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"Perlman's got beats and it ain't no secret." - The Beastie Boys

This lyric might have slid right by you while you were listening to Ill Communication, but the Beastie Boys were not playing when they said that. Robert Perlman, a native New Yorker, was way ahead of the curve and would stockpile an arsenal of heavy duty vinyl way before the 45 record craze took over. This compilation of over a dozen tracks represents a taste of the fruits of his hard work uncovering these often overlooked gems.

Including some personal notes from the artists you can find on this compilation.

MANOID returns to Hafendisko this October with his debut long player 'Truth', comprising six original tracks on vinyl from the Polish producer and live act. Rising producer MANOID has been steadily developing his unique approach to electronic music for the past few years, releasing his first tracks in 2014 and co-producing material for fellow Polish artist Pola Rise, whilst taking his live act across the globe to The Netherlands, South Korea,Iceland and more. Here though, we see him marking a milestone in his career with his debut album for hafendisko, the Hamburg-based sublabel of hfn music. Across the Truth LP MANOID delivers an amalgamation of styles ranging from jazz-tinged electronica through to modern classical and techno- due to MANOID's origin often referred to as 'Forest Techno'. One half of Darkness Falls and Trentemøller collaborator Josephine Philip also delivers vocals on 'Take Me', adding yet another musical twist to the package, whilst further ideas came to fruition through field recordings such as 'When' which is based upon recordings from a textile museum in the city of Lodz, and 'For Roses' which was initially made as a lullaby for MANOID's niece but he felt was a little too dark so later developed it into this enchantingly eerie composition for the album. MANOID's debut album radiantly displays charm, maturity and musicality throughout and joins the thread of his musical influences and experiences perfectly.

Heavy House, Nu Disco style !

An Invitation To Disappear is the debut LP by British electronic musician Inland aka Ed Davenport - and his first release for A-TON. Based on his soundtrack for a video installation by conceptual artist Julian Charrière, Davenport has recast the material and field recordings into eight tracks of rhythmically intricate electronics and spectral, ambient techno, inspired by Charrière's visually striking, 76-minute tracking shot through a palm plantation toward a totemic soundsystem on full blast.
Both the album and original soundtrack were created in response to the 200th anniversary of the eruption of Indonesia's Tambora volcano in 1815, which plunged the world into darkness and caused a series of extreme weather conditions. At the time, the natural climate change crisis resulted in numerous global famines and is known throughout the northern hemisphere as 'The Year Without Summer', with global communities forced to adapt to sudden radical changes in temperature and weather.
An Invitation To Disappear offers a contemporary parallel, leading viewers - and listeners - down a seemingly endless direct path of gridded palms from dawn to dusk; a bio-commercial monoculture where ancient jungle once flourished. Light flickers between rows of fruit-laden trees and a distant fire burns in the undergrowth where the border between natural image and computer simulation breaks down. At the same time, formerly incoherent rumblings of sub-frequencies begin to transform into the contours of rhythm. This is reflected sonically in eight perspectives on the lush, synthetic jungle, made of myriad buzzing fauna, morphing melody and colossal bassweight. All paths lead toward an apocalyptic dancefloor, though speeds vary widely; rhythms dissolve from straight to broken, synth tempos operate by their own internal clocks (and logic). Juxtaposing industrial agriculture with rave culture, the album explores the industrialization and refinement of nature, and the new strange forms emerging from the synthetic grids of both.
As Inland, Davenport has previously contributed soundtracks to other installations by the Swiss-born Charrière, whose artistic practice focuses on bridging environmental science and cultural history, often taking place in remote geophysical locations, including ice fields, volcanos and radioactive sites.
Julian Charrière is a French-Swiss artist based in Berlin. A former student of Olafur Eliasson at the Institut für Raumexperimente, Charrière's art explores post-romantic constructions of nature, staging tensions between deep or geological timescales and those relating to mankind. His work has previously been shown across the globe, including at the main exhibition of the Venice Biennale in 2017, a solo show at Kunsthalle Mainz this past Spring and an upcoming solo show at the Berlinische Galerie opening September 26.
Inland (real name Ed Davenport) is a British producer, DJ and founder of Counterchange Records based in Berlin. Known for his detailed and explorative house and techno releases on his own label, Infrastructure, Naïf and more, Davenport has recently gravitated toward the contemporary art world, finding inspiration in the cross-pollination between Berlin's art and music scenes. Previous sound design collaborations with Charrière have been exhibited in institutions such as the Musée des Beaux-Arts de Lausanne in 2014 and Thyssen- Bornemisza Contemporary in Vienna in 2017.
The gallery version of An Invitation To Disappear premiered this past April at the Kunsthalle Mainz and will be on display at the Berlinische Galerie as part of Charrière's solo exhibition As We Used to Float, opening September 26, 2018. The LP will premier live together with the video installation during a special presentation in Berghain the same day for Berlin Art Week.

Dutch-Italian composer, musician and producer Aimee Portioli alias Grand River is back on Spazio Disponibile. After a debut record on the label in 2017, she now serves up her first ever physical long player, Pineapple. The record draws on Portioli's love of electronic music and sound design, as well as her background in traditional composition and formal training on a range of musical instruments.

An experienced sound engineer and composer for national radio, she crafts absorbing film scores, experimental and ambient projects and takes in symphonic calculations that blur the lines between traditional composition and research-based modernism. All that is evident on Pineapple, which is named after the most peculiar of fruits and is just as peculiar, but ultimately satisfying, across ten remarkable yet rewarding tracks.

They are often long pieces which take in wallowing electronic landscapes, with real ambient beauty next to a subtle sense of narrative that is absorbing throughout. Unusual sound sources and a masterful sense of suspense characterize the album and make it as fascinating as it is enjoyable. (*Audio snippets will be released in September*)

Takashi Kokubo - A Dream Sails Out To Sea (get At The Wave) (lagrec003)
Recorded In 1987 As Promotion For A Luxury Air Conditioning Line, Takashi Kokubo's Balearic Gem A Dream Sails Out To Sea Gets First Ever Official Release From Lag Records, Complete With Previously Unheard Music.

Originally Only Available As A Sought-after Promo By The Name Of Get At The Wave, Takashi Kokubo's Mini-masterpiece Of Halcyon Mastery Finally Re-emerges For The First Time Since 1987 With A Remastered Vinyl Edition Courtesy Of Uk Label Lag Records.

A Dream Sails Out To Sea (get At The Wave) Comes Not Only With A New Title, But Also A Brand New B-side As Taken From Get At The Wave's Original Recording Sessions. Never-before Released, The Epic Ocean Breeze Makes The Perfect Companion For The Sonic World Kokubo Created With His Original Release, Imbued As It Is With The Same Serene Sense Of Understated Beauty.

The Original Story Of A Dream Sails Out To Sea Is As Interesting As Kokubo's Own Backstory As A Musician And Sound Artist. Originally Composed To 'soundtrack' A High-end Air Conditioning Line From Japanese Electronic Giant Sanyo, The Album Was Meant To Transport The Consumer Into A Paradise Far Away From The Heat And Hurry Of Urban Life. One Listen To Something As Splendorous As Underwater Dreaming, And It's Mission Accomplished.

