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Back in 2015, to celebrate the 50th anniversary of the BBC broadcast of Delia Derbyshire & Barry Bermange’s “Inventions For Radio: The Dreams”, The Eccentronic Research Council released their own super-limited edition cassette soundtracking the recalled dreams (and nightmares) of friends, artists, actors, musicians, scientists, poets and filmmakers. The release was called “The Dreamcatcher Tapes Volume 1”. Five years on, and with a large part of the planet under lockdown and with nowhere to go but within their imagination, the ERC put a call out once again to music collaborators, nurses, teachers, truck drivers, writers, journalists and shop workers to upon waking, record their dreams straight into their phones and to then send them to the ERC to soundtrack. And thus, Volume 2 of The Dreamcatcher Tapes was born!

How did you make the album during lockdown?
“We got around 26 dreams sent to us via email over the space of a couple of weeks then Dean Honer my partner in The ERC and I revved up the old analogue equipment and would record music and collage sounds to the dreams (remotely) from our home recording studios and bounce them back and forth to each other till they were done. It was a really good way to work actually, sometimes I didn’t even have to put on any trousers!” says ERC/ Moonlandingz founder Adrian Flanagan. Why a second volume of The Dreamcatcher Tapes? “I was really interested to see how the enforced lockdown and the removal of people’s basic needs such as human contact and hanging out in close proximity to friends was affecting the dreams of my friends, peers and those at the very front line of this horrible pandemic”, Adrian continues. “The Important shared experiences for people’s mental health such as going out to gigs, the pub, the cinema etc. ”It was an interesting experiment. Nurses dreaming of inadequate PPE and having to use blow up Elvis costumes to protect themselves. Teachers dreaming of zombies and lots of people dreaming about sex - where the hair of Greek sorceress’s Circe meets bouncy castle breasts and where other dreamers dream of serial killers or seeing dead family members, or taking baby elephants for a walk, or having discos for one in the middle of the ocean and so much more. I’m really proud of this record. It’s psychedelic in its truest most cerebral form”

Who’s on “The Dreamcatcher Tapes Volumes 1 & 2”? Who are the dreamers?
“Although our long time collaborator Maxine Peake wasn’t on the very first tape (her dream ended up on LTD edition split 7” ERC single we did with Pye Corner Audio) - she was the first dream that we soundtracked when I came up with the idea of doing the concept record. However, on the new vinyl and tape box set - she opens volume 1. Across the 2 volumes there’s film maker Carol Morley, Andy Votel from Finders Keepers records, John Doran from The Quietus (who also wrote the albums brilliant sleeve notes), acclaimed writers Benjamin Myers & Adelle Stripe, musicians such as Evangeline Ling from the group Audiobooks, Lias Saoudi from my ‘semi fictional band’, The Moonlandingz and fat white family, Sidonie from The Orielles, journalists /writers Wyndham Wallace (he wrote lee Hazelwood’s brilliant biography) and Daniel Dylan Wray amongst a whole array of musician friends, eccentrics and people with actual proper jobs!”

Why did you chose Castles in Space for this release?
“Jim Jupp at Ghost Box records suggested them to me so I looked into them and saw they were doing loads of really great strange little bespoke electronic record releases. I think that because this is a very niche limited run release, it required a label that was willing to treat it like a piece of art and not a throwaway mass produced commodity. So making sure the packaging was special, the artwork was bang on point and the sleeve notes were written by a writer we like all were very important to us. “It was also important that we could turn it around from the finished recording to being in people’s hands really quickly as Dean and I have another ten projects between us on the boil - and so far, Castles in Space have been true to their word. It’s an artists label done with love and there’s not many of them about anymore - believe it or not.“

“The Dreamcatcher Tapes Volumes 1 & 2” is an immense collaborative achievement which makes for a thoroughly compelling, and gloriously disorientating listening experience.

It is released as a double coloured vinyl LP in deluxe gatefold sleeve w/insert and a highly limited deluxe double cassette box set. The album is released on March 19th, 2021.

