Search:de leon

Gyedu-Blay Ambolley was born on the 11th Street in Sekondi, Ghana 72 years ago. On the cover photo you can see on the right side the house of his birth which was also his parental home. The Ghanian legend’s latest release shows off a pride of heritage, and his honed talent for mixing highlife with other genres like rap, Afro-funk and Disco Ghanaian highlife. Gyedu-Blay Ambolley returns with 11th Street, Sekondi, his 31st album since his debut in 1973. The charismatic stage personality, no stranger to mixing humour into his music and who has performed alongside Afrobeat legend Fela Kuti and highlife bandleader Ebo Taylor, has been a record collector’s staple since his appearance on the seminal Ghana Soundz compilation on Soundway in 2002, which re-introduced the world to his trademark ‘Simigwa’ style. Highlife, which started in Sierra Leone and Liberia, took hold in Ghana in the 1940s as a coming together of the musicians fed up with the foxtrot and quickstep parties originally hosted by English colonists. It began with big band horns and happy lyrics, popularised by artists such as E.T Mensah, before opening up in the ‘50s and ‘60s with a wave of guitardriven, socially conscious and more danceable Afro-funk hits -- a product of the easy movement of people between Nigeria and Ghana. It was then that Ambolley’s trademark baritone vocals burst onto the scene, under the tutelage of close personal friend Ebo Taylor.

Ambolley’s latest album, 11th Street, Sekondi, named after the area of West Ghana in which he grew up, is a look back at the area and musical styles that shaped the musician’s life. Black Woman is a funky number that opens the album with Ambolley on a tenor sax solo, while tracks like Little Small Girl showcase his renowned James Brown-influenced vocal flourishes. Soul, jazz, blues and comedy are present -- in keeping with his fervent belief that music must always be entertaining for the listener. The album is the second of his to be released on German label Agogo records, after acclaimed 2017 hit, Ketan. It also stays true to highlife's social ambitions, with reflections on the misguided pursuit of European ideals ahead of African values. Ambolley's career has been filled with accolades, including a Lifetime Achievement Award from the Charles R Drew University in Los Angeles, and formal recognition from the Ghana Embassy in Washington DC for producing the first ever commercially recorded rap album.

E-Missions co-founder P.Leone returns to Radio Slaves’ Rekids Special Projects dropping four high grade techno cuts. Known for releasing on labels such as Work Them Records and his own co-run E-Missions, P.Leone has firmly become of the most exciting artists within the inner circles of driving underground music. The Berlin-based American artist and Radio Slave collaborator is now welcomed back to Rekids, bringing his versatile sound that encompasses dark techno and groove driven house. 'Beyond Me' opens with eerie warehouse glitches, cavernous drums that ring out into a huge open space while unsettling pads and textures grab your attention, 'Hard to Find' is a rugged, relentless cut with perfectly forward moving rhythm with detailed edgy synths that keep you in suspense. 'Lenox' continues the energy with distorted drums, hitting hard beneath a blistering groove, 'The Genes is of A Flower' then takes control as an atmospheric track with structural synths.

Very few albums manage to unveil their roots so honestly and at the same time succeed in creating something utterly distinct. "Of All The Things" from Jazzanova is one of these albums.
Originally released in 2008 on Universal, it now gets a luxurious reissue on Sonar Kollektiv as a 3LP with pop-up gatefold cover including previously unreleased instrumentals.
This format corresponds perfectly with the elegant opulence of the music that shines even brighter eleven years after its initial release. At no time is it unclear that this album is a deep bow to soul from the 1960s and 70s as well as genres like jazz, brazil and pop music in the vein of the early Beatles.
Along these lines, "Of All The Things" is meant to be perceived as a tribute to the music that Jazzanova has been honoring affectionately in their DJ sets and which has always had a decisive influence on their own productions.
At the same time, the Jazzanova guys have been successful in casually creating elaborate musical pieces which convey a deeply contemporary vibe - not least because of the multifarious references to electronic productions.
The path to this sophomore long player, which features the contribution of over 50 studio musicians, had been laid out beginning with Jazzanova's first album "In Between" from 2002.

