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Continually pushing the boundaries of jazz, funk, electronic music and disco, as expressed through their signature samba swing, the Brazilian mavericks have recreated the energy of those spellbinding seventies' sessions which would launch them into international recognition and confirm their status as one of Brazil's most successful bands. Since the passing of keyboard maestro Jose Roberto Bertrami in 2012, remaining members Ivan Conti and Alex Malheiros have worked tirelessly to keep the spirit of Azymuth alive, and to continue the legacy of Bertrami's genius. But Fênix also marks a new era as the Azymuth trio is complete once again, by special guest keyboardist Kiko Continentino. A hugely talented pianist, composer and arranger, Kiko has worked with the likes of Milton Nascimento, Gilberto Gil and Djavan, and the fresh energy and inspiration he has brought to the group is undeniable. The album also features Brazilian percussion legend Robertinho Silva, one of Brazil's most important and influential players.

From the disco-carnival title track to sunny jazz-funk head-nodder Orange Clouds, through to the deep-space samba Corumbá, Azymuth have drawn upon five decades of consummate craftsmanship - which coupled with their endless desire for experimentation and improvisation - has resulted in a 10-track journey encapsulating the full spectrum of Azymuth's brilliantly coloured expressionist fusion. With all the cosmic energy and masterful musicianship you'd expect from the three-man orchestra, Azymuth rise from the ashes!

Recorded in Rio De Janeiro in May 2016 with producers Daniel Maunick and Joe Davis the official release date is set for December 2016, on super-heavyweight vinyl.

New collaborative album from two of the world's most revered sound artists. 'At its best, William Basinski's music inspires the sort of rapturous testimony usually reserved for peak experiences, cult leaders and the dead.' Pitchfork // 'Awe-inspiring: strange, elemental, and profound.' AllMusic // For over half a decade, William Basinski and Lawrence English have been in regular contact with one another. During that time their paths have crossed repeatedly in various cities; Zagreb, Los Angeles, Hobart and more, in a variety situations. It was from these chance encounters - and the strange familiar of lives lived in transit - that their first collaboration, Selva Oscura, was seeded. The phrase Selva Oscura draws its root from Dante's Inferno. Literally translated as 'twilight forest,' it metaphorically speaks to both those who find themselves on the unfamiliar path and more explicitly the nature of losing one's way in place and time. Each of the extended pieces on this record maps an acoustic topography that draws on the concept of drifting into the strange familiar. The works each dwell in an ever shifting, yet fundamentally constant state of unfolding. As one sound fades away, another is revealed in its place, creating a sense of an eternal reveal. Selva Oscura was recorded in Brisbane and Los Angeles simultaneously. The compositions were each created through a process of iteration and rearrangement that inverted the micro and macro characteristics of the raw sonic materials. Dynamics and density were chiselled with restraint and at other times intensely reductionist approaches to create a limitlessly deep, but open sound field - as rich as the suggested place from which its title is drawn.

Hauke Freer flying solo on Pen & Paper 03 for the first time since his infamous XK XK. Well, not entirely, as austrian beatsmith Sam Irl took PART 1 on to his Studer Console, equipping the beautifully trippy composition with that exact ammount of sonic glitter and gold. On the B, Hauke drags us far out into an enchanting chord progression, as the seductive 4G demonstrates filigree elegance to an almost fragile degree - bewitching we say.

Leifur James will release his debut album in October through Late Night Tales' artist label Night Time Stories.
A Louder Silence is the London-based producer and multi-instrumentalist's first proper release; his two earlier singles feature on the record, after gaining support from Gilles Peterson's Worldwide FM with a live airing and interview in 2017, plus continued backing from XLR8R, Stamp the Wax, and BBC Radio 6 Music DJ's.
The album is both spacious and thought-provoking, energetic yet restrained, brimming with nuanced electronic instrumentals, dubby synths, and jazz breaks — creating an array of rich textures, complemented occasionally by James' own soulful vocals.
While James' early unreleased work was singularly electronic, A Louder Silence focuses on analog synths and warm acoustic instruments, all played by his own hand. It's the product of a two-year spell in James' home studio, with additional live drums recorded with Jim Macrae at London's Old Paradise Audio.
James' rich musical influences are laced through the release. Encouraged by his mother, a classically trained pianist, he learned to play the cello and developed adeep understanding of rhythm and melody that informs his approach to writing electronic music. James playsthe piano he grew up listening to in 'Mumma Don't Tell' and samples an indefinable percussive element to drive forward 'Suns Of Gold.' 'Night and Day' sees cello plucks and long melodic strokes interlink with a grooving synth line. He also field records the atmospheric Moroccan sea in 'Red Sea.' Inspiration stems from the experimentation of modern day electronic producers, fused with the Jazz, Classical, Blues, and Soul music that soundtracked his youth.
Central to the album is the idea of space. James recalls the early advice of his uncle, a jazz guitarist, who features on 'Uncle Blue': 'I remember him saying to me: "What goes in comes out' James says. 'Every detail should be a worthy detail; sometimes nothing is better than something.' Moments of blissful, structured intensity are juxtaposed with stillness and near silence — dark and light; loud and quiet. This also forms the foundation for the album title: A Louder Silence reflects the dichotomy of finding pockets of stillness in a noisy world.
The result is 10 distinct tracks delivered as one coherent and well-structured long-player debut, set for release on LP, CD, and digital, on 5th October 2018.
Live dates follow a debut live show earlier this year at the Jazz Café with Yazz Ahmed, including an album launch at London's Ghost Notes in October.

