Buscar:early

Firmly established Industrial Detroit crew cranks out an EP that could have been a solid early 90's Wax Trax! side project with solid beats and cyberpunk grittiness. - ACIID HOUSE
by Fluxion A/D
Born in the warehouses of Detroit long time instigators of the Eastern Market broken beat underground Fluxion A/D captures the Detroit Industrial deep current like no other possibly could. Fluxion A/D is the next manifestation of this cyberpunk network core collective 'DeLIENMetria, Di_sect" improvised precision.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

1972 saw the release of The Sixth Ear (Narco NR666), this time credited to Nik Pascal. A more complex work than Beyond The End..., it adds consistent rhythmic patterns to the mix with the addition of bongoes and also explores some interesting chord progressions.

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes." (progarchives)

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same." (twoheadeddog)

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

Magnetic Web was released in 1973. It appeared under the Nik Pascal monicker and showed a clear evolution in sound, favoured by the addition of an Arp 2600 and some rhythm boxes. It also included percussions and cymbals. The Two Headed Dog site thinks "this is his masterpiece in all of its acid-laced glory."

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes."

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same."

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself, and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

Nik's last album, Zero Gravity (Narco NR123) came under the Nik Pascal name and had a fantastic side long piece on the title track which reminisces of the works of Cluster. B side features four tracks that also bear some Conrad Schnitzler reminiscences. This was to be Nik's last LP before he would sell all his synths to ex car racer and future electronic/ambient music star Steve Roach.

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes."

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same."

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself, and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

After more than a decade of deep, expansive productions on labels such as Detroit Underground and CPU, Annie Hall arrives on MUSAR for a record typically rich in texture and understated grooves.

Opening track 'Linium' immediately seduces listeners with a complex drum pattern that somehow feels spacious, subtly twisting and turning its way around Hall's analogue world. Dutch artist Mattheis maintains this understated feel but adds a soft, compelling kick in response on his suspenseful remix of 'Lavandula'. The original, moodier version of this cut the follows to open the B side, gradually erupting around a killer distorted bassline. The EP continues to hit a more urgent note with the tense machinations of 'Silene', where dense layers of stuttering, frenetic drums interweave with Hall's trademark, melancholy keys. The record concludes on a weightless, transcendent note with 'Santolina', taking each visceral element featured thus far and slowing each down, with affecting results.

Indebted to vintage electro and IDM, Hall's music is no throwback, always looking forward and moving dancefloors in the most unexpected ways.



DJ FEEDBACK

Early support from



Michael Mayer (Kompakt) : Nice vibes from Mattheis... will play for sure!

James Zabiela (Born Electric) : Linium is a nice one, thanks.

Arnaud Le Texier (Cocoon / Chronicle) : Nice music. Thx!

Marcel Dettmann (Ostgut Ton/MDR) : Thx!

Carl Craig (Planet E) : Thx!

Gonno (Beats In Space Records / Endless Flight) : I like Mattheis' :)

Thomas Hessler (Index Marcel Fengler) : Nice one! Thank you!

Slam (Soma) : Thanx

Âme (Innervisions) : Thanks

Blasha & Allatt (Meat Free / Manchester) : Amazing!

EREZ / John Byrun : A superb EP

Tom Lye (Melodic Distraction - Liverpool) : Big fan of the whole EP. Strong, building electro with different moods. Essential!

Afrodeutsche (NTS / LuckyMe / Skam) : Glitchy melodica... Right up my Strasse...

DJ Shiva / Noncompliant (Valence / Detroit Underground) : Stellar music here. Moving beyond "DJ music", this is just really fantastic to listen to in headphones. Gorgeous stuff.

Lonya (Asymmetric Recordings) : Great stuff here!

Nori (Posivision) : Cool work.

Cinnaman (Rush Hour / Naked Naked) : Lavandula and Santolina are my favorites! thanks

Dj Windows XP (E-Beamz) : Dope E.P. Will play Lavandula.

Ambivalent/LA-4A (Delft/Cocoon/Ovum) I'm a huge fan of Annie Hall and Mattheis!!! This is a FANTASTIC release!! One of my favorites of recent months just on first listen!!

Benoit C (Tsugi) : Linium for me

Ian Blevins (ESP Institute / Sulk Magic) : Linium and another bit of top work from Mattheis. Santolina is pushing my buttons too. Aphexy vibes.

Joe Europe (Ransom Note) : Very nice!

Azterisco: Very interesting record. Nice remix!

Oded Peled : What a fantastic release! Was hard to choose a favourite between Linium and the Mattheis Remix of Lavandula. Both will come in handy in my sets. ....Thanx a lot and keep em coming.

Naduve (Cocktail d'Amore / Disco Halal) : Both A1 and A2 are great!..Thanks.

Anastasia Kristensen (Nous) : I dig this a lot, it's a crazy well produced record.

Demia E.Clash (Darknet) : Such a good ep-.i love them all,quality production yess.

Pedro Martins (Karakter Records) : Nice EP overall. Linium, Silene, and Santolina are my favorites. Thank you so much!

Xinobi (Discotexas) : Great record. I'm specially enchanted by the original version o Lavandula. Congratulations.

Scan Mode (DJ Mag Spain) : Lavandula in both mixes for me

John Osborn (TANSTAAFL) : Can't pick a fav. it is all Devine. thank you.

Madloch (Sound Avenue) : Nice EP, Linium & Lavandula original are my favs, thanks.

DVS NME (Transient Force) : The standout track is Lavandula.

'Jump Trax' is another essential piece of early Chicago house music crafted by the legendary Duane Thamm JR back in 1984. Fusing together a myriad of influences including early 80's Euro pop, Italo Disco and HI NRG, Thamm JR was responsible for helping create and influence the burgeoning House sound that would emanate from the city all throughout the second half of the 1980's. Not only were these sounds new and fresh, they were experimental too, 'Jump Trax' sees the BPM's gradually shift throughout the duration of the tracks seamlessly giving the more adventurous DJ's out there more ammunition and room to experiment with styles and BPM's. A truly visionary approach to production and all recorded and mixed within Chicago's city limits by Thamm JR at his Reel To Reel Studio located in Villa Park, Illinois. 'Jump Trax' continues to be as influential today as it was back in '84, with many top DJ's still citing the record as a 'go to', powerful indeed.

Chicago's Still Music are proud to present this fully legit, remastered and repressed piece of Chicago house history. A truly pivotal record now made available again for 2018. Essential sound for those who love the real deal - snoozing not advised, OG copies of this monster are hard to come by!

