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Total Refreshment Centre is proud to present a brand new mini-LP from Neue Grafik Ensemble entitled 'Foulden Road'. French producer, instrumentalist and DJ, Neue Grafik, has been building a strong rep for himself over the past few years, releasing records previously on labels such as Rhythm Section, 22a, CoOp Presents and Wolf Music.

His sound is a hybrid of jazz, house and hip hop, all with his unique geographical flavours of African ethnicity, Parisian roots and a love for London sounds like broken beat & grime thrown into the mix. In his own words "this mini album has been conceived as a journey from Deptford to Dalston, right through Peckham. During a personal period of transition, I put this music forward at a crossroad of all my influences, taking the time to share and experiment with a band more than that, an ensemble. The idea is to incorporate musicians with their own sensibilities, collaborating together as a reflection of our society; unreal & rebellious, but with magic moments, and full of hope.

The best representation of that is Total Refreshment Centre. This building and its community were a perpetual source of inspiration for me over the past two years & gladly allowed the creation of this project". Having been first properly introduced to the community of the TRC during an after-hours jam, it came to TRC founder Lex Blondel's attention that New design had some exquisite compositions of his own. A few weeks later, it was decided that Neue Grafik would form a band and that they would do their first gig at TRC, a week after the first day of rehearsals. No pressure … Lex continued; "we paired him up with Emma-Jean Thackray, to arrange his compositions for a quartet, added Vels Trio's Dougal Taylor on drums, Matt Gedrych from MaddAddam on bass and Jordan Saintard on sax.

Then the band got to work…" Title track 'Foulden Road' commences the session in truly energetic fashion, named after the street in North London where TRC is based, and where these sessions were largely laid down. Keeping with the geographical vibe, next we have 'Dalston Junction', a two-part affair starting on a sci-fi boom-bap tip, before switching to the ethereal flute playing of Brussels musician Esinam, and the first outing on the collection for Brother Portrait.

'Voodoo Rain' is next, a sweet slice of afro-funk, featuring the incredible talents of London's own Nubya Garcia on sax, and the tempo picks up once again for 'Something Is Missing' - this live version comes from the afore-mentioned infamous first gig at TRC.

The goosebump-enducing vocals of Melbourne soulstress, Allysha Joy, set off the second half of the record with the beautiful downtempo track 'Hotel Laplace', recorded at a live session at Giant Steps, before kicking the energy levels back up with 'Hedgehog's Dilemma', once again featuring the vocals of Brother Portrait, as does the closing track, 'Dedicated to Marie Paule', a mid-tempo piece akin to 90's golden era jazz-hop, bringing the set to its conclusion.

This collection of tracks reflect the many moods and various genres indicative of Neue's creative approach illustrated above.

Official first reissue of this Senegalese gem recorded in 1981 and produced by Ibrahima Sylla.

Remastered, available on a limited LP with 4 pages booklet.

At the dawn of the 1980s, Senegal was immersed in the "beautiful era" of Cuban influences, African-American soul and funk.
A group of passionate musician friends want to shine in this construction of a revolution in Senegalese music. Their credo will be to claim a spiritual search, that is the meaning of the word Gestü in Wolof. The group of friends gathers around the young guitarist leader As El Haji Malick Diouf who is joined on vocals by Tidiane Bathily, reinforced by Couri Ndiaye and Abdou Bâ, on drums Abdou Kane, on bass guitar Jean-Pierre Gomes, Madiama Diop (saxophone, clarinet) and finally on tumbas Djiby Ndiaye.
They released their first album Diabar in 1981, recorded at Golden Baobab studio under the direction of Senegalese producer Ibrahima Sylla. This unique record of the group will leave the youthful and dynamic imprint of a Senegalese musical revolution like the Orchestra Baobab or the Etoile de Dakar.

Following a string of releases via his own bbbbbb recors, along with bodies of work on трип Recordings, February 2019 saw Bjarki debut on !K7 Records with the ‘Happy Earthday’ album.

With the album considered to be the Icelandic producers first full debut LP, ‘Happy Earthday’ offered a conceptual collection of music which Bjarki thought he would never release. Influenced by his home country of Iceland as well as the planet’s environmental issues, the album received support across the board from the likes of The Quietus, DJ Mag, Pitchfork, XLR8R, FACT and CLASH Music, along with being crowned Mixmag’s ‘Album of The Month’.

As part of the limited edition 200 copy box set version of ‘Happy Earthday’, a secret album of original music was available to hear unbeknown to listeners. Now receiving a full release this December on double vinyl and digital platforms, Bjarki will release his second full album of the year via !K7 Records. ‘Psychotic_Window’ is a further extension of the experimental artists creative vision whilst continuing to address environmental themes and nature.

Combining influences from techno, breakbeat, IDM, electronica and more across all of his studio output, ‘Psychotic_Window’ is Bjarki’s final signoff for 2019. The new 14-track album follows in line with one of his most significant years to date, highlighted by performances at major events including Dekmantel and DGTL Festival, along with pioneering eclectic new sounds via his bbbbbb recors label.

“After ‘Happy Earthday’, people have been asking me about the secret tracks and it made me feel that they deserve a proper release. Each track means a lot to me as I made them during a depressing phase in my life; I was pretty broke, working many shit jobs and also just being super lazy, uninterested in leaving my apartment.

Before I started touring, I had these periods where I could write so much music without thinking, pouring my heart out to comfort my thoughts and feelings without trying. I doubt that this kind of window will come back to me anytime soon, my way of music making has changed a lot after going on tour. At that time, I was listening to a lot of Coil, Chris Carter and Cosey Fanni Tutti. I think every struggling artist goes through these phases of being sleep deprived, staying up and making music all night. This was my psychotic window.” -
Bjarki

Europe’s leading reggaeton experimenters DJ Clara! And Maoupa Mazzocchetti. exert a tripped-out spin on modern Latin dance and vintage Galician folk styles for Low Jack’s boundary-stepping club division of Editions Gravats. Following the duo’s 2018 debut EP
and Clara!’s ‘Meiga de Acero’ single in 2019 for Les Disques De La Bretagne, ‘Luna Nueva’ binds the duo’s astrological, spiritual and romantic dancefloor cues in a significant new take on Caribbean futurism.

Designed to make you sweat - and maybe check your head -
the album pairs Clara!’s effortlessly nimble vocals with lean and spacious co-production by Maoupa Mazzocchetti in a way that faithfully and daringly plays with reggaeton convention, and, by extension, offers a critique of global electronic dance music currents.

Based in Brussels, Belgium, but originally from northern Spain, Clara! brings a strong knowledge of reggaeton, perreo and trap absorbed from beach parties and clubs back home to a wickedly offset batch of productions by Maoupa, who’s arguably earned a mean reputation in recent years for his killer mixtapes with the PRR! PRR! gang, as well as a slew of 12”s for everyone from Unknown Precept and Mannequin to Arma since 2014.

Together they throw down eight distinctive vocal cuts on disc 1, while disc 2 is loaded with their singular instrumentals. Clara! dispatches ice cool but barbed bars in diverse flows, bewitching Maoupa’s rhythms with on point style in the dramatic ‘Badman’ - a bullet for the male gaze - while layering herself in choral cadence on a spellbinding cover of Faltiquera’s Galician folk song ’Sum Sum’ over unusual tablas and drones...

