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Through the years Intacto Records became a household name. The label was founded in Amsterdam in 2004 under the collaborative genius of Shinedoe and 2000 and One.It was nlaunched as a platform for the by then strongly emerging Amsterdam scene supporting a pack of local artists shaping a fresh distinctive sound which took over the electronic scene by storm. Intacto's defining sound included many styles and its catalogue is a melting pot of influences of which house and techno are the key elements. After running Intacto Records successfully for 14 years, Shinedoe and 2000 and One have joined forces on their very first collaborative release. A ten year old unreleased 2000 and One track 'World of Acid' have been played out by Shinedoe for years and received ecstatic feedback from the clubbing crowds. Convincing him to release this timeless tune to scorch the dancefloors worldwide, Shinedoe was inspired to do a remix. In return 2000 and One remixed her track 'Acidploitation' which she recently produced. 'Acidploitation' EP is the culmination of two Dutch legends, defining their brilliant take on music once again.

(glossy laminated) His deviant disco songs talk about love and the happiness it breeds, while letting the rage of a rather different-looking militant crooner go.


Cola Boyy, aka Matthew Urango, is a 28 year old musician, coming from Oxnard, California, discovered on the occasion of a concert in Los Angeles during June 2016.
Cola Boyy is an unusual and self-taught musician & singer. His very typical but natural voice is the consequence of a disability from birth.
His deviant disco songs talk about love and the happiness it breeds, while letting the rage of a rather different-looking militant crooner go.

Penny Girl is the soon-to-be 2018 disco hit telling the story of a crime of passion. Poetic as a McCartney's song, as effective on the dancefloor as a Patrice Rushen's tune, and fun like the Frankie Smith's Double Dutch Bus.

Have You Seen Her is the kraut-disco curiosity from the EP, halfway between the Ghetto Brothers' rage and the funkiness of a Kurtis Blow's instrumental. You will also find there a chorus made of extreme noisey guitar chords and a Michel Berger like piano solo, all swaying to the dancing beat.

Buggy Tip is the track that could have been in the hands of an eclectic DJ like Nicky Siano at Studio 54. Disco strings, catchy choruses to sing along... Cola Boyy turns the melancholic memories of an ex girlfriend into a banger to dance & shout in a hot late night club.

The whole EP, recorded between Los Angeles and Paris, produced by French producer 'nit', is a witness of his raw talent and the foretaste of an album coming in 2019.

Almost three decades after he put out his first record as one half of Tummy Touch twosome Tutto Matto, Paulo Guigliemino continues to produce effortlessly brilliant music that joins the dots between vintage disco, boogie, proto-house and sun-kissed Balearica. For proof, just check the heavyweight dancefloor sunshine that is 'Bella Topa', his first release on Leng Records.

Slow, sensual and blessed with all manner of delay-laden drum machine percussion hits, the track fixes the producer's usual colourful, boogie-era synth flourishes and ear-pleasing instrumentation (think fluid electric pianos, fluttering flutes, eyes-closed jazz guitar solos, lilting saxophones and spacey electronic chords) to a chugging, head-in-the-clouds groove reminiscent of Lindstrom and Prins Thomas's early collaborative work. 'Bella Topa' cleverly shifts shape several times throughout, utilising jazzier rhythms and bolder melodies to light up key moments.

Remixes come from Guigliemino's old pal Federico Marton, a producer best known for being one half of sometime Get Physical, Superfiction and Snatch Recordings artists Italoboyz. He lays down two distinctive revisions, starting with a 'Slow' club reconstruction that adds additional percussive heaviness and sparkling electronics to Super Paolo's twinkling, sun-baked original.

His other version, a 'Fast' club reconstruction, drags Guigliemino's track towards peak-time dancefloors kicking and screaming. Making the most of his friend's killer groove and finding sufficient time and space for each life-affirming musical element to sparkle, his mix bobs, weaves and eventually soars for 12 mesmerizing minutes. The mix, like his slow version, makes use of additional percussion and wisely gives more prominence to the A-side's spacey electronics and boogie-influenced synthesizer flourishes. The results are little less than breathtaking.

Honey Soundsystem met October (aka Jules) while on a one-night affair in Bristol in which he immediately dragged us from an artist dinner to the saddest Bear bar in the UK. After a few pints, vetting his taste for drag, boys, and girls that make love to boys who make love to boys, Jules confessed he has always wanted to release on HNYTRX. And so the hazing began, a year of torturing yet another sexy-stranger into refreshing, reminding, and refining a flurry of demos into the army of skeleton soldiers you now have in possession. Money drops, midnight withdrawals, 4 crisp singles: this is the Pay Day EP — gonna make that dance-floor 'cha-ching' bitch!

A lot of people hate October so... that is why we are releasing this record in September. But seriously though, upon cracking open this 4 track EP you might wish you had saved the vacuum seal just a couple days longer, keeping these ghosts contained until the month where screaming winds strip trees nude

Second instalment of Mecanica Records compilation focused to obscure techno/EBM/electro. A selection of new and unreleased tracks by six projects from different latitudes. The opening track is a collaboration between Dmitry Distant (Latvia) and Gestalt (Russia) with a dark electro tune that works perfect as warm-up. Deep Pill (USA) offers a versatile technoid tune and Blac Kolor (Germany) closes the A side with a hard and hypnotic piece. Viktor Kalima (Finland) opens the B side with a body music attack, followed by Santiago (USA) with four minutes of pure psychosis and dementia, and Rendered, the duo formed by Daniel Myer (Germany) and Clément Perez (France), closes this sonic trip with a strong and massive cut that will leave you attached to a never ending loop in your head.

4x12" Set , Special 15th Anniversary Edition, with Special Deluxe 4 Gatefold, shrink wrapped incl Download Card

Celebrating its 15th anniversary as well as the monolithic catalogue 100, Figure releases a gem-packed compilation featuring 15 artists who are shaping the current sound of the label. Ranging from machine-driven stompers courtesy of Juxta Position, Kirilik or Lady Starlight, to punchy electro by Viers and UBX127, to Nocow's signature style wavey melancho-electronics, or the straight-up high-voltage-techno of Shlomi Aber, Lewis Fautzi and captain Len Faki himself, all adequately framed by Setaoc Mass' beautiful ambient pieces - this 4 LP-set encompasses everything Figure both past, present and future. Arriving in a unique gatefolded sleeve that carries the exclusive handmade visual art by Munich artist Julia Schewalie. Whether long time fan or newly recruited follower, this one is a must-have entry in every techno-lover's collection.

American composer and multi-instrumentalist Alvin Curran has remained one of the great emblems of experimental music for the last half-century. In 1966, along with Frederic Rzewski and Richard Teitelbaum, Curran co-founded Musica Elettronica Viva, a seminal gesture in collective free improvisation. In the early '70s, his solo work would become a crucial bridge between minimalist traditions on both sides of the Atlantic.

Canti E Vedute Del Giardino Magnetico, Curran's solo debut, was recorded by the artist himself and issued on Ananda, the small Italian imprint started by Curran and fellow composers Giacinto Scelsi and Roberto Laneri. The piece itself was put together in the winter of 1973 and presented for the first time at Teatro Beat 72 (Rome's The Kitchen).

Encouraged by the work of Terry Riley, La Monte Young, Charlemagne Palestine and Simone Forti, Curran binds the listener to aberrant notions of place and time: blending field recordings (wind, high-tension wires, beach waves, etc.) with simple and often primitive instruments. Across two sidelong tracks, Giardino Magnetico forms a lyrical collage of synthesizer, glass and metal chimes, plastic tubes, brass and the composer's alluring voice - converging in an immersive realm of Curran's inner / outer experiences.

This first-time vinyl reissue is recommended for fans of Harry Bertoia, Michel Redolfi and Lino Capra Vaccina.

Hot On The Heels Of The Well Received Dirty Channels Vs Danny Russell 'watchin Out/ Frazelle 'today Is The Day' (linkwood Edit), We Bring You More Twelve Inch Heat. This Time In The Shape Of An Unreleased Nugget From Funk And Soul Legend, Bobby Boyd, The Founding Member And Lead Singer Of Bobby Boyd's Congress - Who Metamorphosed Into The Lafayette Afro Rock Band, After Bobby's Departure In 1971.

On The A-side, Producer And Engineer Extraordinaire Bob Blank - Who's Worked Closely With The Likes Of Arthur Russell, Taana Gardner,sun Ra, Larry Levan And Kid Creole - Turns Out A Mix That Hits The Sweet Spot Between Boogie And Proto-house With A Hint Of Latin Freestyle.

Whilst The Flip Sees Darting Synths And Swirling Pads Layered Over A Tight Machine Groove, As Bobby Reminds Us Of The Simply Joy That Dancing Can Bring.

While we are constantly flooded by disco edit nostalgica (nevertheless we already have some edits in the pipeline too - muhaha :), eurokrise news and nuclear gameplay from Donald and Kim, this twotracker by scharbatke gives you the real deal. Beautiful sundrenched original house music for your feet and soul. If this is not soo glad then cut us an arm. PS. Main Instrument used for this release : Yamaha PSR-36 for - LoFi-Deep House-Amalgam' Vital Sales Points: -Scharbatke is one half of turquoise colored french tourists and producer of the underground hit - love is only moments away'

Formed in 2007 by Jakob Seidensticker, Florian Schirmacher and Henrik Raabe, Wareika was accidentally gathered on stage for the first time at Hamburg's mythical Mojo Club. Since then, the german trio has built a very singular sound signature after a decade of playing together. Revealing the diverse influences and musical educations from all three individuals, the band's discography has been built over a solid live experience. Being academically trained in Jazz and Classical but also self taught through electronic music, Jakob, Florian and Henrik are able to sing, play guitars, drum machines, pianos, synthesizers, bass, percussions and way more. Concocting their stylistic blend with meditative Jazz, hypnotic Dub, meticulous Techno and subtle House, it leaves no surprise as you think about the high level of versatility of Wareika's musical spirit. Calling from King Tubby, Sun Ra or afrobeat master Fela Kuti, they develop a dazzling kaleidoscope of melodies and polyrhythmic patterns over four to the floor beats that is entirely unique in the electronic music scene. When it comes down to live gigs Wareika is putting a stress on quality and delivers an outstanding sound. As a trio of singular performers the band jumps on stage without computers, setting up an improvised dialog based on their original material but always handing over a unique piece taking form in the moment. Jakob Seidensticker on MPC arrangements, drum machine sequencing and mixing, Florian Schirmacher on vocals, synthesizer, percussions and Henrik Raabe on guitar, synthesizer and percussions, the trio holds the mastery of enhancing a crowd with a multitude of tools and elements, sometimes for more than four hours. Also occasionally rendering live versions of their own full-length releases, they always cross borders of their studio work to unfold their creations into a whole new level.

So Gerd and Philipp were due to play XOYO one saturday night and the club is 6 minutes from my studio so I suggested we go there first to make tunes for a few hours. We made 2 songs that night and one of them is 'reach out'. Gerd did the drums on my 808, Philipp wrote the beautiful lead part on my OBXa and I did the bass in my cs80. I added the words a couple of weeks later, they are inspired by Leonard Cohen's letter to his muse Marianne Ihlen on her deathbed. (Joe Goddard)
Including fantastic remixes by Erol Alkan and Osborne.

You may know of 'Rude Movements', an early dance music classic produced by SunPalace (Mike Collins and Keith O'Connell) back in 1983 that brought together protohouse, balearic beats and funky vibes. In 1984, the tune quickly became an anthem that could regularly be heard at David Mancuso's 'The Loft' or at Larry Levan's 'Paradise Garage' for example.
Thanks to Mike Collins, the studio veteran still in the business after more than 35 years and currently busy perpetuating the legacy of SunPalace, more material from the archives
has been 'surfacing' over the past few years on UK-based record labels. After a very productive meeting earlier this year, Parisian label Chuwanaga is really proud to present four unreleased songs produced between 1982 and 1984! Co-written by Mike Collins from SunPalace and Breeze McKrieth, a founder member of Britfunk bands Light Of The World and Beggar & Co, these Lost Songs are the almost forgotten result of this seminal collaboration, an exclusive musical rendez-vous between experienced studio music makers and funksters at the top of their game, including some of the finest Britfunk musicians. Bringing together eighties influences and futuristic sounds, the result covers a wide range of genres, from jazz-funk to new wave: it captured a unique
moment in British musical history, a smooth transition to a more electronic sound. Definitely not one to be missed!

Following a killer acid-piano house 12" and contributing a Test Pressing-certified new-disco chug to a split release with Tuff City Kids (both) on Terre des Pommes in 2014, The Working Elite further refine their ability to soundtrack festivities with Rockman / Born Again. While "Rockman" conveys an understatedly cinematic mood with repeated imitation string cycles over crisp electro foundations, "Born Again" presents a new wave / rave endurance test, summoning perspiration from dedicated day-dancers with its metronomic hammer of a beat overlaid with motivating synth-lines like marching toys. On the flip, Saap and Lauer (Tuff City Kids) provide inventive interpretations of these tunes, reshaping "Rockman" into a stomping, flashing-lights electro jam while "Born Again" gets a delightfully multi-dimensional digi-dub treatment complete with acid-reggae breakdown over a 4/4 house beat.

Artist From Guadeloupe, French Caribbean Island, That Has A More Than 20 Year Career, Despite Presenting His First Studio Album Now. He Has Lots Of Mixtapes And Shows Made In France And Spain, And Combinations With Artists And Producers Such As: Chulito Camacho (kinky Music), Sir Samuel (saïan Supa Crew) Or Morodo Among Many Others.


This Album Is A New Level, A High Quality Work Made At Oktopus Studios Madrid With Featurings Of Asante Amen, Ras Kuko, Yeyo Pérez, Ras Tewelde, Lion Sitté, B-man Zerowan, Apach And Nanou. Many Producers, Artists And Musicians Took Part Of The Project, For Example: Emeterians, Skamélia Band, Forward Ever Band, Infini-t Music, Positive Vibz Productions, Ed Bassie (okoumé Lions) Or Kinky Music Just To Name A Few.

