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ZK Bucket gathers some like minded friends and push forward Zaun Records as one of the most forward thinking labels i know...Outsider basement vibes with a raw attitude. Live recoreded at Hardware Jams.Each copy coming in a unique handmade silkscreen sleeve.

Night Tide's sophomore release welcomes two new names to the family. THOMMYY RA and Simonn bring us the "Lost Journey" EP, a 6 tracker of analogue laden esoteric house. On the A, we have THOMMYY RA, label boss at Nasty Habits Tape Cltr and prone to a bi-annual name change, he contributed the silty SETH NK remix of Eluize's "Up All Night" on our label's debut record earlier this year. He opens with "Journey Into Nowhere", an eerie, coasting, synth drenched opus propelled by throbbing percussion and rippling leads, follows with "Die Darling Die" a 90s touched, left of centre house cut, complete with a skipping kick and playfully nostalgic horn, and wraps the side with creepy, deep and groove heavy "Razzy Moon". On the B, we introduce Simonn for his first excursion on wax. "Unknown Habits" is a straight up, tried-and-tested party piece, its vibrant chords pulse amongst thumping drums issuing an undeniable call to the floor. He then turns his hand to something more aquatic, amphibious pads swell in "Lost In Progress" while layering percussion build before erupting into a euphoric break beat. Finally, "Raw and Unbleached" is a delicate arpeggio outing, melodic ideas tumble and burst over one another, it's light and dreamy yet gritty, innocence in sound.

The Round up part III is here: Our annual cocktail of "Heisty" re-imaginations. With our busiest release schedule so far, we've moved up from a 12" and 10" pack to a double 12" pack, with 7 artists re-rubbing each other's originals in their most personal way imaginable. Nachtbraker turns Nebraska's sweet and moody 'It won't be long' into a raw as hell acid stomper. Ouer and Adesse Versions, deliver a great jackin' take on both their victims and Nebraska adds some disco flavour to Frits Wentink's free handing piano work. Frits on his turn gets going with the SP404 to add some dusty vibes to our own Future Imperfect while we've turned Obas Nenor's down-tempo excursion with 'Wakee' into an up-tempo Chicago-esque affair, bringing in our Crumar Performer for some lively work on the strings. Obas on his turn, gets his MPC fired up and delivers a great Midwest inspired version of Push it Along. We've had a truly great year with Heist and have released so much to be proud of, and this Round Up is a great conclusion to it. A nd as always, special artwork courtesy of Baster. Sincerely yours, Lars & Maarten

New entrant to the Bare Hands stable, Bocksrucker delivers a potent three tracker adding another layer to the labels discography.

Bocksrucker, spearheading the labels fling with slower and off kilter sounds, showcases a warped sense of straightness and furtive percussion on the A sides "Card XIII". The B side however, starts with the docile track "Peace of Mind", clocking the dance floor to sudden bursts of rimshots, yet leaving space for subtle droning harmonics. Odd stepper "Assisted Suicide" concludes the EP, offering an electro touch on a roland flavoured drum workout.

EP comes with future telling Tarot card if you are lucky.

Kepler. makes the second contribution to Silencio's catalog with "Planetary Systems I".
With refined ethereal elements rendered from what is surely an eerie origin, "186f", is truly engaging. This track is fueled with a seductive synth heralded by haunting vocals that effectively whisper over its steady, punchy bass line. Meandering in the background is the type of idiophone sound one would associate with a hand-percussion triangle instrument. Its particular effect provides a complex, rolling rhythm that vibrates in a beautiful tone until its objective has been achieved.

On the B-side "452b" is a great track to open up a set with, gentle yet still energetic in how it introduces itself to the audience. It begins with a series of echoing sounds that rise and dive throughout, seemingly reflected off the surface of one's subconscious, in a satisfying manner. Accompanied by a deep pulsating bass line that accents its driving drums, this track will set the tone time and time again.
Imagine the dawning of a realization formed from an inspiring event in nature. The second track, "Luzon", features a laid back tropical tempo and samples that feel transported from a lush, rhythmic rainforest. Kepler expresses this vision within the confines of a catchy groove, utilizing subtle bird sounds and rattles that resonate over layers of atmospheric synth. This is emotional music meant to move a crowd or manufacture a sincere moment of clarity.