But while the finer details of Clara!’s pointed but humorous lyrics may be lost on non-Spanish speakers, her co-productions with Mauopa are bound to resonate regardless of tongue, with strong, dare-to-be-different highlights in the hard and psychedelic drive of ‘Gaviléan’ and the bolshy bashment grind of ‘Virgo’, along with straight up freaky gear such as ‘Baja Y Suda’, plus their cold fusion of reggaeton and Mahraganat influences in ‘Secreto Ritual’, and warped hypermodernism in ‘Clarividencia.’ No matter what angle or
language it’s approached from, ‘Luna Nueva’ cycles fresh and luminous with a steadfast yet experimental call to the ‘floor while the world collapses around them.

Double cyan blue vinyl in a gatefold sleeve. Two printed inner sleeves and a six panel oversized booklet. Download card enclosed. The vinyl includes the Deluxe track listing - 17 tracks in total.

U2 return with their hotly anticipated new studio album 'Songs of Experience'. The Island Records priority release completes a stellar year for the Dublin band, following their return to stadiums with the critically acclaimed, sold out 'The Joshua Tree Tour 2017' playing to 2.4 million fans in just 51 shows across Europe and North and South America, as well as the successful 30th Anniversary re-issue of 'The Joshua Tree'.

Recorded in Dublin, New York and Los Angeles, Songs of Experience was completed earlier this year with its subject matter influenced by Brendan Kennelly's* advice to Bono, to ...write as if you're dead'. The result is a collection of songs in the form of intimate letters to places and people close to the singer's heart: family, friends, fans and indeed himself.

Songs Of Experience is the companion release to 2014's 'Songs Of Innocence', the two titles drawing inspiration from a collection of poems, Songs of Innocence and Experience, by the 18th century English mystic and poet William Blake.
Produced by Jacknife Lee and Ryan Tedder, with Steve Lillywhite, Andy Barlow and Jolyon Thomas, the album features a cover image by Anton Corbijn of band-members' teenage children Eli Hewson and Sian Evans.

'The Blackout' and 'You're The Best Thing About Me' were the first songs to be made available from the album. 'You're The Best Thing About Me' is the band's first UK Top 20 airplay record in a decade and has also been remixed by Norwegian superstar DJ and producer Kygo.

*Brendan Kennelly - Irish poet, novelist and Professor Emeritus at Trinity College, Dublin.

Limited Edition Vinyl



Vinyl + Digital Ep

Vinyl includes a Bandcamp download

released Oct 25, 2019







The new release of Dusk & Waves is starring by Vicky Montefusco, Dj and producer from Italy, resident in Berlin for a few years. This EP is presented as his first work on vinyl with great force and originality. Whit a style, synthetic, analog, crude and influenced by the legacy of the 80s, has allowed him collaborating on labels such as Ninefont, Clouded Vision or Items & Things.



The EP begins with 'Justice', a low revolution techno track that with its line of acid bass and Martian sounds, added to the speech sampler of JFK, leads us to a state of deeply hypnosis. On the other hand, 'Roar' goes deeper into EBM territory. Above the starting of the arpeggio, it is built a dark track full of synthetic sounds and a nightmare atmosphere (somber, gloomy, baleful). 'During' keeps the darkness of the other two tracks; however in this case, the rhythmic guitar at the beginning adds a more 'funk' touch to the track. It is “a funk” with a narcotic and somber flavor thanks to the vocal and the synth sounds that accompany it. On the B side of the vinyl we find Blacknob's remix to 'Justice', which gives him a re-interpretation more club raising the bpms and creating a perfect track for dance in the late night. Finally, Jamie Braid´s remix offers a reconstruction of the track 'During' with electro beat, generating an odyssey of textures with a development that goes beyond the standard structures of dance music. Timeless!

Based in Munich, Germany, the producer, part-time DJ and Permanent Vacation label co-head Tom Bioly aka TB delivers new romantics, inspired by influences like The Cure’s „The Holy Hour“, Boards of Canada’s late 90s electronica, Miami Vice tropic percussion and Angelo Badalamenti’s Twin Peaks. Acid drops, string distortions, lushed melody bits, hushed robo vox and washed space guitars are being layered and sprinkled over machine beats and disco drums.

TB’s first release "Invitation To Love" made it on John Talabot's vinyl-only Hiverned 10" imprint and 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 2018 he followed with the „Night Heat“ single, of which a RMXD EP with contributions by Gerd Janson, Sascha Funke, DJ Hotel and Bostro Pesopeo came out earlier this year.

"Kiska" is the lead single off Kedr's sophomore release, Your Need. The album is a celebration of life and rebirth. It's about a fighter's spirit, and if you will, a little audacity and courage. DJ'ing and early forms of dance music inspired a furious burst of creative energy after months of melancholy, sadness and reflection to record the album in only a matter of weeks. After her breakout album, Ariadna, which put her on the forefront of Russia's burgeoning electronic scene, Kedr felt lost with her identity and was searching for the direction of her next chapter. For a while she felt trapped by her own image and needed quite some time to resolve this internal dissonance - to grow, to evolve. DJ'ing was the main catalyst to pull her out of this rut. The art form shifted her inspiration to mainly old school styles of dance music: ghetto, house, breakbeat and UK garage. For the prior year and a half she was listening to ambient, kraut-rock and more experimental genres - one can hear the brighter, more energetic influence of early electronic music in the songs on Your Need. One day she was talking with her friend Flaty (Zhenya), a very talented artist from St. Petersburg who's signed to the GOST ZVUK label, and they decided to do a single together. He came to visit her in Moscow, but they ended up spending 10 whole days writing music together, from dawn to dusk. They vibed off each other's musical ideas perfectly and understood each other even without speaking. Zhenyais a beatmaster and pays attention to even the smallest details of a track. He brought incredible richness to the composition and Kedr considers him her teacher in this area. Kedr was in charge of the melodies and vibe of the tracks, and the vocal elements. Your Need is like a chapter of life. It's a story that illustrates different scenarios and moods that our mythical hero experiences, living in an urban jungle. From lost love to a bad trip on the dance floor, from euphoria to deep introspection. Our hero sometimes feels bold, lost or devastated, but also tender and full, like all of us at some point in life. The ending is joyful and bright. The last song gives hope and faith that a new day will come and wash away the old. You can feel like new every day. Your Need reflects an array of genres and a mix of cultures - a harmonious combination of differences. Everything Kedr loves about ghetto music, in the traditions of house, dub, breakbeat, 90s electronic music and modern sounds - she's embraced and expressed it all throughout. Your Need is Kedr's ode to music from different eras and changing periods.

Planning the imminent arrival of the 50th release on Touchin’ Bass, label boss Andrea Parker was digging through the warehouse during a stock take and it became apparent that there was something missing. There was a gap in the catalogue numbers. Where was TB036? Searching the archives it transpired that, for one reason or another (not least Parker’s inability to count), there actually wasn’t one.

