodge itself in people's minds. Kylie's simply stunning vocal performance on this breezy and summery tune will surely make it a future classic. Producers Warren Hunter and Lewis Moody skills in the studio have brought forth many musical highlights on this album, but special mention has to be made for Is It Fun? This is where a brilliant and incredibly infectious composition is further enhanced by some top notch instrumentalists, perfectly executed production, a simply beautiful vocal performance, and results in what should surely end up being an anthemic, brand new 'soul weekender' style classic. Soul boys & girls, funkateers and disco fans won't be able to stop themselves falling deeply for this new collection of tunes, because it's not only a highly original take on a classic sound, but it was conceived, performed and recorded with a genuine passion and love, as Kylie says "Some albums are written fast, some take a long time, some albums experience setbacks, become beset by creative blocks and personal issues, and can generally be a whole lot of hard work which makes you question why you even bothered to start it in the first place - this was not one of those albums - hence the title 'This Is What Happiness Looks Like'!

Good Vids, Vile Times is the second album by Ant Antic. Its central themes are the never-ending flood of information and its effects on us. The Berlin-based singer and producer Tobias Koett wraps serious questions into radiant pop songs. What does constant bombardment of information do to us? What's lost along the way?

On his new album, Ant Antic observes the emotional power of media and information. The helplessness we feel in the face of predominantly bad news and the growing inability to take pleasure in good news. The way an overload of junk information leaves no mental capacity for real social connections. As a child of the first globally connected generation, he witnesses geographical boundaries dissolve and people consider humanity as one. At the same time, everyone seems to struggle to come to terms with a reality overflowing with possibilities. Slowly, we collectively turn into superficial nihilists.

"When I wrote my first album Wealth I looked inward to examine my own emotions, asking myself "How do I really feel?". For Good Vids, Vile Times I was focusing less on the how and more on the question of why. "Why do I feel that way?"", Tobias explains the creative writing process behind his second album as Ant Antic.

"I'm a bag of hot air / Push me up density / Feel like a millionaire / Don't bring me down gravity", he admits on the single Yellow Press. Referencing the album's cover artwork by Austrian photographer Erli Grünzweil, Tobias describes how it feels to advertise his own life to other people - when behind the meticulously crafted presentation, there's sometimes nothing left but emptiness and anxiety.

Good Vids, Vile Times is an album rich in variety, ranging from indie-pop to contemporary R&B. In stark contrast to the somber tone of the lyrics, the songs radiate a cheerful liveliness. Fueled by analog synthesizers and an electric guitar often not discernible as such, the record builds on Ant Antic's signature sound. It's all Tobias on Good Vids, Vile Times - writing songs, recording vocals, guitars and synths, all the way to production and mixing. Essential elements and ideas are put into focus by getting rid of everything else. At the same time, the new album sees singer and producer Tobias openly flirting with pop, exploring new sounds and aesthetics, and maturing musically and lyrically. No song is alike, each one tells an honest and relatable story - all held together by the magic glue that is Tobias' distinctive voice, which might stay with you forever.