Almost three decades after he put out his first record as one half of Tummy Touch twosome Tutto Matto, Paulo Guigliemino continues to produce effortlessly brilliant music that joins the dots between vintage disco, boogie, proto-house and sun-kissed Balearica. For proof, just check the heavyweight dancefloor sunshine that is 'Bella Topa', his first release on Leng Records.

Slow, sensual and blessed with all manner of delay-laden drum machine percussion hits, the track fixes the producer's usual colourful, boogie-era synth flourishes and ear-pleasing instrumentation (think fluid electric pianos, fluttering flutes, eyes-closed jazz guitar solos, lilting saxophones and spacey electronic chords) to a chugging, head-in-the-clouds groove reminiscent of Lindstrom and Prins Thomas's early collaborative work. 'Bella Topa' cleverly shifts shape several times throughout, utilising jazzier rhythms and bolder melodies to light up key moments.

Remixes come from Guigliemino's old pal Federico Marton, a producer best known for being one half of sometime Get Physical, Superfiction and Snatch Recordings artists Italoboyz. He lays down two distinctive revisions, starting with a 'Slow' club reconstruction that adds additional percussive heaviness and sparkling electronics to Super Paolo's twinkling, sun-baked original.

His other version, a 'Fast' club reconstruction, drags Guigliemino's track towards peak-time dancefloors kicking and screaming. Making the most of his friend's killer groove and finding sufficient time and space for each life-affirming musical element to sparkle, his mix bobs, weaves and eventually soars for 12 mesmerizing minutes. The mix, like his slow version, makes use of additional percussion and wisely gives more prominence to the A-side's spacey electronics and boogie-influenced synthesizer flourishes. The results are little less than breathtaking.

Following the release of lo-fi electronic masterpiece I Don't Remember Now / I Don't Want To Talk About It and his brilliant follow-up Plaster Falling, Cincinnati-based artist John Bender began assembling his third and last album, Pop Surgery, in late 1982.


While all of Bender's work draws from intimate home recordings - featuring the artist alone with various keyboards, analogue sequencers and tape delays - Pop Surgery remains the one that perhaps best distills his arrant deconstruction of the "pop" concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics.


Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing scrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia's classic '70s style.


"I pressed a single run of 500 copies," Bender recounts. "The only review I remember railed at the poor production quality. The DIY era had clearly come to an end."


This first-time standalone reissue is recommended for fans of Suicide, TG's 20 Jazz Funk Greats and early Cabaret Voltaire. Liner notes by John Bender.

Composer, filmmaker and photographer Phill Niblock is a true pillar of the New York avant-garde. In the past 50 years, he has curated over 1,000 performances at his Centre Street loft and steadfastly built a massive, multidisciplinary body of work. While his earliest musical compositions date back to 1968, Niblock waited until the early '80s to release any recordings. Nothin To Look At Just A Record, a powerful debut with densely layered trombones, would be the first to unfurl his unique approach to sound.

The second album and perhaps the most rare in Niblock's vast catalogue, 1984's Niblock For Celli / Celli Plays Niblock is a meeting of two great minds. Working with reed player Joseph Celli (a composer in his own right, who has collaborated with John Cage, Pauline Oliveros and Ornette Coleman), Niblock nimbly removes the breathing pauses from Celli's oboe and English horn to create seamless, enchanting drones.

Niblock insists that his music be played loud: only in this way can one experience the visceral ringing of these long instrumental tones through the speakers and their natural overtones generated by the room. Niblock For Celli remains deeply absorbing.

This first-time reissue is recommended for fans of Alvin Lucier, Yoshi Wada and Dome.

American composer and multi-instrumentalist Alvin Curran has remained one of the great emblems of experimental music for the last half-century. In 1966, along with Frederic Rzewski and Richard Teitelbaum, Curran co-founded Musica Elettronica Viva, a seminal gesture in collective free improvisation. In the early '70s, his solo work would become a crucial bridge between minimalist traditions on both sides of the Atlantic.

Canti E Vedute Del Giardino Magnetico, Curran's solo debut, was recorded by the artist himself and issued on Ananda, the small Italian imprint started by Curran and fellow composers Giacinto Scelsi and Roberto Laneri. The piece itself was put together in the winter of 1973 and presented for the first time at Teatro Beat 72 (Rome's The Kitchen).

Encouraged by the work of Terry Riley, La Monte Young, Charlemagne Palestine and Simone Forti, Curran binds the listener to aberrant notions of place and time: blending field recordings (wind, high-tension wires, beach waves, etc.) with simple and often primitive instruments. Across two sidelong tracks, Giardino Magnetico forms a lyrical collage of synthesizer, glass and metal chimes, plastic tubes, brass and the composer's alluring voice - converging in an immersive realm of Curran's inner / outer experiences.

This first-time vinyl reissue is recommended for fans of Harry Bertoia, Michel Redolfi and Lino Capra Vaccina.

XGLARE (all caps), is Jessee Egan, a Brooklyn-based producer, sound designer and multimedia artist. She has released music under multiple aliases since 2011, most notably on AY Japan. Her latest incarnation, XGLARE, balances warped sound design, unearthly atmospheres and experimental rhythms that reject genre boundaries.

Representing Brooklyn in full force on the debut record, 'Morph EP,' XGLARE yields incredibly heavy atmospheres. This is a mature record showing patience, design and a thoughtfulness sorely lacking in much of the electronic music scene. Beats and dance elements take center stage alongside impossibly powerful, almost elemental transitions. Track 1, Lymph sets the tone with an updated halcyon rave sound. Imagine standing in a field in the countryside at an illegal rave at 6 in the morning as the sun is rising, wind blowing in the air. Track 2 Fossa feat ARIADNE, an Opera trained singer, immediately submits you to whisper shouting, a highlight of the album. In between more dance floor-oriented tracks, Spore and Plexus, sit two sound design gems, title track Morph with its pounding rhythmic charges and vast reverberated rooms, and Ganglia, which reminds of early Do You Know-era Squarepusher. A well-rounded EP showing off the many talents of XGLARE also comes housed in beautiful artwork designed by Egan herself.

You may know of 'Rude Movements', an early dance music classic produced by SunPalace (Mike Collins and Keith O'Connell) back in 1983 that brought together protohouse, balearic beats and funky vibes. In 1984, the tune quickly became an anthem that could regularly be heard at David Mancuso's 'The Loft' or at Larry Levan's 'Paradise Garage' for example.
Thanks to Mike Collins, the studio veteran still in the business after more than 35 years and currently busy perpetuating the legacy of SunPalace, more material from the archives
has been 'surfacing' over the past few years on UK-based record labels. After a very productive meeting earlier this year, Parisian label Chuwanaga is really proud to present four unreleased songs produced between 1982 and 1984! Co-written by Mike Collins from SunPalace and Breeze McKrieth, a founder member of Britfunk bands Light Of The World and Beggar & Co, these Lost Songs are the almost forgotten result of this seminal collaboration, an exclusive musical rendez-vous between experienced studio music makers and funksters at the top of their game, including some of the finest Britfunk musicians. Bringing together eighties influences and futuristic sounds, the result covers a wide range of genres, from jazz-funk to new wave: it captured a unique
moment in British musical history, a smooth transition to a more electronic sound. Definitely not one to be missed!

