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‘Green & Gold’ is the second collaborative release from Mr Key & Greenwood Sharps, the long awaited follow up to their
critically acclaimed 2015 album ‘Yesterday’s Futures’. The record was written and recorded between Greenwood Sharps’
cottage in the verdant English countryside and the off grid Finca in the foothills of the Andalusian Sierra Nevada, Spain where
Key is based.
The title has multiple meanings none of which are anything to do with weed or money. First and foremost, green and gold are
the colours which synesthete (a person who sees sound) Greenwood Sharps, composed the record in. It also alludes to the
dialogue between the green of the UK and the dusty gold of Andalucia which created the project. Finally green and gold speaks
of the dynamic between the sun and photosynthesising organisms, the driving force of life on earth.
‘Yesterday’s Futures’ took the listener on a meandering journey through a vast landscape of moods, sounds and ideas,
leading ultimately to redemption and the possibility of resolution. Thematically, ‘Green & Gold’ picks up where ‘Yesterday’s
Futures’ left off, but structurally it takes the opposite tack; an extended exploration of a single ubiquitous idea: universal love for
all things and all people and the challenge of maintaining these shiny ideals in day to day life, as our cynical side reasserts itself.
Key’s first output after an extended hiatus from releasing music makes it obvious that during this time he continued honing his
craft. The unique perspectives and disarming honesty which set him apart from his peers remain, but his technical prowess and
capacity to convey sentiment are notably enhanced. The same applies to Greenwood Sharps, who’s masterful production has
risen to new heights yet still maintains the rich and subtle sonic palette he has become known for.
Dropping alongside the EP is a short film featuring the works of long time collaborator Jamie Johnson, the man behind the
artwork for both ‘Green & Gold’ & ‘Yesterday’s Futures’. The short film is the visual counterpart to the EP and serves as the
perfect introduction to the world of ‘Green & Gold’ as it visually explores all the themes present in the music & provides a snap
shot of the incredible tracks on offer.
In a troubled and busy world, marred with anxieties and uncertainties, ‘Green & Gold’ comes as a breath of fresh air and offers some valuable food for thought for those searching for real heart felt substance rather than the sanitised, individualised &
commodified norm we have all become accustomed to.

Photonz is the alias of Marco Rodrigues a DJ, producer and driving force of Lisbon's underground scene. For little over a decade now, he's been crafting his own deeply personal style of Portuguese house and techno. As a DJ, Photonz grew a reputation for deep crates and intensely euphoric sets and in 2017, together with Violet (co-founder at his Radio Quantica) and Lisbon's own Rabbit Hole collective, he started the now infamous Mina parties - a monthly, sex-positive, queer and intersectional-feminist techno party aimed at using the dissociative potential of intense raving to create a temporary space of suspension away from patriarchal expectations. 'Nuit' is Photonz?s debut album and a simultaneous reference the Egyptian Goddess of the Stars or Night. Marco was really swept away by the concept of ?freedom of form under the night sky?, the accepting embrace of Nuit. Ancestral, but also socially advanced and utopian; a deification of the night time. These ideas manifest themselves as eleven songs spread across two LPs that wax and wane like the moon. Photonz channels early techno, Drexciyan rhythms, balearic & atmospheric house; layering sounds, creating moments. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a royal blue and neon yellow jacket with duality/birth symbolism and trance-hieroglyphs designed by Eloise Leigh. Each copy includes a glow-in-the-dark sticker and a postcard with notes

"Portico Quartet stake claims to territory occupied by Radiohead, Cinematic Orchestra and Efterklang". The Guardian *****

Portico Quartet return with Memory Streams, their fifth studio album and one that continues the journey that first started with 2008's Mercury nominated debut Knee Deep in the North Sea. It's a creative path that has seen the band embrace new technology and explore ambient and electronic influences alongside minimalism, jazz and beyond. It is a process that has encouraged change. Each album has seen the band expand its palate or explore new trajectories. From the gentle charm of their breakthrough's inimitable mix of jazz, world and minimalist influences, to the tight-knit brilliance of Isla, the electronic infused eponymous Portico Quartet to 2016's return Art in the Age of Automation (the band's most electronic statement to date) they have never been a band to look backwards. Each record has been its own world, its own statement and offered its own meaning. It's the mark of a band that has always both stood apart from any scene and been prepared to challenge its self and find new things to say and to push the limits of what they could do.

