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Nach zwei ausverkauften 7inch Singles, Festivalauftritten auf so ziemlich jedem namhaften deutschen Musikfestival und Opener-Slots für Bands wie Balthazar, Future Islands oder Battles veröffentlicht das Kölner Quartet Xul Zolar mit - Fear Talk am 19.01.2018 seine Debut LP

auf dem von der Band mit-gegründeten Label Asmara Records. Um diese Vision in die Realität umzusetzen hat sich die Band sowohl mit dem Kölner Produzenten Marvin Horsch (Woman, Keshavara) zusammengetan, als auch die Besetzung mit Dennis Enyan zum Quartett erweitert.

Vielleicht ist es kein Zufall, dass die Musik auf Fear Talk, dem Debütalbum der Kölner Band Xul Zolar eine gewisse malerische Qualität aufweist. Immerhin hat sich die Band nach einem Maler aus dem 20. Jahrhundert benannt, dem Argentinier Xul Solar (mit bürgerlichem Namen Oscar Agustín Alexander Schulz Solari).
Genau wie die Bilder der Impressionisten vermittelt ihre Musik ein Gefühl der Nostalgie und Unmittelbarkeit und versprüht eine Aura, die man romantisch nennen könnte. Trotz der deutlich hörbaren Einflüsse von Künstlern wie The Smiths, Talking Heads oder sogar Phil Collins, ist Fear Talk - das vom visionären Kölner Produzenten Marvin Horsch aufgenommen wurde - ein Album auf der Höhe der Zeit, wie der Einsatz stark prozessierter Vocals, an frühen Dubstep erinnernde Sub-Kick Samples und von Electronica beeinflussten Clicks-and-Cuts belegt. Das Alte wird verbogen, verformt und in etwas völlig Neues verwandelt.
Textlich kreist das Album um persönliche Themen wie Liebe und Verlust, wenngleich auf höchst abstrakte und metaphorische Weise. Doch das Persönliche ist immer schon politisch und findet niemals in Isolation des Individuums von seiner Umgebung statt. Dies spiegelt sich auch im Titel des Albums, Fear Talk, wieder, der sowohl als Anspielung auf die wachsende Unsicherheit einer Generation verstanden werden kann, als auch als Kommentar zu der weltweit um sich greifenden Panikmache durch Populisten und Demagogen, die der Zeit, in der Fear Talk entstanden ist, ihren düsteren Stempel aufgedrückt hat.
Fear Talk wurde im Sommer und Herbst 2016 von Marvin Horsch (Woman, Keshavara) im Gottesweg, Köln aufgenommen und produziert. Gemischt wurde das Album von Marius Bubat (Coma) und Jan-Philipp Janzen (Von Spar, Cologne Tape), gemastered von Robin Schmidt. Die Album PR übernimmt Nordic By Nature, Berlin. Das erste Video wird premiert von Intro.de.

"Happy Freedom Tour 2017
präsentiert von INTRO, DIFFUS Magazin & Musikbox
24.11.17 Köln, Arthefter
01.12.17 Essen, Hotel Shanghai
05.12.17 Hamburg, Über & gefährlich
06.12.17 Berlin, Kantine am Berghain
07.12.17 Leipzig, Kulturzentrum So&So
08.12.17 Stuttgart, Kellerclub
09.12.17 Frankfurt am Main, Lotte Lindenberg
Tour 2018 TBA

LP incl CD
Garden of Love' one of the first single tracks feat Peter Hook (New Order) On the cover of their new album Malamore, their first album for Because Music, Lionel and Marie Limiñanas are back in black, and looking ineffably cool, standing next to a classic silver Fifties trailer, shot at a beach festival in the French town of Paulilles by the Spanish border, just 30 minutes drive from the duo's home town of Perpignan. They'd been playing a DJ set, only with 45 rpm vinyl - Sixties punk, Italian pop, movie soundtracks and Seventies rock tracks,' they recall. The picture syncs well to the colour of Malamore, like the artwork of a movie soundtrack. The lettering on the cover is significant too.

