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Matasuna Records has once again unearthed two Latin gems for its latest release: two rare tracks by Argentina-born musician Enrique Lynch. Lynch moved from Argentina to Peru in the 1960s and became artistic director and producer of the Sono Radio label. He released an astonishing amount of albums with his various bands over the span of nearly three decades.

The two songs will be available together on a vinyl single for the first time - and the track from the flipside will also be released on a 7inch for the first time. For this official reissue Matasuna was lucky enough to have access to the original master tapes. The tracks were carefully restored and remastered in Lima (Peru).

African Bump is one of Enrique Lynch's greatest tracks and the original 7inch is much sought after by collectors and DJs alike. The song immediately captivates the listener as the Wah Wah guitar begins to play and enters into perfect harmony with organ and brass. A thrilling disco funk beat, rhythmic percussion elements and a hypnotic hookline spice up the track and show what great musical treasures South America has to offer.

On the flipside there's a great cover version of the Soul and Funk anthem K-Jee by American band The Nite-Liters, which had a hit with this song in 1971 and even entered the billboard charts. Enrique's version adds some extra grooves with killer beats and breaks, a heavy bassline and wild percussion parts. A distinctive horn section meets funky guitar riffs and deep organ sounds. A fantastic funk tune that will set any dance floor on fire!

11 never-heard tracks from Synthzerland pioneer Bruno Spoerri, released for the first time on vinyl, with liner notes by the artist. WRWTFWW Records is very delighted to announce the release of Rare & Unreleased 1971-1998, a collection of never-heard and hard-to-find works by Swiss music pioneer and synth super wizard Bruno Spoerri. The album is sourced from original masters and available on a vinyl LP cut at Emil Berliner Studios (formerly the in-house recording department of Deutsche Grammophon), housed in a 350g sleeve with a superb artwork by Nicolas Eigenheer, and packed with track-by-track liner notes by Mr. Spoerri. Rare & Unreleased 1971-1998 gives a fascinating glimpse into Bruno Spoerri's incredibly inventive repertoire, collecting tracks from projects as diverse as commissioned music for trade fairs, the Swiss railroads, or the union of Swiss cheese makers(!), soundtracks for TV shows about ecology, live synth improvisations at Montreux Jazz Festival, and sound installations for art exhibitions. Always the adventurer, Spoerri records a pneumatic drill for the irresistible electronic bossa of 'Konzert für SIG-Pressluftwerkzeuge", mixes train sounds and the EMS Synthi-100 for the joyful lo-fi funk of 'Rollin'", lets overheating synthesizers take a life of their own to create the sci-fi ambient of 'Waves of Montreux", and works with bees, pigs and various birds for the environmental music bliss of 'Rhythm'n bees' and 'Birds of Cochin". Synthzerland rejoice, it's time for another captivating journey of sound exploration on Planet Spoerri! Bruno Spoerri celebrated his 83th birthday in August this year. He is still experimenting, recording, customizing audio gear, improvising on stage and in the studio, collaborating (Julian Sartorius, Franz Treichler of Young Gods, Marco Repetto of Grauzone, Roger Girod...), inventing new sounds and finding new creative outlets.

Born in Venezuela and based in Barcelona, Luis Garban aka Cardopusher has spent the last decade creating a wide variety of noisy dancefloor assaults. Although his roots lie in the breakcore scene, he's slowly gravitated toward a raw, electro-infused take on techno that is no less compelling. Along the way, he's released music via labels like Terminal Dusk, Murder Channel, Hyperdub, and Tigerbeat 6, and has also found the time to launch his own Classicworks imprint, which he continues to run alongside co-founder Nehuen. Cardopusher has also forged a relationship with German bass enthusiast Boys Noize, issuing a pair of EPs as well as two full length albums.

We are proud to present a new 6-track EP titled 'Muscle Memory' that takes the listener on a deep and gritty ride through his diverse sound, from techno to electro, acid, rave, and house. Luis is inspired by labels like Warp, Schematic, Planet Mu, Rephlex, as well as EBM and New Beat. Hard-smacking claps and raw TB-303 sequences merge with robotic vocals, solid and perfect for dark dance floors. The B-side features one track with haunting guest vocals by fellow Barcelona musician, Ivy Barkakati. Luis says the main themes of this EP are obscurity, desperation, confusion, nostalgia, escaping the world's indifference. All songs have been mastered for vinyl by George Horn at Fantasy Studios. Housed in a workout themed die-cut jacket designed by Eloise Leigh with raw acid-style mixed bold type and sporty graphics.

*Landing on Alchemy Dubs is our third release on 12' format, a very special collaboration between Ojah, Fikir Amlak, Don Fe and Nik Torp.

The A side contains the track 'On my mind', a vocal version of Ojah's 'Mind' riddim that features beautiful vocals and harmonies by Fikir Amlak paired with inspiring and emotional lyrics. The second cut is a vocal dub version mixed in analog live by Ojah.

On the B side we find Don Fe's excellent flute version 'Remind' that takes the riddim to a different dimension with its deep and meditational melodies. The second cut on this side is a haunted flute dub version, also mixed live by Ojah in classic fashion.
The Hammond and melodica featured on both sides have been played by Nik Torp (keyboard player from The Specials) and masterfully recorded through an MCI desk that used to belong to Island Records (hundreds of seminal records where recorded through it, including for example Bob Marley's Exodus).