Nark, aka Kevin Kauer, has headed up the Bottom Forty imprint since 2017 working with artists such as Doc
Sleep, La Fracheur & Léonard de Léonard, Ali X, Ximena, Alisu and Shit whilst maintaining the philosophy
oflaying down tripped-out, eccentric productions without conformity. Inspired as a young gamer and fueled by
the inspirations of travel and gigs today, Nark has cultivated a set of sounds and ideas that have come
together to form his creations today which include releases on labels such as Nein Records, 2MR and Bottom
Forty in addition to remixes on Soul Clap, Friends with Benefits and Love Story. ‘Do You See Yourself’ sees
Nark invite Mexico’s Thomass Jackson who holds releases on Feines Tier, Gomma and his Calypso Records
imprint in addition to Ali X and Palomo.


Title track ‘Do You See Yourself?’ lays the foundations for the EP delivering entrancing modulations, chuggy
rhythms and eerie vocals taking small stabs at vanity culture, while ‘The Playing Field’ seethes rattling
percussion, acid fueled synths and hypnotic chanting alleviating the senses. The Playing Field’ was inspired by
a long night out listening to Optimo DJ in a dark warehouse and it was made later that morning as something
to fit into a long, building and cathartic set.


On the flip, Thomass Jackson’s remix of ‘Do You See Yourself?’ maintains the stirring style deploying stabbing
bass notes, meandering waves and undulating unearthly atmospheres until Ali X x Palomo round things off
with an infectious remix fusing shaky, 808 drums, effervescent grooves and bright 303 flavours throughout.

TThe melodically adventurous soul of Leon Ware continues its expression in his final opus Rainbow Deux, released on double vinyl on September 13th. The album features new songs recorded and performed by Leon before his health turned, leading to his transition on February 23rd 2017. Co-produced by Taylor Graves, it has stellar musical contributions from the likes of Kamasi Washington, Thundercat, Ronald Bruner Jr, Rob Bacon and Wayne Linsey.

Taylor Graves came into Leon’s musical family in 2002 when he, his brother Cameron and the Bruner brothers Ronald Jr and Stephen (Thundercat) were playing along with their schoolmate Kamasi at an L.A. jazz club. Taylor, Cameron, Ronald and Stephen became Leon’s band for his debut shows in Japan in 2002 and Taylor continued to work with Leon as his mentor and collaborator over the next 15 years.

“Leon was ALWAYS writing something or developing his musical palette” his wife Carol Ware tells us, so it’s impossible to pinpoint any single moment of Rainbow Deux’s genesis. Six of the songs go back to 2012/2013 and were released in 2014 as part of Sigh, a Japan-only CD collection heavy with Rob Bacon’s tasteful licks and Wayne Linsey’s piano vibes. The rest of the material comes from Leon’s sessions with Taylor.

Describing Leon’s and his process, here’s Taylor: “We’d start by having some great homemade food! Then a glass of wine ‘to slow down time’. After we’d have our fill and smoked our joints we’d go into his studio room to listen and create.”

The album was finished-up around August of 2016 in a back-and-forth between Leon and his go-to mastering engineer Toni Economides in the UK.

Leon worked on Rainbow Deux with life’s greatest challenge looming over him, yet it is one of his most focused and cohesive solo offerings since the 1980s. The entire record is a vibe: mellow, deep and smooth as silk. The lyrical themes are eternal, and the music is elegant, soulful and sensual.

The album opens with the hypnotic throb of “For The Rainbow”, coming on like a percussive, slow-mo house shuffle. Gilles Peterson is a fan. The exotic “Let Love In” follows, with its gradual-build Island Funk, intricate guitar picks and sassy female vocals. It explodes when it hits its stride. “Sigh” is the stylish slow jam close-out to side A. Serene guitars and polished drums create neck snapping funk, with a swaggering finger-snap strut.

Side B opens with the easy-burning broken-beaty “The Darkest Night”, the centrepiece of the album. Kamasi Washington’s lurking sax, restrained and beautiful, unfurls into the dank, sticky atmosphere of Thundercat’s signature creeping bass laid over his brother’s in-the-pocket drums. Leon’s vocals are perfect, a masterclass in seductive sax-soul.

“Surrender Now” conjures waves of vocals to swell and wash over the glossy piano, subtly bumping hip-hop drums and bubbling synth-bass stabs. It’s got the trademark Leon layers. “Summer Is Her Name” has Kamasi’s effortless, melancholic sunshine sax give way to rising tempos and propulsive rhythms.

“Are You Ready” is a total highlight (and we’ve been playing it out for ages). It’s a nimble groove of piano and synth rolling around Theo Croker’s sensual trumpet playing. Digi-soul at its finest. With lush G-Funk sensibilities “Streets (Keep Me Runnin’)” sounds like a lost Dam-Funk produced gem. All tough kicks and snares and street sounds. Leon’s hood pass will be forever intact.