12 Songs Plus A Bonus Track On The Digital Version Of The Album, Where Ti Polosound Proves His Versatility And Originality With Rythms Such As Roots, Ska, Newroots, Digital, Dancehall Or Even Afrotrap. Always With Positive Lyrics The Artist Transmits Conscious Messages With Tunes As "longtime" Feat. Asante Amen (jam), Lion Sitté (esp) & Ras Tewelde (ita), "la Guerre" Or "oh My Lord". This Last One Introduces The Album With An Incredible Video Made By Bumpy Films In, Aquitaine, France.


The Album Recorded And Mixed By Mista T (infini-t Music / Chalice Sound) And Mastered By El Chiky (positive Vibz Sound), Has Also Tunes For Dancing And Enjoying, Such As "mon Pied" Or He Big Hit "señorita" Feat. Yeyo Pérez... A Magnificent Album That You Can't Miss!

Having Previously Released Some Rare Solo Material From Ende Shneafliet Member Hanjo Erkamp Aka Dr. C. Stein, Artificial Dance Is Now Serving Up Something Special From The Cult Dutch Minimal Wave Band's Lesser-known Side Project, King Ende Shneafliet. The Result Is The First Ever Vinyl Release Of Tracks From The Outfit's Cult Dimension Mix Series.
Adding king' To Their Name In Honour Of Original Dub Maestro King Tubby, King Ende Shneafliet Produced Far More Experimental And Out-there Material Than Their Better-known Big Brother. They Released Their First Cassette, Dimension Mix Chapter I In 1981 Via Cult Label Trumpett, With Batches Of Follow-up Material Trickling Out On Various Obscure Tapes And Later Cd-rs Up To The Year 2000.

Artificial Dance's First Dip Into The Dimension Mix Archives - A Second Vinyl Volume Will Follow Later In The Year - Features Selections From Chapter Ii (1999), Which Was Originally Recorded Between 1981 And '88. The Magical, Mind-altering Music Is Raw, Lo-fi, Spaced-out And Forward-thinking, Combining Effects-laden, Sample-heavy Sound Collages And Reverberating Ambient Soundscapes With Pulsating Proto-electro Jams, Moody Minimal Wave Instrumentals And Kosmiche-influenced Throw-downs. It Effectively Joins The Dots Between Early-80s, Diy Electronic Exploration And Dub Soundsystem Culture.

Depth.Request sees a new hat being thrown into the techno ring. The hat in question is the label's first EP Anvil—a post-tech five-tracker, and the person throwing it is Blasted—an Italian producer with a number of solid EPs to his name. Having had previously shared release credits with him on a number of occasions, Berlin's renowned noisemaker Unhuman fits into the picture as well, being the one charged with remixing duties regarding the titular track.

Setting common tact aside for a moment, the opener showcases Blasted indulging in esoteric inclinations by the means of concentrating on slick, abrasive sound design, cutting the number of kicks in half and utilizing a vocal sample to add a pinch of EBM into the mix. Unhuman's slowed-down rework in turn evokes gears' incessant grind at the backdrop of steam pressurizers going up and down in alteration, producing arrays of heavily plodding, whamming kicks. Breaking free of esoterism and leftfield production, the EP continues with Jawbreaker—a peak-time affair wherein the lows are ravaged by constant sub-bass pressure and ruthlessly striking, syncopated kicks, laid under the neatly-synthesized, impenetrable hats, pertaining to Blasted's signature sound. On Filthy Goat, the assault continues with a renewed strength as anxious synths and panning hats gradually invade the scene shortly before the devastating kicks storm down in a hail of obliterating projectiles, creating a battlefield-evocative environment within this decimating, explosive stomper. Lastly, demonic closer Belial bids its fair digital-only-money's worth of adieu with magnificent ambiance interwoven within the spectrum alongside meticulously arranged drumwork presented through plethora of varied, carefully picked samples.

You May Not Have Heard The Name Jackson Almond Before, But You Will Have Likely Heard Some Of His Music. Having Released On Wotnot Back In 2013 Under The Name Real, With A Flurry Of Eps, Remixes And Bootlegs Under This Name And As Part Of Duo Boean (on Bbe, Warner, Xvi & Slowfoot Among Others), Jackson Has Been Delighting Ears For A While Now, With A Particular Knack For Balancing Hooks And Earworms With Original Ideas And Creative Production.

This Ep Began Life As A Series Of Headphone Jams Written When Jackson Was Living Outside Of The City In Self-imposed Exile, Tuning Into The Goings On In Dance Music From An External Position. It Was Then Polished Into Dancefloor Gems At The Wotnot Studio At The Total Refreshment Centre. The Music Reflects This, With The Sonic Palette Reflecting Lo-fi And Outsider House, But With A Warmth, Depth And Musicality Specific To His Own Personal Situation.

The Music Embodies The Hook Of The Title Track - Open Your Head - A Mix Of Influences And Sounds From World, Soul, Jazz, House And Techno Sources. In Oyh, A Child's Voice Floats Over Percussive Drum And Mbira Layers With African Flavours, While Soulful Guitar Stabs Widen The Palette. Ee Ye Follows A Similar Idea With Overseas Sounds Opening To Infectious House Organ Stabs. People, Places, Things In Spaces Is An Immersive Roller With Warming Wurlitzer Chords Providing An Almost Gospel-like Inflection.

The Attention To Detail Throughout The Ep Is Astonishing, The Best Example Being The Arrangement Of Our Personal Favourite Common, With The Irresistible Chord Progression Working Its Way Around Instruments, Patiently Building To Hit Its Peak Halfway Through The Track For The Ultimate Screwface Moment.

Ultimately This Rebirth Of Jackson Almond Sits Nicely With A Label Finding Their Stride Again, With Widely-praised Releases From Danvers And K15 Already This Year, Wotnot Are Staking Their Claim On People's Ears Once Again.

Early Dj Support:
Atjazz, Jimpster, Dave Harvey Futureboogie, &me, Robert Luis (tru Thoughts), Severino Panzetta (horsemeat Disco)

Alborosie is a dynamic talent on the contemporary reggae scene, a singer, songwriter, multi-instrumentalist, producer and engineer. Unbreakable' is his ninth album for the Greensleeves label. His choice of players and vocal features on the album have resulted in a product that amplifies his multiple talents on a new level, delivering strong reggae songs that are solidly commercial. Unbreakable features performances from Aston 'Family Man' Barrett, Tyrone Downie and Junior Marvin of the famed Bob Marley backing band, now called The Wailers United. Plus, vocal features from Beres Hammond, Chronixx, Jah Cure and J Boog

GIULIO ALDINUCCI is an Italian sound artist working in the fields of experimental electroacoustic music, field recording and ambient soundscape. Born 1981 in Siena, his catalogue comprises four solo albums on labels like DRONARIVM (CHIHEI HATAKEYAMA, AIDAN BAKER),TIME RELEASED SOUND or HOME NORMAL plus EPs and collaborative albums (a.o. with PLEQ). Furthermore , he wrote music for theatre, video art, documentaries and short movies and was awarded with an honourable mention at the 18th International Electroacoustic Composition Competition Música Viva 2017 for his composition "Mute Sirens". Together with ATTILIO NOVELLINO, ALDINUCCI launched the project "Postcards From Italy" which consists of an album published by OAK EDITIONS, live events (the first one took place at Cafe OTO, London) and an installation by AIPS collective & GIANMARCO DEL RE.
"Borders And Ruins", his first album for KARLRECORDS, is a reflection on the instability of borders - borders as an extreme attempt to discriminate and rationalize that turns into a source of chaos and cultural ruins on both sides - and their impact on the relationship between people and territory. It is also a sonic diary: a constantly mutating soundscape where electronic sounds and field recordings (taken during several travels around the continent) blend into an ambient masterpiece of sublime beauty and sacral majesty.

Mastered by Alexandr Vatagin
Vinyl cut by Rashad Becker at D&M, Berlin
Artwork by Joe Gilmore

This is already our seventh Deep Love compilation and we dare to say our most complete yet in sound and flow. The ten pieces on this sampler blend in perfectly with that laid back 'late' summer mood. We are very pleased to welcome yet again some new acts to Dirt Crew with the likes of 'Jaxx Madicine', 'Ouer', 'Times are Ruff' and 'S3A'. We cross many borders not only in genres but also country wise. From the heavy Disco sampled jam by French producer 'S3A' to the Jazz and Funk laden epos of the Italian 3 piece 'Jaxx Madicine' over to the Dutch deep house boys 'Times Are Ruff' who are well known from their, same named, label and finally to the Berlin duo 'Ouer' who also run an own label and released with our good friends at 'Heist Recordings', delivering an ecstatic electronic floating tune here.

This is all completed by some excellence from long time Dirt Crew artists. '25 Places' have been with us for many years now and their two Ep's have gotten so much love from the deeper deep house community. Here they drop an epic almost IDM techno like tune that closes this great album in the best possible way. Our Icelandic stall wart 'Felix Leifur' drops a heavy hitter named 'Buster'. After his recent 'Bobby Donny' Ep earlier this year we are thrilled to have him back on Dirt Crew! 'Harry Wolfman' and 'Ponty Mython' need no introduction really, they are adding Electro/ Disco/ Electronica fuelled cuts that form a great middle part to this mix of tunes. Harry going in very smooth and relaxed, something else than his usual House workout which we really loved to present to you. 'Ponty Mython' drops an irresistible 'good times' indie acid track in his unique 'free' style.

Last, we must of course not forget 'Dan Only' and key wizzard 'Lorenz Rhode'! With another beautifully smooth cut 'Dan Only' follows up on his latest debut Ep with us. Again a smart cross over in Techno and House with a distinct relaxed groove and atmosphere to it. Lorenz is back 'On Top' here after his super successful first offering to the Deep Love series last year and his 'And I Said' EP which stormed many charts. In the middle of touring and working with Detroit Swindle on their 'High Life' album we are super happy that he found the time to make another gem with that raw n funky live feel to it... We couldn't have started this compilation off with a better joint than 'Marakuja'.

Enough words for now ... just put these vinyl on your decks or stream/play it on the go and don't forget to drop them at a sweaty club night. Deep Love is here to stay!

Reform, the Tuscan techno duo, make a return to Etruria Beat to follow up the success of 2017's 'Checkmate' EP, remixed by Amelie Lens and their recent EP on Second State with a huge new offering - Unconventional Spaces.

Reform present three fresh originals, backed by a massive rework from Etruria boss Luca Agnelli.

Unconventional Spaces is a melodic and timeless work, perfect for a magic sunrise closing set. Luca delivers a heavier rework, creating a special atmosphere with powerful chords that drift back and forth.

Just This is characterised by a raw triple stab, a vocal laid down by the guys themselves and an emotional and mysterious break. Closing the EP is Span, which is composed of bouncing tom samples, straight hats and a moogy bass that develops throughout the arrangement, a perfect peaktime number and strong finalé.

Quadratschulz Is Famed For His Unmistakable Blend Of Smooth Electro Grooves And Playful Melodies. It Is This Combination That The German Synthman Brings To His Debut 12' On Bordello A Parigi, La Boum. Four Cheer Soaked Pieces Make Up The Ep With The Radiant Title Piece Opening. A Cocktail Of Crisp Beats, Clean Keys And Just A Twist Of Acid Are Blended To Produce A Fresh And Uplifting Tune. Braindance And Chiptune Influences Abound, Coming To The Fore In The Squirming And Squelching Energy Of unfriend.' Drums And Stabbing Keys Are Washed In A Light 303 Rinse For A Mischievous Musical Medley. The Flip Is Introduced By The Rich Analogue Tones Of beta Industries.' Lush, This Subtle Work Is Moulded With Layers Of Understated Snares, Crystalline Keys And Textured Pads To Create A Beautifully Delicate Piece. The Last Order, for Your Mind', Is A Tall Glass Of Electrofunk. Razor Sharp Rhythms Are Further Honed By Slashes Of Vocoder Lyrics, Cascading Notes And Some Bitter Knob Jerks Culminate To Round Of The Superb La Boum.

Crafted in the style of old school dancehall clashing, 'Veteran' is a mixture of classic heavyweight dancehall lyrics and a new school flow. The tune is set to be a timeless banger aiming to keep the dancehall massive rocking and swinging day and night.
Inspired by the riddim and sounds of Blind Prophet, Clinton Sly is ready to run the sound system!
Slowing down the tempo to 120bpm, Blind Prophet delivers a heavy dose of dubwise for the B-side. 'Hugh Dub' starts off with a mutated vocal and quickly drops into a tuff steppers riddim. A distorted bassline and thumping kick drive the track.
Accompanied by plucked guitars, organ skanks and dub FX it's a sound system stomper for sure!

P.E.A.R.L. is launching the fifteenth installment of his Falling Ethics series with two versions of a serious club destroyer that has been released on the label back in the early days of Falling Ethics. Sorrows has been reflipped to a 2018 version that is sounding modern, large and in sync with the current aesthetics in techno music. While this version can be located on the B-side, on the A-side we find a larger than life CUB version (Karl O'Conner & Simon Shreeve) that will definitely turn some heads over the next few months. Reworking classics is not always needed but in this case, it's a welcome addition completely in harmony with the times.

Walter Gibbons, a true master of the mix, a disco legend, a pioneer of dance music. There's literally very few who can lay claim to progressing the artform of studio mixing and technique than the late Gibbons. His contribution to contemporary music cannot be understated, first as a DJ where his drum laced experimentation captured the ears and minds of his peers and the dancers, then later as a mixer and studio genius where he continued on his quest. Often fixated on the percussion and breaks within records his versions would often dive into spaced out, dubby and stripped back territory that very few of his peers were even contemplating at that time, fervently reconstructing the tracks themselves and often the time, space and dancefloor within which the record was being played. A true original, Gibbons was behind many of the 'definitive' versions of the classics, his unique style often catapulting records that were just fine in their original form into brand new colourful, cosmic interpretations that flourished sonically and rhythmically with brand new sounds that bristled with vision.