As a rock icon and filmmaker with a unique vision, ROB ZOMBIE has continuously challenged audiences as he stretches the boundaries of both music and film. He has sold more than fifteen million albums worldwide, and is the only artist to experience unprecedented success in both music and film as the writer/director of eight feature films with a worldwide gross totaling more than $150 million.
ROB ZOMBIE has achieved great success in the music industry, first as a member of the multi-platinum band WHITE ZOMBIE and later as a solo artist with even greater results collecting numerous multi-platinum and gold albums along the way including Hellbilly Deluxe, The Sinister Urge and Educated Horses. In 2013, the seven-time GRAMMY® nominee released his fifth solo album, Venomous Rat Regeneration Vendor, on his Zodiac Swan label through UMe. The album debuted at No. 7 on the Billboard 200 and spawned two Top 10 Active Rock singles, “Dead City Radio and the New Gods of Super Town” and Zombie’s spin on GRAND FUNK RAILROAD’s anthemic “We’re An American Band.”
In April 2016, ZOMBIE released his 6th studio album, The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser. The album debuted at number six on the Billboard Top 200 making it the sixth consecutive release to debut Top Ten. Produced by Zeuss, it was recorded and mixed at Goathouse Studios. A full return to form by the rock icon, The Electric Warlock… features John 5 (Guitar), Piggy D (Bass) and Ginger Fish (Drums).
October 2020 sees the release of the first new ZOMBIE track and video in over four years — “King Freak: A Crypt Of Preservation And Superstition” off of the forthcoming full-length album entitled The Lunar Injection Kool Aid Eclipse Conspiracy. A classic ZOMBIE album through and through with high-energy rages like The Eternal Struggles of the Howling Man and Get Loose to heavy-groove thumpers like Shadow Of The Cemetery Man and Shake Your Ass-Smoke Your Grass. This new slab of ZOMBIE madness hits in early 2021
For the past two decades ROB ZOMBIE has also directed dozens of music videos for himself as well as other artists including Ozzy Osbourne. ZOMBIE was also the first self-directed artist to win an MTV Video Music Award. He’s also directed a special episode of CBS’s CSI: Miami, two Comedy Central specials, and uncharacteristically macabre commercials for various brands.

Born in Newtownards, County Down, Northern Ireland, singer/songwriter/guitarist Ricky Warwick was cut from the cloth of a mill workers’ jacket. Raised on a diet of Patsy Cline, Johnny Cash, Thin Lizzy, Stiff Little Fingers, Motown and everything in between. Saving his money from a newspaper round and a little help from his father, Ricky got his first electric guitar at age 13. “That cheap electric guitar changed my life....it saved me, it was more than just notes on a fretboard, it was the deepest breath of life I ever experienced.“ explains Warwick.
At age 14 Ricky and his family relocated to Strathaven, Scotland. It was here that Warwick fully immersed himself in the sonic seas of Rock n Roll. Writing and practicing every free moment he wasn’t working on his father’s farm, Ricky got a call to join acclaimed U.K. Punk/Folk band New Model Army as rhythm guitarist on their 1987 ‘Ghost Of Cain‘ World Tour. Following New Model Army, Ricky went on to form The Almighty in Glasgow who enjoyed ten top forty singles and four top twenty albums in the U.K. during the late 80’s/early 90’s, touring worldwide with such iconic bands as The Ramones, Motorhead, Megadeth and Iron Maiden.
In 2002, after relocating back to Ireland, Ricky recorded his first solo album ‘Tattoos & Alibis‘ in Joe Elliott of Def Leppard’s studio in Dublin with Joe also handling production duties. It marked a shift in direction “I realized that I didn’t need to yell over a wall of sound to make my point...less is more, stripped back instrumentation could achieve the same goal just as effectively. I learned so much making that record, primarily about myself”. Warwick would go on to release two more solo albums between 2002 -2010 and tour globally opening for the likes of Def Leppard, Cheap Trick, Bryan Adams and Lynyrd Skynyrd.
In January 2010 Ricky received a call from his old friend Scott Gorham who was spearheading a reformation of Ireland’s favourite sons Thin Lizzy and wanted Ricky to front the new line up. ”I was shocked, terrified, excited and extremely humbled when I got that call. Phil Lynott was my hero and Thin Lizzy were the soundtrack of my life. I realized that I could never hope or even dare to try and stand in Phil’s shoes. All I could do was try and stand beside them and sing his songs with as much heart, soul and passion possible. In late 2012, with a necessity to write and perform new material, out of respect for the Thin Lizzy name, Black Star Riders were born. Warwick is the frontman and main songwriter for the band and 2013 saw the release of Black Star Riders acclaimed debut album


‘All Hell Breaks Loose‘.