Villa Åbo in the alternative solo project of Swedish musician and Villa Åbo in the alternative solo project of Swedish musician and producer Jan Svensson, who has been making electronic music for the better part of 30 years as the artist behind such aliases as Frak, Studio SS and Alvars Orkestra. Svensson also runs legendary Swedish dance and experimental music label Börft, the product of a mutual appreciation for Severed Heads and Terse Tapes. As Villa Åbo he released two records in 1997 on Börft and remained inactive for 17 years until the Dutch label Bio Rhythm coaxed him into revisiting the project and released a double 12 in 2014. Jan has since followed with a steady stream of 12' singles for Kontra-Musik, Noise In My Head and Radio Lundberg. 'Magnetic Moves' is Villa Åbo's debut album, originally released inan limited edition of 65 hand-numbered cassettes by Funeral Fog in 2016. Clocking in at over 46 minutes, this first-ever vinyl edition spreads the 8 ragged techno tracks across four sides for maximum loudness. Some songs are aggressively potent, with cyclical synth riffs and razor-sharp acid lines riding a heavy, funk-fuelled techno groove. Others tracks are more fluid, vintage Underground Resistance or Derrick May with killer drum machine workouts that come in handy as DJ tools. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a photograph of Jan's mother's house, the meaning behind 'Villa Åbo'. Each copy includes a double-sided postcard with notes.producer Jan Svensson, who has been making electronic music for the better part of 30 years as the artist behind such aliases as Frak, Studio SS and Alvars Orkestra. Svensson also runs legendary Swedish dance and experimental music label Börft, the product of a mutual appreciation for Severed Heads and Terse Tapes. As Villa Åbo he released two records in 1997 on Börft and remained inactive for 17 years until the Dutch label Bio Rhythm coaxed him into revisiting the project and released a double 12 in 2014. Jan has since followed with a steady stream of 12' singles for Kontra-Musik, Noise In My Head and Radio Lundberg.'Magnetic Moves' is Villa Åbo's debut album, originally released in an limited edition of 65 hand-numbered cassettes by Funeral Fog in 2016. Clocking in atover 46 minutes, this first-ever vinyl edition spreads the 8 rgged techno tracks across four sides for maximum loudness. Soe songs are aggressively potent, with cyclical synth riffs and razor-harp acid lines riding a heavy, funk-fuelled techno groove. Others tracks are more fluid, vintage Underground Resistance or Derrick May with killer drum machine workouts that come in handy as DJ tools. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a photograph of Jan's mother's house, the meaning behind 'Villa Åbo'. Each copy includes a double-sided postcard with notes.

- Team Dreams' is the collaborative album of Sin Fang, Sóley and Örvar Smárason of múm and FM Belfast. It combines the individual strengths of three acclaimed musicians, blends folk sensibilities with futuristic pop beats. It's an emotive ocean of sound, melodies and miniature stories that gently washes over you. And it's easily one of the best albums the three Reykjavík artists have been involved in.

IMA (Intense Molecular Activity) is the duo of Don Hunerberg (synthesizers) and Andy Blinx (drums and percussion). Based in New York City and active between 1979 and 1982. Don, a studio Sound / music engineer and musician, Andy an electronic clothing designer, drummer and sound reinforcement engineer at downtown clubs like Max's Kansas City, Mudd Club and CBGB. In between doing sessions at Radio City Music Hall Studios for groups such as Ramones, Richard Hell, Sonic Youth, Liquid Liquid, John Zorn, Glenn Branca and many others, IMA took advantage of off hours to create their own music. As far as influences go, Don's background was in electronic music and Andy's in prog rock. To produce the songs, Don used his own method of creating patterns from 2-track tape loops and then edited them together on to a 24-track recorder adding more tracks of overdubs, In a very similar way that sequencers are used today. By 1980 the duo honed their own unique sound and version of Post Punk and No-Wave with the tools of the trade of the early 80s. Situated above the proscenium of the Radio City Music Hall stage, the studio was outfitted with a variety of orchestral instruments (timpani, bells, xylophone, etc). They self-released a 4-song EP titled 'IMA' on an 8' flexi-disc which was distributed by Ed Bahlman of 99 Records. The music bridges the wild psychedelic-rock of the 60s, the synth-punk of the late-70s and the elaborate constructions of progressive-rock. There are nods to the freak-outs of Chrome and the super neurosis of Suicide, but IMA takes a more clinical approach which also takes notice of Hawkwind and Pink Floyd's interstellar overdrive. We've added 4 bonus tracks recorded during the same studio sessions and included them here for the first time on vinyl. DJ Hell lifted elements of IMA's song "Blurb" virtually intact and uncredited for his electroclash club hit "Keep On Waiting" 20 years later. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a spray painted IMA tag a top a red dashed 'Do Not Enter' sign. Each copy includes a double-sided postcard with notes. This Album Is dedicated to the memory of Andy (Blinx) George.

