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Electronic Body Music, abbreviated as EBM, is a term whose origin stems from the Belgian group Front 242, chosen to describe their electronic music; cold and dancing, free of the dominant influences of the time. Powerful, cold and minimalist electronic rhythms were the hallmarks of this new genre.

The movement quickly garnered followers with the British group Nitzer Ebb but also in the rest of Europe, with the likes of Borghesia and The Neon Judgment, later signed to labels like PIAS, Antler- Subway, Wax Trax!, Mute, Off Beat, Zoth Ommog, Pendragon and Metropolis.

EBM’s popularity grew rapidly in the underground scene during the 1980s and early 1990s, especially in Europe, before breaking through in the rest of the world, also influencing the subsequent electro-industrial scene.
‘Dancing In Darkness: EBM, Black Synth & Dark Beats From The 80s’ - to give it its full title - is a compilation of some of these bands; bands that changed contemporary music in terms of ideology, politics and aesthetics.

CD version in digipack with poster booklet. 2LP version in gatefold sleeve.

In late 2017 Hyperdub released 'Diggin In The Carts', a compilation put together by Nick Dwyer and Kode9 of pioneering and rare Japanese video game music from the 1980s and 1990s.
Since then, from Sonar Festival in Barcelona to Liquid Rooms in Tokyo, Kode9 has been touring a live audio-visual set in collaboration with visuals from anime legend Koji Morimoto, who also designed the artwork for the original compilation.Finally, on this first new Kode9 EP since 2014, a handful of these remixes see the light of day.

9 rivets his 80/160bpm rhythms onto these classic 8bit and 16bit melodies, re-animating the Steve Reich-ian arpeggios of Soshi Hosoi, the grimelike horn fanfares of Yuzo Koshiro, the sour pads of Koichi Ishaibashi, and pitching Tadahiro Nitta down into a slow building, frantic low end grind.
Sleeved in artwork by Konx-om-Pax, adapted from the visuals from the live A/V performance

Statik Selektah is a renowned DJ and Producer based in NYC, born and raised in Boston.
Statik hosts a weekly radio show on Sirius / XM Shade 45 every Thursday from 7PM to 9PM.
Statik has produced recent tracks for Eminem, Joey Bada$$, Action Bronson, Danny Brown, Royce Da 5'9' and Dej Loaf.
In 2014, Statik Selektah released his album, 'What Goes Around' (DDM CD 2375), and in 2015, Statik Selektah put out his 7th studio album, Lucky 7 (DDM CD 2430). He is now prepping his 8th album, '8,' for a December 8th release date.

Alt-rock icon Josephine Wiggs is best known as bassist in The Breeders, rising to superstardom in the '90s and continuing to draw crowds and critical acclaim in the wake of their 2018 album All Nerve.
But over the years, Wiggs has released several of her own albums, all of which delightfully defy genre. Her new solo record, We Fall, is both a departure and a distillation of an enduring personal aesthetic: moody and spare but also melodic, at once contemporary and nostalgic.
Some influences are clear: We Fall is reminiscent of the experimentalism of Brian Eno's Another Green World and recalls the delicate, languid minimalism of Harold Budd. The album's classical inflections, sharpened by a dialog with electronic elements, evoke Alva Noto and Ryuichi Sakamoto. This is an album of juxtapositions: minimalist at moments, richly layered in others; ambient while also sharply focused; melancholy yet resolute.
There's something both dreamy and scientific about We Fall. Wiggs, an enthusiastic amateur mycologist, has an impressive collection of mushrooms she's photographed in her travels. We Fall could be the soundtrack to what can't be captured in a single photo—the growth and decay of miraculous creatures that a less astute and sensitive eye might overlook entirely.
Composed, performed and recorded by Wiggs, with drums and electronics by her longtime friend and collaborator Jon Mattock (Spacemen 3, Spirit , We Fall is a lyrical, bucolic album with an undercurrent of disquiet. Think of a wintertime walk in the woods as dusk falls too soon. True to the classic album form, the 10 almost entirely instrumental tracks on We Fall form a compelling whole: a crystalline meditation on paths not taken and words unspoken, an elegy for moments lost and last embraces.
JOSEPHINE WIGGS BIO
Josephine Wiggs grew up in an unconventional family north of London. Returning home from a summer holiday with a donkey riding in the back of the family's 1927 Rolls Royce was not considered at all bizarre. Wiggs studied cello as a child, segued from college in London to undertake a master's degree in Philosophy, and then, in a move few would have predicted, joined a rock band.
After making three albums with The Perfect Disaster (1987-1990), Wiggs left to join Kim Deal (Pixies), Tanya Donelly (Throwing Muses), and Britt Walford (Slint) in forming indie supergroup The Breeders, whose debut album Pod came out in 1990. Following a shift in line-up—with Kelley Deal on guitar and new drummer Jim Macpherson—The Breeders released Last Splash in 1993; with its hit single 'Cannonball' and 'Divine Hammer,' they became alternative rock superstars.
During the same period, Wiggs released two lower-key albums with Jon Mattock (Spacemen 3, Spiritualized): Nude Nudes (1992) under the name Honey Tongue, and Bon Bon Lifestyle (1996) using the moniker The Josephine Wiggs Experience. She also recorded and produced Klassics with a K (1996), the beloved and only album by the Kostars (Luscious Jackson's Jill Cunniff and Vivian Trimble). During a brief run of shows, Wiggs joined the band on drums, showing her range of musical ability.
In the late '90s Wiggs collaborated with Vivian Trimble as Dusty Trails, whose eponymous 2000 album is an homage to neo-noir soundtracks, spaghetti westerns, and Gallic pop. Time Out described it as 'one of the most subtly suggestive, understatedly elegant...things likely to have caressed your cochlea in years.'
Allusions in Dusty Trails to film music foreshadowed the next stage of Wiggs's career, writing scores for feature and documentary films—from Happy Accidents by Brad Anderson in 1999 to Appropriate Behaviour by Desiree Akhavan in 2014. Her new album We Fall began as a suite of short pieces for the documentary film Built on Narrow Land. Wiggs has also composed and recorded music to accompany live performance and short films by the acclaimed Brazilian choreographers chameckilerner.
In 2013, following the 20th anniversary of Last Splash, the classic lineup of The Breeders reunited for a world tour. Five years later in 2018 they released All Nerve, with Wiggs co-writing two songs and singing lead on the standout track 'Metagoth.' We Fall, Josephine Wiggs' third album of her own design and ninth album in a career spanning three decades, will be released on vinyl and available for download and streaming on April 12, 2019 by Sound of Sinners.

‘Verdigris’ the new EP from Japanese artist Atsushi Izumi, is a deep dive into the crevice of the mind. It is an exploration of where fearful emotions lie and confronting them. It is only through this conflict that light can shine through in the end.