Also available complementing this release is ALDBS7007, a 7' that contains an additional Hammond & melodica solo version and an additional dub.

Limited edition of 600 copies, 180g heavyweight vinyl, hand-numbered, served in a thick custom sleeve with amazing artwork by Victor Castro.

Produced by Ojah, recorded at Alchemy Dubs Studio, London, UK
Hammond & melodica by Nikolaj Torp Larsen 'Nik Torp', recorded by George Murphy at Eastcote Studio 1, London, UK
Vocals on A1 by Fikir Amlak, recorded by Manuel Guerra Rubio at Arkchant Studio, Barcelona, Spain
Flute on B1 by Don Fe, recorded by Don Fe at Don Fe Studio, Murcia, Spain
Mixed & mastered by Oscar Pablos 'Ojah" at Alchemy Dubs Studio, London, UK
Graphic design by Victor Castro

The polish dub master Radikal Guru is back to Moonshine Recordings with a heavyweight 12" vinyl on a 160bpm tip. This time he joins forces with two very talented MC's - Parly B and Baptiste to deliver yet another future classic. Tell dem fi run!

It is with great honour that Emotional Rescue comes back to the music of Jaki Whitren & John Cartwright for a special 7" of two previously unreleased songs on to vinyl for the first time in That Will Be That and This Time. Originally part of the International Times reissue project (ERC004) in 2013, the songs have previously only been available on CD and digital formats as 'out-takes'. However, all that time the plan was to release the songs as a stand-alone vinyl release at some point.
Discussion with John continued over the years and the plan was for a release as part of the label's fifth anniversary, until sadly the project was put on hold due to the untimely loss of both Jaki and John in late 2016. The recent repress of their masterpiece that is their privately pressed album, International Times, led to these songs being revisited for the first time since and so here at last are both available together, as much in homage to these two wonderful musicians. More than studio-plus recordings, That Will Be That actually appeared in rerecorded form on the couple's Rhythm Hymn album of 1983. Here though is the original (and superior) version, with all the hallmarks of classic Whitren and Cartwright song writing craft, musicianship and production skill. Again remastered by their son (and at the time, teenage drummer) Joby Baker, the song drips with a confidence of masters of their instruments, full heartfelt, righteous and as relevant today as then lyrics, all backed with some deep white funk and enough soul to move mountains. This is accompanied by one of their greatest compositions in the spine-tingling This Time. Only ever known on this live recording from Glastonbury Hall, Jaki's vocals and light accompaniment from John's keys let the song shine. If the sheer power of her voice and words don't move you, then something is missing in life. A pure, sad, joyous way to thank and remember this wonderful music and people.

This highly prolific UK Drum and Bass producer returns with his second Tempo Records release. This work sees Alex' Judd rhythmic tweaks and overlays of texture with intricate melodies, heavy dub basslines giving the tracks a live & energetic feel. He draws out each track with his own distinctive craftsmanship and still giving them space to breathe. ''U Got me'' might be his best work to date but that's just our opinion. ''No Hype'' on the flip side says it all; music shouldn't be a hype but this release surely creates a huge buzz with all the dj's worldwide. This release comes as a limited 140g crystal clear vinyl pressing with full artwork sleeve + white glossy inner sleeve, including a mp3 download voucher + a free poster/inlay and all tracks mastered by Stuart Hawkes of Metropolis Mastering London.

Early Dj Support & Feedback
More Coming Soon!
Ltj Bukem thanks For Sending'
Grooverider good'
Icicle thanks, I'll Support No Hype On Rinse Fm'
Dj Flight nice Release, U Got Me & Loved Up Are Probably My Picks On First Listen. Will Play The Former This Weekend.'
A-sides no Hype', Thanks!'
Doc Scott thank You'
Drumsound & Bassline Smith nice One'
Gremlinz dope'
Hyroglifics (aka The Executioner) nice Ep!'
Villem hype Hype Hype'
Lynx yesssss Not A Media Hype!'
Chromatic nice Ep, Big Up Alex!'
Dj Clarky great Tracks On This'
Dj Chef (ministry Of Sound) big Ups Full Support'
Dj Tendai (swerve) loved Up Is Sublime'
Dj Kalm great Release Thanks!'
6blocc love The u Got Me' Track'
Earl Grey u Got Me Is The One, Badness.'
Arkaik will Be Supporting 'no Hype' Thanks'
Bulletproof Tiger (nyc, Usa) always A Pleasure To See Tempo In My Inbox. Biggups Y'all'
Dj Ros (addiction Fm + Label, Poland)'!'

...

