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Hive Mind Records are delighted to present Congo, the debut album from Brazilian guitarist and composer Rodrigo Tavares.

Maintaining a meditative mood across it's nine instrumental pieces, Congo blends composition and improvisation with subtly experimental yet sophisticated arrangements that evoke the mood and rhythms of classic Brazilian artists such as João Gilberto, Dorival Caymmi, Tom Jobim, Milton Nascimento and Caetano Veloso.

Rodrigo's work draws on elements of jazz, post rock, minimalist composition and disparate global sounds to create a deep listening experience that falls between genres and wilfully defies categorisation. Congo is a lush soundworld that rewards exploration and will appeal to fans of music as diverse as Joshua Abrams and Natural Information Society, Collocutor, BadBadNotGood, Slint or late Talk Talk, as much as it does to lovers of classic Brazilian music.

Hive Mind Records are proud to be releasing Congo on vinyl in gatefold sleeve designed by Brazilian graphic artist, Andrea Gomes, and featuring the original painting of celebrated Brazilian artist, Cristiano Lenhardt.

Tucky Buzzard
The Complete Tucky Buzzard 5 Lp Slipcase Box Set
- Having Come To The End Of The Psychedelic Path, The End Decided On A Change Of Musical Direction And A Change Of Name,
Arising From The Ashes As Tucky Buzzard In 1970 And Retaining The Line-up Of Guitarist Terry Taylor, Organist Nicky Graham,
Drummer Paul Francis, Bassist Dave Brown, And Vocalist Jimmy Henderson.
- The First Album, Recorded With Madrid Philharmonic Orchestra Directed By Waldo De Los Rios, Contained Some Last Vestiges
Of The Band's Previous Existence. But The Second Album, Produced By Old Associate Bill Wyman With Glyn Johns At Olympic
Studios Set Out The Band's Template Of Bluesy Rock, A Leading Genre At The Dawn Of The 70s. Mick Taylor Makes A Guest
Appearance.
- For The Fourth And Fifth Albums, The Band Was Signed To Deep Purple's Own Purple Records. Bill Wyman Continued In The
Producer's Chair, But The Departing Nicky Graham Was Replaced With A Second Guitarist.
- Strictly Limited To 750 Copies, And Housed In A Numbered Rigid Slipcase Featuring Photos From The Collection Of Terry Taylor
(bill Wyman's Right Hand Man In The Rhythm Kings For The Last 25+ Years), All The Original Sleeves (including Two Gatefolds)
Are Faithfully Reproduced. The Inner Sleeves Feature Extensive Annotation By Alan Robinson Based On Interviews With The Band.

Mid last century. Commercial Music is a machine that generates dances that run each other over in the urge to reach the audiences and mark their place in time and history.

A never-ending list of choreographies co-habit: hully gully, madison, rock, limbo, twist and a long etcetera, until a new dance, bossa nova takes over the dance floors. Joao Gilberto, Tom Jobim or Vinicius de Moraes reach stardom in Brazil with this mix of samba and jazz, but the genre doesn't explode internationally until a few American jazzmen decide to import it. From there it reaches Europe, via France, thanks to Sacha Distel, the first on the continent to record an EP completely dedicated to this phenomenon.

It is 1962.

Shortly after in Spain, the number of artists including original or adapted tracks in their albums, escalate: Tony Vilaplana, Mina, Duo Dinámico, Latin Combo, Los 4 Brujos, Gina Baró, Grau Carol, Salomé or Marisol, who popularizes the new trend by recording 'Marisol rumbo a Río', a blockbuster film partially filmed in Brazil. The maestro Augusto Algueró writes the films soundtrack.

For this compilation we have consciously dug into the archives of three Barcelona based labels like Belter, Discophon and Olympo to serve Spanish sung bossa nova songs that have never, inexplicably, been released on vinyl, all songs are recorded during those two (musically speaking) prodigious decades: the twentieth centuries sixties and seventies.