So what better way to backfill this now documented gap than to welcome the multitalented guitarist and drummer, mathematician and multidisciplinary improviser Maria Gamboa Perez into the Touchin’ Bass fold with an updated focus for 2019.

Perez combines elements of rage, chaos, tension and anguish to form a visceral style. Her musical terrain and talent is shaped by dissonance and NO art. Under the moniker NonZero!, Perez brings Matrix Equation to the fore; a heavy 8 track EP with electro aesthetics from none other than Carl Finlow Scarletron/Silicon Scally/Voice Stealer.

Beginning her artistic career as a teenager playing as a bassist and guitarist in groups with influences from Noise, Avant Garde and the No-Wave, Perez was introduced into several areas of electronic music during the club culture years in Madrid and opted for styles such as Electro or Industrial, at which point she began to be interested in the introduction of rhythm boxes together with traditional drums.

Her passion for sound synthesis and musical exploration led Perez to introduce electronics into a solo project under the pseudonym NonZero!. Under this name she aims to make electronic music her field of sound research and for years has been continuously searching for existing relationships between sound and mathematics, focusing on the perceptual limit between music and noise.

Matrix Equation indulges in an evidential brooding angst, shifting between abstraction and the kind of elevated introspection carefully harvested over the years. With dramatic frontage in parts, blasts of boisterous energy and machine mayhem, its deployment of surprise, shifting focus and spontaneity operate in an assured statement.

Splintered beats and a foreboding sense of tension give way to a more DJ friendly logic of instinctive introductions and codas of gradual builds and breakdowns as Finlow further reworks the results to great effect.

Born and raised in South London, Hector Plimmer is a multi-faceted producer, composer and DJ whose sound is drenched in tribal rhythms and beautifully crafted bass. Influenced by beat-makers like Flying Lotus and Theo Parrish, but with the subtleties of the classic Metalheadz era drum and bass, his second album 'Next To Nothing' is released on 25th October 2019. The album features guests Ego Ella May, Emma-Jean Thackray, Andrew Ashong, Pie Eye Collective and Alexa Harley.

After featuring on Brownswood Bubblers 11, curated by Gilles Peterson, Hector proved his talent when he was selected as a winner of the PRS Steve Reid InNOVAtion award. At a performance at ‘Sounds Of The Universe’ Record store, Hector caught the attention of Albert's Favourites' label heads Adam Scrimshire & Dave Koor. A conversation was started which led to the transfer of almost a whole album's worth of material and resulted in his debut full length record ‘Sunshine’.

'Sunshine' was met with rapturous acclaim. The record went on to be awarded Gilles Peterson’s album of the week on his BBC 6 Music show and was championed by both Lauren Laverne and Tom Ravenscroft on the station as well as Jamie Cullum on BBC Radio 2. Its success on the airwaves transcended to streaming with the inclusion in the top 50 viral US chart on Spotify.

"This album has been a real labour of love. I spent the most part of a year trying to make music I thought would be fitting to follow my last album, whilst not actually knowing what that might sound like. 'Sunshine' had been received way more positively than I had anticipated and although praise is a lovely thing, it was the cause of much anxiety when the time came to start on this record. I put a lot of pressure on myself to produce music and kept going down routes that felt forced or just didn’t click for me, in hindsight I realise this was me making music not for myself, but for what I imagined other people might want to hear. In a way 'Next to Nothing' is my first real album, 'Sunshine' was more like a collection of four to five years worth of music compiled into the shape of one. This is my first dedicated attempt at creating a cohesive project, something that shows who I am right now and what got me here."
- Hector Plimmer

As a DJ Hector has a monthly slot on NTS radio. He has played alongside the likes of Gilles Peterson, Kutmah, Alexander Nut, MNDSGN, Onra, Dego, Kaidi, Max Graef & Glenn Astro; Hector finds himself in the good company of those talented selectors who play genres across the spectrum of Hip-hop, Beats, Funk, Soul, Disco, Afro-beat, House and Jazz.

Kerrie makes her debut for DBA with four tracks devised originally for her high impact live sets. Other than a cut on highly regarded London label I Love Acid's 10th anniversary comp Kerrie is a relative newcomer but the ten years she has put in honing her style immediately shine through in her music. The EP ranges from Before Calm's bug-eyed, angular swagger replete with a hair raising distorted hook, to Orb Weaver's peak time techno roll via Acid8 Slider which is one of the most original 303 tracks to come out of the UK in some time and Curveball, a bolshy electro leaning stepper.

Her influences range from current UK artists like Blawan to Japanese artists such as NHK yx Koyxen & Hiroaki Iizuka and pioneers like X101, Joey Beltram and Surgeon. The running thread in her taste is a penchant for high energy, raw banging grooves with a machine funk flavour, and a love of analog sound both as a producer and DJ. No doubt this stems from her time spent working at legendary Manchester shop Eastern Bloc Records where she joined in 2013 and has worked ever since. Honing her skills through her DJ residency for EBloc Kerrie has gone on to become a regularly booked act for the UKs most prestigious underground club nights. As a live performer she has also toured the UK since 2017 with the live show being met with high acclaim. Her live set for Freerotation 2019 has been one of the festival's most talked about debuts.

The modern funk connaisseurs Voyage Funktastique are back with the second release from their blooming label. This time they are dropping a boogie gem from Toronto's The Kount on a scorching 7" that will have DJs flipping both sides. Bungalow's slowburning groove and bumping bassline is the perfect track to get the dancefloor warmed up while Shakedown is dripping with The Kount's signature polyrythmic molasses. Falcxne's smooth vocals and G-Funk influences make for a killer 2 sider that is sure to sell out just as quickly as VF's first 45! Another essential crate filler brought to you by these funktastical ambassadors.

Body Beat: Soca-Dub and Electronic Calypso (1979-98) comprises 17 obscure Soca B-side versions, dubs, instrumentals and edits as well as vocal tracks influenced by disco, boogie, house-music, soul and the more conscious lyrics of roots reggae. This compilation traces the soca genre from its explosion in the late 1970s right up to the period just before contemporary soca became established around the end of the 1990s. TIP!!

Compiled by Soundway Records label founder Miles Cleret and DJ/collector Jeremy Spellacey, Body Beat, as with many compilations on the label, explores the fringes of this often maligned (by outsiders) genre. Boiled down to the bare bones of the matter though: soca is party music.

Soca was originally a re-invention of Calypso music; a genre that in the 1970s was fast becoming usurped around the Caribbean by Jamaican reggae and American soul, funk and later disco. The originator of soca (or sokah as he called it), the calypsonian Lord Shorty, began experimenting and modernising on the formulation of calypso in the early 1970s. His first album featured a strong emphasis on East African rhythms and a punchier recording style that emphasised the beat, and introduced arrangements that often owed as much to American funk and soul as to calypso.

So here you go - seventeen slabs of soca crossover, rapso, electronic calypso, and Caribbean ‘soca-soul’ for your enjoyment - and bound to fit well into modern, open-minded DJ sets alongside the resurgence of burger-highlife, digi-reggae, soukous and zouk.

