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GLOK is the electronic solo project from Andy Bell of shoegaze legends RIDE (formerly of Oasis/Beady Eye/Hurricane #1). His debut album under the moniker, Dissident, was originally released last year on a limited edition cassette by Bytes, an offshoot of Ransom Note Records. That sold out in 24 hours, and was followed by a vinyl pressing of 500 copies, on transparent green vinyl, sold via Bandcamp and two online shops. However, with that edition now sold out pretty much on word of mouth, due to popular demand, Dissident is being repressed and is this time being made available to a wider audience via a partnership between Bytes and Republic of Music/K7. The name GLOK is a misspelling of the German word for Bell. The German connection fits well as there is a strong Krautrock influence in the music, especially on the title track, 'Dissident', an epic clocking in just shy of the 20-minute mark, which blends synthwave, minimalism, trance, Detroit techno and John Carpenter soundtracks, with Andy even dropping in some killer John Squire-esque guitar licks.

Disco divas, Funky queens and Glam ladies in 70's and early 80's Taiwan!

Due to it's extremely complex history, Taiwan in the 70´s saw the creation of some incredibly special music in which the sounds coming at the moment from the west collided with the special sensitivity of Taiwanese musicians, creating a delicious mixture you´ll need to hear to believe.

"Taiwan Disco" shines a light on the music created by Taiwanese women during those years (70´s & early 80´s) to present a mind-blowing collection of songs with sounds ranging from wild Funk to Space Glam, exotic Disco or fuzzed out Soul. Here´s the ticket to some crazy Taiwan nights, get those dancing shoes ready, it´s time to shake it!

Once more we're ready to take flight on Africa Airways, for this sixth journey we're taking you above 5280 feet and laying on the funk.

The flight opens with the punchy horns, afro rhythms & groovy bass of Eko Roosevelt's "Ndolo Embe Mulema". Keeping the tempo high we usher in fellow Cameroonians JM Tim & Foty for another punch of brass with the funky "More And More (Ye-Male)". We stay in Cameroon with Ngalle Jojo, here he lays down another funktastic bass heavy stomper with "Ngigna Loko". Jude Bondeze hails from Bangui, Central African Republic and is probably best known for his more traditional Tene Sango album... but his debut 1981 release saw him in a very funky mood indeed!

Next up, Nigerian Vicky Edimo gets his thumb out and lays down some glorious slabs of deep funk... along with a rather splendid bass solo! JK Mandengue played bass off & on for the British Afrobeat band "Osibisa", playing on the uber funky "Super Fly TNT" Motion Picture Soundtrack album.. Certainly putting him on a path to the Wahahwah'tastic "Kosa Mba" taken from his 1979 self-titled album.

Slow percussive classic raw street funk from Nigeria's Akwassa, who's line up is the same as "Heads Funk Band", are up next. Another outing for Vicky Edimo on this 1978 beauty from Mike Kounou. Also on guitar duties for Mike Kounou is Francois Amadou Corea, who's funky chops can be heard on "Ngigna Loko" & "Njonjo Mukambe".

Hi-Octane funk from Airto Fogo, percussion, rhodes & horns aplenty on this 1974 instrumental cut "Black Soul". As we prepare to start our decent Francois Misse Ngoh drops in some filth with this 1980 bass face monster "Njonjo Mukambe"... head nodding isn't essential, but it's best to brace yourself for impact.

Your next Africa Airways departure will be ready for boarding soon,
so keep your passports at the ready!

The classic album of Germany's funk champions reissued on surf blue colour vinyl.

Original press release note from 2011:

After almost twenty 45's under various pseudonyms, their thrilling and hugely successful debut album with London-based singer Gizelle Smith and a tour with concerts throughout Europe, Germany's most prolific deep funk formation is ready to step further into the spotlight with their second longplayer.

The aptly titled THE FUTURE IS HERE sees the group explore new territories with features by hiphop legends Afrika Bambaataa and Charlie Funk, French singer Caroline Lacaze and German rare groove queen Su Kramer, while manifesting their unique raw funk sound and refining their unmistakable instrumental style that has long gained international reputation.

Producer legend Kenny Dope (Masters at Work, Bucketheads) picked up the Mighty Mocambos's re-interpretation of the Furious Five classic "The Message" (released under a pseudonym on an obscure phantasy label without proper distribution), remixed it and re-released it on his own imprint Kay Dee Records. This album includes the original version of the "Next Message" – a message that apparently got heard and answered.

Afrika Bambaataa (the Godfather of Hip-Hop) and Charlie Funk (aka Afrika Islam, Grammy- and Oscar-decorated producer of Ice-T and original member of the Zulu Nation) loved the Mocambo vibe and joined the group on stage and in the studio to record "Zulu Walk" and "Battle", two stunning tracks of organic Funk that take Hip-Hop "back to the roots where we started out" (as featured MC King Kamonzi rightfully says) and along the way, leads funk into the future.

Keeping up with the universal spirit and ignoring boundaries of language in favour of the global groove, the Mocambos recorded "Physique", a rousing dancefloor smash sung in French by Caroline Lacaze. "The Sun Shines Tonight" is a cheerful party-in-the-studio session with original German funk and disco queen Su Kramer (who played with Donna Summer in the original cast of "Hair" during the late 1960s) that documents the pure joy of playing and spontaneity of a Mocambo live situation.

The 12 titles on this album showcase the group's collective determination, unified versatility and creative wit. From the drum-heavy, afro-tinged "Calling The Shots", the anthemic "Struggle & Triumph", the romantic melancholy of "French Vanilla Skies", the somber and frantic "Transcendental Express", to songs with an almost cinematic quality like the moody "A Brighter Darkness" and the horroresque "Paranormals Theme", the album offers a broad spectrum of colours, all held together by the unity of a band that has been playing together for years - recorded live in a few takes with simple analog equipment to capture the energy, chemistry and blind faith between dedicated musicians.

The result, mixed and mastered by chief engineer Def Stef with a decidedly modern punch, is a far cry from nowadays vintage soul band replicas. It is a universal and timeless statement: with the knowledge of the past and present, right now, we look into the future - THE FUTURE IS HERE.

One thing‘s for sure: There aren‘t many bands with a history as long and eventful as Kreator‘s, who fascinatingly succeed in exploring new horizons while challenging and reinventing themselves time and again.That was perfectly illustrated by their latest record ‘Gods Of Violence’ in 2017. With this 14th studio album of their impressive career, the thrashers from Essen, Germany crafted a work of art of utmost vigor, drawing its unfailing power from the pounding heart of one of the greatest, most versatile metal bands of all time.

Mainman Mille Petrozza’s influences range from Hannah Arendt, Pink Floyd and Tocotronic to Slayer, even though he was born and bred in the metal scene. Nevertheless, he is and always has been open to inspiration from various sources, which is why his lyrics are by no means merely based on corny genre templates but offer trenchant observations of our time combined with a witty aside to long-standing cliches: One of the best songs on ‘Gods Of Violence’ is really called ‘Satan Is Real’.

Formed in 1982, Petrozza and ‘Ventor’ – the only two remaining founding members – have come a long way from playing in a small-scale student band. “In my history book, Kreator didn‘t really exist until 1985“, says Petrozza, laughing. “Although we had already started jamming together in `82, we only entered the stage two or three times up until `85. Back then, our set list consisted of five original tracks and five heavy metal cover songs, we went through several line-up changes and didn‘t really find ourselves until ‘Endless Pain’.Over the years, Kreator, the leaders of the German ‘Big Four’ of thrash, have sold more than two million albums worldwide and have played countless shows all around the globe. It is one of these shows that is captured on ‘London Apocalypticon’. Recorded in December 2018 at London’s legendary Roundhouse venue, headlining a bill with US hardcore pacesetters Hatebreed and Norwegian Black Metal legends Dimmu Borgir. Kreator’s explosive set was quite rightly heralded as “a demonstration of consummate musicianship and stagecraft” by Metal Hammer magazine.

Gentle waves lap the soft white sand. The limitless ocean fills the view as the sun slowly sinks below the horizon. As the day ends in blue and orange tones, the heat begins to subside, a sure sign that the slow evening migration from the beach will soon begin. A pleasant, yet formidable music comes from the radio tuned into a frequency transmitted from Paris. Maybe it was written and recorded in the 70s, or maybe it has simply soaked in that aesthetic all the way down to the pauses. It doesn't really matter. Delving deep to explore the roots of Brazil’s musical tradition, the Camarão Orkestra has tapped into Candomblé and its rhythms. Born on the drums of enslaved Africans in a ritual that invokes numerous deities, they lay the foundation for this new album, Nação África. The eleven musicians, guided by Amanda Roldan’s silky voice and guest appearance by Anthony Joseph (“Canto De Bahia”), explore and embrace the murmuring polyrhythm of Brazilian percussion instruments, vibrating berimbau and squeaking cuícas, pouring their tightlywound funk bass into the groove and letting their jazz fly free, together and solo. The seven nonchalant tracks get your hips swaying, whether you’re in a comfortable armchair or surrounded by other dancers. They take your mind far away, on a journey paved by analog synths with Fender Rhodes crystals to the horizon where the sun’s last glimmer has finally faded away. The brass section’s shiny bells, valves and keys reflect the images and ambiance of the soft Brazilian night air.

As Ociya, hardware freaks Tin Man (Johannes Auvinen) and Patricia (Max Ravitz), come together in unholy acid matrimony on a definitive double-album, Powers Of Ten.

We know both sides well. Over a prolific run of records for Acid Test and his own Global A, Auvinen has expounded upon the promise of "Nonneo" (recently named one of Resident Advisor's 2010-19: Tracks Of The Decade), unearthing new, emotional vistas from the Roland TB-303. Ravitz, meanwhile, matches Tin Man in studio ethic, establishing himself as one of North America's hardware masters on records for Ghostly and Opal Tapes.

What we couldn't have predicted is how well the parts merge. Cuts like "Ghost Moons" channel the hazy IDM legacies of the past, while "Hopeful Galaxy" mixes a plaintive Rhodes motif with a hopeful 303 line for the perfect "tears on the dance floor" cut. The track titles on Power Of Ten— a perfect melodic techno LP generously spread across two records—are celestially minded ("Gravity Knots," "Star Scraping") and indeed, the cosmic metaphor is apt or the newly-formed duo. On Powers Of Ten, Tin Man's acid lines rocket through space like brilliant, shooting stars. His signature orchestral acid moments are given the perfect backdrop, the nebula of Patricia's rich atmospherics and melodies.

The album was recorded live to 2 track in Patricia’s studio in New York, no edits.

Tyyni is the third album by Finnish-born sound artist and musician Cucina Povera aka Maria Rossi. The second album recorded using a more studio-based scenario – as opposed to last year’s Zoom, a collection of in-situ, spontaneous recordings – Tyyni feels like a slowly unfurling mediation on the clash between nature and mechanical living, a rumination on the complexities of modern life that begin to unveil more about the inner landscape of the artist as it progresses. A Finnish word referring to still, serene weather, the title belies a new note of turmoil in Cucina Povera’s soundworld. Tyyni represents a more detailed focus on the sculpting of sounds that curl around Rossi’s hymnal vocal performances. It’s a more adventurous work than Rossi’s previous output that goes further into noise elements and vocal abstraction while maintaining the balance and ecclesiastical ecstasy of her debut Hilja.

While tension at the core of Cucina Povera is always prevalent, previously it was organic sounds that were used to counterpoint Rossi’s singing but on Tyyni these are often replaced with aggressive synths and distortion, profane clashes with the seemingly sacred hymns. Whether close mic’d and intoning in a loop or in full flight, Maria Rossi’s voice remains in the foreground, set here against a more synthetic backdrop. This development builds new worlds for Cucina Povera, a digital environment which brings in a sense of the alien for Rossi’s vocal to duel. The effect is often dazzling. On Salvia Salvatrix, an ode to the medicinal plant used to ward off evil spirits, Rossi’s invocation is encircled by a distorted synth sound tearing at the fabric of the composition. It’s an inspired juxtaposition, leaving the listener to appreciate both sounds as separate and as a duet. Anarkian kuvajainen embraces a sense of chaos, an accidental transmitting mobile phone’s pulse is swept up gently with looped synth swells as Rossi’s prayer-like vocal rhythmically teases the composition into loops that embrace and then drift apart. Teerenpeli flirts with a minimal beat rendered by sampler and processed, layered field recordings of capercaillies, while Side A ends with one of Rossi’s most beautiful, simple tracks yet recorded. Varjokuvatanssi is an a cappela recording built on top of a wordless glossolalia, a shadowy interplay which foregrounds the solo vocal.

