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Official, remastered reissue of this disco tinged, afro funk treasure and the first time the 'Karam Bani' single has been cut to 12' - maximising every ounce of highlife soul from Sidiku Buari's productions.

That undeniable US funk flavour coupled with Buari's Ghanaian rhythms bring a zest to these grooves even the tangiest of forbidden fruits couldn't draw out. Those fuzzed keys and dusty highlife guitar licks sprinkle the West African flavour, whilst drumming demi-god Bernard Purdie provides the wizardry behind the infectious, yet precision like beats that make the track so unique. Purdie's killer breaks combined with Buari's jubilant vocals give a spirituality to this cut that'll liven up any dancefloor - alongside being a gold mine for samples.

Flip it over and you're hit with the joy filled jam, 'Ye Koaba'. Tribal drums lead the way for a chorus of jubilant chants supplemented by glistening synth sounds and funk fuelled guitar riffs. It's a feel-good slice of Ghanaian sunshine, capturing that community spirit and good-hearted nature Ghana's famous for.

Two afro funk sensations sure to put a smile on your face, even when the skies are grey and you're 5000 miles away from the glorious West African coastline.

"It's been nearly five decades since Joe McPhee assembled a group of musicians to perform the weekend concerts that would become Nation Time, his debut LP. It was December 1970, thirty-one-year-old McPhee was inspired by Amiri Baraka's poem 'It's Nation Time,' and the students at Vassar College didn't know what hit them. 'What time is it?' shouted the bandleader. 'C'mon, you can do better than that. What time is it?!'

"The music on Nation Time came out of the fertile, but little-known creative jazz scene in Poughkeepsie, New York, McPhee's home base. Two bands were deployed, one with a funky free foundation featuring guitar and organ, the other consisting of a more standard jazz formation with two drummers and the brilliant Mike Kull at the piano. Across the concert and the next afternoon's audience-less recording session, the band was ignited by McPhee's passion and his gorgeous post-Coltrane / post-Pharoah tenor. On 'Shakey Jake,' they hit a James Brown groove filtered through Archie Shepp, while the sidelong title track is as searching and poignant today as it was during its heyday.

"Originally released in 1971 on CjR, an imprint started expressly to document McPhee's music, Nation Time has a sense of urgency and inspiration. Additional material from those December days would later appear on Black Magic Man, Hat Hut's first release. In fact, the first four records on this seminal Swiss label all featured McPhee.

"Nation Time was largely unknown a quarter century or so later, when it was first issued on CD through Atavistic's Unheard Music Series. On Corbett vs. Dempsey, we reissued the album along with all known tapes leading up to and around it as a deluxe box set, but the standalone LP has long remained incredibly rare. Now is the time for a new generation of freaks to lose their shit when settling into the cushy beat of 'Shakey Jake' and answer McPhee's call with the only appropriate response: It's NATION TIME."

– John Corbett

Das Duo Boy Harsher Aus Northampton, Massachusetts Gibt Es Seit 2014 Und Sie Verbinden Düstere Dance-beats, 80er-jahre-versatzstücke Mit Sehr Ätherischen Vocals Und Schaffen So Eine Unheimliche, Intensive Und Fesselnde Klangwelt.
Nach Ihren Ersten Ep&album-veröffentlichungen "lesser Man (diverse Pressungen 2014 - 2018, Soft Science / Nachtaufnahmen / Aufnahme + Wiedergabe / Nude Club) Und "yr Body Is Nothing" (diverse Pressungen 2016 - 2018, Dka Records / Nude Club), Ist - careful Nun Der Nächste Schritt - Vielleicht Noch Einen Schritt Weiter In Richtung Dunkelheit.

Augustus Muller Entwickelt Den Unterbau Der Tracks Aus Präzisen Und Kraftvollen Beats (die Irgendwie Nach Damals Klingen, Aber Von Heute Stammen) Und Schleift Darüber Noch Sägende Synthies, Während Jae Matthews Dazu Haucht, Schreit Und Singt. Diese Kathartischen Aber Auch Magnetisierenden Tracks Wurden Innerhalb Kurzer Zeit Zu Hits Eines Real Existierenden Untergrunds. Das Album - careful Wurde Hauptsächlich In Massachusetts Geschrieben, Mit Einer Handvoll Synthesizern Und Einem Laptop. Für Muller Ist Ein Minimales Set-up Sehr Bedeutend In Diesem Prozess. Gemischt Wurde In Italien Mit Maurizio Baggio Von La Distilleria Studio.