Virginia-born singer/songwriter Nicole Wray has everything you'd want in a singer: an infectious Jackson-5-family-member flare, a range like Aretha's, and a church upbringing that's brought a pure, healing texture to her voice. But the struggle she's been through has made her more than a singer. Nicole Wray is an artist. When talking about Queen Alone, her first solo album in some time, Nicole explains, It's a reflection of my soul. It's who I am today.' And aptly so. Nicole is writing and singing songs about her life. And yet to even start to know her soul, you have to go back to the beginning. Growing up in Portsmouth was tough at times for Nicole. However, at the age of fifteen, life opened up quickly when Missy Elliot paid a visit to Nicole's family home to audition her on the spot. Missy was there on the rumored strength and quality of her voice. Instantly blowing her away, she signed and left with Missy that night. Two years later, at age 17, she had a hit gold single off a solid debut album (Make It Hot). Suddenly she was part of a team that included late '90s R&B and rap royalty: Missy, Aaliyah, Ginuwine, Playa, Timbaland and Magoo. She made it, and fast. However, as rapidly as she achieved success, Nicole then found herself needing to re-make it. By late 2001, her time with Missy and company had run its course. They amicably parted ways and Nicole, once on top of the R&B world, was unsure of what was next. It was a very low, but important, point in her life. While neck-deep in this struggle, Damon Dash and Roc-A-Fella Records called. They signed an album deal and by 2004, in what was starting to be a pattern, just as things were looking up Roc-A-Fella suddenly (famously) split. Nicole found herself in a familiar situation. In 2013, Nicole paired up with London vocalist Terri Walker and released the album Lady. Once again, Nicole was tested. Terri parted ways with the group to pursue her own projects shortly after the album's release. Fast forward to now-the transformation from singer-for-hire to pure artist is evident in this new full-length solo release, Queen Alone. The record was written and recorded in 10 days at the legendary Diamond Mine Studios, in Queens NY with Leon Michels and Tom Brenneck handling production. Nicole says she is Singing out loud now-singing from the stomach.' Back in 1998 she was coached how to sing, and told to stay in a pocket that never let her show her range, power, and passion. Today, after stutter-stepping in and out of the industry, there is a new soul and substance to her songs-all of it from her life. They Don't Hang Around", tells the story of her post Roc-a-Fella days, Guilty", is about her brother's incarceration, Make Me Over" tells the relatable story of being broke with expensive taste, and 'Let It Go', a perfect way to end the record, is about the simple act of letting go and moving on. Almost echoing her new record, Nicole says, You have to go through something for it to be real.' She has been living with one foot in fame and the other in real life. The result is clear: she's feeling something real in her music again. And it's hard for us as listeners not to follow suit.

The album should be considered a continuation of 2013s critically heralded album "This Time We Go Together". The story follows a duo of wanderers finding each other and traveling through life - hand in hand without roots. A 'love conquers all' theme which has been a highly embraced motif in his more recent works.

'We become Ravens' con- sists of 15 electronica vignettes which craftily utilize synthetic soundscapes, memorable melodies, timeless introspection and Gudmundsson's signature electronically infused beats.

Having been an integral part of the Icelandic Electronic music scene since his debut album in 1999. 'We Become Ravens' is a pinnacle release by a well seasoned veteran of electronic music's fringes.

Double 180 gram, half-speed vinyl re-release of the orchestral epic. Norwegian Grammy-nominated and critically acclaimed masterpiece «The Mechanical Fair» finally gets it's long awaited vinyl release

Jampacked with a wellspring of harmonic slingshots, pumping beats and melodic rollercoasters, critics called The Mechanical Fair «the best movie you'll never see» and drew comparisons to Igor Stravinsky's «The Rite of Spring» upon it's original release in 2014. It's apparent appeal to an surprisingly wide range of musical communities finally brought it right into DJ dance-wiz Todd Terje's hands. And make no mistake: the physicist hands doesn't settle for an iPad. It craves vinyl. His wholehearted endorsement led the captain of the Olsen Family to clear the rights, assemble his own killer remix and requisition Grammy-winning cutting engineer Matt Colton for a gorgeous double 180 gram, half-speed vinyl re-release of the orchestral epic.

Originally written for a quintet including heavily merited jazz cats Erik Nylander, Ole Morten Vågan, Petter Vågan and Even Helte Hermansen in 2013, The Mechanical Fair expanded at the initiative of the Trondheim Chamber Music Festival, growing bolder and more powerful with the addition of the adventurous and Grammy-winning chamber orchestra The Trondheim Soloists in 2014.

Having just spearheaded seven genre-blending shows in just six days as the «Artist in Residence» of this years prestigious Molde International Jazz Festival, the multi award-winning Norwegian violinist/multiinstrumentalist, composer and producer Ola Kvernberg (35) can look back at an already impressive recording- and performing career. The once 17 year old jazz manouche violin sensation quickly and impatiently moved beyond the jazz realm for inspiration - resulting in seven albums as a solo artist, eight feature films as a movie score composer and countless additional recordings as a sideman. His list of collaborators range from jazz legends Pat Metheny and Joshua Redman, via post/prog-rock act Motorpsycho, to collaborations with world renowned novelists Lars Saabye Christensen and Jo Nesbø. His fearless attitude and relentless drive towards the boundaries of genres has given him a well-earned high standing on the Scandinavian scene today.

