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First time on vinyl
10th Anniversary of the Breaking Bad TV Series
5 x 10' vinyl in 5 different jackets, 1 relating to each season
Each 10' is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl!
Lift off box-set with Breaking Bad logo on front with special drip-off varnish
Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge
Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad
One run only of this very exclusive BOX-SET
Individually numbered the manufacturing qty for Worldwide is est 4000 with 800 for the UK - we could get some more
PLEASE ORDER BY 12.00 TUESDAY 25 SEPT TO BE GUARANTEED YOUR QTY
Available worldwide
Weight ESTIMATED 950g
All the essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others
Various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more
This release will be heavily promoted on social media, including the social media accounts of Breaking Bad (facebook, over 11 million followers!!!).

MOV proudly presents the OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) 5 x 10' BOX-SET!

A TOP PRIORITY RELEASE with WORLDWIDE RIGHTS!

So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl!

Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018.

The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET!

This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl!

OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) is presented in a beautiful Lift off box-set with Breaking Bad logo on front with special drip-off varnish. The box-set includes a selection of defining songs, devided in five 10' records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10' records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!

Breaking Bad is an American neo-western crime drama television series created and produced by Vince Gilligan. The show originally aired on the AMC network for five seasons, from January 20, 2008 to September 29, 2013. The series tells the story of Walter White (Bryan Cranston), a struggling and depressed high school chemistry teacher diagnosed with lung cancer. Together with his former student Jesse Pinkman (Aaron Paul), White turns to a life of crime by producing and selling crystallized methamphetamine to secure his family's financial future before he dies, while navigating the dangers of the criminal world. The title comes from the Southern colloquialism "breaking bad", meaning to "raise hell" or turn toward crime. Breaking Bad is set and filmed in Albuquerque, New Mexico.

Walter's family consists of his wife Skyler (Anna Gunn) and children, Walter, Jr. (RJ Mitte) and Holly (Elanor Anne Wenrich). The show also features Skyler's sister Marie Schrader (Betsy Brandt), and her husband Hank (Dean Norris), a Drug Enforcement Administration (DEA) agent. Walter hires lawyer Saul Goodman (Bob Odenkirk), who connects him with private investigator and fixer Mike Ehrmantraut (Jonathan Banks) and in turn Mike's employer, drug kingpin Gus Fring (Giancarlo Esposito). The final season introduces the characters Todd Alquist (Jesse Plemons) and Lydia Rodarte-Quayle (Laura Fraser).

Breaking Bad is widely regarded as one of the greatest television series of all time. By the time the series finale aired, it was among the most-watched cable shows on American television. The show received numerous awards, including 16 Primetime Emmy Awards, eight Satellite Awards, two Golden Globe Awards, two Peabody Awards, two Critics' Choice Awards and four Television Critics Association Awards. For his leading performance, Cranston won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series four times, while Aaron Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series three times; Anna Gunn won the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series twice. In 2013, Breaking Bad entered the Guinness World Records as the most critically acclaimed show of all time.

Moodmusic is ready for release number 200! After more than twenty years of output and dedication the label is now more than proud to offer the next release underlining the history of Moodmusic. For catno. Mood200 we gathered together three outstanding artists who follow up their first release under the name MKS. We are talking about none other than label boss Sasse himself, Sandrino and Langenberg. After the great success of the first MKS release it was only a matter of time till the three producers come back with some more black gold. The main track 'II' is coming on vinyl. Onesided for your pleasure.

A generous slab of finest Canadian Soul, one of the funkiest pieces of wax to come out of this country with ex-Jamaican talent Earle Heeedram aka 'The Mighty Pope' providing the vocals, originally released on the small 'Heart' label, with no industry or much promotional support the disc sank without notice, now being one of the most in demand 'Northern Funk' tunes on the Rare Soul Scene, available here on a nice great-sounding reissue 45!

Friend and supporter of the Bass Cadet team, Jenifa Mayanja steps up for the new chapter of the Orbits series. She offers three very personal tracks, carefully crafted, evolving in their own space-time, showcasing a crossbound vision of deepness and soulfulness. Partner in life, DJ Jus-Ed is also here on the remix duty. This release definitely wraps up a family affair about good vibes !

Digging 80s pop obscurities has long been part of Emotional Rescue's mission statement and the unearthing of this cover of the Talking Heads classic by the little known, Italian new wave band Politrio for a limited 7" press is a worthy addition.
Formed by guitarist, songwriter and producer Giorgio Canali alongside Massimo Sbaragli and Roberto Zoli for the short-lived project. With just one album released of new wave, pop rock, it was their contribution to an Amnesty International benefit LP that spawned this excellent version of Byrne, Franz and Weymouth penned classic. Coming out of the CBGBs scene of post-punk downtown NYC, the song, released on their aptly titled 1977 "77" debut album, has gone on to become one of the defining songs of it's time. Further enhanced with their mesmeric performance in the 1984 Stop Making Sense film and album, it has been ripe for reinterpretation. Politrio's version keeps and captures much of the original, but with their own swing, rhythm, Italian-English vocal delivery, rock guitar, bells and keys. While remaining instantly recognizable, this is a unique version, with the straightened drumming giving it some added punch and kick.
This is backed by a systematically cool, delicate but additional re-edit by the Berlin based Italian duo Dama and Budino aka Double Wave. Rising names in the Berlin scene they are part of the Oscillator collective, label and parties and can be heard at some of the best parties right now.
Letting the instrumental interplay of funky, slap bass and rock guitar have more time to shine, the edit builds and drops, dubs and builds again to the vocals and lyrics known so well, offering an alternative sing-a-long for the more wonky DJs and dancers out there.

