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From Winding Synths To Percussive Flurries, Abale Is A Club-oriented Project That Combines Traditional Instrumentation With Electronic Flavours, Resulting In A Syncopated, Colourful Mix. Abale Is The Fruit Of A Long Collaboration Between Two Brothers, Who Are Both Composers And Producers In Their Own Right, Who Grew Up Together Listening To Bass Music, Idm And Various Styles Of Folk.

supplications', Released On Mantic, Is Abale's First E.p. On This Record, The Two Musicians Reap The Benefits Of Their Long Collaboration By Drawing Out, Track After Track, The Invocation Of Their Common Musicality And The Hope Awakened By It. The Tunes Are Steeped In The Brothers' Shared Musical Subjectivity, Clearly Pulling On Their Shared Taste For Varied Traditional Folk Music And A Refined Dance-music Esthetic.
The Result, A Clearly Dancefloor Oriented Release, Is A Record Driven By Powerful Percussions In Which Are Intertwined Wild Voice Samples And Shifting Synth Melodies.

Always driven by his search for balance, Crayon delivers here his most personal work.
«Post Blue» presents a digital soul, both contemplative and rousing, where acoustic and electronic sounds mingle. This taste of paradox is essential from the beginning, and remains throughout all the EP. One feels at once relaxed and anguished, optimistic and melancholic.

Creatively, the approach is, again, both instinctive and purposeful. The instrumentation is thought like a traditional group, but never at the detriment of the possibilities o ered by cur- rent technologies.
Beyond the work of introspection, the Parisian composer ex- plores new sound and emotional horizons throughout a love story, rst banal, but nevertheless rich and complex.

Since Danielle Mana's 2017 debut EP for Hyperdub, 'Creature', which was a taut, evocative suite of beatless, almost neo-classical electronics, we now find his music has caught an alien virus and started hallucinating. On 'Seven Steps Behind', the borders between reality and the weird have collapsed on each other, and with each listen through its zigzagging course, you're rewarded by its strange twists and turns. 'Seven Steps Behind' is an electronic album that doesn't always sound electronic; a great deal of the record has been created to sound like prepared pianos, harpsichords, cellos and flutes. At other times, sampled acoustic instruments and specially recorded sessions have been processed through software and careful editing. It's this sophisticated layering of contrasting versions of the same sources that help give this record its uncanny balance. The album also plays with your sense of time in its mostly drum-free hall of mirrors, pulling from minimalism, chamber music, dark jazz, and synthesiser experiments. Mana's singing voice also makes it's debut here, albeit adorned by abrasive FXs. His lyrics are encrypted in noise, in fitting with the music's chimeric character, casting images for the listener to decipher. His heavily manipulated voice enters on second track 'Myopia For The Future', sounding something like a singing motorbike pitched over bouncing ostinatos, or on 'No Body's inhuman, word-less range, where it's impossible to tell where the human finishes and the machine starts. Or in the case of 'Leverage For Survival' it's animal and machine. Here, as with the album's eponymous final track, a sensory assault subsides to reveal a heart-wrenching melancholy that anchors the record. Listening to 'Seven Steps Behind' is like stepping into a dream, with all the curious emotions and buried meaning that involves. Yet for all its restless, shifting energy it manages to hold both dissonance and melody in sweet proportion.

Out February 22nd, Grammy-nominated Hot 8 Brass Band "Take Cover" as they bring their iconic hip hop and brass grooves to classic tracks from Joy Division, Michael Jackson, George Benson and The Jacksons. This EP features recent single "Give Me The Night" & "Love Will Tear Us Apart"

This EP features recent single "Love Will Tear Us Apart" - which received support from Rolling Stone, Songlines, John Kennedy (Radio X), Craig Charles (BBC Radio 2 and 6 Music), Ed Adoo (BBC 5Live), Gilles Peterson (BBC 6Music) and Laurent Garnier (Worldwide FM) - and new track "Give Me The Night".

"Funky Reflections' is the second release of Leipzig based sound maker, DJ and vinyl collector Duktus on ThinkLoud. The Mini-LP reflects Duktus' daily vibe in his own way. It tries to move you to dance, to have respect for one another, to embrace life, and if you follow the records' instructions, the funk will be with you!

Dancefloor superb Pumpin tribe, with a coold mental ambiance and a powerfull cut... Excellent precise sound !



C Genohm - Nice To Be In Orbit

A superb release resuming all the Bloody fist story with sound ! And tune exists again ! MUST HAVE, especially for those tunes from Overcast, Paul Blackout, Memetic and Hedonist ! Well the full EP is EPIC !

Billie Eilish's meteoric rise to global stardom has been nothing short of phenomenal and arguably unparalleled to date. Since her 'ocean eyes' debut, Billie has quietly, yet unapologetically infiltrated the forefront of pop. Thanks to a growing legion of loyal followers across the globe, an EP that has sat in the Billboard Top 200 for more than 18 months now, on the cusp of going Gold in the UK and more than 5 billion combined streams globally, her tours have sold out consecutively around the world, and this week, the teenage marvel has confirmed she will be releasing her highly anticipated debut album 'WHEN WE ALL FALL ASLEEP, WHERE DO WE GO' on March 29 on Polydor.   'When we made 'bury a friend,' the whole album clicked in my head,' Billie explains. 'I immediately knew what it was going to be about, what the visuals were going to be, and everything in terms of how I wanted it to be perceived. It inspired what the album is about. 'bury a friend' is literally from the perspective of the monster under my bed. If you put yourself in that mindset, what is this creature doing or feeling' She continues. 'I also confess that I'm this monster, because I'm my own worst enemy. I might be the monster under your bed too.' 'WHEN WE ALL FALL ASLEEP, WHERE DO WE GO' was written, produced and recorded entirely by 17-year-old Billie Eilish and brother Finneas in their childhood home of Highland Park, Los Angeles. Recorded in Finneas' bedroom opposite Billie's, the pair spent most of 2018 writing songs on the road, then spending many days and nights when off the road, at home, recording the album. The first to be revealed since the album announcement is 'bury a friend,' a driving tour-de-force of a song, trailblazing its way into the world and sounding quite unlike anything else that's out right now. Reaffirming Billie Eilish's place, always ahead of the curve, never compromising her sound or vision.  More exciting news to come from Billie Eilish very soon. 