The Osaka native has a background in music and sound design and as such found his sound going through a metamorphosis from Drum n Bass to a more experimental sound. His EP ‘Snow’ was released under the subtract imprint last year and saw the initial phase of this transformation. It was followed up by ‘Lansing / Mistrust’ via The Collection Artaud, which continued his growth of using slowed out heavy percussions surrounded by frantic synths and modulations.

Atsushi Izumi’s use of long drawn out hallow synths is like an ominous cemetery at night before these powerful percussions detonate in. He uses heavy spaced out bass drums, either as a single or double beat, which simmer as they echo and roll. They are surrounded by these chaotic, textured synths, which can sound like a cicada, hovering and distorted to give a mechanical effect. It feels like being thrown into the woods late at night, eerie yet calm in the beginning, before extreme panic sets in and you feel like you’re being chased.

Japan witnessed the end of the world up close and it is still reflected in their art and music: it delves into the sadistic and explores deep themes of melancholy and the apocalypse. This is juxtaposed against pure joy and serenity, showing that life is there to be enjoyed and struggles have an end, which is translated quite coherently to this piece.

As an extra bonus to all this, there is a scintillating remix from ANFS. The Greek adds a bit of pace to the track Zeit. He is an artist who enjoys frantic distorted techno and it shows in this cut. He takes the basic elements but whereas the original slowly introduces the percussions, ANFS bangs straight in. It’s structured yet frantic and a massive sound.

‘Verdigris’ is due for release on 17th May 2019 under the mysterious Swiss label Thrènes, that is known for eye-catching signature artwork and a deep and dark techno sound.

On their debut album as DOVS, Tin Man and AAAA summon the ethereal spirit of acid. Tin Man, AKA Johannes Auvinen, has been studying the emotional potential of the Roland TB-303 for 15 years now, and AAAA (Gabo Barranco), a fixture of the Mexico City underground, might as well be his acolyte. While the coincidental similarities of their studio and live approaches make this collaboration feel natural, even expected, Silent Cities is anything but. We recognize most of the elements here—the ubiquitous acid box and hardware drum machines—yet Auvinen and Barranco arrive in new, mysterious territory this time out. Lush arpeggiation, breakbeats and atmosphere imbue tracks like 'Nostalgic Oblivion' with a widescreen grandeur. 'Rene Figures' recalls Specific Momentific-era Cristian Vogel, symphonic, melodic techno with a kick heavy enough for dark, cavernous rooms. Meanwhile, beatless cuts like 'Whining Acid' are as intricately crafted as Tin Man's well-loved classical work (Vienna Blues). But as a duo, they craft a virtuosic harmonic narrative almost solely with 303s. Tin Man and Donato Dozzy's 'Nonneo' was the first release on Acid Test, setting the tone for the label and unlocking new potential for the genre. DOVS' closer on Silent Cities, 'Diazepam Blues', is the label's new melancholic acid anthem and a statement of purpose for Tin Man and AAAA, two hardware masters who have created an album of remarkable emotional depth.










[J}] D2 - Dysphoric Fix

180g
In order to celebrate 5 thrilling and inspiring years, we gathered well-known artists, Goldmin regulars and emerging talents. It was really important for us to express the elusive nature of the Goldmin sound, in the form of a compilation tracklisting. Over the past 5 years, we had the chance to meet most of these guys in person, follow their very own creative path, share ideas, thoughts and there’s no doubt that they all had their part to play in crafting our sound. This intimate and stimulating kind of collaboration had to be expressed and there couldn’t be a better way to capture what we’ve been busily working for, than a serie of Various Artists 12″. What it comes down to is a quintessential, hard-to-follow Goldmin selection devoid of any specific standard or norm. And this whole compilation seems to reflect that non-septate artistic direction, this little something, which has grown throughout our whole catalogue, since the label’s birth.That’s why, picking these select few tracks, that could illustrate Goldmin Music’s essential freedom was probably our toughest work yet. It was also important to pick only the most original and iconic tracks from each artist. In the end each track had to be their most Goldmin one and they all have been tried in all types of situations, in club at 1 and 5 AM, on the highway at night or even staring at the ceiling during a sleepless insomnia session. They all fullfilled their duty.

“Introducing COSMIC RESIDENTS v. 1, the first in an ongoing compilation series from Cosmic Resonance Records. This series will showcase emerging talent from Toronto’s underground creative electronic music scene.

This first edition features local favourites and Cosmic Resonance residents Radiant Aura Faculty (aka Raf Reza), KOREA TOWN ACID and Hemingway along with (and making their vinyl and Cosmic Resonance debut) Body Butter, WeTurnToRed and Smoke & Shadows.

On the A-side, Hemingway kicks things off with Astralnauts, a deep, dubbed out boogie breakbeat burner dedicated to explorers of the astral plane featuring fellow label don Chris Evans on rhythm guitar. Radiant Aura Faculty (aka Raf Reza) takes us even deeper with the mystical 'Cid Pit Riddim', a slamming 707 acid bender sure to melt any dance floor. Things get slippery with Body Butter’s debut single ‘Lights In The Hallway’, a timeless operatic pop opus featuring Neil Rankin (aka Burt Sugar), Chris Evans (aka Mr. Bliss) and Hemingway behind the board.

On the flip side, things heat up with Shamanta Chandran’s project WeTurnToRed (recently releasing their debut EP on ORO Records), featuring the progressive modular techno odyssey 'Warm Winter', an escape from Toronto’s long and tumultuous blizzards. Emerging from the Mahogani Forest, Korea Town Acid reinterprets Hemingway’s emotional ode to the jazz aesthetic 'Blue Notes' with her trademark cerebral rhythms and a masterful bassline that elevates the original to new heights. Closing it off, we have an amazing collaboration between Curtis Clark (aka Smoke of Lab.our Music) & Em Zy (member of Nikki Fierce) called Smoke & Shadows with their stellar debut single Convincing Thoughts that features Em Zy’s hazy vocal emanations amidst a backdrop of mystical reverberations and a dark, powerful groove.”