Pölytön nurkka is the most melodic song yet recorded by Cucina Povera. While it still maintains an off-the-cuff performance style, the synthesized chimes and 4/4 beat are smothered by a distorted synthesizer which almost replicates the bravado of an electric guitar feedbacking into the night. Rossi’s subject matter talks of trying to start anew, getting rid of extraneous material, perhaps still feeling powerless to affect positive change. On Haaksirikkoutunut, the protagonist vocal is lost, a vessel rudderless on the ocean, buffeted by waves metaphorical or real, digital, atonal chords gurgling and splashing against the bow, a storm forever brewing on the horizon. Saniaiset recalls Coil in its eldritch, nocturnal tone and digital-bell like synth, Rossi’s half-spoken/half-sung voice attaining a creepy tone before flipping into flight. Album closer Jolkottelureitti uses an escalating, sequenced synth that splinters into both abrasive tones and harmonising chords creating a kosmische effect, reminding the listener of Kluster or synth-era Popol Vuh, all the while elevated by Rossi’s searching vocalising.

For an artist with such a singularly unique musical language, Cucina Povera is continually teasing new strands and emotive tones from an evolving palette. Most importantly, Tyyni appears to be pulling back the veil to uncover an artist finding a synergy between her own emotional inner world and practice. As such, on her third album, Maria Rossi has found a third way between abstraction and extraneous emotion, personal experience turned inside out to reveal more about the listener.

Los Angeles based artist Evan Caminiti returns with the follow up to 2017’s Toxic City Music.

Living in the wrong timeline, dreaming of possible utopias; Varispeed Hydra beams in like a collection of broken transmissions, terrestrial sounds melting into the abstract and rising again as vaporous specters. Three years in the making, Hydra was recorded utilizing a variety of electroacoustic processes and honed in live performances ranging from the sound art setting of NYC’s Issue Project Room to the future-club environment of DOMMUNE in Tokyo. While thematically following Toxic City Music, it moves past that album’s emphasis on superfund sites and the proverbial rat race to turn an ear towards more rural environs.

With a focus on some of the sounds we stand to lose if we continue on our current trajectory of ecological destruction, birds, insects, and water are most often found among the glowing synthesizers and warped electric guitar that comprise the album’s melodic and rhythmic core. Connecting a thread between musique concrete and dub, these sounds are atomized and diffused before being woven together with a sense of urgency, a colorful and restless haze. Phasing percussion and blurred melodies are wrapped in a fog as they tumble and glitch, occupying a space where ominous rumblings and bucolic bliss blur together. An offering of cautious optimism in the age of anxiety.

Written and produced by Evan Caminiti, featuring electronics by Lisa McGee.
Mastered by Rafael Anton Irisarri at Black Knoll Studios.
Artwork by Michael Vallera and Zane Morris.
Vinyl cut at Dubplates and Mastering Berlin.

Inspired by Gibson's 'Neuromancer', Patrick Holland dives deep into the ambivalent future with Simstim. Also known for work as Project Pablo, Simstim uses familiar motifs with a more personalized touch. Pointillist melodies lay in a wash of noise artifacts, as pulsating rhythms fray subtly falling between sections, all delicately glued together with blissful harmonies. For the dancer and/or headphone listener alike.

Now finally, the great "Music Exists"-series by Tokyo-based duo the Tenniscoats is completed. Apart from the regular 4 volumes, there is a heavy cardboard box, beautifully screenprinted and hand-numbered by senorburns, in 12 different color-combinations. Inside you'll find an extra-LP of bonus-tracks and alternative versions, "Music Exists disc 5", which only comes exclusively with this box. Like on the other LPs, you’ll hear heartbreaking songs, beautifully arranged with acoustic guitar, melodica, psychedelic keyboards and soundexperiments. Also included is a A3-Poster with a drawing by Ueno not used within the previous album-artworks.

Limited one-time pressing of only 500 copies worldwide. There is a small amount of full boxes with all 5 LPs and Poster available, for those, who don‘t have any of the albums so far.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the Tenniscoats and their opus magnum "music exists".

"It may even be their greatest ever music, essential plus" Monorail Music, Glasgow

"Whatever's ailing you, Tokyo's Tenniscoats have got something for that" Boomkat, Manchester

Repress
Following up on the mighty 'Eskimode' EP and his recent collaboration with Levela, Particle presents the 'Thermal EP', possibly his biggest release to date. Featuring the enormous lead single 'Business Techno' which had become a firm favourite at Critical events across the world before the lockdown and the chopped old school edge of 'Camberwell', this is one seriously good EP.

Where does electronic music lead you? To the inside, to a calm and warm place where sound resonates with your body in quiet bliss, or to the outside where the rhythm wants you dance, even without moving? „WTMCT“ gives an answer to these questions that is complex yet extremely easy to understand in an immediate sentient and emotive way.

Menelaos music is unusual and unlikely both with respect to the structure and arrangement of tracks, and the materiality and spatiality of the sound. And yet these sounds convey an immediate sensation of familiarity and ease, of beauty and relaxation. Menelaos utilizes loudness and extreme dynamics in a thoughtful and intriguing way to accentuate strange runaway sounds while maintaining the continuity of the flow of the tracks, which is Ambient to the core. This is a rare art in our time, where hypercompressed and superoptimized glossy sounds dominate most of Ambient, drone and even deep listening music.

In this aspect the album follows and refines the subtle production skills of seminal electronic artists like Jan Jelinek or Terre Thaemlitz a.k.a. DJ Sprinkles. What is genuinly special about Menelaos music is the natural and seemingly effortless fusion of challenging experimentalism and a warm and soothing organic sound-design. This shows exemplary in the collaborative tracks with trombonist and bass trumpet player Achim Fink, a founding figure of the Cologne jazz and free improvisation scene of the eighties. Achim is uncompromisingand in times disruptive play merges perfectly into Menelaos serene soundscapes.

This way „WTMCT“ became a genuine album. It tells a story. It invites deep exploration but it does not demand it, thus transcending common notions of how Ambient or Electronica should sound. Text: Frank Eckert

The Album includes also some warm sampels (my live with the wave vol 1+ 2) from the Detroit legend Mike Huckaby to whom i very thankful.

Limited edition of 170

Splendid classious acid mentalcore tunes. Notice the KiwiKiwi track from Camera Security... a bloody track name when you listen to it !!

If you’ve visited Ibiza in the last few years, there’s a fair chance you’ll have encountered DJ Pippi and Willie Graff. The experienced duo has been DJing together on the White Isle for years, finding time between sundown sets to make music together in Italian veteran Pippi’s home studio. The pair’s first collaborative EP dropped on Drumpoet Community way back in 2007, with the belated follow-up appearing a decade later on Compost Disco. Here they make their bow on Leng with the “Lunares EP”, a typically warm and woozy collection of cuts named after the Spanish word for “polka dots” (a fashionable item in Spain and the Balearic islands throughout the 1980s).

They begin with the slow-burn sunrise bliss of “Lunares”, a shuffling and glassy-eyed affair in which evocative, emotion-rich strings, heady vocal samples, echoing sitars and lilting guitars slowly rise above a thickset backing track rich in dubby bass, swelling pads, starry electronics and snappy drums. Capable of tugging at the heartstrings, it’s a sublime slab of mood-enhancing bliss perfect for both weary dancing and sofa-bound relaxation. “Saxolicious” lives up to the premise of the title, with Pippi and Willie wrapping snaking, effects-laden saxophone solos around a languid, slow motion groove bristling with hazy intent. Expect chiming electric piano chords, dreamy pads, rolling grooves and another fine bassline that will worm its way into your subconscious, spark up a spliff and stay there for days.

The EP’s final musical moment is, if anything, even more spaced-out and intoxicating. Employing extra-slow beats and a prominent jazzy bass guitar part, the pair invites us to get locked in to a chuggy rhythm. Throw in druggy synth lines, tactile electric piano stabs and some suitably cosmic effects and you have a hallucinatory treat that would no doubt have gained the approval of the late, great Andrew Weatherall.

4 elements mystical project... Solid first. Of course, earthians dancefloor. Banger tellurik force ! Second comes with the Liquid/air element, a tribal invocation ! The flip opens with an aerian sound, clouds of infectious gaz witch turns more and more threatening till it double-kick ! Finally... the erruption... the pure fire... that one moving under... kickless. The glass becomes liquid... an acid fire inside !

Dark industrial ritual doom techno sound... Intercontinental darknesses.

Iconic cultural engineer and prolific music pioneer Daniel Miller, aka The Normal responsible for the timeless post-punk / wave classic “Warm Leatherette” and founder of Mute Records, collaborates with avant-techno artist Nicolas Bougaïeff to instigate another revolution with the inaugural release as Populist on Avi Caspi’s newly founded imprint The Temple and The Low Dive. Miller and Bougaïeff provide four purist modular techno explorations that are prepared to carry the listener into stellar dimensions. Introductory A1 track “Center” is a sophisticated, minimalist, stripped down piece with dynamic elements and a cinematic aesthetic that introduces the mood of the entire EP, defined by spectral micro movements and a touch of liquid textures.

Further navigation through the EP reveals more of the aesthetic intent while, at the same time, retaining a specific uniqueness found in each track. There is a definitive interstellar cosmic feeling throughout that brings the future back to the present and with B2 track “Temple” we discover that Miller and Bougaïeff are no strangers to a provocative and discerning dancefloor. “Temple” guarantees ecstatic dance floor moments that define experience. The digital bonus track “Dogma” continues to keep up the pace and here is what will be imminently essential for any serious purveyor of explorative techno to include in their repertoire.

This first installment on The Temple And The Low Dive gives us something that is as special as it is unique, paying homage to one of electronic music culture’s most admired artists and icons, and introducing the world to new artists and proponents of the global electronic scene, Caspi and Bougaïeff. TIP!

As Ociya, hardware freaks Tin Man (Johannes Auvinen) and Patricia (Max Ravitz), come together in unholy acid matrimony on a EP (here) and definitive double-album, Powers Of Ten (coming up on april 27).

We know both sides well. Over a prolific run of records for Acid Test and his own Global A, Auvinen has expounded upon the promise of "Nonneo" (recently named one of Resident Advisor's 2010-19: Tracks Of The Decade), unearthing new, emotional vistas from the Roland TB-303. Ravitz, meanwhile, matches Tin Man in studio ethic, establishing himself as one of North America's hardware masters on records for Ghostly and Opal Tapes.

The album was recorded live to 2 track in Patricia’s studio in New York, no edits.
This 12-inch simply called Acid Test 15, ill be released before the album and also features remixes from Plasmic Eddy

New York’s indie disco funk crew is back with a new album. And it’s the right moment: With new acts like Toro Y Moi, Sault, Parcels, The Internet around… the funky, disco, old school vibe is big in 2020. And The Phenomenal Handclap Band fits perfectly. Probably all these new artists are fans of the Phenomenals. Because The PHB popped up for the first time 10 years ago. Some top knotch musicians from NYC’s funk scene playing dirty discofunk. Some of the bandmembers played in Mark Ronson’s projects and in Amy Winehouse’s backing band. Head of the band: Daniel Collás. Their self-titled debut album on Gomma records 2010 made them many fans in the music scene. A nasty fusion of forward-thinking disco, psychedelic prog rock, and classic soul with a splash of yacht rock. Back then the band took the road, supporting Bryan Ferry and Franz Ferdinand, playing shows at Glastonbury, Wireless, and Latitude… as well as getting praise from Sir Paul McCartney about their album! After the album Collás began to produce other artists in Brooklyn. The band paused. Now they are back. With Daniel Collás in the centre, along with new members multi-instrumentalist Juliet Swango, and vocalist and synthesizer wizard Monika Heidemann. Their sound is still essentially analog dance music, with an emphasis on raw soul, vocal harmonies, African percussion, fuzzy guitars and analog synthesizers.

Russia's Nocow refuses to mourn the failed experiment of human contact on his Turbo debut EP, delivering cathartic anthems alongside giant warehouse jams you are free to call "deep" and "cavernous" with full knowledge of the risks involved. ??

On lead track "Never Leave Me," the Saint Petersburg-based creator of "Cloud Techno" runs emotive vocals through a hazmat filter and into the emo-globin contained within your fluorescent-green blood cells. Meanwhile, after-hours love-weapons "Back On," "Avalon," and "Soder" each take different routes to activating the phantom arousal mechanisms of your soul. Finally, some people have been calling closer "Starfall" a "magical ticket to Vocal Sample Heaven" and "a timeless all-inclusive ravecation from the cares of this workaday world." While we would never choose to word it that way, we concede that both descriptions are generally pretty accurate.??