West coast composer, artist, and producer Kaitlyn Aurelia Smith has chartered a pioneering career with multiple critically-acclaimed albums since 2015. Following the release of The Kid in 2017, Smith focused her energy in several directions. She founded Touchtheplants, a multidisciplinary creative environment for projects including the first volumes in her instrumental Electronic Series and pocket-sized poetry books on the practice of listening within. She's continued to explore the endless possibilities of electronic instruments as well as the shapes, movements, and expressions found in the physical body's relationship to sound and color. It is this life-guiding interest that forms the foundational frequencies of her most recent full-length, The Mosaic of Transformation, a bright, sensorial glide through unbound wave phenomena and the radiant power discovered within oneself. "I guess in one sentence, this album is my expression of love and appreciation for electricity," says Smith. While writing and recording, she embraced a daily practice of physical movement, passing electricity through her body and into motion, in ways reflecting her audio practice, which sends currents through modular synthesizers and into the air through speakers. Not a dancer by any traditional definition, she taught herself improvisatory movement realizing flexibility, strength, and unexpectedly, a "visual language" stemming from the human body and comprised of vibrational shapes. Understood as cymatics, as Smith says, "as a reference for how frequencies can be visualized," much like a mosaic. Smith describes her first encounters with this mosaic; "the inspiration came to me in a sudden bubble of joy. It was accompanied by a multitude of shapes that were moving seamlessly from one into the other...My movement practice has been a constant transformation piece by piece. I made this album in the same way. Every day I would transform what I did yesterday...into something else. This album has gone through about 12 different versions of itself." As it has arrived, in a completed state, The Mosaic of Transformation is a holistic manifestation of embodied motions. Smith's signature textural curiosity that fans have grown to adore pivots naturally into a proprioceptive study of melody and timbre. Airy organ and voice interweave with burbling Buchla-spawned harmonic bubbles. "The Steady Heart" quivers to life, peppering blasts of wooden organ between winding vocal affirmations. As with a body, moving one portion requires a balance and counterbalance; here, subtle tonal twitchy signals fire in conjunction with coiling arias to create a mesmeric core. When the beat arrives at the midway mark, a swooping and jittery waltz, a sense of stasis in motion, a flow state, is sonically achieved. As soon as it syncs, it disappears back into the swirling ebbs of electric force. Other tracks stray into more ruminative physical realms. "Carrying Gravity" is built around string-like pads that expand and contract like a solar plexus, becoming taught and then loose. If the record could be summarized in a single movement, it is the 10-minute closing suite, a rapturous collage called "Expanding Electricity." Symphonic phrases establish the piece before washes of glittering electric peals and synthesized vibraphone helix into focus. Soon, Smith's voice grounds it all with an intuitive vocal hook, harmonized and augmented by concentric spirals of harp-and-horn-like sounds. Smith's music doesn't capture a specific emotion as much as it captures the joys of possessing a body, and the ability to, with devotion and a steady open heart, maneuver that vessel in space by way of electricity to euphoric degrees.

(Record Store Day 2020)

Mannequin Records is proud to celebrate 40th years of Nocturnal Emissions with more reissues setup for 2020.

"Tissue of Lies" is the Nocturnal Emissions first album, released on the band's own Sterile Records label as EMISS001 in 1980. "Tissue Of Lies"
shows you Nocturnal Emissions Industrial roots, from noisy collages to classic power noise, reminding the early Throbbing Gristle and Cabaret Voltaire, Faust ('Tapes' period) or Conrad Schitzler's 'Schwarz'.

The Nocturnal Emissions project, masterminded by Nigel Ayers, has been on the cutting edge of new music since the 1970s. Nigel Ayers has been described as a Guerrilla Sign Ontologist, cutting-up and pasting the contents of the human psyche. With a background in avant-garde art, his work has grown from audio visual installations through underground video works which changed the shape of British television.

In the early eighties Nocturnal Emissions hit London with a barrage of seminal funk; pioneering the use of sound samplers, multi-cultural
collage and electronic noise. They became a shape shifting chameleon lightening the darkness of post-industrial music, combining extremist performance art and video displays with apocalyptic beat music. Nocturnal Emissions have since been credited as a catalyst for a
generation or two of sound workers.

However, at the height of their success, the Emissions decided to shun the crass commercialism that had developed around them, and to develop their work as a secret alchemy. Nigel Ayers has continued to work with a strong underground of cult support, avoiding music industry fashions, and following his own creative path he concentrated on creating a strong sense of a wilderness identity through sound.

Limited edition of 600 copies, on solid white vinyl.