- Upward Bound' is a long lost, incredibly rare and very expensive classic disco era album! It combines soul, funk with and slick pop appeal into a great cocktail of grooves and melodies! This will drive you to the dancefloor and make you sing along at the same time! The lush arrangements, tight grooves and powerful soul vocals with catchy harmonies make this album an instant evergreen. I'm least surprised that the arrangements should pose a challenge to every rhythm section and that the catchy melodies instantly stick to the listener. The flashing horn arrangements are amazing! The funky bass grooves and guitar riffs weave a cocoon of sound around your soul. The sound is certainly clean but also vivid and the music feels grounded despite it's larger than life expression. The swirling backing vocals in combination with the lead singer are the icing on the cake that already consists of catchy and outstanding songs. This is more funk and soul than simple disco music. There is depth in the arrangements with awesome details as you delve deeper into each single track. You can of course groove along and just enjoy the songs as they are, but be sure to at least be on the lookout for the beautiful ornaments in each song. This music will surely move you, it makes it impossible sit still . In this album you'll find a wide range of funky music, from Slow groovers to fast paced tunes, you will get them all. Some with a deep atmosphere, some energetic, all of them memorable with arrangements that keep your attention going even with the 50th spin on your turntable. To my opinion this album is an unmissable gem of the disco era at it's peak! The original album retails at $ 400 going up, rarely a decent copy could surfaces on the market once a year. So here's a chance for you to grab an affordable copy of this well-deserved and long overdue reissue on vinyl and be enchanted!

Quest, transit, chaos, mutation, transfiguration, ascension and illumination. These are some of the steps followed in the journey of life that are embodied on each track of the album Adonai. The solo debut of the multi-instrumentalist composer Marco Paul condenses a career of more than ten years, in which, the search for the truth of oneself and authentic sound has traveled and nurtured from different genres and cultures. Adonai is an odyssey that combines sounds and images of the earthly and oneiric worlds: an audiovisual work that opens several windows to the different perceptions of the facts that make up the life of the human being.

After 9 years of constant international touring, 6 albums and more than 400 live performances with the bands Sour Soul, Ratbot and Funk My Jesus, as well as the conception and musicalization of the award-winning short films "Undermine" and "24K All You Need Is Gold", Marco Paul decided to retire to an island in the Caribbean, where he found and refined his sound. Thus, between 2014 and 2016 he created the music for Adonai, a work produced by Aitor Etxebarria under the label of Forbidden Colours.

The recording includes guest musicians from different countries such as Aitor Etxebarria (synthesizer, electronic magic) and Hibai Etxebarria (double bass) from the Basque Country; Michael Alan Hams (drums and percussion) and Joe D'Etienne (trumpet) from the United States; and Fatima Gozlan from Hungary (Ney and Derbake).

The consummation of the work is a mid length film created in 2018. It consists of 5 chapters directed by 5 different directors.

The audiovisual journey begins with the conception of the philosophical "Filius", an alchemical symbol that represents the inner child, which transforms the experiences of life into the soul's gold. Later, in "Sylvian" (title that refers to the brain fissure that contains the auditory cortex), by listening to the subtle message that surrounds us, our consciousness and perception expand. Then, in "Tiamat", the pristine chaos that gave birth to the gods, embodies chaos, the confusion generated by the multiple voices: on one hand the moral and imposed precepts, on the other hand, the inner voice that seeks the liberation of the infinite possibilities. In "Hawa", through the recognition of the power of solitude and introspection self-reflective awareness is reached. Finally "Adonai" is the ascension to enlightenment: the further connection with the absolute. As an encore (only available in vinyl) "Teurári" is a gift: a tiny flower where all the points of the universe merge.

