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

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

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

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

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

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

The vinyl-only DJ-oriented A&R Edits makes a return with a new 12” EP ‘Disco Mondo’ / ‘In The City’. Following releases from Henry Greenwood, Derek Kaye, Sophie Lloyd, Fingerman, Peza and Twisted Soul Collective between 2013-15, the label stayed on the backburner for four years as other projects took precedent. Now re-emerging with the tenth vinyl release in the series, combining the GW & Henry reworks of El Coco’s smooth grooving esoteric disco cut ‘Mondo Disco’ and Marshall Hain’s brooding Balearic treasure ‘Dancing In The City’.

Courtesy of the influential Rinder & Lewis production team, ‘Mondo Disco’, originally issued in 1975, became a firm favourite with underground DJs and disco lovers, this playful yet purposeful rework boosts the track’s drive with an eye on the contemporary dancefloor.

Marshall Hain’s hazy/lazy ‘Dancing In The City’, a much-loved memento of the summer of 1978, was a huge UK hit, reaching #3 on the singles chart. Offering a perfect soundtrack to sun-kissed beaches and blissed-out festivals, this rework breaths a new lease of life into this sonic delight.

Charles Trees. Myth, tall tale, legend of a human being, one of those people who one minute you'll be scouring reddit for obscure content and the next, stepping on stage to casually DJ to thousands of people like “no big whoop” at a French music festival. Charles is unassuming, the kind of person who effortlessly mixes ghettotech into soul for lulz, who samples a speech (/rant) by Funkmaster Flex in an acid track, or rides BMG & Derek Plaslaiko’s “True Story of a Detroit Groove” with Velvet Underground’s “Sister Ray” for 8 minutes straight.

Charles' relationship with electronic music started early. In high school, Dave Shayman (Disco D) introduced Charles to DJing and he was a regular at Dubplate Pressure*– Todd Osborn's now-legendary record store in Ann Arbor. By 1998, he was already playing on raves in Detroit. A year later, he was the first person to show Zach Saginaw (Shigeto) to Ghostly International, arguably altering the course of our lives forever. In the late 2000s, they became label mates on Moodgadget, the record label of Jakub Alexander (Heathered Pearls).

Through out the years, Charles has been a musical mentor (whether DJing, producing or throwing shows) to many, danced at every weekly at every venue in Ann Arbor & Detroit, produced Hip Hop, and fronted a psych rock band. He has released music on Moodgadget (US), Musique Large (FR), Lovemonk (ES), Vanity Press (US) and JFX Lab (FR). Today, between DJing, hosting radio shows and producing new music, Charles regularly throws shows/parties/raves, and hosts a monthly at Deluxx Fluxx.

We love Charles Trees and we're proud to present "2019," the eighth record on Portage Garage Sounds.

*Additional reading: Dubplate Pressure: was the precursor to Technical Equipment Supply; how Todd Osborn was discovered by Richard D. James and signed to Rephlex Records; where Sam Valenti IV, the founder of Ghostly International, met Tadd Mullinix (Dabrye, JTC, Charles Manier, X-Altera); one of the reasons why we're all here

"Got No"
Hit the ground running.
Chopped up vocal stabs and a playful syncopated melody accompany this percussion heavy two-step shuffle as it speeds down the Lodge on a Friday night in Detroit.

"Think First"
Undeniable rhythm section pocket.
Acoustic bass and dirty ride symbols swing alongside lush keyboards and sprinkles of light melodicism in this psych house banger.
Think St. Germain with CAN playing a warped version of "Rose Rouge."

"In Arms"
Crave the rave. Whips crack and sizzle in this dubbed out techno slapper. A modern take on a classic sound. Trees conjures an era close to his heart: when the warehouse was church and service didn't stop until the sun came up.


"Acja feat. Marcus Elliot ("12 club mix)
Beautifully understated and triumphant.
This closer marks the return of Detroit Saxophonist Marcus Elliot (Detroit pt II - PGS 001). His notes dance and soar over a creeping acid line, while driving drums and warm pads effortlessly take you home in this powerful house anthem.

An artist who deliberately plays with labels, taking in contemporary and novel forms, boldly launching into experimentation (as demonstrated by her collaboration with percussionist Vassiléna Sérafimova), Chloé wanted to take the album’s tracks and transform them in front of an audience by feeding them with new textures and inspirations. Performed over a year at events such as Nuits Sonores, Sónar, Mutek (in Montréal and Mexico), The Peacock Society, and festivals such as Marsatac, Musilac and Colors of Ostrava, Endless Revisions’ live performance has evolved with every show. It was out of the question to let these new versions - replayed, recreated and restructured alongside the evolution of the performance’s very architecture - fade away without a trace Chloé’s prolific Lumière Noire label, in the wake of its first anniversary, had to produce a recording that bears witness to the work that these ephemeral creations represents. Slowly introduced by Dune, then propelled by the impulse of Because it’s There, the mix is articulated around the appropriatelytitled Outerspace, followed by Party Moonster and the bewitching The Dawn, heard here in “clubbier” versions and adapted to a context in which the audience (whose enjoyment of the performance was audibly captured in the recordings), must be kept in suspense, as if carried away in a narrative. The set leads up to Moonscape, an exclusive track created during the performance series, before the performance ends with a new version of Sometimes, Chloé’s relentless 2002 instant classic. At nearly 50 minutes, this recording is like a snapshot of a work’s vital momentum, remaining faithful to the spirit of Chloé’s Endless Revisions while detaching itself in order to conquer new territories. It is what music must also be: a moving creation that is activated and reacts in contact with its audience.

'Broken Toys' showcases the prodigious talent of Eshan Gopal andcaptures the essence of 70s soul and disco, yet it sparkles with more than enough retro-futurist fireworks to light up the pop horizon.Arranged and performed to perfection, this soulful track delivers feel good nostalgia and is elevated further by the young lead singer voice, which can only describe as the king of pop's second coming.

Carrying heartfelt messages about love, moving on and growing up, coupled with warm and uplifting instrumentation; 'Broken Toys' is a breath of fresh funk and soul without being marred by controversy. Its pure, exciting and enjoyable music for any age and The Tribe of Good have totally nailed down every element of this soul groove.

On the flip of the vinyl is a 'Percapella' which features these stunning vocals layered with a stripped down percussion backing. Offers a weapon clean enough to shake things up in your DJ mixes.

The Tribe of Good are the secret weapons behind your favourite chart hits. The super group steered by Grammy-nominated producer Hal Ritson (Chemical Brothers, Katy Perry, Duke Dumont, High Contrast) features an array of producers who have worked with the likes of Nas, Cee Lo, Taylor Swift, alongside a cast of musicians such as Basement Jaxx singer Vula Malinga and Jamiroquai guitarist Rob Harris to highlight a few.