Having previously featured on Comb and Razor's popular compilation 'Brand New Wayo', Caribou's 'The Longest Mixtape: 1000 Songs For You' (twice) and remixed by numerous DJs including Kornél Kovács. It has long been over due that Nigerian synth-funk legend Dizzy K gets the reissue he deserves, teaming up with London based record label Sticky Buttons for a very special double LP compilation.

Dizzy K Falola is one of Nigeria's most adored disco funk artists form the early 80's. His career was propelled by EMI Nigeria who brought him to notoriety with his first album 'Excuse Me Baby', released in 1982. Excuse Me Baby became an instant success in Nigeria and within 3 months he was back in the studio recording his second album and touring with international superstars such as The Whispers. The success of his work came both from the creative collaboration of musicians and their progressive style of synth-funk and disco influenced heavily by western artists. The team included Nkono Teles, Felix Liberty and Dizzy K's mentor and manager Tony Okoroji amongst others who together formed the disco funk that infected the homes, streets and clubs of Lagos. Noted in 'Hip Hop Africa: New African Music in a Globalizing World', Dizzy K's song titled Saturday Night Raps which features on Excuse Me Baby is thought to have been on of the earliest examples of commercial African Rap music. It was examples like this that showed Dizzy K was bringing something new to the Nigerian boogie scene.

With careful restoration by Colin Young at See Why Audio, (who's expertise and talents have graced some of the most iconic reissues of recent years, including "Who Is William Onyeabor" and Charanjit Singh's "Synthesizing: Ten Raga's to a Disco Beat") and vinyl mastering conducted by The Carvery, cutting the masters on a Neumann VMS70 mastering lathe originally used in Nashville's CBS studio to cut Motown classics. This is an uncompromising vinyl package covering Dizzy K's first 3 albums from '82-'84. Compiled for the dance floor and offering Sticky Buttons take on the bright boogie goodness of Dizzy. With personal liner notes from the artist and fresh artwork by the team this is a record that cuts to the point.

'Bound to shake your walls and rattle your windows' Max Reinhardt, BBC RADIO 3 "The first bit of evidence that Elizabeth Bernholz's next album Pastoral - due out in September - could be her best to date". THE QUIETUS "Will likely be one of the year's very best records.' CLASH 'What species is this What century' Forged in a rural idyll in Middle-England, the new album Pastoral, by Gazelle Twin, exhumes England's rotten past, and shines a torch over its ever-darkening present. Told through a troupe of multi-gender voices, in vernaculars old and new; from the shrill echo of folksong to tabloid-tinged jaunts, the artist aka Elizabeth Bernholz, presents the notion that 'there is horror in every idyll, and danger lurking beyond the 'quaint' '. The village square - once host to centuries of public torture - becomes a floral framed postcard, dolled-up for the Summer Fête. A sunny, afternoon walk over the hills unsettles a cloud of angry flies feeding from unidentifiable remains. Bigoted vitriol gently murmurs amidst tearoom chatter, as the neatly framed pastoral picture dissolves into a solemn ennui. Four years in the making, amidst life-changing events, including a move far out of the city, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014, Anti-Ghost Moon Ray) and is seamlessly on-theme, together with Bernholz's J.G. Ballard-inspired A/V show 'Kingdom Come' (soundtrack released November 2017, Anti-Ghost Moon Ray) - a fascism-infused hellscape, this time set in deepest Old England. As its sole creator, Gazelle Twin 'The Composer, Musician and Producer' has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation - the harpsichord and the humble recorder, fed through myriad electronics - to the compelling, ritualistic application of found sample-looping. Beyond Bernholz's signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of '90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory. In its consummation it is an album that feels pan-century, even pan-species. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin 'The Artist and Performer', constructs an eccentric and commanding visual embodiment of all-of-the-above - a costume fit for a court Jester of the 21st Century. The colours of Neo-Nationalism. Coke cans, and DANGER. 'It' (not 'she') hints at folkloric traditions with a footy mascot twist. The 'Ye Olde' and 'The Everyman' of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder. A jeer and a square dance in red, Adidas Gazelle's, and a mad, fixed GRIN - first glimpsed in the single, 'Hobby Horse' (22 June, Anti-Ghost Moon Ray). A deranged, absurd reflection of deranged and absurd times.

'Bound to shake your walls and rattle your windows' Max Reinhardt, BBC RADIO 3 "The first bit of evidence that Elizabeth Bernholz's next album Pastoral - due out in September - could be her best to date". THE QUIETUS "Will likely be one of the year's very best records.' CLASH 'What species is this What century' Forged in a rural idyll in Middle-England, the new album Pastoral, by Gazelle Twin, exhumes England's rotten past, and shines a torch over its ever-darkening present. Told through a troupe of multi-gender voices, in vernaculars old and new; from the shrill echo of folksong to tabloid-tinged jaunts, the artist aka Elizabeth Bernholz, presents the notion that 'there is horror in every idyll, and danger lurking beyond the 'quaint' '. The village square - once host to centuries of public torture - becomes a floral framed postcard, dolled-up for the Summer Fête. A sunny, afternoon walk over the hills unsettles a cloud of angry flies feeding from unidentifiable remains. Bigoted vitriol gently murmurs amidst tearoom chatter, as the neatly framed pastoral picture dissolves into a solemn ennui. Four years in the making, amidst life-changing events, including a move far out of the city, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014, Anti-Ghost Moon Ray) and is seamlessly on-theme, together with Bernholz's J.G. Ballard-inspired A/V show 'Kingdom Come' (soundtrack released November 2017, Anti-Ghost Moon Ray) - a fascism-infused hellscape, this time set in deepest Old England. As its sole creator, Gazelle Twin 'The Composer, Musician and Producer' has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation - the harpsichord and the humble recorder, fed through myriad electronics - to the compelling, ritualistic application of found sample-looping. Beyond Bernholz's signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of '90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory. In its consummation it is an album that feels pan-century, even pan-species. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin 'The Artist and Performer', constructs an eccentric and commanding visual embodiment of all-of-the-above - a costume fit for a court Jester of the 21st Century. The colours of Neo-Nationalism. Coke cans, and DANGER. 'It' (not 'she') hints at folkloric traditions with a footy mascot twist. The 'Ye Olde' and 'The Everyman' of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder. A jeer and a square dance in red, Adidas Gazelle's, and a mad, fixed GRIN - first glimpsed in the single, 'Hobby Horse' (22 June, Anti-Ghost Moon Ray). A deranged, absurd reflection of deranged and absurd times.

