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Never Ending Similarities sees MB return to his home base Frustrated Funk to do what he does best. Pushing the envelope while still keeping the emotive part of the music on the foreground. Interfusion Biamp and Never Ending Similarities are two relatively new tracks, both crossing boarders of various different sub-genres, telling beautiful little stories with their gorgeous strings and harmonized synth chords. But for most people the main focus will go directly to Demonia. A slowly building and uplifting techno track, already released on the digital version of his 2009 album Switches, Drawers and Washing Machines that we kept aside especially for this 12''. MB proves once again that he still has his own signature touch that makes his music such a treat and a recommendation to any connaisseurs of fine techno music. Hotness..!

The avant-garde composer and conductor Pierre Boulez was a titan of post-War experimental classical music. Born in the small cheesemaking town of Montrbrison in central France in 1925, Boulez studied at the Paris Conservatoire with the composer and organist Charles Messiaen and received private tuition from pianist Andrée Vaurabourg; after moving to the Marais district in 1945, he briefly studied with Schoenberg disciple, René Leibowitz, and further influence came from immersion in Balinese gamelan, Japanese classical music and African drumming, among other sources. Earning money by playing an early electronic keyboard called the ondes Martenot on theatre productions, Boulez soon became music director of the Renaud-Barrault theatre company (led by actor/direction Jean-Louis Barrault and his actor wife, Madeleine Renaud), leading to tours of Belgium, Switzerland, Britain and both North and South America. American composer John Cage became an ally, though they subsequently clashed over Cage’s commitment to the role of chance in his compositions, paving the way for an intense and lasting friendship with the German composer, Karlheinz Stockhausen, who arrived in Paris in 1952 to study with Messiaen. In July of that year, the pair attended the International Summer Course for New Music in Darmstadt, leading to contact with Italian composer Luciano Berio and other noteworthy figures. Then, in 1954, with backing from Barrault and Renaud, Boulez began staging a series of concerts of experimental music at the Petit Marigny theatre, titled Le Domaine musical. The pieces collected on this album are all taken from performances staged for the 1957 Domaine musical season, beginning with Berio’s “Serenata I,” conducted by Boulez, which debuted in Paris in March of that year; arranged for flute and fourteen instruments, Berio said that the idea behind the piece was for the solo flute to be confronted by continuously interchanging elements, rather than mere accompaniments or oppositions. Boulez’s own “Sonatine,” composed in 1946 for flute and piano, is a 12-tone piece that evidences Messiaen’s influence, with shades of Asian classical music in places; then, Stockhausen’s monumental “Zeitmasze” or “Time Measures,” a serial composition for five woodwinds, played in different combinations of tempos and speed, was partly inspired by Webern’s principles of homogenous and harmonic textures. Finally, Messiaen’s 1949 work “Cantéyodjayâ,” delivered by pianist Yvonne Loriod, takes it shape from the classical Hindu rhythms of ancient India, as with much of the composer’s oeuvre.

The larynx or voice box is a small organ located towards the top of the neck in humans and some other animals. Constructed largely of cartilage, it houses the vocal folds that allow for the manipulation of pitch and volume, which are essential for the phonation of spoken speech. It is also involved in bringing air to the lungs when we breathe and it protects the windpipe when we swallow. However, those unfortunate to experience the potentially fatal malignant tumours of laryngeal cancer will have their larynx removed, resulting in a traumatic loss of speech; thankfully, as this rare record issued by Smithsonian Folkways in 1964 demonstrates, removal of the larynx does not necessarily spell the end of speech for such blighted individuals. Instead, through developments in artificial voice creation, patients could learn to employ modes of vocal communication again. The album was recorded by physician Harm A. Drost at the Phonetic Laboratory of the Ear, Nose and Throat Dept of the University Hospital, Leiden, in the Netherlands, working under the direction of Professor H. A. E. van Dishoeck. As the advances were fairly new and surprisingly varied, Drost felt a phonograph album demonstrating the techniques would be useful for those in the field. The album thus features a narrator explaining aspects of several different techniques, followed by examples of patients employing them. Buccal speech (limited to certain consonants), parabuccal speech (collecting air in a space between the upper jaw and the cheek), glosso-pharyngeal speech (a method deemed obsolete where air is forced between the tongue and the palate), esophageal voice (made by reconditioning one’s esophagus via swallowing, suction or injection), various injection techniques and devices such as the larynxophone, pipa di tichioni and “western electric” are all explored here, along with other aspects of the larynx and its absence. Speech After The Removal Of The Larynx is definitely one of the strangest albums ever given a commercial release!

Schmer Records is proud to announce the upcoming EP from Liquid Asset. It is an entire rave on a 12 inch disk and has something for every stage. From the acid in your face of Wambulance to the bliss of Moon Beams ON Your Face. When not In Laboratory cooking up amazing tracks Liquid Asset is bringing them directly to your party. This EP also has the amazing Isabella providing an entire rave in a single remix. We're sure you'll enjoy playing it as much as we do releasing it.

Liquid Asset is the hardware techno project of Alene Marie, a Philadelphia-born,North Carolina-based producer with releases on New York Trax, Summer Isle, Primitive Languages, Jacktone, Acid Etch and now Schmer. A self-described nerd who started building electronics in 2010, she brings a scrappy, DIY sensibility honed in the noise / hardcore scene and hacker-spaces of Philly. Her punchy, loop-based and heavily rave-oriented mutations of classic dance cannon sounds, beamed out of a self-built rig of modified 303s, 909s, and 808s, have earned enthusiastic support from North American dance music underground institutions including Bossa Nova Civic Club, Hot Mass, and Sustain-Release.

