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Comic book artist, graphic designer and free jazz improviser are only some of the many talents from Beirut born Mazen Kerbaj. After appearing as part of various ensembles on the label, Ariha Brass Quartet (CREP46) and Johnny Kafta Anti-Vegetarian Orchestra (CREP22), Kerbaj finally lands a solo outfit of his own onto the Discrepant dancefloor of misdemeanour.
14 years after his first (and only) solo album "Brt Vrt Zrt Krt" (Al Maslakh, 2005) Mazen returns with a series of loud oozes (entirely) of his own with not one but two(!) solo albums of prepared trumpet that further cement his international position as a serial trumpet botherer.
Showcasing his very own and singular arsenal of squawks, cackles, howls and squeals the notion of being transported to a luring mutant underwater alien community is only occasionally dispelled with the sporadic passages of fluctuating tones and pulsations, like a restful humpback whale puffing on a hookah pipe at the ocean’s deep end. Mazen pulls out all the proverbial stops here, displaying a unique mastering of the instrument and its improbable add-ons creating various vignette like episodes rich in texture and variations - unlike anything else out there – not that you’d knew anyway.
Where Vol. 2.1 shows an astounding use of the instrument without recurring to cuts, overdubs or electronics, Vol. 2.2 raises (or shatters) the bar with its intentional use of everything Vol. 2.1 was denied. And Mazen is right about advising us, the sounds emitted on each record are beyond the limits of believable. Either he is using tricks or just prepared techniques the results go far beyond the reach of a normal or casual listener. Listen to the albums back to back and you’ll know what we mean.

180g Gatefold Double Vinyl with poster, sticker & badge

It was at the tale end of what would later be loosely termed ‘The Seventies’, in Lincoln, Merry England, that three teenagers formed, the consequencies of ther actions are captured here.
“You Were So Young” consists of everything that The Cigarettes ever recorded in what was their two year life span. From the very beginnings in the rehearsal room through to tracks recorded for an unreleased third single. It includes the two singles and their ip sides, some tracks that were included on a local compilation album, and their solitary John Peel session along with a handful that never found their way onto a record.
Their debut single ‘They’re Back Again, Here They Come’ , exchanges hands from upwards of £100 and ‘You Were So Young’ has been viewed on Youtube over 1.3m times.
The CD booklet and vinyl inner sleeves include an in depth interview with Rob and Steve, answering pretty much all there is to know about The Cigarettes
Over the years The Cigarettes have gained a wealth of interest, leaving many to scratch their heads and wonder how they slipped under the radar for so long.

Following his release on Twin Turbo, British artist R.O.S.H. debuts on Rekids with four imaginative cuts entitled ‘Thanks For Keeping It Real EP’.
Real name Roshan Chauhan, UK artist and mix engineer R.O.S.H. has a knack for blending an array of different styles resulting in a refreshing approach to club music and his next release on Radio Slave’s respected Rekids imprint demonstrates exactly that.
With its raw melodies and rough, syncopated percussion, ‘AMG (CLA45 Mix)’ is a monster destined to shake warehouses. ‘In Roll’ then combines a frenetic rhythm with a deep and atmospheric aesthetic before R.O.S.H. takes us into even murkier territories with ‘PACE’ using metallic snares, shadowy reverb and whirring synths. Tying everything together, rattling drums and echoing stabs lay the foundations for ‘Thanks For Keeping It Real’ whilst a moody bassline and soothing chords ebb into the mix. of house music littered with breathy samples and oscillating atmospherics.

2023 Repress

For over 25 years, KOMPAKT strives to bring Techno, House and everything in-between to the dance floors of generations that come from (or live) in the past, present, and future. Today, we proudly present an anthem that truly speaks to us in the spirit of what lead us to create our SPEICHER series.

ANNA returns for her third round on SPEICHER following an incredible year of non-stop touring the globe, remixing JON HOPKINS and contributing to a recent AFTERLIFE compilation. KITTIN (formerly known as MISS KITTIN) needs no introduction - she is nothing short of a trailblazer in dance music history by contributing countless times through her voice, music and DJing.