LOFTSOUL x Miruga release cover version for Nina Simone's masterpiece See Line Womanon

10inch vinyl format. LOFTSOUL is the project by DJ/Producer UCHIKAWA MASAHIKO well known as Rhythm Of Elements (R2 Recordings/UK).For this Nina Simon's cover song,LOFTSOUL collaboration with Miruga (Moods & Grooves/Detroit) And featuring London's JAZZ/SOUL singer Fae Simon.

Also there include great "DUB" version by DJ D a.k.a Dominic Dawson (well known as release from Noid Otherand Reel Houze project with Rob Mello).

Marking the 15 year of Nina Simone's death,LOFTSOUL release cover version of her masterpiece See Line Womanas tribute.

See Line Womanis fantastic afro percussive number.This song is popular for club scene by 98's Kerri Chandler(Songstress)'s remake and 07's Feist's cover. LOFTSOUL x Miruga cover this song vibrant

Jazz/Soul Number. Original Versionis superlative Jazz/Soul version. There features beautiful harmony with Fae Simon's vocal and Soul-T's piano on the afro mystic groove (about BPM 90)

On the flips side ,Dominic Dawson a.k.a DJ D deliver fantastic "Dub Version" as (Dominic Dawson Dub Reversion)with afro percussive rhythm and dub wise sound&groove.

Release from UNKNOWN season x Jazzy Sport as special limited 10inch issue.

2025 Repress

2019 marks the year that Music for Freaks has officially been running for over 20 whole years. Two decades of topsy turvy, downright Freakish behaviour. How the hell did that happen?

So, what better time to delve deep into the labels vaults again and uncover more of its hidden treasures. Back in 2015, we approached some of today's most discerning producers, those who truly "get" the label's ethos from old, to let them loose on tracks old and new. It brought to the fore the "Freaks - Let's Do It Again" series of releases and we're super chuffed to bring you the 3rd in the series to kick off the label's 20th anniversary celebrations; a new collaboration with likeminded artists and we think you'll agree it's another testament to the divergent & insouciant house music that has always been the beating heart of this label.

First up, we welcome back the Chilean anti-hero Ricardo Villalobos.

When we sent Ricardo the parts to the Freaks album, "The Man Who Lived Underground" a few years ago, he sent back 5 interpretations which blew our collective minds. This is the 3rd of his journeys. Edited by head Freak, Justin Harris, it delivers a tripped out, discordant tech mix of the Freaks track, 'He's Angry' and is a wonderfully warped and highly hypnotic jam, that drives deep down into the subconscious.

The 20th anniversary wouldn't feel right without some brand spanking new music from Freaks themselves.
This track was properly hidden in the Freaks DAT vaults from the 1990's and Justin & Luke have dusted it off, mixed it down and "Unbeknown To Us" will finally see the light of day. It's safe to say Freaks have always had a timeless feel to their music and this track, despite being 20 years old as an original production, is no exception.

Next up, The Martinez Brothers make their MFF debut and to say we're chuffed to be releasing this one after 3 years of it being in the vault, is a huge understatement. There's nothing but good vibes, cranked to eleven, on this cut and the brothers have cooked up a true rip snorting tech house remix of "Time", that will charm the roof off any self-respecting club or festival tent.

And last but by no means least, fellow previous collaborators on Let's Do It Again, Part 1, Gerd Jansen and Phillip Lauer, aka Tuff City Kids, have graced us with another superb remix of a firm Freaks favourite from back in the day, "Turning Orange". The duo have whipped up an excellent stripped 808, electro-hop mix with low slung electro beats, minor key atmospherics and nostalgic 80s vocal pitch-shifts. Villalobos, Martinez Brothers, Tuff City Kidz and Freaks all on the same record? This is the type of house music madness that dreams are made of.
A fitting start to the celebrations - we reckon you'll agree!

The first official reissue of ‘Good Lovin’’ – a modern soul dancer with a killer groove, heavy low-end, delectable string & horn trade-offs and the husky tones of the inimitable Al Mason, that blew up on the scene in 1980 and now commands eye watering prices between collectors. This dinked 7 inch comes backed with ‘We Still Could Be Together’ off the original promo 12 Inch, with both tracks fully remastered and officially licensed for the first time since its original release.

‘Good Lovin’’ stormed dancefloors back in the early ‘80s taking Al’s undeniable, raspy vocal prowess and stirring it up with an energetic combination of funk guitars, full frontal basslines, on-point harmonies and a perfectly arranged string and brass section. It’s been a rare treasure on the second-hand market with original copies trading hands for £400 so an official reissue will be music to many an ear.

The B side, ‘We Still Could Be Together’, is an emotive ballad filled to the brim with Mason’s tangible passion alongside smoky pianos, cinematic strings and velvety backing vocals. A slow stepper with a bittersweet message behind it.

We adore Big Star and Alex Chilton more than words can express. Being able to present two of Alex’s staggeringly beautiful demos on vinyl for the first time (on a cute picture sleeve 7", no less) is an absolute honour for us at Be With.

“It Isn’t Always That Easy” and “If You Would Marry Me” both sound like templates for some of Alex’s best-known Big Star numbers. These demos come from the transitional recording sessions he made with Terry Manning at the Ardent studio in 1969, but were missing from the vinyl version of the wonderful Free Again compilation that was released in 2012.

Caught between the end of the Box Tops and the birth of Big Star Alex’s song-craft was already remarkable - as these demos prove - and this release represents a fascinating, exploratory period in the career of one of pop’s most enigmatic talents.

“It Isn’t Always That Easy” is the real knockout. A tender, acoustic ballad that, stylistically, could have appeared Big Star’s “#1 Record”. Yes, it really is that good. A deeply affecting, ruminative lament that explores the ravages of Alex’s short career to date, it is also one of the sweetest and most delicate melodies he ever wrote. A song this stunning shouldn’t just be kept for the Big Star completists.

Over on the flip, “If You Would Marry Me” finds Alex in earnestly romantic mode. It’s just him and a piano, albeit one that is played in a poppy, uplifting fashion to complement the optimistic mood: “I could make you feel so glad inside and so alive” he confidently declares. It’s quite the gem. It really should be mandatory for this to be played at every wedding.

Unfortunately there seem to be no photographs of Alex from around the time he was making these recordings. But luckily we were put in touch with Pat Rainer who was photographing the Memphis music scene that Alex was still part of a few years later.

Happy to be described as “a friend with a camera who was hanging around”, Pat’s candid pictures of Alex included one of him asleep on the floor of the Ardent studio. Even though the photograph was taken 9 years after the demos were recorded, we think this intimate portrait makes a fitting cover for these equally intimate songs.

