Search:da x

Cult status for those new york disco cuts pioneered by legendary djs such as Larry Levan, Franckie Knuckles, Junior Vasquez, David Morales.

'Mantra Moderne' is a stunning, contemporary masterpiece that fuses Anatolian Psychedelia, Brazilian Tropicalia, 60’s European pop and American jazz. A must for fans of Khruangbin, Portishead, Arthur Verocai, Goat, Caetano Veloso, Tom Zé, Os Mutantes, Cortex and co.

The duo is formed of Kit Martin, who lives between London and France and plays all instruments on the album, and Merve Erdem, vocalist and multi-disciplinary artist from Istanbul, now based in London. This is their debut album.
The album explores universal themes such as love, loss, decay, language and ideology, mixing three different languages: English, Turkish and French. Written and recorded by the duo - Kit composed all the songs and Merve wrote the lyrics - in rural France during 2018, each song was completed within a 12-hour window, pawning contemplation for spontaneity.
Dubbed by Kit and Merve as ‘lo-fi-hi-fi’ in reference to the high-end tube equipment that helped it find its way to 8-track cassette tape. The style owes its sound to narrow tape width, valve distortion, spring reverb, the mixture of high end gear with lo-fi equipment as well as a disregard to the norms of hi-fi studio techniques. All instruments were analogue and no samples were used. The instruments that are used range from tablas to darbukas, balalaikas to ouds, MS20 synths to Farfisa organs and a lot of cuica. The mixing techniques were done on-the-fly, tracking immediately to tape: compression, EQ, delay and reverb; meaning mixing could not be revisited!

The french and fresh production team Mochi Men (Young Pulse & ATN) is back on wax, releasing their 2nd official remix on Mochi Records ! After making a great impression with their previous and
sold out release (the deep house – UK jazz funk remix of Resolution 88’s "Taking Off), they return with a monster nu disco boogie nugget, remixing “Boys and Girls” from the famous french latin funk sensation, Setenta ! With a strong reputation since their first hit “Funky Tumbao”, followed by 4 LP's, a collaboration (on record and on stage) with Nuyorican legend Joe Bataan and even a remix
by Kenny Dope Gonzalez (Masters At Work), the Parisalseros of Setenta entrust their latest hit to the Mochi Men funky rascals.
The result is a heavy boogie bounce of a real party jam, that hits hard on the dancefloor

After last year’s excellent ‘Insula’ album, Proc Fiskal returns to Hyperdub with the six track EP ‘Shleekit Doss’; in his own words, “a kind of representation of the time I was running the club night of the same name in Edinburgh. These tunes represent the night’s ethos of genre-defiance and high-energy futuristic sets, ecstatic and transcendent while still being fun and stupid. I was getting my friends to play and I made all the posters on my phone - like this EP’s artwork. I also started hoarding old FM synths which crop up a lot on the EP, and was reading a lot of sci-fi like Isaac Asimov’s ‘Foundation’, and ‘2001’. The night ran until last November when the bouncers and some punters got in a fight, the club got damaged, and unfortunately I got banned too.”

Through this mayhem and misdemeanour, ‘Shleekit Doss’ feels like an oasis of calm; light, bouncy and melodic, the EP sees Proc developing the depth and range of his music in satisfying ways. The beatless, processed male voice choirs of ‘Satan’ open the set, breaking into glitchy drums before the melodies are time-stretched into a pretty drone and gentle rolling piano. Clouds of bittersweet synths waft across cut-up voices and clattering drums on ‘Smith’s Deli’, while ‘Pico’ is a driving mix of tight, tiny micro-edits that feel like micro-house crossbred with jungle breaks. ‘2 Moros’ takes the Sinogrime developed on ‘Insula’ deeper into dense rhythmic abstraction, and on ‘4 minutes’, charming synth melodies and 8-bit bass lines are threaded through skeletal drum machine kicks and snares. ‘Prop-O-Deed’ finishes the EP, Proc Fiskal displaying his inimitable gift for heart-wrenching anthemic melody, built around tuned Asian percussion and scratchy synth violin.

Occasionally prodigal, but ever-prodigious, Elliot Thomas AKA Etbonz weaves an 80-s/early 90's sci-fi cinema sound into a total recall of scattered memories.
Childhood play with starcom and Gobots. Soaking in cult classics like Robocop, Predator, and Big Trouble in Little China on VHS. DJing in spacey laser-lit rooms draped with sound-dampening curtains.

Side A leads with 'Blue Drink,' which is carried perfectly on melodic motifs designed for trance inducing, with a steadily crescendoing & irresistible rhythmic mantra.

Following this, 'Curtainbox Space World' flips the 'Jerry Garcia finds a 303' switch and accidentally opens a portal to some deep shamanic release.

Our secret agent in Oslo returns with another urgent communique in the Norsk Tripping series...Six more tracks selected from a private vault of dance floor dynamite, which takes in modern Italo, solid gold punk-funkery, synth-outs, outsider pop & 80's obscurities.
All given the sonic once-over for maximum playability...
As always, a VERY limited run.

Neil Landstrumm returns to UTTU with an EP of oddball house & techno featuring long time collaborator Si Begg on the title track “Hell Is Other People.” A super charged fusion of dance music styles!


b a2. Shadow Man Vinyl Only Exclusive

In the last few years since their previous record on Low Budget Family, the Lipsky Brothers have been very busy, releasing plenty of proven dance weapons written or remixed by them, touring around the world from Ibiza to local underground parties and just living their life in the Moscow rush.NAR ('fire' in Arabic) is a simple yet crazy effective club tool, which has regularly been played at Denis Simachev Bar, home to the label and their very own parties, that is untimely gone. While original is quite housey with an irresistible bassline , Autarkic serves a more trippy take with some unexpected harmonic shifts and finally, the Inigo Vontier version offers a percussive big stage tribal killer.

Inner space centurion and local star command operative Tommy Walker III returns with a new mission directive this DATE...
Hardwiring to the Red Laser network and initiating an advanced, beta-tested programme of futuro-manctalo cybernetics, TWIII's meta-level hybridisation of Italian synth disco & northern English rave styles, combined with an expert deciphering of modernised club dynamics has resulted in a faultless system capable of withstanding the most extreme sonic test environments. RL30's eight tracks are RL Corp. operation-certified to work alongside Human2.0's electrostatic discharge profile. Universally approved usage for sentient earth dwellers offering portals into dancefloor ecstasy and inter-dimensional transcendence. This programme begins with 'Pocsy', and sees euphoric holograms burst through galloping Italo mechanics, fusing retro-tinged optimism with a nu-age release. 'Shoiab' (named after a fellow starship captain tasked to MCR and in alliance with RL Corp...) unleashes red shifted synths and carnal cowbells for the cyberotic lap-dancers to get jizzy too. 'Autopilot' allows the on-board crew to reassemble, a well automated array of arpeggios guiding the shuttle during the first phase, until reconsolidating in the latter stages for full-on interdimensional 5-D funk jam. 'Lightwork' is pure RL endorsed synth-jizz, erupting out of Tommy's arsenal like a mis-timed giant alien cumshot; minus any Manga references.
'Astral Projectile Vomit' address a common problem endemic to protectors of our star cluster; then channels a shiny, serpentine chrome sequence and thrusts it down the rainbow road for maximum belly aches.
More hydraulic collisions between electronic disc-boogie and newly mined atomic particles from passing asteroids ensures Srg. Walker has enough mainroom material to keep the Sharons and Traceys of the main hub dancing in between injections of dimethyltryptamine. Closing with a trio of humanoid hits that'll have Jonny5 ordering kryptonite margaritas for the entire ship, Tommy Walker celebrates with the cosmic conge, 'Gary Blast'.
RL Corp is confident RL30's internal algorithm is a future-proofed, cross-species platform for auditory excitement, and will continue to stimulate listeners across a multitude of environments.

Acclaimed by many as one of the greatest and rarest library LPs of all time, the album 'FEELINGS' by Jay Richford & Gary Stevan aka Stefan Torossi. With its iconic 'naked lady in the wild' cover, has been coveted for many years by collectors of all musical genres. This album showcases some outstanding compositions & arrangements that explore the exciting connections between rhythmic funk and orchestral jazz - and are now for the first time issued on 7" 45 vinyl double pack!

We open with the uplifting “Running Fast” - a driving, pulsating groove laden with Fender Rhodes and swept along by lush strings. If you're not feeling it - book an appointment to see your doctor! Next follows a B-Boy dancer filled with battle floor emotion - “Fearing Much” - this one packs a heavy bass and syncopated drum groove with dramatic, stirring strings. A must have 45 DJs fave! The opening drum break to “Feeling Tense” gives way to mellow vibes with a deep bass, silky strings and charged horns that deliver the perfect slick, down-tempo groove. Last one is another down-tempo vibe heavy on the bass and strings, “Walking in the dark”. 
All in all yet another MUST HAVE Dynamite Cuts 45!

The legendary Blade is back on vinyl with this limited edition 7" and digital release from Boot Records! These are 2 killer tracks from the archives, "Dark Friends" and "Make it Connect", both with cuts from Boots Jazz T. The cover art is by Stilts cementing this as a record not to be missed!



General Information

Title: DARK FRIENDS

Lyrics Written & Performed by: Blade

Produced by: The Manos

Recorded @: The Lion's Den

Mastered by: N/A

Label: 691 Influential

Catalogue Number: N/A

Recorded: 2003

Blade had met a couple of young guys whilst selling his records on the streets around 1991 and kept in touch on a regular basis as they both had a love for the creative side of music making. At this time the guys were just fans of Blade's music but one day turned up at Blade's flat to produce a beat with Blade's help and ever since then have been good friends and later went on to be called THE MANOS

12 years later and with the release of Blade's "STORMS ARE BREWING" album, his distribution company had declared bankruptcy and left him on the verge of losing his house. Not being able to provide for his family, he called up on his close friends THE MANOS to produce a couple tracks while he focussed more on just writing and performing the lyrics while doing what he needed to do to make sure the bills were paid and his house saved from repossession

The first helping of their production skills was showcased on Blade's "SOLDIERS" track which also featured LIFE MC & RESPEK BA. "SOLDIERS" was officially released in 2003 and around the same time Blade & THE MANOS hit the studio again and recorded "DARK FRIENDS"


Due to constant unexpected and sudden unpredictable changes in Blade's personal life, "DARK FRIENDS" never got to see an official release and was shelved as an incomplete demo until years later when it saw an underground release on "BOOT RECORDS". At this point the track was still missing the scratching and now again almost 10 years later and with Blade's very close friendship with DJ JAZZ T and with the addition of the scratching by the one and same, "DARK FRIENDS" now complete with sharp and to the point cutting finally sees the light of day.