Tribe pumpin dancefloor newskool sound ! Funky Ixi style:)

Original Soundtrack - Super Deluxe Version, (including 4 tracks never released on vinyl before, this feature is exclusive to this edition, see the tracklisting), 180g vinyl, mastered at half speed, heavy cardboard old Stoughton tip-on sleeve, obi, gold sticker Info We Release Jazz is delighted to present the official reissue of the original soundtrack of Jean-Pierre Melville's 1970 film noir classic Le Cercle Rouge (starring Alain Delon, Bourvil, Gian Maria Volontè, and Yves Montand) composed by French soundtrack master Eric Demarsan, available on limited edition 180g vinyl LP mastered at half speed and including 4 bonus tracks not available on previous pressings of the album. Eric Demarsan's compositions for Le Cercle Rouge draw from the orchestral spirit of the Modern Jazz Quartet (as requested by Melville who loved John Lewis' work), abstraction and minimalism to create a suspenseful and hypnotizing audio landscape which elegantly underlines the tense atmosphere of unavoidable fate that shrouds the movie and the doleful beauty of its characters. Simply put, it's the finest combination of underworld existentialism, coldblooded chic, and crime jazz! Le Cercle Rouge boasts the participation of celebrated jazz players Guy Pedersen (bass), Daniel Humair (drums), Georges Arvanitas (piano), and Bernard Lubat (vibraphone). Starting as a collaborator of François de Roubaix and Michel Magne in the 60s, Eric Demarsan went on to become a mainstay of French cinema soundtracks, composing for directors such as Jean-Pierre Mocky, Costa-Gavras, and Patrice Leconte among others. He also recorded the cult album Pop Symphony (for Pierre Cardin in 1970) under the Jason Havelock pseudonym.

Das selbstbetitelte Album des Rolling Stones Bassisten Bill Wyman war der dritte Versuch eines Soloalbums. Ihm gelang hier die perfekte Mischung aus komischem Humor und
Rock'n'Roll-Musik. Nach früheren Alben übernimmt Bill bei
diesem Album die meisten Instrumente selbst.
Dies gab dem Album einen klaren und konsistenten Sound und so gelangen ihm auch die beiden Hit Singles "A New Fashion" und "(Si, Si) Je Suis Un Rock Star".

A great early album from Belchior - much rootsier than some of his later work, with a groove that almost feels like samba soul at times! Arrangements and music are handled by Marcus Vinicius - who uses quick-stepping samba elements on some of the best tracks, mixed with more modern funky styles in this really great way - which creates even more magic with the hauntingly poetic structures of Belchior's lyrics! The songforms are great - very much in the concrete poetry format used on Caetano's Araca Azul album, but with a warmer vibe overall - on titles that include "Bebelo", "Mote E Glosa", "A Palo Seco", "Maquina", "Todo Sujo De Baton", "Rodagem", and "Cemiterio".

Salvador Font studied violin, clarinet, composition and harmony at the Conservatori Municipal de Barcelona, but very soon started to gain notoriety as a saxophonist in the rich jazz scene of 1940s Barcelona. Font would soon be playing tenor sax and clarinet in the Orquesta Gran Casino. He was in his early twenties and his hot swing technique was already praised through the citiy's scene, he would grow to be considered the best saxophonist in Spain by playing in many orchestras and combos, among them: José Puertas', Antonio Vilá's Virgina, Bonet de San Pedro's band, Pierre Michel, El Lirio Campestre, Los Marios, Luis Rovira y su orquesta, Orquesta brasileña Fon-Fon, Jaime Camino, Los Embajadores, Italo Leone's... With these and others, Font toured constantly, visiting many countries and even staying on some for long seasons: Mexico, Morocco, Switzerland, Egypt... Hungarian violinst of Turkish ancestry Kurt Dogan gave him the "Mantequilla" surname - he felt "Mantequilla" (which means "butter") fit Font's mellow yet swinging improvisation style.

