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Sound has the ability to heal. This is the primary tenet that has been driving Karma Moffett for over 35 years. Pure tones, resonant harmonics, the sounds of the earth. At the dawn of the 80’s, as the burgeoning movement of privately-issued New Age was taking hold, Karma Moffett was a pioneer. Eschewing the use of synthesizers and other increasingly-available electronic technology, Karma crafted his meditative, introspective music using ancient instruments. Primarily utilizing Tibetan Bells, and Singing Bowls, Karma Moffett crafted sounds that led the listener on an inward journey.

1982’s Sitting Still Within/Sitting Still Without s Karma Moffett’s earliest triumph. Combining the aforementioned Tibetan Bowls & Bells along with naturalistic field recordings, Karma’s first album is a testament to the power of minimalism and repetition. An ambient voyage that truly draws the listener inwardst, and outwards, Sitting Still Within/ Sitting Still Without is music for healing.

Being heavily influenced by the house sounds coming from the U.S. past and present it should not come as a surprise that Red D‘s WPH imprint is launching a new 12” series on which his favorite producers from Detroit, New York, Chicago and beyond get to shine in all their glory. A whole slew of Detroit and New York friends of the label have already confirmed to take part in this series, so good things await us!

But to kick things off we are extremely happy to present label boss Red D’s collaboration with Reggie Dokes, who has been a WPH regular since the very early days. Reggie Dokes and Red D a.k.a. RD² team up for three tracks full of electronic soul and analogue dirt, ranging from the ethereal beauty that is ‘Sharing Angels’ to the minimal dance of ‘Beyond Borders’ and the tribute to their respective cities of birth ‘From D To Shining D’. To complete the E.P. Reggie contributes the solo track ‘Birth Day’, bringing his trademark deepness to the table.

Time will tell if there was a better way to start this new series on WPH, but we are pretty happy with this one as it is. Stay tuned for more and enjoy!

Lefto: ‘Sharing Angels’ & ‘Birth Day’ are my favourites!

Red Rack’em: ‘Beyond Borders’ & ‘Birth Day’ for me. Loving the chords and choppy melodicness of them.

Satoshi Fumi: I really love ‘Sharings Angels’ & ‘Beyond Borders’. Timeless tracks!

Fabrice Lig: ‘Sharing Angels’ is magnificent!

Beyond Space And Time is the new record label from Japanese music festival, Rainbow Disco Club (RDC). RDC has been welcoming music loving people to Japan for over a decade. Throughout the festival's history, RDC have been fortunate to constantly encounter performers and DJs who've collaborated with them in establishing a beautiful dance floor year in, year out. These relationships have lead RDC to start their own label, and now gives them the opportunity to reveal one of the best-kept secrets: What is in a DJ's record bag?

This time around, festival regular DJ Nobu kindly opens up his collection and shares the music he loves with us all. On visual duty we welcome Senekt - his representational yet contemporary drawing illustrates the emotion we feel from DJ Nobu.
We have much more music to come in future from artists that we trust and respect.

▼ DJ Nobu describes 10 tracks this way ▼

A1. Laurent Garnier - Water Planet
Highly respected French DJ/Producer Laurent Garnier has been releasing tracks for decades capturing the very essence of Detroit Techno and Breakbeat. He always manages to create something truly emotional. This is not his biggest hit, but it's my favorite.

A2. Mono Junk - Beyond The Darkness
This track represents the very early days of Techno with it's ravey atmosphere. It has a primitive feel, and the obscure mixdown sounds almost unbalanced. That said, this one really stands out when DJing. Very cool.

B1. Psychick Warriors Ov Gaia - The Valley
It was always my intention to include this track in a compilation if were I ever to do one. It has a fat underlying groove, with some indigenous spices thrown in. The whole thing is put together beautifully. No complaints!

B2. Melody Boy 2000 - Plenty Of Love
I wanted to include a track that had Jacking feel to it - that is my definition of dance music. This track mixes well in both Techno and House DJ sets.

C1. Drax Ltd. II - Amphetamine
This is my all time favorite track by Thomas P Heckman. It asks questions and strikes down all the boring 'wanna be cool' techno tracks. It is obviously a well known tune already, but I include it here because I'm often asked for it's track ID from new kids in the game. This is a classic that should be passed down.

C2. Dan Curtin - 3rd From The Sun
Curtin's refined synth grooves and bass lines make this a true timeless classic. It do not get tired of listening to his rhythms and melodies - he always gets it just right.

C3. Front 242 - U-Men.
The originator of Electric Body Music. Their husky vocals, hard rhythms and strong synth basslines made the group very popular at the time, and they are still to this present day. To me, this track represents what the Belgian New Beat scene is all about.

D1. The Prince Of Dance Music - E3 E6 Roll On
This is the track I played the most up until around 2006. It is a genuine house track that cuts through trends in music. A hidden floor killer.

D2. Pan Sonic - Lähetys / Transmission
Electronic music has existed for decades, and if you are to choose some of the best from all scattered & hidden places, Pan Sonic's 'Lähetys / Transmission' must be considered. The track emerges beautifully - breaking structures and transcending the past. Every layer of the piece is produced with such delicacy and care, that as a whole it magically drags you into the world of the unknown.

D3. Burial - Archangel
This track merges melancholic emotions with technological prowess at the highest level, and deeply impacted the dance music scene on it's release. I recently played this track at the end of my set at the forward thinking Terraforma Festival in Milan. It faded out to huge applause from the open minded crowd. A moment to be remembered.

RAVE026 is a double hammer of blitzkrieg gabber and seething acid trance/schranz from Service
Animal (Vereker) and Crime Unit, featuring material previously issued on impossible-to-find
tapes by the cult, DIY label; Live Adult Entertainment
The punkish reputation of Live Adult Entertainment precedes them as one of the underground’s
keenest yet elusive operations to emerge in recent years. Based in Thessaloniki, a port city in
northern Greece, they’ve released some 28 tapes, CDR’s and lathe cut vinyl of musick ranging from
psy-trance to industrial noise and concrète since 2017, and always in editions ranging from zero
to 20 tops, leading to feverish and frustrated reactions from those listeners who’ve chanced upon
their YouTube videos before they get taken down. Finally, this 12” features the first readily available
and properly mastered LAE material on a physical format.
On the A-side, Endangered Species label boss Oliver Vereker adopts his gabber alias Service
Animal for his first outing proper since appearing as Renoir on his label’s 2017 CD, ‘Death Always
Follows’. Revolving material originally available on tape in edition of 20 copies, it boots off with
the 12-hp hoof and dive-bombing drones of ‘Core Of Reality’ next to the evil Arcardipane styles of
‘F.T.W’, which are both produced with the same, powerful conviction in charred black metal, noise
and hardcore techno that made his 2015 releases as Restraint and Grace so vital, only with added
acceleration and syncopation.
The B-side follows with a pair of seething workouts from the ‘Cyber Afterbirth Vol.1’ mix by
LAE co-owner, Crime Unit. Hearkening back to a sound that was ubiquitous between Hackney
Warehouses and small-town UK/European techno clubs in the late ’90s/early ‘00s, they are
ravenous examples of the LAE aesthetic, applying scuzzy DIY principles to gnashing German
schranz and adrenalising acid trance with ruthlessly direct results that pack one of the meanest
breakdowns you’ll hear this year. Trust they will mercilessly sort the dancers from the posers.