It is an approach that has encouraged the band to plough their own furrow. Drummer Duncan Bellamy notes that "For better or worse I think we have always been quite an isolated band. Perhaps that comes from never feeling like we really belonged to or fit in to a scene when we first started making music" While for saxophonist Jack Wyllie " I feel more connected to other musicians these days and those relationships influence the sound we have in some way. But I wouldn't say we feel a part of scene, it still feels quite out on its own, which is cool, because it helps the music feel unique".


First run of limited black and white vinyl versions of this huge cold war themed classic. Includes Devil's Dancers amongst other tracks. Huge!!

Minimal Wave proudly presents a newly remastered deluxe double album of archival material by pioneering 80s minimal electronic duo Oppenheimer Analysis. Oppenheimer Analysis formed in London, England in 1982 by Andy Oppenheimer and Martin Lloyd. Their first meeting though was at the 1979 World Science Fiction Convention in Brighton. They quickly became good friends, sharing an interest in the work of David Bowie, electronic music and early synthesizer bands such as the Human League and Soft Cell. They also shared a love of old science fiction movies, 1950s graphics and comic book imagery and a fascination with post-World War II propaganda, the politics and aesthetics of the Cold War, and the social impact of the atomic bomb. Over the next few years Andy and Martin frequented the growing club scene, including Studio 21 on Oxford Street, and became involved in the developing Futurist and New Romantic style sub-cultures. During this period Martin recorded as Analysis, both alone and with David Rome of Drinking Electricity. They released their first single, 'Surface Tension/Connections' on David's Survival label in 1981. In 1982, Oppenheimer Analysis began writing and recording together at Feedback Studio in Battersea, and performed several times at The Bell, Islington, the 1983 World David Bowie Convention in Hammersmith, the Starzone Birthday Party at Camden Palace, the 1984 European Science Fiction Convention in Brighton and other live venues. Their first demo tape and twelve song 'New Mexico' cassette were sold at gigs and by mail-order, and were reviewed in Melody Maker, Sounds and Soundmaker.


For the years to follow, Oppenheimer Analysis became recognized among electro-music aficionados as a pioneering duo who influenced countless other bands during the club and home-recording era of the early 1980s and beyond. Their cassettes became massively collectible. In 2005 they re-formed with the release of a self-titled four song 12' EP of selections from the New Mexico cassette, including 'Cold War' and 'The Devil's Dancers'. This marked the first release on Minimal Wave. Now in 2015, we're happy to present the entire New Mexico collection, newly remastered and cut to vinyl for the first time ever, to celebrate our 10 year anniversary. This first edition of 1000 copies is pressed on deluxe 'nuclear' style black and white 160 gram vinyl, housed in a glossy gatefold silver and black printed sleeve, featuring all the song lyrics on the inside of the sleeve. Release date: May 16th, 2015. This quintessential reissue has been produced in loving memory of Martin Lloyd.

South east London songwriter and visual artist Jerkcurb has today announced his hotly-anticipated debut album Air Con Eden - set for release on Friday 13 September via Handsome Dad Records. The culmination of several years of intense creative focus, Air Con Eden reflects on Jerkcurb instigator Jacob Read’s recent real life events, losses and tragedies as well as more cryptic, fictitious perspectives and surreal adopted personalities. The record’s euphoric lead single ‘Timelapse Tulip’ arrives alongside today’s news - accompanied by a stunning, intricate 3D animated video courtesy of a collaboration between Read, director Gilbert Bannerman and production designer Theo Boswell. Read will tour the U.K. in October to celebrate the album's release with a hometown headline at Chat's Palace included on the run.

Having fully emerged in 2016 with the flourishing ‘Night On Earth’ - a streaming hit with 2,700,000 spins to date - and subsequent tracks ‘Voodoo Saloon’ and ‘Little Boring Thing’, there’s been a growing sense of an artist climbing into maturity with each succeeding release, video and gig laying the foundations for Jerkcurb’s burgeoning cult status. Radio and press took to Jerkcurb instantly with BBC Radio 6 Music inviting him in for a live session on Tom Ravenscroft’s show, also making an appearance as a guest on Steve Lamacq’s Thursday Round Table, while esteemed publications like Dazed, Vice, Noisey and Wonderland have all thrown their weight behind his music and art. Indeed, Read has been heavily immersed in his art and animation all the while, exhibiting at the Tate Britain and also being commissioned by them to create a promo for their installation Aftermath: Art in the Wake of World War One and drawing praise from It’s Nice That along the way.


There’s a near impossible richness to Read’s songwriting form on Air Con Eden, with its as-yet-unheard title track offering perhaps the clearest distillation of the record’s predominant theme: time at its malleable and fraught. Inspired by Victor Gruen - the pioneering designer of shopping malls in the United States - Read unpacks the idea of being trapped in an eternity that feels like an endless present tense, the passing of the seasons reduced to a standstill in a pristine shopping mall; a symbol of both stasis and comfort; an Eden without the possibility of an ending.

