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Africa cumbia psychedelic

Bendik HK is now launching his debut EP “Depot” via Oslo based label Mutual Intentions. The EP boasts Bendik HK’s futuristic approach in the realm of techno, house and ambient. His progressive production revolves around melodic structures, rhythm and soundscapes. On all four tracks Bendik HK uses an atonal percussion instrument called “Sixxen”, brought to life by the Greek contemporary composer and architect Iannis Xenakis. On “Depot”, this instrument is fused with more classic synths, in an attempt to “challenge” the club genre and invite something new; not only through rhythm and production, but tonality as well.
Vital sales points:
Bendik HK (Bendik Hovik Kjeldsberg) is best known for being one of Norway's most skilled and sought after drummers, playing alongside acts such as Charlotte Dos Santos, Ivan Ave & Gundelach.
He also works regularly with the internationally renowned composer/producer Pantha Du Prince, touring the world and playing events and venues such as Berghain, Sonar, Mutek, and Boiler Room.

One of the busiest and most respected Reggae artists in the industry today releases another new cut on the classic ARIWA label. Produced by Joe Ariwa and featuring dubtastic mixes by the man on this new fresh 12 inch

single. General Levy is a Lion in a jungle with a clean heart spreading the word that good Will always overcome evil. Stunning 12 inch picture bag artwork to boot! The 12 inch features Trixters, Black Steel, KarMelody and Jacky Murda with

additional backing vocals by Donnie Reid and Chardel Rhoden.

When Dunham Records/Daptone producer and musician Thomas Brenneck first heard the close family harmonies of the Sha La Das he had a revelation; he knew he had to get it on tape.



Direct from Staten Island, the four Schaldas, father Bill and sons Will aka Swivs, who also toured the world playing keyboard for Charles Bradley and his Extraordinaires, Paul of Paul and the Tall Trees and Charles Bradley and his Extraordinaires, and Carmine had come into the studio in Brooklyn to record background vocals on Charles Bradley's Victim of Love. It was a passion that drove Brenneck from the very beginning.



'Hearing them sing together in the studio was incredible', says Brenneck. He collaborated with Bill Schalda writing songs and applying harmonic sensibilities rooted in doo wop, blues and soul. It wasn't a stretch for Bill, after all he'd been second tenor when still a teen in Brooklyn vocal group, The Montereys in the 1960s (their 45, Face In The Crowd/Step Right Up on Blast records sells for $500 these days) who would play venues from neighborhood bars to the 1964 World's Fair in Queens.



'Bill is the genuine article, just like Charles Bradley and Sharon Jones, he came directly from the source,' says Brenneck. Indeed, Bill Schalda was right there amongst doo wop and r&b groups of the era, singing Moonglows and Flamingos tunes.

'You'd go out on the street and constantly hear a bunch of guys singing on the corner, they'd finish playing handball in the schoolyard during the day and then they'd start singing at night,' says Bill. 'We were all just guys in the neighborhood in Brooklyn, who gradually found each other.'



After their children were born, Bill and wife Linda moved the family across the Verrazano-Narrows bridge to Staten Island. Growing up, sons Will, Paul and Carmine remember summer nights singing group harmonies on the stoop of their home with their father Bill guiding them. 'He would bring us out on the stoop on Staten Island and he would teach us each parts of say, the sesame street song - we were his backing group very early on - that was fun,' says eldest son, Will.



On this, their debut, the talent is harnessed in 11 songs, each tender-voiced delight delivered with absolute conviction combined with musicians that have help define the Daptone/Dunham Records sound including Brenneck, Homer Steinweiss, Dave Guy, Leon Michels, Nick Movshon and Victor Axelrod. 'I wanted to take the Sha La Das outside of the doo wop genre,' says Brenneck. 'To take the whole vocabulary of doo wop harmony and reapply it to soul - so you get super soulful harmonies along the lines of The Manhattans & The Moments.'



From the opening atmospheric guitar strum of Open My Eyes via a walk along the Coney Island boardwalk catching the last glimpse of sunlight at dusk of Carnival to the sublime crescendo of harmonies of the winsome Love in the Wind, each song evokes a deeply personal yet universal yearning that none of us can escape. Quite simply every song yields magic.

There's something special when a family can meld voices in close harmony. The Everly Brothers had it, The Beach Boys had it, the Schalda's have it.

Format Returns With Another 4-track Slice Of Techno From The Label's Founder, Juan Sanchez, Including A Remix By Lauded Us Producer Mike Parker.

The Ep Opens With Qx02, A Jacking Techno Track Built On Gritty Synth Swirls And An Acidy Pulse. Following Up, Mike Delivers A Much Darker Rework With A Menacing Kick Drum As Its Engine. The Ep's Title Track Dans Ta Tete Pumps Up The Tempo, Delivering A Fast-paced Synth-driven Stomper. Things Close Off With Plural, On Which Juan Explores The More Dubbier Sides Of Techno Across Lush And Warm Ambient Chords.

Fr015 Is Another Prime Example Of Format's Signature Techno Sound That's Successfully Finding Its Way To The Floors.

2024 Repress

midnight in tokyo is a compilation series that aims to be the perfect companion to nights in tokyo, collecting tracks by japanese artists that sound best at night. while vol.2 focused more on '80s jazz fusion, the latest installment, vol.3, picks up where vol.1 left off, bringing together forgotten soul, disco, and new wave gems. the compilation opens with japanese rare groove classic 'more sexy,' a provocative song by 'the queen of sexy songs,' yoko hatanaka. 'kimi no yume,' from the album yume no yonbai by the wandering poet masumi hara, is one of the best balearic acid folk song to come out of japan. 'silhouette call' is an electric bossa nova track—in the vein of antena—taken from a rare album called octopussy by yuki nakayamate, a singer songwriter who also worked as a backing vocalist for motoharu sano. 'theme of high school student' is a dubby cut featured on the soundtrack to the japanese '80s film kougen ni ressha ga hashitta, written by atsuo fujimoto of colored music—one of the key artists in the recent wave of global interest in japanese music. 'get to paradise' is a stone cold funk jam by mari kaneko, who was known as the janis joplin of shimokitazawa in her heyday, and is now known as the mother of the drummer and the bassist of popular rock band rize. following that is one of japan's greatest new wave disco track, 'hannya,' taken from tomoko aran's popular third album fuyu-kukan—produced by masatoshi nishimura who was part of the friends of earth project with haruomi hosono. masako miyazaki—whose rendition of seawind's 'he loves you' is a fan favorite—puts her own spin on the earth, wind & fire classic, 'fantasy,' singing in her accent-heavy english which gives the song an undeniable character. 'watashi no koukoku' is a certified disco boogie classic by popular singer junko sakurada. the brazilian-esque jazz fusion, 'sunshine bright on me' is by a fusion group called kangaroo, who were often billed as 'the japanese shakatak.' 'stranger's night' is a synth-pop number by pop idol maiko okamoto, which bears a suspicious resemblance to rah band's 'the shadow of your love.' electro-pop disco 'singing lady'—off the sole album released by the one-off project the fad—sounds like something giorgio moroder could've cooked up. 'magic eyes' is a disco anthem recorded by songwriter tetsuji hayashi's disco project, the eastern gang. following that is japanese soul gem 'crazy baby,' found on a rare 7 inch entitled minato no soul by rinda yamamoto—also composed and arranged by tetsuji hayashi. and last but not least, closing out this collection of 14 japanese rare groove goodies is 'i'm in love', a bittersweet mellow dance number by tomoko aran.

Techno Thriller joins the Unknown Precept fam with a brand new mini-album. The first following the release of their eponymous full-length album a couple of months ago. Based in Brussels, although now relocating themselves in Marseille, France, the four-handed formation has steadily been crafting cybernated Gothic music over the past years. Recorded a few months back while drawing its inspiration from dark dungeons and occult folklore, not without evocative titles, Enfant de Sodome feels as muscular and thrilling as their live performances usually imply. Compelling murky synthpunk and industrial machinery colliding in fervor and howls. Free falling tumultuous bass lines lacerated by ominous muffled groans. Bone-bending primitive techno music catapulted over the walls in the most urgent fashion. At the end, it very much feels like trying to dance on some sort of cryptic electronic body music in a heavy chain-mail.

The second release on 4GN3S (pronounced Agnes) is an angular and shadowy 5-track EP by The Golden FIlter. The 'Dislocation' EP is five pariahic pieces paying equal homage to minimal wave, post-punk, no wave, and electro, but retaining Stephen and Penelope's inventive presence. Before 'Talk Talk Talk' became a 2018 summer festival anthem by accident, it was always meant to be the lead track on this EP. Like Siouxsie vs early Human League, but heavier. Originally available only as an extremely limited edition duplate at Rye Wax, 'All The Way In' is a jittery electro beat workout sounding as if Anne Clark were fronting Drexciya. Beatless and odd, 'Dislocation' first premiered on Fort Romeau's Essential Mix on BBC Radio 1. It's Part art-piece, part word association, and part No Wave experimentalism. A mutating arpeggiated bass and an ominous tone drive 'Cut My Hair' into a incongruously sci-fi dark dance netherworld. 'Temple' is classic Golden Filter, with modular bass blurbs, soft vocals, and an 808 beat doused in analog reverb. Dance music to sit in the corner and think to.