john Yancey' Is The Second Album Illa J Will Release On Jakarta Records, Following The Successful
Release Of Home Last Year. The Project Is The Second Collaboration With Los Angeles
Based Producer Calvin Valentine, Who Once Again Contributed All Of The Production For The Long
Player. While home' Was Largely Inspired By Illa's Native City Of Detroit, john Yancey' Now
Focuses On His Time In California.
(this Album Is) Definitely More Personal Than All Of My Projects, Nothing Specific, But I Basically
Talk About About The Ups And Downs Of All My Relationships Over The Past 10 Years, Still Grieving
About My Bro, Etc. This One Is Trippy Because The First Single Comes Out A Day Before My 32nd
Birthday And The Original Title Was 32 Because This Is A Special Year To Me Because My Brother Died
At That Age So It Had A Lot Of Meaning. But It Makes Sense That It Ended Up Being Called John
Yancey Because For So Long In My Career I Felt Like I Was Tryna Be Me And My Brother, And I'm Finally
At Peace, Like I'm Not J Dilla's Younger Brother Illa J, I'm James Younger Brother John.'
While The Story Of The Album Might Have Changed, There Are Certain Continuities As Well, Built
Around The Strong Foundation Of The Combination Of Illa's Voice And Calvin Valentine's Soulful
Sample Based Production. The Previous Album Already Saw Illa J Incorporate More Singing Into
His Raps And He Goes Down This Path Even Further: i Wanted To Emphasize The Singing But Use
More Of My Natural Singing Voice, As Well As Rap More Than On Home.' In Regards To The Music,
Calvin Wanted To Make The Project Sound a Bit More Polished Where Home Was Purposely
Rough Around The Edges.' Still, The Production Remains Soulful And Rich With Layers To Leave Things
Interesting For The Listener, The More Spins You Give The Record.
The Cover Was Created By Robert Winter, A Cologne Based Photographer Who Was Also Behind The
Visual Appearance Of Home.

We are excited to release a 6-track EP from San Francisco based DJ, producer, and remixer Sepehr Alimagham. The San Jose native has been a fixture in the Bay Area house and techno scene for quite awhile now — on the dance-floor, behind the decks, in the studio, or all of the above. Early influences like Boards of Canada, Aphex Twin and post-hardcore bands later in high school started his affinity for off-kilter, underground music. In 2017 he began performing live PA sets, utilizing his immense production backlog to perform vivid and electric sets, from potent dance music to psychedelic and esoteric soundscapes.

"Body Mechanics" is six tracks of acid drenched dance music that ebb and flow from floor filling club thumpers to more cerebral soundscapes. Inspired by the new wave of the acid sound as well as nostalgia from his formative years in the San Francisco music scene, 'Body Mechanics' takes a functional, yet psychedelic approach to 303 styled techno and electronica. Attention demanding basslines, indiosyncratic structures and hallucinatory atmospheres provide an effective framework for Sepehr's vision. The themes of the track titles take root from a series of dreams Sepehr had with a common atmosphere of strange characters and textures, akin to scenes from David Lynch's 'Twin Peaks'. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket featuring a dark and inviting cyborg hand holding a rose designed by Nicole Ginelli.

Kamazi is a freshly coined moniker of Andy Hart, the founder of Voyage Recordings and now contributor to Deep Sound Channel."Inner M31" premieres three tracks rooted in the world around us. The whispering "Aerocentric" introduces the EP. Broad sonorous strokes are met by bubbling bass and skittering beats as Hart creates a work of pure immersion. Drums are bolstered in "Flight Inertia." Amidst the glazed rinses and metallic sheen runs a line of deep melody, beautifully fragile strings cutting through the trembling resonance of air and speed. The finale comes in the form of "LOx." Returning to nature, Kamazi crafts an ambient work of embracing warmth, shimmering chords and stargazing hope. From the bucolic to the urban, Hart sculpts atmopheric and intimate music with a tenderness of touch that is simply unique. First run on solid blue vinyl.

Ever since Onom Agemo & The Disco Jumpers broke the dreaded curse of the difficult second album by releasing "Liquid Love", a cocktail so spicy and delectable that it could warm the cockles of the grumpiest man alive's heart, even in the most Arctic conditions, everybody wondered how the Onom crew could top that one. But now you have an opportunity to whip out your "Magic Polaroid" as proof that this wasn't an impossible Project. Never before has the band so successfully captured their full-on live sound as they do here, thanks to three days of recording frenzy at Daniel Nentwig and Sebastian Maschat's Butterama studio, a haven of analog hardware hidden in a remote part of Berlin's Neukölln district. The exploding kaleidoscope of styles that make up this album, perfectly reflected by the stunning cover artwork from Nick Henderson and photography by Christoph Rothmeier, means that they can no longer be confined to their early description as an "Afro-Funk Quintet" or merely described as a lively tribute to the artists which have influenced them: their sound is 100 per cent pure uncut Onom Agemo, even though every track feels like a new beginning. The presence of a charismatic in-house vocalist who brought her own lyrics along has also boosted their confidence considerably and provided a further knock-out punch to their onstage performances.
And no one will be disappointed as soon as the first bars of "The Trumpets Of Denmark" stomp on stage like a boisterous fanfare, with Johannes Schleiermacher's impressive wall of sound production making the musicians sound like a much bigger band than what their line-up suggests (with Maria Schneider from Andromeda Mega Express Orchestra adding some extra percussive clout) and just the right amount of dizzying cross-rhythms to steer it away from potential bombast. When Onom Agemo's powerhouse vocalist Natalie Greffel starts chanting what at first sounds like a string of Onomatopoeia, it soon becomes clear that she's laying down her manifesto for a nostalgic Space-Age yet to come, with a few key words serving as Mantra (Focus, patience, tears and creation): an invitation to drive off the Information Superhighway and its endless litany of polite noises, to redirect our gaze inside ourselves and learn to understand and sometimes question how others perceive us.

"In 2016, 21 years after Acid Mothers Temple & The Melting Paraiso U.F.O. were founded in Osaka, Japan, there was a major shift in the line-up and "Next Generation" was added to the bands name. We now view the first 20 years of the bands career as chapter one in our story, and we are now turning the page to start chapter two. In 2018, it's time to re-record our classics with this new line-up, we just opened the door to the next stage!' (Kawabata Makoto 2018)
 
Twenty four years into their existence, Acid Mothers Temple & The Melting Paraiso U.F.O. have circled the globe at least a few dozen times, released over 100 albums in their various guises and played thousands of shows.
 
In recent years, they've experienced seismic line up changes which has given them yet another new lease of life ... or a rebirth if you will. Original members Kawabata Makoto (guitar, speed guru) and Higashi Hiroshi (synthesizer, noodle god) are now joined by Jyonson Tsu (vocal, midnight whistler), Satoshima Nani (drums, another dimension) and Wolf (bass, space & time) and as anyone that has seen the new line up live will testify, things have gone even more cosmic ...
 
