Search:eas

Originally Hailing From Columbus, Ohio, Where He Was Born In July 1948, Bill Mason, The Son Of A Baptist Minister, Had First Learnt Music In Church. Starting Out On Piano He Switched To Organ In His Late Teens. Mason Had Come To Bob Porter's Attention When As Part Of The Bryant Group He Recorded At Prestige On Two Sessions In 1971. Bill Mason Proves Himself A Formidable Leader With His Solo Album, The Aptly Titled Jazz-funk Outing gettin' Off'. The Album's Physicality Is Astounding, Mason Is An Extraordinary Soulful Hammond Organist, Conjuring Spiraling, Spellbinding Grooves That Seem To Grow Deeper And More Relentless With Each Successive Track. He Also Proves His Talent As A Composer With Originals Like "mister Jay" And The Scorching Title Cut Standing Tall Alongside Covers Highlighted By Al Green's Immortal "let's Stay Together".
Gettin' Off Features Idris Muhammad On Drums, Which Means A Frenzy Of Funky Jb-influenced Over-the-top Soul-jazz Drumming. Featured On Bass Is The Legendary Gordon Edwards (known For His Work With James Brown, Weldon Irvine, Funk Inc., Aretha Franklin, Etc.) And Saxophone Duties Are Handled By Hubert Laws (quincy Jones, Gil Scott Heron, Moondog).
All Of The Above Is Carefully Overseen By Engineer Rudy Van Gelder & Producer Bob Porter (known For Their Work With Herbie Hancock, Coltrane, Thelonious Monk, Miles Davis...and Many Others). Bill Mason's First (and Only) Album Was Originally Released In 1972 On Eastbound Records, Super Rare And Fetching Large Sums On The Collectors Market, Now Finally Back Available As A Limited Deluxe Vinyl Edition (500 Copies). This Album Also Comes With The Original 1972 Art By Prestige Records Photographer Al Johnson.

It Was A Musical Cocktail Born In A Marketing Meeting: Two Parts Easy Listening, One Part Jazz, A Healthy Dollop Of Conga Drums, A Sprinkling Of Bird Calls, And A Pinch Of Textless Choir. Serve Garnished With An Alluring Female On The Album Jacket For Best Results. Exotica! The Soundtrack For A Mythical Air Conditioned Eden, Packaged For Mid-century, Tiki Torch-wielding Armchair Safariers. Be It Mosquito-bitten Torch Singers, Landlocked Surf Quartets, Fad-chasing Jazz Combos, Mad Genius Band Leaders, D-list Actors, Or A Middle Aged Loner Programming Bird Calls Into A Hammond, Exotica Was Always More Concerned With What Geography Might Sound Like Over Who Was Conducting. Captured Across Three Albums Are 48 (54 On The Cd) Curious Examples Of The Short-lived Genre's Reach, Each Summoning Their Own Sonic Visions Of Shangri La, Bringing Their Versions Of The Pacific, Africa, And The Orient To The Hinterlands Of America. Technicolor Paradise Is Where One Makes It, After All.

Various Artists - Technicolour Paradise: Rhum Rhapsodies & Others Exotic Delights

The 2nd Release On 823, A Creative Project Founded By Ta-ku, Is Featuring The Label Debut Of Portland Wunderkind Quickly, Quickly.

823 Is Also The Numerical Representation Of The Phrase 'thinking Of You'. It Represents The Appreciation For The People/ideas/places That Inspire Us And Push Us Forward. As A Label We Are Proud To Present A Series Of Musical Releases That Showcase The Artists Musical & Visual Endeavors. The Artwork Is Shot By The Artist Themselves & Each Release Has An Accompanying Photo Zine That Acts As A Visual Story That Compliments The Music They Wrote At That Time.

There's A Maturity To The Sound Of Portland, Oregon-based Producer Quickly, Quickly That Makes It Difficult To Believe He's Just 17 Years Old. Using Elements Of Jazz, Hip Hop, And R&b, Quickly, Quickly Weaves A Tapestry Of Wispy Productions That Feel Equally Inspired By The Dusty Drums Of Early '90s Boom Bap As They Do By The Whimsical Electronics Of Head-turning Contemporaries Like Tennyson. Taking Over On Vocals, Bass, Drums, And Piano, He Offers Insight Into A Greater Understanding Of Musicality, There's Time Devoted To Each Audible Layer And It Shows.

Ta-ku:
graham First Caught My Eye With His Film Photography - It Was Only Co-incidental That He Also Made World Class Sounds & Made Me Ever So Jealous With His Musical Talent At Such A Young Age. Graham Is One Of Those Wunderkinds That Have Managed To Create Such A Strong Musical Identity For Himself And Makes It Look So Effortless. Graham Is The Reason Why I Started 823. He Is The Epitome Of Someone Who Embodies That Free Flowing Creative Energy That Needs To Be Showcased To The World!

Music Has Always Been A Part Of Quickly, Quickly's Life, As He Started Playing Piano When He Was Two Years Old. This Love Of Music Shaped His Young Life And Created A Solid Musical Foundation For Future Efforts. In 5th Grade Quickly, Quickly Found Hip-hop, Citing Common Market, J Dilla, Blue Scholars, And The Pharcyde As Early Influences. With His Love Of Hip-hop And Early Musical Background, It Seemed Only Right That Quickly Would Begin To Produce His Own Music.
Having Now Made Beats For Around Six Years, Quickly, Quickly Is Producing At The Top Of His Game. The Production On His Debut Ep over Skies' Is As Easy-going As It Is Complex, And The Fact That There Are No Samples On The Ep Makes It All The More Impressive. Inspired Heavily By The Sky And The Many Forms It Takes, This Ep Blends Genres And Crosses Musical Borders With Ease.

Meet Me On The Corner is taken from the band's sophomore album, Orange Whip, which itself was BBC 6Music's Album of The Day on its release. It follows previous singles Whatever You Do and Sinner, which garnered support from Craig Charles, Tom Ravenscroft and Huey Morgan. The song showcases Honeyfeet at their funkiest and chunkiest. A pounding beat beefed up by bass, guitar and brass propels forward while Rioghnach Connolly sings lyrics that could be straight out of the playground, but suggest something deeper, possibly mystical even, in its demands for a dalliance on the street.

Remixes on this more foot friendly single come courtesy of homegrown legends of funky house music, Crazy P who come through with both a vocal and dub version. Honeyfeet's latest opus is turned into a straight up soulful disco monster by the boys from Nottingham, with Rioghnach's rasping vocals playfully meandering over Hot Toddy and Ron Basejam's crisp beats and trademark live bass. Elsewhere, much hyped Russian production don, I Gemin, delivers his take - still aimed at the dance floor of course, but a slightly deeper house affair based around jazzy keys and chopped up vocals that take the song into more sonorous territories.

As a bonus, the 12" package also features the acclaimed remix of previous single, Sinner, courtesy of erstwhile Polish Innocent Sorceror, Envee - his shuffling, moody take only previously being available on vinyl via a super limited (and now impossible to find) 7-inch release late last year. For the last couple of years Honeyfeet (whose name comes from a line in the Blues Brothers film) have been a conduit for the ideas and expressions of an exotic mixture of Manchester based musicians. This genre-defying band incorporate styles including jazz, folk and hip hop into their music.

The band are fronted by Rioghnach Connolly - also known for her work with Real World artists Afro Celt Sound System and The Breath - "A remarkable singer and flutist who...can ease from Irish traditional influences to soul" (The Guardian). The line-up is completed by Rik Warren (vocals/harmonica), Gus Fairbairn (tenor sax), Biff Roxby (trombone/vocals), Ellis Davies (guitar), Lorien Edwards (bass guitar), John Ellis (keyboards) and David Schlechtriemen (drums).

Since their self-released debut album, 2013's It's a Good Job I Love You, keyboardist John Ellis jumped on board as full-time member, bringing his unique musical presence. This enabled the development of a more texturally adventurous style, as witnessed with the dual atonal solo between himself and guitarist Ellis Davies on Sinner. Similarly, for their current LP, Orange Whip, engineer, bassist and spiritual guide Lorien Edwards makes his Honeyfeet recording debut, so completing the 'kitchen' of this very special band.

- The album, Orange Whip, is out now.

From 'Breaking Bad' to Danish films and albums
Asger Baden is a productive composer and has created music for countless films, television productions and series. He has worked with directors such as Christoffer Boe, Nicolaj Arcel and Martin De Thurah, and his music is featured well known productions like 'Breaking Bad', 'The Wolfpack' and 'VICE' on HBO.
'Zarniqa' is recorded with a 40 piece major symphony orchestra in Prague. On the album, Asger Baden chases music's untouched essence.
Asger Baden is a composer and producer based in Copenhagen Denmark. 'Zarniqa' the 1st album in his own name - 16 cinematic, timeless compositions with a dramatic and dense expression ranging from melancholy to an etheric ease.
The main part of the album is recorded with a 40-piece symphony orchestra in the majestic Rudolfinum Dvoák Concert Hall in Prague. In stark contrast to the orchestra are the piano pieces - recorded solo by Asger Baden in Copenhagen. The contrast between the grand symphonic sound and the intimate piano pieces defines the album

During the eighties it was possible to observe an Italian fascination with the mysterious Far East. This can be found across art, design and music in Italy during this time, in subtle or obvious ways. Specifically there are Italo-disco records that proudly show this influence, some of the best known being: Fun Fun Living In Japan, Koto Chinese Revenge and City-O' Rose of Tokyo.Following in this theme is Fancy Null Null. Not to be confused with the famous Euro-disco artist behind Slice me Nice, this 'Fancy' is a one-off project from Italo-disco icon Raffaele Fiume, the artist and voice behind many great Italo-disco hits, such as: Helicon You See, Malcom & the Bad Girls Shoot Me and Ralph River Band Strange Vibration.Adding to the original tracks of the 1982 release is a totally ecstatic and powerful remix from Betonkust: one of the most talented and exciting Dutch producers of recent years. Also included is an instrumental edit from Hysteric, for those who find the unique vocals challenging.

- 180 GRAM AUDIOPHILE VINYL
- INCLUDES INSERT

Alanis Morissette released some of her bestselling albums during the mid-90's, before writing some of her more complex songs in the zero's. Her sixth studio album So-Called Chaos deals with subjects like cynicism, bitterness and jealousy, but she acts in a happier way. The records reaches out to a more serious approach, but the catchy refrains stays intact. Romanced by her relationship with actor Ryan Reynolds she reaches out to unconditional love on her single Everything'. The opening track Eight Easy Steps' is layered in the ideas of self-destruction, while the new-age sounds of the synthesizers creates the imagination of Out is Through'. Allover it's an satisfying record in which she searches for answers in a more hopeful way.

Four years after her debut album Alanis Morissette released her million seller Jagged Little Pill, which includes her singles You Oughta Know', Ironic' and Hand in My Pocket'. She released eight studio albums and sold over 75 million records worldwide.

Following a self-titled EP last year, Dario Rojo Guerra aka Natureboy Flako is set to release his second album 'Theme For A Dream' on Five Easy Pieces on 20th July 2018. Exploring the boundaries of music, science and spirituality through a prism of colourfully synthesised-sound, heart-pounding rhythm and cinematic soundtracks; the core essense of 'Theme For A Dream' is the exploration of the human inne space, the balance of musical energies and music's healing capabilities. 'Theme For A Dream' is a more electronic sounding record than his debut. Guerra makes extensive use of old and new analogue equipment such as the Juno 106, Korg's MS-20, ARP Odyssey or Roland's SH-2000 synthesisers, alongside recordings of vocals, guitars and other instruments. This serves to create a dynamic and eclectic sound spectrum, all unique to his musical handwriting. 'Theme For A Dream' will be accompanied by an experimental and interactive website that allows users to preview music while being an immersive, unique multi-sensual 4D xperience of its own. Snippets of the music from 'Theme For A Dream' become audio visual poetry and an immersive exploration of state of the art technology and oneself. 'I don't think technology necessarily means not being natural. Technology can be very much in balance with nature, since it is mostly just trying to imitate or trying to understand something from within nature. Around recording 'Theme For A Dream', Guerra also co-produced/co-wrote and engineered Kutmah's recent debut and Jitwam's forthcoming album, as well as produced almost half of Fatima's follow up album to 'Yellow Memories'. He is currently working on a film project with a London based production company and is already working on a new album, which is expected to bring back his vocal talent, previously released under the moniker Dirg Gerner.

Repressed!


Following his collaboraton with Nicolas Jaar's Clown & Sunset label,
Ecuadorian-based producer Nicolá Cruz has self-produced and self-recorded this landmark
album.
Infuenced by new digital technology, blended with local culture, Cruz builds his tracks layer
by layer, instrument by instrument, drum by drum, exploring local
indigenous and Afro-cosmologies in a modern setng - using homeland traditons and
rhythms to build on a vibrant history of visual and sonic art, catapultng them into the 21st
century. The results of which will easily apply to fans of John Talabot, Romare, Clap! Clap!
and Nicolas Jaar.
'drifs efortlessly and at will between down-tempo electronica and woozy, beat-
driven house' Consequence Of Sound
'Woozy club music of lost innocence' Oslo World Music Festval

After their psychedelic tour to Alice's Wonderland on their adventurous second album, CRuNCH 22, the Tel Aviv based Rhodes, turntables & drums power-trio, is back with "LUSH FLUSH", a fiercer than ever EP of raw, in-your-face grooves.

Opening track "Cairo" places a persistent Egyptian orchestra sample on top of a Led Zepplin-styled heavy beat; "Osaka" sounds like an early 2000s indie-pop with vocals sampled from a japanese folk song; "Baba" fuses Middle Eastern leads with broken beats; "Minderbinder" is a quirky afrobeat and "Young & Happy" is an odd metered pseudo-house track. While this list might seem as eclectic as you can get, the band's unique instrumentation and live playing style manages to make it sound completely coherent.

On the flip side of this 12" vinyl are three remixes by some of Israel's finest producers: Markey Funk's space-rock version of Cairo; Mule Driver's techno edit of Baba; and Obas Nenor's house remix of Young & Happy take these tunes deep into the dancefloor, making the "LUSH FLUSH" EP an important tool in any DJ's arsenal.

Next up on Francis Harris' exceptional imprint Scissor & Thread comes a collaboration with American Producer, DJ Aakmael. Aakmael has built a reputation for some of the deepest, rawest house music sounds coming out of the States, releasing well-received tracks on the likes of Freerange Records, Release Sustain, Kolour Dogmatik and NDATL. Returning to Scissor & Thread, Aakmael and label boss Harris cook up an intoxicating vibe across this 5 track EP. Each shares a track and work together on the fifth, while also remixing each other's solo cuts. First up Aakmael's Deep Muzik- a quintessential nod to its self-proclaimed mission statement. Skittering drums, a shuffling groove, deep keys, and chords make up this essential opener. Frank's (aka Francis Harris) All That Light Mix shows another side, finding pockets of space and developing the fizzing percussion to produce an equally affecting piece of dancefloor bliss. Sharing production duties from the outset on Mercy of Means, the guys slip into an easy mid-tempo groove with plenty of depth - the rhythm rolls along and offers the perfect basis for some sublime melodic touches. Frank's Part Song also hones in on the subtle deep grooves. Bumping, slightly filtered and saturated drums provide the main body, with beautiful washes and keys finding their way through, Aakmael's remix beefs up the groove somewhat, making the snares snap harder and kick hit a little stronger, but the essence of the tracks melodic atmosphere remains perfectly in place.