Together they are FOREVER RAVERS - dispatching a message of everlasting unity for the dance floor community. ANNA brings her most voracious production skills to date interwound with KITTIN sounding at her best in an explosive consequence that we can only describe as being a must-hear Techno hymn.

ANNA takes the original past the stratosphere with her RAVING IN SPACE MIX. Not to be misinterpreted as a dub version, ANNA keeps the potency of the original but expands the core instrumental elements that moves from suspension to release in a decisively throttling means.

The visionary singer, songwriter and composer returns to her Havana roots
A sun-baked, vibrant record backed by a killer band of fellow Cubans The new album from Daymé Arocena is a vivid return to her Havana roots. Backed once again by a killer band of fellow Cuban musicians, the visionary singer, composer and songwriter has stripped everything back to the core. Holding sessions in a simple, repurposed artist’s studio in Havana, Daymé produced the record herself, taking the reins to make “Sonocardiogram” her most raw and arresting outing yet.

A jazz-tipped record rooted in the rhythms of rumba, she draws on the island’s intertwined rituals of family, music and religion. Ringing with echoes of the greats, songs nod to the likes of Tito Puente and La Lupe, inspirations which carry the sound of Cuba’s sun-baked, vibrant daily existence. Odes to Santería deities are underscored by the sacred frequencies of the batá drum, translated to be played on a Western drum kit. It’s an intoxicating window into a singular artist’s worldview. An important voice in Latin music, Daymé has collaborated with influential peers in Cuban music, like Roberto Fonseca, and US heavyweights like Dexter Story and Miguel Atwood-Ferguson. From a recent appearance at Primavera Festival, to sold out tours across Japan and the US, her spectacular live show continues to draw crowds around the world.

The UK's future Art Rock Stars build on recent successes with new album 'Dissolution'. The highly anticipated second record to feature the King Crimson / Porcupine Tree drummer Gavin Harrison

The CD edition of 'Dissolution' is presented in Sleevepac packaging complete with a 24-page booklet, while the single LP edition of 'Dissolution' is pressed to audiophile 180g vinyl and features a 4-page booklet. The blu-ray edition of

'Dissolution' includes a 16-page booklet of additional artwork and features the album plus bonus music in a 24/96 DTS-HD MA 5.1 surround sound mix and 24/96 hi-res stereo audio. It is presented in Amaray packaging.

'Dissolution' is the highly anticipated follow-up album to 2016's 'Your Wilderness' and is the band's second album to feature King Crimson and Porcupine Tree drummer Gavin Harrison, spurring The Pineapple Thief on as leaders of Europe's

experimental rock domain. Their efforts on 'Your Wilderness' produced 4m+ album streams, a #7 in the UK Independent Charts and two extensive headline European tours culminating at London's Islington Assembly Hall where the

concert was recorded for the live release 'Where We Stood'. The new material establishes The Pineapple Thief's intent to elevate themselves to new heights, with a desire to develop their songwriting and technical

capabilities, and with artwork created by iconic design agency Stylorouge, whose previous work includes Pink Floyd, David Bowie, Blur and British film Trainspotting. The album concept tells of the often dark consequences of living in

a society in which everything is played out on a public stage, a theme paralleled in the cover art, which was created by 'glitching' the original photographs. Songwriter Bruce Soord explains 'In a time when we are supposed to be bound

closer together than ever, I have never felt so apart from the world. We are living through a revolution and right now I am not sure it's a good one. Lyrically this is the most vivid I have been.'

The band recorded Dissolution independently across the UK, including at Gavin's 'Bourne Place' studio in London and Bruce's 'Soord Studios' in Somerset, sharing their ideas via instant messaging. The mixing was handled by Soord and

Harrison, and mastering by the band's keyboardist Steve Kitch. The penultimate song 'White Mist' also features experimental guitarist David Torn (David Bowie) providing a bedding of abstract, off-kilter sounds.

