Cerca:eve 6

Kapitan is Dori Sadovnik, half of the groundbreaking dancefloor-scorching duo Red Axes.

In his debut solo LP Alaska, Kapitan takes us on a journey into the deepest realms of his inner psyche. Through his modular synth experimentations, his analogue approach for synthesis and organic instruments he created an lp that is both personal and outgoing, fresh and nostalgic at the same time.

Weaving samples from his non-stop traveling schedule as half of one of todays top dance acts, playing guitars, drum machines and synthesizers, the album feels contem- porary and timeless, like it could have been written at anytime in the past 30 years and still feel relevant than ever, echoing Mort Garcon’s modular experimentations as well as early Air music.

Old time something come back again! Victor Axelrod at the controls, taking an early Daptone classic from the Lee Fields & Sugarman 3 repertoire into the world of 60s ska – featuring a new singer we think everyone will be talking about once they hear this simply because... this man is on FIRE! We present to you Leon Dinero. Some might recognize the flash of his gold tooth glimmering in the dark dances between Jamaica and Brooklyn and now we have him on record with more to come!

The vocal “Lover Like Me,” snake-charms you into what could easily fool some to be an unreleased Alton Ellis cut that was long lost in Prince Buster’s tapes. Leon gives nods to Lee’s original vocals while taking the vibes to another island. The flip “Conscience is Heavy,” has The Inversions capturing the powerful Blue Beat kick-drum punch and organ bubble that is sure to keep a dancefloor shuffling and the know-it-alls guessing.

L’Illustration Musicale, Sonimage, Técipress-In Editions (Timing), Musax, Freesound,
Montparnasse 2000 in France but also De Wolfe and Chappell in England, every of these
sound illustration labels have in common to bring out as a legendary spectre the name of Jacky
Giordano and his aliases. Widespread practice in the library music world, Joachim Sherylee,
chosen for the In Motion album, is one of his plentiful aliases (with José Pharos, Jacky
Nodaro, Gruppo Sounds, Rubba...) used by the french composer, that we regain as well for
Black Devil with Bernard Fèvre or even for the Shifters with Yan Tregger.
For his enthronement on the mythical English label De Wolfe, it's under the obscure name of
the Rubba collective that Jacky Giordano aka Joachim Sherylee sneaked in the londonian De
Wolfe studios with the companionship of British colleagues such as John Hyde (aka John
Saunders, James Harrington, Astral sounds or even Wozo) and his wife Monice Hyde (aka
Monica Beale), Alan Howe (aka John Collins), Robert Poole and Tim Broughton.
Published in 1980, the In Motion: Modern Progressive Group Sounds Played By Rubba LP
and its minimalistic and utilitarian red record cover which contains 13 tracks, mainly composed
by Joachim "Giordano" Sherylee and was never reissued since then. This record became cult
over time; it will have taken that the Hip-Hop world seizes it in order to dig out from the
disregarded and underestimated musical gems graveyard. First of all with beatmaker Madlib
and Freddie Gibbs in 2011 with the track “Thuggin'”, in which he sampled the track “Way Star”,
also used more recently by Mil and the rapper Westside Gunn on his track “Brains Flew” by
(1964 Version).
Nearly 40 years after, the Farfalla Records label, after publishing Timing Archives, presents
another aspect more progressive and psychedelic of the multi-faceted composer Jacky
Giordano by fully reissuing at last this coveted, mysterious and mesmerizing "Rubba". Very
desired by crate-diggers, In Motion appears in the want-list of plenty enthusiasts in this
enigmatic world of the library music. (Erwann Pacaud)

Ready for an adventure running parallel to their lives in common units, the quartet boarded a starship
to set off on an astral expedition. The mission began perfectly, according to plan. From the very first
measures, the travellers were released from the Earth's gravity. Very quickly, their home planet
appeared tiny and distant, before disappearing completely. Comets and novae lit the way through the
fathomless depths of interstellar space. Their preliminary, in-depth studies of seventies jazz-funk
were a great source of inspiration. Very early on, they knew that this sonic esthetic would allow them
to travel even farther, navigating only with organic instruments and no digital backing or
enhancements.
Commander Virgile Raffaëlli's bass lines guided their journey, offering a calm, yet vibrant foundation
for the smoother phases and turning up the power to bring them through turbulence and meteor
showers safe and sound. Like a compass, the bass indicated the direction and traced a groove that
the loyal, valued crew could follow as their travels continued. Mathieu Edouard's drums solidly
locked down the rhythm to avoid any sudden jolts, working in tandem with Erwan Loeffel's jetpropelled percussion. On the keyboards, Florian Pellissier drew harmonies and riffs from the
synthesizers and electric pianos to oil the machinery and lighten the load when the ensemble needed
to rise a few feet. The crew's almost telepathic cohesion was key to their success, allowing them to
express interior emotions with just a few notes.
Here is the last transmission we received:
"We have landed on an unknown planet and are depressurizing the airlock with help from subtle
horns and ethereal choruses so we can discover the new horizon. It definitely meets our
expectations! The desert before us holds the promise of new life. The warm yet fresh air is easy to
breathe. A vague psychedelic scent floats through the atmosphere, as if ready to spring from the first
flower to bloom. Dreamlike, mysterious, enigmatic yet familiar, we will call it Aldorande."

With more than 220 million cumulated streams in 2013, Poldoore is far to be unknown from international future-beat and hip-hop scenes. His new record, Mosaïc, comes back confirming to be the spearhead of a booming music genre, where beatmakers emerge from the shadows to the light, to assert themselves as artists in their own rights. Coming from Belgium, more precisely Louvain near Bruxelles, Thomas Schillebeeckx began to explore his parents record collection at age 5, when the family moved to the US. Since, the will to combine this musical heritage to his more modern surrounding sounds never left. Because Poldoore music has a credo: assembly the era with sampling, mixing the genres to create a new musical touch.

Since his beginning in 2013, with the album The Days Off, the young musician talents gave him the opportunity to perform for an international tour with famous venues such as Gilles Peterson's Worldwide Festival, Dour Festival, or the giant Tomorrowland. Everything you need to create a huge fanbase, one that never let you down through your musical evolutions. At this stage, Poldoore is already ahead of his time, playing a music focused on the future, making his place among lasting artists by getting to the top sales on Beatport. Six years after, he's still here, more than ever.
The following of his career brings him to Bulgaria, Spain, Turkey, Germany, Greece, and developing remixes for international artists such as Selah Sue, Wax Tailor, Declaime or Talib Kweli.
He is also nominated at the Red Bull Elektropedia Awards in Belgium, for both Album of the Year and Best Newcomer of the year, mostly thanks to the hit: the remix of the classic Fugees song, Fu-Gee-La. Everything to set the stage for his second album, The Days Off in 2016. The natural identity of Poldoore music rings out more than ever, and allows him to sign several projects and EPs on prestigious labels: Chinese Man Records, Nowadays, Cold Busted or Darker Than Wax.
His forthcoming album Mosaïc is a pure exploration of genres. The offbeat hip-hop, beautifully embodied by the track Lessons About Life, the electro-funk with Darts Is Not A Sport, his beloved jamaïcan sounds on A Brand New Day (featuring ASM and Balkan Bump), or the break-electronic on Solace. But it's mainly his unusual ability to give a second groove to 70s soul samples and epic strings, that makes this record truly essential. The whole tracklist is haunted, whether on the excellent Walking Through A Sunlit Forest or on Melatonin, last of the 13 tracks. Always seeking to marry different musical periods, always linking the past and the future. With Mosaïc, Poldoore is not only showing us his talent, but takes the listener through out Time. And isn't it what the music is supposed to do














 

The album starts with 'St. Fabian Tower', named after the now demolished tower block in Chingford where Anthoney used to DJ for Rude FM. The track's lush detuned synths and syncopated drums are girded by stern low end frequencies. Drum and bass, jungle and hardcore are the touchstones here, but the forms he creates make no attempt to imitate the music of those eras. Take the rolling, bubbling, almost jazz-drummer patterns of 'Yeah, I Like It' and 'I Want You' where strange pops and bubbles seem to be forced through the grid almost like they're an effect of pressure. It's an odd juxtaposition next to the soulful vocals but an effective one. 'Edge Of Darkness' meanwhile, is an intense, rough ride of sliding rhythms and elephantine bass. Elsewhere, like on 'A New Consciousness', things are tempered into a more streamlined techno-like hybrid. He lets loose in the claps and kicks banger of 'Fi Di Gyal', but even here there are neat sonic tricks that sound like nods to minimalist composition.

On The Threshold is a balance of smart and energetic, non linear thoughtfulness and makeshift experimentalism that does away with boundaries, but is very much its own self contained world.

La Danza del Agua" (The Dance of Water) is an eclectic musical journey through Latin American experimentalism - a sort of unofficial companion to the Anthologies of Atypical Portuguese Music volumes but focussing on South American music themes instead.
Originally released as two volumes on digital and tape versions on Papaki Records (2017, Argentina), this new concise edition presents 12 of the original 38 artists. Not to be seen as exhaustive document representing the wide styles of the even wider continent, it hopes to showcase some of its more marginal music with artists from a variety of countries such as Argentina, Mexico, Peru, Bolivia & Venezuela.

As such, this compilation shines a wider light on new and exciting sounds from the vast continent with a wide range of styles such as digital cumbias, sound experimentation, freak folk, noise, exotica, danceable beats and much more, mixed together to give life to the continuing strange world of contemporary South American experimental music.

A logical continuation of our New Weird South American explorations after releasing works from Meridian Brothers, Romperayo, Chupame El Dedo and a tape batch on Sucata sister label featuring Panchasila, Los Siquicos Litoraleños, Bardo Todol, Tomás Tello and more.

This Ltd edition vinyl release see’s a 50 track digital album whittled down to an 8 track sampler encompassing what label bosses Vinyl Junkie and Rachael E.C have determined to be the tracks that represent them best. The selection is predominantly on the junglist tip with a sprinkling of Drum & Bass here and there, which is basically what their label Ghetto Dub is all about.

The proceedings are kicked off by Birmingham born but Bristol based jungle overlord, the man they call Aries, who comes in with a real deep and bass heavy roller called Pre-Rolled, guaranteed to get everyone on their feet and feelin’ the vibes. This is followed by a rising star of the UK jungle scene; Java, who brings in the amens with a ragga style vocal lick for his track Screwface, which has been slaying dancefloors on dub for the last couple of months. Another artist that is really making a BIG name for himself lately is Veak. He comes in HARD with his first offering Lawd A Mercy which is a definite pull up track with a filthy bassline that will nail your head to the dancefloor. X-E-Dos concludes the first vinyl with Feel For Me which is a hard hitting but atmospheric drum fuelled workout, keeping the vibes rolling and maintaining the energy levels perfectly.

Enter the second vinyl and Veak is back, this time teaming up with another UK jungle don; Kumarachi. The combination of these two production masterminds has manifested something quite special in this awesome track Chrome Siren. Punchy in your face amens laced with more killer bass riffs and a mesmerising female vocal make this a definite for the front of your box. Sypmtom steps up next and adds that dark techy vibe like only he knows how; Come Mash Up maintains the jungle vibe but goes on a journey into the realms of drum & bass. Galvatrons track, Buss Up Shot is pure jungle, no doubt about that. Chopped up amens and a deep rumbling bassline are complemented with a beautifully melodic piano section. Last but by no means least, the man like SR takes the limelight with another wicked amen workout. Special Ops VIP gives a nod to the mid 90’s for sure… Wicked oldskool vibes and a sure fire hit with all the junglists that remember those times.

Cult, obscure 1976 proto-electronics masterpiece 'Viaje' is a purely brain frying avant garde flipout from the electroacoustic musicians Eduardo Polonio and Horacio Vaggione (probably most known for his album on Cramps). Together, they deploy synths, electric guitars, organs and bass and squash them all up together in sundry sense befouling ways. On the A side, they're tangled into an overpowering threshing machine of spitting electronic mayhem, while the B side moves the proceedings into overtly acidy territory, everything ratcheting down and expanding outward into a delirious psychedelic electronic whirlpool. Beautiful gatefold vinyl reproducing the original artwork.