Khanum joins the small but already acquainted Dubs Galore family with 2 soundsystem hitters

Kiki Dee is one of the great UK soul singers. She was the first female singer from the UK to sign
with Motown Tamla Records, has been a backing vocalist for Dusty Springfield, produced by
and signed to Elton’s Rocket Records label








g B1. Don’t Go Breaking My Heart with Elton John

i B3. Chicago [original version]

Dark Star Safari, a newly formed group featuring Samuel Rohrer, Jan Bang, Erik Honoré and Eivind Aarset, present its eponymous recording debut, an evocative song-driven album. These songs conjure shadows of memory, clouds of dreaming and silhouettes of foreboding through the album’s layered, many-textured fabrics and Jan Bang's silken delivery of Erik Honoré's acute lyrics. Dark Star Safari is the work of four kindred spirits, their open modus operandi, and a remarkably interconnected creative nerve system. Key to their collaboration is an organic freedom that enables the music “to fill itself in", to be self-actualizing via the musicians as medium. The music of the 10 songs resulted from a two-stage process: an initial phase of free flowing open improvi- sation, and a subsequent exploratory phase where hidden potenti- als were discovered and nurtured. The groundwork of the album’s music originates from a session initiated by Samuel Rohrer, who invited Jan Bang and Eivind Aarset to the renowned Candy Bomber studio in Berlin. The ses- sion was run under the imaginative craftsmanship of sound engi- neer Ingo Krauss, who worked in the famous Conny Plank stu- dio, and its recording and mixing employed sophisticated use of vintage analogue equipment alongside cutting edge digital pro- cesses. This meeting opened the door for something larger to emerge. The group did not settle for just the outcome of the initi- al open improvisation. They were driven to dig deeper, to atten- tively examine and manipulate the material, in order to discover what it had to offer. This caused a creational chain reaction, forcefully spreading across the group. During this second phase, Jan Bang, while meditating upon the possibilities and reach of the improvised material, felt a strong urge to give additional shape and colour to it by singing. Thus, he organically stepped into the role of vocalist, a role he had not pursued since the early days of his musical career. He sent the results to Erik Honoré, who immediately was inspired by its po- tential, quickly penning lyrics and providing the project with its name. Honoré composed two additional songs, Mordechai and Fault Line, and thus rounded the project out towards a fully reali- zed opus. The group continued this back and forth process, with Samuel Rohrer and Eivind Aarset bringing in fine-tuning and e nrichment to the song structures and textures.

ZamZam 70 is our first team-up with the man of mystery known as Marcus Anbessa. An enigmatic figure whose identity must remain secret for the time being, his infrequent releases on labels such as Lion Charge, Tribe 12, and The Most High (as “Unknown Artist”) are eagerly awaited by those who know, charting an uncompromising vision down a path untrod by the weakheart or the follow-fashion. We love music that builds its own sound world with only passing reference to familiar genres or signposts, music that believes in itself utterly - for this reason we feel genuinely blessed to present these two sides.

“March of The Falasha” is pure roots music that, firmly planted in the soil of dub and sound system, reaches back even further into the mists of time through technological means. Downbeat steppers is the idiom, pure heartbeat is the pulse. Like an old soul young in years but full of wisdom, a distorted flute melody wanders ahead through the undergrowth of bass, light filtering through the ancient canopy above in the form of swung percussion and flickering echoes overlapping and intertwining like vines and creepers weaving on temple walls. Ancient-to-the-future.

“Creator” strikes a different yet equally dread chord, 140-ish post-apocalyptic Rasta business focused squarely on bass and space, hard, insistent drums and infinite echo trails flinging from the snares and percussion, creating hypnotic tracers like sparks swirling heavenward from a well-tended fire in blackest night.

Imagine African Headcharge on Jah Tubbys, or a rootsman groundation resuscitating ancient machines in the crumbling ruins of a near-future world and you begin to see what Marcus Anbessa brings. This music reminds us that nature herself will some day claim Babylon and grind it to dust, regardless of our efforts to save it or hasten its fall.

Helsinki-based duo Timo Lassy & Teppo Mäkynen present a new two-tracker on We Jazz Records and dive deep into different moods on this 7" / digital single release. Lassy plays sax, Mäkynen (who is also known as "Teddy Rok" and via his Stance Brothers alias) plays drums and handles production duties. First up, we have "Zomp", a deliciously slow funk piece with enough groove to move mountains. On the flipside, "Dark Magenta" takes things leftfield with its tech-like rhythmic approach applied here onto an acoustic jazz quartet and hinting at Mäkynen's interest in electronic music.

As far as the term "award-winning" goes, here we have two of the latest "Finnish jazz album of the year" winners joining forces and doing what they do best. "Zomp / Dark Magenta" is out on Helsinki's We Jazz Records on 3 May. The 7" vinyl single follows the label's path of producing their singles with beautiful heat-pressed labels and serving them just right in generic brown sleeves.

DJ, producer, singer-songwriter, one-half of world-touring soul duo Myron & E (Stones Throw), founder of boogie outfit The Pendletons (Bastard Jazz), part of electro-funk duo Lucid Paradise, and an endless string of collabos. Over 2 decades in the game means multi-faceted artist Eric Boss knows his way around music. Having been there, done that, gotten the t-shirt and watched the fat lady sing, it's finally time for E to take center stage and deliver his finest effort yet with solo record "A Modern Love", an effervescent collection of raw funk, sweet soul, west coast vibes and classic hip hop, produced by Björn Wagner and Steffen Wagner (The Mighty Mocambos / Bacao Rhythm & Steel Band).

"A Modern Love" has all the ingredients of a future classic. High-profile guests Check: with Gift Of Gab (Blackalicious) rapping on "I Wanna Ride", a track with more bounce than a lowrider chevy on Santa Monica boulevard, and soul siren Gizelle Smith featuring on "Spiders", a spooky number that will get you jumping out of your seat like you've been attacked by giant 8-legged arachnids. Need some dancefloor action "Get Next To You" gets down to serious bizniz with crisp drums and a catchy hook guaranteed to get the party started. Something for lovers We've got it covered with "Is It Love", where Eric waxes lyrical about his sweetheart over a honey-drenched soul beat.

From reggae-flavored vibes being served in inspirational number "Your Life Is Up to You" to the slow-burning grooves of "Merry Jane" which features singer Ishtar, the 10 tunes on "A Modern Love" all attest to Eric Boss' talent and versatility. Judging by how quickly the limited edition 45 of album opener "Closer To The Spirit" sold out when it was released, it seems safe to say Eric Boss is a king Midas with the golden touch when it comes to providing fresh grooves for contemporary ears, and "A Modern Love" is set to prove so once again.

Charlemagne Palestine's majestic 1976 work The Golden Mean, originally performed by Palestine on two pianos, is revisited here as The Goldennn Meeenn + Sheeenn, a new collaboration between Palestine and enigmatic musician Rrose.

March 2018: the Festival Variations in Nantes commissions Charlemagne Palestine to reinvent The Golden Mean for two pianists. Palestine chose Rrose to join him in this new rendition of the work. Together, they performed The Goldennn Meeenn + Sheeenn onstage at the main opera house in Nantes -- the sumptuous Théâtre Graslin – with extraordinary results.