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

DJ Richard's first release of 2019 sees him drop four invigorating electro tracks on Flexxseal titled "Eraser".

Emerging from the Providence noise scene, DJ Richard forges a path of disciplined selectiveness as a producer and DJ with his idiosyncratic style allowing him to make impressive, self-assured connections between 80s EBM, new beat and Italo disco, electro, techno and "post-minimalist" house. DJ Richard's feral approach evolved from the roots of his White Material imprint which quickly achieved cult status after early releases from himself and co-founders Galcher Lustwerk and Young Male.

As a solo artist, DJ Richard continues to push the boundaries of his talent and influences reflected in his two utterly distinctive and bewitching albums released in alliance with influential German electronic label, Dial. "Eraser" sees him join up with fellow American Christopher Joseph and his Flexxseal imprint as DJ Richard masterfully maintains his skill in propagating ephemeral and raw sounds with his aptitude for electronic body control.

"Critical Damage" kicks things off with resilient oscillations fused beautifully with angelic leads and thudding percussion reflecting a post-punk aesthetic while "Eraser" delivers tough, acidic swirls undulating beneath sharp, broken grooves and growling undertones.

On the flip, a slow, chugging drum sequence balanced with haunting modulations and machine-like vibrations that echo throughout take the focus in "His Threshing Floor" before "Casca's Theme" concludes the EP with meandering, robotic synth flutters and distorted bass resonations driven by hypnotic rhythms and world-ending atmospheres in this powerful electro cut.

"Nicolas Gaunin's surreal sound experiments lift you out of the everyday and transport you to an off-world Tiki lounge set high amongst the tree tops of a tropical rainforest, where you're surrounded by bizarre, colourful creatures and weird psychotropic plants. Noa Noa Noa is modern Dada, a neon soundtrack to your most outlandish fever dreams.
Nicolas Gaunin is the alter ego of Nicola Sanguin, part of the vibrant experimental music scene around Padua, Italy where he plays in outsider rock groups The Lay Llamas and Orange Car Crash. Nicolas Gaunin is his solo electronic project, a bright and playful cosmic mash-up that uses the rhythms of traditional African percussion groups and skews them slightly to create unsettling, off-kilter grooves. These drum machine experiments are laid over a teeming microscopic sound world of bird calls, insect chatter and weird jingles reminiscent of advertising earworms or video game soundtracks.
Noa Noa Noa takes its influences from music from around the world, and inspiration from high and low culture; from composer Gyorgy Ligeti to the cosmic sounds of Italian DJ Danielle Baldelli, from the experimental music of Moondog or Harry Partch to the playful sounds of Francis Bebey or the exotica of Martin Denny, from Iannis Xenakis to 8-bit video game music. Noa Noa Noa ends up sounding something like the imaginary soundtrack to the Nintendo Gameboy version of a lost William S. Burroughs novel.
Incredibly, most of the tracks on Noa Noa Noa were recorded live in one take with the express intention of creating music that is, in contrast to much of today's electronic music, bright, sunny, light-hearted and mischevious. The resulting album is both totally essential and also completely throwaway.
These tracks were originally released in 2018 by Artetetra Records (Italy) as Noa Noa (cassette & digital) and Danse de l'Oiseau (digital only). Hive Mind Records are proud to present Noa Noa Noa on vinyl for the first time."

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.

TROY TOWN are back with their 3rd release and itʼs another dance floor focussed EP from a South East London mainstay. El Prevost has been a fixture of the underground London dance music scene for nearly 20 years - his first label, Linx Recordings, was at the forefront of the garage and grime crossover at the turn of the millennium signing early tracks by Kano, Wiley and Pay As U Go Cartel. However, over the past decade his productions in the world of house, garage and techno have brought him widespread respect amongst discerning A&Rʼs and DJs such as Third Ear Recordings, Patrice Scott and Ricardo Villalobos whilst building his own label and party series ‘No Speakersʼ. This EP is unmistakably indebted to the sounds of London but equally doesnʼt sound like anyone else out there at the moment. ‘A Little Politicalʼ, dripping in dub effects and toughened up with the immense delivery of poet Kyla Jenee Lacey, is full throttle and combines consciousness with a determination to fill dance floors. The broken beat influence of Ladbroke Grove and the Co-Op collective is given a hefty rejuvenation on ‘Nu Jazzʼ. ‘Wheelʼ and ‘Acid Tonerʼ are heads-down, deep and dubby. Both tracks that would ramp up the temperature in dark basements like Plastic People circa 2011.

After a string of succesful singles, “Deixa Musica A Tocar”, “So Vejo Voce”, “E A Felicidade” and the Dj Harvey supported “ Te Faz Bem” and “Serei Seu”, The Danish / Brazilian quartet constellation Copenema (Copenhagen / Ipanema = Copenema) are ready to release their debut album “Deixa Musica a Tocar”.
The album mixes European electronica influences with Brazilian songwriting style. The sound becomes unique and some would say Balearic.The albums leading single “Te Faz Bem” a funky downtempo track with live saxophone, flute and rhythm guitars and a baseline to die for has become somewhat a national Ibiza balearic anthem over the past years and spread worldwide especially due to the massive support from Djs incl from Harvey to Dj Pippi to Pete Tong. “Serei Seu” the second single another Ibiza fave is a funky party track that sounds like a modern Jorge Ben. The single “So Vejo Voce” is Stan Getz meets the beach vibes, “Festa De Relaxamento” an Alfredo fave is jazzy Brazilian funk vibes with heavy live drums and a bass line that wants you to move.
“Lullaby For Impanema” is sunset material. The bands first recording the 12 min beautiful jazzy cosmic downtempo Pat Metheny influenced and Leo Mas supported “Some Di Some Day” is pure bliss and a sunset fave amongst the Balearic community.
The album has three added bonus tracks (Vinyl Only) - Can’t Sleep and Nada Mais both recorded in a Music For Dreams writers camp recently and the 12 minute journey of Serei Seu by Danilo Braca

MUSAR continues to explore the healthy landscape of underground and alternative electronic music with the debut release on the label from Nightwave. 'The Journey' is a fitting title for the Glaswegian producer, DJ and promoter, who has been a lynchpin for the city's vibrant music scene since her first release in 2010. In the time since, Nightwave has a developed a punchy and highly original sound that blends potent influences of acid, techno and forward-thinking bass music, with releases on DABJ, UTTU, Fool's Gold, DEXT and her own imprint Heka Trax.

For her MUSAR debut, Nightwave celebrates, in her own words, "joy, dance, exploring inner worlds, the celebration of nature and life and how it all interconnects". On a delicate tip, opening and title track 'The Journey' establishes the EP's "rainforest rave" aesthetic, spiralling upwards with weightless energy. It's underlying percussion steps forward on 'Jiboia Groove', which blossoms thrillingly into wave upon wave of ethereal, breakbeat-led rave.

'Monkey Puzzle' pulls a similar, if more uncompromising trick, only with its rhythmic timber instead succumbing to layers of rough-hewn, squealing acid synthesis and pounding snare drums. 'Forest Guru' meanwhile restores much of the record's spiritual equilibrium in one fell swoop, finding a clearing in the landscape to sculpt a rolling, detailed jam that's as playful as it is creative.