At the summer party on the occasion of my soon-to-be 80th birthday, many friends came. As it said on the invitation: 'The Eschenau Chaos Band will play.' While the party was going on, people asked me when that band would be playing, and I replied: 'Now! You are that band', and I randomly handed out all of these instruments. Hartmut Geerken was clued in and had brought some as well - Sun Ra's Sun Harp among others. I started with a moroccan hand drum, bendir, and off it went. Unpractised." - Herman De Vries Herman de Vries, born 1931 in Alkmaar, is a Dutch visual artist who has been living in Eschenau in the Steigerwald region (Franconia, Germany) since 1970. Having started out as an Art Informel painter in the 1950s, his interests shifted in the ensuing years, and in the 1970s, he became focused on found objects from nature and their rtistic-philosophical qualities and implications. He has made paintings, collages, texts, sculptures, installations, a.o., and has dealt with plants, earth, and other parts of nature from botanical, medical, historical, as well as psychedelic viewpoints.Recording made on June 18, 2011, in Eschenau. Edition of 300 with liner notes by Herman de Vries and photos of the event on the back sleeve.

This special collector's edition electronically reproduced stereo 7' single (only 200 copies), comes in two fantastic coloured vinyl options (100 x red vinyl and 100 x purple vinyl). A refreshingly new take on mono to stereo conversion. Elvis fans growing up in the 1960's and 1970's unwittingly listened to his 1950's catalogue in electronically reprocessed stereo, love it or loathe, it was pretty much all there was back then unless you could afford to track down expensive mono copies. To better understand where the electronically reprocessed stereo versions originate from, we need to go back to 1961, at which point RCA had begun the process of taking Elvis' 1950's mono masters and converting them into a stereo sounding effect. By 1960 when Elvis returned from the army, he was recording in true stereo and as far as RCA were concerned, mono was a thing of the past. You just need to listen to the sound quality of the 1960 'Living Stereo' version of the 'Elvis Is Back' album, to appreciate just how much the recording industry had moved on in just two years. Such was the demand for stereo records in the early 1960's most major labels had created their own process for converting mono into stereo or 'fake' stereo as it became known, with some labels producing better results than others. Opinions on Elvis' 1960's electronically reprocessed stereo versions are mixed, with some recordings making the transition from mono to stereo effect better than others. Some DJ's actually preferred playing the electronically reprocessed stereo versions, believing they gave a wider fuller sound on the dancefloor. By late 1970's, RCA had once again begun to re-issue original mono masters, giving many fans their first opportunity to hear how these tracks were originally issued. By the time compact discs had arrived on the scene in the 1980's, electronically reprocessed stereo was well and truly dead and buried. Very few electronically reprocessed stereo recordings ever made it onto a digital format and the few that did are now highly collectible. Recorded at RCA Studio 1, New York on the 30th of January 1956, My Baby Left Me is a driving powerhouse rockabilly masterpiece with a real Sun Records vibe to it (produced by Steve Scholes with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar, Bill Black on bass and D.J. Fontana on drums). Our flip side Blue Moon Of Kentucky is another rockabilly classic which first appeared as the opposite side to That's All Right (Sun 209) in 1955 (Elvis' first single). Blue Moon Of Kentucky was recorded on the 7th of July 1954 at Sun Records (produced by Sam Phillips with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar and Bill Black on bass). Both tracks have been painstakingly re-engineered to create a stereo effect sound. The result is a bigger, sharper sound that jumps straight outta the grooves at ya! One reviewer described the process as - it's as if a veil has been lifted off the tracks'. Both tracks are taken from the forthcoming album titled 'Elvis Presley - The 50's In Stereo' (mono to stereo re-visited). For best results play this killer double-sider very loud!!!