Factory Benelux is proud to present a deluxe 5 disc vinyl box set edition of Always Now, the debut album by cult Factory Records group Section 25, produced by legendary sonic architect Martin Hannett and sleeved by Peter Saville.
All tracks are newly re-mastered from the original quarter-inch tapes. The first 1000 copies of the box set are pressed in coloured vinyl: disc 1 (black); disc 2 (clear); disc 3 (yellow); disc 4 (red); disc 5 (silver). The outer case in printed in PMS 123 with spot varnish.
The 16 page booklet features unseen images by noted photographer Philippe Carly and texts by founder members Larry and Vin Cassidy. Also included is the first ever interview with guitarist Paul Wiggin, whose sudden departure in late 1981 saw Tony Wilson try (and fail) to recruit pre-Smiths teenager Johnny Marr as replacement.
Recorded as a trio at Pink Floyd’s Britannia Row studio in London in January 1981, Always Now combined austere post-punk rhythm and noise with elements of Can, Krautrock and modern psychedelia. Key tracks include Friendly Fires, Dirty Disco and New Horizon, along with C.P. (a collaboration with Hannett) and Hit (extensively sampled by Kanye West for the track F.M.L. on his 2016 album The Life of Pablo).
Disc 2 gathers together several non-album singles from 1980 and 1981, including Charnel Ground, Je Veux Ton Amour and debut EP Girls Don’t Count – the latter produced by mentors Rob Gretton and Ian Curtis (of Joy Division).
Disc 3 offers a complete live show professionally recorded at Groningen (Netherlands) on 26 October 1980, as part of a Factory package tour.
Disc 4 is part-improvised second studio album The Key of Dreams, recorded and produced by the band themselves a few months after Always Now, and released by Factory Benelux in June 1982.
Disc 5 consists of further experimental material recorded in 1981 and self-released on a cassette called Illuminus Illumina. This final disc closes with an extended (and previously unreleased) live encore jam recorded with all four members of New Order at Reading University on 8 May 1981.
“One of the best albums Britain's second city has unleashed” (Uncut);
“In 1980 their bass-driven mantras were thoughtlessly dismissed as second-rate Joy Division, but hindsight judges them more kindly. The wind-dried skeins of their blasted guitar harmonics and skimped electronics gauntly cling to the songs’ skeletal frames. With telltale titles like Babies in the Bardo their Buddhist interests hang heavy over these early stirrings. But, combining a bass-led drone with a characteristic groaning vocal, Charnel Ground succinctly pins down Section 25's pre-disco appeal” (The Wire)

incl. Download Code

Called out by The Irish Times as “Ireland’s best new rock band” and named as an one of NME's “100 Essential New Artists for 2019," When I Have Fears is the debut album from Dublin, Ireland's The Murder Capital.

Produced by Flood (PJ Harvey, New Order, Foals) the album features both singles from the band so far, "Feeling Fades" and "Green & Blue", as well as the first studio recording of breakthrough track "More Is Less".



An exercise in both darkness and light, “When I Have Fears” only serves to highlight the early ambition in the band's sound. From the post-rock build and breakdowns of the two-part "Slowdance", to the tender, bruised confessional of "On Twisted Ground" and industrial pulse of closer "Love, Love, Love", there's a consistent intensity throughout that marks out The Murder Capital as a band arriving fully formed on their debut album.

Following sell-out shows on their April tour, the group have also announced a new string of UK & European headline dates for October and November 2019 - see below.

Label Quote "Turquoise Colored French Tourists are back with six pool-party essentials for your next lousy bathing event in your parents' backyard. Early support by everyone you know and your mama"

Short Info:
Turquoise Colored French Tourists release their Pöseldorf Poolparty EP, a 6 track extravaganza of high end production, House music know how mixed with Funk and a flair for live drum sounds which elevate this EP.