Black Star Riders have now released four critically-acclaimed and commercially successful albums, the most recent being 2019’s ‘Another State Of Grace‘. They have achieved two U.K. top 15 albums and one U.K. top 10 album as well as mainstream radio play which includes claiming two “singles of the week” on BBC Radio 2.
Following 2016’s lauded ‘When Patsy Cline Was Crazy... And Guy Mitchell Sang The Blues’, Warwick is getting ready to unleash his 5th solo album in 2021. Titled ‘When Life Was Hard And Fast‘, it was recorded in Los Angeles and produced by Keith Nelson (ex-Buckcherry), who also co-wrote the majority of the songs on the record with Warwick. “Keith Nelson and I share a passion for good, honest, rock ‘n’ soul. Making the album with Keith who shares a similar outlook and work ethic as myself was a no brainer ....also the fact that he has a killer collection of vintage guitars contributed greatly”
“I wanted to create an album that had the simplistic melodies of Tom Petty and the Heartbreakers charged with the electric hedonistic fury of Johnny Thunders And The Heartbreakers. Recording the album as live as possible with a full band was requisite to achieving the desired effect”. Xavier Muriel (Ex-Buckcherry) on drums and Robert Crane (Black Star Riders) on bass completed the core band and turned in stellar performances, giving the songs a real lease of life.
Also, once again, Warwick tapped some of his closest friends for guest appearances on the record, including Andy Taylor (Duran Duran & Power Station) Luke Morley (Thunder), Joe Elliott (Def Leppard), Dizzy Reed (Guns n Roses). Ricky also duets with his daughter Pepper on the song ‘Time Don’t Seem To Matter‘. “I can’t wait for people to hear this album and to hit the road touring it whether it’s with my band The Fighting Hearts or just myself and my acoustic - it will be amazing. I’m grateful that after 30 years of making records my appetite for writing and playing is the same as it was that day all those years ago when I got my first electric guitar”
For those intrigued by the album cover, it depicts a crash scene from the famous Ards TT Motor Car Race in County Down Northern Ireland. The race ran from 1928 until 1936 was watched by over 250,000 spectators annually. The embankment in the photograph that the spectators are on is actually a field belonging to Ricky’s Great Grandfather’s Farm, which he grew up on for the first fourteen years of his life.

*** REPRESS VINYL *** Edition of 500 Clear Vinyl ***

The Space Lady began her odyssey on the streets of San Francisco in the late 70's, playing versions of contemporary pop music an accordion and dressed flamboyantly, transmitting messages of peace and harmony. Following the theft of her accordion, The Space Lady invested in a then-new Casio keyboard, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its lead exponents ever since, with the likes of John Maus, Erol Alkan and Kutmah being devotees.

Of her early street sets, only one recording was made, self-released originally on cassette and then transferred to a home-made CD. "The Space Lady’s Greatest Hits"(LSSN020) features the best of these recordings - mostly covers but with some originals - pressed on vinyl for the first time and features archival photographs and liner notes from The Space Lady herself. “Greatest Hits” contains The Space Lady’s personal favourites; her haunting take on The Electric Prunes’ “I Had Too Much To Dream (Last Night),” a frantic “Ballroom Blitz” amidst other reconstructed pop music. Included are also 4 originals that easily match for the Pop canon. Following the release of this archive, The Space Lady will be issuing new material and travelling the world to present her message outside the United States for the first time.

In the mid 90's The Space Lady packed away her Casio synth and silenced her distinctive voice, retiring from the streets of San Francisco. Now, more than 30 years after her initial forays on Haight Ashbury, she has surfaced with the first ever official release of her timeless, startling music and, even more remarkably, has re-started her live career. Now in Colorado, The Space Lady continues to spread her message of peace, harmony and love.

Ocean Moon is a solo project from Jon Tye of Seahawks. A long time explorer of the sounds of spaciousness, having released the ambient classic LP iO in 1994 as MLO, Crystal Harmonics is a document of Jon’s latest discoveries. An ambient/new age/modern classical library suite for KPM, this is inter-dimensional music for mind, body and spirit.

Island Visions, the recent collection of music from Seahawks for KPM, touched on the deeper, more spatial side of music and led to Jon exploring this territory in greater depth, again for KPM, under his Ocean Moon alter ego. This time he brought along some of today’s most visionary musicians: Jon Brooks (The Advisory Circle / Ghostbox) for his intuitive melodic mastery, Seaming To (Graham Massey’s Toolshed) for her extraordinary vocal talents, Steve Moore (Zombi) for his sophisticated and inventive rhythmic sensibility and Richard Norris (The Grid) for his sensitive and deeply resonant ambience. The initial recordings were made at The Centre Of Sound in Cornwall, with the collaborators various contributions coming from London, Derbyshire and the US.