T. Rex - Gold brings together the Greatest Hits of Marc Bolan & T. Rex on 2LPs.
2x 180G Heavyweight LPs with Original Artwork housing the Very Best of Marc Bolan & T. Rex.
24 Classic Tracks including Get It On, Metal Guru, Hot Love, Children Of The Revolution,
Ride A White Swan, Telegram Sam, 20th Century Boy, & Cosmic Dancer.

* "Of all the dubplates in my bag from this last few years, the ones I've selected most often have Walton's name scribbled on the sleeve. 'Black Lotus' is a unique creative statement; I'm very proud to release it on Tectonic and to support Walton, who I believe is a true talent." Pinch

* On July 6th Tectonic recordings presents the game-changing second album by 26 year old Mancunian Sam Walton, better known as simply Walton.
* 'Black Lotus' follows his inclusion on Tectonic's landmark 100th release - Riko Dan's 'Hard Food' EP, plus the 'Praying Mantis'/ 'Koto Riddim' 12' (also on Tectonic) and the 'Taiko' EP on Kaizen - the latter two of which hinted at the album's sound, but didn't fully prepare us for the brilliance to come.

* Abstract electronics, grime, dubstep and new styles that don't even have a name yet coalesce perfectly on this classic in the making. It finds Walton at peak power, reaching just as far (if not more so) than anything on the Pan, Different Circles, Boxed or Tectonic catalogues for pure futurism and new-terrain-traversing brilliance.

* Spacious and modern sounding, with just the right amount of grit, on 'Black Lotus' Walton has taken things the next level - setting an impressive new high bar. This is the best music to take inspiration from far eastern culture since Photek's seminal 'Ni - Ten - Ichi - Ryu' and 'The Water Margin'.

* Cinematic may be a term bandied about too often, but on this record it unquestionably applies, with the whole thing playing out like an epic movie, full of highs, lows, action, reflection and changing scenes.

* The album kicks off with 'Black Lotus', which makes it quickly evident that this isn't just another generic longplayer; a weightless/sino style intro segues into a mystical kalimba line, which is then is enveloped by huge waves of synthesized, pitched-down brass.

* 'Point Blank' offers locked, harsh mechanical funk, full of aggravated excitement, before sleek, spacious grime and disguised pop garage achieve twisted anthem status, on the hugely satisfying 'Koto Riddim'.

* 'No Mercy''s Yakuza crime riff is perfect for Riko Dan's threatening menace, especially at the point his voice gets distorted into a guttral and unsettling, demon-like wretch.

* 'Mad Zapper' is abstract, comprised of simple yet challenging beats, tones and stutters, whilst 'Angry Drummer''s taiko/kumi-daiko style percussion has a rousing, heavy thump.

* 'Pan' sounds equally enthralling whether soundtracking a dark movie scene of impending danger, or carying enratptured ravers on a danceflor journey, especially one suited to the synapse-prodding drama of a high production, lazer-heavy festival set.

* Choppy drums and bouncy bass tones are laced with the georgeos melody of 'Ehru', and 'Vectors' is sleek 'n' deep breakbeat-garage-meets-IDM.

* Although already known for elements of musicality, Walton raises his game even higher with the beautiful closing track 'White Lotus', which has a wow factor akin to hearing Aphex's Twin's 'Jynweythek Ylow' for the first time.

* 'The title came from the idea that I wanted it to be sweet and melodic in areas, but dark and grimey at the same time', recalls Walton. 'I never really listened to much Japanese and Chinese music before working on this, and that element originally came from listening to a lot of Sino grime stuff. It wasn't until I was deep into the process of making the album that I started listening to loads of traditional stuff on YouTube for melodic ideas, which changed how it turned out. The whole dubstep techno crossover thing was also a big influence.'
* 'I'm really happy to have Riko Dan & Wen on there', he adds. 'I've done a few remixes of Riko tunes which have had a great response, so it's been wicked to get some original material done together. The track with Wen was first started a while back, so I'm glad it was finally finished and will see a release.'
* Walton has been steadily gaining serious clout through releases since 2011 on Hyperdub, Keysound, Tectonic and Kaizen, with supporters including Mumdance, Logos, Slimzee, Laurel Halo, Wen, Hodge, Mary Anne Hobbs, Giles Peterson, Paleman, Teki Latex, Commodo, Loefah and Kode9. Key club, festival and radio shows include FWD at Plastic People, Fabric, Outlook, NTS, Rinse and BBC 1xtra.

Augustus Pablo's monumental 1988 LP Eastman Dub is back! Showcasing a vital selection of Rockers dub attacks built on the classic 1978 album Tetrack Let's Get Started.' Originally recorded at Channel One and Harry J's and mixed by Sylvan Morris at Channel One. Another classic Augustus Pablo collection from the golden age of Rockers!

ALLFEELINGS is releasing a 12" in dedication to his love for early dub techno coming out of Berlin. The idea behind the title 'Untitled' is to give the listeners more space to interpret the tracks themselves rather than being distracted with any track names.
As ALLFEELINGS MUSIC label is about the amalgamation of sounds and rhythms to bring about a visceral experience, this can be observed in the African inspired percussion on side A and the subtle changes and movement it has throughout its length. Side B focuses more on easy listening with sounds and dry textures meandering slowly demanding the listener's attention at all times.
The other great thing about this record is it works really well pitched down which can be used to great effect during warm ups and after hours. This release has the support from Ario and O:utlier from Astral Industries.

Cardiff-based singer-songwriter Ivan Moult returns with his latest collection of rich, confessional songs on new album Longest Shadow, out now via Bubblewrap Collective.

The album reflects Moult's progression through the fledglings of blissful romance into the fragmentation of embittered break- up. Each track combines Moult's intricate guitar plucking skills with his warm, soothing vocal to create something both compelling and incredibly moving throughout. His latest single Lay Me Down revolves around the feeling of giving in to depression whilst simultaneously fighting against it. Moult's beautifully natural vibrato soars effortlessly over the cinematic musicality to create something akin to that of Nick Drake or Jeff Buckley's distinctive songwriting charm.

Ivan's soft , subtly shattered vocals are complemented by the orchestral compositions and double bass of Callum Duggan, the precision percussion of Sam Thomas and backing vocals from Kadesha Drija

''Longest Shadow truly is a stunning piece of work and if the likes of Damien Rice, Nick Drake, Willy Mason are your thing, it's a safe bet that you will thoroughly enjoy this - Folking

A Site-specific Recording Sporting A Straightforward Approach That I've Grown To Love In The Works Of Gonçalo Cardoso. An Album Of Modern Day Exotica, A Genre I Usually Pretty Much Dislike, Yet Cardoso Steers His Vehicle Easily Aside The Trapdoors And Potholes.

Combining Found Sounds, Sparse Playing And Field Recordings He Creates A World That Both Invokes Treasure Island, And An Essay On Exoticism. Indeed Questions Are Raised. But Especially Beautiful Emotions Are Shared. Cardoso Acts Both Like The Journalist And The Aesthetic. Sometimes He Just Registers, As Being The Observer At The Sideline, Sometimes He Alters And Collages The Material Into New Worlds.

The Isle Of Unguja Is The Great Scene Of This Album. We Hear The Sound Of Water, Suddenly Interrupted By Beautiful Chorals Or The Strumming Of String Instruments, A Drum Beat. We Hear The Local Fisherman Talk While The Shortwave Radio Becomes The Symbol Of The White Man Seeking Truth And Direction In The Tropics. Its Dial As A Tool To Reflect. This Album Invokes A Certain Nostalgia For Age-old Enthnographies, Like A Romantic Letter From The Tropics. A Hymn Of Solitude, In Awe Of The Nonhuman And Human Elements. Like Photography, Through Various Compositions - Stills From A Moment - To Shed Light Upon The Unique - Universal Process Of A Place.

"all The Recordings Were Made During Our Month Long Stay In A Beach Hut In The Main Island Of The Zanzibar Archipelago, Unguja Aka Zanzibar Island. Unlike Other Beach/island Locations The Scenery There Was Very Dynamic And Ever Changing. The Colours Would Change With Every Tide Creating A New Washed Out Landscape Everyday.
There Are A Lot Of Recordings Of Tides (they Have 3km Tides Everyday!), Of Walking Around In Low Tide, Of The Tidal Waves Banging Against Our Hut At Night, Of Sailing In Wooden Dhows, Fishermen Talking And Sand Washing Their Dhows, Of Walking At Night In The Village As Well As Some Fm/am Radio Improvs. A Lot Of What You Hear Was Done On The Spot With Some Minor Adjustments Done Later. (g F Cardoso)"

Gonçalo Cardoso Is The Man Behind The Prolific Discrepant Recordlabel And Composes Under His Own Name And The Moniker Gonzo. He Recently Traveled In Middle And Southern America.

Franco Micalizzi CHI SEI(Four Flies Records - FLIES 17)

LP 180gr. Limited Edition 500 copies

liner notes byALFONSO CARRILLO (Rendezvous, LA)

lettering & artwork restoration byLUCA BARCELLONA

Considered one of the finest and most successful works composed by Franco Micalizzi. A 500 limited-edition LP which includes two tracks never before released on vinyl, a reworked painted lettering title designed by Luca Barcellona, and extensive liner notes by Los Angeles'RendezvousDJ/film event founder, and Four Flies collaborator, Alfonso Carrillo: "A film score that was quite unheard of in horror - a funk and disco-tinged soundtrack, with a sound reminiscent of a blaxploitation film. Director Ovidio Assonitis'Chi sei(1974, American title:Beyond the Door) offered horror fans both a familiar sto- ryline and a stylistically unusual score. Recorded in the States, and using American session musicians, Micalizzi created one of horror's most unique soundtracks. He utili- zes soulful lead vocals (sung by Warren Wilson) along with sax and synthesizer, both of which are featured prominently on the score. Along with superb percussion work, this soundtrack features virtuosic musicianship by top session players and easily stands up to the test of time. This was an early foray into the world of soulful funk and an early in- dication of future-funk to come from the maestro". Alfonso Carrillo (Rendezvous, LA)

"Things take a psychedelic turn for SchleiBen 7 with a welcome to the label of arch exponents of mind expansion in NYC's Georgia and the unlikely but no less diverse inclusion of Balearic stalwarts A Man Called Adam. Having Georgia in the series might not now be a surprise, however discussions with this open, genuine duo started during a visit to New York over 3 years ago and so here, finally realised in this fluid journey of confident pace and harmony, is the best of their freeform evocations. A duo in the everyday sense, Brian Close and Justin Tripp are video / music production teamsters of unnatural talent. Having gained a status of their own that has seen them release for the likes of Palto Flats and FTD, the five pieces that form their contribution drip with psychedelic intent. Culled from archives, the interest is how the tracks - made over different years, locations and situations in life - meld in to something poetic simply by being placed within a specific format. Avant-chimes ebb to rhythmic pulses and erudite teachings before dark percussion and Eastern melodies reach a clattering, but gentle finale. With an upcoming collaborative album with Secret Circuit due on the label later in 2018, as well as recent works with RVNG Intl's Matt Werth and recordings for Sacred Summits' brethren Firecracker Recordings, it's a warm, effusive glow of a welcome. In contrast, the inclusion of A Man Called Adam in the series may indeed surprise but is a false comprehension. The "Sketches" included here show AMCA away from their Balearic pop incarnation of the last thirty years and towards the academia that both members Sally Rodgers and Steve Jones have pursued in the last decade. With both completing PHDs, Sally ('The Diachronic Impact of Technology-Led Abstraction in Oral, Written and Music-based Poetries') is a senior lecturer at Leeds College Of Music, while Steve ('Mobilise: The Carry Principle, Sound and Mobile Media') is based out of de Montfort University, now is the perfect time to highlight the diverse sound environments they have been working in. The music that makes up these recordings are drawn from sound works and audio experiments completed in recent years. From sound toys and apps to home made glass organs and electro-acoustic sound, custom patches to spoken word manipulations, the sketches are excerpts - some evolved from commissions for the National Science Museum, BBC Radio 4 and live performances with the world renowned video artist Milosh JL - fused especially for this release. Bringing these generated pieces in to an audible "mix" creates a discourse of their work in performance, interactions and visual media. An intellectualised album therefore, but still in the premise of the series to allow artists to present something new, unique, discrete, hidden even, all with the aim of giving the recipient the chance to sit back and (un)listen. "

Inzwischen unter den Top-100-DJs der Welt, auf dem Cover vom DJ Mag angekommen und als - Australian queen of EDM' (ABC) gefeiert, steht Alison Wonderland mit ihrem zweiten Longplayer in den Startlöchern: - Awake' heißt ihr neuestes Werk. International gefeiert als EDM-Künstlerin, die verschiedenste Dance-Styles in ihren Sound einbezieht, den Faktor Pop nie aus den Augen verliert, dazu Instrumente beherrscht und singt, bewegt sich Alison Wonderland mit - Awake' durchaus auch auf Neuland: - Allein gesanglich bin ich viel weiter gegangen, weil ich mich heute einfach viel wohler fühle mit meiner Stimme', sagt die gebürtige Australierin, die mit dem Titel auf den reinigenden Effekt von Musik und überhaupt auf positiven Wandel im Privatleben anspielt. Gerade als Live-Performerin hat die auch gerne mal als - female Skrillex' gehandelte Alison Wonderland in den letzten Jahren alles auf den Kopf gestellt: Hunderte von Headline-Shows rund um den Globus, eigene Warehouse-Party-Serien, Riesenfestivals wie Coachella und Lollapalooza - dazu war sie die erste weibliche Solokünstlerin überhaupt, die auf der Main-Stage beim Electric Daisy Carnival in Vegas auftreten durfte.

After three major releases by Tell, Nachtbraker and S3A, its time for debuting Italian artist Verner to close our beloved Trophy Quartet. This Milanese key virtuoso is ready to blow your mind with this eccentric yet humble ep, taking you on an emotional journey. Long stretched pads, playful chord progressions, organic percussion all produced with analogue 70's and 80's vintage synthesizers and drum computers in Verner's studio reminding us a bit of Harvey Sutherland and Nu Guinea's style. We're talking groove, funk, jazz but also house and soundtrack style compositions which together form a very complete record carefully A&R'd by Nachtbraker.

