quête:d ren

Nerija veröffentlichen ihre Debüt EP auf Vinyl! Das Londoner Kollektiv vermischt Einflüsse aus Jazz, Hip Hop, Afrobeat & South African Township und gewann bereits den renommierten Jazz Newcomer Parliamentary Jazz Award 2017. Check it out!

talo-Iranian producer Sciahriar Tavakoli, commonly known as Sciahri, after releasing on renowned label as Ilian Tape, Mord, Opal Tapes/Black Opal and MANHIGH finally presents his first long playing record “Double-Edged”, and he does it on his own imprint, Sublunar Records.

The LP is an extended, carefully compiled exploration of the many facets of his signature sound, where emotional melodies collide with dense and rasping basslines.

The artist aims to express emotions with unsettling simplicity, showcasing techno compositions that are both thoughtful and primal.

Within the space of ten tracks, Sciahri’s sound design reveals his structure, pushing the listener through a labyrinth of textures and rhythms.

Velvet May returns on “ Tears On Waves” with the 4-
tracker EP “Unknown Bodies”.
This time he is joined by the live duo Years of Denial
and the northern-irish artist Autumns who delivered
their own interpretation and vision of the tracks in the B
side.
"Unknown Bodies" tell us a story, a contorted story of
lust and infernal gazes, yet divine that spread infamy
and glory, grief and bliss. A story of lost inhibitions and
sensations. A story of burning breasts. Now is the time
when each flower fades away like incense and sounds
and scents turn in the evening air.
“Bodies entwined 
Hearts resounding 
The shivers of sweat 
Coming and going”
The artist wants to show something. A natural desire
which finds its fulfillment in the body, but that instantaneously dies at the end of the sensations.
Sensations too much strong to last so much time. That’s
exactly why he doesn’t never renounce to let go his
inhibitions completely, having fear to be burnt, devoured
and thrown in the deep end.
On the B side, the original tracks find a completely
different vision, but especially a new light, leading the
listener to a different path of the same perverse and
twisted nature.
Years of Denial is the alter-face of French musician/DJ/
producer Jerome Tcherneyan and Czech performance
artist/DJ Barkosina Hanusova. With the use of hardware
combined with vocals and a plethora of dub devices,
YOD are re-visiting the dark corner of Post Punk,
Industrial music movement and rave culture. Its remix
fully distorts the mood, introducing a new color and
identity, juxtaposing acid sounds and sharp groove
elements. The vocal has a new touch, and processed in
another way, drags everything to it creating a vortex.
Autumns is the solo project of Christian Donaghey, from
Derry, Northern Ireland, an outlet for electronic post-
punk with a lethal pulse. He delivered a train-shaped
remix, making the bass line a key element for the whole
track and finding the perfect “carpet” where to express in
a powerful and straight groove, based on his beloved
Roland 707.
Label copy-credits
Written, produced and performed by Andrea Davide

Patience began as bedroom synth project for songwriter Roxanne Clifford after the break up of her acclaimed indie pop band Veronica Falls. Born out of a desire to experiment with a new sound and analogue synthesizers, the project has since grown to become an all-encompassing persona and serves as the main vehicle for the full emotional spectrum always latent in Clifford’s songwriting. From her first long-sold-out 7” singles on Night School, her knack for melodic hooks and oblique emotional stances already contained a glistening sheen of promise. ‘Dizzy Spells’ serves as an intimate portrait of Clifford’s creative adventure, almost diaristic, conceived and recorded in her home studio, as well as with collaborators Todd Edwards (Daft Punk/Uk Garage fame), Lewis Cook (Free Love/Happy Meals) and engineer Misha Hering (Virginia Wing). Dizzy Spells delivers a debut album that twists Clifford’s songwriting into new shapes and ecstasies. The album dances around melancholy, thrown to the floor like a bad dream to be circled, emerging bright-eyed into the early morning full of hope. The Girls Are Chewing Gum (produced by Todd Edwards) bursts open Dizzy Spells like fresh fruit: sweet and rich with a synth-bass line beamed down from Chicago House heaven. Exquisitely sung by Clifford, it’s a wonderful, funky, instant-classic hinting at sexuality and memories dredged from our bodies’ secrets. The bouncy production expertly renders the addictive power of our ephemeral pleasures. Living Things Don’t Last chases themes of longing and loss, opening up into a life affirming chorus that sings of transience, the passing of time and railing against inertia. It’s the perfect example of a song formula that Roxanne Clifford has almost patented: simple and cutting straight to the point. There are shades of Strawberry Switchblade or French synth pop pioneer Jacno in the happy/sad dichotomy and it is all the better for it. Dizzy Spells features all three long-sold out singles, embedded in the full depth of Patience’s soundworld they fit like pieces of a puzzle. White Of An Eye, The Church and The Pressure—all recorded in Clifford’s former home of Glasgow—crackle with razor sharp melodies and dancefloor-ready dynamics. There are exciting additions to Patience’s sonic palette, brought into sharp relief on Voices In The Sand. In this song, a plaintive Clifford enunciates a heart-torn plea to the antagonist, a mournful cascade of synths and haunting vocals evocative of AC Marias, a sepia-toned ode to anxiety, “a storm is on the way”. On No Roses, a Vince Clarkesque production belies a sunburnt sadness. Clifford defiantly sings “you would go out tonight, but there’s nowhere you like,” describing a disenchantment with her adopted city of Los Angeles, she longs for home in a singular refrain “No roses… no roses for us.” An ode to English folk singer Shirley Collins, a surprising yet innate influence throughout Clifford’s work. On Moral Damage, former Veronica Falls bandmate Marion Herbain joins Clifford on an anglo-french duet that feels instant and spontaneous, a cutting comment on emotional accountability. More than a vehicle for Roxanne Clifford’s songwriting prowess, Patience is holding our hand through the night, dancing with tears in our eyes, dizzy and spellbound.

rendon Moeller is an artist that needs no introduction. The South African born living in the US, like few of his generation constantly challenges himself with new concepts and ideas, has incorporated techno, dub, jazz, ambient, sound design, to his works throughout the years. Never chased the limelight, but instead the work, one idea after the next, one project after the other, restless. He has collaborated with labels like Echocord, Third Ear, Electric Deluxe, Prologue, Mord to name some. "Materialize" is his first work for Vibrant Music.
From his early days in various bands in the 80's and 90's, Brendon liked indie, shoegaze, ambient, moody, cinematic scapes.
With Materialize he came full circle, reaching out to his early influences, but with the knowledge and experience of many years of exploration of modular synths, to create a concept space that feels intimate, and at the same time vivid evoking visual imaging.
It explores the time space through a minimalist, stoic approach.
It tells the story of how we are all linked into this tree of music we call electronic music, wherever each one is coming from.
A celebration of life through the mind of one of today's scholars of electronic music.
A liberation from the strictness of tempo and metronomes, to reach to a more creative state.
Vibrant Music continuous the quest, to bring to you unique collaborations and sides of artists that we like.

FLOAT presents the next release from drummer and composer Andrea Belfi following on from his 2017 debut album Ore & just after the announcement of his tour with Thom Yorke!
Forthcoming Strata is an organic evolution of the unique synthesis of hypnotizing drumming and ensnaring electronic patterns Belfi has become renowned for. Strata's inception is due to Belfi's playful experiments with Gnawa rhythms - a music tradition from North Africa that draws from ancient African spiritual and religious songs - with which Belfi created basic guide tracks that were later expanded upon. Strata's remit expanded from these core rhythmic ideas into a mini-LP, spread across 6 tracks spanning 25 minutes.

I grew up fascinated with the music played late at night on the radio.
As a kid, when times were tough and I couldn't get myself to sleep, I would tune the radio to my favourite FM station and dream on.
This was back in the late 80's and lasted until the mid 90's, a time when I was getting hooked by Hall & Oates, Loose Ends, Maze, S.O.S. Band, Soul II Soul, and other artists that used to rule the dial in the wee hours.
So this music didn't only comfort and nurture me at the time, it also shaped my music personality.

When Renata approached me in order to work on the first ever compilation for Hello Sailor, I knew the selection would end up reflecting this side of me. It had to come from the heart.
It also had to bring to the table something different than what's already associated with Brazilian music, and exploring our own take on the street soul genre sounded good.
It was never done before and it's also faithful to Brazil's musical heritage.

Back in the 80's and into the 90's, it was very common at parties to have a slow dance moment in between the more uptempo sections. A timeout from all the frantic dancing, when people could cool off and flirt in a more romantic way. (It does sound like a great idea to have this intimate just-the-two-of-us moment in the middle of a party; maybe it explains the number of marriages at that time.)
This is a tradition that goes back to the black music balls in the late 70's, which helps to explain why the majority of the early rap acts from Brazil used to have a couple of romantic songs in their albums. When you add to this recipe the power of the mellow pop acts during the aforementioned period, one can realise why it extended its tentacles to deeper depths of pop music in Brazil.

This compilation features some of my favourite music ever, songs that I've crossed paths with in different moments of my life.
Fernanda Abreu, for instance, is a longtime crush - I have been in love with her music since the mid 80's when she used to sing in a band called Blitz, which my mom loved.
Afrodite Se Quiser, on the other hand, created some buzz while the group was active with the minor hit "O Que Que Ela Tem Que Eu Nao Tenho", from their first album (1987), but I didn't know about "Fora de Mim" until 2015. My point is: even if it took me 25 years to find this track, I had a reserved spot in my brain for it and it laid there perfectly as if it innately belonged there.
It's a built memory, and I love playing with this idea when presenting music to people.

Street Soul Brasil is part mellow pop, part R&B, part rap.
One can surely feel a lot of street energy from the B Side. The music reflects the influence of international pop at the time, but it also shows how Brazilians are talented in making any sound their own!

This compilation is supposed to be a mixed collection of songs, something that might trigger the feeling of flipping through an old photo book full of tender memories. These are songs that should speak straight to the heart, music to comfort and heal, music that deals with joy and pain, feelings that I always liked being transmitted through music.
It's among the best forms of therapy. It worked for me and I hope it works for you...

“Be There In The Morning” is such an amazing song Renee Geyer co-wrote she recorded it twice! While the 1976 original is smooth and classy, it’s the more upbeat funky 1977 version of the song she sang that’s the definitive and re-released here. It was first reissued by Expansion on 2003’s “Soul Togetherness” compilation, and the 1979 version of the song recorded by Norman Connors was reissued as a 7” by Expansion in 2016. For this 7” the track has been re-mastered to it’s ultimate best and coupled, for the first time on 7”, with a superb version of “It Only Happens (When I Look At You), a song best known by Aretha Franklin and also known by Jackie Wilson. The version is a duet with fellow Australian Doug Williams of The Rockmelons.

One of the enduring mysteries of Blue Note history is that superb sessions such as Dexter Gordon’s Clubhouse (recorded in 1965) remained unreleased in the vault until the late 1970s. Recorded during the middle of Gordon’s “golden period” career renaissance after he signed with Blue Note in 1961, the tenor saxophone legend is joined by Freddie Hubbard on trumpet and the remarkable rhythm section of Barry Harris on piano, Bob Cranshaw on bass, and the great Billy Higgins on drums. Long Tall Dexter’s rendition of the Sinatra evergreen “I’m a Fool To Want You” stands as one of his all-time greatest ballad performances.

Dread technicians Pact Infernal debut on their own Altar Label with 4 all new haunted constructions

Formerly of Chroma, with releases on RAM, Renegade Hardware, Commercial Suicide, CIA and more, Tyrone is now out to make a statement as a solo act.