Radio & Podcast
Coming Soon!
Icicle (rinse Fm) thanks, I'll Support No Hype On Rinse Fm This Thursday 20-09-2018'
Dj Chef (ministry Of Sound) big Ups Full Support'
Onedek (origin Radio Uk) awesome!!!!!'
Andre (soulsurfer - Bassdrive) now This Is A Strong Release... I Agree That This Is Alex Greatest To Date. U Got Me, Loved Up And Feel Good Are Immediate Favorites. Support In Club And Radio!'
Benjamin (the Dance Mission Dnb Show - Kiss Fm Australia) cool Music'
Overfiend (bassdrive) superb!'
Stunnah (bassdrive) big Release!!'
Chris Muniz (insomniac / Bassrush) mashing It Up Proper!'
J Swif (dnb Hq Podcast) dope Release Duded, 'feel Good' Is The One!'
Stanislav (zima - Czech Radio 1) gonna Play no Hype' Today... Cheers. Stanislav'
Matze (urban Wildlife / Syncopix Records) 5/5 The Rework Of Sweet Sensation Is Killer. The Crowed Loved It. Cool Arrangement And Use Of The Vocals. Feel Good With It´s Long Bassline Is Also A Most Functional Dance Floor Banger. Thanks For This One!'
Jose (nas Radio Show - Brazil) awesome Crazy Material Right Here'
Simon (see You Next Life Podcast & Night) soul Intent Fan Here So It's All Good. Cheers!'
Francesco (delta9 Recordings / Podcast) interesting And Diverse Album! All Are Great, Fav Are Loved Up And No Hype'
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Reviews Blogs & Magazines :
More Coming Soon!
Julian (mixmag Germany Dnb Reviews) i Really Enjoy loved Up'.
Aliina (jungledrumandbass) big Up !!
Matthew (one Hour One Dj) great Tunes. Particularly Feeling The Two 2 Sides, Loved Up And Feel Good. Lovely Gritty Rollers.'
Rohan G. (dj Mag Spain) pow!'
...

Back in stock!

Great Reggae-Dub Tunes from A Master.

Returning for his second full-length LP of 2018, DJ Bone steps up once more to his own Subject Detroit imprint to present 'Beyond', a full-length and physical rumination on his own emotive and psychedelic contribution to contemporary techno. Loaded with the dynamics, charisma and widescreen appeal of his finest work, 'Beyond' sees Bone enter a musical state that reflects it's ambitious title, celebrating underground ideals in a style that could only be his own.

The second in a trilogy of albums to be completed in early 2019, 'Beyond' is culled from a sequence of no less than fifty tracks completed by the esteemed Detroit DJ and producer upon returning to his home city in 2017. With it being "unfathomable" to release an LP of that length, Bone has nonetheless captured this wave of creativity and a reconnection with his home city, along with the cathartic sense of soul and energy at the heart of his attitude to dance music.

Across 'Beyond' listeners can sink into an unrelenting sequence of tracks that speak from his experimental, musical and always unexpected mind. LP opener 'Dreamers 7' reaffirms his taste for offbeat electronics shot through with rigid dance floor dynamism; a theme reaffirmed quite literally on the forceful centrepiece, 'With A Vengeance'. Elsewhere, Bone delights in blurring the lines between exotic, futurist ambience on tracks such as 'Techno Aint Techno' and 'Ahhh Life', while further cementing his reputation as master of sheer, unrelenting rhythm on 'True Definition' and 'Rosedale Park'.

Austrian Ken Hayakawa keeps up Stripped Down Records' fine run of form with two new tracks that get remixed by John Tejada and Whitesquare.

Hayakawa's mother is Japanese but he hails from Salzburg. He is formally trained in piano and has performed Beethoven's music in a number of prestigious venues. That melodic, minimalist style still informs his own output and over the last decade has come on the likes of Audiomatique and Upon.You.

Superbly soothing opener 'Sonic Wave' is a brilliantly warm and spaced out deep house track that voyages into the cosmos. Dreamy pads drift by as muted acid lines flesh out the supple, subtle drums. It's a late-night groove to really get lost in.

American tech house titan and long-time Kompakt associate John Tejada steps up to remix and takes things even deeper, with pulsing, sonar-like acid blips and icy hi hats all working on melting your mind as warm, gurgling bass drives things forwards.

It is Italian producer and DFTD, 2020 Vision and Freerange house master Whitesquare who then remixes. He brings plenty of spine-tingling chords to his version, which is deep yet driven, with layer upon layer of rich sound all oozing real soul.
Hayakawa then finishes things off in style with 'Lost,' a brilliantly atmospheric track that is cavernous, dubbed out and finished with exquisite ambient details that cannot help but calm you.

This is a beautiful EP of deep, dynamic house music.

"Where Were We" is the fourth solo release by Anthone for The Weevil Neighbourhood featuring three excursions somewhere in between abstract breaks and wonky techno.

Black vinyl in brown discobag. Center label design by Anthone. Mastering and Cut by LXC.

New 4 Track 12" release from Lamont for Swamp 81 sublabel, 81. Mastered at TenEightSeven

When the new Halloween movie hits theaters in October 2018, it will have the distinction of being the first film in the series with creator John Carpenter's direct involvement since 1982's Halloween III: Season of the Witch. Carpenter serves on the new David Gordon Green-directed installment as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his three recent solo albums, Cody Carpenter and Daniel Davies.

The new soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green's film, its familiar 5/4 refrain stabbing through the soundtrack like the Shape's knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter's famously shoestring original, its musical spirit was preserved.

For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London's dance scene, from where it has ricocheted around the world. Having conducted the first set of major interviews with David Mancuso, Lawrence started to put on Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In early 2004 he published Love Saves the Day: A History of American Dance Music Culture, 1970-79, which tracked the influence of the Loft on the wider New York DJ, dance and disco scene. In 2009 his biography of the iconic musician Arthur Russell became the first book to map the wider downtown music scene. These beautifully written and politically insightful histories have educated, inspired and celebrated the previously overlooked foundations of contemporary dance music.

