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Nèg Ginen is a song composed by Jean Claude Dorvil on a traditional Nago rhythm (from Benin). Nèg in Haitian creole means “the dude“, “the guy“. It is about pride of being Haitians with solid African roots. As a matter of fact, when we mention Ginen, we talk about Africa. Like the majority of Chouk Bwa’s songs, this one is full of references mentioning Haitian voodoo rituals and spiritual /igures. For instance, Simbi Ganga is a lwa (voodoo spirit) from the Lakou Soukri Danach (voodoo temple) that lives in the water. Wild and brutal when he is chained up, he faithfully represents the Iwa Kongos, notorious for being real party-starters! Kebyesou is an Iwa who lives in the Lakou Souvnans (another temple). He is a royal /igure, like the Dahomey Iwas in general. The voodoo families are, so to speak, all present in this project!

Biography
After a /irst European performance in 2015 at Roskilde Festival leading to many other performances all around Europe, including WOMEX and WOMAD, Haitian traditionnal vodou band Chouk Bwa met the Brussels based duo The Ångströmers in 2016. Their new project combines a renewed dub sensitivity and Haitian rhythm science and spirituality. The ensemble has performed in Haiti and in European festivals including Trans Musicales de Rennes before releasing their /irst album Vodou Alé via Bongo Joe in 2020.
Modular synths and other vintage electronic instruments bring another dimension to Chouk Bwa’s music, although obviously it is always the band’s groove and /luent tempo that leads the energy of the ensemble: no laptops, no drum machines. There are certain freedoms that cannot be coerced. Even more, the electronic instruments are wired directly to the drums that feed them with impacts and caresses. All the Vodou families are there with their many rhythms and songs. Radical Vodou roots for urban audiences.

Another Killer Ep by the duo behind Suburban Avenue label is coming. Liquid Love is the first part of a collection of works divided in two releases.
Acid, Raw, 90’s inspired Techno missiles,with a modern touch and high-pressure explosiveness. Times are hard, but the team is solid: It’s now time to Resist, once again.

A lucid dream meeting of synth waves, aquatic jazz spirits and drum-triggered electronics.'Linha D'Água'translates as 'water lines', fitting for an album that traces boundaries between water and air through an echo chamber of dizzying oceanic layers and free flowing ideas.

This is not a record based on genres. It's an album that navigates through atmospheres, through explorations and discoveries, through curiosity and dialogue. The eight tracks were recorded in a single day in the studio, but it is the result of more than two years of collaborations.

Mauricio Takara and Carla Boregas are two towering figures of the Brazilian underground/experimental scene, where they provide the rhythm section for demented genre-bending trio Rakta. While that band is all ritual percussion and red-blooded passion, as a duo they're a blue-water flowing counterpoint. From the drums, Takara fires melodies and, with the synthesizer, Carla sculpts the sound. The result iscaught somewhere between abstract improvisation and propulsive rhythm. Each song's an organic layering of manipulated synthesizers and acoustic sounds; teasing new rhythms from the drum kit via MIDI (and a near-telekinetic bond between Carla and Mauricio).

Sometimes'Linha D'Água'driftsclosest to ambient music, as in the title track, in 'Mãe D'Ouro' and 'Bocca Chiusa'; sometimes it runs into free jazz, as in 'Traçado Entre Duas Linhas'. There are moments when Carla and Mauricio explore a universe of tension that comes closest to the cosmic music of 70s Germany, as in 'Rosa de Areia' and 'Constante de Distância'; in others they evoke the metallic sounds of Indonesian gamelan (on 'Execution').

Carla Boregas is a founding member of the band Rakta, which started in 2011. She co-founded Auta, a DIY space dedicated to adventurous music in São Paulo hosting artists like Feminine Hi-Fi and Deafkids. She is also part of the transdisciplinary duo Fronte Violeta.

Mauricio Takara also plays drums/percussion with the bands Hurtmold and São Paulo Underground (with trumpeter Rob Mazurek from Chicago). Takara has played with a dizzying array of improv / experimental / jazz figures such as Pharoah Sanders, Damo Suzuki, Yusef Lateef, Joe Lally (Fugazi), Naná Vasconcelos, Prefuse 73, Makoto Kawabata and more.