Drop the needle on the A side and you'll start off with L'inizio, a majestic piece of synthwork. Hurdling through different emotions and vibes, this could easily be the intro of one of your favourite 80's tv series. Upset takes you on a happy groovy tour whilst Crash of the Web Era and The Motion Pictures take us on a trippy and ambient voyage that is hard to wake up from. When flipping the record to the B side, Verner is stepping back into the groove and funk with Tecladista, arguably the dance floor hit of this debut EP. Starting of with again a majestic synth intro Area drops into a festive funk and jazz bomb with some intricate synth work treating us with some lovely solos. Closing this versatile EP is Late Night Job, a deep, deep tune with a thriving baseline and mesmerizing synths.

We suggest to don't sleep on this one and have a listen to this piece of art by the very talented Verner.

LOYOTO are the East-Berlin born Eva Be and Cle from the western part of the formerly dived city. Both started their DJ and producer career almost at the same time in the heart of the then developing scene, the very center of Berlin, just after the wall came down. Originally rooted in very different styles of music, they encountered for the first time DJing together in 2011, finding common ground in more than just music - a gig, that should lead to more: They decided to combine their talents and knowledge and build a studio together. Here, and during legendary back2back DJ sets, they finally united their different musical backgrounds - dub/reggae and underground house music - and defined their very own sound.

New age music from West Africa. Lush and hypnotic dreamscapes combine traditional instrumentation with sweeping electronics and field recordings. Bamako based composer Luka Productions delves into avant-griot, transforming ancient music for the 21st century. The songs are meditative and sage, as voices guide the listener through ways of living, from the village life to the modern world. Inspired by early electronic music, library records, and new age, this is easily one of the most leftfield recordings to ever come out of Mali. Limited to 500.

Favorite Recordings presents this new official album reissue of State of Emmergency by French band The Fizz: A real underrated, complete and intriguing album, originally released in 1986 as a private-press LP and quite hard to find in good conditions nowadays.

The Fizz is mostly the result of Patrick Jouanneau, a French musician, composer and producer who's still active today. He remembers: In the early 80's I had a recording studio allowing me to easily fulfil my desire to create songs. It was then that I began to compose and write songs, in French or in English in this case. State Of Emergency (spelling on the LP is a mistake), is born from a fierce will on my part, and the other four have followed, but it was not easy, the musicians, you have to get them out of bed! I have to say that Richard Larozé, the pianist, was a very strong guy with harmonies, and has somewhat changed my first version, much more oriented in Soul and R&B.'

And when asked about his main influences, Patrick says: It's always difficult for me to speak about influences, out of respect, and humility especially, but they nourished us and nourished this project, Stevie Wonder, Al Jarreau, Earth, Wind & Fire, and so on, were and still are important to me and this was the case for the entire FIZZ group.'

At the end, State of Emmergency by The Fizz is a very interesting and brilliant album with great inspiration in melodies and compositions. And who knows, listening to the title "A So Called Being", it could even have inspired a certain King of Pop'...

In its second venture into reissuing hidden gems of electronic music produced in Eastern Europe in the 20th Century, LITTLE BEAT DIFFERENT ISSUES focuses on the work of a Czech composer, musician and producer, Alexander Goldscheider. Born in Prague in 1950, Goldscheider started as a music orrespondent in New York in 1968/69, went onto reading Music at Charles University whilst continuing as a music critic and radio/club DJ, before becoming a record producer at the top Czech label, Supraphon. As a composer, he pioneered the use of synthesizers in his songs for major Czech pop/rock singers as well as in his own instrumental tracks. After moving to London in 1981, he first recorded two albums at the renowned Red Bus Studios, then proceeded to work at the legendary BBC Radiophonic Workshop, before co-founding and establishing Romantic Robot, a software and hardware design and manufacturing company which later moved into music recording and publishing. Of the many original products, THE MUSIC TYPEWRITER was ground-breaking software enabling the writing and printing of real notation on the Sinclair ZX Spectrum. Similarly TEREZÍN: THE MUSIC 1941-44 was the first ever release of CDs with music written in the Theresienstadt Concentration Camp during World War II. Goldscheider's 1980s LPs THEMES FOR A ONE-MAN BAND Vol I & II reflect his work as a solo artist, always writing, recording and producing single-handedly. He had, though, a team of technical aficionados and inventors back in Prague, who adapted and developed his electronic music equipment incl. synthesizers, sequencers and even a Studer multitrack recorder, thus creating a revolutionary set-up, on par with the much later MIDI.This LP samples Alexander Goldscheider's music produced for records, films, TV and even an art exhibition in the space of 25 years starting from 1975.

'Turquoise', that is Turkuvaz, is a French-origin word inspired by the color of the Mediterranean, located within the borders of Turkey. Meaning; blue is the color that plays the green. At the same time it is relative. Because both colors are in it, if you love blue you will see blue, if you love green you will see it green. It means heaven and earth. The eternity is turquoise... The eternity is infinite. At the same time; the boundary between the earth and the sky. Some will find love in it , some will find serenity, some will remember the loneliness and find sadness, embracing some with zeal and reminiscent of the return to the nest, the power of holding hands tightly with two hands.And according to my opinion, the concept of life, the mortal world, is how we see these lands curtained until the last breath of life that we have been living on for centuries.There are billions of beings in our sky and on Earth that do not attract our attention, We can not see, can not hear, can only feel, there are enough lights to count and never disappear in the stage. This EP that you hold in your hand is a reflection of it.
Music was the easiest way to reach you. In doing so, the motto was 'never disappearing at the stage'. I know, because if nobody hears me, God, the real dominion of light the true owner of all the darkness will hear me.

Each sound I created, I filled it with a light and I added a little more sand to the clock. Sounds I created is to show you your own technique of finding your way to light, to make you understand that you are not alone, and that there is someplace really there for you. Without much effort, resting and reviving.

I believe that every one of us who lives on earth has a specific, holy purpose. The important thing is to find and catch it. Our inner journey is to be able to complete our enlightenment as spiritually as possible. And I still believe that we always need music to do that. Because the sounds; they will never disappear.

Turquoise, which is the work of this enlightenment period, which I have lived and found to be my self, will be a source of light for you and help you find God who lives in you.

Wislov might be a new signee to Knitebreed, but he has been releasing material for years, and the Spanish (not Russian) maestro is already known around the world for his awesome breakbeat creations. It was only a matter of time before a label snapped him up, and he is a producer easily capable of dropping huge tunes in both dark and lighter stsyles. This EP showcases his talent, with four tracks specifically designed to compliment the Knitebreed sound while carving his own niche into the label.

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

Jimi Tenor's mind will travel where his body can't go. Living in isolation in east-Helsinki suburb he picks mushrooms and has exotic musical fantasiesin the calmness of the endless. He has made a quantum connection in Berlin with rhythm geniouses Ekow Alabi Savage and Max Weissenfeldt to create his latest tour de force "Order of Nothingness".

Mind travel is easy and music is a perfect way to illustate the possibilities. Using historical failed experimental keyboard Extravoice from Hammond organ company has opened the floodgates of Jimi's creative passages. Philophon studios in Berlin has a plethora of exotic instruments and they have been extensively used in making this album. JIMI likes to switch between wind instruments and keyboards to get a creative edge.

Is there any meaning in Mysteria Did Salvador Dali design the Chupa Chups logo Was Finland part of the Soviet Union Order of Nothingness might not aswer these question, but instead will confuse you a little bit more.

"The art of the future, therefore, will not be poorer, but infinitely richer in subject-matter. And the form of the art of the future will also not be inferior to the present forms of art, but infinitely superior to them. Superior, not in the sense of having a refined and complex technique, but in the sense of the capacity briefly, simply, and clearly to transmit, without any superfluities, the feeling which the artist has experienced and wishes to transmit." - Leo Tolstoy, "What is Art"

This statement can be made of Lucky Brown's attempt to "briefly, simply, and clearly" capture the feeling of the sound, soul, smoke and soil of the Texas Hill Country with his upcoming album "Mesquite Suite".

A little more than one year after the release of his firebrand "Mesquite Beat/Justice" single on imprint "Tramp Tapes" (TR-1040) Lucky Brown offers us here another glimpse into the sound and concept of the Mesquite Suite.

Saints & Beggars is a rustic pentatonic horn-led 6/8 anthem that builds upon a simple primitive melody assembled from two opposing figures set against two repeating figures. Brown conceived the motif while in meditation in a yoga-turned-composition studio in San Marcos, Texas. He later delicately draped the parts around it like woodsmoke. The overall effect of the composition is one of economy and restraint - nothing could be added or taken away. The horns, guitar and vintage electric combo organ begin in unison and then the figure brazenly explodes like a flock of white winged doves from a pecan tree in humid dusk. Here are featured extemporizations from Jason Cressey - trombone, Peter Daniel - saxophone, Colin Higgins - guitar, and drummer Ollie Klomp, with an exposition of open horns in the climax. The tune is drenched in shitty reverb which engenders a mysterious dimension begging the record diggers' favorite questions: "...when is this from", "...where is this from".

'Bout To Blow, remaining uncompiled in the upcoming "Mesquite Suite" (exclusively released on this single only), is a specimen of the generic Deep Funk on 45 that lit a fire in Lucky's heart more than 20 years ago. The use of the word generic here is not meant to be derogatory. Rather, it is to transmit the sense that this tune falls squarely within the confines of the so-called Deep Funk canon. 'Bout to Blow offers classic dancefloor essentials: driving bassline, hard drum beat, chanky guitar, and outrageously distorted horns fiercely executing a devastatingly primitive horn line. Also, for devout followers of Lucky Brown's recorded work, there is hidden in the bridge an easter egg in the form of a self-referential quote: the bridge of 'Bout To Blow is also the head of T.D. & The Jimmy James 3's "Jalapeño Pep" (TR-1025)!

It has been Lucky Brown's aim to paint for the world a picture of the vernacular jazz that America's neighborhoods once crafted as their own homegrown cultural heritage. Lucky Brown's music is a rejection of the elitism, classism, and status of the music industrial complex and is an antitoxin to it's resultant homogeneity. He wants with his heart and his art to transmit an everyday people's sound, made by everyday people, dedicated to the upliftment of all people. Could this be the "art of the future" that Tolstoy wrote of in 1904

Key-selling points:
- "Bout To Blow" is available on this 7" release only
- "Saints & Beggars" is taken from the forthcoming album "Mesquite Suite" (out september 2018)

Born in Munich, Sebastian Schnitzenbaumer aka BELP partially grew up on the Seychelles islands off the coast of East Africa. Educated in classical piano, those two gravitational poles, European and African influences, became the basis for his musical development. Having travelled extensively with a closer connection to London over the years, BELP kept his base in Munich, becoming part of a small alternative scene questioning the predominantly rich and posh surface of the city. Blending jazz, dub and noise, an emphasis on darkness in his broken beat oriented works evolved as a reaction to a rather hedonistic society preferring warm and uplifting sounds.

It's been over 10 years since the release of Gui Boratto's breakthrough full length debut 'Chromophobia'. As to what its title suggests, he shook up the techno game with a contrast of lushly coloured minimal grooves and melody, whilst many will recall that the album included the highlight single Beautiful Life' which became a dance floor anthem for that era. Four albums in and countless EPs and remixes under his belt, the Brazilian producer's unique savoir-faire in carving out a functional album out of diversely routed singles and features is back at it on his fifth studio LP, 'Pentagram'. Here Gui Boratto lays down a nuanced 12-track narrative that reinvigorates his signature sound into a refreshingly different perspective that feels all too familiar - including the return of Beautiful Life' vocalist (and Gui Boratto's wife) Luciana Villanova on the single "Overload".

Through his signature kaleidoscopic approach, Boratto delivers an album built as a far-reaching hub-and-spoke system, broadly inclusive as can be. From the opening cut, 'The Walker' - hot on the trail of Tears For Fears 'Elemental' (one of Boratto's "favourite 80's bands") - to the hi-NRG euphoria of 'Forgotten' and its pounding tech alter ego 'Forgive Me'. "I was going into 2 different directions", Boratto says, "the typical indie- electronic-rock' Boratto kind of production like It's Majik' or Like You' and a much more techno approach." He goes on, "I decided to split them into two twin sister songs. When I play live I always put these two songs together."

The Brazilian Producer further embraces the pop-friendly essence of his past work on tracks like 'The Phoenix', featuring vocalist Nathan Berger, and 'Overload', both melding acidulous synthlines with laser-precise breaks, vox hooks and drops calibrated for extended radio and club use, although sieved through his distinctive rainbow-hued musical prism. For the symbolists out there, the album's pared-down closer '618' duration accidentally happens to equate the proportions of the said pentagram. "Coincidence" Boratto questions, and capsulises, "not so ufanista and supporter of Brazilian neo-concretism, but I guess the brazilian sculptor Lygia Clark also inspired me a lot. Not the meaning of her sculptures, but the shape of the hinge of most of her work. I've wanted to transmit the scientific pentagram's point of view. It's not a religious kind of thing."

Whereas 'Spur' (a field-tested 808 and 909-heavy "purist track", "very, very old school" Boratto insists) and 'Alcazar' are sheer smooth-edged four-to- the-floor epics, the album also shares its lot of startling moments, such as with the John Barry'esque 'Scene 2' (with a hint of Amon Tobin, 'Easy Muffin' style, throw in) and its refined string-laden buildup, 100% fitted for a 007 opening credit sequence, or with 'Hallucination' (feat B.T.) and the further James Holden-ish title-track 'Pentagram' (think 'The Idiots Are Winning'), "one of those exercises I did when I got my Buchla modular synth" Boratto analyses, "I think I've used more then 30 different snares, with different delays and reverbs. The whole song is alive". And so is 'Pentagram' in its entirety: alive and definitely just as manifold and hopeful as its architectonics are the stuff of science and dreams all at once.

Es ist zehn Jahre her seit der Veröffentlichung von Gui Borattos bahnbrechendem Debütalbum - Chromophobia . So wie der Titel vermuten ließ, war das Album mit seinen kontrastreichen Minimalgrooves und den üppig gefärbten Melodien ein Schocker im besten Sinne. Ihr erinnert euch sicher noch an die Hit-Single - Beautiful Life , eine Dancefloor-Hymne aus dieser Zeit. Nach vier Alben und unzähligen EPs und Remixen ist das einmalige Savoir-faire des brasilianischen Produzenten, aus vielfältigen Singles und Features stimmige Alben zu schaffen, auch auf seinem fünften Studioalbum - Pentagram zu hören. Hier legt Gui Boratto ein Zwölf-Track-Narrativ vor, das seine Handschrift auf erquickende Weise wiederbelebt. Wiederbelebt wird auch die Stimme von - Beautiful Life (die der Frau Gui Borattos gehört) auf dem Stück - Overload .