Salsoul Records thought a well programmed and thought out retrospective of this legends output was in order and this incredible collection of tracks is where we find ourselves. A stellar compilation across 2 heavyweight slabs of wax featuring of some of Gibbons' finest works. Included you'll find genre defining cuts like his mixes of Double Exposure, Loleatta Holloway, Love Committee, First Choice and many more.

A truly essential package for the die-hard Disco aficionado or for those who are exploring this most important movement in dance music for the first time. Curated with the full input and backing of Salsoul Records and carefully selected to reflect the truly timeless nature of the music contained within. For listening, for dancing, for turning on a party!

Remastered by Optimum Mastering. Artwork & design by Million Dollar Disco. Fully authorised.

Daniel Terndrup Is A Los Angeles-based Dj And Producer. A Longtime Record Collector And
Digger, Daniel Has Become A Local Authority On Bygone Music. He Hosts Regular Radio Shows
On Dublab (crosseyed & Painless) And Nts (heat-wave) While Also Throwing A Weekly Party
For Heat-wave In Collaboration With Wyatt Potts At Former Hollywood Stripclub, Gold
Diggers. Daniel Started Making Music A Decade Ago As One Half Of Cosmic Kids. Alongside
Ron Poznansky, He Made A Name For Himself Producing Heady House And Astral Dance Tunes,
And Releasing Records With Cult Labels Throne Of Blood, Let's Play House And Dfa. In Addition
To Racking Up Plays On Original Cuts, The Duo Was Regularly Tapped To Deliver Remixes For
Heavyweights Like The Rapture, Holy Ghost!, Poolside And Superhumanoids.
After A Handful Of Releases With Cosmic Kids, Daniel Pivoted Toward His Own Project As Daniel
T. His Solo Output Is Inspired By Everything That You Might Find Leafing Through His Record
Collection: Funk, Post Punk, New Age And Pop Of Yesteryear (think: Compass Point All Stars To
Yellow Magic Orchestra). The Music He Releases As Daniel T. Is A Reflection Of His Global Taste,
But Indelibly Filtered Through His Southern California Surroundings

Blurb Attached
Following His 2015 Solo Debut Tetrachromat, Released On Friends Of Friends Sister Label
Young Adults, Daniel T. Returns With A New Album Called Heliotrope, Out This Summer On
Cascine. In Contrast To The Steady Dance-oriented Tempos Of Tetrachromat, Heliotrope
Moves Across More Dynamic Landscapes, All United Under Daniel's Sun-soaked Sensibility.
From The Breezy Bounce Of call,' To The Lithe Cover Of Tatsuro Yamashita's Classic windy
Lady,' He Effortlessly Wades Into Pop Territory. Elsewhere, On The Neon Glow Of moonlight
Bounce' (inspired By Dan's Near-religious Love Of Roller-skating) And The Ebullient First Single
'heat-wave', His Trademark Mid-tempo Swing Shines As Bright As His Synths. Heliotrope Is A
Reflection Of His Global Taste, But Indelibly Filtered Through His Southern California
Surroundings

A year after his debut outing on the label, Max Essa makes a welcome return to Hell Yeah with the Han zon Roc EP, which is another of his impossibly laidback offerings.Essa is of course the long time UK talent who has become a part of the Balearic mafia thanks to releases on labels like Aficionado, Music for Dreams, and his own Jansen Jardin. This is the second coming together of artist and label and is another timeless excursion far out to sea.
Opener 'Han zon Roc (Midori Coup)' is an epic 12 minute adventure that slowly awakens your spirit with new age guitar plucks and heavenly ambience before organic drums slowly being to drift into earshot. They grow ever larger as synths start to spray about the mix, hand drums pitter patter and big chords bring the soul-shine. It's like the soundtrack to an afternoon boat party all condensed into one brilliant cut. 'How You Showed Me Everything' then gets super chill with lazy drum tumbles, bendy guitar lines and scattered hits. Withering cosmic chords colour the airwaves and its a track that will slow your heartbeat to nothing. Last of all, 'Rain Bird's Alfalfa Jam' is a analogue drum work out with early 90s hip hop influences and diving basslines. It's light and airy, nimble and playful and of course filled with the sort of tropical rays that make all of Essa works so brilliantly escapist.

Nach Dem Sensationellen Erfolg Des Ersten Albums - oracle Im Letzten Jahr, Erscheint Nun Das Zweite Album Der Deutschen Jazz-supergroup Web Web. - dance Of The Demons Ist Ein Furioser Tanz Mit Den Dämonen - Mal Im Positiven Spirit Soul Jazz Rausch Wie Bei - land Of The Arum Flower , Das Mit Seiner Ergreifenden Melodie An Ethopian Jazz Der 60er Jahre Erinnert, Oder Mal Verrückt, Entfesselt Wie Bei - sandia .

Web Web Spielt Nun Mittlerweile Seit 2 Jahren Intensiv Zusammen, Man Hat Duzende Konzerte Absolviert Und Man Spürt Förmlich Die Geschlossenheit, Intensität Und Kraft, Die Sich Als Homogener Organismus Aus Einem Guß Heraus Zu Einem Phantastischen Sound Zusammenbraut.

Als Einen Besonderen Glücksfall Konnte Die Band Den Berühmten Marrokanischen Sänger Und Gembri-spieler Majid Bekkas Gewinnen, Der In Rabat Beheimatet Ist. Tony Lakatos Arbeitete Mit Majid Und Joachim Kühn In Den Letzten Jahren Immer Wieder Zusammen, Ebenso Roberto Digioia In Zusammenhang Mit Klaus Doldinger. Insofern Lag Es Nahe, Diesen Brillianten Musiker Mit Seinen Nordafrikanischen Wurzeln Mit Dem Ungeschliffenen Konzept Von Web Web Zu Verbinden. In - maroc Blues , Einer Soloperformance Von Majid, Hört Man Den Warmen Klangkörper Der Gembri, Einem Kontrabassartig-klingendem Instrument (dreisaitige Langhalslaute), Sowie Auch Majids Wunderbare Stimme, In Der Sich Die Jahrhunderte Alte Tradition Der Berber Widerspiegelt. - safar Zeigt Ebenso Die Große Improvisatorische Klasse Von Web Web, Vor Allem Wie Sie Auf Allen Ebenen In Die Spirituelle Sprache Eintauchen.
Majid Bekkas Ist Einer Der Bedeutendsten Musiker Und Vertreter Der Gnawa-musik, Die In Der Südlichen Sahara Beheimatet Ist. Am Konservatorium Für Musik Und Tanz In Rabat Studierte Er Seit 1975 Klassische Gitarre Und Oud.
Nach Ersten Erfahrungen Mit Eigenen Bands In Den 80er Jahren Gründete Er 1990 Sein Trio Gnaoua Blues Band, In Dem Er Blues Mit Gnawa-musik Verband. In Den Darauffolgenden Jahren Interessierte Er Sich Zunehmends Für Jazz, Trat Schon Bald Mit Größen Wie Archie Shepp, Louis Sclavis, Peter Brötzmann Oder Hamid Drake Auf.

- dance Of The Demons- Wurde Wie Auch - oracle An Einem Wochenende Live In München Eingespielt
Toningenieur Ist Wie Auch Bei - oracle Jan Krause (beanfield, Poets Of Rhythm U.v.m.)
Das Nächste, Dritte Web Web Album Wird Im Winter 2018 Ebendort In München Aufgenommen, Und Es Werden Wíeder Ein Oder Zwei Hochkarätige Gäste Dazu Eingeladen.

Web Web Sind: Roberto Di Gioia (piano, Synth, Percussion), Tony Lakatos (tenor- Und Sopranosaxophone), Christian Von Kaphengst (upright Bass) Und Peter Gall (drums).

Roberto Di Gioia Arbeitete Mit Zahlreichen Jazz-legenden Zusammen, Wie Z.b. Mit Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter U.v.m.
Anfang 1990 Wurde Er Mitglied In Klaus Doldingers Passport.
Als Pianist Machte Er U.a. Aufnahmen Mit Udo Lindenberg (mtv-unplugged,2011), Charlie Watts (- music Of The Rolling Stones , 2005), Console (- reset The Preset , 2003), The Notwist (- shrink 1998, - neon Golden , 2002).
Seit 2007 Arbeitet Er Zusammen Mit Samon Kawamura Und Max Herre Als Kahedi: Max Herre (- hallo Welt , 2012), Joy Denalane (- gleisdreieck , 2017), U.v.m.
Seine Eigene Band Marsmobil (produziert Von Peter Kruder) Wird Im Herbst Ihr 4.studioalbum Veröffentlichen.

Tony Lakatos Stammt Aus Der Berühmten Lakatos-familie Aus Budapest, Ungarn. Sein Vater War Ein Berühmter Geiger, Ebenso Sein Jüngerer Bruder Roby. Er Begann Mit Dem Saxofon-spiel Als Er 15 Jahre Alt War.
Tony Studierte Auf Dem Bela-bartok-konservatorium In Budapest, Machte Seinen Abschluß 1979 Und Spielte Seither Auf Über 350 Jazzproduktionen Weltweit Mit, U.a. Mit Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony War Mitglied Der Band Pili Pili Von Jasper Van´t Hof. Seit 1993 Ist Er Solist In Der Hr Radio-bigband.

Christian Von Kaphengst Bekam Mit 6 Jahren Klassischen Klavierunterricht Im Peter-cornelius-konservatorium In Mainz.
Von 1988 Bis 1995 Studierte Er Jazz-kontrabass Sowie Instrumentalpädagogik An Der Musikhochschule In Köln.
Sein Jazzquartett - cafe Du Sport Absolvierte Im Auftrag Des Goethe-instituts Tourneen Nach Pakistan, Indien, Türkei Und Westafrika. Seit 1999 Ist Er Regelmäßig Bassist Von Patti Austin Sowie Der New York Voices Für Europäische Konzerte.
Von Kaphengst Spielte U.a. Mit Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall Gewann Bereits In Jungen Jahren Erste Preise Bei Jugendjazzt Und Tourte Mit Dem Bundesjazzorchester Unter Leitung Von Peter Herbholzheimer. Er Studierte An Der Berliner Universität Der Künste Und Am Jazz Institut Berlin Bei John Hollenbeck. Gall Absolvierte Sein Masterstudium An Der Manhattan School Of Music Bei John Riley.
Er Arbeitete U.a. Mit Kurt Rosenwinkel, Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

Feedback - Web Web - oracle :

"oracle Ist Nicht Nur Ungemein Packend, Sondern Klingt Auch Absolut International, Bewegt Sich Auf Einer Ebene Mit Leuten Wie Kamasi Washington Oder Shabaka Hutchings." - Jazzthetik

"ein Wirklich Erstaunliches Erstes Album" - Süddeutsche Zeitung

"sun Ra Wäre Stolz Gewesen Auf Web Web Und Ihr Erstes Album Oracle." - Soultrainonline.de

"...the Album Is Engaging And Fascinating In Equal Measures. ... Sonically, The Album Embraces The Various Late 1960s And '70s Jazz Aesthetics Of Modal, Fusion And Spiritual Jazz Soundscapes, But 'oracle' Isn't A Strata East Or Black Jazz Tribute Record. This Is Very Much A Contemporary Affair With Its Richness Emanating From The Group's Varied Musical Tastes And Sensibilities And It Favours An Entire Listening Experience." - Ukvibe.org

"raise A Glass And Toast This Supremely Enjoyable Recording." - Birdistheworm
"oracle Contains 13 Tracks Of Pure Retro Sounding Perfection. This Is Like A Long Forgotten Treasure. It's Certainly An Album Serious Lovers Of The Genre Will Embrace." - Reviewgraveyard
"wonderful Album!!" - Simon Harrison / Basic Soul

"this Is Amazing. Going To Have To Grab A Vinyl Copy For The Collection" - Kev Beadle

"fantastic Record ! Love It ! We Need More Music Like This !!" - Peter Kruder

Tired of reading the words 'classic', 'masterpiece', 'missing link', 'cult', in every press release Just trust us on this one: We have no choice but to use those words and urge you to(re)discover one of the ultimate Afro-Disco lost classics.
How could such a masterpiece stay in obscurity for so long Well, no one knows where N'Draman is. He's presumed dead, and so is Mr Patrick, the label owner, an ex-football player
who turned his focus into fashion after suffering a career ending injury. Selling jeans from an outlet in Monrovia (Liberia), he only ventured in the music business for a short period of time,
releasing a handful of incredible albums on his Cosmic Sounds imprint. The word on the street was that Nigerian legend William Onyeabor was somehow involved with the production of the album, or maybe playing synths on it. Both were inaccurate, although N'Draman Blintch's previous and first record Cikamele, was indeed recorded at Willfilms, Onyeabor's studio. And some of the musicians playing here were also key members in his pool
of session musicians. Cosmic Sounds is many things: Psychedelic, politically engaged, funky to death, full of synths,
with an artwork to die for, a perfect crossover of African and Western culture: Music for the body and soul, Cosmic disco before the genre even existed. Did DJ Danielle Baldelli hear it
Was it ever played by Larry Levan or Mancuso In a pre-internet era, it's unlikely but not impossible. We are extremely honored in carrying the reissue of this gem and have treated the task with
utmost respect: both artwork and audio were restored by specialists, and liner notes were written by Temitope Kogbe, Afro-Funk expert who runs the Odion Livingston label, founded
with legendary producer Odion Iruoje. 38 years after its original release, the world is finally ready to hear Cosmic Sounds in all its glory.

Flexuous, Synchronous , Capricious

Bit-Tuner's "Arabian Nights" is based on field recordings, tapes, radio snippets and sounds recorded and produced in Cairo. The gleaming heat of Egypt was processed into a grinding 40-minute live set, contrasting the layered atmospheres with Bit-Tuner's signature staccato beats.

Swirling sounds fall into place as the recording evolves. As blasts of wind carry away the dust, sights of a dense and vibrant metropolis are set free. After his previous works "The Japan Syndrome" and "The China Syndrome", Bit-Tuner's new recording "Arabian Nights" takes an edgy approach: Bit-Tuner extracts grainy physicalness from his sounds and brews them in his high-energy arrangements. It is this directness, that marks Bit-Tuner's distinctive qualities as a live act. He manages to tell stories through waves of sonic pressure.

