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Following his collaborative ‘Conscious’ EP alongside Rossko earlier this year, Per Hammar returns to FUSE sub-label Infuse with three more standout offerings this September.
Swedish don Per Hammar has been turning out quality dub, house and techno with a dusty sense of atmosphere for more than a decade. In that time, he has established a number of his own labels including Dirty Hands and 10YEARS, while most recently founding De Vloer with Mandar member Malin Genie. Now firmly established as a key protagonist in the underground scene, the Berlin-based talent reasserts that position once more here as he returns to Infuse with his slick three-track ‘Side Effects’ EP.
‘Side Effects’ is a sublime 10-minute excursion into warm depths. Sustained pads drift in the distance as subtle percussion rolls in the foreground keep you locked, whilst soft-edged chords bring colour and soul and ensure this is a warm and hypnotic cut. Next, ‘Document Save’ is a more edgy affair with subtle synth details, samples and trippy pads all weaving in and out of the busy, fluttering drum line that keeps you on your toes. Last of all, ‘Remote Dubb’ is the most visceral on the EP: employing coarse synth textures and bustling drums that are expertly designed to enliven the ‘floor.

Secretsundaze welcomes Eliphino to the gala relaunch of their imprint for a thoroughly satisfying mini album of contemplative jacking and dulcet breakbeats.

Eliphino's most recent 'Realistic Sex EP' on the hotly tipped Meda Fury label boasts thunderous breaks, 303s and serious sub-bass pressure which has gained praise from tastemakers such as Jon K, Carista, Josey Rebelle, Moxie and Gilles Peterson.Having flexed with this darker edged EP after a long lay-off from releasing, while sharpening his skills and reconnecting with his musical inspiration, Eliphino is now ready to really cut loose with 'Breaking Up Is Hard' - a statement longplayer that dreamily investigates the dusty spaces between house, breakbeat, ambient, hardcore and acid. Tom This album came about as way of focussing my energy in the wake of a significant break up. I tried to experiment with melody and texture to convey some of the range of emotions that come with such a testing time. That being said, the B-side bangers are more dedicated to abandon and forgetting your worries.

Hailing originally from the Leeds, but with time spent in both London and Berlin, 'Breaking Up Is Hard' lands somewhere between the Hessle Audio crew, Joy O and Selected Ambient Works era Aphex.

Having previously released heaters for Brownswood and Hoya Hoya over the years, Eliphino stepping up for the debut artist LP on the reactivated Secretsundaze label feels like a natural fit as James Priestley explains:

""We've collectively had a connection and friendship with Tom that goes back several years and in fact it was receiving this work as demos that really spurred and inspired us into getting the label rolling again. It feels totally right to be working with him on this and for this mini-LP to herald the relaunch of the label as it moves towards a more artist led as opposed to EP driven approach.

The first album on Numbers from Complete Walkthru aka US producer Max McFerren, titled Scrolls, is out on 20th September 2019.

Scolls plays around with themes of privacy, disillusionment and personal development over eleven tracks, representing a transitional time in McFerren’s life. Through Scrolls’ early stages he moved from New York, where he was holding down a residency at Brooklyn’s Bossa Nova Civic Club and playing regularly in downtown Manhattan at the iconic China Chalet and the now much missed Santos Party House, to the open, rural setting of South Carolina.

The albums personality, and the thematic preoccupations underlying it, reflect the impact of this contrast. It’s sound textures cast widely into what McFerren describes as “the ephemera of the saturated digital realm” while moving through arcane rhythms, chiming melodies and expansive, metallically tinged ambient passages. First single Lean In, streaming in full now, is a dusty breaks-tight miasma of fragmented cyber-consciousness. There are playful, hyperactive refrains on Getting Ridiculous. Leavin’ Church Early is an expansive beat free meditation, while NYC’s dynamic momentum is a cityscape of bad-faith corporate aspiration.

McFerren refers to his motivations with Scrolls as being “anti-nihilism”, as reacting against a dark emptiness he perceives in certain forms of techno. Ultimately with the record, he is seeking the potential of centring joy in the present moment, in a conscious awareness of now.

Cologne’s resident conjurer Hodini steps up for his second solo EP on WOLF Music Recordings. Bringing elements from his hip hop background into this unique five tracker, Hodini dusts off long forgotten cuts, sampled with that MPC chopped graininess, blending lo-fi vocal sound bites with deft jazz loops, all adding a distinct, textured edge to his work.

‘Velved Groove’ and ‘Special Shoutout’ kick things off, snapping in funk fills and skipping guitar riffs behind a concoction of hazy spirals that transfix from the off. The former is an uptempo, twisted, jazz club house jam and the latter a bubbling voyage through the afterhours, bourbons flowing and faces flying from every corner.

A master of misdirection, Hodini also moonlights as one of Germany’s leading underground hip hop producers HulkHodn, proving he can flip styles and meld genres with ease. Featuring his alter ego, ‘Doggo Content’ is his nod to this - a crackling slo-mo trip through the intoxicated mind, soundtracked by stretched vocal snippets, wading bass notes and a crunching snare.

Two of the harder-hitting club tracks close out the EP, both focused around hypnotic bassline carousels and looping layers. ‘Where’s The Wine’ interjects Rhodes flickers with bongo rhythms and unsettling laughes, as ‘One4Fries’ marries off-kilter, piano stabs alongside jazzy flourishes and fizzing percussion.