“Following on from Homenagem, Lugar Alto’s first critically acclaimed project, the São Paulo label's new endeavour is the reissue of another neglected masterpiece. This time, it’s “Poema da Gota Serena” turn by Zé Eduardo Nazário from 1982. This unique work gathers elements of free jazz, Brazilian Northeastern rhythms, Asian percussive instruments and electronics.

Zé Eduardo is a virtuoso drummer and percussionist with a prolific career as a musician and teacher. He was introduced to music in his youth and started playing professionally at the age of thirteen. In the late 60’s he was a regular at the famous Totem night club in São Paulo, where he performed alongside the pianist Tenório Jr. and other exceptional instrumentalists. It was there that he met Guilherme Franco, and together they formed the Grupo Experimental de Percussão. This period defined Nazário’s interest in different sonorities involving percussion, and he broke away from the more traditional genres, such as bossa nova and jazz. Over time, this distinctiveness in sound and playing allowed him to create his own path which culminated in an extensive number of remarkable works, including the colorful and psychedelic “M andala”, which examines Indian and hippie themes. He also played with Hermeto Pascoal’s group and joined him and Jaques Morelenbaum for the recording of the cult classic “Imyra, Tayra, Ypy” by Taiguara. For Egberto Gismonti’s “Nó Caipira”, Nazário performed with the khene, a mouth organ from Laos, a present from Gismonti himself.

But it is Nazário’s work with the 1976 collective Grupo Um which is his most well-known, who, during their 6-year legacy recorded, amongst movie and ballet soundtracks, 3 albums: “Marcha Sobre a Cidade”, “Reflexões Sobre a Crise do Desejo” and “Flor de Plástico Incinerada”. The combo is considered one of the most innovative formations of its time, unusually combining electro-acoustic elements, jazz and Brazilian traditional music.

Poema da Gota Serena was Zé Eduardo's first solo project and it was financed by the legendary Lira Instrumental, a collaboration between the ground-breaking venue, label and publisher for the São Paulo avant-garde, Lira Paulistana, along with the always interesting Continental Records, home to such luminaries as Tom Zé. The album was offered as a package deal simultaneously with the production of “Flor de Plástico Incinerada”, ensuring 2 studio sessions at JV studios in October 1982.

Each side of the album explores different duets which, with its suite formated tracks, give the album the feel of a cohesive whole. The first half of the A side, “Energia dos Três Mundos”, is shared with the improvised saxophone of Cacau. Nazário delves into free jazz rhythms and plays his drums with a rolling and tumbling swing, using the kit in full, demonstrating the power of Brazilian jazz fusion. The second half of the suite takes us into a more tranquil mode. “Só Prá Ouvir”, demonstrates Zé’s mastery on the glockenspiel, and Indian percussion instruments, such as the tabla and mridangam. Cacau, on his side, switches his saxophone for more delicate dancing flute driven passages, equal parts northeastern rhythms and deep Amazonian indigenous influences. The B side, with “Prá Pensar / Prá Sentir e Prá Contar”, contrasts heavily with the A side’s more organic and natural feel. In Prá Pensar Lelo Nazários’s synth clusters and electronic blasts strangely interact with the exploring, wandering percussion. This track leads into the sublime “Prá Sentir e Prá Contar” where South Indian inspired vocals, performed by Zé Eduardo, accompany the graceful synth chords and fluttering percussion. The result is a hypnotic, otherworldly feel to the music that is infectious and takes the listener on an extraordinary journey.
With Poema da Gota Serena, it is possible to hear music that extrapolates the lines of the avant-garde and popular music. It is an album the demonstrates that Brazilian jazz fusion can be both spiritual and challenging at the same time.

All the tracks were expertly remastered by Lelo Nazário, directly from the original tapes, maintaining the high quality of production that Lugar Alto are becoming renowned for. All the artwork was reinterpreted by the São Paulo design studio Sometimes Always, including an exclusive insert and unpublished images.

It seems that Lugar Alto have managed to excavate yet another gem from the seemingly bottomless Brazilian mines. Long may they continue to do what they do so well.”

“A genius” - Nai Palm
“One of the most incredible live performances I’ve seen” - Gilles Peterson
“He's like a human centipede sewn out of all the greatest musicians from the past 80 years” - Liam Pieper

Emerging from Brisbane’s music-art bohemian West End in 2008, self-taught, prodigious musician Lachlan Mitchell aka Laneous, began his eclectic and colourful journey in music as the leading member of funk band KAFKA, stamping his trademark falsetto croon on an Australian music landscape that wasn’t quite ready for an artist whose standout influence was D’Angelo’s ‘Voodoo’. Word of their talent soon reached UK’s perennial tastemaker Gilles Peterson who featured the band on his compilation, Brownswood Bubblers Four alongside other breakthrough acts at the time, Mayer Hawthorne, Floating Points and Lone. A world-class guitarist, vocalist, composer, visual artist and – significantly - muse, Mitchell’s unique ability to shine, create and inspire across genres was his obvious forte, even then. Regularly sought after to provide features for other bands and cover art for Hiatus Kaiyote albums Tawk Tomahawk and Choose Your Weapon, he worked diligently to support his community. But while Hiatus’ Nai Palm told media Laneous was “a genius” he often credited music and drawings to pseudonyms.

In 2016, after 8 years of humbly dominating the Australian underground art, soul and jazz scene [with ‘mutant-soul/croon punk’ cult group Laneous & The Family Yah, reggae band Kooii and improv-jazz-beat trio, Vulture Street Tape Gang] Mitchell relocated to Melbourne - a move that would instigate and inspire the long-awaited debut solo LANEOUS record that fans and peers had been craving for nearly a decade. Excited to create new music with an artist they’d previously referenced as an inspiration, Paul Bender and Simon Mavin (Hiatus Kaiyote) came on board swiftly, joined by Hudson Whitlock (Cactus Channel) on drums and Donny Stewart (Jazz Party) on vibraphone and flugelhorn - a key element in bringing Mitchell’s vision of an exotica/soul infused album to life. In classic Laneous fashion, the musical references for the record run deep, winding through an eclectic array of artists from Martin Denny, Burt Bacharach and The Beach Boys to Shuggie Otis, Wild Cookie and Wu-Tang.

The debut single Modern Romance was unleashed in October 2018 with a kinky, captivating visual accompaniment that marked the return of the Laneous legacy. After selling out the Melbourne launch of the single, the band was invited to headline Gilles Peterson’s Worldwide FM x Northside Records live Melbourne broadcast, teasing exclusive album cuts and drawing high praise from Peterson, stating it was “..one of the most incredible live performances I’ve seen’.