A live performance by Bit-Tuner based on field recordings & tapes from Cairo.
Recorded live at Helsinki Klub, Zurich.

Le Matin, always rare and uncategorised, following the reissue of his early synthwavepop tunes on « poussière d'époque » and a track on the good Lena Wilikens' Dekmantel Selectors 005 comp, this new EP on Lost Dogs Ent. let you hear some of his last works. Expect an ultra-cold-minimal-electro riddim, a less-mental-nearly-good-for-the-dancefloor tune with depitched haunted r&b vocals, an analog and bassy arpeggio ride ... On the flip side, Oh My God ! This is the peak-time-for-weirdo-nearly-techno tune, a blast, only for craziest DJs that like broken-frustrated-uncomfortable dandefloors and to finish this well balanced 5 trackers : the « are you depressed that much It's the 10th time you're listening to this OST of a dying world, this won't get any better but at least this is good music ! » tune. Le Matin is a good kept secret that prefer to take care of his kids than to travel the world of nightclubbing with drunk teens (ok that's how it is in France, that looks better in some other countries), but sometime you can hear his music on decks of some wise people and DJs like Call Super, Lena Wilikens, House of Traps, Charles Drakeford, Jon K, Bergsonist, Body Motion...

In Sudan, the political and cultural are inseparable. In 1989, a coup brought a hardline religious government to power. Music was violently condemned. Many musicians and artists were persecuted, tortured, forced to flee into exile — and even murdered, ending one of the most beloved music eras in all of Africa and largely denying Sudan's gifted instrumentalists, singers, and poets, from strutting their creative heritage on the global stage.

What came before in a special era that protected and promoted the arts was one of the richest music scenes anywhere in the world. Although Sudanese styles are endlessly diverse, this compilation celebrates the golden sound of the capital, Khartoum. Each chapter of the cosmopolitan city's tumultuous musical story is covered through 16 tracks: from the hypnotic violin and accordion-driven orchestral music of the 1970s that captured the ears and hearts of Africa and the Arabic-speaking world, to the synthesizer and drum machine music of the 1980s, and the music produced in exile in the 1990s. The deep kicks of tum tum and Nubian rhythms keep the sound infectious.

Sudan of old had music everywhere: roving sound systems and ubiquitous bands and orchestras kept Khartoum's sharply dressed youth on their feet. Live music was integral to cultural life, producing a catalog of concert recordings. In small arenas and large outdoor venues, musical royalty of the day built Khartoum's reputation as ground zero for innovation and technique that inspired a continent.

Musicians in Ethiopia and Somalia frequently point to Sudan's biggest golden era stars as idols. Mention Mohammed Wardi — a legendary Sudanese singer and activist akin to Fela Kuti in stature and impact in his music and politics — and they often look to the heavens. A popular story is of one man from Mali who walked for three months across the Sahel to Sudan because the father of the woman he wanted to marry would only allow it if he got him a signed cassette from Wardi himself. Saied Khalifa is said to be the one of the few singers to make Ethiopian emperor Haile Selassie smile.

Such is the stature of Sudanese singers and the reputation of Sudanese music, particularly in the "Sudanic Belt," a cultural zone that stretches from Djibouti all the way west to Mauritania, covering much of the Sahara and the Sahel, lands where Sudanese artists are household names and Sudanese poems are regularly used as lyrics until today to produce the latest hits. Sudanese cassettes often sold more in Cameroon and Nigeria than at home.

But years of anti-music sentiment have made recordings in Sudan difficult to source. Ostinato's team traveled to Ethiopia, Somalia, Djibouti, and Egypt in search of the timeless cultural artifacts that hold the story of one of Africa's most mesmerizing cultures. That these cassette tape and vinyl recordings were mainly found in Sudan's neighbors is a testament to Sudanese music's widespread appeal.

With our Sudanese partner and co-compiler Tamador Sheikh Eldin Gibreel, a once famous poet and actress in '70s Khartoum, Ostinato's fifth album, following our Grammy-nominated "Sweet As Broken Dates," revives the enchanting harmonies, haunting melodies, and relentless rhythms of Sudan's brightest years, fully restored, remastered and packaged luxuriously in a triple LP gatefold and double CD bookcase to match the regal repute of Sudanese music.
A 20,000-word liner note booklet gives voice to the singers silenced by an oppressive regime.

Take a sail down the Blue and White Nile as they pass through Khartoum, carrying with them an ancient history and a never-ending stream of poems and songs. It takes two Niles to sing a melody.

Silicone Soul welcome the return of old friend Justin Robertson as he brings his much- loved Deadstock 33s project back to Darkroom Dubs. Last spotted on the label only a matter of weeks ago with 'Infinite Interchange' on the 'Darkroom Dubs Presents Summer Love' collection, here he builds on the momentum with two more singular missions deep into the timeless analogue abyss. What's more, they come covered with a print of one of Justin's very own hand-drawn pieces. 'Dr. Spectro On The Frontier' marks the start of this new Deadstock trip. Celebrating the lesser spotted DC super villain who could control people's emotions with a brazen line or two of sinewy acid; what starts off dark and gnarly gradually unfolds into a much more emotional narrative. Watch out for the harmonic riff that rekindles feels of raving fields and a salvo of chords towards the climax that genuinely will control your emotions.'The Music Is Madness (To Those Who Cannot Hear It)', meanwhile, is more than just a poetic title. Already a summer anthem at A Love From Outer Space, it's a roomy, cosmic affair that's laced with layers of trippy textures and chugs at a cool 120. It's one of Justin's classic signature smouldering sessions; what ostensibly seems forlorn and introspective is actually coded with deep hope and positivity. You'd be mad not to hear it.You'd be mad not to stay tuned too... For the first time in Darkroom Dubs history, this release and all this year's vinyl dispatches will be released digitally as part of an end of year compilation, 'Tales From Underground Vol. 1' and will also feature an exclusive Silicone Soul remix of Rigopolar & Cannibal Ink's 'Thousand Years Before'. And to round the year off The long-awaited new single from Silicone Soul themselves.

LP in printed innersleeve + download code. STUFF.'s highly anticipated new album is a cross genre groove, spanning broken hip-hop, electronica and jazz-influenced future funk, bringing forth a completely different and exciting sound.

STUFF.'s highly anticipated new album is a cross genre groove, spanning broken hip-hop, electronica and jazz-influenced future funk, bringing forth a completely different and exciting sound.


With fans that include Plaid, Kev Beadle, Kutmah, Lefto and Gilles Peterson, STUFF. began life in 2012 when drummer Lander Gyselinck was asked to play live music in-between DJ sets. Collecting together like-minded musician friends, they would keep the vibe of the room bubbling, with spaced-out jams and improvisation, taking elements of funk, RNB, electronica, jazz and hip-hop, forming their own compositions as a result.


Hotly tipped in Belgium as one of the country's brightest new hopes, they released their first EP the same year, which included the track D.O.G.G. and it caught the attention of bloggers, 22tracks and DJs across Paris and Brussels. Supports slots with D'Angelo and Robert Glasper soon followed and the band would go on to share the stage at the Dour Festival with Hiatus Koyote, Flying Lotus and Lefto.


In 2014, STUFF. were invited to perform a Boiler Room session for the prestigious global, online music broadcasting platform, the first European live band to do so.
The band's self-titled debut album, released in 2015, received critical acclaim, with the Belgian press citing the release as the "record of the year" and "the best thing that happened musically in Belgium since the last 25 years". Mastered by Daddy Kev (Flying Lotus, Thundercat, Jon Wayne), several tracks from the album received airplay on leading dance and electronica radio stations across Europe, and included support from Gilles Peterson on BBC Radio 6 Music and Phil Taggart on BBC Radio 1.


STUFF. have performed sold out shows across Europe and have gained a growing reputation for their explosive eclectic live sets, playing over 150 shows on such diverse stages as the North Sea Jazz Festival (Netherlands), Pukkelpop (Belgium), Secret Garden Party (UK), Shambala festival (UK), Dimensions (Croatia) and Fusion (Germany). The band were also personally invited by Gilles Peterson to perform at On Blackheath, London.


Accolades in Belgium include two MIA's (Belgian Music Industry Awards) for 'Best Musician' (Lander Gyselinck) and 'Best Artwork' (Rinus Van de Velde).
STUFF. are Andrew Claes (ewi/sax), Lander Gyselinck (drums), Joris Caluwaerts (keyboards), Dries Laheye (bas), Mixmonster Menno (turntables)

The Secret Seapony debut E.P. with 4 pieces of varied cuts. Joined by Hillevåg dwellers: Afrahis JJ, Tom Ace & Ulli. Introduced with scattered morse codes pumped into deep turquoise oceans from the acidic dubmarine. Chiming lost triangles of Bermuda-trance w/ solid squared TB 303-bubbles and deep MS10 waves.

B-side greets nature with an uplifting melodic percussion session lead by JJ´s solid DX´ing and playful muranidaes. Last cut comes with full blesselse and merges into a bliss trip w/ Tom Ace & Ulli.

Norwegian Seapony Power!

Kinobe scored one of the biggest chill-out club hits of the Noughties, the deathless 'Slip Into Something More Comfortable'. Known from dancefloors, club backrooms, bars, radio spins, Café del Mar compilations and TV spots the world over - most famously the 'femme fatale' Kronenbourg beer advert - 'Slip...' established the duo at the forefront of a scene that still includes Groove Armada, Air, Röyksopp and Zero 7. Now Kinobe are back in a big way. Founder member and songwriter Julius Waters is now joined by Chuck Norman, multi-instrumentalist, producer and programmer who has worked with the Pet Shop Boys, Peter Gabriel and Robbie Williams. Norman has beefed up the classic Kinobe sound, while adding a pop sensibility to a raft of sparkling new material destined to soundtrack 2018 and beyond. On August 31st 2018 comes Golden Age, the first Kinobe album in 9 years. Lead single 'Little Words' might just be one of the tunes of year, a Donny Hathaway-esque, soulful slice of too-slow-to-disco that nods towards 60s hipster groovy. At once instantly familiar and brand new, a heartfelt three-and-a-half-minute pop-dance floorfiller - with a hook once heard, never forgotten. Elsewhere the Stephen Hague mixed 'End Of The Road' is a huge gospel-tinged ballad destined to own daytime radio, 'Skyhigh' is a gorgeously haunting sundowner, 'Heartstring' is all cosmic soundtrack strings while 'Sunray' is Kinobe at their very best, with its irresistible hooks, washes of melody and downtempo beats. Golden Age is shaping up to be the chilled album of the year, a thirteen-track soundscape of sparkling songs and idiosyncratic instrumentals that is vintage Kinobe. With live shows and festival appearances planned through the rest of the year, the return of Kinobe is only just beginning. Welcome to the Golden Age.

Autre fell asleep in a gondola and awoke in the Krankenhaus. This is his first offering for the ESP Institute. Side A's Everybody In The Past is sharp techno aimed for the alleys of your mind — gritty, driving, and melodic combinations of blown-out drums and classic electro riffs that relentlessly sprint for a good 4 minutes before a squelching arpeggio and angelic solo kick in — tugging the heartstrings and lighting a beacon for those noble morning dancers lost at the front left speaker, channeling from the deep. On Side B, Frigo completely dismantles any expectations you might have after listening to its predecessor. An undoubtedly seductive Samba rhythm comprised of distant snares, rim shots and cowbells holds together an aggressively active bassline, a steel drum harmony and synth solo that crawl all over like a funky worm. This track is truly something special, a gift for the prodigious selector — when dropped in the deserved context, it has the potential to unlock unprecedented levels of euphoria. These two songs are as fluid as a paintbrush yet precise as a scalpel.

A Fortuna-selected compilation for Tel-Aviv restaurant "The Brothers". Only available locally except for a few limited export copies. Fortuna describe this compilation as "A set of ten killer tunes we licensed especially for the restaurant. One-off tracks from the golden Jaffa, dancefloor certified bangers, and all-time personal favorites!"

This special limited edition DAVID BOWIE 7" picture disc, is a double A-side of the radio edits of 2018 versions of ZEROES and BEAT OF YOUR DRUM. Both tracks are from NEVER LET ME DOWN (2018), a new version of the 1987 album featured in the forthcoming boxset LOVING THE ALIEN (1983-1988) which is released on 12th October. 
 
NEVER LET ME DOWN (2018), is a new production of Bowie's final 'solo' album of the '80s. Producer Mario McNulty worked on the tracks at Electric Lady Studios in New York with longtime Bowie musicians Sterling Campbell (Black Tie White Noise, Outside, 'hours...', Heathen, Reality and The Next Day) on drums, Reeves Gabrels (Tin Machine, Black Tie White Noise, Outside, Earthling and 'hours...') & David Torn (Heathen, Reality and The Next Day) on guitars and Tim Lefebvre (Blackstar) on bass. 

ZEROES, the lyrics of which reference Prince's Little Red Corvette was Bowie's salute to the '60s. He described it as 'The ultimate happy-go-lucky rock tune, based in the nonsensical period of psychedelia'. Mario McNulty commented, "Stripping this song down to its core revealed a track that could have been right at home on Hunky Dory, I kept Peter Frampton's sitar (which was originally owned by Jimi Hendrix) as it still fits against the new guitars from Reeves Gabrels'. 

Of BEAT OF YOUR DRUM Mario McNulty says, 'David Torn's ambient guitars start the song that now lead into a much darker world than its shiny predecessor. David sang all the backing vocals on this which I have kept.'



Y

Southern Lord Is Excited To Bring Forth The Debut Album By Los Angeles-based Rock Trio, The Primals, Founded By Current And Former Members Of Darkest Hour, The Explosion, Dead To Fall, And More.

All Love Is True Love, The Primals' Debut Album, Features Ten Infectious Tracks Produced By John Reis (rocket From The Crypt, Drive Like Jehu, Hot Snakes) And Completed With Cover Art By Laura K. Giron.