Dutch Techno master Orlando Voorn has opened up his archive for the second essential instalment of an ongoing artist focused series brought to you by new imprint Above Board Projects. The compilation will be spread across 2 double 12" volumes and will feature tracks from many of Voorn's pseudonyms including; Fix, Baruka, The Ghetto Brothers, Mute & many more. We are proud to introduce the first of a 2-part archival collection entitled 'Diligence'. Each track featured on the compilation has been carefully selected and programmed in conjunction with Orlando Voorn and the Above Board Projects team. Voorn has an extremely long and storied career in making music and is severely underrated as a producer in our humble opinion. His DJ skills are, of course, legendary, with him winning the prestigious DMC mixing championships in 1986 in his native Holland and making a career as one of the country's leading Hip-Hop DJ's. As a producer he has long been linked to numerous legendary producers and releases, counting labels such as Fragile, Metroplex and more as homes for his output. His association and collaborations with Detroit have been the stuff of legend since day one and some of the music contained within these compilations celebrate that while showcasing some of the more overlooked tracks from the man's more than extensive catalogue. Part 2 opens with the minimalistic bladerunner Techno of Voorn & Juan Atkins' Infiniti classic 'Game One', a true modern classic, also featured is the rolling, paranoia inducing late night groove of 'Dream World' from one of Voorn's more obscure projects Complex, all showcasing a wide variety of styles and sounds. Flawless selections from the early 90's sitting alongside later productions only go to show how diverse and talented an artist Voorn is and how fresh and vital his music still is today. An essential collection for any serious techno lover. All tracks fully licensed and remastered with the full permission of Orlando Voorn. Remastering and lacquers by Curvepusher. Compiled and directed by the Above Board Projects team. Design and layout by atelier Superplus. 2019.

For over half a century, Takehisa Kosugi was one of the most unique and enduring figures in the Japanese underground. As an art student in Tokyo in the early 1960s, he joined the Fluxus-styled performance unit Hi Re Centre and then founded the improvisational ensemble Group Ongaku, but his most legendary project was The Taj-Mahal Travelers – a multicellular organism that included Kosugi, Ryo Koike, Yukio Tsuchiya, Seiji Nagai, Michihiro Kimura, Tokio Hasegawa and sound engineer Kinji Hayashi.

With a penchant for long psychedelic jams (some lasting 12 hours or more) The Taj-Mahal Travelers lived up to their name. Touring in a Volkswagen van across Europe and Asia in the early '70s, they eventually reached the actual Taj Mahal in India. Upon their return to Japan, they held a concert to raise more touring funds and released their very first recordings. Their debut album, July 15, 1972, would extend the band's matter-of-fact titling: all the tracks were named precisely for the times they began and ended.

With a grab bag of instrumentation (electric violin, double bass, santoor, vibraphone, harmonica, radio oscillators, sheet iron, etc.), The Taj-Mahal Travelers weave together mesmerizing waves of sonic texture. Featuring longtone concepts that Kosugi discovered while working with sound generators in New York in the mid-'60s, July 15, 1972 remains just as much a collective tone poem as psych workout. These leader-less sounds coalesce into a unified whole that feels both subconscious and sublime, as if the waveforms bypass the listener's ears and land directly inside one's synapses.

Before an upcoming album in 2020 on Heavenly Sweetness, Mama is the first single. A track in which the balafon’s woody resonance, the meditative flute and the female choruses return to the Creole roots of David, recall the memory of his Caribbean grandfather exiled to New York but, above all, a title dedicated to his grandmother, who after the last soaring electro-disco, she comes to declaim the text on the ultimate measures. David Walters will have thought of it, conceived and realized in close collaboration with Patchworks. Then, in the wake of the single Mama released in the month of each of them took the title, isolated himself in the studio with instruments and machines to come out only with a total reinterpretation, but especially personal, of the title. Hammering bass drum and snare drum bursts, David has entrusted the direction of operations to the rhythmic, and it is one after the other that digital elements were invited to transform the original maternal softness into a boiling soundsystem. Synths their strings on the hum of the bass, the hypnotic power of the riddim remains.
Two remixes, two atmospheres. The Patchworks scene is set in a jazz-funk setting, an heritage from Roy Ayers and Lonnie Liston Smith. Powerful drum, enrobing bass, the Fender Rhodes becomes a soloist, motivated by this irrepressible groove, first become a soloist. And that the meshes leave the hands of the balafon player to pass in those of the vibraphonist.

Field Recordings, carefully chosen percussion, electronic spice and acoustic ingredients. This is the foundation for every recipe that Bolivian Belgian artist Suso Perez aka Susobrino creates. In 2018, he presented his debut EP “Mapajo” on Global Hybrid Records. Since then he has won several awards; the “Champion Sound Beat Battle” and “Most Promising Artist” at the Red Bull Elektropedia Awards of Belgium. He introduced his creations to numerous festivals in Belgium and abroad.

His new album “La Hoja de Eucalipto” brings alive a more energetic and aggressive part of Susobrino and presents a work focused on the ethnic and world sounds, mixing his masterful percussion with electronic beats to create a unique and distinctive sound. For fans of the organic electro-latino sound of Chancha Via Circuito, Nicola Cruz and Dengue Dengue Dengue.

In this album Susobrino created a story of 5 beings looking for answers in their individual lives.
The first track “La Hoja de Eucalipto” is the ceremony right before the journey. It’s a three part composition to set the tone of the entire album: question, answer and interpretation.
“Despertar” (wake up in spanish) is the realisation of the journey these beings are getting into. The guitar interprets the rain as a cleansing. A fresh breath in, breath out.
“La Marcha” is the physical start of a long journey. They will be walking for days, weeks or even months. The exciting, courageous travellers leave their families and friends towards unknown lands that they never dared to enter. Many days of walking pass and they reach a new habitat. A dense jungle.
“Dispersion”. This brings tension and fear out of the 5 travellers. A 6min long repetitive song that interprets walking in circles. Everyone gets separated from each other and they question with doubts of getting out of the unknown jungle. Eventually, the 5 beings survive the unknown jungle. Exhausted and lost, they keep walking with no idea where to go. That’s when they stumble upon “Polahimán”. A mysterious entity who’s very eager to help and knows exactly where they have to go. With riddles and poems, he gives them directions.
“El Desierto de Pazmancú” A new habitat. An endless dessert. Yet, the beings are refilled with courage, crossing the entire dessert. That’s where Polahimán is waiting for them.
“El Enfrentamiento de Polahimán”. This is the endboss; The Final Chapter. The 5 grown travellers find themselves in many challenges. This is where you, as a listener, can interpret if it’s a good or bad ending. Or an open ending?

Susobrino plays and records everything in his humble studio in Belgium. Percussion, quena (flutes), guitar, charrango, field recordings and a yamaha dx9.