The series 2 of NewYork House Edits. Monchan edited 90's NY Garage House from the legendary record label & Shop "Vinylmania".
“Vinylmania" Owner Charlie Grappone opened the Vinylmania’s doors in 1978. He opened the store with a sparse selection of Rock records
but after crowds from the Paradise Garage started showing up he realized his market was with the house heads. Vinylmania quickly became the goto spot for house in NYC eventually spawning a record label under the same name and it’s legacy began. Sadly Vinylmania closed its doors in 2007 after almost 3 decades of business.

After many years the long lost Apocalyptic Disco Funk offering has been unearthed and re-released for the world to hear. Rob's prophetic pre-apocalypse disco message, Hellfire, was originally released as a promotional LP by Nigerian label Taretone. Though a seminal work by Rob, disco stylings had fallen from vogue on the Nigerian dance floors. With the local airwaves dominated by artists like Félix Lebarty, Rob's promotional release was shelved, and never got to see a full-scale commercial issue. Ultimately the master tapes were lost by Taretone and the album was doomed to obscurity for decades until its recent rediscovery by Tambourine Party Records.

Hellfire is both a disco burner and a frantic warning about the impending end of the world. From the downtempo title track Hellfire to the floor-filling Glory be to Jesus, Rob will be sure to get his message across. Once the needle is dropped it is hard to deny that even if the world is coming to and end you can die happy listening to this album.

Coeo have been travelling in Japan and discovered the magic of City Pop: That Japanese Disco movement of the 1980ies. Back then there were amazing dance tracks coming out of Japan. Some with Japanese lyrics others with American vocals. Often so perfectly played and recorded that it was hard to tell if the music came out of NYC basement studios or for real Asiatic studio musicians. Coeo found a lot of rare jams and did edits for their DJ sets. As at the Toy Tonics office everybody is always searching for the rare and unknown the crew was totally excited. And so the decision was made quickly: Let’s put out a few of these rare jams & edits. Here they are.

Fuck Reality Regular and Oslo Native Mats Frantzvaag Debuts on Full Pupp with a stunning , amazingly crafted 4 track ep, finest Arrangements, Seamless Flow, Slowburning Deepness, Full of Freshnees, Light and Grooveeness - Frantvaags Sounds stands out and tall. Like Winston Churchill said: “This is not the End, not even the Beginning of the End - This is the End of the Beginning!” And we´re sure there´s so much more to come…

Sergii Galan, the Ukrainian producer also known as Haze, makes his debut on the Kyiv-based Rhythm Buro imprint. The artist who released his first ever EP just two years ago (the excellent "Somewhere In Time" EP on Anagram Records) is now joining the roster of the label affiliated with the event series of the same name. While the Rhythm Buro events are best known for keeping the Ukrainian capital's dance floors busy, the Rhythm Buro label is set to hit its fifth release with Haze's RB005. As is evident with the EP's artwork, RB005 marks the beginning of a new era for the label, breaking the ties with what was previously its signature visual mark.

The record's opening tune is the heaviest on the EP, good reason as to why it was chosen as the title track. "Aimless" is bottom-heavy and bass-rich, done in the true "acid eiffel" face-melting fashion. However, its successor on A2, "Inner Voice", takes a completely different route sound-wise, referencing timeless old-school breaks and vocal samples, which showcase the diversity of Haze's palate. To further confirm this notion, "Prism" on A3 appears as the EP's "slow burner", the acidic-psychedelic-downtempo tune you wouldn't often come across on a record filed under "techno" in 2019.

In line with Rhythm Buro tradition of sorts, the B-side of the record is dedicated to the deeper tunes, which blur the lines between techno and house. "Majula Sunset" on B1 is both trippy and melodic; with a groovy rolling bass line only a quality sound system could handle properly. Closing the record is Ben Buitendijk's remix and combination of two of Haze's tracks from the EP: "Prism" and "Aimless". As indicated by the title, this track "Natura" is not only a rework of Haze's tunes, but also homage to one of Rhythm Buro's most original events of the same name, which Buitendijk has played, an event which is held in the forest outside Kyiv every summer.

"I love it. SO beautiful"
Josh Rosenthal [Tompkins Square]

Songs For A One-String Guitar is the debut instrumental acoustic guitar LP from Jonny Dillon. Better known for his analogue electronic music productions and all-hardware live sets under the ‘Automatic Tasty’ moniker [Lunar Disko, CPU, Wrong Island], Jonny’s records (bearing heavy acid and electro influences), along with live appearances at venues like Berlin’s Panorama Bar and Kiev’s Closer belie the fact that he has been quietly exploring the musical landscape of the guitar for nearly twenty years.

Recorded as a series of sketches over the last 10 years, Songs For A One-String Guitar represents a snapshot taken over a long exposure; one individual’s private response to a variety of currents and inspirations both musical and emotional. While informed in large measure by the world of Irish traditional music and song (of Sweeney’s Men, Planxty and Seán Garvey) along with that of primitivism and the American Spiritual (of John Fahey, Hank Williams and Mississippi John Hurt) these songs are equally a personal attempt to give expression to an inner landscape, from the experience of sorrow and loss to the promise of redemption and renewal.

The LP opens with ‘Turning Invisible In An Imaginary Rose Garden One-Evening’ a contemplative piece played in free-time; “I’ve been playing this piece for years, and it’s gone by so many different names in that time. It’s a sort of shoe-staring daydream, to my mind at least. I want people to disappear when they hear it, and think it suits the LP to open up slowly and reflectively”. While a contemplative strain underpins some of these songs, others are informed more directly by the experience of grief; “I wrote ‘A Requiem For Joe Dillon’ at the death of my uncle. He used play lots of wonderful songs of his own at family gatherings when I was a child, and while a very gifted and sensitive soul, was also troubled by his own demons. The last time I saw him alive was at my family home with my father; I was going out to see some friends and Joe called me back, gave me a hug and made the sign of the cross with his thumb on my forehead, to bless me. It still chokes me up when I think about it. A song of his ‘Light A Penny Candle’ I included to finish the piece in his honour.” A sense of longing and hope is present in other pieces; “Songs like ‘Again But With Feeling This Time’ and ‘Start Again (Carry On)’ come from a sort of hopeful yearning feeling which is always within me; a melancholic sort of joy in search of redemption. For me, music has the strange capacity to express contrary positions simultaneously; to console, redeem and offer transcendence while also expressing suffering and pain. I don’t know what any of this means, but feel as though I’m trying to find my way home by writing the same song over and over again.”

Songs For A One-String Guitar may seem to represent a departure for those who know Dillon for his electronic productions alone, though the reality is that these songs merely represent a new opening onto an old landscape; they are an invitation to more fully share in one individual’s yearning to find meaning through creative expression. “These songs are very personal to me, so there’s a certain nervousness in my seeing them released. I hope that they prove of some use, and that they do some small good to those who hear them.”

Coming out of London and the South West of England, Hey Colossus are one of Europe's great live bands. Since 2003 the 6-piece has been driving around the continent with their “pirate ship” backline of broken amps and triple-guitar drang, elevating audiences in every type of venue imaginable; a doctor’s waiting room in Salford, an industrial unit in Liege and a vast field next to a river in Portugal. Wherever they may roam.

Four Bibles is their twelfth studio album and the first to be released by London label ALTER, whose sole proprietor (the electronic producer Helm) encountered the group at their first gig in 2003. Recorded by Ben Turner at Space Wolf Studios in Somerset, it's their most direct album yet and follows a well-documented trajectory of evolution that began (in the truest sense) with 2011’s RRR for Riot Season and continued across three albums for Rocket Recordings. Lead vocalist Paul Sykes sounds more in focus than before, dialling down the effects and using reverb / delay to carry his lyrics rather than smother. The band has also fine-tuned to leave some room for extra depth. Piano, electronics and violin (by Daniel O'Sullivan of This is not This Heat / Grumbling Fur) all find a way in amongst a familiar mesh of interlacing guitars, wrapped round a taut rhythm section. Like every other Hey Colossus record before, the line-up has altered and the sounds reflect this.

From the weight of “Memory Gore”, to the subtlety and swag of “It's a Low”, via the sonic extremes of “Palm Hex/Arndale Chins” this is exactly as the band are live; raging & rail-roading but somehow in control. Grooves for those who want to dance or for those who want to hug a wall and nod...bleak dystopian imagery submerged in relentless rhythms and low-end rattle. The songs breath life and soul - Hey Colossus have never sounded fresher or more on point.

New LP from French beat-makers La Fine Equipe featuring Illa J, T3, 20Syl, Mr J Medeiros, Georgia Anne Muldrow, Fakear ...

Let's be clear: La Fine Equipe is a band. The numerous hats wore by its four members are so various that it could mislead one's. Indeed, surrounding Blanka, oOgo, Chomsky and Mr. Gib, there are recording studios, collaborations, lives, side-projects... There is also and especially a whole universe built during the past ten years around their passion for beatmaking, embodied by the release of « 5th Season », new album.
So yes, La Fine Equipe is a band, but it's also much more than that.

Since their creation in 2006 and their first album « La Boulangerie » two years later, the four producers became inevitable when you think about a new scene breaking the barriers between musical genders. Hip Hop is at the heart of their craft, corner stone of their musical background and inspirations where the paths of J Dilla, Madlib, Flying Lotus, Kaytranada and the turntablists A-Trak, C2C and Birdy Nam Nam are crossing ways. Two things gather La Fine Equipe and those big names, the constant need of collaboration with other artists, and this thirst of discovery, main feature of the digger.

From 2008 to 2014, La Fine Equipe mastered its craft with the « Boulangerie », compilation gathering 34 beatmakers on 113 tracks. They also work on the creation of the label Nowadays Records (Fakear, Skence, Unno, Clément Bazin, Leska, Douchka...) and released more than 75 EPs and LPs in five years.
With an outrageous number of shows across the world, tour in Asia, South America, collaborations with several international artists... Their success changed the game: Whereas many producers coming from this environment where isolated, La Fine Equipe federated a growing scene and became its reference.
After years spent paving the way for other artists and creating a structure that could support the growth of a musical scene, they decided to go further and launch a new era with « 5th Season ».

Because the band works with eight hands and four brains, there's nothing surprising in the fact that the album sounds like a condensed of each and everyone inspirations and experiences, from hip hop and sampling, to electronica, jazz and Latinas inspirations. If homogeneity is the new trend, La Fine Equipe isn't ready to sacrifice its wishes to fit the mould.

« 5th Season » is also a glance at the world looking over our planet's current state, the cosmos, the vegetal and these things that are greater and stronger than us, and the things and behaviour that could led to our loss.
It's an almost apocalyptic vision of our future, but full of optimism at the same time. There is something solar and cinematographic in this album, a format that goes beyond the one chosen before, closer to playlist and compilations such as the three Boulangerie opuses remind us.

Loyal to their status of ambassadors, the four beatmakers keep on inviting other artists to complete their universe. Illa J and T3, respectively brother and partner (Slum Village) of the late J. Dilla, make the connection between a glorious past and the future embodied by La Fine Equipe on the track « The Source ». With « Aurora », it's the solemn and mystical voice of Madjo that take this electro-pop track to another level. The American rapper Mr. J. Medeiros on the boom bap anthem « What Eva », the Montrealer ZeFire on « Typical », each and every artists brings its stone to the edifice of « 5th Season », giving to the album a limitless and freed musical richness.

But to release an album isn't enough. In parallel, each member of La Fine Equipe continues to fulfil its multiples tasks and work on a new concept live show bringing a scenic and visual show in addition to their music. It is what the artists looking toward the future do, and La Fine Equipe is looking straight ahead.

_________________________________________________________________________

TRACK BY TRACK

AURORA (Ft. Madjo)
Already remixed by the quatuor on the beautiful track « Choose The Heart », it's Madjo's turn to be invited by La Fine Equipe for a collaboration. Her mystical voice, which fragility paradoxically seems to strengthen its power, turns the track into an epic pop anthem.