Fans Of Wand, Ty Segall, Nirvana, And The Pixies Are Especially Recommended To Tune In.

he band's first full-length, All Love Is True Love, will see release on September 7th, the label this week sharing the first single, 'Fortune & Sons.'  'Fortune & Sons' Now Streaming

About the track the band note, ''Fortune & Sons' is one of the heaviest songs on the record. Though the album offers a plentiful dose of dynamic variety, we wanted to kick you off with a ripper.'

The Primals is comprised of vocalist/guitarist John Henry (vocalist for Darkest Hour), bassist Chad Fjerstad (formerly of Dead To Fall), and drummer Andrew Black (formerly of The Explosion). The band's fuzzy execution is equal slabs ripping guitar heaviness and infectious pop sensibility. Concocted by a seasoned group of thrashers with a historical backbone in D.C. punk community. The disintegrated spirit of grunge rises from the ashes, revitalized in a new light.

New 4-track Ep From Austin, Texas Analogue Hardware Enthusiast Bill Converse. Immersed In The Early Days Of The 90s Midwest Rave Scene, Bill Began Djing At A Young Age In Lansing, Michigan. Luminaries Such As Claude Young, Traxx, And Derrick May Were Key Early Influences. Techno, Noise, Ambient And Tape Processing Are All Part Of His Uncanny Sound Palette. His Debut Album 'meditations/industry' Was Released On Cassette In 2013 And Edited For A Vinyl Release On Dark Entries In 2016 Followed By Two 12' Singles 'warehouse Invocation' And '7 Of 9' The Same Year. In 2017 Converse Released His Second Album 'the Shape Of Things To Come' Followed By The Double Ep 'salt Of Mars'.

'hulled' Is A 25 Minute Journey Spread Across 4 Tracks Of Glacial Abandon. All Tracks Were Recorded Directly To Tape With No Overdubs, Made At Converse's Home Studio. Bill Says These Tracks Represent 'ocean Waves In Stormy Conditions, Dark Grey Blue Water, Or More Generally Speaking Something Ominous And Beautiful.' The Songs On This Album Reveal A Sublime Influence From Detroit Techno, Idm, And Acid. Built Around Vintage Synthesizer Lines And Gritty Drum Machine Percussion, The Tracks Ebb And Flow Like The Effect Of Sun Shimmering On Water, Woozy, Gauzy And Ephemeral. All Songs Were Mastered For Vinyl By George Horn At Fantasy Studios In Berkeley.

Each Ep Is Housed In A Die-cute Jacket Designed By Eloise Leigh With Peachy Pink Patterns Landing On An Alien Water Planet And Seeing Mysterious Playing Forms Under The Turquoise Water. Each Copy Includes A Postcard Featuring Photo Of Bill With Notes.

Cat.no.: De 222
Format: Ep

Tracklisting

For the dance film essay - The Body as Archive Gregor Schwellenbach chose a simple yet radical approach: he created a kind of catalog of sounds, clearly structured, presented with sobriety and boldness. The sounds are not embedded in the familiar frame of rhythm-harmony-melody, rather, they are introduced smoothly, presented one after the other, sometimes going together, then standing alone. It is a sensual approach, at the same time executed strictly systematically. Or vice versa: Schwellenbach's composition is strictly systematical, giving maximum space for sensuality and the unfolding of sounds.

Schwellenbach strives to create a system that doesn't become rigid, by treating the material gently and with sincerity.

In composing - The Body as Archive he sets clear rules: everything is played by hand, he only uses instruments he plays himself: Keyboards (Rhodes, piano, synthesizer) and double bass. Almost all material is played in the same key, the chords can be used in any combination, everything fits to everything. The ten parts of - The Body as Archive , mastered by Taylor Deupree, could be played all at the same time without sounding cacophonous.

Everything is pure presence, a gently woven stream of elegance and attentiveness. The organization of sounds - usually an action of preparation, didactic and discipline - turns into poetry.

Krikor Is Back On The Label With A New Six Tracker. Following Up His Pacific Alley Lp From Last Year, We Now Get Pacific Alley In Dub, Taking Tracks From The Lp And Re-working With Ample Echo And New Riddims Strictly Made For The Dancefloor. Spacious Pads And Linn Drum Claps Are Run Through The Board As Voices Ping Back And Forth In The Chamber, Equally Blissed Out And Trippy Turning These Tracks Into Completely New Freaked Out Compositions. Summer Jams Guaranateed

Released on Leeds Jazz & Soul labelATA Records, the debut LP fromThe Lewis Express takes the rich legacy of the soul-jazz outfits of the 1960s as the initial blueprint of their sound. Taking inspiration from the likes of Ramsey Lewis, Young-Holt, Eddie Cano, Ray Bryant and Cannonball Adderley, they present a collection of tracks that range from introspective spy film themes to burning Brazilian jazz.

Primarily based in Leeds, The Lewis Express is comprised of many of the musicians that have graced previous ATA releases: George Cooper, Piano (Abstract Orchestra) Neil Innes, Bass (The Sorcerers, The Magnificent Tape Band, Tony Burkill), Sam Hobbs, Drums (Dread Supreme, Tony Burkill, Matthew Bourne) and Pete Williams, Percussion (The Sorcerers, The Magnificent Tape Band, Tony Burkill). Recorded over an intense two-day session by the band of the same name, "The Lewis Express" is a nod to the classic soul jazz recordings of The Young Holt Trio / Young-Holt Unlimited and Ramsey Lewis, from who this group take their name. But, delivered with a distinctly European feel. As with many of the classic Ramsey Lewis cuts, this album was recorded live, capturing the rich inter-relationship between the players.

Kicking off the album isLove Can't Turn A Man, a slow burner that introduces the piano of George Cooper as he works over a rock solid backbeat.Cancao De Momentois an up-tempo Brazilian Workout in the style of Milton Banana with rhythmic piano punctuated by percussion.Brother Move Onis probably the most recognizable as being in the soul jazz vein, with nods to such classics as Ramsey Lewis'The 'In' CrowdandSoulful Strutby Young Holt Unlimited, particularly the latter. Moving intoHawkshaw Philly(their nod to session music legend and leader of The Mohawks, Alan Hawkshaw) the band create what sounds like a rare library cut.Theme From The Watcheris a nod to the cinematic soul-jazz of the 60s, conjuring up the sort of imagery that coincides with the black and white spy thrillers, espionage and intrigue.Last Man In The Chain Ganghas a very strong Ramsey Lewis feel and offers some of the most powerful piano playing of the whole album. The final track,Straight Seven Strut, is the only vocal track of the album. The staccato swing and French vocals lend it some of the qualities of 60s yé-yé music but with a far jazzier backbone, spiced with percussive handclaps.

In search of the sublime, contemporary electronic musician Steve Hauschildt has designed grids and panoramas of sound across multiple releases through the rise and dissolution of his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music. Consistent with his solo work is Hauschildt's ability to coil his craft in precise, varied, and distinctly physical forms. Gently spinning arpeggios converse with post-industrial decay. Sonic bers sway like pendulums from static melancholy to motorik bliss. Dissolvi, the artist's rst full-length with Ghostly International, engages sublimation from an ontological perspective: by dissociating the self. Hauschildt steps out from the singular path, for the rst time in a traditional studio, to compose and arrange contributions from friends. As a result, his most collaborative work to date extends a vast, vibrating framework in which to consider the state of being.

The album's title — a reference to cupio dissolvi, the Latin phrase meaning "I wish to be dissolved" — needn't be taken one-dimensionally or as purely solipsistic. It does, however, serve an apt reference. Physiological phenomena are of interest to Hauschildt. These back-of-mind ruminations nd their way out. Songs are cerebral in orientation, but beyond explanation, the music is truly visceral.

Involuntary eye movement inspires the serene, sanguine-nearing-suspicious "Saccade." Hauschildt feathers soft percussion beneath the echoed refrains of Los Angeles musician Julianna Barwick, together shaping a svelte suggestion of the anxieties brought about by modern-day surveillance; if everyone is being watched constantly, there is no individual, no self, only a broadly monitored and clumsily cataloged populous. The work of Chicago poet Carl Sandburg comes to mind: 'I am the people—the mob—the crowd—the mass.' The individual dissolves into the taxonomic crowd.

Minimalist techno impulses provide a stylistic through-line for Dissolvi. Understated synth phrases and drum grooves take hold in selective moments, like synchronistic structures onto which nebulous mists, like the rapturous voice of Gabrielle Herbst aka GABI on "Syncope," cling to and cloud, producing a dazzling rift in consciousness. The 7-minute centerpiece "Alienself" reiterates this creative logic, burbling like an amorphous body of water on a low-gravity planet, on the verge of dissolving, but never fully dematerializing.

The album was constructed in Chicago (where Hauschildt now resides) and partially in New York. "Much of it was recorded in a windowless studio which removed elemental or seasonal references to time in the music," says Hauschildt. "The focus this time was on mixing the album and incorporating a broader set of instrumentation. I describe my compositional approach as being quasi-generative." Embracing new methods and philosophical curiosities, and in turn, expanding the range of his repertoire, Hauschildt proposes a fascinating and profoundly rich experience in listening, being, and deliquescing.

Re-press of A Sagittariun's debut 2011 EP on Elastic Dreams. 'The Circle Stops Somewhere' has been a
defining release for the British techno explorer, long since out of print since its release seven years ago.
Now the label re-press the original vinyl release that features two amazing MD2 (AKA Mike Dehnert) remixes.
Resident Advisor summarised the debut A Sagittariun release in a glowing review 'The Circle Stops Somewhere"
is definitive driving music, even down to the evocation of onrushing traffic in the form of cold, blurred synth stabs.
It's also a nostalgically-observed piece of electronic jazz, the dominant motifs of which transport one into a
crepuscular world of uncertainty and disquiet. The reliable Mike Dehnert turns in two contrasting mixes...'

Cryovac Recordings is proud to release its' 20th edition on random colored vinyl. Cryovac is a gathering of minds that work together to create a physical record of their sound in this time. We go our own way in production and arrangement for our personal vision to endure. Our goal is to add a new layer to the Detroit soundscape.

D.J. Roach is a techno activist with a rhythm agenda of percussive techno. His banging and clanging romps rock through breakdowns and back again. Conga and claps work together to form a shaky funk. what is needed for a healthy dancefloor.

A.Garcia's subtle drone rides waves of synth in an offering of minimal ease. His moody atmosphere turns tone in soulful harmony; while simple drumming builds to a nonchalant bop. The rise and fall of the elements allow you to examine the track on all sides. Garcia smoothes out an early morning gem that is taylormade for a smoke.

The 3 release. 3 artists. 3 solid tracks.
Rex Hansson has made a solid original version. You clearly hear his skills as a past percussionist. The beats together with Skånska vocals, Low key Rhodes and some 303 knob twiddling make this track special and great.
Emil Nyman. This mix is something. It's tossing and turning from a metallic sound to the softest wood. From the deepest parts of the ocean we follow the pads and organ up in the sky.
The b side is dedicated Clark Eng. A minimal offbeat version with low toms and rattling high sticks, claps and snares. The track is moving like a Newcomen engine. The minor changes all the time makes it to a hypnotic minimal house track.

A new project from two anonymous Aussie Veterans. Melbourne's smouldering underground turns up two untitled cuts from BAD CHANNEL, named for the faulty mixing console they were produced on, with a cheeky nod to Mark and Moritz. Organic late night tracks, soulful and dub wise. They passed Bradley Zero's litmus test, so now they come to you cut deep on Rhythm Section's twilight sister imprint INTERNATIONAL BLACK.

The A-side keeps it spacious, a relentless stepper for the early hours.
Side B is music for autobahns, starlight soul for the post-club cruisers.

The tune 'Strength' was written for my partner Bozanne Evans. This EP is dedicated to her.

Side note: The tracks 'I' and 'Strength' were originally going to be released as UNITY006 on the label 'Unity Through Sound' before they folded after their fifth release.

I didn't want the release to go to waste so decided to put them out on my label taking advantage of the 12' format by including a personal favorite of mine 'Life' and Ill_Ks monstrous remix of 'I'.

This is my most personal release to date and I hope you enjoy it.

Chad Dubz

- Direct from Spain and totally lost in time the orchestra Enterprise was a great blend of the ''Disco Orchestral'' and ''Space Disco'' styles.
- Amazing project, wisely conducted by Josep Llobell Oliver, a Spanish keyboard player, composer, engineer and producer.
- Enterprise was the perfect soundtrack to your space trip, that dancing hidden treasure you always wanted to discover.
- Remastered reissue includes pictures and linernotes by Dr. Vinilo (Madmua Records).
#funk #soul #spacedisco #cosmicdisco #josepllobell #oliversplanet #spanishgrooves
In 1975 he was commissioned by the label's artistic director to produce a studio album with a hefty budget. It was his first company and he named it after the intergalactic ship Enterprise. He assigned the bands logo (inspired by the musical group Chicago) to a friend-musician and selected the tracks: Barry White, Chick Corea, the everlasting Beatles, sonidos calientes and other well-known hits, all played by Llobell along with the labels other musicians, all on payroll thanks to Belter. Javier Cubedo, Enrique Tudela, Gabriel Martinez, Kitflus, Ricard Roda, etc. all gave their best on a magnificent first album that would be followed by 3 more, one per year, all including original compositions by the group along with international hits that are currently part of our countries wonderful music library, even though they still haven't received all the recognition they deserve, Garcia Segura, Santisteban, Calderón, Pepe Nieto, José Solà, Manolo Gas, Adolfo Waitzman and Algueró, Ramón Farrán, Miguel Ramos, Albert Peter, Jaume Cristau, Josep Llobell and many others, published albums in the 70's.
Josep has been inexhaustible, for many years he has influenced the career of soloists and bands, modernizing their sound, Manolo Escobar, Peret, Junco, arrangements and productions for Marfil, Bachelli, Ana Reverte, even great artists from 'La Movida' and rock music like Burning or El Último de la Fila.

The secret gem of Space Disco vibes, Ichisan will be releasing his new EP via Kanto Records. First track of the EP, Megla (The Fog) is some sort of an instrument showcase by the Slovenian producer, who used his analog synthesizers deftly to accompany the funk-house strumming of his bass and electric guitars, both played by the artist himself.