This 3-part compilation is a celebration of On The 5th Day - a project born out of love - honouring the music, moments and individuals that have helped to make it so special.

What follows is a journey through the spectrum of sound On The 5th Day so proudly represents and has become renowned for, the full compilation mirroring the vision for our events: to create unforgettable flow from beginning to end - a record for each part of the night.

Our love and gratitude goes to all those who have joined us along the way.

Following the mighty rendition of "I Want You", Soul Sugar (a.k.a. Guillaume 'Gee'
Metenier) is back with another massive Soul-Reggae version, this time taking on Luther
Vandross' "Never Too Much".
Fearlessly taking on such timeless classics is serious business, and Leo Carmichael
delivers, once again, with a maximum dosage of finesse and feeling. Seductively delicate
backing vocals from Carl Lee Sharshmidt and Karene Brown keep it as warm and
intimate as one would hope, while Thomas Naim's tasteful guitar licks and Gee's minimal
production allow the song to breathe and flow steadily on its own.
Recorded in Paris, Kingston, Miami and London, the resulting blend of Soul and Reggae
riddims has rarely felt so natural. On the A-side, Gee's "Discomix" dubs a generous dose of
the sultry backing vocals over a minimal, bassy groove that dips, dives and flows on into the
sunset. UK producer Adam Prescott lets loose with an infectious 90's dancehall rerub,
aiming straight for the dancefloor... ladies' choice! Finally rhythm legends Sly & Robbie
drop the BASS with a heavy dancehall treatment, taking it low, letting it ride, while the
vocals float on... Never Too Much!

Longstanding FUSE resident Rich NxT combines with fellow London favourite East End Dubs this June to release their debut collaborative EP ‘The Four Slip’, featuring two bubbling, heady cuts.

As one of FUSE’s original residents, Rich NxT’s evolution alongside the London brand has seen him become one of the scene’s most respected DJs and producers, releasing a slew of material via their renowned in-house imprints as well as via the likes of Tamango, Elision, Vatos Locos and his own NxT Records. This pairing sees him up alongside one of the scene’s most prolific and consistent producers, East End Dubs, who arrives fresh from a string of EPs via his own self-titled and anonymous imprints, and material on Eastenderz, Infuse and Moxy Musik to offer up the two-track ‘The Four Slip’ EP, marking the pairs debut collaboration, which was over a year in the making, whilst offering a concentric overlap between their own unique sounds to tell another fresh story for the 34th release of the rapidly maturing imprint.

The A side sees the paring combine to offer up ‘E3’ - a slinking and swing-fuelled lead cut that merges woozy, spacey melodies, chunky kicks and warping electronics, before employing crunchy percussion licks, rich chords and a glitchy, low-slung core groove throughout ‘Bubbles’ on the flip to close the package in fine fashion.

A multifaceted debut EP from the Berlin-based producer Crore.

The record starts off with “Ultraviolence“, a stomping acid workout, climaxing with the help of sharp hi-hats and its smooth but effective arrangement. On the flip side, the less pragmatic “Thinking In Code“ renounces the 4/4 kick and works more subtle while diving into the deeper spheres of contemporary techno music. Spheric pads meet a pulsating synth in the “Final Sequence“ and create a fuzzy and uncanny atmosphere.

Sonic weapons for a wide range of club settings.

Exactly three years after their debut release landed on Studio Barnhus,
MLiR are back with Trans-World Junktion, a summer-ready two-tracker
that packs enough musical twists and turns to put your favourite
quadruple 12-inch to shame. Half part awesome exotica, half vigourous
festival blitzin' from this Barcelona-based Swedish musical collective
fronted by Marco Gegenheimer and Einar Christoffersson. Artwork by
Studio Barnhus logo renderer and a/v show maker Leolyxxx.

Worst records is proud to present the third release of its growing catalogue. Unlike his
alias could evoke, Christian Coiffure is not so much specialized in online hairdressing
tutorials but has a fierce passion into brushing serious quality tracks. « Un Nouvel Âge
Réminiscent » hits hard with its progression into sharp and colorful forms, never bound to
redundancy. From slow EBMish , industrial tainted marching anthems of « A New New
Hope » and « Slowly Merging Into One » to synth-infused acid railroads built for futuristic
Trance Europe Express trains in « Révolutions Synchrones » and « La Dernière Volonté
des Atlantes », everything functions as a toolkit for imagination. Add to this a breaky
andrefreshing post-dubstep turn on « Biosphere is Reborn » alongside a delicious
headshot surprise on digital bonus with « Pouvoir Lacrymal Renforcé », and you will
never see the word « coiffure » the same way again.

"I love it. SO beautiful"
Josh Rosenthal [Tompkins Square]

Songs For A One-String Guitar is the debut instrumental acoustic guitar LP from Jonny Dillon. Better known for his analogue electronic music productions and all-hardware live sets under the ‘Automatic Tasty’ moniker [Lunar Disko, CPU, Wrong Island], Jonny’s records (bearing heavy acid and electro influences), along with live appearances at venues like Berlin’s Panorama Bar and Kiev’s Closer belie the fact that he has been quietly exploring the musical landscape of the guitar for nearly twenty years.

Recorded as a series of sketches over the last 10 years, Songs For A One-String Guitar represents a snapshot taken over a long exposure; one individual’s private response to a variety of currents and inspirations both musical and emotional. While informed in large measure by the world of Irish traditional music and song (of Sweeney’s Men, Planxty and Seán Garvey) along with that of primitivism and the American Spiritual (of John Fahey, Hank Williams and Mississippi John Hurt) these songs are equally a personal attempt to give expression to an inner landscape, from the experience of sorrow and loss to the promise of redemption and renewal.

The LP opens with ‘Turning Invisible In An Imaginary Rose Garden One-Evening’ a contemplative piece played in free-time; “I’ve been playing this piece for years, and it’s gone by so many different names in that time. It’s a sort of shoe-staring daydream, to my mind at least. I want people to disappear when they hear it, and think it suits the LP to open up slowly and reflectively”. While a contemplative strain underpins some of these songs, others are informed more directly by the experience of grief; “I wrote ‘A Requiem For Joe Dillon’ at the death of my uncle. He used play lots of wonderful songs of his own at family gatherings when I was a child, and while a very gifted and sensitive soul, was also troubled by his own demons. The last time I saw him alive was at my family home with my father; I was going out to see some friends and Joe called me back, gave me a hug and made the sign of the cross with his thumb on my forehead, to bless me. It still chokes me up when I think about it. A song of his ‘Light A Penny Candle’ I included to finish the piece in his honour.” A sense of longing and hope is present in other pieces; “Songs like ‘Again But With Feeling This Time’ and ‘Start Again (Carry On)’ come from a sort of hopeful yearning feeling which is always within me; a melancholic sort of joy in search of redemption. For me, music has the strange capacity to express contrary positions simultaneously; to console, redeem and offer transcendence while also expressing suffering and pain. I don’t know what any of this means, but feel as though I’m trying to find my way home by writing the same song over and over again.”

Songs For A One-String Guitar may seem to represent a departure for those who know Dillon for his electronic productions alone, though the reality is that these songs merely represent a new opening onto an old landscape; they are an invitation to more fully share in one individual’s yearning to find meaning through creative expression. “These songs are very personal to me, so there’s a certain nervousness in my seeing them released. I hope that they prove of some use, and that they do some small good to those who hear them.”

“Ta Da” is the debut full length from J. McFarlane Reality Guest, the collective name for the trio headed by the eponymous McFarlane. As a member of the group Twerps, McFarlane has traversed guitar-centric, melodic pop music for some years while honing a highly unique, personal musical language. Ta Da is the first recorded unveiling of McFarlane’s affecting, oblique songwriting panache. Originally released in her native Australia on Hobbies Galore, Ta Da will be released worldwide by Night School in June 2019.

Wheezing into view with a troubled reed instrument set against a s of whoozy synth lines, Human Tissue Act is a foggy curtain the listener is invited to peel back. The dissonant notes are left to dance entwined, with clarinet heralding a Harry Partch-esque mallet percussion interlude. It’s a mood. With no resolution in sight, an audience dragged closer into uncertainty is suddenly drenched with the light of inter-weaving wah wah synth and saxophone. I Am A Toy introduces us to McFarlane’s vocal, an effortless and matter-of-fact, accented statement that quietly takes the reins. While McFarlane’s previous work in Twerps might reference 80s UK and antipodean guitar pop, Ta Da showcases a different influences immersed in psychedelic music and synths. It’s a brilliant, deft concoction swimming in Young Marble Giants-type minimalism washed with bare pop and harmony similar to Kevin Ayers making sense of a Melbourne suburb full of faces half-recognised in the blanching sun.

What Has He Bought begins with a Casio-keyboard rhythm pattern, palm-muted guitars and immaculately enunciated vocal give way to a burnt melodica part that elevates the spirits. Simple patterns repeated, like a well-tempered pop song that does what it needs to do and no more, build into the sound of summer leaking orange juice. They’re moments of joy, layered on top of each other like a melting cake. Do You Like What I’m Sayin’ recalls Marine Girls covering a classic ‘66 Garage nugget, organ lines fighting funk with guitar chords played just behind the percussion. “In a talking world, meanings are the same. Words want to hold on to the people they contain. Do you like what I’m sayin’?” We’re in a Beckett play perhaps, obtuse absurdities rendered pretty. Alien Ceremony is a heart-melter, given a melancholic timbre by bowed double bass it’s a tragi-comic piece that almost reeks of Robert Wyatt at his mid-whimsical twisting a fugue completely out of shape. Beneath the layers of harmony and twinkling instrumentation you sense there’s a genuine sadness somewhere even if it remains veiled.

Through out Ta Da, McFarlane plays with counterpoint and contrast to sometimes delirious effect. On Your Torturer, a simple, upbeat chord progression is hard panned, underpinning a flute solo which seems out of place, hence making it completely in place on this warmly surreal album. My Enemy is a slowly swinging eulogy to a failed relationship punctuated by analogue synth burbles, with our protagonist simply asking, in the aftermath, “can we be nice?” Here McFarlane’s vocal is straight forward, lyrically conversational but still not completely in focus, a surreal kitchen sink drama filtered through a dream where everything is in the wrong place. It’s a fine precursor to Heartburn, which similarly borrows BBC Radiophonic Workshop-style noise synths and the use of space to carve up the simple “You Will Make My Heart Burn” line. At this point, the listener has been in such close proximity to McFarlane’s show, the reality guest in a performance where they’re the sole audience member, that when Where Are You My Love rises on the horizon as a sleepy, psychedelic send off it’s uplifting. The vocal drifts away into the sunset, simple and direct. It leaves the listener slightly confused, perhaps, but grateful for the gentle surprise.

3rd album from Soweto sensations BCUC (aka Bantu Continua Uhuru Consciousness) with guest appearances from Afrobeat king Femi Kuti and renowned spoken word artist Saul Williams before a run of festival dates in the UK this summer.

Eschewing the classic album format, BCUC present three tracks – two of which clock in at nearly 20 minutes – that continue their philosophy of “Music for the people by the people”, combining zulu traditions and malombo percussions with a post-punk production and rock n roll attitude that have seen them feted as one of the most vital live bands playing today.

This 3-part compilation is a celebration of On The 5th Day - a project born out of love - honouring the music, moments and individuals that have helped to make it so special.

What follows is a journey through the spectrum of sound On The 5th Day so proudly represents and has become renowned for, the full compilation mirroring the vision for our events: to create unforgettable flow from beginning to end - a record for each part of the night.