We always try to bring something special when it comes to release a single on vinyl. This time, we are pleased to announce the return of one of the most obscure and talented vocal group from the early 80's: Time Unlimited. It's been more than twenty years that Donovan Joseph, Hugo Blackwood and Orville Smith, have been off the musical scene as Time Unlimited. During the recording sessions of the Roots Architects project in 2017, we had the chance to meet Donovan Joseph passing by the studio. Straightaway, we were telling ourselves that we had to see his legendary group name written on black wax again. Here it is, with a deep rub a dub cut backed by the High Times Players remembering the golden years of the group!

Following January’s acclaimed vinyl debut from Exterior and summer’s much-loved Kota Motomura EP, Edinburgh’s Hobbes Music label ends 2019 with its first album release, also a debut, from GAMING, a fresh new braindance electronica project straight outta Glasgow.

GAMING is a new solo outing that brings together a lifelong love of music and technology and creating left field, rhythmic electronica. It’s the sound of IDM, nineties techno and mensch maschine computer music that is as spontaneous as it is programmed. It's a bit of a grower and may take time to get under your skin....

“Scenes From A Deserted City is a collection of tracks that started as a set of riffs, loops, rhythms and grooves and unfurled around a sense of growing unease about the future of the urban environment around me.

It’s an album that started out as sound…and ended up as a way of telling stories about the age of anxiety we live in, how our world is changing, and how we find a way through that.

This is DIY electronica from Glasgow – it was made on a growing collection of digital and analogue synths and FX units, including a bunch of modular racks, each with its own idiosyncrasies and character that belies the assumption of the binary.

The studio where it was recorded – an abandoned, and often very cold, school building reclaimed by the community some twenty years ago – offered up stories of resilience, even when all seems lost. (I’m not sure what the mice contributed but they definitely climbed in and out of some synths).

This album is ultimately about my changing relationship with Glasgow, a city I’ve lived in for more than 25 years. It’s about how I feel now about the increasing sense of urban decay and how the city can be a very isolating place. It’s about how I reflect on my younger creative self trying to find a direction but mainly feeling a sense of dislocation and not fitting in. And it’s about the questions I have about how that relationship is changing, how it will be forced to move forward.
The result is a soundtrack for walking home on your own, in that headphone bubble when it’s just you focusing on that music that makes sense to you alone. It’s for early in the morning, after the night before, or going to work with the memories of that slipping and sliding inside your head. It’s about how it feels to be both elated and lonely, to be lost in the familiar, despairingly hopeful.”

Double cyan blue vinyl in a gatefold sleeve. Two printed inner sleeves and a six panel oversized booklet. Download card enclosed. The vinyl includes the Deluxe track listing - 17 tracks in total.

U2 return with their hotly anticipated new studio album 'Songs of Experience'. The Island Records priority release completes a stellar year for the Dublin band, following their return to stadiums with the critically acclaimed, sold out 'The Joshua Tree Tour 2017' playing to 2.4 million fans in just 51 shows across Europe and North and South America, as well as the successful 30th Anniversary re-issue of 'The Joshua Tree'.

Recorded in Dublin, New York and Los Angeles, Songs of Experience was completed earlier this year with its subject matter influenced by Brendan Kennelly's* advice to Bono, to ...write as if you're dead'. The result is a collection of songs in the form of intimate letters to places and people close to the singer's heart: family, friends, fans and indeed himself.

Songs Of Experience is the companion release to 2014's 'Songs Of Innocence', the two titles drawing inspiration from a collection of poems, Songs of Innocence and Experience, by the 18th century English mystic and poet William Blake.
Produced by Jacknife Lee and Ryan Tedder, with Steve Lillywhite, Andy Barlow and Jolyon Thomas, the album features a cover image by Anton Corbijn of band-members' teenage children Eli Hewson and Sian Evans.

'The Blackout' and 'You're The Best Thing About Me' were the first songs to be made available from the album. 'You're The Best Thing About Me' is the band's first UK Top 20 airplay record in a decade and has also been remixed by Norwegian superstar DJ and producer Kygo.

*Brendan Kennelly - Irish poet, novelist and Professor Emeritus at Trinity College, Dublin.

Since forming in 2006 post-punk experimentalists Sebastian Melmoth have been on a thoughtful and adventurous musical journey. In a constant state of aural evolution, the London-based four-piece has a delivered a string of albums and EPs that variously touch on everything from garage-rock, grunge and lo-fi pop, to electro, new wave, dark ambient and music concrete, all the while drawing on a myriad of literary and artistic influences.

The band’s first release for Artificial Dance digs deep into their admirable and eye-opening catalogue and draws together some of the Amsterdam-based label’s favourites from the more electronic end of the band’s output. Entitled “The Dynamics of Vanity” – a comment on Western culture’s obsession with rehashing the past and the band’s own in-built distrust of artistic naval-gazing – the set is not a ‘best of’ retrospective but rather a ‘sort of’ selection of stylistically interconnected cuts that gives a very specific snapshot of the band’s work.

Check for example “Icarus”, a drowsy, hypnotic and sample-laden soundscape that effortlessly joins the dots between post-rock, pitched-down electronica and early morning ambient, or the slowly unfurling throb of thought-provoking opener “The Engineering of Consent”, a swelling, melancholic post-jazz meditation on propaganda and governmental mind control featuring spoken word samples from William S Burroughs in conversation with Brion Gysin, Timothy Leary, Les Levine and Robert Anton Wilson.

The showcased songs are typically hard-to-pin-down, too, with the re-imagined gothic horror break-up cut “Prosopagnosia’ and slow-burn audio addition of “Waiting For Godot” being joined by the wide-eyed morning dream-pop hallucinations of “Seeds (Descent Into Decadence)”. It all adds up to a collection that expertly showcases one engaging thread – of many – running through Sebastian Melmoth’s esoteric body of work.

Rich NxT heads to FUSE to deliver his ‘Suburban Skool’ EP this November, backed by fellow London favourite East End Dubs on remix duties.

An artist that has remained a central part of the London electronic music scene for over a decade, FUSE residentand NxT records boss Rich NxT is an artist that embodies the sound of the city’s evolution throughout the years, taking influences from all pockets of the scene - from drum’n‘bass and jungle through to the minimal and tech house sounds that later took hold of the blossoming after-hours circuit.

Having touched down on the label earlier this year alongside East End Dubs as the pairing released the impressive ‘The Four Slip’ EP, whilst also recently providing two collaborative cuts on label boss Siragusa’s latest ‘A Decade Of Rave’ LP project, November sees Rich return to home turf to deliver his second solo EP on the label of the year, with Eastenderz head East End Dubs also returning to provide an energy-fueled remix on the flip.