The concept of the 'golden mean' goes back to the roots of mathematics, and ancient Greek philosophy. It is an important work in the Palestine mythos, embodying his total immersion in the power of the interval. "It's probably his most systematic work . . . a step-by-step journey through the intervals of the octave," says Rrose. "When we rehearsed it, we were noticing how each interval is like a universe of its own -- with its own history, emotions, and sonic qualities all mixed up together. Every time you move from one interval to the next, it feels like moving into another world."

"I love the interval," Palestine told me in a recent interview. "I love when it plays with itself. That's what I learned from organ musics too. You can just do an interval, and if they're just slightly out of tune with each other, then they shimmer . . . they play themselves. And it sounds like somebody's playing lots of notes. In your ear, it's like an aural phenomenon . . . that's my whole concept. I make something that then does itself somehow. It continues by itself. So I don't have to always be there. And that makes my music a little less egocentric. So there's more space. Also for the listener — the ear plays with these things, and you're not always being given orders. Your ear isn't given orders all the time of what to listen for."

Beautifully recorded, with mastering by Rashad Becker of Dubplates and Mastering, The Golden Mean + Sheeenn feels expansive, radiant and hypnotic, opening new ears to its enduring mystery.

Rrose adds this note to listeners: "Do not focus your attention on the notes being played, but on the ocean of overtones swimming, suspended, overhead, brushing against one another, kissing one another, melting into one another."

Heist is first and foremost a label dedicated to quality house music with an eccentric angle. Promoting great music from the Netherlands comes as a close second. After presenting a lot of notable artists from our country, it’s great to showcase another young Dutch talent with our latest release: Perdu.
You might know him from his solo debut on Let’s Play House or the follow up on Optimo Music last year. Perdu’s music gets played by the big ones in the game like Hunee, Optimo and Palms Trax to name a few; and obviously, by us. We’re proud to introduce you to his “Skye EP”. His new release includes 3 varied originals and a rave anthem made by none other than our fun loving Ozzie friend DJ Boring.
The A side kicks off with “Jane’s World” and is the track that made us fall in love with this EP when we heard the demo. It’s a worldly tinged house monster, filled with harmonized drum rolls, a counting Frenchman and a funky arpeggio for good measure.
“Sacramento” takes a more introverted approach, leaning on a broken beat and atmospheric pads. The consistency of the kalimba with the vocal gives it a certain swing that got our ears longing for more.

The B-side starts with “Morbid”, a life-affirming electronic anthem, where Perdu shows his mastery of creating a proper build up. Over the whole course of the track, there’s a lead that slowly but surely opens its filter. There’s bells, harps, hand percussion and rides that all build up towards a lovely climax towards the end, while the track never feels like it’s forcing itself upon you.
Where the 3 originals are all, to some extent, quite introverted and modest, DJ Boring’s remix is anything but that. His version of “Jane’s World” is all about ravey leads, powerful percussion and huge breakdowns, which will do wonders at any festival or club closing set.
We hope to pleasantly surprise some of you, and as always, make a musical impact on your moment in the club, at home, or wherever it is you enjoy the music of our new Heist release.

Yours Sincerely,

Maarten & Lars.

* Version excursion on Partial's rootsy `Free Again' rhythm, featuring Amelia Harmony, Jah Marnyah - both based in the UK, Berlin-based rising star Saralène and Partial Crew aka Liam Partial.
* As well as the three vocal cuts, the 12' includes three dub versions.
* Produced by Liam Partial, and mixed by Dougie Wardrop at Conscious Sounds studio, London.
* Other cuts on the `Free Again' rhythm appeared on the 7' (PRTL7064) - Ital Horns - `Remains Of The Day'.

We are super stoked to welcome back 3WA aka The Portuguese Serial Killer aka The Christiano Ronaldo of Dubstep for another fire release on Foundation Audio (this time around getting the vinyl treatment)! Pedro has got many tricks up his sleeves. Here are 4 of his finest. Make no mistake he will nutmeg you, dribble around you, Ronaldo chop past you and handball the finest goal without the ref seeing (and he’ll make it look easyyyy)… What’s more to say? The guys a wizard and makes some of the most interesting music in the Dubstep scene. Get to know if you don’t already!!!

Blue Veil, AKA Danny Clancy, serves up four mesmerising productions for his Dichotomy label's fifth release.

Having already showcased stunning releases from Mary Yalex and Ahu, Blue Veil continues to shape the sound and aesthetics of this burgeoning label with the 'Dreaming In Colour' EP.

Choral pads breeze over an uncluttered rhythm on the stunning 'I Can't Go On. I'll Go On', whilst 'Small Prophecies' drifts over forlorn piano chords and an almost tropical rhythm pattern.

A brooding and dusty breakbeat heralds 'Another Day', switching up the EPs tempo for a slower jam, but still bathed in blankets of soulful tones, whilst 'I Don't Want to Die in Dalston' is another emotive composition filled with deft musical refrains and big, panoramic melodies.

Eagerly awaited debut album from oft-cited UK's most out-there band, features in the works with The Quietus and Wire already.

180GM PRESSING - 500 COPIES ONLY.

Difficult times required difficult music, my Yarns, that's why we had Guttersnipe; with its own sort of energy-kind there then.Reiner: A singular yield, a singular yield now.Barns: A whot
Reiner: A singular yield mate! Rich guitar strang, flow motive pounding underneath.Vox like Death come winding through the fields. Barns:  Hell of a way to describe a vocal style.
Me: Nah but for real my Donny, Have you read a presser 1 sheet lately It's the most

They say the PR era, circa late 80's killed the golden age of music journalism:
They say Guttersnipe have continuously melted all the forms that they come up against. They are right.  Because Guttersnipe is not part of a tradition we know well. You will identify the departure from it though, immediately, upon hearing My Mother The Vent. This LP, the promotional version of which, likely sits in your hands (disk, whatever). The innovation here is a FIRM commitment to the flowmotive polyrhythm underwriting the seared, nay fried, tonal rainbow and de-reasoned vox.

Not Nate Nelson, nor John the masseuse dude from Sightings but TIPULA CONFUSA.  Don't want to put the captain obvious pants on so tight I can't jump around the yard because why waste a good yard hang. I'll put on my blighty nighty instead. UROCERAS GIGAS has bridged so many gaps, finally unlocked the AxeWeld CODE and is really playing the thing. Not to mention bringing forth a world-view so utterly unique.  Good luck finding anything like it.

Finally some REAL disjunction in the music; clear and intended. In an age when most computer music composers use stochastic systems and still manage to drop some linear pathground shit, the brawler drums and slanky guitar constructions on My Mother The Vent are a genuine treat.  I've spent too much of my adult life so far hearing too much of this shit to not recognize REAL GAME. And here it crawls out of the grey shadows of ol' BLIGHTY.