Hosono's solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO), who made their debut in 1978. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.
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The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer.

Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom.

Since 2008 Düsseldorf based producer and live wizard Stefan Schwander deeply concentrates on his always evolving electronic venture named Harmonious Thelonious. It besprinkles the world with fractional musical structures in the spirits of American minimal music, in order to immingle them with African rhythm patterns. Exceptional hypnotic opiates, enlarged with twisted harmonies and tricky rhythm archetypes. All heavy danceable!

After five magnetic albums for labels like Emotional Response and his old home base Italic as well as a highly acclaimed string of EPs for in-demand platforms like Asafa, Diskant, Disk, Kontra-Muzik, Meakusma, The Trilogy Tapes or Versatile Records, he now produced a heavy arresting 'Petrolia' LP for Marmo Music - a label that is not new to Harmonious Thelonious. Already on the label's second release Tru West: 'The DOWC part 2' his 'Sunset Liturgy' fingerprints are audible with a moving remix. Now he delivers six epic tunes that only partly dance the familiar Harmonious Thelonious dance. There are deeply traces from Africa and Arabia. There is the polyrhythmic witchery that makes his music special. But in contrast his new tunes are more mental then his former ones. They have a menacing industrial feel but yet continue to be enlarged with the enchanting spirits of the land of the Sahara. Furthermore, there is a slight manic touch arising from nervous electronic and foremost organic melodies. The live played jittery is coming from the Berlin based experimental musician Ghazi Barakat, also known under monikers like Pharoah Chromium or Crème de Hassan for mind shredding ambient, drone, experimental, noise, industrial, free jazz and free improvisation music from beyond. For Harmonious Thelonious Barakat, who also produced together with Marmo Music artist Günther Schickert the collaboration album 'OXTLR' in 2014, tuned his wind instruments Rauschpfeife and Kangling elflock-stricken the Master Musicians of Jajouka way. And instead of giving them a prominent lead position, Schwander deeply implements his tones into his propulsive creations to evoke a modern rhythmic meltdown of Occident versus Orient spheres that exhale a deeply absorbing soul.

A record, who's psychedelic energy fits perfect into the Marmo Music cosmos - a world where the progressiveness of the 70ties continues to live in the current to disband all white bread musical norms for the energy of music without classes. Dancers of the world, unite!

Two new tracks from this ongoing project featuring members of Coil, Wire and Tomaga. The flirtation with a head expanding motorik music as hinted at on their debut self-titled double album is given the space requiredto unfold on this new EP. Electric Blanket chugs along with perpetual percussion, blankets of feedback and state of the art electronics all embedded with a spectral melody that encircles proceedings as all sonic proceedings veer out further into more mystical ambient planes. On the flip Nice Setting places a strange short spoken narrative at the centre of a shifting sonic landscape of skittering electronic debris and a deep shifting sea of sound. A vibraphone holds proceedings together before once again we head out into the glorious cosmic ether. UUUU are an outfit unashamedly embracing the fantastic - audio as a tool for an unlimited imagination.

Feldermelder's "The Sound Of" is a collection of tracks created in hotel rooms around the world. These little anthems tell stories about places filled with a sense of purpose, a particular emptiness, or a feeling of transit. Places that have fallen out of snyc with the rest of the world. "The Sound Of" is a homage to personal moments worth keeping alive in one's memory.
The flexi disc features the track "Harmony" and was an insert in Zweikommasieben Magazine #14. The screen-printed inlay by Mathias Forbach / Fichtre features an index of sounds and frequencies used in the composition. The flexi disc comes with a download code for four additional tracks.Feldermelder's influences range from the decomposed structure works of old pioneers of Electronic Music to classical Jazz, electronic and analog music from the now, before and tomorrow. The diversity of the music that inspires him, finds reflection in his own sonic adventures, forming his ever evolving sound, combining as map and compass to guide his artistic outbursts. Feldermelder is co-founder of -OUS records and member of the art collective encor.studio. He has been performing internationally with his recent audiovisual live show "Erratic" and the AI-driven installation "Initiation", among others.

Nigh/Tmare's most recent EP, entitled 'Hypnagogia' on Thrènes Records, is the perfect example of the artist's uncompromising attitude. The integral work on this project is the perfect sublimation of experimental overtones, rugged beats, and techno punch, making for a candid, outstanding, and diverse approach with a lot of edge.