Mannequin Records is proud to present a trilogy of reissues from the avantgarde Italian-born producer Doris Norton, "Norton Computer For Peace" (1983), "Personal Computer" (1984), "Artificial Intellingence" (1985).

Apple's first music "endorsement" (later IBM consultant) and early Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro / computer music.

While the beat-oriented style of Norton's music aligns her with such global fellow-travelers as Yellow Magic Orchestra and Kraftwerk, her championing of the personal computer as a tool for self-sufficient musical creativity also connects her to more artsy musicians such as Pietro Grossi, Laurie Spiegel, and the League of Automatic Music Composers. Norton's predilection for the bright, glossy timbres of early digital instruments also recalls Hubert Bognermayr and Harald Zuschrader's bizarre 1982 one-off Erdenklang.

1 year after "Personal Computer", Doris Norton released 'Artificial Intelligence' (previous title: From Art-Physiol to Artificial Intelligence, changed before publishing) in 1985, setting a step up in her deep electronic music research and innovation.

It's bit special this time cause a side is an early 90s house anthem AKIS produced and on the flip side you have the demo he recorded at Vangelis Katsoulis studio during the late 80s.

Having Previously Released Some Rare Solo Material From Ende Shneafliet Member Hanjo Erkamp Aka Dr. C. Stein, Artificial Dance Is Now Serving Up Something Special From The Cult Dutch Minimal Wave Band's Lesser-known Side Project, King Ende Shneafliet. The Result Is The First Ever Vinyl Release Of Tracks From The Outfit's Cult Dimension Mix Series.
Adding king' To Their Name In Honour Of Original Dub Maestro King Tubby, King Ende Shneafliet Produced Far More Experimental And Out-there Material Than Their Better-known Big Brother. They Released Their First Cassette, Dimension Mix Chapter I In 1981 Via Cult Label Trumpett, With Batches Of Follow-up Material Trickling Out On Various Obscure Tapes And Later Cd-rs Up To The Year 2000.

Artificial Dance's First Dip Into The Dimension Mix Archives - A Second Vinyl Volume Will Follow Later In The Year - Features Selections From Chapter Ii (1999), Which Was Originally Recorded Between 1981 And '88. The Magical, Mind-altering Music Is Raw, Lo-fi, Spaced-out And Forward-thinking, Combining Effects-laden, Sample-heavy Sound Collages And Reverberating Ambient Soundscapes With Pulsating Proto-electro Jams, Moody Minimal Wave Instrumentals And Kosmiche-influenced Throw-downs. It Effectively Joins The Dots Between Early-80s, Diy Electronic Exploration And Dub Soundsystem Culture.

Here at Death & Leisure we are on a continuing mission to surprise and experiment, and so with our new release we present something very special, Blackmoon1348 and The Tibetan Monks of The Tashi Lhunpo Monastary. This project sounds like nothing else, it fuses heavy drone guitar sounds with traditional tibetan throat singing and live instrumentation.

BlackMoon1348 in collaboration with the Tibetan Monks of the Tashi Lhunpo Monastery (Tibet/ India). 2017 BlackMoon1348 embarked on a cultural experimentation of cultural diversity in the arts, forming a collaboration of ancient Tibetan ceremonial practises and instrumentation with sub-harmonic drones and industrial soundscapes. The music amalgamates sacred mantras that date back to the early teachings of Tibetan Buddhism practised in the Tashi Lhunpo Monastery, with heavy detuned western instruments, synths, and electronic music for the first time in recorded history. The Tashi Lhunpo monastery was once home to the Panchen Lama who subsequently 'disappeared' under the oppressive Chinese rule of Tibet. A handful of the Tashi Lhunpo monks were fortunate to escape into exile and have since re-built the monastery in Mysore, South India - now flourishing with over 400 monks practising within the monastery. Tibetan Buddhism is an outlawed ancient tradition within Tibet - monks, nuns, and Tibetans cannot openly practise their heritage and traditions, forcing Tibetans to inhabitable plateaus, with such areas are now under 'Chinese Re-development', the land being stripped of natural resources for China's ever growing economy and totalitarian rule. Tibetans face persecution for as little as owning a Tibetan flag, or picture of the Dali Lama, with such actions landing you in jail, tortured, poised, and/or being released just before the point of death. It is important for us to remember and celebrate the traditions of the Himalayas and its sacred, peaceful practises.

The music was recorded live in one take at Flesh and Bone studio in Hackney for NTS Radio's Black Impulse show. Engineered, mixed, and mastered by Oliver and Owen at Flesh and Bone, capturing the raw, ethereal essence of the collaboration and ceremonial sounds buried deep within the Himalayas. This was the first time in history for such collaboration of tradition, ideology from Adeline Rozario and orchestrated by David Kerry of BlackMoon1348 who created this music to diversify and bring together ceremonial instruments, diversifying the metaphysics of transcendence through ceremonial Tibetan practises.

It is important to understand that BlackMoon1348 are not attempting to change the fundamental meaning or belief of the Tashi Lhunpo Monks, or assume to have a deep-rooted understanding of the ancient traditions of Tibetan Buddhism, This is our understanding of Tibetan culture and practices as truly and honestly as we see and feel it, and our attempt to spread this beautiful, sacred, culture, and keep it alive within today's society.

Liberation through hearing.

You May Not Have Heard The Name Jackson Almond Before, But You Will Have Likely Heard Some Of His Music. Having Released On Wotnot Back In 2013 Under The Name Real, With A Flurry Of Eps, Remixes And Bootlegs Under This Name And As Part Of Duo Boean (on Bbe, Warner, Xvi & Slowfoot Among Others), Jackson Has Been Delighting Ears For A While Now, With A Particular Knack For Balancing Hooks And Earworms With Original Ideas And Creative Production.

This Ep Began Life As A Series Of Headphone Jams Written When Jackson Was Living Outside Of The City In Self-imposed Exile, Tuning Into The Goings On In Dance Music From An External Position. It Was Then Polished Into Dancefloor Gems At The Wotnot Studio At The Total Refreshment Centre. The Music Reflects This, With The Sonic Palette Reflecting Lo-fi And Outsider House, But With A Warmth, Depth And Musicality Specific To His Own Personal Situation.