Our love and gratitude goes to all those who have joined us along the way.

Black Truffle is honoured to announce the first ever vinyl reissue of David Rosenboom’s legendary Brainwave Music, originally released on A.R.C. Records in 1975 and here expanded to a double LP with the addition of over 40 minutes of contemporaneous material. Pioneer of live electronics, innovator in music education, collaborator with artists as diverse as Jon Hassell, Jacqueline Humbert, Terry Riley and Anthony Braxton, Rosenboom is renowned for his ground-breaking experiments with the use of brain biofeedback to control live electronic systems.

Each of the three pieces that make up the original Brainwave Music LP integrates biofeedback with musical technology in different ways. In the side-long opening piece “Portable Gold and Philosophers’ Stones”, four performers have electrodes and monitoring devices attached to their bodies to receive information about brainwaves, temperature, and galvanic skin response. This information is analysed and fed into a complex set of frequency dividers and filters, manned by Rosenboom, but essentially played by each of the performers through their psychophysiological responses to the situation. The result is a slowly unfolding web of filtered electronic tones over a tanpura-esque fundamental, possessing the unhurried, stately grandeur of an electronic raga. In “Chilean Drought”, three different variations of a text about a drought in Chile, each read by a different voice in a different style, are associated with the Beta, Alpha, and Theta brainwave bands. Alongside an insistent piano accompaniment, we hear a constantly shifting combination of the three vocal recordings controlled by the relative preponderance of each of the brainwave bands in the soloist whose brainwaves are being monitored. “Piano Etude I (Alpha)”, the earliest piece included here, is based on research into the link between Alpha brain wave production and the execution of repetitive motor tasks. As Rosenboom plays a very rapid, incessantly repeated pattern in both hands – deliberately designed to be difficult to execute without being in an alert, non-thinking state similar to that associated with strong Alpha brainwave production – two filters controlled by monitoring his brainwaves process the piano sound, moving gradually higher in frequency as the average Alpha amplitude increases, resulting in a hypnotic, constantly shifting blur of repeated notes reflected through the shimmering, watery lights of the filters. For this reissue, the original LP is supplemented with an additional LP containing an unreleased 1977 live recording of Rosenboom’s “On Being Invisible”, in which the composer himself performs on an array of electronics that are fed information from his brainwaves. Stretching out over 40 minutes, the piece begins in similar territory to “Portable Gold and Philosophers’ Stones” but eventually becomes far wilder, building up to pointillistic bleeps and dense layers of electronic fizz that unexpectedly cut to near-silence. As Rosenboom explains, the piece creates a situation in which the ‘performer’s active imaginative listening became one of the ways to play their instrument, as well as an active agent in how self-organizing musical forms might emerge.’ Enriched with archival images and new notes from the composer, this expanded reissue of Brainwave Music is essential listening for anyone interested in the history of live electronic music and alive to the possibilities it might still contain.

AX Sounds join us from parts unknown...

A beautiful simplicity, a foundational allegiance to the House blueprint, but rendered in a sonic spectrum that's entirely futuristic.
These hypnotic workouts suggest an efficiency of intent that's impossible to resist at high or low volume.

This is trance dance baby, but without the tie-dye

For its first release of 2019, Sol Power Sound is pleased to welcome back Nenor -- formally Obas Nenor-- to the label family. Since his now-classic Color Soul EP on Sol Power Sound back in 2015, Nenor has gone on to release a string of hugely successful EPs on Heist, Whiskey Disco, and on his own imprint, Nenorion Music.

With the Future Ancestor EP, Nenor revisits the African-inspired textures that made the Color Soul EP unforgettable, but ventures further into the subterranean reaches. On "Tike Ye Ya Kende", Nenor teams up with Congolese-born vocalist Natalie Wamba for a rousing dancefloor heat-rock, with pulsing marimbas and hazy synths.

"Nova Man" is a straight-up banger with huge chugging bass, dubby vocal samples, and thrilling atmospherics.

"Ibe" dives head-first into the deep with tripped-out arpeggios, complex, layered percussion, and more of those gritty signature Nenor synths.

"Knwo" speeds ahead on a bruk-n-bass trajectory as a frenetic stomper that will inspire late-night dancers to throw crazy shapes.

With early support from Simbad, Soul Clap, Jacques Renault and more, the Future Ancestor EP is sure to be another staple in ever-growing Nenor and Sol Power Sound catalogs and will keep dark rooms ablaze all summer long.

- One 140 gram RED Vinyl Disc in plain white paper inner sleeve

- 4/color Single-pocket jacket - shared with 093624903444

- 4/c over 4/c Lyric Insert - shared with 093624903444

- 2/c (PMS 186 + Black) 2.0' x 4.0' FYE Exclusive Marketing Sticker

- 1/c (Black) UPC sticker and affix directly on jacket over existing barcode.

Global superstar Michael Bublé is scheduled to release(pronounced love) as his first studio album in two years on November 16th following a two year break from public life to spend time with his family.

The Canadian singer-songwriter returned to the studio with a new perspective on life and a renewed commitment to honouring the music he has always loved.

I didn't anticipate returning to recording or performing and I was fine with that. My entire world view has changed completely these last few years. I wanted to spend all my time with my wife and kids. That was my focus. During that time, I also learned how much love and humanity is out in the world from the prayers and good wishes we received. But slowly, along with understanding what my priorities in life are, I began to feel a new commitment to express the emotions and lessons I've embraced. Whether I am the narrator, the observer, the main character, the dreamer, the broken hearted guy at a bar or having the night of a lifetime, I have stories to tell on this record. It's all there in the songs. I have had so many blessings in life and one of them is that I hold the torch to keep these songs alive for generations to come. I take the responsibility very seriously. My end game for the new record was to create a series of short cinematic stories for each song I chose and have it stand on its own. I'm so proud of what we accomplished,' commented Bublé.

Bublé co-produced his new album and brings new love to several rich classics from the American Songbook. The album opens with the idealistic and dreamy 'When I Fall In Love.' It also includes a haunting take on another Rogers & Hart standard, 'My Funny Valentine.' Other standouts are an ebullient 'When You're Smiling,' a swinging 'Such A Night' as well as Bublé's hand-picked favorites including 'Unforgettable,' 'Help Me Make It Through The Night,' and 'I Only Have Eyes For You.' Two standout tracks are Charlie Puth's swinging 'Love You Anymore' and an achingly poignant 'La Vie En Rose' -a Bublé duet featuring singer Cecile McLorin Salvant. A touching Bublépenned original 'Forever Now' demonstrates his songwriting skills, which were previously shown in such Bubléwritten hits like 'Home,' 'Haven't Met You Yet' and 'Everything.' The album closes with a show-stopping version of 'Where or When.'

was produced by David Foster, longtime collaborator Jochem van der Saag and Michael Bublé. The trio brought Bublé's visions to life with luscious arrangements surrounding his rich vocals. Michael Bublé has sold over 60 million records worldwide, performed hundreds of sold-out shows around the globe, and won four Grammys and multiple Juno Awards during the course of his extraordinary career.

Introducing a new label and musical direction for Lee Renacre from 100Hz with, PUSHER. His aim is to push the boundaries of electronic music by using different time signatures and poly rhythmic patterns, and by not using 4/4 patterns and the standard hat clap beats it’s possible to create a different style of mood and dancing which is deep loose and skippy. Pusher has a bold new Techno sound and also a gentle side with tracks of deep emotive strings and melody’s.

This Series of tracks is called Drug Music, a stripped down funky style with unusual beat patterns and poly rhythmic elements best enjoyed and fully understood when in an euphoric state, always recorded from a live studio jam where Lee’s improvised sounds come to life with some unexpected results. Lee also collaborates with artist and good friends for some extra depth and to mix up this unique style of electronica.

The first of the Pusher EP’s is a thumping minimal and full on affair with infectious killer acid riffs in odd time signatures. Crisp funky modulating hats monster bass lines and dramatic interplanetary sounds with live tweaks, twists and turns. Also some seriously deep and intense music is coming from this live jam situation with a thrilling string track to round off the Pusher experience.

No one sculpts volts & frequencies into a story quite like David Morley. For Futurepast’s third release, he has delivered a precise rendering of its vision to transcend temporal associations and perceptions. In the title track Boundary Travels, he ascends quickly into a weighty melodic line that oscillates like the natural intonations of an inner monologue, built upon a foundation of tightly knit hits and bleeps. The story of Limbo unfolds in the infinitesimal margin where intensity becomes softness, hesitation becomes resolution, and boundaries become intersections. Sounds drift past, above, and below in Crushing Pressure as if a city, or its memory, was suddenly suspended in a black hole. Boundary Travels might be the closest we can get to such a horizon.
- DVK

'Benjamin Lew was an enlightened amateur, in the noble and almost Renaissance-like sense of the word: he dabbled with equal grace in photography, writing, visual arts ... and worked part-time as a cocktail mixer in a tropical bar which was one of the favourite watering holes of Brussels' thriving artistic community of the early '80s. Tuxedomoon had just moved to Brussels, and Steven Brown was among the many musicians, designers & artists who patronized the bar. Benjamin had a secret passion: he wasn't a musician, but had acquired a small analog computer, with which he had started creating these strange mysterious little pieces. Benjamin played them to Steven and asked him if he'd agree to record with him. Steven was taken with them and accepted. The Douzième Journée was largely created in the studio by both protagonists, with the help of Gilles Martin and myself, in the spring of '82. Listening to his albums (he went on to record four more with Crammed) is like embarking on a dream journey to the Sahara or the Far East. You'd think that some of the pieces feature non-European musicians or samples but: no... this is just Benjamin's imagination, his synths, and his friends...'

Marc Hollander, Feb. 2019

New Melodymathics

Anoyo ('the world over there') draws from the same sessions with members of Tokyo Gakuso which led to the 2018 work Konoyo, but rendered starker, solemn, and stripped back, with more of a naturalist tint. Hecker's processing here moves in veiled ways, soft refractions and whispered shrouds woven within improvisational sessions of traditional gagaku interplay, evoking a sense of vaulted space, temples at dawn, shredded silk fluttering in the rafters.
This is boldly barren music, skeletal and sculptural, shaped from wood, wind, strings, and mist. Modern yet ancient, delicate and desolate, Anoyo inverts its predecessor to compellingly conjure a parallel world of illusion, solitude, and eternal return.

'Buntús Rince' translates from Irish as 'basic rhythms', and this new compilation explores how Irish musicians were influenced by strands of different genres of music from around the world, merging them to create their own unique sounds. The compilation features some of the most innovative and talented figures in the history of Irish music and includes rare Irish jazz, fusion and folk outliers from the 1970s and early 1980s from musicians relatively unknown outside of Ireland.

Often regarded as a musical backwater, the 1970s finally saw Ireland begin to make its mark on international music. The nature of this feat is all the more commendable, considering how isolated and conservative the country still was in the middle of the last century. The emergence of acts like Skid Row, Thin Lizzy and Van Morrison instilled in budding young Irish musicians the belief to dream big.

Unlike many other European countries, Ireland had not benefited from the cultural impact of immigration. Pioneering Irish musicians did not have access to the type of vibrant music scenes ubiquitous to most European cities at that time. With no talented players or even in some cases recordings of the music, they had to cultivate and invent their own small scenes.