Opening proceedings, title track ‘Suburban Skool’ offers up a trademark slice of rolling house music as slick percussion arrangements meet bumping bass stabs and scintillating electronic melodies swirl around old school rave samples, whilst the slinking ‘Rex Press’ keeps the energy high as echoed vocals ebb and flow amongst bright lead lines, crisp drum licks, intriguing breakdowns and builds throughout. Shaping up the package, East End Dubs steps up to offer up a dynamic interpretation of ‘Rex Press’, utilising punchy kicks alongside soaring synth lines and driving snare rolls to impressive effect.

Radio Slave and Bushwacka! remix ‘Eye Of The Storm’ featuring vocalist and
drum ’n bass royalty Onallee, with label boss Archie Hamilton serving up a fresh VIP mix.

Taken from Hamilton’s debut album ‘Archive Fiction’, which dropped earlier this year on Moscow Records, ‘Eye Of The Storm’ featuring Reprazent artist Onallee, gets the remix treatment from two renowned producers with a reimagined garage inspired mix from the boss himself. Two acclaimed British artists, Rekids boss and esteemed remixer Radio Slave leads the release with Hamilton’s VIP mix alongside Olmeto and Plank Records owner and artist Bushwacka!

Radio Slave’s remix of ‘Eye Of The Storm feat. Onallee’ opens with a thundering kick, haunting effects, rolling vox-cuts and rattling hats with an ecstasy inducing breakdown. Archie Hamilton’s VIP mix then goes down a classic bubbling bassline route, featuring crunchy cymbals and phasing synths when Bushwacka! then goes on to close the release with break styled drum programming, rumbling toms, zapping flute like samples and jungle shakers on his remix.

When it comes to underground New York Disco, Donna McGhee's highly sought-after 1978 LP, "Make It Last Forever," ranks among the best in the genre, thanks to Donna’s singing and the production skills of legendary producers Greg Carmichael and Patrick Adams.

Featuring five songs penned by the producing pair, it's got their quintessential Disco sound of the late 70s topped by Donna McGhee's superb vocals. These have also blessed recordings by The Fatback Band, Phreek, Bumblebee Unlimited and The Universal Robot Band around the same time.

The album has been an elusive affair since it first came out in 1978 and this is one the first times in decades it is widely available in its original form with newly remastered audio. Donna McGhee has been one of the key female singers of the New York disco scene, gracing several cult albums with her superb singing. The Brooklyn native began her career singing Gospel in her grandmother's choir from an early age, honing her skills and making a name for herself locally as a talented singer.
Her first break in the industry came when she was spotted by bass player Johnny Flippin, who invited her to join his band.
The group was none other than The Fatback Band led by drummer Bill Curtis. This was 1975 and the album was "Raising Hell."

McGhee's vocals can be heard throughout the album including the dancefloor classic "(Are You Ready) Do The Bus Stop" and after this initial collaboration, she stayed with the group for a another few years recording “Night Fever” in 1976 and touring with them all around the country. Following an encounter with producer Greg Carmichael, Donna McGhee jumped ship and started working with the prolific producer and his partner Patrick Adams.
A string of collaborations followed with singles and albums that have become the stuff of legend over the years: Donna can indeed be heard singing with Bumblebee Unlimited, Universal robot Band and on Phreek's classic self-titled album from 1978, singing on the track "May My Love Be With You."
In 1978, After Greg Carmichael set up his own label, Red Greg Records, he and Adams decided to get McGhee in the recording studio and produce her first solo album. With the pair playing most of the instruments, they got five tracks out of the session. The result, "Make It Last Forever" is an all-time Adams/Carmichael classic: funky disco arrangements with a touch of synths over a pulsating groove magnified by McGhee's superb sexy singing.

All five tracks have become classics in their own right.

A Killer Deepfunk/Soul 45 from legendary soul singer Richard Marks. The Limited 500 press nods to the original Tuska Records design, without the $2000 price tag. A big spin on the Deepfunk scene in the early 2000s for DJs like Keb Darge and Ian Wright, it's been a while since i have heard this killer 45 played out. If you feeling this make sure and check out Now-Again records anthology - 'Never Satisfied, The Complete Works 1968-1976'. be quick this will be gone in a flash. No Repress.

From the people who brought you Disques Sinthomme and Ghost Town comes a new imprint LESDK.

Bringing back that NYC Lower East Side grime, LESDK will feature edits as well as new work from Dennis Kane and his circle of proper low-lifes...

Ghost Town and Disques Sinthomme featured contributions from Brennan Green, Richard Sen, The Beat Broker, Bicep, Jose Manuel, and Cosmic Metal Mother, as well as edit monsters like Jeff 'The Drunk' Overton and Cazbee. Kane will be helming this label, curating work and providing his own productions and remixes.

LESDK

Starts off side A with 'Real' - A soulful disco romp that has a gospel force as well as a powerful vocal performance. The song grooves from its first beat, and pushes the energy as it builds. "Now it's time to be real..." Edit as manifesto - Pure heat! The edit work here comes from one of the OG's of serious digging, Senior Reyes aka Jersey Pete.

Side B brings 'Action' as its first track, complementing the A Side, this is some dirty late night Philadelphia bar nastiness, mentholated disco with a humid female vocal, "I like to party, I like to flirt..."

Side B closes out with 'Motion', a slice of cosmic funkiness that laments a love that is not happening while a thick bassline moves the proceedings along.
This song has heartbreak and the haze of an early morning on the dancefloor.

Three essential edits for the DJ to bless the party people with.

Dennis Kane is a DJ and producer based in NYC, he has run the Disques Sinthomme and Ghost Town labels and is also a partner in the recording group SIREN, (with Darshan Jesrani) on Compost records.
Kane has produced numerous tracks and done remix work for Cantoma, Liz Torres, The Phenomenal Handclap Band, and Hokis Pokis among others.
He has been a DJ in NYC since the mid 90's holding down numerous residencies and touring worldwide.

Voodoo Down Records presents the debut 12" of Melbourne-based techno producer JXTPS, who delivers here three powerful cuts of rolling big-room techno. The EP kicks off with a bang with some breakbeat fills that clear the way for heady hypnotic tension on "Become Nothing". The B-side opens with punchy acid stabs and distorted guitar chords on "Untitled 02", and closes beautifully with a creeping early-morning groover on "Mr. Pink".

Soundway have come to their last release of 2019, and they've saved the best till last.

Ft. a 12" single with both sides absolute dancefloor belters, think Latin disco meets parang soca from Barbados (original label from Trinidad/Tobago).

Both tracks - Colleen Grant "Latin Parang", and Sandra Hamilton "Parang Jam" - are not only highly sought after on vinyl, we are also officially reissuing both tracks officially for the first time on vinyl and digital since their original early 1980s releases.

Restored, remastered and sounding as fresh if not fresher than before! Attached are the sales notes, with salient details below.

Reissue of the fantastic debut LP from France's pioneer avant-electronic unit ART & TECHNIQUE. Originally released in 1981 by Hi-Tech records. Haunting obscure minimal electronic sounds, ambient and atmospheric ventures, abstract minimal wave with some ethnic elements. And excellent use of rhythm boxes, sound generators and strange vocals, reminds of 23 Skidoo's “7 songs”, early Muslimgauze, O Yuki Conjugate´s sound and the atmospheres of Jon Gibson or Jon Hasell.