“Samba Dreams” is the first of two tracks that bring a little Rio magic to Rainbow Deux. Leon created a whole body of work in partnership with Brazilian legend Marcos Valle that includes “Rockin’ You Eternally” - a hit for Leon - and “Estrelar” – a hit for Marcos. Leon channels his obvious love of Brazilian music here through more of Croker’s sumptuous trumpet, played over loose percussion. “Let’s Go Deep” is next up. A dreamy between-the-sheets quiet storm anthem and a real showcase for Leon’s vocals.

The dripping, honeyed harp-funk of “We Should Be Laughin’” marks the star turn of the brilliant Kimbra. Leon first met her on-stage to do an impromptu duet of “Inside My Love” during an open-air celebration of Minnie Riperton in July of 2014. Kimbra was working with Taylor on her music and he brought her to Leon’s house to do some writing. This was the result.

Warm synths radiate shuffling samba soul on “Wishful Thinking” as those Brazilian rhythms return to bring Rainbow Deux to a close.

During an apartment move Leon and Carol rediscovered some watercolours Leon had done years ago. One of these paintings had been dubbed “Deux Hearts” and Leon decided it should be on the cover of Rainbow Deux, getting as far as approving a draft concept for the artwork.

Carol has overseen developing that draft into the final gatefold sleeve. It brings together quotes, photographs and tributes in what is a reflection on the music, relationships and philosophy of the sensual minister.

Gerry “the gov” Brown, Leon’s long-time sound engineer, was by his side throughout the project, recording and mixing. The album was mastered by Toni Economides and Simon Francis’ additional sensitive work makes sure this double LP sounds like it should on vinyl.

Be With’s first ever release was Leon’s eponymous LP. Re-issuing that album planted the seed of a relationship that has grown to grant us the privilege of presenting his crowning achievement. We know that Leon’s fans all over the Earth will love Rainbow Deux. But we also hope that this album, the final entry in a phenomenal body of work, will reach new fans and find fresh conduits for the spirit of this oft-unsung hero of Soul.

Leon always said “they will get it when I'm gone.”

He also said that “the spirit never dies”…

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.

Ascetic Limited is excited to present our seventh release returning with our VA series and a new design line from Plastica. Side A begins with Trastiber by Fabrizio Lapiana. Fabrizio's work needs little introduction, known for his ambient backdrops and mesmerizing melodies this track is a perfect fit for our catalogue and any DJ wanting to ensure a moody ambience and great for opening doors into deeper realms.
Secondly we have Journey with Castenada by Greenbeam & Leon, the duo from Georgia. The residents of Khidi club in Tbilisi, take us on a heavy set journey with their particular sound that ranges from tripped out to industrial bangers. A Journey with Castaneda is an ode to mind exploration and the psychedelic realms we can find within ourselves.
On the B side Aleja Sanchez, known for her pounding yet well thought out tracks, provides her track Sanctuary, truly mesmerizing from the Colombian mainstay. This track reflects in totality the sound we strive to provide on Ascetic Limited, pounding yet deep a perfect balance of body mind and soul.
To close it out, Cliche Morph s Sinusoid is a broken bass line heavy hitter with amazing sound design that will fit into any set, from the most moody to the deepest of selections. Overall a perfect track to close out our fourth VA selection, reflecting our concept as a label.

Intrepid, hard-hitting steppers from London producer Junior Loves. Self-released 4-track 10" with hand-drawn artwork, cut by Leon at Music House, Very limited press.



Sinewy, hard-hitting steppers from London way. Junior Loves has a bit of form, last seen on Tabernacle in 2018, but this new, self-released, hand-scribed 10", with two tracks served up discomix style, is very much its own thing: a timeless, unpretentious cry-tuff encounter that combines deeply rooted, meticulous production with a rawness and vulnerability in a manner that is properly compelling. 'Banner' and its more stripped, spatial version set the tone - propelled by Shaka-ish 4/4 drum-murderation and bolshy, corkscrewing, blue-going-on-purple synth lines that shrink the distance between early Ruff Sqwad/Rapid instrumentals and melancholic ambient techno. The grimy forward-lean is there also in both excursions of 'The Nore', but this one drifts further into ethereal cold-space, recalling John T. Gast's druidic soundboy cuts, dizzyingly psychedelic but precise and uncluttered, mashing up brain/dance/everything with perfectly judged patterns of attack and decay. Very limited press, cut by Leon at Music House. Massive tip on this one!