This special collector's edition electronically reproduced stereo 7' single (only 200 copies), comes in two fantastic coloured vinyl options (100 x red vinyl and 100 x purple vinyl). A refreshingly new take on mono to stereo conversion. Elvis fans growing up in the 1960's and 1970's unwittingly listened to his 1950's catalogue in electronically reprocessed stereo, love it or loathe, it was pretty much all there was back then unless you could afford to track down expensive mono copies. To better understand where the electronically reprocessed stereo versions originate from, we need to go back to 1961, at which point RCA had begun the process of taking Elvis' 1950's mono masters and converting them into a stereo sounding effect. By 1960 when Elvis returned from the army, he was recording in true stereo and as far as RCA were concerned, mono was a thing of the past. You just need to listen to the sound quality of the 1960 'Living Stereo' version of the 'Elvis Is Back' album, to appreciate just how much the recording industry had moved on in just two years. Such was the demand for stereo records in the early 1960's most major labels had created their own process for converting mono into stereo or 'fake' stereo as it became known, with some labels producing better results than others. Opinions on Elvis' 1960's electronically reprocessed stereo versions are mixed, with some recordings making the transition from mono to stereo effect better than others. Some DJ's actually preferred playing the electronically reprocessed stereo versions, believing they gave a wider fuller sound on the dancefloor. By late 1970's, RCA had once again begun to re-issue original mono masters, giving many fans their first opportunity to hear how these tracks were originally issued. By the time compact discs had arrived on the scene in the 1980's, electronically reprocessed stereo was well and truly dead and buried. Very few electronically reprocessed stereo recordings ever made it onto a digital format and the few that did are now highly collectible. Recorded at RCA Studio 1, New York on the 30th of January 1956, My Baby Left Me is a driving powerhouse rockabilly masterpiece with a real Sun Records vibe to it (produced by Steve Scholes with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar, Bill Black on bass and D.J. Fontana on drums). Our flip side Blue Moon Of Kentucky is another rockabilly classic which first appeared as the opposite side to That's All Right (Sun 209) in 1955 (Elvis' first single). Blue Moon Of Kentucky was recorded on the 7th of July 1954 at Sun Records (produced by Sam Phillips with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar and Bill Black on bass). Both tracks have been painstakingly re-engineered to create a stereo effect sound. The result is a bigger, sharper sound that jumps straight outta the grooves at ya! One reviewer described the process as - it's as if a veil has been lifted off the tracks'. Both tracks are taken from the forthcoming album titled 'Elvis Presley - The 50's In Stereo' (mono to stereo re-visited). For best results play this killer double-sider very loud!!!

After a first year of activity with 3 beautiful single reissues, SOL DISCOS presents its first album, with the compilation Message In Our Music, selected by WAXIST. Focusing on Modern-Soul genre, the selection ranges from 1976 to 1983 and gathers a nice selection of independent and private press records, all officially licensed.

From the David Nathan's downtempo previously unreleased version of "Ain't Nothing Like The Love", to the beautiful Glen Missick's gospel dancer "Message In Our Music", the album aims at providing to the listener a glimpse of the wide spectrum of productions that exist in this musical genre.

Some of these beauties are officially reissued on vinyl for the very first time, including some highly sought after records such as "Deep Inside Of You" by The Harden Brothers, "My Dream" by Harvell Guiton, or "Love With Me" by Don Scott.

The album has been fully remastered by The Carvery in the UK, and features liner notes for each of the songs, plus exclusive pictures provided by the involved artists & producers.

OMEN Recordings is off running to the industrial techno races againand this third release has already been gaining traction around the globe with high anticipation and support from many respected producers and DJs alike. The Puppetskin EP written and produced by German and French artists RENDERED with remixes by American producers BLACK ASTEROID and AXKAN is off to a great start. RENDERED starts off strong with the title track Puppetskin" (A1), with strong breakbeat kicks, thrashing snares and rich synth lines that are melodic and spacey. The dancefloor will surely love the Charles Manson samples. Nightmoves' (A2) also heads the pack with shuffling kicks while rich, minor-tuned pads take you on a persistent journey. About half way through, you will be moved by a 4/4 pattern that sneaks in and will be a favorite for the dancers. BLACK ASTEROID's remix of Puppetskin' (B2) does not disappoint as signature Black Asteroid textures and rhythms come alive in this rendition. Although it has rounded, full soundscapes that sound perfect for a large venue, its pumping, hypnotizing bass lines and screeching sirens keep you pulled into the darkness. AXKAN stays in the pack with his earthshattering remix of Puppetskin' (B1) by starting slow with a profound intro to then push the audio boundaries with his powerful kick and bassline, to gain more and more strength with vocal samples, distorted drums and FX. AXKAN uses every stem of the original in such a creative way to help win the race. This EP, soon to be available on vinyl and digital formats, exceeds the expectations of sound design and techno together. No matter what time of night it is, these tracks can be played in a versatile way. While still employing darker textures, a breath of light creeps its way in. Listening to this EP start to finish is definitely worthwhile.

