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It’s taken Yotam Avni a little while to get to his debut album; almost a decade, really, since his debut 12”, “That’s What The World Needs”, on California’s Seasons Limited imprint. During that time, the Tel-Aviv based producer has refined his productions, tightening the groove and paring everything back to bare essentials; the power in an Avni cut is its combination of piston-pulse propulsion and a deep, but gently applied, musicality. This combination gives his techno productions added heft on the dance floor, but also a lyrical sensibility that places him squarely in a tradition of techno legends who somehow manage to make the four-to-the-floor a space of poetic intensity, of rigorous joy.

Avni’s been on Kompakt’s radar for a while, first appearing on the label last year, with his Speicher contribution, “Mañana Mañana”. (“Track For Agoria”, from that EP, also appeared on Total 19.) The connection immediately made sense – dance music that managed to feel both lush and streamlined across the same great gasp of late-night energy. But with Yotam Avni Was Here, he’s taken a huge leap. After a brief intro, Avni sets his stall with “Beyond The Dance”, which features slow-moving vocal melisma over sculptural, melting tonalities, a tintinnabulating, harpsichord-like two-note phrase pacing out the track. Then “It Was What It Was” comes into view, its strip-light textures suddenly placed into sharp relief by a muted trumpet figure that hangs in the air, melancholy and pensive.

It’s no surprise, at this point, to discover that Avni’s inspirations for Was Here took in the histories of both techno and jazz. “I wanted to try something more around Detroit Techno meets ECM,” he reflects, when explaining the motivating forces behind the album. “Carl Craig’s Just Another Day EP and Kenny Larkin’s Keys, Strings, Tambourines came out during my high school years and had huge impact on me.” Avni’s also appeared on Transmat compilations, and remixed artists like the Midwest’s Titonton Duvanté, and Orlando Voorn – the latter particularly important for the way he connected the Detroit and Amsterdam techno scenes – his career path is marked by ongoing connections, direct and indirect, to Detroit’s storied history.

“I always wanted to go back to those hi-tek soul roots on a full album,” he continues, and he’s definitely exploring that terrain here, with the sky-strafing brass on “Free Darius Now”, morse-code keys on “Vortex” and glitchy, microhouse tickles of “Know Hope” all contributing to an oblique narrative that seems to arc across Was Here – one fleshed out by guest musicians, who include dop and Gerog Levin on vocals, and trumpets by Greg Paulus (of Beirut and No Regular Play). The cover art makes the jazz connection explicit, riffing on the text-based, minimal design of The Modern Jazz Quartet’s 1955 album for Prestige, Concorde. But the way Avni has gathered around him both inspiring musicians and intriguing reference points makes me think of his broader career as well, the collectivism behind his AVADON nights in Tel-Aviv, his many and wide-ranging releases on labels like Innervisions, Hotflush and Stroboscopic Artefacts, and the openness of his productions, which seem to be all about the multiple, the possibilities of cross-pollination, of fusing this with that, of adding and subtracting, all under the pulsating thumbprint of techno.

Good things, after all, are worth waiting for.

Once more we're ready to take flight on Africa Airways, for this sixth journey we're taking you above 5280 feet and laying on the funk.

The flight opens with the punchy horns, afro rhythms & groovy bass of Eko Roosevelt's "Ndolo Embe Mulema". Keeping the tempo high we usher in fellow Cameroonians JM Tim & Foty for another punch of brass with the funky "More And More (Ye-Male)". We stay in Cameroon with Ngalle Jojo, here he lays down another funktastic bass heavy stomper with "Ngigna Loko". Jude Bondeze hails from Bangui, Central African Republic and is probably best known for his more traditional Tene Sango album... but his debut 1981 release saw him in a very funky mood indeed!

Next up, Nigerian Vicky Edimo gets his thumb out and lays down some glorious slabs of deep funk... along with a rather splendid bass solo! JK Mandengue played bass off & on for the British Afrobeat band "Osibisa", playing on the uber funky "Super Fly TNT" Motion Picture Soundtrack album.. Certainly putting him on a path to the Wahahwah'tastic "Kosa Mba" taken from his 1979 self-titled album.

Slow percussive classic raw street funk from Nigeria's Akwassa, who's line up is the same as "Heads Funk Band", are up next. Another outing for Vicky Edimo on this 1978 beauty from Mike Kounou. Also on guitar duties for Mike Kounou is Francois Amadou Corea, who's funky chops can be heard on "Ngigna Loko" & "Njonjo Mukambe".

Hi-Octane funk from Airto Fogo, percussion, rhodes & horns aplenty on this 1974 instrumental cut "Black Soul". As we prepare to start our decent Francois Misse Ngoh drops in some filth with this 1980 bass face monster "Njonjo Mukambe"... head nodding isn't essential, but it's best to brace yourself for impact.

Your next Africa Airways departure will be ready for boarding soon,
so keep your passports at the ready!