Atuy So Kata is the closing track of Umeko Ando's Ihunke album. It is a poetic dedication to the surface of the ocean. Her voice is especially mesmerizing in this traditional Ainu song, and it perfectly captures all the brittle and enchanting qualities of her vocal art. Patric Catani (aka Candie Hank, aka Ill Till) is an artist of many faces who has already appeared on a couple of Pingipung releases. He is widely known for his recent soundtracks for video games such as Minton and Pit People. His playful remix approaches the Ainu folk song with an offbeat punch, spacing out on delays and dub textures. "Many white waves on the ocean They look like rabbits jumping." After the Iuta Upopo 7'' (Pingipung 058, 2017), the Ihunke re-issue 2LP (Pingipung 060, 2018) and the Ihunke Remixes 12'' (Pingipung 062, 2018), this single is latest step in Pingipung's explorations of Umeko Ando's legacy and contemporary interpretations of her unique music.

Colombian musician, Mario Galeano, the force behind the band Frente Cumbiero, and English producer Will Holland a.k.a. Quantic, joined forces in 2012 to create the celebrated Ondatropica project.

Recorded at Discos Fuentes in Medellin, Ondatropica exists to explore and expand the tropical sound of Colombia in its rawest form and to marry it with contemporary influences from around the world. The concept brings together an iconic group of top Colombian musicians representing both the classic and more modern styles of la musica Colombiana. Artists such as Fruko, Anibal Velasquez, Michi Sarmiento, Alfredito Linares, Pedro Ramaya Beltran, Markitos Mikolta and Wilson Viveros joined a group of younger Colombian musicians, members of both Mario's band Frente Cumbeiro and Quantic's Combo Barbaro, to (re)generate the excitement that positioned Colombian music as one of the most influential in South America.

Ondatropica's eponymously titled double album fuses traditional Colombian styles such as cumbia, gaita, champeta with boogaloo, ska, beat-box, MCs, ska, dub, funk and creates a progressive collection of 26 tracks that re-interpret the tropical musical heritage of Colombia with new approaches in composition, arrangement and production.

Seit Dem Plötzlichen Und Völlig Unbemerkten Erscheinen Ihres Manifests Im Jahr 2016 Schwor Das Weird Folk-songwriter-duo The Mañana People, 100 Lieder Zu Schreiben, Die Die Wege Des Pop-genre-diskurses Erkunden. In Der Mitte Ihres Kampfes, Während Sie Eine Reihe Von Hausgemachten Freak-folk- Und Psycho-country-kuriositäten Erfanden, Wurden Ihre Bemühungen Gnadenlos Von Dem Deutschen Kult-label Unique Records Unterbrochen, Das Sie An Den Ohren Packte Und Ihnen Sagte, Dass Sie Aufwachsen Und Eine Richtige Platte Machen Sollten.

Das Ergebnis Ist Ihr Bevorstehendes Debüt "princess Diana", Ein Hauch Frischer Radioaktiver Luft In Der Welt Der Autorenmusik. Die Exzentrische Sammlung Von Melodien Bietet Theremin-getriebene Honky-tonk-kracher, Zombie-themen-electro-pop-balladen Und Horror-spirituals, Sowie Eine Zusammenarbeit Mit Dem Besten Troubadour Selbst, Bonnie 'prince' Billy.

Die Erste Anstrengung Der Mañana People Schafft Es, Harmonisch Zwischen Experimentierrinnen Und Der Angenehmen Leichtigkeit Der Popmusik Zu Schwingen. Tim Weissinger Und Alvaro Arango Trafen Sich An Einem Winterabend Auf Den Grünen Wiesen Ihrer Universität.

Ihre Musikalische Chemie Und Das Kalte Wetter Zwangen Sie Quasi, Sofort Musik Zu Machen. Ihre Debüt-ep "the Mañana People" Wurde Am Halloween-abend 2014 Online Veröffentlicht. Ihre Musik Wurde Sofort Von Ihren Freunden Gelobt, Von Ihren Feinden Gefürchtet Und Von Vielen Anderen Ignoriert.

Seit Anfang 2015, Und Mit Hilfe Von Tobi Mercer (keyboards) Und Simon Mead (schlagzeug), Haben Die Mañana People Ihr Wort Verbreitet Und In Jeder Bar, Café Oder Straßenecke Neue Seelen Gefordert.

Nach Einer Zweiten Ep - "horror Songs" - Ist Es 2016 An Der Zeit Für Ein Komplettes Und Mit Spannung Erwartetes Debütalbum Auf Unique Records!

Die Jungs Supporten Honig Auf Seiner Herbsttour.

Live
14.09.18 Ulm Roxy
15.09.18 Mainz Schon Schön
16.09.18 Dresden Beatpol
17.09.18 Berlin Privatclub
18.09.18 Leipzig Werk 2
19.09.18 Nürnberg Club Stereo
20.09.18 Essen Zeche Carl
21.09.18 Köln Kulturkirche
22.09.18 Bremen Tower
28.09.18 Konstanz Kulturladen
29.09.18 Saarbrücken Kleiner Klub
30.09.18 Aachen Musikbunker
02.10.18 Langenberg Kgb
03.10.18 Haldern Pop Bar
04.10.18 Hamburg Knust
05.10.18 Münster Sputnikhalle


Für Anfang 2019 Ist Eine Kleine Eigene Tour In Planung.

It's a match, mate, innit Stepping in the cypher with a brand-new EP, Last Nubian emerges with a signature sound that reveals the passion of the digger behind. While covering the whole range from hip-hop to house, the London-based producer manages to match the best of both worlds and delivers dusty grooves for the heads as well as catchy dance floor oriented stuff. Although the rhythms and beats often feel nostalgically familiar, Last Nubian always flirts with the fringes of a more experimental sound design while citing Flying Lotus, Mndsgn, Theo Parrish and other pioneers as his influences. Having Blaq Numbers affiliates 2XM and Paso add their two cents to the show as well, makes this artfully crafted tape a family affair.

Modeselektor präsentieren mit "I Am Your God / Bronko" rauen, deepen und abgrundtiefen Techno aus ihrem neuen Album "Who Else". 100%iges Dancefloor-Material, das gleichzeitig so detailliert und ausgearbeitet ist, dass es Dich im stundenlangem Listening-Modus hält. Auf der A-Side wirkt Otto von Schirach als schreiender, unheiliger Geist mit. Die hypnotische Qualität und das akribische Sounddesign der beiden Tracks belegen exemplarisch, wie klug und raffiniert sich die Produktionsweise des Berliner Duos in den letzten Jahren entwickelt hat.

Welcome to the strange musical world of Tolley & Dara, an experimental duo whose incredible music held a marginal yet vital position on the fringe of the Australian music industry during the late 1970s and early 1980s.

Consisting of jazz bassist and synthesist David Tolley and percussionist Dure Dara, their union was a relationship of romance and intense creativity, a deep spiritual bond consecrated amidst banks of modular synthesizers and racks of exotic percussion instruments.

Recorded over a series of live performances in the spring of 1979, the music featured on Cutheart was edited and assembled from eight improvised pieces recorded at the Universal Theatre Melbourne. Comprised of analogue synthesizers and a vast array of tuned and non-tuned percussion, Tolley and Dara sculpted a cluster of electronic abstractions and organic splashes of Gamelan-influenced percussion; a dense otherworldly soundscape coloured with trance-like vocal scatting and deranged muttering.

Known for his bass playing on the classic Australian jazz-rock album Carlton Streets by The Brian Brown Quintet and also as a member of EX-, (the collaborative project with Daevid Allen from Soft Machine/Gong), Cutheart sees Tolley explore the outer realms of heady improvised electronic music.
While the music of Tolley & Dara exists in a sonic universe all of it's own, similarities could easily be drawn to another likeminded musical partnership, the American husband and wife duo Annette Peacock and Paul Bley. Cutheart is a pioneering recording of extended synthesiser and percussion technique from the Australian experimental underground.

The final release in the Eight Trigram series. Alpha Steppa concludes the Trigram series with an etherial heavyweight dub staying true to the Trigram sound. Super limited edition press housed in the reverse-board Trigram house bag. Raw, unadulterated tribal bass music with a deep roots foundation

Jurek Przedziecki's solo Epi Centrum project thunders back with a brand new LP out on Damon Wild's Synewave Records imprint. After a handful of enthusiastically received (supported by, among others, Laurent Garnier, DJ Hell and Joey Beltram) records on numerous renowned Euro labels, Warsaw-based classically trained composer and Buchla System 200e affictionado, delivers a massive dose of muscular-yet obsessively detailed acid funk techno. His 8-tracker - Excrescence" mixes old and new, tapping on seminal Detroit retrofuturism and heavy-duty pounding mania. One can also hear ghostly echoes of his 90s post-industrial faves like Coil or SPK. Record, quite varied in itself, ranging from relentless bangers ('Association') to mental acid cuts ('Blaming Others') and slow bass pulsations ('Limited Useful Life'), should fit nicely in the Synewave repertoire. Simply unmissable.