Transversales Disques presents KSHATRYA, (The Eye Of The Bird), never released before
recording by french avant-garde electronic composer Igor Wakhevitch, who composed a bunch of
major experimental albums in the 70's such as Logos, Docteur Faust, Hathor, Les Fous d'Or,
Nagual and Let's Start.
During this 10 years period, Wakhevitch was close to Jean-Michel Jarre, the Pink Floyd, the Soft
Machine, and legendary choreographer Maurice Bejart having with him many conversations around
dance and music, human body and soul, spiritual path, collective life, new society, human evolution.
As a composer Igor Wakhevitch collaborated with Salvador Dali, Carolyn Carlson, and Terry Riley to
name a few. He's considered as one of the first French composer using synthesizers like Synthi
AKS, ARP2600 or Moog modular systems.
After spending almost 30 years in India, Igor Wakhevitch dug in his archives this unreleased work
recorded in 1999 on his 'Mysterious Island 88' system. Esotheric, sacred and cosmic, KSHATRYA,
(The Eye Of The Bird) is the logical follow up of Igor's early works and a monumental piece of
electronic music. A must!

Last year saw The Last Poets celebrate their 50-year anniversary with the righteous, politically-charged poetic record, "Understand What Black Is". Now to continue the party, Brighton production-maestro Prince Fatty has reworked the album with a fresh twist and blend of smooth, dub-delights. Set to land on the 29th March, the revolution marches on - this is "Understand What Dub Is".

After Prince Fatty's involvement in the production of the original project, he was the perfect person to help update the record with five decades of experience for a new audience to enjoy. The ten tracks of "Understand What Black Is" depict a relevant, historical philosophy of identity and race that has followed The Poets over the last 50 years. Since the origins of the civil rights movements back in the late 60's, Abiodun Oyewole and Umar Bin Hassan (two of the longest-standing group members) have provided social commentaries and a voice to African-American consciousness that has now been heard on a global scale.

Their raps, exploitations and insights quickly evolved into the origins of hip-hop in Harlem, New York back in 1968, and now in 2019 they continue to voice their dedication to the cause with the backing of slick rock-steady infused beats to keep things moving. Having had their work sampled by the likes of NWA, Dr Dre, Kanye West, Snoop Dogg and countless others is just a testament to the timeless sounds and prophecy they have created, and now Prince Fatty has stepped up to put his stamp on it.

Prince Fatty's ever-reliable work gives "Understand What Black Is" another lease of life as he maintains an undeniably slick groove throughout. Both therapeutic and warm, the soulful rhythms of "Understand What Dub Is" provide the perfect platform for The Last Poets to delve into everything from Trump's inauguration, nods to Biggie Smalls and respect to Prince. The calm, collective and downright thought-provoking words go hand-in-hand with the roots-driven reggae medleys with ease - this is dub in its rawest form.

Not only do these songs explore personal struggles and individual endeavours, they also represent a collective of deprived aspects of humanity and socialism, that perhaps now need to be pointed out more than ever. Although there is a variation of sound, the overlying topics remain a constant - it is time to "Understand What Black Is" once more.

Pantene was a live performance art-pop group that existed in Berlin, Germany in 2015. Its four core band members; Marijn Degenaar, Molly Dyson, Olle Holmberg, and Rahel Tierbach took a DIY approach to instrumentation and arrangement, where intergenerational low-fidelity samples collide with subversive and pithy lyrics. Using laptops, MIDI, samplers and effects units to deliver re-contextualised pieces of music, Pantene explored issues surrounding cultural constructions of power, identity and sexuality with effortless aplomb.

You're The Man is the first-ever planned 'lost' Tamla/Motown album from Marvin Gaye. Fifteen (15) of the album's 17 tracks are on vinyl for the first time and three tracks are newly mixed by SaLaAM ReMi. The album also includes the rare long LP version of Marvin Gaye's cancelled Christmas single from '72, as well as an unreleased vault mix of its instrumental B-side, and new essay by Marvin's biographer, David Ritz. The release will coincide with the 60th anniversary of Motown as a label and also Marvin Gaye's 80th Birthday (April 2).

While the tracks have been issued on various collections and deluxe editions, this is the first time they have been placed in their proper context. In addition to context, You're The Man was the album that was proposed to follow-up the monumental What's Going On, and it contains all of Marvin's solo and non-soundtrack recordings from 1972 (his next two albums in quick succession: Trouble Man and Let's Get It On).