A1. from The Triple J broadcast. Live at The Palace, Melbourne, 1992.
B1. recorded at The Pier in Seattle, 1993 and broadcast from MTV USA, except B6 & B7 from Saturday Night Live, 1992.

"Continental" is the new full length solo record by Milan-based multi-instrumentalist Nicola Ratti, following recent releases on Where to Now? and Room40. Conceived of by Ratti as a "series of big rooms or places to get lost in, full of small details and characterized each by a single flavor or perfume" it is a surprising and vibrant collection of music. Working with a palette of spare, expertly deployed percussive synthesis techniques, Ratti's work here is both labyrinthine and concise. These eight tracks are able to evoke spaces real and imagined with startling efficiency and clarity. Sprawling old world libraries, cliff caves inhabited by dripping water and rock doves, an automaton nearly slipping its axis but recovering just in time and finding a new sense of purpose in the process.

Sigma acts as the sequel to 2018’s critically acclaimed Equals release and features musical contributions from original Alarm guitarist Dave Sharp and

Billy Duffy from The Cult. The album includes the single “Brighter Than The Sun” and as Mike Peters articulates “is a lyric that tries to encapsulate how it feels when someone you

love has survived an immense ordeal and come through to the other side brighter, stronger and more capable than before”. To find strength through adversity

is a capability we all have inside of us should we choose to call upon it. The accompanying video tries to reflect this kind of stimulus and to try and

capture the kind of solar power that emanates from within, the blinding force that stimulates life and everything positive that revolves around it.

Early in 2019 Mike Peters from The Alarm was awarded with an MBE by His Royal Highness Prince Charles Prince of Wales at Buckingham Palace for his

services to charity having raised thousands for cancer care projects in the UK and abroad and dedicating his life to giving hope for families affected by cancer

The Alarm will be heading out on their Sigma LXXXV Tour this summer, taking in 30+ North American dates through July and August, with support from

Modern English and Jay Aston’s Gene Loves Jezebel. Throughout the Sigma LXXXV Tour, Love Hope Strength (co-founded by Mike Peters), will be hosting

bone marrow drives at each concert aimed at finding donors for people suffering from Blood Cancer who need a transplant for a second chance at life

Previous support for Equals from Billboard, Classic Rock, Classic Pop, Uncut, MOJO and more Classic tracks Strength and The Stand were used on the closing

tracks on two episodes of the hit Netflix series 13 Reasons Why, combining for 3M+ streams.

Any historians keen on the subject of "French youth in the 1980s" are holding a treasure in their hands. As a true archaeologist of this decade dedicated to disposable culture, digger-in-chief Vidal Benjamin with his newest compilation, 'Pop Sympathie', offers them a unique journey in the heart of the cyclone of emotions that struck all teenagers during the first seven years of François Mitterrand's mandate. Fifteen musical nuggets, exhumed from the dungeons of history, each and every one of them teaching us about what really obsessed the youngsters at that exact moment, i.e. what happens when the city lights come on at dusk, when irrepressible urges that stir them to get lost even more appear until the end of the night.

The artists gathered here did not have the honour of breaking into the local charts, but they all individually reached for the sky. Each song of 'Pop Sympathie' tells more or less the same story: that of a girl who throws herself into the night like one immerses one's self into the void, who rushes into a one-night adventure to become a star. And too bad if in the early morning she finds herself back at square one. In all these miniature odysseys there is neon lights, lasers, smoke machines, broken glass on checkered tiles, strangers on leather benches, celebrities in the bathrooms, stolen kisses, alcohol, drugs and cigarettes, Polaroids, venetian blinds and radioactive tubes.

If the first opus of Vidal Benjamin, 'Disco Sympathie', focused on the funky mood of songs that could have been played at Le Palace, then 'Pop Sympathie' develops itself as the imaginary soundtrack of another nightclub, Les Bains-Douches, the capital’s epicenter of nocturnal drifts. So what do we listen to, blasé, at Bains-Douches? Mainly synthesizers. The child of punk and post punk, French New Wave celebrates the matrimony of machines and lolitas under the auspices of a retro trend that revisits the atomic age. Trying to surf on that wave and hit the charts, a bunch of producers (Stéphane Berlow, Laurent Stopnicki, Bernard "Black Devil" Fèvre, Johny Rech, Jean-Yves Joanny ...) will spot their talents amongst friends, in a travel agency or at the local bar. These virtual stars are called Cecilia, Laurent, Sonia, Janou, Fabienne, Anne, Arielle or Ronan, not even 20 years old, and often leaving just an overexposed photo and their first name on a single as the only memories of their swift passage in this particular musical story. It took all the love and sweet madness of Vidal Benjamin to bring them back in the light of day.