Re-mastered by former member Bernard Filipetti. Limited edition of 300 copies.

Shasta Cults is the musical project of Canadian electronics technician Richard Smith. For almost two decades, Smith was the official Buchla & Associates go-to repair person for studios, collectors, and musicians around the world, having worked with artists like Aphex Twin, Suzanne Ciani, Mort Subotnick and institutions like NYU, The Library of Congress and Mills College in Oakland, Ca.

Recording demonstrations of the rare equipment that found its way on to his workbench is how Smith describes the origins of Shasta Cults. Although sounds have been trickling out for decades via Soundcloud and other outlets, it wasn’t until 2017 that Smith recorded his first album using one of these rare instruments – the Buchla 700. Configurations, released this past September by Important Records, features eight tracks of heavily-modulated, wave-shaped explorations drenched in effects, and was the catalyst for his latest releases.

Recorded over the span of 3 months in the fall of 2018, this album was programmed solely on the only fully-functional Buchla Touché. Developed in the early 1980s with hardware by Don Buchla and software programmed by musician David Rosenboom, the Touché features waveforms generated internally by twenty-four digital oscillators using frequency modulation and sophisticated digital and analog signal processing for timbre and output assignment, all of this controlled via a six-octave black and white keyboard, unusual for a Buchla instrument.

This LP is a continuation on themes first heard on Configurations, with more consideration given to the generation and capturing of the pieces. This album is less dark than previous releases, showcasing the incredible fidelity of the hardware used and Smiths evolution as an audio engineer. Put on some headphones, find a comfortable chair, and let this LP transport you to the mystifying southern cascades of Siskiyou County.

The music of Chel White is celebrated in Automaton, a collection of mostly unreleased recordings from 1985 to 1991, by this innovative animator, film maker and visual artist.

Having studied music theory in grade school, White taught himself drumming and played in a new wave band until, in 1981, together with Dan Gediman, they formed the minimal wave duo Process Blue (Alternative Funk, 1985 / Dark Entries, 2018). Here their experimentation went way beyond playing drums.

His interest in industrial music, fostered in the late '70s and early '80s while working in factories as a way to put himself through college, informed his use of electronic instruments, tape manipulation, noise and unconventional percussion.

By 1985, as a now solo artist buoyed by newly affordable audio sampling technology, White tapped into his earlier teenage fascination with the art and films of both the Surrealist and Dada movements - in particular their disparate and fragmented imagery and sound - as a means to create striking new sonic palettes.

Science & Industry - a track largely influenced by Balinese monkey chanting and the consumer excess of American in the 1980's - is a clear example of "music collage". Photocopy Cha Cha, made for the short animation film Choreography for Copy Machine (Berlin International Film Festival, 1992 / Sundance Film Festival, 2001) moved his music into the realm of early multi-media.

Experimenting further, tracks like Liquid Shadows and Pensive provide minimalist moments, before the drone-like Dream #630 and Forest Song point to a future that included music video works (David Lynch/Thom Yorke).

THE WRAITH's Gloom Ballet delivers twelve infectious tracks drenched in the band's '80s UK post-punk (Death Cult, Killing Joke, Sisters Of Mercy) and SoCal deathrock (T.S.O.L., Samhain) influences.

THE WRAITH was founded by imposing frontman Davey Bales, formerly of Virginia peace-punks Lost Tribe, and Kaz Alvis shortly after they separately washed up in Los Angeles. Their irresistibly distinctive sound - skeletal basslines and tribal beats propelling Alvis' textured swathes beneath Bales' poetic, anguished bark - immediately gained a following, with homemade demo Comatic Romance racking-up thousands of YouTube views.
 
Convulsive, chaotic West Coast shows honed the songs that became THE WRAITH's lauded 2017 EP, Shadow Flag. A couple of videos and line-up changes later - the band is now completed by Belgian drummer Jef Pauly and Brit bassist Paul Rogers - their evocative songwriting and pure-punk authenticity earned the ear of Mat Mitchell, who has worked with Love And Rockets, The Flaming Lips, Meat Puppets, King Crimson, and more. Mitchell recorded the band's debut LP, Gloom Ballet, and earlier this year, the band signed to Southern Lord Recordings for the worldwide release of the album.

Recorded by Pucifer guitarist/producer Mat Mitchell, Gloom Ballet was mastered at Audiosiege by Brad Boatright (From Ashes Rise, Tragedy, Alaric) and the artwork was handled by Rebecca Sauve.

Fresh from the release of their third album ‘Autonomy’ earlier this summer, comes Autonomy Variations: four brand new perspectives from four exciting, innovative kindred spirits of the avant-pop duo.

South London’s Medlar breaks the seal. Following a series of incredible live collaborations with Dele Sosimi (Fela Kuti), he’s has turned ‘Autonomy’ into a minimal, percolating house track. Swapping the acid spikes for analog bleeps, Medlar’s signature can be felt every step through this vivid energetic stomper.

Fabric resident Anna Wall follows with another beautiful subversion as ‘New Politik’ is given a smouldering take. Moody, intimate, downtempo; there’s some serious late night HTRK-esque vibes to Anna’s twist.

Further into the remix trip we glide to find Dischi Autunno, Ombra International affiliate Curses pulling ‘Electric Light’ into the fringes. Taking the upbeat, crystalline pop of Penelope and Stephen’s original and flipping it into a stark postpunk Bauhaus-inspired take, Curses’ live bass and driving new wave beat shine a whole new light on the original and write it a whole new chapter.

Finally, brand new act, Isolating have the honour of closing the EP with industrial modular apocalyptic take on ‘Infinity’. A vast playground of contrasts, at points it’s dirty and pounding. At others it’s quiet and menacing. File under ‘Dystopian Techno.’

Four extensions on one of the most interesting electronic albums released this year, if you haven’t treated yourself to ‘Autonomy’ yet, you’d be wise to. DJ Mag stated it’s The Golden Filter’s best work yet while Clash called a it a bruising return. These remixes follow with complete forward-thinking consistency. Enjoy…

Skyf Connection (pronounced skAyf) was a short lived project by long time friends Anthony Mthembu and Enoch Nondala. At the time they were working for Annic Music, an independent label run by married couple Anne and Nic Blignaut. Although the label was known mostly for Zulu, Sotho, Tsonga and other traditional styles, they had a few Disco releases on the label including groups like Keith Hutchinson’s Focus and Enoch’s discovery Lena, who went on to have huge success under the name Ebony a few years later.