The artists behind this - Scharbatke and Bias joined forces having met years ago in their favourite bar Goldengrün and agreed after a few gin's to establish the live performing House music super group Turquoise Colored French Tourists. With their differing backgrounds both coming to play in this EP, adding a depth to the groove.

This record is essential for the most in the know Poolpartys, for the most exclusive parts of town - we begin the EP with the title track, motes of DamFunk and a truly groovy opener that should loosen things up nicely as the still hyper funky but more straight up and dance-able Altona im Sonnenschein carry's us onwards.

Crepes takes us deeper, Housier but still with a tweaked aesthetic that marks this out from others. A true adventure in jacked rhythm. The EP continues to turn gently into the more filtered House vibe with Spätfolgen, whilst not forgetting its funky roots with Jameson. The latter bringing a slight 80's touch to the vibe - if there is one thing this EP does well its keeping it fresh at each and every turn.

Closing the EP "Feels so good" lets the melody flow a little, warm and inviting with a little bit of everything that has come before it.

Juan MacLean and Man Power debut as Juan Power for Life and Death

Life and Death continue to serve up brilliantly unpredictable releases with a new one that brings together American DFA stalwart Juan MacLean with the UK’s Me Me Me label head Man Power, plus an edit from the boss, DJ Tennis.

Juan MacLean is a multi-faceted artist who has a history of everything from playing in post hardcore bands to producing some of DFA’s most celebrated releases. He does classy house bangers with synth pop and disco layers like no one else. Man Power, meanwhile, is someone who is fantastically eclectic in what he does on all fronts as a DJ, label boss and producer. He’s made corrugated acid, hands in the air house and machine disco and plenty in between on his own label, but also cult outlets like Correspondent and ESP Institute. The coming together of these two undoubted studio wizards, then, is a fascinating prospect.

And so it proves right from the off: opener ‘Crescendo’ is a nine minute masterpiece with rickety house drums making you move while the shuffling percussion builds the pressure. Gorgeously warm chords eventually join the fray and have a blissful effect that sets you off dreaming and keeps you in a trance until the end.

DJ Tennis himself then steps up with an edit of ‘Excuse Me Daddy’ that is deep and cavernous. Next to the suspensory pads is an intricate synth line that takes you in on yourself in perfectly melancholic ways.

Closer ‘Praise The Toad’ then picks up the pace with more live sounding drums and a sparkling lead synth that rises and falls to cosmic effect. Drawn out over the full length of the track, and in amongst some chattery claps and smart effects, it makes for a journey to the stars that will cast a real spell on all who hear it.

This is an innovative collaboration between two masters of their craft.

Intrepid, hard-hitting steppers from London producer Junior Loves. Self-released 4-track 10" with hand-drawn artwork, cut by Leon at Music House, Very limited press.



Sinewy, hard-hitting steppers from London way. Junior Loves has a bit of form, last seen on Tabernacle in 2018, but this new, self-released, hand-scribed 10", with two tracks served up discomix style, is very much its own thing: a timeless, unpretentious cry-tuff encounter that combines deeply rooted, meticulous production with a rawness and vulnerability in a manner that is properly compelling. 'Banner' and its more stripped, spatial version set the tone - propelled by Shaka-ish 4/4 drum-murderation and bolshy, corkscrewing, blue-going-on-purple synth lines that shrink the distance between early Ruff Sqwad/Rapid instrumentals and melancholic ambient techno. The grimy forward-lean is there also in both excursions of 'The Nore', but this one drifts further into ethereal cold-space, recalling John T. Gast's druidic soundboy cuts, dizzyingly psychedelic but precise and uncluttered, mashing up brain/dance/everything with perfectly judged patterns of attack and decay. Very limited press, cut by Leon at Music House. Massive tip on this one!

Jimi Tenor & Freestyle Man, Finnish legends and everything-but-grey eminences of electronic
music, return to Studio Barnhus for another four-tracker full of the good stuff. Deep house as
done by professionals! The world keeps changing, people and sounds come and go, but when Jimi
croons away over Freestyle Man's finn-tastic funk foundations, it all just about makes sense to us.
Plenty of flute solo on this thing as well!