In the late 90’s, east-side LA was in the throws of a post-indie explosion; a network of stoned bands ranging from neo-psychedelia to pseudo-country overran Spaceland (our generation’s Troubadour) and the local Silverlake Lounge. I was playing freakbeat records twice a week in dive bars, half of Spacemen 3 was crashing at my house (my drop-out roomate was Sonic Boom’s tour drummer) and it was during this blur that I met Raymond Richards, a clean-cut all-American pedal steel guitarist playing in Mojave 3 (the country-tinged side project of 4AD shoegaze royalty, Slowdive). I was instantly swept off my feet, head over heals in love with Raymond's weeping tone—the most chill-inducing, emotionally responsive dialog I’d had with music since discovering Satie as a child—it was then and it is now, truly haunting. After a year of personnel trials, my roomate and I stole Raymond for our own band, and not only did he smother our songs with his enchanting steel, he was virtuosic with a variety of atypical instruments such as baritone guitar and theremin, he utilized them all. The band was short-lived—I joined Ariel Pink, Raymond fled to Portland and me subsequently to New York City—but in founding the ESP Institute years later, there was always a recurring mental note; we must make Raymond’s pedal steel album. I had managed to wrangle his blessed performance on a remix for Project Club’s El Mar Y La Luna, but it took almost a decade until I once again wore the producer hat and we began working on The Lost Art Of Wandering, a title borrowed from Sam Shepard’s Stories. Spiritually candid, expansive yet enveloping, this is the strung-out, visceral country music that simply radiates from Raymond. Each song is his set of coordinates in a vast open terrain, holding a sentimental familiarity, a truthful longing for the simple comforts that diffuse life’s complications, a place to get lost. –Lovefingers

As Ociya, hardware freaks Tin Man (Johannes Auvinen) and Patricia (Max Ravitz), come together in unholy acid matrimony on a definitive double-album, Powers Of Ten.

We know both sides well. Over a prolific run of records for Acid Test and his own Global A, Auvinen has expounded upon the promise of "Nonneo" (recently named one of Resident Advisor's 2010-19: Tracks Of The Decade), unearthing new, emotional vistas from the Roland TB-303. Ravitz, meanwhile, matches Tin Man in studio ethic, establishing himself as one of North America's hardware masters on records for Ghostly and Opal Tapes.

What we couldn't have predicted is how well the parts merge. Cuts like "Ghost Moons" channel the hazy IDM legacies of the past, while "Hopeful Galaxy" mixes a plaintive Rhodes motif with a hopeful 303 line for the perfect "tears on the dance floor" cut. The track titles on Power Of Ten— a perfect melodic techno LP generously spread across two records—are celestially minded ("Gravity Knots," "Star Scraping") and indeed, the cosmic metaphor is apt or the newly-formed duo. On Powers Of Ten, Tin Man's acid lines rocket through space like brilliant, shooting stars. His signature orchestral acid moments are given the perfect backdrop, the nebula of Patricia's rich atmospherics and melodies.

The album was recorded live to 2 track in Patricia’s studio in New York, no edits.

Blue Vinyl

After the hot first single with Sadat X (Brand Nubian) & El Da Sensei (Artifacts), Moar present the full LP Boom Bap Mentality featuring the legendary Dumi Right (Zimbabwe Legit), the underground Finsta (Finsta Bundy), the explosive duet Dirt Platoon, le real Mc Napoleon da Legend, Rita J from Chicago, LS Brigandes from NYC & the newbie & homie Miss Kraze from Nantes (France). All beats produced by Moar on the MPC’s & SP1200 with many taste of Jazz, Soul & Sera Groove vinyl samples ! Cuts by Moar himself & Dj Impact (Switzerland)

Vinyl Only

Underground Town is back with our 4th release straight from the heart of the Swiss Alps.

For this one we serve 4 great cuts from 4 great producers. On the A-side we have young Italian producer and Underground Town resident artist Alex Zola with a very groovy and positive dreamy track for every situation. Completing this A-side we have label owner and rising talent in the industry Giorgio Maulini with another great cut with a very groovy athmosphere and rolling rhythms demonstrating why this Venezuelan artist is making waves in the industry.

On the B-side we have Cosmjn, who needs no introduction. One of the Romanian talents with more future projection and a bag full of interesting releases under his arm. On his track "Vanilla" you can feel the characteristic Romanian drums and an evolving synth that traps your senses. Last but not least we have a producer coming all the way from Honduras, Loht Vostok. He is doing an amazing job with his productions changing the game in the Central American region with a new futuristic minimal wave of quality music. "Sivar" is a track with a powerful hip breaking baseline and with a perfect combination of elements and a sweet vocal making it suitable for any dancefloor.

From the Underground Town Team we want to thank you for supporting us and showing us all this love this last year. A lot more to come in our Various Artist series soon and in our new label which will be released at the beginning of 2020 with only singular artists EPs.

Stick around with us for more quality releases and spreading the love for the underground music.

Los Angeles based artist Evan Caminiti returns with the follow up to 2017’s Toxic City Music.

Living in the wrong timeline, dreaming of possible utopias; Varispeed Hydra beams in like a collection of broken transmissions, terrestrial sounds melting into the abstract and rising again as vaporous specters. Three years in the making, Hydra was recorded utilizing a variety of electroacoustic processes and honed in live performances ranging from the sound art setting of NYC’s Issue Project Room to the future-club environment of DOMMUNE in Tokyo. While thematically following Toxic City Music, it moves past that album’s emphasis on superfund sites and the proverbial rat race to turn an ear towards more rural environs.

With a focus on some of the sounds we stand to lose if we continue on our current trajectory of ecological destruction, birds, insects, and water are most often found among the glowing synthesizers and warped electric guitar that comprise the album’s melodic and rhythmic core. Connecting a thread between musique concrete and dub, these sounds are atomized and diffused before being woven together with a sense of urgency, a colorful and restless haze. Phasing percussion and blurred melodies are wrapped in a fog as they tumble and glitch, occupying a space where ominous rumblings and bucolic bliss blur together. An offering of cautious optimism in the age of anxiety.