'Reverse Of Rebirth In Universe' sees the band return to their old label Riot Season for the first time since 2012's 'IAO Chant From The Melting Paraiso Underground Freak Out' (CD still available). Both label and band have gone on some wonderful journeys during that time apart but both felt the stars were finally correctly realigned to renew their partnership in all things weird.
 
Long time AMT fans will immediately recognise some of the song titles listed on the album sleeve here. But the songs themselves have been reworked and transformed far away from their original versions. New boy Jyonson Tsu's quiet, almost whispered vocals bring a whole new aura to proceedings, despite the familiar riffs hidden in the depths below them. It's so laid back in places it's practically horizontal, with only occasional trademark piercing guitar squeals threatening to destroy the peace and calm. The whole of side two is taken up with the twenty minute epic 'Black Summer Song' .. and if this is an indicator to where the AMT mothership is heading going forwards we're all in for another fucked up and magical ride.
 
If you stepped off the AMT ride over the years, possibly overwhelmed by the amount of releases they were once firing out ... it could be time to step back on it and check out where they're currently at. In a world that's more messed up than ever, we could all use a little break away from the norm, and nobody takes you as far away from the norm as possible as Acid Mothers Temple & The Melting Paraiso U.F.O.
 

"In 1978, Nova performed for Obama. Well, kind of: Nova was the band for the Punahou School prom in Honolulu, Hawaii, and a young student named Barack (known then as 'Barry') was in attendance.

Backtrack to 1976, and Nova was the opening band for Donald Byrd at the nearby Blaisdell Arena. The day was Sunday, June 27. The following day, Isaac Hayes would perform on island for the admission price of $1.

Nova, led by singer Checo Tohomaso, was one of several go-to party bands during the golden era of Hawaii funk and soul music in the mid-1970s through early 1980s.

The band's infectious gospel-funk-disco can be heard on their sole release, a self-titled 1980 LP that feels like one big party recorded live in the studio. (Check out the Marvin Gaye-inspired 'I Feel Like Getting Down' on the 2016 'Aloha Got Soul' compilation on Strut Records).

The story is all too familiar, however: funk band releases LP, the music goes dormant in years to follow, and today original copies sell for hundreds online.

Not long after the album's 1980 release, Checo met Marvin Gaye, who was living on Maui (where George Benson also resided). Shortly after, Marvin invited Checo and his counterparts to join his multi-city tour across Europe. Videos of Checo rocking keyboards, percussion and singing background vocals for Marvin Gaye's last European tour can be found online.

Checo, born in Florida yet raised in lush Manoa Valley as well as Okinawa, Japan, now resides in Vancouver, Canada, where he leads the VOC Sweet Soul Gospel Choir and continues to deliver his signature sound: high energy, positive, 'sweet soul' music.

AGS-7010 features two non-stop groovers with a 7' edit by Roger Bong on the A-side. LP reissue in the works!"

This is the second release from the Parisian label Aperçu, which has uncovered European producers for this compilation featuring 4 titles.The story of this compilation came about gradually, with one thing leading to another as the artists involved met up all over Europe and their musical affinities became apparent. Two years after their EP Stara Zagora,Metshka and Roman Delore are issuing the second release of their label, Aperçu, promoting three producers well deserving of attention. Ben Kaczor, the resident DJ at the legendary, intimate Elysia Club in Basel, Switzerland has his own label, KCZ, and is an adept of dark, sharp-edged sounds such as in 'Navel,' which plays out like a hypnotic, melancholy adieu but with well-defined kicks.Temiri, a native of southern France having spent time in Berlin, now lives in Switzerland as well. With the Swiss mountains and Geneva's rave parties shaping his sensibility, he created 'Love Intentions' - a soft gift to the world. HiromaKeo, a Lisbon-based French producer, champions a wide-ranging, contemporary approach to electronic music. After three years spent comanaging the collective and label ESITU (between Lille and Brussels), he has started a new project in Portugal: Vilamar. In 'SonheiContigo' we find his signature precision and the Japanese influences he likes.
Last but not least, Metshkaand Roman Delorecontinue to appear at parties and events in Paris and to work on hybrid events through their Pauza collective. At the crossroads of techno, ambient and experimental music, here they give us 'Ocre,' a work of slow violence.

LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Piano Viberations' 'small group jazz featuring piano and vibes with rhythm' makes for a gorgeous Francis Coppieters showcase, surely one of Belgium's best-kept musical secrets. Released in 1975, and arguably the most low-key of the KPM and Themes records we're re-issuing, this is easily our current favourite.
'The Open Highway' is the appropriately-named opener, and immediately demonstrates Coppieters' dexterous interplay between piano and vibes in assured, joyous fashion. The shufing bossa of 'Sales Notes' is a jaw-dropper, well-mined by samplers with impeccable taste. The mellow head-nod drum-break
that is 'Funky Chimes' brilliantly demonstrates Coppieters' quiet majestic side with its slow-motion funk rhythm with beautifully refective notes throughout.
The upbeat and joyful 'Cross Talk' closes out side A. Vibes and piano are defnitely at the heart of the arrangement here. The quick cut movement of 'Piano In Transit' is another gem, driven principally by piano but those vibes along for more than just the ride. On a more gentle, elegiac note, 'To Shearing With Love' is a warm, slow, romantic piece in the style of George Shearing. It's
plaintive and sublime.
Piano Viberations is one of those rare library records the original description of which makes as much sense now as it did when it was frst released. Piano and vibes with rhythm indeed.
As with all ten re-issues, the audio for Piano Viberations comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