Our post-music age: after the fine human endeavour known as music, the result of letting the cybernetic run ITS horrible game on us. I'm not waxing confusingly in a rarefied tone here. Nor running the boring sci-fi script. I really think that is were we is.  We left the human-music-on-a-human-scale behind and much to our detriment. Here we sit in our crumbling reality. But Guttersnipe come paleo, like the rhapsodes with long ass memories rattling off Homeric verse well into the age of manuscript culture, but here, with future tones.  Luckily. Otherwise, me and the record label here wouldn't be wasting our time and yours with a 1 sheet for My Mother The Vent.

So a proper first time on wax for these amazing creatures is a welcome addition to the world of things.  These drums and these guit-lines are so cranké, as they say here in my odd neighborhood.  These voices are so utterly expressive without even the damn language at hand ; like the great horns. We'll rinse this record out, I'll put on my old blighty nighty and go dance in the street.  Alex Moskos, Montreal, August 2018Guttersnipe is:UROCERAS GIGAS - Guitar, Analog Synth, VoxTIPULA CONFUSA - Drums, Drum Synth, Vox

Available april 30th

Heavy heavy heavy gospel compilation.. Including a few tracks that are under the radar or recently discovered such as Harrison Jones - On that Other Shore, Converters, I've Been Converted and the super limited self-released 45 by Mr Jesse R. McGuire – Jesus Is On the Mainline. Only 50 copies were ever pressed... Also holds Paradise's brilliant "Keep the Fire.".. TIP!!

Although gospel and disco music seem like polar opposites—one is secular while the other has embraced a hedonistic culture—the marriage of the two genres has birthed the uplifting spirituality and dance floor thump found in gospel disco. By the mid-'70s many established and independent gospel artists started creating records with a tight four-on-the-floor beat that touched both churchgoers as well as patrons of the drug-fueled establishments of the '70s.

Cultures of Soul Records is proud to present the second installment of Greg Belson's Divine Disco. Belson is one of the world's leading authorities on the funky gospel sound; for this collection he dug deep into his crates to
undercover the rarest independent and private press gospel disco records ever recorded. Greg Belson's Divine Disco sound is one that's been heard around the world from his DJ appearances at Glastonbury's NYC Donwlow stage to LA's Funky Sole to soul nights across
Europe.

Many tracks are under the radar or recently discovered such as Harrison Jones - On that Other Shore, Converters, I've Been Converted and the super limited self-released 45 by Mr Jesse R. McGuire – Jesus Is On the Mainline. Only 50 copies were ever pressed. This volume even includes gospel disco from the UK with Paradise's brilliant "Keep the Fire." This compilation also includes remixes and edits by Steve Cobby (who was a member of Fila Brazillia) and the Divine Situation production duo of Greg Belson and Paulo Fulci.

The Naturals' debut album is more than just an rediscovery of one of the great lost albums of the last decade, but of how things were always intended. When Eddie Ruscha (Secret Circuit) and Thomas Bullock (Rub'n'Tug/STD) appeared as The Laughing Light of Plenty, their journey offered untold troves. Now at last the pulse is set for outer orbit and all are welcome to join.

After a mind-melting debut EP sold again and again, an album expanding their unique psychebalearicfolk imaginings was prepared and even pressed before being lost somewhere between a lock up in New York and limited quantities reaching Asian shores and dealers
trading at dizzying Yen.

Lost, but never forgotten, years passed until a nagging memory that an earlier, rawer mix had always been superior. A return to the original band name seemed The Natural(s) choice and so a project idea started to be (re)born.

A sunny Spring afternoon in a grand English garden, pots of tea, talk of life's travails, deep yogani, love affairs, kids growing up, the power of now and music, always music led to two labels coming together to dust down the desk and not just resurrect, but seek and offer the original intentions.
Here at last is the double album as intended. Of two great friends jamming their deepest vibes and flowing with love to offer tales of higher consciousness. Travel inward, beyond meer chakras. Aim for the stars. The devil is in the details so see the trails and follow to some avail.

Begin your own journey.

Back in 2014 when we first released the self-titled Chupame El Dedo we weren't sure if people could hold their mojitos while banging to their music. In 2019 we seriously advise to keep your hands free while listening to their second album. Formed by psych cumbia master Eblis Alvarez (Meridian Brothers) and Pedro Ojeda (Romperayo), the man that found the perfect cocktail mix for acid + folk + tropical beats, Chupame El Dedo are ready to mess around with Satan. 'No Te Metas Con Satan' it's a humorous title for music that expels cartoonish metal-vibes mixed with tropical rhythms. It's a pitch perfect title for a record that's never at the right pitch. The humour makes way for the funny stories that Eblis and Pedro explore in their lyrics. Souk's fourth release is a daring adventure in global beats. Frequently it comes to mind the universe of Quasimoto, Madlib's abstract hip hop that sounded delicious in the early 2000s. Chupame El Dedo lives in the same kind of power trip, fuelled by intense salsa rhythms dressed with heavy metal images.
That's where Satan comes into place. The Devil wears many clothes, but none are as multi-coloured and trendy as the ones we see in 'No Te Metas Con Satan'. We are advised of that during the first side of the LP. Each song dares the listener, with a multitude of ideas, sometimes dissonant ones, that find their way to make sense. An example The first song 'No Te Metas Con Satan' sounds like a perverted version of 'Da Ya Think I'm Sexy' and when you think it's over, it starts again, repeating ideas and leaving you extremely confused. What the fuck just happened Chupame El Dedo happened.
And it goes on. Flip to the other side and 'Alexandra Candelaria' says hi. A 7:43 minute long sinful & hilarious soup opera. No-one is ready for this. Laughter mixes with intense head banging, while we listen to what would happen if Jodorowsky made a Cartoon Network show. A damn good one. Maybe it's a good idea to not mess around with Satan, but you'll be in serious trouble if you don't listen to this. Seriously.

The now legendary turntablism festival 'National Phonographic' has been hosting some of the most prominent turntable wizards in between 2001-2005. The X-Ecutioners, Cutmaster Swift, Kid Koala, Grazzhoppa, the list goes on and on. Equally as legendary are the National Phonographic 'Turntablist Tackle' vinyl releases. They've been used during DJ battles and sampled by leading producers worldwide. Now, 16 years after the latest record, 'Tackle 3' will be released! Top notch producers Eni-Less, Mike Redman and DJ Optimus created an amazing tool for turntablists and producers alike. This volume, pressed on 7inch limited edition colored vinyl, contains exclusive sounds, phrases and beats. The record also includes a voucher with a unique download code. We're safe to say that 'Turntablist Tackle 3' is the best volume yet!

The mysterious EEE crew a back with another late-night techy roller, full of that sub bass and crisp percussion alongside a perfectly placed vocal sample you never thought could work this way. Every EEE release so far has done the business quick time - don't sleep!