For house heads of a certain persuasion, DJ Duke is a name that resonates for all the right reasons. The U.S. veteran has been responsible for some of the 90's most seminal moments, chiefly through tracks such as '12 Minutes to Do It' (under his Pleasure Dome alias), 'Party Time' and the Prosumer-endorsed deep house classic, 'Heard'. He returns here courtesy of emerging imprint Solo Werks, who host his latest EP, 'Green Pastures'. A momentous house-led workout, it compounds Duke's reputation as a producer of considerable panache while also acting as an auspicious start to life for the Dublin based label.

The title track is a grainy, old-school cut that bears all the hallmarks of a dusty analogue-jam and harks back to the days of vintage Chicago with the sort of zest you'd expect from a man of Duke's credentials. The other original, 'Skyscapes', is packed to the brim with industrial motifs and is characterised by the sort of effortlessly catchy baseline with which Duke has made his name. Mysterious and ethereal, it takes the listener on an uncompromising and throughly captivating house journey from the off.

On the flip side, we have two stunning remixes, the first of which arrives from New Jersey don, Ruben Candelario AKA Nicuri. A long-time favourite of NYC-based producers a la Joey Anderson, Nicuri turns 'Green Pastures' into a dreamy, acid-led space, adding layers of suspense and a glittering vocal intto the mix as he goes. Last but not least are Dublin-based producers Slowburn, who serve up a stunning version of "Skyscapes". A carefully construed voyage into the deep, it caps off a fine EP with some aplomb.

Following the release of Synkro AKA Joe McBride collection of his formative early works earlier this year, Apollo Recordings is proud to present a brand new EP that draws on the rich heritage of library music. Despite having come up during the dubstep era McBride's music has always resisted easy classification - 'Hand In Hand' sees him shift his musical focus in a yet more cinematic direction. McBride explains : "The record was inspired and influenced by my love of electronic 80's UK library records like the Chappell AV series, Bruton, Soundstage & De Wolfe Music library. There's a lot of synth work that carries on from my album using my trusted Juno-6 / SH101 / JX8P combo with the addition of drum samples via an old akai S2800 I purchased recently. Most sounds I've made from scratch on hardware based on sounds used in the library records I mentioned above along with a few cheeky samples." Synkro's signature expansive atmospherics are still very much present, but now they have been burnished by soaring synth pads and pulsing drum tracks that call to mind the haunted melancholy of John Carpenter or contemporary such as Legowelt or Andy Stott. Rhythmically 'Hand In Hand' sees McBride moving somewhat away from his usual off kilter programming inspired by 2-step and garage, embracing the steady pulse of 4:4 which turns out to be an effortless fit.

We are very excited to present the new collabo release between Cosmic Compostions and Jitwam's selftitled album " ".

Born in Assam, Gauhati, in Northeast India, but currently based in New York's storied borough of Brooklyn, Jitwam spent his formative years in New Zealand and Australia, before living in monasteries in Thailand, orphanages in South Africa, and washed out apartments in London. Of everywhere and nowhere, his music draws influence from a litany of iconoclasts including, but not limited to RD Burman, Moondog, The Velvet Underground, Yayoi Kusama, Jay Electronica, Jay Dilla, Moodymann, Leon Thomas, Madlib and Asha Bhosle.

Across " (selftitled)", he utilizes knowledge acquired through years spent digging through dusty crates, and talents honed as a multi-instrumentalist, producer, and vocalist. A series of stumbling, jazz/soul-rooted beat sculptures, each buried beneath a haze of fuzzy psychedelia, broken microphone blues, and articulated through a freestyled process he describes as "first thought, best thought", " (selftitled)" solidifies Jitwam's spot as a major emerging talent.