Mantequilla y su conjunto

In the early sixties, "Mantequilla" had the chance to lead his own combo, Mantequilla y su conjunto, with which he was to record the three splendid EPs that are compiled on the present album. All these 7" have become elusive collector pieces in the record market, with sellers demanding from 200 to as much as 950 euros per copy.

In 1961 "Mantequilla" was at his best moment, his gigs at the Jamboree Jazz Cava had brought him back to the first line of Barcelona's jazzmen after he had been working abroad for a long time, and was approached by the Belter label to record an EP. On the sessions he was accompanied by Manolo Mercedes on trumpet, Pedro Ferré on piano, Rafael Lizandra on double bass and Rafael Verdura on Drums. The material chosen for the disc were four original compositions by Salvador Font which had a high West Coast flavour all over: "La Tuna Club", "Whisky Jazz" and "Jamboree" named after famous jazz clubs and "Azul Trompeta", dedicated to Manolo Mercedes.

In late 1962, after spending some time in Madrid working as members of the Italo Leone combo, "Mantequilla" and pianist Manuel Gas came back to Barcelona for the recording of the second "Mantequilla" EP, also on Belter. We find again Manolo Mercedes on trumpet, Pedro Ferré on piano and Rafael Lizandra on double bass, the drummer this time was José Farreras. Another news is that Manuel Gas also sat on piano and vibraphone. The songs chosen for the occasion were two tunes from the Art Blakey Jazz Messengers repertoire: Bobby Timmons' classic "Moanin'" and the Jacques Marray track "No Problem" from the soundtrack of the Les liaisons dangereuses film (mispelled "Not Problem" on the sleeve and label), plus the Salvador Font penned "Blue Note" and "Full de ases" - on "Full de ases" "Mantequilla" trades his sax for the violin, which he also mastered under high influence from Stephane Grapelli. The record was released on Belter in early 1963 and showed "Mantequilla" adding a certain aggressivity to his sound, in a soloist style which has been compared to that of tenor saxophonists Barney Wilen or Benny Golson.

1965 was the year of release of Mantequilla y su conjunto's third EP, now on the Discophon label. Mercedes and Farreras are again present in the recording sessions, joined by Ricardo Miralles on piano and Enrique Ponsa on double bass. Four original Font compositions make up the fantastic EP: "Blues 3/4", "Atmósfera", "Vat 69" and "Balada".

There would be a further EP on Belter, released in 1971 as Mantequilla Group it was a cash-in operation to take some redits of the ye-yé discothèque phenomenon, it gets quite afar in style from the jazz works of Mantequilla y su conjunto, so we just left it aside for the present edition.

"Mantequilla"'s career would continue, in 1968 he would settle in Majorca and form a swing band with Bonet de San Pedro and Manuel Bolao. He played in local orquestras and also with first class world acts like Gerry Mulligan, Tete Montoliu, Errol Gardner, a.o. He was even approached by Henry Mancini to play sax on The Pink Panther Theme in a gig Mancini did with his orchestra in Palma de Mallorca in 1975, He also joined his son Salvador Font (a demanded drummer himself who has played with Máquina!, Orquestra Mirasol, Música Urbana, Gary Burton Quartet, Georgie Fame, and many others) and his peers Carles Benavent, Emili Baleriola, Josep Mas 'Kitflus' and Jordi Bonell with whom he recorded his acclaimed "Mantequilla" album in 1987.

Now, for the first time ever, the legendary three ultra rare and imposible to find EPs by Mantequilla y su conjunto are compiled in a lavish vinyl LP with remastered sound, featuring liner notes and photos and a fantastic period inspired, three backflaped, front laminated sleeve. It is a stricly limited edition of only 500 copies and they are expected to sell out very soon, do not miss your chance of getting yours - it may be the last chance of chasing the Mantequilla sound on vinyl at a reasonable price!