Takashi Kokubo Meanwhile Is A Musician Whose Work, Without Many Knowing It, Has Perhaps Touched The Most Lives In Japan. Composer Of Environmental Music Such As Nationwide Phone Alerts To Warn Of Oncoming Earthquakes, And The Fruitful Jingle Of A Standard Contactless Payment, Kokubo's Oeuvre Also Includes Anime Soundtracks And Works In The Avant Garde Realm.

It Is With Kokubo's Blessing And Original Masters That The Lag Records Release Has Been Made Possible, With A Remastering Courtesy Of Jerome Schmitt At The Airlab. A Dream Sails Out To Sea (get At The Wave) Also Comes With New Artwork By Ella Mclean In A Standard Sleeve On Clear Blue Vinyl Lp.

Originally from West Yorkshire, but now resident in Manchester, composer, bassist and producer Phil France is probably best known as a key collaborator alongside Jason Swinscoe in the Cinematic Orchestra, where he co-wrote, arranged and produced on classic albums including Everyday, Man With The Movie Camera, Ma Fleur and also the triple award winning soundtrack for The Crimson Wing nature documentary. In 2013 France released his debut solo album, The Swimmer (GOND016), an emotive, epic record influenced by the great second wave of film composers including John Carpenter and Vangelis, as well as minimalist composers such as Steve Reich and Philip Glass

Five years later, France presents the follow up, the enigmatically titled, Circle, which again represents a very personal journey for the artist. For France the album is an extension of work he began on The Swimmer. A process he has described as: " blocks of sound containing intricate minimal arpeggiated patterns and electronic textures that develop and shift in subtle, original and melodic ways. The trancelike quality, mood and electronic character of title track Circle led France to think of the circular patterns which eventually became a potent concept for the album. "Ideas and fashions repeat themselves in cycles. Events are said to travel 'full circle' and this is important to me because it represents my own recent personal and musical journey after 15 years touring as bassist and composer with The Cinematic Orchestra. I consider circles to be a strong symbol of unity, strength and inclusiveness and ultimately I've aspired to make something beautiful with those values at its heart".

The album opens with the title track, Circle, built on a minimal looped pattern with melodic embellishment and shifting additional harmonic textures. Bells was developed from the arpeggiator and offers a nod to the melodicism and atmosphere of French electronic music. The Jackal features an idea originally developed for The Crimson Wing score but which finally bears fruit here. Cathedrals features an improvised intro, Philip Glass inspired organ and vocal textures inspired by the work of Colin Stetson. Finally, the album ends with a reprise of Circle this time featuring layered pianos. But it isn't the conclusion of the journey, for France: "The Circle is infinite - During the process of making this record, I have been constantly reminded that nothing ever stays the same and that all is in constant flux. The challenge for me is always to respond positively, be aware of and seize the opportunity for progression constant change provides" And it is that sense of movement and flow, but also calm and beauty that permeates Circle and make it such a worthy successor to The Swimmer.

Sampled by Drake ( Jungle') and G-Eazy ( Running'). Instrumental versions of Gabriel's Stones Throw Records debut Jardín now available on limited edition wax. Gabriel Garzón-Montano's formidable skills have come to fruition on Jardín in his Stones Throw debut. This album came out of wanting to make music that reminds people how beautiful life is and how delicate their heart is,' he said. I've always wanted to make music that is healing, comforting, and funky. I named the album Jardín hoping for it to create a space for healing when people put it on. A garden is full of life, growth and beauty,' Gabriel said of choosing that unifying image as the title for his new album. It makes me think of green and white and all the colors as they appear in different flowers.' That vivid spectrum bursts forth on Jardín itself and the album contains references to fruit of all sorts, sour mango, juicy tangerines and sweet peaches. From the heartache and aching vocals that float over the dusty drums of Crawl' to the stutter-step thump of Bombo Fabrika' to the high falsetto he nails on Octave,' Garzón-Montano proves himself to already be one of 2017's biggest breakout talents.

Steve Cobby and Laurie Welton are both from Hull in the north of England. Cobby is one of the members of the pioneering electronic outfit Fila Brazillia while Welton is the man behind the Myth! project, whose "False Profits" EP was released last year on Posthuman's Balkan Recordings label. In fact, Cobby has known Welton's aunt for 20 years and Laurie has been a fan of Fila Brazillia since the early '90s. So when Laurie was asked by Steve to collaborate with him, he jumped at the chance.

The fruits of their collaboration are the three tracks on the "Absolute" EP. This release is truly an international affair; the label, Adam Warped's Whiskey Pickle imprint, is based in Austin, Texas, the artists are from the UK, while a remix of "Absolute" comes courtesy of New Yorkers Whatever/Whatever, a duo staffed by Bryan Mette and legendary NY DJ, producer and remixer Justin Strauss.

The unseen forces emitting out around ever being natures forces of destiny. Belief itself is God.

AURA's journey could be best described as a spiritual call to connect man and music.

Each new day brought in new and more difficult problems. In the hardest of times Aura lost their original lead guitarist. Green-Bird real name Dannie Stewart - a Jamaican, humble, handsome, and talented to the bones. He was too nice to die. He was drowned in a river within the historical city of Benin. All friendly hearts cried and cried, a memory too sad to recollect. Aura's journey sorrowly went along. Full of accedents, and frustration. We nearly crash-landed.

Thanks to Sheila, for her love and courage. Uzo, a true frendship that inspired every-body in Aura. He solved so many problems. Gratitude is the only word of our choice. The Lawsons and the Shotade family also have their very noble thanks; they were nice and helpful. Many more thanks to the numerous friends and heart-felt appriciations to Mr. J. H. Booth - Decca's new Director for his kindness and the entire staff that made this great 8 track maiden stereo album possible.

A solid belief in ourselves has pushed this group to this point; Aura making an "Astral Trip". This is an album which is a sincere sweet fruit of determination, soulful enough to turn you loose into true life experiences of good music.

All I owe you is love and appriciation.

Wade from Hello Records called Mr. PC "Detroit's hardest working DJ" about a year back, and the fruits of his labor shine through on this curious beatdown and jazz funk re-edit record. In his own words, "The scene doesn't need another hand-stamped and numbered vinyl-only disco edit label, so I went ahead and took the proverbial razor and tape to some jazz-fusion-disco-not-disco tracks that influenced me coming up as a bass player, now fully capable for DJ dance floor elevation." 450 hand-stamped and numbered

* Arikon is a solo project of Berlin-based drummer & producer, Arik Hayut - half of doom-tech duo Gainstage with Pierce Warnecke. Loyal to the sonic concepts of Gainstage, Arikon presents The Prophet's Blood Is Boiling, a solo enterprise into deepest 'drum & drone'. Hypnotizing distorted polyrhythms puncture through shards of fragmented melodies, producing potent mixtures of desperate tin can banging, a panoramic sonic scope, and the bleakest of soundsystem nightmares. Across the album, Arikon deploys an arsenal of samples plus electronic, acoustic, and self-constructed percussion instruments, constructing eight powerful productions that manage to embody both brute force and delicate decay.

* Formerly active in Tel Aviv's leftfield experimental scene during the 90's, Hayut made Berlin his permanent home for working on his own projects while composing and performing music for off-theater and contemporary dance. In 2004, a severe health crisis initially threw Hayut into crisis, slowing down his activity to a standstill. However, the precarious process of his fortunate recovery contributed to Hayut involving himself more deeply with concepts of time, death, and decay.