Recalling the fourth world dreamscapes explored by oddball songwriters like Connan Mockasin, Clarence Clarity, Jai Paul, Silicon, and Unknown Mortal Orchestra, it represents a time of transition and remembrance for Jitwam, while still fulfilling the core qualities he looks for in song. In his words, "Music is a refuge. A shelter from the storm. A place you can go to close your eyes."

Since he first shared his music with IZWID Records boss Kutmah at a Brainfeeder afterparty in London, Jitwam has released through Leaving Records, Cosmic Compositions, and The Jazz Diaries (the label he co-runs with Casey Van Reyk and Nigel Mphisa). He's also written with Inkswel (BBE) and Paul White (R&S), featured on Moodymann's K7! "DJ-Kicks" compilation and been championed by Gilles Peterson, Alexander Nut, Andrew Jervis (Bandcamp), and Funkineven. Mainly mixed and mastered by Matthewdavid at Stones Throw studios in Los Angeles, " (selftitled)" will be available on vinyl and digital formats.

Monstrous repress action from Chicago's Dance Mania - The source of the ghetto house movement, the rawness!
Club Style is the pseudonym used by 2 all-time Chicago legends, a truly all-star line up on this record, that's right, the pairing of Paul Johnson and Robert Armani. Say no more really. 'Crazy Wild' is a 4 tracker of infectious, grooved out, jacking and tough house jams, both producers fingerprints are all over this one. Narcotic, driving drum machines, phased out loops, armour piercing claps and basement trembling basslines are all over this EP, originally released in 1994. This one's a bit of a cult release from DM, collectors and freaks rating it highly. As usual it's a tough one to try and track down, changing hands for some hard earned cash too. This is the first time "Crazy Wild" has ever been reissued in full, just as it was originally released in 1994, complete with original Dance Mania label artwork. 100% legit, reissued in conjunction with Dance Mania records, Chicago IL and Parris Mitchell. Don't sleep.

'Y.O.U' is an emotive album of tripped out ambient hip hop instrumentals by FROM, written and recorded in the mid 90s under Trevor Jackson's infamous production persona The Underdog. Originally planned as a vocally-led, song-based project that should've surfaced between his production for The Brotherhood's legendary British hip hop album 'Elementalz' in 1996 and his acclaimed debut PLAYGROUP release in 2001, for multiple reasons it hasn't seen the light of day, until now.
Only Available as a ultra limited edition Vinyl and CD release, the LP consists of 11 tracks. Dream-like synth lines, ambient melodies, blissful guitars, raw beats and soft, fractured vocals draw you into a hallucinatory 12bit world. Drawing on Jackson's progressive and jazz rock influences as well as psychedelia and early electronics, the album closes with 'Belladonna'- a piano-sampled homage to the east coast golden age hip hop pioneers. NB: The CD features a longer version of 'Veratrum' not available on the vinyl version. All created on an Akai S950 mono sampler (limited to only 20 seconds sampling time), an Akai MG1212 12 channel mixer (which recorded on Betamax style tapes) and primitive outboard gear, Jackson honed his skills from his bedroom, where he produced the majority of his output at the time. With a huge collection of obscure vinyl, he dug deep into uncharted territories for samples and sound clips
- using material no one knew about (or would think about touching) in the mid 90s. The Underdog's initial releases were on Jackson's own Bite It! recordings label, which was started in 1991. A unique platform for UK hip hop with a visual aesthetic and ethos more akin to ECM and Factory
than other rap labels, its mission was to push artists beyond musical and cultural limitations prevalent at the time.
Home to artists like The Brotherhood, Scientists of Sound, Little Pauly Ryan and Lewis Parker (who later signed to Massive Attack's Melancholic label), Bite It! became a great success;
finally British rap had artists and releases that looked and sounded as good as their revered American counterparts. In 1993 Richard Russell (who had just started running XL recordings) asked Trevor to remix House of Pain, resulting in a top ten record, which helped launch Jackson's musical career via further remixes Massive Attack, Run DMC, U2, The Cure and countless others. Off the back of his remix success, The Brotherhood signed a deal in 1994 with Virgin Records. Their 'ELEMENTALZ' album was produced by Jackson and is still lauded by many as one of the finest British hip hop albums of all time.
Jackson continued to remix and produce as The Underdog until managerial issues forced him out of the project he'd been instrumental in instigating.
Soon after his close friend and manager tragically passed away - which when combined with the UK hip hop scene becoming increasingly volatile and the moral demise of rap culture in general - convinced Trevor to hang up his hip hop hat for good.
After leaving The Brotherhood he started Output Recordings. Internationally and sonically diverse, it gave Jackson a free reign to do as he pleased, with genre twisting releases from the likes of Fridge, Four Tet, Sonovac, Colder, his own PLAYGROUP project, The Rapture and LCD Soundsystem. With a non-compromising attitude, strong DIY aesthetic and consistently groundbreaking releases across its ten year life between 1996 and 2006, it became one of the most important and respected independent labels in the world.

