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Gregorio Gomez aka Gladkazuka is a mythical figure from Medelli´n's underground nightlife, contributing since pre - smartphone ages with energetic live sets to the celebration of life in the convulsive surrounding of the Colombian city. After playing and touring alongside Matias Aguayo with 'The Desdemonas' and contributing with the club smash hits 'Ihr Euer' and 'Futuro Chaos' to the 'Solidarity Forever' series on Co´meme - Gladkazuka is back with a full EP in which highly emotive and sensual electro dance fantasies culminate to 'The Drop'. Gomez' creations are nocturnal and lush, utopian and melancholic - underground dance pop that would be mainstream in a better world.

However these songs were created in a place where an unseen destruction of nature is taking place, and - in mids of times of supposed peace agreements - social leaders are being assassinated under the eyes of a new right wing government. Meanwhile the societies are fragmented towards a growing individualism and competition, exchanging dignity for an ideal of consumerism.
In this chaos, music becomes the celebration of life.

'Naturalia', the first track of the EP reflects this with its lushness and its jungle - like humid warmth, 'Flancing' with its happy flying fishes and 'El Coral' with its jittering electric eels.

'The Drop' is decontextualized Electro and New Wave - echoes of The Cure and The Other People Place dissolving into utopian dreaming, longing for better times, like vampire bats, hanging in their caves, waiting for the night to come.

"Incarcerated deejay touts Sikka Rymes as next big thing in dancehall" say the Jamaica Star headlines; referencing Vybz Kartel and Sikka's cousin Shawn Storm, all of Portmore's Gaza Nation dancehall royalty...........

So then we have Love Di People EP: Sikka's first solid gold release after strings of strictly Vevo hits ('Life of the Party', 'Nuh Change') lie between his previous hook up with producer Genesis Hull (on Duppy's 2016 Fresh Clipp'd). Genesis' prods are pure widescreeen sub-tension and speed - now of Mexico City, he carries Sikka's flow into gleaming new future chrome jobs of the dancehall chassie, the madness of 00s dancehall returns for global review. In This Time Of Many Dancehall Think-pieces: Live Long And Grow Strong.

The weight of two year's of Drive demos caused Miro Tape to spontaneously burst into the world on Bokeh last year, we told you it was just a mixtape - Love Di People is the first wax seal on the Bokeh x Duppy Gun relationship, and not the last one of 2019. Founded by Sun Araw and M. Geddes Gengras, Duppy Gun pairs under-cover West Coast producers with Jamaican vocalists like G Sudden, Early One & others from their island HQs in Portmore & Spanish Town.

A superb release resuming all the Bloody fist story with sound ! And tune exists again ! MUST HAVE, especially for those tunes from Overcast, Paul Blackout, Memetic and Hedonist ! Well the full EP is EPIC !

Die Neue Kitsuné America-compilation Mit 18 Tracks Zwischen Pop, Indie & Electro. Kurz Nach Eröffnung Des Neuen Kitsuné-flagship-stores In New York Im Herbst 2018 Erscheint Vol.5 Als Limitierte Erstauflage In Kooperation Mit Der Nba (national Basketball Association), Der Karten Aller 18 Künstler Im Basketball-style Beiliegen.

The New Creation were a local Los Angeles group who during 1974 recorded the H.B. Barnum produced 'The Fish Song' a tribute song dedicated to the door to door fish sellers of Whiting H&G. With the flipside again a tribute song dedicated to Elijah Muhammad the leader of Afro-American religious and political movement ,The Nation Of Islam. At the time of release the song received little radio airplay due to the radio stations deeming it a commercial song and demanding spot payments for it's promotion. Undeterred the group self promoted and distributed the 45 amongst the local community and the audiences at their shows. The group continued to perform right through until the early 1980's often sharing the stage with Philadelphia's The Delfonic's, L.A,s own The Youngheart's, New York's Cool & The Gang (who also recorded a LP track dedicated to Whiting H&G). Fast forward to the present and 'The Fish Song' and it's flipside 'Elijah Knows' has become a very desirable and sought after 45 (although most copies of the few copies found are not in great shape) amongst Lowrider, Crossover, Sweet and Group Harmony collectors both in Europe and the 45's native USA.