Out May 10 via Soul Has No Tempo, Mitchell’s MONSTERA DELICIOSA stands as a sublime genre work, peerless in Australia - his magnum opus bears the name that’s backed him from day one:

When the Tramp Records crew read the internet-sweeping spam/story of Nigerian Astronaut and Air Force pilot Abacha Tunde, they knew that they had to spring into action to help this unfortunate fella out. Dr. Bakare Tunde, the cousin of Abacha Tunde explained the situation as follows: "My cousin was the first African in space when he made a secret flight to the Skylab Space Station in 1979, shortly before it crashed to Earth. 19 years later he was on his second spaceflight, this time to a secret Moon Base located on the far side of the Moon. In 1999 his crew members returned to earth, but his place was taken up by return cargo. There have been occasional supply flights to keep him going since that time. Although he is in good humor, he wants to come home, now, after 20 years in space."

After this hilarious story the idea of a compilation album was born - and "Trip To The Moon" is the result. The goal to raise three million dollars to cover the cost of Abacha Tunde's return flight may never be achieved. Nevertheless, a 41 year experience in the music business is the basis for a fantabulous track listing of 11 amazing and highly underrated Rare Grooves about the Moon!

The Swinging Astronauts open the set, followed by La La Wilson's equally great rhythm & blues rocker "The Moon Man Is Back". With The Moon-Dawgs, this album makes a slight turn into the 1960s garage rock era while Hase Cäsar (backed by none other than the famous Ingfried Hoffmann and his orchestra!) contributes one of two songs of german origin. Now it's time for some funk: Rev. Jamel & Bob Johnson's "Walking On The Moon (Men Are Starving)" criticizes the US government for spending millions of dollars for their space program instead of supporting their own people. "Mars in 75" is deepfunk at its best although some may lament the lack of production. Sidney Ownen's breakbeat-laden "Sputnik" is sought after in collector's circles and needs no justification as to why it is included on this album. Ernest & D.L. Rocco's "Moon Child" is our personal favourite, closely followed by the hypnotic groove of "Mondgesicht" by legendary german saxophonist Ambros Seelos. Scott Cunningham's name should ring a bell as he was featured on several Tramp compilations over the past few years. Finally, the album closes with a psychedelic folk track titled "Voyage To The Moon".

Tramp Records is absolutely convinced that this album will surely be the best way to shorten the wait for Abacha until a rescue space mission finally brings our African soul brother back home.

Key selling points:

- deluxe gatefold LP with detailed liner notes and unseen photographs
- the vinyl LP comes with a full album download code
- most of the songs appear on a 12" album for the very first-time

To mark his second artist album on his own Millionhands label in July, Tee Mango teases with a fantastic second EP from it featuring remixes from Hidden Spheres (Lobster Theremin, NTS), Kiwi (Futureboogie, Optimo, Life & Death) and Hubie Davison (Regraded).

The fantastic full length finds the UK artist stretch himself and serve up a dazzling array of soul-drenched, vocal-laced songs featuring his own singing and influenced by the likes of Prince and Bon Iver, alongside awesome gyuest vox from Detroit funk legend and former Funkadelic member Amp Fiddler.

Opening up EP 2, Tee Mango serves up a fizzing and arpeggiated electronic disco track, ‘Woo Hoo’ which will undoubtedly be rocking festival tents this summer. Irishman and Leisure System man Hubie Davison then steps up to the plate with a heart-warming, tripped out and twinkling organic house mix of ‘Down Down Down’, featuring warm oaky melodies and Mango’s fragmented falsettos.

Then comes a dazzling techno-not-techno mix of ‘Woo Hoo’ from Londoner Kiwi, an associate for labels like Correspondent and Optimo Music. This superb version keeps the galloping arpeggiated feel of the original but swaps the broken beat for a straight four to dizzying effect. Following that is acclaimed Lobster Theremin, Rhythm Section and NTS regular Hidden Spheres with a hip house basement re-rub of ‘Down Down Down’ with more of Tee Mango’s fragmented falsetto over a beat Prince would be proud of.

Finally, Tee Mango himself then steps out with the excellent balearic skit ‘Don’t Worry About the Rain’ with deliciously soothing Rhodes and synth whines topped with Mango’s vocals imploring us to ignore the weather.

This is a top package that bristles with brilliant club sounds for a range of different settings and more than whets the whistle for the forthcoming album.

Kognitiv Records is about music that connects with the listener on a deeper level, evoking emotion. Music plays a large part in so many lives and guides us through all emotional states as a form of therapy. So join us for your own Kognitiv Therapy.

Label boss DeVante delivers the third release for Kognitiv Records titled “Experimental”. He has invited Italian powerhouse duo Marvin & Guy to remix.

“Experimental” is a track that follows the storyline of an experiment. Whether it be a social experiment or science experiment, the emotional journey can be very similar. Feelings of uncertainty, tension, suspense, contentment and/or grandeur feature throughout this track. DeVante allows listeners to take their own journeys through all his tracks, so have a listen and find out where “Experimental” takes you!!


Marvin & Guy are making waves worldwide for their signature sound and it is an absolute pleasure to welcome them to Kognitiv Records. The boys have delivered a gem of a remix suitable for all occasions. Not only is it a great track to listen to in your day to day life, their remix tears the roof off a dance floor. Marvin & Guy have a strong ability of fusing current musical trends with nostalgic 80’s sounds and we love everything they do. We are sure you will too!

“Experimental” is Kognitiv Records first venture into the world of vinyl. There are very limited copies being pressed, so be sure to grab yourself a piece of Kognitiv Records history.

Kognitiv Records will donate a percentage of profits from every release to a different mental health charity in an effort to create further awareness and provide support to people suffering from mental illness.

Hyperdub launch new sub-label Flatlines for the release of ‘On Vanishing Land’, an audio-essay by Justin Barton and the late Mark Fisher. ‘On Vanishing Land’ evokes a walk along the Suffolk coastline in 2006, from Felixstowe container port ("a nerve ganglion of capitalism") to the Anglo-Saxon burial ground at Sutton Hoo. A walk under immense skies, through zones of deep time, and within sunlit, liminal terrains, into the eerie. Everywhere there are charged atmospheres, shadowy incursions, enigmatic departures. A derelict radar base, coastal heathland, drifting thistledown, towers of overgrown shipping containers - music haunted by wider levels of reality, narrations about rarely visited zones and potentials, voices of dreams and stories. This music includes newly-composed tracks by John Foxx, Gazelle Twin, Baron Mordant, Raime, Pete Wiseman, Farmers of Vega, Skjolbrot, Eerie Anglia, Ekoplekz and Dolly Dolly. Alongside these are glimpsed views toward M.R.James’s ‘Oh Whistle and I’ll Come to You My Lad’ (1904), Joan Lindsay’s ‘Picnic at Hanging Rock’ (1967), and Brian Eno’s ‘On Land’ (1982). Beyond the surface of the day something becomes visible, a way forward, an escape-path from capitalist reality. ‘On Vanishing Land’ is about following the lines of terrains and dreams. It is about a micropolitics of escape, of disappearance. A micropolitics of waking the faculties. ‘On Vanishing Land’ was initially part of an exhibition commissioned by The Otolith Collective and The Showroom in London, and after ‘londonunderlondon’ (2005) it was the second audio-work collaboration by Justin Barton and Mark Fisher.