In these times of social isolation and uncertainty, we remind you that it's vital your Restless Heart Syndrome not turn into Reckless Heart Syndrome. Instead of frequenting illicit "Droplet Transmission Parties," why not peep the vast network of Landline Raves we've been hearing about via our vast network of peeper-drones? Also, please try to keep in mind that all of this is simply selection pressure forcing you to evolve new and viable ways of connecting with the hottest singles in your area. So stay inside for now and stay inside our hearts forever.

Dee Edwards is a 70s soul singer who has impacted on the modern, rare and two step scenes. She is particularly well known for “(I Can) Deal With That” for the Detroit De-To label before her spell at Cotillion Records. Here she recorded two albums “Heavy Love” and “Two Hearts Are Better Than One” from which the A and B side or our 7” are taken. “Put The World On Hold” has previously been only a go to modern dancer track on an album. “Put Your Love On The Line” is a disco/boogie pleaser produced by Michael Zager, an early 7” issue of this being an edit. Enjoy it now in all its glory

Following hot on the heels of his acclaimed 2nd album 'Solar Nights' German producer Tim Bernhardt, AKA Satin Jackets, returns to bring some much needed warmth to the winter with the release of the 'Golden Cage' EP.

Featuring three brand new instrumental tracks, the EP sees Bernhardt venture into more introspective territory, eschewing the more upfront pop direction of recent collaboration with Panama, 'Electric Blue', for something softer and more intimate.Â
Easing us into the EP, ''offee and Feels' is both classic Satin Jackets and aptly titled. A comforting blend of warm synth pads, gently unfolding arpeggios and plaintive guitar all wrapped in soft gauzy textures, 'Coffee and Feels' is just the thing to kickstart your day on a mellow autumnal morning.
'Meridian Gateway' meanwhile delivers the kind of optimistic yet wistful melodies that Bernhardt has time and time again shown himself to be a master of. Built around a series of poignant piano notes the track gently unfolds and reveals itself, shimmering like the first frost of the year catching the morning's rays.
Closing the EP we have 'Mercury Moments' which injects the susurration of distant voices into the mix of sparkling melodies, echoing chimes and finger clicking rhythms to stunning, emotive, effect.
Whilst 'Solar Nights' showcased Bernhardt's skill at crafting thoughtful left field pop music and coaxing the best out of lyricists and singers alike, the 'Golden Cage' EP reveals he's still a dab hand when it comes to crafting dreamlike nu-disco, as warming as a mug of gluhwein in midwinter.

Following 2019’s New Atlantis LP under his experimental techno alias Efdemin, Phillip Sollmann’s Monophonie is a project dedicated to uniting different strands of utopian music. His approach: combining and recontextualizing rare historical instruments of sonic research of Hermann von Helmholtz (19th century) with the self-designed, microtonal instruments of Harry Partch and metal sound sculptures of Harry Bertoia.
The result is a psychedelic investigation into just intonation – alternative tuning systems that create unique sets of harmonics not found in conventional scales. Monophonie recasts these sounds into new rhythmic environments where epic kosmische, polyrhythms, acoustic techno and microtonal glow are interwoven into a rare music.
Over nine tracks, the album explores multiple forms of minimalism, from unwavering repetition to paired-down chords and sparse sonic environments. But it also seeks to expand the sound spectrum of Partch’s custom built organs and melodic percussion instruments as well as Bertoia’s sonambient singing metal rods into a atmospheric otherworldliness.
Monophonie was first composed in 2016 and premiered at Berlin’s Volksbühne theatre in 2017, before it went on to the renowned Ruhrtriennale and Kampnagel in Hamburg. It was performed by one of Germany’s premier neue musik collectives Ensemble Musikfabrik together with Sollmann himself on von Helmholtz’s original double siren, with set design by Michael Kleine and wardrobe by Peter Kisur of Honeysuckle Company.

Disco icon D.C. LaRue and Fraternity Music Group go back to the original multitracks and rework two classics from the Pyramid Disco catalog. With DJ Spinna, Johnny Juice (Public Enemy) and Mell Starr on remix duties, LaRue’s “Face Of Love” and “Indiscreet” are revitalized and tuned up by and for DJs and dancers. Juice’s intense, ‘80s house flip of “Face Of Love” sets things off before DJ Spinna gives the song a classic white glove treatment, extending and dropping drum breaks at all the right times. Mell Starr rounds things out with straight-to-the-point mix.

The flip side sees Juice get creative with it once again, with a dubby, cut-filled version of the break beat classic “Indiscreet.” As a DJ who’s cut the original up a million times, Spinna knows exactly where to freak the beat on his version of “Indiscreet,” lacing it with monster open drums throughout. Once again, a classy Mell Starr mix closes out the side of this jam-packed 12-inch.

Heavyweight pressing and an immaculate full color jacket utilizing the original Pyramid Disco sleeve design makes this a must-have for any funky DJ.

The first collaboration between frequent Past Inside the Present contributor Slow Dancing Society (both as an artist and in-house engineer for other PITP releases) and the label's founder zake, present 'Mirrored'; a wonderful meditative exploration of glacial drones, atmospheric hum, and touches of restrained ambient techno.

Mirrored is a quietly powerful, contemplative album with a beautiful stillness at its center. Layered dronescopes are intertwined with murmuring electronic rhythms, hypnotic bass, and the occasional pneumatic beat resulting in a collection of pieces that radiates a glowing warmth.

Das wohl wichtigste britische Duo dieser Zeit kehrt in den zwischenzeitlich verlassenen Heimathafen Rough Trade Records zurück und bittet nach dem Appetithäppchen English Tapas ohne Umschweife ans Buffet! Denn mit dem am 15. Mai erscheinenden All That Glue tischen Jason Williamson und Andrew Robert Lindsay Fearn ein wütendes Potpourri an Songs aus den letzten 7 Jahren ihres Schaffens auf - und halten damit wieder mal der gehobenen britischen Gesellschaft sowohl den Spiegel als auch den Mittelfinger entgegen. We call it: 22 Banger für ein Halleluja! Genauer: Langjährige Favoriten, B-Seiten, unveröffentlichte Tracks und Raritäten - alles natürlich handverlesen von der Band! Willkommen zurück Jungs und wohl bekomm's! Das Album erscheint als CD und LP. Außerdem gibt es eine limitierte deluxe Vinylausgabe in weiß mit extra ausführlichem Booklet.

ADULT. make a triumphant return after their 2018 album "This Behavior", dubbed "_one of the best records of their career_" by Ryan Lathan of Pop Matters. This chilling continuation takes the form of "Perception is/as/of Deception", an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. While "This Behavior" was recorded in the isolated snowcovered woods of northern Michigan, "Perception is/as/of Deception" was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces that making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach. Tracks like "Have I Started at the End" successfully maintain the duo's classic EBM signatures and synthesized aggression, cradled by a suspicious mantra that questions_.what's the point? "Why Always Why" offers a disorienting mutation of the heralded sounds of classic dance music, like a remix that escaped prison and is on the run. The dystopian anthem, "Total Total Damage", comes in full force with an frantic energy which jolts any bystanders to attention, with only the defiant chants of Kuperus' vocals outlining the ever-degenerating state of societal affairs. The dramatically glam synth parts scattered throughout the album, while at times ominous in nature, seem to also act as a merciful reminder that through the journey of "Perception is/as/of Deception", one can still enjoy the chaos. With the rampant sense of emptiness on the minds of many these days, there continues to be few attempts at scoring these common, unfortunate human qualities with pure sincerity. Thankfully, ADULT. has a long-standing reputation for creating the soundtrack for our insecurities, and "Perception is/as/of Deception" further solidifies their apprehensive position.

LTD. GREEN VINYL

ADULT. make a triumphant return after their 2018 album "This Behavior", dubbed "_one of the best records of their career_" by Ryan Lathan of Pop Matters. This chilling continuation takes the form of "Perception is/as/of Deception", an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. While "This Behavior" was recorded in the isolated snowcovered woods of northern Michigan, "Perception is/as/of Deception" was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces that making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach. Tracks like "Have I Started at the End" successfully maintain the duo's classic EBM signatures and synthesized aggression, cradled by a suspicious mantra that questions_.what's the point? "Why Always Why" offers a disorienting mutation of the heralded sounds of classic dance music, like a remix that escaped prison and is on the run. The dystopian anthem, "Total Total Damage", comes in full force with an frantic energy which jolts any bystanders to attention, with only the defiant chants of Kuperus' vocals outlining the ever-degenerating state of societal affairs. The dramatically glam synth parts scattered throughout the album, while at times ominous in nature, seem to also act as a merciful reminder that through the journey of "Perception is/as/of Deception", one can still enjoy the chaos. With the rampant sense of emptiness on the minds of many these days, there continues to be few attempts at scoring these common, unfortunate human qualities with pure sincerity. Thankfully, ADULT. has a long-standing reputation for creating the soundtrack for our insecurities, and "Perception is/as/of Deception" further solidifies their apprehensive position.

Second full-length by Bay Area musician Gabriel Ramos; Inventive darkwave with a melancholic touch.

Five years after their self-titled debut Ssleeping Desiress returns with an outstanding second album Exile House. Tapping into melancholic darkwave via 1980s British post-punk guitar worship, delicious analogue synths and pulsating drums, the album unfolds like a soundtrack of city life with isolation, identity, and reconciling with one's past as central themes.

Over the course of eight tracks Sleeping Desiress showcase their ability to craft "dark pop songs” that sometimes twist and turn but ultimately weave their way into your head, determined to stay there. Ramos’s singular voice makes these songs shine even more, switching easily between slow introspective daydreams and upbeat anthems. Think: Glorious Din, Le Travo and... The Cure.

ALBUM: I came up with the album title after watching a YouTube video by the channel "Watch Mojo" entitled "The Top Ten Dead Music Genres". In this video, they claimed that Synthpop is dead. Since everybody said I was a Synthpop artist, I was astonished to discover that the genre I play is considered "dead". It's relatively tongue in cheek because I don't believe any musical genre is dead and everything can be revisited and everything evolves. That being said, this is an album in which, at least musically, I am working within the boundaries of this genre, while at the same time starting to experiment with other, more modern sounds and concepts. Thematically, I tackle various topics: dysfunctional childhoods (Shortcut), heroic love in a dystopian nightmare (Billions of Years), self-destructive behaviour (Drink and Drive), unrequited, criminal love (House Arrest) and many others.

BIOGRAPHY: Glitter, glam and good vibes from the heart of Berlin! Stephen Paul Taylor (SPT) is a Canadian artist who went viral in David Bowie's old stomping grounds and has played hundreds of concerts, festivals and weddings all over Europe. He makes Synthpop-Art-Punk with undertones of New Order and Talking Heads.
Taylor was in Post-Art Synth-Folk duo, Trike, for five years before branching off into his solo project in 2014. Trike won a $20K award from "The Gong Show" (in Vancouver) in 2011, toured 22 countries, recorded an album in Denmark and Belgium and played hundreds of shows. Taylor then went solo and began playing all over Europe, from Denmark rooftops to weddings in East Germany. He gained a name for himself after achieving viral status and has continued to play all over Europe ever since. Well known for being a street musician, he essentially quit playing in the street in 2018 and focused exclusively on playing on the stage
His music is a blend of both old and new. A strong beat pulses beneath the catchy melodies and captivating lyrics float atop the whole ensemble. His bittersweet words often contrast the happy melodies within the music. He tackles unique subjects that reflect the 'ennui' our our current cultural climate. His newest album "Synthpop is Dead" is an ironic interpretation of the notion of musical genres actually "dying". Did Synthpop actually die or did it evolve? His new album also touches on other themes, from our dependance on fossil fuels to our addiction to self-destructive activities, like drinking and driving. The album uses healthy doses of humour to hammer down its themes
A year after going solo, SPT went viral with his song "Shi*t's F*cked" (His channel has 7.5 million views on YouTube) and appeared on many TV shows and well-known media outlets, from RBB to Arte to Comedy Central. He was also featured on Germany's "Das Supertalent" in 2016. He has 1.5 million listens on Spotify. He's been on the radio in Italy, Latvia, Canada and Australia, to name a few. He was also signed with Budde publishing and his racord label, "SPT Records" is a subsidiary of "Shitkatapult Records"
Dieter Bolle said his "80's influenced" music was "sehr geile" (very beautiful). Electric Six frontman, Dick Valentine, said he's "a firecracker".

After much anticipation, our Belgian disco diamonds Rheinzand present their debut full-length album. On their self-titled record, The Belgian trio wraps the human heart in synthetic threads of modular electronic disco. 9 songs writhing on timeless dancefloors, morphing in and out of shapes of luxuriant melody and vivid instrumentation.