Veter (The Wind) is a five-minute-long journey into the depths of unique and captivating musical mind of Ichisan, daring to be simple yet invoking majestic feelings. Third and fourth track of the EP, Planica and Yassa are more dancefloor oriented tunes that beam with positivity and energy, both have the potential to become anthems of the summer and beyond.

Arranged, recorder and mixed in Ichisan's own studio in Ljubljana, the EP MEGLA is brimmed with phenomenal beats that would not disappoint even the pickiest ears.

Next up on Dusky's renowned 17 Steps label is the return of long term pal Kiwi. Having supported the lads on 9 of the 17 Steps tour dates and having also provided the 15th release in the label catalogue - the fellow Londoner now readies his 'Oooh' EP which comes backed up with a remix from Feel My Bicep affiliate Hammer.

Kiwi's sound is one defined by positive, kinetic feeling - joining the dots between Detroit Techno, Soul and Balearic. With previous releases on Futureboogie, Life and Death and Moscoman's lauded Disco Halal imprint, he's garnered several accolades including reaching number #85 in Mixmag's Top 100 tunes of 2017 and sitting at #1 in the genre chart for a total of 9 weeks with his 'Orca' EP back in 2016.

Now - continuing on his ascent, Kiwi lays out a pair of rapturous, gooey House jams that lands right on time for the festival season. On 'Oooh' - Vocal lines swirl over a largely beatless backing track. A rich, balmy feeling unfolds behind synth chimes and layered delays which work together to form an irresistible summer DJ tool. 'Andromeda' then follows up and blends 80's soundtrack-tinged stabs with crispy drums and thick sub bass before being accompanied by a pulsating synth line that carries the track to a delectable crescendo. Hammer then closes things up with a somewhat hallucinogenic take on 'Oooh' with LFOs, analogue sweeps and blobs of acid bleeding together to cap off an altogether warm and woozy trip.

'Time flies' as the saying goes and indeed it has as Quintessentials celebrates its 10 year anniversary. For a decade this mighty label has been getting some true love and support from all quarters. Listening to the back catalogue now, most of the tunes still sound fresh and keep the label's famous "deep, raw and real" motto alive.

Quintessentials has always been a platform for new talents as well as established artists, and with he likes of Anton Zap, Vakula, Baaz, The Zohar, MCDE, Nicolas, Ugly Drums, Toby Tobias, Borrowed Identity, Mat Chiavaroli, 4004, Soul of Hex, S3A, Los Goddard, Felipe Gordon, Javonntte......to name but a few, it's an enviable back catalogue.
This "Ten Years Quintessentials" compilation offers a wide range of styles: Detroit inspired Techno and House, a ruff Chicago stomper, some proper deep House, a discoish tool, and crafty beats and basslines all over! We hope you enjoy this compilation as much as we do. We are ready for the next decade! Are you

Nny Records Is Back With A Compilation That Includes Four Songs Loaded With High Quality, An Ep That Is Like A Swiss Army Knife And That It Will Serve To Animate Any Kind Of Party. On The A Side We Can Listen To Nicson (flumo Recordings) Who Delivers An Excellent "straight To Heaven" In A Deep-house 90's Mood, Full Of Energy And Class; After Him F. Vinuesa (solid Tapes) Approaches Lo-fi And Acid Paths With "highlands", A Tune That Is Is Capable Of Transporting You To Another Dimension. On The B Side Mateis E. Aqir (jungle Gym Records) Presents "natural Sense", A Track That Also Takes You To A Different Dimension, This Time More Oriented To Open Spaces, In A Balearic And New Age Mood Fused With A Leftfield Touch Which Is A Delight; And To Close The Compilation We Have The Great Work Of I See You In The Plants, The New Aka By Pablo Diskko For Productions In An Ambient Techno-dub Wave That Absorbs You And Catches You. A Superb And An Essential Work.

Set for release on June 23 via Asylum Records, x (multiply) is the hugely anticipated new album by Ed Sheeran.
It follows his critically acclaimed and hugely successful 2011 debut +; an album that was certified 6 times platinum in the UK alone and has achieved worldwide sales of over 4 million copies to date. It also saw Ed asthe recipient of various awards for the record, including 2 Brits, an Ivor Novello and multiple Grammy nominations.
Never an artist to stand still, Ed recorded x at various locations around the globe (all the while drawing on experiences and influences encountered on his over three years of unrelenting touring) with such luminary producers as Rick Rubin (Eminem, Jay-Z, Red Hot Chilli Peppers), Pharrell Williams (Daft Punk, Robin Thicke, N.E.R.D), Benny Blanco (Rhianna, Wiz Khalifa) and Jeff Bhasker (Alicia Keys, Jay-Z) adding new flavours to the classy work of key collaborators Johnny McDaid (Snow Patrol) and Jake Gosling (who produced +). xhas the musical ingredients to make it one of the most important global releases of this year.
The new set showcases the exponential growth (both vocally and musically) of an incredible artist, who at 23 exhibits the poise of a seasoned veteran. The songs for x came together whilst touring + and, in the same way as the latter was a snapshot of his life and relationship to-date, x charts his loves and life since. Only 'One', the perfect album opener and first song written for the record (in 2011 whilst on tour in Australia) looks back to that time and is the link between the two records. With 'One' under his belt, almost before he noticed he was writing, Ed had ten new songs and counting.
The breath-taking album-closer 'Afire Love' was written about his grandfather who passed away last Christmas. 'Always the hero of the family - such a cool guy - he'd been suffering with Alzheimer's for some time and I actually started writing that song two weeks before he passed away," Ed says. "I was thinking 'What if' and then he did...' Then there is the timeless ballad 'Photograph' written in May 2012 in a hotel room in Kansas whilst on tour with Snow Patrol. McDaid had a piano loop playing on his laptop while Ed was making a Lego X-wing Fighter to give to a charity auction. He just started singing as he put the pieces together and the song grew from there. 'Don't' started life as a riff on his phone and grew into another of x's massive moments. The deluxe version of the album also includes the original song, 'I See Fire', which Ed wrote, produced and recorded for the second Hobbit movie. This was after Academy award-winning filmmaker Peter Jackson personally commissioned him. With no promotion besides 3 tweets from his personal twitter account, it reached #2 on the UK iTunes chart.
However it's the Pharrell-produced lead single 'Sing', due out in the UK on June 1, that's pushing the envelope for Ed. #Sing was the number one trend on twitter globally ahead of launch with the track immediately tearing up airwaves nationwide including a 7-week add to Radio 1 and an unprecedented addition straight to the Super Hit list at Capital FM and Kiss Network. The audio upload on YouTube was Ed's biggest ever video launch, clocking 650k views in its first 24 hours. Already i-tunes Top 5 in 15 different countries (number 3 in the US), Top 20 in 36 countries and with all chart positions climbing, 'Sing' is well on the way to being a global smash.
On the back of 'Sing's' launch, x reached No.7 in the UK iTunes chart on pre-order alone with that success mirrored internationally with No.1 positions in the US and Canada, Top 5 in New Zealand, Sweden, Australia and Top 10 in 20 countries.
'I'm really proud of my new album and can't wait for people to hear it.' Ed says. 'It's definitely my best work.'

Shortly before the turn of the year 2017/18, my friend Jan Müller wrote me an e-mail: »Dear Martin, I'll send you the new album of my band ›Dirty Dishes‹ now. The album is titled ›Kabinett Von Papen‹. It is a concept album, which has the third-last government cabinet of the Weimar Republic as a subject. So, please tell me how you see it - whatever your verdict, I'll use it as an incentive to put my mind and body in the service of global pop culture even more so in the future«.

Dirty Dishes is founded in 2005 by Jan »Rasmus Engler« Müller (Tocotronic) and Rasmus »Jan Müller« Engler (MHerrenmagazin, Little Whirls, Ludger) when the two are bored during recording sessions for the second album of their group Das Bierbeben. Immediately, they write two pieces of music (»Bon Giorno«, which has alcohol and drug abuse as a subject, as well as »Drink a Coke«, a Brigitte-Mira-dedicated anthem for the caffeine-containing soft drink), which are released in the same year as a single under the title »Hurra...! Endlich Ferien!« on the label K.i.N.d.V. Two years later, the duo releases their debut album »Tea Is Not Our Cup of Coffee«. Here one can hear the first experimental and more conceptual works such as »Dirty Dishes as Goofy as Asterix«. The following albums (»Mit uns nicht!«, 2009, and »Von der raffinierten Kunst, jemanden in einen Tümpel zu stoßen«, 2013) juxtapose song and experiment. The first pure concept album, including now-permanent members ALEXANDER (Schrottgrenze, Station 17), Guido vom Flockenberg (Back On The Road), Isabella Stellmann (pedagogue) and Zopfus (ByteFM), is »Der Egel vom Tegel - Die kleine Rock-Operette der Dirty Dishes« (2010), followed by »Round about Ignaz Kiechle«(2013). The latter brings together songs that deal with significant events in the life of former Agriculture Minister Kiechle and were recorded freely improvised in just one recording session.

On the now-available »Kabinett Von Papen«, composed in monastic retreat, each piece is named after a minister from Papen's presidential cabinet (1.6.1932-3.12.1932) and represents them tonally and/or lyrically succinct.

Another very special EP on Al Zanders A to Z label

Teaming up this time with vocalist Sheyi, for a one-off foray into Broken Beat territory.
The story of its inspiration begins with a trip to Notting Hill Record & Tape Exchange...
After asking for some broken beat, the assistant ventured a withering opinion that "won't be monotonous enough, try the house music section instead"
Turns out it was Phil Asher of Co-op fame - who, after establishing a genuine desire for said genre - sold Al a bunch of West London music which became the influence for this EP.

Allowing Sheyi to shine over a bare bones, syncopated rhythm track on the title cut and an equally stripped down 'Satisfy' Al amps up the groove, with the G.I.T dub, which was made for IG Culture's radio show.

Limited run on these - don't snooze !

Lucrecia Dalt's Anticlines is a volume of bodily and geological substrates within poetic theory and sound. It is a place where skins and minerals dissolve and commingle, where gaseous subterranean leaks inflate lungs, where brain cavities echo interplanetary waves bent from passing through atmospheres.

A former geotechnical engineer from Colombia currently residing in Berlin, Dalt's concern with boundaries and edges shape the lyrics and music of Anticlines, her sixth album. Paying careful attention to pace, breath, and texture, Dalt microtonally shifts the distance between speech and song while using traditional South American rhythms to support her contemporary electronic composition.

Lucrecia arrived at the atmosphere of Anticlines after several months of studying and creating new patches for the Clavia Nord Modular, forming a rhythmic feedback flow with it, a Moogerfooger MuRF, and her voice. The overall effect of cavernous space backdroping Dalt's intimate vocal phrasing rewards contemplation, supported in the physical formats of Anticlines by a lyric booklet documenting Lucrecia's collaboration with Australian artist Henry Andersen.

The album opens with Edge,' bordering on a pathological circlusion of self upon other. The lyrics depart from the Colombian myth of El Boraro, an Amazonian monster who turns its victims insides to pulp before sucking them dry and inflating their bodies like balloons to lifelessly float away. Tar' ponders human dependence on earth at the boundary of the heliopause, where to inhale might be like breathing tar. Dalt's distant and obscured vocals end with, we touched only as atmospheres touch.'

The sonic rise and fall of Analogue Mountains' is inspired by martian traces found in Antarctica embedded by meteorite ALH84001, suggesting that we might well be living in mountains transferred from Mars.' The steadily winding music on Concentric Nothings' descends with the lyrical exercise of dissolution let my touch be indistinct and instinctive.'

Interspersed with the lyrical pieces of Anticlines are instrumental interstitials that demonstrate preceding concepts — as if to say, this is what antiforms sound like, and this is what the universe's indifference sounds like.' Dalt's ongoing experiments with visual artist Regina de Miguel support these ideas, their practice allowing the objects of their attention to slip in and out of being.

Mystic of matter, Lucrecia Dalt has previously performed and worked with Julia Holter and Gudrun Gut, her slippery spoken word and performative nature recalling the work of Laurie Anderson, Robert Ashley, Asmus Tietchens, or Lena Platonos. While touching stones, The Thing by Dylan Trigg, Cascade Experiment by Alice Fulton, and Wretched of the Screen by Hito Steyerl are but a few formative scripts that support Dalt's exploration of the betwixt and between.

In preparing a live set for Anticlines, Dalt plans to stage an uninterrupted configuration, like a kind of alienated lecture, aiming for gestures that create tensions with non-existent objects.' Dalt intends to provide meaning and a place for the listener to meditate or relate to the concerns and ideas' she presents.

- Lucrecia Dalt is a Colombian recording artist, songwriter, and producer.
- After studying civil engineering in Colombia, Dalt worked at a geo-technical company for two years and has since lived in Barcelona and Berlin, where she currently resides.
- She has released five solo albums and has collaborated with musicians Julia Holter, Laurel Halo and Rashad Becker, to name a few.
- Dalt has composed for sound design installations and performance pieces for institutions such as the Santa Monica Art Centre, Reina Sofia Museum and the Maisterravalbuena gallery of Madrid, in collaboration with visual artist Regina de Miguel.
- Anticlines is Dalt's sixth solo record, and her first on RVNG Intl., following the release of 2015's Ou.
- Anticlines explores the boundaries and limitations of human consciousness. The album's poetic lyrics were written collaboratively between Dalt and Henry Andersen during a weekend in Brussels, Belgium.