* Inspired by the decadent still life paintings of the Flemish Baroque, the cover artwork for The Prophet's Blood Is Boiling comprises a bowl of decomposing fruit. Like the music, its aim is to illustrate the beauty and perfection of the decay process, whilst also referring to the West's hyper-capitalistic, technology-centric culture. In recent years a new form of 'digital life' has been born, whereby all data - regardless of its worth or importance - is mummified, reproduced, and distributed with no real disintegration or loss in quality. This new digital life is resulting in a sort of 'frozen death', ending the hitherto natural cycle of life.

* The songs on themselves are inspired by the 'beasts of holiness' - mythological monsters that appear   in the Hebrew bible and the Jewish apocrypha (non-canonical scriptures). There's the punching of bassy thuds out of an oceanic ambient swell throughout 'Tanin Gadol', named after the ancient water monster of Babylonian times. The dense net of fumbling scrapes and amp-busting hits of noise on 'Nahash Akalaton' similarly refer to a titular sea-snake monster, its tendrils lashing out of the speakers aggressively. These demons symbolize a force of evil equal in power, yet in direct opposition to the monotheistic deity of their time. They were therefore neither acknowledged nor canonized in much dominant scripture. Arikon invokes these demons across The Prophet's Blood Is Boiling, setting them loose across these gnarled noisy chambers of pummeling percussion and cracked sampled detritus.

Repress

Micah Shemaiah Teamed Up With Fruits Records' Studio Band The 18th Parallel Earlier This Year To Produce The Unanimously Acclaimed roots I Vision' Album On Evidence Music Label. The Album Hit Every Charts In The Reggae World And Is Seen As One Of The Best Effort Of 2018! In Collaboration With Evidence Music, Fruits Records Is Proud To Release On 12' Maxi Vinyl Two Of The Toughest Tunes Of The Album In Their Eight Minutes Extended Versions : A Side Features Heavyweight Stepper zion Trod' And B Side Gives The Rub A Dub Anthem soul Rider'. This One Is A Sound System Must Have! Killer Tunes + Ultra Heavy Pressing In A Early 80's Jamaican Simmons Style!

In 2006 Salvador Breed and Stijn van Beek met while studying Sound Design and Music Technology at the Utrecht School of the Arts. Ever since then the pair have been beavering away behind an arsenal of blinking banks in Amsterdam. The musical fruit of this twelve year friendship Breek. A partnership that smears the boundaries of styles and sounds with festive flare. For their vinyl debut, a candy coloured cornucopia of elements are swirled and whirled. Braindance, electronica and neo-classical are festooned with dubby tones and underground grit in a unique sound of diverse textures and deep tones. Faster works, like the swooping joy of "Yokai", are countered by more contemplative "Ama." "Hang" is a whimsical dreamscape of squirming acid lines, crisp drums and angular notes that combine to produce a brilliantly bright piece. "Mu-Onna" and "Oiwa" are more abstract works that melt vocals with sweet strings before the final piano swells and ambient rains of "Burabura." A daring and dynamic vinyl debut from this eccentric duo with stunning artwork from Warren du Preez and Nick Thornton Jones (Massive Attack, Bjork en UNCLE).

New Lp-edition of a private press library recordings of the early '70s.
Together with Florian Fricke and Peter Michael Hamel, Deuter is certainly the main responsible of a fruitful encounter between European sensibility and Eastern aesthetics in the German music of the 1970s. Soundtrack was originally produced by Kuckuck in 1973 not for an official and public release, but as a library' to be used for films, TV and radio. As a library it respects the canonical and typological structure of the genre with 26 short sonic fragments, sequences imagined and conceived like fulminating illuminations. There's still a solid electronic vocation that, however, has put aside the most disruptive effluvia of D (1971) of pure kraut' ancestry. In fact, the album is more like an ideal passing bridge between some ritual instances of the previous Aum (1972) and the following successful phase of Deuter during the period when he stays in the Bhagwan Shree Rajneesh's ashram in Poona realizing, in parallel to a renewed inner life, masterpieces like Celebration, Haleakala, Ecstasy and Silence is the Answer. Musically speaking, Soundtrack presents itself as a heterogeneous work with nocturnal, cinematic, galactic and atmospheric-environmental implications. Electronics remains the predominant factor but can vary from mantra drones of more ceremonial and meditative space-relax' tones of some tracks (Triad, Deep Sea, Gothic Velvet or Evening) to the most amused formulations of pulsating analog synths that in the hands of Deuter become toy-equipement' to modulate and explore (Desert Rock, Synth Effect, Flea Dance or Laser). There is no lack of acoustic moments more ethnically inspired with Arabian and Indian (Reed, Arabia) or devotionally solar themes (Tom Bombaddils Dance), so evoking an air of diffuse peace then completely conquered in the beloved India.

Wave Stu might just be the Platonic ideal of icy, emotionally fraught synth-pop. On his debut release for Origin Peoples, Stockholm-based musician Michel Isorinne puts paragons of this style like Orchestral Manoeuvres In e Dark in his slipstream. Laced with spoken-word passages from films and television shows, Wave Stu weaves a loose tale about the nature of time, physics, and mortality that can be summarized by the key phrase, uttered by a woman scientist somewhere throughout the album, 'magic is in the molecules...'

Isorinne essentially creates introverted minimalist symphonies in which sprightly synth leads peacefully coexist with melancholy, drone-y undercurrents. Throughout the record, Isorinne's melodies bear a fruitful contrast between the morose and the jubilant. He repeatedly places exceptionally delicate and beautiful tunes amid subliminal waves of pensiveness. It truly is a masterly balancing act. e zenith of this approach is Side A's closing track, in which gorgeous countermelodies intertwine like lovers on a tropical beach while a pistoning rhythm pumps up the libido. It's instant paradisiacal bliss.

Side B contains Wave Stu 's most cheerful, uptempo track yet it never bursts into full-on euphoria. Elsewhere, Isorinne reverts back to more somber moods: an eerie, methodical chiller full of quiet wonderment and subdued sparkle reminiscent of Casino Versus Japan, Plone, and others of their gnomic ilk; a low-key anthem in which '70s Vangelis grandiosi meets the workmanlike bass-synth chug of Ulrich Schnauss; an elegiac piece that conjures an intimate majes ; a bass-heavy dirge festooned with forlorn wisps of melodiousness.

The complex, paradoxical happy/sad pendulum at the heart of Isorinne's music lends Wave Stu a tingly resonance that will reward repeat listens. Please welcome an extravagantly rich synth-pop classic.

A new duo launches by the name of Ghost Vision. Joining forces with an introspective, uplifting debut slice on Kompakt, the pair are two well-known figures Thomas Gandey aka Cagedbaby, member of Matom alongside Matt Edwards, and Daniel McLewin, half of UK-based production duo Psychemagik. Fruit of these blissful moments when no imaginary wall obstructs the vision and the stream of consciousness gives up to the entrancing magic of the creative flow, 'Saturnus' is an upright mano a mano between two musicians and their gear, unchained from all preconceptions and biases; real (machine) talk as the hip-hop heads would say.