The supremely serene electronic flute and bells of “Crystal Drift” ease us into our journey and we take our next steps with “Rainbow Ripples” as it gently folds space with arpeggiated synth swells and delicate machine beats. Light vocal tones, bells and breath FX on “And Breathe” keep us going, accompanied by synth drones and billows of electric piano.

We travel through the synth-space-surf haze of “Lost Oceans”, with soft bass and warm ambience, to reach the “New Infinity” of revolving melody, spacious pads and light electronic beats. The celestial tone floats of “White Mirror” close out the first side.

Temple bells ring out to running water flowing together with deep resonant vocal tones as the second side opens with “Peace Bells”. “Revolving and Evolving” follows, a tranquil electronic meadow of lush pastoral synth tones where we rest for a while for “Mountain Dreaming”, a light rhythmic dance of zither and birdsong.

The undulating “Forest Motion” ripples with synth arpeggios, dreamy Solina strings and percussive modular electronics before allowing the crackling ambience and Cantonese whispers of “Sleep Golden” to wash over us. Finally we find ourselves on “The Long Path”, its warm temple ambience of drones and chants guiding us home.

Crystal Harmonics is inspired by four particular albums from KPM’s catalogue. There’s The Electronic Light Orchestra by Adrian Wagner from 1975 and then Temple Of The Stars, Breath Of Life and finally Keith Mansfield’s Circles, these last three coming from KPM’s mid-1980s run of modern classical/New Age gems. For Jon, “making library music can be very liberating. I really enjoyed the additional focus it brought to the music working on different facets of composition with each collaborator”.

But Crystal Harmonics is no mere exercise in vulger pastiche. As the past, present and future sound of paradise, this fresh exploration of mid-90s ambient and original New Age sounds exists outside of our linear experience of time.

The cover started as a collage Jon made a couple of years ago, a different expression of the same impulses that guided the music. As a nod to the records that provided seeds of inspiration, the collage was framed by KPM’s house style of the 1980s for the finished sleeve by Richard Robinson.

Mastered for vinyl by Be With’s sonic shaman Simon Francis, cut by the legendary Pete Norman and pressed in the Netherlands by Record Industry, Ocean Moon’s Crystal Harmonics is the tranquil balm for these turbulent times.

Repress

René Pawlowitz presents himself in many different forms; whether it’s as Head High, EQD, Wax, WK7, The Traveller or more recently as Hoover - he consistently, and without any fuss or hype - produces some of the most effective, quality techno you can find on the planet. The Shed alias is usually reserved for his best work.

With this in mind, it really is a special event to announce this amazing new EP from Shed on Tectonic, showcasing 3 distinctive and highly effective techno cuts.

‘Try’ takes a broken-beat techno rhythm for it’s spine - reminiscent a little of the 2008/9 dubstep/techno crossover period. Tension is set with dissonant elements pulsing around swooping subs until we are saved by the heroic pads that ease in, building ever upwards to a lush finale. Close your eyes and be transported back to the rave.

‘Box’ is a darker, more percussive affair - claustrophobic and industrial. 130bpm 4/4 distorted kicks set the stage as frantic drum machine hats and claps crash about heavily reverb’ed ghostly samples.

Lastly we come to ‘Sweep’, a hypnotic bleepy roller with a bass heavy presence. As the riff loops up and over, drums build and a dissonant synth part creeps in. The not-quite 4/4 kick drives you ever forward with a gentle stumble as rattling hi hats flair about over head. Great finish to a great EP.

Following the release of Milton Nascimento’s Maria Maria, Far Out Recordings proudly presents Nascimento’s 1980 follow up. With the success of Maria Maria in 1976 behind them, Nascimento reunited with his writing partner Fernando Brant in 1980 to produce another ballet, ‘Ultimo Trem (Last train)’. This time, they chose to tackle a more contemporarily relevant subject, the impact of the closure of a train line that connected certain towns and cities in the North East of Minas Gerais to the coast. “The military government shut down the route and the whole region began to fade away,” explains Milton. “I love train rides” adds the composer, “But today there are almost no trains to Brazil. So when I go to the US and Europe, any time I can, I go by train. The longer the journey the better.”