Gilles Aiken is not short of space in which to express his distinctive ideas about fusing dancefloor minimalism with a global palette. While his more streamlined house and techno fare is generally released under his Edward alias, Desert Sky has carried some of his wilder ideas with stunning results. The first few releases came shrouded in mystery on a self-titled label, but since then Desert Sky has landed on Assemble Music and Baby Ford's iconic PAL SL. Aiken returns to the latter now with a hefty album project that gives Desert Sky the appropriate room to breathe, and Aiken sounds free spirited and expressive through every inch of tumbling percussion, deft handclaps, spooked out textures and more besides. It's a heady trip through dusty samples configured in fresh, invigorating ways, ranking among the strongest artistic statements Aiken has made to date thanks to its worldly inspiration and otherworldly end results.

Out September 6th on Dischord Records, Anthropocosmic Nest is the second full-length by Washington, D.C.’s The Messthetics, who are Anthony Pirog, Joe Lally, and Brendan Canty.
Formed in 2016 the Messthetics are Anthony Pirog, Joe Lally, and Brendan Canty. Pirog is a jazz and experimental guitarist based in Washington, D.C. One half of the duo Janel & Anthony, he also performs regularly with Low Ways Quartet and James Brandon Lewis. Canty and Lally were the rhythm section of the band Fugazi from its inception in 1987 to its period of hiatus in 2002.
Since then, Canty has remained active as a documen- tary filmmaker, producer, and composer, and released a music as a member of the band Deathfix. Lally has re- leased three solo albums and toured extensively with a frequently-rotating cast of musicians.
Recorded at the band’s practice space throughout 2019, it’s an album that more perfectly captures the trio’s current live dynamic, complete with improvisational tangents, playful experimentation, and cathartic sprawl.
When The Messthetics recorded their debut album in 2017, the trio had only done a handful of shows and had yet to fully find its footing on stage. In a way, those compositions were a template for the band that Pirog, Lally, and Canty hoped would come into being through subsequent work on the road.
Since then, The Messthetics have played upwards of 200 shows across the US, Europe and Asia. Their dialog as a performing unit has necessarily focused and intensified. As a result, Anthropocosmic Nest offers a more var- ied vision of the band. It’s the loudest the trio has ever been and also the quietest.

'For his first EP in two years, and second release on Leicester's Grade 10, Forever returns with a six track exploration of hazy, dub-inflected sounds entitled 'In Your Own Time'.

On the A-side, the tense atmospherics of 'Depth Charge' give way to the sun-kissed chords and dancehall-esque rhythms of 'Watch This', finally being rounded off with the record's title track - a sub-driven 7 and a half minute roller, where percussive patterns and dusty chords drift and weave amongst each other.

Side B continues on to more dub-leaning tracks, with 'Alpine' picking up the pace and echoing pulsing synths in to the abyss, followed by a drugged out 'Opioid mix' of the title track - a drum and bass combo sat somewhere between Memphis rap and classic soundsystem rumblers. Closing out the record is 'UR', plunging in to the depths with sonar-like samples and echoing vocals like ghosts trapped in the machines.'

2025 Repress

2019 marks the year that Music for Freaks has officially been running for over 20 whole years. Two decades of topsy turvy, downright Freakish behaviour. How the hell did that happen?

So, what better time to delve deep into the labels vaults again and uncover more of its hidden treasures. Back in 2015, we approached some of today's most discerning producers, those who truly "get" the label's ethos from old, to let them loose on tracks old and new. It brought to the fore the "Freaks - Let's Do It Again" series of releases and we're super chuffed to bring you the 3rd in the series to kick off the label's 20th anniversary celebrations; a new collaboration with likeminded artists and we think you'll agree it's another testament to the divergent & insouciant house music that has always been the beating heart of this label.

First up, we welcome back the Chilean anti-hero Ricardo Villalobos.

When we sent Ricardo the parts to the Freaks album, "The Man Who Lived Underground" a few years ago, he sent back 5 interpretations which blew our collective minds. This is the 3rd of his journeys. Edited by head Freak, Justin Harris, it delivers a tripped out, discordant tech mix of the Freaks track, 'He's Angry' and is a wonderfully warped and highly hypnotic jam, that drives deep down into the subconscious.

The 20th anniversary wouldn't feel right without some brand spanking new music from Freaks themselves.
This track was properly hidden in the Freaks DAT vaults from the 1990's and Justin & Luke have dusted it off, mixed it down and "Unbeknown To Us" will finally see the light of day. It's safe to say Freaks have always had a timeless feel to their music and this track, despite being 20 years old as an original production, is no exception.

Next up, The Martinez Brothers make their MFF debut and to say we're chuffed to be releasing this one after 3 years of it being in the vault, is a huge understatement. There's nothing but good vibes, cranked to eleven, on this cut and the brothers have cooked up a true rip snorting tech house remix of "Time", that will charm the roof off any self-respecting club or festival tent.

And last but by no means least, fellow previous collaborators on Let's Do It Again, Part 1, Gerd Jansen and Phillip Lauer, aka Tuff City Kids, have graced us with another superb remix of a firm Freaks favourite from back in the day, "Turning Orange". The duo have whipped up an excellent stripped 808, electro-hop mix with low slung electro beats, minor key atmospherics and nostalgic 80s vocal pitch-shifts. Villalobos, Martinez Brothers, Tuff City Kidz and Freaks all on the same record? This is the type of house music madness that dreams are made of.
A fitting start to the celebrations - we reckon you'll agree!

