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Emerging from the epic Scottish house and techno scene of the 90s, George Thomson started his musical adventures as a promoter, bringing to Scotland DJs from Chicago, New York, Toronto, Paris and London to play at the legendary Tribal Funktion parties in Edinburgh.

Aside from co-founding Edinburgh's Underground Solushn record shop, he also started producing his own blend of techno and house in the mid-nineties. This led to a string of releases with seminal labels such as NRK, Stickman, 2020 vision, Crosstown Rebels, Tirk and more recently Greco-Roman and Output Recordings. His various monikers from then and now include Plastic Avengers, George Demure and more recently the George part of of Jeanga and George.

After a move to London in 2000 his George T moniker began a long hiatus. Nothing was heard until Joe Goddard released an EP of rediscovered hidden gems on Greco-Roman in 2017. This awoke the fire within and he’s back today with the first new George T material in 19 years.

The Midway EP was recorded in North London over a period of 2 years, using only analog gear and embracing memory, movement and the moment. These four tracks are a love letter to club life, both then and now. This love is best demonstrated with the four accompanying short films using either nightclub footage from 1996, slow motion lido footage or Bauhaus triadic ballet inspired time lapse choreography.

This classic funky blaxploitation soundtrack rarity is one of the toughest soundtracks to come from the early '70s' Black action cinema movement.

Produced by the legendary Johnny Pate a master of Funky score.

Dynamite Cuts unleashes 4 gems culled from the original album, and now for the first Time on the 45-vinyl format.

Club classic "You Can't Even Walk In The Park", “Shaft in Africa “, “Truck stop” and El Jardia.

This is one of the most blistering jazz funk soundtrack cuts around.! A frenzy of horn stabs, with percussion and wah wah guitar

...all topped off with everlasting classic drum breaks!

The third release from Night Dreamer’s essential “Direct-to-Disc” sessions sees an incredible meeting between legendary US saxophonist Gary Bartz and leading UK spiritual jazz ensemble, Maisha, featuring two Bartz classics and three brand new joint songs written by both Bartz & Maisha in close collaboration. Having cut his teeth playing with the likes of Charles Mingus, Max Roach, Art Blakey and finally in 1970, Miles Davis at the peak of his electric period, Gary Bartz became a leading figure of the early-to-mid 70s spiritual jazz movement, releasing a string of ground-breaking albums on legendary NYC jazz label Prestige Records with his NTU Troop, featuring classics such as “Celestial Blues”, “Uhuru Dance” and “I’ve Known Rivers”, before collaborating on Blue Note Records with the Mizell Brothers on the anthemic jazz funk of “Music Is My Sanctuary”. An oeuvre much loved by soul jazzers and hip hop fans alike. Led by drummer Jake Long, Maisha have been central to the UK’s jazz explosion, and have fast become the UK’s most exciting and in-demand young spiritual jazz ensemble, from steller shows at Jazz re:freshed, Total Refreshment Centre & Church of Sound and supporting the Sun Ra Arkestra, to releasing their critically acclaimed debut LP, “There Is A Place” on Gilles Peterson’s Brownswood Recordings in 2018. Theirs is an organic & explosive sound that blends influences from afrobeat and broken beat to Persian music, with a deep love and understanding of jazz, particularly the heritage of spiritual jazz led by titans such as Pharoah Sanders, Alice Coltrane and of course, Gary Bartz. Which makes this collaboration even more special. Bartz was first invited to share a stage with Maisha by Gilles Peterson to headline the inaugural We Out Here festival. Their chemistry was rich and instantaneous, certainly a two-way street, with the young musicians reinvigorating the legend’s performance and wowing the intergenerational festival audience. A European tour followed, including a London Jazz Festival highlight at the Royal Festival Hall, celebrating the 50th anniversary of his album “Another Earth”, originally featuring fellow legends, Pharoah Sanders, Charles Tolliver, Stanley Cowell, and John Coltrane’s own bassist, Reggie Workman. Now the relationship has evolved into a special straight-to-disc recording for Night Dreamer Records, that captures the vitality of their collaboration. Whilst Bartz and Maisha reinvent classic Bartz compositions “Uhuru Sasa” and “Dr Follows Dance”, extending the pieces into long piece improvised grooves, their recording session gave birth to three brand new joint compositions, written the very same day. These include the propulsive “Leta’s Dance” that magically combines the Bartz’ soulful musical lyricism with Maisha’s African-jazz influences, and the organic jazz funk of “Harlem to Haarlem”, featuring a hot solo from guest trumpeter Axel Kaner-Lidstrom of Cykada & Levitation Orchestra fame. Like previous Night Dreamer efforts from afrobeat star Seun Kuti & Egypt 80, and the beautiful
collaboration between Brazilian stars Seu Jorge & Rogê, the album was recorded in Haarlem’s Artone Studio, a stones throw from Amsterdam, in just one-take, straight-to-disc, avoiding postproduction embellishments and retaining the purity of the performance lost in modern recording techniques. This record really is an event, in and of itself, a meeting of talents, minds, generations and zeitgeist moments, captured in a unique and pure manner. The music does not disappoint, as Maisha have been inspired to reach new heights whilst we find Bartz truly reinvigorated, and both artists in tune to the spirit of the other.

Benannt nach einer analogen Drum-Machine, die LA Priest aka Sam Dust aka Sam Esatgate sich selbst erträumt und gebaut hat, ist GENE der Nachfolger des von Trüffelschweinen gefeierten Debütalbums Inji aus 2015 und der Kollaboration mit Connan Mockasin, Soft Hair, in 2016. Und natürlich ist diese Drum-Machine, die Sam über zwei Jahre erdacht und ertüftelt hat, der Dreh-und Angelpunkt dieses Albums. Es ist die bisher vollständigste Umsetzung seiner Vision. Diese Songs sind auf der Suche nach Sinn, sie erforschen die Grenzen der Fähigkeiten ihres Schöpfers.

LTD Edition!

Benannt nach einer analogen Drum-Machine, die LA Priest aka Sam Dust aka Sam Esatgate sich selbst erträumt und gebaut hat, ist GENE der Nachfolger des von Trüffelschweinen gefeierten Debütalbums Inji aus 2015 und der Kollaboration mit Connan Mockasin, Soft Hair, in 2016. Und natürlich ist diese Drum-Machine, die Sam über zwei Jahre erdacht und ertüftelt hat, der Dreh-und Angelpunkt dieses Albums. Es ist die bisher vollständigste Umsetzung seiner Vision. Diese Songs sind auf der Suche nach Sinn, sie erforschen die Grenzen der Fähigkeiten ihres Schöpfers.