In the early eighties, Edmond Mondésir, professor of philosophy and Léon Bertide, trade unionist, founded the Bèlènou group. They were actors of the great agricultural strike of 1974, which resulted in the death of two workers (Ilmany and Marie-Louise) and left many wounded. Activists of the patriotic movement Asé Pléré An Nou Lité (Stop crying, Fight), they were part of the identity and the cultural affirmation la revendication identitaire et culturelle of the time. Like the Guadeloupean musician Gérard Lockel and his work on the Gwo Ka, they put the Bèlè, in its traditional form, back in the spotlight during Swaré Bèlè (Bèlè nights).Minimalist and spiritual, a true rural ancestral art from Martinique, the Bèlè combines dance and music from responsorial monodies, which is a choir that responds to the lead singer (Respondè / La vwa dèyè), on codified drum rhythms and ti-bwa (2 sticks that hit the back of the drum or a piece of bamboo). It comes in a series of collective choreographies, working up into the trance. The texts are simple, short and tell the story of everyday life and struggle. While preserving the emotion and the drum’s central place, the fundamental contribution of Bèlènou is to keep the traditional form of Bèlè while adding a modern instrumentation: bass, guitar, saxophone, drums...
Emosyon Tambou-a (Emotion of the Drum) was released in 1990. This third opus of the band expands the musical spectrum in harmonies, arrangements and influences to create a contemporary music anchored in the Bèlè matrix, while keeping the beat, the energy and ancestral roots of music. Bèlènou adapts some classic rhythms: Bélya, Gran Bèlè, Bèlè Pitjé or Ting-Bang rewritten here for an orchestra.With the appearance of long couplets and a complex harmonization of the choruses, Bèlènou's music brings a form of modernity, it opens notably to jazz territory as well as to other forms of music and grooves. Also, Bèlènou leaves the musicians with space for improvisation: not only on the saxophone or the guitar, but also with the drums (cleverly adaptating traditional rhythms to the drums).

The texts sung in Creole are of a social nature, appealing to the solidarity and self-denial of the people (Bélya pou péyi-a, Tout pèp-la sanblé), to the struggle for political emancipation towards a new democracy (Wi ny ké rivé, Ni dé jou, Démokrasi); land protection (Sové tè-a); finally, to the vitality of the Bèlè culture ... (Emosyon Tambou-a, Dansé Ting-Bang)...Culture participates, according to the expression of Aimé Césaire, as "Miraculous Weapons". Bèlènou sings a project of a new and united society. A precursor group, experimental in the its early years, Bèlènou reconciles with talent tradition, modernity and cultural identity.

Lovely crafted tip-on sleeve. Remastered. 700 copies

Hélder Russo returns after serious releases on Groovement and Tomorrow Is Now, Kid!. For his fourth 12” EP on Percebes, he’s crafted three solid, deep cuts. Clear homages to the more spiritual side of house and techno from Chicago and Detroit, complete with a killer techno remix by Leonidas (Hobbes Music) that is all about that UR vibe. Can’t be missed!!

Craig Leon revisits the extraterrestrial origins of civilization on Anthology of Interplanetary Folk Music Vol. 2: The Canon, a continuing chronicle of his early 80s albums Nommos and Visiting. Exploring the cosmic lore of Leon’s earlier work, The Canon expands upon the conceptual cycle based on the alien and mathematical relationships that backbone the creation of art, architecture, science, and music.

In 1981, producer and composer Craig Leon, known in the downtown New York zeitgeist for his production on The Ramones and Suicide’s debut albums, released Nommos, a minimal, primitive electronic exploration based on a speculative, wildly imaginative anthropology.

After viewing an exhibition of Dogon art at the Brooklyn Museum in 1973, Leon remained fascinated by the Mali tribe’s creation myth that the Earth was visited in ancient times by the Nommos, a semi-amphibious alien race who travelled from the white dwarf Sirius B to impart their wisdom to mankind.

Nommos, curiously released on John Fahey’s Takoma Records, manifested Leon’s obsession and investigation: an abstract, ascendent collection of music that could have soundtracked the interstellar visitors’ journey to Earth. Shimmering, mechanical, and anchored by an entrancing pulse of the Dogon’s ceremonial music, Nommos and its sequel, the privately pressed 1982 album Visiting, careened into obscurity.