Durch seinen charakteristisch kaleidoskopischen Ansatz liefert Boratto ein Album, das gebaut ist wie die Speichen deines Fahrrads, von dem Opener - The Walker - direkt auf der Spur von Tears For Fears - Elemental (einer von Borattos - favourite 80's bands ) - zur Hi-NRG-Euphorie von - Forgotten und seinem stampfenden Counterpart - Forgive Me . - Ich bin in zwei unterschiedlichen Richtungen gegangen , sagt Boratto: - den typischen ,Indie-Electronic-Rock'-Weg wie in - It's Majik oder - Like You und den Techno-Weg. Er fügt hinzu: - Ich hab mich entschieden jedem Track seinen Zwillings-Track an die Seite zu stellen. Immer wenn ich live spiele lege ich die zwei Stücke zusammen.

Der brasilianische Produzent erschließt weiter die Pop-Essenz seiner vergangenen Arbeit auf Tracks wie - The Phoenix (feat. Nathan Berger) und - Overload . Beide kombinieren zwitschernde Synthi-Melodien mit lasergenauen Breaks, Hooklines, Drops und sind wie gemacht für die Rotation und den Club. Und für die Symbolisten da draußen: die Länge des reduzierten Closers - 618 beträgt zufälliger Weise genau die Proportionen des besagten Pentagramms. - Fügung , fragt Boratto und fasst zusammen: - Ich bin kein Anhänger des brasilianische Neo-Konkretismus , aber ich glaube die brasilianische Künstlerin Lygia Clark hat mich sehr inspiriert. Nicht die Bedeutung ihre Skulpturen aber die Form der meisten ihrer Arbeiten. Ich wollte den wissenschaftlichen Blickwinkel auf das Pentagramm übersetzen. Nicht im religiösen Sinne oder so."

Während - Spur (ein erprobter - purist track auf der Basis von 808 und 909, - sehr, sehr old school , wie Boratto betont) und - Alcazar glatte Vierviertel-Epen sind, hält das Album auch Überraschungsmomente bereit. Z.B. das John Barryschen - Scene 2 (auch eine Spur von Amon Tobins - Easy Muffin ist darin zu hören) und seinem Streicher-Aufbau, der hundertprozentig geeignet wär für eine Eröffnungssequenz in einem Bond-Film. Auch - Hallucination (feat. B.T.) oder der James-Holden-hafte Titeltrack - Pentagram (wir denken da an - The Idiots Are Winning ) wäre da zu nennen. - Einer dieser Übungen, die ich gemacht habe, als ich meinen Buchla-Modular-Synthesizer bekommen habe, war , erinnert sich Boratto, - mehr als 30 verschiedene Snares, Delays und Reverbs zu verwenden. Der ganze Song sollte am Leben sein. Und so ist - Pentagram im Ganzen: lebendig und sicher genau so vielfältig wie sein Bauplan, der auch der Wissenschaft und den Träumen zugrundeliegt.

Way back in 1967, an animated superhero cartoon was released into the world. It was created by Grantray-Lawrence Animation and was based on a web-spinning, crime fighting blue and red dressed character that had originated in1962, in Marvel Comics by Stan Lee and Steve Ditko. This amazing series (that we're not allowed to mention the name of for legal reasons) ran on ABC TV in the USA, then Canada, then a few years later started to spread its web further, running here in the UK throughout summer holidays, after school and possibly early mornings at weekends in the late 1970s. The series then got released on VHS video (and probably Betamax too) in the mid 1980s and still continues to spin its animated magic around the world through further broadcasts, YouTube and DVDs.

The series was notoriously low budget, with animated errors everywhere and numerous scenes, sequences and backgrounds being re-used all the time, often across the same episode. Even a certain spider logo on a costume would appear with six legs, then eight legs later on, then back to six again in the same show.

Series One opened with a newly written spider theme, a classic, hooky song all about doing whatever spiders can, and had, as Big George (RIP) once pointed out to me, a set of session singers falling slightly out of time with the backing track after the first verse. Series One also featured background music by jobbing composers Bob Harris and Ray Ellis but these cues and master tapes are now believed to be lost.

After Series One the company Grantray-Lawrence went bankrupt, so the amazing spider series (that we're not allowed to mention for legal reasons) was taken on by producer Steve Krantz. He brought in new talent, including animation director Ralph Bakshi who later went on to turn a Robert Crumb strip cartoon into the feature Fritz The Cat. Krantz also slashed the already cripplingly small spider budget, and brought in the idea of using economic library music. Here, thanks possibly to an independent sync agent (it has been suggested that a company called Music Sound Track Services may have been the one) production turned to the KPM catalogue. This was one of the few really established library catalogues around at the time with a modern edge, it was full of fabulous, modern dramatic music tracks - often all on the same LP. But more importantly all the tracks were far longer than the one minute musical cuts that many of the fledgling USA library companies were issuing at the time. Not only would this KPM music be efficient, affordable and very easy to use, it would also mean syndication worldwide would not be held up by any future musical issues. Krantz produced two amazing spider series (that we're not allowed to mention for legal reasons), and both were smothered with KPM music. In fact barely a spider second goes by without music playing in either the background or foreground.

For many years I - and many nostalgic others - have been thinking about putting this vinyl album together. For many enthusiasts this really is formative music - a junior foray into hip swinging crime jazz and esoteric musical grooviness. I've also read on line accounts by DJs from WFMU on the trail of original spider master tapes, and there's even a whole forum dedicated to Spidey-Jazz'. Then recently I was looking at an old spider tracklist and realized that several of my favourite KPM cues were there including Syd Dale's Hell Raisers' and Walk And Talk', both from one of the most elusive and desirable KPM albums of all time (yes, you just try and find yourself a copy of KPM 1002 right now), so I decided to push on and get the album made.

So, what features on this Spider-Jazz Lp Well it's music from the amazing TV series we are not allowed to mention for legal reasons, BUT, not music from Series One. No, but it is all from Series Two and Series Three. From looking at archival cue sheets, over 50 tracks from various early KPM 1000 series albums were used across episodes. I've distilled this down into one exciting and enthralling LP, and if this works a further Spider Jazz album may well swing in to production. If you're interested (and I'm sure you may well be) cues here came from KPM1001, KPM1002, KPM1015, KPM1017, KPM1018 and KPM1043 and were composed by master library composers of the era - Dale, Hawkshaw, Hawksworth, Mansfield etc.

And if you are listening over there in the USA, you may well recognize many of the cues here not just from the amazing TV series (that we're not allowed to mention for legal reasons) but also from classic 1960s and 1970s NFL highlight shows that we are allowed to mention.

Following 2017's 'Path of Ruin', DJ Richard returns to Dial with his much-anticipated sophomore LP, 'Dies Iræ Xerox'. Undoubtedly one of the most distinctive and fully-formed electronic producers in recent memory, DJ Richard imprinted the sound of a bubbling US underground with his label, White Material, founded in 2012 alongside Young Male. His first solo LP for Dial, 2015's 'Grind', found DJ Richard delicately establishing a discipline between his East Coast noise heritage and a physical, emotive tradition of house music, mastered during an extended stay in Berlin. Now firmly settled once more in his hometown of Providence, 'Dies Iræ Xerox' is a personal and uncompromising journey that finds the Rhode Island native in reflective form, journeying without compromise into both his creative influences and personal psyche. In part adapting its title from the Latin hymn 'Dies irae', otherwise known as 'Day of Wrath', 'Dies Iræ Xerox' melds the physical and psychological aspects of DJ Richard's production ethos in sharper, more widescreen vision than before; the oceanic swells of ambience yet more powerful, and the rigid basslines sharper still. With the chaos of the Berlin club scene an increasingly distant memory, the album is enriched with a contemplative, even brittle tone, as informed by film soundtracks and literature as the pulse of city living. Still, this is new material from DJ Richard, a touring DJ as distinctive as any other to be found behind the decks at some of the world's finest clubs and festivals. On 'Dies Iræ Xerox', the artist finds the space to write 'the records I really want to play', and each suggests a template for genuine dancefloor transcendence, beginning with the electrifying 'Vanguard' . The sludgy yet sophisticated crawl of 'Tunnel Stalker' sets the tone for the menacing yet somehow melancholy EBM of 'In Broad Daylight', while the record draws to a breathless close with the affecting, drum machine lethargy of 'Gate of Roses'. Drawing little distinction between his more physically rousing material and searching soundscapes, 'Dies Iræ Xerox' instead finds a passage of catharsis throughout both. 'Dissolving World', the album's breathtaking centerpiece, is a choral feature hypnotically overwhelmed by walls of electronic feedback, forging a dramatic link between old ways and new. On the bold and near-beatless 'Ancestral Helm' and 'Final Mercy', DJ Richard seems to grant both music and raw emotion the ability to simply float in the air, brilliantly, poignantly unresolved. If 'Grind,' inspired by the weathered coastlines of Rhode Island, was a record concerning "the border between civilization and the ocean," then 'Dies Iræ Xerox' is an unapologetic follow-up concerning that between macabre obsessions and fear of death. Produced during a murky, transitional period, DJ Richard found himself particularly drawn to Medieval European art and mysticism, fascinated by depictions and philosophies of the antichrist and end-times. Greatly influencing the uncompromising, apocalyptic tone of the album, these investigations have created an engaging and personal vision of the 'Day of Wrath.'

The Demonic Waves familly is invited on Rouge De Colere for a first Vinyl production !

A superb sound quality here with brilliant tunes from very undeground future overground artists... the new Hardcore generation, daring the melt between industrial, doom , hard technoid and acid.

We are here with 4 very structured tunes, probably not easy to mix on vinyl but really deserving some headheackes to reach the perfection.

Big one ! A bit downtempo for a change on this quiet speedcore label :) I recogn !

The remarkable thing about BELP's new album is its two-dimensional function. It works both on a loud and a quiet volume. Some tracks would go down well as a club track, like opener 'Travelling Thru Galaxies'. This track brings back memories of the best work released on the Hyperdub label, with it's fine combination of synths and irresistible, dubby beats. Elsewhere, 'Off Ending' might start off as 'dancehall-but-not-quite dancehall' track but when half way the synths kick in they change the feeling of the track to a more cerebral level.

BELP is the artist name of Sebastian Schnitzenbaumer. Born in Munich, he partially grew up on the Seychelles islands off the coast of East Africa. Educated in classical piano, those two gravitational poles, European and African influences, form the basis for his musical development. Currently he has close ties to the (dub) Sausage Studio in Hackney, London. In his hometown Munich, the Bavarian capital, BELP took a central role in a series of discussions and events aiming to improve the image and possibilities of Munich, which to his regret is a predominantly posh and hedonistic city where optimistic and uplifting music take central role.

In different guises Schnitzenbaumer works as a much needed antidote. Since 2013 he runs the Schamoni label, focusing on supporting local artists like Leroy and Protein. Its sublabel Jahmoni is responsible for recent works by international artists like Aaron Spectre and DJ Marcelle/Another Nice Mess.

BELP's music is dark, serious and layered. His love for dub and dancehall shines through in his broken beats. At the same time the synth layered tracks give the album an atmospheric feeling.

This also is what makes this album essential: it's refusal to be pigeonholed. The last track on side A, 'By Beauteous Softness', is an a cappella rendition of a 17th century Henry Purcell piece, beautifully sung by Alexander Schneider. This track is preceded by 'Transmission', which is a brilliant abstract work, sounding like wind closing on you from all sides. And you can sip a cocktail whilst listening to the jazzy 'Time And Again' (BELP once worked as a jazz pianist).

It's clear to hear BELP took a long time recording this album. Every note, synth, drum beat, is carefully placed. But what the album might lack on spontaneity it more than compensates this with its sheer musical beauty. This also reflects on the abstract sleeve, like 'Elephants' designed by BELP himself.

Enjoy this album on big speakers, as background music or simply on headphones. There will always be new sounds and layers to be discovered!

Max Loderbauer, who has so far made consistently engaging contributions to the Arjunamusic family, is back to lend his unique interpretive skills to the master recordings for the Brightbird album by João Paulo Esteves da Silva, Mário Franco and Samuel Rohrer. Loderbauer has set himself up for a chal- lenge, since the original album's completely improvised flow of small-ensemble, conversational jazz feels complete enough without outside intervention. However, Loderbauer's role as electronics operator in the similarly attuned Ambiq trio has already shown that, through his mastery of tone color, he has a talent for teasing out the additional hidden details within an apparently 'complete' sonic environment. It's a task he mana- ges to accomplish without ever overriding or contradicting the cohesive message provided by his collaborators.

Adding to the challenge here, Loderbauer chooses to re- mix using only sounds from the original recordings. By doing so, it might seem he is willfully denying himself the chance to use his own signature tools and turn Brightbird's source materi- al into stunningly new electro-acoustic hybrid blooms. Yet Loderbauer succeeds here by becoming something more like a translator than an augmenter - he finds a way to make mea- ningful syntactical changes to the trio's rich and versatile vo- cabulary, and once again unveils a verdant world of hidden details in the process.

The A-side 'Trusting Heart/Cosmos' has an anxious tone introduced by a set of Doppler-effected piano notes that seem to melt in the sun, and is soon complemented by a va- riegated, chattering rhythm line. Here Loderbauer builds up a tactile tension between rhythmic certainty and sharp-angled, de-tuned, and occasionally scrambled instrumentation, framing a disorienting (yet engaging) virtual space where ob- jects' bright hues rapidly change as they contract and expand along multiple dimensions. For the b-side 'Noontide', Lo- derbauer switches to a more focused and streamlined idiom with an uncanny ease, riding along steady waves of sequencer patterning and silvery, resonant shiverings. Reverberating, ho- lographic piano again provides the tonal center here, and the notes ring with a forward-thinking optimism not far removed from classics of the 'Krautrock' era.

Current supporters of all the artists involved will find this to be an invigorating synopsis of their work to date, while newcomers will be treated to a soundworld where skillful fu- sion (the act itself, rather than the music genre with the same name) is constantly on display.

Following their work compiling last year's hugely well-received Ten Years of Jaunt EP, Blackhall & Bookless return to their label with four varied, equally confident shades of their distinct, versatile dancefloor vision. 'Forward' is an instantly enveloping slice of big-room techno that's entirely club ready and yet focused on atmosphere and tension, taking no prisoners and yet unfolding on it's own terms. That same ecstatic and almost ethereal club pressure reemerges on 'Voyager', under which gently unleashes a skittering landscape of blissful breakbeats and Vangelisesque synths. Inspired by the unforgiving sea that borders their hometown in the North East of England, 'Ocean' is perhaps the most intense moment on the EP, dragging listeners into wave after wave of undulating dub chords, always underpinned by driving, raw and percussive drums. Ending in forgiving ambience, this moment of respite leads to the conclusion, 'Occupy'. A beatless send-off, it nonetheless remains equally compelling and vast in it's filmic and complex sound design, showcasing Blackhall & Bookless' finely tuned meld of the substantial and the subtle. Tinged with the North Sea air and the pulse of Detroit, Blackhall & Bookless continue to master the sound of agile, accessible yet uncompromising club music.