Vinyl limited edition, includes lyrics booklet, white vinyl, silver layer printed on cover art, % donated to charity.

To be released on World Mental Health Day, part of the album's proceeds will be donated to a UK-based mental health charity. 'I often wonder how sadness moves through people,' Emika says, 'through time, through stories and history, and if it's something that becomes us rather than coming from us.'
% of album sales will be donated to charity Help Musicians UK
emikarecords. com Invites fans to anonymously share their experiences of depression and create a waterfall of comments inspired by the song Wash It All Away
Studio video promoting the album via Soundcloud, Autumn
Live / DJ video, promoting the album with Beatport, Autumn
Live streaming of the album from Emika's studio via FB, Insta, YT, September.
Bookings by Christopher at Melt Bookings. Team chose to give fans time to listen to the album first, shows starting early 2019, special album show with live band and dome visuals planned in the Berlin Planetarium Feb 2019. A few promo shows summer / fall 2018.
Boiler Room live show as part of Open Dance Floor series tbc
* Given its years of manifestation behind the scenes of other projects, Falling In Love With Sadness reflects a renewed understanding of Emika's own genealogy, kindred lineage and its connection to modernity. Marking a drastic departure from the menacing, stripped-down qualities of albums past, Dva and Drei, Emika has surfaced with a new upwelling of sound gracing the bittersweet, melancholic and sanguine.

* With the interplay of myriad genres both rhythmically and melodically intertwining between spacey, dub tinged Promises, lush synth pop hooks on Escape and the title track's soulful electro, a full spectrum of musicology remains primary to the ever-evolving chroma of Emika's umbrous sound.

* Further characterised by the breathy sibilance and sultry tones of Emika's noirish, vocal aesthetic, the album navigates through the morose and trappings of misanthropy by illuminating a narrative of emotional resilience and recovery.

* Co-produced with Robert Witschakowski of The Exaltics, and continuing her collaboration with guitarist Chris Lockington (as heard on Drei and Dva), Falling In Love With Sadness provides a fifth solo album for Emika, but moreover, defines itself as an overture for her future works.

Die Sängerin und Songwriterin Maggie Rogers wird am 18.01.2019 ihr Debütalbum - Heard It In A Past
Life' veröffentlichen. Ihre neuste Single - Light On' ist ein Brief an ihre Fans, in dem sie ihre Gefühle
über die zwei vergangenen Jahre ihres Lebens wiederspiegelt. Maggie wird als Support-Act die Band
Mumford & Sons auf ihrer Tour durch Nordamerika unterstützen.

Following multiple classic re-issues and freshly produced dubplates from UK Dub innovators, we bring you 2 brand new productions on 10' vinyl: Inna Mount Zion / Prophecy Step.

Metric Systems is the name of a covert project of over 20 years duration. It has moved across multiple continents, under multiple names. The 8 songs that make up 'People in the Dark' were recorded between 2000 and 2016 in various locations across Sydney, Melbourne and New York. The bright-eyed sci-fi fascination of Australia's Clan Analogue collective intertwines with the more sinister facets of modern technology - echoed voices pepper the album like fragments of a surveillance tape collected by our digital panopticon. A pervasive sense of paranoia and unease winds its way through these 8 tracks that move between techno, downtempo and more abstract strains of electroacoustic experimentation. Fittingly housed in a striking sleeve by American photographer Trevor Paglen, whose MacArthur-winning work revolves around these same themes of omnipresent surveillance and data mining.

'People in the Dark' opens with the wordless vocals of 'Your Room', drifting over the unspooling synthesizer sequence that seems to swell and recede from the foreground like the ebb and flow of a lapping tide, lapsing into dreamy ambience before the drums come back in. The smartly programmed drums are the focus of 'Chinatown Warehouse', whose hip-hop swing gives a distinct 'nod factor' to the otherwise hazy mechanics of the track. On 'Laika', a 303 line weaves its way across the subdued mid-tempo groove, gently recalling the ambient-acid of Susumu Yokota's 'Ebi' project. The penultimate track, 'Stellarwind' starts with a dark, foreboding drone before shining pads arc over like a glimpse of light through the track's murky darkness, the tension between these two poles moving together as the song unfolds.

This record reflect just a small selection from a large archive of recorded materials. All songs written and produced by Kate Crawford and Bo Daley.

Brainchild of Multi Culti A&R, Sascha Funke and Niklas Wandt were introduced by Dreems, who charted a course for the seasoned Berlin-based producer and funky multi-percussionist and singer.

Wandt was just about to enter the scene forcefully with his collaborative 2LP with Wolf Müller and the debut single of his band Neuzeitliche Bodenbeläge. In the icey cold of his warehouse rehearsal space, Funke had him record a variety of slapped, bowed and scratched percussions (congas, talking drum, prepared cymbals played with a bass bow) over his tracks. These first efforts were later expanded into joint sessions at Sascha's home studio and, within a few weeks, the journey reached it's destination: Wibe strasse, Deutschland.

At first glance, they seem an odd couple: a techno veteran of almost thirty years meets a side-burned upstart socialized in Free Jazz and Krautrock. But the shared sonic influences come through in the hypnotic, dubbed-out sound, perhaps rooted in the close connection the two share to the Rheinland region in West Germany, Funke as part of the Kompakt family and Wandt by origin and socialization in the Cologne and Düsseldorf music scene centered around the Salon des Amateurs. Regional flavours, global appeal.

Multi Culti, promoting local collaboration, one freaky record at a time.

Sinnamon's '83 NYC boogie scorcher 'I Need You Now' gets the official remastered, reissue treatment - complete with the 'Fierce Reprise' dub mix alongside the accapella, providing essential sampling material.

Marrying the old with the new, 'I Need You Now' is drenched in funk bass slickness and colourful chords, yet embraces a wealth of synthesized sounds from electro sequencers to synth-based strings, giving it that early '80s post disco, boogie feel. Bernard Fowler of Peech Boys fame steps up on guest vocals bringing a deep, R&B tone to proceedings, complimented by the all-female vocal prowess of Sinnamon adding their trademark feminine touch to the track.

First up on the flip side, the six minute 'Fierce Reprise' mix. Reversed rides that suck back into the skull, tape delayed vocals and spacey synth echoes blend together, as elements are overlaid and dubbed out for maximum, heavyweight, proto house vibrations.

Last up, a favourite and much used vocal accapella that's been sampled by a whole host of early house, hardcore and garage producers from 808 State and Criminal House to Ray Keith and Paul Johnson.

An essential bit of kit for anyone with a penchant for that early '80s boogie flavour.

fifth blueten release for the barcelona-berlin connection from gimenö and stefan helmke with three dub/break/techno sounds ! vinyl only !

Dublin's Pear label return with the new EP Soma from Donabate legend Bryan Mooney (aka DJ
Moonbeam) under his New Members alias. 3 spaced out & illimitable club cuts make up this
latest dancefloor offering on the 6th release from the year-old imprint.

The title track has been a sought after, certified Pear party anthem; timeless dancefloor alchemy
rolled into 9 minutes of dub tech(no) club magic. Yep, 'tis a big one.

B Side swerves left and then some. Good Morning drifts along effortlessly, buoyant with minimal
garage swing and touched ever so slightly by late 90's french deep house-isms (surely destined
to soundtrack many sunrise sets for the next while). Eclipse then consummates this extended
affair with a nod to the hardcore continuum through a ruff'n'rugged jungle number, dashed with
Mooney's signature dreamscapes.

Following up on their debut full length release, 79.5 drops a new and revamped version of their dance floor classic "Terrorize My Heart (Disco Dub)". A tune that leaves no room for gray and finds the ladies of 79.5 walking the line between vulnerability and forthrightness. Setting out with admonishments of love and infatuation that are quickly checked by the bluntness of women who've lived in the Big Apple for years, 'is it her or is it me, that's how it's gotta be'. Remixed and remastered with a new intro for the DJs, producer Leon Michels and engineer Jens Jungkurth managed to take an already smash of a tune to a higher level. For the B side we enlisted one of underground hip hop's brightest stars, Tall Black Guy. His 'Bounce Remix' of 'Terrorize My Heart' is just that. The Detroit producer takes the tune to a different level and turns it into a monster of a head-nodder. Loose drums and chord stabs provide backing track while vocal samples through out keep the track super hype. An easy dancefloor killer for the Hip Hop / R&B jocks.