In the intervening years, while Leon pursued his career as a successful producer, cult interest in the albums grew, culminating in the Anthology of Interplanetary Folk Music Vol. 1., the 2014 archival collection which presented Nommos and Visiting as they were intended to be heard, two sides of the same coin.

The Canon picks up where Nommos and Visiting left off, tracing the path of ancient wisdom imparted by the Dogon’s alien visitors spreading from Mali into Egypt and across the water to Greece as imagined in William Stirling’s ""The Canon,"" an anonymous exposition of cosmic law published in a nearly invisible print edition in 1897.

Though the music – propulsive and spacious – is clearly of a part with Nommos and Visiting, the alien sounds of the Nommos become more familiar to western ears and musical vocabulary as the album narrative thrusts forward. The Canon implies – through ecstatic, contemporary sound and synthesis – that the origins of Western thought, and civilization itself, lie in the great beyond.

Nearly four decades since their first collaboration on Nommos and Visiting, Leon is once again joined by his partner Cassell Webb on vocals and album production. Leon composed, and both he and Cassell performed, and produced all of the music of The Canon, consciously engaging many of the same synthesizers and programs of Anthology of Interplanetary Folk Music Vol. 1 for Vol. 2.

he second instalment of Nachtbraker's new label features four new original tunes from the Nachtbraker kitchen. Expect his signature deep grooves and inventive arrangements with moody synth melodies. Leonardo Ceviche is built for the dance floor, a "lean back" groove with a trance vibe to it. One (For Mom) is tailored for the warm summer nights, a steady baseline and snap-py snares supporting the lush and sweet synth melody. Flip the record for two versions of Havel. With the first one taking on a classic deep house guise, the Trip Mix of Havel takes us on a journey beyond your imagination.

Mastered and lacquer cut by Simon (The Exchange) Davey.

The first of a new series of VA releases, Casting Shadows reimagines archival music through the eyes of our favourite DJs. Each volume is overseen by a different selector, inviting us to look through the peephole of their crates.

Cutting the ribbon, we invite German luminary Mick Wills. Active over 3 decades, a perennial influence and looming figure across the wave and techno scenes.
Wills refashions 3 of his favourites, giving them the trademark ‘Cut’ treatment for tender floors worldwide.

The first track sees a crucially overlooked Baby Red Torres number 7” fully expanded to 5 am percussive meltdown business.

Next up synth-botherer Paul Nagle sees his early tape emission‘The Mesomeric Effect’ re-cut by cool hand Mick, coming in hot & throbbing in all the right ways.

Closing on a dramatic note, Kehrschliefe’s Leonid Brezhnev (previously on Polytechnic Youth) is opened up, ripped apart and smartly re-dressed, oozing class and menace.

3 cuts your way from one of our favourite basement surgeons. Look out for the second volume of Casting Shadows, carefully compiled by an interplanetary presence .

Mastered by Alden Tyrell.

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

Hailing from different places in western Europe, Luc Bersier, Low Bat, Leonard Prochazka and Ariel Garcia created this vibrant EP. Their synergy tells a story of creativity, freedom in sound and, above all, playfulness. Serious music while similarly not being to earnest.

Their venture evolved into a very original blend of cosmic music, utilizing instruments that fit into the neofolk Krautrock domain, vocal experiments into French chanson territory, infused in Berlinian cosmopolitanism. Expect an exciting minimal wave synth punk orgy, punk definitely being the defining trait underneath these layers of sound.

This is boundless music with attitude, capable of making us drift off and disrupt us in equal measure.

Reissue of the Birds Of Passage collaboration record with Leonardo Rosado from 2011. A minimalistic, cinematic, experimental dark pop trip.

After the highly respected debut full length Without the World' and her first european tour in 2011 BIRDS OF PASSAGE ( the new rising star of experimental minimalistic dark pop') from New Zealand has released her second act in fall 2011 - a cinematic concept album she has recorded together with LEONARDO ROSADO from Portugal.

DEAR AND UNFAMILIAR is a technicolor soundtrack that traces a vivid path through darkened desolate dunes. Stories of forgotten tragedies and unrequited love liberate the journeyman from reveries of misery and guide the wanderer through contrasting landscapes of dysphoria and ecstasy.'

Mastered by NILS FRAHM the album equally should please fans of Cocteau Twins, Portishead or Zola Jesus.

We are pleased and honored to finally introduce you our ninth release:
Carnera – Colpo Di Mano Nella Zona Grigia
The EP comes out with 4 original tracks and two stunning remixes from Esplendor Geometrico and Ancient Methods.