A new project by Chicago-based drummer/producer Makaya McCraven. An addendum to his critically-acclaimed 2018 release Universal Beings, which The New York Times said "affirms the drummer and beatsmith's position as a major figure in creative music," Universal Beings E&F Sides presents fourteen new pieces of organic beat music cut from the original sessions, prepared and produced by Makaya as a soundtrack to the Universal Beings documentary film. Directed by Mark Pallman, the Universal Beings documentary follows Makaya to Los Angeles, Chicago, London and New York City for a behind the scenes look into the making of the artists breakthrough album, taking the viewer through the story of Makaya's life, his process and the community of musicians that helped bring this project to life. The Universal Beings documentary and Universal Beings E&F Sides album will be released on all DSPs this July 31st on International Anthem.

This new compilation, a statement of intercultural music production, features collaborations of Slikback (PAN), KMRU, Tite (Fragile), Jinku, Pier Alfeo (Backwards) ... recorded during a residency in Elefant Studio, Nairobi.

The compilation will follow a 45mn documentary dedicated to the Kenyan Scene.

After two vinyl releases highlighting two musical currents rooted in an era and a territory - Benga in Kenya and Tarantismo in Italy; Flee Project unveils its sub-label, Extra Muros, linked to an itinerant creative residency program that aims to bring together innovative and creative artists from all around the globe for a two-week long production and writing camp. Open to all, it promotes underground sounds and artists in search of sonic experiments and discoveries. Is held every year in changing locations and countries.

Extra Muros - Kenya, is the result of the creative residency program organized by FLEE in September 2019 in Nairobi at the Elefant Studio. For three weeks, seven musicians: Slikback (KE), Karun (KE), Jinku (KE), KMRU (KE), Flexfab (CH), Pier Alfeo (IT) and Tite (FR), and producers from all over the world and from Kenya came together to produce and to create this unique sound that emerged from a large variety of artistic environments and soundscapes. This compilation is a statement of intercultural music production in the digital age.

Pascal Terstappen a.k.a. Applescal has released his new artist album, ‘Diamond Skies’ on Atomnation. The nine-tracker is a collection of expertly-produced, instrumental melodic house with lush, ambient soundscapes and a nod to the analog sounds of the 90’s. The album has received heavy support from key names in underground electronic music community and is Applescal’s sixth studio album to date.

Terstappen has been running Atomnation full-time since his early twenties and has shaped it into one of The Netherlands’ leading independent labels and a home for an eclectic mix of electronic music including signed artists such as Gidge, Polynation, Tunnelvisions and Sam Goku. ‘Diamond Skies’ exemplifies the vibrant sound of Atomnation, a lush, colourful album which journeys through melody, ambience and emotion while offering an occasional surprise to the senses. The album was written and produced through 2019 and completed in the early days of March 2020 when dark skies were looming.

‘Diamond Skies’ represents a creative optimism and brings a sense of something to look forward to. Applescal has created a musical dreamworld for a listener to step into as an antidote to troubled times. ‘Diamond Skies’ is an album which feels uplifting and effortless, a confluence of melodic house, occasional breakbeat and ambient energy; the sound of a producer at the height of his powers.