Boy Harsher Haben Sich Über Die Letzten Jahre Bereits Eine Sehr Treue Untergrundgemeinde Er- Und Zu Beginn Des Jahres Eine Triumphale, Restlos Ausverkaufte Tour Durch Europa Gespielt. Es Folgte Eine Weitere Tour Durch Europa Und Zwei Us-touren, U.a. Mit The Soft Moon. Im Frühjahr Folgt Die Eigene Headline-tour Durch Europa.

"Torino" is SONAR's sophomore album. Once again music was produced by Lukasz Stachurko, pianist Artur Boguslawski and drummer Rafal Dutkiewicz with beautiful vocal from Lena Osinska. With this4
album SONAR would like to make you dance.

It's been just a year and a half since the release of SONAR's debut 'Petle'. The band returns with an album of 11 premiere songs! Among which you can hear Lena singing in English for the first time. SONAR's collaboration with US-based singer Miles Bonny and rapper from Chicago - Squair Blaq presents that distance is not an obstacle to
create good music.

Several people are responsible for the lyrics -Mateusz Holak, Wanda Berger, Arek Sitarz (Ras) and Lena.
Michal "Eprom" Baj was responsible for mix and mastering. Karolina Zajaczkowska designed the cover and made all the photos. Album also features incredible hand-painted artwork from Zbiok Czajkowski.

CD and digital verison was released on March 2018 and received great response:

SONAR "Hidden Garden" (official video http://youtu.be/KCg8bkQ0bHE more than 590k views)

SONAR "Face The Sun" (official video http://youtu.be/ji9x1rxlhi4 more than 660k views)

The vinyl version was released on 180g black vinyl with printed inner sleeve. 300 copies only.

User Experience welcomes young German and living meme, Nils Viktor Voss, or Corroid as the world will know him from now on. Corroid sent me a track a while back for mastering... an absolute face melter. I asked him via the medium of dance if he had any more tracks. Now I cannot get rid of him, he sends stuff all the time, if it's not music it's memes. The only way I am able to deactivate the meme machine is to try and divert his attention elsewhere. So, find him on facebook, meme him until he is unable to function. Thank you.

Joining Corroid on this record are two fucking amazing artists who I admire a great deal; Myler and Jasmine Azarian who both execute their remixes with precise brutality. As for the track names I considered translating for the ignorant English (myself included) then I heard Corroid's flatmate say: "YOU CANNOT TRANSLATE THEM, THIS IS TRUE ART". Well that's bollocks but tbh I don't have time for translations.

Literature Recordings Are A Brand New Label Who Have Launched At One Of The Most Successful Times For Independent Dance Music Imprints. It's A Time Where They're Currently Reigning Supreme Over The Charts, Becoming A Formidable Force Against The Majors Who Have For Too Long Dominated The Scene And Proving That Music Is Just As Expansive And Full Of Ideas As It Has Ever Been. The Different Music Alumnus Cuelock Stands At The Helm Of This Brand New Project And He Brings With Him A Range Of Experience To Help Give His Expert A&r Advice To The Artists About To Make Their Debut On The Label. And The First Vinyl Release Comes From Eusebeia - The Upcoming Producer Has Shown His Hard Work And Dedication Through His Forthcoming 'breakdown Of Illusion' Ep, Where He Delivers Seven Brand New Records Which Pedestal His Stellar Talents As An Artist. Between 'truth Is Stranger Than Fiction' And 'annihilation Of Inhibition' There's A Range Of Diversity Which Eusebeia Shows His Audience Throughout The Journey Of 'breakdown Of Illusion'. The Carefully Sequenced Drums And Weaving Bassline Of 'truth Is Stranger Than Fiction' Is The Perfect Way To Begin The Ep, Whilst Tracks Like 'charade' And Titletrack 'breakdown Of Illusion' Continues Eusebeia's High-reaching Trend. Coming Along Next, Both 'no Stone Unturned' And 'camouflage, Pay Homage To The Roots Which Have Built Eusebeia As A Multi Faceted Artist And Demonstrate Why There's So Much Heat Around The Newly Discovered Artist. They Also Highlight The Eye For Blossoming Newcomers Which Cuelock Has Administered For This Release, It'll Be The Gift Which Enables Literature Recordings To Build A Roster Which Will Hold Themselves Up Against Their Counterparts.then Finally You're Left With Both 'dreams Into Reality' And 'annihilation Of Inhibition', Which Leave A Lingering Aftertaste - The Type Which Keeps You Coming Back For More Listen After Listen. It Completes A Package Which Proves The Capabilities Of Eusebeia As Well As Literature Recordings As An Imprint. You Can Expect More Music And Artists Of