Naive founder and Lisbon's rave goddess, Violet generously remixes 'The Journey' in intriguing fashion, unravelling a trippy and tense riddle at the heart of the rainforest.

Will Saul is a key figure in UK dance music. Approaching his twentieth anniversary as a DJ, producer and label founder, Saul has helped break the career of key artists such as Leon Vynehall, Midland and Dusky via his Aus Music label, has himself played some of the world’s finest nightclubs and contributed to !K7’s storied ‘DJ Kicks’ mix series, which he also curates.

Finally returning to the production fold himself with his first full-length album in thirteen years, ‘Open Too Close’ is a condensed trip through the influences, discovery and sense of history that have helped shape his career and drive a forward-facing, unblinking passion for new music. The record’s concept reflects Will’s enormous skill and knowledge as a DJ, and as it’s title suggests, “"represents what I play in a club if an 8 hour set was condensed into 10 tracks.”

Having held residencies and made regular appearances at some of the world’s finest clubs including The End and Fabric in London, Panorama Bar in Berlin, Trouw in Amsterdam and Robert Johnson in Offenbach, Saul is uniquely qualified but this refreshingly straightforward approach. Eschewing the lingering, almost cliched expectations for a dance artist to create an album “that sounds good at home, as well as in the club”, ‘Open Too Close’ instead draws on the timeless futurism at the heart of the music that drew Saul into electronic music culture. Simply put, futuristic, melancholic sci-fi soundscapes meets stripped back raw sample driven house music, all executed with the precision and panache of an artist who truly understands how to move a dancefloor.

The 6th Bodytrax release is the first in a new series and marks the first appearance of artists other than Bodyjack on the label. He has invited some of his favourite kindred spirits along for some duelling action over the machines with the simple premise for each EP; both deliver a track apiece, which is then remixed by the other. It is with great pleasure to say that the first to step-up to the plate is Fiedel (MMM, Ostgut Ton, Berghain etc). The Berliner whose work has featured in Chris's DJ sets for aeons, has been behind some of the music that has without question influenced the Bodytrax label since the outset. His idiosyncratic production style meshes perfectly with Bodyjack, and it's safe to say fans of both will not be disappointed to have this duel kick off the series.

Wanubalé - nine guys from Berlin, inspired by the city's fresh Jazz scene and distinct club culture. Wanubalé met at school. Five of the nine in the band went to the same musical high school in Berlin.
Heavy influences from Jazz, Neo Soul and Funk shape their compositions. However, electronic sounds are just as important to Wanubalé. All of the nine are in their early twenties. All of them are into Dub, Bass Music and Broken Beats. And several members are DJs, as well. The Wanubalés are first rate musicians. They tend to take their time writing arrangements, yet they are careful not to overly emphasize their Jazz skills. Songwriting is a collaborative affaire, everything is developed organically.
Just like the band name, which dates back to the days of fooling around in the schoolyard, playing with syllables ("nuba" came first). Sound was crucial. Some say "Wanubalé" means "brother" in Swahili. Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds and great melodies. The musicians don't hide their influences: Snarky Puppy, Fat Freddy's Drop, plus younger acts like Hiatus Kaiyote. But Wanubalé do their own thing.
Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds and great melodies. All songs are written, produced and arranged by Wanubalé. Recorded at Jazzanova Studio, Berlin.

« Hôtel Costes presents... » is a collection of exclusive music recorded or mixed at Studio HC, the hotel studio, and composed by Adrien de Maublanc guests. This unique studio with exceptional gears craft the sound of MidiMinuit.

The second opus, Round the clock, by Midiminuit, is a modern album where classical and jazz music meet modular synths.
MidiMinuit is a collaborative project between pianist Julien Quentin, bass player Yonatan Levi and electronic musicians Cesar Merveille & Adrien de Maublanc. Four experts in their respective fields are harmoniously combining their music creating a new entity.
Three days, twelve hours of music per day, from 12pm to 12am. This was the primary rule of the jam sessions, giving the band its name. This was the first time all four musicians came together. In those three days, there was no rehearsals. Every piece was improvised, recorded and it was moved on to the next track. Bringing those world-class musicians together had the potential to create something unique. And so… ROUND THE CLOCK was born!

Cesar Merveille is known for his collaborations with labels such as Cadenza and Visionquest, and has been a major player in the electronic scene for the past 15 years touring extensively as a DJ, and has now started his own imprint Roche Madame. He started early on collaborating with musicians from different backgrounds. Combining electronic music with acoustic instruments has been part of his defining style since the early days. His love for modular synthesisers brings a unique colour to the sound and groove of MidiMinuit.

Julien Quentin – Born in Paris, graduated from the Juilliard School in New York, pianist Julien Quentin performed in all major concert venues such as Carnegie Hall, the Berlin Philharmonie or the Concertgebouw in Amsterdam. Julien’s interest after 20 years of classical music on the road is opening up to projects ranging from improvisation to producing electronic music and could be heard live at Sonar Off and Amsterdam Dance Event, or in Berlin clubs where he is now based. His remarkable depth of musicianship and distinct clarity of sound coupled with flawless technique bring its distinctive classical influence to MidiMinuit.

Yonatan Levi – Born in Tel-Aviv, Israel, Yonatan Levi first started with classical guitar and switched to classical stand up bass studies from the Israeli Conservatory of Music in Tel Aviv. He then got a full scholarship at Berkley College of Music. He has been playing alongside some of Jazz greats like Avishai Cohen and Eddie Henderson. In the past few years, since moving to Berlin, Levi has ventured into the vast electronic music world, becoming an avid vinyl collector as well as collaborating with electronic music producers who are known for their cross-genre, multi disciplinary approaches. Bringing all that jazz to the band.


Adrien de Maublanc – Adrien is well known as a producer and sound engineer as one half of the Masomenos duo which is a productive partnership with graphic designer and DJ Joan Costes. They have a long collaboration with the Hôtel Costes music history. In fact, they have been in charge of the Costes presents serie, a minimal electronic oriented serie of albums by glacial, seuil and themselves. Since two years now, they have located their studio in the Hôtel Costes extension that have been on works, and named the place Studio HC. It is in this unique studio that MidiMinuit has been mixed. Maublanc is now part on his own several bands that like midiminuit will be released on Hotel Costes Presents label.

Will Saul is a key figure in UK dance music. Approaching his twentieth anniversary as a DJ, producer and label founder, Saul has helped break the career of key artists such as Leon Vynehall, Midland and Dusky via his Aus Music label, has himself played some of the world’s finest nightclubs and contributed to !K7’s storied ‘DJ Kicks’ mix series, which he also curates. Finally returning to the production fold himself with his first full-length album in thirteen years, ‘Open Too Close’ is a condensed trip through the influences, discovery and sense of history that have helped shape his career and drive a forward-facing, unblinking passion for new music. The record’s concept reflects Will’s enormous skill and knowledge as a DJ, and as it’s title suggests, “"represents what I play in a club if an 8 hour set was condensed into 10 tracks.” Having held residencies and made regular appearances at some of the world’s finest clubs including The End and Fabric in London, Panorama Bar in Berlin, Trouw in Amsterdam and Robert Johnson in Offenbach, Saul is uniquely qualified but this refreshingly straightforward approach. Eschewing the lingering, almost cliched expectations for a dance artist to create an album “that sounds good at home, as well as in the club”, ‘Open Too Close’ instead draws on the timeless futurism at the heart of the music that drew Saul into electronic music culture. Simply put, futuristic, melancholic sci-fi soundscapes meets stripped back raw sample driven house music, all executed with the precision and panache of an artist who truly understands how to move a dancefloor.