Clovis Goux

Nach zahlreichen Releases auf Ninja Tune, Anticon oder Planet Mu erscheint das dritte Studioalbum des britischen Electronic-Produzenten Greg Feldwick aka Slugabed auf seinem eigenen Imprint Activia Benz und trägt den rekordverdächtigen Titel: "Any Attempt To Control The Environment Or The Self By Means Which Are Either Untested Or Untestable, Such As Charms Or Spells".

New Fly-Lo.. First outing since 5 years!

Drawing the lines between the galaxies of hip-hop, funk, soul, jazz, global dance music, tribal poly-rhythms, IDM and the beat scene of his hometown L.A, Lotus creates a universe that is uniquely his own. Calling on an all-star cast from the cosmos, Anderson .Paak, George Clinton, Little Dragon, Tierra Whack, Denzel Curry, David Lynch, Shabazz Palaces, Thundercat, Toro y Moi and Solange; Lotus takes these artists on an astral plane to explore his world of fire.

Sein letztes Werk "You're Dead" (2014) bescherte ihm eine Grammy-Nominierung, sein Brainfeeder-Label ist zu einem der innovativsten Klanglabors der Welt avanciert, er co-produzierte Kendrick Lamars mit fünf Grammies ausgezeichnetes Meisterwerk "To Pimp A Butterfly" (2015). Nun veröffentlicht Flying Lotus sein neues Album für Warp: "Flamagra" greift alle kreativen Quantensprünge und innovativen Elemente aus 12 Jahren FlyLo-Karriere auf und denkt sie weiter, größer, epischer und universeller: Hip-Hop, Funk, Soul, Jazz, Electro, IDM, die Ansätze der befreundeten Beatmaker aus L.A., Tribal-Elemente, Polyrhythmen. Aber selbst diese Liste reicht nicht aus, um "Flamagra" auch nur ansatzweise zu verorten, weil es immer wieder ausbricht aus diesem Koordinatensystem. Die Gästeliste liest sich wie ein Traum: Anderson .Paak, George Clinton, Little Dragon, Solange, Tierra Whack, Denzel Curry, Ishmael Butler (Shabazz Palaces), Toro Y Moi, sein musikalischer Stammesbruder Thundercat, ja selbst David Lynch ist zu hören. Der legendäre Regisseur steuert ein paar schaurige Worte bei, eine düstere Erzählpassage, mit der er uns eindringlich warnt: "Fire is coming". "Flamagra" ist die Essenz des letzten Jahrhunderts im Bereich der afroamerikanischen Musik, vollkommen neu und weitergedacht, kollektiv gefiltert und feingeschliffen. Auch wenn Flying Lotus ein Nachkomme seiner ehrwürdigen Großtante Alice Coltrane ist, die mit John verheiratet war (wobei auch Miles und Madlib, Dilla und DOOM als seine Vorfahren gelten dürfen), hat er inzwischen seinen eigenen Kult geschaffen: Eine Gefolgschaft, die alles Geniale aus der Vergangenheit absorbiert und in Bereiche überführt, die sich die genannten Vorfahren nicht mal im Traum hätten ausmalen können. Flying Lotus ist zurück. Fire is coming.

Dubplate’s Don Persian has repressed this Hardcore Breaks Techno Riddim, seeing there were only 100 in existence before going for crazy prices, now including a mix from S.Bell capturing a shimmering soundscape vibe, adding perfection to his unsung abilities. This E.P. has some speaker destroyer’s on there, introducing the MixMaster Max into the pot alongside the Persian doing what can only be called world dub music. Sterling breaks shuffling at a downtempo 8 bit vibe with a really heavy bass! MixMaster Max’s history is interesting to say the least...

Born October 1966. Break Dancer in 1984, under the moniker Mad Max, started a crew named The Back Street Warriors, busking all over the UK at places such as Covent Garden/Leicester Square Performing on stage & in clubs. They once jammed with The Rock Steady Crew in Camden Palace in front of an audience.

Then in 1987 he became a DJ, playing all genre’s of music, he first played on RJR Radio, playing Electro, Hip Hop, Soul, R&B & Reggae. Moving forward he started playing Acid House & Four to the Floor Music styles, by the early 90’s he played on Weekend Rush & then went onto Defection, Touchdown, Don & Passion FM, playing Acid & Hardcore Jungle.