The Music Embodies The Hook Of The Title Track - Open Your Head - A Mix Of Influences And Sounds From World, Soul, Jazz, House And Techno Sources. In Oyh, A Child's Voice Floats Over Percussive Drum And Mbira Layers With African Flavours, While Soulful Guitar Stabs Widen The Palette. Ee Ye Follows A Similar Idea With Overseas Sounds Opening To Infectious House Organ Stabs. People, Places, Things In Spaces Is An Immersive Roller With Warming Wurlitzer Chords Providing An Almost Gospel-like Inflection.

The Attention To Detail Throughout The Ep Is Astonishing, The Best Example Being The Arrangement Of Our Personal Favourite Common, With The Irresistible Chord Progression Working Its Way Around Instruments, Patiently Building To Hit Its Peak Halfway Through The Track For The Ultimate Screwface Moment.

Ultimately This Rebirth Of Jackson Almond Sits Nicely With A Label Finding Their Stride Again, With Widely-praised Releases From Danvers And K15 Already This Year, Wotnot Are Staking Their Claim On People's Ears Once Again.

Early Dj Support:
Atjazz, Jimpster, Dave Harvey Futureboogie, &me, Robert Luis (tru Thoughts), Severino Panzetta (horsemeat Disco)

'Garage bands suddenly obtain cult status and become the antithesis of their initial appeal'

Garage Class were a group of reluctant outliers who produced one of the finest contributions to the wave of UK DIY music that emerged during the late 70s and early to mid-80s.

Hailing from Alsager in North West England and comprised of Tim Shutt (vocals) Phil Murphy (lead guitar) Clive Williams (guitar) Lynne Sanders (bass) and Phil Bourne (drums / bass on studio recordings) Garage Class originally went by the name of The Pits before their then manager Steve Hurt imposed an alias which, though unpopular within their ranks, would nevertheless reflect the shambolic art they would eventually capture on their first and only single.

As The Pits the group offered a loutish inflection on glam-punk flamboyance, evoking Johnny Thunder hitting the north and remaining disowned yet undeterred in a dreary old boozer. But as Garage Class the group distilled a roughcast and homespun primitivism that felt quintessentially their own. In this they proved too unruly to be assimilated into any wider scene. Early gigs descended into acrimony and recognition proved elusive. Yet what they managed to make back then now sounds like an extraordinary article of underdog ambition.

Released in 1984, four years after it was originally recorded, the Terminal Tokyo single is an unlikely triumph of exceptional messthetic punk. Though raw and unpolished the songs here are precariously pop-minded and indisputably anthemic. The titular A-side reveals the dry and detached drawl of Shutt aka The Subliminal Kid, a sharp, jaded and poetic voice that has some of the most iconic lines never heard in punk. Accompanied by second-hand guitars, on-the-fly handclaps and a chorus like a terrace chant this is the cult hit that never was, a heroically artless masterpiece that has all the ragged character and misfit euphoria of Swell Maps and The Buzzcocks if they were more impulsive and boisterous, and left to their own devices in the remote margins of a Cheshire town. The original B-side is here substituted for I Got Standards, a track that, until now, has somehow remained unreleased. An ideal twin to Terminal Tokyo there's the same brusque and dog-eared quality to the band's delivery, as well as the same upfront emphasis on strong hooks and insistent momentum. Yet again, Shutt is on impeccable form, perfecting an inflated, adolescent antagonism that has all the sardonic, malcontented charm of similarly 'shirty' buggers like Dan Treacy (Television Personalities), Patrik Fitzgerald and Mark Perry (Alternative TV).

Although never accepted in their own time both tracks represent a brief but inspired moment of fervent imperfection, one that epitomized the best of a diffuse and autonomous underground movement spearheaded by The Desperate Bicycles and built upon by the likes of Amos & Sara, The Homosexuals, The Cleaners From Venus and Family Fodder. Like them Garage Class were situated at a point where punk, art, humour and a sense of stubborn independence all intersected.

In the years since Terminal Tokyo has accumulated a retrospective appeal among certain trusted circles, with Jon Dale celebrating the single in his exhaustive and essential Story of UK DIY for Fact Magazine, and original copies regularly changing hands for a foolish forty quid or so. With this inaugural release on the Outer Reaches label Terminal Tokyo is not only restored for the very first time but given a worthy expansion courtesy of JD Twitch (Optimo).

Continuing his own fascination with the fringe history of UK DIY - documented on his own outstanding compilation Cease & Desist: DIY! (Cult Classics From The Post Punk Era 1978-1982) and in his re-edits of Crass Records classics for an early release on RVNG INTL - Twitch reinterprets I Got Standards as an incisive, dubwise outing that pictures Jaki Liebezeit and Muslimgauze on a bender in England's provinces, tasked with remixing the raw product of local punks. A new slant on Garage Class' crude magnificence, built to play loud on contemporary soundsystems.

Although the latter part of 1980 spelled the end for Garage Class with members moving on to other projects (Bourne fell in with The Colours Out of Time, Murphy went on to front The Regular Guys and Shutt eventually left to form Happy Refugees) this reissue attempts to give their fleeting time together and the unique single statement they made the treatment it deserves. If this means Garage Class have obtained cult status, their initial appeal remains. Just listen for yourself.

SEPT 2016. The Moog Sound Lab's first trip out for a live session at Café Oto's project & café rooms. Jimi Tenor, finnish futurist, shako & Warp Records confederate, jazzed, funked, far-ra'd out. Tony Allen - original drummer to Fela Kuti - Godfather of the Afro-Beat.

These two titans of the beat strange -fed & watered through the mighty Moog Sound Lab via a prototype future sound

systems drum trigger unit built & operated by UK moog minder engineer Mr Finlay Shakespeare. New sound universes emerge, collide.

Explosions & implosions make sonic debris. Cosmic dancers prepare to be run ragged by a feral 'tronic funk that brings to mind early 'D.A.F.

An apposite illustration of the golden era of 70's music

Self produced dub excursion from Dennis Bovell's Matumbi... early pioneers of authentic UK produced reggae

* Alk-e-d is the first to get the 'Legacy' treatment on Kniteforce Records. One of the original KF crew, he has been with the label since 1991, and remains a fan favourite. The Legacy series is designed to showcase our most dedicated artists, those who have been with the label since the very early days. And if Kniteforce itself has a legacy, it is one where risks get taken and the love of good music is always at the front of our minds. This EP contains 4 remixes, and the highlight must be the first brand new remix in decades from legendary producer Sublove who went onto become huge with Way Out West. Sublove featured on the very first Kniteforce EP back in 1992, and was enticed to come back and make some old skool for the label as well as remixing Alk-e-d. And what a remix it is! Proper old skool with depth and class. Not only that, we have Darwin, one of the biggest names in the modern hardcore scene, Shadowplay, and Luna-C on remix duties too. All in all, this EP is stunning, and is nto to be missed.