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The first of two wonderful new full lengths for Polytechnic Youth for the first week in July. This is a debut release on vinyl for Spanish based Jordi Navarra whose musical oeuvre stretches between 'Surf, Hippie / Space Rock and crude electronic music' often different yet coated in tons of reverb and echo for 'it's final catalepsy'! 'Micromundos,' needless to say for PY devotees, concentrates on his cruder electronic soundscapes; incredible often ambient, drone themed pieces that on one hand dip their toes into the revered works of Hans-Joachim Roedelius and Dieter Moebius, and the sky back catalogue whilst equally conjuring up a collision of Spacemen 3 psych meets Wire, early Cabs or Magazine darker more atmospheric, post punk industrial / experimental workouts. Eight abstract, kosmische fuelled pieces that act as an interesting sister release to the label's other July offering, the more overtly 'in-yr-face' synth pop themed Mitra Mitra LP. Two beautiful releases expected to sell out pretty swiftly, and released together first week of July.

The first release on yeyeh is a compilation of tracks by Dutch poet Simon Vinkenoog, a former poet laureate, and renomated one-man band Spinvis. More than ten years after the birth of this album, it has been pressed on vinyl for the very first time. A journey. A journey through sound. A journey of eighty-one years. Simon Vinkenoog's sound. Simon sings, speaks, yells, hiccups, and cries. As a poet. As a witness, passer-by, survivor, instigator, benefactor and chronicler of the remarkable twists of his own lifetime. A collage of music, sound and poetry, compiled with several hours of archived material. Carefully edited and soundtracked by Spinvis.

Lift To The Scaffold Or, In The Original French Title, Ascenseur Pour L'échafaud, Is A Brilliant Film Noir From 1958 That Helped To Establish The Nouvelle Vague And The New Modern Cinema Scenes. No Less Brilliant Is The Score, Composed By Miles Davis And Featuring Mostly French Musicians, Including The Great Barney Wilen On Tenor Saxophone, As Well As Kenny Clarke On Drums, This Is Some Of The Most Lonesome And Morose Music Davis Recorded In His Career. Perfectly Matching The Stark, Dangerous, And Grim Moods Of The Film, This Is A Truly Amazing Score By One Of The Biggest Names In Jazz Music History.

Coming from different regions in France, Violent Quand On Aime's members have joined forces to canalize their energies into something truly essential. Far away from hype and expectation they have created their own peculiar world. Expect a certain electronic griminess with hints of 90's hiphop, postpunk alienation and an affinity for Musique Concrète. The overall experience is similar to the excitement one feels when hearing something genuinely original. This mini-album is the follow-up to their very impressive 7' on Le Syndicat Des Scorpions.

For A Long Time, Electronic Music Has Been Understood In Terms Of Sounds Rooted In Particular Places: The Styles Of House And Techno Inextricably Wedded To Detroit, Or The Early '90s Jungle Sound Which Carries Echoes Of London. But That's Something Which Is Changing - In Latin America More Than Anywhere Else. A New Project, Led By Gilles Peterson And Rum Maker Havana Club (that Created The Havana Cultura Platform In 2007 To Promote The Island's Contemporary Culture), Shines A Light On Cuba's Fast-mutating, Rhythmically-adventurous Underground. It's A Scene Where Old Ideas Are Transplanted Into New Contexts, And Like-minded Scenes Are Brought Together In New Dialogues.

Havana Cultura: ¡su´belo, Cuba! Showcases An Extended Network Of Like-minded, Forward-thinking Musicians Driving Cuba's Music Forward. Following Repeated Trips To Connect With Venues, Collectives And Djs, Peterson And Will Lv - One Half Of Lv, Who've Released On Hyperdub And Keysound Amongst Others - Linked Up With Dj Jigu¨e, A Much-respected Producer And Dj, Whose Guampara Label Has Charted New Directions For Cuban Music. He's Been Profiled By The Fader And Vice, And The Album Features His Extended Network Of Collaborators, Connecting Afro-cuban Traditions With Contemporary Movements And Ideas.