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.

Global tracks is a mystery; browsing the name online gives nothing associated with the artist. All we really know is that Gothenburg is home base. Most points toward that this is Global Tracks first release and Hoga Nord Rekords are more than proud to be first out giving his/her music out.

With albums like 'Selected Ambient Works' by the Aphex Twin and cities like London and Sheffield as a ground for the sound, Global Tracks displays how breakbeats should sound in 2019. The music is mostly influenced by Jungle, but also by Footwork and Dancehall. The roots lie shallow but the phantom behind this music don't give up with trying to recreate the nineties straight up, instead he/she develops the legacy from all the best and most drug marinated DJ:s from England circa 1995.

Breakbeat has a new vanguard in this mysterious shadow crawler that we know almost nothing about, but rumor has it Global Tracks is locked up with the machines under ground somewhere in Vastra Gotaland in Sweden working on new broke up beats, ready to surface when the time is right for more, deep and ganja oozing dance music!

Selecat from DJ Ness and Coshmar, a worldwide selecta from EurAsia and Africa fullout influences from Ragga, Soul and Rap. With loads of new talents Mista Maff, Y-ETizm, Bumble Bzz, Sorg, Thomas Kahn... THIS IS A VINYL ONLY !!! Thanks to the NFC teknology from Revive Music, will give you many infos while you get your phone close to the record ! Crazy ... also coming with the record a 3d glasses.

Albert’s Favourites co-founder Adam Scrimshire is set to release his fourth album 'Listeners'. Musically, 'Listeners' draws from Scrimshire's passion for jazz, soul and electronic music of all styles; from an energetic combination of Afrobeat and garage on 'Won't Get Better', to the lushly orchestrated neo-soul of 'Thru You', and the harmonious jazz experimentations of 'I Never'. The album features a host of esteemed guest vocalists and musicians telling their own personal stories, including Georgia Anne Muldrow, Emma-Jean Thackray, Joshua Idehen, Madison McFerrin, Chip Wickham, and James Alexander Bright.

"With this album I wanted to get a more focused sound after six years of relearning and development in the studio. But I also struggled to find my own words, to speak about where I/we are now. So I allowed my collaborators total freedom to tell their own story and as they came back to me, they were telling the same stories I wanted to. It's resulted in some deeply personal confessional pieces: mourning family, collapsing relationships, extremes of self doubt and analysis, trying to balance public and inner persona, and a reminder that life in all forms is important.

It’s called 'Listeners' as I am a listener here, I feel like I've been given these very personal experiences to care for. Listeners because, the travesty of the last few years is that we stopped listening to each other, everyone is shouting at each other and no one is learning. And Listeners because I hope I've made something that is for other people more than I have before. I've tried to craft something warmer and more enjoyable, made for those who give me their time in listening to my music."
- Adam Scrimshire

Since joining the Wah Wah 45s label in 2007, Scrimshire has released three albums of experimental cinematic jazz, and electronic sounds. Following his 2009 debut ‘Along Came The Devil One Night’, his second album ‘The Hollow’ (2011) was a BBC 6 Music Album of the Week, with Gilles Peterson calling it “A late contender for album of the year”.

In the time since the release of his last album ‘Bight’ (“An eclectic range of influences ranging from disco to fusion to more contemporary electronic styles” XLR8R) in 2013, Adam has worked with long-time musical accomplice Dave Koor on new project Modified Man, and launched Albert’s Favourites releasing projects by The Expansions, Hector Plimmer and Jonny Drop. He has continued to gain radio and DJ support for his successful “Scrimshire Edits” series and has produced and mixed records for artist including Stac, Daudi Matsiko, Bastien Keb, Ronin Arkestra, Jonny Drop. He has also continued to develop the Wah Wah 45s label, where he is now a co-owner and director.

Preceded by singles 'Thru You' featuring Georgia Anne Muldrow and 'Life Is Valuable' featuring James Alexander Bright; 'Listeners' is set for release on LP and digital formats via Albert’s Favourites on 19th July 2019.

DJ Support / Press:

Huey Morgan (BBC Radio 6 Music)

Jamie Cullum support on BBC Radio 2

Jamz Supernova on BBC Radio 1Xtra

Thru You Premiered By Mary Anne Hobbs on BBC 6 Music “So Beautiful

‘One of our favourites’ iD Magazine

‘Mesmerizing’ The Guardian

‘Keep an eye on this guy!’ - Gilles Peterson


Catching Flies’ music draws from a wide-ranging palette of influences including jazz, soul, hip-hop, house and electronica and has previously seen him handpicked by Bonobo to provide support on his World Tour. Over the past few years, his music has gathered the support of Gilles Peterson, Annie Mac, Lauren Laverne, Julie Adenuga & Huw Stephens, critical acclaim from the likes of iD Magazine, The Guardian, Dazed & Confused, and Nowness, and a growing fanbase which has seen him perform both Live and DJ sets across the UK, Europe, the USA and Asia. This has culminated in over 60,000,000 streams to date.

Catching Flies is set to release debut album ‘Silver Linings’ on 5th July 2019. Containing shades of house and jazz, to hip-hop and electronica, ‘Silver Linings’ is a melodic mesh of bright electronics and intricate rhythms. It’s a beautiful, moving record, with sounds that unmistakably come straight from the heart.

Producer, multi-instrumentalist and DJ George King began Catching Flies in late 2012, when he recorded and self released his first two EPs. With huge radio and press support around the world - including multiple #1’s on Hype Machine, BBC Radio support from Gilles Peterson, Mary Anne Hobbs, Lauren Laverne, Tom Ravenscroft, Nemone, Annie Mac, Huw Stephens; praise from i-D, Dazed, The Guardian, Complex, Notion, The Line Of Best Fit, Clash, Dummy and more - he’s since attracted millions of listeners.

Against his instincts he signed with a big management agency and got talking to a label: it almost derailed his career. He explains “What I'd found so inspiring originally was the total freedom to make a tune on my own terms and just decide to put it out the next week. There was a hunger that came with that, and a sense of achievement from being the driving force, but as soon as I tampered with that ecosystem, it wasn't as exciting anymore”.

Touring with electronic music giant Bonobo - who also included him on his BBC Radio 1 Essential Mix - allowed him to watch up close someone who had taken a slow and steady path from tiny clubs in Brighton to arenas worldwide, and see it was possible to do without any compromise. After being teased through a succession of warmly received singles this past year, and seven years on from that first EP recorded and released from his bedroom, his debut album ‘Silver Linings’ is now ready to be revealed.