Straight soul oration poured off the cosmic scapes generated by a good old Moog Voyager, '70s string machines', Oberheim OBXA, 303, Space Echo and the too little-known and equally little-used Korg Lambda, Ghost Vision's debut EP traverses remote kosmische-indebted expanses but hits close to the core with its deft mix of slow-burning spectral funk, textured outerspace pads and further stirring heart-searching harmonics. Subtly arranged yet leaving maximum room to the lively force of its original layout, it is a lovingly crafted piece of emotive and psychedelic magnitude that's seamlessly given birth to. Enter the greater deep and important world of Ghost Vision.

LP+DL

To those familiar with the output of Cologne-based imprint Firm from back in the early '00s, the name of Geiger, alias Nass, shall undoubtedly ring a bell. Herald of an hedonistic melange of funk- soaked electro pop and guitar-riddled synth music, sitting somewhere close to acts like Ween and Junior Boys, Alexander Geiger is about to break a eight-year hiatus with the drop of his debut album under the newly-founded moniker of Fahrland. A release that both encompasses a healthy dose of the discoid tropes from the Firm era but also aspires to split with a segment of it, geared towards exploring further undisclosed fringes of his shape-shifting sound universe, 'Mixtape Vol.1' is the fruit of a decisive move from the sleepless Berlin to the peaceful countryside landscapes of Fahrland - a lushly forested area near Potsdam which you'll have understood played an essential role in Geiger's longed-for return. Versatile and inclusive, the album sweeps a polyamorous gamut of styles and tempos like an answer to the virtual prisons that inhibit us on a daily basis, straying away from normative standards and classic full-length calibration as a result. Instead weaving a singular narrative course, clear from all type of shackles and chains, Geiger navigates on sight, reflecting on notions as wide and universal as freedom, friendship and love across a multiversal patchwork of sounds and feels. From the languid sexy vibe of 'Beggin', 'Plastic People' and 'Yesterday' - all three featuring the sensual whispers of multi-talented vocalist and artist MZ Sunday Luv, through the heavily vocodized, chip- implemented groove of I AM ROBOT - reminiscent of Telex and Space Art, balearic jazz & rap shine of 'Sky So High', smokey lounge ambience of 'L AND H' onto broader ambient-friendly spans such as 'Suspension', 'Windshield Gently Wipers' and the smooth, sun-basking closer 'Get Down', each track holds a fragile cocooned world at its heart.

Bei denjenigen, die mit dem Output vom Kölner Label Firm aus den frühen Nullerjahren vertraut sind, sollte der Name Geiger alias Nass zweifellos die Glocken klingeln lassen. Als der Herold einer hedonistischen Melange aus Funk durchdrungenem Elektro-Pop und Gitarren durchzogener Synthie-Musik irgendwo zwischen Ween und den Junior Boys, bricht Alexander Geiger seine achtjährige Schaffenspause mit der Veröffentlichung seines Debüt-Albums unter neuen Pseudonym: Fahrland.

Ein Release, das sowohl die diskoiden Tropen der Firm-Ära affirmiert, als auch danach strebt ein bestimmtes Segment davon zu spalten. Aufgenommen um ungeahnte Interferenzen seines gestaltverändernden Sounduniversums zu entdecken, ist 'Mixtape Vol.1' das Resultat eines bewussten Umzugs aus dem schlaflosen Berlin in die friedliche Landschaft von Fahrland - einem üppigen Waldgebiet in der Nähe von Potsdam, das eine entscheidende Rolle in Geigers ersehnter Rückkehr zur Musik gespielt hat.

Vielfältig und offen erforscht das Album polyamorös eine Skala von Stilen und Tempi als Antwort auf die virtuellen Ketten, die uns tagtäglich hemmen. Bewusst vergessen werden dabei normative Standards und klassische Langspieler-Kategorien. Geiger webt stattdessen ein einzigartiges Narrativ, frei von jeglichen Fesseln und Ketten und führt uns auf seinem multiversalen Flickenteppich aus Sounds und Gefühle mit Sichtkontakt an so allgemeingültige und universelle Begriffe wie Freiheit, Freundschaft und Liebe.

Vom nochalanten Vibe von 'Beggin', 'Plastic People' und'Yesterday' (alle drei mit der sinnlich wispernden und vielseitigen Sängerin MZ Sunday Luv), bis zu dem durch den Vocoder gejagten und computergenerierten Groove von I AM ROBOT; Reminiszenzen an Telex und Space Art, balearischen Jazz und Rap erklingen in 'Sky So High', rauchiges Loungeambiente auf 'L AND H' bis zu völliger Ambient-Anschlussfähigkeit in 'Suspension', 'Windshield Gently Wipers' und dem sanften, Sonne anbetenden Schlusslied 'Get Down' - jeder Track hält eine Welt für sich in seinem Herzen.

LP+DL+MC Limited

To those familiar with the output of Cologne-based imprint Firm from back in the early '00s, the name of Geiger, alias Nass, shall undoubtedly ring a bell. Herald of an hedonistic melange of funk- soaked electro pop and guitar-riddled synth music, sitting somewhere close to acts like Ween and Junior Boys, Alexander Geiger is about to break a eight-year hiatus with the drop of his debut album under the newly-founded moniker of Fahrland. A release that both encompasses a healthy dose of the discoid tropes from the Firm era but also aspires to split with a segment of it, geared towards exploring further undisclosed fringes of his shape-shifting sound universe, 'Mixtape Vol.1' is the fruit of a decisive move from the sleepless Berlin to the peaceful countryside landscapes of Fahrland - a lushly forested area near Potsdam which you'll have understood played an essential role in Geiger's longed-for return. Versatile and inclusive, the album sweeps a polyamorous gamut of styles and tempos like an answer to the virtual prisons that inhibit us on a daily basis, straying away from normative standards and classic full-length calibration as a result. Instead weaving a singular narrative course, clear from all type of shackles and chains, Geiger navigates on sight, reflecting on notions as wide and universal as freedom, friendship and love across a multiversal patchwork of sounds and feels. From the languid sexy vibe of 'Beggin', 'Plastic People' and 'Yesterday' - all three featuring the sensual whispers of multi-talented vocalist and artist MZ Sunday Luv, through the heavily vocodized, chip- implemented groove of I AM ROBOT - reminiscent of Telex and Space Art, balearic jazz & rap shine of 'Sky So High', smokey lounge ambience of 'L AND H' onto broader ambient-friendly spans such as 'Suspension', 'Windshield Gently Wipers' and the smooth, sun-basking closer 'Get Down', each track holds a fragile cocooned world at its heart.

Bei denjenigen, die mit dem Output vom Kölner Label Firm aus den frühen Nullerjahren vertraut sind, sollte der Name Geiger alias Nass zweifellos die Glocken klingeln lassen. Als der Herold einer hedonistischen Melange aus Funk durchdrungenem Elektro-Pop und Gitarren durchzogener Synthie-Musik irgendwo zwischen Ween und den Junior Boys, bricht Alexander Geiger seine achtjährige Schaffenspause mit der Veröffentlichung seines Debüt-Albums unter neuen Pseudonym: Fahrland.

Ein Release, das sowohl die diskoiden Tropen der Firm-Ära affirmiert, als auch danach strebt ein bestimmtes Segment davon zu spalten. Aufgenommen um ungeahnte Interferenzen seines gestaltverändernden Sounduniversums zu entdecken, ist 'Mixtape Vol.1' das Resultat eines bewussten Umzugs aus dem schlaflosen Berlin in die friedliche Landschaft von Fahrland - einem üppigen Waldgebiet in der Nähe von Potsdam, das eine entscheidende Rolle in Geigers ersehnter Rückkehr zur Musik gespielt hat.