The LP cover features photos taken by Mark Fisher, and a short essay by Justin Barton. Pressed on 180g vinyl, in deluxe rigid board sleeve, with free mp3 download code.

Inspired by warm climates, shaped in a rainy city. Native Cruise's Desert Theory opener Late Nights is a relaxed jam filled with crispy drum-machine percussion and new age-ish pads with delicate nature sounds in the background. The energy rises towards the title track, a marching rhythm characterised by chugging wooden drums and floaty pan flutes. Bermuda Clouds brings you on a shore presenting a dreamy 4 to the floor session with an FM bass line, atmospheric pads and a wave of ocean sounds. The journey ends with Whispers which reminds of an imaginary 80s digital world vaguely influenced by the aesthetic of labels like Innovative Communication or Les Folies Art.

Mario Pierro aka Raiders of the Lost ARP (ROTLA) returns to Edizioni Mondo. “Trasmissioni” is his debut LP under this moniker, using fictitious TV show themes as an excuse to create his musically most eclectic record so far. Departing slightly from the Balearic and prog rock influences of the previous “Laguna” EP, in “Trasmissioni” ROTLA covers many territories: opening with the science-celebrating arpeggios of “Progressi della Scienza” (Italian for “advances in science”), to the funky, off-beat grooves of “Telemusic”, then taking a step into a disco during “Nightlife”, before programming his rocket towards eerie nordic drum machines and Hammond organs in “Esterno Neve” and “Effetto Notte”, and many planets more. A welcome edition to the ever expanding Edition Mondo universe and a record you can’t grow tired of. Eco-Friendly green artwork that shows how tiny we all are. Good listening!



The name MONDO has its roots in “MONDO MOVIES", an italian movie genre born in the 60’s. Mondo movies are characterized by documentary-like content that addresses several topics from around the world ("mondo"). The Mondo label has the goal to produce music that is descriptive of concepts, images and environments. Mondo is inspired by library music, a genre frequently used as theme or background music in radio, film and television in that very same period. Production music libraries typically offer a broad range of musical styles and genres describing everything ranging from deserts to war and sports. Library music composers and session performers had no constraint at all. They typically work anonymously, have rarely become known outside their professional circle and they have produced what probably is the most creative music catalogue ever. The Mondo productions start with four releases dedicated to seascapes; scenarios range from sea fauna to poaching, from natural parks to sea dunes.

The Portuguese say that ‘saudade’, the emotional state of nostalgia and the emotional thrills it can trigger, is an extremely powerful thing. It’s certainly hit Tom Trago hard in recent times, with the Dutch producer naming his new self- released single – his first since 2017 – after this distinctively warm and fuzzy heightened emotional state.

Trago’s nostalgia pangs were a direct response to his new life on the Netherlands’ North Sea-facing West Coast, a move that provided the musical inspiration for his 2018 album “Bergen”. While happy in his new home studio, Trago found his mind wandering back to countless happy days and nights spent jamming with friends and contemporaries in his basement studio beneath Volkshotel in Amsterdam.

“Saudade”, Trago’s latest single, was made during one of those all-night Amsterdam studio sessions alongside JP Enfant, a DJ/producer best known for his residency at De School and releases on his LET Recordings. The A- side “Main Mix” fizzes with excitement and the possibilities of the night ahead. Sentimental, emotion-stirring chords, lilting lead lines, chiming melodies and ecstatic electronics rise above a chunky, hot-stepping drum machine rhythm. It’s nostalgic but immediate: a musical marriage of two giddy producers living for the moment.

On the flip you’ll find the “Ambient Mix” set to soundtrack slow-burn sunrises the world over. All immersive synthesizer chords, yearning musical motifs and seductive melodies, it sees Trago delivering a suitably tactile and loved-up soundtrack with which to usher in the dawn of a new day.

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

Where To Now? Records present the debut release from Akiko Haruna. Akiko’s world is one where cacophonic distress lingers, shuffling itself over scapes of percussive damage and driven groove. Akiko presents a fresh take on the current Technoid function through her use of emotive and intentionally disruptive vocal chops and a dizzying ‘wall of sound’ approach to the dancefloor, consuming all yet somehow keeping vibes alive.

Akiko’s artistic background is primarily in Dance, and undoubtedly this performance led background has had an acute impact on her approach to melodic detail & storytelling. Akiko’s tracks rapidly shift & morph states, always restless and searching with fluidity and intent. From the ever present Micro Electronic details to sweeping swathes of Bass flutter the notion of progressive movement remains at the forefront of her sound, minute elements of detail become briefly isolated, intentionally directing the listener to their subtle presence.

‘Delusions’ Leads with ‘A Mother’s Love’ and begins a theme of resentment and dissonance. The Japanase vocal cuts throughout the track roughly translate to “you should die”, here obviously flipping assumed and supposed relationship rules and roles and exposing an inner turmoil, reflected through a continuous anxiety ridden, almost panicked siren detail which pulses over Akiko’s heads down, deep and uniform forward march.

‘Husband Established’ and the opens with the emotive vocal line “I just hate your Voice”. This is the sound of a poisonous & damaging relationship hurtling towards combustion, where Akiko’s elements gather momentum and impact as layer upon layer of detail pummel and puncture this heightened state, pausing and spiralling to evoke a standoff of aggression and imminent outburst. ‘Husband Established’ stands as a frankly stunning piece of sound design, which manages to capture a raw human emotion, and provide release for the associated junk, stress, and occasional banality of Relationship angst.

‘Hetero’ picks up where ‘Husband Established’ finished, further exploring societal character types and submissive gender tropes that are thrust into our sub consciousness from day to day. The concept of Hyperreality and its themes are continuously explored within Akiko’s practice and It would perhaps be fair to say that these themic explorations within her Music are Akiko’s own outlet for traversing human relationships within a complex, heightened, & layered reality, and it is certainly Akiko’s intention for her audience to feel some kind of relief and release within her sound world. Sonically ‘Hetero’ is a much sparser, subtler affair, where swathes of sampled voice & machine swing in and out of focus, against a weightless backdrop of affecting isolated electronics.

The EP closes with ‘Ripehus Alley’, seemingly void of any deeper meaning or message this serves more as a dreamlike parting song to what is otherwise a highly charged collection. Floating itself away from a frantic & incomprehensible world into a calmer space for final thought and reflection. ‘Delusions’ is a complex, exploratory trip, one which fans of Logos, Fis, Alva Noto, Jlin, Jesse Osborne-Lanthier etc will relish exploring.