Blade retired in 2006 and has been off the radar since until December 2018 when he became a little more active on Facebook and has reconnected with a lot of the fans and friends, with which obvious conversations about unreleased material was bound to surface and as a result "DARK FRIENDS" now is finally released on a limited edition 7" vinyl

General Information

Title: MAKE IT CONNECT

Lyrics Written & Performed by: Blade

Produced by: Blade

Recorded @: The Lion's Den

Mastered by: N/A

Label: 691 Influential

Catalogue Number: N/A

Recorded: 1997

"MAKE IT CONNECT" is one of those rare demos that Blade just threw together in about an hour to pass time and over the years turned out to be one of his favourite tracks, but at the time being completely broke and homeless, living in the basement of a local equipment store in New Cross, releasing this was simply not possible. This track has been sat on a cassette tape for over 20 years and having been played over and over again the quality has completely worn down. Unfortunately the version on the cassette tape was the only version available so separating the channels to get a proper mix is not possible either

However, thanks again to DJ JAZZ T that only made it more interesting to make something of this gem of a track. Blade having been retired now for 13 years, it would only really take one of two things to see Blade on tracks again for public consumption

After an intrepid new phase in the label’s history - initiated by the “Solidarity Forever” series and followed by releases from Katerina, Mujaji The Rain, Gladkazuka and also Matias Aguayo’s “Support Alien Invasion” (w/ “Crammed Discs”) - Cómeme is happy to announce a new release by a wonderful and unique artist, who chooses to walk adventurous paths beyond nowadays musical normativity, and media spectacle: JOE.
(You might already be acquainted with his releases on the ever - exciting “Hessle Audio” label) On his first EP on Cómeme, JOE invites us to “Get Centred” via fresh sounds, perfect beats, and unusual time signatures – difficult to play, and easy to dance!

A1 GET CENTRED
New rhythms inspire new dances and new ideas, and already at the very first bars you realize that this record can be both a joyfully twisted dance floor work out as also beautiful listening experience - with its shifting arpeggios and trippy crescendos. Reminiscent of minimalist milestones it crosses the artificial barriers between body, mind and soul, satisfying those in need of getting centred, in times of accelerated alienation...

A2 LINE TO EARTH
Triplets are back and here to stay! Such as in this percussive creature Joe unleashes onto the festive crowd. This very catchy jam is clever and intense drum programming at its best, with its swirling toms that seem to float in the air. We feel them activating different body parts for futuristic popping, whereas the relentless boogie rhythm that lays the foundation for this track gives us material to twist our legs in sync to the beat.

A3 RIO LEA
Joe closes this EP with “Rio Lea” - an elegantly swinging jam that smoothly and slowly builds up to a melodic meditation. Its many decorative elements seem all - necessary to make this work and are always falling rightly into place. You can imagine this a perfect fit for a long drink on a spacecraft, watching meteorites pass by, as we are sure it will also work in a bus on headphones late at night, watching the rain rolling down the windows...

Death & Leisure is proud to announce the sophomore album from the very special Autumns.
6 tracks of raw sneering electronics. Coming out in spring.
Autumns is the solo project of Christian Donaghey, From Derry, Ireland, an outlet for electronic post-punk with a lethal pulse. After a brace of rough demos without preliminary hype, the project emerged fully formed on Karl O’Connor’s (aka Regis) illustrious label Downwards back in 2014, the youngest act in a new vanguard of artists that included the likes of Tropic of Cancer, DVA DAMAS and The Kvb.

– Extended Autumns biography here-

Autumns is the solo project of Christian Donaghey, From Derry, Ireland, an outlet for electronic post-punk with a lethal pulse. After a brace of rough demos without preliminary hype, the project emerged fully formed on Karl O’Connor’s (aka Regis) illustrious label Downwards back in 2014, the youngest act in a new vanguard of artists that included the likes of Tropic of Cancer, DVA DAMAS and The Kvb.

Preceding releases for Clan Destine Records, iDEAL Recordings and DKA Records have seen the project engaged in a rough trade of transgressive noise, dysfunctional metal dance and DIY punk angst, yet each of these milestones has represented a different proposition. 2016’s ‘A Product of 30 Years of Violence’ saw the project moving into vast glacial spaces after propulsive post-punk discord of 2015’s ‘Das Nichts’. 2017 presented a further progression into Autumns’ journey from his post-punk beginnings to producing some of the tautest and no bullshite electronic music around with the release of his debut album ‘Suffocating Brothers’ on Clan Destine Records. Gaining radio play from selectors like Trevor Jackson, Regis, Debonair and Giant Swan.

Alongside progressive appearances on cult labels the project has developed a notorious high-intensity live show, having played and toured with artists such as Silent Servant, Veronica Vasicka and Wire, performing to audiences from Los Angeles to Beirut, and Moscow to Berlin. Autumns’ has also ventured outside the typical music world by taking up projects such as performing alongside Samuel Kerridge at the 2016 edition of Paris Fashion Week for Downwards, creating a sound installation at Void Gallery, and improvising a desolate live score to David Lynch’s ‘Twin Peaks: Fire Walk With Me’. Earning Autumns a fierce reputation not only as a live act, but as a multi-disciplinary artist.

Following contributions to labels such as Amok Tapes, Touch Sensitive, Veyl (Maenad Veyl) and Earwiggle (Sunil Sharpe), as well as remixes for Strange Therapy, Infidel Bodies, and Clan Destine Records. 2019 see’s Autumns’ experimentation in the studio go much deeper, with the release of his sophomore album ‘Shortly After Nothing’ on Oliver Ho’s (aka Broken English Club) innovative ‘Death & Leisure’ label, alongside a heavy touring schedule, a collaboration with post-punk legend Eric Random, the launch of his radio show ‘Dyslexia Tracks’ on Dublin Digital Radio and more upcoming releases to surface throughout the year.

Illusions is the new work by DOTHEDU made of 5 sexy bumping tracks EP which explore over the fields of house music and detroit techno vibes with gentle acid splashes and charming ladies voices.

As per ritual all covers have been individually treated, crafted, handprinted and assembled by DOTHEDU.

Please note: “comes in different individually treated covers, we cannot guarantee which one you will receive”

Vertigo Inc, the freeform house project of a veteran Canadian producer, returns to the Unfulfillment label with four tracks of kaleidoscopic psy-house, acrobatic acidic exotics, and modal boogie, coaxed from retro machines for a sophisticated, full-body buzz. Come to where the wild things are..

A DIY labour of love since its inception in 2014, Unfulfillment was founded in the US in 2013 to release dance music of an exploratory nature. Unfulfillment releases have been played and charted by Powder, Soft Rocks, Shireef Laffrey, Brian Not Brian, Jacques Renault, Mister Saturday Night, and Luke Solomon.

More emotive club tools for the dance floor on the HPNX imprint. Slip-D brings 3 tracks to capture the club or crack on - late night sessions are ahead for his second ep on Hypnoelectronix.

Tesseract 1 is the first remix EP taken from debut album “Corpus Hypercubus” by JESUSLOVESACID, the figure head behind Vitalik Recordings. The music from the album was described as “IDM with a Balearic twist” by Resident Advisor and was picked up by a wide range of selectors. Tesseract 1 employs some heavy hitters on remix duties, Mathew Jonson and brother Nathan Jonson team up under their Midnight Operator moniker for a high octane acid techno workout, the production is immense as you would expect from the duo and they have managed to retain the ethereal chords of the original track (which also features on the EP) whilst producing a peak time dance floor weapon. Appleblim takes things into dreamier territory with a pitched down breakbeat remix of “Philosophy”, a sublime ode to blissed out hardcore, it’s an enthralling dub masterpiece, another instant classic to add to the collection. Finally there is the anonymous “Wax Works Edit” a dub acid edit aimed squarely at the floor, rounding first vinyl 12” from the JESUSLOVESACID project.

Fortuna boss Kalbata joins forces with five-piece band Tigris, creating a mesmerizing percussion-led album inspired by African and Caribbean traditions. Repetitive guitars, blissful synthesizers, and roaring voodoo drums set the tone across this extra-trippy, six-track journey. Techno and Balearic undertones remind us of Kalbata's wide musical spectrum, ranging from very dark to luminous tropical sunlight. Essential!

K15 serves up another slice of broken beat wizardry for Eglo Records, illuminating his trademark style of soul stirring synths and bouncing bass. Clocking in at just over 8 minutes, 'Devotion' is a dance music opus for the mind and body. Lifted from the forthcoming Eglo Records Vol. 2 compilation - due for release in late October - 'Devotion' will be available as a limited run 12" only single, housed in a special edition "10 Year Of Eglo Records' sleeve. Exclusive to the vinyl release the B-Side features K15's reconstruction of Patricks Gibin and Javonttee's 'Cloud 9', a track released earlier in the year, which see's K transform the four to the floor soulful house classic into an abstracted, broken bubbler, building until all the elements fall into place, climaxing into a low end groove. Essential broken beat for 2019!

LIMITED GREEN AND RED VINYL WITH DIGITAL DOWNLOAD INCLUDED.

All-conquering Dutch heroes Kraak & Smaak have taken the electronic music scene by storm in recent years with a slew of killer collaborations with the like of Mayer Hawthorne, Romanthony (RIP), Eric Biddines (Golden Rules), Parcels, and many more. Their live show has seen them play every festival and club worth the mention from Glastonbury to Detroit Movement, Coachella to Space Ibiza.

After their debut album 'Boogie Angst' established them in the spotlight with heavy Radio 1 support from Pete Tong and Annie Nightingale, the band followed up with breakthrough albums – 'Plastic People' and 'Electric Hustle'. Launching them to another level, these albums featured the standout singles - 'Squeeze Me (feat. Ben Westbeech)', and 'Let's Go Back (feat. Romanthony)' which have both become ubiquitous through TV ads, funky dancefloors and tens of millions of streams.

Riding high they then released a seminal piece of work in the shape of their fourth studio album - 'Chrome Waves'. An album that is a joyous fusion of disco, funk, indie, electronica and pop all smooshed together with Kraaak & Smaak's unique sonic signature throughout. Teaming up with a crew of ultra-talented vocalists: Sam Duckworth (Get Cape. Wear Cape. Fly), John Turrell (Smoove & Turrell), Stee Downes, Capitol A, Joi Cardwell, Janne Schra and their very own live band singer - Berenice Van Leer , they created an album packed full of dancefloor-ready jams for all occasions…

It was received well by both fans and critics alike, picking up a coveted Mixmag tune of the month award, topping European club charts, becoming a staple on radio playlists everywhere, and of course selling out on the original vinyl pressing runs.

Well after much demand we are now reissuing this masterpiece on a 2xLP limited edition green and red vinyl and once again you can own it on wax. A present for both the fans of old who missed it the first time around, and those who have discovered Kraak & Smaak in more recent times.

Everyone knows, nasty days are not uncommon in the life of an aufstrebender Musikproduzent. But when it all comes together, magic happens, music just flows out & it’s all worth it! Who knows, in the end you might even look back and reminisce of these nasty days. Everyone, this is Törsh’s sophomore EP. Thank you!