Written and produced by Evan Caminiti, featuring electronics by Lisa McGee.
Mastered by Rafael Anton Irisarri at Black Knoll Studios.
Artwork by Michael Vallera and Zane Morris.
Vinyl cut at Dubplates and Mastering Berlin.

After releasing their critically acclaimed debut LP “NOW” just last September, The people at Malka Tuti felt it was the time to continue pushing the name SHARI VARI to new realms & territories... A Remix Pack was born. For the remix pack, Malka Tuti chose a few close friends of the family to give new life and new interpre- tations to the now “instant classic” songs by the Hamburg duo.... The Ep begins with Fantastic Twins’s mid tempo, Coil inspired, break-beat groove, slowly building up in emotion with warm pads and 90’s vibe acid lines to- wards an epic catharsis. Benedikt Frey takes it from there, remixing a personal favourite - New York City, turning it into a dark trip- hop inspired journey, cleaning those distinct vocals, echoing Beth Gibbons’s smokey high tones.... On the B-side we find Black Merlin’s 11 minute trippy mid tempo dance floor banger. Cuts and slices from the original vocals of the song Dance Alone, laid carefully on top of a repetitive modular bass line, and sprinkled on top - those out-worldly sounds and FX that makes the track simply HUGE. Last but not least, Düsseldorf’s very own Lucas Croon’s Dub Version, released digitally last year, final- ly sees its day on wax. 90’s Break beat beats, gated vocals and everything else that takes to make a dance floor hit the roof.

Some of LUXXURY’s most popular floor fillers on wax for the first time in this new limited series.

“Uh Huh” hearkens back to a Beautiful Time, ripping off and improving upon a Silver Convention-esque bassline. “Da Ya” is a deep cut Eastern European cover of a sleazy pop disco classic. “Petula” is LUXXURY’s most popular rework to date after DJ Harvey gave it an auspicious premiere in his Milan Boiler Room set.

Repress!

Cutting edge innovators Rashad Becker and Mark Fell re-work material from Sote’s extraordinary ‘Parallel Persia’ album alongside a killer non-album track by Ata Ebtekar aka Sote himself. Highly recommended if yr into the complex tunings and arrhythmic geometry of Dariush Dolat-Shahi, Autechre, Xenakis...
Last year’s ‘Paralell Persia’ album took the trajectory of his preceding ‘Hardcore Sounds From Tehran’ (2016) and ‘Sacred Horror In Design’ (2017) to thrilling new heights for Diagonal. Turning traditional instrumental music inside-out with computers and modular synths, he arrived at a thrilling mix of sound that stood out as one of the year’s most original and striking releases.
Wrapped around the incendiary core of ‘Artificial Neutrality’ which features Pouya Damadi’s Tar and Arash Bolouri’s Santour sculpted into fiery folk futurism by Sote, the remixes by celebrated mastering engineer and improvising composer Rashad Becker and minimalist rhythmatist Mark Fell exert incredible new spins on Sote’s originals that remain faithful to the material in their inimitable styles.
Rashad Becker’s Dramatic Reenactment of ‘Pseudo Scholastic’ combs and curdles the original into 7 segmented minutes of squirming tones and melted rhythms that, through twists and turns, come to recall Korean classical court music and Florian Hecker as much as they recall the original.
Mark Fell, meanwhile, impresses with his quadruply extended 20 minute Parallel Yorkshire mutation of ‘Modality Transporter’, where he unravels its syncopated flex in endless permutations of laser-guided pulse drops, puckered strings and choral stabs that come to sound like Autechre letting off fireworks at a Dariush Dolat-Shahi show.

a 1. Pseudo Scholastic Dramatic Reenactment - Rashad Becker (06:59)

Parallel Yorkshire - Mark Fell (19:50)

DJ Woody teams up with the incredible champion beatboxer Ball-Zee to drop one of the most original and useful new scratch records on the market! Box Cutter is made up of 100% original recordings with Woody utilising the phenomenal vocal dexterity of the UK’s Ball-Zee to create an arsenal of incredible new scratch sounds.

Side A (the ‘Scratch Side’) concentrates on vocal phrases, noises, sound effects and tones with 16 skip proof loops programmed at 133 bpm and 100 bpm and ends with a lock groove bass tone phrase. Side B (the ‘Drum Side’) contains a remarkable array of drum rhythms and sounds perfect for all manner of scratch drumming, beat juggling and production!

It features 11 skip-proof grooves and phrases at 66.66 bpm, 133.33 bpm, 100 bpm and 83.33 bpm as well as 3 ridiculous freestyle tracks for more intricate juggle routines. 2 copies are a must for all jugglers!

• 100% original sounds and phrases
• Perfect for scratch jams, drumming, beat juggling and production
• 27 skip-proof loops, 2 lock grooves and 3 freestyles
• Super loud and deep pressing on black vinyl

Originally recorded in 1977, following a limited release in 1979, Ghédalia Tazartès debut album, Diasporas, introduced listeners to the surreal, mysterious and truly unclassifiable statement of Tazartès and his out-of-time place in the French avant-garde canon. Born in Paris in 1947 to Judaeo-Spanish parents of Greek descent, Tazartès spent his early career as an autodidact utilizing his knowledge of repetition and collage, coupled with his Ladino linguistic heritage, to create some of the most unique recordings of the late 20th century. Interest in the works of Tazartès truly sparked when artist Steve Stapleton included his follow up album, Tazartès' Transports, in his famed "Nurse With Wound List," thus adding endless curiosity to the folklore behind Tazartès and his mystical entrée.