Featuring much of the same all-star line-up as Maria Maria – including legendary Brazilian musicians Naná Vasconcelos, João Donato, Paulinho Jobim and members of Som Imaginário, amongst many others, like Maria Maria, the album holds what Milton himself considers to be the definitive versions of some of his most beloved tracks, including 'Saídas E Bandeiras' and 'Ponte de Areia'.

The title track, ‘Ultimo Trem’ – performed exquisitely by Zezé Mota with a choir and piano – is a mournful lament about the human consequences of the axed line. The ballet brought great media attention to the campaign against closure. “Most of Fernando’s lyrics have some political tone,” says Milton, “This one helped the area a lot because the politicians grew concerned about the subjects.”

Fernando’s and Milton’s shared passion for the sounds, smells and memories of trains, inspired the soundtrack for the production which premièred in 1980. ‘A Viagem (The trip)’, launched with a train’s steam whistle, sees Milton’s guitar moving to a train’s rhythm. In contrast to the usual lyricism, ‘Bicho Homen (Beastly man)’ and ‘Decreto (Degree)’ are atypically upbeat and funky, their vocals a mesh of wordless male voices resembling the then fashionable Swingles Singers’ renderings of Bach. ‘E Daí? (And so what?)’, and ‘Olho d’Agua (Water’s Eye)’ were both drawn from ‘Clube Da Esquina’. ‘Olho d’Agua’ is mellow and delicate and Milton’s homage to the great voices of Brazil whilst ‘E Daí? (And so what?)’ is a stunning mosaic of voices. The unusual ‘O Velho (The Old Man)’ conjures up an image of an old shaman singing alone into the wind against the cries of nature. Perhaps the most affecting songs are Nascimento’s ‘Itamarandiba’ and ‘Oração (Prayer)’. The latter is a cry for a change in the situation whilst ‘Itamarandiba’ ends with an upbeat, whirling Hammond organ and guitar timepiece. The closing track ‘Ponta de Areia (Sand Edge)’, was based on one of Fernando’s newspaper stories and became one of Milton’s most famous pieces, covered by musicians across the planet, including Wayne Shorter and Earth, Wind and Fire. It reappeared as a ghostly 45-seconds memory on the ‘Milton e Gil’ album, his millennial collaboration with Gilberto Gil.

After 27 years of being locked inside contracts and record company legalities, these sublime songs were finally released in 2003 as a double CD package, along with Maria Maria. Set for its first ever vinyl release for this year’s Record Store Day, on limited edition red vinyl, Ultimo Trem sounds as fresh and relevant now as when Brazilian music was still a South American secret.

In a career spanning 45 years, Leo Sayer has sold more than 80 MILLION records worldwide. ‘Here’ is Leo Sayer’s 7th album, originally released in 1979 and features the singles ‘When The Money Runs Out’, ‘The World Has Changed’, as well as his cover of The Chi-Lites classic ‘Oh Girl’. This album reunited Leo with early producer and collaborator, David Courtney. Leo Sayer has overseen his entire reissue programme and from reading the reviews from many of his sold-out concerts, he remains one of the UK's great singer/songwriters and performers of all time.

Demon Records presents four new vinyl reissues from English post-punk group the Sound. Whilst the Sound may never have matched the commercial success of their peers, the group are frequently hailed as one of the greatest bands of the 1980s and have a cult following to
this day. Following on from their critically acclaimed Shock Of Daylight EP, the Sound returned to the studio to record their fourth full length studio album Heads And Hearts. Includes the singles
‘One Thousand Reasons’, ‘Temperature Drop’ and ‘Under You’.
Pressed on 140g clear vinyl for the first time, with replica artwork including a printed inner sleeve.

For the second instalment of Subaltern’s 2020 program, we welcome one of the scene’s best-kept secrets – Imajika. The three hard-hitting tracks take listeners on a sonic journey through tribal rhythms, punchy drums and immaculate sound design. Calling upon ancient forces, Imajika makes a powerful statement with the Stagger EP.

Stagger
Ethereal glass chimes sing in the distance underneath an airy pulse to create an eerie intro until the groove enters to break the tension. We are offered a moment to breathe before being submerged by staggering drums driven by powerfully persistent bass-waves. Playful dubby FXs, gritty wobbles and naughty drum fills keep the head nodding throughout this stomper. After offering one last breath, the second drop hits with a relentless grunt that leaves us gobsmacked and then proceeds to devastate any sub to cross its path.