HIGHLIGHTS First ever reissue of "Kabwlú", a very hard-to-find album released by Discos Fuentes in 1965. The mysterious Los Picapiedra (which translates as The Flintstones, inspired by the 1960s American cartoon show), was a short-lived studio group with one albumto their name, "Kabwlú", mixing 'folkloric' and 'modern' elements with calculated 'caveman' humor. It is very musically diverse; not only are there the requisite genres that could be found on similar Colombian teenage-oriented groups' records of the time, such as cumbia, gaita, rock, twist and pachanga, but there is also a smattering of surf, doo-wop, Latin jazz, guajira, ska, and calypso. But what makes the whole thing so special is the odd, off-kilter arrangements, spooky tunings, rudimentary clanging percussion, invented 'cave' language, prominent twanging electric guitar and many zany sound effects. Several of Los Picapiedra's songs became very popular in Colombia as well as Venezuela and especially in the 'rebajada' (slowed down) version as played by the 'sonidero' sound system DJs in Mexico, such as "La Hossa". Presented in its original artwork and pressed on 180g vinyl. Part of Vampisoul's reissue series of classic Fuentes LPs. DESCRIPTION While Discos Fuentes was known for recording all sorts of interesting sounds from traditional folkloric Colombian music to the latest popular international styles, every once and a while they would put out a "novelty" record, perhaps to exploit a passing fad, and at times the label would green-light something strange or even outlandish. Many of those left-field releases have their merits and have subsequently become collectors' items over the years. One such case is the mysterious Los Picapiedra (which translates as The Flintstones, no doubt inspired by the 1960s American sitcom cartoon show), a short-lived studio group with one album to their name, "Kabwlú" (an unpronounceable, invented "caveman" term that is also untranslatable, but seems to have been the 'traditional rhythm' of Los Picapiedra's 'homeland'). What is interesting about the record is that it is very musically diverse; not only are there the requisite genres that could be found on similar Colombian teenage-oriented groups' records of the time, such as cumbia, gaita, rock, twist and pachanga, but there is also a smattering of surf, doo-wop, Latin jazz, guajira, ska, and calypso. But what makes the whole thing so special is the odd, off-kilter arrangements, spooky tunings, rudimentary clanging percussion, invented 'cave' language, prominent twanging electric guitar and many zany sound effects. Much like its namesake American cartoon The Flintstones, "Kabwlú" trades in creative anachronism, mixing 'folkloric' and 'modern' elements with calculated 'caveman' humor that works on many different levels. For instance the title tune seems to have been inspired by the pachanga craze and recalls the vibe of Ray Barretto's massive 1962 hit, 'El Watusi', but it has a certain joyful simplicity and rock-solid underpinning that elevates it beyond mere novelty or exploitation - and argues for its timely reissue for today's audience. The band was a studio invention that had no major significance in Medellin's live music activity. However, several of Los Picapiedra's songs were very popular in Colombia as well as Venezuela and especially in the 'rebajada' (slowed down) version as played by the 'sonidero' sound system DJs in Mexico, such as "La Hossa". Pablo E Yglesias (aka DJ Bongohead, Peace & Rhythm) Additional research by Luis Daniel Vega

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Available as super limited edition including 60x60cm Poster !

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before

The founder of Modern Obscure Music (MOM) presents this release which culminates a creative process that has led him to work during years with labels as respect- ed as Hivern Discs of John Talabot to Mathematics Recordings of Hieroglyphic Being.
Pedro Vian surprises us with a an album that is impossible to categorize into a single musical style. This LP guides its audience through musical scenes typically attributed to the artist, with atmopheric tracks like Pandora or Paradiso (available on the digital version). But it also travels through abstract, sonic labyrinths in songs like Maia or Nine is Nine, accentuates the rhythm with techno tracks such as Le Fou, Invisible Objects or Indian Strings, and even submerges us into the depths of pop with 801 Nite, where Pedro Vian collaborates with the young and talented singer of Mourn (Captured Tracks/USA) Carla Pe´rez Vas. Another cut that resonates is the influence of the Cocteau Twins.
Beautiful Things You Left Us For Memories is the most mature work signed by Pedro Vian, where he clearly manifests all of his influences and distances himself from the introspection prominent in his last EP’s, where he collaborated with artists like Inga Copeland from the Hype Williams Duet, or Pye Corner Audio. This is a bold move forward on an international trajectory that has received robust recognition from specialized, international critics.The new project will be published through a digital version with twelve originals; and through a reduced vinyl version where photographers Adria Can~ameras, artist Irene Royo and graphic designer Marc Monguilod have collaborated, and audio engineer Josh Bonati has mastered the sound. This is a kaleido- scopic work, adamantly supported by artists like Gold Panda, Laurel Halo, Barnt, bRUNA, and the north-american producer Chris Taylor (Grizzly Bear) among others

Dark Morph is a collaboration between sound and visual artists Carl Michael von Hausswolff and Jón Þór "Jónsi" Birgisson. Today they have announced a new release ‘Dark Morph II’, for release on May 1st via Pomperipossa Records – the Swedish record label led by von Hausswolff’s daughter, Anna von Hausswolff.