From the onset of Diasporas, looping incantations seemingly pile up at the behest of Tazartès. In almost a prayer-like decree, Tazartès chants to the gods in an undefined whail that is both haunting and spiritually divine. Tazartès unique use of tape loops to capture the disappearing traditions of his family's past creates an atmospheric texture that unexpectedly complements his cut-up, manipulated vocal experiments. While contemporaries within the French avant-garde maneuvered academic theory and rigid tradition, Diasporas strays away from these boundaries, working in Tazartès' invented practice of 'impromuz', a method in which he endlessly records for hours and edits only the moments that display any sense of spontaneous enlightenment. Further emboldening the obtuse nature of Diasporas are the seemingly random recitation of poet Stéphane Mallarmé and the traditional 'Parisian-style' piano accompaniment of experimental composer Michel Chion.

Since its initial release over 40 years ago, both Dais Records and Alga Marghen have released reissues of Diasporas in various formats, all of which quickly fell out of print. Dais Records presents an official reissue, newly remastered by Josh Bonati, utilizing the original artwork of Diasporas in its sole album form, for the first time in over four decades.

If you’ve visited Ibiza in the last few years, there’s a fair chance you’ll have encountered DJ Pippi and Willie Graff. The experienced duo has been DJing together on the White Isle for years, finding time between sundown sets to make music together in Italian veteran Pippi’s home studio. The pair’s first collaborative EP dropped on Drumpoet Community way back in 2007, with the belated follow-up appearing a decade later on Compost Disco. Here they make their bow on Leng with the “Lunares EP”, a typically warm and woozy collection of cuts named after the Spanish word for “polka dots” (a fashionable item in Spain and the Balearic islands throughout the 1980s).

They begin with the slow-burn sunrise bliss of “Lunares”, a shuffling and glassy-eyed affair in which evocative, emotion-rich strings, heady vocal samples, echoing sitars and lilting guitars slowly rise above a thickset backing track rich in dubby bass, swelling pads, starry electronics and snappy drums. Capable of tugging at the heartstrings, it’s a sublime slab of mood-enhancing bliss perfect for both weary dancing and sofa-bound relaxation. “Saxolicious” lives up to the premise of the title, with Pippi and Willie wrapping snaking, effects-laden saxophone solos around a languid, slow motion groove bristling with hazy intent. Expect chiming electric piano chords, dreamy pads, rolling grooves and another fine bassline that will worm its way into your subconscious, spark up a spliff and stay there for days.

The EP’s final musical moment is, if anything, even more spaced-out and intoxicating. Employing extra-slow beats and a prominent jazzy bass guitar part, the pair invites us to get locked in to a chuggy rhythm. Throw in druggy synth lines, tactile electric piano stabs and some suitably cosmic effects and you have a hallucinatory treat that would no doubt have gained the approval of the late, great Andrew Weatherall.

The debut original album from Australian left-field instrumental funk outfit Karate Boogaloo. Combining shades of library music, deep funk and a reverse-engineered hip hop headspace with an off-kilter sense of humour, Karate Boogaloo will appeal to fans of El Michels Affair and Badbadnotgood.

Named for the catch-cry of devoted Karate Boogaloo fans, 'Carn The Boogers' was self-recorded and produced; tracked live to tape in the band's DIY attic studio in Melbourne, Australia. Their debut LP follows their popular 'KBs Mixtape' series.

Karate Boogaloo have seen support from NTS and Worldwide FM, and are billed to perform at Gilles Peterson's We Out Here festival in August 2020.

Disco icon D.C. LaRue and Fraternity Music Group go back to the original multitracks and rework two classics from the Pyramid Disco catalog. With DJ Spinna, Johnny Juice (Public Enemy) and Mell Starr on remix duties, LaRue’s “Face Of Love” and “Indiscreet” are revitalized and tuned up by and for DJs and dancers. Juice’s intense, ‘80s house flip of “Face Of Love” sets things off before DJ Spinna gives the song a classic white glove treatment, extending and dropping drum breaks at all the right times. Mell Starr rounds things out with straight-to-the-point mix.

The flip side sees Juice get creative with it once again, with a dubby, cut-filled version of the break beat classic “Indiscreet.” As a DJ who’s cut the original up a million times, Spinna knows exactly where to freak the beat on his version of “Indiscreet,” lacing it with monster open drums throughout. Once again, a classy Mell Starr mix closes out the side of this jam-packed 12-inch.

Heavyweight pressing and an immaculate full color jacket utilizing the original Pyramid Disco sleeve design makes this a must-have for any funky DJ.