A jazz scene had begun to blossom in Dublin in the late 1950s. Self-taught players like Noel Kelehan and Louis Stewart emerged as the Irish standard-bearers. Their level of musicianship saw them play with some of the world's most renowned artists. The 1960s would see the emergence of the 'beat' scene in Ireland, with groups like Granny's Intentions, Taste and Eire Apparent finally challenging the hegemony of Irish Showbands. Change was in the air.
The late 1960s also saw many Irish emigrants returning home, bringing with them inspiration from the new styles and sounds of London and further afield. The arrival in the late 1960s of pirate radio stations like Radio Caroline, new music magazines and the availability of music on vinyl meant that different genres were now becoming more accessible. The musical landscape of the country began to transform and evolve, influencing a new generation of musicians in the process.
The 1970s saw advancements in studio technology. 8-track studios began appearing in Dublin, offering more opportunities for groups to record singles and albums. Synthesizers and other instruments were also becoming easier to acquire as the younger generation turned to electric jazz and fusion music.
While the level of musicianship was high, the levels of opportunities in Ireland were still very limited. Many groups and solo musicians had to emigrate to try and succeed.
Thankfully for those who remained, this new emerging scene didn't go totally unnoticed and local labels began to take a chance on more obscure Irish groups. Labels like Mulligan and also producers like John D'Ardis and Terri Hooley championed and documented music from the Irish underground of the 1970s.

Their valuable work is a common thread which connects many of the tracks on this compilation. From the soaring flute playing of Brian Dunning, to the swinging piano of Noel Kelehan and the sonic force of Jolyon Jackson's synthesizers; 'Buntús Rince' lifts the lid on a vastly underappreciated period of Irish music history.
One for the collectors.

Lapsus Records proudly presents the first solo material from Scottish artist 'Brick Reds, Black Mauves', and is due for release at the end of April. Behind the Brick Reds, Black Mauves pseudonym is producer Alex Ander, better known as part of the renowned duo, Dalhous, one of most interesting projects to emerge from London label Blackest Ever Black.

Together with cohort Marc Dall, the Edinburgh pairing immediately achieved international recognition thanks to releases including "An Ambassador For Laing" (2013) and "Visibility Is A Trap" (2014), which subsequently led to their participation at the first Lapsus Festival in 2014.

It is not the first time that Alex Ander has collaborated with Lapsus Records. In 2016 Dalhous formed part of a dual release with Pye Corner Audio entitled "Run For The Shadows", demonstrating the strong sound connection shared by both projects. Alex Ander returns in 2019 to present his new adventure Brick Reds, Black Mauves.

His debut release for Lapsus Records is a four-track homonymous EP that could be considered as a soundtrack to a post-apocalyptic feature film, full of exuberant ambient and melodies in constant motion, somewhat reminiscent of names like Demdike Stare or even Scottish band Boards Of Canada. On the EP's excellent fifth track, remix duties are expertly performed by Dalhous, giving "Cabochon" an even more introspective and experimental atmosphere, if that were deemed possible...

The "Brick Reds, Black Mauves EP" is, without a doubt, one of Lapsus Records' most exciting debuts to date and will be released at the end of April. Once again, the Basora studio has been vgiven the task of designing the artwork for this EP, which will be released on both vinyl and digital formats.

Schmer Schmer has been looking for the next Prototype 909 since 1995. While they may never be found, we have instead found a few artists that with the same spirit of adventure have taken electronic music to new frontiers of unimaginable creativity. Primary among them is Lena aka Galcid aka Lenacid.

Lena's electrifying live performances utilizing eurorack modular synths with vintage and modern machines follow three simple 3 rules:

NO PCs, NO Presets, NO Preparation!

She has been called Jeanne d'Arc of modular because her style her appearance and her fearlessness.

For Schmer, Lena has created an EP made for the melting of your mind, if it doesn't first melt your speakers.

Lena uses her electronics in the most effective way possible. The classic acid machines are deployed to establish the themes the modular synths bring in sounds that take these tracks to another level. The eponymous track will hypnotize you into the state of focus necessary to allow you to go deep inside. Then the Acid Police show up! A funky drum machine rocker sure wake you out of your trance. Steel Vein has the intensity to rewire your modular mind. bpmf provides an hard driving aggressive take on Melting to help us turn on the switch.
Legendary DJ and producer Hisashi Saito has been making acid and techno since the early 90s. Using his unique
skills this EP has a rare clarity of sound not often heard on such ambitious recordings. Lenacid “Melting EP” opens up a new frontier for acid, for Schmer and for Lena that you are invited to explore with us this spring.

As Galcid, she has played alongside world renowned artists such as Nina Kraviz, Daniel Miller, Oval, DJ Nobu, Isao Tomita, Takkyu Ishino, Ken Ishii, G-man (LFO) among others. In 2016, she was invited by the Japan Media Art Festival to play at the special exhibition, held at the Eyemyth Media Arts Festival in Mumbai, India. Her 1st album “Hertz" received a worldwide release in digital format on the Detroit Underground label. The release attracted the attention of Karl Hyde (Underworld), Chris Carter (Throbbing Gristle) among other well-known musicians the world over. Shortly thereafter, Galcid played at "Boiler Room Tokyo". In July 2017, she embarked on her first EU tour playing shows in Barcelona, London, and Madrid, after she came back, she participated in Iron Island Festival and Mutek Japan garnering high praise in the media. In December 2017, she was invited to headline Future Mix's 20th Anniversary event and workshop in Shenzhen where she performed and held a talk with techno pioneer Mijk Van Dijk.

Raar brings his fifth release through his creative outlet Vaerel Records. The four tracks EP comes with his signature approach of combining gritty techno with a sense of restrained melody inside. With this in mind, the record would definitely bring some intensity at a warehouse's darkest hour.

Statik Selektah is a renowned DJ and Producer based in NYC, born and raised in Boston.
Statik hosts a weekly radio show on Sirius / XM Shade 45 every Thursday from 7PM to 9PM.
Statik has produced recent tracks for Eminem, Joey Bada$$, Action Bronson, Danny Brown, Royce Da 5'9' and Dej Loaf.
In 2014, Statik Selektah released his album, 'What Goes Around' (DDM CD 2375), and in 2015, Statik Selektah put out his 7th studio album, Lucky 7 (DDM CD 2430). He is now prepping his 8th album, '8,' for a December 8th release date.

On their debut album as DOVS, Tin Man and AAAA summon the ethereal spirit of acid. Tin Man, AKA Johannes Auvinen, has been studying the emotional potential of the Roland TB-303 for 15 years now, and AAAA (Gabo Barranco), a fixture of the Mexico City underground, might as well be his acolyte. While the coincidental similarities of their studio and live approaches make this collaboration feel natural, even expected, Silent Cities is anything but. We recognize most of the elements here—the ubiquitous acid box and hardware drum machines—yet Auvinen and Barranco arrive in new, mysterious territory this time out. Lush arpeggiation, breakbeats and atmosphere imbue tracks like 'Nostalgic Oblivion' with a widescreen grandeur. 'Rene Figures' recalls Specific Momentific-era Cristian Vogel, symphonic, melodic techno with a kick heavy enough for dark, cavernous rooms. Meanwhile, beatless cuts like 'Whining Acid' are as intricately crafted as Tin Man's well-loved classical work (Vienna Blues). But as a duo, they craft a virtuosic harmonic narrative almost solely with 303s. Tin Man and Donato Dozzy's 'Nonneo' was the first release on Acid Test, setting the tone for the label and unlocking new potential for the genre. DOVS' closer on Silent Cities, 'Diazepam Blues', is the label's new melancholic acid anthem and a statement of purpose for Tin Man and AAAA, two hardware masters who have created an album of remarkable emotional depth.










[J}] D2 - Dysphoric Fix

Dark Star Safari, a newly formed group featuring Samuel Rohrer, Jan Bang, Erik Honoré and Eivind Aarset, present its eponymous recording debut, an evocative song-driven album. These songs conjure shadows of memory, clouds of dreaming and silhouettes of foreboding through the album’s layered, many-textured fabrics and Jan Bang's silken delivery of Erik Honoré's acute lyrics. Dark Star Safari is the work of four kindred spirits, their open modus operandi, and a remarkably interconnected creative nerve system. Key to their collaboration is an organic freedom that enables the music “to fill itself in", to be self-actualizing via the musicians as medium. The music of the 10 songs resulted from a two-stage process: an initial phase of free flowing open improvi- sation, and a subsequent exploratory phase where hidden potenti- als were discovered and nurtured. The groundwork of the album’s music originates from a session initiated by Samuel Rohrer, who invited Jan Bang and Eivind Aarset to the renowned Candy Bomber studio in Berlin. The ses- sion was run under the imaginative craftsmanship of sound engi- neer Ingo Krauss, who worked in the famous Conny Plank stu- dio, and its recording and mixing employed sophisticated use of vintage analogue equipment alongside cutting edge digital pro- cesses. This meeting opened the door for something larger to emerge. The group did not settle for just the outcome of the initi- al open improvisation. They were driven to dig deeper, to atten- tively examine and manipulate the material, in order to discover what it had to offer. This caused a creational chain reaction, forcefully spreading across the group. During this second phase, Jan Bang, while meditating upon the possibilities and reach of the improvised material, felt a strong urge to give additional shape and colour to it by singing. Thus, he organically stepped into the role of vocalist, a role he had not pursued since the early days of his musical career. He sent the results to Erik Honoré, who immediately was inspired by its po- tential, quickly penning lyrics and providing the project with its name. Honoré composed two additional songs, Mordechai and Fault Line, and thus rounded the project out towards a fully reali- zed opus. The group continued this back and forth process, with Samuel Rohrer and Eivind Aarset bringing in fine-tuning and e nrichment to the song structures and textures.

French modern-classical quartet astrïd return on May 10th with the first part of a new release entitled A Porthole.

Conceptually the two records work in unison, focusing on portholes into the abyss, with part one delving into the depths of the deep sea. The tracks are named after various strains of seaweed, the artwork depicting dark waves and uncertainty. Part two will follow in a years time and will turn its attention to the night sky and constellations.

A Porthole continues astrïd’s signature style of billowing guitars, strings and woodwind. Each element intertwined with another, linked perfectly together through restrained jazz-tinged percussion. 2017’s highly-acclaimed release ‘Through the Sparkle’ with renowned pianist Rachel Grimes (of Rachels) set the bar extremely high for this release but astrïd have matched the depth, melody and quality of that record here.

Part one of this journey features some sublime compositions with Cyril Secq’s expressive and bold guitar playing carrying the pieces into chamber music territory, joined seamlessly by a variety of other instruments that swell and soar and fit perfectly into the story being told. Everything seems to have its place, nothing is overplayed or out of step here, there is an organic nature to the way this quartet plays and interacts with one another as melodies circle back and fade away in the same beautiful breath.

A Porthole is a deeply charming record, exercising glorious, nuanced refrain and offering a sort of hope rarely found in music these days.

• Aqua blue vinyl - limited to 300 copies w/ download code

• The album was mastered by Harris Newman (Godspeed You! Black Emperor, Tindersticks etc)

• The artwork is extracted from an original one of a kind monotype print by Gizeh overlord Richard Knox.

A journey that has flourished from Florence, Italy to the UK capital of London via Ibiza, Italian duo Neverdogs’ ascent and journey into the global spotlight is one deeply rooted in talent and passion. As a duo, Tommy Paone and Marco De Gregorio have gone on to release material on the likes of Roush and Deeperfect, played at renowned festivals such as The BPM Festival, and made regular appearances at Marco Carola’s highly-coveted Music On where they have been core residents since 2013. Having founded Bamboleo Records earlier this year, the label’s third release will see the arrival of the duo’s most diverse work to date as they reveal their debut album: ‘Details’.