"I have been in love with the Detroit sound of techno since forever, so when I discovered Subradeon, I was immediately struck by the soul and energy of their music. I have been lucky enough to get to know Giuseppe and Salvatore over the last year and so it was always a dream for me to have them release a record together on Sous. Now this is happening, I couldn't be more excited. They have made three spectacularly good tracks that I know will last forever in my heart, and hopefully in yours too" opens Anja.
Sous has been drip feeding us top line releases all year long, despite the world coming to a standstill, Anja believes that continuing to release music is important to keep spirits high. She has been showcasing some of the newer talent from around the globe alongside some household names including Marcus Suckut, Fort Romeau and Mella Dee to the last release from Italian duo Reform.
October brings Subradeon. Hailed as the new school of the techno scene, they might have grown up in the Neapolitan underground scene, but their sound has become a melting pot of influences from their current home town of Berlin and the duo's self- confessed spiritual home of Detroit.
Giuseppe Salone and Salvatore Lannotta deliver their debut release 'Breaking Down Borders' on Sous, compromising of their characteristic raw soul, profound meaning and energetic purpose. This package includes a remix from Techno pioneer Stephen Brown (Djax Records, Transmat, Music Man).

Second installment of the Parisians Get a Room! on Insane Dances label.
This time the duo deliver two original tracks on the A side and have given the task of two remixes to I:Cube on the B side.

A1:The EP opens with an exotic dubby slow-mo track with a Cajun vocal sample gimmick supported by a heavy acid bass-line.

A2: New-beat is the key word here! A late mid tempo 80's Belgian beat style is mixed with Eastern influence to remind us of the Belgian good times sound.

B1: I:Cube gives us two different remixes of A1 "Cochon Toi Même" on the B side. The tempo rises into a dubby ethnic tribal vibe. Perfect for the late DJ set.

B2: A reinterpretation of "Cochon Toi Même" again, but this time with a more 90's feel. A fast light break-beat rhythm takes us on a psychedelic space journey, full of fxs and spacey pig sounds for the more adventurous

Flaming Tunes' sole release is perhaps the finest elegy to the '80s home recording ethos that you've never heard. Originally released in 1985 on cassette (with individually hand-colored covers), this self-titled album grew out of the collaboration between childhood friends Gareth Williams and Mary Currie.

Williams is best known as a member of English art-rock band This Heat. After leaving the group in the early '80s, he travelled to India where he studied classical Kathakali dance – an experience that would profoundly shape the music of Flaming Tunes.

In an old Victorian house in South London, the duo recorded during the day while Currie's young son attended school and Williams conducted tape treatments at night. They were joined by various guests including This Heat guitarist Charles Bullen as well as long-term collaborators Martin Harrison and Rick Wilson.

Using whatever instruments they had on hand (clarinet, piano, bells, etc.), Flaming Tunes create lo-fi melodies around simple arrangements, oblique rhythms and densely layered natural sounds. The results are a mesmeric collage of instrumental daydreams and sideways pop songs, floating into one another in a hazy confluence of late '60s Canterbury psych-folk and early Residents experimentation.

All of these beguiling elements converge in a personal manner, quietly insistent in listeners' ears like the blood pulsing in one's veins on a warm summer day.

Pink Vinyl

Machinecode is a duo comprising Current Value and Dean Rodell, a pair of artists who have shaped a unique sound in bass music and techno throughout their careers. Everyones and Nothings is an exploratory body of work that is immediately identifiable with the Machinecode audio aesthetic, and that moves through genres with ease - from 130 bpm leftfield bass, to Dr.Octagon-inspired halftime, techno, ambient and experimental dnb. It is layered with mystery and myth, exploring conspiracy, the stories that people tell each other, and the things that are whispered about in obscure corners of the Internet. The album artwork is by Zeke Clough (of Skull Disco notoriety and more) and an accompanying video by animator Oskar Alvarado retells and reimagines the folklore behind the Mesoamerican serpent deity, Kukulkan.