Following up on the release of his first album in eight years, Agoria has collaborated with enigmatic French musician Jacques on new EP ‘Visit’, out 14th June.

The two-track offering pairs electronic elements with organic, real-world sounds to masterful effect. Title track ‘Visit’ is the best example of this, with a wonky beat trudging through a plethora of immersive sounds. Meanwhile ‘Jardin’, with a grooving bassline, has a greater dancefloor focus.

“The first time I met Jacques, we were sitting at the same table but we didn’t exchange any words,” Agoria explains. The second time, a year later, we started speaking. A lot. During hours. About Vipassana, a technique of meditation that you practice in silence. The third time, I thought I should share his words and breaths, delivering the untold. So I offered him to record a Sapiens Talk. The fourth time, we both agreed it was finally time to record music together.”

Jacques is a musician who pushes back the border between music, sound and noise, using music as a medium of expression on his quest of transversality. Invited to several TEDx conferences to talk about his obsession with the idea of infinity, he has also revealed his new theory called “Vortex”, which he created with Alexandre Gain in 2015.

His first album in eight years, Agoria described Drift as “sitting on your sofa between your guilty pleasure and your tasteful opinion”. The deeply melodic 10-track LP came off the back of a much-lauded Essential Mix for Pete Tong’s BBC Radio 1 show, which was later nominated for Essential Mix Of The Year.

The new release comes amidst Agoria’s first ever Ibiza residency, which kicked off on 31st May at the Blue Marlin. Named after the new album and featuring everyone from DJ Harvey and Gerd Janson to Groove Armada and Idris Elba, the unique day-to-night parties will take place every Friday until 27th September. He will also take his all new live show on tour this summer, with dates including Barcelona’s Primavera Sound, Belgium’s Pukkelpop and Lowlands Festival in Amsterdam.

Appearing on the latest Mnemosyne compilation, Hierarchy marks his debut EP on ASG providing a deep journey into rhythms and textures. Direct but still elusive, Matter/Space/Void delivers lapses of rarefied absence constantly driven by peculiar cadences. The pulsating and fragmented remix by label owner A Sacred Geometry showcases once again his diverse view of techno, constantly evolving into unexpected horizons.

Infuse welcomes back Croatian talent Mariano Mateljan to the imprint to close out June, backed by a remix from FUSE resident Seb Zito.

Founder of the vinyl only imprint u.dig, releasing material to date from himself and the likes of Alexis Cabrera and Ben Balance & Fabe aka Ho Do Ri, and with recent releases on Moss Co. and Vekton, Croatian DJ and producer Mariano Mateljan has grown to become one of the scenes most promising rising talents, reflected with key bookings from fabric (London) to Club der Visionaere (Berlin) and beyond. Having released on Infuse back in 2013 with his track ‘Pigeon Boxer’ featuring on the label’s third ever V/A release, plus appearances for both FUSE and Infuse at events in London, here we see an impressive return from Mateljan as he delivers his first EP on the label entitled ‘Tabebula’, whilst FUSE resident and Infuse A&R Seb Zito turns in a classy remix of the title track.

Title cut ‘Tabebula’ opens the EP as slick percussion shots go to work amongst a deep, snaking bass groove, whilst second original ‘Rose Amongst Thorns’ opens the B-side in equally as impressive fashion, opting for a more paired back effort that combines floating airy chords, slinking drums and refined melodies. Last up, Seb Zito’s interpretation of the lead track sees the London favourite opt for a driving acid-tinged bassline, crisp claps and skipping hats throughout to round out proceedings.

Greek producer ITPDWIP (Lobster Theremin / brokntoys) is in charge of the third release of NNY Records, a mini LP comprised of seven magnificent songs with an unpredictable analog sound that oscillates between electro and techno. A collection of tracks full of memorable melodies and a punk and aggressive touch that will delight all Dutch West Coast Sound fans as well as more risky techno followers.

Returning for his third appearance on Frigio, Maurizio Martinucci (aka TeZ, Most Significant Beat and permanent member of Clock DVA since 2010) introduces one of his darkest works to date. Forged in his studio/lab in Amsterdam, the Italian artist casts three works of industrial paranoia with none other than Clock DVA delivering a very special remix.

The same intensity, the same fevered energy that permeated Dusk, is plain to hear in this production. Pulsating drums are pierced by metallic groans and choking voices for the alienating assault that is “Amna.” Clock DVA take on this factory floor demon, soothing and reworking the original. Keys cascade against throbbing basslines and stuttering rhythms, vocals by Adi Newton taking the form of a poem that circles and swoops in a track of brimming with a primal force. Stalking chords introduce “Dene.” A lancing beat lashes a lone string, static and resonance building as layers of machine noise make their inhuman presence known. The end comes from the hull of an abandoned ship, or so it sounds. Aquatic echo swirls around a spread of sunken snares, shrieks and slicing through the crash and squeal of wrought iron. Primordial music from the mind of Pragma.

Any historians keen on the subject of "French youth in the 1980s" are holding a treasure in their hands. As a true archaeologist of this decade dedicated to disposable culture, digger-in-chief Vidal Benjamin with his newest compilation, 'Pop Sympathie', offers them a unique journey in the heart of the cyclone of emotions that struck all teenagers during the first seven years of François Mitterrand's mandate. Fifteen musical nuggets, exhumed from the dungeons of history, each and every one of them teaching us about what really obsessed the youngsters at that exact moment, i.e. what happens when the city lights come on at dusk, when irrepressible urges that stir them to get lost even more appear until the end of the night.

The artists gathered here did not have the honour of breaking into the local charts, but they all individually reached for the sky. Each song of 'Pop Sympathie' tells more or less the same story: that of a girl who throws herself into the night like one immerses one's self into the void, who rushes into a one-night adventure to become a star. And too bad if in the early morning she finds herself back at square one. In all these miniature odysseys there is neon lights, lasers, smoke machines, broken glass on checkered tiles, strangers on leather benches, celebrities in the bathrooms, stolen kisses, alcohol, drugs and cigarettes, Polaroids, venetian blinds and radioactive tubes.