Vielfältig und offen erforscht das Album polyamorös eine Skala von Stilen und Tempi als Antwort auf die virtuellen Ketten, die uns tagtäglich hemmen. Bewusst vergessen werden dabei normative Standards und klassische Langspieler-Kategorien. Geiger webt stattdessen ein einzigartiges Narrativ, frei von jeglichen Fesseln und Ketten und führt uns auf seinem multiversalen Flickenteppich aus Sounds und Gefühle mit Sichtkontakt an so allgemeingültige und universelle Begriffe wie Freiheit, Freundschaft und Liebe.

Vom nochalanten Vibe von 'Beggin', 'Plastic People' und'Yesterday' (alle drei mit der sinnlich wispernden und vielseitigen Sängerin MZ Sunday Luv), bis zu dem durch den Vocoder gejagten und computergenerierten Groove von I AM ROBOT; Reminiszenzen an Telex und Space Art, balearischen Jazz und Rap erklingen in 'Sky So High', rauchiges Loungeambiente auf 'L AND H' bis zu völliger Ambient-Anschlussfähigkeit in 'Suspension', 'Windshield Gently Wipers' und dem sanften, Sonne anbetenden Schlusslied 'Get Down' - jeder Track hält eine Welt für sich in seinem Herzen.

Alien Ensemble's trombone man Mathias Goetz caused quite a splash when he released his eponymous debut LP under his Le Millipede moniker back in 2015: The multi-instrumentalist's initial offering was clearly something else, impossible to grasp, a musical vessel beyond genre, beyond style or era, seemingly beyond space and time even, a vessel that carried an almost cosmic kind of song-craft - music with no fixed stamp of origin, though it did somehow feel like an Alien Transistor release. Followed by remix album Mirror Mirror, which comprised reworks by 1115, Protein, LeRoy, Olaf Opal, and Saroos, to name a few, it's now time for album #2: The Sun Has No Money.Let's face it: There's nothing as majestic as the sun. At least not in our world. If it runs out of juice one day, it's game over: The End. Light's out. For everyone. At that point, it wouldn't even matter if you're rich or poor. We're all equal under the sun. Same level. And yeah, this might not be major news, but then again... we're talking about the sun. The sun! Guess it's about time to acknowledge its power and superiority, right In fact, you can feel it on your bicycle: pedaling at night, when it's on duty in other hemispheres, and you're working hard at the dynamo, sweating, you can actually feel how powerful it is. In the end you get off the bike all recharged, a tune on your lips - and somehow feeling like a miniature version of the sun yourself. And whenever you feel like that, that's exactly the right moment to grab a melodica and get to work.Following an initial warm-up round sans electricity, this new album soon begins to glow: Mathias Goetz aka Le Millipede doesn't need pedals, he boosts circulation by single-handedly* playing tons and tons of different instruments - it actually feels like thousands, easily. And thus begins a show that has countless levels to it: There are various sonic illusions... and yet Le Millipede doesn't hide anything: He's also willing to show the inner workings, the actual recording process and everything else. In short: he goes meta. Makes songs about making songs. That's right: why not use all these beautiful means to address the issue of money It's not the sun that casts shadows, all it does is recharge, fuel: growth & thriving, that's the sun's area of responsibility. And yet there came a man whose plan was simple: steal the fruit from your garden, only to sell it right back to you, for money. We can hear the sea gulls crying in the distance, as somebody is throwing breadcrumbs up into the wind that carries their voices...It's not the sun that casts shadows - all it does is radiate light. And yet there came a time when someone blocked those rays of light. Now if you're some kind of Diogenes, you'll simply say, Move at least a little out of the sun.' But if you're a teacher, you'll maybe light up your pipe and use that to lighten up. What matters is that the percussion parts, in this case, resemble some serious musique concréte. The sun doesn't know shadows - all it knows, is itself. And yet somebody entered the picture and built an entire city. A city full of streets, so that houses can cast shadows into these avenues. Plus, there's music in the streets, music originally written inside the walls of said houses.One of those streets is known as the Tin Pan Alley: a place that got its name from a music writer who compared the sound of so many pianos to the banging of tin pans. That sound: that's one side of the road that is this album. Some of these melodies appear to be shadows of earlier tunes, dating back to, say, 1898 or even before that, melodies that were first registered in the Tin Pan Alley publishers' offices back in 1912 or 1917. We actually get to see this Alley at that point in time. We see the ropes, the workings. How things come together, the actual act of creation. Suddenly, we can hear the shadows!
Okay, so one side of this street is America. The US of A. The opposite side: Russia. And smack dab in the middle: Europe. A pothole in the center. All the back-and-forth that occurs between these two poles ultimately depends on the movement of the sun. Night and day, taking turns, commuting in and out of sight. We get to meet Prokofiew's and Scriabin's ghost, among other spirits, reframed and published by Le Millipede's own imaginary label imprint on the historic Tin Pan Alley. Indeed there are moments on this album when Le Millipede seems to be playing Scriabin's clavier a` lumie`res (tastiera per luce), when his performance seems to be based on synesthesia, a wild cross-pollination of colors and sounds. In case you didn't know this: In the States, Prokofiew goes by the name Brian Wilson, and Scriabin's also known as Sun Ra - yet another guy who's usually broke, but gets to spend a lot of time out in the sun. Together, these assorted protagonists ask the people of the Antilles for Mutabor dance-tokens and send postcards to Moondog in Germany, right back into the darkness. On the postcards you can see people dancing the Biguine...Firing foreign fossil fuels from all pipes (Brennelementsteuer!), Le Millipede controls the very center of this hustle and bustle: going as far as to employ some southern Chopped & Screwed styles, he's 100% current and zeitgeisty! Houston, we've got a problem: there's some kind of myriapod, centi- or millipede on the loose! Well, give me another sip of lean, sizzurp, dirty Sprite, and on goes the journey in the Pullman coach. Let's follow the sun! Keep on moving, keep things motorik! Here comes the Trans-Eureka-Express. Cherish the backpacking days! A piercing rhapsody of sound (bohrende Rhapsodie), we'll remember them fondly! And thus things move on, the sun, the days, the earth: rise, set, action, round and round... onwards eternally. The sun: the biggest loop known to mankind. As if it was some kind of sonic Rube Goldberg contraption, time seems to be stretching out while listening to that hmmm. After all: time is a lot (a lot!) more than just money. And yeah, the sun is the real big shot on (or rather: above) Planet Earth. Le Millipede's live line-up also includes Markus & Micha Acher (The Notwist etc.), Nico Sierig (Joasihno), and Manuela Rzytki (G. Rag & die Landlergschwister, Kamerakino etc.).
*sole exception: Evi Keglmaier (Zwirbeldirn, Hochzeitskapelle) plays the viola. Words/sun worship: Pico Be

Seven years ago, Max Tundra sent Daphne and Celeste a tweet, asking if he could write and produce their comeback single. Four years later their song You & I Alone ripped through the internet. Today they announce the forthcoming release of the most unlikely comeback album of 2018.