2X12" repressed !

Welcome to - Industrie & Zärtlichkeit , the raw, quirky yet emotional debut album from Moon! Although the Berlin-based duo is revered for dancefloor bangers such as - Ze power', Johannes Albert and Johannes Paluka (better known as Iron Curtis) have put much effort into making this album a true listening experience without sacrificing their roots in House Music. - Industrie & Zärtlichkeit (which translates into - Industry & Tenderness ) effortlessly achieves what is claimed in its title, namely a fusion of seemingly disparate elements: the rough and the smooth, dirty beats and soothing harmonies, bizarre sounds and comforting chords. The title track is a fine example of this perfectly-dosed blend with its detuned strings that glide over a crisp electro beat and an infectious melody which would make Kraftwerk proud. Cafe Del Landwehrkanal' is a lighthearted and kinky gem while - Light Of Virtue combines warm synth pads (Detroit is not far) with dusty drums and an acid bassline. MFB Nights' and Machine Rhythm Tomorrow' are also illustrations of the duo's undeniable savoir-faire, with the former celebrating garage classics thanks to its cheeky vocal sample and gorgeous rhodes chords while the latter plays out as a dedication to the early 90's, a time when people didn't care about genres and just dived in the novelty of electronic dance music.
But as we all know, there is a dark and secret side of the Moon, an aspect which is best expressed via the freaky organ chords of - Proto and its detuned melody. Not to mention the excellent ambient pieces - Fjordig or - The Bitter End which showcase the duo's ability to venture into uncharted territory.
All in all, Industrie & Zärtlichkeit feels like drinking fresh orange juice gently sparkled with chilli... and it concludes flawlessly with two reworks that prolong the album's laidback yet assured vibe. First off is Black Spuma (Lauer of Tuff City Kids fame and Italian disco legend Fabrizio Mammarella) who rework the title track into a hands-in-the-air boogie monster that will definitely be a festival staple this summer. Finally, Lerosa emphasizes the deeper shade of the album's spectrum with an impressive new wave rework of - Appeal .

Fabrizio Maurizi makes his debut on Infuse this October as he delivers his latest EP ‘Jumping’, backed by a remix from Pierre Codarin.

A staple within the Italian house and techno scene for over a decade, Bologna’s Fabrizio Maurizi is a producer and DJ now known across the globe for his seamless blend of the two styles across his productions and DJ sets. One half of the duo Bassa Clan, with material via their self-titled imprint, and a member of the Bolo Represent collective, Maurizi’s recent releases include EPs via labels such Bodyparts, Memoria, Want?, Re.face, whilst playing sets worldwide for renowned institutions such as fabric, Robert Johnson, Womb and Cocoricò. Next up, October signals the arrival of a new name to his catalogue as he heads to FUSE sister imprint Infuse to deliver three fresh productions in the form of his ‘Jumping’ EP – accompanied by bubbling UK talent Pierre Codarin on remix duties.

The slick and paired back title track ‘Jumping’ opens proceedings as Maurizi fuses minimal soundscapes with more jazz-influenced notes and tones, whilst Pierre Codarin’s remix ups the energy levels as he introduces metallic drum licks, spiralling electronics and a snaking bassline to the mix. On the flip, ‘Night and Day’ harnesses a classy blend of dubby chords, slinking hats and echoed vocals, before closing the package via the off-kilter rhythms and loose, glitch-driven drums of hypnotic after-hours cut ‘Caravel’.