Lawrence's most recent publication, Life & Death On The New York Dancefloor, 1980 - 1983, published in late 2016, shines a light on 'one of the most dynamic and creative periods in the history of New York City'. Falling between the more regularly celebrated sounds of disco, house and techno, the period produced a uniquely hybrid series of sounds that never acquired a settled name. This led them to be largely ignored by historians and even DJs, yet the power of the period's music and the scenes it birthed, Lawrence argues, remains undeniable. Met with a rapturous response, Life and Death On The New York Dance Floor saw Lawrence on the road for most of the next year as he spread the word about the characters, the records, the clubs and the bands that shaped the post-Disco, post-Punk, and burgeoning Hip Hop landscapes of New York City during the early 1980s—a period when freedom still ruled.

This, the first of a 2-part sonic tribute to the 1980 - 1983 era as well as a musical companion piece to Life & Death On The New York Dance Floor sees recognised musicians (David Byrne of Talking Heads) nestle up alongside the belatedly recognised (Arthur Russell's Dinosaur L and Loose Joints, and Suicide's Alan Vega) and the downright obscure (Gray, 2 Teens Kill 4 and Tuxedomoon). An indication of what's to follow, Dinosaur L's original album version of 'Go Bang' has been dramatically overshadowed by the definitive François Kevorkian remix yet received regular play by David Mancuso and remains an enthralling experimental Arthur Russell jam.

Lovingly curated across 2 slabs of vinyl, the album introduces listeners to a stunning array of sounds, styles, vibes and feelings that encapsulate this most fertile and forward-thinking era, when music, fashion, sound system innovations, leaps in music technology, a DIY attitude and a freedom from corporate politics combined with extraordinary expressivity. All music contained within this album has been hand-picked and programmed by Tim Lawrence. It represents a selective yet rich introduction to one of the most extraordinary periods in New York City's epic musical history.

This is the first release on Reappearing Records, a label led by Tim Lawrence and distributed worldwide by Above Board distribution. Licensing courtesy of Tracksuit Music. Mastering by Optimum Mastering, Bristol UK. Artwork & design courtesy of Atelier Superplus. 2018.

Sodom 10B... Represses of some of the praised tunes from Sodom 01 to 09.

Look! Ultra rare and super dope Disco-Boogie reissue alert!

That's right, Distinction's 1982 jammer 'That's the way I like it' is back! Fully licensed in conjunction with the rights holders and remastered for 2018 by Above Board distribution. This one's long been at the top of the wants lists of DJ's and dancers for ages, a masterclass in UK Boogie flavour brought to you by the production and writing prowess of Roy Carter who was a member of the UK's legendary Soul and Funk legends Heatwave and who worked extensively with Central Line, Junior Giscombe, Dee C. Lee and many many more throughout his long career. Pretty much all of Distinction's output is tough to find with the majority appearing on tiny labels, and second hand prices for these gems are always on the high side with this particular 12" being one of the most sought after. This is a proper and full reproduction of the original Hansa 12" from 1982 with the added bonus of the 7" mixes being included of both 'That's the way I like it' and b-side winner 'Looking for love'. This one has been booted before with severely lacking quality control, but we are proud to say this reissue has been fully licensed and made using the original tapes with all remastering handled lovingly by Optimum Mastering, Bristol, UK. This is an unmissable reissue if you dig this sound, don't miss out! Pure fire.

Repress of the RMHS 09, starring Routemaster 06 & 17

New Order are proud to announce the release of TOTAL from Joy Division to New Order on vinyl. Originally released in June 2011 on CD, TOTAL from Joy Division to New Order will be available on vinyl for the very first time on 30th November 2018.

Featuring single versions of tracks from both Joy Division and New Order mastered for vinyl by Frank Arkwright from his 2011 remasters. The iconic album cover was created by Howard Wakefield with art direction from Peter Saville.

TOTAL contains New Order's UK Top 10 singles Blue Monday, True Faith, Regret and the Number 1 single World in Motion along with classic Joy Division tracks Love Will Tell Us Apart, Transmission, She's Lost Control and Atmosphere.

New Order head out on tour in November. Playing their only UK show of 2018 at London's Alexandra Palace before dates in Mexico, Chile, Argentina and Brazil.

Massive hardtek acid killer tune !

Another massively desired double-sider produced by Georgia native Calvin Arnold, a superheavy solid, intense rhythm and a deep, throaty vocal which pushes the dancefloor strongly forward plus a more chilled extra-soulful backside for the connoisseurs out there, also re-reissued due to public demand here on a nice great-sounding RS label 45!

The name Hugo Mari might not ring a bell just yet, but we've got a feeling this is about to change real soon. He's released a handful of EP's under his former alias Books on Omena and XVI including his own edit series on the latter label (check out his killer track 'in the groove or his jazzy deep house collaboration with Zodiac called 'Feel it in my Bones'). Considering he's also remixed well known artists like afrobeat legend Dele Sosimi and grime master Trim, you might share our view of this amazingly talented and versatile producer. His 'Change ur ways' EP for Heist is soulful, jazzy, deep and energetic with three varied originals and a classic soulful house remix by man of the moment, NDATL label head Kai Alcé.

'Get Loose' features the silky-smooth vocals of Zodiac, some lovely solo work on the Rhodes and a 'free jazz' vibe on the horns. There's a constant funk bassline looping throughout the track to keep the energy going while the loose arrangement as well as the drum programming give the track that care-free feeling of a never-ending live jam. With that, 'Get Loose' is a great club track that crosses the boundaries between funk, jazz and house.