The Album Provides A Snapshot Of A Unique Club Culture That's Fast Evolving. On The One Hand, It's Indebted To Cuba's Unique Characteristics, Where Regularly-practised Traditions Are Coloured By Intermittently-experienced Cultures From Outside. On The Other, It's Part Of A Global Shift Toward De-centred Club Music, With Homegrown, Influence-grabbing Dance Cultures Tilting Attention From Club Culture's Traditional Epicentres. It Offers A New Side To Havana That's Firmly Rooted In Its Past.

Favorite Recordings proudly presents Combattant, first EP by Pat Kalla produced by Bruno Patchworks' Hovart (aka VOILAAA).

PAT KALLA is a musician, singer and storyteller. Patrice of his birth name, in tribute to the great Lumumba! Lover of words, French language, and music of course. Born in Lyon, from a Cameroonian father, musician and political activist, and a French and literary mother, he explores from his childhood the Soul, the Slam, the Funk ... and the art of telling stories, life being a great one...

After years of touring alongside many bands (Conte & Soul, Legend of Eboa King, Mento Cloub, Voilaaa Sound System), and several acclaimed titles on the two albums by Voilaaa, he comes back with this project to put a bit of primordial lightness in a rainy world: A tribute to the African culture in honor of a father with "Sawa" origins, the tribe from the people of Makossa.

Jojo Ngallé, Moni Bilé, Pain, Manu Dibango, Franco, Rochereau, Kabaselé, Fela, François Nkotti & The Black Style, all these legends' vinyls have turned on the family turntable and the collection has whetted the child's appetite. Through this new trip, he revisits styles that are sometimes little known to Western audiences, such as High-Life, Makossa, Angolan Music, Afrobeat, Afro-Disco and others. We could talk about Franc CFA', we could talk about Jacques Foccart, but we will rather dance, because "the dancer seems naive, but his feet must be connected with earth to understand history..."

Backed by the "Super Mojo Disco", a hyperactive band from Lyon with deep groove and positive energy, Pat Kalla offers us an anti-crisis project, where swaying and feel-good humor is mandatory! An album soon in the crates, beware « c'est médicament » (it's medicine)!!

Baiano & Os Novos Caetanos was a band formed by prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues. Satirising Brazil's Tropicalia movement in the 1970s, the duo took a friendly crack at the likes of Caetano Veloso and psychedelic rockers Novos Baianos, with their righteous tropicalista alter-egos 'Baiano' and 'Paulinho Boca de Profeta' poetically denouncing the dictatorship while simultaneously mocking those who took themselves too seriously. Jazz funk legends Azymuth play backing band with keyboard maestro Jose Roberto Bertrami also responsible for the arrangements on the album. Azymuth's free and funky psych sounds combine with accordion, harmonica, brass and plenty of rural Brazilian rhythms, for a hugely varied album drawing on MPB, funk and soulful samba rock. The album also features Orlandivo who co-wrote many of the songs, and renowned multi-instrumentalist and producer Durval Ferreira.

'Madrid Fue Una Ciudad Mundial' compiles four of the most important Spanish electronic projects from the 80's. A compilation released in cooperation with a show organised in Madrid last May, 18th where Aviador Dro, Flash Cero, Azul y Negro and Esplendor Geométrico played together for the very first time.Aviador Dro offers two unpublished early recordings from 1981. Flash Cero includes an unreleased song recorded back in 1987. Azul y Negro collaborates with a demo version of their cult classic 'La Torre de Madrid' from 1981. And Esplendor Geométrico give us a couple of live tracks recorded in 1989 for the first time available on vinyl

[Q b10 | Die Fesche Lola

African Scream Contest 2

A great compilation can open the gate to another world. Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin Once Analog Africa released the first African Scream Contest in 2008, the proof was there for all to hear, gut-busting yelps, lethally well- drilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space with the same electrifying sureness as any favourite blues or soul or funk or punk sampler you might care to mention.