The album is full of classic disco and electro sounds, wielded with imposing prowess by multi-instrumentalist Reinhard Vanbergen. It’s both an exploration ofdance music’s electronic genealogy and the vintage cool that has defined its different eras. Still, an organic atmosphere pervades as the blend of real instrumentation fixes a sort of retro-futurism, imagining an alternative timeline that’s a bit more exciting, more sensuous and libidinal, maybe more human, too, than our current outlook.

We start the engines with Break of Dawn, a compelling beat rises from the basement and soon we’re submerged by the pulsing bassline. Dark sunglasses on, we cruise through the night, letting flashing city lights flow into unbroken torrents of color. Blind awakens us, a splash of handclaps in the face, vivid strings and Charlotte’s trademark slick vocals enter the stage. Tantalizing sunbeams power up circuits of electronic synths blipping and beeping away.

Later down the road, we hit the Latin part of town. Porque fits enchanting vocal spells in beautiful Spanish on playful flamenco rhythms. Fourteen Again is a throwback to early electro, playing around with knobs and buttons. An oscillating synth imagines new worlds of plastic emotion. Still disco and still very cool, though. A constant velocity is sustained throughout the album bythis recurring locomotive synth, trudging away beneath the action. Once in a while, we hear the deep, mighty, trembling voice of Mr. Rheinzand speaking to us in incantations. Someone’s pulling the strings here.

On Slippery People, the trio cover the Talking Heads classic in a characteristic procedure of bouncy funk. We’re swirled around by the delirious glasswork of You Don’t Know Me into the hypnagogic funk noir of Strange World. Drifting through the house of mirrors after the fourth mojito.

Obey collects all these threads in a full-bodied future classic disco anthem, before Queen of The Dawn wraps up the show with a sky-bound epic of operatic choirs and ceremonious drums that lands somewhere between Kate Bush’s Aerial and Peter Gabriel’s most bombastic.

Slow, excruciating, hard techno cuts by a mysterious group of 3, called GLMG.

It goes without saying that the global metal scene would not be the same without Sepultura. For 35 years now, the Brazilian icons are not only a band revered worldwide; they have been, are and forever will be at the very forefront of Thrash Metal, trailblazing ever since they released their long-since legendary debut album “Morbid Visions” in 1986.
While quickly establishing themselves as leaders of the second wave of Thrash already in the late eighties, to this day they never came even close to stagnation. “Quadra”, their mighty new undertaking, is proof of a will unbroken, a thirst unquenched and a quality so staggeringly high it’s a wonder this band doesn’t implode. Now three albums deep into what may very well be their strongest incarnation yet – uniting the talents of old-school members Andreas Kisser (guitars, vocals) and Paulo Xisto Pinto Jr. (bass), vocal force of nature Derrick Leon Green (vocals) and drummer Eloy Casagrande – Sepultura are an unleashed power to be reckoned with, uniting bucketloads of experience and youthful vigour in a totally revived way.
“On ‘Quadra’, we felt the urge to revisit that old thrash feeling of ‘Beneath the Remains’ or ‘Arise“,’ only seen through the eyes of today,” Andreas Kisser utters the magic words. “Add to that the tribal percussion, the orchestral elements, the choirs, the melodies and the clean vocals and you get a thorough run-through of our entire career, backed by a very contemporary approach.” Fuelled by an energy almost uncanny for a band that has been active for so long, Sepultura storm through a contemporary thrash monument, backed by sublime melodies, a very eerie atmosphere and a fiendishly high level of technicality. Kisser is appreciating these compliments, still maintaining his very down to earth approach. “We don’t heed the past and we don’t try to be preoccupied by the future too much,” he shrugs. “We’re in the now, trying every day to make Sepultura a little bit better. That’s what keeping us strong.”
And that’s what they have been doing for the last 30+ years. Album after album, tour after tour, no gap in between records longer than three years. “Music is all we do,” Kisser states matter-of-factly. “If it wouldn’t be for Sepultura,” he laughs, “I would be a sad and lonely guy. Sepultura is what we are.” And “Quadra” is living testimony to that. The old Sepultura echo through the very fibre of the songs in all its raw and morbid splendour, but yet it’s the present, the experienced and refined beast that is Sepultura in 2020 that’s blasting out thrash metal anthems for a fucked-up age.
With now 15 albums under their belts, Sepultura are the work horses of the metal world, always ready to attack. In many ways, “Quadra” broadens the vision the Brazilian thrash troopers had on “Machine Messiah” (2017), again relying on the impeccable talent of Swedish producing giant Jens Bogren and his Fascination Street Studios. “He is so full of passion, it’s unbelievable, man,” Kisser raves. “He’s really there, he really cares about the projects he’s doing. For Sepultura, he’s like the fifth member of the band. The chemistry was so amazing, 99 percent of what we were trying do to actually worked. That was insane!” Even after more than 30 years at the forefront of international thrash, guitarist Kisser sounds positively baffled by working with Bogren. “We felt like we were in our rehearsal room.”
Bringing together a monumental grandeur and a wild, untamed ferocity, Sepultura stepped up their game musically – and conceptually as well. “We were possessed by the number four, by the numerology of it”, Kisser starts to explain. “I divided the album into four parts as if we were doing a double vinyl. Side one is the pure and raw thrash side. Side two brings in the rhythms and percussion from our ‘Roots’ era. Three is getting a bit experimental and four brings forth the melodies and the acoustic guitars.” With John North’s book “Quadrivium” as a further source of inspiration, Sepultura dive deep into a mystical world full of hidden meanings. “You have four seasons and twelve month in a year just to pick one example. A lot of stuff in our culture is divided like that.”
Plus, Quadra also is the Portuguese word for ‘sport court’ that by definition is a limited area of land, with regulatory demarcations, where according to a set of rules the game takes place,” he adds. “We all come from different Quadras. The countries, all nations with their borders and traditions; culture, religions, laws, education and a set of rules where life takes place.” In the Quadra of thrash, however, we all are the same. And we bow our heads in unison to the mighty leader that is Sepultura.

Lonnie’s 1975 jazz-funk masterpiece is released on 180g black vinyl in a nice thick card gatefold sleeve. Former Miles Davis and Pharoah Sanders keyboardist Lonnie Liston Smith saw all his musical ideas coming together for this, his third album. The title track is one of the best-known jazz funk classics; its influence on several generations of clubbers cannot be underestimated. It is a glorious amalgamation of jazz players and the tenor voice of Lonnie’s brother Donald. However, the track’s success has resulted in the album becoming rather overlooked and its other six pieces underappreciated. ‘Desert Nights’ and ‘Voodoo Woman’ give vent to Lonnie’s improvisational skills over a modal base. ‘Summer Days’ and ‘My Love’ are based around Latin rhythms, with the latter proving another great vehicle for Donald Smith’s voice. Donald is also the singer on an inspired take on Horace Silver’s ‘Peace’. “One of dance music’s most significant records” – Gilles Peterson.

Golden Days is the late completion of Ethimm’s EP trilogy on Light of Other Days and it continues exactly where the group left off 4 years ago. What started as the groups signature „tension music“, oscillating between dark repetition and moody improvisations is slowly morphing into a production style that features a heavy pop sensibility infused with conciliatory optimism.

The opener and title track of the EP recounts the meeting of a new lover in an autumn sunset. Starting with dreamy piano chords, a rhythmic bass and handclaps, it provides a beautiful musical backdrop for Tizi’s longing voice. During the course of the track, modulating synths and plucked guitars join her vocals as she sings about the „Golden Days“ spent with her lover.

Over & Out starts off in typical Ethimm fashion. Dubbed guitars, minimal beats and a sparse piano melody sets the tone for Elisabeth Thimm’s fragile vocal. In Over & Out Elisabeth negotiates her wish for freedom and how she breaks with her daily constraints. Albeit initially being drained in melancholy, the track ends on a musically hopeful note when a beautiful chord progression suddenly appears, colliding with an extended synth solo from outer space.
On Echoes in the Distance, glorious arpeggios accompany a sophisticated 303-style bass line and haunting vocals. The track follows one of Elisabeth’s dreams into a frantic, nondescript, deserted backdrop and slowly morphes into the most ecstatic piece of the EP. The multi-layered arrangement combined with Ethimm’s yearning voice on top, sound like about 3 tracks seamlessly sticked together. The track ends in pure ecstasy and the listener is left with the exciting feeling of wanting more.

The EPs finale is made up of the hopeful and minimalistic Day by Day, a track reminiscent of the balearic pop from the 1980ies. Gracefully and drained in beachside sunshine, Ethimm reminds us not to waste our days with unnecessary actions and focus on the beautiful small things in life.

2x12"

Having made initial waves on Cold Recordings and Osiris, Eric Baldwin returns now to Tectonic to release his eponymous album ’Cocktail Party Effect’, bringing his South London roots to Berlin for an all-weekender, under strobe lights.

Drawn by his appetite for powerful rhythmical forms and inspired by the likes of Daphne Oram, The Residents and Captain Beefheart - Eric takes uses background in sound design, knowledge of hacking VST software and adapted spring reverbs and other hardware, to create a truly unique vision of contemporary electronic music. It sits somewhere between Jeff Mills, Aphex Twin & Squarepusher - held together by a connective UK Bass Music spinal chord. A weird but intriguing beast.

We open the track with Japanese cocktail recipes, before moving into the only vocal track of the album, ‘Talking To Bricks’ featuring Bristol vocalist Redders on fine form - charged with disjointed energy and run ragged across a technologically charged dancehall style beat. The LP progresses through the rolling breaks and bleeps of ‘For The Memory Exchange’, into an IDM side-step in the shape of ‘Brutalism’, moving into the gentle, beautiful flickering glitches of ‘PDA’, before we get to the hyperactive twitching alien charge of ‘War On Codex’.

Taking a leap in another direction, we reach ‘Cause For Bad Shelving’, which sounds a bit like Squarepusher when he was on late 90s, immaculate form - taking the tempo up a few notches, while building melancholy. ‘Lack Of Wrong Format’ then gives us a moment to breathe, before diving into ‘Deerhorn’ which brings us right back to the dancefloor. Things are then turned inside out with the jittery wonder of ‘I Get It (Lost Banknote)’, redirected via the industrial clangs of ‘Low_Rise’, before rounding off our sonic adventure with the ponderous tones of ‘Loner’ - which leave you glowing and drifting off into space.

A bold album that’s just brim with a strong sense of originality, direction and grand narrative. From international dancefloors to post-clubbing ear-worms, Cocktail Party Effect is just getting started and you’ll be hearing his name more and more now.

Bristol's Ido Plumes debuts for Livity Sound's Reverse series with a stunning three track EP of aquatic textures and UK style grooves.

The 'Away From The Reign' EP is the first glimpse into the sonic world of Ido Plumes, ranging from the nimble dub mechanics of 'Noise Water' to the 2002 schooled Sub-low echoes of 'Which Way is Up'.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground music.

Industries Of The Blend is the latest project from Dj Luna-C, and it a step back into the original sounds of 1990 and 1991 old skool. Slower bpm and all hardware lead to an entirely authentic sound for this EP, and that authenticity continues with the style of sleeve (Spined like an old Euro EP) and in the overall concept. Proper underground, original, rave music. For those who know.

Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

*More downbeat wickedness on the excellent Fasaan!*

This double A-sider is the fruit of a long gestating collaboration with fellow Malmö-based record collector/selector & producer Simon alias Rizzolo DJ (alias Moisture). Closely intertwined with the label in various ways since the start, his path to producing started with re-edits and a more wild-haired approach to deejaying, finally landing into his own groove with the 2018 album A Freak Is Born. Released as a privately pressed cassette, the album featured two tracks co-produced with Fasaan founder Prins Emanuel.

On that first album, the palette was a lo-fi reverie of minimal waves crashing into depths of goth and heights of camp. Here for the 12" format, we instead get the full onslaught of power tools gleaming in the blast of strobe lights. The weight of GAMMUT unfolds and delivers exactly what the title suggests: a complete scope of percussive barrage unleashed in tight locked grooves and smattering reverberations. In addition to that, we are treated with a spine-tingling re-imagining of the concept of a bass drop.

For ORGONE, a 1984 track by Norwegian group Fra Lippo Lippi serves as the backbone of the composition. Championed by cosmic DJ Daniele Baldelli and here pitched down to wrongspeeder tempo, Moisture uses the original song to bridge the gap between his roots in the re-edit scene as well as in the cosmic tradition. Thedry mechanical bassline is flanked by hollow percussion that eventually propels into a crystal-chimmering microcosm of orgone energy.