The title track still has that jazzy feeling but moves towards a quirkier territory with some 'Frits Wentink' style harmonization, detuned piano's and loosely chopped samples. There's a definite gospel feel to the track, thanks to the choice in vocal chops, which is complemented perfectly by a filtered disco bassline. The percussion layer and rhythmic elements are full of energy without ever crossing the line where of subtlety that makes this track so catchy.

On the flip, there's 'Feel ur senses', the most straightforward deep house track of the release, that gets its mood from an ongoing tremolo on the Rhodes pads. Space bleeps, bells, a hidden arp and 'reverbed-out' hits give the track an almost balaeric sound that will certainly put a smile on your face.

The B side is complemented with a vocal and instrumental remix of 'Get Loose' by Kai Alcé, who has been throwing out one killer tune after the other, remixing Volcov's Isoul8 project (one of our favorites of the year), as well as kicking out releases on his own NDATL label. Kai goes for a full-on soulful house vibe, giving his own chord progression center stage along with a set of rimshots. He chooses to leave the horns out, and instead work the vocal, Rhodes, and cowbells from the original to great effect, adding a little solo work of his own on a bell-like piano where he freestyles happily throughout the track and copies the vocal for added harmonies.
The instrumental version is perfect for those moments where you're done with all the vocals and just want a tight soulful groove.

We couldn't be happier with this release so play it loud and get loose!

Yours Sincerely,

Maarten & Lars

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, its catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. This latest repress from the vaults is a real biggie - a true NYC underground disco CLASSIC!

High Voltage is one of the more familiar names in the P&P / Queen Constance galaxy. Led by Peter Brown and Patrick Adams right hand man and producer Michael Campbell who presided over some of the biggest and best sides the labels put out. This one is a must, essential, do not sleep business. 11.00 minutes of Disco fury! One is forgiven in thinking that this would've been huge had it have come out on one of the 'bigger' Disco labels, but that hasn't stopped 'Rock, spank, freak' becoming a true blue club anthem. Appearing in the playlists of DJ's and selectors as diverse as Larry Levan, Danny Krivit and Daniele Baldelli. Rough n'ready, unpolished but musically explosive the sounds contained on this here 12" are indeed High Voltage! As with a lot of these jams, this one's been badly bootlegged, so ignore those wack counterfeits that are out there and bag you a fully licensed reissue of this absolute bomb. Dope.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Same track on both sides

Malke is a drummer... All that you hear you can see ! Crazy Live sets really ! With one side Crossbreed to industrial hardcore and one side more Shrantzy in the ISR style (Stormtrooper)... Cut @ The Exchange and mastered by Lenny Dee ! Badass !

The body never lies. Every dance is a graph of the heart. Nothing is more revealing than movement.

These are the words of Martha Graham, one of the greatest American dancers and choreographers of the 20th century. Massimiliano Pagliara might as well have them tattooed on his chest, close to his heart, being an accomplished dancer, too. He has studied contemporary dance in Milan and Berlin, and went on to dedicate his life to transforming experience into movement, be it musical, physical, or spiritual. Massimilano's message is clear: Don't stand still. Don't keep looking back. Know where you are coming from, but don't remain petrified by the past. Take a chance at Endless Change, instead. Move on! Just like Massimilano did.

Stemming from Lecce province, an area at the south-eastern-most tip of Italy, Massimilano has been based in Berlin for several years where he's been one of the main forces behind recombining the city's hardboiled techno scene with an often overlooked sensibility for the soft and the tender. Call it underground disco passion. Massimilano's last and sophomore album, With One Another, released in 2014, was about celebrating the joy of human encounters and in parts seemed like a big get-together with like-minded artists and friends (among them nd_baumecker, Lee Douglas, and Credit 00). The record quickly hit the number one spot in Groove magazine's album chart - and its creator hit the road.

Besides his busy DJ schedule and far from the usual club circuit routines, Massimilano dedicated himself to intense travelling and exploring the world anew. 'I felt like I have lived more than ever,' he states. 'Getting to discover all these beautiful places around the world and meeting so many lovely interesting people, has inspired me in many different ways. I feel enriched.'

The result of these experiences is Feel Live, Massimiliano's third full-length endeavour. It was recorded in several intimate, sometimes improvised studio settings between Los Angeles, Portland, and Massimiliano's homebase in Berlin as well as at airports and on intercontinental flights high up in the sky. Featuring vocals by Private Agenda, Peaking Lights, Kim Anh and instrumental contributions by Fort Romeau, Tim K, and Jules Etienne, Feel Live is Massimilano's most playful and imaginative work to date. It's as emotional as sensual, as vibrant as the first ray of light after a thunderstorm has cleared the air.

Is it awkward or odd to call this record jazzy Presumptuous to pinpoint its spacial, almost orchestral qualities Unfair on the ruling Cosmic powers to highlight its aspirations of founding a new land of Balearic Harmonia and getting down at a huge fertility rite with electro enthusiasts and house lovers Not one bit. Feel Live is pure grandeur and elegance. It feels like an eternal movement.

Martha Graham has dedicated her whole life to dancing. 'It's permitting life to use you in a very intense way,' she said. 'Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable.' Massimilano couldn't agree more. His advice when facing the inevitable: 'Live what you are feeling, feel what you are experiencing, good or bad, it is an experience.'