**LP FORMAT IS VERY LIMITED - PLEASE BE AWARE THAT UNFORTUNATELY THERE MAY BE CUTS TO ORDERS**

For Los Angeles' The Black Queen, the depths of isolation and loss have always functioned as a gateway to being born anew. Much has transpired since the band released their cold, cutting debut album Fever Daydream (a record that Revolver described as 'a haunting exploration of the darker side of pop music'). But throughout it all, the trio of Greg Puciato (former frontman of the now-defunct The Dillinger Escape Plan), Joshua Eustis (of Telefon Tel Aviv, Puscifer, and Nine Inch Nails), and Steven Alexander (a tech member for Nine Inch Nails, Ke$ha, and A Perfect Circle) have emerged as triumphant and intense as ever, documenting their journey via the synth-streaked industrial anthems of their sophomore release, Infinite Games.Formed in 2011 after a chance meeting between Puciato and Eustis backstage at a Dillinger show in which they both realized they were huge fansof each other's work, The Black Queen became a labor of love for its members to explore sounds and emotions that they couldn't quite fit into their full-time projects. Injecting a pained, twilit edge into slick new-wave tracks as fit for the dance floor as they are for some imagined dystopian skyline, the trio have managed to channel their scattered, eclectic influences into a surprisingly cohesive vision. 'We've got a pretty weird cross section,' Puciato says of the band's musical chemistry. 'We can go out for food and listen to Power Trip on the way there, then Baltimore club music on the way back, and then talk about how killer Maxwell's Embrya album was, and then get sidetracked and talk about the Celeste video game soundtrack, then all have to be quiet so that we can grab a voice recording of some weird sounding radio interference. It's all over the place and unusually far reaching,and there's a lot of passion for discovery.'After releasing their 2016 debut album Fever Daydream to critical acclaim however, the trio underwent several major upheavals that cast the project in a completely new light. Puciato's main project The Dillinger Escape Plan disbanded. Chris Cornell of Soundgarden killed himself while Puciato was on tour with him. Eustis put out music under his beloved Telefon Tel Aviv monikerfor the first time since his former bandmate Charles Cooper died in 2009. Thetrio's storage space was robbed. Puciato suffered a relapse into crippling anxiety and paranoia. Once again, in the face of tragedy, The Black Queen had to rebuild everything from the ground up.The first step was acquiring a new studio space, which immensely helped the band get back into the rhythm of freely collaborating with one another, and experimenting with sounds for as long (and as loud) as they wanted. The resulting album, Infinite Games, marks a massive leap forward for The Black Queen. Not only are the band's icy R&B instincts more sharply pronounced; they've also rendered their morbid electronics in more lush detail than ever before, filling out the corners of their songs with chilling ambient passages
that create a wide-screen backdrop for Puciato's eerie, tortured vocals. 'I think this album is actually hookier, but more insidious in that it reveals itself over time,' Puciato says about Infinite Games. His choice of words says something about the album's creeping, pitch-black approach to pop music.With this release, the group have also announced a new undertaking in the form of their new label, Federal Prisoner. Resisting the more marketing-centricapproach that feels standard at this point for the record label game, the goal of Federal Prisoner is to provide an outlet for projects that emerge naturally from The Black Queen's own creative endeavors and collaborations with otherartists. In a way, Federal Prisoner solidifies TBQ's commitment to creating music on their own terms, following the same organic sense of inspiration that led them to forming in the first place. As Puciato puts it, 'It's just an expression of passion and individualism in a way that opens more doors for us to create and to own what we create with minimal compromise. It's as much an act of refusal as it is a statement of intent.'Infinite Games, the second album from experimental Los Angeles synth-pop trio The Black Queen, comes out on September 28th

Thatmanmonkz returns after his critically acclaimed and just damn good 2nd LP 'Non Zero Sum Game' with a heavyweight remix package !!

Favourite LP cut 'Them Thangs' anchors the EP, with Detroit superhero Waajeed laying down a typically high class interpretation, trademark Dirt Tech vibes abound, with equal parts motor city machine soul and tough rhythms taking the original straight to the floor.
Talking of which, the OG Dubstramental concentrates the irresistible groove into an effortlessly fierce afro-centric House jam.

After the PPF crew submitted their tearaway rewire of one of the LP's tougher moments 'Freaks 'N Prophets' its place on this 12 was assured.
A Chicago style slammer that extends and leans into the powerhouse groove with a nod to the forefathers.
Finally, a previous digital release highlight (which got a lot of love) finishes off the EP, a flute-laden romp for dancin' close.

Following her 2019 debut Womanhood, Klein Zage makes a triumphant return with new EP Tip Me Baby One More Time. With plaudits and endorsements from Pitchfork, Resident Advisor, Bradley Zero, DJ Python, Mr. Mitch, Femme Culture and more in tow, she presents a record inspired by her beloved service industry. Her cut-throat lyrics, razor-sharp beats and wry humor carry through from the housey menstruations of Womanhood to Tip Me Baby's anthemic exposé of the server/guest dynamic.

Zage sees the restaurant as club, the service floor as a dance floor - a place for performance one in the same. If the A-side presents Zage 'clocked in', on the B-side, she's 'clocked out' - transporting the listener to the inner workings of her mind with the help of Joey G ii on 'I'm (Almost Certain That I'm) Here’ -- hailed by Tip Me Baby remixer Facta as 'one of my favorite songs this year'.

In light of the impact that the Covid-19 crisis is having on the restaurant industry, all profit from this release will benefit Restaurant Worker's Community Foundation Covid-19 Emergency Relief Fund as well as New York's 'Service Worker's Coalition'. Now more than ever this industry needs you to 'Tip! Baby One More Time'.

New York City's Macula Dog is a duo known for their singular style of clattering electronic synth music that takes influences like Devo and The Residents to their (un)natural conclusion. Macula Dog return with the Breezy EP containing four new cuts to tease the rhythmically inclined. Breezy is Macula Dog's second release on Wharf Cat Records, following 2016's Why Do You Look Like Your Dog? LP. Breezy was tracked completely live with the help of analog wizard, Paul D Millar (Ariel Pink's Band) at his Bug Sound East studio, and marks the first Macula Dog release recorded with an outside engineer. With Millar they achieve new levels of fidelity including a slapping low-end, perfectly suited to the 12" 45PRPM format and sure to knock over fans who have been waiting for these new songs, a few of which that have entered their recent live sets. Breezy tunes for Breezy times. With tales of industry, aging, apocalypse and insanity, we see the band's first attempts at pop songs and "conventional" song structures only hinted at on past gemstones like "Lawnmower" and "Purchase Power Station." Just when the racketing barrage of echoes cannonading from across the canyon's walls have begun to die down, we hear the sound of an engine reving.