L'Épée is a four-piece band comprised of Emmanuelle Seigner (Ultra Orange & Emmanuelle), Anton Newcombe (The Brian Jonestown Massacre) and Lionel + Marie Limiñana (The Limiñanas).
The collaboration came about last year, when husband and wife duo The Limiñanas recorded an album ('Shadow People') with Anton Newcombe. A track featured French musician, actress, model and muse Emmanuelle Seigner on guest vocals. When she came into the studio to record the group dynamic clicked and a natural collaboration ensued.
Inspired by melancholic movie scores and the mythology of Rock'n'Roll music, from Lou Reed to the Rollin Stones, 'Diabolique' is infused with light, shadows and layers of psychedelic fuzzy guitars.
It was recorded between Lionel and Marie's home place Cabestany (FR) and Anton's Cobra Studio in Berlin.
The collective have named themselves L'Épée, meaning "the sword" in English, after it came to Anton in a dream.
They will be touring Europe later this year.

Footjob is celebrating its fifth anniversary with a great double 12" remix compilation with contributions by Gerd Janson, Hans Nieswandt, Shan, Phonk D, Le Rubrique, Lukas Lehmann, Ise Jr. and Sascha Ciminiera

With Dark Slice 02, La Dame Noir records is serving up 4 tasty re-interpretations of T21 classic "Take The Shock Away" in the line of their latest Darkness Has Never Been So Bright releases. Originally re-produced by co-founder Relatif Yann, long time resident Dawad and the amazing Mounissa on the vocal, the EP also presents 3 dancefloor remixes produced by indie band Vox Low and disco-house specialists Pete Herbert and Fred Berthet. Once again the Marseille-based, La Dame Noir record label is cultivating their love for disco basslines, sensual vocals, and new wave atmospheres.

Die Münsteraner Indie- und Punkrockband Muff Potter hat sich mit ausverkauften Shows in 2018 und 2019 zurückgemeldet! Das Quartett veröffentlichte zwischen 1993 und 2009 sieben gemeinsame Alben, vier davon hat das Label Grand Hotel van Cleef bereits auf Vinyl wiederveröffentlicht. Jetzt wird die Reihe mit den Reissues von "Muff Potter" (1996), "Schrei wenn du brennst" (1997) und "Gute Aussicht" (2009) komplettiert.

Bonding over a shared love of Chic, Parliament and the other signs in the greater funk Zodiac, Mayer Hawthorne (Aquarius) and Jake One (Taurus), collectively known as Tuxedo, return with their third studio album, Tuxedo III released on the Tuxedo-owned and newly launched label, Funk on Sight. Their powers combined have yet again yielded a bevy of absolute slappers that are packaged perfectly for dance floors in 2019. The album includes features from MF DOOM, DāM-FunK, Leven Kali, Benny Sings, Gavin Turek and others. Tuxedo is back to remind you that the dance floor will always be there to welcome you, whoever you are.

Classic risqué Jump Blues

Mothball Record in association with Bordello A Parigi is proud to present one of the strangest and most mysterious recordings from the whole Italo-Disco era. Sitting somewhere between goth, italo and new wave, “Space Melody” is a dedication to ancient Egypt and outer space.
The original EP was almost totally lost to the sands of time, until recently the original mastertape was unearthed by the artist and later painstakingly transferred by Rude 66.

The record is completed by new instrumental versions from the Danish Italo king Flemming Dalum and the Spanish italo duo Futuro.

Second release of Dojostudio featuring Billy Dalessandro, and the return of Brian Ffar from Siteholder. The owls are never what they seem!

Beautiful Electronic Dance Music jazz’d up with classy
rhythms & classical overtones

Die Münsteraner Indie- und Punkrockband Muff Potter hat sich mit ausverkauften Shows in 2018 und 2019 zurückgemeldet! Das Quartett veröffentlichte zwischen 1993 und 2009 sieben gemeinsame Alben, vier davon hat das Label Grand Hotel van Cleef bereits auf Vinyl wiederveröffentlicht. Jetzt wird die Reihe mit den Reissues (Colored Vinyl) von "Muff Potter" (1996), "Schrei wenn du brennst" (1997) und "Gute Aussicht" (2009) komplettiert.

* The one piece of connective tissue throughout the film, besides the subject itself, is the film's score, from Los Angeles electronic minimalist outfit The Acid. Throughout a harrowing parade of images and fleeting moments of whimsy, the droning, pulsating music underneath brings an alternating sense of dread and power.' - Indie Wire
* This is an ambient electronic soundtrack to the award-winning film 'The Bomb'. * Recently The Acid performed live at the Nobel
Peace Prize ceremonies in celebration of ICAN (International Campaign for Nuclear Disarmament) winning the prestigious award this year.
* Confirmed appearance at Sydney Festival in January 2018 with further dates to be announced and further screenings at film festivals across the world.

Inner atmos and next time – rain into rivers, rivers to rain.

Sequence is subjective, irrelevant – it’s where we stand. Out of order, we dissolve and reform, coming together to come undone. There is no first, no now, no next – just precision points in the wide deep sky.

Another bang, another – it’s the reading which is important. Repeating in parallel, the natural loop is healing; repair, resonance, return. We live in a fragment; soft light and clouds drift like dreams into memory, showing movement in the mirror.

“Here the performer becomes free like the playful clouds high above the world of pain, suffering, happiness, ecstasy, disappointment, greed and ambition of human life”

In this present, we are touched to have unreleased business from Memphis. In unlocking the stoic DAT tapes we open a direct channel from 1993 to this now; three tracks which are meditative, essential rhythm with direct, organic charge. It’s Dream Night Dance Music and Osram 509, with RHK, En-Trance, and Microgravity.

More poetry in remembering our first release was also Memphis. Big complex loops and inner paths. Who’s been here before? All of us, one of us, none of us.

Esa's compilation Amandla: Music To The People holds diverse dancefloor tracks from over the world. The first compilation in 2019 for Soundway and a comprehensive picture that connects the dots of Esa’s musical journey.

Growing up in Cape Town, South Africa, during the last days of Apartheid, Esa recalls the immense power that music had in resisting oppression and division. “Amandla, Awethu”, which literally means “the power is ours”, was an ubiquitous chant echoing throughout the politically charged atmosphere of the time – a call to unite, and a call from which this release derives not only its title, but its intention as well.

“Music was a crucial way of bringing people and communities together”, reflects Esa, “and it’s what I hope to achieve with this compilation, too”. For Esa Williams is not only a musical polymath but also passionate about connecting people through music – be it as a skilled DJ, an educator in production, a band leader reigniting the legendary Ata Kak band from Ghana, or a collaborator with the likes of Tanzanian artist Mim Suleiman. A firm favourite on the DJ circuit, he held a monthly residency at Phonox London for over 6 months - bringing guests such as Nu Guinea to Brixton audiences - as well as delivering memorable sets at Dekmantel, Atlas Festival, Boiler Room and more.

The last few years have seen a recent surge in interest in South African music from the 80s and 90s, including bubblegum, which was recently showcased on Soundway’s critically acclaimed 2018 compilation Gumba Fire: Bubblegum Soul & Synth Boogie in 1980s South Africa, put together by DJ Okapi. It was only natural that the label looked to delve deeper into the country’s rich musical legacy and tap another of its esteemed ambassadors for the role of compiler.

The result is a rainbow of complementary electronic styles hailing from not only South Africa but further afield, including zouk from Brazil and the French Antilles, as well as Afro-futurism. Together, they form a comprehensive picture that connects the dots of Esa’s musical journey – from growing up in South Africa, to artists he has encountered in his worldwide travels who have helped develop his identity as a musician.

PROPER PIC SLEEVE REISSUE OF THIS EARLY LCD 12" FROM 2004. ‘Yeah’ was the follow up to LCD's breakout track "Losing My Edge," and was kind of a sleeper that has definitely stood the test of time and is worth a revisit. LCD records seem to speak to those kids sick of the scene, who want their 12" to retain interest longer than the next trend, but without sacrificing up to the minute relevance. An impossible feat, but listening to tracks like "Yeah (Crass Version)" will make you a believer. The song writing and composition are the foundations that the track is built on, with enough rock pretentiousness and sleazy analog to keep you interested. It takes a little more to keep our jaded ears interested these days, and this is might be it. "Yeah (Pretentious Version)" is a completely alternate version, offering a cleaner instrumental take on the track. Also includes the "Clap-a-Pella." Recommended.

Nice 1 Records launches with a sublime slice of deep house geared towards tender moments in the dance. We Are Syd's "Gently" in its original form is a smoky downtempo cut riding on a laid back broken beat, honey-coated keys and a powerful vocal turn from accomplished singer Shea Seger. The emphasis on this record is on the two stellar mixes from Baby Ford & Dazmos, leading on the A side with the hazy, old-school groove of the "Backroom Mix". Seger's husky delivery lingers in a mellifluous bed of pads and a classic, understated drum machine funk. On the flip, the "Frontroom Mix" bring the rhythm section to the forefront, letting the undulating bassline carry the track and splashing dubbed out flourishes in the mix for a spellbinding, club-ready end result.

Welcome to our 2nd EP of Original tracks from 12tree's new label, Hot Piroski. The label is a boisterous mix of Space Disco, Deep Funk edits and Balearic Beats. The Previous EPs saw support from Radio 1 Essential Mix, Pete Herbert, Ursula 1000, Phil Mison, Justin Rushmore, Dan McKie, DNS beats, Primavera sound and more ...

A side: 'In the Sun' - featuring soulful vocals from Katty Heath over a Deep disco re-edit that morphs into a deep house-tinged groover.
On the flip: 'Magic Dust' - poolside blissed out beats on a vapour wave tip. 'Guitar Solaar' - soul-tinged groover with a wiff of Marvin Gaye.
All tracks Produced and recorded by 12Tree at his studio in Barcelona.

It wasn’t really a movement, barely even a moment, but the Daisy Age was an ethos that permeated pop, R&B and hip hop at the turn of the 90s. Playfulness and good humour were central to De La Soul’s 1989 debut album, “3 Feet High And Rising”, which would go on to cast a long, multi-coloured shadow over rap.

In Britain, the timing for “3 Feet High And Rising” couldn’t have been better. The acid house explosion of 1988 would lead to a radical breaking down of musical barriers in 1989, and its associated look – loose clothing, dayglo colours, smiley faces – chimed with the positivity of De La Soul and rising New York rap acts the Jungle Brothers and A Tribe Called Quest, all at the heart of a growing collective called Native Tongues.

The Native Tongues’ charismatic, summery aura quickly spread west to the Bay Area’s similarly-minded Hieroglyphics crew (Del Tha Funky Homosapien’s ‘Mistadobalina’); Canada’s Dream Warriors (‘My Definition Of A Boombastic Jazz Style’) used “3 Feet High”’s colour palette and borrowed Count Basie and Quincy Jones riffs; Naughty By Nature (OPP) were mentored by Native Tongues heroine Queen Latifah, while Londoner Monie Love was also adopted by the collective, resulting in her Grammy-nominated ‘It’s A Shame (My Sister)’.

It wasn’t built to last, but the Daisy Age reintroduced Multiplication Rock, bubble writing and the gently psychedelic into the charts. It was a brief, but extraordinarily warm and optimistic moment. The songs on this collection promised that the 90s would be a lot more easy-going than the 80s.

Available on CD and double LP.