2x12"

since long, chilean/swiss producer and dj luciano is a prominent figure in the global electron-ic club music circle. already from a young age on he was exposed to music profoundly, as his father worked as a jukebox repairman and possessed a large record collection.

when he was twelve, his mother gifted him a guitar, that turned luciano shortly into a mem-ber of a school punk rock band. soon after, his passion for electronic music rose. infected by detroit techno and engaged by close friends like producer dandy jack, he started to play rec-ords in local santiago de chile dance clubs and became involved in the minimal techno scene around friends like ricardo villalobos.

when luciano moved back from chile to switzerland in 2000, he established a residency at weetamix club in geneva, started releasing his own productions on labels like mental groove and joining the cocoon team in ibiza to play at the famous monday night at club amnesia.

since then he is a regular on the balearic island, holding residencies at clubs like dc10 or, with his “vagabundos” serial, at ushuaïa. besides playing around the globe with the likes of carl craig, richie hawtin or loco dice, he is releasing groundbreaking minimal techno and house on his label cadenza since 2003, featuring music by artists like nsi, ricardo villalobos, pikaya, reboot, maayan nidam and himself.

his very own music, so far issued on three albums and countless eps, was always ambiguous. there is his club leaning creativity that can dance slightly into pop spheres while never for-getting the power of precise sliced rhythms and subtle bass sensations.

and then there is a calmer luciano, that displays his love for “music to listen at home, done for a spiritual travel, an inner universe and a moment paralyzed in ether”, as he describes it.

on his first ever mule musiq album release “luci neu house”, luciano now delivers meditative journey music full of repetitive patterns that slowly playing tricks on the listeners subcon-sciousness. “i love music that has a dimension more than music designed for the radio or tv format. mu-sic, that is designed to bring you a higher level of energy and creativity.

so, there is no pretentious things in it ... more just sounds and dimension that will lead your head into the fall of jupiter” he reveals about the one-hour long composition “luci neu house”, whose esoteric deepness reminds on the intensely meditative class of his older pro-ductions like “behind my soul” from 2010.

an epic tune cut on vinyl into four 15-minute long pieces, who shift slowly, almost unper-ceived, whilst absorbing the mind of close observers into a micro-sliced world of moving gen-tleness.

maelstrom magnetism against the gravity of time, that also can be found on the additional mule musiq 257 12inch, which functions as a soothing footnote to luciano’s album.

the almost 13 minutes long trip “flags of himalaya” opens with restful percussions that unhur-riedly start to dance with soft string, piano and horn melodies. on the opposite, the nine-minute long “the evasion of the spiritual soldier” grooves laidback with jazzy rhythms and italo leaning melodies.

a perfect tune for slow dance sensations and endless sunset seaside drives. at a total length of almost 90 minutes, all new mule musiq music composed by luciano distributes a mesmer-izing healing spirit, that grounds organically, even if it is totally rooted in the digital, soft-ware driven world of composing music. “check your buddha” tunes, that somehow sound novel during each new listening circle.

It was time for us to make a move into the world of ambient new age music. Released only on cassette and CD in 1986, Paul & Mark made Quiet Water from a single guitar and a Yamaha DX synth.

Quiet Water consists of the amazing 'Summer Daydream' and 'Restful Sleep' that clocks in over 20 minutes. Cover is recreated from the original cassette and extended by hand painting by the original artist, Danny Flynn.

We recommend you put this on the turntable and just relax. Prepare for a musical journey. A journey that you probably never have been on before. We cannot recommend this release enough.

Officially licensed, remastered for vinyl, only 500 pressed.

"I think most of it takes place in dreams," Caleb Landry Jones says of his debut solo album, The Mother Stone. "I'm talking more about dreams than I am about what's happened in the physical realm. Or I'm talking about both, and you're not sure what's what." Caleb Landry Jones was born in Garland, Texas in 1989 and comes from a long line of fiddle players. Three, maybe four generations back, on his mother's side. His grandfather wrote jingles for commercials, his mother was a singer-songwriter who taught piano lessons in the house, and his father was a contractor who did a lot of work for the Dallas music-equipment retailer Brook Mays and knew a guy if you needed a bass or a banjo. But Jones is not sure if you can hear any of this in his music and he does not play the fiddle. Jones has been writing and recording music since age 16, around the same time he started acting professionally. Played in a band called Robert Jones for a minute, lost his guitar player to higher education, moved into his own place, and broke up with somebody, at which point the songs really started coming hard and fast. "I started playing guitar and playing more keys," he says, "and then started writing record after record after record after record, because I didn't know what to do with myself. It was a good way of healing. And it felt like as soon as I started doing it, it felt like it needed to happen all the time." In the ensuing years he'd spend a lot of time carrying unrecorded songs around in his head like goldfish in a bag, waiting for a chance to record them in marathon sessions in his parents' barn. "You gotta play the songs every day, or every two or three days, to keep `em," he says. "Otherwise I forget them." Sometimes the ideas fuse together, one chapter to the next; this is how songs grow into seven-plus-minute epics like the ones on The Mother Stone. His back catalog is around seven hundred songs deep_ a whole discography of full albums, most of them unheard outside the barn, at least for now.

It's auspicious that Sonic Boom-the solo project and nom-de-producer of Peter Kember (Spectrum, Spacemen 3)-returns in 2020 with its first new LP in three decades. Kember's drawn to the year's numerological potency, and this intentionality shines into every corner of All Things Being Equal. It's a meditative, mathematical record concerned with the interconnectedness of memory, space, consumerism, consciousness-everything. Through regenerative stories told backwards and forwards, Kember explores dichotomies zen and fearsome, reverential of his analog toolkit and protective of the plants and trees that support our lives. Sonic Boom's second album and first for Carpark began in 2015 as electronic jams. The original sketches of electronic patterns, sequenced out of modular synths, were so appealing that Stereolab's Tim Gane encouraged Kember to release them instrumentally. "I nearly did," confesses Kember, "but the vibe in them was so strong that I couldn't resist trying to ice the cake." Three years later, a move to Portugal saw him dusting off the backing tracks, adding vocals inspired by Sam Cooke, The Sandpipers, and the Everly Brothers (which he admits "don't go far from the turntable pile"), as well as speculative, ominous spoken word segments. His new home Sintra's parks and gardens provided a different visual context for Kember's thoughtful observations, and he thematically incorporated sunshine and nature as well as global protests into the ten resulting tracks. "Music made in sterility sounds sterile," he says, "And that is my idea of hell."