The legendary Finnish pianist/composer Olli Ahvenlahti returns with his first new jazz album in 31 years! The new album "Thinking, Whistling" will be released 8 Dec by Helsinki's We Jazz Records.

The new record finds Ahvenlahti teaming up with the Jaska Lukkarinen Trio, one of the most highly-regarded ensembles in Finnish jazz. From funk-influenced acoustic jazz to heartfelt ballads, the band are delightfully in a world of their own, drawing from Ahvenlahti's effortless pianism and the trios natural swing.

As Ahvenlahti sums it up: "For me, jazz music has always been about three things: melody, harmony and rhythm."

Olli Ahvenlahti is one of the living legends in the Finnish jazz scene. His debut album was released in 1975 by the famed Love Records. DJs are likely to know him from such highly-regarded rare groove classics as "Grandma's Rockin' Chair" and "Countenance". The new album "Thinking, Whistling" presents Ahvenlahti's knack for writing catchy jazz music with a solid groove base, plus his more introspective side through the heartfelt ballads found on the new record.

In early 2017, Public Release dropped a four-tracker by Brooklyn's Earth Boys, a duo comprisedof Julian Duron and Michael Sherburn, and now it's being followed by a collection of remixes by some formidable names from around the world.
Where the EP of originals fell squarely in the category of vibey, shuffling, laid-back house
grooves, Trail Remix is decidedly made for the after-midnight parts of club sets. The 12-inch begins with a T&P - that's Beats in Space's Tim Sweeney and Phillip Lauer's version of 'Trail Mix'. Acid-flecked and hard-edged, and tongue-in-cheek at heart yet seriously functional, it's the original red-lined and shot down the highway at ninety miles an hour. (Worth noting that this is
the transatlantic unit's first remix to be released.) After that is Earth Boys' own redo of 'Highway
1' a juiced-up re-imagining of the first version, filled out with chunkier kicks and fatter synth washes that completely envelope any sense of direction. The flip leans towards the ethereal, stretchy, abstract, though it, too, is tracky and driven. The B1 slot goes to Canadian wunderkind Khotin, of 1080p and Normals Welcome, who blows some stardust into the tune, enveloping it in a blanket of sharp drums and icy pads. NYC mainstay Mike Simonetti, formerly of Trouble Man and Italians Do It Better, currently of 2MR, caps the record with his beefy overhaul of 'Trail Mix' a compression of industrial percussion, tribal rhythms and sub-bass undulations.

As Huntleys + Palmers events has drawn to a close, 2018 will see a big focus in releasing some brilliant new music and introducing some amazing new artists. First up is Wheelman - straight out of Glasgow and fresh off the back of his debut for our Studio Barnhus buddies. To our shame, it took a Kornel Kovacs trip to Rubadub to bring to our attention a real talent who was under our now the whole time! He'd even been to a bunch of our parties and we'd never made the connection..Righting this wrong, we promptly hit him up for music to include on a 'Clyde Built' compilation and they were so good, we designated the bulk of these tracks to this release - 5 absolute BELTERS!

Optimo Music don't generally do limited edition releases but when The Golden Filter did these extra mixes of 'End Of Times',

the A1 track off their recent EP we thought they were too good to remain in the digital domain so have pressed up a small run of 12' singles aimed specifically at DJs.
The original single version is a future synth classic. These new dub versions take it to the dancefloor and have been tried and tested around the world over the last few months. They are considerably extended, dubbed out and add extra dynamics & ecstatic synth power with hints of the original vocal. There is a slo mo version at 103 bpm and a faster version at 118bpm which means the track should work any time from warm up to peak set. There is also a Drone-Apella version included too.

Second album of this dope new boogie affaire - straight out of Melbourne, Australia..