GILA is an electronic music producer from Denver, Colorado. His debut album, Energy Demonstration, blends bass-heavy, leftfield techno with detailed ambient textures, and showcases GILA’s impeccable production style.
Energy Demonstration - out 20th November on Lex Records - follows earlier, club-focused releases on XL Recordings, LuckyMe & Benji B’s Deviation. GILA, (pronounced “hee-la”) takes his name from the gila monster, the only venomous lizard native to the United States -- slow yet powerful with a potentially deadly bite, this colourful reptile possesses many of the same qualities as GILA’s music.
GILA started to make his mark as one half of rap duo, Gorgeous Children, before striking out on his own. As GILA, his signature, hard-edged sounds have been championed by Thom Yorke, Flying Lotus, Benji B, Jamz Supernova, and led to collaborations with Boys Noize and Rustie. Since signing with Lex, GILA’s released a pair of EPs; 2019’s Trench Tones and 2020’s Three Riders.
As a DJ GILA has shared stages with Metro Boomin, Telefon Tel Aviv and fellow Lucky Me alumni Rustie & Hudson Mohawke.

COLOR VINYL LP

Indie Retail Exclusive *Cosmic Moment* Color Vinyl LP Multidisciplinary abstractivist Rob Mazurek has made an indelible impact on creative music over the past 30 years. Emerging from the musical nexus of the 1990s Chicago scene, he's written more than 400 compositions and is featured on more than 70 recordings (including International Anthem's very first, IARC0001, Alternate Moon Cycles). He's led many ensembles - including the Chicago Underground (Duo, Trio, Quartet & Orchestra), Isotope 217 (alongside members of Tortoise), Pharoah and the Underground (feat. Pharoah Sanders), and a duo with Jeff Parker. He's been on the cover of WIRE Magazine twice and is well-known as one of the prime 21st century progenitors of "The Chicago Sound."

Released in 1981 and seamlessly blending passion, sleaze and synths, this was the stunning debut album by the influential duo Soft Cell. The album's critical and commercial success was helped by the worldwide success of its lead single single 'Tainted Love', a cover version of a soul song by Gloria Jones, which topped charts worldwide. The album produced two more wonderful top five singles in the UK in the shape of 'Bedsitter' and 'Say Hello, Wave Goodbye'. Meanwhile the infamous 'Sex Dwarf' caused something of a national furore. Bravo, Soft Cell! 180g, Back To Black vinyl with an MP3 Download voucher.

Cormac is pleased to announce the second release on his new record label Polari, the label he curates and through which he shares music from artists that he champions in his muchrevered DJ sets.
The name “Polari” references the slang used by the gay subculture in the 19th century.
The sophomore release is from Philadelphia based duo Zillas on Acid.
2019 was the year Zillas made the transition from DJs to break-out producers. Having honed their DJ skills at Philadelphia’s revered MAKING TIME clubbing institution, Thomas Roland and James Weissinger have released two EPs on Optimo Music and also on Ivan Smagghe’s Les Disques de la Mort in the past 12 months.
Cormac has also opted to showcase different LGBTQI+ visual artists' work for the sleeve art.
Artwork on this release is from SHREK 666; an Artist, Performer, Maker & DJ also known as Sorcha Clelland. Creator of Ministry of Pound, a Glasgow based Fetish Party & Mag and resident performer at Scotland’s most loved Queer party Shoot Your Shot. Combining
monstrosity, trans*ness & hypersexuality through the embodiment of an ogre creating new queer worlds.

solid purple vinyl edition

For this ninth EP and special "10 Years De:tuned" emission we dig deep into Atypic's, better known as Andy and Ed from Plaid, archives for a couple of rare and previously unreleased tracks written in 1992. On offer two mighty lost classics gradually building into a fallout of immense, beautiful proportions produced by one of the most interesting electronic duos of the 90's and modern times.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Alchemy Mastering. This 12" is pressed on 180 gr vinyl and 1 track per side to transfer the rough DAT sound at best condition. A separate digital version will be available from the usual digital shops. Stay tuned!

clear magenta vinyl edition

EP number eight of the "10 Years De:tuned" series is centered around the 303 tinged acidic sound. This release kicks off with a new and innovative version of Humanoid's highly ranked and major influential classic acid house cut, followed by a proper rave peak time slammer courtesy of Mike Dred. The B-side brings Luke Vibert's grinding acid funk rhythm to the table, plus the squelchy "Strunkelpotz" produced by the cult duo Air Liquide, resulting in a broader spectrum of acid-referencing styles with the same brain-melting effect!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Alchemy Mastering and pressed on 180 gr vinyl. Stay tuned!