In 1984, when an artist didn’t show up for a booked session they decided to make use of the studio time and began working on a demo. At the time Anthony and Enoch had been playing for a year at a new club called Gamsho, located on a farm on the outskirts of Kliptown Soweto. Along with Blackie Sibisi, Sepate Mokoena and Elijah “chippa” Khumalo they made up the resident house band. Due to cultural boycotts and American artists refusing to perform in the country, locals took it upon themselves to fill the market with the American sound the crowds demanded. The demo they recorded at Blue Tree Studios was going to be their product they could use to promote their brand of the American sound. They then took the demo to Universal Studios where their friend and trusted engineer Jan “fast fingers” Smit was working. It would be here that they would polish their demo into something they could take to their bosses and have pressed. Equipped with a DX 7, Linn Drum and some Juno synthesizers they were on their way. Jan lived up to his name and programmed the drums, it is rumoured he could program in almost real time, a skill that translated to the local arcade where he held high scores on many machines. Enoch would be singing and playing guitar while Anthony would do all the Bass and Keyboards. The result was 4 funky party anthems with synth work like no other recording at the time. Their take on what they believed the crowd would want to hear at the beloved club they called home.

From start to finish the 4 tracks portray what would have been a standard night at the Gamshu. Although the club would open earlier and the standard hours of most clubs was 6 to 6 , the band would start playing at 10pm. With their standard set time and Anthony and Enoch unique view on what a Disco should be, they chose the motto Ten to Ten as the album title because those were the hours when they were the stars and Disco ruled the dance floor. To get to the club was a bit difficult, you needed to drive along an empty road where thieves waited for any patrons trying their luck walking after dark. Since there was no transport during the night, the safest way to get home was to wait till the next morning to walk home. Even though in the summer months of Johannesburg light begins to peek in just after 4am, crowds refused to leave and stayed enjoying good music and company until 10am. The lead off track “Let’s Freak Together” has powerful lyrics encouraging people to let go of their worries, put aside any differences and let the music bring everyone to freak and dance together. The whole album is about the joy we can all feel when we share the same moments and how music can bring people together in a unique way, a philosophy shared with the original nightclubs of 70s New York. This approach to music is where the name Skyf Connection comes from, translating from slang to mean the connection we create through sharing, in this case Music and good times.

Skyf Connection would go on to play at Gamsho till the club’s closure in 1986. In those years their popularity lead to being booked for private events like weddings and birthday parties, as well as gigs in some other venues like Mofolo Hall. They would share the stage with many artists through the years learning artist’s songs and providing support as a backing band. After the club closed Anthony would go on to join the house band at The Pelican, another famous club located in Orlando East, as well as dabbling with songwriting for artists like Phumi Maduna and helping Enoch on many projects through the years. Enoch would ditch live music altogether and immerse himself in studio work, starting full time as a house producer and A&R for the recently formed Ream Music. He would go on to produce hit albums for pop artists like Percy Kay and Makwerhu but made his mark discovering countless artists that would become stars in the traditional market. They would remain friends until Anthony’s passing in 2016 and although Anthony is no longer with us his spirit lives in the grooves he left on this one of a kind record. His wife Vinolia will be accepting his portion of the profits on his behalf.

After Lowtec, Alex Cortex, STL and iridescence; Swedish label ‘blundar' presents Benjamin Brunn 11th solo album, 20 years after his debut.

BLUNDAR7 comes as a 10 tracks / 38 minutes long-player, coloured cover on a 180g black vinyl. Artwork by ‘mutantexture’
Brunn wrote and produced all tracks between 2017 and 2018; In contrast to must recent releases were limited to one or two synthesisers, this time a whole array of instruments was used: tELHARMONIC, Music Thing Modular Chord Organ, Doepfer A-111-3V Precision VCO, 4ms STS, Yamaha DX7, Clavia Nord Modular G1 & G2. The long-player comes after a collaborative album with Dave Wheels out on Sushitech early this year, and will be followed by one together with Move D, via Smallville in 2020.

The second release on Eclair Fifi’s River Rapid Imprint comes from none other than Santiago Salazar.

Following on from the Afrodeutsche RR001 EP - This new release brings 2 brand new tracks from Salazar - Piano Adjacent and Cosmic Powwow both secret weapons from Eclair Fifi DJ sets.

Santiago Salazar relocated to Detroit in the early 2000s to work with the legendary Underground Resistance Collective. Becoming part of Los Hermanos he continued the traditions of Latin Techno established by DJ Rolando in 1997 as well as releasing under his own name and as S², Seldom Seen and as part of Galaxy 2 Galaxy as well as an incredible amount of other music and projects for labels such as Planet E, Rush Hour, Seventh Sign and many more. RR002 Follows his other releases in 2019 including “The Night Owl” Album on Love What You Feel.

River Rapid is the new label from acclaimed DJ Eclair Fifi. Known for her tastemaking dj sets steeped in upcoming exclusives and unknown rarities as well as her essential monthly radio show on NTS.

"The Red" EP by Dominique Fils-Aimé released on vinyl for the first time with new cover art. Special edition Black Friday 2019 pressing.

Dominique Fils-Aimé is a Polaris Music prize-nominated singer-songwriter from Montreal who draws inspiration from soul icons of the 40's and 60's such as Billie Holiday, Etta James, and Nina Simone. While her musical roots are grounded in early soul and jazz, her sound transcends contemporary urban soundscapes.

Dominique's self-produced debut, "The Red" EP, was originally released in 2015. This new version from KingUnderground has been fully remastered and includes a live version of "Love of Yours" as well as two bonus instrumentals.

Sultry vocals follow melancholy guitar and organ on "Like Mama Said." Dominique's calming voice is akin to a meld of Sade and Amy Winehouse. While the edgy 'When You See Me'' has a hypnotic, catchy groove and chorus, she shows off her versatility with a stripped down, acoustic blues-tinged piece on "Ok With You."

The songs were recorded live in the studio in only a few takes with minimal overdubs to capture the unconstrained depth of expression and natural impulse. The faintest of imperfections in the recordings were preserved in an effort to speak the truth, as the nature of her songs reflect on the vulnerability and strength in each of us and their delicate balance. Dominique unifies each song on the record with empowering lyrics, bringing such a commanding voice and precise delivery, you could almost imagine her singing the theme for a new Bond movie.

This cinematic RnB & jazz-inflected debut by one of Montreal's finest soul singer-songwriters is available for the first time on high-quality vinyl.

Nicola Cruz re-visits his second album 'Siku', released earlier this year to widespread acclaim, with ‘Siku Reworks’. The release provides the listener with another perspective on the ‘Siku’ domain, one envisioned in different corners of the world; Argentina, the UK, and Japan to name a few. In an effort to unlink the original material, Cruz has selected producers to re-work a designated song on 'Siku'; according to their own style. Additionally, Cruz has chosen to re-record two tracks whose live versions have stuck with him throughout a year of constant touring.

‘Siku Reworks’ invokes a psychedelic view of the original material, Hermetics (R&S) provides deep atmospherics with his take on 'Obsidiana'; and Nicola offers an acid-merengue-infused live version of 'Señor de las Piedras'; alongside an infectious and club-ready re-work of live favourite 'Siete'. In some ways it's hard to define Nicola'ssound, shaped by years of global touring, and every track here is unique and succeeds in breaking from the usual electronic music format in captivating fashion.