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Under pseudonym "Jean Eon,' Johnny Quinn Alston is the artist behind the project _ - / _ EON, a performance endeavor born out of an intense personal and familial experience in 2011.

_ - / _ EON is a portrait of the various manifestations of energy throughout the wide span of time and space we inhabit, from human experience to multidimensional mystery, as well as a peek into the many emanations that eternal power can create.

Jean Eon is merely a human form attempting to channel what bits of existential mystery he can interpret into sensual experiential form. He aspires to be as comfortable as possible with existence as a flawed, but striving, human being, and is not to be confused with the immortal and cosmically balanced EON itself.

_ - / _ EON is larger than Jean, and the EON is also you, we, and everything in between. We are all already avatars of the EON, and this project makes an attempt to shape truths of the great æther from which we are carved and will presumably* return to, however bittersweet or glorious that eternal promise may be.

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* do we ever really die

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The music released under NEW YORK TRAX 08 results from physical expression as . _ - / _ . EON focuses on channeling physiognomy over dictation. The EP explores pre-existing textural combinations discovered and rescued from stone as opposed to built step by step.

The initial inspiration for this EP arose from driving past randomly unfolding rural scenes. A majority of . _ - / _ . EON's resulting work similarly gravitates towards a series of landscapes discovering each other rather than 'arrangements' played on repeat.

In the back of your head, you know those blinking aircraft warning lights on towers, but how mysterious and ominous they look before you discover what they really are On the surface, this project represents the sound of being struck by the sight of something for the first time, and the ominous, transfixing, thrill of not knowing what it is.

Machine acid trax on the EP titled 'Gone Fishin''.
Getting lost, escaping a life that got you sick and tired, is sometimes necessary.
This EP combines energetic (A1), disorienting (A2), and heavy-hearted (B1) vibes to provide a getaway from
the ordinary, expressing an overall nasty, acidic feel.
Limited edition, black vinyl.

'Sometimes you wake up and you've just lost the plot. Is life great or is it not Should I eat more fruit Is buying diamonds rude' Ca$hminus are asking all the wrong questions. After their debut on Bordello A Parigi last year and a recent appearance on Credit 00's Rat Life imprint, the Belgo-Australiana duo unleash a collection of their wildest works to date. The package opens with 'Atlandwehr', a jaunting affair that could have risen from the filthy Berlin Landwehr canal, only to dissolve again after six frenzied minutes, leaving nothing but a trace of bubbles on the skanky surface. The gritty 'La Foire', a grimy take on Belgian new beat, fuses raw, stepping drums with a playfully gnarly synth line. Luckily 'De Vlasmarkt' is lurking around the corner: this is the awkwardly joyous soundtrack to an annual phenomenon in Ghent, where young and old folks gather on the 'Vlasmarkt' square after a heavy night of boozing, to collectively gaze at at the sun coming up whilst drinking Irish coffees until they drop. G-funk meets electro on the flipside, where Cora from Chengdu showcases her vocal swag on '' to a backdrop of supreme subbass and rattling beats. Man of the moment Cornelius Doctor of HARD FIST fame (the adventurous imprint he runs with Tushen Rai) delivers a beast of a rework that both hypnotizes and elevates. The acapella leaves you in charge of your own destiny.