This Spring, Life And Death hits a half century of releases with a suitably standout album from leftfield innovator Autarkic. Terms and Conditions is a 10 track window into the Tel Aviv artist's rich, wildly-infused electronica.

Critical acclaim has followed Nadav Spiegel's every move since he debuted in 2015. He is impossibly hard to pin down, and brings real songwriting ability to club tracks that colour far outside the usual lines. Weird dub, psychedelic rock, all forms of wave, sideways pop, swampy techno, Middle Eastern subtleties and plenty experimental in-between sounds all inform his work. It defies convention in ways many cannot, and has come on labels like Disco Halal and Turbo, as well as Life And Death with the Heavy Dreamer EP in 2018.

2016 and 2017 brought his first two albums, Can You Pass The Knife? and I Love You, So Go Away, both on Disco Halal. Both were full of intensely emotional wave, synth and lo-fi sounds that fizzed with innovation. Says the artist of its follow up, "Terms and Conditions was created to celebrate the moment in time that is now. The moment we became peasants in a new digital-feudal world, happily giving away our privacy for the privilege of owning a smart phone."

Terms and Conditions is a unique melting pot, a reimagining of familiar sounds in unfamiliar ways, and is another standalone record from Autarkic.

Repress!

Just when you think that the well of obscure music from around the world has run dry, Analog Africa returns to put the record straight. Pop-Makossa shines a light on a glorious but largely overlooked period in the story of Cameroonian makossa, when local musicians began to replace funk and highlife influences with the rubbery bass of classic disco and the sparkling synth flourishes and drum machines of electrofunk. The resultant compilation, which apparently took eight years to produce, is packed full of brilliant cuts, from the heavily-electronic jauntiness of Pasteur Lappe's "Sanaga Calypso" and horn-totin' Highlife-disco of Emmaniel Kahe and Jeanette Kemogne's "Ye Medjuie", to the dense, organ-laden wig out that is Clement Djimogne's "Africa".

After a long hiatus, Tokyo-based french producer Dela comes back with Électrique, a new project paying tribute to hip-hop legends André 3000 and Big Boi, known together as OutKast. This new 7inch record includes three tracks of Électrique : Yosky Wosky Pisky Wisky, Dimanche Matin, and the bonus track Cergy.

Known for his laid-back, jazz influenced, dreamy rap instrumentals, Dela introduced his music to the world with his Atmosphere Airlines mixtapes and his albums Changes Of Atmosphere (2008) and Translation Lost (2011). A student of Q-Tip, Pete Rock and J-Dilla amongst others, Dela’s work foreshadowed today’s increasively popular lofi hip-hop / chillhop movement.

Side A features Yosky Wosky Pisky Wisky, a remix of Stankonia’s classic Humble Mumble, featuring Eykah Badu. Dela changes the mood of the original track, mixing samples and live instrumentation together to turn a salsa-breakbeat groove into a melody infused otherworldly super-funk.

On side B, Dela remixes Sole Sunday, a Goodie Mob featuring Outkast track, edited to feature only the two ATLiens and renamed Dimanche Matin. The beat is reminiscent of his early work, layering boom bap drums over a haunting saxophone melody. Also on side B, the bonus cut Cergy turns a Brazilian MPB sample into an ode to Dela’s hometown with the help of live drums, bass, electric keyboards and a few of his friends singing.

Adamant Scream back on PRSPCT XTRM with her 2nd Vinyl EP.

We would like to write an amazing funny as fuck promo text again but were simply not in the mood. This whole Corona thing is one massive mood killer isn't it? Like the ultimate No Fun Virus! At least most people with HIV for instance had a ton of fun while contracting the disease. With Corona however there is no fun part anywhere from start till finish which makes it way worse + putting on one massive condom still won't allow you to go out raving. Shit is fucked pff...

Ok, well, on to the promo text we go:

Adamant Scream's brand new 4-tracker contains everything great about Industrial Hardcore. Proving once again that there actually is a movement working hard to "make hardcore great again".
Malin Kolbrink is one talented producer and this EP proves that. Sure she might be a woman but here at PRSPCT we don't give a fuck about what your downstairs mix-up situation is. All we care about is how banging your tracks are and damn these 4 tracks are BANGING!

75% solo tracks + 25% collab with Thrasher = 1000% awesome.

This Breaks My Fucking Heart EP is one of those records you need to own on black gold, so buy this fucker while you're still alive & kicking and not stuck to some breathing machine!

Lamunai Records is proud to announce Titik Api, the 2nd opus of the Indonesian master Harry Roesli, recorded in 1975. Political activist, prominent member of the Tradisi Baru Movement (New Tradition) who
emerged in the 1970s, Harry Roesli worked with musicians, poets, playwrights who were commited to experimenting indonesian traditional culture. Titik Api is another successful effort to blend Indonesian's traditional instruments, such as gamelan, with Western music from progressive to funky hypnotic groove.

"ATA Records" is pleased to announce the release of Early Works: Funk, Soul & Afro Rarities From The Archive, a compilation of tracks that were recorded at the very outset of the label and haven't been available since the initial limited run (Released as Funk, Soul & Afro Rarities: An Introduction To ATA Records on Here and Now Recordings) sold out 5 years ago.

Since 2013 label founders and musicians Neil Innes & Pete Williams have been tirelessly fulfilling their shared dream of making the records they weren't hearing. Having spent years working in various bands both players felt the desire to break free of the constraints of working within another band and started on the slow path to creative autonomy by starting to work on the 12 tracks presented on this compilation.While deliberating their next steps they were approached by Here & Now records who licensed the 12 tracks and released them under the titleFunk, Soul & Afro Rarities: An Introduction To ATA Recordsin 2014 as a limited run of 300 copies that sold out within weeks of release.