NOBU (Ft. Grems & 20syl)
The association of these three names seems obvious, like a family reunion. Grems did the visual of the anniversary box of La Boulangerie, 20syl (C2C, Hocus Pocus) was one of the beatmakers who took part in the project.
This time, the two big brothers are side by side behind the mic, for the first French speaking collaboration of La Fine Equipe.
On this trapy/footwork beat, the two rappers ring the alarm before it's too late to save our house, the earth.

THE SOURCE (Ft. T3 & Illa J)
In the family of Hip Hop jewels of 5th Season, here is one coming from the USA. Fans of J Dilla and Slum Village since the first hour, La Fine Equipe pays its respects to its influences by inviting T3 and Illa J. Respectively member of Slum Village and brother of the legendary Detroit producer, these two MCs build a bridge between the eras and let their sharpened flows confuse our perception of time.

5TH SEASON (Ft. Fakear)
A second collaboration with their little brother from the Nowadays Family, Fakear. Eponymous title, it represents the universe of both entities, true road trip through Fakearians melodies and La Fine Equipe's funk declined in five seasons.

TYPICAL BOY (Ft. ZeFire)
With « Typical Boy », La Fine Equipe express its love for House music with chopped rhythms and a heavy but swaying bass line. The freed track oscillate between power and lightness. A beat that quickly becomes ZeFire's playground. The Montreal singer, already heard on Her's tracks, brings a missing r'n'b touch to create the perfect chemistry.

Buoyed by the success of Endless, their 2015 primer on forgotten electronic explorer Dimitris Petsetakis, Into The Light Records has worked with the Greek composer to compile a follow-up album that takes an even deeper dive into his archive of previously unreleased material. Like its predecessor, On Shores draws on music recorded in the 1980s and early '90s. It contains just two previous released tracks, the humid 'Clearance (Part 2)' and poignant 'On Endless Shores', both of which first featured on Petsetakis's cult 1991 album Missing Links.

On Shores offers another unparalleled insight into the picturesque and atmospheric soundscapes created in the Piraeus-based composer's basement studio using a mixture of electronic and acoustic instruments, a wide range of global influences and a keen interest in both minimalism and new age ambience. Listeners will encounter a range of stunningly beautiful and beguiling compositions, from the creepy, slow-burn exoticism of 'Pythia's Dance' and rhythmic, otherworldly escapism of 'Violated Asylum', to the gentle bliss of 'Like a Knife' and sun-bright joy of 'Nearxi (Minimal Marimba Edit)'.

Worst records is proud to present the third release of its growing catalogue. Unlike his
alias could evoke, Christian Coiffure is not so much specialized in online hairdressing
tutorials but has a fierce passion into brushing serious quality tracks. « Un Nouvel Âge
Réminiscent » hits hard with its progression into sharp and colorful forms, never bound to
redundancy. From slow EBMish , industrial tainted marching anthems of « A New New
Hope » and « Slowly Merging Into One » to synth-infused acid railroads built for futuristic
Trance Europe Express trains in « Révolutions Synchrones » and « La Dernière Volonté
des Atlantes », everything functions as a toolkit for imagination. Add to this a breaky
andrefreshing post-dubstep turn on « Biosphere is Reborn » alongside a delicious
headshot surprise on digital bonus with « Pouvoir Lacrymal Renforcé », and you will
never see the word « coiffure » the same way again.

Bigwax Records is proud to launch its label, Les Masques, with the reissue of the only album of the obscure band from Marseille, The Students. Released in 1985 in relative confidentiality, "Students In Summer" reflects the carelessness of a bourgeois youth cradled in FM hits, new wave, Sade and Stranglers, and the way of life of these medical students who left regularly Mediterranean shores to surf the Basque coast. Lo-fi, sunny and ultra-cool, this rarity of French pop eighties is here remastered from the original tapes.

For Against Fascism Trax 006, Auntie Flo takes us to Brazil, a country that is dealing with having a bona fide fascist president, with an EP recorded in Rio De Janeiro. I’m going to shut up and let Afonso Marcondes from Sao Paolo take it from here -

In a world in which culture policies (incl. music) win nationalist tones, Brazil has lessons to give with the catastrophic failed experience of the last government and the teletubbies talk on Culture from the current one.

As one sometimes feel as if one is on a time-warp from time to time, most often taken there by music, songs like March of The Berimbau here, could easy make for the perfect soundtrack for the political history of Brazil, country in which Auntie Flo got his inspiration and recorded this tracks.

From the military regime that gave Brazil bossa nova in the 60’s, the tropicália sounds of the 70’s to the pop rock era of the 80’s all the way from the rave scene of the 90’s to todays Bahia Bass, music in Brazil has always been instrumental in helping shape the political scene.

One thing about the Brazilian music ’scene’ is that rarely it lends itself to extreme political views, via lyrics or otherwise, after all, carnaval must be kept a happy time! The number of different cultures living in peace, side by side in Brazil has strenghten the country disapproval of hate talk in music since I can remember growing up in the interior of São Paulo state.

As per wiki: Fascism is a form of radical ultranationalism, characterized by dictatorial power, forcible suppression of opposition… Children bedtime reading if you follow the past 15 years in Brazilian politics and the rise and fall of Brazil’s Labour Party, together with its disastrous polices on culture and synergy with de definition above; including the views of a important cultural Party branch that continuously 'preached' that Authors should need no rights over their works. That couldn’t bit music in Brazil.

Fast forward to the first 5 months of government of an unfortunate retired army officer, whose every word sounds like Trump, and whose views on culture is to extinguish the Culture Ministry and cut low the state incentives to the sector, that, so far, is not bitting music in Brasil.

Hope that Auntie Flo’s music inspired everyone as the place where it was made and recorded inspired music in Brazil, as a beacon of light against any hate talk darkness.

“Ta Da” is the debut full length from J. McFarlane Reality Guest, the collective name for the trio headed by the eponymous McFarlane. As a member of the group Twerps, McFarlane has traversed guitar-centric, melodic pop music for some years while honing a highly unique, personal musical language. Ta Da is the first recorded unveiling of McFarlane’s affecting, oblique songwriting panache. Originally released in her native Australia on Hobbies Galore, Ta Da will be released worldwide by Night School in June 2019.

Wheezing into view with a troubled reed instrument set against a s of whoozy synth lines, Human Tissue Act is a foggy curtain the listener is invited to peel back. The dissonant notes are left to dance entwined, with clarinet heralding a Harry Partch-esque mallet percussion interlude. It’s a mood. With no resolution in sight, an audience dragged closer into uncertainty is suddenly drenched with the light of inter-weaving wah wah synth and saxophone. I Am A Toy introduces us to McFarlane’s vocal, an effortless and matter-of-fact, accented statement that quietly takes the reins. While McFarlane’s previous work in Twerps might reference 80s UK and antipodean guitar pop, Ta Da showcases a different influences immersed in psychedelic music and synths. It’s a brilliant, deft concoction swimming in Young Marble Giants-type minimalism washed with bare pop and harmony similar to Kevin Ayers making sense of a Melbourne suburb full of faces half-recognised in the blanching sun.

What Has He Bought begins with a Casio-keyboard rhythm pattern, palm-muted guitars and immaculately enunciated vocal give way to a burnt melodica part that elevates the spirits. Simple patterns repeated, like a well-tempered pop song that does what it needs to do and no more, build into the sound of summer leaking orange juice. They’re moments of joy, layered on top of each other like a melting cake. Do You Like What I’m Sayin’ recalls Marine Girls covering a classic ‘66 Garage nugget, organ lines fighting funk with guitar chords played just behind the percussion. “In a talking world, meanings are the same. Words want to hold on to the people they contain. Do you like what I’m sayin’?” We’re in a Beckett play perhaps, obtuse absurdities rendered pretty. Alien Ceremony is a heart-melter, given a melancholic timbre by bowed double bass it’s a tragi-comic piece that almost reeks of Robert Wyatt at his mid-whimsical twisting a fugue completely out of shape. Beneath the layers of harmony and twinkling instrumentation you sense there’s a genuine sadness somewhere even if it remains veiled.

Through out Ta Da, McFarlane plays with counterpoint and contrast to sometimes delirious effect. On Your Torturer, a simple, upbeat chord progression is hard panned, underpinning a flute solo which seems out of place, hence making it completely in place on this warmly surreal album. My Enemy is a slowly swinging eulogy to a failed relationship punctuated by analogue synth burbles, with our protagonist simply asking, in the aftermath, “can we be nice?” Here McFarlane’s vocal is straight forward, lyrically conversational but still not completely in focus, a surreal kitchen sink drama filtered through a dream where everything is in the wrong place. It’s a fine precursor to Heartburn, which similarly borrows BBC Radiophonic Workshop-style noise synths and the use of space to carve up the simple “You Will Make My Heart Burn” line. At this point, the listener has been in such close proximity to McFarlane’s show, the reality guest in a performance where they’re the sole audience member, that when Where Are You My Love rises on the horizon as a sleepy, psychedelic send off it’s uplifting. The vocal drifts away into the sunset, simple and direct. It leaves the listener slightly confused, perhaps, but grateful for the gentle surprise.

Everything On Time EP" contains works from a decade that underpin Sinistarr's unique and versatile musical style. At the heart of his second appearance on Defrostatica are two collaborations with label artists Kiat from Singapore and Agzilla from Iceland. While the original version of KNS features hectic and technoid synth arpeggios on tribal breakbeats, the 2019 rework is a cold fusion of autonomic halftime beats and gritty jungle breaks. Emo is Detroit Electro on 170 bpm with a sinister message embedded by Agzilla himself. The b-side opens with the playful Garden as Morgan Neimans voice blossoms in thousands shades of spring. Torpor marks the dramatic end to this release with the intent to mirror unfulfilled desire.

Henrik Schwarz & Alma Quartet present CCMYK, a new album on Henrik's own label Between Buttons. Produced in collaboration with the Alma String Quartet, it's a free conversation between classical and electronic music, carefully transformed into a set of astonishing tracks, ready for club or concert hall. Though based on free improvisations between Laptop and String Instruments, CCMYK is not a record of bumbling jams. Rather, it's a record of startling density, control and emotional complexity. This is the sound of open conversation between piercing intellects, taking their individual instruments and musical backgrounds to create a new universe of sound. The vinyl comes in a unique, handmade, limited 4 colour CMYK pressing. Every record is unique! Black is available as well.

Launching the first of many solo vinyl releases, Inter Gritty and
Controlled Violence are proud to present: Laponia Space
Project. Drawing inspiration from various trips through
Finland’s Lapland region, as well as proximity to Sweden’s
Space Centre, Laponia Space Project perfectly represents the
expansive, awe-inspiring nature of its surrounds. Inter Gritty
has presented himself in a different light to the majority of his
catalogue, drawing on nimble, organic sounds in combination
with a lively rhythm section to embody Laponia Space
Project’s mood. With a classic 4-track E.P. format, each work
evokes a real sense of wonderment, as tracks like Sleepy Tree
and Cassiope integrate twinkling, hollow, and delicate
elements. Basslines bound up mountain ranges, synth pulses
reverberate through the treetops, and groovy percussion
captures the excitement and energy of the local scenery.
TR303 is a clear homage to the machine and the movement
that have shaped modern-day electronic music. And while it
will certainly make its way into the crates and folders of DJs
everywhere, it still manages to incorporate a sensation akin to
being sent out into the most unfamiliar of territories. To close
the E.P., Expo Line’s percussion shakes amongst airy pads and echoed pangs, as though one is shuffling onwards through the
forest.

An upbeat positive and spiritual groove paves the way for our new 'Jazz45' label.

Taken from the forthcoming album 'Earth' from Emanative, with a sublime vocal performance from Ahu.

JAZZ45 - Exciting new sounds from the world of independent & creative jazz artistes!

Original artwork & original music on each and every release, and limited to just 600 copies worldwide!

“Every time I play Cour T.’s “Black Magic” the room changes. The entire vibe of the party goes from hands in the air to grinding, sexual energy. This track has arcane properties on the dance floor. I wish I had 10 tracks with this vibe because nothing else sounds like it and when I play it, I always wish I could keep the vibe for longer.