“We always wanted to prepare an album that would represent us. Besides having twenty years of experience, musical and artistic backgrounds we have been studying for months, listening to old vinyl records from our collection, paying attention to the work of other artists from the industry whilst taking inspiration from 80's bands such as Yazoo and Depeche Mode, and from the contemporary underground and pop worlds. This allowed us to understand what direction to take when creating our own sound. All the sounds of our tracks are made with analogue instrumentation.

We decided to call our first album ‘Details’ as it encapsulates what this series is all about. We were paying particular attention to the details whilst creating all the tracks. We collaborated with the musician Davide Ruberto aka Fortyseven and the singer Spencer Kennedy, son of the former drummer of Imagination (English band from the 80's). We are also working on an Album Tour which will be released following this one.” - Neverdogs

First up on this limited album sampler, ‘Details’, drives right into the trademark Neverdogs sound as the duo weave together precise drum patterns effortlessly with rumbling sub bass. Next, the stripped back ‘Dance Moves’ couples elastic synthlines and galactic glitches with panning sweeps and crisp hats.

The flip side delves deeper, as ‘Duck From Mars’ reveals slick organic percussion arrangements and bubbling lead lines, whilst ‘Volca’ ups the tempo and edges towards the peak time, a flow fans of the pairing will be familiar with, as perfectly demonstrated year in year out when playing on Amnesia’s iconic terrace.

Marvin Jupiter is an 18 year old artist who mainly makes hip-hop music, using bass lines as rhythms more associated with funk. He uses and creates the sound of the modern day interpretation of trap adding his own personal twist.

'Reach' is a rendition of the typical "house" genre including rhythms sampled from South American cultures, using current sounds from the "trap genre" even having a small section of a "trap/hip-hop" beat towards the end of the song.

On the B-side you can hear the boogie & funk through a dego & Lord remix

An Italo Disco rarity from 1986 now available again as 12" Maxi Single with remixes by Ali Renault and Also Playable Mono.

Charlemagne Palestine's majestic 1976 work The Golden Mean, originally performed by Palestine on two pianos, is revisited here as The Goldennn Meeenn + Sheeenn, a new collaboration between Palestine and enigmatic musician Rrose.

March 2018: the Festival Variations in Nantes commissions Charlemagne Palestine to reinvent The Golden Mean for two pianists. Palestine chose Rrose to join him in this new rendition of the work. Together, they performed The Goldennn Meeenn + Sheeenn onstage at the main opera house in Nantes -- the sumptuous Théâtre Graslin – with extraordinary results.

The concept of the 'golden mean' goes back to the roots of mathematics, and ancient Greek philosophy. It is an important work in the Palestine mythos, embodying his total immersion in the power of the interval. "It's probably his most systematic work . . . a step-by-step journey through the intervals of the octave," says Rrose. "When we rehearsed it, we were noticing how each interval is like a universe of its own -- with its own history, emotions, and sonic qualities all mixed up together. Every time you move from one interval to the next, it feels like moving into another world."

"I love the interval," Palestine told me in a recent interview. "I love when it plays with itself. That's what I learned from organ musics too. You can just do an interval, and if they're just slightly out of tune with each other, then they shimmer . . . they play themselves. And it sounds like somebody's playing lots of notes. In your ear, it's like an aural phenomenon . . . that's my whole concept. I make something that then does itself somehow. It continues by itself. So I don't have to always be there. And that makes my music a little less egocentric. So there's more space. Also for the listener — the ear plays with these things, and you're not always being given orders. Your ear isn't given orders all the time of what to listen for."

Beautifully recorded, with mastering by Rashad Becker of Dubplates and Mastering, The Golden Mean + Sheeenn feels expansive, radiant and hypnotic, opening new ears to its enduring mystery.

Rrose adds this note to listeners: "Do not focus your attention on the notes being played, but on the ocean of overtones swimming, suspended, overhead, brushing against one another, kissing one another, melting into one another."

Renato Ratier is one of the most important names in Brazilian and South American electronic scene not only as the creator of the d-edge club and partner of Warung club, two of the world's leading electronic music clubs. As a producer and citizen of the world, this time the artist found inspiration in the middle of the Atacama desert in Chile during a trip to a gig in that country. Definitely, the vibe and atmosphere of this unique place, suggested to Ratier a track full of personality as well as his work as a producer. While working on his new album, Ratier offers us a precious and pulsating track, with a striking square bassline and a hypnotic line of chords and synths. To complete this special package, Ratier invited two of the most important djs and Brazilian producers to bring their remixes.Ney Faustini and A.84 with their brilliant jobs.

(Limited edition of 300 copies on clear & black marbled vinyl with full printed sleeve and textured coloured printed insert)

This is the 1st vinyl release on a quiet RIOT, an independent electronic music label based in Scotland.

Following his Interferenza cassette for Osiris Music, Berlin-based sound artist Adam Winchester returns with a new body of work that sees him embracing ever more forthright rhythms while adhering to his established lines of sonic enquiry.

With roots in the Bristol dubstep scene and a long-standing partnership with Christopher Jarman in Dot Product, Winchester has spent the past few years investigating alternative methods of sound generation that deal in hidden electromagnetic frequencies and spectral tones found lurking in circuitry. Bringing these extremities back to a more structured focus, Muutto is a highly personal work that captures the period of transition as he moved from Bristol to Berlin.

While the finely sculpted tonality and artful distortion of his recent work is plain to hear throughout, Muutto is also grounded in arrangement and melody, weaving a tangible narrative that pivots around steely rhythmic architecture, nodding to his roots in club music without expressing anything explicitly 'dancefloor.' Even at its most physical, as on the weighted march of 'Hold,' the emphasis is on atmosphere and mood, no matter how heavy the drums fall. In the distant murmurs of pads and poignant vocal threads, the bittersweet emotional backdrop to the record comes through in abundance.

There's space afforded for the more avant-garde tendencies in Winchester's music too. 'Metaphors' is caked in guttural feedback that comes on like a particularly noisy Albini studio session strapped to a chassis of the swampiest blues rock lurch you're likely to hear all year.

In its needlepoint detail, broad scope of sound palettes and potent expression, Muutto is an accomplished offering, but more significant is the way these facets are bound together by immediacy and form that transcend the freeform experimentation many of Winchester's traits are drawn from.

'a quiet RIOT' is an electronic music label based in Livingston, Scotland orchestrated by Nomad and is the sub-label of the highly renowned 'RIOT Radio Records.'

Since 20th February 2015, Nomad has run his own very successful fortnightly internet techno radio show called the "RIOT Radio Show.' Each show has a resident warm up set then a further hour with a wicked guest, the majority of whom are among the world's top electronic artists. The show gets thousands of listeners on each transmission with every set recorded exclusively for it. You will not hear them anywhere else.

A hoard of very well-known and simply stunning acts always feature on the show along with a whole host of very talented local music makers.

This was the build up to the record label being launched in April 2016 that will show-case major acts and amazing local talent.

After a standout Ep on Nachtbraker's label, and an Ep as NOTE on Tartelet Records, the Berlin based artist VERNER lands on Axe On Wax with the Debbie Coke Ep. The Album varies from U-R style dreamy electro, to drum machine jams, croaking basslines and jazzy synth driven tracks. This Ep is is a must for all house heads! Already getting early club and radio plays from Honey Dijoon, Brame & Hamo, Marcel Vogel, Eclair Fifi, Yu Su, Carista and Jaques Renault! TIP.

Next on Berlin's Renate Schallplatten is Longhair, a project formed by Marko Pelaic and Benedikt Bogenberger, two residents of Berlin's Wilde Renate. Mangostine, a four-tracker, follows last year's 12' on Dutch label Bordello A Parigi and a track contribution on House Is OK. It lands with an Axel Boman remix. The EP opens with the title track, its name drawn from the exotic fruit. Over a brooding bassline we hear light, fluttering melodies and uplifting keys, creating a peak-time roller that'll put smiles on faces across the dancefloor. 'Pans & Pots,' the A2, starts as a darker affair with trippy vocal samples and fluttering drum patterns, before warm keys and intricate instrumentation lift the mood to make for a fun-filled jam peak-hours feel-good jam. On the flip, Studio Barnhus head Axel Boman reworks the title track into a more subtle, deeper cut; the melodies remain but in the background, replaced at the forefront by tribal drums and abstract vocals. Closer 'Aquamen,' meanwhile, opens as a straight-edged techno cut with a heavy bassline and fluttering snares, before playful keys and intermittent sci-fi samples add some texture. It's another late-night jam that'll lift the energy without ever being too forceful. The release is Renate Schallplatten's first since 2017's various artist compilations. Earlier EPs have landed from Moscoman, Sebastian Voigt, Wareika, and more.

With their latest 'International Disco Mafia 2' release getting love from the likes of Marc Grusane and Jacques Renault, these Dublin based modern discotheque messers are on a roll.

Their latest sees Yorkshire based machine squelcher Perseus Traxx coming heavy on the A side with 'Pump It', which grinds a crashing jack track in and out of some choice disco snippets to create a relentless floorburner for 2019.

Sir Leon Greg is another of the Traxx-man's many pseudonyms, and 'Shakey' is an acid house tinged makeover of an old Northern Soul classic he made a few years back.
Fatty Fatty head honcho Pablo supplies his 'Warehouse Mix'Â of the track, which strings it out into a wild 10 minute trip that teases and caresses you before the strings and that chorus send you over the edge completely.

Last but not least, 'Last Days' will be, to some ears, the pick of the bunch - a rich, ever circling slice of funked up house music that will touch you in all the right spots, rounding off the package in some style.

SO-015 was slated to be released some time ago as the Critical Phaze ep, but for various reasons, never saw the light of day. The ep has now been newly mixed, re-mastered, renamed on the resurrected Southern Outpost label. The lead track, Critical Phaze, is dark dystopian electro, while Syncom Data provide a dubbed out remix to finish up the A side. A short interlude on the B side makes way for Solar Cycle a long, hypnotic electro trip that imagines the endless bounds of space.


B A2 Critical Phaze (Syncom Data Remix)

See Through is a new collaboration between Aidan Baker (Nadja), Faith Coloccia (Mamiffer, Mara, Sige Records) and renowned percussionist Jon Mueller.

The project was brought to life through Baker exploring textural rhythms created by sampling small, sharp and abrupt sounds on the electric guitar and then sequencing them in a drum machine to form the bedrock of the tracks. Mueller then added his particular, signature brand of intricate, hypnotic percussion to the mix and the compositions began to grow and take shape. The pair agreed that the pieces needed a more human touch and Coloccia was invited onboard, contributing processed vocals via looping, tape manipulation and microphone feedback.

The result is an other-worldly record that seamlessly flows from beginning to end, immersing the listener in waves of ambient movements and soporific beats. There is a trance-inducing aspect to this work, deserving to be consumed in one sitting and allowed to manifest itself for the duration. The trio have crafted a piece of work that stands up to the quality and integrity of their combined back catalogues and indeed adds something completely new for fans to discover and devour.

Radha-Krsna Nama Sankirtana was the first of two albums Alice Coltrane released in 1977 (the other being Transcendence). Coltrane's music during this period grew out of an epiphany in which she would renounce secular life and don the orange robes of a swamini (spiritual teacher in the Hindu tradition). Musically, this meant leaving jazz behind (at least partially) and embracing the chants and rhythms of devotional music.

The first half of Radha-Krsna is mostly filled with simple arrangements of bhajans (Hindu devotional songs) and features the singing of students from the Vedantic Center, the Ashram that Coltrane founded in 1975. The group bounces with the joy of a gospel choir (not coincidentally, some had backgrounds in Southern Baptist churches).