Bossmusik Returns With Adam Stromstedt For Their Seventh Release. The Swede, Now Residing In Australia, Is Known For His Eclectic Track Selection And Production. On The A-side, Two Dance Floors Rollers Combine Groove And Warm Synths To Create Perfect Soundtracks For The Coming Summer Months. The B Side Showcases A More Experimental Side To Adam's Production. Intermittent Vocals Combine With Percussion Driven Rhythms For An Easy Going Micro House Trip.

Smoove & Turrell return with the first new single from their forthcoming album 'Mount Pleasant' - a storming double-A side with disco cut - 'You're Gone' and the gorgeous and ironic 'A Deckham Love Song'.

From the moment John Turrell heard label mate Izo FitzRoy's debut album "Skyline" he knew they had to work together and started adapting a song he was working on "You're Gone" with her in mind.

The result is an absolute ear worm of uplifting chic style instrumentation combined with haunting lyrics - disco dynamite delivered with feeling as John & Izo's vocals perfectly encapsulate the balance of frustration, pride and vulnerability present in a lovers argument.

The flipside is the undeniably pretty 'A Deckham Love Song' - a smooth slice of sublime songwriting with a Richard Hawley-esque tongue-in-cheek look back at a childhood spent in Deckham. The beautiful and sentimental imagery conjured up in the lyrics and tasteful musical arrangement inspired by Gene Wilder's Willy Wonka, ironically offsets the subject matter of a childhood growing up on an estate in the North East of England.

Following the 'Screaming Ghosts' collection highlighting the music of C Cat Trance, Emotional Rescue and Malka Tuti return with the first of two EPs where the band's music is given over to a selection of artists, friends and collaborators for reinterpretation, re-editing, replaying and remixing to provide a modern outlook on the bands mixture of East meets West musicology.
Very much the vision of Malka Tuti and close to their ground-breaking releases of the last two years, the genius is out of the bottle with a who's who representing both labels. First, Autarkic go supergroup in enlisting Tel Aviv's White Screen for a cover of Screaming (To Be With You). Totally replayed, this is the perfect opening, with wide-screen production, updated arrangement and decimal delivering vocals setting the standard.
Following comes an effusive, simple and on-point remix of Dalbouka by the inspiring ledge that is JD Twitch. Platitudes aside - enough has been said by others - but the fact Twitch is as enthusiastic and driven as ever is testament enough. The simplicity and genius of his rework, where 909 is added alongside fx to speaker shaking effect, shows that less can be much more.
In Sneaker (DJ) we have a name moving steadily from the (cult) periphery to become one to consistently check and respect. Following EPs for Rat Life and Bahnsteig 23, the singularity of his reversion is audacious and entrancing. Brevity, purity and ultimately intensity of percussion, horns, bell and guitar. Enter.
To end volume 1 comes Die Orangen. Kris Baha and Dreems' bromance of Aussie label (red) heads, united in post-industrial explorations. With a deep, expansive album incoming on Malka Tuti, their brooding, rattling, ghostly mix is one for late night thinkers, that steps up to encapsulate an EP that successfully marries old and new, bringing C Cat Trance's music present.

New Lp-edition of a private press library recordings of the early '70s.
Together with Florian Fricke and Peter Michael Hamel, Deuter is certainly the main responsible of a fruitful encounter between European sensibility and Eastern aesthetics in the German music of the 1970s. Soundtrack was originally produced by Kuckuck in 1973 not for an official and public release, but as a library' to be used for films, TV and radio. As a library it respects the canonical and typological structure of the genre with 26 short sonic fragments, sequences imagined and conceived like fulminating illuminations. There's still a solid electronic vocation that, however, has put aside the most disruptive effluvia of D (1971) of pure kraut' ancestry. In fact, the album is more like an ideal passing bridge between some ritual instances of the previous Aum (1972) and the following successful phase of Deuter during the period when he stays in the Bhagwan Shree Rajneesh's ashram in Poona realizing, in parallel to a renewed inner life, masterpieces like Celebration, Haleakala, Ecstasy and Silence is the Answer. Musically speaking, Soundtrack presents itself as a heterogeneous work with nocturnal, cinematic, galactic and atmospheric-environmental implications. Electronics remains the predominant factor but can vary from mantra drones of more ceremonial and meditative space-relax' tones of some tracks (Triad, Deep Sea, Gothic Velvet or Evening) to the most amused formulations of pulsating analog synths that in the hands of Deuter become toy-equipement' to modulate and explore (Desert Rock, Synth Effect, Flea Dance or Laser). There is no lack of acoustic moments more ethnically inspired with Arabian and Indian (Reed, Arabia) or devotionally solar themes (Tom Bombaddils Dance), so evoking an air of diffuse peace then completely conquered in the beloved India.

2023 Repress Spice 1 is an undisputed West Coast legend, who first hit the scene after the N.W.A. and – closer to home – Too $hort explosion of the late ‘80s. As history showed, he continued that bloodline with finesse and authority. His nasal flow is menacing and strong, and fans have been consistently captivated by his ‘hood tales since his self-titled debut in 1992. If you want thematic range with your MCs, Spice isn’t that dude – he is all about crime tales and the perils of ghetto life. And he attacks that storytelling sweet spot with each new cut. Spice 1 boasted four singles by the time it was all said and done, and breezed to Gold status on the strength of cuts like the catchy “East Bay Gangster”; the heartfelt tales and truths of “Welcome To The Ghetto”; and the thick, grooving “In My Neighborhood.” He even produced the alcohol-themed “187 Proof,” another of the album’s singles, and the hands-down cleverest vocal outing on the LP. Sonically, the backdrops on Spice 1 range from plunky, keyboard-bassline funk to deeper, fuzzy ‘70s samples – and he sounds strong on top of both. “Break Yourself” is fueled with an electro-funk drive; “1-800 Spice” brings reggae flavor; and “Peace To My Nine” gets chunkier, with a well-placed P-Funk “One Nation Under A Groove” sample. Presented here on official retail vinyl for the first time since its initial release 26 years ago, Spice 1’s debut holds the test of time and carries the California gangsta flag with pride. Some colors just don’t fade.

One of the most unique albums on the Strata East label - and that's saying a heck of a lot, given the creative energies flowing through that legendary jazz outlet! Descendents Of Mike & Phoebe is a righteous little project put together by Spike Lee's father, Bill Lee, and his brothers and sisters (Cliff Lee, Grace Lee Mims, and Consuela Lee Moorhead) - working here in a group named after their slave ancestors, who are paid tribute in a beautifully flowing batch of tunes! Lee's round, warm bass tones are firmly at the head of the group on most numbers - recorded at a similar level to his excellent work with Clifford Jordan on Strata East during the same time - and other instrumentation includes piano from Consuela, flugelhorn from Cliff, and percussion from Sonny Brown and Billy Higgins - all used in a wonderfully evocative style that's even better than some of Lee's later soundtrack work. A few numbers feature vocals from Grace - singing wordlessly and with a really heavenly sort of quality - and together, the whole group have an undeniable sense of power and majesty, yet also one that's touched by a really personal sense of poetry too. Titles include a great version of Lee's "Coltrane", which was more famously recorded with Clifford Jordan.

By Drago Museveni

"Up next on 20/20 Vision we welcome Nathan Jonson back for his second outing on the label, and this time it's rounded off with a big remix from his brother Mathew Jonson. Business EP finds Nathan back in familiar musical territory. Serving up genre bending tracks which fuse electro, techno, house and old school rave into a melting pot of electronica which is not easy to define. 'Business' & 'Let Your Body' are unconventional, unique and original, with off kilter basslines and rave stabs reminiscent of a Luke Vibert and Carl Finlow hybrid. The release also see's the first appearance on 20/20 Vision from none other than Mathew Jonson, who turns in a killer remix of title track 'Business'. Since 2001 Mathew has constantly evolved, with a back catalogue of scene defining tracks and one of the most electric live shows in the business. It's a honour to finally have him feature on the label.

Suns out, guns out: Darkroom Dubs ease into 2018 slowly with a new addition to their limited vinyl series courtesy of Madrid analogue scientist Eduardo De La Calle.

Last spotted on Planet E and boasting a 15 year back-cat on the likes of Cadenza, Biologic, Just This, Hivern Discs and Mule Muziq, Eduardo is a man you're already well acquainted with. And you're going to want to get even closer once you've digested these four straight-to-business stripped-back traxx. Each cut designed for deep mix tailoring that you can really bend minds with.

'It's Me... The Apple Knocker' ignites the fire with a flash as we're hurled into a hypnotic frenzy from the first loop. A whirlwind comprised of so few parts yet causing a riot in your senses, this stutters and slurs with a precision sense of unease. The troubled ebb and flow of 'Opsimath' follow suit with a twinkling feeling of unknown. An extensive groove weighing in at nearly nine minutes, its unhurried nature alludes to its title; the longer you leave it sizzle, the more enriching it gets.

Flip for 'Breatharian'. The deepest, most disarming cut of the collection laced with yearning strings and poignant chords, it's a solar-inspired sunset piece that gradually morphs into something much darker and serious as the track progresses. Finally we conclude with 'Cybersquatting', a timeless mildly dubbed-out darkroom groove that flows with liquid insistency. Subtly mutating and rotating, forever pumping, it's a true calm before the storm piece, tailored for those moments when you need a little suspense and space in your set.

Four crystal jams. Endless variations. Infinite mixes: Darkroom Dubs have delivered once again. And there's more en route... Watch out for a new Deadstock 33s release and a new compilation 'Darkroom Dubs Presents Summer Love'. Both due before the summer is out. Don't put those guns away anytime soon...

2x12"

Soma Are Proud To Present The Debut Album From One Of Techno's Most Prolific And Renowned Producers, Tensal. As One Half Of The Duo Exium, Hector Sandoval Has Already Carved Out A Career In Techno Spanning Over 20 Years, With Countless Release On Their Self-run Nheoma, Warm Up Recordings & Pole Group, To Name But A Few. In 2014, He Started The Tensal Project As An Outlet For His Own Productions Which Allowed Him The Scope Of Pursuing The More Direct And Minimalistic Approach With His Music And Also His Dj'ing. After Hooking Up With The Soma Camp In Early 2017 And Releasing A Collection Of Well-refined Singles, Tensal Delivers His Debut Album, Graphical. Searching To Go Beyond The Realm Of Standard Techno, Tensal Lends His Considerable Production Experience To This Project And Creates A Sophisticated And Immersive Album Experience That Flows Gracefully Between Idm And Techno.

With The More Stripped Back Approach At The Forefront Of The Project, Belga Gives Us An Insight Of What To Expect From The Album; A Refined Sequence And Melodic Element Build Gracefully And Hypnotically, Ending Abruptly To Leave You Wanting More. Santolaya Picks Things Up And Brings With It A More Pensive And Exploratory View Before The Droning And Atmospheric Roj0 Leans On A Decidedly More Experimental Side. Aimed At Bringing Tension To The Project, Convulsa's Waves Of Sub Bass And Syncopated Percussion Set The Tone For A Pulsing And Edgy Affair. Tensal Brings 4x4 Into Play With Polariex. Slow Paced Yet Staunch In It's Approach, A Gritty Synth Hook Stands As The Backbone. A More Hypnotic Approach On Egoaio Looks To Bring In The Standard Tensal Sound But As Always, New And Experimental Sounds Are At The Forefront. Closing Out The Album, The Focus Begins To Shift To A More Dance Floor Orientated Attitude. Zomb Is A Quintessential Dj Tool, Drawing On The Power Of Restraint, As Its Gradual Swells Create Perfect Cohesion Throughout. P R U V I 4 Continues The Ongoing Theme Of Tension As Multi Layered Hooks Surge Forth Against A Backdrop Of Forceful Drums And Undulating Noise. Tensal Ends His Debut Lp On A High With The Punishing Mimix. Pounding Kicks And Twisted, Tripped Out Synths Are Driven In Intensity With Chopping High Hats That Slice Through With Vigour.

With Graphical, Tensal Has Constructed A Body Of Work That Is More Than The Sum Of Its Parts; Easily And Intelligently Displaying His Production Prowess By Crafting A Sonically Accomplished Album.

Deep percussive house tracks by A Drummer From Detroit. Jazzy funk inspired Dance floor heat from this well known producer from Detroit (who released on some of the best Detroit labels!). Classy release that easily makes it into our list of favorite Detroit releases of 2011!

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

For a label that wasn't around long, Strata East achieved the same sort of label recognition that Impulse! or Blue Note managed to build. In other words, you knew what you were getting when you bought a record on the label, even if you didn't know the names on the outside of the cover.

"Don't Look Back" is an album led by American saxophonist Harold Vick recorded in 1974 and released in the wake of Harold Vick's recovery from a heart attack, which may partially explain the passion with which he approaches his playing throughout.

One of the best-ever Strata East sessions! The album's a masterfully conceived session by reed player Harold Vick - best known to the world as the funky tenorist from albums by John Patton and Jack McDuff in the 60s, but emerging here as an incredibly sensitive soul jazz player, capable of turning out some incredibly sophisticated and emotional compositions. Vick produced and wrote all the material on the album. A treasure all the way through. (Dusty Groove, Inc.)

"It was the most beautiful summer of my life."

Memories — places, vacancies, allusions — are fundamental characters in Mary Lattimore's evocative craft. Inside her music, wordless narratives, indenite travelogues, and braided events skew into something enchantingly new. The Los Angeles-based harpist recorded her breakout 2016 album, At The Dam, during stops along a road trip across America, letting the serene landscapes of Joshua Tree and Marfa, Texas color her compositions. In 2017, she presented Collected Pieces, a tape compiling sounds from her past life in Philadelphia: odes to the east coast, burning motels, and beach town convenience stores. In 2018, from a restorative station — a redwood barn, nestled in the hills above San Francisco's Golden Gate Bridge — emanates Hundreds of Days, her second full-length LP with Ghostly International. The record sojourns between silences and speech, between microcosmic daily scenes and macrocosmic universal understandings, between being alien in promising new places and feeling torn from old native havens. It's an expansive new chapter in Lattimore's story, and an expression of mystied gratitude. A study in how ordinary components helix together to create an extraordinary world.

Awarded a residency at the Headlands Center for the Arts, Lattimore spent two summer months living with 15 fellow artists — writers, playwrights, musicians, poets, painters, activists, curators — in a cluster of old Victorian military buildings on the Northern Pacic Coast. Days offered solitude, Lattimore set up in a spacious barn, able to arrange her instruments at will. Nights welcomed new perspectives. "Hanging out with a lot of accomplished artists with poetic ways of looking at the world was really inspiring. My heart was in a bit of a tangle after leaving Philadelphia. I was holding onto things instead of moving forward. My time there was a nostalgia detox, a way to press reset in a healthy way. Also breathing in the freshest air in America, straight off of the ocean, felt good."