In the early day’s, MixMaster Max was one of the Innovator’s of Jungle music by mixing Hardcore, Reggae & Hip Hop together, helping other’s to produce, fuse & gain idea’s in the music industry. He was by Far the most Original, Innovative, DJ anybody had ever heard.

In 1991 he played alongside John Saunderson at the Camden Palace on a Friday night, he also played at the Famous Hacienda Club in Manchester.

He was the first DJ to create the Topsy Turvey, which is one turntable on top of the other, he came runner up in the DMC World Championships in the early 90’s.

He played at some of the Biggest Rave’s back in the day, Pirate club 93, Fantazia 92, Dungeon’s 91/92, Turnmills 92, to mention a few. He also played on Avenues FM & People’s Choice, which were legal Radio Station’s, not forgetting Kool FM & Centreforce.

He performed on stage with the We Papa Girl Rapper’s in 1990 at the Notting Hill Carnival. This Legendary Cult figure is a Master of the Nunchucker’s & TurnTable’s!

His innovative Mixes were ‘legendary’ he was a pioneer precursor to the Art form known as Jungle Music, not to mention his Scratching abilities, which was ‘extraordinary’!

For those that listened to pirate radio back in the day, he was the legendary cult figure that inspired us all, giving us the freshest musical styles that had never been heard before!

He can still be heard on Radio today...What an inspiration this Unsung Hero has been to us All!

Alt. folker Will Oldham - better known as Bonnie 'Prince' Billy - is set to drop a joint record with gently psychedelic crew Trembling Bells

Just four years after their debut album Carbeth, Trembling Bells are amassing a formidable body of work at a startling velocity. Just twelve months after the release of their critically acclaimed third album The Constant Pageant, the Glasgow quartet return to share the billing with a similarly restless creative spirit. A few thousand miles separate Will Oldham and Trembling Bells' drummer and principal songwriter Alex Neilson, but their stories intersect as far back as 2005, when the young Leeds-raised Neilson found himself playing drums on Alasdair Roberts' No Earthly Man, with Oldham producing. In time, a friendship between mentor and student became one between two kindred musicians. Neilson augmented his work with free-psych-drone practitioners Directing Hand by playing with the Bonnie 'Prince' Billy band. The drummer's eagerness to experience new epiphanies yielded unforgettable memories. In Big Sur, he recalls, 'we took mushrooms at midnight, then visited a natural hot spring built into the dramatic cliffs overlooking the Pacific Ocean. The stars were as vivid as frozen fireworks.' All of which is worth dwelling on, because without that background of mutual openness and empathy, it's hard to imagine The Marble Downs existing.

Neilson recalls a conversation about a 'collaboration' in the summer of 2010, though stresses that it 'was nothing too formal at first'. By the end of that year, a limited-edition seven-inch New Year's Eve Is The Loneliest Night of the Year showed what an inspired match the vocals of Trembling Bells singer Lavinia Blackwall and Will Oldham made. The cut-glass precision of the classically-trained student of medieval music and the worldly, careworn tones of Oldham created an unlikely chemistry. It must have seemed that way to Neilson too. He set about assembling a cache of songs with the purpose of further harnessing that chemistry. The result is an album that has, once again, redrafted the boundaries of what Trembling Bells can achieve together. Indeed, genre-lines aren't terribly helpful this time around. Yes, Trembling Bells' love affair with traditional music remains a constant — most emphatically so on the unaccompanied Blackwall/Oldham two-hander, My Husband's Got No Courage In Him. Then there is Blackwall's musical setting of Dorothy Parker's poem Excursion Into Assonance — and the thorough-going new-found classicism of Neilson's increasingly assured songwriting. Albeit delivered with Trembling Bells' rain-lashed sense of abandon, Love Is A Velvet Noose sounds like a standard of sorts — a warped consequence of Neilson's increasing fascination with the songbooks of Cole Porter and Hoagy Carmichael. 'I'm not saying I stand any chance of emulating them,' he adds, 'but the appreciation is definitely there.'

The knowledge that Oldham and Blackwall would be sharing centre-stage on The Marble Downs gave Neilson extra impetus to flex his songwriting muscles. I Can Tell You're Leaving finds both vocalists on irresistible form, dissecting their dying relationship with no heed to the other's feelings. 'You treat me like a child,' sings Oldham. 'I need a man,' she responds, barely catching breath. 'Now like Merle Haggard, you'll see the fighting side of me,' he later promises. 'I guess that's one of the lighter moments on the album,' ponders Neilson, 'I was trying to get a Planet Waves-era Bob Dylan feel there, with the piano and walking bassline.'