Now in 2020, celebrating their 5th year of running successfully as a label in their own right, ATA are re-releasing these 12 tracks on a new vinyl pressing under the titleEarly Works: Funk, Soul & Afro Rarities From The Archivewith new artwork and liner notes that detail the labels birth.

The compilation features 12 tracks that include the very first 3 tracks from The Sorcerers that led to their self-titled debut LP & the first proper release on ATA, as well as the first recordings by The Mandatory Eight and The Yorkshire Film and Television Orchestra.

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.

Iconic cultural engineer and prolific music pioneer Daniel Miller, aka The Normal responsible for the timeless post-punk / wave classic “Warm Leatherette” and founder of Mute Records, collaborates with avant-techno artist Nicolas Bougaïeff to instigate another revolution with the inaugural release as Populist on Avi Caspi’s newly founded imprint The Temple and The Low Dive. Miller and Bougaïeff provide four purist modular techno explorations that are prepared to carry the listener into stellar dimensions. Introductory A1 track “Center” is a sophisticated, minimalist, stripped down piece with dynamic elements and a cinematic aesthetic that introduces the mood of the entire EP, defined by spectral micro movements and a touch of liquid textures.

Further navigation through the EP reveals more of the aesthetic intent while, at the same time, retaining a specific uniqueness found in each track. There is a definitive interstellar cosmic feeling throughout that brings the future back to the present and with B2 track “Temple” we discover that Miller and Bougaïeff are no strangers to a provocative and discerning dancefloor. “Temple” guarantees ecstatic dance floor moments that define experience. The digital bonus track “Dogma” continues to keep up the pace and here is what will be imminently essential for any serious purveyor of explorative techno to include in their repertoire.

This first installment on The Temple And The Low Dive gives us something that is as special as it is unique, paying homage to one of electronic music culture’s most admired artists and icons, and introducing the world to new artists and proponents of the global electronic scene, Caspi and Bougaïeff. TIP!

On his third solo album, following the success of "Éternel été", the founder of the electro duo Nôze is exploring, through piano and synths, the encounter between poetry and song. In this new work he has set to music verses by William Shakespeare, Victor Hugo, Pablo Neruda and on three songs, those of the poet Marceline Desbordes-Valmore, a pioneer of romanticism who notably influenced Verlaine and Baudelaire.

But what does this Oh !, giving its title to Ezéchiel Pailhès' third solo album, stand for? Is it an Oh ! of surprise, admiration or pain? "It is rather the Oh ! found in romantic poetry" says the French composer and singer with his deep and sweet voice. "An interjection that refers to a form of lament", even though it can convey other emotions such as complaint, nostalgia, a sad delight or a longed-for solace.

In Tout va bien, his previous album released in 2017, Ezéchiel Pailhès had set two Shakespeare sonnets to music. One of them, "Eternal été" has become a great success, thanks to its lines tinged with spleen and bliss. "Poetry, and its musicality, have always been part of my universe. For this new album, I therefore wanted to explore further the adaptation of poems into songs. "Bien Certain" is, once again, taken from William Shakespeare. "Tu te rappelleras" comes from Pablo Neruda's collection La centaine d'amour. "Oh ! Pourquoi te cacher ?" is from Victor Hugo. As for "Sans l'oublier", "La sincère" and "J'avais froid", they were all written by Marceline Desbordes-Valmore, a 19th century French poetess, still fairly unknown".

With Oh !, Ezechiel Pailhès has become more of a singer than ever before, through seven songs and four instrumental compositions, with intimate and warm modulations, carried by hypnotic piano melodies, instruments with unusual timbre and a subtle electronic production that recalls his past productions with his former duo Nôze.

"I wanted to expand my music further into songs" Ezéchiel adds, "to work more with my voice as a solo instrument and to limit the overlapping of voices and choirs found in my previous records". Produced in his Montreuil home studio, Oh ! is nevertheless imbued with an emotion found in his previous albums, close to 'saudade' or a slight melancholy, sometimes enhanced by chosen texts that evoke the disappointment of love, the longing, the distance between two people, or even men's weakness. "These poems evoke themes that may seem far from the concerns of our times. Yet, they are timeless and eternal; they manage to convey emotions that can often be difficult to say or write."

Among the texts chosen for this new album, the verses of the poet Marceline Desbordes-Valmore (1786-1859) are on a par with William Shakespeare's sonnets or Pablo Neruda's poem found on the same record:

" Sans l'oublier, on peut fuir ce qu'on aime.
On peut bannir son nom de ses discours,
Et, de l'absence implorant le secours,
Se dérober à ce maître suprême,
Sans l'oublier ! "
(…)
" Sans oublier une voix triste et tendre,
Oh ! que de jours j'ai vus naître et finir !
Je la redoute encore dans l'avenir :
C'est une voix que l'on cesse d'entendre,
Sans l'oublier ! "
"Without forgetting, we can run away from what we love.
Banish their name from our conversations,
And, begging the absence for consolation,
Escape the grip of this supreme master,
Without forgetting! "
(…)
"Without forgetting a sad and gentle voice,
Oh, how many days have I seen rise and fall!
And still I fear from the future:
A voice that can no longer be heard,
Without forgetting! "

Although less known today than her male counterparts, Marceline Desbordes-Valmore marked her times and the Romantic movement through the quality of her texts and her formal inventions, which Balzac admired, and whose influence seems to have been decisive on Verlaine and Baudelaire.

"Marceline Desbordes-Valmore's poetry is highly musical," says Ezéchiel with admiration. "Her artistry with rhythm and repetition sounds very good and takes on a new dimension when set to music. She even meant for some of her texts to become songs"