* Second Album From La Stampa, The Six-piece Band From Berlin, Hamburg & Geneva.
* Includes A Bespoke, Full Colour, Fold-out Poster
* Artwork By The Acclaimed Artist, Shirana Shahbazi.
* Design By Manuel Krebs From Norm.
* Edition Of 500

Closely Working With Legendary Producer Tobias Levin From Hamburg, The Band Have Developed And Recorded The Ten Songs Over The Course Of Two Years. Picture Northern Creatures Sweating Out Their Melancholy In The Southern Sun. As The Wind Carries The Beats From The Beach Disco Across The Bay, Chopin, Vodka Shot In Hand, Imagines Writing Music Based On The Build Of Crystals. To The Side Of The Composer, The Rhythm Section Gets Restless. The Thrum Of Eastern European Electronics Pulsates In Their Brains. 'don't Work Yourselves To Death', One Of Them Shouts, 'it's Not Our Fate. Let's Go Dancing, Everything Must Change', Adds Another, And 'sun Screen's On The House!' This Is A Glimpse Of The World Bonjour

"I Remember When" is the sixth album from Tokyo based nostalgic ambient soloist Ex Confusion.
The album finds Atsuhito Omori bringing Ex Confusion back to n5MD after a release each with Plancha and Orchid Tapes. 'I Remember When' finds Omori carefully carving music out of hazy memories. Emotive, abstracted, and overcast (as the cover art itself alludes to). Omori excels at his brand of heart to hands clouded ambient by utilizing faded repetition with ghostly percolating guitars printed to old formats. Omori has been doing this type of minimalist modern compositional ambient for nearly a decade but never has it sounded so focused in its conception.
As a bonus to an album of such understated beauty Omori includes a recent collaboration with Thomas Meluch's Benoit Pioulard pseudonym which further adds to the faded photograph characteristics of "I Remember When."

Kanto Records goes into sci-fi waves! Turkey based producer Mustafa Yüksel aka Stars Like Dust releasing his debut album with us! We are super excited to present 'Voyager 01 which combines the guitar of 80's new wave and electric instruments of synthwave with influences from science fiction and horror movie soundtracks. The album has some unmissable references to space and sci-fi with influences pouring in from Akira and movies such as Blade Runner, as the name Stars Like Dust is a clear nod to legendary Isaac Asimov's famous novel.

Recorded in Stockholm and produced by FAMILY_TIME and Maths Time Joy, who produced 'Best Friend', the mixtape follows the release of Ady's critically acclaimed debut album, 'Memories' in March 2018. Having worked on his debut album for some time, Ady wanted to release a collection of songs, ahead of writing and recording his second album.

A deft songwriter and a singer with soulful brilliance, Ady Suleiman has a rich era-spanning appreciation of music, and an innate need to turn life experiences into narrative. His timelessly classic yet fresh sound and lyrical distinctiveness has garnered him a broad range of influential fans from both sides of the Atlantic - from Chance the Rapper, Leon Bridges and Joey Bada$$ through to Labrinth, Michael Kiwanuka, Laura Mvula and Lianne Le Havas. Awarded 'Breakthrough Act of the Year' at Gilles Peterson's Worldwide Awards, Ady has been supported by the likes of The Fader, NME, Complex, The Line of Best Fit and Mahogany to The Independent and GQ (to name but a few).  

A collection of songs which originated as voice memos on his phone, Ady comments, 'I wanted to make a project that is a bit more free, I originally wanted to do an interludes or outtakes project, but over time it changed form. 'Thoughts & Moments Vol 1' is the result."

One of Brazil's most prolific artists, Eumir Deodato has participated in the creation of over 450 albums, racked up 16 platinum records, won a Grammy (and received two more nominations), and sold over 250 million records in the USA alone. Over the course of his career, he has written for, arranged music by and played with artists including Frank Sinatra, Tom Jobim, Kool & The Gang, Earth, Wind & Fire, Marcos Valle, Aretha Franklin and Bjork, among others.

At the height of Deodato's productivity in the early 70s, Os Catedraticos 73 was recorded between Rio de Janeiro and New York, featuring a Brazilian rhythm section comprising Azymuth drummer Ivan 'Mamão' Conti, percussion master Orlandivo, and Sergio Barroso on bass, while the horn section features some of the big apple's top players from the CTI in-house brass.

A firm favourite with rare-groove enthusiasts and fans of Latin jazz alike, Deodato melds the musical sensibility of post-bossa nova Brazilian jazz with North American soul & funk, and the explosive Latin influences of '70s New York. Os Catedraticos 73 certainly swings harder than some of Deodato's earlier releases and opening track 'Arranha Ceu' (Skyscrapers) is a euphoric dance floor classic, which has been lighting up clubs for years.

With the blessing of Deodato himself, this official Far Out reissue has been remastered and pressed to 180g vinyl, with replica original artwork from the OG Equipe release.

Multiple Man is comprised of twin duo Chris & Sean Campion. Originally operating from Brisbane, Australia their four track EP for Fleisch represents their first record written since Chris's relocation to New York City. 'High On The Hog' finds Multiple Man at a disconnect. Spread between different continents and time zones, the record's direction is a marked progression from previous sounds.

Paranoid atmospherics, sheet metal percussion and unhinged mutant sampling, the record finds the twins wallowing in the muck and the mire. The junk funk is still there but it's bathed in machine age voodoo. This is not a record for the post-apocalypse but an end of history banger for the psycho rollerball time we live in.

Counting down every weird minute until the bombs drop, it represents a grotesque vision of end-times razorback EBM. Continuing the evolution in Multiple Man's discography and contributing to the Berlin label's vision, 'High On The Hog' throws another piece of meat into the Fleisch grinder.

Second release comes from label head Traxman and legendary Fast Eddie!
As goodie on top of this great ep there is the track called "Eddie's House" which was recorded in 1987.
It's now for the first time on vinyl!