The past few years, we've watched from afar as Tokyo based DJ Haruka has established himself as one of Japan's top DJs and a crucial figure in the dance music scene. Since inviting him to play a Butter Sessions party in Melbourne and catching him multiple times in Japan, our online curiosities were met in real life with his impeccable taste and personalised style of house and techno. Needless to say, when Haruka sent us his debut EP "Senko", we instantly heard something special in his approach to music creation.

The three original tracks, entitled by their respective BPMs, encapsulate everything we loved about his DJ sets - bold, acidic and relentless synth sequences that are as intense as the Shibuya crossing, paired with masterful live percussion and drumming from Izpon (of Japanese salsa band Banderas) and Shigekazu Otake (of cult group Cro-Magnon) to create a unique sonic space. The recordings snarling nature reflects the pure force of DJ Nobu's Future Terror crew, of which Haruka is a key member. Additional live dubbing and mixing work from Naoyuki Uchida of Dry & Heavy - "Flying Rhythms" glues this raging bull together while purveying it's raw energy.

On the flip side, label heads Sleep D offer an unflinching club-ready version of "120", while French royalty Zadig contributes a mesmerising 14+ minute dubbed out, psychedelic burner that brings a new focus to the soundscapes of the original.







d 4. 120 (Sleep D Remix) feat. Izpon, Shigekazu Otake & Naoyuki Uchida
[e] 5. 106 (Zadig Remix) [feat. Izpon, Shigekazu Otake & Naoyuki Uchida]




[d] b1 | 120 (Sleep D Remix) [feat. Izpon, Shigekazu Otake & Naoyuki Uchida]
[feat. Izpon, Shigekazu Otake & Naoyuki Uchida]




[d] b1 | 120 (Sleep D Remix) [feat. Izpon, Shigekazu Otake & Naoyuki Uchida]
[feat. Izpon, Shigekazu Otake & Naoyuki Uchida]




[d] b1 | 120 (Sleep D Remix) [feat. Izpon, Shigekazu Otake & Naoyuki Uchida]
[feat. Izpon, Shigekazu Otake & Naoyuki Uchida]




[d] b1 | 120 (Sleep D Remix) [feat. Izpon, Shigekazu Otake & Naoyuki Uchida]
[feat. Izpon, Shigekazu Otake & Naoyuki Uchida]

Kognitiv Records is about music that connects with the listener on a deeper level, evoking emotion. Music plays a large part in so many lives and guides us through all emotional states as a form of therapy. So join us for your own Kognitiv Therapy.

Label boss DeVante delivers the third release for Kognitiv Records titled “Experimental”. He has invited Italian powerhouse duo Marvin & Guy to remix.

“Experimental” is a track that follows the storyline of an experiment. Whether it be a social experiment or science experiment, the emotional journey can be very similar. Feelings of uncertainty, tension, suspense, contentment and/or grandeur feature throughout this track. DeVante allows listeners to take their own journeys through all his tracks, so have a listen and find out where “Experimental” takes you!!


Marvin & Guy are making waves worldwide for their signature sound and it is an absolute pleasure to welcome them to Kognitiv Records. The boys have delivered a gem of a remix suitable for all occasions. Not only is it a great track to listen to in your day to day life, their remix tears the roof off a dance floor. Marvin & Guy have a strong ability of fusing current musical trends with nostalgic 80’s sounds and we love everything they do. We are sure you will too!

“Experimental” is Kognitiv Records first venture into the world of vinyl. There are very limited copies being pressed, so be sure to grab yourself a piece of Kognitiv Records history.

Kognitiv Records will donate a percentage of profits from every release to a different mental health charity in an effort to create further awareness and provide support to people suffering from mental illness.