ndio was a short lived but influential trio of John Beltran, Sam McQueen and Seth Taylor. They released an album and three EPs of hi tech ambient techno on Derrick May's Transmat and the Rhythmic Tech label between 1999 and 2010. Here, three tracks from their self titled 2003 EP and one that was released on Styrax get put together, remastered and recut for the next Delsin reissue. Opener 'Winter Long' is classy techno cut that looks into the future. A symphony or gorgeous strings lights up the backdrop as scintillating drums dance and shimmery in the foreground. A Detroit sense of melody adds colour and ensures utter timelessness. 'Blue Fantasy' is another track that show off the power of machines to make music that touches your soul with its gorgeous strong stabs and masterful drum programming, and 'Inca' then slips more into a house groove, with busy, shuffling drums driving along beneath acidic twitches and broad, heavenly pads. It's slick, urgent and compelling and 'Nolita' closes things with more delicate dancing machines, rueful synth work and rubber bass. It's archetypal Detroit techno that sounds as good and forward facing now as it ever did.

Jan Bertil Svensson: co-founder of the legendary Börft Records, member of arch techno-primitivists Frak, the man responsible for Villa Abo and all-round underground don active in the field of machine music since 1987!

Whilst Jan's output will always conjure comparisons to Techno with a capital T, he has (and continues to) plough a singular and peculiar path in the realm of electronic music. For the Glasgow-based Full Dose, he presents his first ever solo 12' under the name of J.B.S: a four tracker of sluggish, minimal funk that bears the hallmarks of his most classic work as Villa Abo, and adds dashes of the brutal grit that his Studio SS project is infamous for. If there's any sort of recurring theme in Svensson's work, it's playfulness and humour, a particular Scandinavian form of sonic banter that cuts right through the po-faced, black-clad heteronomy of much of today's electronic landscape. The music on this record, with it's odd blend of stripped-back synth pop and brutish dungeon funk evokes exactly that: a body of work that doesn't even seem capable of taking itself too seriously, yet evades anything resembling a recognisable piss take. After all, nobody said that humour and credibility in music had to be mutually exclusive, and J.B.S is a master at weaving the two together at will.

In a world where dance music is often subjected to ludicrous conceptual analysis, sometimes the combined effect of hot circuitry, sincerity, vivaciousness and an anomalous attitude are the only thing for it. But then again, this is not just dance music either...

'1929 - Das Jahr Babylon" marks Thomas Fehlmann's third full length release of 2018 and presents what appears to be a creative peak in his career that spans beyond his solo career to his early days in Palais Schaumburg, collaborating with Moritz von Oswald as 3MB to his long time work with The Orb. Having left The Orb in late 2017 has set free unforeseen energies in Fehlmann's studio.

A departure from his recent dance floor-friendly album "Los Lagos" (KOM388, KOMCD148) released in September on Kompakt, Thomas Fehlmann's '1929 - Das Jahr Babylon" is a film soundtrack from the documentary that aired on ARD network on September 30, 2018 and is now available as a podcast series.

To compliment the internationally lauded TV series "Berlin Babylon", German director Volker Heise has created a documentary about 1929, the fateful year during Germany's "Weimarer Republik" in which "Berlin Babylon" is settled. Heise's stirring documentary portrays Germany's sizzling capital that is faced with radical changes by the dark forces whom are about to toss the world into the abyss we know as World War II.

This marks the second time that Fehlmann is partnering up with Volker Heise after 2010's marathon documentary "24 Stunden Berlin" which was released as "Gute Luft" (KOM211, KOMCD81) in the same year. Fehlmann's composition for "1929" consists of sample material taken from the era and thwarts the exaggerated lust for life with threatening undertones that anticipate the dawn of mankind's darkest chapter so far. Although all the sounds breathe yesterday's atmosphere this soundtrack bursts with modernity. Fehlmann accomplished the daring feat to musically render the unsettling resemblance between the political situation 90 years ago and our current time.

We at KOMPAKT feel that Fehlmann's score has turned out spectacular enough to give it proper release on limited vinyl and CD as well as on all digital platforms.