Strut present the frst ever international reissue of in-demand '80s zouk LP 'Las Palé'
by Feeling Kréyol, out of Guadeloupe.
Producer Darius Denon explains: 'This was 1988 and bands like Zouk Machine and Kassav
were huge. I had met producer Frankie Brumier when I was performing at festivals and
parties and he wanted to record a girl group so we began scouting venues, mainly around
the Grande-Terre district in the island's capital, Pointe-à-Pitre. I ran auditions and picked out
the best three voices - Fabienne, Leïla and Yolande. One was singing in a choir and none of
them had met each other previously.'
Recording at a studio in Le Gosier, Denon trained them to sing the songs and spent around
6 weeks recording the album: 'I gave them a couple of compositions that I had planned for
my own solo album. I remember that we all got on really well; the sessions were fun.'
The title track 'Las Palé' was the lead track pushed as a single and achieved modest
success domestically. The band did a few promotional performances in the island's
discotheques but, in the end, the album stalled. 'Studios were expensive and there was
no cheap technology as we have now. So, the producer ended up cutting corners with the
production - the mix was not completely fnished and the voices were not synchronised
right to some of the tracks.'
For Denon, he continued his career to the present day, successfully moving to Paris and
breaking through with the hit 'Je t'emmene' in 1998. Meanwhile, although 'Las Palé' turned
out to be Feeling Kréyol's only recording, the interest in the album has grown in recent years
with the title track's lo-f charm fnding its way into sets by Invisible City and onto Red Light
Radio and more. This frst full reissue is remastered by The Carvery and features full original
artwork along with a new interview with Darius Denon.
KEY POINTS:
- First ever reissue of sought after original zouk LP from 1988
- Sleeve notes by modern day zouk star and album producer Darius Denon
- Remastered by The Carvery
- Tracks already cult classics through plays by Invisible City, Motor City Drum
Ensemble and more
FOR FANS OF:
Sofrito, Digital Zandoli, Kassav, William Onyeabor, Soundway, Invisible City, Motor
City Drum Ensemble, Disques Debs, zouk, Haitian compas, Gilles Peterson, Darius
Denon, Les Vikings

Russian producer Nocow returns to Rekids with an enthralling full-length album entitled 'Atoner' this November.

Real name Aleksei Nikitin, Nocow is known for his versatility, producing a large body of genre spanning work on labels like Clone Royal Oak, Figure, Fauxpas Musik, Gost Zvuk and Styrax. The St. Petersburg-based producer debuted on Rekids last year with his 'Samaya Dolgaya Noch' EP, a mellow release complete with vocal driven cuts as well as 2-step rhythms, and now returns with a myriad of productions in a fourteen track album entitled 'Atoner'.

'Atoner' opens with an eponymous track that gently unravels with soaring synths and subtle percussion before Nocow's voice emerges alongside twinkling atmospherics in 'Complie'. Throughout the long player are also intricately produced short tracks sitting between the two and three-minute mark such as looping vocal number 'Dancerecter', the melodic and rattling 'Leto' and ominous 'Delore'.

Ostanovitsa' is a murky offering featuring a meandering organ riff, leading into the pitter-patter drums and serene chords of 'Starveme (feat. Tayut Ogni)'. 'Come Along' is a crystalline and otherworldly experience from start to finish, whilst 'Melting Lights' is comprised of echoing, subterranean sounds, making way for reverberating snares and metallic stabs in 'Standalone'.

Husky murmurs and soothing notes then make up 'Neva', moving into the syncopated beat and idyllic chord sequences in 'Can't Get Enough' ahead of 'Stonecold' and its icy aesthetic. Finally, the album reaches a mesmerising conclusion with the spellbinding 'Footer'.

Itiberê Zwarg is an award-winning Brazilian bassist and the longest-serving member of Hermeto Pascoal's ground-breaking ensemble 'O Grupo'. Since their first meeting in 1977, the two have been closely collaborating to create a unique musical language: a genre-defying polyharmonic, polyrhythmic music, now widely studied by musicians and musicologists alike, known as 'Universal Music'.

Back in 2001, Itiberê led a workshop at Villa Lobos School of Music, with twenty-nine of Rio de Janeiro's most exceptionally talented young musicians. Employing the principles of Universal Music alongside his long-held belief in the powers of listening and intuition, Itiberê composed and arranged in real time, transcribing the improvisations of the prodigious orchestra while allowing the players total freedom to experiment. The result was Pedra do Espia, an Amazonian orchestral masterpiece which is as difficult to categorise as it is fun to listen to.

Named after the beachside viewing point which translates as 'Spy's Rock', where Itiberê would sit as a child, daydreaming and gazing out over the Brazilian coast, the record harnesses the pure creativity of youth and nature, creating a magical sense of innocence amongst the striking compositions and astonishing musicianship.

Lixo - The Production Alias Of Alex Hislop, Founder Of Influential London Party Collective, Getme! - Returns To The Crew's Label Arm With New Ep 'cicada'.

The Follow-up To 2016's 'writer's Block'single Feat Trim And 2017's "ida" Ep In Collaboration With Quays.the "cicada" Ep Sees Lixo Explore The Gamut Of Electronic Music With Washed Out Vocal Sampling, Warm, Tribal Bass Sounds And Fluttery, Dreamscape Melodies That Tug At The More Experimental, Exploratory Corners Of London's Club Music Landscape.

With A Back Catalogue Already Spanning 19 Records - Including Key Releases From The Likes Of Lil Jabba , Slime, Trim And Dam Mantle - The London Party-come-label Getme! Have Established Themselves As One Of The City's Key Electronic Hubs Over The Last 10 Years. Formed By Alex Hislop (lixo) In 2006, The Brand Now Spans Events, Radio And Their Aforementioned Label Arm.

LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Alan Hawkshaw (piano/Hammond) and Shadow's drummer Brian Bennett are responsible for some of the slickest, funkiest and most sought-after library records ever made in the UK, particularly ones recorded on the legendary KPM label. Their work has now become the go-to place for sampling in music today.
Artists such as Dilla, Nas, and the xx, right through to the billion selling Kanye & Drake have taken Hawkshaw's and Bennett's immaculate beat-driven soundscapes for their own usage.
Their new album, in full, iconic KPM cover is a return to the laidback jazz-funk that helped Alan and Brian demonstrate their library chops. The album is classic Hawkshaw/Bennett. It swings, it grooves, moves and thrills with a fair these two have perfected over years.
Standout tracks such as "Hole In One", "In The Clouds", "Interchange", "Oasis", "On The Nile" and "Corcovado" are no mere excursions in nostalgia, for they carrylots of deft studio work that many a producer would give their right arm for.
Hawkshaw's arrangements allow the drums, guitar, bass, strings, Hammond, fute and brass to swirl elegantly around the 12 original tracks; a masterclass in recording.
Cut by Pete Norman, housed in a beautifully designed Richard Robinson sleeve and pressed at 180g by Record Industry in Holland, this release has been aforded the care and attention it rightly deserves. Essential.