World Music And Ethno Sounds With An Obvious Japanese Origin Meet Progressive Rock And Psyche. The Result Is A Captivating Piece Of Melodic And Deeply Atmospheric Music That Paints Pictures Of Life In Ancient Japan Into Your Mind When You Lay Back, Close Your Eyes And Listen Closely With Your Thoughts Turned Off. If Pink Floyd Were Japanese Their Music Might Have Sounded Like That. The Frequency Of The Arrangements On - benzaiten Reminds Of What Our English Heroes Have Created In The Early To Mid 70s Just With A Different Ethnical Approach. - benzaiten Is Even A More Progressive Effort Than Anything Most British Bands Have Ever Managed To Fabricate And Still Utterly Natural And Vivid Concerning The Flow Of The Music. All Participating Musicians Here Are Professionals And Their Performances Are Tight And Still Passionate. The Sound Is Warm And Vivid, The Song Structures Are Wide Open And Welcome You To Slip Inside. East Meets West On This Record And Osamu Kitajima And His Companions Really Grab You By The Soul. Electronic Elements In The Percussion Section Add Some Oddity To The Whole Musical Picture. Not Sure What Osamu Kitajima And His Band Intended When They Recorded This Record But I Am Certain They Achieved It. The Cool Aspect Of - benzaiten Is The Rocking Guitar Which Keeps The Whole Album Together. Must Be The Japanese Pendant To German Acts Like Amon Düül Ii, Embryo And Guru Guru. Well, There Is Definitely Some Truth In This Comparison. Anyway, This Album Will Enchant You!

Matthew Halsall first met the La-based, spiritual jazz vocal legend, Dwight Trible(Kamasi Washington, Pharoah Sanders and Horace Tapscott) at the Joy of Jazz Festival in South Africa back in 2015, when a chance encounter backstage led to Trible sitting in with The Gondwana Orchestra for an impromptu reading of the classic Pharoah Sanders and Leon Thomas anthem 'The Creator Has A Master Plan'. In 2017 they released the deep, soulful Inspirationsalbum together (GOND017) but inspired by their first meeting Matt arranged some classic Pharoah tunes for Dwight to revisit. This then is The Gondwana Orchestra featuring Dwight Trible, Colors: a 4 track vinyl and digital only EP featuring brilliant new versions of Colors,The Creator Has a Master Plan, Love is Everywhereand You've Got to Have Freedomand featuring the Gondwana Orchestra with pianist Taz Modi, bassist Gavin Barras, drummer Jon Scott, harpist Rachel Gladwin and Matt himself on trumpet.

Packed in a distinctive bright orange Gondwana Records sleeve this is the second in a collectors series of spiritual jazz limited-edition EPs set for release in 2018 as part of Gondwana Records' 10th anniversary.

The second album release on Cordial Recordings is a re-release of Afrodisia's highly collectible album 'Elephant Sunrise' from 1980 on Comma. the album is limited i pressing to 500 units. Afrodisia were combination of US soldiers with local musicians from Worms, Germany that were formed in 1978 and recorded two albums during their years together with 'Elephant Sunrise' being the only one that was actually released. Cordial Recordings will be issuing the previously unreleased album in 2019. 'Elephant Sunrise' has become a revered album by collectors because of the high quality of songs featured on the album which cross from soul to funk to disco and jazz with great ease. The band's leader Darnell Summers is originally from Detroit and is the brother of Headhunter Bill Summers who also features on the album as a player and songwriter. 'Sugar Free' is highly regarded by aficionados on the soul scene for it's glowing summer sounds and is one of the two songs that Bill Summers co-wrote on the album. This is one album not to be missed.

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.

At long last! We're delighted to present a hypnotic time-capsule courtesy of Dissmentado aka Ismael Pinkler from Carisma and Kompakt collaborator, Máximo Graesse Bondino.

Recorded during summer trips in Buenos Aires and spending autumn in Tromso, Norway between 2006 - 2010, Maximo and Ismael met several times during that period and used friends houses and studios to produce a long list of material, selecting later the best of it for this compilation.

The tracks are long and slow, with deep and moving beats and long background sounds dedicated to warm up dreamers and after hour survivors.

The elements develop their movements in a relaxed way through the tracks creating a loose feel. Every beat was played with their hands and there is no arpeggiated melodies to remind you where the ground is.

The release is complemented by a beautiful artwork by the supremely talented Glasgow-based artist, Rosie McGurn

Issued on vinyl for the first time, Outernational Sounds proudly presents a monumental spirit music document from the Los Angeles underground - Jesse Sharp's slept-on deep jazz classic Sharps And Flats.

At first, it's difficult to pinpoint exactly what makes Our Girl so special, or why the Brighton-formed, London-based trio's music stands out within a busy crowd of fellow guitar-wielding-types. But if an explanation didn't jump out when they first emerged with a debut EP of mighty fuzz-soaked songs in November 2016, it surfaces with 'Stranger Today', a debut album of personal, emotional juggernauts that could have only been made by these three people: Guitarist / vocalist Soph Nathan, bassist Josh Tyler and drummer Lauren Wilson.

Since forming in Nathan and Tyler's Brighton home four years ago - Wilson joining as a late recruit when she was wowed by a demo of their self-titled debut track, and 'Stranger Today''s opener - Our Girl's members have only had pockets of time to work together. A day booked in a local studio here, a soundcheck there, full-time jobs and other projects meant the three rarely had a concentrated, collective patch. This changed in September 2017, when they stayed in Eve Studios in Stockport for a week, recording with Bill Ryder-Jones. Their week in Stockport became a crucial catalyst for what would follow. Ryder-Jones is a guitar virtuoso himself ('He did stuff neither me or Soph had ever seen anyone do before,' Tyler remarks), and he became an unofficial fourth member of the group.

'Stranger Today' is a special debut for several reasons: First, because it's the sound of a band beginning to grasp their own value and place in the world. Secondly, because you can hear the trio's hunger to finally get in the same room and put to tape years' worth of scrapbooks, half-finished ideas, and a slowly-forming feel for how their first album would actually sound. 'What band isn't itching to make their debut But it's quite frightening, knowing you're about to do it,' Wilson remembers.

The real clincher, however, is Our Girl's dynamic, and how it plays out across 'Stranger Today'. Best friends in person, the trio share the same close kinship and chemistry on record. On one side is Nathan's visceral lyricism, which has a habit of detailing and chipping away at precise moments; the first heart-flutter of a new crush; the moment a long-term friendship begins to ebb away. Around her, Tyler and Wilson's rhythm section carefully mirrors each feeling Nathan conveys. When she sings pointedly about love ('I Really Like It'), she's backed by a major-key afterglow. When the subject turns on its head ('Josephine'), out steps a wall of taut, earth-shaking noise. They each 'serve the song,' in Wilson's words, moving in sync but with their own personal slant. Not least on the closer 'Boring', where all restraint is thrown aside and the trio let out one final, violent thrash. They inhabit a space bigger than the first loves, sleepless nights and growing pains that define this record.

Nathan remembers being in Brighton four years ago, shortly after Our Girl formed, and realising, 'I was finally in the band I wanted to be in.' Almost half a decade later, and this eureka moment is sewn up on 'Stranger Today'. It's the sound of three friends totally at ease in their own space, discontent with being anywhere else; a vibrant document of what it's like to be young, invigorated and amongst people who feel the same.

Over the last several years, the Zappa Family Trust and UMC have lovingly been restoring Frank Zappa's iconic catalog together by reissuing his classic albums on CD and pressing long-out-of-print records back on vinyl. Next up in the ongoing vinyl initiative, coming on the heels of the reissue of his enigmatic Burnt Weeny Sandwich, is Zappa's 1970 stylistically diverse and subversive album, Chunga's Revenge, which will receive a 180-gram audiophile repressing on black vinyl on July 20. Supervised by the ZFT, the record, which has been unavailable on vinyl for more than three decades, will be press pressed at Pallas In Germany and feature reproductions of the original artwork. Chunga's Revenge, although released under Frank Zappa's own name, introduced a new Mothers lineup that included former Turtles members Howard Kaylan and Mark Volman, aka Flo and Eddie, as well as keyboardist George Duke, drummer Aynsley Dunbar and multi-instrumentalist Ian Underwood. The album is one of Zappa's most eclectic efforts, encompassing the improvisational title track, the raucous guitar jam "Transylvania Boogie," the bluesy "Road Ladies" and the jazzy "Twenty Small Cigars," along with more conventional rock numbers like "Tell Me You Love Me," "Would You Go All the Way" and "Sharleena."

Classic singles like Billy Fury's 'Halfway To Paradise', Dusty Springfield's 'I Only Want To Be With You' and The Walker Brothers' 'Make It Easy On Yourself' would not have been hits without Ivor Raymonde. As their arranger, and in the case of 'I Only Want To Be With You' songwriter too, he shaped the final recordings. He decided on the orchestration and backing
vocals, chose the instruments and determined what was heard on the radio - and what record buyers bought.
'Paradise: The Sound Of Ivor Raymonde' is a long-overdue celebration of Ivor Raymonde, collecting his work as an arranger, musical director, producer, singer and songwriter. The story of a British musical great is told for the first time.
Billy Fury, Dusty Springfield and The Walker Brothers are heard. So is the only vocal performance for which Ivor Raymonde received a credit on a record label. He worked with the pre-fame David Bowie and Tom Jones. He spotted the potential of Los Bravos, steering them into the charts with 'Black Is Black'. Near-misses and obscurities made with Brit-girls Cindy Cole and
Helen Shapiro, the soulful Sonny Childe and confrontational protopsychedelic London band The Flies are as fantastic as the hits. With these and more, 'Paradise: The Sound Of Ivor Raymonde' distils the essence of the magic of Ivor Raymonde.
'Paradise: The Sound Of Ivor Raymonde' is released by Bella Union, the label run by Ivor's son, former Cocteau Twins member Simon Raymonde.
Compiled by Simon and Kieron Tyler, it is a very personal tribute to a sadly missed father. Born in 1926, Ivor Raymonde passed away in 1990. The previously untold story is revealed through a moving reminiscence written by Simon and in-depth liner notes and a track-by-track commentary by Kieron. Ivor Raymonde played on the ocean liner The Queen Mary in 1949. In the Fifties, British television viewers saw him in legendary comedian Tony Hancock's 'Hancock's Half Hour' but music was always going
to be most important - the hits with Billy Fury and Dusty Springfield in 1961 and 1963 meant he was in demand. The 26 selections balance the wellknown with collectable rarities and tracks drawn from - until now - barely heard-of singles. Each is a gem and each shows the magic of an Ivor Raymonde recording.
'Paradise: The Sound Of Ivor Raymonde' is issued on CD and 180g heavyweight double vinyl album with digital download code. The vinyl version is sequenced slightly differently for listening flow. Every track was originally issued as a single issued in mono for the pop market until 1968 / 1969. Keeping the integrity of the compilation in mind, all but four tracks appear in mono as they did originally. The masters used are those of the original singles.

The heavenly 'Skywards' leads the way upwards with tenderly treated spacious drum programming and light-as-air atmospherics while darker and deeper cavernous tones create the yin-yang balance of lightness and dark. 'Broken Spell' continues the uplifted vibe of a spell that when broken, blooms open with an intoxicating permeating sweetness like an exotic fragrance that lingers in one's memory. 'A New Day' leans slightly more towards a heavier driven track featuring a funky bassline with bright electronic notations as counterpoint while drifting, dreamy pads keep the overall mood airy and light. The off-kilter knob is turned way right on the bouncy final track 'Disjointed Route', injecting dashes of wry quirk alongside a lightly moving groove.

N8noface Was The Vocalist For Underground Synth-punk Legends Crimekillz. He Is The Younger Brother Of Tucson-bred Modern Boogie Rocket Man Zackey Force Funk, Both Now Residing In Long Beach, Ca.in 2017, Hit+run Released N8's Visceral Debut Album Stories Of Those, As Well As Demos And Demons Vol. 1, A Ten-track Collection Of Home Demos Recorded Between 2015-2016. On Dia De Los Muertos 2017, Noface Also Unleashed The First Single From His Forthcoming New Album True Story, The Haunting Double A-side Lathe Cut idgaf / Say Goodbye.'
True Story, The 14-track Lp Due This August, Reads Like A Collection Of Compelling Mini-narratives, Brief Yet Honest Tales Of Personal Struggles, Anti-establishment Rants, Dead End Loves, And Real-life Tragedies. N8's Minimal Wave Sound Is Not About Nostalgic Lo-fi Nor Home-recorder Formulas, But His Own Instinctive Style That Defies Categorization And Comparisons. The Result Is A Distinct Sound Of Rapid-fire Hardcore Punk Moshing With Awkward Pop Music. Standout Tracks On The Dense 18-minute Album Include not Like You', bad Day', men Who Dress Well' And glasgow Smile'.

Breach is back with his second release of the year on his new imprint NKDLTD. On NKDLTD002 Breach delivers a two tracker entitled 'Turtle Dance' which continues where he left off in quality but stylistically stepping into warmer tones for the summer months. NKDLTD001 saw the first release from the Amsterdam based producer in three years and with it a return to Breach's roots. Deep, dark & moody tracks which went on to resonate with a broad selection of artists including Benji B who went on to play it numerous times on his seminal BBC Radio 1 show.

The Song Says - Bruno Pronsato´s label restarts after 4 years of hiatus with a Vinyl Version of his seminal "Lovers Do"

It's been fours years since the original release of Lovers Do. For the first time now finally released on vinyl. In the meantime he's kept very busy--primarily with side projects. First there was Others, his experimental house outfit with Daze Maxim. Then came Public Lover, his duo with the French artist Ninca Leece that debuted last year on thesongsays (Bruno's label). He's continued to join forces with Sammy Dee as Half Hawaii, playing live shows around Europe and putting out tracks on Perlon and Diamonds & Pearls. As half of the duo Ndf, he coproduced Since We Last Met, a single that marked his debut on DFA and landed in Pitchfork's top tracks of the year. But while he was juggling all these different projects, one piece of music was slowly taking shape: his third and most immersive album, Lovers Do. Like much of Bruno's work to date, Lovers Do is experimental without being snobby--or to use his own term, accidentally avantgarde'-- but this one takes it further than the others. It has a looseness that's truly rare in techno, scrapping formulaic verses and breaks, it winds along like an abstract sketch, guided by intuition instead of logic. Some songs are fraught with nervous tension, others are soothing and rich with detail, from dappling rhodes to orchestral swells, jazzy drum fills and wet hand claps. Human voices swirl in and out of the mix, serving only to make things more surreal. Many of the tracks stretch well beyond ten minutes, one bows out after less than three. The album overall is delicate and subtle, but it also features Bruno's best club tune in years, the eerie and delirious Feel Right.' Brian Eno once described his own

Luciano has arranged a special series of four releases as part of the celebrations for the fifteen years anniversary of his own Cadenza Records, launching the first one to begin the festivities. Each episode is coming out in a different season of the year; the first one, with the catalogue number 118, is the chapter dedicated to the summertime and contains 5 enchanting tracks with an exquisite sound. Thisseries is just one of the astonishing surprises that Luciano has set aside for the birthday of his beloved label.
The show begins with "The Amazing Lilou", a crispy ariose tune with elaborated percussions and calypso-flavored synthesizers. "Hiding Hearts" is a latin prelude with pleasant guitars and restful melodies, flowing with joy and peace. "Nabusima" is another Caraibic spell, with noteworthy carefullymixed drums and elevating harmonies. "Magik Mechanics" explores complex broken beats andelectronic textures, drawing a colored narration in between a fairy tale and a sci-fi movie. Finally,"Tirana del Oriente", as disclosed by the title, is a trip into the Oriental ardent magic. A collection offive long summery compositions to accompany our hot pleasing days from the dawn till the dusk,holding our hands during a never ending daydream.