Juan Ramos opens his debut album with The Problem With Ambiguity and Finding Space—speaking to a societal confusion, a fragmented sense of self, and a pull toward many (often unwelcoming) directions—this turmoil in which he’s spent considerable time, sees him invest grave efforts to express the inexpressible. Changing Hands is a time capsule of that dark period in his life, an overtly honest musical diary which puts his emotional coming-of-age on full display, hoping to reach kindred listeners. While his previous output for the ESP Institute used a certain level of complication to push limits on the dancefloor, this immersive work cuts deep in to a frayed psyche, dismantling our preconceptions of Juan and plunging listeners deep into a stew of jarring textures, incomplete phrases, and circus-like abstractions of pop culture. There is a nonchalant and unhurried experimentation that accumulates over the album’s first half—disconnected and anxiety-riddled personality traits constitute various musical roles, sporadically converging in fleeting moments of optimism although never fully climbing out from the abyss—and yet amidst this chaos there is a watershed moment in which the artist successfully gleans a golden morsel of hope from his emotional junkyard, guiding us across the threshold into the album’s second half while diligently protecting the glow of this rock bottom treasure. Juan begins to reveal his inner b-boy—a distorted view on golden-age Hip Hop roots, an affinity for muddy break-beats, sultry loops and metaphoric interludes—the crown prince of a newly-found safe space. It’s as if he had us searching on all fours for a misplaced joint, but now that it’s finally lit, he assures us that everything’s going to be alright.

Producers at the heart of the broken beat revival, EVM128 and James Rudie met through the CDR project, and soon after started to mess about collaborating with Gonzi. After coining the concept of INPUT, they found a home via Tony Thorpe at Studio Rockers and the seed was sewn. The concept is simple, make a beat, pass it on, and let someone else add to it. Its about letting go of self and letting the music go somewhere it wouldn't have gone otherwise. It was a labour of love until each track felt right. Talented musicians, producers, singers and rappers came on board to fulfill the brief, and the end product is a modern day broken masterpiece. It's about collaboration, whether in the mixing and arrangement, performance, keys, percussion, synth, bass, - everything was a joint effort.

INPUT is released on Studio Rockers on 19th July 2019 as a double vinyl release.

A LITTLE ON THE ARTISTS INVOLVED :

Written by curator EVM128, James Rudie and Gonzi are both killer producers who met me at CDR and also became part of Co-Op presents Selectors Assemble with IG Culture and Alex Phountzi. You can hear them both on Naughty Groove and Gonzi on Gut Level.

ISHFAQ is an elusive producer that has been making beats for time but is still under the radar. He's a force to be reckoned with. Watch him cos he's dangerous! Hear him all over Naughty Groove on Keys and on Complete Me ft Natalie May. He just knows where to fit into a tune... He has an acute ear!

TurboJazz met me after Djing together in Milan and working together on remix jobs, where I remixed Turbo's 'Please You' ft David Blank on Local talk Records. In return Turbojazz remixed the EVM Beyond ft Uk Soul legend, OMAR. It was only natural to get them involved with this project.

iLL Smith aka MR K is a heavyweight producer making serious waves in the new Dubstep 140 low end scene. He gave me a couple tracks that were broken beat he had been sitting on and said "You should do something with these". One of which is GOLD which I only really added a Clap to and worked the arrangement and first mix down. I called on Daz I Kue for a rapper I'd heard on one of his tracks which had the right energy. Daz hooked me up with Nesha Nycee, a fierce rapper from Atlanta Georgia. She smashed it straight away and the tune just worked. This was probably the easiest out of all of them!

Nesha Nycee is a REAL rapper.

Shy One is a friend of mine and has worked with me on music a few times in the past. I always love when she sends me a beat, she has that lo fi dirty grime kind of approach, then I add my style to it and it just seemed to bode well. We worked together on Mother Nature on the Nova LP and this track for INPUT (One Design) which we were sitting on for a while. Tony got Steve Edwards (All Seeing I, Sheffield) on the vocals. This was an unexpected turn on this track that we couldn't have imagined, but it worked! This track is the epitome of INPUT in that, it went somewhere completely different!