The Analog Africa label delves into the amazing history of music from 1970s Benin and Togo.
This compilation highlights forgotten raw and psychedelic Afro sounds, and the well-researched liner notes tell fascinating stories to accompany the mind-blowing music. The essence of Analog Africa is clear, searching in dusty warehouses for forgotten music to keep the sound alive!

If you read the name Shankar you may right away think of Ravi Shankar, the grand master of contemporary Indian folk music who was very popular in the 60s due to his connection with the music industry in the United States despite staying away from the pure pop music by maintaining his classic sitar and tabla style ragas to express himself musically. Ananda Shankar used to be his nephew who also made a journey to the USA to gather inspirations from rock artists like Jimi Hendrix among others. His first album from 1970, a conglomerate of classic Indian folk tunes and instrumental versions of the hottest rock songs of the day clothed in a veil of sitar melodies and backed up with tabla drum grooves, was an attempt to combine the spiritual approach of his cultural origins with the light minded blissful attitude of western psychedelic pop music. It worked well in the sense that it is still, nearly fifty years later on, a groovy little album that leaves nobody sitting around at any random hippie party. He took a five year break from recording to create what should become his second album and this is what I am about to present to you now. The cover-tunes were replaced by all original compositions with a lush instrumentation that features the typical sitar, tabla and bowed string instruments such as sarong and sera arrangements mixed with sounds that have a definite western origin such as rock guitars, Hammond organ and moog synthesizers plus full drum kits that take care to enhance the actual groove. Psychedelic rock, raga, fusion-jazz and funk flow into each other quite naturally giving birth to something fresh and exciting I would label as Bengali pop'. The borders between eastern and western music get abrogated here. If it was not for a few deeply mythical chants on a bed of drones here and there you could not even tell this was a record by an Indian artist. This album is quite accessible most of the time and comes with a certain slickness that makes it easy for the listener to understand and appreciate what is going on. Still there is the other side of the coin, the depth pop music often lacks. So in the end this might have been too far out for the average western mainstream fanatic back in 1975 when disco began to rule but it is an awesome sound trip for fans of psychedelic dance music like INCREDIBLE BONGO BAND and all eastern influenced popular rock.

Keysound Recordings are proud to present an EP from one of the UK's most exciting production talents, Otik.
The EP consists of four original productions on vinyl 'Top Ten', 'Latex', 'Notion' and 'True Level,' plus on the digital a refix of 'Top Ten' from label co-owner Blackdown 'Top Ten.'. Collectively they are weighty contributions to the space emerging between techno and bass music currently being forged by labels such as Timedance, Hessle Audio, 3024 and Ilian Tape. 'And Keysound of course haha...' adds Otik. 'I've been very inspired by these labels'. 'I'm based in North East London but I'm originally from Bristol. I've been producing since the age of about 15 but didn't really get into UK dance music until the age of 18,' he adds. In recent times, Otik's released on 17 Steps, Dusky's label, DEXT Recordings, Durkle Disco, Push & Run, Tessier-Ashpool and Infinite Machine. He will also be releasing on Nous Disques later this year.

Remastered Edition Of A Compilation Of Stereolab
Singles And Rarities, First Issued In 1995. Clear Double Vinyl. Includes Download Card.

"Torino" is SONAR's sophomore album. Once again music was produced by Lukasz Stachurko, pianist Artur Boguslawski and drummer Rafal Dutkiewicz with beautiful vocal from Lena Osinska. With this4
album SONAR would like to make you dance.

It's been just a year and a half since the release of SONAR's debut 'Petle'. The band returns with an album of 11 premiere songs! Among which you can hear Lena singing in English for the first time. SONAR's collaboration with US-based singer Miles Bonny and rapper from Chicago - Squair Blaq presents that distance is not an obstacle to
create good music.

Several people are responsible for the lyrics -Mateusz Holak, Wanda Berger, Arek Sitarz (Ras) and Lena.
Michal "Eprom" Baj was responsible for mix and mastering. Karolina Zajaczkowska designed the cover and made all the photos. Album also features incredible hand-painted artwork from Zbiok Czajkowski.

CD and digital verison was released on March 2018 and received great response:

SONAR "Hidden Garden" (official video http://youtu.be/KCg8bkQ0bHE more than 590k views)

SONAR "Face The Sun" (official video http://youtu.be/ji9x1rxlhi4 more than 660k views)

The vinyl version was released on 180g black vinyl with printed inner sleeve. 300 copies only.

Envee is well known producer not only in Poland.

He is releasing music since 2001.

You may know him from remixes for Compost, Jazz & Milk, Sonar Kollektiv, Wah Wah 45, GAMM and many more.

Now he is back with first album since 2008!

Come on journey from ambient, broken beat, dub to swing, spoken word or some hip-hop.

16 unreleased tracks on two vinyl records with poster inside. Only 300 copies worldwide!

The album which was named after the studio Death in Vegas recorded most of their records is the crown on their career. It's an album full of surprises from one of the most interesting electronica groups to come out of the '90s. The production and arrangements from the duo Richard Fearless/Tim Holmes are combined with the greatness by guitarist Ian Button and bassist Mat Flint. It's a fine combination of their electronica sounds and the more rocking music. The vocal guest appearances by Iggy Pop, Jim Reid of the Jesus & Mary Chain, Bobby Gillespie of Primal Scream, and Dot Allison are incredible and they're pushing this record to a higher level. This album's beauty lies in the complexity of the emotions it exhibits.

Richard Fearless is the only active member of the original Death in Vegas line-up. Their sound is influenced by rock, dub and industrial music.

Keine Liebe Ohne Freunde, Keine Tracks Ohne Liebe. Johannes
Onetake Releaset Sein Erstes Solo-vinyl Und Hat Seine Besten
Dudes Im Gepäck. Knallt Gut, Scheppert Schön, Gutgehen.

User Experience welcomes young German and living meme, Nils Viktor Voss, or Corroid as the world will know him from now on. Corroid sent me a track a while back for mastering... an absolute face melter. I asked him via the medium of dance if he had any more tracks. Now I cannot get rid of him, he sends stuff all the time, if it's not music it's memes. The only way I am able to deactivate the meme machine is to try and divert his attention elsewhere. So, find him on facebook, meme him until he is unable to function. Thank you.

Joining Corroid on this record are two fucking amazing artists who I admire a great deal; Myler and Jasmine Azarian who both execute their remixes with precise brutality. As for the track names I considered translating for the ignorant English (myself included) then I heard Corroid's flatmate say: "YOU CANNOT TRANSLATE THEM, THIS IS TRUE ART". Well that's bollocks but tbh I don't have time for translations.

Rebar, the duo behind the >made of CONCRETE Rebar Rebar Rebar 1< sees a versatile three piece assortment with a seemingly common theme. Field recordings make ample appearances in Rebar s work and this release makes no exception: a large part of the elements were recorded in and around train stations of a famous metropolis. Further info can be revealed on the flipside of the vinyl.

"The bird songs which I had recorded in the West Indies in 1969 made me inclined to find out more about those of the nearby South American continent, and convinced me, moreover, that musically speaking, they possessed an unquestionable originality in comparison with those of Africa and Europa. I therefore decided to carry out a series of orthonological trips on this continent, starting with the North: Venezuela, and so, with this in mind, i disembarked at Caracas on 27th May 1972.

The unusual musical volume of this tropical country made its impact on my arrival in town, where the unbearably shrill chirping of the cicadas overwhelmed me each time I passed under a tree. At night fall, around even the meanest of ditches filled by the daily rain, myriads of toads and frogs struck up a concert, which, through its sheer intensity, muffled all other surrounding noises. When I penetrated the forest, I could hear bird species literally by the dozen and individuals by the hundred, all calling and singing together at dawn and at dusk..."
- Jean C. Roché

"Among many of his amazing records I came across Jean C. Roché's Birds of Venezuela, beautifully produced LPs of birdsong. I began to plan a trip to Amazonas, to record the unearthly song of potoos and Yanomami shamanism."
- David Toop

Jean-Claude Roché (May 11, 1931) is an French ornithologist and wild life field recordist. Roché recorded bird songs worldwide for over 30 years and released over 130 records out of his recordings.

RIYL HIDDEN CAMERAS/ARTHUR RUSSELL

Since his recording debut as Choir Boy in 2016, Adam Klopp mined a sound swirls 1980s synth noir with captivating, cinematic songs sweeping with pensive sorrow and glowing hope. As a former member of the Mormon faith, Klopp spent his youth both in the pews of his place of worship, but also churning through DIY punk venues, before leaving the sect in the thick of a mission in Tahiti.

The duality of faith and fiction are central to the lush explorations on his debut album Passive With Desire. Recorded at Studio Studio Dada, the album's tracks permuted as bedroom sketches, awash with camp, the sting of loss, and allusions to halcyon days of nocturnal, electronic driven pop. Retaining elements of Klopp's original demos, Passive With Desire was recorded with a full band and polished with trumpet, strings, as well as archival samples calling back to Klopp's hazy youth.