Don't miss out on this rollercoasting, genre-twisting magnum opus as it finally hits is true potential on the Olsen label on November 11 this fall.

Correspondant can finally reveal the release of the remixes for Man Power's debut LP, which was released last year on Correspondant.
A year in the making, the remix package features artists and friends hand-picked by both Jennifer Cardini and Man Power himself.
Disco Halal's Moscoman remixes the baggy splendour of Beilsteiner, creating a rolling and belching extended opus more focused toward the peak time dance floor.
Hivern Disc's JMII takes Hunting Swan and turns it inside out, exploring space with a cerebral, schizophrenic quality.
Alternatively, Pale Blue (Mike Simonetti) takes Boys Beware and re-imagines it as an aggressive drum workout.
Completing the package, Suade, the artist who also mastered the original album, replaces TEN's balearic leanings with an IDM sensibility, yet still retains the optimism of the original track.
All 4 remixes manage to exist as distinct works in their own right, while paying homage to the "magpie" approach of the original long player.

Berlin based Adam Marshall and Christian Andersen collaborate as Graze. In the latest installment of our UFO series, the Dekmantel Records offshoot dedicated to experimental and futuristic electronic music, the Canadian veteran producers serve up a 50/50 lethal/dreamy drum trax package. Many have applauded the versatility of Graze, and their Xup EP is yet more proof of their original minds.Xup' is an abstract 4/4 jugular, beating out devious percussive patterns and rattling hi-hats over a grizzled and arpeggiated synth mortar-fire. 'Vast' on the other hand is an esoteric slow-burner, a hallucinatory trip to the depths of analog synth paradise and a perfect intro, outro or home listening gem. On the flip, the hyper-lean gearshift of 'Tryptch' pumps energy through off-kilter and plunderphonic basslines, while 'Shadow Play' is a classic piece of breakbeat bliss including a celestial synth arrangement that makes a perfect soundtrack for slow-speed sci-fi rides.

Digging deep into the annals of Gospel now, the name Pastor TL Barrett should be familiar to the eagle eyed crate diggers amongst you. An extremely "colourful" character from Chicago's Southside neighbourhood who found himself on the wrong side of the law for his involvement in some activities of a dubiously illegal nature, more importantly, besides this the pastor was widely known for his community activism and positive sermons preaching love and responsibility. Shady past aside, this fantastic 1976 LP entitled "Do Not Pass Me By" is a real Gospel beauty and features 8 tracks of resplendent hands in the air rejoicement. Having never been reissued before this rare as gem is finally back out in the open, complete with it's incredible untampered with sleeve artwork and design. Barrett's unique voice and message is timeless and instantly recognisable, you can't help but become one of the congregation whilst listening to these wonderfully rousing and positive paeans to the lord almighty. Saying that, even if you find yourself to be a non-believer, the soul, funk and jazz stylings (with the odd flourish of synth!) the good pastor is laying down will be equally as alluring to those of you who dig those particular sounds. "Do Not Pass Me By" was originally released on Miami's TK Disco offshoot Gospel Roots, it's the Pastor's second release on the label and is a beautiful snapshot of how things might have gone down at his "Mount Zion Baptist Church of Universal Awareness". A unique LP with with a somewhat lo-fi charm, the tracks contained run the gamut from slow, downtempo ballads to roof raising, danceable Disco-esque anthems.
This is the first time that "Do Not Pass Me By" has been reissued on vinyl, fully remastered from Gospel Roots/TK's original tapes, represented the way the the LP was issued in 1976 with all original cover and label artworks intact. Now, almost 40 years after it's original release the album has now been made available again for 2016, fully licensed in conjunction and with the full permission of Henry Stone music / TK Disco, Miami, FL.

2024 Repress
"Apodiktische Gewissheit" ("apodeictic certainty") is the title of an audio-visual cooperative project from Berlin-based artist Gerhard Mantz and Wolfgang Voigt. The project is premised on a digital video piece from Gerhard Mantz. Steadily flowing geometric forms and themes move evenly around a fixed center towards the viewer. A hypnotic undertow-like effect of seductive beauty emerges - impossible to elude, whether you want to or not. Wolfgang Voigt seizes on the digital aesthetic and the mechanical flow of the images, giving them a musical equivalent. The result is a successful amalgamation of imagery and music that generates maximum intensity with minimum motion. An Impression of concurrency between loop-ish continuity and a constant forward thrust, always the same and always different, beginninglessness and endlessness is created.
The vinyl release at hand is a part of the audio-visual art installation "Apodiktische Gewissheit", developed in cooperation with Cologne-based gallery Hammelehle and Ahrens at Cologne's Gertrudenkirche and starting on Friday, November 4th 2016.