Selfishly, I asked our label manager to hold back this track for 6 extra months just so I could have it all to myself. That’s how much I’m into it. For all the DJs complaining about how everything sounds the same right now, take a risk and drop this one in your sets.”

-VonStroke

“Built By Humanoid” is Humanoid's second album, a mere 30 years after the debut, though Brian Dougans claims the first album wasn't really him anyway.
Humanoid's classic acid house single, ‘Stakker Humanoid’, highly regarded as one of the key tracks from the era (Richard James (Aphex Twin) sights the Stakker project as a major influence), enjoyed massive success in 1988. Reaching No.1 for 5 weeks in the UK dance charts, performances on Top of the Pops, a John Peel session for the BBC and European tours eventually led to an album deal.
Whilst all this was happening, Brian Dougans (one half of electronic legends Future Sound of London) claims he was returning to his squat in Kings Cross with no electricity or water. He not only became disillusioned with the business, but also became increasingly ill from the conditions he was living in. Around 6 tracks into the album, he left London and record label, Streetsounds, returning to Manchester to recover and regroup his thoughts. However, Steetsounds pressed ahead with the album and it was finished in Brian’s absence with guest performers.
Brian left Humanoid behind and went on to create FSOL with Gaz Cobain becoming leading lights in the burgeoning ambient scene, scoring a top 10 album "Lifeforms" on Virgin Records.
In 2003 Rephlex (Aphex Twin’s label) released a posthumous album of 1988 out takes compiled by Brian.
Recently Humanoid tracks have been popping up on modern compilation albums (Touched Music / Gasman, etc) signalling a possible return.
“Built by Humanoid” is a brand new nine track album of future acid cuts, breaks and electronics, a lot of which is credited to 2 synthesisers co-designed by Brian Dougans and English Electronics company Digitana. It is this innovation that has helped usher Humanoid back into the limelight and consequently the album has a rather new and unique sound and style.
The track ‘Polymath’ is created using a possibility / probability theory that results in a track which at no point repeats itself - 303 tinged acidic bubbles. Meanwhile ‘Traktion’ is a break beat, pulse laden, bass heavy monster. ‘Fu*k It’ is the future sound of 303. Fast, frantic and beat driven. Whilst ‘Post Humans’ combines thumping 909 and 303 into an acid hallucination.

Claiming Montreal as his new home town, Brussels-born Senz Beats has been building an impressive body of work with underground veterans from both coasts of the US (Dave Dub, Megabusive, Lex Boogie From the Bronx..) and beyond. Cappo, Nottingham's very own veteran MC, needs no introduction having already made waves at home and abroad with his impeccable string of solo albums as well as his work with the Nottingham super group VVV.
Here, Senz Beats and Cappo join forces to present a stark reminder of where humanity is headed if we continue to place our values in capitalist ideals. The raw, driving energy of the beat offers the perfect backdrop for Cappo to deliver his warning to those caught up in the materialistic rat-race: the tidal wave is close approaching.
4 experts in their field offer up remixes of this epic track. Boot Records very own Jazz-T (Jehst, Lee Scott, J-Zone...), ex-Def Jux engineer and artist Uncommon Nasa (Vast Aire, Aesop Rock, Mr. Lif...), Lex Boogie From The Bronx (Marq Spekt, Rass Kass, Vordul Mega...), and R.E.D.A. (Insight, Main Flow, M. Sayyid...) each give this track their own distinctive flavour to devastating effect.
Lastly, on the bonus track Fool's Gold, J Lawson echos Cappo's Tidal Wave warnings concerning lusting after riches at the expense of everything else, also produced by Senz Beats. One of the few remaining songs from over 2 years of collaboration roughly 10 years ago, this song has stood the test of time and is ready and eager to be presented to the world.

[a] 1. Tidal Wave [clip]




[f] 6. Tidal Wave (Instrumental) [clip]

Names You Can Trust's long-running Swing-A-Ling party in Brooklyn has become an epic warm weather celebration of all classic styles of Jamaican sound system music on vinyl. The party itself, set in the deepest crevices of BK's Caribbean community, has been known to stretch for 12+ hours each session, serving non-stop musical entertainment and buckets of jerk chicken & curry goat to an adoring crowd of all ages, young and old. The event has also been the occasion of some extremely limited edition record presses that have come to embody both the ethos of the party and the NYCT label. The second in the series of the playfully titled Swing-A-Ling NOW SOUNDS is a new entry in modern reggae production from The Mad Geezers. Like the party's signature sound, the tunes on this double-sided single are timeless, intriguingly left-of-center, and most importantly in deep homage of the vast influences and inspirations that have been carved to vinyl throughout Jamaican recorded history. Elements of rock steady, dub, soul and middle eastern snake charmer sounds all find their way through the hands of the Geezers' skilled musicians and the resulting 45 record is sure to be another sneaky staple in sound systems all over.

LP comes pressed on 180 gram vinyl.

On 29th March, Reclaimed Records are proud to present pianist and composer Taz Modi's elegant debut solo album 'Reclaimed Goods', which brings to light his love for contemporary composition – something which may come as a surprise to fans of soulful dance music heavyweights Submotion Orchestra, and jazz trumpeter Matthew Halsall's Gondwana Orchestra - for both of whom Modi plays keys/piano. Whilst also gaining further demand as a musician, including for A-list studio and live work for funk 'n' soul legends Dennis Coffey and Fred Wesley, plus beatmaker heroes DJ Shadow and Mr. Scruff, Modi has been discreetly pursuing an additional passion during down-time for years – and his prolonged, patient crafting shows in the record's tasteful and beautiful spirit.

Calling to mind the piano music of Cage, Frahm, Hauchska, Sakamoto and Aphex Twin, 'Reclaimed Goods' is a graceful affair, in which lush strings and gently pulsing rhythmic flutters sit alongside prepared and plaintive piano, with the tunes ranging from sparse beauty to weightier moments of electronic rhythms. This allows the music to appeal equally to fans of heavier electronic acts such as Cinematic Orchestra and Bonobo, to devotees of ambient and contemporary classical music, as well as those familiar with Modi's work with both Submotion Orchestra and Matthew Halsall.



Positive review by John Lewis for the Guardian's contemporary music album of the month section: 'An even more effective exploration of solo piano territory comes from British pianist Taz Modi; best known for his work in various jazz and funk ensembles, his solo debut Reclaimed Goods features a host of introspective instrumentals that are reminiscent, variously, of Ryuichi Sakamoto (Libra), Nils Frahm (Time to Practise, Crystalline) and Hauschka (Ethical Tourist).

Featured in Music Week's Tastemaker section, 15th April 2019 with Haydon Spenceley: 'Listen to it; it'll lift you high above our care-worn world to a place of safety and grace'.

First single 'Ethical Tourist' featured as a premiere on 18 Feb 2019

Second single 'Crystalline' premiered on Boiler Room's 4:3 video channel, 12 Mar 2019

'A kaleidoscopic album that seductively pulls you in and leaves you curious about the inspiration behind the songs' - AAA Music

Positive review on Magazine Sixty

Support on Soho Radio, Dom Servini

Played on Worldwide FM, April 3, Gondwana Records show

Featured on Bleep's Spotify playlist 'For Your Ears and For Your Head', April 2019

Played by Mischa Kreiskott, NDR Radio Germany, ndr.de

Worldwide FM's Gondwana Records show on May 1 featured an interview with Taz Modi, along with multiple tracks from the album.



Musicians:

Taz Modi – piano, keyboards/electronics, arrangement and production

Natalie Purton – violin + viola

Liz Hanks – cello

Margit van der Zwan – cello

Seb Hankins and Jon Scott – drums

The Antwerp based label Deep Down returns to the black gold with 2 extended cuts for summer 2019.

Pur Sang, the alias of labelheads Delbaen and Veebo, set the tone with their first vinyl release and continue the eclectic madness with “Early Spring”, a bass driven monster with constant subtle groove changes. It’s like you hear the FM-synth birds making love in the first sun of the year. “Early Spring’ is all ready getting played by Dorian Paic from Raum Musik.

On the b-side we find Ukrainian based Yaroslav Lenzyak, who is widely recognized for his excellent releases on Sleep is Commercial, Castanea, Archipel and his own imprint Soblazn. “Tricky” takes you on a mental journey with some very addictive chords and evenly intriguing sequencing. Microhouse at its best!


Deep Down 2019

Welcome to the deeper end of the Hugh Mane spectrum. Mane’s third outing on Running Back captures his love for the spirit of early Detroit techno, IDM’s ambient aspects, the philosophy of the acid house experience and a natural production flow. Four tracks for fans of Larry Heard, Jungle Sounds, Nu Groove and the very early British response to that. Emotions electric. Vintage voodoo with modern spells. Equipment used:
Child Of Love: Lots of Alpha Juno 2 - which with the editor is such an underrated gem of a synth.
Everything Question: 808, Juno 60, Matrix brute. a big f*ck off vintage reverb
Vintage Voodoo: Alpha Juno 2, Oberheim DX for snare & toms, 909 claps, Korg DD1 hats
Free To Spend: Korg DD1 congas, snare and hats 808, Alpha Juno 2

A Sagittariun’s third album chronicles the journey back to Telepathic Heights; an expedition that encounters many obstacles along the way. The feuding parties of the two planets make for a journey of determination and self-discovery for our techno lone ranger that will ultimately deliver him to the sacred site on which Telepathic Heights stands. Conceived as a space western soundtrack to the cinematic interpretation of this tale, Return To Telepathic Heights delivers ten chapters that journal the ultimate mission to reach the imposing tower of Telepathic Heights, where dream telepathy has become the primary communicative tool amongst its peaceful and harmonious community who have opted out of the planetary war that continues to rage, seemingly with no armistice anytime soon. The score fittingly winds its way through the trials and tribulations of this journey, blending minimal and harmonic rhythms, industrial funk, dreamy synthwave and transcendental techno into the rich tapestry of music that documents the ‘Return To Telepathic Heights’. The album features original artwork by Johnny Bruck, fully licensed, and taken from the legendary German science fiction novel series, ‘Perry Rhodan’, which ran weekly from the early 1960s, and was the most successful sci-fi book series ever written.

oothing cut-ups and analogue collages for dreamers in the summer breeze.

Originally released in 2003 (on CD only), conceived by Sora aka Takeshi Kurosawa. Re.sort is a miracle of Japanese electronica. Widely unknown but very necessary. Fragments and textures playfully flirt with each other, bossa nova and jazz records float in the air, an old phonograph sits by the sea. Leftfield that feels like a home away, where joyful nothings are everything. Sweet minimalism and micro melodies.

Sora means sky. Let's drift.

Stellar new EP on the way from Dutch producer Qindek. The rising star has been on the up as of late having released on labels on such Wolfskin Records and Invite's Choice Records. This time he's releasing on vinyl only label Dreiklang who have had some scintillating cuts from Edit-Select (who appears as one of the remixers on this EP) and Claudio PRC.
Qindek has really been honing his skills and is known as much for his flowing DJ sets as he is for his masterful live sets. This level of technique is truly standing to the artist as we can see from his comfortability with hardware shine through on this project.
'Come Closer' will be the fifth release from the label: it features the original mix Come Closer and three remixes from VOLTMAR, Edit-Select, and KUF, which show the different facades of the track. The original cut is a primal, tribal number merged with club elements. It enters with a bongo-like drum that is followed by a hi-hat for some pace. A surreptitious synth floats in and levitates back and forth, which is coupled with fluctuating keys and toms. It's a mesmerizing number with an understated tempo, bringing the forest to the club.
Cologne based artist VOLTMAR takes the first remix. Known as a DJ for many years now, he has performed in clubs across Europe. He tends to enjoy a deeper sound and this is prevalent in his take on the cut. The percussions are deeper and more hollowed, which creates a different kind of sway. It feels more tribal, with more jungle elements to it. It has less synth and more of a heavy bassline, designed to connect people on a primal level.
Next to feature is none other than Edit-Select. The British native is well established in the club scene and does not disappoint with this remix. A more complex sound, he takes the track and elongates it. It's a consistent sound with underground elements and a slight bit of tempo. It has this divine gothic synth that oscillates with a certain lilt to it. The beat is enchanting as the cut slowly diminishes.
The last stand is by Swedish artist Kuf. Known for his energetic sound, this cut does not disappoint. It's a high-velocity all-out assault club banger. It has rolling beats, speedy hi-hats and a tempo that is driven forward by hand claps. It has a skeleton aspect to it, whereas instead of using builds, they add and subtract elements inject an ever-changing pace.