Engineered by Klopp, Bret Meisenbach, and Stephen Cope, Passive With Desire is the entry point to Choir Boy's world of emotive wit, novella kissed lyricism, and bouncy, synth-forward takes on traditional song writing bound by the universal themes of loss, desire, evolution, and exploration.

Now available for the first time in wide release, Passive With Desire is a proper introduction to Klopp's unique storytelling, orated by his full, rangeful vocals. The expanded CD version comes with a 12-page lyric booklet, and combines the album with seven bonus tracks, including the Sunday Light EP and tracks from the limited Part Time Punks cassette. The repackaged LP edition comes in a sturdy matte jacket with matte Eurosleeve insert with lyrics. The first pressing comes in limited editions of 100 on Clear/Black/Red Splatter, 400 on Metallic Red, and standard black vinyl.

Key Selling Points:
- Expanded CD version comes with a 12-page lyric booklet, and combines the album with seven bonus tracks, including the Sunday Light EP and tracks from the limited Part Time Punks cassette.- LP edition comes in a sturdy matte jacket with matte Eurosleeve insert with lyrics. - LP comes with download- Reissue of debut album

A new work produced by Zurich Dada, a duo from Porto, who play a kind of calm and melancholic Synth Pop. The release comes with two original tracks from them. On side A with 'Peta Bytes', which includes Antoni Maiovvi and Franck Kartell remixes, who are back on Aspecto Humano. On side B is included 'Kites' with a banger remix from the house by Anbau.
Mastered by Alden Tyrell.

IDA007 is a vinyl release entitled 'Pagan Rave EP' by label's co-founders Uninc & Kolomensky coming up from the emerging Moscow scene.

Title track opens EP with breakbeat groove, flute solos and slavic vocals combined with progressive and acid lines to deliver unexpected mix of pagan folk music and rave rhythms.

'Ancient Tool' is another original track on the A-side with tribe vocal samples combined with acid and punchy rhythm section filled up with bongos to create a dancefloor oriented DJ tool with ancient flavor.

On the remix duties at the B-side are Ransom Note's craftsman Timothy Clerkin with slow atmospheric and meditative version of 'Pagan Rave' and quickly emerging Olsvangèr from Tel-Aviv who delivers weird oriental progressive club banger made up from the 'Ancient Tool'. Overall there is an 12'' saturated with different vibes neatly crafted and mixed together for a wide range of feelings for the listener and tools for the DJ.

Perhaps one of the most unique and unlikely exponents of the highly collectible genres of ambient electronics, experimental tape-music and PINA (Private Issue New Age), this English-born Jamaican- raised sound designer, artist and existentialist furrowed his own unblinkered path through lesser chartered electronic fields for many moons before eventually teaming up with Bill Laswell (with Material) and Daevid Allen in New York to bring self-taught synthesis to Gong during their most oblique periods.

Creating two impossibly rare self-pressed vinyl LPs of conceptual inner-visionary outer-galactic angular tonal-dronal alien-art soundscapes in the process, the man known under figure shifting guises such as Dennis Wise/Denis Weise/Dr. Wise etc, combined a culture of sound system circuitry and radiophonic trickery adding Tea-pot poetry and sci-fidelity future- folk to his magnetic mesh.

Presented here as the first ever dedicated Wize Music collection this record combines compositions spanning 1979-1984 in both a solo capacity as well as small- group projects featuring members of the Emerald Web band.

Imagine a comic book where a Funkenstein monster called 'Laraaji-Scratch Perry' invaded your record shelf while Komendarek and Holger Czukay kept lookout... Dr. Dennis might be the only one Wise enough to outsmart all of them with his powerful amorphous anaesthetic.

A name familiar to Hidden Recordings, France based JC Laurent
returns for the fourth time with Distressed World. As with each release,expectations are high and the young Frenchman impresses with hislatest body of work. He delivers three original tracks inspired by thecurrent state of global affairs: underlying tension, shifts in mood withthe need for a steady hand. Accompanying the release on remix duty isBerlin's Oliver Deutschmann, well-respected for his diverse trackselecZons and varied soundscape, his recent discography includes a2018 release on Luke Slater's imprint, Mote Evolver. Showcasing his
broad palate of sound, he is only a handful of talents who has DJ'd both Berghain and Panorama Bar over the last 10 years.

2 track Single from The Valentines / Leslie Butler released by Gay Feet/Dub Store Records

New Aussie label, Corella Records, run by producer/DJ Blind Tiger (formerly Captn K) is broadening the repertoire with a second release, a new indie disco
12" single, Forbidden Fruit.
Forbidden Fruit - Field of Fruit Mix, is the one to check out. It's an indie dance/nu-disco excursion with driving bass and piano. Reverb slathered vocals from Steve Hensby
and dreamy strings make this track an uplifting 8 minute journey.
With a touch of early Chicago House in the piano stabs, Georgio Moroder in the rhythm, the drive of Underworld and repetitive elements reminiscent of Field.

Forbidden Fruit - Original Mix, is serving up some classic disco with funky synth bass, driving drums and percussion and the full range of vocalist Steve Hensby makes this a great dance floor mover.

Forbidden Fruit - Fruit Jam Mix, Blind Tiger delivers party jam vibes. Complete with electro drum machine, party goers and warped electric guitar from Luke

Dux. It's a fun, stripped-back remix, that feels like the guys have stumbled on a vintage drum machine and a bunch of instruments at a house party and start cooking up a fruity jam.
A little of something for everyone on this one, check it out.

Korean IDM/Electro 12" from the local Duo IRT2000 & Unreg Alien out on Seoul's very own outsider electronics imprint, Braindance Records. Touching on political grounds THAAD get us an insider look of Missile interception system's soundscapes. All Realisations Approved by the Comity of Inter Air Control, Rhythms created to fit any Infra Red testing Program

Filippo Bena back with an EP full of stories to tell! Intriguing and enganging moods, accompanied by spatial rhythms, enjoy it!

Three dance floor hitters by the Dutch Arp Frique. "Nos Magia" holds collaborations with Nigerian funkster Orlando Julius and Cape-Verdean legend Americo Brito. Surprising new cuts that could easily have been made in the 70ties! Big tip!
Arp Frique is Niels Nieuborg from the city of Rotterdam, who has been actively involved in the Dutch live music scene for years, working with Cape Verdean & Surinamese musicians especially. After all these years, he finally presents his own true musical output.

"Nos Magia" is a classic sounding, but unheard Cape Verdean funana song featuring the old skool Americo Brito on vocals. The b-side holds two collaborations with afro-beat protagonist Orlando Julius.....enjoy!!

"Master of ambient spaces and far out places, long-time Finnish producer Sasu Ripatti (aka Vladislav Delay) blesses us once again with another release, this from his 'Visa' period of unreleased tracks.


The first track out of the gate is a recognizable Vladislav Delay piece, but instead of gently flowing rivers of sound, instead we have a series of stiff, machine-like rhythms applied to his classic infinitely deep pads and ambient environmental sounds. It just continues to pile in more elements until becoming almost indistinguishable from his natural, organic flow. From there we move into somewhat more familiar territory but still unusually stripped down and mechanical for a Vladislav Delay joint. It’s fascinating to see such an intricate songwriting process laid bare in such a way, often exposing each individual, nearly bottomless sound in isolation.


Deeper into the album, things veer into decidedly more abrasive and synthetic territory, at times becoming an almost unrecognizable artist for a moment, only to be eventually subsumed under layers of shifting ambience that could only be Sasu.


This austere minimalism makes these tracks some of the most hypnotic since the early 90s excursions, but at the same time seems to have left its organic, analog roots and melded with the harsh gridlocked modern sequencer. ~Clint Anderson

Turbo Kid Is A Contemporary Classic From The Depths Of Cult Cinema With Quebec-duo Le Matos' Score To This Acclaimed Science Fiction Picture.

Turbo Kid. A Stirring Tale Of A Boy, A Girl, And A Bmw Amidst A Post-apocalyptic Landscape, The Film Is A Delightful Throwback To The Teen Wish-fulfilment Fantasy Films

Of The 1980's Through The Prism Of Modern Splatter, Complete With A Deliciously Villainous Performance By Legendary Genre Character Actor Michael Ironside (scanners, Total Recall).

Propelling This Insanity Is An Incredible Score That Cherry Picks Its Influences From The Best Of Electronic Film Music From The Past Thirty Five Years,

Running The Gamut From The Inevitable John Carpenter Bleed Through - With Some Beautifully Malevolent Atmospheric Pieces -

To Riffing Off Of The Classics Of Van Halen All The Way Through To Modern French Electronic Music From The Like Of Daft Punk & Ed Banger Records.