Ten years on, intrepid crate-digger Samy Ben Redjeb unveils a new treasure- trove of Vodoun-inspired Afrobeat heavy funk crossover greatness. Right from the laceratingly raw guitar fanfare which kicks o Les Sympathics' pile-driving opener, it's clear that African Scream Contest II is going to be every bit as joyous a voyage of discovery as its predecessor. And just as you're trying to get o the canvas after this one-punch knock out, an irresistible Afro-ska romp with a more than subliminal echo of the Batman theme puts you right back there. Ignace De Souza and the Melody Aces' Asaw Fofor" would've been a killer instrumental but once you've factored in the improbably-rich-to-the-point-of-being-Nat-King-Cole-influenced lead vocal, it's a total revelation.

The screaming does not stop there, in fact it's only just beginning. But the

strange thing about African Scream Contest II's celebration of unfettered Beninese creativity is that it would not have been possible without the assistance of a musician who had been trained by the Russian secret services to "search and destroy" enemies of the country's (then) Marxist-Leninist president Mathieu Kerekou.

Already familiar to fans of the first African Scream Contest as a mainstay of ruthlessly disciplined military band Les Volcans de la Capitale, Lokonon André vanished in a cloud of dust at Ben Redjeb's behest with a list of names and some petrol money, only to return a few days later having miraculously tracked down every single name he'd been given. The source of this Afrobeat bounty-hunter's impressive people-finding skills - his training with the KGB - highlights the tension between encroaching authoritarian politics and fearless expressions of personal creative freedom which is the back-story of so much great African music of the 60s and 70s. Happily, in this instance, Lokonon was tracking the artists down to oer them licensing deals, rather than to arrest them.

Where some purveyors of vintage African sounds seem to be strip-mining the

continent's musical heritage with no less rapacious intent than the mining companies and colonial authorities who previously extracted its mineral wealth, Samy Ben Redjeb's determination to track this amazing music to its human sources pays huge karmic dividends.

Like every other Analog Africa release, African Scream Contest II is illuminated by meticulously researched text and eortlessly fashion-forward photography supplied by the artists themselves. Looming large - alongside Lokonon André - in the cast of biopic-worthy characters to emerge from this seductive tropical miasma is visionary space-nerd Bernard Dohounso, who laid the foundations for Benin's vinyl predominance by importing and assembling the turntables that would play the products of his Bond villain-acronymed pressing plant SATEL, a factory that would revolutionise the music industry in the whole region.

The scene documented here couldn't have been born anywhere else but in the Benin Republic , and the prime reason for that is Vodoun. It's one of the world's most complex religions, involving the worship of some 250 divinities, where each divinity has its own specific set of rhythms, and the bands introduced on the African Scream Contest series and other compilations from that country were no less diverse than that army of dierent Gods. At once restless pioneers and masters of the art of modernising their own folklore, the mystic sound of Vodoun was their prime source of inspiration.

One especially irascible Vodoun-adept was Antoine Dougbe, who styled himself The devil's prime minister' while turning ancestral rhythms into satanically alluring modern beats. As Orchestre Poly-Rythmo songwriter Pynasco has observed sagely, Evil is not elsewhere, evil extends into the house'. And African Scream Contest II is a gloriously cinematic road-trip through an undiscovered realm of music lore whose familiarity is every bit as thrilling as its otherness.

Written by Ben Thomson, March 2018

The legendary 1972 album from Celia, arranged by Arthur Verocai.

Célia Regina Cruz recorded four self-titled albums for Continental between 1971 and 1977, 'Amor' in 1982 plus several more before she sadly passed away late in 2017. Célia was a Brazilian vocalist who worked frequently with master arranger-composer Arthur Verocai in her early years and many other heavyweights
over the course of her extensive career.

This, her second self-titled LP from 1972, features an all-star line up, including Arthur Verocai, Erasmo Carlos, Roberto Carlos, Marcos Valle, Antonio Carlos Jobim, Nonato Buzar and Vinicius de Moraes, among others.

Célia's version of 'Na Boca do Sol' - taken from this album - is arguably her most well-known and well-loved song. An incredible take on Verocai's original, featuring waling fuzz guitars, strings, piano, horns and drums.

Needless to say clean, original versions of this record now change hands for
silly money.