Phillip Mitchell only cut one single for the Spring subsidiary, Event, in 1975 and despite the beautiful ballad ‘There’s Another In My Life’ being an R&B hit, he did not have a follow-up. However, there were three songs recorded at the Brad Shapiro-led Muscle Shoals session and ‘I’ll See You In Hell First’ was the superb mid-tempo track that lay dormant until compiled on an Ace CD in 1990. It features Mitchell singing at his best on an inspired, self-penned song and is long-overdue a vinyl pressing as originally hoped for.

Singer Ray Godfrey had four 45s for the label but like Mitchell he was best known as a songwriter for Millie Jackson, Joe Simon and Act I in particular. He wrote under his real name of Raeford Gerald. He produced this song on both Joe Simon and Millie Jackson and his own reading has now been found on the multi-track tapes for the song’s recording session. It is a worthy addition to the Godfrey/Gerald catalogue.

After years of mythology, misinterpretation and procrastination Nurse With Wound’s Steven Stapleton finally chooses Finders Keepers Records as the ideal collaborators to release “the right tracks” from his uber-legendary psych/prog/punk peculiarity shopping list known as The Nurse With Wound List, commencing with a French specific Volume One of this authentically titled Strain Crack Break series. Featuring some Finders Keepers’ regulars amongst galactic Gallic rarities (previously presumed to be imaginary red herrings) this deluxe double vinyl dossier demystifies some of the essential French feee jazz and Parisian prog inclusions from the alphabetical “dedication” inventory as printed the anti-bands 1979 industrial milestone debut.

When Steven Stapleton, Heman Pathak and John Fothergill’s anti-band Nurse With Wound decided to include an alphabetical dedication to all their favourite bands on the back of their inaugural LP the notion of creating a future record dealers’ trophy list couldn’t have been further from their minds. By adding a list of untravelled European mythical musicians and noise makers to their own debut release of unchartered industrial art rock they were merely providing a suggestive support system of existing potential likeminded bands, establishing safety in numbers should anyone require sonic subtitles for Nurse With Wound’s own mutant musical language. Luckily for them, the record landed in record shops in the midst of 1979’s memorable summer of abject apathy and its sound became a hit amongst disillusioned agit-pop pickers and artsy post-punks, thus playing a key role in the bourgeoning “Industrial” genre that ensued. On the most part, however, the list , like most instruction manuals, remained unreadable, syntactic and suspiciously sarcastic... As potential “real musicians” Nurse WIth Wound became an Industrial music fan’s household name, but in contrast many of the names on The Nurse With Wound List were considered to be imaginary musicians, made-up bands or booby traps for hacks and smart-arses. It took a while for the rest of the record collecting community to catch on or finally catch u

Since then, many of the rare, obscure and unpronounceable genre-free records on The Nurse With Wound List have slowly found their own feet and stumbled in to the homes of open-minded outernational vinyl junkies, D’s and sample hungry producers, self-propelled and judged on their own merit, mostly without consultation of the enigmatic NWW map. But, to the inspective competitive collector’s chagrin, one resounding fact recurs, NWW got there first! Via vinyl vacations, on cheap flights and Interrail tickets, buying bargain bin LPs on a shoestring while oblivious to the pending pension worthy price tags after their 40 year vintage, Stapleton and Fothergill, even if you’ve never heard of them, were at the bottom of the pit before “digging” became paydirt. And NOW at huge international record fairs that occur in massive exhibition halls (or within the confines of your one-touch palm pilot) amongst jive talk acronyms such as SS, PP, BIN, DNAP and BCWHES the coded letters NWW have begun to appear on stickers in the corner of original copies of the same premium progressive records accompanied by a customary 50% price hike to titillate/coerce the initiated as dealers extort the taught. Like “psych” “PINA” or “Krautrock” did before, “NWW” has become a buzzword and in the passed decades since its first publication The List has been mythologised, misunderstood and misconstrued. It’s also been overlooked, overestimated and under-appreciated in equal measures, but with a growing interest it has also come to represent a maligned genre in itself, something that all members of the original line-up would have deemed sacrilegious. Bolstered by the subtitle “Categories strain, crack and sometimes break, under their burden,” all bands on the inventory (many chosen on the strength of just one track alone) were chosen for their genre-defying qualities... A check-list for the unchart

Forty years after Nurse With Wound’s first record, Finders Keepers Records, in close collaboration with Steve Stapleton remind fans of THIS kind of “lost” music, that there once existed a feint path which was worn away decades before major label pop property developers built over this psychedelic underground. As long-running fans and liberators of some of the same records, arriving at the same axis from different-but-the-same planets, Finders Keepers and Nurse WIth Wound finally sing from the same hymn sheet resulting in a collaborative attempt to officially, authentically and legally compile the best tracks from the list, succeeding where many overzealous nerds have deferred (or simply, got the wrong end of the stick). Naturally our lavish metallic gatefold double vinyl compendium would only scratch the surface of this DIY dossier of elongated punk-prog peculiarities hence out decision to release volume one in a series which, in accordance with Steve’s wishes, focusses exclusively on individual tracks of French origin, the country that unsurprisingly hosted the highest content of bands on the list. Comprising of musique concrète, free jazz, Rock In Opposition, Zeuhl School space rock, macabre ballet music, lo-fi sci-fi, and classic horror literature inspired prog, this first volume of the series entitled Strain Crack And Break throws us in at the deep end, where the Seine meets the in-sane, introducing the space cadets that found Mars in Marseilles.

Like the Swedish flat-pack record shelves that attempt to house the vast amounts of vintage vinyl that goes into a multi-volume compilation like this, its time to prepare your own musical penchants and preconceived ideas about DIY music and hear them slowly strain, crack and b

The visionary singer, songwriter and composer returns to her Havana roots
A sun-baked, vibrant record backed by a killer band of fellow Cubans The new album from Daymé Arocena is a vivid return to her Havana roots. Backed once again by a killer band of fellow Cuban musicians, the visionary singer, composer and songwriter has stripped everything back to the core. Holding sessions in a simple, repurposed artist’s studio in Havana, Daymé produced the record herself, taking the reins to make “Sonocardiogram” her most raw and arresting outing yet.

A jazz-tipped record rooted in the rhythms of rumba, she draws on the island’s intertwined rituals of family, music and religion. Ringing with echoes of the greats, songs nod to the likes of Tito Puente and La Lupe, inspirations which carry the sound of Cuba’s sun-baked, vibrant daily existence. Odes to Santería deities are underscored by the sacred frequencies of the batá drum, translated to be played on a Western drum kit. It’s an intoxicating window into a singular artist’s worldview. An important voice in Latin music, Daymé has collaborated with influential peers in Cuban music, like Roberto Fonseca, and US heavyweights like Dexter Story and Miguel Atwood-Ferguson. From a recent appearance at Primavera Festival, to sold out tours across Japan and the US, her spectacular live show continues to draw crowds around the world.

Can it really be thirty years since The Brand New Heavies first sashayed into the public eye with a romantic’s heart, a hedonist’s spirit and a Superfly sensibility?

A heady cocktail of Chic-style funk-pop, sunshine grooves and scorched soul balladry, the release of TBNH on September 6th sees The Brand New Heavies writing a new chapter in what has been an illustrious journey whilst also marking a return to their spiritual home, Acid Jazz Records.

Today The Brand New Heavies share a breath-taking version of Kendrick Lamar’s These Walls recorded with long-time associate and vocalist N’Dea Davenport and produced by uber-fan Mark Ronson. It was that line-up of the band that had originally brought the funk into his life having caught their show in New York in 1991, later inviting them to play at his 40th birthday party. Insistent once more to reconvene that line-up, successfully reuniting N’Dea and The Heavies for his production of this track for their 30th-anniversary album.

The album’s heart, both musically and physically is a friendship that can be traced back to the mid-Eighties - more specifically the shared experiences growing into adulthood on the western reaches of London for Simon Bartholomew (guitar) and Andrew Levy (bass) and a return to the formula that saw the band score sixteen Top 40 hits and three million album sales.

Refined, reimagined and revisited, TBNH was recorded under the watchful eye of producer Sir Tristan Longworth, as Andrew elaborates; “as fathers of young kids, time was important, and we needed someone to crack the whip.” Adding further with a grin; “he also makes these amazing gin and tonics with chilli’s in. The pair also decided to feature various vocalists on these tracks, not only reuniting with Heavies alumni, N’Dea Davenport and Siedah Garret but collaborating with soul legends Beverley Knight and Angie Stone alongside current singer Angela Ricci and new boy on the block, label mate Laville – to present a gilt-edged collection of songs making arguably the best album of their career. Summed up by its cover artwork- shot in the suitably louche environs of ultra-hip nightspot Annabel’s – Simon explains with a smile; “It’s a bit clubby, a little bit sleazy, with a bit of luxury and a smidgen of street.”

Gilles Aiken is not short of space in which to express his distinctive ideas about fusing dancefloor minimalism with a global palette. While his more streamlined house and techno fare is generally released under his Edward alias, Desert Sky has carried some of his wilder ideas with stunning results. The first few releases came shrouded in mystery on a self-titled label, but since then Desert Sky has landed on Assemble Music and Baby Ford's iconic PAL SL. Aiken returns to the latter now with a hefty album project that gives Desert Sky the appropriate room to breathe, and Aiken sounds free spirited and expressive through every inch of tumbling percussion, deft handclaps, spooked out textures and more besides. It's a heady trip through dusty samples configured in fresh, invigorating ways, ranking among the strongest artistic statements Aiken has made to date thanks to its worldly inspiration and otherworldly end results.

The Brazilian singer-songwriter and guitarist Joyce Silveira Moreno was born and raised in the middle of Copacabana, a short beach stroll from the epicentre of the bossa nova universe.
Her father was a Dane that had settled in Brazil, but she was raised by her mother and step-father in a typical Portuguese-Brazilian household. Since her older brother was friendly with
leading lights of the bossa nova movement such as Roberto Menescal and Eumir Deodato, she was steeped in the form at an early age and witnessed its key evolution first-hand. At the
age of 16 in 1964, she was taken to the studio by Menescal to contribute to the coveted debut album by the mythical group Sambacana, assembled to record the work of composer Pacífico
Mascarenhas when the meagre budget would not allow the vocalists he preferred. Knowing that a full-time career in music was certainly not guaranteed, she began studying journalism
in 1967, shortly before her controversial song “Me Disseram” reached the finals of Rio’s second International Song Competition. The following year, her self-titled debut album was
released by Philips, produced by Armando Pittigliani, with orchestration by Dorival Caymmi and arrangements by Gaya; along with her own compositions, the album also featured songs
by her rising-star friends, including Caetano Veloso and Marcos Valle.