Here and elsewhere, the band — Blackwall, Neilson, bassist Simon Shaw and guitarist Mike Hastings — has never sounded more psychically attuned to one-other. On the slow-reveal sonic establishing shot of I Made A Date (With An Open Vein), two minutes of manic modal chaos elapses before Oldham takes the narrative reins of a majestic call-and-response folk-rock epic. The electrifying free-folk portent of Riding — a revival of the Palace Brothers classic — is no less compelling, calling to mind the words of broadcaster Stuart Maconie when he praised Trembling Bells for their ability to invoke simultaneously 'the charm of folk music and the power of rock.' Ditto Ain't Nothing Wrong With A Little Longing, in which Neilson slams down a four-to-the-floor beat over a synergy of demonic krautrock keys and a dialogue between Oldham and Blackwall that scales Nancy & Lee levels of romantic intrigue.

With nine songs gone and one remaining, the album's sonic undulations find an arresting denouement in the form of an inspired cover. Adapted from Robin Gibb's 1970 solo masterpiece Robin's Reign, Lord Bless All sees Trembling Bells tease out the hymnal qualities of Gibb's original with a slow volcanic upswell which — on four minutes — explodes into heavy psychedelic technicolour. What pleases Alex Neilson when he listens back is 'a sense of a common vocabulary and identity being forged.' If, by that, he means that there isn't another band on the planet that quite sounds like Trembling Bells, it would be hard to disagree. The evidence is right here.

'I didn't know anything about Trembling Bells. I just heard them and was knocked out. I instantly became a fan.' Paul Weller

'Trembling Bells are my kind of band.' Joe Boyd

"Jesus fucking shit! These jamz claw so hard at the tatties below methinks the Lord misnamed them, having intended to say Trembling BALLS." Will Oldham

'A poetic incantation of British identity far brighter than Michael Gove's GCSE syllabus.' Stewart Lee

'This time, I'm attempting to reclaim the art of songwriting from the charity shop bargain bin.' Alex Neilson

Available for the first time ever on Limited Edition Clear Vinyl, limited to 500 copies, no re-press. The Seattle group led by Palaceer Lazaro (aka Ishmael 'Butterfly' Butler formerly of Digable Planets and Cherrywine) has surpassed all genre confines and captured the imaginations of spectators. Containing a sublime mixture of funk, jazz, dubstep, and structures un-echoed by the typical style of 16-bar hip-hop, Shabazz Palaces quickly gained critical admiration following an unprecedented string of epic performances across their home city. Shabazz Palaces' music is defiant in the face of musical norms both in terms of sheer musicianship and lyricism. Experimental, innovative, and irresistible, 'Of Light' is sure to be heralded by listeners.

This triple pronged battle weapon from Cowboy Rhythmbox takes is inspiration from a wealth of disparate elements, the brutal drum machine swagger of early Chicago house, the murky world of 1980's video arcades, the bleeps of Sheffield, arcane home computing documentaries recorded to VHS, public access TV, yes there really is something here for everyone.

Terminal Madness:
A quirky track about the paranoia surrounding artificial intelligence, inspired by early Dance Mania releases and broken pocket calculators amongst other things.
Beware, you'll begin to think that computers have minds of their own!!!

Hands Inside The Car:
Proof that there is joy in repetition, a wonderfully eccentric number with a deadpan vocal hook that wraps itself around a killer combination of sub bass, freestyle beats and deranged reversed elements.

Vodonik:
A stark, glacial rave beast, very much a reaction against Cowboy Rhythmbox's usual maximal approach. This is stripped-down-to-the-bone body music that will work in the most cavernous of rave palaces or the most intimate seedy basement club.

New label MIC launches with some previously unreleased and unheard material from UK DIY jazz funk maverick, Mike Collins, better known as the brains behind the spacey Loft classic, Sun Palace - 'Rude Movements'. MIC presents a small archive of Collins' material (recorded around the time of 'Rude Movements') and reveals the more experimental side of Collins' production. Five tracks that explore early, proto-house music, electro, and fascinating drum machine observation. Essential issue!