Kamasi Washington's wide-reaching double album Heaven & Earth arrives on Young Turks. Much like his previous releases, Heaven & Earth once again finds Kamasi setting out to expand the minds and horizons of all who encounter his music. Recorded as a double album, this expanded canvas gives his trademark tones the opportunity to offer a wider than ever before selection of fully immersive, freestyling psychedelic jazz that carries a distinctly spiritual edge.In an instant, Heaven and Earth really burrows deeper into the external cosmos that we were left circling around the edge of with his debut long-player, The Epic (released in 2015 via Flying Lotus's Brainfeeder label), yet it also carries us further into the distance of the deeply cinematic overtones that his debut Young Turks EP, Harmony of Difference pointed us in the direction of. While it is both instantly recognisable as a Kamasi Washington recording, Heaven and Earth's luxurious running time matched with a searching narrative sees Kamasi breaking out of any sounds or scenes he may be associated with, smoothly transcending into new, dynamic and sonically experimental levels and counterpoints of his now widely praised signature sound.
Washington convened his band, The Next Step, as well as members of the long running collective The West Coast Get Down at Henson Studios in Los Angeles to record the 16 tracks on Heaven & Earth. The music was composed, written and arranged by Washington, with new arrangements of jazz and bebop legend Freddie Hubbard's 'Hubtones' and iconic kung fu film theme 'Fists of Fury,' as well as one song by bandmate Ryan Porter. Thundercat, Terrace Martin, Ronald Bruner, Jr., Cameron Graves, Brandon Coleman, Miles Mosley, Patrice Quinn, Tony Austin and many more contribute to the album.Stretching out at two and a half hours of entirely newly recorded music, Kamasi Washington paints a vision of Heaven and Earth that is spread across two sections with eight movements apiece. It sees him wrestling with and attempting to make sense of the meaning of both Heaven and Earth within his mind and his place within the wider universe as a whole, with the Heaven side representing the world Kamasi sees inwardly, the world that is a part of him, while the Earth side represents the world he sees outwardly, the world that he is a part of. An existential experiment with saxophones that's set to take you on a journey that is as widely thrilling as it is deeply searching.

The Advent (Cisco Ferreira) delivers his first full-length Electro album in 17 years. Released this May on Sync 24's burgeoning Cultivated Electronics label, 'Life Cycles' finds the past meeting the future. Because, to get a truer feel for this new long-player, we should head back even further to a 1995 classic - The Advent's debut album, 'Elements Of Life'. In fact, fans will recognise a nod to the original artwork of that seminal release, as 'Life Cycles' takes us full circle, containing unreleased Electro gems from the '90s, available for the first time.

"I have been making electro music for nearly 3 decades now and excited to see that it is in demand with this new wave of talented producers out there. 'Life Cycles' is an album where I explore my older past and connect with the future, 2020 and this new electro generation," says Cisco. Ever since Cisco Ferreira discovered Acid House in the London clubs he frequented, his journey has been about making his mark on the electronic music scene.

Fresh from college he landed a job as assistant sound-engineer in several recording studios where he learned the art of translating feelings to frequencies, recording high profile artists from the world of Rock, Pop, Dance and Reggae. When acid label, Jack Trax moved in next-door, Cisco started recording for the likes of Adonis, Fingers Inc, Marshall Jefferson and Derrick May.

These rendezvous sparked the inspiration for his first EPs on R&S and Fragile. By 1994 Ferreira had signed a record deal for 12 EPs and 3 albums together with Colin McBean. This was the beginning of an era during which the duo set a worldwide standard for high quality underground Electro and Techno.

They hit the world with a refreshing sound, both as The Advent, and G Flame (Cisco) and Mr G (the alias Colin still uses today). Nowadays The Advent is a solo project for Cisco as he bombards crowds around the world with his trademark raw, energetic sound.

As much as The Advent is known for uncompromising Techno, so his Electro has been a huge influence for a lot of young Electro artists today (including his own son and sometime Electro collaborator, Zein) and when you listen to 'Life Cycles' you'll understand why. From the moment the beats kick in on track 1, 'Music Is Life' we're met with full on Advent power. The album explores classic old-school Electro vibes from the tough machine funk of tracks like 'This Is Not' and 'Vast' to the acid excursions on 'Panda', via some the ghetto boogie of 'L.U.' or 'Stasis V2'. And lest we forget what an amazing live performer The Advent is, there's even the deeply hypnotic 'Live@Motor 1998'.

The Current Inside”, Marja Ahti's sophomore album for Hallow Ground, plays with the theme of currents - connecting and animating movements in the form of air, water and electricity. It approaches sound as a poetic medium, focusing both on the experience of sound as form and energy and on a loosely narrative arc, suggesting a riddle on the relations between the sounds. It implements alternative as well as intuitive tunings, analog and digital synthesis, recordings of sonorous spaces and vessels, electromagnetic fields transduced into audio, acoustic close-ups of elements in motion and other field recordings. Fluently connecting quite diverse sound sources, Ahti's music lingers in a zone between abstract sonorities and vaguely familiar acoustic environments.

The first half of the album consists of ”The Altitudes”, a piece commissioned by Ina GRM for Présences Électronique and Sonic Acts. It was inspired by descriptions of the layers of Earth's atmosphere. Imagining a movement through layers of air, the piece unfolds with a slow intensity, interweaving concrete sounds and closely tuned electronic sonorities. Traversing the altitudes, a landscape of entangled elements, masses and currents emerges. The air around us has weight and it presses against everything it touches. As gravity pulls it to Earth, it is sensed as pressure. The rotation of the planet, the angle of the sun at any new moment sets the elements in motion in a chain reaction.

The other side consists of four shorter pieces. ”The Currents” opens with a dance of trembling charged movements. ”Lost Lake” extracts resonant tones from a trail of close-up recordings of winter environments, while ”Fluctuating Streams” channels streaming air in different forms. The closing track, ”Sundial”, could be construed as the steady turning of the planetary angle towards the sun, unfolding through fragments of everyday activity against the backdrop of piercing, slowly twisting, suspended tone.

Marja Ahti (b. 1981) is a musician and composer based in Turku, Finland. Originally from Sweden, Ahti has been a part of the Finnish experimental music scene for more than ten years in different constellations. She is currently active in the duo Ahti & Ahti with her partner and as a member of the Himera artist/organizer collective. Her critically acclaimed 2019 solo debut, Vegetal Negatives, explored a new formal language and sonic palette inspired by a short text by René Daumal.

After his Elements series on SINO and a release on Freddy K’s Key Vinyl, Benales is back with a new project on SINO. Three massive techno tools perfectly crafted. A must have.

Double Goodbyes' is the sound of Ivan Ave making the music that moves him, without necessarily putting his usual rap-hat on.
But as the album title suggests, a lot of times we find ourselves bumping into the exact things, people and habits that we thought we had left behind. His hip-hop roots shine through once again, in a weird blend of RnB, AOR and synth sounds. Sasac is the main co-creator on the record, alongside top shelf RNB and hiphop artists such as Kiefer, Mndsgn, Byron The Aquarius, Devin Morrison and more.