Turbo Kid Is Diverse But Not Disparate; It Plays Fast And Loose But Not At The Expense Of Cohesion, So There Are Moments Where You Can Just Lie Back And Relax

To The Mesmerizing Ambience And Dream Of Authentic Alien Landscapes, Or Freak Out To The Best Of The 80's Hedonistic Synth-pop,

Or Let Yourself Be Inhabited By An Eerie Chill From The Evocative Electro-goth Vocals.

Turbo Kid - A Place Beyond Your Dreams, A Record Beyond Your Imagination.

Jamaican superstar Popcaan returns with his long awaited sophomore album, Forever. Popcaan's journey has taken him from a promising young star to the leader of a generation of Jamaican and diaspora artists, a generation that feels their influence reverberate in pop's continuing interest in the sonic signifiers of dancehall. Forever finds Popcaan grappling with his role as an icon

2 track Single from George Beaufort / Twelve Tribes Of Israel Band released by Orthodox Muzik/Dub Store Records

A double pack with one track per side, playing 45 RPM. 4 tunes from 4 different musicians, a new generation of mental and acid crazyness.. Offering a pure pleasure for listeners and Deejays... the last tune, from DJI shall surprise some. But yeah. Life-chance deserve some (good) urprises.

The fifth and final record in the Kavalanic Languages series is a trip into the deepest styles of NY/NJ house courtesy of Dominique Duverger. "Dusk (Bayonne Riddim)" is a propulsive slice of tripping house while the "Barraderes Version" trims it back to ride a taut and reduced groove. The "Nassau Reduction" disintegrates the Kavalanic Languages project into a spectre of itself.

'Futuro perfecto' is the evocative first release by UNIVAC for Femur. In it the passion for machine-like, cold and harsh sounds are being dug into in this new work, which takes him a step further in his rewarded trajectory. The selection is varied and unclassifiable and, despite diverse influences, the sound maintains its personal and non-transferable touch.

HAVING AMASSED OVER 100 MILIION STREAMS ON PREVIOUS RELEASES TOGETHER, RITON & KAH-LO HAVE BECOME ONE DANCE
MUSIC'S MOST IRRESISTIBLY IN-DEMAND DUOS.

Vikkei techno Project ! Massive acid industrial Bass !

Repress

Last edition from the Nature Boy re-issue series. You know the score: five pumpin' club tunes in that typical Nature Boy style. Out with a bang!

iPM is proud to announce its very first vinyl, fruit of the inspiration of iPM's label heads A-Kintero and Mateo Holguin. NYC based Dj/Producer PJay has performed Live at many of the old school New York City Clubs. He is a Teacher of analog sound and modular synthesis and he is behind iPM's very first vinyl. With two tracks, one ambient and one Techno mix, both are characterized for their immersive and profound analog sound. "Crawl" is a laid back relaxed track which takes us on a journey of atmospheric synthesizers and deep bass lines with consistent drums that are sure to delight us, perfect for openings and closings. Brendon Moeller needs no introduction and he's on remix duties with "Space Jam", taking this track on a groovy happy vibe. This is definitely one to get people moving on the dance floor. "Space Jam" complements this Ep with a funky vibe where the cosmic synths takes the roll along with a moving and bouncing bass playing in sync with the consistency of the drums.

After two solo releases on Lovefinger's ESP Insitute, and two more 12" as Greenvision (his collaborative project with Trent) Juan Ramos graces Berlin's Cocktail d'Amore Music with a new outstanding EP.A'Incorporeality' and 'Liquid Sky Drone' are both vibrant, hallucinating, trance inducing tracks. Full-on sonic layering and unexpected drum patterns compose these two bangers. Multidimensional is the right term to describe Ramos' music. His futuristic approach, yet full of references from the past, is gaining a strong reputation within the contemporary electronic scene.AMelbourne-Berlin based Kris Baha is on remix duties. 'Liquid Sky Drone' becomes an industrial ballad - cinematic and romantic, at the same time bouncing and synthetic.AArtwork by Boldtron, virtual reality artist based in Barcelona.

New LP on Udacha label comes from Moscow based artist Vasiliy Stepanov. Abstract electronics, nu house, beyond pop, dub, soul, fourth world, tribal, comedy, parody and all other distinctive weirdy magic vibes for all another dimension lovers.

Berlin's Ecke Records returns with its second release this December, coming courtesy of Squallfront who offer up their two-track EP, 'Stormin''.

Ecke Records's Xantrax & Johnny Counce aka Squallfront (as the pair like to be referred to when alone in a darkened room) bring you their debut two-tracker. The artwork is the second in a series of works by Ben Fables. Each piece is handcrafted be the man himself and standing as a visual interpretation of the music itself, a theme that will continue with the label.

A-Side 'The Bells' Straddles the boundaries between Electro, Rave & UK Bass with a twisted arrangement laid out over seven-minutes via syncopated, dynamic drums, murky bass tones and choppy rave style string samples.

On the flip-side we have 'The Crack' laying focus on off-kilter, groove-step percussion and the emergence of 8-bit style chords hinting towards the deep-dystopian electronica days of old. The composition was recorded in 'the cave', an old underground wine cellar in the south of France. The distorted cracking comes from a dusty old analogue electric organ, bugging-out whilst gained the max. Playing powerful chords on the lower keys caused the inner workings & chassis of the old organ to shake profusely adding a further distinctive character to this already forward thinking production.

Squallfront's 'Stormin' EP' is out on Ecke Records 4th December 2018. With a party to celebrate the release planned for the 7th December, Ecke has invited UntilMyHeartStops' Joe Ellis down for an evening of deep, rolling rhythms.

Glitched out, sub bass roller from the masterfully mysterious EEE camp with a warped noughties vocal for good measure. The previous four releases have flown out of the racks - don't sleep!
Heavy support already from the likes of Raresh, East End Dubs, Barac and Priku. As always - one-sided, 180g, hand-stamped gear!

Invoking imagery of condensed, interstellar warfare - Dayzero takes command of the controls for Sentry Records' eighth release. Based in Japan, the acclaimed producer follows up on his substantial outings for Wheel & Deal and Hatched Music among others - having continuously refined his highly effective compound of Dubstep with vocal support from the scene's vital tastemakers. Now joining the Sentry roster with two monumental armaments, the newest signee shows us how it's done. Enrichening the sound system music scene with a no-nonsense production style as well as his innovative, experimental approach - all killer, no filler.

Taking off to another dimension in 'Sunday on Spaceship', listeners are met with feigned lo-fi soundscapes, carved out of analogue noise and detuned echoes. A state of overt tension dissolves into Dayzero firing up the heavy weaponry with stripped down sub bass tremors and meticulously crafted off-kilter groove. Amongst granular, apocalyptic percussion reverberating voices of days past flicker. Diverse drum instrumentation and supple distortion keep it lively, a no-questions-asked onslaught and guaranteed way to light up any dance.

Flipping over to the B-Side, we're placed on the receiving end of another ton of musical napalm. Finding ourselves being churned through bare concrete, laced with psychedelics. 'Down By Law' oozes of sonic variance, as industrial plucks shine through the cracks - furthering the aberration alongside narcotic staccato arpeggios. Subtle use of eerie harmonies and surging feedback wails is firmly kept in check by brute-force kicks and snares - ceremonious pressure underneath. Venting high-pressure 808's amidst supremely crafted breaks, leaving us yearning for more. A pair of mean-spirited sound-bwoy murder tracks on a twelve-inch platter - enough said!

After the release of their playful debut album "Worldstyle" the Budapest duo are now returning with their 2nd album "Brotherhood" and this time their message is more serious. The music if often summons blues elements but also influenced by dub, funk and a little hip-hop while the lyrics are mainly about the social and personal problems of our time interpreted by talented guest vocalists from all over the world. The guest performance of KRSA puts the point on the letter 'i' in 'Brotherhood' and in the other reggae-inspired song 'Pass It On'. Being one of the dominant figures of the Hungarian ska movement he is an
important guest on the album. As the main driving force behind the 90's very popular and recently revived British band Freak Power Ashely Slater needs no introduction. He has worked with Dub Pistols, Dublex Inc., or Fort Knox Five, and his
talents and professional performances are turbocharges three
completely different songs. 'Revolution!' has previously released in 2016 as a 7' single and features dazzling electro blues and Ashley's food for thought lyrics. In 'Life Is Love' he proves that his talent has no barriers whether he sings lonely doo-woptempo or the dub-ska of 'People Kill People' which is a unique cover of Éric Serra's seminal 80's cult classic 'Guns & People'.
Denise M'Baye known as the MC/singer of Mo'Horizons is featured in two downtempo tracks. 'Wings' is a laidback song about love while and 'All My Life Is In This Bag' smuggles back a little bit of the mood of 'Worldstyle'.Fedora is the best-known female MC/singer of the Hungarian bass music life. She made her own solo album in 2017. With 'Come Away With Me'
she proves that she's not only an bass music MC, but a great singer with deep emotions. Another guest from Hungary is the lead singer of the downtempo-funk band Mystical Plants. Bryant Goodman contributes to the album in two different tracks with his gravelly voice. 'Bad Man's Ballad is bittersweet song about the average politician of our age while 'Keep Going On' on
the other hand is full of playfulness and delivers a short but positive message.
At last but not least we have the Ghanaian M3NSA on the board from Fokn Bois and RedRed. His lyrics in 'It Works' is very motivating for everyone and spreads the message of not giving up even if the world is seemingly against you.
Savages Y Suefo's new album 'Brotherhood' is a lot different from their previous one in many ways but it remained just as eclectic as its predecessor 'Worldstyle' and still proves Savages Y Suefo's wide interest and openness in music that is needed today... and not just in music.