In 1981, London-based E.G. Records released the debut album from a young Ghanaian group called Edikanfo. Edikanfo quickly rose to international notoriety following the release of “The Pace Setters” because of the infectious, forward-looking highlife meets afro-funk synthesis the band committed to tape. But the album also caught an additional wind of publicity due to its producer, the already legendary British musician and sound conceptualist Brian Eno. During that time, Eno was researching and openly propagating West African musics. He often mentioned his love of Fela Kuti and called his own rhythm-driven experiments the search for a “vision of a psychedelic Africa.” He had recently been collaborating with The Talking Heads on their Avant-funk masterpiece “Remain in Light” and with The Talking Heads frontman David Byrne on “My Life in the Bush of Ghosts,” an album which foretold the sort of cross-pollination and global music interconnectivity that today we take for granted. Eno and Edikanfo’s work together at Studio One in Accra (Ghana) was yet another inspired morphing of soundworlds and processes and a significant touchstone for both artists. As Brian Eno recently noted: “the actual recording sessions were joyful - the band played with such verve that you couldn't resist.”



But just when the sky seemed the limit for Edikanfo, the coup d’état in Ghana on the last day of 1981, tragically put the brakes on the band’s quickly developing fortunes. For years after that, the country endured enforced curfews at night, which of course ultimately gutted the live music scene in Accra and elsewhere. Because of this and other financial setbacks, the band ceased activity and its members spread out in exile, all over the world. It clearly seemed as though the story of Edikanfo, one of Ghana’s greatest bands of that era, had come to a premature end.



Now, almost four decades later, Edikanfo has returned. And with its surviving members gearing up to reissue and tour their classic 1981 album, “The Pace Setters,” the band is once again excitedly pointed towards the future.

A1 - Bitch - Late Nite 'DUB' Addict (Original Mix)
Is a Deep / Jackin House track with driving drum parts, deep old skool organ stabs, with lots of MPC style swing. The track is an energetic groover that could well be another hit for the (Late Nite 'DUB' Addict) who owns / runs (Digital Label) (DEEP 'N' DOPE RECORDS (UK).
If you like artists / DJ's such as (DJ Sneak / Phil Weeks / Black Loops / Dub Striker / Dumuir / Demuja / Kerri Chandler /Todd Terry / Kenny 'Dope' Gonzalez / Justin Martin / Scott Diaz / Sebb Junior + Filta Freqz) This track might be for you.


A2 - Fight For Your Rights - Late Nite 'DUB' Addict (Original Mix)
Fight for you right is most definately got the potential to become a future house anthem.
The track has allready recieved support and airplay from (London's Own) FANTASY FM
+ Groove City Radio (Scotland / Glasgow). This can only be described as deep / classic (U.S) style Garage / House / Banger, This Deep Underground but classic house track carries an abundance of energy, the track contains spoken vocals from a influential but controversial leader which gives the track an edge which just help build atmosphere and builds tension in the track - But definately in a good way. This track is a stand out groover that screams Anthem.
If you like DJ's like (Kerri Chandler / Mr V, Karrizma / Phil Weeks / Black Loops, Art Of Tones / Sebb Junior / Louis Vega, Mood II Swing / Dub Striker / DJ Pierre / Andres /Dan Shake then this energetic / warm (90's) style classic house number will be right up your street


B1 - Confessions Of A 'DUB' Addict - Late Nite 'DUB' Addict (Original Mix)
This track is a minimal style (Deep House) track that has been influenced by the early (Rave) era and early (Chicago + Detroit) House + Techno scenes. The track has a slightly darker edge but still remains jumpy and is definately made for the danecfloor in the early hours of the morning, and has a certain wharehouse 'Feel' to it. The track contains bleeps, stabs, and 808 + 909 compressed drums. The track contains poly rythums and drums which evolve and give alot of movement within the track. This is another "Big Track" from the (Late Nite 'DUB' Addict) that has also recieved support from the (legendary) FANTASY FM.


B2 - Heroes In Our Own Home - Late Nite 'DUB' Addict (Original Mix)
The (Late Nite 'DUB' Addict) states it is no secret that his productions are heavily influenced by the (U.S) Garage / House scene of (New York) in the early (90's).
An era that he said was huge in the way the house scene defined the (Deep House + Classic House) scene that is still massively current today. The DJ / Artis's that has influenced him the most from this era is (Todd Terry / Kenny Dope / Dennis Ferrer /
DJ Sneak / Mood II Swing + MK + Kevin Saunderson. This Hip / House track is the
(Late Nite 'DUB' Addicts) take on the Garage House scene / Hip House scene of
this special era!!!

Unglued’s reputation for producing serious bassweight across the D+B spectrum continues in 2020 with his ‘Zen’ EP. He spans through silky smooth sounds on ‘Zen’ ft. Cimone, bouncy funk on ‘Mic Strangler’ with the legendary MC GQ, sharp-edged grizzle on GLXY collaboration ‘Algorithm’, and tearout heat on the soundsystem slayer ‘Datafile’. Setting things in motion is the lyrical weapon ‘Mic Strangler’, with OG host and MC extraordinaire GQ, who’s spent three decades leading the game. Unglued deals out damage on the beat with MC GQ’s playful twists, wrapped up in a big bruiser of a bassline.

Title track ‘Zen’ is a mesmeric stream of atmospherics, rolled out in perfect tandem with the angelic vocals of rising singer/songwriter, Cimone. GLXY joins the fold for ‘Algorithm’ - a techy rattler that’s stripped back in design but packs a punch. Rounding off the EP is the darkest addition, ‘Datafile’, Unglued takes no prisoners as he unleashes this lethal stepper. Unglued has had a steep and steady rise in drum & bass after signing to Hospital Records and releasing his sought after solo material, as well as his iconic remix of High Contrast’s anthem ‘If We Ever’.

This infamous rewiring caught the attention of major players, from Andy C to Annie Mac - who also selected his track ‘Born In ‘94’ as her Hottest Record in 2019 on BBC Radio 1. Unglued’s jungle knowledge has him in regular international demand, in 2019 alone he tore up sets at Glastonbury, Rampage, Boomtown, Let It Roll, ADE and on Med School’s final tour across Australia and New Zealand. He’s showing no signs of slowing down in 2020 with back-to-back bookings, including support at Wilkinson’s London headline show, Kings Of The Rollers’ Printworks Royal Rumble showdown and Hospitality On The Beach 2020.

Limited edition of 300 copies on black vinyl.

“Morning Glow” is the first release by Natureboy Flako under the Palomo Wendel moniker, capturing positive energies with a gentle and bright attitude. Recorded during the breaking light of dawn, it embodies the pureness of the rising sun and invites for untroubled moments in time.

Red Vinyl

Directly influenced by the film noir tradition and the hardboiled detective novels of yesteryear, Aging craft gloom heavy mood music that aspires to create a cinema without image. ‘Sentenced To Love’ is the pinnacle of the band's work.

Led by David McLean, Aging’s fourth album is a direct continuation of the music he was commissioned to make during his 2017 Samarbeta Residency with The Crime Scene Ensemble, a 15 piece band of actors and jazz musicians formed to live soundtrack the short stories of pulp fiction writer and collage artist Phil Carney. Chronicling tales full of obsession, longing, double crosses and murder, the same thematic and melodic gravitas is present in ‘Sentenced To Love’, largely due to a handpicked selection of musicians from Manchester’s avant-garde and experimental music scenes being involved in both.
 Whereas previous records by the band have largely been improvised, the six brooding scenes that complete ‘Sentenced To Love’ reveal a new compositional rigour and emotional weight, whilst still retaining pockets of nocturnal improvisation, each carefully crafted to create their own distinct and filmic sound world. From the low lit, dive bar blues of ‘Nights In Amber’ to the gun out chase theme of ‘The Trapped Man’, the nameless cowboy ghost story ‘A Shadow On My Name’ and the redemptive odyssey of ‘Cursed With The Thirst’, Aging’s detailed mise-en-scene full of brass, double bass, simmering drums and reverb drenched guitars conjures the pantheon of noir cinema. This is no truer than on the album’s title track, a vampiric torch song whose crescendo soars with Ali Bell’s lamenting, tremulous vocals, which act as a midnight confession of a doomed romance.

In an age where most musicians are attempting to free themselves from limitations, Aging’s ‘Sentenced To Love’ stands proudly as a genre record, one evoking the tradition of the jazz ballad, designed to swallow the listener into the dark cascade of its drama.

"BRUK" is a new platform for fresh variations on the soundsystem ethic, in particular where high-end sound design intersects with formidable bassweight. It's an artist-focused endeavour geared towards producers with range, depth and ingenuity in their sound.

The first transmission comes from "FFT", the latest alias from accomplished producer Josh Thompson. Thompson established the Super Hexagon label with long time friends J. Wiltshire and Arthur Scott-Geddes and he's also released on heritage label R&S (as Alma Construct) and the excellent offbeat techno upstarts Power Vacuum, and more recently developed the FFT moniker via essential drops on The Trilogy Tapes as well as Super Hexagon.Thompson helps launch BRUK with a two-pronged attack that shows off the breadth of his artistic scope.

The lead 12" is a dynamic club release that pivots between razor-sharp drum programming, hyphy synth acrobatics, breakbeat science and dub-loaded atmospheres. If there's one constant that runs through all Thompson's work, it's a resounding confidence with melody, and that comes through even in the rowdy chops of "Month" – a track that exudes hope even in its gnarliest bars. From the dreadweight minimalism of "Fask" to the expansive electronica shock out of "Sacrifice (The Truth Mix)", this is a head-twisting release that feeds into the vital new energyreverberating around the 150+ axis.

Accompanying that 12" is a cassette album which provides that polar opposite side to FFT – a collection of compelling beatless ruminations under the banner of Total Self-Fulfilment. Gliding from low frequency industrial textures to expressive synth modulation, this is far from static music, even as it moves without the aid of a traditional rhythm section.

It's a strong first chapter for BRUK, with future releases lined up from artists similarly poking at the fabric of contemporary club music to find their own unique spaces for expression.

Returning to the label's dance floor roots, BODYCLOCK is a natural extension of Darker Than Wax's DNA - a foray into the late night club sounds that defined their sound. The freshly minted series represents the Singaporean label's primary outlet for dance floor burners and machine soul, shedding light on a new school of producers from around the globe and at the same time paying homage to the pioneers who laid the foundations for us. A celebration of afro-futurism that is ever-present in the consciousness of dance, BODYCLOCK is built for the nocturnal beings and discerning selectors that push this timeless tradition forward. This first volume brings together five producers across four continents - Teymori from Australia, NYC's Malik Hendricks, label mainstay Ricky Razu from Belgium, as well as Darker Than Wax co-founder Kaye and up-and-comer Halal Sol from Singapore. Establishing both facets of the BODYCLOCK sound, Side A features two vocal-led soulful excursions, while the flip brings three unabashedly jacking cuts to light the floor on fire. This is only the beginning - BODYCLOCK is coming with an onslaught of twelve inches and EPs, distilling our sonic outlook and looking to the future.

Hendrik Weber aka Pantha Du Prince (‘a fantasy character...a poetic transporter for the concept behind the music’) has carved a niche for a style of techno he calls, ‘layered and cinematographic.’ He released the Diamond Daze (2004) and This Bliss (2007) albums on Berlin dance label Dial before signing to Rough Trade and widening his audience with Black Noise (2010) and The Element of Light (2013).

On “Conference of Trees”, Pantha Du Prince explores the communication of trees and creates a sound concept based on it. What we experience here is a break through recording of experimental music, visual poetry, club culture and speculative science.

The life recordings on this tape are raw, unedited transfers from Dungeness by Simon Fisher Turner made with a Sony Walkman Professional WM-D6. With the voice of Derek Jarman recorded on 20 June 1992 in his cottage as he begins to write "Chroma", and sounds from around the nuclear power station in the fifth corner at the end of the globe.

Tilman Robinson’s third album, CULTURECIDE, is an investigation of the anthropocene; a seven part lamentation for our chaotic world.

Tilman Robinson is an Australian composer and sound designer creating electro-acoustic music across a range of genres including classical minimalism, improvised, experimental, electronic and ambient. Tilman’s diverse output focuses on the psychological impact of dense sound employing acousmatic and psychoacoustic principles. His third album CULTURECIDE will be released on Iceland’s Bedroom Community label in April 2020.

CULTURECIDE: “...processes that have usually been purposely introduced that result in the decline or demise of a culture, without necessarily resulting in the physical destruction of its bearers.” D Stein

CULTURECIDE is a rich sonic collage, harvesting sounds from a range sources including field recordings, medical machines that monitor the human body, traditional instruments and synthesisers, often melted electronically. The result is an unsettling paradox with sounds constantly on the edge of recognition. Each piece references a specific socio- political issue ranging from colonialism to neo-liberalism to climate change and the impending singularity of humans and machines. Far from an answer to these questions, CULTURECIDE invites us to meditate on their place in our life and approach personal understanding.