A new chapter for CREDO begins with Stefan Weise`s eight track album "The Tales We Tell Our Children" on its new sublabel CREDO.WHITE. Following the classic longplayer tradition of vinyl records these eight tracks on pure white vinyl deliver a facette of the CREDO sound being indicated by some single EP or album contributions already in the past, but now coming into full effect by this outstanding work of italy-born, germany-raised and meanwhile U.S. based Stefan Weise who made his name in the Dubtechno cosmos with his definition of deep, chordish and atmospheric technomusic. the rough playtime of around 20 minutes per side guarantees club-compatibility going hand in hand with extended listening pleasure for the living-room based turntable- and vinyl lovers.

Recorded already in 1983/84, these soulful songs still show a relation to 1970s soul pop with lush
arrangements that work with real instruments and have a vibrant atmosphere. An all in all memorable songwriting
and the incredible vocals of Mavis Staples from The Staple Singers make the album stand the test of time, even 35
years after the initial recording sessions and 25 years past its first CD/MC release. Licensed by legendary BRIAN
HOLLAND and for the first time on vinyl now by EVERLAND!

Mavis Staples has come to fame and fortune as member of the family vocal group THE STAPLES
SINGERS from the late 50s onward to the mid 80s and she has released a fair amount of solo albums as well,
many of them in recent years. - Love gone bad' is a solo effort from 1993, originally titled - Mavis Staples' and only
released on CD and cassette back in the days. So EVERLAND have now done the right thing and put out the first
ever vinyl of this gem. And a real gem can be found here. Soul music in a down tempo with a slick production and
lush arrangements that still have this vivid expression making it real music by real musicians. The songs contained
on this album all date back to the early 80s, from a session not released until 1993. The melodies and the way the
compositions flow go back to a mid to late 70s soul pop style that incorporates elements of funk and dance music
but in a moderate pace. You can easily float upon the dancefloor and drift away in silky dreams. Some tunes have
a synthesized beat with a typical 80s sound, but these are compositions that stand the test of time and 25 years
after their initial release and 35 years after these recording sessions they shine on as diamonds of black soul pop
and R'n'B music (not to be confused with Rhythm & Blues). Mavis sings like a grand lady of soul with a timeless
quality that makes her stand out from the crowd of similar crooners. Even in the most gentle moments here the
tunes have an irresistible groove that moves the listener. But you can also sit and listen and explore piece by piece
digging deeper into the arrangements to unearth great bass and guitar lines. You will sing these vocal melodies
over and over again in the days to come until you throw this onto your turntable once again. I wonder why this did
not see a regular release back in the 80s as it would have led Mavis Staples to the top positions of the charts, Pop,
Black Music and Billboard. She was meant to make an impact and although she was already in her mid 40s when
she recorded this collection of soul nuggets, she brought a lightfooted youthful spirit in, which gives so much life to
her songs. A must have for all aficionados of female fronted soul pop.

This is a long overdue reissue of a fantastic album! Here we find a pure disco classic from the US scene of the late 70s. The original copies retail at plus $300, that's only if you can find one at all! So those who love to spin good music, but are unwilling or unable to lay down too much money can now lend an ear to this fine vinyl! The opening track is 6.5 minutes long and consists of ongoing grooves with a hint of rock thanks to the melodic lead guitar. The driving rhythms are irresistible with soulful and strong female lead vocals that capture you right away. This reminds me strongly of the lengthy Donna summer dance classic, released during the same period 'Better than walking out' which became a dance floor sweeper. There is nothing complicated here, just sheer groove interwoven with catchy melodies. 'Lovin' you is so easy' follows and is a mid-paced soul anthem that comes as clean, slick and close to pop music a tune can come, but the melody of the chorus will stick to your mind. The arrangements are tight revealing several layers of instrumentation on second take. The lead singer's expressive voice matches with the best of its genre. A grand dame of soul familiar to a wide audience. While we ruminate about the different stylistic ingredients of this album we reach ''Woman', an entire instrumental with a straight groovy beat paired by cool funky rhythm guitar that lies beneath a soundscape made by the electric piano. Both seem to interact tightly and communicate with another. This tune just moves you physically with ease. Lushly orchestrated ''Our love is special' turns out to be a wonderful soul pop anthem of the kind that stays with you when you have only enjoyed it once. I'm almost certain that most fans of the late 70's soulful dance and pop will spin this record over and over again. This is what the DISCO LADIES are made for. Their music has this certain disco feeling but the classic 60s Motown Soul roots are so obvious and keep the whole collection of songs so grounded, that the music will go straight to the heart, nestling there for a long time. ''I second that emotion' is again a mid-paced groover that has this fluttering beat with great instrumental figures build upon this footing. One might hear elements of reggae, gospel and funk melting into an utterly joyful soul pop tune that eventually would become an evergreen in the clubs. Last but not least we are treated to ''Woman', again the arrangements of lead and backing vocals are amazing! These are footed by equally amazing strings and horns. These melodies, soulful, expressive, intense and full of joy! The last tune is a vocal version of 'Woman'. Definitely being the highlight of the entire album and a worthy finale for a record that sticks out of the masses of disco music productions of it's era! All this makes a wonderful and delightful reissue ! worthy of joining every black music aficionado of the 1970s.