The Small Faces are incredibly important to us here at Acid Jazz.
The epitome of mod style, with a love of great American soul music which they made their own, turning out some of the greatest records on God’s green earth. There’s also a personal connection as well with label founder Eddie Piller’s mum Fran being in charge of the original Small Faces fan club. So it is with pure delight and unadorned joy that we are releasing our exclusive EP ‘Four To The Floor’ In addition to their joyous and timeless songs the group also had a killer line in instrumental brilliance, channelling Booker T & The MGs through the explosive prism of mod and making us all dance. The four finest of these, ‘Grow Your Own’, ‘Almost Grown’, ‘Own Up Time’ and ‘Plum Nellie’ have been gathered together by Tosh Flood (Pugwash, The Divine Comedy) to create this killer EP.

Approved by surviving band member Kenney Jones (who also pens sleeve notes) and put together as part of Rob Caiger’s critically acclaimed Small Faces reissue series, ‘Four To The Floor’ has been mastered by Nick Robbins directly from the original Decca tapes with lacquers cut by Barry Grint at Alchemy Mastering - and sounds astounding! For this release we have revived our Rare Mod Series so the disc comes in a laminated flip-back sleeve, resplendent with a Tony Gale photo of the group in their prime 1966 glory. Kenney is available for selected interviews. The EP will be launched at the Modcast Weekender where Eddie Piller will be interviewing Kenney.

The re-launched Secretsundaze label continues to spread it's wings with the signing of Lisbon born, London based Silvestre.The push and pull of influences from his own and adopted countries have combined to find him a unique sound that embraces rap, R&B, reggaeton as well as breaks and woozy pads from UK hardcore and house. Mixing samples, his own voice and continuing the fusion of reggaeton and breakbeat/techno from previous releases, the Silvestre Is Boss EP aims for a hazy vibe.AAAs Silvestre explains: The pad and synth choices on this EP are picked specifically to sound dreamy, a dream where you arrive at the club but the party is already finished, which sucks." Silvestre began making his name in 2015 with his first release on the Diskotopia label from Tokyo and followed that up with appearances on Creme Organization and Paraiso. He then dropped the killer 'All The Things' EP of mid-tempo party bangers on his own Padre Himalaya label which reached the top 30 of Phonica's illustrious Singles of the Year list. The Silvestre Is Boss EP is his strongest work to date with 5 tracks of quality floor and headphone directed material that perfectly balances the need for playful melody and harmony with tough grooves and synthetic ambience. Drafted in on remix duty is Secretsundaze fave D.K. (Antinote records) who takes EP heater 'Fuego', dialling down the breakbeats for a smoother trip.

‘Synth Expressionism/Rhythmic Cubism’ LP from Chicago’s Jamal Moss aka Hieroglyphic Being is a collection of idioms that have no past and no future, his jarring use of polyrhythmic polyphony imbues a sense of timelessness.

The prolific catalog of Moss’ covers many musical dialects from his hometown and beyond. Never standing in one artistic sphere for too long, this adventure for On the Corner Records sees Hieroglyphic Being exploring a multitude of expressions of the American Avant-garde.

Abstractions Of The Future Past — Afro-Cubism: The Designation, conceived by an African With A Mainframe — An Etude Of Effigy — A Hieroglyphic Being.

Rhythmic Cubism: In this ‘Dissertation Of Disorientation’ Neal Andrew Emil Gustafson temporal considerations are put aside as polyrhythmic propulsion is the current flowing through the work. As prelude the fastidious ‘Rhythmic Cubism’, Moss enacts a flurry of white noise and musical coda as it phases in-and-out of synchronicity.

The disjointed dance of an alternative Black Music, ‘The Spiritual Or ‘Electromagnetic Worlds’ takes the meter down a fraction to exonerate a granular groove of visceral refracted complexity. Sonorus static sits alongside spastic shards of synthesis to reveal a melancholic medley before its conclusion.

‘Apocrypha’ collages distinct rhythmic source materials in an entrancing abstraction of ‘Hypersonic Hemiola’. An assertion of Art Blakey proportions. Perpetually pushed forward through the building of distorted percussion, Moss precludes into syncopated synapsis before and end of reductive symmetry.

Evolving into a studdered off-kilter groove, ‘The Redemption Project’ flows as a dissipating organ medley dissolves into a deluge of layered sonic textures, creating an indiscernible metric center before fading to a distant vanishing point.

Departing with a common-time ‘Timbuk2’ takes off like a classic Chicago Acid track, then makes a left turn towards the center as it drives the rhythmic motion into a dystopian dreamland, as the sax line surges forcing the track to break free from it’s charted course.

The Fragmented Fantasy of The Synth Expressionism/Rhythmic Cubism LP is a conclusive work that has no end, a conundrum of conceptual calculated improvisation. Drifting through time, this fragmented abstraction of Afro-Cubism leaves room for posterity, as each listen summons a new perspective on the suite. Something ever so common in the work of Jamal Moss. Charting new sonic directions, the very nature of its precedent makes it a truly Hieroglyphic affair.

Words By Neal Andrew Emil Gustafson

Destiny is made. Realised. Driven by the acts of vision. Hireroglyphic Being is a seer. Atomic resonance echoing from the big bang defies the conceptual reality of purity. The nuclear static of ‘white noise’ is HBs canvas. Channeling poly rhythms into the universe. Experience, repetition and eternal decay. From purity back to the absolute by way of a deluge of slurry across time. Infinite layers of distortion and refracted complexity. This is HBs canvas. Sound of eternity channelled through a bass bin, represented by its own impure reflection and fragments. Always more than it's whole but never as was before.

This album seeks to reach beyond ideas and emotions, beyond the comprehension of a human archetype. Beyond ultimate history, forwards and back. To ends and a singular beginnings. Timbuk2 is the frenetic intersection where the call and response of these ideas lock and dissipate back into the void.

While the first volume of Tigersushi's new compilation series showcased a rather cosmic and synth heavy side of all things ambient, this volume 2 goes in many new directions, with more experiments towards electro = acoustics and musique concrete, another side of ambient that has a long French lineage - the term Musique Concrete, a type of "acousmatic" music was invented by pioneer Pierre Schaeffer in 1948 who influenced numerous other French composers such as Pierre Henry, Laurent Bayle etc.