Early support from East End Dubs & Enzo Siragusa

As always - one-sided, 180g, hand-stamped gear!

On The 25th Anniversary Of D1 Recordings, Label Boss Eamonn Doyle Revives The Independent Ethos Of The Acclaimed Dublin Techno Label, Presenting A Rare 12 On Lunar Disko Records.
'the Long Game Ep' Features Four Lost Tracks Uncovered From The Depths Of The 147 Basement In Dublin 1.
An Essential Record For Seekers Of The Purist Techno Funk.
Artwork: Andy Doyle

Shape-shifting left
coast producer Sage Caswell likens his latest full-length to a surrealist
architectural space: "I walk up to a building and Evil Twin is playing. A copy of
me is at the door and I let myself in. Inside the house is inside my head; each
room is a different song and emotion." A distinct dream sequence logic threads
together these nine nuanced tracks, which swerve from vaporous melancholy to
ecstatic motion to nocturnal wanderlust, alternately lucid and opaque.

Last year's relocation
from his beloved home base of Los Angeles to Madison, Wisconsin certainly played
a role, as pulling up roots inevitably does: "I love L.A. more than I can
properly articulate, but I saw an opportunity to leave so I took it." The
experience prompted an exploratory set of recordings inspired by notions of separation,
vulnerability, and "how it feels to identify the things in your life that don't
feel like you." Evil Twin captures
Caswell at his most fluid and dualistic, mapping a multi-hued maze of twisted rhythms
and refracted textures, fluctuating between beatific expanse and amniotic
bangers.
Previous releases for
Spring Theory and Far Away showcased Caswell's capacity for innerspace club
voyaging but here his vision skews even more vividly elusive, immersive and
immaterial, lost and found. The record's contradictions were deliberate and,
most importantly, therapeutic: "Evil Twin was intended to be as much a visual idea
as a soundtrack to feeling out of control. I didn't really want to talk about
it, so I made this album."

- 180 GRAM AUDIOPHILE VINYL
- CLASSIC AND HARD TO FIND BRAZILIAN RARE GROOVE ALBUM
- FEATURING THE BREAKBEAT/SAMBA CLASSIC 'BOBEIRA'
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Sweet and breezy, light and jazzy, with plenty of warm touches - and one of the only albums ever releases by Edson Fredrico. Edson Frederico E A Transa features Frederico working with arrangements by Luiz Eca and Durval Ferreira, done with light percussion touches, plenty of keyboards, and some of the warm fusion phrasing of the mid 70s Brazilian scene. Vocals on most tracks are done in an ensemble chorus style, which makes for a nice finish to go with the warm feel of the cuts - and tracks include 'Ginga Gire Gire', 'Sacode Carola', 'Tema De Heloisa', 'Sambane', 'Garota De Copacabana and the breakbeat classic 'Bobeira'.

Edson Frederico E A Transa is available as a limited edition of 1000 individually numbered copies on transparent red vinyl.

- 180 GRAM AUDIOPHILE VINYL
- CLASSIC AND HARD TO FIND BRAZILIAN RARE GROOVE ALBUM
- FEATURING THE BREAKBEAT/SAMBA CLASSIC 'BOBEIRA'
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Sweet and breezy, light and jazzy, with plenty of warm touches - and one of the only albums ever releases by Edson Fredrico. Edson Frederico E A Transa features Frederico working with arrangements by Luiz Eca and Durval Ferreira, done with light percussion touches, plenty of keyboards, and some of the warm fusion phrasing of the mid 70s Brazilian scene. Vocals on most tracks are done in an ensemble chorus style, which makes for a nice finish to go with the warm feel of the cuts - and tracks include 'Ginga Gire Gire', 'Sacode Carola', 'Tema De Heloisa', 'Sambane', 'Garota De Copacabana and the breakbeat classic 'Bobeira'.

Edson Frederico E A Transa is available as a limited edition of 1000 individually numbered copies on transparent red vinyl.

Greg Foat's 9th album 'The Mage' joins the dots between the past and future of British jazz. Enlisting the talenst of jazz/library/soundtrack legends Duncan Lamont, Art Themen, Ray Russell and Clark Tracey to collaborate with their modern contemporaries Greg Foat, Moses Boyd and Heliocentric's drummer Malcolm Catto to create something undeniably British but outward looking and global.

A long time personal ambition for Greg was to work with Trinidadian songstress Kathy Garcia, on 'The Mage', this wish is granted as she joins him to re-imagine the deep Xian masterpiece 'Of my Hands', 45 years after recording it as a young girl.

Greg's compositions and arrangements showcase the old and new, downtempo folkscapes, free jazz with notes of hip-hop and soul from the young team flavouring the mix. Featuring Simon Ljungman and Friends as a male choir, Greg's EMS Synthi AKS experiments (made famous by Dr Who) the album is a testament to the versatility and pure musicality of all those involved and Greg Foat's ability to bring artists together to record beautiful, timeless music.

#Greg Foat's 9th album joins the dots between the past and future of British jazz. Bringing Jazz/Library/soundtrack legends Duncan Lamont, Art Themen, Ray Russell and Clark Tracey to the table with modern contemporaries Moses Boyd and Heliocentric's drummer Malcolm Catto. A long time personal mission for greg was to work with Trinidadian singer Kathy Garcia, she joins him on The Mage to re-record the deep Xian masterpiece 'Of my Hands' 45 years after recording it as a young girl.

Greg's compositions and arrangements showcase the young and old, downtempo folkscapes, free jazz with Notes of Hip-Hop and Soul from the young team flavouring the mix. Featuring the Simon Ljungman male choir, Gregs EMS Synthi AKS experiments (made famous by Dr Who) the album is a testament to the versatility and pure musicality of all those involved and Greg Foat's ability to bring artists together and make beautiful timeless music that moves deeply

"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.

The Mandatory Eight first appeared on the compilation "Funk, Soul & Afro Rarities: An Intro To ATA Records" released in 2015 on Here & Now recordings with the song "Suckerpunch", which has since become the label's most requested song for re-release as a 45. ATA have dug deep in the archives to unearth two dance-tempo 45 killers to placate the calls until studio time is allotted to the band for a debut album.

The band's sound and ideology definitely lies in less refined eclectic soul. Feel over precision, passion over execution, soul-on-a-budget grooves.

From the opening drum pick up of "Soul Fanfare #3" it is clear that The Mandatory 8 are here to make you move. With proud horn lines reminiscent of something that you might find in the Stax vaults, Soul Fanfare definitely takes it's lead from backing bands such as the Barkays and the funkier side of Booker T and the MGs. One can imagine that this was definitely a set opener for the group, guaranteed to put foot to floor. Guitar and bass have a care free movement and feel, conjuring up tones of late 60's summer soul hits.