Kami Is The Fourth Opus Of Foudre! - A Telluric Drone Quartet Composed Of Frédéric D. Oberland (oiseaux-tempête, Le Réveil Des Tropiques, The Rustle Of The Stars, Farewell Poetry), Romain Barbot (saåad), Grégory Buffier (saåad, Autrenoir) And Paul Régimbeau (mondkopf, Autrenoir, Extreme Precautions) Who Meet Punctually For Sessions Of Ritual Improvisation Where They Invoke Noise And Drone And The Deities Of Chaos. Improvised And Recorded Live At Le Rex De Toulouse Supporting The 10th Anniversary Of French Doom Metal Band Monarch!, Kami Extends The Cosmogony And The Sound Of The Band By Taking Excursions Into The Invisible And Ambiguous Side Of Nature. In This Orgiastic And Surprising Mix Of Sonic Textures And Rhythms, You May Hear Strange Phenomena, Summoning Of Animistic Spirits, Shamanic Calls, Siren Yellings And Growls. The Original Chemigram Artwork Was Created By French Artist Fanny Béguély By Painting With Chemicals On Light-sensitive Paper. Following The Sold-out Earth Soundtrack (gzh71, 2015), Kami Delivers An Immersive Soundscape For Abstract Clubbers, Where Kosmiche Electronic, Power Ambient And Industrial Punk Music Are Freely Invited To Commune. This Pagan Ceremonial Is An Ode To The Ever-changing Vortex Of Life - A Sonic Dream Machine For The Occurring Now.

300 Beer-coloured Vinyl With Black Inner, Poly-lined Paper Sleeve.

Few producers can capture atmospheres and moods like Heinrich Dressel. The Minimal Rome boss left jaws on the floor with his first appearance on Bordello A Parigi, The House of the Rising Synth demonstrating the breadth of this Italian musician's sound. Now Dressel returns, this time with a full eight tracks for Lost in the Woodland. In this analogue forest anything is possible. From the whimsical resonance of the title piece, a sonic pathway through a verdant soundscape is laid. Gentle melodies caress and embrace before the road bends into shadows filled with dramatic twists and unseen dangers. Romantic moments are juxtaposed by triumphal chords and daring drums signalling immediate panic or outright victory. This is a woodland of divergent emotions, one where sounds give way to feelings and where Heinrich Dressel is the piper leading his followers through what can only be described as an unforgettable journey.

With MEL013, Melodies International are extremely proud to bring you at last, a disco anthem from Detroit that was originally recorded in 1980 and dedicated to the 'King Of The Champion Fighters': Le Stim - A Tribute to Muhammad Ali (We Crown The King).

Le Stim was a band formed by lead vocalist Donald Jennings in the late 70s. Now an ordained deacon back in Detroit, Jennings was brought up in a gospel environment and was said to be born to sing. Growing up picking up songs from the likes of Nat King Cole, Ella Fitzgerald or Sam Cooke, Jennings frequently performed for family and friends and went on to sing for audiences in New York, St. Louis and all around Detroit.

We Crown The King is a song written in the mid 70s by the late Herbert Andrei Duncan, also from Detroit. Duncan approached Jennings with the song who was initially reluctant to sing it because it took him out of his usual vocal range. However, Duncan finally (thankfully!) managed to persuade Jennings after five years to record a tune that would prove to become a party anthem decades later.

Remembering Duncan, Jennings says: 'Andrei was positive..inquisitive.... and determined. I was only 18 or 19 years old at the time and remember Andrei coming over to my house.... He had a cellphone in his car!.. I remember going to Andrei's house, and he said he wanted to do the track. Andrei did not take no for an answer! The answer had to be yes! However Andrei didn't have any money to record the song with. So we made a deal. In exchange for the use of his P.A., Loc (the drummer) provided the seventeen musicians for Le Stim to record 'We Crown The King'. The session itself was recorded at a studio in Southfield, Michigan.
According to Jennings, Muhammad Ali did hear the track back then and liked it! Le Stim were in touch with Ali's management and were about to meet him on a number of occasions which unfortunately didn't work out.

Licensing this record has proven to be Melodies' biggest research effort as of yet and has involved visiting it's author, Duncan's former house in Detroit only to discover it had burned down and that his family had moved years ago. It wouldn't have been possible without the invaluable help of Jeremy from Rain&Shine records (NZ) who then managed to track down the family back in Texas!

Officially licensed, remastered and cut to half-speed lacquers at 45rpm (instead of it's original 33rpm format) to bring the shine out of the top end - MEL013 comes forth in it's original 12' vinyl format with exclusive Melodies stickers and digitally too.

The infamously velvet tones of Jon Lucien get a much welcomed official remastered, reissue - with the original 'Rashida' 7' e.p., that contained four of Lucien's tracks, now split into two 7's for a louder, more refined pressing of each song.

First up, 'Lady Love', with it's bossa nova inspired style, drawing every last drop of emotion from Lucien's infamously voluptuous voice. Once dubbed by Herbie Hancock as 'the man with the golden throat', it's easy to see why - Lucien's rich baritone evoking dreams of summer sunsets, glistening blue seas whilst wrapping you up in a blanket of warmth and tenderness that few can rival.

On the B side - 'Love Everlasting', another of Jon Lucien's bossa nova leaning tracks, swells with jazz flutes, plucked acoustic guitars and a soul drenched string section to compliment Lucien's beautifully calming tones.

With the original Rashida 7' exchanging hands for over £150 on Discogs, here's a chance to get Jon Lucien's golden-throated voice in the collection without raiding the savings.

Oberman Knocks makes a welcome return to aperture records since his last release Dilankex in 2014, which featured an outstanding 17 minute remix from autechre.
Working on other projects during this time seems to have charged his creativity and Knocks now propels himself back into the fold for his third album Trilate Shift with cleaner, more polished production and a change of direction which should certainly see his appeal rise across a wider audience.
Last year Knocks produced the soundtrack to The Red Tree, an award winning documentary film from Still films (New York/Dublin) and in 2016 he was commissioned by The Lowry in Salford to produce a sound installation, 30 Days of The Smiths, forming part of their Week 53 festival, a version of which was also performed live.
Trilate Shift sees Knocks serve up fourteen lustrous tracks of proficiency and divergent ingenuity encompassing interjections of disembodied vocals, setting the scene for a distinctive musical trajectory.

London based hardware specialist no data available joins the null+void family with a four track EP of rugged, playful and effective electro driven tracks for the rave - ending in a blissful introspective 7am moment with title track the night.

Acid fans will have already heard nda's work alongside Matt Whitehead on Jerome Hill's much respected Super Rhythm Trax imprint under various pseudonyms. It's his live sets that have been winning on the dancefloor though, as much as his studio work - 100% improvised and raucously executed - this year they've brought the fire at Berlin's Greissmuehle and London's Corsica Studios.