The Fall is the fourth studio album by British virtual band Gorillaz. The album was officially announced on 20 December 2010 as a holiday gift to fans. The Fall was first released on 25 December 2010 to stream for free on the Gorillaz website, only available as a download for paying members of the band's Sub-Division club, a premium access campaign the band ran throughout 2010. The album features fewer guest artists than previous Gorillaz albums; collaborators include Mick Jones and Paul Simonon of The Clash and Bobby Womack.

Official repress of Love & Regret, the long out-of-print 2012 debut album from LA-based post punk outfit Cold Showers.

Cold Showers, a unit formed in Los Angeles, CA in 2010, fuses the brash power of their shoegaze predecessors with the smoky compulsions of accessible synth pop standards. Cold Showers fits comfortably within the dusty catalog of Factory Records, if only for their modern interpretation of the romantic isolation that signified that long past era. Piston-precision rhythms and angular guitar patterns that drive along songs such as “Alight” and “BC” sit comfortably alongside the opposing raucous-tinged tracks such as “I Don’t Mind” and “Seminary”. This is the pervasive pop mode against which Cold Showers cast themselves. Versatile, memorable and romantically wistful are all common themes that listeners relate to when diving into Love & Regret.

Looking back on the past seven years and the album’s ultimate impact, Love and Regret created and solidified the band’s stark identity in a single, well crafted release. While their early singles on Art Fag & Mexican Summer introduced listeners to Cold Showers simply as a band, Love & Regret debuted the group as something to be taken more seriously. Songs that are intended to be personally unpacked with the listener’s pleasure and heartbreak as personal reminders of more innocent times.

Adele Sebastian was an Afro American jazz flutist and singer, active from the early 70s (when she was still a teenager) until her untimely death at the age of 27 (!) in 1983 from a kidney failure. In fact she had been depending on monthly dialysis to stay alive for years. She lived through and for the music and you can hear it on her only solo album 'Desert Fairy Princess' which was first issued in 1981. The mostly acoustic instrumentation brings a very natural and therefore rather retrospective sound considering the year the album was recorded. Adele and her band pull it off right from the start as if it had been 1966 and it was time for a revolution to shake the dust from the old time jazz. In a perfect way she mixes classic American vocal jazz elements with playful and more free passages, Latin music and tribal African sounds in the lengthy and quite rhythm oriented 'Man From Tanganyika' and makes the title track start with a mystical 'Allahu akbar' chant while it turns more and more into a dark and gloomy song with something like a psychedelic edge reminiscent of Pharoah Sanders on his early works. Wild rhythms from drums, percussions with tons of bells and chimes weave a thick groove carpet and conjure a magical atmosphere. Those jazz aficionados who love the mid 60s John Coltrane, his sidekick Pharoah Sanders and Alice Coltrane will go crazy for this album.

A wonderful reminder of Big Boi's unparalleled prowess in the rap game. He has literally been doing this longer than some rappers have been alive.' - High Snobiety

Big Boi is one of the OGs of hip-hop and he's still reinventing himself more than two decades after entering the game.' - XXL
An all-star affair.' - Rolling Stone

Big Boi reveals June 16 as the release date for his highly-anticipated third full-length solo album and first release for RCA Records, Boomiverse.

Tonight, the seven-time GRAMMY® Award-winning, RIAA diamond-certified hip-hop luminary, producer, and member of OutKast takes the stage at NBC's The Voice for the very first time. Big Boi and Levine will team up to perform Mic Jack' live during the semifinals. In addition, he's set to debut the song's official music video in revolutionary fashion.By Shazam-ing the performance, fans can unlock the exclusive premiere of the visual. The Voice airs at 8pm ET/7pm CT on NBC.

Kill Jill' and Mic Jack' have already begun to amplify excitement for the album's arrival. Kill Jill' has racked up over 3.1 million Spotify streams to date, while Mic Jack' garnered 1.5 million Spotify streams in just a few weeks. Big Boi unveiled the songs during a high-profile Apple Music Beats 1 premiere before performing Mic Jack'' on The Tonight Show Starring Jimmy Fallon. In addition, both tracks continue to draw critical praise.

One of history's tightest and most clever rhyme mavericks, Big Boi's indelible influence courses throughout two generations of rap music. As one-half of OutKast, he achieved seven GRAMMY® Awards, sold 25 million records, and created a string of music's most influential work, including Aquemini, Stankonia, Southernplayalisticadillacmuzikand Speakerboxxx/The Love Below—which went RIAA Diamond making OutKast the first and only hip-hop artist in history to win the GRAMMY® for 'Album of the Year.' Big Boi's 2010 solo debut, Sir Lucious Left Foot: The Son of Chico Dusty, bowed at #3 on the Billboard Top 200 and received unanimous critical acclaim with Pitchfork proclaiming it one of the "100 Best Albums of the Decade 'So Far'" and topping year-end lists from Time, Paste, Vibe, and more.

His 2012 follow-up Vicious Lies and Dangerous Rumors enamored tastemakers and fans alike and boasted collaborations with A$AP Rocky, Killer Mike, Kid Cudi, and more. In 2015, Big Boi collaborated with Phantogram to create supergroup Big Grams. Their debut self-titled album was released to critical and fan delight.