Both Stephen Vitiello and Taylor Deupree are seasoned collaborators. Each new collaboration is a new context, a new conversation and a unique opportunity to learn. Vitiello has worked with musicians such as Scanner, Steve Roden, Ryuichi Sakamoto and Machinefabriek. As an artist often
represented in galleries and large scale sound installations he has also had the frequent opportunity to work with visual artists from the likes of Tony Oursler to Julie Mehretu and Joan Jonas. Deupree has a long history of collaboration including early works with Christopher Willits and Richard Chartier as well as Marcus Fischer, Ryuichi Sakamoto, and Bon Iver's S. Carey. Fridman Variations is Vitiello and Deupree's third release
together and continues their tradition of exploring their unique form of experimental improvisation.
Stemming from a live performance at NYC's Fridman Gallery, Fridman Variations was co-produced by the gallery and will remain as part of the gallery's publications. Fridman Gallery is a visual exhibition space that also boasts a unique dedication to experimental music through their annual New Ear Festival, at which Vitiello and Deupree performed and recorded the main piece for this album.
Side A of Fridman Variations is the live recording, edited for vinyl while side B contains two pieces made with some of the same source material as the live performance and intended to be related, but entirely new, works. Guitar, modular synthesizer and a small tape synthesizer are at the heart of these songs. The improved layers draw on buried melodies and hint of feld recordings and found textures. Not overly melodic, not
overly noisy, Vitiello and Deupree like to fnd the edge between the pretty and the obscure, often suggesting more than laying their intentions bare. This type of sound is one that the duo often explores as an opportunity for Deupree to adventure beyond his melodic comfort zone and for Vitiello to work and experiment with new instruments and how they interact with his signature guitar.
One of the biggest inspirations to the artists for this work was the hushed and dreamy state of the audience during the performance. The late-night ambience added to the immersive quality of the surround speakers and helped to channel creativity and a sense of sharing
Both artists feel that recording live performances is an opportunity to capture a unique moment that simply won't happen again. Despite a performance's faws or imperfections the energy and interaction is a special moment in time for the performers and audience. The opportunity to not only document it for the listeners who were present but also to be able to share the moment with those who weren't there is a positive one.
To further be able to expand on the ideas in the controlled studio environment serves to enrich the experience and further the communication.

Liška, the Czechoslovakian word for fox. Beguiling in its beauty, cunning in it's charm. Said to be one of the most intelligent animals on the planet its global family consists of thirty-seven varieties; all of them recognised, respected and feared for their persuasive, creative, resourceful and elusive nature. The Liška we will talk about today is no exception to these hereditary rules and within the grooves of this record Finders Keepers present an 'elusive' musical artefact that best exemplifies every facet of this composer's animal namesake.

Had he not been born in the small Bohemian town of Smecno in the early 1920s the story of The Fantastic Mr. Liška might have well taken a different course. Alternatively, fettered by the hampers of communism, this lifelong resident of Czechoslovakia would never quite find his seat at the same table as the likes of John Barry, Ennio Morricone, Michael Nyman and Stanley Myers, nor drop enough phonographic breadcrumbs to track his legacy. But having waited patiently behind the borders of the wider landscapes of international cinema, Liška's musical brood, spanning multiple stylistic decades and generations, has now started to walk proudly amongst his would-be, latter-day compeers. In an era where music lovers have almost become immune to adjectives like 'lost', 'rare' and 'unreleased' in a climate where previously lesser-known off-kilter master composers such as Vannier, Kirchin and Axelrod have become widely revered, it is perhaps the perfect time for discerning listeners to advance above the feeding trough and seek out this truly pioneering and revolutionary Eastern European composer. Rivalled only by the likes of Krzysztof Komeda and Andrzej Korzynski in Poland, alongside Alexandr Gradsky in Russia, and often splitting workloads with fellow Czech composers like Luboš Fišer, Zdenek Liska's filmography of over almost 300 fully formed movie scores virtually eclipses the achievements of these socialist era luminaries. Respected unanimously in both Czech and Slovakian by studio bosses, producers, directors and actors alike Liška is widely known for his ability to take the existing energy in a reel of film and literally change the polarity to suit his own interpretation while maintaining the full support from his 'client' who would in-turn end up working under this composer's creative direction. Not only was Liška a genius of emotive orchestral and coral composition, his grasp on small group arrangements and intimate, minimal scores set him above the competition. By utilising primitive sample techniques by 'looping' a films existing ambient noise, or rearranging found sounds and dialog into subtle melodic arrangements, Liška would independently develop his own techniques which had simultaneously become known in Paris as musique concre`te. It is a direct extension of these experiments that saw Liška also draw parallels with Walter Branchi (Ennio Morricone's main electronic sidekick) in Italy as well as Daphne Oram in the UK, making Liška a relatively untravelled pioneer of early electronic composition and sound design due to his unlikely global environment. Imprisoned, preserved or reserved; time has been kind to Liška's music.