The demons of night are out again: Seoul's one-stop shop creative collective Byul.org returns this fall with its third international album, entitled Nobody's Gold, out via Alien Transistor (worldwide) and the group's own Club Bidanbaem imprint (South Korea). Comprising 14 new songs, it's a dizzying, haunting affair that channels the group's manifold influences and references points (from post-punk to Stockhausen and back via club culture) and yet sounds intriguingly coherent.

Moving in and out of the shadows, Nobody's Gold breaks forth as pure sonic landscape - a universe of its own, folding and unfolding into both more experimental patterns, yet also with occasional hooks and dark catchy structures, gracious build-ups flickering among the hazy roar and thunder. After the screak and squeal of 'Lamb with a Wolf Mask,' the foreboding sounds of 'The Museum of The Two of Us' segue into a synthesized party tune about a missing friend being chased by police ('Nari Yuko Yin'), one of several vocal tracks with a sinister edge. Taking things up another notch, 'Friendly Enemies' is probably the closest this group will ever get to creating a stadium-ready anthem. On the other end of the spectrum, 'The Place Where Designers Go To Die' is a magnificent void with an immense and irresistible undertow...

Never too jolly (not even while 'Day Drinking at a Seaside Town' or during takeoff via epic pop tune 'Bats We Are'), Nobody's Gold compiles soundscapes with a very tangible, corporeal presence - iridescent sonic sculptures placed in unlikely settings (e.g. outer space, see: 'Dirty Dirtiness'), born at the fringes where night blends into day and vice versa.

Inspired by everyday life, half-remembered drug/club experiences, Pascal Quignard's disturbing La haine de la musique, Stockhausen and Bill Evans, the new LP sees the collective remain true to its DIY foundations while repeatedly questioning our listening habits and 'the exaggerated love for the concept of love,' as they put it.

Founded around the dawn of the millennium as a group of poetry-loving friends who'd occasionally meet for drinks, Byul.org has long become an extremely prolific and versatile collective within Seoul's scene: Main song-writer TaeSang Cho and his mates Yu Hur, Jowall, YunYi Yi, SuhnJoo YI, HyunJung Suh, and SoYoon Hwang went from publishing to recording, from releasing tunes to design, art direction and more. Although their list of clients includes Atelier Herme`s and the Venice Biennale (they did the Korean Pavilion twice), the group still remains a drinking circle of close friends at its core: Pals who simply like to create and carouse and dream and live and perform and play tunes together.

Digging 80s pop obscurities has long been part of Emotional Rescue's mission statement and the unearthing of this cover of the Talking Heads classic by the little known, Italian new wave band Politrio for a limited 7" press is a worthy addition.
Formed by guitarist, songwriter and producer Giorgio Canali alongside Massimo Sbaragli and Roberto Zoli for the short-lived project. With just one album released of new wave, pop rock, it was their contribution to an Amnesty International benefit LP that spawned this excellent version of Byrne, Franz and Weymouth penned classic. Coming out of the CBGBs scene of post-punk downtown NYC, the song, released on their aptly titled 1977 "77" debut album, has gone on to become one of the defining songs of it's time. Further enhanced with their mesmeric performance in the 1984 Stop Making Sense film and album, it has been ripe for reinterpretation. Politrio's version keeps and captures much of the original, but with their own swing, rhythm, Italian-English vocal delivery, rock guitar, bells and keys. While remaining instantly recognizable, this is a unique version, with the straightened drumming giving it some added punch and kick.
This is backed by a systematically cool, delicate but additional re-edit by the Berlin based Italian duo Dama and Budino aka Double Wave. Rising names in the Berlin scene they are part of the Oscillator collective, label and parties and can be heard at some of the best parties right now.
Letting the instrumental interplay of funky, slap bass and rock guitar have more time to shine, the edit builds and drops, dubs and builds again to the vocals and lyrics known so well, offering an alternative sing-a-long for the more wonky DJs and dancers out there.

Upon examining the eventful life of Can bassist Holger Czukay, one might conclude that this intrepid musician was a loner. His turbulent career exuded an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly emphasized that his creativity was always contingent upon a musical partner, whether that was a skin-and-bones counterpart or an anonymous manifestation that interacted with him through radio waves or, as happened later, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble, his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records, who already released the highly acclaimed retrospective 'CINEMA' to mark the occasion of Holger's 80th birthday at the beginning of the year, has taken it upon themselves to release reissues of Holger's music in order to make it accessible once again.

Upon examining the eventful life of Can bassist Holger Czukay, one might
conclude that this intrepid musician was a loner. His turbulent career exuded
an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly
emphasized that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an anonymous
manifestation that interacted with him through radio waves or, as happened
ater, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a
Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble,
his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records,
who already released the highly acclaimed retrospective 'CINEMA' to mark
he occasion of Holger's 80th birthday at the beginning of the year, has
aken it upon themselves to release reissues of Holger's music in order to
make it accessible once again.

Upon examining the eventful life of Can bassist Holger Czukay, one might
conclude that this intrepid musician was a loner. His turbulent career exuded
an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly
emphasized that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an anonymous
manifestation that interacted with him through radio waves or, as happened
later, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a
Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble,
his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records,
who already released the highly acclaimed retrospective 'CINEMA' to mark
the occasion of Holger's 80th birthday at the beginning of the year, has
taken it upon themselves to release reissues of Holger's music in order to
make it accessible once again.