Steve Edwards is a singer songwriter from Sheffield who works on projects with All seeing I. He has a great energy and the lyrics made me cry! Really amazing heartfelt lyrics that speak of now and has a positive uplifting vibe to it that we can all relate to. It will stick in your head for ages believe me.

Natalie May met me through soundcloud. She's been releasing UK Funky tracks for a while and worked with Rudimental. She reached out to me after hearing the Nova LP and the stuff on CoOp presents. She went to the studio with me after already writing to some instrumentals. Very professional and on point in the studio. Her voice is sweet and the perfect juxtaposition to the rough bass and drums on 'Complete Me' and when ISHFAQ got his hands on it, well... Nuf said really !

Daiva from the Lithuanian band KeyMono has worked with me for a good few years. We met in Lithuania when I was teaching music production to young people through MTV, I met their manager Istvan. She was on my Naked Truth EP and the Nova LP. I Love working with Daiva she's great! Her voice is amazing as is her professionalism. She sounds somewhere between Erykah Badu, Little Dragon and Fatima. She's always my go to for any collaboration! Hear her on 'The Edge'. The lyrics were written by Kermit (Black Grape / Ruthless Rap Assassins).

Renato Paris.. wow ! I mean what!!? We sent the backing track and two days later he sent back the vocal and we fell over! He has a voice that echo's Stevie Wonder and Omar! Really professional work ethic too. Still cant get over how good he is. This guy can REALLY sing and play keys. Watch out for more from me and Renato... Bruk meets RnB / Jazz.

We have created something special and unique where you can hear each persons input in the

tracks. We love it and hope you will too.

‘Autonomy’ is a fiercely independent album and serves as a testimony to the united couple’s instinctive DIY attitude; for 10 years now, everything The Golden Filter has done from, producing, mixing, releasing, to shooting videos and press shots is a sovereign endeavour. Here, the duo finds themselves at a point of fearless positivity and an unbreakable creative synchronicity. This is undoubtedly one of their most focused and ambitious releases so far.

Born out of their own self-contained studio in Peckham, free from external influence, Penelope and Stephen set about on a mission of self-searching and solipsism drawing influence from their love and unity that sternly defies the damage caused by the ever-growing daily trauma of capitalism and politics. Staunchly feminist and optimistically reflecting on the growing human disconnect from reality, ‘Autonomy’ pulls subtly from the gloomier sides of British life and culture, The Golden Filter’s home now for the last four years.

‘Autonomy’ mines dark and experimental electronic tones; simultaneously conjuring dystopian synthscapes, EBM, post-punk, motoric electro and minimal wave. ‘Coercion’ is a mournful new wave cut that places Penelope’s recent brand of “inky dream pop” underpinned by Stephen’s pulsating synths as the perfect soundtrack to the rapture.

Tracks like ‘Autonomy’ and ‘Infinity’ find The Golden Filter in more familiar territory, thrusting post-punk electronics that straddle the gap between Panorama Bar staples and wayward, thought provoking art-pop. ‘Electric Light’ is an updated homage to old-school sounds of Siouxsie and New Order that take on the duo’s message of finding light in the dark and remaining open minded to each other as humans. Album closer ‘All The Queens’ is the most front-facing example of the duo’s political inspirations; imagining a new world, reborn under the rule of divine femininity.

Mario Pierro aka Raiders of the Lost ARP (ROTLA) returns to Edizioni Mondo. “Trasmissioni” is his debut LP under this moniker, using fictitious TV show themes as an excuse to create his musically most eclectic record so far. Departing slightly from the Balearic and prog rock influences of the previous “Laguna” EP, in “Trasmissioni” ROTLA covers many territories: opening with the science-celebrating arpeggios of “Progressi della Scienza” (Italian for “advances in science”), to the funky, off-beat grooves of “Telemusic”, then taking a step into a disco during “Nightlife”, before programming his rocket towards eerie nordic drum machines and Hammond organs in “Esterno Neve” and “Effetto Notte”, and many planets more. A welcome edition to the ever expanding Edition Mondo universe and a record you can’t grow tired of. Eco-Friendly green artwork that shows how tiny we all are. Good listening!