Amsterdam based Spill Gold ( who previously released on Portland's Beacon Sound) with a jaunty 7 track mini album for Knekelhuis. sleeve art from Jacob Hoving.

The label say:
"The summer breeze has gradually turned into a cold wind and the trees showcase their typical variegated color palette; autumn has clearly arrived in all its golden glory, a transition exemplary for Spill Gold’s work. The Amsterdam duo’s music is every bit as colorful and moving as its seasonal counterpart, where one moment a cold and stormy wind swarms the air and other times calm and stillness prevail.

On Highway Hypnosis, their first album on vinyl, Spill Gold masterfully juxtaposes darkness and light, playfulness and control, enhancing the transcendental character of the material at hand. Based on strong pop structures, the songwriting here traverses a world of Krautrock and cosmic influences at once catchy and alienating, opening the possibility for catharsis.

They’re a wonderful addition to the versatile nature of Knekelhuis. And they’re crazy good live as well."

3 x LP - Live in Sharjah Box Set + Booklet. designed by Lorenzo Mason Studio.

If you’ve ever travelled to Egypt and wandered through its crowded streets, you probably ended up buying a cassette or a CDR of popular synth based music heard in most cabs, cabarets, or alleys around town: the almighty Shaabi.Raed Yassin and Paed Conca based their project PRAED on research between Shaabi and Mouled (traditional trance music from Egypt) and the hypnotic structures of both these genres. Repetitive beats, loud Mizmar and loads of energy, with a strong influence from psychedelic rock, free jazz and electronica.

During the years in which the duo produced 4 albums and performed on an endless number of stages around the globe, PRAED started working on anambitious expansive project: an orchestra that could transpose this study of rural and popular culture into an immense, iconic work. In autumn 2018, supported by the Sharjah Art Foundation, PRAED Orchestra! premiered “Live in Sharjah”, interpreting new material merged with some of the band’s iconic pieces. The composition process started with the choice of musicians: the line-up consisted of some of the most innovative artists coming from a wide spectrum of musical practices. Each musician was chosen for a defined role, and the common denominator was their capacity to interpret written material, and their ability to improvise effortlessly. Each role was clearly set to work in unison with the rest of the group, while simultaneously sustaining a centrality in the choir. Solo parts masterfully drawn over the structure as a fil rouge connecting every piece of the entire concert; massive and powerful orchestral sections leading to a breathtaking trance-like state of mind; all of this material ultimately coalescing into an Egyptian Operette that narrates the sorrow, love, and deeply rooted culture of this urban music called Shaabi.

Paed Conca: Clarinet, Electric Bass, Electronics
Raed Yassin: Synthesizers, Vocals, Electronics
Alan Bishop: Alto Saxophone, Vocals
Nadah El Shazly: Vocals, keyboard, Electronics
Christine Kazarian: Electric Harp
Hans Koch: Bass Clarinet, Soprano Sax
Martin Kuchen: Tenor Saxophone, Baritone Sax
Maurice Louca: Keyboard, Organ
Radwan Ghazi Moumneh: Buzuk, Vocals, Modular Synthesizer
Sam Shalabi: Electric Guitar, Oud
Ute Wassermann: Vocals, Mouth Harp, Whistles
Khaled Yassine: Drums, Percussion, Darbuka
Michael Zerang: Drums, Percussion

Recorded live at Calligraphy Square on November 3rd, 2018 in Sharjah, UAE by: Sudish Suman & Shuaib Ahmad Poonthala
Edited by: Rabih Beaini at Morphine Studio, Berlin, Germany
Mixed by: Radwan Ghazi Moumneh at Hotel2Tango Studio, Montreal, Canada. Mastered by: Harris Newman at Grey Market Studio, Montreal, Canada.
Artwork by Lorenzo Mason Studio.
Project manager : Simsara Music