“It's taken me a while because I didn't want to speak until I had something to say. I wanted to make something positive, hopeful and colourful...The world isn't in the best place at the moment, and the last thing it needs is another dark and moody electronic record. I wanted ‘Silver Linings’ to be a scrapbook of the last three years. It’s definitely eclectic, and it’s supposed to be. Over three years a lot changes, your perspectives change, your tastes change; and I wanted to celebrate that by picking tracks that meant the most to me. One of my favourite things about making music is that it takes me right back to where I made it - the keyboard I used, the chair I was sitting on, the room I was in. It kind of teleports you back to a certain point in your life. A bit like a diary entry.”

Recalling those moments brings back a range of memories: ‘Satisfied’ began by being tapped out on a £15 keyboard bought from Kentish Town Cash Converters, ‘Yǔ’ was made in the mountains of China during a few days off from touring, while an evening on Hampstead Heath inspired ‘Kite Hill Theme’. Also featuring on the album is ‘New Gods,’ a collaboration with London’s bright stars Jay Prince and Oscar Jerome and the beautiful and meditative ‘Opals,’ inspired by the likes of Ryuichi Sakamoto and Alva Noto.

Catching Flies is already looking to the future, closing the first chapter in an exciting and inspiring story, ‘Silver Linings’ is only the beginning.

“A few weeks after I finished the album, I moved out of my house I made all the music in, so it feels like the closing of one chapter and the beginning of another. I can’t wait to make the next one now.”

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

'Clap your hands' builds on the template set by their eponymous debut album and further explores the 60's soul-jazz of Ramsey lewis, Young-Holt and Ray Charles as well as the latin boogaloo of Eddie Cano and Pete Terrace. The band's intention was to produce an album of dancefloor friendly, uplifting, funky soul-jazz with a stripped back line up of Piano, Bass, Drums and Percussion. Ranging from the mod-jazz of 'Stomp Your Feet' (a Ramsey-esque groover that's just made-to-measure for dancers) and 'Out From The Rock' (Funky drums and plenty of blues-dipped soul from the Piano) to the driving boogaloo of title track 'Clap Your Hands' and the Ellignton-esque 'Moola Umemo' (Remeniscent of Ellington's 'Money Jungle'). Each track is, in it's own way, aimed squarley at the dancefloor and sure to go down well with both DJs and listeners alike.

"Clap Your Hands" is certainly a more contained album from The Lewis Express, whose debut moved around different camps. It's a tighter, more focussed record that wears it's inspiration proudly on it's sleeve.

Radio support expected from Gilles Peterson (BBC6 Music, Worldwide Fm), Craig Charles (BBC6 Music, Radio 2), Jamie Cullum (Radio 2) and Huey Morgan (BBC6 Music).

Eduardo De La Calle presents his new 12 inches in the new Rhod platform...

4 very sequential techno cuts with synoptic reviews and clearly syncopatic reactions produced with the intention and need of an intense search for new sounds and structures.

Eduardo always shows influences from the early and old pioneers who took control in the techno music business on previous decades...

we can name a few artists like New World Aquarium, Luke Slater or more recently Aubrey that have strongly influenced Eduardo in recent and format times also labels like Shelter Records or Solid Groove are important to be mentioned, they are platforms where Eduardo has also received notable influences when making this record.

In general terms a very solid 12" inch with character an over all... a work with personality for the most demanding DJs.

Mastered by Javier 'KTC Mastering'
Design - Antonio Romero

Rhod Records.

This is latest release by London Duo Dark Circles forthcoming on their own vinyl imprint DC Trax. Undoubtedly their biggest release to date, harnessing the full force of their influences of acid, techno, house and rave directly for the dancefloor.

Lariat is a acidic psychedelic spoken word odyssey with an incredible breakdown. this is acompanied by a remix from man of the moment NYC Bunker dj Justin Cudmore. Mandy on the B side takes us back to 1993 the height of rave and includes life changing question for a certain young lady!

On ‘Ways Of Seeing’ Konx-om-Pax has switched up the mood and hit gold. He has made an album that is filled with joy and sunshine, saturated with the classic feel of Berlin Techno.

Tom Scholefield has moved on from the dark ambient and brittle rave of the first two Konx-om-Pax albums, which were a reflection of his hometown Glasgow's electronic music scenes. After a recent move to Berlin, the textures of Glasgow's musical strains have fused into an accessible and friendly mix of poppy melodic electronica built from a stricter 'less is more' sound pallete, closer in spirit to the music of his adopted city. It is also a record which was made in opposition to recent music he has been hearing, in particular the troubled, dark and noisy experimental music coming out of Berlin. Tom wanted to focus on more joyful qualities, making this a record imbued with warmth and happiness, a panacea to the darkness and disorientation all around in 2019.

Having a social scene full of producers has also influenced the album. The opening track 'LA Melody' came from staying with Ross Birchard (Hudson Mohawke) at his house in LA, hanging out in the glorious sunshine with him and Lunice working on tracks.
"Initially Ross asked me to write some melodies to use in a project he was producing, but I ended up liking it so much I decided to keep the riff. I generally write music alone, but being around other producers gave me a certain excited energy that reminded me of after-parties back in Glasgow where Ross and myself spent our youth together. Spending time in Clark's studio also helped me improve my workflow and sequencing the album by seeing the way he does things". On 'Säule Acid' he collaborates with Silvia Kastel and in 'I’m For Real' the vocals of Glaswegian DJ/producer Nightwave filter around the track.

It had taken him almost three years to record, but in 1985 Jake Hottell finally finished his debut solo album, Break The Chains. Inspired by his opposition to fracking, anger at government corruption and a series of profound spiritual experiences, a hundred copies of the album were pressed and given away to radio stations, friends and local business interests in Hottell’s home state of New Mexico.



The album would have remained an obscure footnote in musical history had it not been for the efforts of DJs Danny McLewin and Jeremy Spellacey. Between them, they tracked down Hottell to hear his story, offering the former electronics engineer and Nashville-based music producer the chance to get his music to a whole new audience. Now, some 34 years after the private press edition was produced, Spacetalk is giving Break The Chains a full release for the very first time. Hottell began recording the album in 1982 after reading Your Body’s Many Cries For Water, a best-selling book by Dr Fereydoon Batmanghelidj about the health benefits of clean, purified water. Remembering the poisonous, methane-laden water that came out of his mother’s taps in the 1970s – a by-product of extensive fracking activity in the area around the family farm – Hottell wanted to create a set of tracks that registered his concerns, reflected his recent spiritual experiences (many of which he still finds it difficult to discuss today) and offered a meditative listening experience.



The resultant set is suitably cosmic and emotive, with Hottell cannily fusing gentle drum machine rhythms and dreamy synthesizer motifs – influenced, he says, by a love of the contemporaneous new age output of former jazz label Windham Hill Records – with his own glistening guitar passages, which sit somewhere between the homespun riffs of country music and the classical guitar solos that have long been a sonic staple of Spanish styles such as Flamenco. Many of the tracks have stories attached. “Horizon” features a profound spoken word vocal from local man Darald McCabe – whose homemade purified water helped Hottell recover from serious illness – while “El Rio dos les Delores” was composed after discovering that fracking was taking place on a local Native American reservation. “The Truth Is All I Want”, meanwhile, reflects Hottell’s growing exasperation at the extent of corporate greed and government corruption in the United States.