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin’ Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin’ HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin’ vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

* Further out from the early 90’s these two 1998 tracks still exemplified the established D&B Junglist vibe that Ant Miles (Liftin’ Spirits) adored and honoured. Only recently located in the DAT tape archives, it’s focused production of twisted up organic bass lines has a foot in the present as well as the past.

Promotion across chosen internet websites and Hardcore/Jungle/Drum & Bass 12” vinyl communities.

It’s a family affair on the second Growing Bin 7”, as Peter & Patrick Jahn enjoy some father and son boogie with a smooth split release. A sunblushed moocher served two ways, this disc is designed for horizontal dancing…
Rooting around the cupboards in his family home outside Nuremberg, Patrick Jahn unearthed a dusty box of cassettes, saved for posterity but eventually forgotten. Somewhere between ‘True Blue’ and ‘Brothers In Arms’ was a faded C60 full of unreleased demos by his father Peter, recorded in the mid to late 80s. Back then Jahn Sr owned a pub club called Schrank (Cupboard to the Anglophones), with an upstairs office he used as a music studio. In amongst naïve synthesiser experiments and carefree noodling was a Balearic boogie bomb, all strolling synth bass, clipped funk guitar and seaside melancholy – like Brenda Ray on a Wim Wenders soundtrack.
Too impressed to keep it a secret, Patrick played the cut to Carsten “Erobique” Meyer, when he was over there jamming, and Hamburg’s premier funk freak suggested this might be of interest to his likeminded hometown freak Basso. Instantly in love, the Growing Bin boss suggested Patrick provide his own version for the flipside, and so it was, reborn with percussive sway, moonlit keys and beefy bass tones for the next generation. Here’s to the Jahn family, father and son but brothers in calms…
Patrick Ryder

Village Of The Sun is the new collaboration between London jazz trailblazers Binker & Moses and Simon Ratcliffe, one-half of legendary UK Electronic pioneers Basement Jaxx Evocative of Ratcliffe’s inspirations such as Alice Coltrane alongside Masters at Work, the track ‘Village Of The Sun’ itself is awash with atmospheric vibes, a future Balearic classic ‘TED’ is enormously catchy, uplifting and feel-good. And classy as you like. Written around an extraordinary chord porgression by Ted Moses from the tune ‘Dreamship’, it compels you to dance with a smile on your face Initial pressing comes in a special edition die-cut sleeve

Slow, excruciating, hard techno cuts by a mysterious group of 3, called GLMG.

Bristol's Ido Plumes debuts for Livity Sound's Reverse series with a stunning three track EP of aquatic textures and UK style grooves.

The 'Away From The Reign' EP is the first glimpse into the sonic world of Ido Plumes, ranging from the nimble dub mechanics of 'Noise Water' to the 2002 schooled Sub-low echoes of 'Which Way is Up'.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground music.

On Miniatures, Swiss composer and producer Samuel Reinhard looks to indeterminate techniques of mid-century experimental composers to produce a sonic path forward that’s as refined as it is evocative. While Miniatures is built from recordings of short piano gestures decaying towards silence, amid the four movements that comprise the suite, something else grows. Notes cycle, collide, and wash away within boundaries the artist has set, but in their wake new processual textures develop. A hiss blankets the harmonic material, and clicks that once marked sharp cuts between repetitions become a percussive undercurrent.

Working with digital tools, Reinhard conjures the interior of an animate environment and extends an invitation to notice the small stuff that swells when we settle in with duration.

2011 album available on vinyl for the first time. Master percussionist Bonjo Iyabinghi Noah joins forces once again with dubmaster Adrian
Sherwood at the controls and a whole host of guest musicians, including contributions from dancehall pioneer Jazzwad and electronics from Adamski.

All the elements of a classic African Head Charge album are present: spaced out dub, tribal chants, ecstatic trance but updated with a rugged sound system undercarriage. Arguably some of the hardest hitting AHC rhythms laid down in the studio to date.

Cut as a double LP for maximum dynamics by King Kevin Metcalfe. Includes digital download card for full contents and double-sided poster insert containing new interview with Bonjo on the making of the record.

New imprint Ernest’s Way delivers its first offering with a debut release from Australian based artist Featherstone! The A-Side of this four-track EP offers two highly effective dancefloor cuts that ride the line between many diverse influences of electronic music ranging from acidic electro to the early roots of techno.
The B-Side follows up with two deeper, heavily emotive tracks that drift into an uplifting, euphoric and dreamy atmosphere whilst remaining complimentary to the driving rhythms that open the EP.

Portuguese- Italian Producer "Vhycepicks" up where he left off,
once again teaming up with the talentedvocalistYves Paqueton Kraak & Smaak's very own Boogie Angst imprint.

He's already got an impressive list of top DJ fans in the shape of
Pete Tong, Claptone, Gorgon CityandSatin Jackets, and it's no surprise given his clean, pop aesthetics and catchy dancefloor sensibilities.Indeed it has led to releases on some of today's most respected dance labels like Kitsune, Future Disco and Casablanca Sunset.