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Boredom, anxiety, pain killers and frustration make a heady mix for both reflection and action. For three weeks I stared out of the window of the tower block onto the tall brick towers of the old asylum chimneys. The past was a strange land suddenly out of reach, the present confusing and claustrophobic, the future something I could only visualise and idolise.

From the balmy Autumn day of my release a light was switched on, buzzing urgently like a neon street light on my path. Life took on new vigour and meaning. Pleasures starkly illuminated, annoyances inconsequential. Old work was re-examined and appreciated. Machines were treasured and connected. My basement filled with ever greater warmth and excitement.

The toy towns of our inner minds are constructed of a million tiny building blocks of experience. But there's a freedom that comes from realising what might have been. Peace in reflection, untethered from the everyday distraction and I take pleasure in the hum drum. Unhampered by trends, untethered to a scene, stripped back to essential carnal influences and desires. Who are we but the sum of our experience.

'Everything Is Quite Now' meanders through a reimagined landscape of personal history, releasing musical fragments to dri* amongst soaring treetops, hollowed lakes and labyrinthine concrete structures, liberated from genre and form - alive at last. In these great expanses, light and dark are presented not as polar opposites, but as a limitless, unified whole.

References to EBM and industrial techno manifest within the sporadic percussive framework whilst gauzy ambient backdrops form an entire world of their own, constructed from the gentle hiss of a looping tape, the booming caverns of a muffled kick, the vivid distortions of a crystalline synth. In the depths of a misty forest, warmth permeates, absorbing inside it all of the darkness, pain, romance and beauty from before.

Prequel Tapes is a work of deep synthesis. Fragments of melody and memory orchestrated into densely layered tapestries; a deeply emotional study on a life characterised by a shi*ing relationship to electronics. The pieces serve as a chronology of desire and reflection, reconciling a nascent passion for industrial music with a history in the club. Oscillating between utopian to claustrophobic, the evolving synth work, deep techno atmosphere and traces of clangorous energy of early European ambient and industrial tell a distinctly German tale, forged between the forest and the autobahn.

Everything is quite now. What else can it be.

DJ Dan has been a pinnacle of the dance music scene in America since the early 90s and has toured around the world with the likes of Carl Cox, DJ Sneak and Pete Tong to name a few. Dan's label imprint InStereo is played by many top DJs around the world and Dan has chosen some of his strongest releases for Vol. 2 of the Slammin Trax series.

The first release on Standards & Practices since the widely acclaimed remixes of Talker's 'Battle Standards' EP (by Surgeon / Regis / Broken English Club) from late last year, 'Live From Frankfurter Strasse' represents the first recorded collaborative effort from Jonathan Krohn (Stave, also 1/2 of Talker) and Jan Grebenstein (Downwards, Horo).

Culled from recording sessions following several successful improvised live performances in San Francisco, Los Angeles, & Berlin, 'Live From Frankfurter Strasse' is 3 tracks of seismically powerful, industrial dub music that represents a new direction for the pair and is unquestionably some of their strongest material to date.

The twitchy, pared-to-the-bone opener 'Alfa' is at once vast and frighteningly claustrophobic, recalling the brutal, clinical precision of Mika Vainio & Ilpo Vaisanen's output, with a brilliantly tricky arrangement that continually pulls the rug out from under the listener - it's vertigo-inducing twists and turns are simultaneously disorienting and endlessly hypnotic. On the flip, the brooding, scorched-earth 'Stirn' & 'Verstarkerstufe' work at a much slower tempo, uncurling like a plume of smoke with a spacious, cerebral quality that occasionally brings to mind early Gescom.

The first release on Standards & Practices since the widely acclaimed remixes of Talker's 'Battle Standards' EP (by Surgeon / Regis / Broken English Club) from late last year, 'Live From Frankfurter Strasse' represents the first recorded collaborative effort from Jonathan Krohn (Stave, also 1/2 of Talker) and Jan Grebenstein (Downwards, Horo).

Culled from recording sessions following several successful improvised live performances in San Francisco, Los Angeles, & Berlin, 'Live From Frankfurter Strasse' is 3 tracks of seismically powerful, industrial dub music that represents a new direction for the pair and is unquestionably some of their strongest material to date.

The twitchy, pared-to-the-bone opener 'Alfa' is at once vast and frighteningly claustrophobic, recalling the brutal, clinical precision of Mika Vainio & Ilpo Vaisanen's output, with a brilliantly tricky arrangement that continually pulls the rug out from under the listener - it's vertigo-inducing twists and turns are simultaneously disorienting and endlessly hypnotic. On the flip, the brooding, scorched-earth 'Stirn' & 'Verstarkerstufe' work at a much slower tempo, uncurling like a plume of smoke with a spacious, cerebral quality that occasionally brings to mind early Gescom.

A year after his debut outing on the label, Max Essa makes a welcome return to Hell Yeah with the Han zon Roc EP, which is another of his impossibly laidback offerings.Essa is of course the long time UK talent who has become a part of the Balearic mafia thanks to releases on labels like Aficionado, Music for Dreams, and his own Jansen Jardin. This is the second coming together of artist and label and is another timeless excursion far out to sea.
Opener 'Han zon Roc (Midori Coup)' is an epic 12 minute adventure that slowly awakens your spirit with new age guitar plucks and heavenly ambience before organic drums slowly being to drift into earshot. They grow ever larger as synths start to spray about the mix, hand drums pitter patter and big chords bring the soul-shine. It's like the soundtrack to an afternoon boat party all condensed into one brilliant cut. 'How You Showed Me Everything' then gets super chill with lazy drum tumbles, bendy guitar lines and scattered hits. Withering cosmic chords colour the airwaves and its a track that will slow your heartbeat to nothing. Last of all, 'Rain Bird's Alfalfa Jam' is a analogue drum work out with early 90s hip hop influences and diving basslines. It's light and airy, nimble and playful and of course filled with the sort of tropical rays that make all of Essa works so brilliantly escapist.

Music Mania and Indica Dubs is proud to present the fourth release in their Mania Dub series. Following the classics 'Almighty Dub' (MD001), 'Rastafari' (MD002), 'Light Up Your Spliff' (MD003), comes another of the UK Dub scene's most popular producers; Vibronics, with two of their most popular anthems from the early 2000s: Red, Gold & Green / Terror. Both of these killers were previous released on different labels, and we have collated both songs into one giant release! Vibronics, the future sound of dub, have been vibrating the world with bass since 1997. Their music is at the forefront of the UK Dub scene, proven by over 60 releases on their own legendary SCOOPS label.