Another sure shot double sider out the Now-Again catalogue, until now both tracks were album only and both pure club killers. I smashed these back in the day; I remember listening to it from Jazzman Geralds collection and was blown away. I went right out and found the LPs which took a little time even then when there were fewer people after them. A couple of years after that 'Kashmere' was dropped on funky 16 corners comp Egon put together, and the cat was out the bag. Anyway back to the music, for those who don't know, Conrad O. Johnson of Kashmere High School, Houston Texas, created the Kashmere Stage Band turning it into one of the most fierce unbeatable high school bands in the national championships, the recordings here are my two favorites out of many. Don't miss out on the 2011 Documentary Thunder Soul which reunites the band with Conrad O. Johnson over 30 years down the line.

Play It Say It welcome New York artist David Berrie for a first EP on the label and one that offers three dynamite pieces of punchy, high impact and inventive house music.

Raised amongst the diverse culture of NYC's nightlife, Berrie started sneaking into clubs as a youngster and since then has risen through the ranks to have now played iconic rooms like Output NY and DC-10 Ibiza. Fusing his musical history with other genres to create his own, unique style of house and techno, David has taken his passion to the studio and served up essential tunes on Hot Creation and Cuttin' Headz.

Opening the account is 'Revolution', seven superbly programmed minutes of slick and involving house beats and knotted bass. It's a restless, body shaking track to make the floor move with futuristic synths fleshing it out and bringing a vital sense of machine soul.

The equally compelling 'JB Loop' is another dynamic bit of electronic house music. Rubbery drums bobble and bounce about with wild computer sounds and infectious bass all ramping up the energy levels and making for a standout track.
Last but not least, 'Rear End' is a supple, intricately designed track with slippery synths, spinning hi hats and bass surges all wrapping around each other to make for real minimal funk. It's a track that oozes Detroit vibes and cannot fail to sweep up the floor.

These are three characterful and masterfully produced cuts of high-class dancing music.

Composer, Synthesist And Producer Matt Robertson Is Set To Release His New Album 'entology' Via Tape Club Records On 16th November 2018. It Follows His Warmly Received 2016 Album 'in Echelon', Described By Mojo As "nils Frahm's Modern Classical Meets Jon Hopkins' Grainy Techno", "an Album Of Symphonic Electronica And Leftfield Techno Thats Cinematic In Scale" In Mixmag And "magnificent Wild Sound" By The Line Of Best Fit.

As Musical Director For Björk, Cinematic Orchestra And Anohni As Well As Working With Lamb, Emiliana Torrini And Bat For Lashes, Matt Has A Wealth Of Experience Collaborating With Some Of The Most Exciting Artists In The World. Working With A Collection Of Vintage, Modern And Diy Synths, And Combining Electronic Music Production With Classical Composition And Cinematic Soundscapes - Artists, Producers And Film Composers Alike Seek His Enveloping And Distinct Sound.

"i Love The Idea That Not So Very Long Ago, The Idea That A Species Could Become Extinct At All Was Laughed At. In The 17th Century, Fossils Were Believed To Be From Mythical Creatures Like Dragons. In 1796, George Cuvier Presented The Idea That A Species Could Have Existed And Now No Longer Existed, And He Was Laughed At By Scientists. Darwin Then Suggested That Evolution Did Not Need Catastrophic Events To Explain Extinction - More That It Was Due To Perpetual Competition In An Overcrowded World.

I'm Adopting The Word "entology" To Be An Awareness Of Our Current Period Of Geological Time Being An Extinction Period, Where An Extinction Period Is Defined As A Time When A Significant Proportion Of Species Die In A Geologically Insignificant Amount Of Time. I Was Trying To Imagine The Obvious Desolate Spaces Of A Post Apocalyptic World, But Also The Slightly More Opaque Vision Of The Fact That So Many Things Are Becoming Extinct Around Us Without Us Noticing, Or Even Being Aware Of Their Existence In The First Place.

The Idea Is Of Desolation But, Because Of The Awareness, Also Of Hope."

- Matt Robertson

LMYE first came to light in 2016 on Funkineven's Apron imprint with the LMYE EP, which quickly became a regular fixture at the London label's infamous parties and bbqs as well as with house DJs worldwide. Since then the pair have been relatively quiet, only appearing once on record, with a release for Bristol's Idle Hands in 2016.

The paucity of their output though belies a busy production schedule behind the scenes. Tracks from those sessions have surfaced occasionally in the sets of DJs like Shanti Celeste and Ben UFO but they have never seen the light of day on a full release until now.

As you would expect from their first releases, the self-titled LP treads a line between classic house and UK garage with a nod here and there to boogie and Latin freestyle, genres which have inspired their production techniques.

From barnstorming new jack house cut 'The Gift' to the classic UK funky sound of 'Hypnotized', LMYE have selected only the most weighty numbers at their disposal, with the aim of offering an LP that will catch the ear of those at every end of the house spectrum.

That's not to say that this is an LP of dancefloor-only cuts though. 'Long Island at Night', which features Bristol's Typesun and Adam Davies live in session, shows the softer, more musical side of LMYE's output. Meanwhile 'XTC Rising' is a uk garage cut with a classic edge which nevertheless still feels modern and up to date in its outlook.

In short, 'LMYE' collects the highlights of a number of years' work, with the aim of finding a home in the boxes of the most discerning and listeners for years to come.

The Limiñanas are a couple and a band. They have produced records in their own garage in Cabestany located in the south of France for about ten years. They played in Australia, the US and toured Europe regularly. United Kingdom included. The first opus of the now series 'I have trouble in mind' was released on the initiative of Bill and Lisa Roe (iconic label 'trouble in mind") in the US in 2014. It combines all the 45t , unreleased songs recorded by the couple for 'Mojo magazine", tribute to Beach Boys, fanzines, micro labels. All the titles which were difficult to find and that fans were looking for. And now, here it is: I ve got trouble in mind vol 2. The Limiñanas now work mainly with the European label 'Because music". Thanks to their common forces, 3 albums were released. «Traité de guitarre Triolectique» with Pascal Comelade, 'Malamore", which was a tribute to Dino Risi and in 2018 'Shadow People' in the company of the American psychedelic pope Anton Newcombe. Marie and Lio work a lot, they record all the time and love 45t, maxi's and still collaborate with small labels from around the world for specific projects like the traditional song of Christmas 'Convenanza 'from Andrew Weatherall. In this second opus some covers of their favorite titles will be available. The lords of the new church 'Russia"n roulette", 'two sisters' from the Kinks which is the first song recorded with Anton and remixed by the American producer of the first White Stripes album Jim Diamond. 'Live will Tell' from Polnareff, a tribute to 'Suicide' recorded in Australia from the live version of the band and many others. The artwork was designed by Elric Duffau, as for the first volume. Small bonus: the two album covers placed side by side complement each other for a single piece.