We are excited to release a 6-track EP from San Francisco based DJ, producer, and remixer Sepehr Alimagham. The San Jose native has been a fixture in the Bay Area house and techno scene for quite awhile now — on the dance-floor, behind the decks, in the studio, or all of the above. Early influences like Boards of Canada, Aphex Twin and post-hardcore bands later in high school started his affinity for off-kilter, underground music. In 2017 he began performing live PA sets, utilizing his immense production backlog to perform vivid and electric sets, from potent dance music to psychedelic and esoteric soundscapes.

"Body Mechanics" is six tracks of acid drenched dance music that ebb and flow from floor filling club thumpers to more cerebral soundscapes. Inspired by the new wave of the acid sound as well as nostalgia from his formative years in the San Francisco music scene, 'Body Mechanics' takes a functional, yet psychedelic approach to 303 styled techno and electronica. Attention demanding basslines, indiosyncratic structures and hallucinatory atmospheres provide an effective framework for Sepehr's vision. The themes of the track titles take root from a series of dreams Sepehr had with a common atmosphere of strange characters and textures, akin to scenes from David Lynch's 'Twin Peaks'. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket featuring a dark and inviting cyborg hand holding a rose designed by Nicole Ginelli.

The first track is "Forgotten Graves" (which is exclusive to this release) & the second track is 'Tombes Oubliées' with Rike (Friedrike) Bienert providing the vocals which is off the forthcoming self titled BJM album. With Sara Neidorf on drums , Hakon Adalsteinsson on guitar & Heike Marie Rädeker on bass supporting Anton Newcombe in these sessions that were recorded between December 2017 & January 2018 at Cobra Studios in Berlin . The band have just completed successful tours of the USA ,Canada , Australia , New Zealand & Europe . "Forgotten Graves" is released in the same month as the world commemorates the hundredth anniversary of the World War 1 ('the war to end all wars') , this war never ended any other war & more forgotten graves are being added every day.

Ever since Onom Agemo & The Disco Jumpers broke the dreaded curse of the difficult second album by releasing "Liquid Love", a cocktail so spicy and delectable that it could warm the cockles of the grumpiest man alive's heart, even in the most Arctic conditions, everybody wondered how the Onom crew could top that one. But now you have an opportunity to whip out your "Magic Polaroid" as proof that this wasn't an impossible Project. Never before has the band so successfully captured their full-on live sound as they do here, thanks to three days of recording frenzy at Daniel Nentwig and Sebastian Maschat's Butterama studio, a haven of analog hardware hidden in a remote part of Berlin's Neukölln district. The exploding kaleidoscope of styles that make up this album, perfectly reflected by the stunning cover artwork from Nick Henderson and photography by Christoph Rothmeier, means that they can no longer be confined to their early description as an "Afro-Funk Quintet" or merely described as a lively tribute to the artists which have influenced them: their sound is 100 per cent pure uncut Onom Agemo, even though every track feels like a new beginning. The presence of a charismatic in-house vocalist who brought her own lyrics along has also boosted their confidence considerably and provided a further knock-out punch to their onstage performances.
And no one will be disappointed as soon as the first bars of "The Trumpets Of Denmark" stomp on stage like a boisterous fanfare, with Johannes Schleiermacher's impressive wall of sound production making the musicians sound like a much bigger band than what their line-up suggests (with Maria Schneider from Andromeda Mega Express Orchestra adding some extra percussive clout) and just the right amount of dizzying cross-rhythms to steer it away from potential bombast. When Onom Agemo's powerhouse vocalist Natalie Greffel starts chanting what at first sounds like a string of Onomatopoeia, it soon becomes clear that she's laying down her manifesto for a nostalgic Space-Age yet to come, with a few key words serving as Mantra (Focus, patience, tears and creation): an invitation to drive off the Information Superhighway and its endless litany of polite noises, to redirect our gaze inside ourselves and learn to understand and sometimes question how others perceive us.

Eyedress Ist Das Pseudonym Des Philippinischen Künstlers Idris Vicuña, Ehemals Leadgitarrist Der Psychedelic-indie-noise-pop-band Bee Eyes Aus Manila.
Idris Veröffentlichte Seine Erste Solo-platte Mit Dem Titel "hearing Colors" Im Jahr 2013. Von Musik-blogs Gefeiert, Führte Dies Zu Seinem Ersten Plattenvertrag Beim Xl Recordings Verlag Abeano. Später Im Gleichen Jahr Veröffentlichte Eyedress Seine Ep "supernatural", Die Von Medien Wie The Guardian Und Nme Viel Lob Erhielt. 2016 Veröffentlichte Er Sein Zweites Album "shapeshifter" Auf Seinem Eigenen Label Babe Slayer.
Nun Ist Er Unter Vertrag Bei Dem Britischen Label Lex Records Und Veröffentlichte 2017 Sein Drittes Album "manila Ice", Ein Album Über Liebe Und Überleben Auf Den Philippinen.
Sein Neustes Album - sensitive G Wird Von Einer Ausführlichen Us Tour Begleitet Und Erscheint Im November.

Sonne Ra Und Retrogott Haben Eine Platte Zusammen Gemacht. Sie Heisst "sonnengott" Und Ist Gut. Als Featuregast Sind Hazenberg Und Doz9 Mit Drauf. Produziert Wurde Von Retrogott, Dude26, Dexter, Suff Daddy, Dj Ara, Jay Spaten, Dramadigs, Twit One, Hulk Hodn, Beatvadda Und Flofilz!