Attraverso is the debut album of new ambient trio PCM. The band consists of Francesco Perra (P) who also records solo as Perry Frank, Pop producer and sym- phonic ambient composer Matteo Cantaluppi (C), and sound designer/engineer and PCM creative director Matteo Milea (M). The album was conceived after a brief studio session exposed that each member brought something unique to their collaborative take on ambi- ent's many sub-genres. Attraverso, in concept, is meant to mimic four long-form journeys through human inner consciousness utilizing an amalgam of drone, modern composition, guitar ambient, and Koyaanisqat- si-eque arpeggiated kosmische musik. Each track title is the word "Attraverso" with three of the four being represented in different languages.
Attraverso is out October 18th on limited edition 180-gram ultra clear vinyl and gatefold compactdisc.

Director Amanda Kramer’s prompts for composer Ben Babbitt’s soundtrack to her enigmatic film Paris Window read like magnetic fridge poetry – “warped ambient bumper muzak tension” – but the results skew closer to some hypnagogic contemporary noir: lulling, low-lit, and laced with lingering dread. Electronics, strings, and percussion swoon and seethe in heady mirages of dreams and delirium, romance and menace. The narrative it accompanies is equally opaque and out of time: two eccentric siblings psychologically unravel through divergent fixations, one obsessed with the hypnotic infomercials of a mysterious self-help institute while the other falls in love with an ambiguous doppelganger.
Babbitt’s background scoring experiential video games (Kentucky Route Zero) and collaborating with exploratory songwriters (Angel Olsen, Weyes Blood, Eartheater) is evident in his versatility and finesse, flowing fluidly between minimal and maximal modes. Like all dynamic film music, the pieces weave a story of their own. Serene synthetic swells decay into murmuring television static and eerie vocal fragments; close-mic’d drones turn acidic then claustrophobic, mirroring sleep paralysis transformed into panic. Babbitt builds a window into a surreal world, seen through shadows and smeared, street-lit glass.

"Re-Calibrate", the companion piece to Donoso's 2018 acclaimed album "Calibrate" continues to obfuscate any clear definition of genre or style and continues to push his music into stranger, more complex and extreme territories. Equal parts tender and twisted, cynical and honest, beautiful and obnoxious, ‘Re_Calibrate’ shines through as a major point in the composer’s discography – and provides a glimpse into the new directions being taken. ‘Re_Calibrate’ is a challenging listen; void of any trendy tropes or appeal for consumers of watered down, homogenized and dogmatic electronic music.

“Quicksilver frequencies, gravelly formants and shimmering, mirage-like washes of tone. Sometimes his sounds feel like signals picked up by a radio telescope, or pure electricity poured through a sieve” Pitchfork

SNK and Brave Wave Productions are proud to reveal their third collaboration : Generation Series 09 - PULSTAR for CD and vinyl.

Originally released for NEO GEO in 1995, 2D shooter PULSTAR became a cult classic among SNK fans, featuring fast-paced gameplay, graphics and music. The soundtrack is composed by ex-SNK composer Harumi Fujita.

PULSTAR The Definitive Soundtrack features the entirety of the original music remastered and restored to the highest possible quality, in collaboration and consultation with SNK and original composer Harumi Fujita. This re-release features both the Neo Geo AES and Neo Geo CD versions of the PULSTAR soundtrack, giving fans a choice of which arrangements to listen to.

PULSTAR The Definitive Soundtrack on CD and vinyl will feature a booklet containing artwork from the SNK archives, in addition to in-depth track-by-track liner notes written by composer Fujita herself. Fujita recalls her feelings on each song, detailing the methodology in which they were created and what inspired their direction, which includes historical events that occurred in Japan during the mid-1990s.

PULSTAR The Definitive Soundtrack features an exclusive cover drawn during the game’s development but has never been publicly revealed until now. Fans of the original package design will find it reproduced faithfully in the center gatefold.

The vinyl release will come on 2 LPs, with Disc 1 (Sides A and B) dedicated to the Neo Geo AES version and Disc 2 (Sides C and D) dedicated to the Neo Geo CD version.

©SNK CORPORATION. All rights reserved. Licensed for use by BRAVE WAVE PRODUCTIONS.

Brian Kage’s fourth release on Michigander Music “303 in the 313 EP” features 4 uniquely gritty and acid-soaked manifestations of mid 90’s Detroit. This exercise in analog monosynth mastery directly connects the grittiness of the urban landscape with the raw spirit of creative freedom.

Detroitasaurus starts the record off with a subtle prehistoric soundscape, steadily building rhythmic tension using hypnotic toms and melodic drum patterns. Razor sharp 909 hats hammer down there through the sonic mist as the journey continues to build. Shrieking jurassic trumpets cap off each of the peaking climbs to reveal metallic broken-down structures that are bound together with oscillating 303 threads and a grooving bassline.

Van Dyke Vessel features an atmosphere of textured percussion and metallic analog synths that wind around a deep square bass groove. Suddenly, truncated growling vocal samples start to collect into the catchy phrase “Let’s take this to outer space”. Swelling pads give way to squealing acid as this track transports dancers to a nostalgic melodic dimension.

Delray Dance undulates with thick bass slowly building into a body focused groove as it winds up and gives way to a rugged 303 saw with fluttering Spanish style synth stabs. Classic Detroit pads continue to swell, adding to the tension and leaving enough sonic space for melodic mixes in and out. This tune is the perfect tool to transition between genres.


Zonin breaks the mold by combining old-school electro vibes with a heavy dose of acid and freestyle hip hop. Heavy broken beats are combined with a rockin’ nostalgic bassline and layered party vocals that transports you to the center of the dancefloor on the best night you’ve ever had.

Over the years Kid Loco has become a reference in the French electronic music landscape. Firstly, known for being an activist in the French underground music scene, he cofounded Bondage Records in 1982. With Bondage Records, he introduced several bands to the French alternative music scene like Bérurier Noir, Ludwig Von 88 or Washington Dead Cats. Alongside his activity of label manager, he composed and released under the name of Kid Bravo, an experimental music at the crossroads of rock and electronic. Astonished by the beginnings of the instrumental hip-hop of DJ Shadows, Jean-Yves Prieur aka Kid Loco experimented new ways of composing music with the sample technic in his own studio near Orly. This new musical adventure led to the birth of a mini album Blues Project released in 1996 on Yellow Productions.