Bergsonist is the moniker of Moroccon born and NYC based Selwa Abd. 'Solyaris' follows the self-released '' and a prolific slew of releases for labels such as Styles upon Styles, Borft, and Angoisse amongst others. For Selwa her uncompromising & otherworldly, hypno technoid creations aim to capture a given moment in time, contextualising her often direct, hugely affective, & unpolished approach to production.

Selwa describes 'Solyaris' as 'an ode to the present broken education system that allowed me to sustain my dreams in NewYork', explaining, 'As an immigrant from Morrocco, I felt always fearful of the future, pressured to succeed at school. The only way I was able to channel all that anxiety was through music'.

There's a undeniable physicality to Bergsonist's work, and the idea of expunging anxiousness into her music is felt from the oft as 'Solyaris' strides into vision with it's quickening roaring pulse and scrambled explorative electronic probes. This sense of anxiety eases as layers of rhythm build - heads begin to turn down and lush minimalist swathes eventually envelope bodies in calm unity, Anxiety diverted.

'Conflict in Yeman' opens with a gambit of off-kilter percussive experiments & electronics, conveying a sense of determined urgency. Things grow more & more intricate & immediate as we progress - layers of disruption weave around a reoccurring 140BPM shuffle, anchoring Selwa's constant explorative concrete diversions.

'Former Alien who has been naturalized by a U.S Citizen' brings things down a notch - skittering drums linger below a truly haunting whispered melody, occasionally broken down by collapsed rewinds and thunderously raw in the red beat grit - to dizzying effect. Whereas previously 'Solyaris' had taken its cues from Drexciyan Detroit Electro 'Former Alien...' stands closer to a Fantastic Damage era EL-P instrumental rather than anything aimed at the floor.

The EP rolls out with 'Fidel Gastro', a structured & focused piece of Machine Funk & end of days drop cues, conjuring an effective mix of both euphoria & imminent dread.

Bergsonist cuts a unique figure for electronic music in 2018 as someone explicitly exploring the relationship between head & body music. Although undeniably more than oft aimed at the dancefloor, Selwa's work also holds an equal respect and understanding of the head & heart. From her politically loaded Track titles, to her ideologically aligned guise of 'Bergsonist', to most significantly - her music's ability to elicit a spectrum of finely tuned emotional responses within the confines of each track

Echocord's Echo Echo sub-label continues with its third releases this August, courtesy of German producer and Credo founder Alex Bau with his 'Zenstory' EP. Germany's Alex Bau has been a prominent name on the underground DJ circuit on his home turf, and further afield, for three decaces as well as racking up an impressive back catalogue as a recording artists for labels like Cocoon, CLR, Sleaze and of course his very own Credo label which has been a platform predominantly for his own material whilst welcoming the likes of Kyle Geiger, Takkyu Ishino and Electric Rescue onto the imprint also. Here though we see Bau joining the roster of Echocord's fledgling sub-label Echo Echo with a new four-track EP and taking the lead on the package is 'Clouds' with pulsating low-end tones, hissing analogue noise and dusty drums samples all flowing in unison with ethereal chords and sweeping pads. 'Contour' follows, tipping the focus over to bubbling delayed stab hits, fluttering sub bass and evolving white noise bursts throughout. The 'Prelude' of 'Zenstory' opens the flip side and as the name would suggest it's a cinematic build up to the title-track featuring tension-building, expansive atmospherics ahead of the original mix which features a thumping muted kick, stuttering atmospheric echoes and spoken word vocal tucked into the depths of the record.

2022 repress

currently the rediscovery of long forgotten japanese electronic, jazz and new age music is at a peak like never before. but although many re-issues already flood the record stores around the world: the large, diverse musical culture of japan still got some gems in store that are really missing.

for example, it is still quiet around the the work of japanese bass player, new-age and ambient musi-cian motohiko hamase. when the today 66-years old artist started to be a professional musician in the 1970's, he quickly gained success as a versed studio instrumentalist and started to be part of the great modern jazz isao suzuki sextett, where he played with legends like pianist tsuyoshi yamamoto or fu-sion guitar one-off-a-kind kazumi watanabe.

he also was around in the studio when legendary japanese jazz records like 'straight ahead' of takao uematsu, 'moritato for osada' of jazz singer minami yasuda or 'moon stone' of synthesizer, piano and organ wizard mikio masuda been recorded.

in the 1980's hamase began to slowly drift away from jazz and drowned himself and his musical vision into new-age, ambient and experimental electronic spheres, in which he incorporated his funky medi-tative way of playing the bass above airy sounds and arrangements.

his first solo album 'intaglio' was not only a milestone of japanese new-age ambient, it was also fresh sonic journey in jazz that does not sound like jazz at all. now studio mule is happy to announce the re-recording of his gem from 1986, that opens new doors of perception while being not quite at all.

first issued by the japanese label shi zen, the record had a decent success in japan and by some overseas fans of music from the far east. with seven haunting, stylistically hard to pigeonhole compo-sitions hamase drifts around new-age worlds with howling wind sounds, gently bass picking and dis-creet drums, that sometimes remind the listener on the power of japanese taiko percussions. also, propulsive fourth-world-grooves call the tune and all composition avoid a foreseeable structure. at large his albums seem to be improvised and yet all is deeply composed.

music that works like shuffling through an imaginary sound library full of spiritual deepness, that even spreads in its shaky moments some profound relaxing moods. a true discovery of old music that oper-ates deeply contemporary due to his exploratory spirit and gently played tones. the release marks another highlight in studio mule's fresh mission to excavate neglected japanese music, that somehow has more to offer in present age, than at the time of his original birth.

The music on this EP was conceived in China, between 1989 and 1993. The original tracks were mixed to DAT in real time, in a small neighbour-proof studio inside my apartment in Macau, a 19th floor with a view to the hurricanes. There's a small, unexpected or improbable story behind each track, some little magic fused with the local atmosphere, certainly guaranteeing their lasting authenticity 25 years later.

TAIPEI DISCO
Late 80s Guangzhou was an exotic city where the traditional past coexisted in harmony with the present and even already with the future.
I'd rather spend my weekends in Guangzhou than diving into Hong Kong consumerism - as most ex-pats in Macau did. I took a cab at the border and travelled 150 Km through chaotic roads with family and friends until reaching the hot, humid, mega South China metropolis.
We ate on street joints in the evenings, went on to a karaoke bar and ended up at Taipei Disco, the only proper club in town. All the others were inside hotels and played generic music or they were seedy, sleazy, smoky cabarets.
Taipei Disco used to be a cinema and played cantonese pop music and anglo-saxon pop/rock (that was new). The spacious dance floor was generously lighted, the atmosphere was airy and modern. Boys and girls were in the habit of dancing in pairs, one in front of the other, observing a respectful yet sensual distance. When the girl took a few steps back, the boy went along and vice versa. With legs and feet (more than the upper bodies) synchronized with the music, they never exceeded in extroversion. Cool.
I always carried a MicroComposer and a portable DAT recorder in my travels through China and weekends in Canton. Any spontaneous musical idea was imediately recorded and memorized. The MicroComposer allowed multitrack recording, which was very handy on the road. Based on the emphatic choreography of Taipei Disco's dancers, i started to compose a rhythm track while sitting at a table, with headphones, listening to Cantopop in the background. As if by magic - not a rare occasion in music - everything began fitting together. Odd as it may seem, the track ended up sounding more germanic (Kraftwerkian) than Cantonese pop.

The story ends in a circle: the cantonese DJ at Taipei Disco, whom i used to ask to play certain records, wanted to play my music at the disco when it was basically only just a rhythm track and little else. From a cupboard under his set up he took out a battered keyboard (unrecognizable brand) and invited me to play over the track with the available sounds on the keyboard. The circle was complete, with Cantonese clubbers happily dancing forwards and backwards, as if it were another Cantopop hit.
I didn't get payed but the house offered us free ice cream cups in which little Portuguese flags were sticked.
The track would be finished later, in studio, with vocoder strings ensemble and synth solos.

TAIPEI DISCO (LIVE)
The live version of 'Taipei Disco' was recorded during a live set at the China Pop venue, in Macau, 1993. China Pop was a rock club built in the ample space of an old fishing warehouse, located in the labyrinthic Inner Harbour area. It was decorated with large Mao Zedong and Cultural Revolution posters and memorabilia and had a unique atmosphere, fusing Pop Art with film noir. We began our performance at 1AM, pretty early for Macau's nightlife standards. We were lucky. An audience showed up. And in Macau there were always several friends among the audience, which tranformed a musical performance into a relaxed party.
The atmosphere was particularly surreal on that night. The front row was dominated by French Crazy Horse dancers, a sort of Oriental Moulin Rouge. The girls had finished their last performance of the evening at the Crazy Horse and were still energized from their show. During our performance, right in front of us and perfectly synched, we could hear the famous irreverent screams of can-can dancers. You always had to expect the unexpected in Macau.

RED MAMBO (IMPROMPTU)
I was familiar with the Portuguese-speaking African countries well before having lived in China. I found myself returning several times to one in particular, always attracted by its magic and very distinct, identitary culture and music: Cape Verde.
During the early years of DWART a lot of the inspiration for drum machine rhythms (Roland's TR series) came from African music, especially from new musical trends that gained full autonomy with Cape Verde's independence from Portugal, as was the case with funaná.
I had the privilege of having known and befriended some of the greatest Capeverdian composers, musicians and singers during the 70s and 80s, such as Bana, Luís Morais, Cesária Évora, Paulino Vieira, Chico Serra, Tito Paris, and historical bands such as Bulimundo (ambassadors of funaná) and Os Tubarões (great innovators of morna, coladera and funaná, with the sonic impact of an afro-beat big band).
When Luís Filipe de Barros began playing Os Tubarões for the first time on Portuguese radio, that was the turning point for African music in Portugal. The 'Tabanca' album was so widely heard and talked about that it quickly got a Portuguese release through one of the big labels of the time.
The mystic of this band from the Santiago Island would reach the East. Os Tubarões played to a packed room in Macau in 1992, and after the bombastic gig we arranged a dinner and party at my place.
We ate and drank generously and the moment came for a jam session at the small studio on the 19th floor. Because Os Tubarões didn't all fit in the studio, we recorded an impromptu with only three of the musicians: Tótó Silva (electric guitar), Mário Russo Bettencourt (bass) and Zeca Couto (piano). And there we were improvising without barriers, suddenly detached from cultural roots, labels and constraints, a truly unique moment. The track is now being released exactly as it was recorded, imbued with the real communion between the musicians. And it could only be titled 'Red Mambo'. I wish to dedicate it to the memory of Ildo Lobo and Jaime do Rosário, founders of Os Tubarões, sadly and too soon departed from the land of music.

Originally released digitally on Luke Solomon & Derrick Carter's Classic Music Company last summer; Girls of the Internet's deep-house-dub-techno-afro ballad 'When U Go' is now being pressed up to vinyl on RAMP Recordings. Since it's release, 'When U Go' has been burning up some of the more discerning dancefloors worldwide, with club support from DJ's as diverse as Mark Farina, Stacey Pullen, Eli Escobar, Oliver $, François K, Soul Clap, Roger Sanchez, Carl Craig, Booker T, Serverino, Riva Star, Doc Martin, Karizma, Marco Carola, Tensnake & Mousse T. Peckham's finest pervayers of Deep House, Bradley Zero approved duo FYI Chris, turn in an exclusive dubby West Coast-vibed remix of the track available only on this vinyl.

The B side is a brand new track from Girls of the Internet - 'Running' featuring Nattlie Maddix, of the House Gospel Choir. Mixing live instruments with synths and drum machines, 'Running' is a soulful yet driving disco tinged deep house track. To finish off this massive package, Local Action's Finn delivers a genre-straddling remix of 'Running'.

Apollo is proud to welcome Paul Frick to the fold. Frick is a Berlin-born music composer primarily known as one part of the group Brandt Brauer Frick. Stunningly despite a 20+ year history of making music 'Second Yard Botanicals' is his debut album.  With BBF keeping Frick inspired and busy since 2009, other ideas had piled up until a temporary break allowed him to fully dive into them - "While it took so long until I made my first album, it took about two months once I started.Exploring a vast number of instruments, field recording and deconstructed breakbeats woven with undulating filters and gossamer melodies, the album sees Frick drawing on the world around him in a free associative style ; "A word I sometimes had in mind was - Alltagspoesie', the poetry of everyday life," he explains. "The thought that however small and unimportant things and people are, they - or we - all hint towards each other, if not to say towards the whole. The fact that half of the pieces on the record are short miniatures has to do with that. Throwing something in and hearing what it tells.

Opeining with a 129 BPM downtempo very hardcore techno tune, Doom noise sounds. The whole EP navigates between 120 and 140 BPM and the whole EP goes defenitly into Hardcore, sometim old school with Kenny Campbell, sometime extremly doom and downtempo like this tune from Bazar. FAT BOMBASTIC RECORD !