Krishnanda is an album in the truest sense of the word - a spiritual, psychedelic Brazilian masterpiece from start to fnish - celebrated by everyone from Seu Jorge and Kassin to Floatng Points, Madlib and DJ Nuts. These days, originals change hands for thousands of dollars. Pedro dos Santos, born in Rio in 1919, was a percussionist virtuoso, composer and inventor of instru-
ments that apparently included oddites such as the 'Tamba' (electrifed bamboo drum) and the mouth berimbau whistle. Nicknamed Perdo 'Sorongo' afer the rhythm he invented, that features throughout 'Krishnanda'. A highly spiritual man who was regarded as a philosopher by many. He worked with greats including Baden Powell, Elis Regina, Maria Bethany, Elza Soares, Sebastão Tapajós, Roberto Ribeiro, Milton Nascimento, Clara Nunes, Paul Simon and Arthur Verocai, playing on
his legendary self-ttled LP. In the same vein as Verocai and his self-ttled LP, 'Krishnanda' was Pedro's chance to shine with his own, and only, solo recording. Krishnanda was produced by Hélcio Milito, the drummer of Tamba Trio, and arranged by conductor Joppa Lins, and originally released in 1968 on CBS (Brasil). Musically, the album touches folk, samba,
afro-brazilian and psychedelia plus added efects, with a lyrical depth and diversity to match; themes including morality, percepton, existence and ego. Despite the genius of the record and the infuence that it had on musicians at the tme of release, it
disappeared into obscurity. We frst discovered the record around 2003, through a friend Julio Dui. Around that tme Brazilian funk and bossa was the favour of the day, so didn't catch our ear immediately, however it contnued improve with age and now we consider it to be one of the best albums ever made, regardless of genre or origin.

20 track Album from Various Artists released by Dub Store Records

The first instalment in our new 'Mr Bongo Record Club' compilation series - a selection of favourites, recent discoveries and sought after obscurities, which form the basis of our DJ sets and our radio show of the same name. Including cuts by Claudia, Cortex, Dave Pike Set, Fruko, Neno Exporta Som, Connie Laverne, Barbosa and more. The original concept for 'Mr Bongo Record Club' was a radio show that allowed us to air our treasured record collections, recorded and broadcast once a
month. We wanted to create an outlet free from any genre or BPM restrictions, not constrained by the need to beat-mix every record, a space where we could play latest finds alongside favourites. The only self-imposed rule being that
it had to be played from vinyl. We have always DJ'd across-the-board, but playing in an eclectic way hasn't
always been easy. Recently DJ's such as MCDE, Floating Points, Nick The Record, Leon Vynehall, Four Tet, Jeremy Underground, Antal (Rush Hour), Sassy J and Young Marco - to name a few - have opened things up with very diverse sets to
younger audiences; Brazilian samba-rock, next to modern soul, highlife, disco, boogie, jazz, house, techno and beyond.  
We're seeing a rare groove like sensibility. A shift towards the attitude of legendary club nights hosted by the likes of Mr Scruff and Gilles Peterson, where you could hear house, hip hop, Turkish funk, boogie, jazz, dub and Latin
back to back. At the same time it isn't a nostalgic or retro movement, people have a progressive attitude and a thirst for new-old music. It is a vibrant and exciting time - we are proud to be a part of it.

Miskotom is a project from Mik and Andra.Originally hailing from Russia but now both residents of Vilnius Lithuania. Both have a long history of music making going back as far as childhood.Andra was involved in 2Muchahos an ambient project which came out on Beko recordings. Mik came up through the indie scene playing in bands before finally settling in the dj booth and then as a producer....Miskotom's music has a magical dreamy quality, sometimes lovely Balearic or melodic pop sounding like long lost tracks form Wally Baderou, but also sounding like sleazy mid 80s chicago basement jams....Analog synths jam along with guitars ,voca land ,handmade percussion mixed down and recorded onto tape. Sometimes 4/4 sometimes no beat at all.....to round off this EP we have an excellant remix from Kito Jempere, who over the last few years has notched up a steady stream of releases over many labels , most recently a killer edits ep for the mysterious Bahnsteig label.

For La Clap's second release, CNTRL takes commands with a banging ears EP, including a special Remix by BirdsMakingMachine. La Clap is on the roll, having a slowly start but a heavy advance. "Dwntstrs" will take you downstairs, at a slow tempo and precise claps. A mixture of sharp sounds that makes you travel deep down. CNTRL is coming here with a ame in his hands, followed by a BMM dynamite remix, taking us to another sound dimension