With their debut, MME dUO send us across an impulsive sound collage omniverse of enigmatic Dada - long live imperfection! Formerly working together as Sculptress of Sound, Cologne based Patricia Koellges and Tamara Lorenz make use of a variety of instruments and devices: DIY electroacoustics, small synths, loopers, tuning forks, electric bass, percussion and voice are thrown into the game and shape a sound that’s as diverse as it is striking. The four sides of the record are the four seasons of the year. The cover artwork depicts an oddly shaped honey locust situated just outside MME dUO’s rehearsal room; homebase for a year of recordings for awholerunboom. From spring to winter the album opens up a wayward palette of experimental music. Sweet Cold Night could be a soundtrack for a movie scene of ourselves trudging through a swamp. CutCut somehow sounds as if caught in a loop early in the morning after an extensive club night. RZCK, a deliberately stumbling forward percussion piece is the longest of the 21 tracks. Several video clips go along with awholerunboom, one of which features the artists going through some kind of a ritual exercise inside of a two person costume, trying to put things straight it seems. The track itself Isn’t It Isn’t functions by way of permutations of spoken phrases and it might actually make you wonder if Gertrude Stein had gone electric. Mixed and mastered by Volker Hennes. Cover artwork by MME dUO. Edition of 300.

‘Still Strange’ reaches back into the prized loft tapes of Jeff Sharp aka Orior following the revelatory discovery of his overlooked early ‘80s gems on 2016’s ‘Strange Dream’ collection, as coaxed out by
DDS dons Miles Whittaker and Sean Canty.
Huddling another sublime, dusty set of analogue tapes freshly baked and remarkably well-restored by Andy Popplewell, ’Still Strange’ contains four gorgeous flashbacks to the era 1979-1983
surrounding and even pre-dating ‘Strange Beauty’, and then shifts focus to recordings that Orior made around the early ‘90s.
As with its predecessor, Orior is not alone on the material in ’Still Strange.’ From those feted early tapes we find Phil Hollis returning to lend jagged guitar on the drum machine sizzle of ‘Feels Like
Summer’, while the mysterious synth player New Cross John makes vital contribution to ‘Invium.’
Along with the aching synth sigh of ‘To Return’, which pre-dated all of these recordings, and the nine minutes of haunting bedsit strums in ‘Larbico Alt Mix’ which came from the first batch, the
early material is all arguably worth the price of admission alone for seekers of lost synth treasures - really this stuff is just so good..
However, the album’s other six tracks expand knowledge of Orior’s work into the ‘90s and also contain some extraordinary material. Salvaged from further loft tapes found in various states of degradation, and subsequently mixed down between London’s Goldsmiths College and Miles Whittaker’s Whalley Range attic (and elsewhere), they are decidedly more blunt and gloaming, especially in the Deathprod-like ‘Under Shadow’ and the near static witching hour ambience of ‘Endless’, while shorter vignettes such as ‘Unknown Future’, ‘Gothic’ and ‘Another’ point to pre-echoes of BoC’s crepuscular scapes and even Bladerunner-esque sci-fi noir soundscapes

The late composer, arranger, musician and record producer Nonato Buzar is a lesser known great (outside of Brazil). His legacy leaves behind a rich body of recordings, working with some of the cream of the Brazilian 60s and 70s music scene, such as Evinha, Elis Regina, Wilson Das Neves to name a few as well as Reggae legend Jimmy Cliff. The awesome organ driven dancer of ‘Cafuá’ is taken from Nonato & Seu Conjunto’s 'O Som E O Balanço De Nonato’ album from 1975 on Som records.
Mr Bongo re-issued José Roberto’s (aka Ze Roberto) ultra rare 'Lotus 72 D' 7” earlier in 2019. 'Crioula Multicolorida’ though not as scarce as ‘Lotus' is still a hard record to find and is equally as great. This anthemic ‘samba rock’ gem, with its amazing breakdown, originally appeared as the B-side of a 7” in 1974 on RCA Victor. It has since been a favourite amongst Brazilian DJs and collectors, featuring on the influential ‘Via Brazil’ compilation series and 'Brazilian Beats Brooklyn' collection on Mr Bongo.

20 years of Pop Ambient. Already? One didn’t notice. It’s an anniversary which comes quietly. An anniversary with quiet tones.
In the spirit of the special restraint of pop-elegance, it has no reason to drawn attention to itself with a big „Tam-Tam“. Or better: „Bum-Bum“. The bass drum stays outside. Nevertheless, in fast-paced, overstimulated times of moving forward, it’s a joyful occasion to look back.
What strikes most by putting or listening to 20 years of pop ambient in a row is the central theme that holds together the dense aesthetic concept like the pearls of a necklace.
Floral beauty for digital naturalists. Music like flowers, that don’t wilt. Timeless. Ageless. But with all of the conceptual unity and resolution, Pop Ambient would not be Kompakt without the break, the friction, the expansion of musical boundaries in between tradition and innovation, in between conspiracy and the openness of the discourse.
Aestheticism, escapism, acting in the spirit of „nevertheless“. Swans drifting by, clouds pass over, everything is floating and: „Boredom is a stylistic device“ (Andy Warhol).

Pop Ambient Music is medicine against illnesses, that you don’t even suffer from. It’s giving everything, demanding nothing.
Musical lotus leafs, off which the virtual wastewater of our time is rolling like the reality is dripping off the matrix.


In this sense, we’re happy about the pop-ambient anniversary greetings from new and old companions like Thore Pfeiffer, Max Würden, Yui Onodera, Jörg Burger, Thomas Fehlmann, Morgen Wurde, Leandro Fresco aswell as contributions from T.Raumschmiere, Andrew Thomas and, after a long break, from friends from early days like Joachim Spieth, Markus Guentner und Klimek.

Pop Ambient 2020 is released digital, as CD and of course as a chic double vinyl. Also included in the package: The whole distinctive cover-series as an art book of 44 pages. And for all of the old and young fans and collectors there is the Pop Ambient 2001 in a overhauled original version out on vinyl for the very first time.



Breath in. Breath out. Thank you.



Wolfgang Voigt, September 2019.

20 Jahre Pop Ambient. Schon? Hat man gar nicht gemerkt. Ein Jubiläum auf leisen Sohlen. Ein Jubiläum der leisen Töne. Und ganz im Sinne pop-eleganter Zurückhaltung, kein Grund, großes Tam-Tam zu machen. Oder besser gesagt: Bum-Bum. Denn die Bassdrum bleibt ja draußen. Dennoch freudiger Anlass genug, in reizüberfluteten, schnelllebigen Zeiten auf dem Weg nach vorne einen Blick zurück zu werfen. Wenn man 20 Jahre Pop Ambient Platten hintereinander legt / hört, sticht einem zunächst der sprichwörtliche rote Faden ins Auge und ins Ohr. Der Faden, der das dichte, ästhetische Konzept zusammenhält wie die Glieder einer Perlenkette. Florale Schönheit für digitale Naturalisten. Musik wie Blumen, die nicht welken. Zeitlos. Alterslos. Aber Pop Ambient wäre nicht Kompakt, wenn nicht bei aller konzeptionellen Ge- und Entschlossenheit, auch der Bruch, die Reibung, das Ausweiten musikalischer Genregrenzen zwischen Tradition und Innovation, zwischen Konspiration und Diskursoffenheit, inkludiert wäre. Ästhetizismus, Trotzdemismus, Eskapismus. Schwäne treiben, Wolken ziehen, alles fließt – und: »Langeweile ist ein Stilmittel« (Andy Warhol).