Carnera was founded in 2014 as a multimedia project by Giovanni Leonardi (Siegfried, Div. Sehnsucht, SNNC) and by visual artist Simone Poletti (Dinamo Innesco Revolution). In 2016 the sound designer Yvan Battaglia and Monica Gasparotto (Les Champs Magnétiques) joined the militant collective.
They have released two albums “Strategia della Tensione” (2015) and “La Notte della Repubblica” (2017), both released for the historic Old Europa Cafè, and several collaborations, remixes and singles.

A creature in continuous mutation, Carnera moves between dark ambient and soundtrack music, Martial and Techno Industrial, evolved EBM and Kosmische Musik, boldly combining new sounds and Old School attitude.

“Colpo Di Mano Nella Zona Grigia” is made by a robust and genuine dose of old-fashioned industrialism and postmodern manipulation, underpinned by a fascination with Futurism.

The EP ends up with two remixes. The first is a martial remix from Esplendor Geometrico recalling the old intelligence behind the industrial music, the epic and the aesthetics of Power, “the geometric splendor and numerical sensitivity” of Marinetti. The second is from Ancient Methods with his rare and own imprint transporting you in middle age landscapes full of metal and agony.

“The history of our country has taught us that terrorist eversion can not change things, in fact, it has often been used by power to address the fate of the community at will. It is not an exaltation of our armed struggle, we would miss it. But I do not see how it would be possible to reconstruct a civilization now in full decadence in a painless and non-gory way. It will not be the flags of peace, the barefoot marches, the fake humanitarian operations to restore dignity to our lineage. Nor are the old ideological contrasts of seventy years and the daughters of a civil war that has never really been overcome.”
credits

Heritage finds Mark de Clive-Lowe in the process of grand introspection about his Japanese heritage, with specific tracks as memories from the past illustrating the right history of Japan. The albums have a sweeping, almost majestic feel with signature electronic soundscapes throughout.

Day turns to night as Mark de Clive-Lowe's Heritage II takes us from the meditative zen of Heritage into a world of jazz and Japanese roots culture fused with hip hop, drum'n'bass and broken-beat.

On Heritage II, de Clive-Lowe is joined by a cast of world-class musicians: Josh Johnson (Leon Bridges/Esperanza Spalding), Teodross Avery (Talib Kweli/Mos Def), Brandon Eugene Owens (Terrace Martin/Robert Glasper), Brandon Combs (Moses Sumney/Iman Omari), Carlos Nin~o (Build An Ark/Lifeforce Trio) and Tylana Enomoto (Kamasi Washington/Bonobo) - who all contribute stellar performances in support of de Clive-Lowe's music.

Sometimes, - despite today's high-octane, fast-track and hyper-hysteric music business - you come across things that seem so pure, perfect and poetic that it almost hurts. "Socialo Blanco" is one of these objects.

It appears understated at a first listen, startling at the second and totally enamouring by the third run. To lay it all out on the table: it sounds like a Music from Memory re-issue, looks like a Growing Bins Records discovery and feels like a flea-market-hippie-uncle-record-collection find.

Based on the language (coincidences and misbehaviour included) and direction of the classic EMS Synthi AKS and recorded by hand and directly to tape (no midi, no sync, no computer), it is at once out of time and out of touch with current sound aesthetics, but that only makes it even more contemporary (vintage) - like a great piece of furniture.

Unsurprising, if you know that Feater is helmed by Daniel Meuzard. Hailing from Vienna and having made a name for himself as a trustworthy and skilled studio equipment dealer and working closely with producer and studio engineer Sam Irl, the man has a knack for turning yesterday into today.

Already is his project's second album, "Socialo Blanco" is the result of all of this and some magical and effortless sessions. The voice of Vilja Larjosto from Finland and Ghana's Eric Owusu (Pat Thomas, Ebo Taylor) on percussion, spontaneously invited to the recording sessions by fellow Viennese Giuseppe Leonardi, are the icing on the cake. All of that and especially the non-conformist pop song "Time Million" symbolizes the heart and soul of an album that deserves to be billed as such. And that is no mean feat.

The five-track EP by Leonid Nevermind has everything you want for your body and mind. Picturesque electronics with deep funky, jazzy and mellow Electro moods. Musically rich with a blend of attractive drifts between breezy and melodious Detroit House, dark and smooth 90s indie-house, jazzy piano flourishes, clunky broken beat, and sticky Lo-Fi House.