A rapturous aura permeates opener "Govinda Jai Jai" with Alice leading on Fender Rhodes. On "Prema Muditha," she returns to acoustic piano (her main instrument in the early part of her career) to deliver a powerful and poignant theme.

Sidelong "Om Namah Sivaya" beams with probing organ improvisations accompanied by the drumming of her 13-year-old son Aruna John Coltrane, Jr. This closing track offers a strong indication that even if Alice Coltrane was turning toward new traditions for inspiration, her music was still something that only she could make.

Transcendence was not only Alice Coltrane's last studio album for Warner Bros., it would also be her last studio work for nearly three decades. While Eternity and Radha-Krsna Nama Sankirtana followed the composer's muse through an exciting range of musical styles and influences, Transcendence is perhaps the most fully realized of the three LPs, synthesizing the best elements of each into a monumental whole.

Side one consists of intimate compositions with Alice's pointillist harp enhanced by intricate string arrangements. At times, the emotional climaxes in "Radhe Shyam" and the title track sound like the score to an epic film. This would be the closest Coltrane ever came to chamber music, yet rendered with her uniquely spiritual tint.

Side two moves into celestial territory with uplifting chants, light handclaps and bluesy organ. These call-and-response chants, featuring members from her Ashram, completely embody both African-American gospel and Hindu devotional traditions, an uncanny fusion that is transformed through Alice's pure spirit.

What runs through the album's two musical halves is a powerful sense of devotion and discovery. At this point in her life, Coltrane was on a journey toward truth through sound, and Transcendence gives the listener a front row seat to this quest.

Amazing and unique private soul/jazz-funk fusion LP, 'New York To L.A.: Coasting' is the first release (1980) on Andrew Scott Potter and David Eric Tillman's PO/ET label. Sublime from the beginning to the end, it has become, just like their second and final release '...Space...Rapture...', a sought-after collector's item.

Andrew and Eric both come from Chicago. They met in the early 70's, shortly after Eric's discharge from the U.S. Air Force. They played together on the local jazz scene for several years (among others, with Maulawi). During that period, Andrew also toured with Minnie Riperton and Eric toured with The Dells, Linda Clifford and others. In the late 70's Eric left Chicago for Los Angeles, when he began touring with The Temptations. Since moving to California Eric has played and/or recorded with a variety of artists, including, Willie Bobo, Justo Almario, Alex Acuna, Norman Connors, Billy Paul, GAP Band, Linda Hopkins, Billy Higgins, O.C. Smith, and many others.

Considering He Was A Self Taught Pianist, Brian Auger's Progress Into The Heart Of The British Modern Jazz Scene Of The Late 1950's And Early 60's Was Particularly Impressive. He Gained Invaluable Experience The Hard Way, Paying His Dues At The Cottage Club, And The Original Ronnie Scotts On Gerrard Street, Working With Renowned Saxophonists Tommy Whittle, Dick Morrisey And Jimmy Skidmore - And Sessions In Smoky East End Pubs With His Friend, Arguably Britain's Greatest Jazz Saxophonist Tubby Hayes.

The Inclusion Of Several Of His Rare, Early 60's Piano Trio Tracks On Both Volumes Of 'back To The Beginning - The Brian Auger Anthology' Brought Long Overdue Attention To Brian's Early Jazz Career, Which Many Were Simply Unaware Of Prior To Their Release. The Enthusiastic Reaction To Those Tracks That Stuck In Brian's Mind, And Later, Fate Intervened, As He Himself Explains, "a Couple Of Years Later, Ken Greene, The Music Director Of Bogie's, Called And Told Me That He Was Starting A Project, To Whit, A Week At Bogie's With A Different Jazz Piano Trio Each Night".

The Material Brian Decided To Play Features Tracks From A Selection Of His Musical Influences, Heroes And Friends Including 'chelsea Bridge' By One Of His Favourite Composers, The Great Billy Strayhorn, Freddie Hubbard's Ever Green 'little Sunflower', The Much Loved Standard 'there Is No Greater Love' Which Brian Used To Play In His Original Early 60's Piano Trio, And His Own Composition Victor's Delight He Wrote A Tribute To The Great English Jazz Musician Victor Feldman Who He First Discovered Via His Tenure With The Cannonball Adderley Quintet.

Surprisingly, This Is Brian's Very First Jazz Piano Album Of His Illustrious And Award Winning Career, And Marks A Return To The Instrument And The Music That First Entranced And Enthralled Him As A Young Boy. His Musical Journey, Which Began In Austere Post War London, And On Which He Absorbed So Many Varied Styles Of Music, And Literally Took Him Around The World, Enrapturing Audiences Worldwide, Has Indeed Come Full Circle.

Emotional Rescue announces the second EP of music from one of the label's favourites as part of a non-defined series where two of their (un)classic songs are remastered, reappraised and reinterpreted with new versions by a contemporary artist for reinterpretation today.

Thomas Leer is a respected and revered musician in both experimental and electronic circles. Having moved from Scotland to London in the late 70s, he moved away from playing in punk based bands, to debut his self-financed 'Private Planes' 7" in 1978, before releasing the cult-album 'The Bridge', with Robert Rental, the following year.

Signing to Cherry Red, he released the heralded '4 Movements' in 1981 and followed with 'All About You' in 1982, and it is from these 2 EPs that this release is sourced. The release starts with Saving Grace from the latter, a long famous "Cosmic classic"; it's mid-tempo, spacey, lifting repetition is the perfect soundtrack for those Baldelli trips straight to the stars.

This is backed with Tight As A Drum, a quintessential Leer production, where Teutonic drums is overlaid with sequencers and synth tones to elevate the song to some kind of disorientating outer-dimensional dub, while his lucid, spoken word vocals instill degradation and reinvention.

Asking Bullion to offer his own take on these two songs was the perfect pairing. A revered artist in his own time, the warmth and depth of his versions takes the originals to his own inner world; sampling, rewiring, reprogramming, resigning and replaying. An EP for the floor, the head and the heart.

Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018
Mastering: Mathias Durand

Translations: Valérie Vivancos
Layout: Stephen O'Malley
Photos: Stéphane Ouzounoff, Bernard Bruges-Renard

Coordination GRM: François Bonnet
Executive Production: Peter Rehberg

SIDE A
Contrée (2013), 20'

SIDE B
Allégeance volatile (2002), 8'46
Esquive (2010), 10'10

The mastering of these tracks was done by Mathias Durand at François Lê Xuân's Studio 101, in Paris. I would like to warmly thank him for this.

Allégeance volatile and Esquive each tackle the same issue in their own way. Overcoming time: whether it be successive, additional, enumerative, or repetitive. However, there is nothing here about the ensuing nature of so-called "repetitive" music. These are types of high-end music. And it is more about insistence, the obstinacy of an individual who keeps knocking on a door that will never open.

Allégeance's rustic drumming, talkative, acidulous, colourful and overarticulated, with almost clownish desinences, eventually dies out in this very respite. The iterative and puffy shimmering of Esquive with its dull, thin and precise sounds, shifts and is engulfed into another sonic world — which appears as a gaping and collapsed response to this prime insistency.

This is, indeed, a 'volatile allegiance' and 'avoidance' from the sonic to the musical elements: the musical phenomenon anticipated and pursued as the non-sound of sound — or, in other words, the void of sound. This seems to be the lesson of the concrete attitude in music. Such is the kind of questioning that stirs the composer.

He returns with another title: Contrée, which, once again, speaks of a counter-event. Here, the movement is broader, more generous, more confident. Time spreads and stretches out. What seems to be a landscape of entanglements, trajectories, influx, masses and points emerges. "Something" rises and presents itself out of the sounds - these escaping beings, these "relatively short combustion flames " (Schaeffer).

The piece consists of five consecutive and uninterrupted parts: Entrée and Stance I — Véhémence de l'air and Stance II — Grande Allure. It is the central section of an electroacoustic triptych with Sables (2011) as the first and Nil (2017) as the last.

In 2015, Freestyle Records re-issued the groundbreaking 'African Party' album by the somewhat mysterious figure of Ginger (George Folunsho) Johnson. Recorded in 1967, nearly 20 years after he first arrived in post war London and immediately began performing and recording with London jazz stalwarts Ronnie Scott and Pete King.

Credited by those in the know (including Giles Peterson, Louie Vega, Fela Kuti's drummer Tony Allen & writer David Toop) as the godfather of afrobeat, Ginger and his group, The African Messengers enjoyed a varied career as the go to afro-cuban percussion group for recording sessions in the UK, working with Georgie Fame, Osibisa, Madeleine Bell and Quincy Jones - as well as acting us mentor to a young Fela Kuti and members of Cymande who cut their teeth as members of his ensemble. They also performed at The Royal Variety Performance, Ginger's music featured in the James Bond film 'Live & Let Die' and Ginger himself appears on screen drumming in the Hammer Films cult classic 'She', and famously performed with The Rolling Stones in Hyde Park in 1969.

Aside from 'African Party', and several Hi Life singles released on the Melodisc label in the 50's, it was thought that there were no further recordings by this hugely influential musician . Eventually, prompted by the attention afforded the Freestyle re-issues - Ginger's son Dennis Dee Mac Johnson was contacted by Uchenna Ikonne, a renowned African music collector, who told him he had discovered one rather battered original copy of a 45 single, released in the mid 70's on the short lived 'Afrodesia' label,

For Record Store Day 2019, Freestyle are proud to release the 2 tracks on a fresh vinyl 45. 'Witchdoctor' is not the track of the same name on African Party, but it and 'Nawa' (written by Dizzy Gillespie cohort Chano Pozo) demonstrate a musical progression as funk had stamped it's indelible footprint on Ginger's music along with afro-cuban rhythms and jazz.

Thanks to Claudio Passavanti at Doctor Mix Studios in London, who has done quite an amazing restoration and re-mastering job on this long lost music.

Born out of a chance encounter in 2012 that led to a lasting friendship, Rhythm Section Int'l & producer, DJ, label boss, radio host, and record store owner Ruf Dug join forces to present 'The Committee'. Sitting somewhere between fictional band and studio collaboration, the record is the first fully in-house production for Rhythm Section, recorded start to finish at their own South East London studio and featuring vocals from label founder Bradley Zero and label mate FYI Chris's Chris Watson.

Right from the studio's initial creation, Ruf Dug felt inspired by the space's unique musical identity, jumping at the opportunity to create a collaborative record there over a two week studio residency. And between his DJ residencies at Pikes, Gottwood and NTS radio the Manchester-via-Ibiza computer game freak and renowned vinyl digger found the time to meld his wide range of influences. Having been a key driving force behind Be With's Holy Grail reissue of Bô'vel's - Check 4 U , Ruffy has more than earned his stripes as a boss level Street Soul collector, pre-empting the resurgent interest in the genre, which began in the mid 80s and is still a popular sound in Manchester today. This new release draws parallels between the DIY attitude of Street Soul labels like TSR, Intrigue, Jam Today & Elite and the modus operandi of the RS studio.