Cologne-based producers Ripley and Benway aka Kitbuilders have been producing electro for many years and released their music on labels like Breakin´ Records (DMX Krew-label), Electrecord, World Electric, Television, Vertical, Ersatz Audio and many more. Their new album Reality (on Vertical/Kompakt) twist electro and dark synthpop into exciting new shapes and deals with themes of death, loss, destruction and introspection. The album combines the influence of many sources like Chris & Cosey, Devo, Aux 88, Lydia Lunch, William Butler Yeats („A Drunken Man´s…“), Suicide, Associates, dystopian 60s-songs, Mantronix and many more. The resulting music is an emotional and fresh sound tapestry that spins a vibrating web of analog Synths, 808-drums, harsh, overdriven noise, song structures and the unique vocals and lyrics from singer Ripley creating an atmosphere of tense, sinister moodiness. The album contents two remastered Kitbuilders-classics (Reality, In the Year 2525).

The English-Irish electronic/dance duo Moloko released their first album Do You Like My Tight Sweater? in 1995.

It’s one of their most experimental records, before moving on to a more mainstream approach. Roisin Murphy is carrying the album with her versatile vocals, both in range and style, while Mark Brydon created the breakbeats, sound effects and groovy disco lines.
This is electronica at its best, danceable and funky.

The album includes their hits ““Fun for Me” and “Dominoid”, besides fan favourites like “Day for Night” and “Where Is the What If the What Is in Why?”. They never slow down in their exiting music and absurd lyrics, but that’s exactly what makes this record unforgettable.

Pure joy to be danced on all night.

Do You Like My Tight Sweater? is available as a limited edition of 3000 numbered copies on turquoise vinyl.

Echoes is the second album by the Ukrainian producer Cape Cod, released jointly by labels Vinyla Records & Kiev House. Echoes is a comprehensive and multi-genre work in terms of sound and song creativity. On second album, dance music floats between genres, styles and mood from track to track, while Cape Cod skillfully waves the breakbeat, r'n'b of the new school, soul and hip hop into the tracks and brings his love to the disco house to the sound level.

Philippe Cam is the Thomas Pynchon of the electronic music world. Little is known about him and only a couple of pictures have been put online since he emerged on this planet to write his first and only album18 years ago. We know he worked as a sailor and that’s it. If you dig deeper you might find out that he worked as a DJ in the beginning of the 90ies in Brussels and began to study electronic music there and also began to write music for theaters and ballets.

The American distributor Forced Exposure once wrote that about him: „Philipe Cam is a star in his own field. He is among the few people who have succeeded to write hypnotic dance music without a conventional beat still conveying a thrilling, dramatic feel. Cam has developed an accurate, intense and complex formula of modulation-techno. Starting with music similar to Pan Sonic in 1996, his music turned towards a more elegant form of minimal music. Abstract soundtracks lead to an organic form of music, which was equally influenced by modern techno as Wolfgang Voigt's Studio 1/Gas or Basic Channel/Maurizio. Cam's music corresponds heavily to the Cologne scene, where his music is appreciated and played throughout the clubs by the likes of Michael Mayer, Tobias Thomas and various other DJs as well as experimental djs from the A-musik corner.“

So what’s new with his music? Basically the art of filtering is still his passion. Maybe he can be less associated with techno and the themes of his new tracks emerge in a more distinctive pattern? Well that’s hard to say, we would comment the energy of his early techno days in Brussels have returned here in a fierce way with some oft he tracks. The rhythmic movements are classy and stick with you. Whereas other tracks look for a distinctive relaxation of some kind.

We are releasing the album as a double clear vinyl with cover art by Yvette Klein who also designed the cover for his Philippe Cam’s album 18 years ago. Graphics for "Rotterdam" come from Cologne designer Daniela Thiel. We also would like to thank the cultural department of Cologne for supporting us to finance the album and to see the artistic value in this piece of minimalism.

The album kicks off with the mellow and soothing "Cocoa Beach". A Gentle beat that moves like bodies swaying in the hot summer sun. The clock moves a step forward and then a step backward as evolution takes a rest.

"Manga" feels like an acceleration to the moon, the contemplative moments come in spurts and hide in the intervals of the chords which are on the loose. Philippe Cam is the most energetic person in the world when it comes to core activity, this is head banging stuff for the ambient lounge.

"Short Summer" is a heavy and violent recognition. As intensive as it is it knows when to stop and disappear. In the ear and brain of the listeners it leaves an indisputable echo which lingers on for minutes. We suggest not to make a pause but jump directly into "Vermillions Sands".

What can be said about into "Vermillions Sands"? Be prepared some Terry Riley might lure around the corner to offer you some oranges on a silver plate, but don’t eat them. This is luring and beautiful at the same time. Maybe the best ambient track ever written and yet who can ever venture to say that without making a fool of himself. "Vermillions Sands" comes in waves and they could be longer we think.

"Rotterdam" the home of Philippe Cam for a long time but not anymore. He moved away. So that changes the perspective. But when was the track written? "Rotterdam" seems mechanical and rusty and spooky and divided. This arrangement is very different to all the other tracks so far and is almost dub in style but way more fractured. A steady stop and go emerges. But the longer it runs the better it gets. At minute 6 the brain resets itself and tries to grasp what has happened so far, reconstruction as a result of its own phantasmic imagination and hardly true at all, wonderful. Applause included!

Here comes "Bis", a short episode of a track and before we can comment on it, it is already over.

"The Game" is a mule of a track. It has a quiet stubborn sequence that bites and kicks you in the back without any change in near sight. We can hear a voice whispering, which sounds like a miniature vocoder featuring the voice of a child calling out - never stopping. This is treadmill to some extend but starts to breathe towards the middle of the track and slowly changes perspective. In fact there are some changes taking place here which go beyond a sound design that works heavily on the stereo image. Stick with it and the experience will be a great one.

"Ultimate Fly For Halloway" somehow orchestrates how you might feel after you climbed a 8000 meter high mountain and reached the top. A rejoicing off a special kind. Lava for the ears. No cheerleader murder plot sorry.

"Last Track" is a perfect example of a true minimalistic pice of music that manages to make contact with other genres and does this with elegance, determination and a lot of soul.

key selling points: The key selling point is the fact that Philippe Cam once was referred to as one of the main protagonists of the minimal music scene along with Wolfgang Voigt's Studio 1/Gas and Basic Channel/Maurizio. A true artist with a vision which is very rare.

Philippe Cam has picked up the sound he was famous for but has developed it further without selling out to any genre and expectation that rules our daily business.

Exactly this is the strength of the album to create a vivid world of impressions by using instruments in a whole different way than all software developers would suggest.

"Rotterdam" is a piece of art that can set off a firework when you listen to it and it owes nothing to anyone.

PULP is inaugurating this year's summer season with a lengthy affair by a certain Barry Helafonte called "One Night'. Not much is known about the artist that delivers the 12th installment for the PULP series. Nevertheless, production wise the sound is mature, and the drum machines sound like they are being hit by someone with vast experience. The balanced production quality of "Keys to The City" is prominent. A squelchy bassline is dictating the rhythm whilst washes of pads and an outlandish lead come together to form a dripping whole.

"Keys to the City" resumes with friend of the label Moon B on rework duties, turning the spaced out drums of the original

An extremely rare album left by Detroit-based jazz keyboard player Johnny Griffith known for the album "Together, Togetherness" on RCA. An album covering "From The Music Connection" with Freddie Redd Quartet and Jackie McLean. The Music From "The Connection" was composed by jazz pianist Freddie Redd for Jack Gelber's 1959 play The Connection. This first recording of the music was released on the Blue Note label in 1960. It features performances by Redd and Jackie McLean Jack Gelber originally planned for the play to feature improvised music performed by jazz musicians who would also play small roles in the production. Freddie Redd, however, persuaded Gelber to include his original score. Redd re-recorded the score later in 1960 as Music from the Connection.

In 1974 The pianist Johnny Griffith, who was a member of the prestigious Motown rhythm section "Funk Brothers", covered the album "The Connection" by Freddie Red as a whole album, playing electric piano here, which really changes the vibe of the music - and the players are supposedly a host of Motown studio musicians - playing jazz here, but with a nice funky soul undercurrent. Originally released on Detroit Geneva Label.

Pianist Johnny Griffith can be heard on classic Motown sides, as well as on recordings from other Detroit-area labels. Like Motown's other pianists, Joe Hunter and Earl Van Dyke, Griffith's had an extensive musical background.

Signed to Motown's Jazz Workshop label, he recorded the albums "Detroit Jazz" and "The Right Side" of Lefty Edwards. When the march of the Motown hits began, Griffith started playing on sessions for their R&B/Pop acts. But rather than signing a work-for-hire contract with Motown like other musicians, Griffith remained a freelancer, doing other dates and sessions in New York and nearby Chicago.The Motown hits that Griffith played on include: Marvin Gaye's "How Sweet It Is (To Be Loved By You)", his celeste trills are heard on "Mercy Mercy Me (The Ecology)", adding Wurlitzer electric piano on both Gaye's "I Heard It Through the Grapevine" and the Temptations' "Ain't Too Proud to Beg", organ on the Supremes' "Stop in the Name of Love and organ and shotgun effects on Junior Walker and the All Stars' "Shotgun.

Griffith's non-Motown hits are with Edwin Starr, Jackie Wilson, The Chi-Lites, and Young-Holt Unlimited's "Soulful Strut" In the '90s, Griffith was still active on the Detroit club scene.

Curve Records returns for their second outing with a powerful, grooved-out, broken beat EP: ‘Planned Cities’ from Bristol’s veteran forward thinking producer Lrusse.

“I like the optimism behind planned cities because they often don't turn out as expected - humans are random and there are unintended consequences everywhere. I never set out to write a broken beat EP, so that's quite been kind of a surprise too, ha.” Fellow Bristol legend Lord Leopard (F.K.A. Lukas) remixes the A1, ‘Crep Check’, delivering a club tool that will heat to any dancefloor.

A1: Crep Check - Crunchy, half-step drums broken beat hot with searing pads and bone-rattling sub.

A2: Crep Check (Lord Leopard Remix) - A huge straight up 4/4 club tool, tried and tested on the dancefloor.

B1: Scaff - An instant classic with a distinct Bristol bass bin sound, lazy broken drums and chopped piano hook.

B2: Those Letters - A soaring broken beat journey, perfect for switching up a 5am techno set.

Lrusse is the solo project of Ed Bayling, also known for slow-mo dancefloor heaters as one-half of Bristol’s Behling and Simpson, and has found regular support from the likes of Midland and Danny Krivit to Claude von Stroke and Todd Edwards, with tracks released on iconic labels such as K7, Tsuba and Dirt Crew, as well as underground fixtures like Nite Owl Diner and Apple Pips.

White Vinyl

Lars Hemmering is back with his second solo ep on Fullpanda records.
Also known as half of Live Duo – LADA with Dasha Rush, beside his own productions on DOCK records and among few others.

“Bloody &Soul “
Vinyl version – a collection of 4 intense left-field, abstract tracks, ranging from eerie cosmic like techno, throughout harder yet abstract beats, closing with dark ambient. Plus a digital bonus track.

A1.”Bless”
Dynamically hypnotic piece, where synth dominated baseline meets broken beats with barely present percussions, if refereeing to the classic techno approach, blending with dreamy chorals on the background.

A2. “Releasing Strains “
A moody melancholic cut with atmospheric, reverberating analogue synths and poly rhythmical structures.