Three years after their comeback song, 'BB' arrives online as their new album's appetiser, an uncompromising takedown of the anodyne and anonymous. BB stands for Basic Busker,' explains Max, any one of countless identikit instigators of mundane melodies that have brought the mood down in recent years. Pop music should lift the spirits - so why are the airwaves full of these mundane strummers'

The world has changed a hell of a lot since Daphne & Celeste stormed up the charts with their effervescent earworms U.G.L.Y. and Ooh Stick You, back near the birth of the 21st century. So you'd be forgiven for failing to predict the fruitful union of D&C with a maverick electronic producer known for his records on Warp and Domino Records. But Max Tundra has long held an ambition to become a pop producer, and this new album is an addictive combination of the eccentric, creative and melodic.

After an initial sharing of tracks and ideas around the release of that first single in 2015, Max Tundra set about writing an album's worth of material, inspired by the unique kinship, born of shared experience, between Daphne and Celeste, and his own unexpected part in their story. Last year, Tundra brought his suitcase full of songs to a desert retreat near Joshua Tree, where he joined D&C for the 'working holiday' that produced Daphne & Celeste Save The World.

A full-length album of giddy, ridiculous, genre-bursting pop, 'Daphne & Celeste Save The World' finds our friends in fine, soaring, melodic voice, with Tundra's restlessly inventive production a toothsome, chordy, maximalist feast. These 13 songs touch on subjects as varied as time travel, succulents, pipelines under the ocean, cabins in the wood, unadventurous guitarists and different regions of the brain, but above all the sweet, enduring friendship of those two people who, long ago, told us all to Ooh Stick You.

Off the back of Rudeboyz follow up EP entitled Gqomwave, Goon Club Allstars are back with an EP from UK Funky producer KG. In 2007 Karen Nyame, otherwise known as KG, was at the Nottingham Trent University producing beats on Fruity Loops. Slightly isolated in Nottingham - away from the UK Funky scene's London epicentre - KG posted her tunes on popular UK Funky message boards and Facebook pages, but never had an opportunity to properly stake her claim as one of the scene's heavy hitters. 808 and Midnight (Flute Riddim) are two lost anthems from that era, although receiving support from the likes of Marcus Nasty and others, they were largely forgotten amongst the numerous stand out tracks of the era, appearing rarely in mixes of those lucky enough to have digital copies. 808 is the party anthem, it's joyous, quivering melodies ascend above the thumping kick drum, while relentless crashing snares and carnival whistles rain down - guaranteed to heat up the coldest of dancefloors. Midnight (Flute Riddim) on the flip side is the softer, slinkier bubbler. Built for smouldering club action and hot sunny days. BSNYEA is a new addition to Goon Club Allstars' burgeoning family of artists. Hailing from the Bronx he is a veteran of the Borough's Litefeet genre that soundtracks the performances of subway dancers cross New York City's transit system. On his remix of 808 he focusses on the whistles and gutter synth lines adding in booming bass drums and lock inducing chants. Hitmakerchinx comes fresh from his anthemic Night Slugs compilation. Bringing his signature FDM energy he drops the tempo and builds on the light, airiness, letting the flutes play out softly underneath the thumping drums.

Hopeton Brown, better known as Scientist, has been a pioneering figure in the world of dub for nearly 40 years. His early love of electronics proved fruitful when (still a teenager) he was hired at King Tubby's studio in Kingston. Brown quickly ascended the ranks and became heir to Tubby's throne, producing imaginative and technically impressive mixes that solidified his forward-looking nickname.

Introducing Scientist - The Best Dub Album In The World, his 1980 debut LP, lives up to its boastful title. Recorded with Sly & Robbie at Channel One Studio and mixed at King Tubby's, the album features hypnotic basslines, reverb-drenched keyboards, and fluid, start-stop rhythms. Opening track "Steppers," with its well-balanced phrasing and organic contours, shows Scientist's mastery of the studio-as-instrument concept. On "Scientific," the effects-laden guitars are stretched to their outer limit to create magnificent, spaced-out textures and muted tension. Introducing Scientist displays the talents of a man obsessed with every element of production, drawing out the very best of the dub form.

2x12" Repress

Answer Code Request returns with his sophomore album Gens on Ostgut Ton, entering darker but equally bass-heavy territory.
Answer Code Request's 2014 debut LP Code was an exciting moment for electronic music in Berlin - one that offered a break from the eternal hall and monolithic 4/4 kicks that ruled the city's club landscape. As a hybrid gesture, the album's spirit recalled an especially fruitful era in the German capital from the mid-90s to early 2000s, when dub and paddriven Detroit techno cross-pollinated with Berlin's industrial aesthetic to create one of the city's most exciting musical chapters.
Today the musical vision offered by Berghain resident Answer Code Request, real name Patrick Gräser, has proved far-sighted. While at first glance electronic music in 2018 seems increasingly balkanized, borders between genres have once again become fuzzier.
Now, on his follow up LP Gens, Gräser looks beyond the bass euphoria of Code toward darker horizons and a desolate atmosphere befitting of current global circumstances.
In a sense, Gens (Latin for tribe or lineage) reverses the notion of the hardcore continuum as proposed by music journalist Simon Reynolds: embedded in a tradition of US andcontinental European techno, Gräser seeks its disruption through hardcore outgrowths, from ambient jungle to later variations of British bass music and IDM. It's an interesting twist when seen in the larger biographical context of Gräser who, born and raised outside of Berlin in early 1980s, jumped from East German youth radio DT64 to American hip-hop, acid and early UK hardcore - a radical shift of musical interest born of a radical shift in political circumstances. On Gens, the unsettling atmosphere is established early on with the fading rave opener of the album's synonymous title track, and continues through the scrambled military communications and post dubstep rhythms of 'Sphera'. From there, sci-fi pads, heavy phasing and alien syncopation lead explorative third track 'Ab Intus' out into space. Aglimmer of otherworldly positivity arrives with the warm, distorted breakbeats and interwoven synth melodies of album standout 'knbn2', while Gräser's most dancefloororiented melds jungle and techno, Amen and 4/4 kicks, on 'Cicadae'.

Picture disc LP housed in gatefold sleeve. Includes CD with bonus track.
With his second release for the Swiss-based Hallow Ground imprint after 2016's Soisong reissue, Ivan Pavlov pays tribute to the late Sentrax founder and prolific musician John Everall, who passed away in September 2014. Sourced from analogue material provided by the artist widely known for his output under the Tactile moniker for a collaboration that never came to fruition, the six tracks are an exercise in minimalism and subtlety singular even in Pavlov's impressive back catalogue. On COH plays EVERALL, Pavlov focuses on swirling arpeggios whose colourfulness is mirrored in the Ruth Stofer's artwork for the limited picture disk release. From the joyful, handclap-driven »2016« to the hectic gabber derivate »OVERBEAT«, the Russian producer explores a minimalistic yet organic palette of synthesizer sounds that stylistically reach from the hymnic poise of »WAVETRAP« to the playful and warm vibes of »ALONE (MINIMAL SELFIE)«. While it might sound almost pointillistic on first listen, COH plays EVERALL unfolds its multitude of layers slowly over time. With a feature of Coil's Jhonn Balance on the CD-only bonus track »Hunger Remix«, Pavlov adds yet another facet
to this evocative marriage of sonic purity and emotional rawness. Over a throbbing rhythm, the late poet's dry intonation serves as an eerie coda to this tender tribute to lost friends. As a dialogue between this world and the other, CoH's digital manipulation and Everall's analogue source material as well as stark minimalism and tonal richness, COH plays EVERALL captures two kindred spirits bidding each other farewell.