'Red, Gold and Green was the first time I worked with Horns - all played by Stevie Splitz - and now I've been working with him ever since... Terror was made with using the most basic equipment, set up in a temporary studio at home just to build some of raw exclusive dubplates that were never meant for release - they have gone on to be some true Vibronics anthems.'

The master tracks have been provided by Steve Vibronics for us to ensure the original heavyweight sound!

The music contained in this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960's & 70's in Jamaica. If you talk to the musicians and singers of this era, they will tell you that the driving force behind the songs they created was the sheer love of music. This is one of the reasons these recordings are so powerful and move listeners to this day. Music like this can only be made by those who were schooled in the studios and yards around Kingston and is not something that can be easily reproduced outside Jamaica. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island & it is thanks to their passion and dedication that we have a lifetime of music to enjoy.

The members of KAS have been working & recording with each other in some of Jamaica's most legendary studios for over 50 years. The vibes and music that are created when they get together is nothing short of magic. This is the 3rd KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for Rocksteady, Reggae, Roots and beyond in countless recording sessions around Jamaica & without them the music we love would not exist.

The album's intro piece 'Boo Rock', is a tribute to the legendary drummer Mikey 'Boo' Richards. Mikey has recorded with many of the Kingston All Stars in some of Jamaica's most fabled studios. It is obvious that Mikey is revered by all of the Kingston All Stars and it is fitting that this is the 1st track on the album.

Singer Allen Jahsana who is known for his work with Mikey Chung in the early 70's brings two amazing songs to the project. The first 'Jungle Justice' is a commentary on the lack of justice in the tough streets of Kingston, one which Alan knows firsthand as a longtime Kingstonian. The second vocal 'Rising from the Ghetto' is a call to the youth to rise up out of sufferation with some seriously heavy basslines courtesy Jackie Jackson.

New to the KAS family Carol Brown's 'Only Jah Knows' on a sweet dubbed out Rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Carl was married to Jackie Mittoo before his untimely passing.

Greenwich Farm rasta and legendary roots vocalist Prince Alla adds a real classic vibe to a new he wrote titled 'My Vision". The deep and powerful style Alla is known for was voiced on a riddim built by keyboard legend Ansel "Stagalag" Collins.

'Guns & Pulpit', the companion vocal for 'Clappers Dub' which saw release on the KAS Dub LP, finally sees the light of day. A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.

The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey 'Mao' Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss ' Mossman ' Raxlen. Members of the Kingston All Stars have been part of / or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee 'Scratch' Perry's Upsetters, Peter Tosh's Word Sound and Power Band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others.

The music contained in this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960's & 70's in Jamaica. If you talk to the musicians and singers of this era, they will tell you that the driving force behind the songs they created was the sheer love of music. This is one of the reasons these recordings are so powerful and move listeners to this day. Music like this can only be made by those who were schooled in the studios and yards around Kingston and is not something that can be easily reproduced outside Jamaica. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island & it is thanks to their passion and dedication that we have a lifetime of music to enjoy.

The members of KAS have been working & recording with each other in some of Jamaica's most legendary studios for over 50 years. The vibes and music that are created when they get together is nothing short of magic. This is the 3rd KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for Rocksteady, Reggae, Roots and beyond in countless recording sessions around Jamaica & without them the music we love would not exist.

The album's intro piece 'Boo Rock', is a tribute to the legendary drummer Mikey 'Boo' Richards. Mikey has recorded with many of the Kingston All Stars in some of Jamaica's most fabled studios. It is obvious that Mikey is revered by all of the Kingston All Stars and it is fitting that this is the 1st track on the album.

Singer Allen Jahsana who is known for his work with Mikey Chung in the early 70's brings two amazing songs to the project. The first 'Jungle Justice' is a commentary on the lack of justice in the tough streets of Kingston, one which Alan knows firsthand as a longtime Kingstonian. The second vocal 'Rising from the Ghetto' is a call to the youth to rise up out of sufferation with some seriously heavy basslines courtesy Jackie Jackson.

New to the KAS family Carol Brown's 'Only Jah Knows' on a sweet dubbed out Rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Carl was married to Jackie Mittoo before his untimely passing.

Greenwich Farm rasta and legendary roots vocalist Prince Alla adds a real classic vibe to a new he wrote titled 'My Vision". The deep and powerful style Alla is known for was voiced on a riddim built by keyboard legend Ansel "Stagalag" Collins.

'Guns & Pulpit', the companion vocal for 'Clappers Dub' which saw release on the KAS Dub LP, finally sees the light of day. A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.

The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey 'Mao' Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss ' Mossman ' Raxlen. Members of the Kingston All Stars have been part of / or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee 'Scratch' Perry's Upsetters, Peter Tosh's Word Sound and Power Band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others

Le Matin, always rare and uncategorised, following the reissue of his early synthwavepop tunes on « poussière d'époque » and a track on the good Lena Wilikens' Dekmantel Selectors 005 comp, this new EP on Lost Dogs Ent. let you hear some of his last works. Expect an ultra-cold-minimal-electro riddim, a less-mental-nearly-good-for-the-dancefloor tune with depitched haunted r&b vocals, an analog and bassy arpeggio ride ... On the flip side, Oh My God ! This is the peak-time-for-weirdo-nearly-techno tune, a blast, only for craziest DJs that like broken-frustrated-uncomfortable dandefloors and to finish this well balanced 5 trackers : the « are you depressed that much It's the 10th time you're listening to this OST of a dying world, this won't get any better but at least this is good music ! » tune. Le Matin is a good kept secret that prefer to take care of his kids than to travel the world of nightclubbing with drunk teens (ok that's how it is in France, that looks better in some other countries), but sometime you can hear his music on decks of some wise people and DJs like Call Super, Lena Wilikens, House of Traps, Charles Drakeford, Jon K, Bergsonist, Body Motion...

Planet Mu are excited to announce Ital Tek's 'Bodied', the follow up to his acclaimed 2016 album 'Hollowed'. Stepping in a different direction from that album, It's as if Hollowed's detailed world has been fleshed out and filled with the spectre of human voices.

As on his last album, the sounds on 'Bodied' are highly designed, but this time barely a whisper of dance music remains. Instead it's built around acoustic elements and ghostly choral arrangements, refracted and transformed into atmospheric, alien forms which are given the time to settle and transform. Rhythm is used only as a tool to give his world a sense of dark, mechanical momentum.