Sounds for a late nightdrive through the city.

*Limted to 300 copies worldwide* It all began in summer 2017 when Peter Broderick's former Efterklang bandmate Rasmus Stolberg invited him to perform at his new festival in Denmark, with the specific idea that Peter would play an entire set of Arthur Russell songs. As a long-time lover of Arthur's work, Peter immediately accepted the invitation and began to learn a collection of Russell songs. Stolberg put together a band of Danish musicians to join Broderick on stage, and the festival performance went off without a hitch.

Immediately after, Peter starting receiving invitations from other festivals, asking for the same thing — a full set of Arthur Russell songs. Even Arthur's long-time partner Tom Lee took notice of these performances of Arthur's work, and reached out to Peter personally. It wasn't long before Broderick was invited to examine some of Russell's archival work, and asked to do audio restoration work on the old tapes.

Peter's strong love for Arthur's work grew exponentially as he dove into the psyche of his hero, listening to hours and hours of unreleased material. He discovered that some of his favorite Russell songs have yet to be heard by the masses, and felt inspired to learn some of these tunes himself.

It was inevitable that Peter would record an album of his own renditions of Arthur's songs. And there was no better place to do it than the state of Maine, where most of Arthur's surviving family are based, and where Broderick himself was born back in 1987. With a large cast of friends and family, including Arthur's niece Rachel Henry and nephew Beau Lisy, Peter set out to capture his love for Arthur's music with a diverse collection of 10 songs, two of which have yet to be released in their original versions.

Its cover adorned with an original painting by Tom Lee, 'Peter Broderick & Friends Play Arthur Russell' is a vibrant and joyful tribute to one of Broderick's greatest heroes. Peter extends his deepest gratitude to all of Arthur's family, friends and fans who have so warmly welcomed his own versions of these tunes. It is hoped that these recordings will serve to honor the truly staggering legacy of Arthur Russell.

Fresh of their most busy year actively djing in Milan and across Europe, Ayce Bio, Turenne and Borbo are ready to launch a new Ep: One track each + a Remix by Bologna's finest producer and vinyl collector DJ Rou.

Mixed and mastered by Reel Mastering, distributed by Rubadub Uk.

Funclab records runs a monthly show on Rocket Radio and a club night at Apollo club, inviting al- ways different dj's and producers to share the decks with them, among others they played with San Proper, Boo Williams, Eclair Fifi and Pangea.

After the first release 'House al dente', they spent one month during the summer touring with a van around Europe to promote the vinyl, going to their favourite radios and vinyl stores to bring it personally, ending at Barrakud festival in Croatia in front of two thousand people with a dj set and set design.

The collective is the real strength behind the newborn record label, collaborating with a lot of local producers they're always working on new things, in the next few months they are going to release also a various and other two eps.


A1 AYCE BIO - COME IN TO GET HER

909 patterns and jazz funk chops with crispy bass cuts, let your children know who play funk.

A2 AYCE BIO - COME IN TO GET HER (DJ ROU REMIX)

Bass infused remix from Bolo's finest producer and collector.

B1 BORBO - STUNTMAN MIKE

Deep atmosphere, '70s hypnotic rhodes with lofi-esque drums and vocal cuts from Grindhouse.

B2 TURENNE - REALLY COOL

Funk/Soul samples with groovy drums and a really cool vocal.

Right here, right now ADF are the most important band in Britain. NME 1997
Rafis Revenge originally peaked at number 20 on the UK Albums Chart and was shortlisted for the 1998 Mercury Music Prize, with Bobby Gillespie hailing them at the time as the best live act in Britain. This 21 year anniversary reissue includes a limited edition, coloured 2xLP plus expanded digital & CD editions with bonus tracks selected by Adrian Sherwood. To celebrate the release the band are playing at Rich Mix, London on 28th March.
By the time they recorded Rafis Revenge in 1998, Asian Dub Foundation were primed to explode. Having initially emerged from East Londons grassroots Community Music project as a largely studio-based collective, the band had galvanised themselves into a riotously exciting touring machine by the late Nineties. Their extraordinary live shows around this period were electrifying to witness, kinetic and dynamic, incendiary and euphoric, confrontational yet celebratory. For sheer roof-raising energy, they were unrivalled. ADF have evolved enormously over the last two decades, of course, but their breakthrough album remains a fascinating chapter in the real, complex, unwritten history of Britpop. Expanded and enlarged for this anniversary edition, these multi-layered musical treasures still dazzle and delight with their grandiose ambition and riotous energ

Cerrone goes back to his roots and reforms Kongas, his first afro-rock band which sound is dominated by drums and percussions. With this project he explored through the 70"s the major influences that would eventually forged the singular "Cerrone sound" and disco music more broadly.
With 3 originals and an exclusive new track, "Afrodesia" shines a light on Cerrone"s cult formation and the 7 young musicians who plays with him today, standing as the heirs of a timeless sense of hedonism.

Record number 2 for Verdicchio Music Publishing is out this March: four cuts of honest emotion

Berlin Express was a one-time collaboration between Conrad Schnitzler (Kluster, Tangerine Dream) and his son Gregor Schnitzler together with Peter Baumann (Tangerine Dream). They composed and recorded at Paragon Studios (Berlin) a 3-track 12' single released in 1982.

This 'electro-wave' project is now re-issued including the three original tracks plus a rare mix of 'The Russians Are Coming' from the same recording sessions. Limited run of 500 copies with a postcard.