Kingdoms welcomes Finnish composer, producer, visual artist and filmmaker Hannu Karjalainen. His recording career now spans over a decade, beginning under the pseudonym Hannu and later under his full name for 'A Handful Of Dust Is A Desert' on Karaoke Kalk. Now, this seven track mini album on Francis Harris' Kingdoms sees Karjalainen continue his explorations in new directions - touching on field recordings, soundscapes and esoteric instrumentation to build a truly meditative and moving record. 'Drift' begins with 'Sermon to the Birds', featuring beautiful plucked strings and ambient atmospheres, before 'Carnivorous Flower' casts us into enormous otherworldly dronescapes. 'Untitled #34' brings about a beat of sorts, but deeply deconstructed to a crawl, allowing acres of space between the hits and sub bass pulses. 'Sunless' is, conversely, a ray of light - bright, weightless pads provide the feeling of being completely cut adrift. Segueing into 'Nightfall', the tones become a little duskier and more intense, building throughout the track. 'That Obscure Object' is another trip into the space, as white noise and fragments of melody intersect. The album ends with 'The Nile' - a treated piano plays a haunting melodic sequence, seemingly suspended in air. It's a beautiful, emotional conclusion to an album that encourages the listener to take the time to experience its many pleasures.

Brian's pioneering Ambient album from 1975 has been Half Speed Mastered by Miles Showell at Abbey Road Studios, London and is now presented in a gatefold sleeve on 2 heavy weight albums which are played at 45rpm for a superior listening experience. Now housed in a gatefold sleeve with an Obi and Abbey Road Certificate. Contains a Download Voucher.

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.

Milton Bradley debuts on AVION's Crossing with three ferocious techno cuts under his Doomsday Device moniker this November.

Since its launch in 2013, Crossing has mainly acted as a platform for its founder, Index Marcel Fengler and Stress Research producer AVION, however the imprint has also hosted techno artists like Thomas Hessler, Pfirter, Doka, The Automatic Message and Stefan Rein. The label now presents a full release from Milton Bradley, appearing under his Doomsday Device guise. Founder of Do Not Resist The Beat!, the German producer has also appeared on labels like Prologue, MDR, Ann Aimee, and many more.
First up, The X-Planet' uses relentless drums, arcane vocal murmurs and bursts of white noise to

set the tone for a truly militant release. Device 4' is then a twisted journey from start to finish, with its pitter- patter sequences and oscillating sci-fi inspired atmospherics, making way for The Yesterday Machine' with its menacing aesthetic complete with ebbing synths, crashing hats and off-beat snares.

For this album, the legendary Congolese band Konono N°1 has joined forces with acclaimed Angolan/Portuguese artist Batida aka Pedro Coquenão. Deluxe double LP with colour innersleeves and download code.

Along with producer Vincent Kenis, they convened in Batida's garage-cum-studio in Lisbon with a series of collaborators and friends of Batida's, reflecting the city's vibrant, cosmopolitan music life: guitarist Papa Juju (the leader of Lisbon's foremost Afro-fusion band Terrakota), vocalist Selma Uamusse (one of the best young African singers currently residing in Portugal) and MC AF Diaphra, a distinguished slam poet and an artist/producer in his own right.

As we all know by now, Konono N°1 are based in Kinshasa, DRC, but originate from the Bakongo ethnic group, which lives in a region straddling the border between the Congo and Angola. Hence certain similarities between Konono's rhythms and some types of Angolan music from which Batida has drawn inspiration for his albums and shows.

This encounter was obviously bound to happen... but was nevertheless quite an adventure: blending the worlds of electronics beats and organic grooves was a challenge to which the parties have risen beautifully to create this exciting, unheard-of new strain of Afro-electro music. The album was jointly produced by Vincent Kenis and Pedro Coquenão.

*Black vinyl press* Reissue of his debut album from 1980. Beautiful experimental sound design which results in proto-techno soundscapes. A gem in the genre!
Minimal Wave is honored to present a reissue of Sympathy Nervous' pioneering debut album originally released in 1980 on Vanity Records out of Japan. Sympathy Nervous was Yosihumi Niinuma's lifelong project which he started in his Tokyo living room in 1979. Through Sympathy Nervous, Niinuma was able to channel his energy into what he loved - building his own synthesizers and speakers from scratch. Niinuma was inspired by German Krautrock and through his music created intense proto-techno soundscapes. Now finally available for the first time ever, remastered from the original tapes used for the 1980 release, is the timeless masterpiece in its entirety.

30 Years Ago This Month (nov 1988) Humanoid - Stakker Humanoid Was The Uks No.1 Song In The Dance Charts - It Would Stay No.1 For 5 Weeks Also Charting In The Uk Top 20 At No.17.

Now Regarded As An Acid House Classic Anthem And Hailed As The First Real Uk Acid House Track To Break The Uk Top 20.

Humanoid Music From 1988 Was Also Used In Stakker Eurotechno - Now Housed In The Museum Of Modern Art (new York) And Sighted As A Major Influence On Early Aphex Twin Music / Reflex

To Celebrate Humanoid (brian Dougans Fsol) Has Reworked The Original Into A 2018 Breaks Monster With Two Equally Killer Tracks On The B Side Skatter And Blunt 

Original Futuristic Uk Acid House Music Circa 1988 :) 

With Not A Single Cry Of 'acieeeeed!' One Record, Humanoid's Stakker Humanoid, Has
Blown Apart The Uk House Music Scene. It's The Most Uncompromisingly Acid Track To Be
Produced So Far In This Country.