We're super excited to present the latest artist to join the Dirt Crew stable, French producer Sekou Babe. He ticked all the right boxes for us with this beautiful debut EP 'Foresight Prevents Blindness' which explores his fresh and vibey outlook on house with sideways glances to smokey jazz, breaks and garage. The a-side lines up three varied tunes. 'Perspectives of the Youth' and 'Soukoun' step in quickly with lively breakbeat rhythms. The first boasting warm soul vocals and steady bass groove, the second a melancholic yet uplifting back and forth between vintage piano and warbling rhodes. 'Treize Zero Zero Trois' is a deep and dreamy house jam. Cinematic elements infused with punchy percussion and 80s sonic touches add up to good times all round. On the B, our good friend Nachtbraker does what he does best, flipping 'Treize Zero Zero Trois' bringing the deep, dubby Amsterdam vibrations. His version is lush, textural and slightly fruity, with surging synths, tropical percussion and a stomping kick. Sekou Babe rounds things off with the extravagant 'Crown Collection", showing us yet another colour in his musical spectrum. It's trip hop meets Detroit where warped strings introduce shuffling drums before the track begins to build layering subtle arpeggios, smooth pads, crash hits and a buoyant melody. Sekou Babe would like to add that all tracks were written and produced by b.b. at 7e Republique Studio and says thanks to Peter, Ghizlène, Mohammed and Florian, you beautiful souls.

A first-ever collection of the highly sought after and largely previously unheard recordings of the one of Turkish pop and rocks best kept secrets - featuring the two rare has hen's teeth 1 Numara 7' singles (which fetch in excessive of £200 on certain internet auction sites) - including a previously unreleased extended version of Evren The missing component in the history of Turkish pop and one of the earliest exponents of Turkish electronic music alongside Ilhan Mimaroglu and Bülent Arel, Gökçen Kaynatan electrified the rock and roll scene of the late 50s/early 60s - sending teenagers wild with his custom built guitars and back lines - helping charge the climate for the birth of Anatolian rock. Then, from the sanctuary of his private studio, he revolutionised the industry with his pioneering use of electronics whilst hanging the sonic wallpaper in the living rooms of an entire generation of telly addicts as in house composer of choice for Turkey's first national television channel TRT 1. Despite having a modest discography of only four 7' singles to his name his influence is a major current that flows through over 50 years of Turkish pop culture. Compiled with unparalleled access to his private studio vault, Finders Keepers proudly presents the first-ever collection of Gökçen Kaynatan's pioneering early electronic works. Featuring a selection of his experimental pop and rock recordings dating from as early as the 1968 it features both of the highly sought after 1 Numara singles - including a never before heard extended version of Evren - as well as previously unheard archive material and songs recorded for and broadcast exclusively on TRT 1 - most of them never to be repeated. In helping Gökçen end his self-imposed 44-year exile from the record industry we can now share with you the first of these important recordings from a genuine maverick who helped shape the face of modern Turkish music, as well as shedding some light on the rise of one of Anatolian rock and pops must fruitful and experimental periods that began with the arrival (and subsequent explosion) of domestic synthesisers on the Turkish scene.

With their second album Kin Sonic, Jupiter and Okwess transcend the Congo's unexplored musical heritage and dive into a pool of modernity. We're invited to savour his latest recipe, the Okwess ('food' in the Kibunda language) which is the fruit of all the encounters and influences he has absorbed during his many journeys around the world. It's a recipe based on perfect alchemy.

Bordello A Parigi has just returned from a fruitful expedition to Russia to secure a four tracker from St Petersburg synthesizer playboy Kito Jempere. Super Sax Sounds is a rich and varied expression from an artist who has explored a spread of sounds during his career. The A-Side is the product of one diverse machine, the Yamaha QY-70. 'Bueller's Dance' gets the show on the road with latin showband flare. The opener brims with cruising notes, crisp claps and smooth bass; a track guaranteed to put a smile on any face. Moods change with the tear stained chords of 'Space Commercial', a superbly subtle work of joy and heartbreak. A colder wind permeates the flip as a cinematic and sinister element enters. Toms and snares support the descending bars of 'Atmosphere', a track where tropical dreams cloud into despair. Those dreams are purged by 'Tomohawk', a dark prowler who stalks with a maniacal glint and menacing intent. An audio feast care of Kito Jempere.

A rather fruity Brazilian, French spoken erotic version f Painel De Controle single we put out a couple of years ago that sits somewhere between euro disco and the original track. Always enjoyed playing this one out in the club as an answer record to the O.G so its good to have this one at 45rpm as well.

After more than a year of silence, the French duo VTCN RADIO releases its debut album "'Mydriase"

Mysterious and audacious odyssey, 'Mydriase' presents itself as a sensory and confidential journey. Fruit of a nocturnal composition guided by a need of musical introspection and a decisive encounter with an owl, the writing of this album will cut off its creators in an alternative reality for three years. Behind VTCN RADIO are the French producers Nathan Bokobza - a pianist fascinated by the romantic repertoire and the harmonic research of the impressionists - and Louis Martinez, a guitarist passionate about digital technologies and their uses in the process of sound creation. The group revealed its existence at the end of 2015 with the esoteric Riddle Song and continues to surprise the spirits with the release of the compositions Late Night Shuttle and Venus Flytrap in 2016, before creating in 2017 their own label "Five to Six Records". VTCN RADIO presents with Mydriase an experience based mainly on the dialogue between two entities - a dark, deep and a purer and luminescent - to constitute an elegant music, and ambivalent by its capacity to propose different interpretations. This self-produced album marks the first release of their label Five to Six Records, and presents us for the first time in a broader way the hallucinatory and singular universe of VTCN RADIO.

Optimo Music is delighted to continue its fruitful relationship with The Golden Filter with the release of this fantastic 4-track 12' EP.
We always prefer our artists to speak for themselves and avoid bullshit PR hype so here is what they have to say about this EP -
We're quite agnostic, and unreligious, but if there is any vibes associated with the EP (and maybe all of our music) it is very Buddhist in its ideas. Mindful. Aware of impermanence.
The whole EP is about being with the one(s) you love when everything else around you breaks down. Looking inward, with pure love, in the hope to radiate outward, rather than pushing for a fight, or running away. Recorded, written, and produced in isolation by Stephen and Penelope on our own in East London Studio space.
The EP starts with the song 'End Of Times' which is a dramatic, Shangri-Las influenced take on feeling powerless in a chaotic world, but still high on love. Happiness can be found in analog reverb. This is followed by 'Serenity', a hard and tranquil meditation of past + future.
Side 2 leads with 'Heart Control', with a slight nod to Pink Floyd. A nine minute plea to ourselves to keep it all focused and under control... The EP closes with 'Darkness Falls'. The lyrics for this came from an apocalyptic dream that Penelope had, and wrote down in the morning. the music is 100% purely modular, er, except for the tiny bits of guitar at the end.