Recorded and produced almost completely in Australia, a land at the forefront of the devastation of climate change, CULTURECIDE was an attempt at catharsis for its author frequently appalled at his country’s incredible apathy and inaction. Mixed by Bedroom Community regular Daniel Rejmer and mastered by Lawrence English, works from the ambitious and unsettling record saw Tilman nominated for the 2019 Melbourne Prize for Music.

Amsterdam might be susceptible to grey skies and rain as any other, but cup your ear to the music flowing out of the Dutch capital, and another story emerges. The Mauskovic Dance Band are a prime example of an act who have been dialing up the sunshine over the river Amstel in recent years.On Shadance Hall, their first release of 2020, they concoct a tantalising brew of no-wave, psych rock, cumbia, power dub and numerous other colourful shades of global grooves.

No stranger to Dekmantel as one of half of electro-grouping Bruxas, Nicola Mauskovic leads his percussive troupe through a heavy, trippy, disco fiesta with this, their first debut on Dekmantel Records.
The Mauskovic Dance Band’s epic sonic journey on Shadance Hall began deep in the Welsh valleys. Partnering dusty drum machines alongside phat layers of congas, assorted bric-a-brac of percussive tools, and distortion-soaked guitars, Mauskovic’s ensemble suspend the tempo and turn up the grooves. on this soundsystem-inspired, post-punk odyssey. The resulting soundsystem-inspired concoctions are a mixture of 130bpmbeats (‘Ventura Phase’), Jah Wobble-influenced bass rhythms (‘Squeeze Dogs’) and Carnival-ready soca-jams (‘Theorie Amerikaan’).

Taken back to Amsterdam’s famed Electric Monkey Studio (a favourite for Ghanian great Ebo Taylor and Dutch youngbloods Jungle By Night alike, Mauskovic teamed up with engineer Kasper Frenkel to mix down the record. Here the two acted as Mad Professors, experimenting with the recordings and making multiple versions of each track by creating tape loops, bouncing the audio back and forth and layering the resulting recordings in waves of reverb and echo. In classic dub style, the band ended up with dub edits, rich in space echo, reverb, crush, and dub-goodness, completing the second half of Shadance Hall like a funky palindrome. It rounds off an expressive EP steeped in musical history, bursting with inventiveness, projected at the listener as a maze of influences to get lost within.

Who put the dance into Factory Records?”

Be With would like to refer you to FAC 59.

Working with founding member Tony Henry, we’re honoured to present the reissue of 52nd Street’s crucial debut single “Look Into My Eyes”, backed with “Express”. Originally released on Factory Records in Summer 1982, this ultra-rare 12" is a double-sider in the truest sense. Unrivalled Manchester jazz-funk-boogie-soul.

Both “Look Into My Eyes” and “Express” came out of a five day recording session in the spring of 1982 at Revolution Studios in Cheadle Hulme, just outside Manchester. Rob Gretton had just signed the band to Factory, snatching them from under the noses of RCA and WEA Records who had been sniffing around and seemingly ignoring Tony Wilson’s concerns that Factory might not be the right home for a black soul act. Rob clearly thought different.

The band of Tony Henry on guitar and vocals, bass player Derek Johnson, drummer Tony Thompson, lead vocalist Beverley McDonald and John Dennison on keyboards were put in the studio with A Certain Ratio’s drummer Donald Johnson producing the sessions. The band also found themselves with an interesting new member.

The back cover of the finished record credits synth F/X to a mysterious “Be Music”. Turns out that’s Bernard Sumner. Yes, that one. Tony Henry explains that bringing Bernard in was another part of Rob Gretton’s plan, “Barney was a real soul boy at heart and had always wanted to produce and work with black artists… with 52nd Street, he was an honorary member”. The results suggest he fit right in.

“Look Into My Eyes” squeezes so much aural pleasure into one side of a 12" single. A strutting, rich, soul-gliding funk with bass and guitar high in the mix above twisted, bubbling synths. Like Nile and Barney drenched outside the Haçienda that first summer. How can something be this liquid loose whilst sounding so, so tight? The hypnotic, naïve-cum-insouciant vocals from McDonald, backed by her fellas, only add to the track’s charm. Put simply, it sounds like nothing else.

On the flip, “Express” is sheer drama on wax. Tony’s opening lesson in good manners (“Excuse me miss, is this seat taken?”) sees us strapped in for a wild, chaotic, rhythmic ride. All bold keys, synth brass blasts, insistent bells and a galloping groove giving *that rush* atop a bassline to die for. No surprise it was a Frankie Knuckles favourite. Blistering heat.

The 12" was Paul Morley’s single of the week in the NME but his approval did little to get daytime radio play or to sell the record when it was released. It probably didn’t help that, in Tony Henry’s words, Factory were a label “notorious for not promoting their bands, not wanting any communications with the written press and not answering their office phones.” It came and went with none of the fuss that music this good deserved.

But in the near-40 years since they were released, these two tracks have gone on to become cult underground hits for those in the know. Of course that means those original 12"s have gotten rare and pricey. So here’s your chance to own this particular piece of post punk Factory Records funk.

But this record isn’t just a vital slice of Manchester soul history. Tony’s not shy about just how important he thinks the collaboration between 52nd Street and Bernard Sumner was: “this worked out quite well for us in the band but even better for New Order and Factory Records as Sumner studied grooves, rhythms and how to write and construct funk and dance music from 52nd Street and producer Donald Johnson”. You just have to listen to Blue Monday to hear what Bernard did when he started putting what he’d learnt into practice.

“Look Into My Eyes” and “Express” come from a chapter of the history of Factory Records that no-one seems to have gotten around to writing. Working with Tony to reissue the original 12" is the start of putting that right. The story of 52nd Street is more than just a footnote.

UNCAGE’s label owner Marco Faraone drops his second album on Rekids, focusing on an unrestricted, unfiltered soundscape inspired by childhood, entitled ‘No Filter’.

Since his initial appearance on Radio Slave’s esteemed imprint in 2018, Italian artist and label boss Marco Faraone has continued to enthuse techno communities across the globe, playing at the likes of Awakenings, Caprices, Tomorrowland and Kappa FuturFestival. With previous releases on Ovum, Drumcode and Be As One, the Tuscany-born artist has garnered the support of Len Faki, Rodhad, Laurent Garnier and many more.

‘Force Deep’ and ‘Iconic’ give the senses a relaxed flush of ecstasy and lofi-esque rhythm, while tracks like ‘Night Ride’, ‘Addiction’ and ‘No Filter’ lean more on a stripped back, beat focused dub techno tip. ‘Frogface’, and ‘Time Equals Eternity’ then flurry with signature drum programming, and otherworldly synth stabs. Finally, ’Trust Me’, propel forward with after dark atmospheres, giving this versatile and luscious album that mainstay place amongst any unique techno set.

In 2016, talented artist Paul Cut released his first vinyl with Popcorn Records: the Basement Jam EP.
This album foresaw the rise of the young producer, who has since piled up project on top of project, and record on top of record. One of the driving forces behind the D.KO label, and a (literal) key player of the Secret Value Orchestra band, Paul has also thrived on collaborations. Whether with Chez Damier, Jef K, Flabaire… They all fall under the spell of the young pianist’s skill, who has become in just a few years one of the leading figures of French house.
In 2019, Paul joined house legend Larry Heard for his world tour, and multiplied appearances at famed festivals such as Glastonbury, Dimensions, DGTL or Printworks. In 2020 Popcorn Records is turning 10. And to mark the occasion, Paul is coming back to his beloved label to unveil his first album. More than a year of thought and work went into “Le Bal des Douaniers”. An album composed of 10 titles, which all reflect fragments of Paul Cut’s influences.

UPSIDE DOWN SMILE WAS RECORDED AND PRODUCED BY EWA JUSTKA AND BY SELF-DESIGNED, SELF-MADE, SELFSELFSELF, ODD LOOKING SLIGHTLY DYSFUNCTIONAL SYNTHESISERS AND BY A TRANCE PURPLE KILLER ROLAND JP8080 AND BY HIS BROTHER VIRUS AND SOME OTHER ROLAND BROTHERS NO SISTERS INCLUDED DURING THE TIME WHEN EWA JUSTKA WHO CURRENTLY LIVES IN GLASGOW, GOVANHILL, ALLISON STREET, WHERE RECENTLY HER PASSPORT WAS STOLEN DUE TO THE BURGLARY, WHERE SHE LIVES IN JOY, ALTHOUGH SOMETIMES THE FLOOR GETS WET DUE TO THE LEAKING WINDOWS AND SOMETIMES ONE CAN FIND DEAD PIGEONS LAYING ON THE STAIRCASE BUT IT'S NICE AND COSY AND EWA JUSTKA HIGHLY INFLUENTIAL PERSON IN THE DEEP DARK TRANSISTOR LADDER CIRCUITS LIVES SINCE SHE IS STUDYING PHD AT EDINBURGH COLLEGE OF ART WHERE SHE THINKS A LOT ABOUT IMITATION IN SYNTHESISER DESIGN AND FILTERS AND VCOS AND FORMANTS AND ACID AND HARDCORE MUSIC AND TWIN T FILTERS AND OPERATIONAL AMPLIFIERS AND SHE TURNS KNOBS AND THINKS AND THE UPSIDE DOWN SMILE ALBUM WAS MADE IN THE DEPTH OF THOSE THOUGHTS QUITE OFTEN SAD THOUGHTS UPSIDE DOWN SMILE IS A BIT OF A CYNICAL SMILE BUT AN HONEST SMILE CYNICAL BUT HONEST UPSIDE DOWN SMILE IS A SMILE THROUGH TEARS BUT TEARS OF JOY SCOTTISH JOY UPSIDE DOWN SMILE IS UPSIDE DOWN ACID ONE COULD SAY UPSIDE DOWN SMILE COULD BE INTERPRETED AS A SAD SMILE BUT IT IS A SMILE IN THE END OF THE DAY

Islands, volcanoes and instrumental exile stories... From Overseas is the experimental ambient project by Kevin Sery.

Originally from the tiny French overseas department and region, Reunion Island, he routinely bounces between his home island, a small port town on the east coast of the US & Continental Europe picking up fresh ideas & inspiration along the way.

With a beautiful master by Stephan Mathieu (12k, Shelter Press, ... ) From Overseas Releases his first full length album "Home" on PITP. "Home" is a journey through beautiful soundscapes where dark and light intertwine, where ambient tones give way to post-rock guitar craft, then segway to melodic drone, noise and back again.


These soothingly powerful songs evoke emotions on a full spectrum, dreamy unplanned travels and inspire us to question the nature of the place that each of us calls home. The fourth track, Maloya Tales, is a personal tribute to Sery's homeland 'Reunion Island' and gives the listener a glimpse of the mystical rhythms of traditional Reunionese Maloya music.

transparant blue marbled vinyl

Ekman is no stranger to Shipwrec. With three EPs and an album, the dutchman's brand of fire and brimstone has seared a serious impression on the Nijmegen imprint. The fourth 12" comes with a marked difference. That burning smouldering intensity that has characterised the acid soaked electro and stained techno of past records is present, however it is now sheathed. Beats are still sharp edged, as in "Verdraaide Logica", yet keys have softened and taken on an introspection. "Kronkel" is cast in a similar mould. From a fearsome kick blooms an incredibly layered and thoughtful track where melodies bob and weave while rhythms rail. Even amidst the sinister sidling synthlines of "Anker Punten", with its piercing and punishing percussion, there are understated pads to mellow. The glass and steel of "Vast/Los" ends the EP. Angular lines permeate the piece, reflection and refractions arc and bend in this science fiction finale. Depth mixed devilment from start to finish.

"I'm Always Right“ by Imagination is an unreleased jazz rock LP recorded in 1977, 3 years before their sought after “Shake It” debut from 1980. Comprised of five tracks with a playtime of roughly 30 minutes, you will hear one of the finest German late-70s rock-tinged electric jazz albums of the era. The recording is a delightful stand-out with unique compositions, aspiring solo work, and a soulful spirit throughout. Additionally, the album veritably glows with exceptional sound quality, as it has been remastered from original tapes that were cut more than four decades ago at the WDR Funkhaus, Cologne.

Moscow's leading deep and underground house label Deepology presents a series of releases, Four Seasons. Four releases, vinyl only, each corresponding to a specific season of the year.

The first record, EP 1, includes four tracks by residents and friends of the label - an international team of the artists from Russia, Ukraine, Germany and Finland.

Limited edition of 300 copies. Spread the analogue love!


DJ Feedback:

Mark Farina, Sascha Dive, Luna City Express, Martin Landsky, Jimpster, DJ Linus, Charles Spencer, Nick Holder, Terry Francis, Jay West, Igor Marijuan (Ibiza Sonica FM), Glenn Underground, Jesus Gonsev, Robert Owens, Patrick Lindsey, Lars Behrenroth, Carlo Gambino, Mucho Soul, Finest Wear, Fer Ferrari, Sumsuch and more.