Pop Ambient Musik ist Medizin gegen Krankheiten, die man gar nicht hat. Gibt alles und verlangt nichts. Musikalische Lotusblätter, an denen das virtuelle Schmutzwasser der Zeit abperlt, wie die Realität an der Matrix.

In diesem Sinne freuen wir uns über pop-ambiente Jubiläumsgrüße von neuen und alten Weggefährten wie Thore Pfeiffer, Max Würden, Yui Onodera, Jörg Burger, Thomas Fehlmann, Morgen Wurde, Leandro Fresco sowie Beiträge von T.Raumschmiere, Andrew Thomas und nach langer Pause, von Freunden aus frühen Tagen wie Joachim Spieth, Markus Guentner und Klimek.

Pop Ambient 2020 erscheint Digital, als CD und natürlich als schickes Doppelvinyl. Mit im Paket: Die gesamte unverwechselbaren Cover-Serie als 20-seitiges Kunstbuch. Und für alle neuen und alten Fans und Sammler, erscheint zeitgleich Pop Ambient 2001 erstmalig auch auf Vinyl, in generalüberholter Originalversion. Das Ganze gibt es zudem im schicken Jubiläumsschuber in limitierter Auflage und farbigem Vinyl, exklusiv erhältlich nur auf kompakt.fm …

Einatmen. Ausatmen. Danke.

Wolfgang Voigt, September 2019

Germany's rising newcomer DJ and producer Desroi will deliver his debut album on Semantica by early November. He has gained wide attention with his Dwell in Motion EP on Avian in 2018. Each artist has a special story to tell about their musicianship. Techno producer Desroi, who in every day life goes under the name Frederic Lindemann, has a relatively no-nonsense one. Observing from the outside, his production process seems to be one of tight structure and focus, holding great modernistic vision. Desroi studied Composition at Folkwang University of Arts - parallel to his already ongoing career as a DJ, producer and label owner - having graduated in 2018. His craftsmanship combined with a more theoretical academic view gives him a distinguished position on the scene. Desroi is curious about exploring the bridges between contemporary music and techno, and he recently said he is less interested in arrangement, melodies and harmony, and much rather focuses strongly on textures, rhythms and new sounds. Listening to his compositions these quotes makes nothing but sense; Desroi's techno is entrancing and layered but holds no unnecessary clutter.

All Music Written & Recorded by David Drucker at The Skinny Apartment in Ridgewood, Queens, 2017
Featuring Mike Green (Mezzanine Swimmers) on guitars on "I Took Too Much Acid in 7th Grade," Cop Funeral on
electronics on "Seafood Special," Chris “Mr Transylvania” Shields on background vocals on "Massachusetts Is a Magical
Place," Eva “Nighttime” Goodman on violin & backing vocals on "The Ridgewood Ripper"
Painted Faces is the long (strange/trip) running voyage of weirdo David Drucker, began in Florida in 2009 and decamped
to NYC in 2011. It has sometimes been a loose band in the past with a revolving lineup of outsiders and interlopers
(known as The Freak Band), but is usually a solo endeavor, and the bulk of the recordings have been done as such. PF
has always been a home recording solo project, one-man-band style heavy on psychOdelic/outsider
folk/noise/experimental vibes. He started self releasing CD-Rs in the early days and quickly jumped to tapes on a variety
of labels including Already Dead, Lava Church, J&C, Null Zone, Tall Tapes. A "legendary" CD compilation on Gulcher
Records and an LP from Already Dead and Almost Halloween Time in Italy brings us to the here and now. Tales from the
Skinny Apartment is somewhere around the 20th or so Painted Faces release...he has long lost count.
Drucker runs/curates gigs (and records at) the Skinny Apartment, his dwelling place in Ridgewood Queens,
which some folks have called the "realest DIY zone in NYC." He also rips in Dead River Company, Big Hiatus, Shecky,
Canyon River Blues and countless other unknown subterranean improv zoner outfits. "Ripping" involves keeping it
freaky and weird and ripping sets wherever/whenever, i.e. always being down to perform whether in a kitchen or a
packed ballroom....no diva bullshit, just plugging in (or going sans electricity) and playing...always giving it your
all...Ridgewood Rippers are the crew of artists that populate Ridgewood and the loose "scene" around the Skinny
Apartment...much of it is in jest, a self-inflated mythology of nonsense which is pervasive in all rock and roll "scene"
histories. As a student of rock/pop history, Drucker is fascinated by the loose associations that connect folks from
various zones together...i.e. Miles Davis and The Grateful Dead...it's all the same though, the labels and genre
distinctions are completely arbitrary. We're all in this together, now more than ever...to be a "ripper" is simply to
"rip"...no nonsense!
Painted Faces has toured all over the USA and Canada numerous times, spreading the ripper gospels, and is
gearing up for their second European tour. He is known for falling apart on "stage," with performances heavy on humor,
horror, stoned digressions, and cathartic bouts of therapy, part performance art/part standup comedy, eradicating the
lines between performer, performance, and audience one show at a time

2LP Gatefold Sleeve.

Lost Ethnography of the Miscanthus Ocean” contains six of their earlier works from 2013 to early 2014. The original release was on cassette from Guruguru Brain which was sold out less than a month. There is a new added D2. Miscanthus Ocean only for the LP version. The album is dedicated to Grass Mountain and the incredibly hot, humid summertime in Taipei. This is also the echo of their instrumental trio period before they moved on to digital composing.

Band Info:
Formed in Taipei, Taiwan in 2013, comprised of member Lu Li-‑Yang and Lu Jiachi, Scattered Purgatory is a name
derived from a Taoist ritual which expiates the souls of the innocent from a state in between life and death and then at last, release.
Growing up in Taipei, where two wheeled transportations are popular, the basin city of such population density and humidity had
inspired their sound distinctively differentiates from the US west coast desert drone. If we use Taiwan new cinema wave in 80s as
the analogy, the massive use of longshots of those films expressed a different halo from the Western Spaghetti; Scattered
Purgatoryʼ’s sound expresses soundscape to the world by using a familiar approach ‒– but with an oriental narration geographically
and spiritually.

PGS 011 comes to us from Gustav Brovold, an essential player in Detroit's latest wave of underground electronic music. His début EP, "Hyperbolic Space" is the first release solely dedicated to the local legend, with influences ranging from 90s UK rave, apocalyptic techno, and bright, post-Drexciyan electro. Since the late-aughts, Brovold has been a fixture of Detroit's dance community; first as a member of Randy Chabot's Deastro project, and then a pillar of the after-hours scene through raves with the ADULT Contemporary collective, all the while sprinkling in rare, must-see all-hardware-based live shows around the city. Moments of brilliance have boiled over the surface globally, with appearances on Don't Be Afraid as Radio Brovold in 2015, the Detroit Electronic Quarterly's "DEQ Vol. 7" in 2016, and on the punishing opener of PGS 009's with "Temple of the Circuit" earlier this year.