Studio Mule drops “Anthologia”, the final chapter of a close look on the work of the Tokyo born DJ and producer Takayuki Shiraishi, a jack of all trades, that sways through Tokyo’s vast music scene since the late 70’s, a time when post punk grooves called the tune. As part of the band BGM he released in 1980 the album “Back Ground Music” on the legendary Osaka based underground label Vanity. Last October Studio Mule reissued BGM’s no wave, free funk mini-mal treasure. A few Month earlier Studio Mule already published “Missing Link”, a thrilling retrospect on Takayuki Shiraishi's unreleased material from the late 1980s, a creative period of which only a little ever saw the light of the day.

And now “Anthologia”, a record that is dedicated to his work during the years 1990 to 1996, a time span, in which Shiraishi moved on to produce house, downbeat and playful electronica. In 1995 he released the ambient/techno 12inch “Spectral Colours” on the R&S sublabel Apollo under the alias Planetoid. Two years later he manifested his techno leaning creativity under his given name on the album “Photon”, a record that helped launching Japan’s techno scene. It was followed by two more long players, that display his wide musical taste with ambient, house, breakbeat and other genre blending styles. Besides producing, Shiraishi was also a prominent figure of Tokyo’s club nightlife, DJing alongside Jeff Mills as well as Krautrock icons like Holger Czukay.

“Anthologia” features three unreleased tunes of this lapse of time, as well as highlights some work Shiraishi produced together with his friend Jun Sonohara as Musica Nova and a hidden gem he tuned in for the “Isolated Audio Players 1” compilation, published by the Tokyo based Pickin' Mushroom Recordings label in 2000.

The three unreleased tracks display his love for diversification. “Distant Thunder” is a drone driven ambient voyage, that slowly melds into a gentle rhythmic sensation driven by loose hi-hat patterns and a soft chord crescendo. On the opposite, “Lapis Lazuli” comes around as a mellow melodic downbeat trip enlarged with twisted rhythms and cosmic infiniteness. “A Voy-age” shows his love for house music with a grooving arrangement that comes close to the kinky house gems of contemporary producers like Lowtec. Also, the already known “Isolated Audio Players 1” compilation tune “Flicker” is located in the house spheres, delivering nervous jacking minimal vibes emerging from a precise produced dance of melodies, grooves and sound effects.

In comparison, the four Musica Nova tracks show again another side of Takayuki Shiraishi’s many musical talents. “Birds in Paradise” is an elegant triphop tranquilizer, while tunes like “Nocturnal Tribes” and “Green on Green” express his passion for electronic arrangements that think out of the box with airy melodies, slow-motion big beat rhythms, jazz particles and an overall cosmic sound complexion. The tune “Shifting Sand” goes the same direction, while adding esoteric reverberations and a touch of Drum and bass.

Together the eight tracks turn “Anthologia” into something more than just an anthology of Takayuki Shiraishi’s work. In association, all compositions work like an album that overwhelms with a reasoned story-arc, who slowly rises to a hypnotizing peak, from where all downswings to a calm finish, that makes you want to start all over again.

Official Mr Bongo 7” Hip Hop Reissue.

Craft a record iconic enough and, no matter what you’ve sampled to make it, you’re destined to be sampled more yourself. It helps if you’ve got Rakim’s voice, of course. When he and Eric B went into Power Play Studios in New York in 1987 to record ‘I Ain’t No Joke’, their next move was highly anticipated due to the critical success of the duo’s first record, ‘Eric B. Is President’. Rakim was already seen as a masterful MC with a distinctive slow, baritone flow and seamless access to a rich vein of words not often heard in hip-hop.

People’s first exposure to this track was on the landmark ‘Paid in Full’ album, and it was clear this had the potential to jump off as a single. The repetitive, simply scratched sample of ‘Pass the Peas’ by the JB’s was an infectious ear worm that needed a truly strong MC to stand up to it. He did more than that – here Rakim spun timeless lyrics and lines that would go on to be sampled and referred to dozens of times down through hip-hop history. He took one of rap’s great instrumentals and wrestled it to the floor.

Of course, you can’t have Eric B & Rakim without Eric B. The DJ gets his time to shine on the flip, and while he isn’t a man renowned for his dexterity and turntablist skills, the track still knocks. Maybe it’s because Eric B has already realised what many would come to work out later: If you haven’t got Rakim on your record, at least scratch his vocals. This re-release comes with a brand new cover utilising some of Dan Lish’s trademark artwork.

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.

Jamaican artist Asha B, features on observational Roots Reggae and Grounation style vocals, with Dubs mixed by Alien Dread. The tracks were recorded at Asha B’s studio, late 2018. The vocal tracks were produced by Asha B and the vocal tracks & Dubs have been re-mixed by Alien Dread…

Asha B has been a regular session musician, not only in Jamaica, but also when he moved to the UK and has worked with most of the ‘Reggae Greats’, in particular, Jackie Mittoo, IJahMan-on tour & studio work and also studio work for many others, both JA & UK. Asha B has had several single releases to date, and also an album: Hard 2 Smile (Quartz Music - 2005).

Current 909 – Something With Black In The Name Remixed 12″
limited edition of 500 copies

If you do not know the basics, you cannot do the math - Belgian underground DJ mainstay Red D is starting Red Basics as a means to provide an outlet for his solo work. Forever inspired by a wealth of music from around the world the city of Detroit is where he always ends up and that is exactly the inspiration you will hear on this maiden release of the series. ‘Red Basics 1’ is a deep percussive house excursion with hints of Patrice Scott and Marcellus Pittman and ‘Red Basics 2’ moves into Robert Hood-styled gospel techno territory. Detroit love is where it’s at!

Ital Tek (a.k.a. Alan Myson) returns to Planet Mu with his sixth album ‘Outland‘. The album was written during a period of new beginnings following a move out of the city to a quieter space and the birth of his first child. During this time of self-imposed isolation Alan recorded a huge amount of source material and spent weeks and months sitting up at night with his newborn, listening back and making notes on how the new record should take form, focusing and developing ideas to shape this lean ten-track album.

Alan talks of the record being a collaboration between two parts of himself, something that definitely comes across as the album unfolds. Textures are something Alan excels at and on his last album, the largely beatless ‘Bodied’, it felt as if he was building a new sound-world. On ‘Outland’ he expands upon this. The album brings together the extremes of Alan's sound, contrasting roughened bass and beats with starker more detailed atmospheres and emotions.