Unti Pundi
Mystical textures set a ghostly tone, overlaid by the meditative ‘Unti Pundi’. We are whisked through the caverns of time - space is created through reverbs and echoes of snares and droplets. A sinister pitch-oscillating synth takes your hand and as Imajika takes you deeper down the rabbit hole. Evolving basslines and masterfully placed drum fills add new depth to this monstrous beat before a shattering second drop wreaks havoc - Imajika shows no mercy.

Inside the Sycamore Root
Foreboding voices whisper in a secret language, seemingly summoning ancient spirits in a circular tree-based ritual. A cataclysmic drop fused with a tribal rhythm and propels us deep Inside the Sycamore Root. The spirits have been awoken. A gnarly bass pulsates as calls of the wild and menacing laser-synth stabs respond to the ancestral voices. The summoning continues and takes us even deeper into the wilderness as rumbling bass and tribal percussion take over - the descent into the great unknown continues.

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.

Kicking off 2020 – Great Circles takes a step away from the dance floor with the release of the monolithic new work from Philadelphia-based artist Radere, ‘I Do Not Want What I Have.’ This long-in-gestation set of slow burning electronics and shadowy drones is part of the label’s growing selection of releases dedicated to deep listening, following on from the 2017 Prefix Moniker LP.

Radere is the ongoing project of Carl Ritger, who has worked under the nom de plume since 2009 and has deep ties to the Great Circles family. He played some of his earliest shows at Inciting HQ, the recently shuttered, label-affiliated venue, and invited Justin Gibbon AKA Westov Temple and Great Circles label founder to contribute to some of his earlier recordings. While he started out as a more straightforward ambient guitarist, Ritger’s work developed into more experimental textures as he explored modular synthesis and processed found sounds.

Ritger’s releases from his time spent living in Denver, CO c. 2011-2018 are marked by a particular strain of east coast nihilism and an angular aesthetic that keeps the listener off balance. Now back in his native Philadelphia, the two long-form pieces that comprise ‘I Do Not Want What I Have’ represent a perhaps more nuanced meditation on pain and loss. “Spitty Kisses,” the 15-minute album opener, takes aim at the listener with a brutal salvo. It is almost sadistic in its sonic intentions – acerbic modular sound and abrupt stuttering in the material leave a listener personally affected. “You’ve Been A Ghost Your Whole Life,” on the flip, delivers a salve for the A-side’s wounds and resolves its masochistic tones.

Written through a period of intense personal trauma as a means to seek comfort and solace through creative action, it’s clear that the puerile humor of nihilism is gone and grown out of in Ritger’s work.

FFO: taking long walks off of short piers, the legend of the monk Kelpius living among the trees of the Wissahickon, traditional creation and destruction stories in polytheistic faiths, and John Coltrane.

The record is accompanied by a digital-only series of remixes by friends of the artist and regular collaborators, including new works from Borne and Shivers, as well as Great Circles alums Westov Temple, Chaperone, and WOLF DEM.

James Ruskin & Mark Broom are back as The Fear Ratio with their third album ‘They Can’t Be Saved’.

180G 2x12"

The duo, who are long-term collaborators have created their own signature style with abstract synths, heavy basslines and experimental soundscapes that fit somewhere in between IDM, electronica and ambient.

Their acclaimed debut album ‘Lightbox’ was initially released in 2011 on Ruskin’s Blueprint Records, featuring remixes from Warp aficionados Plaid and Deadhand. Soon after they formed a long-lasting relationship with cult Manchester based label Skam, with the follow-up album in 2015 ‘Refuge of a Twisted Soul’.

2018 saw a four track ‘Live EP’ release made up of exclusive versions of their Autechre supporting slot at the Great Northern Warehouse in Manchester, Several years and various solo productions later, The Fear Ratio return with an album that solidifies their reputation as experimental producers.

From the ethereal opening bars of ‘Sender’ slowly twisting into a brooding dub breakbeat, to the staccato, bugged out atmospherics of ‘Grey Code’, ghostly electronics of ‘Small World’, tripped out, schizophrenic hip hop haunting bass of ‘Game Plan’ and sun-dappled keys of ‘The Final Vision’ Broom & Ruskin flex their techno muscles ever further beyond the floor.