The B-side "Turn It Out" has a darker, moodier feel to the previous side. Still a dance floor filling groove, the band take a direction more similar to below the radar funk outfits such as Amnesty or LA carnival. Biting minor horn lines set the tone backed by a bubbling bed of congas, rhythm guitar, unruly bass and drums which don't dip below boiling for the duration. "Turn It Out" features a manzarek-esque farfisa organ solo which sets the sonic tone of a band without funds but with plenty of soul in the bank.

Both sides will reflect well for different moods on the same dance floor.

Alien Transistor and Tokyo-based label Afterhours release a vinyl-version of tenniscoats' masterpiece "music exists". It consists of 4 LPs, which will be released over the year, full of intimate, wonderful, psychedelic folk-music. With the fourth LP, there will be a strictly limited box available, either for putting in your already purchased other 3 records, or as the whole glorious 4-LP-package.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s ), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the tenniscoats and their opus magnum "music exists".

The Tenniscoats are a duo that have enjoyed a long career in the music scene of their home country of Japan. They have collaborated with unique artists from different backgrounds (Tape, Pastels, Pastacas and Jad Fair), while maintaining their own laid back approach and sound. Their songs are built primarily from guitar and vocals with lyrical themes focusing on everyday life. It could be their expansion on simplicity that has captivated music lovers of all ages throughout their existence.

While the aforementioned collaborations produced bold and sensitive experiences and results, it has taken Tenniscoats five years to release an entire studio album of their own. The wait has not been in vain, as four discs will be released consecutively beginning with 'Music Exists - disc 1'. Music Exists saw a previously limited release on the Tenniscoats' own majikick label.

'We started recording around January of 2013 with just the two of us in our 10 tatami-room in Tokyo we were using as a private studio. Arrangements were produced without computers by overdubbing on an analog console with mixing assistance provided by Saya. As we sent selected songs to be mastered by Yasushi Utsunomia, we were able to see the tracks grown into a full length album.'

What turned into a huge 4 disc project began in earnest three years ago. Tenniscoats wrote and recorded themselves using an analog console, a microphone, and what few instruments they had. As the project developed, they were surprised to find that they had amassed several albums' worth of material.

'We tried throwing up the ideas we had in the beginning and not put too much of our strength into playing in order to develop the ideas of each song. Utsunomia, who did the mastering was the first person to ever hear the material for this album outside of the band. We sent songs to him carefully choosing an order that we felt would not make him bored. Thanks to his distinctive way of mastering, we were inspired to go further and further into the process.'

2016 marks the Tenniscoats' 20th anniversary together. You could consider 'Music Exists' as a sort of compilation of material stemming from these years spent together. With their unique combination of melodies, unexaggerated arrangements, and detailed mastering, Alien Transistor are extremely delighted to make this recording available to the public!

Special Record Store Day 2013 release! LP version includes free download! One explanation for the 90s-fascination with Casio, Korg and other analogue synthesizers is quickly at hand: The 1st video-game generation was coming of age and were happy to hear that their dearly loved “Space Invaders“-soundtrack was suddenly popping up in electronic music. It takes slightly longer to explain why one record from that time - “Beautronics“, the debut by UK-synth-duo ISAN first released in 1998 - kept its appeal until today. “Beautronics“ does not grab you immediately. You don’t hum these tunes after a few listens, in fact you might not even hum them after dozens of spins. It’s not about humming. It’s about soft cushions and a cosy duvet made of sounds, it’s about aural sheets floating around like warm humidity during a hot bath. Occasionally it’s even about IDM, but in a very late-night kind of way. Antony Ryan and Robin Saville, the two English lads behind ISAN, are very open about their goals. They separate the longer tracks with short, often abstract pieces they called “Tints“. So it’s as much about tonal colour, as it is about melodies. The “Tints“ form an interesting contrast between ambient sounds and the more focused tunes. But even their most bass-dominated songs such as “Skeek“ are not exactly four to the floor. There’s no more than one to the floor, while the rest is sailing somewhere above in a haze of beautiful sounds and melodies. The album’s sleeve and title are straightforward about this: it’s all about the human beauty in electronica. Just like your mom’s heartbeat that set the tone for the first nine months of your life, “Beautronics“ produces sounds that radiate a warmth and naturalness that make them feel familiar upon first listen. The 15 years since its initial release don’t change a thing about this. That’s why it’s certain, that “Beautronics“ will win a new generation of listeners with this re-issue.

French producer Erell Ranson's affinity for the deeper shades of Detroit sound is well known, but his ability to absorb those influences and create beautiful music with his own signature is the reason we're so excited to welcome him into our family. Having previously released on labels such as Kalahari Oyster Cult, aDepth audio, Nice & Nasty Records and his own MySelf Recordings, amongst others, Erell's became quite skilled in crafting sophisticated and emotional tracks which still seem to feel perfectly at home in a crowded 3 AM club situation. EP for Barba, titled "Dreams Of Nila", is a 4-tracker consisting of "Dreams Of Nila", "Reminiscence 0f The Past", and "Far Away Of Your Side", with the latter receiving an additional remix treatment by a Rotterdam-based project Duplex. "Dreams Of Nila" is a somewhat more leaning towards Chicago-ish side of things, with its huge bassline enveloped by shuffling 707 drums. Soft-sounding synth pad sequences work as an emotion injection and appear perfectly timed, without removing the edge of this, essentially, club track. "Reminiscence Of The Past" is the most direct of the bunch. Syncopated bass drum, forward-leaning groove and those classic techno snare roll fills make this track hard to ignore as it is, without mentioning complex interaction of synth lines, chords and beautiful detroit-reminiscent string stabs. Wonderfully executed counterpoint of hard edge and soft touch is what makes this cut a truly special one. Techno in its fullest form. "Far Away Of Your Side" is somewhat closer to the energy level of "Dreams Of Nila", and is a well-paced deep cut perfect for later moments in the night when subtle approach is everything. Slow synth pads give your mind some time to relax while the groove keeps your body occupied. Duplex remix of "Far Away Of Your Side" takes the track another notch down but in a more sideways manner. Broken electro groove is what keeps the foundation of the track while Chris Aarse & John Matze (aka Duplex) masterfully work their synths and pads to keep the tension for the whole duration of the track. Melancholy mood is tangible here, and at its best, ready for the dancefloor.

Radha-Krsna Nama Sankirtana was the first of two albums Alice Coltrane released in 1977 (the other being Transcendence). Coltrane's music during this period grew out of an epiphany in which she would renounce secular life and don the orange robes of a swamini (spiritual teacher in the Hindu tradition). Musically, this meant leaving jazz behind (at least partially) and embracing the chants and rhythms of devotional music.