The release is dedicated to the oceans of planet earth and to the lifeforms that live in and around them, with the duo stating: “The exploitation of the oceans, in conjunction with the heavy pollution (from plastic waste to nuclear radio-activity) has to stop, and be replaced by collaborative manners co-operating with all life on or globe.”

Carl Michael von Hausswolff is a renowned artist, active in the art and music world with solo and collaborative projects for many years, and Jónsi’s work in the Icelandic group Sigur Rós, as well as his collaboration with composer Alex Somers, is recognised across the globe. Dark Morph formed when the two artists met aboard the M/Y Dardanella ship in Fiji invited by TBA21–Academy in 2018. The ship is a creative platform equipped with sound and video recording systems, and the result of the duo’s first voyage was released in May 2019 at the Biennale di Venezia. This second album consists of material recorded in Fiji and Tonga and was produced and mixed in GeeJam Studios in Jamaica in January 2019.

‘Débuts’ is France-via-Brussels duo, Nikitch & Kuna Maze’s aka Nicolas Morant & Edouard Gilbert first full length album. Building on their collaborative EP “Mush”, ‘Débuts’ continues to explore the melting point between jazz and club culture, interspersed with the signature sounds of broken beat, Chicago footwork, UK garage, Detroit house, and underpinned by their road-tested new live format.

‘Débuts’ see’s the band push their musical and creative development even further, a result of touring extensively around Europe with a live drummer, from high-brow jazz festivals to sweaty basement clubs. “We would be lying if we said our gig experience didn’t influence us on this record” Edouard explains. “We discovered new aspects to songs such as “Bruk” and managed to push forward the energy side of the music from the rawness of the live shows. This energy empowered to produce and compose new material in the same vein”.

Once in a while I hear music from a new talent which I feel is onsistently great and at a high production-level. Allan Feytor is one of those producers. Allan has been super creative in 2020 and together we handpicked 4 tracks which complimented each other and felt sounded for Noir Music. Allan then perfected every little detail until we both felt all tracks were at their best. The result is this fantastic
debut on Noir Music entitled “Orbit”

dark clear red vinyl / label sleeve / dl code

Whether it is religion or mathematics, the 9th dimension's returning interpretation involves freedom. The stories collected on this EP involve a concept from which hardcore originates: creative freedom. With every track on this release, you can expect the unexpected. The tracks are slower than some might be used to. Their structures deviate from what people have come to expect. They feature fresh sounds. In short, they are what you *should* expect from The Outside Agency who truly return to their experimental roots with this four-track Genosha release.

The first 2000 copies of the LP will be available on transparent turquoise or pink vinyl, randomly picked. 'All The Time', Jessy Lanza's first album since 2016's 'Oh No', is the most pure set of pop songs that she and creative partner Jeremy Greenspan have recorded, reflective and finessed over time and distance. Innovative juxtapositions sound natural, like rigid 808s rubbing against delicate chords in 'Anyone Around', subtle footwork flutter giving a nervous energy to 'Face', unusual underwater rushes underpinning 'Baby Love'. The songs also sound more "live" than ever before. Jessy's voice is treated, re-pitched and edited on songs like 'Ice Creamy' and gestural sounds seem to respond to her lyrics in songs such as 'Like Fire', which reward the listener on repeated plays. More than previous albums, the lyrics on 'All The Time' became an important focus for Jessy too, channelling the negativity of anger and frustration arising from some significant changes in her personal situation into the text. These lyrics sometimes process raw feelings, which aren't obvious to begin with, but are soon felt, standing in stark contrast to the cushioned settings of the music. 'All The Time' has ended as a triumph and an abstracted diary of a sometimes difficult, but enduring friendship and creative relationship, and it's their best work yet.