Expansion's most successful and longest running compilation series returns with a 2017 edition. The concept remains the same, fifteen must-have modern soul room gems taken from the year's biggest dance floor spins on the soul scene. While tracks here have topped UK soul charts, many have not been available in all formats. Once again, attention is paid to the 'flow' of the 15 gems chosen here from shuffling beats to boogie to more soulful house as played at modern soul events. Participants this year include Omar with Los Charly's Orchestra, Tawatha Agree (voice of Mtume's Juicy Fruit') with Aeroplane, Kenny Thomas with Thames River Soul produced by and featuring Incognito, and both Wez and The Groove Association formerly members of Brit Funk group Second Image. Leela James is here after her stint in a US realty TV show R&B Divas: Los Angeles', other guests including Amp Fiddler, Faith Evans, Trina Broussard and Lifford.

Applause, Applause! Your hands are in chains but you still enjoyed the show. Drowned Records is bringing you a QNETE jam that can be described as nothing else but a 'psycho banger'. Included is also a second version of the track, milkshaking the original for a more fruity FUN affair. Finally, LEIBNIZ' dark remix is slowing things down a little hitting all drumheads with every extremity and other strange things. Clap clap!

LTD 140g 10" grape juice vinyl MAIDM is made up of musical pioneers Aim and Mikey D.O.N.
Locked in the lab for as long as it took, they're now set to share the first fruits of this miraculous merger. Presented on tasty 10' grape juice vinyl, MAIDM's opening statement boasts two hard hitting hip-hop home-runs, Tun Up Di Heat (Party Banger) and B-Boy Shit.Tun Up Di Heat (Party Banger) is an earth-quaking, bass speaker shaking introduction to how nice they are. A beatific blend of head down hip hop and funky, floor-filling accessibility, Tun Up... is the perfect introduction to MAIDM and it's precision manifesto.Flip to the flip side for second track B-Boy Shit, a track that eschews concession to commerce and takes no prisoners through minimalistic murk and hyper-aggressive vocals. Long forgotten legends are name-checked, old scores are settled, the dirty break-beat rolls on and hip-hop gains a fresh new anthem.
MAIDM - Imagine the possibilities...

The annual Deep Love compilation has become one of our most important releases to showcase what Dirt Crew Recordings is all about. It gives us the chance to highlight and welcome new faces alongside the residents who keep the Deep music we stand for alive. This year more than ever we have artists from all over the World, from Japan to Canada and Lithuania to Austria represented. The man the myth...Mr. Nightcrawler himself is back with another masterpiece. True to his usual unique blend of many styles, Nachtbraker has delivered typically off-kilter 'Cobi Cabani' with crashes and sound design that punctuate a freaky bass and rippling lead. Dropping in for his debut outing on our label, Viennese resident of Sass club and founder of the 'Secret Crunch' imprint, Roman Rauch brings the filtered Disco House. Ripe with fruity percussion and deeply ingrained groove, 'Sweet Ears' breathes and builds keeping up energy to work bodies throughout the cut. Close friend of the Dirt Crew family and member of Detroit Swindle's Live super group, Lorenz Rhode is an extraordinary artist who's not only active in the House Music scene but also created his own Big Band, the Rundfunk-Tanzorchester Ehrenfeld. He gets right to it in 'On Top' a legit live key and bass jam with all the funk from a seasoned jazz musician. From across the Atlantic we have Toronto's Jesse Futerman teaming up with Dan Only, Jesse remixed Harry Wolfman's last EP on DC and is known for his laid back house grooves.

Inner8 is Daniele Antezza, a multi-faceted thinker and electronic music producer, member of Dadub duo, co-founder of Artefacts Mastering Studio, Dadub Studio owner and Holotone label manager, whose regular invocation of the term praxis begins to hint at his creative aims: a primary synthesis of contemplation and action that, in turn, encourages a secondary and entirely unpredictable set of syntheses dependent upon the listener's unique interpretation. Though the Inner8 moniker has been in existence for several years as a private nickname for, as Antezza puts it, his 'experimental anarchist sounds,' his recent releases are just now surfacing which will reveal just how much this project has to communicate.

Like many transplants to Berlin's pulsating sonic underground (Antezza moved there from Italy in 2009), his past work seems to communicate traces of the ecstatic with the argot of technical precision and / or scientific rigour. However, Antezza is not what one would call a 'Berlin artist' despite sharing these traits in common with the city's most visionary producers: his work gives off an impression of restless nomadism that has little to do with representing a localized scene. Rather than carrying on the territorial / parochial projects of reinforcing an arts scene's geographic boundaries (or even redefining the boundaries of a musical genre), Inner8 is more concerned with a holistic 'deconstructive approach' through which 'it's possible to reveal the paradoxes of the dominant thought, the paradoxes behind the status quo.' His fascination with concepts as diverse as asymptotes and particle physics, though often trendy among those looking for a seat at the table of the avant-garde, is a heartfelt fascination - moreover, these interests merge perfectly with his relentless theoretical questing.

Antezza's relationship with that city's Stroboscopic Artefacts techno label has been a particularly fruitful one, to the point where his sound work prior to Inner8 is almost synonymous with SA's own development. As one half of the psychonaut duo Dadub along with Marco Donnarumma, Antezza has sculpted deep and immense tracks that mesmerize with their harmonious interplay of force and ambiguity. After having co-founded and managed for years Artefacts Mastering Studio, he recently launched his brand new audio postproduction Studio (Dadub Studio), where Antezza lends his sonic signature to an eclectic variety of electronic recordings. That signature can be identified by its hyperreal sense of presence and immediacy, qualities that have become crucial to the presentation of a music that generally relies on only a few sonic elements per track to communicate its message.

Antezza also takes pride in the ritualistic quality of Inner8's live sets; a mobile laboratory of dynamic tension in which his theories manifest as massive physical vibrations (here we can also see / hear / feel just how well Daniele has absorbed the lessons of the dub 'sound system' aesthetic).

Searing platter of krautrock with scorching doses of The Stooges & Judas Priest. Another ripper from this legendary Finnish horde!

Circle are the very definition of genre-defying, a rare feat for any band, but effortlessly achieved by this prolific Finnish collective. Circle's latest album Terminal is pure hedonistic pleasure. Never content on staying the same, they have created an idiosyncratic cocktail of sonic fusions, conjuring an impulsive, dizzying energy that stirs a spirit of curiosity within the listener, and has the ability to possess all who encounter them.
Whilst many would run out of creative steam (certainly after 30+ albums), Circle continue to boldly explore sonic soundscapes, venturing curiously into terrains of Stooges-esque swagger, trance-inducing kraut rock mantras, beautiful electronic ambience, psychedelic rock noodling, arena storming AOR weirdness, 70s prog rock extravagance, glam pop pomp, and of course their core sound, heavy metal, not to mention other peculiar and daring sounds that simply cannot be pigeon-holed. Terminal is gloriously fruitful in tones, shapes, colours and sounds. Eccentric, accessible, delightful and thrilling.

Disco Fruit's sister label is coming. Please welcome to "Hellcat Tunes" ! Label will be dedicated to release quality house tunes in many styles. Tonbe (label owner) has reserved first release for the well known Canadian DJ, producer and labels owner (Kinjo Music and Editorial) Dave Allison. Montreal maestro brings 4 wonderful jazzy, slo mo, deepy, housy tunes for the start of new label. These tunes are already released in digital on Dave's Kinjo Music on several EP's.