Official reissue in replica of original gatefold artwork.

Comprised of Vancouver producers and multi-instrumentalists Nick Wisdom and Astrological, Canadian duo Potatohead People boast a number of noteworthy accolades thanks to a their signature sound drawing influences from 90's boom-bap, future soul, classic jazz, deep house and boogie/funk. Beginning with a series of EP's, including their landmark "Kosmichemusik" EP, Potatohead People's productions quickly made their way to artists like Illa J who tapped the duo to produce his now critically acclaimed self-titled album, as well as producers like Kaytranada (who co-produced Illa J's "Strippers" with the pair). Supporters such as Soulection, Nightmares on Wax, Pomo, DJ Spinna, Big Boi, and Phife Dawg have also played formidable roles in championing the sound of Potatohead People worldwide.

Now with three years since their last release, 2015's critically acclaimed debut album Big Luxury, Potatohead People are back their long awaited new album Nick & Astro's Guide To The Galaxy (due out May 11th via Brooklyn label Bastard Jazz) The record picks up right where the pair left off, showcasing a leap forward in production chops, musicality, and songwriting. The first single "Quest For Love" "with it's neck snapping drum break, lush rhodes chords, cosmic synths, guitar & horn flourishes and unexpected musical changeups bring in the hip-hop infected musicality the duo has become so loved for, while Nick & Astro collaborate vocally on top. "Morning Sun" featuring Danish vocalist (and Anderson.Paak collaborator) Nanna.B is in part a melancholy piece with knocking drums, an infectious bassline and a soulful, shimmering hook, while "Do My Thing" featuring Canadian singer Kapok and Illa J is a neck-snapping Hip-Hop joint perfect for the dancefloor. "Liftin' Up" featuring San Francisco's K-Maxx ventures into West Coast boogie territories, while the album's closer "Rituals" goes for a deeper more atmospheric electronic vibe.

Holodeck Records, Ein Elektronisches Indielabel Aus Austin, Texas, Das Ausschliesslich Auf Vinyl, Tape Und Digital Veröffentlicht, Legt Das Zweite Album Des Kanadischen Electro-pop-trios Automelodi Um Den Produzenten Xavier Paradis Aus Montreal Wieder Auf. "surlendemains Acides" Ist Ein Electro-pop-kultalbum Mit Französisch-englischen Vocals, Das Erstmals 2013 Auf Hidden Treasure Music Erschien. Die Montrealer Underground-electro-szene Brachte U.a. Pioniere Wie Marie Davidson Und Tim Hecker Hervor.

Mad Professor is back with a new series of releases titled Electro Dubclubbing!! More classic Dub cuts from the master blaster himself. Tracks include 'Repatriation Dub' and 'Psychic Vampire'.

Recordings feature Sly Dunbar and Robbie Shakespeare with vocals by Mad Professor, Aisha and U Roy and many more.

"FLUX003 lands Spring 2018, 180gram limited edition vinyl (no digital) with cover artwork from Laura Zhang.

Straight out of coastal Bordeaux, Laroze is back on Flux with another collection of floor-focussed cuts. Joining him on remix duties this time is fellow Frenchman Kosme, who's been making waves with his residency at Lyon's esteemed Le Sucre club alongside the likes of Agoria and Laurent Garnier.

Following on from FLUX002, Laroze's style is typically packed with energy and verve, using the classic US house framework as a launch-pad to bring his sound to contemporary dance-floors across Europe."

Enjoy the new and unformated dub style from Concrete Elephant... Sound builder of the everyday life... Sampled and replayed through the filtaz.

Back in stock!

Born in Rio in 1940, Helio won a guitar from his father at age 12.After working in sugar mills or as a sales clerk in record stores, he started performing at Rio nightclubs (like Plaza) and São Paulo.In 1975 he signed to RCA Victor on which he released his first LP, "Matheus Segundo Matheus"With arrangements by Oberdan "Black River" Magalhães, Zé Rodrix and Chiquinho de Moraes with participation of Azymuth as a support band withg a total of 128 musicians involved int he recording.Unfortuanly this much deserved reissue didn't make it to press before Helio Passed last year, but we are most humble and proud to do it justice.One of my favourite Brazilian LP's just to listen to.