Roman Poncet's 2018 debut LP stands an impressive work in its own right. Now Figure has invited a group of artists to contribute new takes on standout album cuts. Some clearly for the floor, some nestling on its verges. But all adding to the unique Gypsophila-vibe.
Antigone turns in dust shaking flurry of tribal drumming, ceaselessly pounding and rattling away for an exhilarating and at the same time grounding rhythmic experience.
Wiggling and squelching, Efdemin blends a bunch of lively elements into one wildly roaming remix, which despite all its inner momentum retains an orderly structure, testament to the artist's extraordinary production skills.
On the flipside, Margaret Dygas adventurously goes on a trip of finely tuned acoustics, patiently letting each sound grow into what becomes an enthralling piece of enchanted electronica. Evocative, emotional and of serene beauty, Echoplex closes the collection with an epic track, led by grand strings and flute-like synths, begging to be dropped at the break of dawn.

After presenting Detroit Swindle’s sophomore album High Life in 2018, we felt it was the right time to serve you up a tasty selection of remixes from all over the world and all over the sound palette. We’ve got some dub and boogie from Australia and the Netherlands, classic deephouse from Detroit, dark and dreamy deephouse from the UK and some high energy house from Germany. This set of remixes comes from 5 artists we hold in high regard and have made a serious impact on their part of the scene; some recently and some already a long time ago.

We invited Dutch techno -plot twist alert!- legend Steve Rachmad to come up with a re-interpretation of ‘Yes, no, maybe (feat. Tom Misch)’. His Sterac Electronics remix actually has nothing to do with techno but is an uplifting modern boogie version of the already funky original. Glimmering electronics, some added harmonics and a tight 80’s groove is what this version is all about.

The A2 is reserved for Cinthie, who took the high energy afro funk track ‘Call of the wild (feat. Jungle by Night)’ and turned it into a full on house frenzy with solo’s all around and a groove that just keeps on going and going.

The A side is completed with a remix by Jura Soundsystem, who has impressed many of us with his balaeric influenced synth-boogie, and dub on his own label ‘Isle of Jura’. Here, he chose to remix ‘High life (feat. Lorenz Rhode)’ and has done an excellent job in re-imagining the track into a tamed down, dreamy dub.

On the flip, there’s Matt Karmil’s take on one of the album’s beatless tracks ‘Ketama gold’. He goes in deep with some dusty drums and an arrangement that keeps on building and building, keeping the chord sequence from the track’s outro as a main loop and adding subtle FX, toms and acid hits and a final delivery where electronic cowbells up the energy level by a notch or two.

We finish off the compilation with a moody deephouse re-interpretation of ‘Ex machina’ by Detroit legend Gari Romalis. The twisted machine funk of the original is craftfully replaced by a dusty house loop, dreamy pads and smart usage of the original’s drum effects to build momentum.

This remix package brings a lovely new chapter into the story of ‘High Life’ and we hope you’ll enjoy these reworks as much as we do.
Yours Sincerely,

Maarten & Lars.

One of the UK’s finest home grown talents are back with new music on their own label since the release of ‘Late Night Party Line’

The killer lead cut ‘Big Wig’ takes us all the way to the late-night discos of NYC and right back to Europe via London and Berlin. It’s richly melodic, sizzling with promise and packed with PBR goodness, and easily their biggest record since ‘Late Night Party Line’.

The remix from Donald Dust adds some classic New Order-esque club sheen but fully updates for contemporary floors, while ‘Shooting Star’ with its nod to F G T H, is an equally incisive club burner which puts PBR right back where they belong, in the middle of the dancefloor.

Over the last decade, we’ve come accustomed to Jason Letkiewicz releasing material under a dizzying array of aliases, each utilized to explore a different side of his multi-faceted musical persona. Now, some 14 years after he made his recording debut alongside Ari Goldman as Manhunter, Letkiewicz has joined forces with Into The Light Records to release his first album under his real name.

The Reflecting Pool sees Letkiewicz exploring the uncomplicated and uncluttered in the pursuit of pure aural beauty. While his recent album as Opposing Currents was dense, dark, urban and industrial, The Reflecting Pool is stripped back, quiet and melodious. The contrast between the two projects is marked, with The Reflecting Pool drawing more on Letkiewicz’s love of crystalline ambient, slow burn synthesizer soundscapes, early ’80s library music and the kind of obscure electronic new age music that has been a hallmark of Into The Light’s releases to date.

The set’s 12 tracks gently ebb and flow, with Letkiewicz making great use of dusty old drum machines, effects units and a range of vintage analogue and digital synthesizers. It’s a set-up that results in a range of complimentary mood pieces and interludes, from the delay-laden military drums and lilting lead lines of “Out of Body Experiences”, to the drowsy, sunrise bliss of “Sunspot”, the bubbling Tangerine Dream style shuffle of “Mind Awake Body Asleep” and the outer-space atmosphere of “The Kill Fee”.

Throughout, Letkiewicz showcases his seemingly intrinsic grasp of mood, atmosphere and melody. It can be heard within the glacial guitar motifs, occasional beats and elongated chords of “The Reflecting Pool”, the rhythmic bustle of “Numb Drums”, the glassy-eyed melancholia of “Arhythmia” and the cinematic paranoia of “Burning Off The Morning Fog”. It’s also evident amongst the classically beat-less ambient of closing cut “Weightless”, whose alien electronics, effects-laden pulses and opaque chords recall established masters of the genre.

With The Reflecting Pool, Letkiewicz has provided us with a much-needed dose of stress-free musical escapism, at the same time offering hope that in these troubling times, love may still save the day.

Atangana Records presents its 4th releases, beginning a new collaboration
with Henri Debs & Fils imprint.
This record is a first tribute that Atangana Records and Henri Debs & Fils
wanted to give back to the great Guadeloupean producer Henry Debs.
With this compilation EP, gathering rare and unpublished titles, Déni Shain
and his team aim to dust off the archives of the label and allow as many
people as possible to discover the pearls of the French Caribbean Islands.