Fresh from releases on his own Polymath Records, as well as Natura Sonoris and Sodai, that have seen support from the likes of Maceo Plex, Bicep, and ANNA; UK producer Third Son debuts on Dusky's 17 Steps imprint with the 'Machine Love' EP.

The synth laden 4 tracker utilises electro, acid, techno and breakbeat influences to provide a rugged and bold reflection of the current clubbing landscape; one that is set to melt underground dance-floors this autumn.

'Machine Love's squelchy synths and gritty percussion build towards a chopped and skewed finale, that has proved a ferocious piece of club artillery in Dusky's sets this summer.

Next up is 'Bloodsport', a dance floor primed roller that consists of dusty breaks, squealing atmospherics and a meandering baseline. 'I Hear Laurel' follows, a cosmic alliance of ghostly vocals and hard hitting distorted synths that feels like meditative ode to rave music of the past. Closing the EP is 'Ambiturner', stacked with syncopated drums and twisting synths that scatter across the stereo stacks.

This raw, intimate recording, which took place at the start of Prince's career right before he achieved international stardom, is similar in format to the Piano & A Microphone Tour that he ended his career with in 2016. The nine track, 35-minute album features a previously unreleased home studio cassette recording of Prince at his piano captured in 1983.

The private rehearsal provides a rare, intimate glimpse into Prince's creative process as he worked through songs which include "17 Days" and "Purple Rain" (neither of which would be released until 1984), a cover of Joni Mitchell's "A Case Of You", "Strange Relationship" (not released until 1987 on his critically acclaimed Sign O' The Times album), and "International Lover".

The album also includes a rare recording of the 19th Century spiritual "Mary Don't You Weep" which will be featured during the end credits of Spike Lee's BlacKkKlansman in theatres August 2018.

For fans of Prince's spontaneous live medleys, tracks 1-7 of the album are presented in that same format as they were originally recorded.

Merv with 2 perfectly executed Dub Techno tracks...

Jan Bertil Svensson: co-founder of the legendary Börft Records, member of arch techno-primitivists Frak, the man responsible for Villa Abo and all-round underground don active in the field of machine music since 1987!

Whilst Jan's output will always conjure comparisons to Techno with a capital T, he has (and continues to) plough a singular and peculiar path in the realm of electronic music. For the Glasgow-based Full Dose, he presents his first ever solo 12' under the name of J.B.S: a four tracker of sluggish, minimal funk that bears the hallmarks of his most classic work as Villa Abo, and adds dashes of the brutal grit that his Studio SS project is infamous for. If there's any sort of recurring theme in Svensson's work, it's playfulness and humour, a particular Scandinavian form of sonic banter that cuts right through the po-faced, black-clad heteronomy of much of today's electronic landscape. The music on this record, with it's odd blend of stripped-back synth pop and brutish dungeon funk evokes exactly that: a body of work that doesn't even seem capable of taking itself too seriously, yet evades anything resembling a recognisable piss take. After all, nobody said that humour and credibility in music had to be mutually exclusive, and J.B.S is a master at weaving the two together at will.

In a world where dance music is often subjected to ludicrous conceptual analysis, sometimes the combined effect of hot circuitry, sincerity, vivaciousness and an anomalous attitude are the only thing for it. But then again, this is not just dance music either...

Big news on the Apparel Tronic side. We're here to celebrate another step forward of our newest label introducing the 7th release on the catalogue & 2nd on vinyl, by an artist we really admire and we're delighted to have on board with us: Julian Habib aka Inkswel, on this project with his alias 'That Dude Inkswel'. The man himself created an 8 tracks LP which truly represents our spirit of experimentation, this time round steering towards a more jazzy influenced hip-hop, shaped up staying true to the sound we love. 'The Sound' LP features dope collaborations such as the Detroit vocalist and multi-instrumentalist Brownstudy singing on the opening and title track, the amazing progressive artist Maia Von Lekow giving her voice for B1 track 'Mother' alongside Mista Monk, the superb Han Litz's flute and Trujillo on Kellin' it & also Divine Species on 'Galaxies' and Mr. Shem rapping on A3 track 'Dedicated to Mr. Schem'. This work is a bold and captivating selection of different styles belonging to the same soul orchestrated by Inkswel and his musical mastermind, listening to 'The Sound' is like jumping on a caravan for a journey where every track is a different stop: crunching beats, deep bass lines, psychedelic melodies. The ingredients for this amazing recipe are all coming from different parts of the planet, a place that Inskwel seem to have written on his palms seen his capability of bringing different music influences under the same roof, where he finally invited Apparel Tronic to hang for a bit.
racks such as 'Snooker Club' and 'Viejos' delve into more caliginous, IDM territory. The result is a rich and varied collection that demonstrates Apparel Music's unwavering ability to continue to keep listeners guessing.

All things come from and return to the same source - such is the theory of Monism; an ancient philosophy, but also accounting for the music of Jeroen Search. Dictated by an ethos of exclusively recording live takes and the only ever editing happening while a tune is being created, each finished track is imbued with that unique magic of the moment. Such too is the nature of Monism, Search's first LP in over two decades of electronic explorations and personal as well as artistic growth. As with any of his music that has been released so far, the tracks on here hold a timeless quality, existing within their own frame of reference than - that is their immediate experience. Across a carefully arranged course, the album naturally unravels its many ideas, ranging from moments of pensive ambient pieces to thick washes of dub echo and layers of modulated synths, all while providing an endless array of hypnotizing bare-bone grooves in the process. A true Figure mainstay, Jeroen Search upholds his artistic relevancy without any reinventing or switching up the formula - rather by simply keeping true to his accomplished craft.

The latest release on First Cut, comes from a new act, TapesJamaican. Based in Dublin, they deliver three beautiful techno soul tracks, underpinned by rickety drums and dusty break beats. From their minds to ours.

Galvanised by a passion for soul, jazz, funk, folk, and Brazilian samba, Judith Ravitz's Bolerio (in Hebrew, Yehudit Ravitz - ) brilliantly reimagines the music of the Brazilian legend Jorge Ben. Increasingly sought-after, housing as it does her seminal take on 'Dia De Indio' - often re-edited and sampled, bootlegged but never bettered - it's a uniquely thrilling LP in its own right. The year is 1983, and Ravitz discovered that Jorge Ben was touring Israel with his crack backing band A Banda Do Zé Pretinho. After joining her in the studio, the ensemble reinvented a selection of Ben's killer tracks that the band regularly performed. On Bolerio - 'come to Rio' - Ravitz handed them equal billing as they aided a recontextualization of Ben's music for an audience that was barely aware of him. These versions are by no means straight re-treads. Far from it. The highlights are many and memorable. The aforementioned 'Dia De Indio', a strutting, electronic samba-funk with stabbing bass and fluid arrangements, sounds so current and fresh that it's hard to believe it's now 35 years old. Its vibrant ambience has been likened to the wiry dubbiness of King Sunny Ade's Synchro System and it's easy to see why. Indeed, the electro elements add a futuristic feel that the original could never comfortably possess. Undeniably rocking more furiously than Ben's versions, the album begins with a throbbing take on 'Boiadeiro', the opener from Ben's Salve Simpatia.

Having remained continuously active since 1971, the Yoruba Singers are the longest-running musical group in Guyana. Emerging from a music scene mostly dominated by slick, commercial entertainment, the Yoruba Singers brought a new dimension to Guyana popular music, cooking up a potent stew of afrocentric vibes, steeped in a committed invocation of the country's African heritage. The Yoruba Singers released several recordings during their imperial period in the nineteen seventies and eighties, but what is broadly regarded as the group's magnum opus is the 1981 album Fighting for Survival. The album sums up the group's first decade of operation, serving up a heavy mix of calypso, jazzy funk, reggae and afrobeat. Initially released on the short-lived Interculture label and later reissued on a Guyana-only compact disk, the album has long been more talked about than actually heard. But thanks to Cultures of Soul a new edition is now available in wide release, and with it comes the opportunity to experience some of the deepest grooves the Caribbean has to offer!

Lost Futures is a new label that explores experimental and often radical approaches to dance music from the past. In a musical landscape that increasingly claims to seek and reward new forms and ideas, Lost Futures delves into the recent past to revisit forward-thinking, optimistic projects that, owing to the social, musical or outright political climate, perhaps struggled to find an audience. Allowing only time to re-contextualise these leftfield, sometimes misunderstood and ultimately human bodies of work, Lost Futures taps into the inherent idealism of rave.