The Land of Look Behind soundtrack returns to vinyl in a remastered and expanded edition that includes a download of three previously unheard and unreleased tracks from the original sessions. Alan Greenberg, who wrote and directed this film documenting the funeral of Bob Marley, provided K. Leimer with location tapes which were used to originate many of the rhythmic patterns for Land of Look Behind. Loops of the monologues and phrases that exhibited more distinctive cadences and pacing, the words, glottal stops, clicks and coughs of witnesses were used as cues for the percussion instruments. In effect, speech became the organizing principle of the musical score. By eliminating the accuracy of click tracks, musicians were prompted to rove through the inconsistent intervals of the voice-derived patterns. Also included is a four-page insert featuring an essay by Paul Dickow.

K. Leimer founded Palace of Lights in 1979. Leimer's early work has recently been reissued by Autumn and RVNG, and his early cassette work is in the critically acclaimed VOD box set American Cassette Culture. Leimer has been actively producing music since the mid 1970s — his current catalog includes seventeen albums plus two collaborative albums with Marc Barreca.

Leimer's work is included in the collection of The British Library.

Plush. Palace.
regularfantasy's music is about as plush as it gets, filling your area with bright melodic blankets for which to throw around your bod. Turning it into a plush palace of sorts, if you will. Half of this record seems designed to sooth you while the other half is all about getting you steppin'. Our pal dj zozi comes in with an absolute heater of a remix, taking you to planets unknown and raves gone by. Without a doubt, the party is gonna be turned out.

Swingrowers are known for their mixture of JAZZ, SWING, POP and ELECTRO, they have extensively toured Europe and North America, opening sell-out shows for Parov Stelar, Chinese Man & Caravan Palace. On top of delivering official remixes for Caro Emerald and Swing Republic, Swingrowers also boast musical collaborations with The Lost Fingers, Gypsy Hill, DJ Pony Montana and have had their own songs remixed by Bart&Baker and Jamie Berry.

Following on from their debut album 'Pronounced Swing Grow'ers' in 2012, Swingrowers have released their second album 'REMOTE' in early 2015, followed now by 'OUTSIDEIN', the band's third full-length studio album. This new release shows their expert musicianship and most meticulous production to date, mixing genres from jazz to electronica, from gypsy-swing to full-on rock'n'roll with a melodic pop sensibility.

Sanskrit scriptures mention the term vimana as flying vehicles or temples. Consequently, the sound of this ancient UFO has been captured into the grooves of this vinyl record. The soundscapes of Rukma Vimana dig deep into the dirty history of raw and hypnotic industrial techno. Nobody said that spiritual journeys are a clean endeavour. A1 marches forward into the dark lands of dirty drums and urges you to follow it, as it's your duty to dance hard in this life. Flip the vinyl and the needle will tickle your subconsciousness. Excavating deep tantalizing melodies and dusty basslines, one should not get lost in the palace of this unknown god. Closing with a meditative sketch, B2 leaves us puzzled about the vortex of energy we've just been through.

Sensational early-seventies funk bomb by Muhavishla Ravi Hatchud and The Indo Jazz Following. Super-rough organ funk, like a dream combination of Mingus, Jimmy Smith and Zigaboo Modeliste from The Meters — plus Ravi's ramped-up sitar, like a tripping, undercover Bo Diddley. In a numbered, limited edition, to launch a new series of Outernational 45s.

FUN FARE is the experimental pop laboratory of Friedrich Günther, Julia Boehme, Joseph Heinze and Jakob Zander, which hails from Leipzig. In combining and distilling their respective influences they are constantly withdrawing from all possible expectations and presumptions. Krautrock meditations are interrupted by synth-pop intermezzi and bathed in waves of post-punk without laying false or random trails. It's more like an experiment under controlled conditions or an elaborate construction that is spontaneous and playful. In the autumn of 2015, Fun Fare recorded their debut album - Wrong Gong , which was released in February 2016 via Hartnack Records and played shows with Candelilla, Soft Grid, Friends Of Gas and Priests. Recently they released a split tape with Berlin post-punk band Plattenbau via Flennen and at the Trans Century Update Festival in UT Connewitz in Leipzig shared the stage with John Maus, Alex Cameron and Thurston Moore Group among others. Their second album Trifles & Events Are Your Concern' promises to deliver on the promise of their early releases and is a strong addition to the catalogue of Späti Palace.

Bonobo veröffentlicht den lang erwarteten Longplayer-Nachfolger auf seine Erfolgalben Black Sands & The North Borders inklusive Vocal-Features von Chet Faker, Rhye & Hundred Waters!