The first half of Radha-Krsna is mostly filled with simple arrangements of bhajans (Hindu devotional songs) and features the singing of students from the Vedantic Center, the Ashram that Coltrane founded in 1975. The group bounces with the joy of a gospel choir (not coincidentally, some had backgrounds in Southern Baptist churches).

A rapturous aura permeates opener "Govinda Jai Jai" with Alice leading on Fender Rhodes. On "Prema Muditha," she returns to acoustic piano (her main instrument in the early part of her career) to deliver a powerful and poignant theme.

Sidelong "Om Namah Sivaya" beams with probing organ improvisations accompanied by the drumming of her 13-year-old son Aruna John Coltrane, Jr. This closing track offers a strong indication that even if Alice Coltrane was turning toward new traditions for inspiration, her music was still something that only she could make.

Elisabeta. Just hearing her name puts a grin on her face.

Originally released on Polychrome Sounds, "Elisabeta, the remixes" features a remaster of the original by Karpov not Kasparov and three truly unique and magnificent remixes.

The first one is Carrot Green, who gave the original the Brazilian Ritmo-treatment, with extra acid on top for a spicy touch. On the second remix, Belgian mastermind Strapontin created a smooth grooving tension-builder, slow rolling to a deep and beautiful introverted climax. Lastly, Pletnev took the atmosphere of the original and gave it a trippy ethnic-break beat twist, as only the Vilnius producer can do so well.

Rudolf Abramov is a duo based in Berlin and Israel, which seem to have been a door opener to unexpected musical encounters, because it's an almost impossible task to sum up their sound in a comprehensible way. In their own words their music is 'a response to a seemingly endless conflict about disgust, acceptance and love.' Now Hoga Nord Rekord is releasing their Mini-LP 'Krass kontrast'.

Rudolf Abramov is Roland 303, programmed drums, oriental samples, eastern mysticism and instrumentation dressed as German machine funk, Disco, Turkish psychedelia, Krautrock, EBM and so on, and so on.. their music is cosmic, beautiful and boundless.

The arpeggio on the track 'Projekt 4' is running on infinite repeat in a parallell reality where 1982 never ended, where Rudolf Abramov move freely through different dimensions and where they are in total control of their unpredictable creation!

"Vintage killer addictive electronic reggae & dub selection by UK pioneers Alpha & Omega! These are dub-plate mixes of tracks from various Alpha & Omega albums. Volume 2 was originally released on CD in 1997. "We have always done alternative mixes for sound systems. This is Alpha & Omega's second volume of dub-plate mixes, normally only available to soundsystem operators."

Following their hotly tipped 2018 debut album 'On' - Altin Gün returns with an exhilarating second album. 'Gece' firmly establishes the band as essential interpreters of the Anatolian rock and folk legacy and as a leading voice in the emergent global psych-rock scene. Explosive, funky and transcendent.

Some words from the label:

The world is rarely what it seems. A quick glance doesn't always reveal the full truth. To find that, you need to burrow deeper. Listen to Altin Gün, for example: they sound utterly Turkish, but only one of the Netherlands based band's six members was actually born there. And while their new album, Gece, is absolutely electric, filled with funk-like grooves and explosive psychedelic textures, what they play - by their own estimation - is folk music.

'It really is,' insists band founder and bass player Jasper Verhulst. 'The songs come out of a long tradition. This is music that tries to be a voice for a lot of other people.'

While most of the material here has been a familiar part of Turkish life for many years - some of it associated with the late national icon Neset Ertas - it's definitely never been heard like this before. This music is electric Turkish history, shot through with a heady buzz of 21st century intensity.
Pumping, flowing, a new and leading voice in the emergent global psych scene.

'We do have a weak spot for the music of the late '60s and '70s,' Verhulst admits. 'With all the instruments and effects that arrived then, it was an exciting time. Everything was new, and it still feels fresh. We're not trying to copy it, but these are the sounds we like and we're trying to make them our own.'

And what they create really is theirs. Altin Gün radically reimagine an entire tradition. The electric saz (a three-string Turkish lute) and voice of Erdinç Ecevit (who has Turkish roots) is urgent and immediately distinctive, while keyboards, guitar, bass, drums, and percussion power the surging rhythms and Merve Dasdemir (born and raised in Istanbul) sings with the mesmerizing power of a young Grace Slick. This isn't music that seduces the listener: it demands attention.

Altin Gün - the name translates as 'golden day' - are focused, relentless and absolutely assured in what they do. What is remarkable is the band has only existed for two years and didn't play in public until November 2017; now they have almost 200 shows under their belt. It all grew from Verhulst's obsession with Turkish music. He'd been aware of it for some time but a trip to Istanbul while playing in another band gave him the chance to discover so much more. But Verhulst wasn't content to just listen, he had a vision for what the music could be. And Altin Gün was born.

'For me, finding out about this music is crate digging,' he admits. 'None of it is widely available in the Netherlands. Of course, since our singers are Turkish, they know many of these pieces. All this is part of the country's musical past, their heritage, like 'House of The Rising Sun' is in America.'
As Verhulst delves deeper and deeper into old Turkish music, he's constantly seeking out things that grab his ear.

'I'm listening for something we can change and make into our own. You have to understand that most of these songs have had hundreds of different interpretations over the years. We need something that will make people stop and listen, as if it's the first time they've heard it.'

It's a testament to Altin Gün's work and vision that everything on Gece sounds so cohesive. They bring together music from many different Anatolian sources (the only original is the improvised piece 'Soför Bey') so that it bristles with the power and tightness of a rock band; echoing new textures and radiating a spectrum of vibrant color (ironic, as gece means 'night' in Turkish). It's the sound of a band both committed to its sources and excitedly transforming them. It's the sound of Altin Gün. Incandescent and sweltering.

Creating the band's sound is very much a collaborative process, Verhulst explains.
'Sometimes me or the singer will come in with a demo of our ideas. Sometimes an idea will just come up and we'll work on it together at rehearsals. However we start, it's always finished by the whole band. We can feel very quickly if it's going to work, if this is really our song.'

Just how Altin Gün can collectively spark and burn is evident in the YouTube concert video they made for the legendary Seattle radio station KEXP. In just under 20 minutes they set out their irresistible manifesto for an electrified, contemporary Turkish folk rock. It's utterly compelling. And with around 800,000 views, it has helped make them known around the world.

'It certainly got us a lot of attention,' Verhulst agrees. 'I think a lot of that interest originally came from Turkey, plenty of people there shared it.'

That might be how it began, but it's not the whole tale. The waves have spread far beyond the Bosphorus. What started out as a deep passion for Turkish folk and psychedelia has taken on a resonance that now travels widely. The band has played all over Europe, has ventured to Turkey and Australia and will soon bring their music to North America for the first time.

'Not a lot of other bands are doing what we do,' he says, 'playing songs in that style and seeing folk music in the same way.'