LF001 trips back until the early nineties to revisit the alternative scene emerging from the Dutch city of Utrecht. Here, three young men - DJ Zero One (Sander Friedeman), TJ Tape TV (Arno Peeters) and DJ White Delight (Richard van der Giessen) - joined forces to form 'The Awax Foundation'. Inspired by the transcendent and revolutionary electronic music arriving on their shores imported from Chicago and Detroit, combining their knowledge, gear and ever-expanding vinyl collection allowed additional freedom in paying sincere tribute to these intoxicating sounds, while also developing their tastes in a more personal, eclectic direction.

The musical flavours of Awax initially leaned toward acid house and the roots of techno. However, with three different mindsets in the mix, their tastes were rarely fixed. One thing each shared in common was a devotion to collecting rare sounds, specifically more adventurous and international samples than those emanating from the increasingly-hard, masculine dance music emerging from the Netherlands during the period. Inspired by the cross-over global sound of bands like Suns of Arqa, or 'World Music', as it was perhaps patronisingly termed at the time, the trio became interested in the idea of making techno with 'ethnic instruments'.

Of course, this being 1992, none of The Awax Foundation had access to such instruments, instead, they had a vast, collective library of samples from all over the world. There were no collaborations and no clear plan. Instead, they set to work using a Yamaha TX16W sampler, the legendary Atari 1040ST computer, a cheap mixing desk and a couple of low-end synths and FX machines. When Richard mentioned the project to his friend, Akin Fernandez, the London DJ and owner of cult label Irdial Discs, Fernandez was intrigued enough to invite the trio to record a one-hour show for his 'Monster Music Radio' series on London's then-burgeoning Kiss FM.

Forced to come up with a name, 'CultureClash' seemed like the obvious choice, even if the members of Awax were only creatively sparring among themselves. Along with the term 'ethno-techno', slightly dubious to a hopefully more conscious Western audience in 2017, these were the only guiding principles to the quietly ambitious project that soon combined cutting-edge machine rhythms with samples sourced from everywhere from Bolivia to Togo, and inspired by everything from Ravi Shankar's epic soundtrack to the Oscar-winning movie Ghandi, to the technical limits of their own setup requiring a dazzling degree of cut-and-paste work. Some tracks even emerged out of academic studies within the ethnomusicology department at The University of Amsterdam.

The show aired on October 2nd, 1992, recorded in one blistering take and without any rehearsals, traversing a huge variety of tempos and styles. If the performance wasn't seamless, it was undeniably thrilling, fresh and ambitious. As such, several labels, including Fernandez's aforementioned Irdial Discs expressed an interesting in commercially releasing CultureClash, while another imprint proposed a series of twelve-inches and an album. But the sheer complexity of the project meant that it never saw the light of day, while the trio embarked on different journeys ahead, both creative and personal.

Twenty five years later, and the original CultureClash lineup and founding members of The Awax Foundation provide the sound of the first release from Lost Futures. An otherworldly, ambitious and optimistic compilation, accompanied by extensive sleeve notes from the trio, CultureClash is a timeless ode to experimentation in dance music's ever-overlapping culture.

Vercetti Technicolor's ficticious soundtrack to the 1972 Munich Massacre, is a bleak, cold and somber work. Partly inspired by the 1999 Documentary by Kevin Macdonald, Vercetti creates a tense and brooding approach to this, the most darkest of subject matter. This is far from dancefloor material, this is doom-electronics at it's most frightening. Giallo Disco is proud to present our first LP, Vercetti Technicolor's Black September, closer to minimal wave than moroder and all the better for it. Remixes come from Mexico's PLAYTONTO and Creme Organization signing's Francesco Clemente.
Limited to 100 copies, first time on cassette for our very first LP by Vercetti Technicolor. Pro duplicated with re-edited artwork by Eric Adrian Lee.

After a year in the making Giallo Disco is proud to present GDLP002 the previously unreleased soundtrack to fictitious writer/director Joel Hughes controversial 80s teen drama Wild In Blue. Featuring tracks from label heads Antoni Maiovvi and Vercetti Technicolor as well as the maestro Umberto, Canada's Kindest Cuts, Italy's Queen Of Coldwave Mushy, Germany's Mirror Talk, the legendary HORD and Fever Dream. Halfway between The Breakfast Club and Gregg Araki, with influences ranging from Gothic Electro, HiNRG Synth Pop and Cosmic Melancholy, this Various Artist affair tugs the heartstrings and warps the mind. Mastered by Alek Stark, cover art by MAZ, sleeve by Eric A Lee.

Limited to 100 copies, first time on cassette. Pro duplicated.

Vinyl only release with 4 strong House/Techno tracks.

Afrobot cuts up four wavy 80's tracks for darker times! A1 is a sleazy minimal wave banger of Ensemble Pittoresque, recorded in The Hague in '84, now tripled in duration! After that we continue our trip from France to New York ending in the UK on the B-side. First track is a mix of a 7' b-side and a wrong speeder and a slowly pounding track with a twist is the one to finish with. Comes with an insert and a stamp both drawn by Frank Koedood.

'1929 - Das Jahr Babylon" marks Thomas Fehlmann's third full length release of 2018 and presents what appears to be a creative peak in his career that spans beyond his solo career to his early days in Palais Schaumburg, collaborating with Moritz von Oswald as 3MB to his long time work with The Orb. Having left The Orb in late 2017 has set free unforeseen energies in Fehlmann's studio.

A departure from his recent dance floor-friendly album "Los Lagos" (KOM388, KOMCD148) released in September on Kompakt, Thomas Fehlmann's '1929 - Das Jahr Babylon" is a film soundtrack from the documentary that aired on ARD network on September 30, 2018 and is now available as a podcast series.

To compliment the internationally lauded TV series "Berlin Babylon", German director Volker Heise has created a documentary about 1929, the fateful year during Germany's "Weimarer Republik" in which "Berlin Babylon" is settled. Heise's stirring documentary portrays Germany's sizzling capital that is faced with radical changes by the dark forces whom are about to toss the world into the abyss we know as World War II.

This marks the second time that Fehlmann is partnering up with Volker Heise after 2010's marathon documentary "24 Stunden Berlin" which was released as "Gute Luft" (KOM211, KOMCD81) in the same year. Fehlmann's composition for "1929" consists of sample material taken from the era and thwarts the exaggerated lust for life with threatening undertones that anticipate the dawn of mankind's darkest chapter so far. Although all the sounds breathe yesterday's atmosphere this soundtrack bursts with modernity. Fehlmann accomplished the daring feat to musically render the unsettling resemblance between the political situation 90 years ago and our current time.

We at KOMPAKT feel that Fehlmann's score has turned out spectacular enough to give it proper release on limited vinyl and CD as well as on all digital platforms.

Mit '1929 - Das Jahr Babylon" legt Thomas Fehlmann schon seinen zweiter Longplayer innerhalb eines halben Jahres vor und dokumentiert damit eine kreative Hochphase seiner überaus stattlichen Musikerkarriere. Die Trennung von The Orb scheint bei ihm ungeahnte Energien freizusetzen.

Anders als auf dem cluborientierten "Los Lagos" tritt Thomas Fehlmann auf "1929" musikalisch einen Schritt zur Seite. Und das aus gutem Grund: Analog zur international gefeierten Fernsehserie "Babylon Berlin" entstand unter der Regie von Volker Heise der Dokumentarfilm "1929 - Das Jahr Babylon" - ein ergreifendes Sittengemäde Berlins während des Schicksalsjahrs der Weimarer Republik. Wie schon zu Volker Heises vorangegangener Berlin-Doku "24 Stunden Berlin" (2010 erschienen als das Album "Gute Luft" auf KOMPAKT) hat Thomas Fehlmann auch diesmal den kongenialen Soundtrack beigesteuert. Basierend auf Klangmaterial des Jahres 1929 hat Fehlmann eine beeindruckende Musik geschaffen, in der manchmal die übertriebene Lebensfreude und Dekandenz jener Zeit aufflackert. Eine Musik, deren Stimmung jedoch unterwandert ist von den bedrohlichen Strömungen, die Deutschland kurz darauf in seine dunkelste Epoche stossen werden.

Thomas Fehlmann ist damit ein wahres Kunststück gelungen. So sehr die Produktion den Geist einer vergangenen Zeit atmet, so modern mutet sie an. "1929 - Original Filmmusik" klingt somit wie die zu Musik geronnene Erkenntnis, dass sich Gestern und Heute auf erschreckende Weise ähneln.

Wir bei Kompakt sind der Ansicht, dass Thomas Fehlmanns Filmmusik zu "1929 - Das Jahr Babylon' so spektakulär geraten ist, dass wir sie nun als limitierte CD und Vinyl-Auflage, sowie auf allen digitalen Plattformen verfügbar machen.