Originally written and produced as the centrepiece to his 2014 FabricLive compilation, Erol Alkan’s ‘Sub Conscious' arrives on 12” vinyl and to streaming platforms for the first time, accompanied by two charismatic remixes from Manfredas.

Shimmering and undulating, the original cut of ‘Sub Conscious’ was designed with Fabric’s cavernous main room in mind, taking full advantage of any finely tuned soundsystem with a patient, rhythmic trip. Remastered here, the track evolves out of hazy darkness towards halcyon euphoria in a uniquely Alkan style.

Resident at Opium Club in Vilnius, cult DJ and producer Manfredas provides two hugely creative and alternative takes on ‘Sub Conscious’. The first works hallucinatory magic with a supple bassline and much of Alkan’s original stretched and repurposed around vampish oscillations and a westward vocal sample.

On the contrary, the ‘Stream Of Consciousness' mix sees Manfredas pitch down and strum the bones of ‘Sub Conscious’, unexpectedly delivering a lovingly lethargic, bottom-heavy jam that’s pure dub-side pleasure.

DJ Support and positive Feedback by the likes of
Laurent Garnier, Dixon, Ame, Adriatique, Ian Pooley, Timo Maas, Trikk, Frankey & Sandrino, Sacha, The Drifter, Severino (Horse Meet Disco), Alex Dallas (Zukunft Zürich),
Yør Kultura, Lehar, Denis Horvat, BOG, Echonomist, Fred Everything, Luca Bachetti, Karotte, Roberto Rodriguez…

We're happy to announce the fourth chapter of our sought-after Outbound series which also marks Lossless' second release in 2020. After two extended chapters of Outbound, fully showcasing our labels artist roster, Outbound.4 is a crisp double A-Side affair - featuring two killer Techno workouts courtesy of our French stalwart Anthony George Patrice followed up by two Deep/Dub House delights delivered by Son Dos.

Without a doubt, Berlin based frenchman Anthony George Patrice steadily adjusted and developed his sound to a higher level over the last years. His contribution on Side A - "DBZU (Eine Brücke Zum Übermenschen)" and "Crowned Eagle" exposing new artistic shades and Anthony's ability to take you on a sonic journey and soak you into his rich and driving deeper Techno soundscapes.

Side AA belongs to Son Dos - a creative power plant by two Sweden born men: Barcelona based Marco Gegenheimer and Tapia J. Arriagada living in Malta. The duo already caused a stir with their debut "Children Of Almost" on Outcast Oddity. Marco also released some great music on Studio Barnhus as one half of MLiR!
On our Outbound.4 the guys showcase two amazing cuts originated from fruitful studio jams.

The beautiful "Cala" is hypnotizing us in deep, meditative balearic territories while her powerful brother "Maffio" might have had a little testosterone injection along the way and moves us straight onto the dancefloor. Both tunes are capable to unveil their power outdoors just as much as they will in a sweaty basement!

Son Dos quoting on Anthony George Patrice's tracks:
"These songs sound like a Movie score to us, a soundtrack taking you further and further into an unexplored forest: ...you are on a mission ... chugging drums, haunting strings and rolling percussion guide you... your heartbeat intensifies, with each step that you take...
all of a sudden, the floor underneath you turns into flowing geometrical patterns and you start falling...
a voice tells you "Happiness Is A Miisunderstanding", and the fear you had leaves your mind...you connect yourself with a higher power and realise why you started this mission in the first place"

Anthony George Patrice quoting on Son Dos tracks:
"Lovely balearic yet powerful atmosphere on "Cala"… Head flies and shoes get used. All that you wish for!" ...
"Hands in the air for "Maffio"! Here comes the peaktime booming system. Simple, efficient yet super interesting and deeply rooted dance floor killer. This is ace!