Simon Green, alias Bonobo, kehrt mit seinem sechsten Album zurück, dem meisterlichen, gebieterischen "Migration" - ein Werk mit dem er sich ein für alle Mal an der Spitze der elektronischen Musik verortet. In abwechselnden Zügen opulent, manisch, wunderschön, melancholisch, freudig, voller Emotion und technischer Fertigkeit, ist dies womöglich sein bislang ehrgeizigster Versuch, die grundlegende Beschaffenheit menschlicher Existenz und deren ausgedehnte Dynamik zu erfassen. Neben Zeitgenossen wie Four Tet, Jon Hopkins oder Caribou, zählen Wiz Khalifa, Skrillex, Disclosure oder Warpaint zu Bonobos prominentesten Fans. Sein 2013er Album "The North Borders" erreichte im UK die Top 30 und katapultierte sich auf Platz #1 der elektronischen Charts, sowohl in den USA als auch im UK. Im Zuge dessen spielte sein 12-köpfiges Kollektiv weltweit über 175 Konzerte, darunter zwei ausverkaufte Shows im Sydney Opera House, ein ganztägiges Festival im Londoner Roundhouse, eine ausverkaufte Show im Londoner Alexandra Palace sowie einige renommierte Festival-Slots. Inzwischen verfügt Bonobo rund um den Globus über eine umfangreiche, loyale und engagierte Fanbase. Mehr als eine halbe Million verkaufte Alben und über 150 Millionen Spotify-Streams gehen auf sein Konto und verdeutlichen den Erfolg, den sich dieser ruhige, bescheidene Mann erarbeitet hat. Dank "Migration" wird seine wunderschön raffinierte und gefühlsgeladene Musik in Kürze ein noch größeres Publikum erreichen. Das zutiefst Persönliche kann schließlich ebenso gut allgemein gültig sein.

Full color inner sleeve with 3D art by Kanika Tupathi. Vivian is a great acid banger with high frequency Jupiter 8 eruptions and a
simple 'raga style' melody.

Vivian is a great acid banger with high frequency Jupiter 8 eruptions and a simple 'raga style' melody. The track was made after the last tour was cancelled due to health problems, and was finished after Charanjit Singh passed away. Vivian means alive and is dedicated to Charanjit Singh and the special vibe he and Thee J Johanz had together on stage. The B side a 16 and a half minute take from a live show at the magical Alsisar Palace in Rajastan, India. It's an ever progressing improvised journey, the result of over forty shows played in the US, Europe and Asia. Charanjit Singh is improvising on the Jupiter, like he did on his proto-acidhouse album in 1982, and Thee J Johanz is jamming with the 808 and 303 like he used to do, back in the heyday of acidhouse.

Young East London producer Sam 'Palace' Walker has been part of DJ Haus's trusted inner circle for some time, having released on both Unknown 2 The Unknown and Hot Haus Records. Here he unreleased two more retro-futurist house gems - the kind of kaleidoscopic, rave-inspired tracks that evoke memories of early '90s pirate radio stations and illegal parties full of smiling dancers in bad long sleeve t-shirts. Choose between the bouncy stabs, hazy vocal cuts, bleep-era bass and snappy, cheap-sounding beats of "Codex", and "NRG", a piano-laden banger that makes great use of some familiar samples that were once a staple of breakbeat hardcore and bouncy house records. Oh, and the unmistakable rhythmic swing of UK garage.

The acclaimed and highly sought-after LP by Hailu Mergia and the Walias, Tche Belew, an album of instrumentals released in 1977, is perhaps the most seminal recording released in the aftermath of the 1974 revolution. The story of the Walias band is a critical chapter in Ethiopian popular music, taking place during a period of music industry flux and political complexity in the country. Hailu Mergia, a keyboardist and arranger diligently working the nightclub scene in Addis Ababa, formed the Walias in the early 1970's with a core group of musicians assembled from prior working bands. They played Mergia's funk- and soul-informed tunes, while cutting 45rpm singles with various vocalists. While the Walias performed at top hotels and played the presidential palace twice, their relationship with the Derg regime was complex, evidenced by the removal of one song from the record by government censors. Decades later, Hailu Mergia was surprised to see the album fetching more than $4,000 at online auctions (it helped that the most popular of all Ethiopian tunes "Musicawi Silt" appeared on the record). Now everyone has the chance to listen again - or for the first time - to this timeless pillar of Ethiopian popular music. // 01. Tche Belew 05:01! 02. Yemiasleks Fikir 04:04! 03. Yikirta Lemminalehu 03:35! 04. Musicawi Silt 03:49! 05. Lomi Tera-tera 04:07! 06. Woghenei 03:58! 07. Ibakish Tarekigne 04:00! 08. Birtukane 05:30! 09. Eti Gual Blenai 04:59! 10. Yenuro Tesfa Alegne 01:46!

out of nowhere white label on Skudge....