Copenhagen’s Echocord welcomes YWF onto its roster this June with the ‘Replaced’ EP, backed with remixes from Berlin’s Freund Der Familie. YWF is a Copenhagen based Techno producer and DJ, most notably known for his output on the Freund Der Familie imprint, the founders of which step in to remix his work here, and Baum Records, the label run by Resoe, a good friend of Echocord label boss Kenneth Christiansen and with whom he forms the group Pattern Repeat. It seems it was only a matter of time before YWF became a part of the family. Title-cut ‘Replaced’ opens the package via a sturdy rhythmic foundation, wandering synth licks and winding modulations before ‘All Is Temporary’ embraces a cinematic aesthetic, edging in elongated sub drones, emotive strings and delayed percussive hits. Freund Der Familie take control on the latter half of the package, delivering two interpreations of ‘Cutoff’, first up is ‘Fdf’s Reshape’, employing an airy asmtopheric feel amongst fluttering low-end and dustry drums while the ‘Days Of Doom Remix’, as the name would suggest takes a darker approach, laying focus on menacing bass, expansive delays and menacing voices alongside heartbeat like pulses of low-end drums.

Moonshoe Records has bowled over first listeners by presenting this new side of their sphere - Air Space Ark’s debut, “All Rivers Lead” charts the course of divergent streams of contemporary ambient music, downtempo rhythms, and electroacoustic experimentation, arriving at a calming confluence of these sources. Across the 6 songs on these two sides, they evoke a calming and contemplative headspace

333 is an exquisite study in balance - the intermingling of bird song water sounds that could equally be field recordings or synthesized foley - the ambiguity adding a delightful trompe l'oreille effect - and crystalline keys ; these airy sounds weighted by washes of subbass.

BLANK PAGE is almost like a version of the previous track, retaining the nimble birdsongs and heavy sub, but foregrounding a lolling, stumbling hip-hop beat and placing more emphasis on the effects wizardry as abstract sounds careen across the track in wipes and wisps, before stripping down to a beautiful coda of birdsong, piano plinks and a textured backdrop.

The celestial keys, flute-like thrums and gentle chimes of WORDS BETWEEN SELF evoke the golden age of spiritual jazz, but the hazy ambiance and shuffling beats transmute the other elements around them into something more introspective and personal than jubilant praise. Lyrics aside, the subtle funk coupled with the pensive, meditative air channels the spirit of Stanley Cowell’s classic TRAVELLIN’ MAN.

LOFT IN 7 Is the most “out” moment here. It has echoes, literally, of jazz. Like decaying tape reels disintegrating in real time, we feel the tape buckling and warping under the weight of time as the sounds of a synthetic band warp and shift against electronic impulses and glitches, eventually leaving just a lingering, ghostly imprint. .

DUST SONG veers the closest towards a straightforward instrumental hip hop cut - a submerged sounding breakbeat coupled with a tender piano melody - but is buoyed by drifting pads and a dense, hallucinatory bed of effects.

CONCRETE closes proceedings. Charged with a crepuscular energy, it’s all-together as mercurial and magical as the transition from day to night. Different elements swirl and coalesce, honing in on dense, textural moments across a horizontal drift. The end effect is hypnotic yet captivating, so much so that when the track eventually blooms into silence at the end you’re struck by the brevity of the whole experience. Thankfully you can listen to it again!

Eno Williams, frontwoman of Ibibio Sound Machine, uses both English and the Nigerian language from which her band's name is derived for the dazzling new album Doko Mien. Long lauded for jubilant, explosive live shows, Ibibio Sound Machine fully capture that energy on Doko Mien, the followup to their Merge debut Uyai.
In a glowing piece in the New York Times, those songs were praised for following 'in the tradition of much African music, [making] themselves the conscience of a community.' By pulsing the mystic shapes of Williams' lines through further inventive, glittering collages of genre, Ibibio Sound Machine crack apart the horizon separating cultures, between nature and technology, between joy and pain, between tradition and future. That propensity for duality and paradox seems common in people whose lives span continents.

Williams was born in the UK, but grew up in Nigeria, always steeped in her family heritage. She obsessed over West African electronic music, highlife, and the like, but was equally empowered by Western genres such as post-punk, disco, and funk. The London octet have enveloped themselves in that maximalist quilt proudly since their 2013 formation. Though it can often bring with it news of stress and uncertainty, the modern world further brings all these disparate traditions into connection.
'Everyone has everything now,' says multi-instrumentalist Max Grunhard. 'Everyone has immediate access to every genre, picking things up from everywhere—like magpies.' And while they haven't suddenly left their African roots behind, Doko Mien does find increased representation of English lyrics in the ratio. By sharing more directly with more universal lyrics, the record feels more anthemic, reaching for grander heights.
'We wanted to give people a reason to sing along, to find their soundtrack every day,' Williams says. 'We wanted everyone to feel as if they're part of the music as well.'