B1. “Lars wars”
Takes us to more rougher side of techno, frantic energy with distorted syncopated rhythms tiny bouncing sounds that respond to over all dynamics.

B2. “Artarpet”
Closing track comes towards the dark ambient, that bring us to an empty like sound fields.

Current Age is the first vinyl release from Chicago newcomer label Tres Dias.

Label head and artist Juanne takes us on a visceral journey with three tracks that dig deep into your headspace. Taking from his experiences in the underground and its outer edges lends to create an audible sequence that manifested as the CURRENT AGE ep.
“Crops” is the intro track and invites you into a dark ethereal landscape. With a dreamy, haunting vocal, somber keys and ravenous bassline that grabs you and leads you in.
“Rivers” is the second offering and a tribute to the A.M. dance floor. Hypnotic synths, warehouse sounds and core shattering bass.
“Point of Entry”smashes in as the final track and most dance floor heavy tune on the ep. Nothing short of beating sounds all through your gutty wuts.
Artwork by Chicago's Stephen Cadiz
Mastered by the talents of New York's D.Schoenemann.

Welcome to the self titled label launch of David Paglia; a DJ/Producer whom has become a core member of the NYC nightlife community over the last 3 years. A three track EP of House grooves representing the style of his DJ performances. A1 "Woken", a tracky tune with bouncy chords, hypnotic strings and punchy bassline has been thoroughly tested and tearing floors all over NYC. B1 "These Sounds", a sampled based tune of rolling pads and catchy key riff is a tribute to the sounds of early 90's house. B2 "Capacitor", is a step out of the box number with a Moog Acid bassline and Electro-esque snappy drums.

Roberto Surace and Cosmin Horatiu head to Bamboleo to close August with their split EP ‘Sintonia’.

Launched in early 2019, Neverdogs’ Bamboleo Records imprint has quickly emerged as a go-to outlet for fresh productions for the industry’s biggest names within house and tech house, with support over the first four releases to date from the likes of Marco Carola, Stacey Pullen, Jamie Jones, Paco Osuna and Oxia to name just a few.

Next up, the Italian duo welcome Rome’s ‘man of the moment’ Roberto Surace, following releases on NONSTOP, elrow and Noexcuse, and rising Romanian talent Cosmin Horatiu as each artist delivers two tracks forming their split release entitled ‘Sintonia’.

Roberto Surace’s ‘Sintonia’ opens the package as the Italian opts for slick, rolling grooves that snake amongst soft floating melodies, before easing into second track ‘Subtitle’, featuring hazy synth lines, punchy kicks and rich chord patterns throughout.

On the flip, Cosmin Horatiu’s ‘Milk & Egg’ ups the energy levels with metallic drum shots, off the wall vocal samples and bubbling bass patterns, whilst switching things up and laying the focus on organic percussion hits and sizzling hats with closing production ‘Make It Rain’.

Ukrainian born and New York-based artist Matuss is delivering anotherinstallment of Absence Seizure. This time she is teaming up with
Norwegian but could be Berlin depending on the time of year
basslines that are pulsated by some intricate synths.


The Absence Seizure imprint is run by none other than Matuss herself along with Abe Duque and they focus on limited edition vinyl with a
nose for deep and meaningful house and techno. The last release saw the two bosses’ team up on Absence Seizure 11 to deliver some
pulsating beats and orgasmic synths. Expect a deeper cut this time around with the two artists verging more to the house side of the
electronic music spectrum on this project. Karina’s ‘Acid Meow’ is the first track on AS012. Karina is one of The
Zoo Project Ibiza core residents a player of all things vinyl with releases on the likes of God Particle and Cymawax. ‘Acid Meow’ has a
fearless acid-tinged bassline that gives the track a motivating drive. Reminiscent of 90s minimalism she’s kept the beats simple
putting all emphasis on the merciless acid sequence. Tip! Real energy to the dancefloor!


Matuss takes over the EP after the initial cut starting with ‘Travel High’. It has a long build to begin with these quizzical keys that
create anticipation. It discharges with an old school funky bassline that is slowly pushed. It’s accentuated by a ghetto vocal belting out
the title of the track and ends with some punchy percussions and bongo drums. She follows up with ‘Ninja Moves’. A more secretive and sultry number.
It tingles out a smooth bassline and revolves some nice chatter claps and snaps to add a certain silkiness to it. A bit of a floater
it has some beeping 80s keys on it that just add to the sway. If you want your mind to drift
you can get lost in this. Last but as always not least is ‘People Like You and Me’. The track starts with that fun festival horn that makes nostalgia exude out of
your prefrontal cortex. It divulges into these rolling clicks and toms that is carried by this dubbed bassline. Eventually
a bright and sunny synth emits light over the track as the vocals invite you in. The juxtaposition of the synth and bassline just work in harmony and
really make this cut hit home.

Dark may light through cold nights. Do you hear the sound
echoing from the distant tower? It leads you to the sound of
desire. The dazed mind dissolves into pulsating waves and
disturbing tones. Z.O.R.G. is calling and won't let you go. The
cover is limited to 200 editions with a handcrafted silkscreen
artwork - The vinyl package includes two bonus digital tracks
and the whole EP via Bandcamp download code.

Mythological echoes and lush atmospheres form Simone Bauer’s “Arcadia” EP, which concludes with a blooming, psychedelic remix from Refracted. Following a long-running series of events and podcasts, Sure Thing inaugurates their new label with a heartfelt love letter to introspective techno and self-discovery on the dance floor.

The UK's future Art Rock Stars build on recent successes with new album 'Dissolution'. The highly anticipated second record to feature the King Crimson / Porcupine Tree drummer Gavin Harrison

The CD edition of 'Dissolution' is presented in Sleevepac packaging complete with a 24-page booklet, while the single LP edition of 'Dissolution' is pressed to audiophile 180g vinyl and features a 4-page booklet. The blu-ray edition of

'Dissolution' includes a 16-page booklet of additional artwork and features the album plus bonus music in a 24/96 DTS-HD MA 5.1 surround sound mix and 24/96 hi-res stereo audio. It is presented in Amaray packaging.

'Dissolution' is the highly anticipated follow-up album to 2016's 'Your Wilderness' and is the band's second album to feature King Crimson and Porcupine Tree drummer Gavin Harrison, spurring The Pineapple Thief on as leaders of Europe's

experimental rock domain. Their efforts on 'Your Wilderness' produced 4m+ album streams, a #7 in the UK Independent Charts and two extensive headline European tours culminating at London's Islington Assembly Hall where the

concert was recorded for the live release 'Where We Stood'. The new material establishes The Pineapple Thief's intent to elevate themselves to new heights, with a desire to develop their songwriting and technical

capabilities, and with artwork created by iconic design agency Stylorouge, whose previous work includes Pink Floyd, David Bowie, Blur and British film Trainspotting. The album concept tells of the often dark consequences of living in

a society in which everything is played out on a public stage, a theme paralleled in the cover art, which was created by 'glitching' the original photographs. Songwriter Bruce Soord explains 'In a time when we are supposed to be bound

closer together than ever, I have never felt so apart from the world. We are living through a revolution and right now I am not sure it's a good one. Lyrically this is the most vivid I have been.'

The band recorded Dissolution independently across the UK, including at Gavin's 'Bourne Place' studio in London and Bruce's 'Soord Studios' in Somerset, sharing their ideas via instant messaging. The mixing was handled by Soord and

Harrison, and mastering by the band's keyboardist Steve Kitch. The penultimate song 'White Mist' also features experimental guitarist David Torn (David Bowie) providing a bedding of abstract, off-kilter sounds.

Wah Wah 45s are very proud to announce the release of Kalba, the first album from Ghanaian xylophone master Isaac Birituro and Leeds-based producer and singer- songwriter Sonny Johns AKA The Rail Abandon. The boundary crossing duo were introduced to the world via the first two singles released in early 2019, Yesu Yan Yan and Für Svenja, and the reactions to the project have been overwhelmingly warm.

There are many differences between Isaac and Sonny, but a powerful similarity -- which gives Kalba its element of relatability -- is that desire to hear the usual done unusually and play with the shared influence of the music from afar. Named after the town in North Ghana where Isaac resides, the album is a combination of differences; a magnifying glass over the Venn diagram of our lives, the unfathomable meeting of parallel lines.

“It was clear to me that, though he played a traditional instrument in a traditional way, Isaac was influenced by the Western tinged music that filled the streets of Accra - in fact his father, Edmund, introduced him with “He plays the modern way!” Partly dismissive, mostly proud,” said Sonny. “And as this Viking sat before him played the guitar, it sounded too much like the stringed instruments of Mali for it to be just a coincidence.”

There are so many stories behind each track on this album, but the common denominators are clearly the importance of community, of preserving and presenting local cultures, the ardent desire to contribute to changing the world around us, and, of course, the love and power of music created from a genuine place.

Global tracks is a mystery; browsing the name online gives nothing associated with the artist. All we really know is that Gothenburg is home base. Most points toward that this is Global Tracks first release and Hoga Nord Rekords are more than proud to be first out giving his/her music out.

With albums like 'Selected Ambient Works' by the Aphex Twin and cities like London and Sheffield as a ground for the sound, Global Tracks displays how breakbeats should sound in 2019. The music is mostly influenced by Jungle, but also by Footwork and Dancehall. The roots lie shallow but the phantom behind this music don't give up with trying to recreate the nineties straight up, instead he/she develops the legacy from all the best and most drug marinated DJ:s from England circa 1995.

Breakbeat has a new vanguard in this mysterious shadow crawler that we know almost nothing about, but rumor has it Global Tracks is locked up with the machines under ground somewhere in Vastra Gotaland in Sweden working on new broke up beats, ready to surface when the time is right for more, deep and ganja oozing dance music!

Should you find yourself taking a Thames-side stroll in the shadow of the City of London, keep an eye out for the headphone-clad figure of Ilan Pdahtzur. While be-suited bankers and frustrated office workers scurry home to their families, Ilan can frequently be found casting admiring glances towards the blinking lights of towering skyscrapers while filling his ears with the synthesizer-driven sounds of lesser-known 1980s dance music.

Ilan, an avid but little-known record collector best known for sharing the artwork of obscure and under-appreciated early-to-mid ’80s club cuts on his popular Instagram feed, has been digging for vibrant, kaleidoscopic records since his teens. Now, thanks to Spacetalk, he’s been given a chance to offer a glimpse into his neon-lit nocturnal musical world.

The result is Night City Life, a killer collection of 1980s synthesizer songs inspired by Ilan’s admiration for the glow of London’s late night skyline. Over the course of 13 essential tunes, Ilan escorts us on a vibrant sprint through rare Italo-disco, steamy South African synth-boogie, fizzing American freestyle, oddball Austrian electrofunk and so much more.

There are naturally a fair few sought-after cuts present, but also a fine selection of under-appreciated gems that for one reason or other have been all but ignored since they were released three and a half decades ago. In fact, some selections are so obscure that barely any information exists about them online.