Exploring further his own psychedelic universe, he released his first album A Grand Love Story in 1997 under the name of Kid Loco. Acclaimed both by the French and international music review, “A Grand Love Story” established itself as an iconic album of the trip-hop and electronic music scene. During the two years following its release, Kid Loco continued to invent his own musical universe nurtured by multiples influences. In 1999, he released Jesus Life For Children Under 12 Inches, an album featuring thirty remixes he composed for French and international artists (Pulp, Talvin Singh etc.) as well as his mixed compilation for the famous DJ KICKS collection released on the German electronic music label, !K7.

After a first European tour, Kid Loco returned to his studio, nicknamed “The Lafayette Velvet Basement” and composed his second album Kill Your Darlings released in 2001. Compared to his previous compositions, Kill Your Darlings features more tracks without sampled vocals. Eager to explore new musical horizons, Kid Loco produced in 2004 the original soundtrack of the American movie The Graffiti Artist directed by James Bolton (Narrative Feature Sound Award – Austin Film Festival 2003). Cruising to new musical galaxies, Kid Loco continued to compose and released the album Party Animals & Disco Biscuits in 2009 followed in 2011 by the album Confessions Of A Belladonna Eater. In addition of his albums, Kid Loco continued to experiment with the production of compilations celebrating the trip-hop music with “Trip-Hop Classics” released in 2010 followed by a second opus released in 2013 on Wagram Music.

2019 marks the return of Kid Loco with his track Here Comes The Munchies selected in the original soundtrack of the show Vernon Subutex (Canal +), the vinyl reedition of his cult album A Grand Love Story and for the first time the digital release of the album Confessions Of A Belladonna Eater with exclusive remixes.

After writing pop-based music under the name Renkas, Sasha Renkas searched for a more carefree and direct approach to making and recording music. His project Antenna is the result of that. He gets his sounds from the unexpected errors and limitations of hardware equipment from the '80s and '90s. Under the Antenna moniker, Sasha has released EPs and singles on labels like Clone, Pinkman, and Beats in Space. This time, Antenna is back with a full-length album. He recorded hours of jams in his studio in Rotterdam and then took a small set-up to Kiev to edit and finish the tracks there. The result is 'Quiet fx', the first release on new label World Of Paint. On 'Quiet fx', Antenna offers melodic soft house tracks with touches of electro and uk breaks.

Leifur James released his debut album A Louder Silence in October 2018 on Late Night Tales original artist label Night Time Stories; home to Texan trio Khruangbin and the iconic Late Night Tales series. The record attracted immediate support from Pitchfork, KEXP, XLR8R, Mixmag 8/10, Future Music UK 9/10, Electronic Sound 9/10. In April 2019 ‘Wurlitzer’ was the first piece of music he revealed from a new creative period after those sessions. The video was created by animator/director Balázs Simon, premiering on Boiler Room and was nominated for the BMVA Berlin Music Video Awards in the experimental music category, airing at the British Film Insitute BFI Southbank London.

Now in September 2019 he has prepared a remix EP 12" of the debut album A Louder Silence, featuring a slew of the finest musicians in electronic music today. Blueberry Records founder FaltyDL aka Drew Lustman comes first with a deep, skipping 2-stepping reversion of Mumma Don’t Tell. Bruce coming off the back of his hugely well received debut album for Hessle Audio has a “resymph” of Osho in typical mind-bending austere electronic style. Whities producer and Tirzah/Mica Levi collaborator Coby Sey reconstructs Suns of Gold with his sampler, and also accompanying it, is Leifur’s own remix of suns of Gold.

Albert Tales release their two debut singles as a double A-side funk 45". Based in Israel, Albert Tales are a neo-soul, funk and soul band. After developing a cult following in Tel-Aviv they were picked up by UK Label Freshly Squeezed - and shortly after attracting the attention of Craig Charles, Disco Freaks as well as gaining direct support from local DSP platforms such as Spotify Israel and Apple Israel. Although only their first ever release, the quality of the music and the noise building around them hints towards their future potential. Released as a dinked 7 inch and with limited supply - we hope to see this early product transition into a collectors item down the line. Albert Tales will be entering the european festival circuit next year with plans forming for the UK, Italy and surrounding nations.

The first in a new collaborative series between Theo Parrish & Prime Direct Distribution unearthing some of Theo’s most sought-after edits, backed with the fully licensed original, both remastered and cut loud on either side of a 12 inch. Kicking things off we have one of Theo’s most treasured cuts, his ‘Ugly Edit’ of Made In USA - Never Gonna Let You Go, bootlegged endlessly in the past and racking up prices of up to £144 on Discogs it’s a high time an official reissue came around.

As iconic an edit as they get, ‘Never Gonna Let You Go’ encompasses everything great about Theo’s energy behind the decks - extending grooves for longer than anyone else even dare, working the EQ’s like a god and throwing in a bit of that raw magic that only he knows how. Taking the original’s sumptuous breakdown, Theo works it into a spirited, high energy disco workout looped into a near 10-minute stomper, big on the bass and brass fire whilst keeping the vocals to short and sweet snippets.

On the B side the original ’77 Made In USA version is laid out in all it’s glory. Funk powered, horn-laden disco goodness with breath-taking vocals from the Stateside troupe.

Glenn Astro conquers new territories with Naturals, fusing elements of Balearic and leftfield house with tribal and acid sounds on Tartelet Records.

In an impressively short amount of time, Glenn Astro has created a musical universe that’s entirely his. With full-length releases making waves on Ninja Tune and Apollo Rec, the sister label of R&SRecordings, the Berlin-based musician assembles a perfect pastiche of influences on his forthcoming EP Naturals, coming out on Copenhagen’s Tartelet Records this September.

Exploring the outer fringes of the Balearic sonic spectrum, Naturals delves into unexpected sound territories without losing touch with planet home. Sub-heavy drums mix with private oceanic field recordings, futuristic synth, and effect pedal workouts, delivering a four-track EP that is novel but honest to the bone.

“I tried not to take any direct influence from any particular music I was listening to,” Glenn Astro says. “Instead, I tried concentrating on where the instruments and effects were taking me, experimenting with different ways of using the gear that I know so well.”

Inspired by Sicily’s natural beauty, the juxtaposition of its rough landscapes and clear blue waters, Naturals takes listeners on a journey into unfamiliar sound; a conscious diversion from his usual style and yet an instant dance floor cracker infused with the artist’s signature panache.