Following a live show at Detroit's Donovan's Pub in late 2018, Zach (Shigeto) came to the obvious realization–this music is the reason why we started PGS, and needed to release the music to a wider audience. Brovold handed PGS a flash drive with hours of completed music, a gold mine in bits and bites. "Hyperbolic Space" represents a cohesive sampling of the mountain of tracks from Brovold's vaults, propelling PGS into the next decade. Play it in your car, or at unauthorized raves, and dance to the airwaves of Radio Brovold.

"Oakland Ave"
The vibes of forgotten 90s raves: UK techno made with digital synths, resampled as a low-bitrate soundtrack for the night time level of a PlayStation racing game. Building, dancing hi-hats, slow building chord stabs, dubby techno feels. A triumphant finish, 1st place in fifth gear. (*If you play this at 45rpm, you can Jit).

After launching with Jaxe’s acid bomb Seekings earlier this
year, Dom Trojga is back with a bang (and five smiles). Uniting
artists from Ukraine and Poland, and ditching genre
considerations in favour of a shared wavelength, Domownicy
Różnoracy Cz.1 is all about further revelation of the imprint’s
purpose. First up is synth enchantress Poly Chain with the
storming ostinato of Moonhaze (first track ever signed to the
label, but not her last, by any means), followed by the beaming
legend SLG and his soother-shaker Hello Utopia. On the B-side
Jaxe strikes back, teaming up with the uncanny Bejenec
(CHECK OUT HIS LIVE SHOW, FOR REAL), for a hefty slab of
tekno-funk that is Seamless. Finally, label founder Eltron
rounds things up with his own quirky Rym Cymcym. The
beautiful label art has been drawn by the inimitable Martyna
Bolanowska. Playing this record is good for you, so don’t
hesitate.

‘The songs on the first album are the children. The songs on the second
album are their parents. Ghosteen is a migrating spirit.’ - Nick Cave.
The album was recorded in 2018 and early 2019 at Woodshed in Malibu,
Nightbird in Los Angeles, Retreat in Brighton and Candybomber in Berlin. It
was mixed by Nick Cave, Warren Ellis, Lance Powell and Andrew Dominik at
Conway in Los Angeles.
Ghosteen is the seventeenth studio album from Nick Cave and The Bad Seeds,
following 2016’s Skeleton Tree, and will be released via Ghosteen Ltd

This essential LP edition compiles 20 of Chuck Berry’s most emblematic and celebrated songs, taped by the Chess label between 1955 and 1961.
These recordings helped define the exact nature of early rock & roll. All-time classics such as Berry’s car songs (“Maybellene”), his calculated and carefully crafted instant smashes for the 1950s teenage market (“Reelin’ and Rockin’,” “Sweet Little Sixteen,” “School Days”), and his celebrations of the music itself (“Rock and Roll Music,” “Johnny B. Goode,” “Roll Over Beethoven”), are some of the greatest rock tunes ever written.
Take “Johnny B. Goode” specifically - the intro alone is arguably one of the most iconic pieces of music ever recorded, and the subsequent hand in hand energy of both the vocal and the instrumentation not only forms a brilliantly hook throughout the track, but also creates something uniquely Chuck Berry.
This material will convince even the sceptics of Berry’s brilliance. All of these original gems, which have been brilliantly remastered to achieve the most pristine sound, are simple two-and-a-half-minute songs that convey all the sheer power and emotion of rock & roll. Enjoy!

Based in Munich, Germany, the producer, part-time DJ and Permanent Vacation label co-head Tom Bioly aka TB delivers new romantics, inspired by influences like The Cure’s „The Holy Hour“, Boards of Canada’s late 90s electronica, Miami Vice tropic percussion and Angelo Badalamenti’s Twin Peaks. Acid drops, string distortions, lushed melody bits, hushed robo vox and washed space guitars are being layered and sprinkled over machine beats and disco drums.

TB’s first release "Invitation To Love" made it on John Talabot's vinyl-only Hiverned 10" imprint and was voted amongst the best 10" releases by UK Fact magazine. GROOVE magazine wrote "..entirely superb..“, about the follow-up EP "City Girl" on Permanent Vacation, of which the title track has been licensed to the independent film „All These Sleepless Nights“ by director Michal Marczak.
In 2017 TB followed with “Heartbreak Hotel“, a double twelve-inch release with eight tracks of melancholic dance noir set in smoke-filled darkness. In 2018 he followed with the „Night Heat“ single, of which a RMXD EP with contributions by Gerd Janson, Sascha Funke, DJ Hotel and Bostro Pesopeo came out earlier this year.

Exploration is back! Johannes Volk continues the journey with a new 4 track EP on his own imprint. The title track is a long upbuilding peak time smasher with strong reminiscences of early Detroit Techno. A2 delivering raw and dirty machine madness with a subtle bleep funk around stomping drums. The flip side comes with 2 driving Dub Techno tracks, filled with heavy bass, emotional soundscapes and an complex sound architechture.

Made up of Dave Harrington (Darkside/Dave Harrington Group) and Benjamin Jay (NDF/Benoit & Sergio), Lights Fluorescent is, as the two describe it, an ‘experiment in the spaces between song and texture, idea and reference, past and present.’ On their debut album, The Oldest Sons Of The Oldest Sons, the duo develops an atmospheric, slant-pop sensibility that lists toward the experimental tendencies of improvisational and ambient music.
The result is a set of songs meant to be lived with. Entirely percussion-less, recordings drift on a tenderness of guitar, revenant feedback and vocals of autumnal intimation. Space Metal and July 9th process layers of bespoke noise and washed out chords to tarry with integral depth, light, and shadow, while Hotels distills country-western longing into its nth dimensional essence always unrequited.
From within these sonic panoramas, vocals emerge more as watercolor traces than coarse etchings. They aim to capture evocative, lyrical intensities, eschewing the solace of the literal. As such, the album favors 'the gestural, the implicit, and the miniature over the more adolescent urges of grand narratives and epic.’ These preferences map onto the album in all of its moves. J Girls reveals a hint of story buried, like its context, deep in whorls of feedback. Fleeting images of monuments, cathedrals, or epitaphs on tracks like Palace Walls or Small Sacrifices speak to a sense of memory and community paradoxically ungrounded by the material instantiations meant to keep things in place.

“Berceuse Heroique is very proud to announce that one of our biggest heroes is going to be our next release for this year. Pinch, one of the seminal members of the Bristol scene, is kickstarting a trilogy of 12"s that we call "an ode to sound system culture", trying to invoke the long lost spirits of pure, heavyweight, hardcore hedonism that stems from a lot of sub genres of British dance music culture. Border Control fuses the industrial aesthetics of Birmingham techno and the jungle techno pressure of the early 90's and in the end it sounds like a fight anthem against Brexit. Fortune Teller will test any soundsystem with that Dillinja-esque bassline and Loose Cables could easily be the younger brother of one of Pinch's most underrated tunes, The Attack Of The Killer Robot Spiders. Pinch runs the voodoo down one more time and he sounds pissed off and more fresh than ever.”