Check for example Preludio’s “Mysterious Nights”, an evocative fusion of slow electronic grooves, dreamy chords and twinkling piano motifs previously buried on a lesser-known album of unremarkable German synth-pop, or the dollar-bin brilliance of Fragile’s sweet synth-pop gem “We’ve Got Tonight, Boy”, a cut that Ilan says is capable of “wrapping itself like tendrils around your soul”. He’s not wrong.

At the other end of the scale you’ll find the ultra-rare Italo-disco breeziness of Friend of Mine’s incredible “Just Your Pride” and Mac & Monica’s soulful 1986 South African synth-boogie cut “You’re So Good To Me”, copies of which regularly change hands for hundreds of pounds online. Ilan originally reached out to the men behind the record last year to tell them how one of their other forgotten gems had been played on a Boiler Room session; naturally, they were thrilled.

There’s plenty to admire elsewhere on the compilation, too, from the waves of analogue synths, bubbly melodies and bobbing beats of the instrumental dub version of Brian Tatcher’s “Hot Love” – a cold-war era cut inspired by the idea of love blossoming in the midst of a nuclear meltdown – to the Bobby Orlando-esque freestyle bustle of Janelle’s “Don’t Be Shy (Dub)” and the sparkling post-boogie brilliance of Jarmaz’s “Night City Life (Disco Remix)”, a track Ilan has listened to countless times while admiring the midnight skyline of his home city.

Okinawan talent City1 has been making some serious moves with his unique dark productions as of late and we are honoured to welcome him to the Subaltern family.

* Speak Out feat. Rider Shafique
In the mighty title track City1 delivers a clinical slab of bass science which gravitationally pulls deep into a different dimension. The dreamy yet dark atmosphere and vibrant basslines are graced by the elevating bars of none less than the notorious Rider Shafique - one of bass music’s finest vocalists hailing from Bristol.

* Koroga
Going even darker, City1 opens up another world in this trip of a track. Koroga rides on relentless dark synths and keeps switching up the pace, leading the listener through a maze of eerie sounds - be careful though, the walls are closing in. Dangerous!

* Zee
Zee is just as otherworldly as the first two tracks. With heavy hitting basslines and snappy percussions, City1 delivers yet another absolutely unique roller. Whenever you thought the track had arrived at its peak, it takes another, even wilder turn.

Spencer Parker returns to Rekids with looping techno roller ‘You’re Under My Control Now’ featuring remixes from Truncate, P.Leone, Fadi Mohem and label boss Radio Slave.

Released on last year’s ‘Dance Music’ album via Parker’s own Work Them Records, ‘You’re Under My Control Now’ is an infectious and mesmerising techno banger that’s garnered support from the likes of Midland, Len Faki, Amelie Lens and Marcel Dettmann.

One of the track’s biggest supporters, Radio Slave is now releasing it on Rekids with a medley of top tier remixes. Radio Slave’s reimagining scales back on the original’s high-octane energy, instead taking a more uplifting direction with an arpeggiated bassline, meandering synths and clattering percussion.

A regular on Seilscheibenpfeiler (alongside artists like FJAAK, Solid Blake and Kasper Marott), Fadi Mohem is next with a dark and atmospheric rendition complete with driving kicks, subterranean chords and echoing effects before Truncate serves up his cavernous ‘Mind Control’ Remix which combines tantalising melodies with robust drums and murky vocals.

E-Missions co-founder P.Leone and Radio Slave, having paired up for a remix of Deep Dimension last year, collaborate again here to provide a robust, compelling piece of house music littered with breathy samples and oscillating atmospherics.

UK underground legend Roska dons his Bakongo guise for the Reverse Livity Sound label with three DJ-geared rhythm tools of swinging degraded mechanical funk, strictly for the mix.

Originally designed as a series to run concurrently with the Livity Sound label as an outlet that shares and reflects it's ideas and aesthetics, the Reverse series has evolved in to an institution of cutting edge UK dance music in its own right, featuring releases from the likes of Batu, Bruce, Forest Drive West and Hodge.

Moon Boots a.k.a Pete Dougherty returns with his second studio album ‘Bimini Road’ on September 6 via Anjunadeep. An ambitious and evocative follow-up to his acclaimed debut First Landing, Bimini Road combines delectable club-ready grooves with soulful songcraft into a seamlessly organic whole. Inspired by notions of mysterious lost civilizations, ancient magic utopias and the sci-fi landscapes of the mind, ‘Bimini Road’ is a joyously celebratory listen that builds off the ‘deep textures and funky melodies’ (Mixmag) of his album 'First Landing', a disco house masterpiece supported by KCRW, Annie Mac and others. Featuring familiar faces KONA, Black Gatsby and Nic Hanson among the featured vocal talent, ‘Bimini Road’ also includes new collaborators like rising US talent Niia, Kaleena Zanders and notable British sing-songwriter Little Boots. OutJuly 9, ‘Tied Up’ is the first single off the album, a sexy slice of deep house pop sure to ignite dancefloors and bedrooms alike. Moon Bootsembarks on his Live Bimini Road Tour this Fall, with dates across North America and Europe. Born in Brooklyn, Moon Boots’ musical obsession started not long after he could walk. His early love of piano lead to a passion for keyboards and synthesizers. Teenage nights lost in the work of Daft Punk, ATribe Called Quest and Herbie Hancock followed. Inspired by legends like Frankie Knuckles and Derrick Carter, he moved to the house music epicenter of Chicago, where he tirelessly passed out demos to local DJs and scoured the web for like-minded people with whom he could share and expand on his sound. Heplayed in a synth-pop trio whose demo caught the attention of Lupe Fiasco, and after a stint touring alongside the hip-hop icon, Dougherty went back to DJing with a renewed focus. The stars aligned when he had a chance encounter withPerseus, founder of an adventurous label, French Express. A fellow junkie and fan of French House and R&B-infused dance music, Perseus became a friend and mentor, the Splinter to Boots' Donatello. The label eventually disbanded but Boots has stayed true to his mission of making dance tracks that can’t be confined to one style. Pete blends the music he loves --jazz, house, funk and soul -- into songs that last longer than their runtime. Songs not just for DJs, but for everyone.

In-demand deep modal jazz tune from Belgium featuring Babs Roberts!

The lesser-spotted jazz atoms that formed the fusion of Futurist Flanders! It might sound like an ambitious claim but having been a firm fixture at the top of many European jazz collector want lists over the past decade Finders Keepers wouldn’t be alone when proclaiming this extremely rare, lesser-known two-track 7” from 1969 as one of the best jazz 45s of all time! Alongside Polish pianist Krzysztof Komeda’s soundtrack 7” for the film Cul-De-Sac and ranking closely with François Tusques’ commemorative Le Corbusier exhibition 45 (featuring Don Cherry) this format-specific release known only as Brussels Art Quintet might well sit at the top of the podium while striking similarities and arguably combining the best stylistic traits of both aforementioned contenders.

This is all speculative and clearly a matter of individual opinion but it’s not often that one should find a recording from this era, comprising such high production qualities, keen compositional values and robust craftsmanship spread across two equally spellbinding individual tracks, all of which awards this record justified hyperbole albeit subject to a 50 year delay. It is safe to say that this unique release is “rare” on many levels. Like all privately pressed art projects this 45 comprises some serious outsider art trappings. However, on closer inspection it also stands as a pivotal record in the micro-genre of Belgian jazz, pin-pointing an early axis for some vital progressive jazz players who went on to become sturdy pillars of the central European happening.

Essentially as a five-piece, the short-lived Brussels Art Quintet neatly combines members of both the mythical Babs Robert Quartet (early exponents of Belgian spiritual jazz) and key players from the leading progressive jazz/rock/funk unit known as COS (formally Classroom) who would stand as close affiliates of the likes of Marc Moulin, Kiosk and Placebo through the 1970s. Reproduced in close collaboration with COS leader Daniel Schell, who, under the early guise of Daniel “Max” Schellekens, authored both tracks that make up this facsimile 45 single, this one-off single includes the only known output by the Brussels Art Quintet thus marking the essential in-road to instantly start and complete your entire BAQ collection not without reliving the early germination of the froward-thinking jazz fusion that came to shape Belgium’s truly unique movement.

Mekanik Kommando was a post punk / New Wave band from Nijmegen, the Netherlands founded in 1979 by Peter van Vliet and Laszlo Panyigay. The duo became a quartet with the addition of Simon van Vliet and Mirjam van Hout. The name Mekanik Kommando comes from the album ?Mekan?k Destrukt?w Kommand?h? by the French progressive rock band Magma. Inspired by a DIY ethos, Kraftwerk and Magma, the band began recording songs at home using two tape recorders. Their demo cassette was discovered by Wally van Middendorp of Minny Pops and owner of Plurex Records, who booked them for a gig at Paradiso in Amsterdam. In 1981 they were asked to contribute music on a flexidisc for the first issue of newly established magazine Vinyl. In the summer of that year the band recorded their debut album ?It Would Be Quiet In The Woods If Only A Few Birds Sing? released on Torso. In February 1982 the band secured five days of studio time at Salisbury Sound in Dordrecht. The end result was the mini-album ?Dancing Elephants? released on Torso later that year. Musically, the five songs are a mix between cold wave, experimental electronic and industrial pop. The band utilized two bass guitars plus a Korg 770, KR-55 drum machine, violin, effects, metals and plastics. Lyrics explore themes of decay and morality, hypnotically spoken on top of playfully metallic sounds. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each EP is housed in a replica of the original jacket, which features artwork by the group members, and includes a 4-page booklet with lyrics and notes designed by Eloise Leigh.

Konstruktivists is the Industrial project of Glenn Michael Wallis from Kent, England. In the late ’70s Wallis was a “control agent” for Throbbing Gristle and the Industrial Records crew. Influenced by Krautrock bands like Can, NEU!, Cluster/Harmonia as well as Tuxedomoon, Yello, Chrome, and SPK, Glenn began to record his own material. After several cassette releases, Konstruktivists’ first LP ‘A Dissembly’ was released in 1982 followed by ‘Psykho Genetika’ in 1983 and ‘Black December’ in 1984. That same year Wallis collaborated with his friend Chris Carter, of Throbbing Gristle and Chris and Cosey fame, on CTI’s ‘Conspiracy International One’.

In 1985, Glenn spent a week at Chris and Cosey’s studio recording 11 tracks that would become the ’Glennascaul’ album originally released on Nigel Ayers' Sterile Records. Produced and mixed by Chris Carter, it marked a complete change in style for the band towards a beat-orientated rhythmic sound. ‘Glennascaul’ is proto electro at its very best, with Glenn’s hallucinogenic vocals on top. A musical collage designed to invoke images in the mind. The back cover clearly states “No guitars. No Fairlights.” For this deluxe reissue we’ve added two bonus tracks recorded around the same time, now vinyl for the first time ever. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring cover art, which is a co-production of Trevor Brown, Nigel Ayers and an image Glenn Wallis supplied. Each copy includes a double-sided 8x11 insert with liner notes by Nigel Ayers, press clippings, and photos.

Ivaylo is next up on his Bogota Records imprint with a pair of fresh new cuts that come complete with a remix from Hugo LX. Bulgarian native Ivaylo is based in Oslo, and has vast experience of the dance music industry, having continuously proving himself as an essential DJ and producer, most recently his release on Cassy's Kwench Records 'Ae Way'.