Alan explains; "After completing 'Hollowed' I had over a year away from writing any of my own material. I was working, composing music for a video game and a number of different projects. I needed to find a way back in and I rediscovered the joy of music being a release as opposed to a job. I was getting up really early and sketching out lots of ideas very fast, squeezing in quick bursts of writing at the beginning or end of long studio day spent working on other musical projects."

"It was important for me to define the world that the album was going to inhabit before taking it any further, so I put a much greater focus into the sound design and palette than I had before. I wanted to make the music sound very physical, geometric, and monolithic, as if it inhabited a physical space."

"On 'Bodied' the music focuses on the interplay between the minuscule and the vast, beauty and brutalism. With this album I was much more concerned with dynamics and the discipline of holding tension; the use of space and silence to provide a counterpoint to the intensity."

"Most importantly, I was keen for there to be a human acoustic foundation, so I did a lot of live recording of cello, violin, harp and guitar - anything I could get my hands on. I was certain that I wanted there to be a greater vocal presence - nothing lyrical or at the forefront but to give it an underlying organic quality - to impart some humanity into the music."

As Ital Tek moves further from his roots, he's creating new sounds and spaces in which his music can exist. It's up to the listener to decide what kind of world 'Bodied' evokes, but it's certainly one that's beautiful and rewarding to spend time in.

Drum & bass pioneer and Hospital Record's crown jewel Danny Byrd is back! He's set 2018 ablaze with monolith anthems 'Devil's Drop', 'Salute' ft MC GQ and 'Hold Up The Crown' ft Ky Lenz, now he proudly presents his first album in five years.

A 15-track funk-fuelled compendium of rolling dancefloor-fillers that tributes to the jungle foundation moulding his early discography. Collaborations with the likes of I-Kay, Maduk, Ownglow, Times x Two and MC GQ, fuse with powerful
doses of Danny's hip-hop and R&B infused 174BPM productions. 'Atomic Funk' is undoubtedly Mr Byrd's finest work to date and includes one of the biggest future D+B anthems 'Holy Star' that's brought to life with vocal delights from MC Foxy.

'Just A Step Away' (ft. Ownglow) has become a silver bullet for the Byrd, taking a spotlight in his DJ sets as his finishing move. With its gorgeous vocals, volatile rave synths and humming sub-bass, it's not hard to see why. However, that's
far from the only weapon in this legend's locker. 'Roll The Drums' is a certified sub shaker bringing a fierce bassline and thundering percussion, plus there's raw jungle madness with 'In The Meantime' (ft. Hannah Symons). With fifteen incredible tracks from Hospital Records' longest standing signing, 'Atomic Funk'
is Danny Byrd at his best. Crafted for the dancefloor and Feel-good from start to finish, a must-have for a true Hospital fan.

The man, the myth, the legend ... back in the 80s Jesse Rae, along with Roger Troutman and Bernie Worrell, was part of the P-Funk movement that was hugely influential to Detroit's early electronic experiments. Lesser known is that the enigmatic Scot-funk warrior later produced underground electronic tracks in the 90s. The inaugural release on Glasgow label Southside Shufflers presents two of Jesse's Shufflers on vinyl for the first time on the Global 95 EP- a sampler from his pioneering 1995 album 'Compression'. Ever the innovator, Jesse recorded the album collaboratively using live ISDN technology spanning three continents, with the resultant tracks fusing African, US electro-funk and old Scots influences. 23 years later, Jesse's under the radar Shufflers sound more relevant than ever.
Southside Shufflers are a record label and sports collective based in Glasgow with outposts in London and Amsterdam. SSS- ain't no half steppin'!

Italian finest cosmic disco from the genius of no other than Dodias, superb drummer, former member of Gli Idoli the very first band of Lucio Dalla, and cowriters of few of his early songs. Essential!!!

Dark Entries reissue the 3rd full length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.

In 1987, towards the end of art school, Carolyn won another award from the New York Society of Illustrators. During the trip to New York to accept the award, she met electronic/dulcimer musician, Dan Joseph. After writing some letters they decided to make a split cassette titled 'Hypno-Seizure'. CYRNAI contributed 30 minutes of music to Side A of the cassette, 10 untitled pieces that ran into each other. She had just bought a round-the-world ticket going from China to Europe via Eurails, to Egypt, where she liked to wander. She picked up instruments from several countries and recorded the sounds of her new surroundings. Technology was changing into early sampling and she used a Commodore 64 with large floppy disks to record loops. Originally self-released in 1988, this reissue adds 3 unreleased bonus tracks recorded during the same period. Each copy includes a double sided insert with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios.

June 2018, Amsterdam, Nl: 12 Months Ago We Concluded A Series Of Experiments With A Test Subject Named Ben Penn. A Year On, We Decided To Repeat This Experiment At His Tilburg Base. Once Again, The Results Were Starting.
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After Being Provided With A Sizeable Dose Of An Enhanced And Notably Stronger Derivative Of 4-ho Met (codenamed St011), Penn Not Only Reported Intense Hallucinations But Also Enhanced Music Production Capabilities. With The Aid Of Electronic Instruments And Hardware, He Worked Quickly, Producing Both His Trademark higher Level Inter-dimensional Funk' And Compositions That Defied Our Previous Expectations.

During The Early Stages Of His St011 Experience, Penn Completely Ignored The Provided Rhythm Composer And Instead Crafted A Colourful, Humid, Jazzy And Beat-free Track Entitled nix', Which Boasted Loose And Fluid Synthesizer Motifs. As His Hallucinatory Experience Intensified, Penn Giddily Tapped Out Tropical Rhythms On The Provided Beat-making Device, Smothering Them In Alien Electronics And Sticky Melodies. When We Asked What This Devilishly Good Cut Was Called, He Simply Replied: not Important'.

As The Test Went On And The Most Intense Symptoms Died Down, Penn Was Much Like His Old Self. Before The St011 Wore Off Completely, He Was Able To Finish Two Examples Of His Trademark inter-dimensional Funk': The Skewed, Introspective, Bassline-driven Wooziness Of ben' And The Mazy, Kaleidoscopic Goodness Of people'. The Latter Composition Was Particularly Potent And Ear Pleasing, Suggesting That His St011 Experience Had Finished On An Intense High.

Max is back for his third EP for Sonic Groove. Titled the 'Art Of Rage' Max returns this time with a heavier syncopated synthesized sound in comparison to his previous two rhythmic industrialized techno releases for SG. Twisting and turning the sound of early 90's EBM , classic rave techno and acid vibes into the perfect modern day sound track. What else can one expect from a 30+ year veteran of the Techno scene!