Throughout the shifting locales there is one consistent companion Lattimore engages: a 47-string Lyon and Healy harp. The instrument wires directly into her psyche. Pitchfork's Marc Masters posits, "she can practically talk through it at this point, she's created a language." The space and stillness of the Headlands afforded Lattimore freedom to her expand her vocabulary, to stretch out and experiment with layers of keyboard, guitar, theremin, and grand piano. Lattimore's voice sweeps beneath the plucks and washes of opener It Feels Like Floating,' enraptured by the winding current, and reappearing in the second minute of the immense "Never Saw Him Again." The track elevates towards a shimmering apex of static and percussion before organ drone yields to signature halcyon utters. As with much of Lattimore's work, the track titles are telling, "Baltic Birch" is a somber windswept march that sways gracefully out of step, a remembrance of a recent trip to Latvia where she was struck by the abandoned resort towns along the Baltic Sea. Hello From The Edge of The Earth' is an earnest reection of Lattimore's love of the natural world, recognizing the thresholds of varying terrains.

The album's fth track borrows its name from Lattimore's favorite line in Denis Johnson's short story Emergency' from Jesus' Son. A character, lost in a blizzard, reassesses a disjointed universe, a clash between curtains of snow and angels descending out of a brilliant blue summer: it isn't an apocalypse, it is a drive-in movie, with stars hovering above the lot, off the screen, in the throes of the Midwestern storm. This mix-up is disorienting and existentially tragic, Lattimore's darkly strummed piece is a melancholic parallel, mimicking Johnson's elegant suture attaching two remarkably discontinuous spaces.

Micro-revelations, not quite as bright as torn skies but nonetheless enlightening, were everyday occurrences during Lattimore's residency. Living small days with small tasks — feeling little dramas within the arcadian universe of a national park — rendered her the sense that disjointed spaces can be interconnected no matter the enormity that divides them. It's in this elastic scale of perception that something as simultaneously simple and intricate as Hundreds of Days can ourish.

- Second solo album for Ghostly, past releases on Thrill Jockey
- Recently toured w/ Sharon Van Etten, Jarvis Cocker, Kurt Vile, Steve Gunn, Julia Holter, Iceage
- Mary Lattimore has been featured on Pitchfork, NPR, The Wire Magazine, and more

On The 50th Anniversary Of The Band's Inception At An Event In Harlem, Ny To Commemorate Malcolm X's Birthday On 19 May 1968, Influential Spoken Word Artists, Poets And Commentators The Last Poets Are Set To Make A Glorious And Relevant Return With Their First Album In Over 20 Years, 'understand What Black Is'.

Produced By Ben Lamdin (nostaglia 77) And Brighton Legend Prince Fatty, Whose Speciality Is Traditional Reggae And Dub Production's, 'understand What Black Is' Is A Ten-track Album Which Speaks Of A Revolutionary Struggle Defined By Both Race And Identity, That Has Never Sounded More Relevant. Released On Studio Rockers, There Will Also Be An Accompanying Single Featuring Remixes Of The Title Track "understand What Black Is" By Mala (south London Collective Digital Mystikz) And Uk Dance Music Innovators Dego And Kaidi.

Since The Initial Line-up Of Dahveed Nelson, Gylan Kain And Felipe Luciano Formed In East Harlem's Marcus Garvey Park, The Last Poets Have Produced Under Various Guises Over The Subsequent Years. However, It Was Their Seminal Output, Namely 1970's 'the Last Poets' Under Both Umar Bin Hassan And Abiodun Oyewole That Secured Their Legacy, Becoming One Of The Most Important Influences In Early Hip Hop.

Throughout The Last 20 Years, The Band Have Remained Largely On Hiatus. But Their Influence Could Still Be Felt With Their Tracks Being Sampled By The Notorious B.i.g, Nwa, A Tribe Called Quest, Dr.dre And Snoop Dogg. Umar Has Recorded Various Solo Albums And Featured On Common And Kanye West's Grammy Nominated 'the Corner'. Abiodun Appeared On The Red Hot Organization's Album, Stolen Moments Which Was Named "album Of The Year" By Time. He Also Conducts Weekly Open House Poetry Readings, Where He Constructively Critiques Upcoming Poets, Helping To Nurture Them. He Has Also Conducted Classes At Columbia University, Where He Teaches Creative Writing.

The Inauguration Of Donald Trump As Us President In 2016 Inspired Hassan And Oyewole To Resurrect The Group To Create A Brand New Record, Modern And Edgy, And Deeply Relevant And Reflective Of Our Times.

Tracks On 'understand What Black Is' Include 'how Many Bullets', Which Bridles With Defiance As Oyewole Works Through A Litany Of Injustices Suffered By Black People In The Us: " You've Tried

To Blow My Brains Out With Bigotry, Chopped Off My Wings, So I Couldn't Fly Free, And Dared Me To Be Me, Took My Drum, Broke My Hands, Yanked My Roots Right Up Out Of The Land, And Riddled My Soul With Jesus" 'what I Want To See' Describes A Utopia - A Refuge From Hurt And Those Who'd Make "our Vision Blurred, And Our Faith Obscure", Whilst The Title Track 'understand What Black Is' Aims To Transcend Ethnicity: "understand What Black Is....it's The Source From Which All Things Come...black Is A Hero, Not A Villain."

The Album Even Takes Reference From Prince's 2003 Album Of Instrumentals, 'news', Which Hassan Drew Comparisons From With His Own Childhood Experiences: "that Poem Took Me About A Year To Write....i Just Kept Writing And Writing But Not Getting Too Far And Then I Heard That Album And The Musicianship Was Amazing. I Was Left Wondering If It Was Jazz, Classical, Rock Or Maybe Something New But All Those Images That I Write About Came To Me From Listening To That Album. I Loved Prince In That Movie Purple Rain Because My Father Was A Talented Musician But He Was Into Brutalising Mama At Times And In The Movie There's A Jerome And My Name Is Jerome, So It Was Like He Was Telling My Life Story As Well."

The Album Acts As A Body Of Work Between Individual Members Each Speaking Of Their Own Personal Journeys, But Feeding Into The Much Larger Narrative Of Struggle And Oppression, Alongside A Fervent Hunger For Social Change. These Are Struggles And Tests Of Personal Resolve That Have Directly Shaped And Moulded The Bands' Unique Sound Over The Course Of An Impressive 50 Years, And Their Powerful And Influential Commentary Remains As Relevant As Ever.

· Album presentation live @ Camden Assembly London, 13th June
· Genre-spanning UK jazz artist who has worked with the likes of Craig Charles Fantasy Funk Band, Nightmares On Wax, The New Mastersounds, and Rae & Christian
· Follow-up to the debut and highly credited La Sombra from 2017
· Features guest UK trumpeter Matthew Halsall on 'The Mirage'
· La Sombra made Gilles Peterson's 'Best albums of 2017' list, with a track included on Brownswood Bubblers 12
· Part of the Matthew Halsall live band and toured with Dwight Trible

Recorded in Madrid in July 2017, Shamal Wind combines Chip Wickham's globetrotting, spiritual jazz expeditions with hard-won schoolings in the funk. Following his critically acclaimed 2017 debut, La Sombra, the record draws on spiritual jazz influences like Yusef Lateef and Sahib Shihab, and rests on Chip's many-sided experience as a musician, spanning left-field beat experiments to hard-hitting funk heavyweights.

After the Latin and flamenco whispers on La Sombra, Shamal Wind adds some Arab-influence percussion to the mix, most notably on the title track. Elsewhere, 'Barrio 71' sees him nodding to Shihab: high energy, lyrical and absorbing, with sax and the vibraphone taking the lead. 'Snake Eyes' taps into the meditative exaltations of modal jazz, while 'Soho Strut' nods to the jazz fusion, funk-influenced side of Chip's playing.

Like the Persian Gulf winds referenced in the album title, which often mark the shift to a new season, this album signals a new chapter for Chip, opening up a newfound energy and inclusiveness in his music, and further expanding on what he achieved in the past year. "Shamal Wind" is a heavy record, built on strong foundations.

Over the past 3 decades Chip Wickham has worked, written, recorded, and toured with the likes of Rae & Christian, Fingathing, The Pharcyde, Jimpster, Nightmares On Wax, Graham Massey, Roy Ayers, Nat Birchall, The New Mastersounds, Lack Of Afro, Craig Charles Fantasy Funk Band, Matthew Halsall, and Dwight Trible.

On "La Sombra":
"This is coming from the outside, I was like whooooa, easy. Blowing hard - they got it right! Gilles Peterson
"I'm becoming convinced that Chip Wickham is a genius" Craig Charles
"An impressive solo debut" London Evening Standard
"Majesterial and electrifying stuff" 9/10 Blues & Soul Magazine
"Tonally and melodically elegant and with a distinct 1960s/1970s vibe" Scotsman

8th release from RBMB
Lil'dave is a Philadelphia-based audio tastemaker who has made a name for himself by exposing people to soulful music in all it's forms. As a DJ, he can easily whip the most mainstream crowd into a frenzy, but he is at his best when he digs deep into his crates for funky grooves, broken boogie, and thumping bass. When it comes to making music, lil'dave's productions draw from his hiphop roots, as well as his love of house, afrobeat, uk garage, salsa, jazz, synthesizers, and soul. He has released music as lil'dave, Illvibe Collective, and under his electronic alias, Osage.

Grammy-nominated Ostinato Records presents "Abu Obaida Hassan & His Tambour: The Shaigiya Sound of Sudan" in a gatefold LP packaging with vintage photos and authentic Sudanese designs.
A complex blend of Arab melodies, Nubian rhythms, and signature Sudanese call and response by a legend of Shaigiya music from nothern Sudan.

Abu Obaida Hassan and the wonders of his five-string tambour remained largely a mystery. In the early 2000's, a prominent Sudanese newspaper declared him dead. Internet forums confirmed his passing. Many in Khartoum, Sudan's capital, said he had indeed died.
But rumors that he was still alive persisted.

What was always certain is Abu Obaida Hassan's mercurial talent.
His command of a modified tambour, backed by a chorus and two drummers, unleashed swirling melodies alongside complex Nubian rhythms and hypnotic Sudanese call and response. His bands roster constantly changed, but he remained at the helm, playing for sold out shows in cities across the country and capturing the dancefloors and youth of 1970's and 80's Sudan. This is a rich, raw example of the human experience with sound from northern Sudan, an ancient part of the world, and the birthplace of civilization. Music like this isn't mastered overnight.

The Ostinato team first came across Abu Obaida's recordings in 2011, finding scratchy bits and pieces along the years. We traveled to Sudan in 2016 to find the clues to piece together the Abu Obaida Hassan puzzle. Through some extensive detective work with our man in Khartoum, Ahmed Asysouti, and a generous dose of good fortune, we tracked Abu Obaida to the rural outskirts of Omdurman, the old capital just across the White Nile from Khartoum. Age has taken its toll, but he remains full of life and music, ready to jointly curate a selection of his eight best cuts. He has written over 100 songs, only 30 were recorded.

Abu Obaida comes from the Shaigiya people, whose culture is spread around the ancient city of Merowe, home of traditional Nubian culture, where pyramids older than those in Egypt still stand. They trace their entire lineage to one man, Shaig, who migrated from the Arabian peninsula in the 15th century. An endlessly rhythmic syncretism between Arab and Nubian styles, Abu Obaida's Shaigiya music was an in demand party affair in an era when a vibrant nightlife and roving sound systems were a staple of life in Sudan.

It was music for a modern era, and Abu Obaida, at just 19, rebelliously abandoned traditional Shaigiya music traditions, pioneering a new sound by adding an extra string to his tambour and electrifying an instrument adored across East Africa. The result was complexity in simplicity and a hyper-talented artist who mirrors the story of Sudan's highs and lows, from the leading tambour maestro of the hour to such obscurity on the fringes that he was believed dead. "They killed me!", he likes to joke.

Abu Obaida Hassan, his music and the musical traditions of the Shaigiya remain alive and kicking. A culmination of a 7-year journey — from first hearing Abu Obaida's distinct sound, found only in Sudan, to finding the man — has produced the first global release of Shaigiya music and is just the beginning of Ostinato's immersion into Sudan, with a full compilation of the lavish musical history of one the most diverse countries in Africa due later this year. All brought to you by the Grammy-nominated team behind last year's "Sweet As Broken Dates."

2018 repress of the debut full length LP from Spencer Doran and Ryan Carlile's Visible Cloaks project. Initially recorded in 2013 and issued on cassette by Sun Ark in 2014 (as Cloaks), this first offering uses conceptual processes to weave many of the same threads as their later work; synthetic FM tones, tuned mallet percussion, and electronically modulated voice, all arranged in a gossamer web, spun with neon electronics. On this release the duo set off on the sonic journey they are still on today, refracting their influences through East West feedback loops, augmenting traditions with technology. Remastered 45rpm DMM version with additional surprises!

* Pioneers of the electronic music scene, Music Producer and Finiflex Studio Owner, John Vick and DJ, Davie Miller are working together on a new project . . . . FINIFLEX

* TA TA OO HA was the first single to be released from the much anticipated forthcoming album SUILVEN, slated for release in May 2018.

* FINIFLEX have been playing the new material live since the end of 2016 with gigs in Edinburgh (Neu Reekie), Glasgow (Let's Go Way Back) Skye (Non Stop Easter Weekender) Barcelona (Kosmopolis), Dundee (Carnival 56) and the TA TA OO HA Single Launch Party (TRANSMISSION) in Glasgow.
The show itself is an immersive experience featuring lights, live projections and video graphics, basically a super slick production rammed with back to back bangers.

* These new releases may by the first in 20 years but in reality it's not been such a long period of silence. The almost a secret FINIFLEX Studio Complex (FINIFLEX HQ) based in Leith, Edinburgh has continued to work away with some of the best in the genre including the likes of Justin Robertson, Lord Of The Isles, DJ Rolando, Andrew Weatherall, Sparks, Billy McKenzie, Jon Pleased Wimmin, Paul Oakenfold, Dave Ball (Soft Cell) to name a few.
It's a given that their past assures their pedigree within the electronic music arena but with the release of TA TA TA OO HA . . . . . FINIFLEX brought it all rushing into the future. . . . . .

Over the course of four unforgettable EPs released on Throne of Blood since 2013, Hardway Brother Sean Johnston has cultivated a broad international following for his singular brand of dancefloor fodder.

Best known as one half of legendary DJ team A Love From Outer Space alongside the one-and-only Andrew Weatherall, Johnston's roots in the dance music scene include a clutch of leftfield 90's era bangers on labels like Sabres of Paradise and Flashcomm. Beyond his original output, Johnston has also remixed the likes of Man Power, The Asphodells, Museum Of Love, Split Secs, Clandestino and many more.