As well as collaborating on their previous single 'Duran Duran' together, Brazilian born soulful vocalist Yves Paquethas previously collaborated with the likes of Aeroplane,and scored #1 in the Belgian dance charts with The Subs. He provides the perfect foil to Vhyce'sbeats with just the tonic – a melodic toplineall about the good times, having a drink and getting high…

In addition to the original mix there's another special treat as stepping up to provide a stellar remix is none other than PrinsThomas, a true pioneer of 'space disco' and regular bandmate of nu disco royaltyLindstrømin their imaginatively titled project 'Lindstrom & PrinsThomas'.

Yes, he takes his arpsynth lines out for a spin and serves up a prime cut of good time, ethereal, dancefloor fire. With all the hallmarks of his crisp and upbeat spacey productions it's not one to miss out on.

For those who are all about the beats, fear not we got you covered as there's an instrumental safely stowed in there too …

You have reached the Infolines. Tonight, you will be given links to preview a reverence to the venues that helped shape an industry and generations of musical technological wizardry. ‘Packard’ features a compilation of cuts fitting to the experiences by those who once frequented the halls of Detroit’s urban decay.
Bendersnatch, kicks things off with a ‘Homage’ fitting of the mainstay venue paying reverence to the classic Detroit Techno sound. ADMN’s Machine 8 shows a lust for a bass grind synonymous with the engines machined in the halls of its urban decay. Remote Viewing Party’s minimal break ‘fuxwiddit’ whistles echo to us through the warehouse former machine shops. Maxlow makes sure you ‘heard’ what they must say pushing air from the subs ensuring you feel the room.
Keep an eye on this space and be sure to call in for the waypoint to the party.

Ragga jungle french label Psychodynamic continues his crusade to the loud master sound !!
Inviciting Chopstick Dubplate, Mr Williamz, Cutty Ranks, Dub Pistols... bloody bigh fat sound here !!

After 3 months holed up in the studio Blair French has emerged to bring you Genes/Space Conductor 7” in support of his forthcoming album The Art Of Us on Rocksteady Disco. The A-side holds the “Loose Fit” mix of “Genes”, where Blair channels his inner Tony Allen for an expertly executed modern psychedelic Afrobeat cut featuring a heavyweight cast of Detroit characters including Todd Modes, John Arnold, and Paul Randolph. On the flip is “Space Conductor”, a cosmic afro broken beat joint with heavy drums, a huge bassline, kora, and Blair’s vocals, exclusively available on this 7” only. Housed in a full color jacket, cut loud to lacquer, and pressed heavy with pride at Archer on Detroit’s east side.

Echocord welcomes the return of STL this May with the ‘Take Off Music’ EP, comprised of three murky, dubbed out cuts from the acclaimed German producer. Stephan Laubner, better known as STL has long been one of the most respected producers in the underground electronic music scene. Racking up releases on the likes of Smallville, Perlon, Echospace Detroit, his own Something and of course Echocord where he returns here. ‘Fluxxy’ leads on the package, embracing STL’s signature style via, dusty analogue drums, choppy dub stabs, penetrating low end flutters and airy atmospherics before ‘Dub Plus’ lays focus on a stripped-back, perfectly balanced drum groove, hazy field recordings and bubbling chord delays and bell chime synths. ‘Magic Thing’ then rounds out the release, fusing fm synth melodies and gritty bass stab sequences with thunderous subs and Laubner’s robust rhythmic style. Once again STL delivers a touch of class with a contemporary Dub Techno style for Echocord.

London's On The Corner Records proudly present "Son Of Sun'' - the new EP from Morroccan producer Guedra Guedra. Having previously turned heads with his mind-bending Boiler Room performance at last year's Atlas Electronic Festival, as well as delivering a storming remix of On the Corner signees Penya, Guedra Guedra (aka Abdellah M. Hassak) returns with six genre defying cuts.

His earth trembling debut is a relentless barrage of euphoric, high-energy, future dance music, demonstrating the rich product of North Africa's fertile club music scene. Hailing from Casablanca, Guedra Guedra is a DJ/Producer exploring tribal polyrhythms of the past-
and dancefloor innovations from the underground.

His productions are defined by high energy tribal bass, psychedelia that is rooted in the cadence and mystery of ancient rhythms.

Returning to the label's dance floor roots, BODYCLOCK is a natural extension of Darker Than Wax's DNA - a foray into the late night club sounds that defined their sound. The freshly minted series represents the Singaporean label's primary outlet for dance floor burners and machine soul, shedding light on a new school of producers from around the globe and at the same time paying homage to the pioneers who laid the foundations for us. A celebration of afro-futurism that is ever-present in the consciousness of dance, BODYCLOCK is built for the nocturnal beings and discerning selectors that push this timeless tradition forward. This first volume brings together five producers across four continents - Teymori from Australia, NYC's Malik Hendricks, label mainstay Ricky Razu from Belgium, as well as Darker Than Wax co-founder Kaye and up-and-comer Halal Sol from Singapore. Establishing both facets of the BODYCLOCK sound, Side A features two vocal-led soulful excursions, while the flip brings three unabashedly jacking cuts to light the floor on fire. This is only the beginning - BODYCLOCK is coming with an onslaught of twelve inches and EPs, distilling our sonic outlook and looking to the future.

One Sided 7", Limited edition of 200 copies on black vinyl, handstamped whitelabel with additional photo inlay.