Mit '1929 - Das Jahr Babylon" legt Thomas Fehlmann schon seinen zweiter Longplayer innerhalb eines halben Jahres vor und dokumentiert damit eine kreative Hochphase seiner überaus stattlichen Musikerkarriere. Die Trennung von The Orb scheint bei ihm ungeahnte Energien freizusetzen.

Anders als auf dem cluborientierten "Los Lagos" tritt Thomas Fehlmann auf "1929" musikalisch einen Schritt zur Seite. Und das aus gutem Grund: Analog zur international gefeierten Fernsehserie "Babylon Berlin" entstand unter der Regie von Volker Heise der Dokumentarfilm "1929 - Das Jahr Babylon" - ein ergreifendes Sittengemäde Berlins während des Schicksalsjahrs der Weimarer Republik. Wie schon zu Volker Heises vorangegangener Berlin-Doku "24 Stunden Berlin" (2010 erschienen als das Album "Gute Luft" auf KOMPAKT) hat Thomas Fehlmann auch diesmal den kongenialen Soundtrack beigesteuert. Basierend auf Klangmaterial des Jahres 1929 hat Fehlmann eine beeindruckende Musik geschaffen, in der manchmal die übertriebene Lebensfreude und Dekandenz jener Zeit aufflackert. Eine Musik, deren Stimmung jedoch unterwandert ist von den bedrohlichen Strömungen, die Deutschland kurz darauf in seine dunkelste Epoche stossen werden.

Thomas Fehlmann ist damit ein wahres Kunststück gelungen. So sehr die Produktion den Geist einer vergangenen Zeit atmet, so modern mutet sie an. "1929 - Original Filmmusik" klingt somit wie die zu Musik geronnene Erkenntnis, dass sich Gestern und Heute auf erschreckende Weise ähneln.

Wir bei Kompakt sind der Ansicht, dass Thomas Fehlmanns Filmmusik zu "1929 - Das Jahr Babylon' so spektakulär geraten ist, dass wir sie nun als limitierte CD und Vinyl-Auflage, sowie auf allen digitalen Plattformen verfügbar machen.

The Orbitants run into galaxy exploring the unknown. Space ambient track from the electro soldier The Exaltics, explores the parallel worlds with his iconic sound. The electro duo Faceless Mind, straight outta North Europe kicked it with 'Viggen Formations': heavy bassline, highly evocative and hypnotic synth. Follow up the B1. Keep on going with the well-crafted formula DJ Vietnam and Haterparisi. Generated arpeggios by modular square-waves with syncopated beats reminding their techno background tells the experience of an alien abduction. Discover the raw surfaces of the B side which feels both organic and apocalyptic. 'Intergalacid' by Umwelt, a mix of acid-rave and electro to create some high impact sonic weaponry. Highly recommend for the strongest dancefloor!

Hotly Anticipated Album From The Acclaimed Australian
Duo.
The Album Consists Of Two Acts Across Seven
Movements That Represent The Different Facets Of The
Dionysus Myth And His Cult And Takes The Musical Form
Of An Oratorio, Which Has Informed Both Spiritual And
Secular Pieces Of Music As Far Back In History As The
Early 16th Century.
Two Years In The Making, Perry Has Amassed An Array
Of Folk Instrumentation And As Often Heard On Previous
Albums Takes Inspiration From Across The World, Tracks
Evolve Less Like Songs More Akin To Fragments Of The
Cohesive Whole.
Deluxe Lp Format Is Pressed On Heavyweight
Transparent Purple Vinyl Accompanied By A Copy Of The
Album On Cd Plus A Deluxe 16-page 12' X 12'
Hardback Picture Book With Padded Cover.
Standard Lp Format Is Heavyweight Black Vinyl In A
Gatefold Sleeve.
16 Date European Tour Next Year, Including Two
Headline Shows At London's Hammersmith Apollo

Wan Chai Records is a Hong Kong based label, specialized in rare Asian records and quality reissues.
For their third release, after a few years of hard diggin and historical researches, they went deeper with HONG KONG SCORE, introspection into the music of the Chinese's Cinema industry. A selection of tracks from Hong-Kong, Singapore, and Taiwan, specially produced for movies and illustrations.
The result is a compilation of 12 totally unknown gems sung mostly in Mandarin and Cantonese, from real deep instrumentals, Hip-Hop breaks, Ethio style crazy drums, to heavy Bass in the Alain Goraguer' style. This is an amazing introduction to 60's and 70's Chinese music, an inspiration for beatmakers, a must have for novices or Asian vintage music lovers.