“I made most of the record while being in Sicily,” he says. “In retrospect, it is easy to hear that the volcanic landscapes contrasting the idyllic beaches were a major influence.”

The EP opener “Naturals (Unsweetened Mix)” is a beautiful freak – a peak-time cut – starting out with tranquil ambient melodies and water drop percussion followed by a beasty acid line and slick drum programming. Next, “Naturals (Dance Mix)” slows it down to 116 BPM, taking a completely different route with a hypnotic dance between tribal and dub – a wonderfully weird closer.

On the flip side, “Slarutan (Pristine Mix)” emerges au natural with Sicilian field recordings, layered pads, playful melodies, and crisp drum programming. Saving the best for last, “Slarutan (Water Mix)” dips its toes into the early days of dance music, shifting into futuristic, ambient dub territory with divine melodies and filtered percussion.

“This one is for the plants and the trees. Return to planet Tartelet,” Glenn Astro says.

Transversales Disques proudly presents the first LP reissue of Défense de savoir (L’uomo a destra basso nella fotografia) original soundtrack written by italian composer Bruno Nicolai.
During the Giallo boom of the early 70’s, a lot of French film directors started working with maestro Ennio Morricone. French director Nadine Trintignant decided to hire the maestro’s
musical orchestrator and collaborator Bruno Nicolai to compose the score of her fourth movie, a political thriller starring her husband Jean-Louis Trintigant. Recorded at Morricone’s Ortophonic studio in Rome, this OST is undoubtedly the most
underrated Bruno Nicolai’s soundtrack, probably because it was only released in France at the time. Presented here with previously unreleased tracks as an alternative to the rare original
french pressing. Limited Edition. Remastered from the original master tapes.

Mais Alors !!?... c’est à l’envers is the first release of new French Label ICI BIENTÔT (Here Soon ...), launched by Paris Fleamarket’s Record Shop, Geminicricket. On the Menu... Suspended Time,
Unsung Heroes, Hidden Records and Next Door Marvels.
In 1983, NEF released their first and only album, Mais Alors !!?... c’est à l’envers. At that point, the band already had a long history, interwoven with that of various musical trends and alternative
movements from the late sixties to the early eighties. That’s certainly what makes this record so special and able to conciliate such different worlds as Electronic Prog, Film Score, New Wave …
The band’s destiny was most certainly tied to their native region, the South of France, an idyllic environment that attracted a number of musicians during the 1970s, allowing the group to attend many
concerts or share the bill with several groups that have gone on to become well known: Can, Ash Ra Tempel, Magma, Catherine Ribeiro, Zao, Chêne Noir, Art Zoyd …
Founded in 1975 by Richard Lorenzi, NEF started as a kind of Free Rock band with multiple influences, going from Prog to Musique Concrete, in which any method of making sound, any way of
bringing out sounds was good … 2 musicians and a photographer, full member of the band who was projecting slides over the music and influenced their dreamlike universe. In 1978, Vincent Tronc came on board with his keyboards and synths. While the group had been influenced by electroacoustic techniques until then, Vincent broadened NEF’s horizons, bringing in a host of new influences: Ash Ra Tempel, Kraftwerk, Klaus Schulze … the beginnings of electronic music. When the album is recorded in 1983, new directions were taken and changed NEF’s usual sound.
First, the idea of playing the accordion, clearly not a common thing and a new Drum Machine, the Roland CJ-5000. Pressed the day a figure of French Chanson died, NEF’s pressing is botched up, a
good part of the records were unusable since the records came out totally warped. Then, at the end of the eighties the small stock of remaining records is lost in the sadly famous flood of Nîmes. 2000
records had been pressed, but very few survived! All the more reason to reissue Mais Alors !!?... c’est à l’envers, an unsung record, free and multifaceted, a quirky and daring musical ovni, transcending eras and genres, between synthetic
Krautrock and Film Score, reminiscent of NEU! (with a red nose), François de Roubaix and Pascal Comelade.

“Requiem” is the name of the new Cold Beats Records release. The reference number 14 of the catalan label is written by L´Avenir, the cold synth side project of veteran electronic musician and sound artist Jason Sloan. Known throughout the space and ambient music scenes for his contemplative electronic soundscape work for close to two decades; Sloan founded L’Avenir in 2012 to explore his long time love of synthnpop and dark minimal wave music created purely from analog and vintage equipment. While still retaining the atmosphere of his solo records, the music of L’Avenir is rooted in the tradition of the minimal, analog, synthesizer music of the late 70′s and 80′s ( Fad Gadget, Depeche, Click Click, Chicago’s Wax Trax Records scene etc…). Growing up through the original scene while it was happening, it’s no suprise that Sloan’s music would eventually move in this direction. While releasing over a dozen solo albums and E.P.’s under his own name, Sloan has played live all over the US, Canada and Europe including the influential Live Constructions radio program at Columbia University, STEIM in Amsterdam and Philadelphia’s The Gatherings concert series, one of the country’s oldest continuing ambient and electronic music series. Sloan is a Professor teaching full-time in the Interactive Arts department along with being the founder and program coordinator for the Sound Art concentration at the Maryland Institute College of Art in Baltimore, Maryland. L’Avenir returns with Requiem, the fourth, full-length album for Barcelona’s Cold Beats Records. Requiem finds L’Avenir visiting themes of postmodernity, alienation and spiritualism while expanding the sonic palette far beyond his minimal synth beginnings. The music of L’Avenir has, at times, been compared to 4AD era Clan of Xymox or mid-period Depeche Mode. But while echoes of the former can be heard, L’Avenir brings a uniquely fresh perspective unheard in other bands of the genre. Requiem features eight new songs and is available on limited edition blood red vinyl. Requiem is L’Avenir’s sixth release was written and recorded between February 2018 and January 2019 in a Minimal Space, (Baltimore). Limited edition of 300 copies lacquered pressed on 140 gr. high quality red vinyl and digital album.