In Celebration of 10 years of Modularz We present a very special 40th vinyl release, focusing more on the deeper side of the label pushing a more melodic and chord progressive sound.
Written and produced by label head Developer, Ukrainian producer Rhomb and new comers
Astronomical Telegram from Colombia and Heretic from the UK. Together compile a great compilation that will destroy floors for years to come.

Lakker Return To R&s With Their Stunning New Album, Época. Following 2016's Conceptual 8 Track Maxi-ep struggle And Emerge' (using Field Recordings Of Tv And Radio Broadcasts From The Dutch National Av Archive) Época Is A Bracing Return To Form, Combining Caustic Electronics With Fresh Inspiration From The Prepared Piano Of John Cage, Plaintive Folk Melodies, The Explorative Label Sublime Frequencies And The Raw Rhythms Of Kampala's Nyege Nyege Tapes. 

Following A Restorative Creative Break To Pursue Their Own Solo Projects (as Arad And Eomac Respectively) The Duo Finally Returned To The Studio, Finding Themselves Working More Closely Than Ever Before. "we Wrote This Record Together, In The Studio As A Duo." Ian Explains "previous Records Involved A Lot Of Time Working On Tracks Individually, But Época Was Written Almost Entirely Together In The Studio - It Felt Much More Fun, More Organic And Democratic." We Allowed It To Happen Rather Than Push Or Pressure It" Dara Adds.

The Natural Evolution Of The Tracks And Their Rougher, Looser Production Sound Parallels The Duo's Interest In Two Separate Ideas: Ambient And Natural Sound, Especially The Background Noise - A Sense Of Time And Place - That Is Inherent In Old Recordings Of Folk And Classical Music, And An Interest In Herd Dynamics And Flock Patterns / Murmurations, Both In The Natural World And In Human Society. The Movements Which Affect The World At Large Through Cultural And Political Shifts. "like The First Starling That Causes A Wave In A Murmuration," Ian Explains "we Are Really Interested In How This Is Also Reflected In Human Society - A New Idea Appears And Then Reaches Critical Mass And Resonates Through Society As A Whole, And Change Happens (positive Or Negative)."

The Rich And Deep Work Of Época Finds The Duo Reinvigorated From Their Hiatus, Using Their Own Voices Extensively For The First Time, Alongsides Regular Vocal Collaborator Eileen Carpio. As Dara Explains "we Had Been Experimenting With Our Own Voices In Our Solo Music, So It Felt Like This Was The Moment To Step Out From Behind The Curtain And Put Our Own Vocals Front And Centre In A More Natural Way". This Leads To An At Times More Melodic And Poppier Feeling, Balanced Out By The Off Kilter Rhythms And Blasts Of Feedback And Weathered Reverbs That Intertwine Throughout The Record. 

Once Again The Duo Look To The Outside World For Sonic Inspiration. Alongside The Use Of Physical Modelling Synths The Album Contains Recordings And Samples Of Violin, Guitar And Bodhrán, The Stringboard Of A Piano At Ems Stockholm, Phone Recordings Of Family Gatherings In Dublin And 1970's Dance Music From Jaipur. 
  
'época' Is A Rich, Challenging Album Of Diverse And Intense Soundscapes That Expands On The Scope Of Lakker's Already Multifaceted Music That Finds Them At The Peak Of Their Artistic Powers.

'we Are Living Through Volatile Times, And As Musicians It Is Impossible To Avoid That Being Reflected In Our Work. Época Is A Our Personal Response To The Atmosphere Of These Times And The External Political And Cultural Events That Are Shaping Our World. Some Positive And Hopeful, Some Despondent And Angry, And Some Reflective And Introspective.' 

2lp: Schwarzes Doppelvinyl Mit Artwork Von Fett Burger
Die Kanadische Produzentin Jayda G Veröffentlicht Ihr Mit Spannung Erwartetes Debütalbum Auf Ninja Tune!
Dank Ihrer Ansteckenden Energie, Vitalität, Ihrer Rhythmen Und Ihrer Grenzenlosen Begeisterung Ist Jayda G In Den Letzten Jahren Im Dance/electronic-music-underground Stetig Aufgestiegen. Musikalisch Ist Das Debüt-album 'significant Changes' Eine Mixtur Verschiedener Stile Von Vintage-drummachine-funk, Die Stark Auf Chicagos House-blaupause Basieren. Eine Natürliche Weiterentwicklung Nach Einer Reihe Von Eps, Sowohl Solo Als Auch Zusammen Mit Ihrem Freund Und Mentor Dj Fett Burger (sex Tags Mania), Die Zumeist Auf Dem Freakout Cult Label Erschienen Sind, Das Die Beiden Bis 2018 Gemeinsam Betrieben, Sowie Auf Ihrem Jüngst Ins Leben Gerufenem Label, Jmg Recordings. Geboren Und Aufgewachsen In Der Kleinen Stadt Grand Forks Im Kanadischen Bundesstaat British Columbia - Etwa Sechs Stunden Von Vancouver - Wuchs Jayda Guy Inmitten Einer Fülle Von Natur Auf, Umgeben Von Bergen Und Wäldern, Flüssen Und Seen. Diese Umgebung War Es, Die Ein Frühes Interesse An Biologie Und Der Natur Im Allgemeinen Weckte: Eine Leidenschaft, Die Sich Immer Weiter Verstärkte, Bis Heute Anhält Und Untrennbar Mit Ihrem Musikalischen Schaffen Verbunden Ist.

Fifth part of the Strata-East Dolphy Series, Glass Bead Games is arguably the crown jewel of the Strata East movement, an amorphous genre that treads an unusual path between post-bop, 70's avant-garde and spiritual jazz, with a groove.