Previously performing as The Greatest Hoax, Washington, D.C.-based composer T.R. Jordan debuts a new album of contemporary classical and ambient music with Past Inside the Present. Entitled Just for You, Jordan presents an album focused on the evolution of personal relationships and the paths they take.Produced and mixed by Rafael Anton Irisarri (The Sight Below, Ghostly International) and mastered by Taylor Deupree (12K Mastering). Recollections Suite, the companion cassette, is a long form classical piece featuring a string quartet led by cellist Mark Bridges (High Planes/Loscil, Kranky Ltd).

Ever since dropping her critically-acclaimed debut LP Online Dating through Central Processing Unit back in 2017, Tryphème (Tiphaine Belin) has marked herself out as one of the more unique voices in contemporary electronica. We mean that literally - Belin's productions are characterised by frequent use of vocals, either processed to provide atmosphere or deployed high in the mix as passages of singing/spoken word. When these are wedded to her typically deft electronic productions the results are lush, atmospheric and moving.

Two years on from Online Dating and Tryphème has returned to CPU with the six-track Aluminia EP. While Online Dating leaned into a range of rave styles, Aluminia is more painterly, with Belin putting greater emphasis on timbre and texture. 'Lava', 'Fey' and 'Cry Silent Cry' are some of the most innovative tracks Belin has produced to date.

While another producer would allow listeners to luxuriate in such warm synth tones, Belin doesn't let you get comfortable, constantly surprising you with innovative structural choices or unexpected sounds. The way in which 'Lava' is agitated by chattering voices and processed singing recalls both the uncanniness of Holly Herndon and the maximalism of A. G. Cook, while the synth line that snakes through 'Cry Silent Cry' nods to Lorenzo Senni's recent trance deconstructions. Beats and bass take precedence in Aluminia's midsection.

This is the portion of the record which most closely recalls Online Dating - 'Eedyu' and 'X-Ray Mantra' are more settled than the other cuts on Aluminia, and it's here that the 90s electronica influences that so often inform CPU's output are most keenly felt. Those who enjoyed Bochum Welt's recent Seafire full-length - itself another CPU drop - will be able to get behind these tunes.

The two sides of Aluminia are combined in penultimate number 'In A Cyber Spiral'. The track's eerie beginning, with its ghostly vocals and nagging drums, is reminiscent of Hype Williams. Soon things morph into a leftfield digi-dub replete with speaker-crushing sub. Halfway through Belin wrong-foots us again, cleverly flipping the drums from half-time to a kind of fluttering breakbeat. It's the most diverse and unique production in a record full of them, drawing on everything from IDM to Eskibeat, and a track which furthers Tryphème's status as an exciting new artist on the European electronics scene.

The second full-length LP from Jungle Brown, ‘Full Circle’, drops on Mr Bongo in September 2019. Featuring collaborations with Sampa The Great, Fliptrix (High Focus) and Terri Walker amongst other super-talents.

The trio – Ric Flo, MAEAR & Tony Bones – have spent the last two years redefining soulful hip-hop – the sound is bigger, more thought-provoking, and it has matured with a rich soulful underpinning. They have also entered territories fans are yet to hear from them as they glide effortlessly over Tony Bones’ productions that introduce trap and house into their repertoire. The
project is an eclectic array of their influences, twisted and blended together to create a ground-breaking release for UK music.

Jungle Brown’s debut album ‘Flight 314’ has achieved more than a million streams without any budget for marketing or promotion. They spent much of 2016 in Apple Music’s ‘Best of 2016 category, featuring on Spotify and SB.TV, were requested to curate an exclusive playlist for Tidal and attracted attention from New York with Beats 1’s very own, Ebro.

They’ve shared the stage with the likes of De La Soul, Ghostface Killah, Lowkey, Akala and Donaeo, played major festivals including Glastonbury, Boomtown and Lovebox as well as a huge number of clubs shows across the UK.

Following the release of grime legend Jamakabi's “Wickedest Ting” EP, grime fans and vinyl collectors alike have been screaming for the bass remixes by Truth and Ghosty to be released on vinyl.

We heard, we listened and we can now deliver!

Rhythm Rollers is proud to present “The Bass Remixes” of Wickedest Ting on limited edition 12” vinyl.

Track A is an absolute monster brought to you by LA based dubstep veterans “TRUTH” which incorporates all the lyrical energy of the original while providing atmospheric low sub baselines that Truth are so well known for around the globe. If you love your dubstep this is a must for your collection and sets!

Track B is a whole different take on Jamakabi and D Double E's 2018 grime anthem. Ghosty steps up to the plate for this one and rises to the occasion in superb style. The Reaper Recording head honcho is quickly becoming renowned for his high energy amen drum patterns and this does not disappoint! If you get a chance to play this on a large system, be warned! The low subby basslines and heavy hitting drums will bring the roof down, and the rest of the building for that matter!