As a first listen it was 2 am, 46° in a village Portugal, in a Convent, after a good night out. That moment stroke me from being magic, the energy was perfect, we were laughing and relaxing amongst friends. That listen was pushing the magic further because of the surprises it has all along the journey. A first groaning A simple rhythm Soft realms Noisy Round sounds Type machine sounds, of a sampled hi hat that never reveals, cut cut cut cut. Just because it's fun to not reveal it. And put that fist cut part of the upcoming timber that is not 'yet' one. It's like if the drum pack was used the wrong way, which is a great way. Flipping. (=to flip something) Belp has this ability to bring the most horrible samples in front, and turn over your mind to enjoy what first sounds like 'horrible'. Facade. 'Crocodile' is flipping it over. Rhythmically vibrating, ears are wide open, full attention. I'm into the non-repetition. Track 'Crocodile's call reminds me of the call in 'Klabb' by Deena Abdelwahed as well as within its playful change of tempo, of notes. Who cares The album is like a randomly composed pack. It is not random. It's flipping something, and I like that disturbance, it's what I want to hear. It is alive, through composition, arrangements, falsely randomised, non-arranged, it is a trick; it is the drunk clown playing 'endless preparations for a ceremony' and 'catch'. Not bothering about anything reveals a deep understanding of music and of arts, a crafted album in details. It is years of listening, it is years of challenging ones ears, and putting it all together in this piece.

After the impressive album from the label owner MTD, Methodical comes backs with a huge split vinyl between Forward Strategy Group and Rommek. Artists who do not need any presentation thanks to their work on label such as Mord or Blueprint

Wolfskuil for its next instalment welcomes Ambivalent and Physical Therapy's new collaborative project PTA. Ambivalent (Kevin McHugh) has been a force for good techno for over a decade and his extensive discography includes appearances on Cocoon, Hotflush, Kompakt and Ovum. Physical Therapy (Daniel Fisher) is Allergy Season label head and resident at NYC's Nowadays. He has released on labels including Delft, Liberation Technologies and Unknown to the Unknown.

Sodom 10B... Represses of some of the praised tunes from Sodom 01 to 09.

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.

DELUXE VINYL EDITION!!!
This release does exactly what it says on the tin! "Twenty two tunes live from Tokyo" was recorded by punk legends TOY DOLLS at Club Quattro in Tokyo on the 27th of December 1989.

For the first Sprechen foray into vinyl we are pleased to have been able to coerce Justin Unabomber out of his self imposed studio retirement & 'borrow' him briefly from being a Manchester restauranteur so that we can drop 4 previously un-released cuts, tailor-made for the very dance floor of the legendary Electric Chair!

No 10 minute, Ableton stretched, kick-hat-snare kinda 'edits' here...just 4 powerhouse pumpers designed for maximum fist pumping/camo netting pulling, basement boogyism for late night jackers & early morning style crackers.

4 serious units that many will have lost their shit to on the dance floors of The Roadhouse (RIP) & The Music Box (RIP again!) as well as that annual gathering of misfits & dandies, The End Of Year Riot.

Exclusive to a limited run on vinyl with screen printed sleeves & hand stamped centres.