2019 vinyl edition with printed inner-sleeve (with the lyrics). Includes a bonus 7" of original track 'Chacun fait (C' qui lui plaît).

Spring 1982: Grégory Ken and Valli aka Chagrin d'Amour bursts into the scene with 'Chacun fait (C'qui lui plaît)'. The track gets 9 airplays a day on the newly created NRJ radio and 35 000 copies of the 7" are sold every day !
In the blink of an eye, a team of experienced musicians is gathered around prominent sound engineer Dominique Blanc-Francard: Slim Pezin (guitars), Bernard Paganotti (bass), Philippe Drai (drums) and Jean-Pierre Sabar (keyboards). After a few days in New-York with Richard Avedon who shot the cover pictures the album is ready and set to become a cult release over more than three decades.

As a visual artist and ambient composer, Tor Lundvall's work often recontextualizes the familiarity of everyday life through abstraction and space. Starting with the snapshot of a moment, Lundvall extracts its underlying complexity of the seemingly mundane and gives sleeping suggestion a presence and purpose. Mainly working sans vocals, Lundvall returned to voice exploration for 2018's A Dark Place, a somber, dark synth album that merged his mastery of textural ambience with traditional pop structures.

Rescued from old DAT tapes A Strangeness In Motion: Early Pop Recordings 1989-1999 are some of Lundvall's earliest completed synth pop works which have remained unreleased until now.

Though Lundvall's work throughout the collection has the recognizable ambient bones and sensibilities he has refined throughout his career, many of the tracks call back to the synth-driven pop of Orchestral Manoeuvres In The Dark, The Human League and New Order, with the common thread being the sparse density and mood created by reservation and the lonely impulse to twist convention, not to rip it up and repurpose it. Rather than 10 disparate ideas, Lundvall's curation of A Strangeness In Motion: Early Pop Recordings 1989-1999 feels like excerpts from a broader work, allowing the listener to fill in the holes and ladder up to his larger themes and concepts, perhaps coloring his prior works in new hues and tones.

'For years I dismissed these songs as naive and youthful relics, but I've grown much fonder of them in recent years along with the memories they evoke,' he says of the decade spanning collection of tracks, many of which were sketched out in his duo with Drew Sullivan, After The Outing. 'Original One', 'Procession Day', 'The Clearing', and 'The Melting Hour' are present here as solo reworkings, originally culled from his sessions with Sullivan. The remaining songs were ideas originally considered for Passing Through Alone (1997) and its proposed follow up, provisionally and playfully titled Femalamania.

'The title was summing up my girl problems at the time and also a silly word spin on Robyn Hitchcock's Fegmania!' he says. 'Sadly, the project was abandoned—a rare decision for me and perhaps the only time I've scrapped an album entirely.'

Pelican, the instrumental quartet whose singular vision of heavy music eschews classification, have announced their first full length in six years, Nighttime Stories, is due June 7th via Southern Lord Recordings.

The eight-song set marks the band’s first release written front to back with guitarist Dallas Thomas, who took over guitar duties upon founding member Laurent Schroeder-Lebec’s departure in 2012. In the process of writing the album the quartet endured a slew of realisations, tragedies, and glimmers of optimism that guided the creative process to the most potent work of their nineteen-year career.

Though the new material veers towards the darker tone characteristic of Pelican’s early songwriting, it’s hard to imagine a previous incarnation of the band writing songs as meticulously crafted and detail-oriented as those within Nighttime Stories, where the compositions recall everything from the triumphant call-to-arms of classic Dischord, to the vicious troglodyte battery of the Melvins, to the dynamic interwoven melodies of bottom-heavy indie cult heroes Chavez.

Nighttime Stories was an album title initially proposed for Tusk, the hallucinatory art-grind band that included Pelican members Trevor Shelley de Brauw, Larry Herweg, and Schroeder-Lebec, in addition to vocalist Jody Minnoch. The writing of Nighttime Stories was instigated shortly after Minnoch’s unexpected death in 2014, and some of the dissonant viscera and dark psychedelic structures that were characteristic of Tusk’s sound began to unconsciously inform the album’s direction. In homage to their departed colleague, Pelican applied the previously discarded title and pulled many of the song titles from notes Minnoch had sent to inspire the direction of the unrealized album. As the writing of Nighttime Stories progressed Thomas also experienced a heavy loss with the passing of his father, to whom the album pays tribute on opening track “W.S.T.” (on which Dallas performed his guitar parts on his father’s Yamaha acoustic).
 
Pelican have always excelled at vacillating between the savage sounds of various niches of metal underground and the more delicate and nuanced sounds of Midwest’s cerebral indie community, proving that they can make either end of the spectrum more vibrant and compelling through the art of contrast. With Nighttime Stories, the pendulum has swung back to the angst and ire of their younger years while delivering it with the nuance and wisdom that’s come with nearly two decades of writing and performing. Pelican head out on a ten date US tour in June with more dates in the works for later in the year (see dates below).

In her varied career that would combine art gallery installations, major film soundtrackings and commissions for Atari, Suzanne Ciani’s earliest experiments remain some of her most challenging, beguiling and timeless... Flowers Of Evil ticks all the above boxes and flicks switches that would power-up a new uncharted universe of her own musical modernité. Finders Keepers present the first-ever release of these vital archive recordings.

As a genuine vanguard of electronic music composition at the forefront of the modular synthesiser revolution in the late 1960s, Suzanne Ciani’s forward-thinking approach to new music would rarely look to the past for inspiration, which makes this unheard composition from 1969 a rare exception to the collective futurist vision of Ciani and synthesiser designer Don Buchla. In choosing to adapt the controversial prose of French poet Charles Baudelaire, Suzanne would join the ranks of ongoing generations of pioneering musicians like Olivier Messiaen, Karlheinz Stockhausen, Serge Gainsbourg, Etron Fou Leloublan, Celtic Frost and Marc Almond (not forgetting Star Trek’s William Shatner!), all equally inspired by the 19th century writer’s works of “modernité” (modernity), a self-coined term dedicated to capturing the fleeting, ephemeral experience of life in an urban metropolis, best exemplified in his symbolic, erotic and macabre ode to Parisian industrialisation, Les Fleurs du mal (Flowers Of Evil).

In her varied career that would combine art gallery installations, major film soundtrackings and commissions for Atari, Suzanne Ciani’s earliest experiments remain some of her most challenging, beguiling and timeless... Flowers Of Evil ticks all the above boxes and flicks switches that would power-up a new uncharted universe of her own musical modernité. For the many enthusiasts that have already drawn the parallels between Baudelaire’s writings and experimental/electronic music (a relationship rivalled only by the likes of J. G. Ballard and Aldous
Huxley) some might instantly recognise an unconscious sistership between this recording and another 1969 electronic adaptation of Flowers Of Evil by celebrated female electronic composer Ruth White. An interesting distinction of White’s excellent version of Flowers Of Evil (released via Limelight records, home to the likes of Fifty Foot Hose and Paul Bley) is that its dark tone generation and vocal manipulation was created with a Moog synthesiser, the commercially triumphant
rival to Suzanne and Don’s Buchla Systems (Buchla and Moog’s historic, simultaneous, neck-and-neck synth developments are well documented.) The fact that Ciani’s version was never intended for commercial release (not unlike her 1975 Buchla concerts, which could easily have taken Morton Subotnick’s Bull by the horns!) is also poetically reflective of the nature of Ciani and Buchla’s alternative perspective. The choice to present this extract from Flowers Of Evil in its intended French language further distances Ciani’s faithful reaction from some of its better-known variations. Having attempted to voice the poem herself, the multilingual Italian-American composer’s French accent did not meet her own standards, resulting in the request for a fellow unnamed French student who lived on campus at Mills College in Oakland to accurately verbalise the section of Baudelaire’s collection entitled Élévation.

Pale Bloom finds Sarah Davachi coming full circle. After abandoning the piano studies of her youth for a series of albums utilizing everything from pipe and reed organs to analog synthesizers, this prolific Los Angeles-based composer returns to her first instrument for a radiant work of quiet minimalism and poetic rumination.

Recorded at Berkeley, California's famed Fantasy Studios, Pale Bloom is comprised of two delicately-arranged sides. The first – a three-part suite where Davachi's piano acts as conjurer, beckoning Hammond organ and stirring countertenor into a patiently unfolding congress – recalls Eduard Artemiev's majestic soundtrack for Andrei Tarkovsky's Solaris. "Perfumes I-III" employs the harmonically rich music of Bach as a springboard for abstract, solemn pieces that sound as haunted as they are dreamlike.

While the first half of Pale Bloom showcases Davachi's latent Romanticism, the sidelong "If It Pleased Me To Appear To You Wrapped In This Drapery" reveals the Mills College graduate's affinity for the work of avant-garde composers La Monte Young and Eliane Radigue. Softly vibrating strings rise and fall like complementary exhalations of breath. As the fluctuating pitches create overtones that pitter and pulse, the piece slowly and subtly evolves – suggesting a well-tempered stillness, yet without stasis.

Pale Bloom finds Sarah Davachi coming full circle. After abandoning the piano studies of her youth for a series of albums utilizing everything from pipe and reed organs to analog synthesizers, this prolific Los Angeles-based composer returns to her first instrument for a radiant work of quiet minimalism and poetic rumination.

Recorded at Berkeley, California's famed Fantasy Studios, Pale Bloom is comprised of two delicately-arranged sides. The first – a three-part suite where Davachi's piano acts as conjurer, beckoning Hammond organ and stirring countertenor into a patiently unfolding congress – recalls Eduard Artemiev's majestic soundtrack for Andrei Tarkovsky's Solaris. "Perfumes I-III" employs the harmonically rich music of Bach as a springboard for abstract, solemn pieces that sound as haunted as they are dreamlike.

While the first half of Pale Bloom showcases Davachi's latent Romanticism, the sidelong "If It Pleased Me To Appear To You Wrapped In This Drapery" reveals the Mills College graduate's affinity for the work of avant-garde composers La Monte Young and Eliane Radigue. Softly vibrating strings rise and fall like complementary exhalations of breath. As the fluctuating pitches create overtones that pitter and pulse, the piece slowly and subtly evolves – suggesting a well-tempered stillness, yet without stasis.

This 3-part compilation is a celebration of On The 5th Day - a project born out of love - honouring the music, moments and individuals that have helped to make it so special.

What follows is a journey through the spectrum of sound On The 5th Day so proudly represents and has become renowned for, the full compilation mirroring the vision for our events: to create unforgettable flow from beginning to end - a record for each part of the night.

Our love and gratitude goes to all those who have joined us along the way.

Tell me and I forget. Teach me and I remember. Involve me and I learn. Julian Muller joins the Collective with a brilliant release that exposes at the maximum level his abilities to transfer emotions and vibrant landscapes where you can freely run and have your own experience, with no time indication, and with no compass. "Frustration" signs a moment in the career of the artist where his desire to show who he really is, but everything around him starts to become smaller and smaller, the artist feels the need to express in his whole form his art, and right when everything looks far, he finds his path. This record signs a very important moment for the artist, but even more for the user that will encounter the record, the idea is to let the record take you, wherever you want to go.

Black Truffle is honoured to announce the first ever vinyl reissue of David Rosenboom’s legendary Brainwave Music, originally released on A.R.C. Records in 1975 and here expanded to a double LP with the addition of over 40 minutes of contemporaneous material. Pioneer of live electronics, innovator in music education, collaborator with artists as diverse as Jon Hassell, Jacqueline Humbert, Terry Riley and Anthony Braxton, Rosenboom is renowned for his ground-breaking experiments with the use of brain biofeedback to control live electronic systems.