nine-sum sorcery is the debut release of Berlin-based sonic duo LABOUR, the ambitious project led by Farahnaz Hatam and Colin Hacklander gaining a reputation since 2018 for their large-scale works and collaborative pieces in large concert spaces and museums such as Kraftwerk Berlin, Martin Gropius Bau and Kunsthalle Zürich. Since 2020 they are residents on NTS with a monthly show.
Grounded in the rich and enigmatic digital soundworld of LABOUR, nine-sum sorcery features the renowned Kurdish singer, Hani Mojtahedy, a prolific performer and recording artist firmly grounded in the traditional vocal styles of both Kurdistan and Iran.
Following LABOUR’s now legendary closing of Berlin Atonal’s main stage in 2018 with their inaugural work, next time, die consciously (یگناگیب), the duo embarked on a grand journey with Hani Mojtahedy, towards a remarkable synthesis of traditions and practices, uniting computer music and avant-garde sensibilities with traditional vocal practice.
nine-sum sorcery is a long-form piece that unfolds over two sections, A and B, and can be understood as an occult incitation to the dark energies, natural, political and otherwise, that are released when oil is extracted from the ground. This ritual is focused through the enigmatic electronic and percussion composition from LABOUR which alternates between foreground and background for the haunting vocal performance of Mojtahedy, who interprets Kurdish and Persian verses.
This is first release on Studio LABOUR, the new independent label in Berlin that provides a platform for avant-gardists creating works based on sound.
Studio LABOUR seeks to contribute toward spaces of non-conforming social practices and identities, and revisits the nature of work as a potentially transformative activity.
From sound artists to electronic musicians to composers; visual artists to performance artists to critical theorists; the represented artists are united not via discipline or genre, but rather through individuated orientation towards radical perspective that are either based-in or engaged-with sound as a medium, at least in the instance of their release/work with the label.

After their two acclaimed edits EPs, Mister T. Records are now joining forces with LA based producer DJ Duckcomb, to deliver a groovy selection of leftfield italo-disco cuts reworked for dancefloors. One year after the release of their 2nd EP, a tribute to Brazilian music, Mister T. records are now back with a 12” EP showcasing their love for obscure disco and Duckcomb’s amazing digging skills. This record aims to be a tribute to the very special sound of the late 80s electronic music and to both the artist’s and label’s lifelong passion for obscure italo disco.
Famous as a record collector, Duckcomb has also made himself a name by editing forgotten jewels from classic disco to islands reggae. Part of both duos Sharegroove and Trap.Avoid, he’s been
sharing his work and latest discoveries on his bandcamp and soundcloud for years and he has already released two EPs on Universal Cave and Pleasure of Love as well as edits on Cultures of
Soul and Emotional Rescue.
He’s now joining Mister T. Records with a 3-track EP compilation of hard to classify, slow-tempo, disco edits. On the A-side, Duckcomb partnered up with his longtime friend and DJ partner Dino
Soccio, boss of California label Pleasure of Love, for a powerful rework of the German protohouse tune “Holidays”, with a new dancefloor oriented beat and emphasized tropical influences.
On the B-side, he showed his editing skills working on two obscure downtempo tracks with that recognizable late 80s melancholic atmosphere. By removing not danceable parts, building DJfriendly grooves and removing unnecessary vocal parts, he managed to come up with a smooth italo ballad with acid accents on “S.O.S.” and a beautiful balearic new-beat jam on “King (of) a Beat”.

We are delighted to finally make available as a 7-inch two of the most danceable tracks in the entire Black Emanuelle series of films starring Laura Gemser.

Both tracks were written by "dream-duo" Nico Fidenco (composer) and Giacomo Dell'Orso (arranger and conductor) for legendary cult director Joe D'Amato.

'Make Love on the Wing', from the original soundtrack of EMANUELLE AND THE LAST CANNIBALS, is a dance-floor banger sung by Ulla Linder, while 'Sweet Disco Funky' (from EMANUELLE AND THE WHITE SLAVE TRADE) is exactly what its name suggests: pure funky disco with an unmistakable Italian touch, featuring awesome vocal harmonies and strings.

DJs around the world will go crazy for this unique disco sound! Welcome to the funky side of Black Emanuelle!