Glass Bead Games is full of revelations at many levels. First, the decade of the 1970s did produce genuinely creative, "human" new music flowing from the jazz mainstream; second, Bill Lee was more than Spike's dad: he was a superlative bassist, a team player of the first order, a powerful catalyst who, if anything, deserves to be better known than his son; third, Billy Higgins was, as so many musicians insist, a once-in-a-lifetime drummer—the bellows inspiriting the collective flame.

Most importantly, Clifford Jordan was an artist of the first order, his playing so effortless and unforced, unselfconscious and focused, mature and wise that, at a time when altissimo fury was all the rage, it's small wonder his authentic voice frequently went unheard. His musical rhetoric is so personally expressive, its substance so compelling, the listener couldn't care less about the extraordinary technique required to convey its captivating message. Compared to some of his more acclaimed peers he's a less aggressive yet paradoxically more directive and shaping influence. The climaxes, rather than spelled out, are merely suggested, registering with deep and lasting impact on the listener. It all comes down to learning the language, those precious little beads. Not every player, including Jordan or the listener, can use it like Shakespeare, but all can learn to read Shakespeare and understand its principles of arbitrariness and serendipity, of invariance and transformation.

Jordan, no less than Shakespeare, requires a like-minded cast of players—in this case four musicians of such redoubtable proficiency that each remains committed to keeping the beads in play. He's not a man content with a mere musical "dialogue" with his fellow musicians nor is he about to take the initiative in pulling his troops up to his level. Instead he begins to tell a musical story that's so compelling his three comrades are inspired equally to contribute to a collaborative narrative. This is brilliant music-making by a Coltrane- influenced successor who feels no obligation to mime the predecessor. It may be the most significant saxophone performance on record since Coltrane and, providing the listener stays with it for any length of time, the most deeply satisfying. Jordan's game—so effortless, unforced, and "level"—erases distinctions between composed and improvised, soloist and ensemble, narrator and narrative, the dancer and the dance. It seems incapable of wearing out its welcome.

By Samuel Chell/All About Jazz

1 colored white LP in single sleeve with 3mm spine. Printed inner-sleeve. Collectors edition CD album included.

Vinyl (Limited Colored Edition)

Bananarama"s fifth album "Please Yourself" was released in 1993 by London Music Stream and is the first album which features the band as a duo. The album includes the singles: "Movin On", "Last Thing On My Mind", "More, More, More"
Bananarama are often cited as the UK"s most successful ever girl group with 5 UK singles and 10 top 10's.
They were the girl group that defined the eighties with their run of pop hits which sound tracked the lives of fans around the world. The news of Bananarama"s reunion, after nearly 30 years, was met with universal approval and saw the band celebrated all over again. In 2017 the trio reassembled for a UK Tour in a pop reunion only dreamt of in the wildest imaginations by many quarters. The band reunited in their original line up for the first time in years. For many Siobhan stepping back into her natural habitat once again is pop"s very own version of Morrissey and Marr re-uniting. The band play their final dates as a trio this summer in a run of gigs including Edinburgh Castle, British Summer Time and Smukfest.

Chicago-based Matt Warren has been a DJ for forty years and has been a producer since 1984, when he released his debut single Rock The Nation. This inspired Matt to cofound Sunset Records in 1985, which released several house classics. However, in 1987, Matt resigned from Sunset Records and founded AKA Dance Music.

The first single that AKA Dance Music released was Bang The Box, which sold over 50,000 copies in America and nowadays, is regarded as the first hard house track. Bang The Box was the first of seven singles that AKA Dance Music released between 1987 and 1988. By then, Matt's second label was part the history of house music.

After the demise of AKA Dance Music, Matt Warren continued to travel the world DJ in some of the top clubs. Meanwhile, Matt continued to produce new music, remix tracks by some of the biggest names in music.

By the nineties, Matt was also writing, arranging, mixing, and producing a wide variety of artists and bands. He sometimes was asked to play on a number of albums. However, he still loved house music, and worked on several releases.

As the new millennia dawned, Matt continued to work in a variety of roles in the ever-changing music industry, and occasionally released some new music. Over the next few years, Matt has been working as a producer, engineer and remixer, which meant he had to put his own career on hold, until he began working with a familiar face.

In 2016, Matt was reunited with house diva Pepper Gomez, who was now running her own label Wake Up! Music. By then, Pepper Gomez had dawned the MyMy Lady G moniker and embarked upon a career as producer. She had travelled to Chicago, to record Elena Andujar's genre-meting album Flamenco In Time at Matt's Sound Studio Recording. Matt took charge of engineering, programming, mixing and production on Flamenco In Time while MyMy Lady G added backing vocals and assumed the role of executive producer on this groundbreaking project. After the completion of Flamenco In Time, MyMy Lady G asked Matt Warren if he would like to record an album

It didn't take long for Matt to answer in the affirmative, and in early 2018, he hit the comeback trail. He was accompanied by a group of talented musicians and vocalists including gospel singer and soulful diva Jan McGhee, Elena Andujar and legendary house diva Pepper Gomez who plays a starring role on the album. That album was recorded over the course of several months, and eventually became Music Is My Life which marks the comeback of Mark Warren.

Matt Warren has been away to long, now one of the pioneers of Chicago House makes a welcome return with a groundbreaking new album. This is Music Is My Life, the first ever Nu House album, which is guaranteed to transform Matt Warren's career and become part of dance music history.