Each of the three pieces that make up the original Brainwave Music LP integrates biofeedback with musical technology in different ways. In the side-long opening piece “Portable Gold and Philosophers’ Stones”, four performers have electrodes and monitoring devices attached to their bodies to receive information about brainwaves, temperature, and galvanic skin response. This information is analysed and fed into a complex set of frequency dividers and filters, manned by Rosenboom, but essentially played by each of the performers through their psychophysiological responses to the situation. The result is a slowly unfolding web of filtered electronic tones over a tanpura-esque fundamental, possessing the unhurried, stately grandeur of an electronic raga. In “Chilean Drought”, three different variations of a text about a drought in Chile, each read by a different voice in a different style, are associated with the Beta, Alpha, and Theta brainwave bands. Alongside an insistent piano accompaniment, we hear a constantly shifting combination of the three vocal recordings controlled by the relative preponderance of each of the brainwave bands in the soloist whose brainwaves are being monitored. “Piano Etude I (Alpha)”, the earliest piece included here, is based on research into the link between Alpha brain wave production and the execution of repetitive motor tasks. As Rosenboom plays a very rapid, incessantly repeated pattern in both hands – deliberately designed to be difficult to execute without being in an alert, non-thinking state similar to that associated with strong Alpha brainwave production – two filters controlled by monitoring his brainwaves process the piano sound, moving gradually higher in frequency as the average Alpha amplitude increases, resulting in a hypnotic, constantly shifting blur of repeated notes reflected through the shimmering, watery lights of the filters. For this reissue, the original LP is supplemented with an additional LP containing an unreleased 1977 live recording of Rosenboom’s “On Being Invisible”, in which the composer himself performs on an array of electronics that are fed information from his brainwaves. Stretching out over 40 minutes, the piece begins in similar territory to “Portable Gold and Philosophers’ Stones” but eventually becomes far wilder, building up to pointillistic bleeps and dense layers of electronic fizz that unexpectedly cut to near-silence. As Rosenboom explains, the piece creates a situation in which the ‘performer’s active imaginative listening became one of the ways to play their instrument, as well as an active agent in how self-organizing musical forms might emerge.’ Enriched with archival images and new notes from the composer, this expanded reissue of Brainwave Music is essential listening for anyone interested in the history of live electronic music and alive to the possibilities it might still contain.

JakoJako makes her debut on Leisure System with Aequilibration, an EP of diverse, experimental tracks aimed at the dancefloor.

In F22.0, waves of paranoia break over driving, asymmetric rhythms, offset by soothing, whispered vocals. Kogn. Dissonanz maintains the tension, making clever use of polyrhythms and blasts of machine gun fire. The B-side takes a more hopeful turn with Resilienz, where warm oscillations cluster around a simple but effective groove, and the restrained cries of Katharsis close the EP with powerful intimacy.

Self-taught and primarily a live performer, JakoJako makes extensive use of modular synthesis in her productions and on stage. ”Depending on how you configure your system, you can design a completely different instrument every time. I love when it’s surprising me.” When not in the studio, her expertise is put to use advising well-established artists on their own systems at Berlin’s synth-mecca SchneidersLaden.

Finally we are ready for the big announcement!! MS050 - V/A - Moonshine Recordings 10 Years [Versions & Excursions] will be released in June. For this very special release we have compiled remixes and alternative versions of some of our all time favourite moonshine singles. Across 2x12” vinyl you will find remixes from the ones of Radikal Guru, Von D, Bukkha, RSD, J. Sparrow, Dub Conductor & Numa Crew. You could already hear some of the tracks being played on heavy rotation from dubplates during the last 2-3 years. Don’t sleep!

Influenced by the social and political climate of the modern
world, MOTSA’s debut album, ‘Perspectives’, is inspired by his
acute awareness of modern society’s dependence on
technology and the social media bubble also responsible for
the civic polarisation seen globally. The 11 track album takes
the listener on an emotional journey with dark, yet hopeful,
detailed compositions, each representing their own personal
story. The title “Perspectives” refers to a problem we all face:
differing perspectives of the same situation, which in turn
leads to conflict, be it in personal relationships, families and
even political discussions globally. With individuals and
groups often losing perspective in disagreements, MOTSA’s
debut LP calls for more empathy, highlighting our current
trajectory of an ego-driven society. Encouraging listeners to
spend less time behind computer screens and more time
outside in nature to broaden our horizons and reflect on
human decisions, many of the album’s samples were recorded
from MOTSA’s own environment. Using the sounds of children playing in the sand on a Balearic beach, crickets in the grass,
or the ambient soundscapes of bells recorded from his
father’s apartment in Moscow, the producer also recorded and
sampled his own voice to create distant, choir-like melodies in
many of the tracks. The artist’s signature sound – a soulful yet
driven harmonic blend – continues to propel the multi-talented
artist to the highest acclaim into 2019 and beyond.

U Know Me Records proudly presents a special album showcasing Polish drumming scene - each track was produced by a different drummer - these are their portraits.

official video promo: https://youtu.be/qxuTYjMRUMM

In the 21st century drummers imperceptibly switched from the background to the front line, despite popular music not exactly pandering to them. In the early days of rock culture this joke made the rounds "What's the last thing a drummer says in a band?" "Perhaps we could play one of my songs…?"
In popular music the drummer became the first to compete with machines. They were the first band members that consequently began disappearing, however, as contemporary electronic music took hold, they were also the first to return. First they were incorporated into compositions but gradually - took centre stage. Thanks partly to the ubiquitous culture of Hip Hop recognising the drummer's role as key in any recording, alongside the eclecticism of new music, which demanded fluid transitions between musical forms, a drummer's adaptive skills – as a trained multi instrumentalist – became truly impressive. This new generation of drummers seen on Polish stages today are exceptional even against the backdrop of today's unusually creative and well-educated music scene which rejects narrow minded or genre-centric views.

This album exhibits portraits from the cream of today's Polish drummers. Kovalevo Tone Bank by Michał Bryndal tags the 1980's, the era which began stealing drummers' bread. Incidentally, the heavy groove laid down by the artist references a hit by Wham!, the same hit in which the group decided to cut the drummer's part because he was late and replace him with a LinnDrumm machine. Hubert Zemler in The Life and Death of Ben Bekele and Łukasz Moskal in Father Sparrow show they've found themselves perfectly in close cooperation with electronic instruments.
Multifaceted improvisors - Qba Janicki (Kabina projekcyjna) and Jan Młynarski (Roj) - transform their drums kits into multifunctional devices capable of delivering wildly diverse palettes of sound. Rafał Dutkiewicz (Displaced) showcases drums as the lead instrument on a club track. Marcin Rak (Alpaka) does the same, but with the conventions of Funk and Hip Hop, whereas Krzysztof Dziedzic (Vagabonde) gravitates towards the edges of jazz. Each of them here is a leader and… plays one of their songs.

Bartek Chaciński
(translation: Sean Palmer)

The Growing Bin may have taken a hiatus for AW18, but don‘t be fooled into thinking this is a deciduous operation; after all the most powerful plantlife grows from below. Moving through the mulch, Basso traces the mycellium network from Hamburg‘s forests to the gentle slopes of Hasenheide, reconnecting with James Booth for the officially first Growing Bin release of 2019, or the first ever Glowing Pin Release.

Emerging from the green house with a heroic dose of wavy caps, the Mancunian export unleashes A-side sizzler ‚Space Echo Track‘, a little post-minimal magic for the peak time shamans. Built around the polyrhythmic patter of organic percussion, a touch of UK shuffle and the occasional blast of soundsystem bass, the track rolls and rattles from start to finish, tailor made for mid-set hypnosis. And while neon leadlines dance with disorienting sampler vox and papaya whistles summon the ethno-flute melodies, Booth brings us to a new level of future primitive consciousness, unlocking the Stargate once and for all. Onto the B-side and we‘re hurtling through galaxies, submerged in the entheogenic frequencies of‚ Locus of Control‘. Shimmering swathes of angelic synth vox and dreamlike pads drift freely, forming a
perfect counterbalance to the warp factor thrust and rasping resonance of the wormhole sequences. Beatless in space, ‚Locus‘ balances ambient techno and acid gurgle, cleansing your synapses like a Sven Vath warm down circa ‚94. This is music for the microdosers...

7 track EP/mini album by L/F/D/M 's Richard Smith - ‘Dream Bleeds’ overflows with body jerking industrial, raw acid/techno, and hints of the warehouse sound of the late ‘90s and the caustic spirit of EBM.

Richard Smith says about ‘Dream Bleeds’, “attaching meaning to songs is often arbitrary but when the visceral feeling of music, particularly instrumental body music, is laid bare, the interaction is immediate and physical. These tracks thread together; each starting point completely open, each new step informed by the last. I find it interesting that the process is the same but the outcome somewhat unexpected; shaped by emotion, inspiration or even constraints of time, they evolve as they do in that time. They reach a different end point due to that evolution of circumstance.”

‘Just rain! Tell that to the dolphins!’
The brand new first-time vinyl edition of The Hitchhiker’s Guide to
the Galaxy: Quandary Phase comes on heavyweight blue vinyl,
packaged in the lavish style of the preceding Primary Phase,
Secondary Phase and Tertiary Phase LP releases.
Here, for the first time ever on vinyl, are Episodes 19 to 22 of the
BBC radio series. First broadcast in 2005, the Quandary Phase is
based upon the Douglas Adams’s fourth novel So Long, and
Thanks for all the Fish. This is the first ever publication of the
original radio edits of the Quandary Phase, as heard on their
original Radio 4 broadcast.
Hitching a lift back to Earth after it miraculously reappeared, Arthur
Dent returns to his cottage and tries to resume normal life. But an
encounter with a striking woman named Fenchurch leads to a
series of unanswered questions. Why has the planet’s entire
population of dolphins vanished, leaving behind them some very
charming crystal bowls? Who is Wonko the Sane, and what is
God’s Last Message to His Creation? Meanwhile Ford Prefect is
Having revelations of his own, and as for Marvin the Paranoid
Android…well, just don’t ask. Suffice to say, things may never be
the same again.
Starring William Franklyn as The Book, with Simon Jones as
Arthur Dent, Geoffrey McGivern as Ford Prefect, Bill Paterson as
Rob McKenna, Jane Horrocks as Fenchurch, Sandra Dickinson as
Tricia McMillan and Stephen Moore as Marvin the Paranoid
Android, with a guest cast including Arthur Smith, June Whitfield,
Stephen Fry, Jackie Mason, Rula Lenska, Patrick Moore and
Christian Slater, with music by Philip Pope and Paul ‘Wix’
Wickens. Adapted, Directed and Co-Produced by Dirk Maggs
Two 180g heavyweight coloured vinyl discs are presented in
illustrated wallets inside a rigid, bound 20 page book, including a
moving tribute to Douglas Adams written by Stephen Fry and
sleeve notes by Jem Roberts, Adams’s official biographer.
‘Whoooo…I’m flying…’

"A manner or style, a frame of mind, thought or existence" (Mode).
"Intelligence quotient, the use of perception or awareness." (IQ).

Mode I/Q, the self-proclaimed unknown band, was a richly textured, bold project starting life in 1979 out the embers of punk and new wave resulting in a hypnotic convergence of love, the future, life and art.

Lucian and Nicolas, two creative spirits who viewed the world through their own prism, augmented by a moving cast of friends and acolytes, were together compelled to make great music. This was a concept from the heart, with transformativelive performances, channelling spaces into art "Mode" events orchestrated to bring about a full integration of site and sound.

Psychedelic, punk overtones. A funky electronic hybrid, mixing Kraftwerk with black music. Guitars delayed and twisted through echo boxes and micro synths. Casio and Commodores delivering the machine funk. CBGBs, Max's Kansas City and Danceteria - Mode I/Q played and much, much more.

Just 3 releases deep, 1984's mini LP Mind/Soul captures the band at their best. 6 songs to immerse, dance and shake the mind.