The opening track, 'Inside Me', perfectly encapsulates the dark, melancholic atmosphere and the robust dynamism we find throughout the EP. Operating a more technoid and ethereal approach on 'Without Believing', Nigh/Tmare successfully communicates his urge to express his dystopian feelings of loneliness and despair. The journey continues with "Deflagration of Hell", which comes as a daring lamentation from deep inside the darkness. Killawatt's rework on this one heads off a bit of the original and discharges its emotional intensity by offering a new audaciously powerful dynamic. Finally, 'Despite Everything' keeps the perfectly balanced feel of the EP; it offers a subtle touch of dreaming and a hidden optimism. The digital edition includes an exclusive track and a longer version of Killawatt's interpretation.

Set for release in both physical and digital formats on October 12th, Hypnagogia EP marks Nigh/Tmare's first EP for Swiss-based record company Thrènes (which takes its name from the Greek word for funeral lament) and are a label dedicated to the release of tenebrous electronica and techno.

Hot on the heels of Rapid Eye Movement's journey of discovery and growth comes the EP 'Split: Remixes' featuring reworks of the quartet of cuts originally signed by label founders Memorial Home and VII Circle.

Invited to apply their own reflections onto the material are rising producers Nur Jaber and Wrong Assessment as well as renowned artists on the underground experimental scene Edit Select and Reggy Van Oers.

First up is Nur Jaber's take on VII Circle's 'Metaphysical Functions' showing how the young Berlin-based Lebanese artist is as much inspired on remix duties than in crafting her already much acclaimed productions. The perfect mixture of dark and intense driving techno beat with haunting ambient-driven melodic motifs and dramatic breakdowns encompasses much of what her sophisticated sense of sonic exploration is about.

Up next on a heavier kicking note is 'Dogma' refashioned by Milanese fellow Wrong Assessment who transmits his vision of both minimal and hard pounding techno by merging a strait rugged beat with undulating synth lines and bouncy cymbals that will drive the audience to an insane rave-spirited dance floor venture.

Following the path, Tony Scott a.k.a Edit Select's interpretation of Memorial Home's 'Second Floor' is a clear example of the unique and forward-thinking sound that the Scottish techno scene 'veteran' has developed throughout the years. Deftly combining a tension-building drum and bassline work with layers of hypnotic synth textures that makes the track both suggestive and trippy-hitting in equal measure.

Concluding the journey is Reggy Van Oers (RVO)'s rework of Memorial Home's 'Ampere' which evinces this quest for organic and mental techno soundscapes inspired by classical and cinematic music, characterising the both complex and powerful crafting signature of Dutch Telemorph label's owner.

Between dark shadows and brightness, REM confirms with this new release that quality and free-minded artistry are the key pillars of the platform's curation philosophy.

After a short hiatus the ever-dependable Mark E returns to his own Merc label with three new tracks in his own inimitable style

Displaying a depth and flair for aural innovation like no other, Mark plots a course through a heady trio of beautifully constructed machine-funk jams. 'Twilight Fade' leads us seductively into a slowly unfurling Sound Signature style voyage through the soulful circuits. 'Quarttz' is a super deep, all enveloping synth-led workout, while 'First Thing' on the B, stretches a few simple ingredients into a sonic banquet of heady dancefloor bliss.

This one's super limited folks, so we encourage panic buying !

33 years after it's first release Rick Clarke's street soul simmerdown on Local Records, 'Love With A Stranger', gets a much welcomed official reissue, lovingly remastered from the original tapes.

Just peep that OG artwork to get a taste of how this one's about to go down. Written and produced by John Collins, known for producing The Specials - 'Ghost Town', 'Love With A Stranger' perfectly encapsulates that '80s street soul sound. Distinctly soulful, synthy slow jams, heavy on the bass with a touch of the low-slung, lovers rock vibrations about them. Rick Clarke's sultry sweet nothings weave their way irresistibly through this five minute gem, but for those that want to provide their own rendition over the top, the dub has been affectionately cut to the flip.

Top tier tackle - reissued to serenade red dressed souls the world over once more.

Powel returns to All Day I Dream with an EP that perfectly encapsulates the label's emotive sound.
Beautiful and dreamy journeys to close your eyes to and float. Ever the perfectionist Powel's tracks have been heard at the events in various revised forms until, finally, he was happy. That makes us happy too.
If you're expecting peak time bangers please move on immediately. However, if you love tinkling bells, smooth flourishes of emotion and great beats then you've come to the right place.