Impromptu muscovite supergroup Lilipulu turn the needle neon with a quartet of unexpected killers for club cosmonauts, rainforest ravers, anxious insomniacs and giddy punks.

Unplanned, inspired and all the way live – the pin is glowing! Ever wondered why the Growing Bin releases sound so damn good? Well, it has more than a little to do with mastering magician Sergey Luginin, whose eagle-ears and technical know how have been a part of the process since GBR002. For the latest Glowing Pin powerplay, our man in Moscow joins some close friends on the other side of the console, letting the creative juices flow for ‘Four Amazing Tracks’. Luring Simple Symmetry brothers Sasha & Sergey and DJ & photographer Ivan Pustovalov into his studio with the promise of an afternoon stroll through the nearby Elk Forest, Sergey set the circuitry in motion and the quartet got lost in music. What begin with a plan for some simple edits and a woodland walk quickly became a full scale studio throw down, reimagining forgotten favourites amid a multi-instrumental stew of propulsive polyrhythms, low slung bass, cosmic synths and frazzled guitars. There’s techno-tribal hypnosis on the mind bending, brain blending A1, poetic post punk on the angular, janglier A2, outrageous Afro-cosmic on the freaky Floyd-in-Lagos B1 and languid ambience on the lysergic lullaby which closes the set. Recorded as they worked and presented in chronological order, this EP is a triumph of inspiration over perspiration - a snapshot of a moment which will last forever.
Patrick Ryder

Yet more fresh heat from the Soundscape Versions camp and this time round with a special tentrack compilation by different artists across the globe with wide scope of electronic music produced and performed using all analog hardware gear. Release comes out on
c70' cassette and digital.

Jon Tye and Pete Fowler have been making music as Seahawks for a decade now. Given the sounds they’ve been exploring over those ten years it was a cosmic inevitability that they would be asked to contribute to the catalogue of the legendary library label KPM.

They replied with Island Visions, an exploration of sound for vision where they construct “audio micro-worlds to explore and inhabit”. A way to transport the listener away from the everyday without the bother of getting on an aeroplane. Mind travel is space travel after all, and much better for the environment.

Mostly recorded at The Centre Of Sound in Cornwall, with additional recording at Studio 34 in London, Jon and Pete’s travelling companions on this particular trip were boogie wunderkind Sven Atterton on fretless bass and keys, Nick Mackrory on percussion and the Seahawks live team of Dan Hillman and Alik Peters-Deacon.

From the grooves of Brian Bennett to the moog vibrations of Mike Vickers, the lush textures of Les Baxter to the experimental sounds of Delia Deryshire and David Vorhaus, this new music channels sounds and moods from across the KPM universe.

The spacious “Hot Sand Shuffle” opens the record with some of Seahawks’ familiar “deck-shoegaze”. The slinky digi-dub of “Sky Blue Sky” follows, gently encouraging us to lay back and relax. “Mystic Beach” is a refreshing ocean spray of a synthetic groove that clears the head, priming a pathway to receive “Crystal Forest”, a new age house groove of birds and flutes.

Dense, deep and dreamlike, “Distant Shore” is ambient rainforest house with a 90s vibe, its dense foliage clearing to let us bask in the shimmer and shine of “River Run”. Hang drum, electric gamelan, flute and loon close side A.

Side B bounces into being with “Catch A Wave”, an upbeat beach groover of synthetic guitar, effervescent synth and snappy drums. Equatorial bubbler “Paradise Bird Bath” soon glides in with marimba, crisp beats and fat synth bass. Fender rhodes, space echo and fretless bass make “Smooth Runnings” a laid-back poolside groove.

“Spirits Have Flown” conjures a hazy vibe with marimba, sax, synth funk bass and chilled beats before “Rolling Deep” serves up a light cocktail of sultry rhythms, refreshing textures, cooling sax and fretless bass. Almost-title track “Island Blues” brings the horizontal poolside feels with melodic chimes, oboe and more fretless bass for maximum vibrations. The marina drone of modular electronics, celestial trumpet and jungle ambience pay the album’s final respects to the cosmos on “Sun Salute”.

Like many KPM suites, this is a record of two distinct sides. The sunrise of side A brings a deep meditation, a journey within to renew the jaded self. Side B refreshes with cocktails by the pool and a chance to groove away the evening at some sunset beach party before dancing under the stars in the house of dreams.

Pete’s front cover for the LP is part map, part postcard: “the record has five different sections and I wanted to reference those in the worlds they created, musically and physically. From beach campfire, to poolside hanging and nighttime dancing. A kind of portal to those places and the pictures they inspired in my mind. All places we’d like to be in this turbulent year”. The track descriptions on the back help guide the way.

2020 marks 10 years since Ocean Trippin’, the first Seahawks release, and Island Visions is the perfect distillation of the sounds, sights, textures and moods that Jon and Pete have been exploring over the last decade. Sunrise to sunset condensed to two sides of an LP. The normal rules of space and time don’t apply here.

This is the first time Be With has worked with Seahawks, but individually Jon and Pete have been members of the extended Be With family since forever (Pete did those posters for our Ned Doheny tour and we worked with Jon on the vinyl version of Hatchback’s Colors Of The Sun). Of course we were going to put this out on vinyl.

Mastered by balearic engineer of choice (and Be With’s regular audio co-pilot) Simon Francis, cut by the legendary Pete Norman and pressed in the Netherlands by Record Industry, the sonic frequencies of these Island Visions have been precision tuned and encoded for optimum travelling conditions. Take the trip.

Coastlines is the self-titled long player from the new Japanese production unit of DJ and producer Masanori Ikeda and solo artist, session musician and Cro-Magnon keyboard player Takumi Kaneko.

Masanori and Takumi have been part of the Japanese dance music scene for years and Coastlines was born out of their working together on soundtracks for video projects. The pair wanted to make laid-back listening music for now, laying Takumi’s playful keys over Masanori’s widescreen balearic jazz-fusion to conjure beautiful and breathtaking “coastlines”.

A couple of two-track 7"s put out in late 2018 and early 2019 on Japanese house music label Flower Records soon sold out. Those four tracks were expanded to a full album of music, “a joyous, relaxing, summery soundtrack for everyone’s after hours wind down” that was released just in time for summer. It soundtracked many a Be With BBQ in 2019.

The album opens in the horizontal with the sophisticated, cocktails-by-the-pool groove of “Sunset Reflection”. A lush, beatless wonder. Their re-imagining of Ralph MacDonald’s “East Dry River” removes all the original’s bells and whistles (quite literally) and re-gears it with a subtle balearic chug. The result is a percussive gem.

“Coastline” is a beach-jazz noodle. “Drifting Ice” is as chilled and glacial as its title would suggest, yet Masanori’s head-nod slo-mo house beats throb not far below the surface. “My Fire” is another soft killer, all swelling, swirling organ over muted kicks and snares. An elegant boom-bap.

A pair of insistent tunes of the deeply balearic variety raise the tempo, but not by too much of course. On “Woods And My Guitar” a half-heard vocal refrain breathes life into the synthetic xylophone and guitar. Deft piano-work turns “Half Moon Shadow” into lounge-house for the sophisticated beach bum. A classy duo.

The self-assured re-work of Azymuth’s “Last Summer In Rio” is arguably the album’s centrepiece. Ten minutes of casually propulsive slapped bass, steel pans and slick 80s soul beats. Cue the steel drum interlude of “Maracas Bay” before album closer “Down Town” transitions us one with a shuffling, string-hinted hit of ethereal, euphoric piano bliss. Gentle disco for the new decade.

As former Test Pressing scribe Dr. Rob observed on his ever-reliable Ban Ban Ton Ton blog, the Coastlines fusion is very much in conversation with their 80s counterparts, both at home and along the coastlines of different continents. So among the nods to revered Japanese artists like Hiroshi Sato, Sakamoto and Casiopea, there are also hints of Marcos Valle and Mtume, of the aforementioned Azymuth. “The production though is very much now, not then. Not retro, just proper”. We couldn’t put it better ourselves.

Coastlines was originally a CD release only available in Japan, with HMV putting out a super-limited vinyl version a few months later for Japanese Record Store Day. But this music is just too good, so when Be With was asked via Ken Hidaka to take care of a vinyl version for the rest of the world it wasn’t a tough decision.

Mastered by Simon Francis and cut by Pete Norman, just 500 copies of this double LP have been pressed by the good people at Record Industry.

Seb Wildblood readies his first new release of 2020, the ‘Hazy House’ EP. After a year that saw Wildblood releasing his landmark LP, ‘sketches of transition' – which received a glowing 8/10 review in DJ Mag and made it into Mixmag’s of Albums of 2019 round-up – his new two-tracker is set for release via his London / Los Angeles based label, all my thoughts, on April 17th. Along with his recently released edit of Rosalia’s ‘A Palé’ for charity, the EP marks the DJ/producer’s return to a more dancefloor-focused sound, having ventured further into the worlds of downtempo electronics, R&B and Balearic-imbued house on his introspective and accomplished debut album.

‘Hazy House’ is an encapsulation of what a Seb Wildblood DJ set sounds like in 2020, fusing tough house rhythms with electro’s futuristic atmosphere and an ear for emotive melodic hooks. With dreamy flourishes and subtle complexities, the EP retains much of the depth that ‘sketches’ emphasized, despite being his most club-ready work since 2018’s ‘Grab The Wheel’ EP. The resulting release is one that showcases Wildblood’s considered, painterly technique, and his capacity to create thoughtful soundscapes even when focused on mobility and energy.

‘Hazy House Vol. 1’ on the A-side is buoyant and lush, with a warm synth bed hovering on top of its bouncy beat before a soft, chiming arpeggio motif floats into the mix, tying everything together in a silky deep house bow.

‘Vol. 2’ is similarly inviting, if a little more robust. With a sharp beat, angelic choral synths, and a subtle vocoder, the track is one for the depth of the night, when the last push of energy carries you through, right into the warmth of the afterglow.

Inspired by moments experienced throughout his second world tour in 2019, which saw him playing DJ sets everywhere from Australia and Japan to the UK and across North America, the title ‘Hazy House’ is a tongue-in-cheek nod to the assumptions some may have about Wildblood’s sound. But as the EP highlights, there’s a subtle intricacy at play in the producer’s work that further establishes him as a distinct voice for both club-driven sounds, and for those more suited to headphones.

Something is stirring in downtown Tucson. That's no great surprise perhaps: Calexico have been sending out missives from the desert for 20 years now, Giant Sand for even longer than that, and the Green on Red revival is surely overdue. Let us remind ourselves that this isn't a big city in the American sense, but that its hinterland is indeed as big as it gets. For an hour south, Mexico starts. And this is where things get interesting.

Born in Nogales, Arizona, raised in Nogales, Sonora, multi-instrumentalist and band-leader Sergio Mendoza grew up listening to the Mexican regional styles jostling for headspace in a young, music-mad mind - cumbia mainly, but mambo, rancheras and mariachi too. The border is always a fierce arena of exchange, both commercial and cultural, and so there was American music too. At one point 'rock and roll, the classics', as Mendoza himself deadpans, seemed to win out and he stopped playing those 'Latin styles' for a good decade and a half.

The return to those sounds was a strong one in 2012's Mambo Mexicano, co-produced by Mendoza and Joey Burns of Calexico - a band for which Mendoza has become an increasingly integral touring and recording member. While that record had a studied air, tentative in parts (as befits the renewal of an old love affair), ¡Vamos A Guarachar! is another beast entirely: by turns raucous ('Cumbia Volcadora', featuring Mexican electronic pioneer Camilo Lara), tender ('Misterio', surely Salvador Duran's finest moment with the band so far) and plain serious fun, as in 'Contra La Marea' and 'Mapache', it also bears a robust electronic edge, a keen pop sensibility and all the hallmarks of Mendoza's love of 60s rock, with the closing track, 'Shadows of the Mind', sure to be included if anyone decides to update the Nuggets collection for the 21st century. This is roundabout way of saying that it appears to have everything, but never too much of anything. Focused, fierce and beautifully executed by a superbly drilled set of musicians, it is a record that fully matches the band's explosive live performances.

You could, of course, take the trip to Tucson yourself, to the home of this essential set of field recordings. The scene hangs out together, so ... if the stars align and their frantic tour schedules permit, you might see any number of folks from Calexico, Giant Sand or up-and-coming cumbia rockers Xixa deep in conversation somewhere in town with a quiet young man in black. That's Sergio. Right now, in this endless game of Tucson tag, Orkesta Mendoza are IT.