The name MONDO has its roots in “MONDO MOVIES", an italian movie genre born in the 60’s. Mondo movies are characterized by documentary-like content that addresses several topics from around the world ("mondo"). The Mondo label has the goal to produce music that is descriptive of concepts, images and environments. Mondo is inspired by library music, a genre frequently used as theme or background music in radio, film and television in that very same period. Production music libraries typically offer a broad range of musical styles and genres describing everything ranging from deserts to war and sports. Library music composers and session performers had no constraint at all. They typically work anonymously, have rarely become known outside their professional circle and they have produced what probably is the most creative music catalogue ever. The Mondo productions start with four releases dedicated to seascapes; scenarios range from sea fauna to poaching, from natural parks to sea dunes.

Calling Marcelle a DJ doesn’t wholly represent what she’s doing. (Three) turntables and a mixer is more the medium that she uses to create and share sounds, ideas and moments.

The same goes for her own productions. They don't have a fixed style, as can be heard on all five EP's released by the Munich label Jahmoni since 2016. They are free in attitude and music and cross boundaries between genres. Most tracks are a collision of ideas, a magically gritty, self-aware car crash as if Muslimgauze grew up in sunny Lisbon with the Principe crew as opposed to the grim North of England.

On her new LP 'One Place For The First Time' we find nine tracks brimming with ideas that ignore stale production norms. Sure, the pulsing drum 'n' bass-esque 'Hippies Use Side Door' is weirdly danceable, just like the cackling stomp of 'Respect Caged Animals', but can we dance to 'Technicians And Their Smoke Machines'? (Answer: We’d certainly enjoy trying). It's almost a jazz song, but like with everything Marcelle does, it's jazz from a different world and has proven to be a dancefloor smash when she’s played out the dubplate over recent months.

Marcelle's life-long love for far-out dub is clear in 'Dub (Dub)' and 'Respect My Snack Foods' is in the same 'educational' tradition as was the song about how to deal with constipation (olive oil!) from the 2018 'Psalm Tree' EP. Now we learn how to apologise. 'The Mother Of All Messes' (a UK newspaper headline about Brexit) introduces perhaps a more tender side, a comforting nursery rhyme plays while a muffled kick occasionally growls with distortion - as if it knows the importance of its place in the dance.

By the time the refrain of the intro track returns it seems to carry more significance, Marcelle has made her point quite clear. Defiant til the end… ‘Don’t touch the table!’ This particular sample is taken from Marcelle's legendary Boiler Room performance at 2018's Nyege Nyege Festival in Uganda where the MC of the event repeatedly declares that 'She Plays Vinyl' and therefore asks 'Don't Touch The Table!'. It goes without saying that the latter song is full of banging on the table noises.

The sleeve - as always with Marcelle - is very colourful and features photos of knitted egg cosies and images related to individual songs. It's a bit of a puzzle to find out which photo connects to which song, an enjoyable challenge, just like the LP itself.

Shining on lineups whether they’re cutting edge festivals, big clubs, touring circus shows or DIY garage venues comes naturally given she approaches all with the same mindset ('always the same, always different'), these causes are adopting her rather than the other way round.

Marcelle is a genuine innovator who remains inherently relevant by not following trends, not focusing on technicalities, having a sense of humour, dissolving obsolete structures, being excited, defying others rules while creating new ones, eschewing #tagline posers and ‘tasteless A&R wankers’, supporting artists that need it, supporting places that need it, supporting people who need it and not giving a fuck for as long as possible.

And HUGELY welcome living proof that you can excel in doing things differently and having a bloody good time n all.

James Marrs, London, March 2019