The most beat-driven song here is ‘Deadhead’, with its gnarled bouncing bass, angular distorted melodies and cavernous textures. On tracks like ‘Bladed Terrain’ the contrasts are even more defined with buzzing drones and razor sharp drums plunging into a grainy fog, giving the track a dramatic 3D feel.

Then there are the stop-start pauses of ‘Leaving The Grid’, where the song evaporates into space before reemerging with shuddering rhythms and ghostly textures. Melodies crawl around these tracks as if they’re just waking up, as heard on the atmospheric ‘Angel In Ruin’.

The sleep-deprived fraying of the senses became Alan’s routine and one which he says gave him a renewed creative energy; half-asleep, working through the night, and then into the daytime super-focused but exhausted. Prone to audio hallucinations whilst writing the album, he aimed to capture these distortions in his perception of pitch and time, and you can hear these effects interpreted on tracks like ‘Endless’ and ‘Open Heart’ as melodies phase and slip out of time like an emotional Doppler effect.

This is also true of the soaring atonal synths at the peak of ‘Diamond Child’, which feel like the aural equivalent of eye floaters. These intuitive feelings and functions are a difficult thing to capture in sound, but Alan manages it beautifully and always makes the result feel warm and adventurous, heartfelt and epic.

A1 - Bitch - Late Nite 'DUB' Addict (Original Mix)
Is a Deep / Jackin House track with driving drum parts, deep old skool organ stabs, with lots of MPC style swing. The track is an energetic groover that could well be another hit for the (Late Nite 'DUB' Addict) who owns / runs (Digital Label) (DEEP 'N' DOPE RECORDS (UK).
If you like artists / DJ's such as (DJ Sneak / Phil Weeks / Black Loops / Dub Striker / Dumuir / Demuja / Kerri Chandler /Todd Terry / Kenny 'Dope' Gonzalez / Justin Martin / Scott Diaz / Sebb Junior + Filta Freqz) This track might be for you.


A2 - Fight For Your Rights - Late Nite 'DUB' Addict (Original Mix)
Fight for you right is most definately got the potential to become a future house anthem.
The track has allready recieved support and airplay from (London's Own) FANTASY FM
+ Groove City Radio (Scotland / Glasgow). This can only be described as deep / classic (U.S) style Garage / House / Banger, This Deep Underground but classic house track carries an abundance of energy, the track contains spoken vocals from a influential but controversial leader which gives the track an edge which just help build atmosphere and builds tension in the track - But definately in a good way. This track is a stand out groover that screams Anthem.
If you like DJ's like (Kerri Chandler / Mr V, Karrizma / Phil Weeks / Black Loops, Art Of Tones / Sebb Junior / Louis Vega, Mood II Swing / Dub Striker / DJ Pierre / Andres /Dan Shake then this energetic / warm (90's) style classic house number will be right up your street


B1 - Confessions Of A 'DUB' Addict - Late Nite 'DUB' Addict (Original Mix)
This track is a minimal style (Deep House) track that has been influenced by the early (Rave) era and early (Chicago + Detroit) House + Techno scenes. The track has a slightly darker edge but still remains jumpy and is definately made for the danecfloor in the early hours of the morning, and has a certain wharehouse 'Feel' to it. The track contains bleeps, stabs, and 808 + 909 compressed drums. The track contains poly rythums and drums which evolve and give alot of movement within the track. This is another "Big Track" from the (Late Nite 'DUB' Addict) that has also recieved support from the (legendary) FANTASY FM.


B2 - Heroes In Our Own Home - Late Nite 'DUB' Addict (Original Mix)
The (Late Nite 'DUB' Addict) states it is no secret that his productions are heavily influenced by the (U.S) Garage / House scene of (New York) in the early (90's).
An era that he said was huge in the way the house scene defined the (Deep House + Classic House) scene that is still massively current today. The DJ / Artis's that has influenced him the most from this era is (Todd Terry / Kenny Dope / Dennis Ferrer /
DJ Sneak / Mood II Swing + MK + Kevin Saunderson. This Hip / House track is the
(Late Nite 'DUB' Addicts) take on the Garage House scene / Hip House scene of
this special era!!!

After thirteen years and over ninety releases, Med School has stacked the chairs and closed it's doors. As a final farewell to the label, the “Med School: Graduation” compilation celebrates the life of Hospital Records’ sister label, as well as the musicians and culture that defined it.

With 23 brand new tracks from label stalwarts such as Bop, Keeno, Etherwood and Whiney as well as the new blood that was always so important to the labels experimental output.

In Med School fashion, the album brings together a myriad of drum & bass stylings and beyond. From the microfunk movements of Bop to Illexandra’s warped emergency warnings, Lakeway’s upfront grime beats to the unique electronic musings of Frederic Robinson, A. Fruit and Kimyan Law.

Representing the serene side of Med School is Etherwood’s “Nowhere To Go But Everywhere”, alongside beautiful contributions from Keeno, Natus and Polaris. The tribal infusions of Royalston’s stepper “Mark’s Shibari Groove” and Lung’s technofused rabbit hole “Stop Crying” switch up the pace to reflect the breadth of Med School’s outputs. The compilation also calls back to the very beginnings of the label with a special VIP treatment of S.P.Y’s first release in the Hospital camp, MEDIC1 “Black Flag”.

Whiney not only brings in his deep new stepper “Close To You” but is also the man behind the continuous mix on the album, seamlessly bringing together all 23 tracks for one final salute to Med School Music.

“Medschool was an amazing label for taking risks. from Syntax to The Erised and everything in between... Without risks and new talent we cannot grow. Without you believing in our risks and new talent we are nothing”

Reconnected is compiled from Harold Lucious’ addictive 1990 release Connections, a visionary mix of soulful house, New Jack Swing and RnB, an American predecessor of street soul.

Deeply connected to music from an early age, Harold started his music career in the early 70s at the age of 16. He sang in his first group, The Final Seconds, who pressed a 7” single in New York City in 1973. The group would go on to record a full album called Neo Cosmic Blues, but never had the chance to press it. They would continue to perform and write together throughout the 70’s and searched in vain for a label to work with.