Koralle is the new moniker of Lorenzo Nada, a musician, beatmaker and producer from Bologna, Italy. Nada is best known for his project Godblesscomputers, which kicked off a couple of years ago while he was living in Berlin. After releasing four albums / EPs and touring Europe with a four piece band Nada is heading into a new direction as Koralle. Firmly rooted in hip-hop Koralle is taking his jazz crates and field recordings to the studio. Equipped with an array of synths, rhodes and bass he creates deeply textures tracks that touch mind, body and soul. Early 2019 Koralle signed with Melting Pot Music where he released his first first project “Collecting Vol.1”. The 6-track EP was an instant success amongst beatlovers worldwide and has accumulated more than 2 million streams to date. “Collecting Vol.2” Koralle is a seamless continuation of Vol.1 only better! “Collecting Vol.2” will be available on all digital platforms. We are also releasing a limited edition LP, simply titled
“Collecting” which summarizes both EP's on one record.
„Collecting it’s an eyes closed journey throughout memories, a collection of some everyday little stories, still paying a tribute to my hip hop musical background. Every beat is like an object found at the bottom of the sea, every sample emerges from my record collection, turning into something new, like corals of the Ocean.“ as Koralle writes in the linernotes.

RMXD Versions of TB’s 2018 release “Night Heat”. With contributions from Gerd Janson, Sascha Funke, DJ Hotel and Bostro Pesopeo it’s all in the game; tropic machine rhythms, dist Chicago grooves, pinball lazerfunk and a touch of newromance techno.

Producer, part-time DJ and Permanent Vacation label co-head Tom Bioly aka TB from Munich, Germany, had a first track released, on John Talabot's vinyl-only Hiverned 10" imprint, called "Invitation To Love", which was voted amongst the best 10" releases by UK Fact magazine. GROOVE magazine wrote "..entirely superb..“, about the follow-up EP "City Girl" on Permanent Vacation, of which the title track has been licensed to the independent film „All These Sleepless Nights“ by director Michal Marczak. In 2017 TB followed with “Heartbreak Hotel“, a double twelve-inch release with eight tracks of melancholic dance noir set in smoke-filled darkness.

In 1986, Uruguayan vocalist and musician Mariana Ingold took the advice of a storied Uruguayan composer and musicologist and recorded her first album (Todo Depende) for the now legendary label Ayuí/Tacuabé. In the early ’80s, the introduction of the synthesizer fostered an experimental new approach to traditional Candombe rhythms. Ingold’s influence on the scene looms large. Pairing elegant vocals and majestic harmonies with complex arrangements, she pushed the Montevideo-specific sound — loosely termed Candombe fusion — in new directions and thrived working collaboratively with artists including Eduardo Mateo, Jaime Roos, and Hugo Fattoruso.

With the assistance of Chris J. Morris, Left Ear Records has extracted a collection of tracks that encapsulate this period between 1986-1991, lifting from her albums Todo Depende, Cambio de Clima, and Haace Calor. Full liner notes translated in English and Spanish with archival photos included.

Chillum Trio started out as a collective of like-minded musicians in 2002, however, after releasing an album together (which was supported by the likes of Laurent Garnier) the project slowly become the solo act of founding recording producer, Geza Szekeres.
At that time he discovered West-African music, latin jazz and the universe of soul and funk, these new directions have been shaping his musical evolution ever since.

In 2014 he turned out as one of the winners of Gilles Peterson's Havana Cultura remix contest that gave him the opportunity to travel to Havana and record music with the creme of the Cuban jazz scene.
One of his songs recorded in this session got released on Brownswood Recordings compilations Havana Cultura Mix and Havana Cultura Anthology.

Budabeats Records is more than proud to release Chillum Trio's first ever 12" single called Cosmotropica with two dancefloor friendly tracks mixing broken afro-house with tropical and cosmic influences.



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South east London songwriter and visual artist Jerkcurb has today announced his hotly-anticipated debut album Air Con Eden - set for release on Friday 13 September via Handsome Dad Records. The culmination of several years of intense creative focus, Air Con Eden reflects on Jerkcurb instigator Jacob Read’s recent real life events, losses and tragedies as well as more cryptic, fictitious perspectives and surreal adopted personalities. The record’s euphoric lead single ‘Timelapse Tulip’ arrives alongside today’s news - accompanied by a stunning, intricate 3D animated video courtesy of a collaboration between Read, director Gilbert Bannerman and production designer Theo Boswell. Read will tour the U.K. in October to celebrate the album's release with a hometown headline at Chat's Palace included on the run.

Having fully emerged in 2016 with the flourishing ‘Night On Earth’ - a streaming hit with 2,700,000 spins to date - and subsequent tracks ‘Voodoo Saloon’ and ‘Little Boring Thing’, there’s been a growing sense of an artist climbing into maturity with each succeeding release, video and gig laying the foundations for Jerkcurb’s burgeoning cult status. Radio and press took to Jerkcurb instantly with BBC Radio 6 Music inviting him in for a live session on Tom Ravenscroft’s show, also making an appearance as a guest on Steve Lamacq’s Thursday Round Table, while esteemed publications like Dazed, Vice, Noisey and Wonderland have all thrown their weight behind his music and art. Indeed, Read has been heavily immersed in his art and animation all the while, exhibiting at the Tate Britain and also being commissioned by them to create a promo for their installation Aftermath: Art in the Wake of World War One and drawing praise from It’s Nice That along the way.


There’s a near impossible richness to Read’s songwriting form on Air Con Eden, with its as-yet-unheard title track offering perhaps the clearest distillation of the record’s predominant theme: time at its malleable and fraught. Inspired by Victor Gruen - the pioneering designer of shopping malls in the United States - Read unpacks the idea of being trapped in an eternity that feels like an endless present tense, the passing of the seasons reduced to a standstill in a pristine shopping mall; a symbol of both stasis and comfort; an Eden without the possibility of an ending.

Double vinyl LP pressing housed in gatefold sleeve. Includes digital download. Supernatural is the eighteenth studio album by Latin rock band Santana, released on June 15, 1999 on Arista Records. After the group found themselves without a label in the mid-1990s, founding member and guitarist Carlos Santana began talks with Arista president Clive Davis, who first signed the group in 1969, which led to a new record deal. The pair collaborated with A&R man Pete Ganbarg on the production of Supernatural as Santana wanted to focus his musical direction towards pop and radio friendly material and proceeded to do so by collaborating with various contemporary guest artists, including Eric Clapton, Rob Thomas, Eagle-Eye Cherry, Lauryn Hill, Dave Matthews, Maná, KC Porter and Cee-Lo Green. Supernatural became a significant commercial success worldwide. It reached # 1 in eleven countries, including the US for 12 non-consecutive weeks where it is certified 15× Platinum. The first of six singles from the album, "Smooth" featuring Matchbox Twenty singer Rob Thomas, was a number one success worldwide and topped the Billboard Hot 100 chart for 12 weeks.