Tribe'n'Bass? Tech'n'Bass? Drum'n'Tech? Whatever you might call it, the first ever vinyl release of the freshly launched imprint Freebreakz.FWD is a quite trip, a journey into the unknown and unexplored.
For their conjunctional studio effort that is „Alien Swamp“ we see Hamburg's baze.djunkiii and Berlin-based Donna Maya draw influences from spiralling TribeTekno and the freeform approach of the teknival scene, pay homage to their love for advanced, experimental Drum'n'Bass and fuse these elements with a stripped down high tech vibe somewhat reminiscent of early Minimal Techno coming out of Motor City Detroit. Imagine all these bits falling together at breakneck speed and with a well psychedelic notion and you'll be
captivated by one of the most unique dancefloor cuts from a space-exploring future, the electroid soundtrack for illegal raves taking place under the two suns of life-bearing exoplanets in binary star systems far far away.

It was 50 years ago that a talented local musician named Lamont Butler started to create an album that would combine love, happiness and joy. Lamont’s only official album release It’s Time For A Change has been very popular for record collectors around the world but never saw the wider success it truly deserved.

Born 1949 in Louisville, Kentucky; Lamont Butler was drawn to music and dance from the very beginning. He was the son of a well-known gospel, blues and R&B singer and pianist Clifford Butler Sr, receiving an early education in what’s required to be a touring musician.

It quickly became apparent that Lamont had a wonderful voice and was pushed to the front despite no being fully confident yet of his singing ability. Lamont performed on the gospel circuit for a number of years cutting his teeth with groups such as The Enterprise, The Dynamics and The New Beginnings eventually going solo with Lamont Butler and The Spirit of Truth.

It was whilst he was singing and performing during this period that he started to write his own songs and think about putting together an album bringing together all of his influences from R&B, jazz, soul and of course gospel. The result is very raw, almost low-fi sound of It’s Time For A Change, released nearly 10 years after Lamont started to pen the first tracks and it gained relative success. He toured the album around churches in Louisville with tracks such as Love One Another, Time For A Change and Ungodly War quickly becoming firm favourites within the churches of Louisville.

Miles Away Records are pleased to working with Lamont and to be issuing a long overdue album reissue of It’s Time For A Change on LP and CD. Remastered with care by Nick Robbins at Sound Mastering and complete with in-depth sleeve notes.

Frustrated with UK club music's current fixation with tempo, London based artist Kouslin's '2020 Vision' EP delivers four cutting edge, high energy clubs tracks that hover around the 100bpm mark. Drawing on both dancehall influences and the productions of artists such as Harmonic 313 / Mark Pritchard and The Bug, Kouslin carves his own vision for a new decade in UK club music where fine tuned low frequencies and a slower pace can deliver maximum impact.

When he's not working at London's Phonica Records, Kouslin runs the Le Chatroom record label and has a regular slot on London's Balamii radio.

This 12” vinyl release comes with full colour artwork reverse board sleeve with artwork from Tess Redburn.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground music.

• 180g Picture Disc in Die-Cut Sleeve • Best of Bowie’s legendary performance from the Universal Amphitheater, Los Angeles • Broadcast on KMET-FM • Digitally remastered for greatly enhanced sound quality • Background liners

“Come out of the garden, baby”, and revel in the sounds of David Bowie’s spectacular Diamond Dogs Tour. Protus very proudly brings together the best of Bowie’s gig at the Universal Amphitheatre in Los Angeles, 5 September 1974, broadcast live by 'KMET' radio station, which featured an extraordinary set list showcasing work from several key Bowie albums including Ziggy Stardust and the Spiders from Mars, Aladdin Sane, Hunky Dory, and of course, Diamond Dogs.

One of the most expensive tours in popular music history, the tour and the album helped the star to crack the North American market.

David Bowie – Vocals
Michael Kamen – Electric Piano, Moog Synthesizer, Oboe
Mike Garson – Piano, Mellotron
Earl Slick – Guitar
Carlos Alomar – Rhythm Guitar
David Sanborn – Alto Saxophone, Flute
Richard Grando – Baritone Saxophone, Flute
Doug Rauch – Bass
Greg Errico – Drums
Pablo Rosario – Percussion
Gui Andrisano – Backing Vocals
Warren Peace – Backing Vocals
Ava Cherry – Backing Vocals
Robin Clark – Backing Vocals
Anthony Hinton – Backing Vocals
Diane Sumler – Backing Vocals
Luther Vandross – Backing Vocals

The man behind The Girls of the Internet returns to his techno-leaning alias with five resounding cuts entitled ‘My Dreams Are Slowly Dying’.

Following Tableland’s debut release at the end of the decade that picked up support from the likes of DJ Bone, Laurent Garnier, Jon Hester and Nemone on BBC 6 Music, the Girls of the Internet producer re-joins his self-titled imprint in 2020. The Girls Of The Internet continue to feed their superb reputation of delivering funk-fuelled electronics that draws inspiration from a variety of electronic music styles from the last 40 years.

‘My Dreams Are Slowly Dying’ kicks things off with pulsating kicks, undulant euphoria in the form of dreamy leads and stabbing melodies that fluctuate throughout. ‘Pyramid Scheme’ surges into squeaky modulations, jazzy tones and funky atmospherics that rolls with vibrant energy while ‘Charlie + Suzie’ offers up shuffling rhythms, subdued yet emotive synths underneath clattering highs and snares that get introduced in the latter stages, before ‘Wormwood’ rounds off the enchanting EP with a calming house cut harmonising together exquisite keys, deep bass vibrations and uplifting oscillations which carry you away until the end.

DJ support from Laurent Garnier, DJ Bone, Namone (BBC 6 Music), rRoxymore, Shy One, Ooft, Young Male, Brendon Moeller, Severino (Horse Meat Disco), David Martin (Dimensions Soundsystem), Massimiliano Pagiara, Dan Curtain