He delivers again here with Hausa, a deep roaming tune with a bassline that immediately lifts your energy. It makes for a back room track that is super tasteful and filled with warped synths and deft percussion that gets under your skin. Hugo LX serves up a tripe remix with tiny little sonic details, a spooky sense of late night mischief and neon melodies that really standout.

Last of all, House Moult is a busier, more bristling cut with jostling drums and underlapping bass, an inventive sense of musical warmth and plenty of fresh ideas that are finished with an anthemic vocal that will get the crowd on their toes.

This is another standout EP from all concerned, and another great chapter of Bogota Records.

2019 bietet das Tag am Meer Festival nicht nur die gewohnt
schöne Kombination aus Landschaft, Musik und wunderbaren
Gästen, sondern es gibt auch noch einen kleinen Geburtstag
zu zelebrieren: unsere Tag am Meer Vinyl Compilation
zelebriert ihre fünfte Veröffentlichung. Seit 2015 präsentiert
BlackFoxMusic jedes mal eine ausgewählte Selektion an
Tracks von Künstlern, welche im jeweiligen Jahr bei Tag am
Meer gespielt haben und das gepresst auf schwarzem Gold.
Dieses mal mit Kid Simius im Magit Cacoon Remix, Kollektiv
Ost und dem Live Act JPattersson. In Zeiten von Spotify,
Deezer und Co. mag das für manch einen kurios anmuten,
doch so wie wir unser kleines Festival an einem ganz
außergewöhnlichen Ort veranstalten, ist auch die Idee und die
Umsetzung unserer jährlichen Compilation etwas Besonderes.
Die DJ’s und Live Acts liefern die Musik und die
Besucher*innen, liefern jedes Jahr aufs Neue die Bilder für das
Plattencover im darauffolgenden Jahr. Jedes Plattencover
setzt sich aus euren Schnappschüssen zusammen die Ihr uns
zusendet und ist somit ein waschechtes
Gemeinschaftsprojekt. Für uns ist dies eines von vielen
Puzzleteilen, welches zum Tag am Meer dazugehört, denn
Gemeinschaft lässt sich nicht nur zwischen Campingareal undDancefloor erleben, sondern auch im Rahmen eines Projektes
wie einer gemeinsamen Platte. Und dafür möchten wir euch
allen einfach einmal ‚Danke‘ sagen.

What is the Inner Dance? A musically assisted trip through thought-movement. It is not a show, it is a party. The participation of a room full of individuals having their own personal experience. Like looking closer at the ground to see there is movement within, focus acutely and see the life within life.


Gene Tellem launches her own label Bienvenue Records, welcoming you to a world of sounds for all the extroverted introverts out there. With headquarters at La Rama in Montreal, we plan on assisting your journey through local & international sounds.


For this first EP Gene lays down the foundation for what is to come. Journey agent tracks for all looking to experience the music, an extended groove, more than just a drop & repeat. ‘Groove PM’ sets the scene, we play in the sun during the day and at night we smooth out the rigid edges of the hustle. ’N’ You’ is here to get you in touch with your natural swing, ride on the simplicity of moderate changes and witness just how much we have. ‘Tender As A Rhodes’ is an ode to that thing that changed it all, the universal jazz sound, dub it out, stretch it out, and watch the whole room come together. As the morning comes we get ‘Chipped’, dance ’til the next day comes and hit the streets with a little pep in your step. Crossing paths with your neighbours on the way home, they might not know but all who witnessed do, we who dance the night are the warriors that keep the light on in the darkness.


Thanks for joining us and please do stay tuned for more.

-La Rama

Repress

The fourth output on the imprint GEN X is a various artists EP featuring Remy-X, AADJA, Dave Simon and label owners Deep Dimension.
Featuring four hard-hitting old school ravey cuts with new age soundscapes. Bringing back the energy of the early nineties raves.

Supporting artists:
Marcel Dettmann, Pan-Pot, Ramiro Lopez, VII Circle, Dubfire, Ilario Alicante, Noir, Paco Osuna, Richie Hawtin, Marco Bailey, Endlec, Joseph Capriati, Rebekah, Marco Carola

Next up on Fake's Various Artist Series we have a stellar lineup, Lee Daines leads the line with the minimal groover 'Stokkie', One of the undergrounds legends Gel Abril teams up with Berlin Based Oskar Szafraniec with a peak time track for dancefloor 'Energy Flow'. On the flip we have two stalwarts of the minimal scene, Ukranian Pharba and long time friend of fake Just_me with a super cool track that's full of energy 'ride', And to finish off we have up and coming talent Soyro with his minimalistic breaks track 'Moonset'

Mighty DNAonDNA (Heteroerotic Asphyxiation, Oiwa) manufactures STRICTLY STRICTLY's magical 3rd release and offers nothing than power, power, power: Erratic opener THE//GRIND pushes you into the flow with restless UK-ish breaks before HAIFA slaps you hard with its violent rhythm and epic bassline. DON'T MOVE on the B-side chases you with its 145bpm acid breaks to finally eject you struggling for breath. A dangerous adventure!

Demon Records goes on a journey through time and space to the world of the Mighty Boosh. This is the classic BBC Radio 4 comedy that launched the careers of writers and leads Noel Fielding and Julian Barratt. The series made it’s vinyl debut as a strictly
limited coloured edition for Record Store Day 2019 and is now reissued on three black 180g heavy-weight vinyl. Housed in a gatefold sleeve with original artwork by Noel Fielding and sleeve notes by Julian Barrett, Noel Fielding, Rich Fulcher & producer, Danny Wallace. Written by: Julian Barratt and Noel Fielding First Broadcast: BBC Radio 4, 16th October 2001

Manchester songwriter Ryan Kennedy returns with his fourth album "The Unforgiving Current". Recorded in and around Tokyo hotel rooms, apartments and studios,  the album is a badly lit stroll through Tokyo's winding streets, stopping in only the most questionable bars. Despite its seemingly overpopulated centres, there is often a strange isolation. This Isolation would be the fuel behind "the Unforgiving Current".

After moving to Tokyo early 2018 Kennedy began work on the album. Amidst language and work issues his rosey outlook soon dimmed and what follows is Kennedy's exploration and loneliness in this foreign land. Previous musical similarities may be unearthed but what runs through this record is a vein of (dare I say) mature introspection which sets it apart from previous works. 

Formed in Bradford in 1980, New Model Army's beginnings were inspired by Northern Soul, Punk Rock and the incendiary atmosphere of the times. Since then, they have had a long, creative and eventful journey. They have been massively influential in 'post-punk', 'folkrock', 'political-rock', 'goth', 'metal' and all kinds of musical sub-cultures but they have steadfastly refused to belong to any club or style. Members have changed over the years and musical styles have evolved but at the heart of the band Justin has remained, along with a distinct and sincere belief in the power of music to inspire and effect change on both a personal and political scale, locally and globally. 'From Here' was recorded earlier on the tiny Norwegian island of Giske at the beautiful Ocean Sound Recordings studio and reflects the spectacular isolation of that environment yet has profound messages for the world we all live in and the times we are experiencing. The album was mostly written in just two months and recorded in only nine days and is the follow up on the two hugely acclaimed albums Between Dog And Wolf (2013) and Winter (2016). New Model Army decided to work again with Lee Smith and Jamie Lockhart, with whom they have developed a productive relationship over a few years and who persuaded them to leave a lot of the details of the music to spontaneity. “This album has a feel that is different to our other albums, but it still contains all the elements that characterise our peculiarly unidentifiable music – perhaps even more than ever. And “From Here” was an obvious title. The record belongs to a very special place and a particular time – what is happening in the world, where we are as a band and where we are as people.” Print ads:Vive Le Rock, Classic Rock, Record Collector, Classic Pop). Artist undertaking promotion/interviews/press (Classic Rock, Record Collector, Vive le Rock, Louder than War, Long Live Vinyl). Extensive UK live tour Oct 8th - Dec 21st.

Like a fine 40-year old whisky, the layers on this record and influences are complex, nuanced & Layered. You might taste something different but here are my tasting notes...

The Nose - Notes of Bobby Cauldwell, Steely Dan, David Crosby a definite Sun Drenched yacht folk dram.

The Body - I can taste strong notes of Jimmy Webb and Aztec Camera not present on the nose, this a much deeper dram than initially nosed, I can see myself enjoying this in front of a warm fire.

Finish - Long finish on this one, I can taste the Miami tarmac, the Beach and salt water, the nightclubs and linen clothing, Don Johnson's dirty washing.

Whisky tasting over, both the albums this LP was compiled from were recorded at Coconuts recording Studio in Miami, notable for Miami Sound Machine recordings and Blood, Sweat and Tears. I have been into these for a long time and whilst not the rarest AOTN re-issue to date (although that may change now the words out) they deserve to be recognised for the solid LPs that they are. Just buy it and float away.

Strut presents an all-time classic of South African music, the definitive remastered edition of Miriam Makeba’s ‘Pata Pata’, her first album recorded for Reprise in 1966.
The album marked a significant international breakthrough for Makeba. Moving to the US after the anti-apartheid film ‘Come Back, Africa’ gained international attention and staying there in exile, she quickly built her career in New York during
the ‘60s, mentored by Harry Belafonte. Signing with Reprise after a period with RCA, she returned to one of her older songs: “I wrote ‘Pata Pata’ back in 1956, back in South Africa,” remembered Makeba in her autobiography. “It was a fun little song and I was thinking of a dance that we do at home (“pata” means ‘touch” in Zulu and Xhosa).” Originally a hit in South Africa with her early vocal harmony group the Skylarks, the new recording, produced by Jerry Ragovoy, brought a lighter uptempo R’nB arrangement, adding some English lyrics. “It was my first truly big seller. All of
a sudden, people who never knew I had been in America since 1959 were asking me to be on their television shows and play at their concert halls during 1967. In the discotheques, they invented a new dance called the ‘Pata Pata’ where couples dance
apart and then reach out and touch each other. I went to Argentina for a concert and, across South America, they are singing my song.” The track peaked on the Billboard Hot 100 at no. 12 and the album. Other songs In the album included a version of the traditional Xhosa classic, ‘Click Song Number One’ (‘Qongqothwane’), the atmospheric ‘West Wind’, later famously
covered by her friend Nina Simone, and a version of Tilahun Gessesse’s ‘Yetentu Tizaleny’ which Makeba learned on a trip to Addis to perform for Haile Selassie at the Organisation Of African Unity. Mastered by The Carvery from the original reel to reel tapes, ‘Pata Pata’ is released in its mono and stereo versions for the first time. Physical formats feature brand new sleeve notes alongside rare photos from the time of recording and session details.
The album is released on 6th September on 2LP, 1CD, streaming and digital

2XM are back on our shores with another sun kissed and emotive EP.

Four new tracks covering 2-step garage, deep percussive house and synth laden electronic grooves with a powerful vocal performance from rising star Neil Macleod.

These two are really developing their own signature sound and we’re all in.