It's not often Grime greats like D Double & Jamakabi bless these type of styles and its even rarer to find them available on vinyl. If you love your Grime, dubstep or your amens this release has to be an immediate addition to your vinyl collection!!

Canadian quartet BADBADNOTGOOD take on creating the ultimate late night' selection of tracks from their record collections, set for release on 28th July 2017. The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto's Humber College (they've recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, which whom they made 2015's Sour Soul.

This is an international effort: Velly Joonas' Estonian version of 'Feel Like Makin' Love', Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots' Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.

Finally, there's the no-small-matter of the Late Night Tales cover version, in which BADBADNOTGOOD take on Andy Shauf's 'To You' is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.

We were really excited to have the chance to put together a Late Night Tales compilation, it's a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people. Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf.

These artists, as well as many, many others, have infuenced us to create and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation.' - BADBADNOTGOOD May 2017

Two years ago, Ferdi Schuster was a young multi-instrumentalist and producer
daydreaming of releasing his music on Claremont 56, one of his favourite labels.
Now he’s set to release his stunning debut album, “All One”, on Paul Murphy’s
long-running imprint.
It’s been a long time between drinks for the German producer, who last graced
C56 with his superb double A-side single, “Little River/Befreit”, in the autumn of
2017. Fittingly, it’s “Little River” – a babbling brook of audio bliss rich in samba
influenced drums, soothing acoustic guitars and spacey synthesizer licks – that
kicks off “All One”, a seductive set in which every drumbeat, piano note, guitar
riff, synthesizer flourish and freside-warm bassline was played by the man
himself.
Throughout, it’s easy to see why Murphy decided to snap up Schuster and
push the producer to record a debut album. Check, for example, the dubbed
out shuffle of “Thinking of You”, where ghostly chords, soft-focus guitar solos
and ethereal vocals drift across the soundscape, and the slowly unfurling bliss
of “The Good Fight”, an effortlessly Balearic workout rich in sun-kissed guitars,
bubbly synth lines and chords so snugly they could probably be used as a
comfort blanket.
Schuster’s greatest strength is undoubtedly the evocative and enveloping nature
of his instrumental music, which draws on a variety of complimentary influences
but never sounds anything less than original and fresh. Some listeners may be
enchanted by the loose and languid pulse of “Fading Away” or the lo-f reggae
jazz of dusty closing cut “Night Talk”, though others may prefer the stoned funk
shuffle of “Interaction” or the spacey vibrations of “Pulsa”, where intergalactic
synthesizer lines wind their way around heady bass guitar and sparse, off-kilter
deep electro drums.
“All One” is that kind of set; an atmospheric and musically accomplished
collection of cuts capable of muting the mundane and distracting from the stress
of 21st century life. As debut albums go, it’s something of a stunner

Make Mistakes head honcho Roy England teams up with pianist AC Jones to deliver The Shadow Gallery, a sprawling, hypnotic love letter to the dance floor. Music for the modern dance floor, with classic flare, and its heart on its sleeve.

From High On You, to Wayfaring at the end, The Shadow Gallery delivers a cohesive, focused musical journey. But, We Can Make It delivers best on the albums promise. Classic house grooves and bass propel the track forward, with AC’s piano weaving a melodic counterpoint to the relentless dance floor hustle.

While the front half of The Shadow Gallery begs for the afterhours sweatbox, the back half delivers peak hour party cuts for lovers. Anchored in the middle by the title track, The Shadow Gallery, a tune that would sit comfortably in any epic house journey. By crafting such a smooth progression through the collaboration, Shadow Gallery works just as well as sit down, and listen to some true pros bringing their skills together in a way that feels evokes the ghostly spirit of dance music’s past, while creating a modern sound for discerning ears.

Get some.

“We have no idea, now, of who or what the inhabitants of our future might be. In that sense, we have no future. Not in the sense that our grandparents had a future, or thought they did. Fully imagined cultural futures were the luxury of another day, one in which 'now' was of some greater duration. For us, of course, things can change so abruptly, so violently, so profoundly, that futures like our grandparents' have insufficient 'now' to stand on. We have no future because our present is too volatile. ... We have only risk management. The spinning of the given moment's scenarios. Pattern recognition”

― William Gibson, Pattern Recognition