If the first opus of Vidal Benjamin, 'Disco Sympathie', focused on the funky mood of songs that could have been played at Le Palace, then 'Pop Sympathie' develops itself as the imaginary soundtrack of another nightclub, Les Bains-Douches, the capital’s epicenter of nocturnal drifts. So what do we listen to, blasé, at Bains-Douches? Mainly synthesizers. The child of punk and post punk, French New Wave celebrates the matrimony of machines and lolitas under the auspices of a retro trend that revisits the atomic age. Trying to surf on that wave and hit the charts, a bunch of producers (Stéphane Berlow, Laurent Stopnicki, Bernard "Black Devil" Fèvre, Johny Rech, Jean-Yves Joanny ...) will spot their talents amongst friends, in a travel agency or at the local bar. These virtual stars are called Cecilia, Laurent, Sonia, Janou, Fabienne, Anne, Arielle or Ronan, not even 20 years old, and often leaving just an overexposed photo and their first name on a single as the only memories of their swift passage in this particular musical story. It took all the love and sweet madness of Vidal Benjamin to bring them back in the light of day.

Clovis Goux

Aggelos Baltas is a veteran of the global electronic music scene, responsible for a handful of celebrated EBM 12”s as Dream Weapons, and a particularly heady and open-ended brand of krautrock as Fantastikoi Hxoi. His newest project, Anatolian Weapons, was conceived as a way to bring together these two seemingly mismatched concepts, with the polyrhythmic percussion and wailing tones of Greek folk music serving as their unlikely bonding agent. His output garners praise particularly around the Golden Pudel scene, such as Vladimir Ivkovic, and Phuong Dan. Lena Willikens, from the same circle, included Baltas’ track “Disillusioned” on her Dekmantel Selectors compilation in 2018.

But where much of what Baltas has released as Anatolian Weapons is instantly recognizable as dance music, To The Mother Of Gods—Baltas’ debut album for Beats In Space—is something else entirely. Created in tandem with Greek folk musician Seirios Savvaidis, it is a work of simultaneous collaboration and subtraction whose meticulous construction becomes more apparent with every listen. An album-length exploration of what happens when the principles of dance music are applied to pre-digital musical modalities. It is a record of psychedelic folk music that has more in common with Kikagaku Moyo, Minami Deutsch, and the Habibi Funk label than it does with anything else Baltas has produced under any alias. It’s difficult to imagine this music in any kind of club setting.

And yet, it’s very much the work of a DJ. Baltas initially heard Savvaidis’ music through a friend, and was absolutely amazed. “It was his very esoteric, pagan [music and] beautiful lyrics that grabbed me,” he writes. Seirios is a composer and performer of traditional Greek folk music with a growing discography of regional psych-rock gems. Baltas reached out to collaborate and the seeds of To The Mother Of Gods were sown.

Savvidis contributed stems of ten songs, which Baltas deconstructs and rearranges with appreciation of the ancestry of their lineage and of the deceptively ancient eerie, droning qualities inherent in the style. Occasionally augmenting Savvaidis’ recordings with his own, Baltas treats these elements as if raw materials for an architectural process.

To The Mother Of Gods showcases Baltas’ arrangement skills. He treats Savvaidis’ songs as landscapes, filling them with slanted, droning light and setting the singer’s vocals in dead center. His years behind the decks have given him an intuitive understanding of dynamics—drums crest and recede like tides, snippets of bassline repeat and swirl. He knows how to entrance, and when to push the music from the head to the body. Opener “Taratchi Katarratchi” (“Stormy Cataract”) is sung as a spell to ward off the fear of death, but Baltas’ orchestration demonstrates that dancing is an equally effective way of dispelling the darkness. The beat he assembles from Savvaidis’ playing recalls the late-night ecstasies of Primal Scream circa Screamadelica.

To The Mother Of Gods is a reminder that folk music and dance music are both powered by their audience as much as the musicians themselves. Savvaidis’ lyrics echo pagan Greek themes, touching on what Baltas calls “the magic of nature.” At times, as on “Kalesma” (“Invitation”), this can feel incantatory. Savvaidis chisels his vocal melodies into hard, clipped syllables, their cadence recalling Gregorian chant, and yet Baltas cloaks these details in washes of distortion. “Ston Stavraito” (“In Stavraithos”) is delivered with a lamentive tenderness that Baltas swells into a prideful stomp, immersing Savvaidis in marching drums and distant vocals that form a resilient protest-song. To The Mother Of Gods is a testament to the ongoing and innate truth that music can take us beyond ourselves. That repetition and drone can shepherd us to a liminal space beyond thought and rationality, where the wall between perception and reality does not exist. Call it spirit, if you want, and watch as it courses its way through modern-day dance music, mid-century psych, and the ancient sounds of the anatol.

Anatolian Weapons’ To The Mother Of Gods will be available from Beats In Space on June 14, 2019 in limited vinyl and unlimited digital forms.

Artist Highlights
• Aggelos Baltas is an Athenian music producer creating and Djing under the monikers of Anatolian Weapons, Fantastikoi Hxoi, and Dream Weapons.
• The Anatolian Weapons moniker is an outlet for Baltas to explore global music—from African to Anatolian and Middle Eastern, while also incorporating sounds from his home country of Greece.

Endless Revisions- Chloé's first LP in over six years - saw the musician turn a new leaf in her creative journey. Not content with pushing the boundaries of her creative output with this wider palette of an album, Chloé released Endless Revisions Live, which saw the producer graft the new material and inspiration that came out while playing live on stage back onto the album's compositions. Following The Dawn and Recall, it was time to deliver other versions of the album's tracks. Enter this four-remix EP, imprinted with the almost-opposite horizons of top-shelf producers.

Over the last decade, we’ve come accustomed to Jason Letkiewicz releasing material under a dizzying array of aliases, each utilized to explore a different side of his multi-faceted musical persona. Now, some 14 years after he made his recording debut alongside Ari Goldman as Manhunter, Letkiewicz has joined forces with Into The Light Records to release his first album under his real name.

The Reflecting Pool sees Letkiewicz exploring the uncomplicated and uncluttered in the pursuit of pure aural beauty. While his recent album as Opposing Currents was dense, dark, urban and industrial, The Reflecting Pool is stripped back, quiet and melodious. The contrast between the two projects is marked, with The Reflecting Pool drawing more on Letkiewicz’s love of crystalline ambient, slow burn synthesizer soundscapes, early ’80s library music and the kind of obscure electronic new age music that has been a hallmark of Into The Light’s releases to date.

The set’s 12 tracks gently ebb and flow, with Letkiewicz making great use of dusty old drum machines, effects units and a range of vintage analogue and digital synthesizers. It’s a set-up that results in a range of complimentary mood pieces and interludes, from the delay-laden military drums and lilting lead lines of “Out of Body Experiences”, to the drowsy, sunrise bliss of “Sunspot”, the bubbling Tangerine Dream style shuffle of “Mind Awake Body Asleep” and the outer-space atmosphere of “The Kill Fee”.