The Laser EP is peaktime Hardway Bros business. 'Friedman Feedback Loop Revision' (a nod to TOB boss James Friedman's highly-valued opinions) is a masterclass in efficient simplicity, elevating a few basic loops into an exhilarating 8 minute monster. 'The Laser' rounds out the a- side with a classic electro rhythm/bass/vocal sample combo could easily have landed in retro territory. Instead, Hardway Bros easily flips a clutch of oldschool tricks into an utterly modern execution. The b-side finds TOB's label manager Max Pask injecting 'Friedman Feedback Loop Revision' with his love for all things analog and Italo. With his impressive collection of synths brought to life by Chinatown Records' Brennan Green, the song is transformed into an epic set- closer that's already devasting dancefloors like Berlin's Panorama Bar. The EP closes with 'Afro Sirene,' a midtempo groover with melodic arpeggios built for the discerning DJ's warm-up set.

After releasing his SAYS HI' EP in June, swedish producer 'sir Was' put finishing touches on his debut album DIGGING A TUNNEL'. Out via City Slang on March 10th 2017.

It took me 15 years to feel brave enough to do this!' confesses Gothenburg native Joel Wästberg, the guy behind the 'sir Was' alias. To reach the point where I could let myself do this was a long struggle. But once I felt less scared, it was kind of easy. It just came out, like: 'This is the sound!'' The sir Was sound' is built around supple grooves, is strangely haunting and yet inexplicably exhilarating, voices ricocheting off one another as they address loneliness, its solution and the requisite compromises. A jam session of Beck, David Crosby, J Dilla and D'Angelo might not sound much different to this yet unheard style. The unorthodox and exceptional approach of the recluse Swedish producer delivers one of the most exciting debut records of the spring.

Following on from their 'Ususmood' EP in February, Finnish duo Shuffless return to Paris based record store and distribution company Synchrophone this May to deliver the enigmatic 'Puoliaskel'.

Taking inspiration from music, nature and the elements that surround them, Jukka Hänninen and Mika Hanka aka Shuffless have quickly garnered the attention of many within house and techno since making their production debut in 2016. Written at the Vislampi Studio, located in Ruutana City, Finland, using a combination of hardware gear from the likes of Roland, Korg and Arturia, here we see the duo reveal their latest work with four diverse and expansive cuts set for release this Spring as they return to Syncrophone's in-house imprint. Opening up the EP, Hänninen and Hanka fluently introduce 'Chi', a complex and evolving cut that effortlessly fuses deep, rich chords, and delicate, skipping hi-hats, before easing into the flowing groove of 'Lahti' with its jazz-tinged melodies and heady tones guiding the production into lighter territories.

On the flip, 'Nime Ñvailla' introduces a matrix of hazy textures amongst crunchy percussion licks and dubbed out atmospherics as the duo return to deeper, darker realms, before title cut 'Puollaskel' punctuates the package in classy fashion, laying down gritty analog percussion, resounding kicks and subtly programmed nuances to conclude an excellently worked EP.

A thrilling 9-song set, Murmurations is as perfectly pitched for headphones as it is for clubs, named after giant cloud formations of starlings and themed around the stunning emergent behaviors that appear within them. To mirror these movements in the sonic landscape and visuals of Murmurations, SMD's James Ford and Jas Shaw collaborated with the celebrated Hackney-based vocal collective The Deep Throat Choir, as well as creative directors Kazim Rashid of ENDLESSLOVESHOW (Aphex Twin, Flying Lotus, Hudson Mohawk) and Carri Munden.

Finding time in between Ford's work as a producer and Jas' club gigging last year, the duo arranged a session in Shaw's countryside studio. Via an introduction from a friend of Ford's wife, The Deep Throat Choir's director Luisa Gerstein and SMD began swapping some production and melodic ideas. They decided to bring the whole East London-based choir into the studio to experiment, and the results were intense. Jas says, 'Listening to them moving their voices around a tone, altering the timbre, making chords, was like working with an incredible new synthesiser.' Rashid and Munden explore related ideas centered on kinetic energy and communal movement throughout the visuals of Murmurations. Rashid says of the collaboration, 'We were both having discussions around the purity of collective human experience and how transcendental this can be. Techno and the dance-floor is one of the last true expressions of this euphoria.'

From the beat-less introduction 'Boids' onwards you can hear uncanny patterns and sounds rising up from the sea of voices -- not traditional chords or harmonies, but complex interference patterns that play tricks on the mind and merge perfectly with SMD's distinctive synth tonalities and instinctive dancefloor nous. At times you might hear hints of Bulgarian choral music, or Cocteau Twins, or avant-garde composers like Iannis Xenakis or Pauline Oliveiros - but really, thanks to the creative freedom of SMD's working methods, it is a sound completely of its own, something all too rare in an age of retro and reference.

Ford and Shaw still have the same love of pure sound, human harmonies and electronic possibilities that they did when they first met at university, and it's clear that their career path has allowed them to nurture this love and express it as vividly as ever before.

Esteban Adame cut his teeth DJing at the ditch parties and house parties of East LA in the 90s. He then moved to Detroit to apprentice with Mad Mike Banks, performing as part of Los Hermanos and Galaxy to Galaxy. More than twenty years on, he still lives and breathes music. This is his debut record for MisterSaturday Night Records, raw and joyful.

Since the early 1990s, keyboard player Jessica Lauren has been a familiar part of London's alternative music scene. Jessica's keyboard skills have augmented the live performances and studio recordings of world renowned artists such as Jean Carne, Tom Browne, Dexter Wansel and James Mason, Japan's United Future Organisation, and UK soul diva Juliet Roberts.

Her previous Freestyle album 'Jessica Lauren Four' (2012) highlighted Jessica's minimalist approach, something rare and refreshing in the jazz world: she instills her compositions and playing with a refined sense of space which makes her music as much about what she doesn't play as what she does.

The albums' opener - Kofi Nomad is a deeply percussive afrocentric epic, featuring the beautiful baritone saxaphone of Tamar 'Collocutor' Osborn, one of the most in demand woodwind players working today, underpinned by a powerful foundation of percussion courtesy of Richard látúndé Baker, Phillip Harper and drummer Cosimo Keita Cadore.

Jessicas' amazing skill for writing simple, understated yet superbly memorable and catchy hooks remains undiminished. Highlights in this new collection are almost too numerous to mention, but Amalfi is a breezy bossa, which conjures up images of easy living days and sun dappled Mediterranean coastlines, whilst the angular and brooding Simba Jike has something of an Eddie Harris style deep, dark groove over which Jessica riffs and solos beautifully on grand piano - and Tamar once again blows freely, whilst 'level' Neville Malcolms' upright bass figure roots the entire thing in a solid, almost primeval sound.

The albums closing statement Argentina is a masterpiece of pathos and perfectly demonstrates Jessicas' approach which is almost akin to a minimalist architecture style of composing and playing, such is the strength of its atmosphere and subtlety.

It's rare to come across a debut album that delights and surprises in equal measure, but that's exactly what you can expect from Human Call, the first full-length excursion from daydreaming dancefloor fusionists Earthboogie.The East London-based duo of Izak Gray and Nicola Robinson has previous form when it comes to creating beautiful, funk-fuelled fusions of soundsystem-ready rhythms, humid instrumentation and intergalactic audio explorations. To date, they've released a pair of fine EPs on Leng, both of which did a splendid job in showcasing their unique musical vision.Even so, this vision has never been clearer than it is on Human Call, a vibrant eight-track missive that fixes the sticky tropical cheeriness of African and South American dance music - be it Afro-disco, Afro-funk or samba - with a wide range of complimentary sounds, styles and influences, from spacey analogue electronics, sun-kissed Balearica and hazy West Coast jazz-rock, to chunky dub disco, snappy retro-futurist house and bouncy, dub-fuelled club workouts.Throughout, Gray and Robinson showcase an impressive level of musicianship, variously combining crunchy drum machine hits and dusty old synthesizers with razor-sharp electric and acoustic guitars, rich bass, cascading saxophone solos and hazy, life-affirming vocal harmonies.The result is a string of memorable highlights, from the sticky tropical-house-meets-dub disco futurism of 'Human Call' and fuzzy disco-funk righteousness of opener 'Overground', to the post-punk disco jauntiness of 'Stargazing' and samba-infused dancefloor bliss of Nina Miranda collaboration 'Silken Moon'. Cheery, absorbing, imaginative and hugely entertaining, Human Call offers a perfect snapshot of Earthboogie's distinctive musical world.

Born in 1990 to a truck manufacturer in Nara Japan, Youtaro was attracted to HIPHOP early on. First engaging with the culture through break dancing and then by making beats by 2010. In 2012 he began to release his MPC2000XL beats on Bandcamp -beats with heavy basslines and rough samples, described as a CHILL that intoxicates.

As the title suggests, Rejuvenate marks a rebirth for South London musician Paul White. Abandoning sampling altogether, White wrote, played and produced all of Rejuvenate's music himself, and the result is an album of playful, psychedelic pop.

It would have been far easier for White - previously described as a 21st century DJ Shadow, often compared to Madlib and best known as Danny Brown's go-to producer - to construct an album of loop-based, hip-hop-orientated beats. Instead, taking an ambitious left turn, he worked on honing his songwriting and instrument playing abilities and embarked on creating a totally original record worthy of sitting alongside those he'd usually sample.

Rejuvenate's broad sonic palette includes cosmic rock, ambient, electronic, jazz, folk and more. Retaining a groove-heavy, psychedelic aesthetic throughout, White successfully melds these various influences in to his most cohesive, fully-realised offering yet.

Paul White is joined on this sonic trip by a trio of likeminded souls; British-Jamaican singer Denai Moore adds heartwarming, crystalline vocals to the aptly named Set The Tone and See Through, Zimbabwean musician and poet Shungudzo (aka Shun) shares nuggets of wisdom on Spare Gold and dreamy, melting vocals for Ice Cream Man. White reunites with his sister, Sarah Williams White, and the pair draw on childhood memories for Laugh With Me and All Around.

Paul White's previous output includes a treasure trove of mostly instrumental solo records, plus collaborations with Charli XCX, Jehst, Homeboy Sandman, Guilty Simpson, Jamie Woon, Obongjayar, Eric Biddines (as Golden Rules) and Open Mike Eagle. More recently, White reconnected with frequent collaborator Danny Brown, producing most of the Detroit rap maverick's mind-blowing Atrocity Exhibition album.

If you ever been to a Dubstep rave in the past 4 years you probably heard Under Control being smashed through the system. Nearly every DJ in the scene supported the original and it still holds it own to this day. A true dubstep classic that will not be forgotten so easily. Truth, The Widdler and the main man himself went in and delivered 3 mind blowing remixes that do the original so much justice. Something that doesnt happen very often some might say. Relive this Dubstep classic through the eyes of Truth, The Widdler and of course it's creator Bukez Finezt.

Berlin based Jens Dohle is a man of many talents. An accomplished composer and arranger for theatre productions across Europe, classically trained multi instrumentalist, explosive live drummer for YE:SOLAR, Munk, Hot Coins, Sado Opera. Longtime collaborator with Danilo Plessow aka MCDE and Noema from African Shakedown fame. Remixer for Jazzanova and 4 Hero. There's not enough room here to list his amazing work.

2018 ushers forth a new identity to his already enviable C.V with his first EP as James Dole (a jokingly anglicised version of his birth name). The 3 tracks here all showcase his ability to create a strong mood and use great splashes of melody and rhythm but without ever losing the groove. Written during a period of 'introspection' in deepest, darkest Berlin, each one tells a different story.

Ex is a moody monster of a track. It builds and builds into a pounding nightime symphony with a kind of epic-ness which hints at many years spent mining the highs and lows of music, love and life. Big room yet with a gut wrenching soul beneath the slightly flamboyant majesty. Made in East Berlin and well road tested in the cities debauched nightclubs.

Fantasia shows off Mr Doles jazz and broken beat background with rolling, funky drums sashaying with hip hoppy live jazz keys. Then those signature euphoric yet melancholic synths appear halfway through the track to create an emotionally halcyon mood. WIBES.

The EP closes with Grande. Super melodic yet cinematic with amazing synth work and a sophisticated arrangement showcasing James's well trained musicianship and artistry. An opus of melody and longing built for Italian arthouse films about unrequited love.


DJ Support from - Midland, Honey Soundsystem, Sandrino, Jimpster, Ame, DVS1, Shadow Child, Joe Goddard, Red Rack'em, Futureboogie, Soft Rocks, Domenic Cappello, Downtown Party Network, Danny Russell

The Works of John B. McLemore, the star of one of last years biggest podcasts, S-Town, which is coming out on Dais. The story behind this release is truly fascinating.. the music itself is ambient remixes of Tor Lundvall's best works, but with John's idiosyncratic slant on them, with some having been woven together using the horde of clocks he use to keep in his basement. This story is really worth a read if you get a chance."In September 2012, I received an e-mail from someone named John B. who said he had assembled a lengthy remix of my music, which also incorporated some of his own material. John asked if I'd mind if he posted this recording on YouTube, to which I agreed. He also mentioned that there was a second part to his mix that was "roughed out", but never completed. I was curious to hear both parts, so shortly afterwards, John mailed me two CDrs which I enjoyed very much. The recordings were hypnotic and haunting, evoking images of vast fields at twilight. I was especially fond of the second disc which had a darker atmosphere and featured more of John's original material, beginning with ghostly clock chimes and ending with a mysterious piece using dried seed pods and other cryptic sounds that slowly built-up into an intense, almost claustrophobic environment.

My correspondence with John lasted about two months. In one of his final e-mails, John said "I have to observe that your paintings seem to have a great deal of loneliness involved in them... even multiple characters seem to be together alone, so to speak... I really appreciate looking at your paintings as well as your music, I think I have connected with the spirit of them both as much as anyone can." He went on to discuss his struggles with depression, caring for his aging mom and his concerns about the future. I tried to encourage his music as a possible outlet, perhaps as a means to help transform his feelings of loneliness into a more content solitude. Always easy to say, but as I well know, not always easy to do.

In his last e-mail in late October 2012, John sent me a beautiful slideshow of his Fall flower beds and his dogs. I was touched and I told him how much watching his video had brightened my day. That was the last time I heard from him.

Last year, I visited John's YouTube channel to see if Part One of his mix was still posted, which it was, and still remains. I was shocked and saddened to read in the comments section that he had passed away. The comments also suggested that John had received some sort of national attention recently. This quickly led me to the S-Town podcast. Although I had mixed reactions after listening, I was thankful that S-Town shed more light on John and his remarkable life... but somehow, I just couldn't place the person in the podcast with the person I had corresponded with. Had I not listened to S-Town, I would have remembered John as a very private, somewhat dark and lonely person. He may have been these things, but there was obviously far more to him than that.

After finishing the final episode, I decided to play the second, unreleased CDr of John's recordings for the first time in years. Listening to his clock chimes ringing in the dark was an eerie and chilling moment. I was reminded of a line from my song "29" which says "I live with dreams and a lonely mind, my clock is set to a different time". I wondered what those lyrics might have meant to him.

John had mentioned that he wasn't satisfied with his final mix, but I felt his work was too special not to be heard. I hope that these recordings offer another glimpse into the creative mind of a unique, complex and gifted individual who tragically left this world all too early."