The body never lies. Every dance is a graph of the heart. Nothing is more revealing than movement.

These are the words of Martha Graham, one of the greatest American dancers and choreographers of the 20th century. Massimiliano Pagliara might as well have them tattooed on his chest, close to his heart, being an accomplished dancer, too. He has studied contemporary dance in Milan and Berlin, and went on to dedicate his life to transforming experience into movement, be it musical, physical, or spiritual. Massimilano's message is clear: Don't stand still. Don't keep looking back. Know where you are coming from, but don't remain petrified by the past. Take a chance at Endless Change, instead. Move on! Just like Massimilano did.

Stemming from Lecce province, an area at the south-eastern-most tip of Italy, Massimilano has been based in Berlin for several years where he's been one of the main forces behind recombining the city's hardboiled techno scene with an often overlooked sensibility for the soft and the tender. Call it underground disco passion. Massimilano's last and sophomore album, With One Another, released in 2014, was about celebrating the joy of human encounters and in parts seemed like a big get-together with like-minded artists and friends (among them nd_baumecker, Lee Douglas, and Credit 00). The record quickly hit the number one spot in Groove magazine's album chart - and its creator hit the road.

Besides his busy DJ schedule and far from the usual club circuit routines, Massimilano dedicated himself to intense travelling and exploring the world anew. 'I felt like I have lived more than ever,' he states. 'Getting to discover all these beautiful places around the world and meeting so many lovely interesting people, has inspired me in many different ways. I feel enriched.'

The result of these experiences is Feel Live, Massimiliano's third full-length endeavour. It was recorded in several intimate, sometimes improvised studio settings between Los Angeles, Portland, and Massimiliano's homebase in Berlin as well as at airports and on intercontinental flights high up in the sky. Featuring vocals by Private Agenda, Peaking Lights, Kim Anh and instrumental contributions by Fort Romeau, Tim K, and Jules Etienne, Feel Live is Massimilano's most playful and imaginative work to date. It's as emotional as sensual, as vibrant as the first ray of light after a thunderstorm has cleared the air.

Is it awkward or odd to call this record jazzy Presumptuous to pinpoint its spacial, almost orchestral qualities Unfair on the ruling Cosmic powers to highlight its aspirations of founding a new land of Balearic Harmonia and getting down at a huge fertility rite with electro enthusiasts and house lovers Not one bit. Feel Live is pure grandeur and elegance. It feels like an eternal movement.

Martha Graham has dedicated her whole life to dancing. 'It's permitting life to use you in a very intense way,' she said. 'Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable.' Massimilano couldn't agree more. His advice when facing the inevitable: 'Live what you are feeling, feel what you are experiencing, good or bad, it is an experience.'

Earlier in the year, Red Light Radio co-founder Hugo van Hejiningen and Identified Patient joined forces to debut their new musical project, Stallion's Stud. Artificial Dance is ready to release the first fruits of the duo's studio collaboration.
The four-track EP digs deep into their shared love of electronics, post-punk era experimentation, DIY music culture and dubbed-out drum machine rhythms. The results are undeniably dark and intoxicating, with former punk singer Hugo fronting proceedings via mind-altering vocals and twisted lyrical flows.

Opener 'Promising Promises' sets the tone for what follows, with Hugo's spoken vocals wrapping themselves around ricocheting industrial dub rhythms and raw, delay-laden electronics. The delay trails to oblivion remain a force to be reckoned with on the creepy, fuzz-fuelled cold-wave doom of 'Instrumental Aria', while the throbbing and clanking 'Unpredictable' and 'Voice of No' ratchet up the intensity by several notches via end-of-days guitars, heavyweight bass and face-melting percussion.