A wholly synergetic work, the project's title 'The Committee' reflects the collaborative nature of this release, as Ruf Dug states: 'Authorship is a strange concept at the best of times but this genuinely is a group effort and I very much enjoyed feeling like just one piece of a larger entity - the complete opposite to my usual production experience of being all alone in my room for days at a time.' The EP also features additional production from Rhythm Section's own Mali Baden-Powell, who DJ's and produces as Z Lovecraft and comes from a background in Street Soul music, his father was also in legendary UK acid jazz collective D'Influence. In addition, the record features a dynamic range of vocalists: sultry deliveries from Natalie Wildgoose and Sienna Mustafa, a rap from her sister Nadina, and the vocal debuts of FYI Chris's Chris Watson and Bradley Zero. 'I had been joking with Bradley that he needed to be on the record somehow and he did appear, playing an egg shaker at one point, but his singing wasn't in the least bit planned... I got back from lunch, and the next thing you know he just starts singing...So I dragged him reluctantly down the corridor to the studio and that's it- now he's a pop star!'

Also playfully melding digidub, soul, chicago house and acid jazz, the release not only marks a new chapter in the development of the Rhythm Section sound, but also catalogues a crucial turning Point in Ruf Dug's musical development. Still oozing with the cheeky DIY approach that won his own label, RUF KUTZ an army of fans, this latest Collab steps things up and opens a whole new realm of possibilities for one of Manchester's favourite sons.

Honey...rich And Flavorful, Hitting The Deepest Sweet Spot.

Drivetrain (detroit, Usa) - Inside You
Label Founder, Derrick Thompson Sets It Off With A Primetime Floor Filler.
The Gravitational Pull Of The Bass Riff Encapsulates The Vocal Hook As The Keyboard Refrain Perfectly Aligns With An Aggressive Percussion Track.

Rennie Foster (vancouver, Canada) - Detroit City
Demonstrating A Much Deeper Persona, The Sultry Piano Sets A Moody Atmosphere. Luxuriant Strings And Expressive Bell Tones Conjugate As The Vocal Signature Pays Homage To The City Of Inspiration.

Melodymann (ghent, Belgium) - Nobody Else
Explicitly Designed For Maximum Body Movement, A Solid Percussion Theme Is Immediately Established. Soon An Animated Chord Progression Is Introduced,
Then Showered With Kinetic Vocal Samples For Amalgamated Electricity.

Mark Ryal (sitges, Spain) - Imperfect Perfection
This Elegantly Fluid Soiree Debut Parades A Sphere Of Warm Pads Throughout.
Articulated Harmonies, Elastically Weave A Blissful Sonic Terrain Atop An Unyielding Groove Framework.

To happiness through simplicity. Rendering a very personal tribute to well understood minimalism, the same that is based on simplicity and conceptual refinement and that is adapted to the creation and musical production -respecting that electronic maximum canonical of "less is more" - in terms of its compositional process, instrumentation, mixing, effects, etc. 'Simple Things' can be danced throughout the night. It is a collection of tracks with punch, made from the clarity and personality that characterize Nacho Marco, susceptible to being played at very different times and places. Exhale, from beginning to end, a natural love towards the dancefloor. From the simplicity of the search for this objective, its author -in his Warm Studio in Valencia- has used different rhythm boxes -programmed internally- for each track in order to, also based on a raw mix - especially in percussion and basses - to provide the tracklist with a varied air -between digital and analogue- through which to enjoy traveling through deep-house, nu-disco, acid, etc. and, therefore, in funk, soul, jazz, etc. From Chicago to Valencia, passing through N.Y. and Detroit. And all this avoiding arguments and essays of style. From a maximum freedom of creation and enjoyment. Yes, we are facing a "100% Nacho Marco" job.

Dead Fader jumps from Kimochi Sound over to Tesuji with a rolling, dreamy, euphoric rendition of future electro. Essential, optimistic, forward-thinking. On the other side, Bassiani's HVL flips the beat on its head for more ominous perspective, complete with klaxon acid line and sinewy breakbeats.

Renart, A Young Producer, Is One Of The Proudest Representatives Of The New French Techno Scene.

Known For His Excellent Work In Production, It Is On Stage That He Impresses The Most, With Intense Sets With Textures Worked And Tinged With Trance, Just Like His Lives, True Techno Epics.

Music With Mythological Accents, Renart Connects Several Eps Since 2010, Both At Cracki Records, Versatile, Dawn Records, Or Fragrant Harbor Recently.

Inspired By The Ancient Techno, Renart Romanesque And Traditional Music Sounds Sometimes Oriental, Renart Tells A Story Of Hypnosis And Psyche, Made Of Throbbing Repetitions, Reminiscences Of Happy Mornings Where The Stars Are Dying.

Always driven by his search for balance, Crayon delivers here his most personal work.
«Post Blue» presents a digital soul, both contemplative and rousing, where acoustic and electronic sounds mingle. This taste of paradox is essential from the beginning, and remains throughout all the EP. One feels at once relaxed and anguished, optimistic and melancholic.

Creatively, the approach is, again, both instinctive and purposeful. The instrumentation is thought like a traditional group, but never at the detriment of the possibilities o ered by cur- rent technologies.
Beyond the work of introspection, the Parisian composer ex- plores new sound and emotional horizons throughout a love story, rst banal, but nevertheless rich and complex.

Born from Music of Life archive tapes (previously believed lost) which were uncovered by Robin Allinson in a Publishers warehouse in 2012.

The source material for this special record is" 1989 Hustlers Convention Live" (SPOCK1) ".

A Live Hip Hop Album, famously sampled by The Prodigy for the 'Everybody In The Place' vocal. The tapes of the night were multi tracks with 6 channels of audio recorded, Decks (Mono), 2 Mics (Mono) and the Room (Stereo). Being so old the tapes were first 'baked' and then transferred from a Studer machine in to Pro Tools via Prism Sound A/D converters at FX Rentals / FX Copyroom, Acton, London.

Notable performances by Artists on the Night came from MC Duke & Merlin; Mark The 45 King; Demon Boyz; Daddy Freddy. DJ's on the night were Westwood and Cut master Swift. Sections of their sets between Artists was captured. What did not make the Album was the Battle instigated by Overlord X coming on stage and stopping proceedings to battle MC Duke. As Duke once told me "X stuttered on the Mic".

Listening back, it's gold and puts Queen Latifa popping up in context. While restoring the Album as a multi track mixdown Robin started a series of new music projects plundering the MOL tapes and formed Stay On Target records to release them. Recordings were sent to: Sonars Ghost (SOT000), Stormski, 6Blocc, Bay B Kane and the last instalment was by Robbee Darkhalf.

In the last few years London has become the centre of the Jazz Renaissance. A

new burst of energy and attitude brought by young musicians, equally inspired

by the likes of John Coltrane, Pharaoh Sanders or Sun Ra, as well as

Madvillain, J Dilla, Flying Lotus and Floating Points, has brought a welcomed

freshness to the London Scene. This exciting new environment brought a group

of young musicians together, all with a mutual desire to discover a new form of

expression. Together they created Cykada.

serenitatem, the fifteenth installment of FRKWYS, RVNG Intl.'s collaboration series pairing intergenerational artists in creative conversation, joins Visible Cloaks with Yoshio Ojima and Satsuki Shibano, two trailblazers of the Japanese avantgarde music and visual arts scenes of the 1980s and 90s.

Yoshio Ojima began his career as a composer of environmental and ambient music, with a particular interest, and optimism, in the possibilities of generative software. His compositional pursuit of human synthesis with computerized forms was realized in its fullest potential alongside Satsuki Shibano, a pianist renowned for her interpretations of Erik Satie and Claude Debussy. Together, they were among a handful of influential Japanese artists whose innovations still resonate, if not more vibrantly than ever, well beyond the tightly-knit scene's original core. In the early 90s, Ojima was among the programmers of the influential satellite radio experiment St. Giga, a constantly-evolving sonic landscape that combined field recordings and sound collage with occasional readings of Japanese poetry. Satsuki was a regular reader for the station. This musical terrarium bloomed out of sight in a small Tokyo studio, a greenhouse of sound with no set start or finish time that audiences could tune into, absorb, and immerse.

The perpetual flow state of St. Giga — recordings of which Ojima shared with Visible Cloaks — would be highly influential to serenitatem's constitution. As Visible Cloaks, the Portland, Oregon duo of Spencer Doran and Ryan Carlile have developed their own set of creative strategies that form an aesthetic fuse point between human intention, aleatoric composition, and improvisation.

These are notions most recently reflected in 2017's Reassemblage and Lex, a respective album and EP in which the duo combined generative software and virtual representations of global instruments into lacy, interlocking patterns. Long time admirers of Ojima's work on albums like 1988's Une Collection Des Chainons, Doran and Carlile discovered after an online introduction that they shared with Yoshio and Satsuki an abiding interest in pre-classical composers, the Lovely Music, Ltd. label, and the British avant-garde, as well as a mutual respect for one another's techniques and processes.

The four musicians met in Tokyo, Japan at Sounduno Studios in December 2017, at the tail end of Visible Cloaks' first Japanese tour, to commence work on serenitatem. Leading up to the studio sessions, Doran and Carlile sent Ojima processed sound sketches recorded while on a European tour, which Yoshio would add to and return. Visible Cloaks would then fold Yoshio's edits back into the original compositions, which Doran and Carlile brought to the exploratory recording session. During that week together in Tokyo, the quartet made use of a number of creative strategies — 'echoing sound together,' as Yoshio puts it. Among the strategies, MIDI randomization gave the quartet melodic lines and what Doran calls 'randomized clouds,' or 'tightly grouped notes that become smeared tonal clusters functioning more like chords in themselves.' Carlile would also feed Ojima and Satsuki's text into Wotja, a generative music software which produced a MIDI language around which the quartet expanded their compositions.

'The aim,' Doran says of serenitatem, 'was to make a work that was not specifically ambient (or environmental), but something more multi-hued, weaving these deconstructive concepts into an album that has a deeper architecture underpinning it.' Accordingly, serenitatem is a marvelously sharp record, its sutures between human and machine virtually impossible to find but suggested everywhere you turn. The collaboration among Ojima, Satsuki, and Visible Cloaks is both musically and conceptually inseparable from the technology that made it possible. Throughout the album, Shibano's playing resonates like Satie's, her rhythms cascading like drops from leaves an hour after the rain. Overtones are stretched and warped like modeling clay, then spun around and shown off from multiple angles.

A single soaring note might seem to be suddenly plunged underwater, its richness of sound made shallow and its sharp edges blunted. Pittering chimes and rapidly warping vocal samples hang in the luxuriously glossy space, water trickles from ear-toear, familiar melodies rise from nothing and dissolve before they can be traced. With the depth of its emotional charge, serenitatem burns away the easy cynicism of the day, presenting itself as the kind of delocalized work of art the internet promised us decades ago — a synthesis of artistic visions, technological sophistication, futurist ambition, and, occasionally, ancient polyphony. Listening to it can feel a bit like tuning in to a 21st Century version of St. Giga: It's a place where the future still grows.

Visible Cloaks, Yoshio Ojima, and Satsuki Shibano's serenitatem, FRKWYS Vol. 15, will be available across LP, CD, and digital formats on April 5, 2019. The quartet will perform select live shows throughout 2019.

Rudie will recognise Bobby Sarkie from The Tartans and The Immortals (not to mention his solo roots killer Better World). His singing here is expertly reined in by desolation, numbness and regret, over a hollowed-out, mesmeric rhythm, with some nasty synth-work and casually brilliant effects on the drums. The vocal cut is more than a minute longer than the version which opens the Jah Son Invasion album with such a flourish; and the mix is different, with more prominent keys, and toned-down bass. It's previously unreleased, like the dub.The B-side is booby-trapped with sensational instrumental excursions on Junior Delahaye's Working Hard For The Rent Man and Jackie Mittoo's almighty Drum Song, which conclude the same original tape-reel as Over And Over. Rent Rebate features masterful, boppish soprano saxophone-playing by Roland Alphonso, and restrained guitar interjections by Barry Vincent, with a Spanish tang. The superb hand-drumming on Mount Zion is by Ras Menelik; and it's Mittoo himself on organ (or just maybe Clive Hunt, Wackies can't quite remember).