Tor Lundvall
January 17th, 2018

JOHN B.'s NOTES:

This is what was intended to be the second part of my Tor Lundvall Remix series. Unfortunately I am dissatisfied with it due to a few defects, and it is highly unlikely that I will ever be able to complete it. Still it serves as a testament to my interest in the work of Tor Lundvall that I made it this far. Defects are as follows: The first movement is too 'fussy', and the first section of the fifth movement seems a bit long and may bore the listener, but since it consisted of so many slow moving textures, I don't know how I could redo it and still achieve what I was wanting to accomplish. Additionally, this recording was done just days before my Father died, and there are many feelings of guilt associated with the time spent on it. If you are receiving this recording, either you are one of my better friends, or you are a great admirer of Tor Lundvall, and requested that I send it to you.

1st Part: Basically a track of me fiddling around with old clock bells, and air turbulence mixed with Tor Lundvall and Field Recordings of rain, birds, cicadas, frogs and such.

2nd Part: My interpretation of Lundvall's Dark Spring. This track was inspired by the music of Carl Michael von Hausswolff.

3rd Part: Very ambient Field Recordings inspired by the work of Francisco Lopez.

4th Part: A Very Quiet passage consisting of delicate Field Recordings.

5th Part: Music performed entirely by me inspired by the Darker paintings of Tor Lundvall. Most of the instruments on this piece consisted of dried seed pods from the plant; Showy Rattlebox (Crotolaria Spectabilis), that I had collected and dried the previous Fall. There are other sounds from my own environment as well.

This mix was assembled in the Late Fall of 2003. There are some very Quiet passages in this piece, so it requires a nearly Isolated listening environment... It should be heard After Midnight, in the Late Fall of the year, and, not surprisingly, a Very Long Attention span is a Prerequisite.

John B. McLemore
September 10, 2012

Japanese vocal performer Hatis Noit will release her enigmatic EP Illogical Dance via Erased Tapes worldwide on 23rd March 2018.
The arresting 4-track record creates unique song-worlds with transcendent vocal interpretations that at once deconstruct and recombine Western Classical, Japanese folk and nature's own ambience atmosphere. Illogical Dance also features Björk-collaborators Matmos, who were so impressed with Hatis Noit's recordings, they volunteered to edit the lead track Illogical Lullaby.

Hailing from the distant Shiretoko, a small town in Hokkaido, which is the largest island in north Japan, Hatis Noit's accomplished range is astonishingly self-taught, inspired by everything she could find from Gagaku — Japanese classical music — and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop vocalists. The sounds she created on Illogical Dance, co-produced by Haruhisa Tanaka and Matmos, bring to mind the experimental vocal patterns of Meredith Monk with the attentive production of Holly Herndon.

It was at the age of 16, during a trek in Nepal to the Buddha's birthplace, when she realised singing was her calling. While staying at a women's temple in Lumbini, one morning on a walk Hatis Noit heard someone singing. On further investigation it was a female monk singing Buddhist chants, alone. The sound moved her so intensely she was instantly aware of the visceral power of the human voice, a primal and instinctive instrument that connects us to the very essence of humanity, nature and our universe.

The name Hatis Noit itself is taken from Japanese folklore, meaning the stem of the lotus flower. The lotus represents the living world, while its root the spirit world, therefore Hatis Noit is what connects the two. For Hatis Noit, music represents the same netherworld with its ability to move and transport us to the other side, the past, a memory, our subconscious. It is the same for Illogical Dance, a set of transformative songs that taps into our most primal instincts.

The human voice is our oldest, most primal yet most powerful instrument. I use it to describe nature's many sounds, a language that isn't logical. Yet it forms a beautiful conversation that isn't restricted to words like the human language is. I want my music to remind us of that.' — Hatis Noit

Wanting to interpret and mimic the sounds Hatis Noit hears in nature, Illogical Dance is as unpredictable, beautiful and mysterious as the world around us. Each track is made up from multi layers of vocals, all improvised and without words, before being carefully pieced together. Astonishingly no samples are used throughout, even the sound of crushing leaves came from Hatis Noit's own vocal chords.

The result is a stunning array of sound sculptures that see her switching between multiple styles with great ease. From the sweet operatics on Illogical Lullaby, the manipulated vocal loops duplicating electronic production on Anagram c.i.y. to the primordial chanting call to arms of Angelus Novus, a 10-minute odyssey that features whispering and leaves crunching, it showcases Hatis Noit's full range and introduces a truly original artist.

Previously only available in Japan, Illogical Dance will receive a worldwide release on 23rd March 2018 including a first edition on 12' vinyl. After participating in a ceremony for memorial and appreciation tailored to the withdrawal of the evacuation area in Fukushima on 31st March 2017, Hatis Noit collaborated with renowned visual artist Nobumichi Asai on a project titled INORI (prayer) which they premiered live as part of an Erased Tapes showcase at Mutek Japan in Tokyo.

Having recently moved to London and performed a first string of UK shows, followed by a special live performance at the Milan Fashion Week and Mutek Japan appearance, Peter Broderick has invited Hatis Noit to support him at the Jazz Cafe on April 15th. She's also been announced as part of this year's Sea Change Festival line-up, and asked to participate in a workshop with the London Contemporary Orchestra.

Glyn Bigga Bush has been producing electronic and sample-based music since the early 90s when he formed Rockers Hi Fi, going on to release numerous albums. Since the turn of the century he has produced and DJ'd as BiggaBush as well as various side projects such as Lightning Head (Sonar Kollektiv), the Dandelion Set (Buried Treasure) and the Magic Drum Orchestral (Tru Thoughts).

Bigga's latest project 'Sunken Foal Stories' represents a departure from much of his other work in that it is not primarily based on beats. Instead, his working method was to go with fascinating samples, accidental juxtapositions and irregular loops - inspired by pioneers of sound such as Faust and the audio experiments of Julian House as well as early stereo test records, soundtracks and library music.

The 21 concise tracks of Sunken Foal Stories link into two 15 minute segments on the LP. Bush explores the random elements created by overlaying disparate samples, where chimes of baroque psychedelia clash with ascending classical strings, or a haunting Eastern European folk song is looped into an eternal cadence of longing. Various voices float over the speakers, lost poets, disturbing therapists, dreaming vampires, chuckling cabaret singers. Sourced almost entirely from charity shops and carboot sales, the source material speaks of a forgotten yet relatively recent period, when stereo was something new and exciting, when home entertainment first came into its own and suburban homes thrilled to the exotic sounds of home organs, primitive beatboxes, LPs bought in unusual holiday destinations and 'glamorous' soundtracks.

Fromtheoldtothenew was originally released in 1996 and is the second full length on Peacefrog from Steve
'Stasis' Pickton.
Growing up as a teenager in East London, break-dancing and writing graffiti with B12's Mike Golding, Steve
Pickton's musical education moved along a familiar path, from hip-hop to Electro and onto Techno. Schooling
himself in music theory and purchasing a sampler Pickton set about making his own music.
Releasing on a whose who of seminal UK electronic labels including A.R.T., Likemind, Otherworld and B12 under
various pseudinums Pickton's UK take on lush Detroit melodies fused techno, funk, hip-hop, dub, blues and jazz
into a dense concoction all of his own making.
Fromtheoldtothenew saw Pickton slip off his earlier techno shackles and head for uncharted electrconic waters.
The echo chamber dramatics of Gun and wayward lurch of Ale House Blues were a long way from Detroit, while
few tracks have demonstrated the sheer breadth of electronica more dramatically than Utopia Planetia. All in all it's
more jazz, less tech without losing the soul

'Source', a new release by Wolfgang Tillmans, comes in an original version and two remixes by legendary German producer Roman Flügel.
The sixteen-minute original version is a vocal piece in which Tillmans explores his abilities to generate vocal sounds to tell a story while refraining from using actual words. Meshing six different sequences into one composition, each sequence investigates different moods and emotions meandering between the guttural, sacral, and absurd. Recorded in a studio session in 2017, the piece focuses on the immediacy of vocal improvisation as much as on its post-production and edit.
Tillmans knows that whatever is achieved through spontaneity can as easily be lost, as he recently told Emily Bicks in a feature for 'The Wire': I am, of course, always planning things ahead, and I am managing an archive of 25 years, and communicating in the now with dozens of contacts, but the fortunate thing that I feel I've retained is an ability to get in touch with this moment of being in the here and now, and seeing, or hearing, or allowing words or melodies to pop into my head in such moments.
The A-side and an additional bonus track are both remixes by German producer Roman Flügel. In a ten-minute remix, the multi-faceted producer stays true to the original's spontaneity and develops changing arrangements wherever Tillmans' vocals are creating momentum. Exploring various directions, Flügel's experience allows him to glide effortlessly through the different sequences. The bonus 909 Mix instead takes a tighter direction with claps and high-hats and builds up around Tillmans' staccato laughter before culminating in beautiful house piano chords.

The title may suggest a specific origin, a 'source' that is to be located, but in Tillmans' understanding it is a transient space abundant of undiscovered possibilities.
.

Big one... offering a true big choice of vibes, with that Midnight Ravers from Anna... bringing a pure new House groove for the best surpise here... The Gulls remix is also a very nice easy listening house sound... A side opens with Dabora Hip Hop Techn oremix... full surprise ! Karoni Foli is probably the most modern track here, exploring the roots of bass Music in a very african sound design. This record is a pearl ! Don't miss!

After their strong debut on Giallo Disco in 2014, the duo from Paris is back with a full length album on Bordello A Parigi. Open the gate of hell!

Mikkel Metal returns to Copenhagen's Echocord this May with his new mini LP 'Just Enough Light', comprising six originals from the Danish artist. Copenhagen based producer and DJ Mikkel Metal has been a beacon of light in the Danish electronic music scene and further afield for nearly two decades now, with the Dub Techno imprint from his hometown, Echocord, being the predominant home for his output, whilst also releasing material on Cologne's Kompakt, Tartelet, Semantica and Avant Roots, a telling sign of the quality embodied in his work. Here though we see Mikkel deliver a mini album concept in the shape of 'Just Enough Light' and opener 'Awake' perfectly sets the tone with emotive, dynamically unfolding atmospherics, tension building bass drones and spiraling dub chords subtly easing us into the project. 'Bregnan' then stirs in some classing Dub-Techno tropes with billowing stab sequences, lumpy subs and off beat high hats carrying the hypnotic groove for six and a half minutes. 'Jech' then strips things back to an almost beatless amalgamation of murky chords and modulating synth whirrs. Opening the flip side of the release is 'Include' which embraces a brighter feel via ethereal pad swells, jazztinged synth melodies and bumpy 909 rhythms before 'Konkin' edges back into the eerie, brooding aesthetic with bubbling echoes, broken drums and menacing bass swells at its core. 'Restore' then closes the package on a stripped-back vibe, laying focus on an ever- eveolving singular dub chord to ebb and flow around thunderous subs, kicks and bright hats.

The new release features 6 tracks and follows Julien's critically acclaimed debut album, Fallen. Released in 2016, the autobiographical LP was a bold new direction for Julien, and the first release under his birth name. Over the years, the Apron Records boss' bold, experimental electronics, jagged club cuts and outside-the-box collaborations have seen him carve out a lane all of his own making. His debut LP was divided into two musically contrasting sides, and told the tale of a fallen angel though jazz-fusion, chiming soundscapes and dark acid-tinged techno.

Since his album release, Julien has continued his creative streak by playing across the globe, from Tokyo, Seoul and Shanghai to Montreal and Melbourne, and further developing his label, which released a string of underground 12's in 2017 from the likes of Max Graef, Hanna, Molinaro and more.

On 'Bloodline', Steven continues the soundtrack style mood of 'Fallen' - channeling ominous analog techno, drifting synth-house masterpieces, warm soul and hints of new age. Both the title and artwork is a nod to the influence of Julien's family on his rich musical world and distinct nonconformist style, explaining how: 'the influence my family has given me growing up and my ancestors from Africa to native Indians from the Caribbean, has all played a big part in the music I create.'

Recorded in Apron Studios based in East London, each track on 'Bloodline' also features a tr808 or a piece of a 808, as a dedication to the iconic Japanese engineer Ikutaro Kakehashi, who passed away April 2017. The much-loved Roland founder and TR-808 creator revolutionised electronic music in the 1980s and 90s.

Music Mania is proud to present the next instalment in their Reprise series. Following the highly sought after classic 'Elle et Moi' (MMR001), comes the blissful Belgian synth pop anthem 'Crocodile Tears' (MMR002). The track was one of the first singles of Kuruki, the minimal wave project spearheaded by Ghent-based musician Gerry D'Haeyer and Alain Bureau (Sally Joy). In an age of electronic sequenced experimentation, the band managed to find a distinctive sound that easily puts them between the likes of Telex. The original ep 'Such A Liar' was released in 1981 and clearly echoes the new wave of its time. The scenes described by vocalist Sally Joy as well as the melancholic keys of the main track 'Crocodile Tears' breathe tristesse. Nevertheless, it has a playful sound full of catchy synths. A dualism between such beauty and melancholy: this track was undeniably made in Belgium in the eighties, but should also appeal to lovers of Italo Disco.

Be aware: for their second reprise Music Mania managed to include an exclusive instrumental version of this Belgitude. Even more synths for your listening pleasure.

Cryovac Recordings enters a new sensible era of home grown production focusing on strong statements of personal style. Cryovac stresses a minimal approach to basic production with a simple soul to shape a tale of sound. The Broke Lighter E.P. is a versatile mix of characters that come together and combine their visions into one vista. This shared space of consciousness is translated to vinyl for your inspection. Cryovac Recordings continues to shine light on every corner of the Detroit Underground to expose a depth of talent that is overlooked.

The 19th edition of the Cryovac series is a moody stab at the heart of techno. It starts off with Disc Detroit's upliftingly melancholy 4/4 groover that transforms synth and turns percussion with a steady patience. Dutch Mike executes a smooth assault lead by a 303 harmony, backed by a heavy baseline and flanked by tricky programming that shifts cymbal formations. Vontell C. and his son Vontell F. sneak a dark vibe into the mix with a manic and excitable minimal ballad detuning and nodding out while detailing the burning of pretty things. Andy Garcia applies a minimalized Motown sound via strumming guitar, vintage vocals, and easy beat that rises and falls creating a serene phonic envirorment. Every track on the Broke Lighter is an opportunity to go in a new direction.

Verdant Recordings 3rd EP is a collaboration between the rising talent Aos and Sonitus Eco. A debut release on vinyl for Aos who has previously released digitally on Blankstairs with the enchanting 90 East minialbum. Sonitus Eco should be well know for his own Harr label and for his majestic ambient and dub techno projects with Silent Season. On this release both bring their love of deep atmospheric and melodic techno for two original works which are then reconstructed by each other. Its fascinating to hear how these tracks reshape the original signatures. An EP that reaches for the stars and yet is subtly introspective and melancholy. 180g pressing an once again the artwork features the beautiful colours of Sophie O'Leary.