The result of a Polish Crooner (Byczkowski) and Canadian Producer (Holland) enjoying a summer studio session in the heat of 2018: "All I Need" fixates on the importance of a good time. Influenced by euro dance classics, the two forged a 140 bpm melodic overload, dramatic builds and all. The flip sees Holland ride solo for 9 minutes and 9 seconds. An eyes closed trip through dubbed out chords, melancholic strings, and slamming percussion.... full steam ahead.

Goth-ful electro by the illustrious Dmitry Distant in trouble up by notorious vocalist & electro producerette Beta Evers. Comes with a rad Cestrian remix on the flip!

180gr vinyl. Recorded in 1987 and now released for the first time ever with artwork by Sarah Yu Zeebroek.In 1987 Gerry Vergult (Aroma Di Amore ) and Gerrit Valckenaers (Adult Fantasies) created an abstract universe where minimal post-punk basslines blend together with dub, tropical vibes, jazz, and dreamy electronica.
Most of the october nights in 1987 you could find Gerry Vergult (Aroma Di Amore / Fred A. / Adult Fantasies) and Gerrit Valckenaers (Adult Fantasies /The Colorist Orchestra / multi-instrumentalist) in a desolated Top studio in Gent. At that time and place they sneakily crafted and shaped this Nasca record while they were supposed to finish a new Fred A. record. They created an abstract universe where minimal post-punk basslines blend together with radio sounds in 'Nothing Toulouse', tropical tribal vibes oscillates between futuristic nostalgia and hunted dreams in 'Ketama' and 'Ritz', a sampled heartbeat slowly mutates in mesmerising midnight jazz and a drugged out dub groove of 'Kamayacha' transforms into the inner city blues of 'Josaphat'.


All tracks composed, arranged and performed by Gerry Vergult & Gerrit Valckenaers

Gerrit Valckenaers: piano, saxophone, clarinet, synths, samples, electronics

Gerry Vergult: guitar, bass, synths, samples, electronics

Produced by Koen Van Regenmortel

For people who like Jah Wobble, Jon Hassell, Brian Eno & David Byrne, dub, world, jazz, and dreamy electronica

Recorded in 1987 and now released for the first time ever with artwork by Sarah Yu Zeebroek.

Born in 1949 in Recife (Brazil), Roberto De Melo Santos, despite a very light discography, is among
the true icons of the Brazilian Soul music under his artist alias, Di Melo. He’s indeed only needed an
eponymous album, released in 1975 on Odeon, to assert himself as a star in his native country, but
also as a legend for all collectors and connoisseurs of the world. More than 40 years after its release,
this famous album sells for several hundred euros in its original version, and even for the few
reissues that were offered. Not very active since then, Di Melo however returned in 2016 with the
album O Imorrível, released on the Brazilian label Casona Produções.
It is then that a year later, came a meeting with the French group Cotonete, that Florian Pellissier,
founding member and keyboard within the band tells us about: “On tour in Brazil with Cotonete, we
had a few days off in Sao Paulo and I really hoped to make a collaboration with an important artist or
band from the Brazilian funk scene. We had thought of Marcos Valle, Meta Meta or Ed Motta... but
Rafaela Prestes our Brazilian "sound ingineer/genious" told me she’d worked with Di Melo for his
recent comeback and gave me his number. No sooner said than done, as I'm a huge fan of Di Melo.
The next day he arrived at our house with Jo, his wife, and Gabi, his daughter. He takes the guitar in
front of us and gives us a private show of 3 hours… we cried the tears of joy. He had 400 original
songs never recorded, a gold mine. On the same night, we started working the arrangements for 2
days, followed by a rehearsal and two small gigs in Sao Paulo. Immediately after, we recorded in the
magical Epsilon B studio. This album is the summary of this moment, of these 5 days of madness
spent together between “the best band in the world” and the legend Roberto Di Melo… Simple,
beautiful, Brazilian-French, human music…”
Today, Atemporal found its final version in collaboration with Favorite Recordings and is proudly
presented as what we believe will become the genuine long-awaited follow-up to the classic Di
Melo’s LP.

For its first release of 2019, Sol Power Sound is pleased to welcome back Nenor -- formally Obas Nenor-- to the label family. Since his now-classic Color Soul EP on Sol Power Sound back in 2015, Nenor has gone on to release a string of hugely successful EPs on Heist, Whiskey Disco, and on his own imprint, Nenorion Music.

With the Future Ancestor EP, Nenor revisits the African-inspired textures that made the Color Soul EP unforgettable, but ventures further into the subterranean reaches. On "Tike Ye Ya Kende", Nenor teams up with Congolese-born vocalist Natalie Wamba for a rousing dancefloor heat-rock, with pulsing marimbas and hazy synths.

"Nova Man" is a straight-up banger with huge chugging bass, dubby vocal samples, and thrilling atmospherics.

"Ibe" dives head-first into the deep with tripped-out arpeggios, complex, layered percussion, and more of those gritty signature Nenor synths.

"Knwo" speeds ahead on a bruk-n-bass trajectory as a frenetic stomper that will inspire late-night dancers to throw crazy shapes.

With early support from Simbad, Soul Clap, Jacques Renault and more, the Future Ancestor EP is sure to be another staple in ever-growing Nenor and Sol Power Sound catalogs and will keep dark rooms ablaze all summer long.

British blues-rock quartet Zior had their roots in the bourgeoning R&B scene that arose during the

late 1960s in the southeast coastal city of Southend; they built a strong reputation in live

performance, opting for ‘happenings’ in the style of Hawkwind and Pink Floyd that went beyond

mere musical events. By the time they recorded their self-titled debut album, issued on Larry Page’s

short-lived Nepentha label in 1971, they were clearly influenced by the emergent hard rock/

heavy metal scene of the West Midlands, drawing from Black Sabbath’s discordant riffs and occult

influences, along with shrill vocal attacks in Led Zeppelin mode; there were shades of Steppenwolf

and the odd Doors-sounding keyboard riff as well (and the Black Sabbath link was heightened

by an album design from Keith McMillan, who was responsible for Black Sabbath’s debut cover

too). The resultant Zior is a varied ride through different kinds of rock terrain, from blues rock to

hard rock and on to whimsical psychedelia and prog-rock, making it hard to classify. Though this

debut LP should have heralded a bright beginning, misfortune seemed to dog the band from the

start; other recordings were released under the name Monument, the band members listed under

aliases, and a second album, Every Inch A Man, was issued in Germany after Zior’s breakup in

1973, without the band’s knowledge or permission.

- One 140 gram RED Vinyl Disc in plain white paper inner sleeve

- 4/color Single-pocket jacket - shared with 093624903444

- 4/c over 4/c Lyric Insert - shared with 093624903444

- 2/c (PMS 186 + Black) 2.0' x 4.0' FYE Exclusive Marketing Sticker

- 1/c (Black) UPC sticker and affix directly on jacket over existing barcode.

Global superstar Michael Bublé is scheduled to release(pronounced love) as his first studio album in two years on November 16th following a two year break from public life to spend time with his family.

The Canadian singer-songwriter returned to the studio with a new perspective on life and a renewed commitment to honouring the music he has always loved.

I didn't anticipate returning to recording or performing and I was fine with that. My entire world view has changed completely these last few years. I wanted to spend all my time with my wife and kids. That was my focus. During that time, I also learned how much love and humanity is out in the world from the prayers and good wishes we received. But slowly, along with understanding what my priorities in life are, I began to feel a new commitment to express the emotions and lessons I've embraced. Whether I am the narrator, the observer, the main character, the dreamer, the broken hearted guy at a bar or having the night of a lifetime, I have stories to tell on this record. It's all there in the songs. I have had so many blessings in life and one of them is that I hold the torch to keep these songs alive for generations to come. I take the responsibility very seriously. My end game for the new record was to create a series of short cinematic stories for each song I chose and have it stand on its own. I'm so proud of what we accomplished,' commented Bublé.

Bublé co-produced his new album and brings new love to several rich classics from the American Songbook. The album opens with the idealistic and dreamy 'When I Fall In Love.' It also includes a haunting take on another Rogers & Hart standard, 'My Funny Valentine.' Other standouts are an ebullient 'When You're Smiling,' a swinging 'Such A Night' as well as Bublé's hand-picked favorites including 'Unforgettable,' 'Help Me Make It Through The Night,' and 'I Only Have Eyes For You.' Two standout tracks are Charlie Puth's swinging 'Love You Anymore' and an achingly poignant 'La Vie En Rose' -a Bublé duet featuring singer Cecile McLorin Salvant. A touching Bublépenned original 'Forever Now' demonstrates his songwriting skills, which were previously shown in such Bubléwritten hits like 'Home,' 'Haven't Met You Yet' and 'Everything.' The album closes with a show-stopping version of 'Where or When.'

was produced by David Foster, longtime collaborator Jochem van der Saag and Michael Bublé. The trio brought Bublé's visions to life with luscious arrangements surrounding his rich vocals. Michael Bublé has sold over 60 million records worldwide, performed hundreds of sold-out shows around the globe, and won four Grammys and multiple Juno Awards during the course of his extraordinary career.

Poté returns to Benji B’s Deviation Music following the release of his acclaimed debut album 'Spiral, My Love' last year. 'Waters of Praslin' is the first in of a run of club-focused 12"s from the artist entitled the Versiclub series.

St. Lucia born and London-raised, Poté (real name Sylvern Mathurin) has always been drawn to African diasporic futuristic beats from baile funk to kuduro and gqom. Before Benji stepped in to release his debut record Poté put out multiple EPs for Enchufada, the independent record label founded by his spiritual forbearers in Lisbon, Buraka Son Sistema.

The Brazilian influence is definitely evident in opening track 'Jacquot (Waters of Praslin)', with its afro-samba rhythm laced with the metallic synth work of UK bass. Track 2, 'Sirens' feels like a future dance floor favourite that channels UK funky, dub step and of course the power of the siren in the dance.

"Waters of Praslin is my homage to the people and spirit of my hometown, Praslin in St.Lucia. These are the waters which gave us life, stories, joy and memories” says Poté “these waters saw many of us grow and and eventually pass."

"The Shanklin Sessions came out of the Shanklin Road studio that Andy Sims shared with one of his partners from Soft Rocks, Bobby Coulman.
Acid Jan started it's life as a Jan Hammer edit that Andy was doing for one of Soft Rock's Disco Powerplay releases. There were a few parts that never made the final cut, but were too good to leave, so Andy got friend Jaime Read in to jam with the left over bits, and from that Acid Jan was born (none of the Jan's original parts made it to this finished re-incarnation).
Acid Jan found it's way onto Cynic label boss Felix's USB and subsequently was played at every festival/club that Felix played for about a year. When Andy heard Felix playing it at Alfresco Festival in 2016, they decided to release it on Cynic.
In search of a B side for the release, Andy dug out the other DAT's from the session Acid Jan was recorded at, and found Sitars over Shanklin, a suitably oddball track to grace the other side.
A little piece of Chicago via India recorded in Brighton."

Little Things 04:51 B5. Onlee Desire 01:58 B6. Reelax 03:43 Shortinfo: soulphonic Means Speaking From The Soul, And That's What My Sound Is All About.' - Ohbliv

Summer is coming sooner this year, and you can tell from the heat of the two latest releases from Slow Motion: yes ladies and gents, Italian Dance Wave Compilations are back! The first of the two, “Italian Dance Wave Disco Sette”, is here to delight you: starting from a half Italo and half Asian influenced Altieri track, killing it with a dancefloor belter that will make you sweat the night away, raving sensations guaranteed. Lukebox (Fabrizio Mammarella and Umberto Saba from the duo Loudtone) will serve you a slightly more downtempo, modular, weirdo beast that will make your head bang without you even notice: banger. Back on your turntables, is also Robotalco who is providing some proto-house extravaganza and adding some charme to the dirty, chunky beats of the compilation. Last but not least, José Manuel, delivering a touch of biting deep house and electro tribal feels to close the gap, and make us scream “hell yes”.