Killer trip into unknown South-East Asian Melayu & Pinoy Funk -
Rare Groove - Deep Soul - Disco & AOR!

Angel-Ho is known as one of the founders of Non Worldwide, alongside Chino Amobi and Nkisi. Highly regarded as a DJ and electronic music producer, on 'Death Becomes Her' she shifts things up to another level.
Pulling on inspiration from her flamboyant favourites from Lady Gaga, Missy Elliot, and Bjork through to Kanye West, this ambitious, artful and sometimes radical album of neo-pop pushes the pop framework even further, often teetering on the brink of vertiginous chaos and dissonance, whilst slowly revealing its depth and grandeur once you settle into its sound world.

Alongside a cast of collaborators that include French producer Nunu, South African producer Baby Caramel, Asmara Maroof from Nguzunguzu, Bon and Gaika, Angel re-orientates the usual trans-atlantic pop sound to encompass a brace of experimental, diasporic producers to create beats that alternate between angular, propulsive, murky, loose, abrasive and breezy.

On top of these often advanced rhythms, she also raps and sings for the first time with lyrics about love, sex, glamour and struggle, universal fantasies, treated with an ambiguity that restructures the narrative within a trans-identity. Her choice of guest MCs also reflects this energetic queering with K-$ and Qweezy from Cape Town, plus underground Asian American rapper K-Rizz laying down assertive bars.
On 'Death Becomes Her', Angel-Ho carves out a new space with her unique take on contemporary pop. Overflowing with charisma, sometimes reminiscent of Grace Jones, this album is fiercely sassy and celebratory. It feels like the start of something very exciting.

A prodigious guitarist at an early age, Willie George Hale earned the nickname "Little Beaver" from friends in family in Arkansas, remarking on his prominent teeth. Over the years Hale would make a name for himself as a reliable session guitarist, appearing on recordings by Betty Wright, Al Kooper, and Blowfly, and gradually developing his own distinct, rhythmic style of blues guitar playing. As the mid-70s approached Hale would embark on his own solo career, cutting albums and singles with Florida's TK Records, working alongside famed musicians like Jaco Pastorius, Benny Latimore, and Timmy Thomas. His career effectively ended in the 1980s with TK's collapse, but he would find new life in 2003 after performing on several Joss Stone albums, and his works would be sampled in hip-hop tunes by the likes of Jay-Z, Slum Village, and People Under The Stairs. Not long after his solo debut in 1972, Hale released the sophomore album Black Rhapsody, which did away with the vocals so Hale could put his own blues guitar chops at the front. Black Rhapsody featured a slew of original deep funk jams from Hale, as well as his own soulful spins on songs by Al Green, The Temptations, The Jackson 5, and even George Gershwin. A rare gem of 70s funk, famously featuring the track "A Tribute To Wes", which beatsmith J Dilla would sample to great effect on the Slum Village track "Conant Gardens."

Pushing his sound further into leftfield-leaning horizons and textured atmospheric reliefs, Pfirter highly-anticipated debut long-player 'The Empty Space' finds the Argentinian-born, Barcelona-based producer steering across shape-shifting sonic rapids with poise and panache. Inspired by a fractal of elements including physics, sci-fi and Lovecraftian flicks, amongst many other things, 'The Empty Space' is a record that revolves around the experience of the voyage itself rather than the destination, throbbing with a vital pulse that acutely transcends all categories and genres, as Pfirter adroitly recombines techno's DNA into something truly and definitely his own. From the false quiet of gloomy lakeshores and riverbanks to post-industrial cityscapes, through barren no-go zones and tiny basements packed to the rafters, welcome into Pfirter's personal "empty space".

This is MindTrip!

In January of 1980 Joy Division kicked off a tour of The Netherlands, Belgium, and Germany with a show at the legendary Paradiso Club in Amsterdam. Little did anyone know that in less than 6 months, Ian Curtis would be dead, and the brief, brilliant run of the group would be over. This is a particularly heavy and deep set, with the band performing at their angular best, and Curtis in top form vocally. Essential live broadcast for any fan of Joy Division.

53 Degrees North marks SK_eleven s seventh release, as Setaoc Mass continues to add to his flourishing imprint; this time with a two-part EP release. 53 Degrees North Part One focuses its efforts on four-to-the-floor club-centric music the label head is renowned for. All four tracks are emblazoned with his signature, disparate pairing of light and dark sound palettes glued beneath rich, atmospheric textures and hypnotism - all the while keeping its muscular club chassis gleaming beneath. Part Two of the double release sees Coates revealing more of his experimental side. The second cut pays homage to past influences of the producer as he floats between ambient, IDM and electro cuts with ease, all rife with emotion and passion.

Berlin 2059
Dark forces control the city, underground music is banned everywhere, old skool DJs, crew and collective can comunicate only via pirate radios...

Beside beeing constantly hunted from techouse police, infamous Chemistry Radio continues to transmit 90's underground music.

Not easy to stop it!

Emotional Rescue is delighted to present the first of two EPs from British '80s band Furniture, starting with their much sought-after, six-song "mini-album" - as they were known then - which has recently been rediscovered by a new generation of DJs and collectors. "Transatlantic Cable" compares the cliches of a certain type of American romance - Bogart, Sinatra, Dean - to the reality of life in West London. "They're On Me" is probably one of very few pop songs to feature double bass and the word "newsagent", while "Robert Nightman's Story" is powered by a riff on marimba and abrasive rhythm guitar.
"I Miss You", a torch song so good you'd think Julie London might have cut it. A highlight for many is "Why Are We In Love". This track is a key reason for the revival of interest in the band, with pattering rhythm part and the sweet clarinet melody, creating an atmosphere that has attracted a following among discerning DJs. "A Letter To Myself" introduced the band's new, expanded line-up adding Sally Still (bass, vocals) and Maya Gilder (keyboards), which would endure until the band stopped in 1990.