During that time, Harold landed a guest spot on the legendary Brother Ahh record Move Ever Onward, set up by his manager who was Brother Ahh’s sibling. Harold is listed as having played koto, but really he provided background vocals. Throughout the 80’s, Harold worked at WBI radio programming talk shows. On air, he would act out modified scripts to Richard Wright novels like “The Outsider”.

Connections was his effort to finally release a record after years of recording and playing music. Experimenting with dance music he came up with an album that was inspired by his love of house music and RnB. He sold the record out of his backpack, ending up with boxes of copies that were eventually destroyed when he had to move from his long-time apartment in Brooklyn. Few of the original LP remain, and it has become almost impossible to find.

Reconnected is a remastered redux with four songs taken from the original LP, and pressed onto a loud 45rpm 12” for maximum dance-floor potential. Mixed Signals is honoured to introduce Harold’s music to a contemporary audience around the world.

"BRUK" is a new platform for fresh variations on the soundsystem ethic, in particular where high-end sound design intersects with formidable bassweight. It's an artist-focused endeavour geared towards producers with range, depth and ingenuity in their sound.

The first transmission comes from "FFT", the latest alias from accomplished producer Josh Thompson. Thompson established the Super Hexagon label with long time friends J. Wiltshire and Arthur Scott-Geddes and he's also released on heritage label R&S (as Alma Construct) and the excellent offbeat techno upstarts Power Vacuum, and more recently developed the FFT moniker via essential drops on The Trilogy Tapes as well as Super Hexagon.Thompson helps launch BRUK with a two-pronged attack that shows off the breadth of his artistic scope.

The lead 12" is a dynamic club release that pivots between razor-sharp drum programming, hyphy synth acrobatics, breakbeat science and dub-loaded atmospheres. If there's one constant that runs through all Thompson's work, it's a resounding confidence with melody, and that comes through even in the rowdy chops of "Month" – a track that exudes hope even in its gnarliest bars. From the dreadweight minimalism of "Fask" to the expansive electronica shock out of "Sacrifice (The Truth Mix)", this is a head-twisting release that feeds into the vital new energyreverberating around the 150+ axis.

Accompanying that 12" is a cassette album which provides that polar opposite side to FFT – a collection of compelling beatless ruminations under the banner of Total Self-Fulfilment. Gliding from low frequency industrial textures to expressive synth modulation, this is far from static music, even as it moves without the aid of a traditional rhythm section.

It's a strong first chapter for BRUK, with future releases lined up from artists similarly poking at the fabric of contemporary club music to find their own unique spaces for expression.

Brand new release from Parisian crew Coquelicot Records. French DJ and producer Mario Penati delivers here a 5 tracks EP, focused on his love of house music, including an acid remix from Herr Krank. A side contains 3 classic house tracks, influenced by italian and chicago 90's vibes, from deep to most clubby ones; 909 drums, percussions, synths combined to make you move... First track on B side is a simple vision of a more intimate and deeper feeling but asking to be played loud, and last but not least a rework by Herr Krank, providing banging acid beats!

Freda Payne is the high class soul hit maker who brought us the blockbuster track ‘Band Of Gold’. This album is the follow-up to the huge success of ‘Band of Gold’ and her second album for Invictus/Hotwax Records, for the legendary Holland- Dozier- Hollands then newly launched record label after they left Mowtown.

Seen as a pinnacle in 70's production style by the legendary producers, highlights include the anti-war protest song ‘Bring The Boys Home’ and the singles ‘Cherish What Is Dear to You (While It’s Near to You)’, ‘You Brought the Joy’ and ‘ The Road We Didn’t Take’. 1971 album is reissued on 140g classic black vinyl with original artwork and printed inner sleeve.

"EIGHTIES LADIES"

This vocal ensemble comprised Denie Corbett, Marva Hicks, Susan Beaubian, Sylvia Striplin and Vivian Prince. In 1979 Denie had recorded a disco solo single “What You Won’t Do For Love” and was featured lead with group Station Break on another disco release “Be What You Are. Marva Hicks had recorded a debut solo single “Looking Over My Shoulder” in 1978 and would later infiltrate the modern soul world with “One Good Reason” from her 1991 self-titled debut and only solo album.

Vivian Prince recorded a boogie track “Gotta Get A Hold On You” in 1982 and of course Sylvia recorded a solo project “Give Me Your Love”, which was also reissued by 'Expansion' for 'Uno Melodic'.
As Eighties Ladies; they are best known for “Turned On To You”.

- Produced by the legendary: Roy Ayers.

DJ Dem’s new 12”, called I Videre, translates into I See in English. Continuing the sonic explorations of timbre and rhythm, the three tracks that comprise the new EP are an envisioning mix of the artificial and the natural acoustic environment. Streets, ambulances, laughter, air; hints of Berlin techno intertwined with the cymbals of an acoustic drums set and Berlin itself; synthetic and human voices creating mazy soundscapes. A blend of house tempos, techno’s futuristic take on sound synthesis, ambientesque stillness/movement and musique concrète’s intertemporal idea of montage music. Rather than going for the usual tropes of dance music’s canon, the music on the EP folds and unfolds on an axis of her own, giving DJs a multi-purpose sonic twister.

'Banoffee Pies Records' drop their 12th release in the original series with a solo EP from New York based Tristan Arp. With a string of intricate music on the likes of Human Pitch and a recent LP entitled "Suggested Forms", which offers a wider exploration into his work, Tristan's passion for sound design echoes in this record.

All four tracks offer an environment somewhere between a feeling &
a dancefloor with obscure influences in polyrhythmic drum patterns and a clear combination of digital and analogue processing. "Swept Thru" opens proceedings with a spiral of rhythms and heavy percussion leaping in energy throughout, before the spooked out Vox takes control on "Oblique House" with deeper movements in a haunted club tune. The B side opens with the title track "Slip" in a powerful whirlwind arrangement of sub bending sounds before the final colour is added to the palette in "Circling Music'' with emotive jingles in a more retained and patient mood.

You can hear Tristan's other work within the Asa Tone project - a trio group well worth the trip, offering a deep variety of works exploring field recordings taken and formulated in Indonesia beneath a tree canopy deep in the jungle. This same energy and mood spills into this release. Music for feeling. Much love BP x

Mastered: Optimum, Pressed: MPO & Distributed by KUDOS.