Throughout, Letkiewicz showcases his seemingly intrinsic grasp of mood, atmosphere and melody. It can be heard within the glacial guitar motifs, occasional beats and elongated chords of “The Reflecting Pool”, the rhythmic bustle of “Numb Drums”, the glassy-eyed melancholia of “Arhythmia” and the cinematic paranoia of “Burning Off The Morning Fog”. It’s also evident amongst the classically beat-less ambient of closing cut “Weightless”, whose alien electronics, effects-laden pulses and opaque chords recall established masters of the genre.

With The Reflecting Pool, Letkiewicz has provided us with a much-needed dose of stress-free musical escapism, at the same time offering hope that in these troubling times, love may still save the day.

Dutch producers Mindmapper & Fre4knc team up to deliver the 'Martial Manners' EP in celebration of Translation Recordings' tenth vinyl release, which comes on a visually stunning piece of crystal & transparent white vinyl! Up first is 'Collessius,' whose heavy-rolling bassline rushes in with the
force of a tsunami, leaving a wake of dancefloor destruction in its path. 'Shutter Angel' is a futuristic track where tight, snappy breakbeats slingshot back and forth between an electrifying bassline that surges across the airwaves like a beam of focused energy. Mindmapper & Fre4knc
delve into darker territories on 'Fenryr,' whose gritty atmospherics and subterranean low
frequencies deliver a unique and immersive listening experience. They close the EP on a deep, meditative note with 'Mind of Steel' (digital only) where drum edits slice through growling bass riffs with blade-like precision. The 'Martial Manners' EP strikes the perfect balance between dancefloor and experimental to carry on Translation Recordings' ongoing mission to bridge audiences with quality music that can be enjoyed in all listening environments.
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Translation Recordings is proud to unveil its summer 2012 project capturing all moods sublime with the 'Universal Grooves LP'. A limited press on transparent blue vinyl, this special edition 12inch showcases a diverse sampling of Translation's full album that will not disappoint. The A-side brings the thunder showcasing the heavy hitting, rolling and dubby sounds of Loxy and Resound's 'Civil War' and Theory's calculated genius behind the ragga and amen tear-out, 'Final Confrontation.' Flip to a switch in vibe as DBR

The Analogue Cops are back on Memento, after their acclaimed remix of Francesco Farfa “Synchronicty 13”, with “Lucretio versus Marieu Vol. 1”.
This will be the first chapter of a series dedicated to a tidy compromise-less selection of their most groundbreaking club oriented tracks. On Lucretio’s side, “Accelerating Osc” is a minimalistic relentless techno cut that explores algorithmic sequencing and the boundaries of real-time delay manipulation in Kyma; pounding away, “Neon 3” is a furious peak-time ride with jacking drums, sharp hi-hats and worrisome hypnotic synthesizers.
Marieu’s side is a slower paced groove affair focused on his distinguishing seductive use of sampling: “Alterate Indigo” festive bass line and enthusiastic cymbals blossom with an enchanting blues piano and an handful of filtered quirks, while “Room Mate” combine hot vocal hooks and a funky bass-line with a massive kick-drum.

La Danza del Agua" (The Dance of Water) is an eclectic musical journey through Latin American experimentalism - a sort of unofficial companion to the Anthologies of Atypical Portuguese Music volumes but focussing on South American music themes instead.
Originally released as two volumes on digital and tape versions on Papaki Records (2017, Argentina), this new concise edition presents 12 of the original 38 artists. Not to be seen as exhaustive document representing the wide styles of the even wider continent, it hopes to showcase some of its more marginal music with artists from a variety of countries such as Argentina, Mexico, Peru, Bolivia & Venezuela.

As such, this compilation shines a wider light on new and exciting sounds from the vast continent with a wide range of styles such as digital cumbias, sound experimentation, freak folk, noise, exotica, danceable beats and much more, mixed together to give life to the continuing strange world of contemporary South American experimental music.

A logical continuation of our New Weird South American explorations after releasing works from Meridian Brothers, Romperayo, Chupame El Dedo and a tape batch on Sucata sister label featuring Panchasila, Los Siquicos Litoraleños, Bardo Todol, Tomás Tello and more.

Cardinal & Nun from Marseille, France delivers his debut ep for L.I.E.S. with a four track no holds barred synth punk assault. Injecting energy into the dead, channeling chaos and turmoil into his music, he rips through four tracks with a rough yet somehow elegant approach...raw to the bone yet flawlessly arranged. Synths that sound like guitars, guitars that sound like synths, metallic drum machines with a human touch and deranged vocals fuel this record til the end. Think Screamers meet Chrome meet Liasions with a healthy dose of southern california gutter punks on meth and you're in the right place. Marseille is where it is all happening right now and this is a documented confirmation of it!

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

Eduardo De La Calle s recent Distortion Theory III EP on Abstract Reasoning was another impressive piece of work from the prolific producer. Now come four diverse remixes of the title track, each with their own unique twist on the warped machinations of the original.

J - Keel kicks off proceedings with a droning, tense interpretation which toughens up the original considerably. Reversed chord stabs pitch up and down as ominous bass bores a steady course through the track s underbelly, with ticking percussive elements ensuring a motorik pulse.

The masterful Roman Fl gel teases out the chime motif of the original and supplements them with muted marimba-esque arpeggios for a soothing, underwater feel. The beats are kept to a succinct minimum, with subtle swathes of strings bringing a majestic, dreamlike tinge to this refined, minimalistic production.

Fellow Spaniard ORBE brings an ambient feel to the hazy, delicate melodics of his mix, with the delayed, warped synth patterns that struggle to be heard and beautiful atmospherics recalling Carl Craig. Moments of distorted pressure seep through and remind us of the buggedout flavour of the original.

Holland s Conforce rounds things off with plump low end throbs and sparse synth pulses reminiscent of Basic Channel, with gently shuffling hi-hats underpinning the murky yet warm textures and broad, heavily reverbed swathes of chord drama.

Southern Lord have are releasing a deluxe reissue of the quartet’s 2013 album Forever Becoming, featuring vastly improved mix and mastering of the original songs replete with a revised version of the previously Japan-only bonus track “Bardo.”

Initially recorded by Chris Common under optimal conditions at Chicago’s Electrical Audio, Forever Becoming was mixed in less-than-ideal circumstances at a makeshift studio in Los Angeles, yielding mixes that varnished the incredible tones generated during tracking. When the subject of a vinyl repress came up, Common, now helming his own proper studio, asked for another crack at mixing the album. The result brings a new level of low end depth, atmospheric clarity, and tight, punchy heaviness to the album.

Across almost 20 years, five full lengths, seven EPs, and hundreds of live shows Pelican have cultivated a chemistry that borders on telepathy, catapulting the band from basement shows in their native Chicago to outlier appearances at international music festivals including Primavera, Roskilde, Pitchfork, Bonnaroo, Roadburn, and Maryland Death Fest, and headlining tours across four continents.

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

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

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

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