Los Angeles - September 7, 2018 - Billy Idol's 1980's remix collection, Vital Idol, is getting a modern-day upgrade with Vital Idol: Revitalized, set for release on CD and digital by Capitol/UMe on September 28. A 2LP 180-gram black vinyl in addition to a limited edition, color variant will follow on November 16.
More than 30 years after his groundbreaking Vital Idol compilation cemented the vibrancy of the dance-rock remix genre in the second half of the 1980's, Idol's Revitalized collection features 11 brand-new remixes of his most classic and enduring hits. Lending their hands to the Revitalized proceedings are electronic dance luminaries Moby, The Crystal Method and Paul Oakenfold as well as current innovators including Tropkillaz, Shiba San, Juan Maclean, CRAY and RAC, who's remix of 'Dancing With Myself' debuts today.
Vital Idol, initially released in Britain in 1985 and subsequently issued in the United States in 1987, was the first remix record released by a rock superstar. Besides being certified platinum, Vital Idol was accompanied by a version of 'Mony Mony' that reached No. 1 on the Billboard Hot 100 Singles chart, as well as hitting the Top 10 on the U.K. Singles chart.
Highlights found within the grooves of Revitalized include The Crystal Method's percussive, explosive stab at 'Rebel Yell,' CRAY's bass-and-keyboard-blessed 'White Wedding,' Tropkillaz's trop-house framing of 'Eyes Without A Face,' St. Francis Hotel's shimmering stop/start caress of 'Flesh For Fantasy,' and RAC's retro-harmonic, fist-pumping 'Dancing With Myself.'
Meanwhile, the digital version of Revitalized features four additional exclusive remixes, namely the brand new Billy Idol/Steve Stevens Remix of 'Mony Mony,' Paul Oakenfold's Extended Remix of 'One Breath Away,' Moby's 'Half Time Version' of his take on '(Do Not) Stand In The Shadows' and 'Save Me Now (Lost Dog Remix),' reworked by Billy Idol's son, Willem Wolfe with Brandon Rauch and Ed Bedrosian.

NYC's Disco powerhouse West End Records should need no intro. The home of too-numerous-to-list club classics for over 30+ years is still impacting today on what we know to be club culture. The label started by one Mel Cheren (RIP) with assistance from Larry Levan and more way back in 1976 is still held in such high regard today with it's catalogue constantly being played, rediscovered, reinterpreted and loved by waves and waves of new fans and admirers.

From the West End vaults we are pleased to present Ednah Holt's 'Serious, Sirius Space Party', a thundering, slo-mo, bass-heavy slab of NYC electronic funk that will sound familiar to those who paid close attention to what the maestro Larry Levan was doing in his sacred booth at the Garage in 1981, or to those who tuned in to peep what the master Afrika Islam was doing on his now semi-religious, hip-hop blueprint 'Zulu Beat Show' on WHBI. That's right, you can guarantee if those 2 guys were playing your record in the city at the same time then you had an underground 'hit' on your hands. The fact that it crossed over from the discotheques to the streets and back again speaks of the appeal of this super heavyweight jam, the legendary team up of Kenton 'Kenix' Nix, Larry himself on the mix, and former Ritchie Family vocalist Ednah Holt makes for some heady listening. One for the after hours dancers, B-Boys and B-Girls and lovers of the downtempo workout. A true and essential NYC classic.

All tracks featured re-mastered, re-pressed and re-released with the permission of and in conjunction with West End Records, New York City / BMG.

Bizz O.D. is somewhat of a mystery.
A known fact is that she released noisy hypnotic acid-house tracks on Force Inc. and Smile Communications back in 1993-1998. 'Warship The Speakers' was taken very literally when Detroit was kneeling in front of their sound- system praying to the allmighty bass drum. 'I'm Coming Out Of Your Speakers' went heavy rotation with Junior Vasquez at Sound Factory NYC. A collaboration with Jimi Tenor for OZON Records in 1995.
A few live shows have been proven to be Bizz O.D. herself. She would send someone, kinda anybody, to play her trademark Casio RZ-1 drum-machine and tweak her TB303 acid-lines. The vocal loops coming off some defunkt Dictaphone. So she's never been really seen or photographed. Bizzi has ZERO social media except the mentions on Discogs and some up-loads on YouTube.
'The New York Push' is two previously unreleased tracks. Fetish club, distortion and newyorican-soul all in one. Set aside some pretty bizarr promo pictures that will add to the mystery.
It's House, New York House with a Latin-Industrial subtext. Ok, whatever!
P.S. Bizz O.D. live shows this year in Berlin, her new home since 2017. The 'T' a monthly tea-dance with Eric D. Clark of Whirlpool Production fame at Paloma/Berlin. Catch her if you can!

Fantastic 80s pop music with a soul and funk touch and an outstanding singer. A must have for fans
of Billy Ocean, Barry White and similar artists. Perfect playing, perfect production, perfect songwriting.