MANOID returns to Hafendisko this October with his debut long player 'Truth', comprising six original tracks on vinyl from the Polish producer and live act. Rising producer MANOID has been steadily developing his unique approach to electronic music for the past few years, releasing his first tracks in 2014 and co-producing material for fellow Polish artist Pola Rise, whilst taking his live act across the globe to The Netherlands, South Korea,Iceland and more. Here though, we see him marking a milestone in his career with his debut album for hafendisko, the Hamburg-based sublabel of hfn music. Across the Truth LP MANOID delivers an amalgamation of styles ranging from jazz-tinged electronica through to modern classical and techno- due to MANOID's origin often referred to as 'Forest Techno'. One half of Darkness Falls and Trentemøller collaborator Josephine Philip also delivers vocals on 'Take Me', adding yet another musical twist to the package, whilst further ideas came to fruition through field recordings such as 'When' which is based upon recordings from a textile museum in the city of Lodz, and 'For Roses' which was initially made as a lullaby for MANOID's niece but he felt was a little too dark so later developed it into this enchantingly eerie composition for the album. MANOID's debut album radiantly displays charm, maturity and musicality throughout and joins the thread of his musical influences and experiences perfectly.

HINOSCH are a duo of Koshiro Hino from Osaka and Stefan Schneider from Düsseldorf, they first (met and) began their collaborative work of musical interaction and exploring contrasting possibilities in 2017. After a number of concerts in the EU and in Japan a debut EP (HINOSCH EP/TAL05) was released in late 2017. Fully instrumental, their first full-length album HANDS offers a more steeply focussed approach than its largely improvised predecessor.

Encouraged by the momentum generated during a number of on-the-spot recordings in Osaka, where Schneider had held a residency in April 2017, the overall sound of the album has been honed down through meticulous studio engineering. One of the outstanding qualities of HANDS certainly is an unprejudiced approach of sound and song structures. The instrumentation is condently reduced to a small range of analogue and digital machines. Snatches of tape-loops deliver lower-pitched vocal and drum machine samples. This characteristic technical set up soon proved ideal in order to dene a tactile vocabulary of fully unsynchronized rhythm patterns. The word tactile perfectly conjures that quality which is the very essence of HANDS. It is the result of the manner in which interdependent threads of rhythm units are deliberately disconnected to form a cohesive, soulful and exible whole. Most tracks on HANDS are devoid of a central motif and examine an unpredictable dialogue. A fantasy of constant change and a search for musical suggestions is the most vital ingredient in this abstract environment.

The album title HANDS refers to physical aspects of electronic music production. Every live concert of Hinosch usually starts out with a hand shake between Hino and Schneider. The general process of collective music making, programming, button pushing, playing, recording, decision making, all demand utmost concentration. The image on the front of the abum sleeve (designed by Takashi Makabe) reects the general approach of HANDS: layers of tuckled fabrics confronting one another to articulate a form for themselves to no other end than their own orchestration.

After having emerged from the ever thrilling Osaka music scene onto the international playgrounds of electronic music just a few years ago Koshiro Hino's solo activities as YPY and his involvement with the band GOAT have already garnered him a very favourable international reception. Stefan Schneider has over the years produced and collaborated with a.o. Joachim Roedelius (Cluster), Arto Lindsay, Klaus Dinger (NEU!), Dieter Moebius (Cluster), Alexander Balanescu, John McEntire (tortoise), Katharina Grosse, Bill Wells and St.Etienne.

First side brings 2 superb Hard Techno fat kickers. The flip goes Tribe in a more evident way, to the Hardfloor !

Mit brachialen Tempowechseln und sägenden Gitarrenriffs sowie klebrig-süßen Arrangements und ungestümen Ausbrüchen zwischen Hardcore, Punk und Alternative stiegen die Pixies gegen Ende der Achtziger zu Independent-Superstars auf. 1987 nahmen Frank Black & Co. bei einer dreitägigen Session 17 Songs für das Demo "The Purple Tape" auf. Eines dieser lila Bänder fiel Ivo Watts-Russel in die Hände, der die Pixies schließlich bei 4AD unter Vertrag nahm. Acht der Demo-Stücke landeten auf der EP "Come On Pilgrim", der ersten Veröffentlichung der Band. Im Jahr 1988 entstand das Debütalbum der Pixies, "Surfer Rosa", produziert von Steve Albini. Wieder hielt sich das Quartett nicht lange im Studio auf, in vierzehn Tagen war alles im Kasten. "Surfer Rosa" enthält "Where Is My Mind?" und damit den sicherlich berühmtesten Song der Band. Das Debüt begeisterte die Kritiker, "Melody Maker" und "Sounds" zeichneten es als "Album des Jahres" aus. Auch rückblickend gilt die Platte als eines der wichtigsten Rockalben jener Zeit. Zum 30-jährigen Veröffentlichungsjubiläum bringt 4AD die beiden Meilensteine zusammen mit dem 1986 mitgeschnittenen Radiokonzert "Live From The Fallout Shelter" noch einmal als Triple-Album heraus.