Major Keys is a brand-new audiophile label focusing on fully licensed reissues of jazz classics, pressed on 12' for a fuller, louder version compared to the original album cut. What better way to kick of the series than housing Herbie Hancock's imitable 'Chameleon' and 'Watermelon Man', loud and proud on either side of a 12' - remastered and cut by the engineer of the original Head Hunters LP from 1973.
They don't get much more iconic than 'Chameleon'. Nestled on the incredible 1973 'Head Hunters' album it's a 16-minute exploration of legendary jazz funk - having all the sensibilities and solos of a jazz record, yet grounding its rhythms in funk, soul and R&B. Even, as its title suggests, morphing from a low slung slow jam into a full-on, fast paced spiritual gem. Lock in for one of the most iconic basslines around courtesy of Paul Jackson, alongside some of the sweetest synth and Rhodes playing you're likely to hear from Herbie, all tied together with Harvey Mason's mythical drumming. Sampled the world over by the biggest and the best this is a truly timeless and hugely influential piece of music.

On the B side, the equally intriguing 'Watermelon Man'. This version, again taken from the Head Hunters LP, differs from the Blue Note bop '62 original, with Hancock developing it into a jazz fusion expedition. Bill Summers top and tails the track with a style of beer bottle blowing imitating a type of whistle playing found in Central African Pygmy music, giving a unique flavour to Hancock's jazz funk stylings that focus on the rhythmic interplay between each instrument. From Dilla to Digable Planets, Madonna to Massive Attack it's a classic that's sampled time and time again for good reason.

Erstmals auf Vinyl als 2LP-Set erhältlich, gepresst auf 180g schwarzem Vinyl. TIMELESS - THE ALL-TIME GREATEST HITS enthält 21 zertifizierte Klassik-Tracks von einer der kommerziell erfolgreichsten und renommiertesten Bands der Welt in der Geschichte der Popmusik. Jeder Track auf TIMELESS wurde von Barry Gibb persönlich ausgewählt und sequenziert.

Massive debut from Chontane
Industrial Techno x UK Hardcore x Electro
Featuring a roof raising JoeFarr remix.

For fans of: Deapmash, Ansome, Scalameriya

DJ SUPPORT:

FJAAK
Peder Mannerfelt,
Scalameriya
Manni Dee
JoeFarr
Lag

'Sounds from the Great House! Outernational Sounds proudly presents a Nimbus West spirit jazz essential: the Creative Arts Ensemble's classic debut One Step Out. Mastered at 45rpm on double vinyl for enhanced sound, this release features all tracks at full length for the first time on wax.

One of the most sought after and highly regarded titles to have appeared on Tom Albach's celebrated Nimbus West imprint, the Creative Art Ensemble's One Step Out is a timeless work of spiritualised jazz. A true gem from the Los Angeles jazz underground, the album was pianist and composer Kaeef Ruzadun Ali's first recording as leader of the Creative Arts Ensemble, the only large ensemble group that emerged directly from Horace Tapscott's legendary Pan Afrikan Peoples Arkestra community jazz group.

A Los Angeles native, Kaeef was introduced to the Tapscott circle in the late 1970s. His first experience of the Arkestra's ethos was through PAPA tenorist Michael Session, who took him to the famous 'Great House' at 2412 South Western Ave., LA - a large mansion house which members of the Arkestra had taken over as a space for communal living. Life in the Great House was a continuous stream of music, dance and community events. 'When I walked in there,' recalled Kaeef, 'it was like this whole rush came over me, just from going in the front door...It was like a very, very warm feeling of love. I went and I came out with 'Flashback of Time', and that was my first arrangement.'

Kaeef quickly became a significant contributor of compositions to the Arkestra's songbook - his piece 'New Horizon' would be recorded by Horace Tapscott for the latter's Tapscott Sessions series. But 'Flashback of Time' would eventually appear on One Step Out, played by the new group he had put together from stalwart Arkestra members. Inspired by both Tapscott's example and by the Art Ensemble of Chicago, Kaeef had wanted to follow their lead by assembling a larger unit. 'I would like to form a group that would be an extension of the Pan Afrikan Peoples Arkestra,' he told Tapscott. The group was to be known as the Creative Arts Ensemble, and One Step Out, released in 1981 by Nimbus West, was their debut.

Featuring seasoned Arkestra regulars including reedsman Dadisi Komolafe, drummer Woody 'Sonship' Theus and altoist Gary Bias, with veterans Henry 'The Skipper' Franklin on bass and George Bohannon on trombone, One Step Out is a key document of the Los Angeles radical jazz underground. Featuring the sanctified vocals of Kaeef's sister, B. J. Crowley, the album is a tour de force of spiritually energised independent jazz music. Community uplift and sacred vision straight from the Great House, back on vinyl for the first time since 1981!

Keysound Recordings are proud to announce the unearthing and release of a collection of lost deep tech dubs from Hugo Massien. After releases on labels such as XL Recordings, E-Beamz, Tectonic and Audio Rehab comes a 12' of tracks that date from 2014 -2016. Dark, percussive yet catchy, the productions originate from the peak years of London's underground deep tech scene, at a time where the movement bubbled with an abundance of energy and creative possibilities. Massien was one