Vinyl includes mp3 coupon. Shabazz Palaces' Black Up, the group's Sub Pop debut, was recently hailed as one of the best albums of the decade by outlets like Pitchfork, Gorilla Vs Bear, and Variety. Pitchfork summed it up thusly: "Black Up is drowned in murky instrumentals and bombastic, introspective rhymes. The sounds flirt with jazz but also root themselves in a firm understanding of silence, or the sparse magic of simplicity. The songs teem with unexpected climaxes...From great mystery exploded an album of impossible vision." That "impossible vision" has continued to confound and engage Shabazz Palaces fans over the course of four acclaimed albums and two EPs. Each release feels like an evolution, letting the music speak for itself, while slowly revealing more about its creator. With The Don of Diamond Dreams, the group's fifth album, that spirit remains, this time embracing modernism in hip-hop and rap. Featuring 10 tracks in 43 minutes, the album features the highlights "Fast Learner (ft. Purple Tape Nate)," "Chocolate Souffle," "Bad Bitch Walking (ft. Stas THEE Boss), and "Thanking The Girls." It also features contributions from singer/keyboardist Darrius Willrich, Seattle's OCnotes (who collaborated with Shabazz leader Ishmael Butler on the Knife Knights project), Los Angeles musician Carlos Overall, and bassist Evan Flory-Barnes. The Don of Diamond Dreams was recorded throughout 2019 and produced by Shabazz Palaces at Protect and Exalt: A Black Space in Seattle, mixed and engineered by Erik Blood at Studio 4 Labs in Venice, California, and mastered by Scott Sedillo at Bernie Grundman Mastering in Los Angeles.

LP SKY BLUE VINYL/LOSER-EDITION

Vinyl includes mp3 coupon. Shabazz Palaces' Black Up, the group's Sub Pop debut, was recently hailed as one of the best albums of the decade by outlets like Pitchfork, Gorilla Vs Bear, and Variety. Pitchfork summed it up thusly: "Black Up is drowned in murky instrumentals and bombastic, introspective rhymes. The sounds flirt with jazz but also root themselves in a firm understanding of silence, or the sparse magic of simplicity. The songs teem with unexpected climaxes...From great mystery exploded an album of impossible vision." That "impossible vision" has continued to confound and engage Shabazz Palaces fans over the course of four acclaimed albums and two EPs. Each release feels like an evolution, letting the music speak for itself, while slowly revealing more about its creator. With The Don of Diamond Dreams, the group's fifth album, that spirit remains, this time embracing modernism in hip-hop and rap. Featuring 10 tracks in 43 minutes, the album features the highlights "Fast Learner (ft. Purple Tape Nate)," "Chocolate Souffle," "Bad Bitch Walking (ft. Stas THEE Boss), and "Thanking The Girls." It also features contributions from singer/keyboardist Darrius Willrich, Seattle's OCnotes (who collaborated with Shabazz leader Ishmael Butler on the Knife Knights project), Los Angeles musician Carlos Overall, and bassist Evan Flory-Barnes. The Don of Diamond Dreams was recorded throughout 2019 and produced by Shabazz Palaces at Protect and Exalt: A Black Space in Seattle, mixed and engineered by Erik Blood at Studio 4 Labs in Venice, California, and mastered by Scott Sedillo at Bernie Grundman Mastering in Los Angeles.

Brooklyn-based cellist Clarice Jensen’s gorgeous
sophomore album and first for FatCat’s pioneering
130701 imprint, ‘The experience of repetition as death’
was recorded and mixed by Francesco Donadello at
Vox-Ton studios in Berlin in late 2018 and mastered by
Rafael Anton Irisarri.
 Following up her hugely impressive 2018 debut, ‘For
This From That Will Be Filled’, which included
collaborations with Jóhann Jóhannsson and Michael
Harrison, all of the material on this new album was
written and performed by Clarice alone and all of the
sounds on it were created with a cello through a
variety of effects and effects pedals.
 Clarice has recorded and performed for a host of
stellar artists including Jóhann Jóhannsson, Max
Richter, Björk, Arcade Fire, Nick Cave, Jónsi, Stars of
the Lid, Dustin O’Halloran, Joanna Newsom, Nico
Muhly, Dirty Projectors, Frightened Rabbit and Beirut.
 Receiving glowing critical acclaim, both her previous
releases made it into Pitchfork’s End Of Year charts.
 For fans of Jóhann Jóhannsson, Hildur Gudnadottir,
Stars of the Lid, Max Richter, Pauline Oliveros, Harold
Budd, A Winged Victory For The Sullen, Sarah
Davachi, Resina, Maria W Horn, Ellen Arkbro, Kali
Malone, Christina Vantzou, Abul Mogard, Galya
Bisengalieva, Richard Skelton, GAS, Steve Reich.

Sergio Mendoza (a longtime member of Calexico) grew up on both sides of the US/Mexican frontier. On the band’s 3rd album, “Curandero,” His musical melding of that experience explodes from the speakers. Boogaloo, cumbia, ranchera & rock’n’roll.

“History repeats itself, first as tragedy, second as a farce” -Karl Marx
Uun returns for his fifth entry in the Ego Death series. This EP was created in solidarity with the global leftist movement that has risen to fight fascism around the world. Tonally the record stays intense throughout, which expresses the passion and immediacy of this coalition. For if we do not understand the past, we are doomed to
repeat it.

Parisian cinema composer Jean-Gabriel Becker is best known for idiosyncratic soundscapes, has worked alongside Massive Attack on acclaimed film soundtracks and recorded with John Foxx. Susumu Mukai, originally from Osaka, Japan, is one of London’s most sought after musicians, whose list of collaborators includes Floating Points, Vanishing Twin, Alexis Taylor and Fimber Bravo.

Together they’ve created fresh new music that floats effortlessly above traditional genre delineation, with a dubbed-out and experimental melange of modern acid house, post punk, global grooves and clattering beats. Still not complying to genres,’TimeVery Near’ is their tentacular new album, which gathers sounds and inspiration from an ever-expanding palette of influences, assembled into something amorphously intangible that’s simultaneously refreshing and sharp, meandering and cosmic, futuristic but timelessly vintage.

After a 10 year absence Horizontal is back. 3 songs that revolve around Dinky’s pure musical dogma, arpeggiated basses bounce with the beautiful and contorted voices that play within this psychedelic party. Bathing in blue skies and a deep warm acid glow, this is music to capture your body and soul, made with love whilst dreaming of a brave new world within these innocent melodies.

M Parent brings us a soundtrack of American dystopia, one that gives a pointed sonic voice to the bubbling frustrations and anxieties of our time. While American politics play out like a circus on the world stage, M Parent responds to the question of what it means to be American through dirty acid riffs
and eerie electro synth stabs. The album opens up with the title track where a deep voice bellows, “The American Dream was a lie,” setting the stage for what comes next. A warped sense of reality bubbles over in Lose Your Mind, as a wailing electric guitar plays a distorted rendition of the Star Spangled Banner. On the track They Gave You What, a glitched out 808 breakbeat unwinds as
psychedelic paranoia sets in over a stiff melodic hook.

But it’s not all doom and gloom, as it wouldn’t be a complete encapsulation of the American dream without a sense of hope. Balancing the LP out are playful tracks and aural details that keep the American tradition of funk alive. Fucked Acid offers a bright acid track with a funky falsetto synth line.
At the album’s cheeky climax, Electric Snake, a reptilian beast is lured out with 808 toms and beat back by unrelenting snare rolls. Maniacal laughter and an acidic bubbly lead race towards the album’s conclusion in the track Get In. The LP finishes with Groovy, an uplifting track that adds a fragile sense
of optimism.

Protoelectronics psychedelic Mexican Holy Grail rediscovered by Glossy Mistakes. Inspired by Vangelis, Tomita or Kraftwerk, this unknown rarity gets a second life sounding fresh and pioneering today.

Tito was born in 1946 in Ciudad de México, the son of two Spaniards. Since he was a youngster, he had felt the passion for music and instruments. In the meantime, he started a career as architect. Since his early years, he joined various teen rock bands, where he played bass and guitar. Slowly but surely, his interest in synthesizers started to grow. And the rest is history. Tito defines himself as an “electronic sounds fanatic”. Quetzalcóatl is a truly authentic cornerstone in those terms: an inspired and eclectic artist gives shape to a unique sound through legendary synthesizers such as the MiniMoog or the Arp Odyssey. His passion was so embedded that he even built his own guitars and equalizers; some of which appear on this LP.

Quetzalcóatl, his debut solo album, was originally recorded in 1977 (now remastered) in his bedroom using a four-channel Sony recorder in a truly DIY way. This álbum could be considered as a rarity. But if we listen hard enough, we find a pioneering treasure. Somehow, Quetzalcoátl anticipated the sounds of future decades with simple but inspired compositions. It is a mythological trip to the Pre-Hispanic México. This album is an allegory of the Aztec world. Quetzalcoátl is the most important God for Mesoamerican cultures: it represents the inherent human dualism between the body (represented by the snake) and soul (the feathers). In the song “Profecía”, Quetzalcoátl emerges, announcing the end of the world at the hand Spanish colonialism. Limited edition, 600 copies, remastered in Amsterdam by Wouter Brandenburg.

Tripeo raises a voice for change on his new album “Green Is the New Red“ (BASLP03). “The great thing about (electronic) music is that it’s the most universal art form there is“, says the Dutch producer. “It transcends lingual and cultural barriers more than any other cultural expression and can be a catalyst for change.“

The sound of the coming revolution is manifold: Starting off with A1 “Hope in the Dark“, a soft melody unfolds. B2 “Shifting the Overtone Window“ stands out as the most bass-heavy track, with techno as its musical blueprint. Further into the album, C3 “Fridays For Future“, the artist openly states his sympathy with the global youth movement. His vision for the protest is lo-fi in sound and courageous in mood.

Never angry, this album creates urgency without uttering a word.

Voice of the Kano project and former percussionist of Eric Clapton, George Benson and Chaka Khan, Glen White in 1982 wrote and arranged "Be Free", one of the most intriguing and elegant Italian disco / boogie song together with the producer Louis "Gigi" Figini (former member of project "Koxo" alongside the unforgettable Leonardo Re Cecconi). An overlooked gem by the West Indian artist brought back to the musical community!

Seit einiger Zeit arbeitet die deutsch-brasilianische Künstlerin Gloria Endres de Oliveira, die auch als Filmemacherin (Musikvideos, Kurzfilme) und Schauspielerin (u.a."Babylon Berlin", "Die Pfeiler Der Macht", "Counterpart" und aktuell in Christian Petzolds "Undine" (Berlinale 2020)) aktiv ist, an der Verwirklichung ihrer musikalischen Vision. Zuerst gemeinsam mit spampoets im Duo Lovespells, seit letztem Jahr als Solo-Artist GLORIA DE OLIVEIRA. Nach Auftritten beim Further Festival und der c/o pop veröffentlichte sie in der zweiten Jahreshälfte 2019 die beiden EPs "La Rose De Fer" und "Lèvres De Sang" auf ihrem eigenen Label La Double Vie. Abgemischt im Hamburger Studio Cloud Hills Recordings, definieren sie Gloria de Oliveiras betörendes Soundspektrum zwischen Dreamwave, Ethereal und Goth Pop. Nun veröffentlicht das Kölner Label REPTILE MUSIC die Compilation der beiden EPs als "Fascination" (sprich Französich fa·si·na·syon) erstmals auf Vinyl und CD. Die LP beinhaltet die 10 original Songs der beiden EPs remastered und in neuer Reihenfolge, die 17-Track-CD-Version sowie das Digitale Album kommen mit zusätzlichen sieben Remixen von u.a.Gudrun Gut (u.a. Malaria, Monika Enterprises, Greie Gut Fraktion) Box And The Twins, Fragrance., Tellavision und The Wide Eye. Unterstützt wird die intime Atmosphäre ihrer Songs dabei durch eine entsprechende Visualisierung in bisher größtenteils selbstproduzierten Videos. Zur Vorabsingle "The Only Witness" erlaubt ab Anfang März der von der Hamburger Regisseurin Julia Ritschel aufwändig produzierte Videoclip einen weiteren faszinierenden Einblick in Gloria de Oliveiras universelles Kunst- und Klanguniversum. Parallel dazu wird GLORIA DE OLIVEIRA Ende März das US-Duo TEMPERS (DAIS/Secretly) bei fünf Konzerten ihrer anstehenden Deutschlandtour begleiten. Für Liebhaber von Cocteau Twins, Lebanon Hanover, Stina Nordenstam, Hilary Woods, introvertierter Marie Davidson Genres: Independent | Dreamwave | Synthwave | Ethereal | Electronica