Fromtheoldtothenew was originally released in 1996 and is the second full length on Peacefrog from Steve
'Stasis' Pickton.
Growing up as a teenager in East London, break-dancing and writing graffiti with B12's Mike Golding, Steve
Pickton's musical education moved along a familiar path, from hip-hop to Electro and onto Techno. Schooling
himself in music theory and purchasing a sampler Pickton set about making his own music.
Releasing on a whose who of seminal UK electronic labels including A.R.T., Likemind, Otherworld and B12 under
various pseudinums Pickton's UK take on lush Detroit melodies fused techno, funk, hip-hop, dub, blues and jazz
into a dense concoction all of his own making.
Fromtheoldtothenew saw Pickton slip off his earlier techno shackles and head for uncharted electrconic waters.
The echo chamber dramatics of Gun and wayward lurch of Ale House Blues were a long way from Detroit, while
few tracks have demonstrated the sheer breadth of electronica more dramatically than Utopia Planetia. All in all it's
more jazz, less tech without losing the soul

td 80 copies. Numbered.
Music by Ayato
Serygraphied on 180GR glassed paper.
Visual by Raf & Chris with the help of Rom, Mathieu, Vestee, Virgi'.
I always loved Muslimgauze and Badawi's productions... This record is the result of loads of conversations with Ayato concerning these 2 musicians, who he is also feeling close to. Long time project, this finally comes out in a limited 100 copies edition, with hand made visuals from Bodega Absurd crew... With original letters and forms they created... A superb record for all oriental electro fans ! Enjoy !

Coco finally available on double vinyl for the first time. With his unmistakable sound-mix of Jazzand Swing samples and electronic music, Parov Stelar has secured his own unique position in the world of music.

The double vinyl starts off where his former successful LP's ended. On the other hand he is consequently developing his established jazzy sound, by adding new stylistic elements to his tunes. Also his dancefloor-productions, which

have been published only as singles, now find a debut to a greater extent on this album. They meet with Stelar's melancholic-melodious trademark-sound, which is well known from his earlier albums, but now also spiced up with Hip-

Hop beats and synthpads. An electrifying album to fall for. The two vinyls are originally thought of as one with tracks that can be danced to and one with tracks just for listening. Nevertheless the line between those two approaches becomes blurred in Parov Stelar's newer compositions. The

album makes your feet tap more and more with every track. The musician himself sees the LP as a 'book for musical readers' which is classically defined in introduction, middle part and end. Because of streaming hit singles the

consumer behaviour changed, people don't listen to albums the same way they used to. The whole experience that includes refelecting on less prominent tracks somehow got lost. Parov Stelar sets 'Coco' as a statement against this habit.

Includes Air's hand picked favourite Late Night musical gems including The Cure, Black Sabath, Scott Walker, Sebastien Tellier, Robert Wyatt and many more...

Putting the foot to the floor French duo Haydee's "No Gouvernance" revs and rumbles like a cantankerous, clapped out engine. Rust breaks clean in huge chunks as screams and shouts punch through the thick drum fumes. Industrial legends Hunting Lodge follow in a similarly smog spitting motor, the drunken mechanical tirade that is "De Omnibus Dubitandum." Bass and beats crack and leak in this scarred proto-acid work from 1983. Newcomer Catriel drowns "nbdymksmefeellow" in a sludge of static, indecipherable words gurgle as percussion attempts to save this doomed victim. Giant Swan (Timedance) then take a piece of pipe to "Dare", pounding it with heavy blows, forcing confessions through verbal assault before leaving it more bloody pulp than track. Finally Gotshell (Blueprint) closes with a rumbling double brewed remix of "De Omnibus Dubitandum. A 12" that'll leave speakers blown and listeners in need of a tetanus shot.