“Last night I turned into a cat. Just like that.” A Colourful Storm presents an album by Brunnen aka Freek Kinkelaar, one of the everlasting beacons of the Dutch underground. One half of fabled group Beequeen (1988-2015) with Frans de Waard and collaborator with the likes of Nurse With Wound, Paul Panhuysen, The Residents, Merzbow and Edward Ka-Spel, Kinkelaar presents The Garden of Perpetual Dreams as a newly visioned recording of a cassette from 1989. Produced with Raymond Steeg of The Legendary Pink Dots and mastered by Steeg and Peter Van Vliet (Mekanik Kommando, De Fabriek, The Use Of Ashes).

“Style” can be defined as that special ability to watermark every track with an instantly-recognizable identity. Local Suicide, aka Munich’s Brax Moody and Greek-born Vamparela, has it in spades. And following releases on labels such as Bordello, My Favorite Robot, Multi Culti, Roam, Duro and OMBRA, it only made sense that the duo would eventually find its way to Lumière Noire. After all, “black light” (as per the meaning of Chloé’s label’s name) could describe the way Local Suicide’s music flirts with the more troubling zones of the listener’s psyche, where danger roams and aural comfort is no longer a guarantee. The EP’s two tracks set a dark, shifty sonic tableau, in which German-American multidisciplinary artist - and a unique personality of the Berlin underground - Nicki Fehr comes to blend his voice with Vamparela’s. With its swerving bass slithering over a slow tempo, Leopard Gum is the perfect slow burner, a slice of comatose disco that will find its way to the darkest corners of nightlife - and haunt its DJ sets. The synths that come crashing across the track’s Smagghe & Cross remix add their saturated signature that provide a different kind of hook through its breathless nine-minute run. The same measured tempo is found once more on the more ethereal Already There, where Local Suicide affirm their adherence to the more captivating signatures of new wave and post disco. Permanent Vacation stalwarth Lauer adds a surprizing electro pop shimmer to the track. With Leopard Gum’s opaque and impenetrable atmosphere, Local Suicide have released one of their strongest efforts to date.

Standing tall above his peers, multi instrumentalist Guy Bartell AKA Bronnt Industries Kapital has left an impressive mark on cinematic electronica, having spent the last decade being commissioned to soundtrack everything from legendary silent film Haxan: Witchcraft Through The Ages to 1930s Soviet documentary Turksib, Bronnt has been there long before the 3rd wave of Italian Library Fetishists and long before this thing called Horror Disco even had a name. Force The Line sees a group soaked in the soundtracks of a thousand low-budget-straight-to-video action-slashers, the sound of heavily dubbed Martial Art imports where vampires jump and acid-laced revenge thrillers invented on demoscene message boards. Bronnt’s first studio album since the 2009 Get Physical LP ‘Hard For Justice’ is all that we might ever want from this underground legend, dance floor heavy, krautrock zombie epics for the past present and future. Miss this at your peril.

Label devoted to old school house music. Every release will have an original version and one or more remixes coming from the artists that made our life worth living in the last 30 years. House music is our religion. We are not interested in hype. We are not interested in becoming famous. We are not interested in djing worldwide. There won't be any repress since we are not interested in making money. We'll release music for personal pleasure only if it' ll satisfy our minimum quality standard. Finally, we won't release any digital download, 'cause we didn't grow-up listening to music that we couldn't touch.

Communication is key. Every machine communicates with you in a different way. All you need is a room, machines, electricity and a vision of subtle movement. Some say nothing really changes, but it does. Every so seemingly small element plays a vital part in the whole process. So don't be fooled. It moves - in every direction - constantly.

smog’s music has been on a steady path towards monumentalism since emerging out of the recesses of Berlin in 2015.

Originally from Paris, growing up cutting his chops in the capital’s hip hop undergrowth, the young producer makes music that is as challenging as it is evocative. On “sequel’70” – his debut album – bass, techno, electroacoustic music and jungle are rung through his singular take on the hardcore continuum. The production is powerful, dynamic and geared to bulldoze the dance. It’s clear why the likes of Resident Advisor have tipped smog as an “important artist to watch” and why his tracks have been appearing in sets from artists of the calibre and creative range of Objekt, Donato Dozzy, Samuel Kerridge or Go Hiyama.

With his debut album, smog lays bare a world of start and stop mechanics. Tracks twist and turn through stuttering panoramas of crashing beats, majestic peaks and post-rave intensity. On its most moving moments the gorgeously burnt out cinematic pads of “Mécanique Oblique” are a particular highlight – “sequel’70” feels like coming up in the middle of an industrial wasteland. It’s almost as if the end of the world wasn’t such a terrible prospect after all.
Jungle architectures are pulled apart and reconstructed on “Gelid”, “Dazzle” and the phenomenal “Abschluss SCAN”. Souvenirs of gabber echo through heavy handed kicks and speaker defying noise blasts. IDM inflexions creep their way in opportunistically, but even at its most abstract – album midpoint “Straightforward” sounds like a geiger counter being set off – it all sounds more like the possibilities offered by the future of rave rather than an attempt at paying homage to the genre’s heritage.

There’s a special energy and irreverence to smog’s music and there’s deep reflection in how he connects the dots of the subfamilies of rave. His attention to sound design would almost be worth the trip alone, but the album remains superb even at its most disorderly.

Unstable Signal is a new record label focused on quality Electronic music founded by Michalis Vassiliou in early 2018. The label’s vision is to support the underground music culture, through the pressing of records, as well as pushing for quality curations at the events/concerts of the label.
In less than a year of activity it has managed to associate its name with very strong events such as the debut party at About Blank in Berlin, the follow up in Athens with Ancient Methods and the one with SHXCXCHCXSH at Temple Athens.
Also the long awaited EP of Celldöd under the name Myndighetsförakt is finaly available by the label in 12-inch vinyl and digital format.
Celldöd Is the Stockholm based producer Anders Karlsson. Anders has been active in the music scene for some time working on different musical projects, always with a strong DIY ethic.
Celldöd has built a reputation as a strong live act through gigs at Berghain, About Blank and Griessmühle in Berlin, Joy in Moscow, Femur Club in Madrid as well as live performances as far away as the Epizode festival in Vietnam.
His music has been played and supported by DJs such as Ancient Methods, Beta Evers, Alienata and The Hacker.
His EP on Unstable Signal is the debut release for the label.

The best and most beautiful things in the world cannot be seen or even touched. They must be felt with the heart. Arts Gallery presents Linn Elisabet an Artist that has majestic skills to take you to another world simply by composing music.

Comes with a hand-stamped cardboard cover.

The second Keep on Wankin EP continues Hell Yeah label boss Marco's on going quest for the perfect remixes. This time out he serves up the most Balearic Gabba influenced material yet and takes you on a trip to the clouds with Bjorn Torske and Fango both stepping up.

First up is Bjorn Torske's take on everybody's favourite Luminodisco tune 'Oh Mary.' It's an impossibly adventurous 11 minute epic with buoyant chords dancing over trilling guitars. Lush, multi-layered and brimming with musicality, this is the sort of dubbed out yet percussively lively masterpiece that will mark the high point of any set as it washes over you time and time again.

Then it's to Fango's chunky and spaced out take on Somerville & Wilson's 'Yantar.' It's been the final track of all recent Fango sets around the world for a while now and that won't change any time on thanks to the slow build to a colourful dub disco peak. It takes you ever higher on wandering lead synths as the fat drums pump away below. Essential stuff.

Press:
Resident Advisor New Tracks Review

"This unhurried, euphoric bit of cosmic disco will bowl over a daytime festival crowd in just about any country"

DJ Support:
Andrew Weatherall (A Love From Outer Space), Kolsch, DJ Tennis, Tim Sweeney (Beats In Space), Benjamin Frolich, Front De Caseaux, Gerd Janson...

2nd outing from Jonny Nash & Suzanne Kraft in their MATstudio series. These records are intended to catalogue some of the experiments, explorations, accidents and fortuitous events that regularly take place at their Amsterdam studio. Each record features two compositions created from a collage of works.

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.

Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward. Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.

When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).
Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Credits:

Keyboards: José Roberto Bertrami (Mini Moog Series One, Arp Omni, Arp 2600, Arp Solina Strings, Fender Rhodes 88, Hammond B3 with box speaker, Clavinet with Wah Wah)
Drums: Ivan ‘Mamão’ Conti
Bass: Alex Malheiros
Percussion: Ariovaldo Contesini
Produced by Azymuth and Jose Roberto Bertrami
Recorded at José Roberto Bertrami’s home studio in Laranjeiras, Rio De Janeiro, Brazil between 1973–1975.
Issue and project co-ordinator: Joe Davis
Tape transfers by Roc Hunter (thanks to Simon Hitner)
Mastered by Daniel Maunick at the Sugar Shack, Lanark, Scotland
Mastered by Frank at Carvery Cuts
All tracks published by Far Out Music Publishing/Westbury Music LTD

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.

Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward. Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.

When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).
Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Credits:

Keyboards: José Roberto Bertrami (Mini Moog Series One, Arp Omni, Arp 2600, Arp Solina Strings, Fender Rhodes 88, Hammond B3 with box speaker, Clavinet with Wah Wah)
Drums: Ivan ‘Mamão’ Conti
Bass: Alex Malheiros
Percussion: Ariovaldo Contesini
Produced by Azymuth and Jose Roberto Bertrami
Recorded at José Roberto Bertrami’s home studio in Laranjeiras, Rio De Janeiro, Brazil between 1973–1975.
Issue and project co-ordinator: Joe Davis
Tape transfers by Roc Hunter (thanks to Simon Hitner)
Mastered by Daniel Maunick at the Sugar Shack, Lanark, Scotland
Mastered by Frank at Carvery Cuts
All tracks published by Far Out Music Publishing/Westbury Music LTD

The latest ensemble outing comes courtesy of Fader, who runs his own Borneo imprint and has recently released on the newly established Bar Rotterdam label. The Dutchman delivers four different shades of powerful house music, all of them crafted within the walls of his Tenth Floor Studio somewhere between 2014 and 2018 !

The package kicks off with “Rubato Alle Tribù Del Sud”, a tribute (as well as a nudge) to the hedonistic Italian nineties but injected with a dose of edgy NY tribal house - an emotional yet uplifting ride that will get any dancefloor hooked. Up next comes “Dirty Detox”, a timeless affair consisting of a rolling Vermona Mono Lancet bass line, TR-909 drums, a touch of 303 and a mangled Casio CZ having a party while everyone’s asleep. “Echt Hè” is the classy deephouse track of the bunch. Its moody bass line and magical melodies are the result of a Boss DR 660 drum machine’s pairing with a few singing eurorack modules. The grittiest workout is aptly kept for the B2: “Suzan Caught On Tape” was the first piece of music production Fader ever finished in the city of Rotterdam. After running it through his old Mackie desk, throwing cheap reverb and delay effects on top, he bounced the whole thing straight to cassette tape. Finito, as they say.

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

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

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

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

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

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

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

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

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

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

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

Meda Fury welcomes Tom Wrankmore aka Eliphino to the imprint for a stunning EP of thunderous breaks, 303’s and serious sub-bass pressure. Hailing originally from the Leeds, but with wider travels to settle down in both London and Berlin, Wrankmore’s music embraces hip-hop, rave, and UK garage. He now serves up
a pungent confection pitched between the Hessle Audio crew, Joy O and Demdike
Stare’s most recent efforts. Having released heaters for Brownswood and Hoya Hoya over the years, Eliphino now debuts as part of the Meda Fury family with the Realistic Sex EP.

Wrankmore has been locked away in his studio for the last 1.5 years, abstaining from gigging and releasing records to knuckle down and produce, emerging with a new darker edge and a much more hardcore sound. Tom explains: “The theme of the EP
is trusting your intuition in an information flooded world. I’ve collaborated with visual
artists Tom Pounder & Jon Harris who have created two videos for the release, one for Disc Rhythm and one for Realistic Sex." Meda Fury boss Nick Williams; “Tom's new music epitomises to me what modern club tracks should sound like - wild, energetic, deadly. He’s discovered his own dark new world of sound fusing breakbeat, acid, speed garage and even industrial stylings”