Late album highlight 'Guess We Found a Way' addresses the change with a coy smile. 'Guess we found a way to speak to you/ Guess we found a way to say what's true/ To say what's real,' Williams coos over glistening chains of reverberant synth and diamond dust percussion, before returning to Ibibio in the chorus. Perhaps the best example of the group's ability to convey meaning across language and tradition, to blend past and future into a singular present comes on 'She Work Very Hard'. The traditional Ibibio folk tale bobs over the waves of tuned percussion, chunky synth, and pinprick highlife-esque guitar, while Jose Joyette's drums and Derrick McIntyre's bass funk groove bring everyone to the dance floor. 'These stories won't be forgotten. Feel the music: it speaks to everybody,' Williams says. 'We can travel back in time together, while convening on a futuristic, present tense. We hope that we can give people that reason to wake up, that one song to sing and dance and be happy.'

Doko Mien: Tell me everything. On their new album, Ibibio Sound Machine provide the perfect companion, ready to digest as much as possible and then further unfurl beauty and hope. They remember and honor the past and charge forward toward the future, all while intensely expanding the present.

Two years ago, Ferdi Schuster was a young multi-instrumentalist and producer
daydreaming of releasing his music on Claremont 56, one of his favourite labels.
Now he’s set to release his stunning debut album, “All One”, on Paul Murphy’s
long-running imprint.
It’s been a long time between drinks for the German producer, who last graced
C56 with his superb double A-side single, “Little River/Befreit”, in the autumn of
2017. Fittingly, it’s “Little River” – a babbling brook of audio bliss rich in samba
influenced drums, soothing acoustic guitars and spacey synthesizer licks – that
kicks off “All One”, a seductive set in which every drumbeat, piano note, guitar
riff, synthesizer flourish and freside-warm bassline was played by the man
himself.
Throughout, it’s easy to see why Murphy decided to snap up Schuster and
push the producer to record a debut album. Check, for example, the dubbed
out shuffle of “Thinking of You”, where ghostly chords, soft-focus guitar solos
and ethereal vocals drift across the soundscape, and the slowly unfurling bliss
of “The Good Fight”, an effortlessly Balearic workout rich in sun-kissed guitars,
bubbly synth lines and chords so snugly they could probably be used as a
comfort blanket.
Schuster’s greatest strength is undoubtedly the evocative and enveloping nature
of his instrumental music, which draws on a variety of complimentary influences
but never sounds anything less than original and fresh. Some listeners may be
enchanted by the loose and languid pulse of “Fading Away” or the lo-f reggae
jazz of dusty closing cut “Night Talk”, though others may prefer the stoned funk
shuffle of “Interaction” or the spacey vibrations of “Pulsa”, where intergalactic
synthesizer lines wind their way around heady bass guitar and sparse, off-kilter
deep electro drums.
“All One” is that kind of set; an atmospheric and musically accomplished
collection of cuts capable of muting the mundane and distracting from the stress
of 21st century life. As debut albums go, it’s something of a stunner

Sein letztes Werk "You're Dead" (2014) bescherte ihm eine Grammy-Nominierung, sein Brainfeeder-Label ist zu einem der innovativsten Klanglabors der Welt avanciert, er co-produzierte Kendrick Lamars mit fünf Grammies ausgezeichnetes Meisterwerk "To Pimp A Butterfly" (2015). Nun veröffentlicht Flying Lotus sein neues Album für Warp: "Flamagra" greift alle kreativen Quantensprünge und innovativen Elemente aus 12 Jahren FlyLo-Karriere auf und denkt sie weiter, größer, epischer und universeller: Hip-Hop, Funk, Soul, Jazz, Electro, IDM, die Ansätze der befreundeten Beatmaker aus L.A., Tribal-Elemente, Polyrhythmen. Aber selbst diese Liste reicht nicht aus, um "Flamagra" auch nur ansatzweise zu verorten, weil es immer wieder ausbricht aus diesem Koordinatensystem. Die Gästeliste liest sich wie ein Traum: Anderson .Paak, George Clinton, Little Dragon, Solange, Tierra Whack, Denzel Curry, Ishmael Butler (Shabazz Palaces), Toro Y Moi, sein musikalischer Stammesbruder Thundercat, ja selbst David Lynch ist zu hören. Der legendäre Regisseur steuert ein paar schaurige Worte bei, eine düstere Erzählpassage, mit der er uns eindringlich warnt: "Fire is coming". "Flamagra" ist die Essenz des letzten Jahrhunderts im Bereich der afroamerikanischen Musik, vollkommen neu und weitergedacht, kollektiv gefiltert und feingeschliffen. Auch wenn Flying Lotus ein Nachkomme seiner ehrwürdigen Großtante Alice Coltrane ist, die mit John verheiratet war (wobei auch Miles und Madlib, Dilla und DOOM als seine Vorfahren gelten dürfen), hat er inzwischen seinen eigenen Kult geschaffen: Eine Gefolgschaft, die alles Geniale aus der Vergangenheit absorbiert und in Bereiche überführt, die sich die genannten Vorfahren nicht mal im Traum hätten ausmalen können. Flying Lotus ist zurück. Fire is coming.

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

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








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

i B3. Chicago [original version]

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

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

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

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

Quintessentials has a long history in putting out those nice little (or sometimes big...) compilations. It was 'deep, raw and real". Then 'thank you freaks". After that 'gentlemen cuts". Now it's 'enjoy your cuppa"! Vol. 1 starts with 4 new and refreshing faces on Quintessentials. Marc Bianco is for sure no newcomer, as he's a part of the famous Moonrise Hill Material crew with Folamour and other top french producers. 'Wet Scott' is a smooth yet freaky tune with tight beats in a best MB manner. For german Effgee, 'feels like ding' is his first track ever released. Happy lad! And we're sure it won't be the last. Italian air man Wearing Shoes is quite new to the scene, but has a quite impressive list of releases already. For Quintessentials, he teams up with...well yeah, Javonntte (check his two Quintessentials releases, 59 and 61). Proper house music guaranteed! Last but not least, Roy Vision (another french artist who just released on Roots for Bloom) goes deep and dusty, with lovely Rhodes and snares! We hope you enjoy your cuppa!