On the edge of the lightfooted disco movement there was sophisticated funk music and one of the often
overlooked protagonists oft he scene was Mr. Sterling Harrison, born in 1941, passed in 2005. His legacy contains
two solo albums from the early 80s and this, dear friends of funk music, is his second from 1981. Copies in good
shape fetch prices up to 800 Dollars so we should give this current reissue on EVERLAND warm welcomes. Is it all
worth the enthusiasm Oh, you can bet it is. Sterling Harrison had left behind the 70s and was ready for the 80s.
The sound is up to date, clear, clean and powerful. The music still shows the fire of the earlier funk records but the
synthesizer passages, the whole production proves that we are now entering a new age. 80s Synthie Pop is part of
the mix, despite the main ingredients are soul, funk and a bit of disco here and there. The vocals are overwhelming,
sung with great emotions and a feeling for the freaky edge of soul. The tunes here come as diverse as they can be,
each one with his very own face, but they all have the same spirit courtesy of Sterling Harrison. Each one should
have had a spot on the top ten pop charts in 1981 but in this case this album would probably be legendary in
another way. This music will drive every 80s black pop enthusiast wild. When after all these powerfully driving pop
and dance tunes, with a more relaxed reggae groover in between, your feet ask for a break, just go for a sweet soul
ballad in the best Barry White style. Smooth and slick, yet still performed with depth and spirit, such a song might
calm you down until the next dancefloor sweeper will hit your ears. The overall atmosphere of this record is truly
happy and enlightened. Good vibrations pour from every note, played here by a team of highest order musicians. A
perfect record for 80s black pop aficionados who admire Billy Ocean's 80s albums for example. This record is a
typical example of the contemporary pop music of its era, but this is what makes it even more charming. And the
songs will definitely stick to your mind after just a few spins without losing their fascination. A true gem for true
music lovers.

* Belia Winnewisser is returning to Präsens Editionen with Radikale Akzeptanz. The record is her debut album as a solo artist and it marks her second release on 'the curious label arm of Lucerne's zweikommasieben magazine.'

* Radikale Akzeptanz, a furious amalgamation of (synth-)pop references and more abstract sounds, combines long running traits from Winnewisser's practice in various band projects with rather new interests from her studies in sound art. Thus, bittersweet off-pop-hymns with bubble-y melodies can be found next to austere examinations. Add a good amount of time spent in clubs and you get a Skull Disco-esque banger at the end of this gutsy album.
The title Radikale Akzeptanz—or radical acceptance—stems from a concept in evidence-based psychotherapy. Even more than the concept as such that is about accepting uncompromisingly your situation, however, it is the expression's mere sound that is of interest to Winnewisser. Homey and adventurous, gentle and challenging, at ease with itself and full of tension(s).

Edition of 300copies, artwork (incl. booklet) by Vinzenz Meyner.

Quotes:
'Interesting stuff! It has a surprising bit of post-rock language in it to my ears, just executed with electronics.' - Byron Westbrook (Hands In The Dark, Umor Rex)
'A pleasant listen! Especially 'III,' 'Trapped In My Mind,' 'The View' and 'Albasty.' Also, found that the idea behind the title is weighty to the extent it can be related to relevant issues of today's ways of interaction!' - Arcagelo de Castris (Macao, Dance Affliction)
'Sounds like John T Gast, Caterina Barbieri and Klara Lewis making tunes on a space ship!' - James Marrs of Laura Lies In
'This is really good.' - Hypermedium's Timos Alexandropoulos 

Press / Promotion*Airplays on NTS Radio by Flora Yin-Wong, Hypermedium and more, airplay on Radio Raheem by Arcagelo, feature on Noods RadioVarious (release) events upcoming, incl. a show at London's Café Oto, an exhibition in Lucerne and gigs next to Lorenzo Senni, Puce Mary and more.
Premiere of 'WAHDWTH' on Bizaarbazaar.PE / zweikommasieben mailing list = 2000 subscribers

Social NetworkingPräsens Editionen - Facebook = 550 likes / Insta = 500 / Spotify = 350 subscriberszweikommasieben - Facebook = 5200 likes / Insta = 2000 / Twitter: = 680 followers

Panea 004 is returning with a personal point of view by Aleexe. Expect housey atmospheres, some broken beats with powerful baselines and a delightful downtempo trip. This being the first of a trilogy of releases by Panea artists.