The late Deben Bhattacharya was a noted Bengali record producer, ethnomusicologist, poet, documentarian, radio producer, and all around renaissance man. Having moved from Northern India to London as a young man, Bhattacharya began working for the BBC as a radio producer. In 1955, having worked all possible angles to securing funding, Bhattacharya traveled to India to record musicians. The success of this trip allowed him to travel again soon after to the countries of the Middle East. With recordings from Turkey, Syria, Jordan, Iraq, Iran, and Afghanistan, as well as India and Pakistan, this LP is one of the best and earliest documents of the diverse and rich musical traditions of the Middle East. Subtitled 'A Sound Travelogue by Deben Bhattacharya', 'Music On The Desert Road' is exactly that, a beautiful and flowing document of the region's sound.

Following "Night Moves" and "Kids We Own The Summer" and its harmonious keyboards, H-Burns goes back to the quintessence of his music style: an impeccable songwriting praised internationally and an interpretation undeniably precise. To narrate in one album the only two stories worth being narrated " the one about a man living his home, and the one about a man coming back to his home " H-Burns (aka Renaud Brustlein) first matured his project isolated in a home-studio owned by French underground collective La Souterraine before bringing it to the studio with a team of musicians and engineers that he meticulously picked as usual : Earl Harvin from Thidersticks on the drums, Kate Stables from This Is The Kit as a vocal guest, Noah Georgeson (The Strokes, Andy Shauf, etc.) for the mixing, etc.
Understandably title "Midlife" this new album recorded on analog tapes tells the story of a man who looks back over the journey of his life, remembering his dreams of glory, the lost love stories, what he left behind from the others and from himself.

Emotional Rescue and Mountains In The Sea are thrilled to team up to revive a lost rarity of American ambient music: Chris Spheeris and Paul Voudouris' 1982 album 'Passage'.

Living and recording in Milwaukee, Wisconsin, Chris and Paul composed and released several albums of folk-rock and album-oriented synthpop before their attentions turned towards sound healing music in the early 1980s. The duo was approached by a company doing biofeedback therapy and asked to create an aural component for patients looking to regain control of nervous disorders. After extensive preparations and just one day of studio time, 'Passage' was the result, recorded live with no additional overdubs.

The LP consists of 3 long tracks which flow together as a single piece. Opener 'Prism' contains the album's most frenetic moments, glittering guitar and synth tones designed to draw the listener out of their distressed state. Next comes the soaring 'Mosaic', a renewing sunrise of warm chords that beckons slowly towards the album's summit, the over-20 minute title track which contains a sonic ecosystem of it's own. The album concludes in a state of pure serenity, in which the passage of time has seemed to slow to a halt, and the outside stresses of the world eradicated.

Over 3 decades since its initial conception, 'Passage' still retains all of its inestimable healing power, but remains incredibly difficult to find. It's an album that belongs in discussions of landmark early American ambient works, alongside names like Michael Stearns, Constance Demby, Kerry Leimer and Pauline Anna Strom. ER and MITS have worked with original cover artist Vinayak to render the album artwork as originally intended, in even greater detail than on its first release. We're overjoyed to be able to share this

Dean Zepherin is truly a producer who has managed to find his lane and appeal.
Born and raised in London - a suitably eclectic city for a man of his musical persuasion - he is renowned for his consistently genre-pushing productions.
In other words, a perfect match for Local Talk, a label not afraid to go beyond the classic 4/4 sound and explore different styles within house music.

Opening track Blue Moon is an organic, warm and enveloping chunk of deep house bliss and there's no doubt that Dean loves his house served with with plenty of horns.
Next up is Flying High, a jazzy uptempo house cut smothered in expansive percussions, trading organ and trumpet solos over elastic synth lines.

Music that speaks to the senses

Sounds From NoWhere is pleased to premiere a new Rendered' gem on 'Nocturnal Frequencies'.
Rendered is a new techno EBM/Industrial project created by Daniel Myer and Clément Perez at the end of 2016.
This fresh offering via 'Nocturnal Frequencies' combines both of their signature styles into a colossal and abrasive 6 minute rhythmic barrage.

*Limted to 300 copies worldwide* It all began in summer 2017 when Peter Broderick's former Efterklang bandmate Rasmus Stolberg invited him to perform at his new festival in Denmark, with the specific idea that Peter would play an entire set of Arthur Russell songs. As a long-time lover of Arthur's work, Peter immediately accepted the invitation and began to learn a collection of Russell songs. Stolberg put together a band of Danish musicians to join Broderick on stage, and the festival performance went off without a hitch.

Immediately after, Peter starting receiving invitations from other festivals, asking for the same thing — a full set of Arthur Russell songs. Even Arthur's long-time partner Tom Lee took notice of these performances of Arthur's work, and reached out to Peter personally. It wasn't long before Broderick was invited to examine some of Russell's archival work, and asked to do audio restoration work on the old tapes.

Peter's strong love for Arthur's work grew exponentially as he dove into the psyche of his hero, listening to hours and hours of unreleased material. He discovered that some of his favorite Russell songs have yet to be heard by the masses, and felt inspired to learn some of these tunes himself.

It was inevitable that Peter would record an album of his own renditions of Arthur's songs. And there was no better place to do it than the state of Maine, where most of Arthur's surviving family are based, and where Broderick himself was born back in 1987. With a large cast of friends and family, including Arthur's niece Rachel Henry and nephew Beau Lisy, Peter set out to capture his love for Arthur's music with a diverse collection of 10 songs, two of which have yet to be released in their original versions.

Its cover adorned with an original painting by Tom Lee, 'Peter Broderick & Friends Play Arthur Russell' is a vibrant and joyful tribute to one of Broderick's greatest heroes. Peter extends his deepest gratitude to all of Arthur's family, friends and fans who have so warmly welcomed his own versions of these tunes. It is hoped that these recordings will serve to honor the truly staggering legacy of Arthur Russell.

2lp: Schwarzes Doppelvinyl Mit Artwork Von Fett Burger
Die Kanadische Produzentin Jayda G Veröffentlicht Ihr Mit Spannung Erwartetes Debütalbum Auf Ninja Tune!
Dank Ihrer Ansteckenden Energie, Vitalität, Ihrer Rhythmen Und Ihrer Grenzenlosen Begeisterung Ist Jayda G In Den Letzten Jahren Im Dance/electronic-music-underground Stetig Aufgestiegen. Musikalisch Ist Das Debüt-album 'significant Changes' Eine Mixtur Verschiedener Stile Von Vintage-drummachine-funk, Die Stark Auf Chicagos House-blaupause Basieren. Eine Natürliche Weiterentwicklung Nach Einer Reihe Von Eps, Sowohl Solo Als Auch Zusammen Mit Ihrem Freund Und Mentor Dj Fett Burger (sex Tags Mania), Die Zumeist Auf Dem Freakout Cult Label Erschienen Sind, Das Die Beiden Bis 2018 Gemeinsam Betrieben, Sowie Auf Ihrem Jüngst Ins Leben Gerufenem Label, Jmg Recordings. Geboren Und Aufgewachsen In Der Kleinen Stadt Grand Forks Im Kanadischen Bundesstaat British Columbia - Etwa Sechs Stunden Von Vancouver - Wuchs Jayda Guy Inmitten Einer Fülle Von Natur Auf, Umgeben Von Bergen Und Wäldern, Flüssen Und Seen. Diese Umgebung War Es, Die Ein Frühes Interesse An Biologie Und Der Natur Im Allgemeinen Weckte: Eine Leidenschaft, Die Sich Immer Weiter Verstärkte, Bis Heute Anhält Und Untrennbar Mit Ihrem Musikalischen Schaffen Verbunden Ist.

The B-52's The B-52's on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Ranked at #152 on Rolling Stone's List of the 500 Greatest Albums of All Time Delightfully Campy, Intentionally Goofy, Lyrically Kitschy: 1979 Set Is Nothing But a Good Time
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (America's Best Record Plant): LP Bursts Forth With the Color and Vibrancy of the Brilliant Pop Within
The B-52's' Wild Planet and Cosmic Thing Also Available on Silver Label LP Boffo! Beehive hairdos, goofy sci-fi humor, lava-lamp kitsch, thrift-store fashions, party-starting tunes, unconventional perspectives, and the unique blending of the underground aesthetic with mainstream accessibility: The B-52's mix all this and more into a dizzying cocktail on their self-titled debut, which remains one of the most ahead-of-its-time, endlessly enjoyable, and vividly colorful albums ever released.
Ranked at #152 on Rolling Stone's list of the 500 Greatest Albums of All Time, The B-52's has its roots in the band's improbable genesis, itself reflective of the record's gleeful moods and quirky charms. The five members first played after sharing a tropical alcoholic beverage at a Chinese restaurant, the ironic silliness and spontaneous irreverence indicative of the music on its breakthrough record. Not to mention how it mirrors the unusual hodgepodge of instrumentation: organs, walkie talkies, bongos, glockenspiels, tambourines, toy pianos, smoke alarms, and more!
Musically, the band proves just as adventurous and whimsical. Using pleasant harmonies as a backdrop and Kate Pierson's squealing organ as a starting point, the B-52's draw upon surf-rock grooves, beach-bound soul-pop, herky-jerky funk riffs, minimalist rhythms, and Ricky Wilson's unusual guitar lines to craft songs that tower above the sarcastic suggestiveness and campy declarations. Of course, the latter are plenty entertaining on their own, but there's no denying the dance-bound persuasiveness and melodic shimmy associated with the classic cult single 'Rock Lobster' and splendid cover of the ubiquitous Petula Clark standard 'Downtown.' You've never heard anything like this.

Indeed, the B-52s were about a decade ahead of the alt-rock revolution when they recorded this delightfully campy, intentionally goofy, lyrically tawdry, and undeniably harmonic 1979 new-wave set that comes off as the best dance party you might ever hear. This is 40 minutes of nothing but a good time.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (America's best record plant), Silver Label numbered limited edition LP presents the B-52's brilliant debut in a fidelity it's never previously enjoyed. So detailed and realistic are the timbres, accents, and harmonies, you'll think the band's bright outfits are appearing right in front of you. Plus, the LP is worth the cost alone for the iconic album cover, which spotlights those bouffant 'dos.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.


The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.


The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

53 Degrees North marks SK_eleven s seventh release, as Setaoc Mass continues to add to his flourishing imprint; this time with a two-part EP release. 53 Degrees North Part One focuses its efforts on four-to-the-floor club-centric music the label head is renowned for. All four tracks are emblazoned with his signature, disparate pairing of light and dark sound palettes glued beneath rich, atmospheric textures and hypnotism - all the while keeping its muscular club chassis gleaming beneath. Part Two of the double release sees Coates revealing more of his experimental side. The second cut pays homage to past influences of the producer as he floats between ambient, IDM and electro cuts with ease, all rife with emotion and passion.

Sojourn Is A Four-track Ep Recorded In New York By Adam Gottesman And Victor Jordan Ostrovski. It's A Collection Of Emotional And Highly Textured Sound Environments , Four Soundscapes Built With Low Droning Frequencies, Colorful Chord Progressions And High Floating Melodies. The Ep Was Mastered By Lawrence English. The Cover Is A Pic- Ture By Photographer Pinelopi Gerasimou.