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

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

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

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

Part of the Atøms √ë¢tœrs Pix£ls Gh©sts™ series with The Designers Republic™.


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Info:
Valance Drakes and Kero team up for their first collaborative endeavor. The EP, Abstract Thought is an evident fusion of both artist’s unique styles, bringing together elements of glitch, Hip hop, Detroit techno, and a whole lot of space vibes.


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My hands float before my face, drifting in defiance of gravity, willfulness brought on by forces beyond my own. Things stop very abruptly with a crash the shakes my eyes in their very sockets, rattling reverberation pushing painfully through my skull.


One thousand days in space feels like nothing and everything all at once. Children grow, faces fill with wrinkles and I stay still.


Until my eyes begin to shake and everything turns to television static flashing somewhere inches behind vision. Is someone stepping on my throat?


I’ve crashed into something hard and barren. Is that electricity I see, clinging to my hands?


I spring across an earth or planet or meteorite that crumbles beneath my boots and sways in the air moving so swiftly about my body, dust flying up into the visor of the helmet that saves me, threatening cracks, ruckus.


I can hear my heartbeat in here. I wonder if this is what it sounds like in the womb. The rope connecting me to the ship is something like an umbilical cord. Is it not? Maybe it’s a vacuum. Maybe I’m not born yet after all.

Daughters Of The Sun's singer / guitarist Nick Koenigs has been toiling solo as Filthy Huns for a couple quiet years at this point, layering grease-stained drum machines with badlands guitar, mirage keys, and desolate vocals, alternately broke-down and road-burned. His debut is a dusty midnight ride through black hills. “Watch Of The Bear” in particular captures a loner-in-leather mood, headlight off, pushing 70, chasing the horizon under a sea of stars. Elsewhere there's woozy, hungover dub (“Hot Morning”), peyote campfire awakening (“Infinite Ride”) and stoned sunshine raga (“Out Of The Grave"). Barren times on the highway, through darkening deserts.

Dritte Longplayer Der Britischen Synth-formation Pentagram Home Video. Inspiriert Von Den Düsteren Bars Und Clubs In William Friedkins "cruising" Film (mit Al Pacino), Vereinen Phv (zu Teil Brutale) Acid-jams, Spooky Synth-sounds Und Darke Goth-vibes Zu Einem Soundtrack-artigen Albtraum-nachttrip. 180g Vinyl.

Kanto Records goes into sci-fi waves! Turkey based producer Mustafa Yüksel aka Stars Like Dust releasing his debut album with us! We are super excited to present 'Voyager 01 which combines the guitar of 80's new wave and electric instruments of synthwave with influences from science fiction and horror movie soundtracks. The album has some unmissable references to space and sci-fi with influences pouring in from Akira and movies such as Blade Runner, as the name Stars Like Dust is a clear nod to legendary Isaac Asimov's famous novel.

Movente Is A Debut Lp From A Vital And Long Standing Figure Of Italy's Clubbing Scene Under A Brand New Alias. That Alias Is Cleptophonic, And The Album, Due In 2019, Is An Autobiographical Collage Of Experimental Trip Hop Sounds That Is Truly Immersive.

Under A Former Alias, Cleptophonic Has Spent Years Djing And Experimenting In The Studio And Has Made A Real Impact On His Native Scene As A Result. He Is A Very Delicate Person With Serious Attention To Detail That He Puts To Best Use By Delving Deep Into What He Loves: Playing On Turntables And Immersing Himself In A Sonic Realm Cuts Him Off From The Real World And Acts As Therapy For This Meticulous And Selective Person And Artist.

He Is A Master Of A Stylish Musical Collage Technique - Both In Sound And Images. As Such Movente Is A Collage Of Different Sounds, Sampled With The Turntables And Put Together With Logic, While His Passion For Collage Also Spills Over Onto The Album Cover, Which Is Made By Pieces Of Paper From Magazines, Newspapers And Comic Strips. The Result Is An Experimental Trip-hop Album With A Singular Sound That Puts Together Pieces Of Life, Sounds And Images That Are Meaningful For Him, Especially The Last Song, Which Is Dedicated To His Mother Who Sadly Committed Suicide A Few Years Ago.

There Is A Beauty And Delicacy To The Music Throughout This Most Excellently Escapist Album That Is Utterly Absorbing. Pads Swirl Round Louche Beats, Crisp Hits Ring Out Into The Night And You're Left In A Deep State Of Contemplation Throughout. There Are Warped And Shimmering Cuts, Dub Tracks Drenched In Reverb And Melodically Rich Broken Beats. The Whole Thing Is So Spacious You Get Sucked Right Into The Centre Of It All And The Thoughtful Moods And Deft Sonic Details All Making A Truly Lasting Impact. This Is An Exquisite Album That Encourages You To Really Get Lost In A Unique Musical World.

After taking a deep dive into the dusty crates with Belgian & Dutch music, Harde Smart now unearths a smooth selection of jazzy, funky & soulful gems from their collected vinyl stash. All the music you hear, was recorded and produced during the 1970's, in either Flanders (the Dutch-speaking part of Belgium) or Holland. Besides exquisite grooves and hard-pounding drums, the selected songs also have Dutch lyrics in common, making this a rather unique way to approach and compile lyric-driven Flemish and Dutch music from back in the days. Record collectors all over this language area seem to have neglected a considerable part of their own musical legacy for a few decades, while firmly searching for rare grooves and breaks in the bins with more exotic music.