Deliquent Delivery’s third EP titled U​ comes from Dublin based label head Stephen Mahoney, who contributed two tracks to the label’s last split EP.

Mahoney’s vision for Delinquent Delivery is visible on this release, showcasing his talents which range beyond A&R and delving into production. ​U features five untitled tracks, contrasting thumping dancefloor driven techno with spacey atmospheric ambient tones. With over twenty years experience as a DJ, Mahoney’s ear for precise, engaging rhythms and melancholic tones can be heard throughout​ U.​

A1​ sets the tone of ​U.​ A thumping kick lays the foundation for the track, with gritty, cutting melodies juxtaposed with polished, pensive tones. Rhythmic structure is a large component of Mahoney’s signature sound, with cleverly placed hats and snares audible on ​A1​. A strong link to the sounds of Detroit sounds of the ’90s is audible here, synonymous with Zenker Brothers et. all.

A2 c​ontinues down the path previously set out, with another dance floor directed track. More subtle than previously heard, Mahoney drives the track with a glossy lead, only to break the track up and juxtapose it with a gritty, murky underlying melody. ​A2 ​also focuses heavily on rhythmic structure, with well-placed spacing allowing energy to be retracted and reintegrated with more tenacity.

A3​ takes ​U​ to a different space with an ambient excursion. Mahoney here showcases that he is capable of creating lush, captivating soundscapes which transport the listener to a place of tranquillity. Dark, harrowing undertones are balanced with ethereal swells, maintaining the aura of the record established.

B1 moves back to the dancefloor, with a thumping kick and jagged, piercing tones. Mahoney’s versatility as a producer is evident here, as ​B1​ moves in the same vein as the A-side of ​U​ but is completely different in style. Prime-time dance-floor material, this track drives forward with ferocity and grace, cleverly being broken up with sparkling synth tones only to hit back harder than before.

B2​ closes out ​U. ​A bouncy kick drum sets the tone, with atmospheric, dark swells creating an engaging sonic tapestry. Sparse, delicately placed lustrous tones take the lead, with airy swells contributing to form a wonderful balance of light and darkness. Mahoney’s focus on precision within rhythmic structure is again noticeable here, with rhythmic elements forming their own melodies throughout ​B2​.

U​ is Stephen Mahoney’s first full release on Delinquent Delivery and captivates the essence of his vision as a producer entirely. Versatile, engaging and polished, ​U​ contains five tracks which all compliment one another wonderfully. ​U​ is a record which is as useful in a DJ’s record bag as it is for home listening.

Long overdue, here comes AIR LQD’s first full-length player, Repeat Itself, making up for the direct follow-up of his acclaimed vinyl debut released on the label in 2016. Mixing science fiction, social criticism and punk ethics in the most cryptic fashion, the latest entry in the discography of the taciturn Belgian groove-maker sees him pushing further his electronic experimentation. Delving into the meanders of the human consciousness through hazy and abrasive rituals, brainpowered by robotics, artificial intelligence and urban metamorphism. The weird looping echo of a man-machine drifting through a vortex of feral scratches and overworked machinery. Slowly moving towards the event horizon of a supermassive black hole, leading to unexpected aural aberrations full of hidden, past and new meanings. Giving a last disillusioned glance at our human condition facing technological progress and the toxicity of the outside world.

After a two year break, due to the birth of the sub-label Rhythm Control Barcelona, End Of Dayz returns with a new "All Stars". This time with 4 tracks in the vinyl version, plus a bonus track in the digi version.

On the A-side, the Argentinian, now based in Barcelona, Julixo brings us his song "1990 B i t c h" very much in tune with the EP he published in ARTS under his Awdha alias, hard groove techno with 90's house pads and a cool sample. Kaiser serves us a Millsian school mental bomb direct to the dance floor: "Still Life".

On the B-side we first have "The Crown" by Spaniard Pushmann, that has already been played by Dave Clarke on his White Noise Radio Show and on his set at the Awakenings Festival 2019. To finish the vinyl, the Man From Tucuman and the Barcelona's "Depressive House" king, Fede Zerdan, with his "Soc Pell".

Singer, lyricist and composer Nirox Romão aka Diron Animal was born and raised in Cazenga, Angola. Diron Animal's involvement in the music world began early: he was part of a traditional Angolan music band and capoeira group, followed by a hip hop project. 12 years ago he moved to Portugal to study, but music became more than just a passion when he landed in kuduro.

For over 6 years, he sang, danced and traveled the world with Afro Portuguese act Thoes + The Shine, mixing rock and kuduro, becoming an explosive ensemble. At one moment, Diron wanted to record a solo album to show a bit more of his own personality and in late 2017 his debut album ‘Alone’ appeared on Soundway Records, where he himself worked out the melodies, rhythm, vocals and even the guitar parts between classic funk to afrohouse and kuduro bass. Through that album he explored major festivals in Europe during 2018, such as at Paléo Festival Nyon, Trans Musicales Festival, Amsterdam Dance Event and others.

On ‘Pair’, his 2nd album and released on Brussels outernational label Rebel Up Records, he has worked hard to enhance his special formula. Inspired by the cruel death his nephew, it became a testament against oppression via the mixed sounds of afro boogie, disco, funk, afrohouse, coupé décalé and kuduro, with English and Portuguese lyrics.

The first single of the album, ‘You and Me’, is an English sung afro boogie disco song and produced by Diron with the support of musician and producer Moullinex, actor André Cabral and video made by director Vasco Mendes. In the video, featuring dancer and actor André Cabral, Diron Animal takes on the role of a gay man to express that a homosexual is a normal person who loves, feels desire, dreams, conquers, wants to be loved and desired, wants to live next to a being that completes him. With “You and Me”, Diron Animal above all wants to appeal to society, respect for the choice of people and non-discrimination of sexual choices. For in life we all deserve to be happy regardless of our sexual choice.

Michal Wolski joins Kynant with a diverse, four-track EP of hyper-detailed techno. ‘Back Entry’ and ‘Inferior Representation’ are peak time cuts with hypnotising touches. On ‘Bathyscaphe’ and ‘Wanderer’, Wolski explores more a melodic, atmospheric direction.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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