This new edition of Break The Chains has been painstakingly re-mastered from the original master tapes, while extensive new liner notes shed light on the remarkable musical and personal experiences that inspired Hottell to create an obscure, overlooked classic.

Marius & Cesar are brothers. The 1st has been Disc-Jockey and Art Director for a while, the 2nd, a producer and co-founder of the music studio SODASOUND for almost a decade. They grew up in a family of musicians and started learning and playing music very early.

Fatal weapon of Sodasound’s label, they’ve been DJing for years in Parisian clubs, and launched their own party called AFTERBEAT, where they perform all night long on turntables plus a few analog toys for marathon DJ sets. They are now resident DJs at RINSE and AFTERBEAT FM is their monthly radio show since 2015.

Their debut EP “B.R.O.T.H.E.R.S.” is a blend of their eclectic influences, from 80's synthetic disco to balearic techno through impressionist music, ambient or acid house. It will be out on June 21st, 2019 (digital and vinyl).

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

Claps your hands/Stomp Your feet was recorded during the sessions for the upcoming Album 'Clap Your Hands'. building on the template set by their eponymous debut album these tracks further explore the 60's soul-jazz of Ramsey lewis and Young-Holt and the latin boogaloo of Eddie Cano and Pete terrace. A-side 'Clap your Hands' opens with cowbell, handclaps and bass before drums and electric piano enter to carry the track onto the dancefloor. This is one for the Djs and it'll do the business in the clubs for sure, but, also perfect for a late night, sweaty house party - shoes off and beer in the sink. B-side 'Stomp Your Feet' is much more in the classic mod-jazz frame with a faster pace and funkier drums, but still with handclaps and electric piano to the foreground. Drummer Hobbs opens up 'Stomp Your Feet' in fine style, and The Lewis Express start to swing with a Ramsey-esque groover that's just made-to-measure for dancers. Everything comes together here, with a mid-60s Cadet record feel throughout. Both tracks were recorded live to tape and were recorded and mastered for a tougher sound perfectly suited for djs to fill a dancefloor.

This summer, Soundway Records will release a double vinyl compilation
from South African-raised, UK-based DJ and producer, Esa
Williams.Titled Esa Presents Amandla: Music To The People, the
compilation spans electronic music from around the globe, which feature
heavily in Esa's DJ sets and hold a special place in his record bag -
including exclusive versions and hard-to-find tracks from the last two
decades.Esa Presents Amandla will be preceded by a promotional teaser
12" out 31 May, featuring Penny Penny's 2001 impossibly rare Kwaito
House monster "Shilungu".A hypnotic, percussive, groove-driven
anthem, it features chanting in Tsonga, celebrating South African icon
Penny Penny's Shangaani roots.
On the flip is the acid-soaked "Shilungu (Esa & Mervin Granger '99 Mix)",
re-interpreting the track with key elements from the original which are
extended into a late night, Chicago House influenced chugger.Esa
Williams is an ambassador for the South African music scene within the
crowded landscape of the European nightlife - balancing a hectic DJ
schedule, a monthly radio show on Worldwide FM and various live
projects. He is currently in the midst of a long-term DJ residency at
Phonox London, where he embarks on a weekly musical expedition.

Remastered 6 song mini LP​ originally produced in the
mid-80s *very in-demand with funk record collectors and
DJs worldwide. Featuring ​6 upbeat synth-driven, boogie
funk dance tracks​ *first officially licensed vinyl reissue*
Colours of the Rainbow contains the best 6 tracks from two rare South African LPs by recording artist Bibi
the Kid Msomi: 4 tracks from the ​1985 album Searching​, and 2 tracks from the ​1986 LP What Kind of Love
is This?
South African funk music from the 80s​ has recently gained recognition as ​some of the best funk
productions in the world​; yet so many titles remain virtually unknown outside of South Africa, especially
due to the scarcity of the original pressings (due in part to the destruction of any music perceived as
subversive by South African government censors at the time).
The level of musicianship on these recordings is simply world-class. Even ​Paul Simon​ ​was trying to work
with Bibi Msomi​ while recording his Graceland album in South Africa (read more about it in this ​exclusive
interview​).
Combining American and South African funk influences, these 6 upbeat dance tracks feature ​popular
synths and drum machines of the day​. The subversive lyrics and infectious grooves on these recordings
address the political turmoil during the peak Apartheid years in a way that was just subtle enough to slip
under the radar of stringent government music censors. ​Deep messages of freedom and universal
brotherhood are backed by​ some of South Africa's greatest musical talent​, including:
Mac Mathunjwa (​Street Kids, Neville Nash​), Sello Mphatsoane (​Bayete​), ​The Hot Soul Singers​, Cisco the
Champ Mokoena, Blackie Sibisi (​Step Ahead, Brenda & The Big Dudes​), Alistair Coakley (​Hotline, Stimela​),
Ladysmith Black Mambazo​, Jantshi Mayo (​Sipho Mabuse​), Peter Mokoena (​Pure Magic​), Solly Ledwaba
(​Juluka​), Joey Mabe (​Mahlathini and the Mahotella Queens​), Deborah Fraser (​Brenda Fassie​), Zamo
Mbutho, Banzi Kubheka (​Banjo, CJB​), Cyril Mnculwane (​CJB​), and ​Stimela​ ​vocalists​: Marilyn Nokwe, Tu
Nokwe, Hlengiwe Maphumulo, Beaulah Hashe.
Meticulously ​re-mastered with love for maximum impact on the dancefloor​; we hope you enjoy the
songs contained on this spiritual boogie masterpiece.

West Coast mainstay Dave Aju continues with his own varied style and pace, coming correct once again on Circus Company
with a truly special three-tracker of straight up dance floor bombs. This San Francisco DJ/producer is a master sampler, groove
innovator and jazz influenced artist who has been with this label for ten years. In that time, he has turned out plenty of timeless
LPs and EPs that have earned him a deserving reputation as a truly cultured craftsman.
Just in time for the warm summer months ahead, these pieces are fit for maximum daytime, nighttime, and after-hours pleasure
respectively. The releas kicks off with title track ‘Love In Zero Gravity’, one of those raw undefinable Dave Aju grooves, loaded
with soul and unique musicality. It builds in bass-heavy intensity, bright epic bursts and ecstatic waves like we've never heard
from him before. Next up the voodoo stylings continue on ‘Aubergine Dream’ but in a much deeper mode, where ultra-sweaty
basement funk collides with the darkest shades of purple imaginable, all laced-up with otherworldly lysergic lines. Finally,
‘Gatadu’ rounds things out with pure class, a bouncing robust house cut done-up with generous helpings of live percussion, rich
textures, and Aju's velvety vox - the perfect recipe to keep dancing long into Sunday's sun rays, all smiles and sing-a-long vibes
for the real heads and lovers. This is another superb offering from one of dance music’s most fascinating artists.