Yet nothing is so certain as the unexpected. 'Flemish & Dutch grooves from the 70's' is the first 'Dutch' compilation album to uncover the genuine, Afro-American funk and soul vibe. A sound that - albeit infrequently - influenced the work of some of the popular and less popular singers and musicians in this small part of the world in the 70's. Although influences undoubtedly also derived from the French chanson and rock music from that era. This 21-track album smashes all musical predictability and takes you on a weird and nostalgic trip; offering a revised set of 'essential homegrown classics' for the local listener, yet also being very exciting to the ears of the non-Dutch speaking audience.

Find Out' is the fifth release on Supervoid Records by Berlin-based DJ and producer, Dustmite.

Sparing no time to fuss about, Dustmite comes storming straight out of the gate with 'Find Out (Remapped)'. Heaving kicks, cutting hats and slapping claps push momentum forward with serious authority. 'Charter' takes a more metronomic approach while maintaining an equal sense of impact with its pulsating basslines and encircling arps. On the flip, 'Find Out' reels the speed back a couple notches with a cinematic pad atmosphere and distant vocal samples ideal to warm up a club at the beginning of a night or to cool down a dancefloor early in the morning. Lastly, 'Combining' favors an optimistically melodic tone with a singing glissando lead synth that makes for a triumphant finish.

Koehler was hurled headlong flaming from the ethereal sky. This is his first offering for the ESP Institute. Side A recalls the hazy memory of an ear-worm chant heard over a decade ago on the streets of Thailand, a melody that since haunted the artist and has finally been exorcised by his own hand in the shape of 'Melencolia V'. Somewhere between an enchanted bashment and a sailor's watering hole, Koehler found a gargantuan kick drum that lands solely on the 4, slammed it together with a wide pulsing bassline and brutalized Dancehall snare, then laced it all up with his elusive synth melody. Add to this a generous sprinkle of finely-ground cosmic dust and we're all tripping the light fantastic. On the flip side, the artist buckles up for a rough and rapid-paced journey with 'Invidiosa' — a relentless snare scrapes, gouges and corrodes over 7 minutes, coupling with a simplistic bass loop and swiftly marauding through a demented assembly line, accumulating various nuts and bolts of instrumentation along the way — an undeniable dancefloor exciter for those hours when the club becomes unhinged, dancing becomes raving, and slightly more audacious folk can channel their inner truth. These two songs will have you question your existence.

B-movie junkies, gather round and prepare yourselves for what could only be described as a cinematic speedball. Take a combined hit of two of the most potent strains of toxic cinema, dress it up in ritualistic robes and make it dance to the beat of a stoned, motoric, country commune soundtrack. Like an exploito double bill where both films merge into a single feature, this directorial debut by an ex-Roger Corman protege and future Russ Meyer art director (another heady cocktail) is the product of one writing duo's fleeting time in the driving seat as the moviedrome marathon approached its dwindling finish line.

Werewolves On Wheels emerged in 1971 in a climate where the B-movie genre of the previous two decades began to make way for the early glimpses of imported slasher films and video nasties. Entirely out of popular context in 1971, the soundtrack music of Don Gere would perhaps reveal him as the most versatile actor involved in the whole production. Until this point, Don Gere had been a pop folk songwriter and a country music devotee, but while riding with the werewolves, Don Gere became a disjointed psych rock stoner making ritualistic commune country with more coincidentally in common with Germany's emerging Krautrock scene or the more localised stoner psych of Skip Spence (whose radically ahead of its time LP OAR was recognised by Columbia Records as their lowest selling record in the company's history). Imagine guitarist Sandy Bull jamming with Munich's Amon Duul 1 or some Swedish prog outfits like Trad, Gras och Stenar or a sedated Kebnekaise. In comparison to the Curb/Allan scores, for films like Wild Angels, Devil's Angels, Thunder Alley, and Born Losers (often released on Curb's own Sidewalk or Tower records), the new music made by Don Gere, only three years down the line, sounds like it's from an entirely different generation...

"Pre-certified biker psych from the hillbilly Haxan. Amazing!" - SEAN CANTY (DEMDIKE STARE)

Rua Sound Is Pleased To Announce We Are Back In Action For Of 2019, And A Welcome Return To The Label Of Touchy Subject, Coming In Fresh From His Aurora D Raynes Project With Dan Dans K In 2018.

Support From Tom Ravenscroft And Giles Peterson.

The Go-to Producers For Cosmic, Rootsy Takes On Up-tempo 160-170 Bass Music, Touchy Subject's Second Four-track 12" On Rua Ups The Ambition And Knocks It So Far Out Of The Park Its Broken Windows In The Next Parish Across.

The General Ep Veers Wildly Between Belligerent, Funky Takes On Dusty 90's Boom-bapàla Dj Shadow On "shudder" And 'turnt Up', Cavernous Soundsystem Workouts On "seek And Find", And The Febrile Halftime (just) Jungle (barely) Title-track "general" Bringing The Emotive Goosebump Vibes.

This Is Soundsystem Music Par Excellence, Cerebral, Heady, And Rousing.

We Apologise Profusely To Those Of You Whose Resolutions For 2019 Involved Losing Weight, But This Is Our Fattest Releases Yet.