Following on from last year's releases by Neue Grafik and Selectors Assemble, CoOp Presents step into 2019 with a new 4-track EP courtesy of Oliver Night; a DJ, producer & singer born and raised in North London.

In addition to joining the Selectors Assemble family recently, Oliver is a member and producer of Roots Manuva's Banana Klan. He established himself as a DJ some 15 years ago, and has since played across the capital, from the Tate Modern to Boiler Room. His music has been supported in the past by the likes of Tony Humphries, Kerri Chandler & Seth Troxler,

This four-tracker illustrates Oliver's diverse range of influences, from the initial inspiration of his Jamaican uncle, musician Hughie Izachaar (who worked with Lee Scratch Perry & others), through to his passion for London's broken beat movement. Oliver's sound epitomises tru-skool UK sound-system ethics; grounded in reggae and dub production sensibilities, whilst built solidly for the bruk and house music dances of today.

The set kicks off with title track, 'Make Believe', featuring the powerhouse vocals of BB.JAMES aka Bethany Barnett Bywater, who's had previous releases with EVM128, Spoek Mathambo and Waze & Odyssey. London-based singer BB is a talent to watch in her own right, as proven on this monster of a track, which has all the ingredients to crossover & damage dancefloors underground and over. Sassy soulful vocals ride a woofer-shattering b-line and synth stabs with devastating effect - a sureshot future anthem.

Next up is 'Swing For Life', an instrumental jazz-house affair, which features the talents of Vancouver-born trumpeter, Jay Phelps - a highly-prolific, highly-acclaimed musician in the jazz world, who found his base in the capital over a decade ago and has since worked with a veritable who's who of international jazz artists, including Courtney Pine, Wynton Marsalis, Amy Winehouse, Hugh Masakela & George Benson, to name a few.

Finally, the flipside brings with it two versions of the cut 'U Got To', remixed by Selectors Assemble family, Cengiz, and label founders IG Culture (fresh from receiving a 'Lifetime Achievement Award' at the 2019 Worldwide Awards) and Alex Phountzi (formerly of Bugz In The Attic) aka NameBrandSound, delivering more of their signature bassweight business. Oliver unleashes his own vocal talents on this track, deftly demonstrating a rich, soulful Omar-esque quality to his voice, and completing a truly heavyweight debut for the label.

This record is huge. Essential business, no BS. A truly firing start to the new year for CoOp Presents.

Limited vinyl & digital available on ********

The Blue Note Record label needs little introduction. Musically, graphically and sonically iconic, the label created and defined the golden age of modern jazz on record. Founded in 1939 by German émigré Alfred Lion, the label's roster of artists is a litany of giants - Thelonious Monk, Sonny Rollins, Horace Silver, Lee Morgan, Art Blakey, Lee Morgan, Herbie Hancock and many more. With peerless musicians in the grooves, the legendary Rudy Van Gelder behind the boards, and graphic design genius Reid Miles creating emblematic artwork for every release, Blue Note - 'the Cadillac of the jazz lines' - was outstanding in every way.

Volume 8 of Jazzman's Spiritual Jazz series takes a close look at the deeper side of Blue Note - from the experimental avant-garde explored by younger musicians such as Bobby Hutcherson, Joe Henderson and Pete La Roca, to the exciting new developments in modal sounds put forward by stalwarts Hank Mobley, Jackie McLean and Duke Pearson. The music we have selected shows how musicians working with the label responded to a period of dramatic social and sonic change, charting the route toward the esoteric and spiritualised sounds that would dominate the deepest jazz of the 1970s.

As ever, Blue Note had lit the path, and this new Spiritual Jazz collection shows that the progressive and underground jazz sound of the 1960s was not only the preserve of obscure artists and private pressings. Blue spirits and heavy sounds on Blue Note - the finest in jazz since 1939, brought to you by Jazzman.

Roots and Wings is the fourth studio album by the Belgian band Vaya Con Dios, released in 1995. Singer Dani Klein worked together with different studio musicians and the American Muscle Shoals Horns to record this album. The songs are all easy listening and gives you the perfect feeling for those rainy days.

Vaya Con Dios was founded in 1986 by Dirk Schoufs, Dani Klein and Willy Lambregt. They had some international success with songs like "Just A Friend Of Mine", "What's a Woman" and "Puerto Rico". In 2013 they started their farewell tour which ended on 25 October 2014 in Brussels.

Roots and Wings is available as a limited edition of 750 individually numbered copies on transparent vinyl.

RAWAX proudly welcomes Mr. Tevo Howard to the Family! We're very happy to present you the Beautiful Grainville - boss on CHIWAX!

'Best electronic live set i've seen in two years!' CHRIS CUSACK (BOOKER, BLOC GLASGOW)

Fresh and heady slice of cerebral techno and out-there electro flavours.

EXTERIOR is the artist moniker of Edinburgh producer Doug MacDonald. Exterior represents his transition to electronic music and an embrace of the dancefloor. Doug played hardcore and noise-rock for a long time before eventually abandoning collaboration, nostalgia and formulaic rebellion in favour of synthesis. What he gained on the way was an understanding of the power of live drumming and years of finely honed performance-skills, something of an aberration in dance music.

Exterior thus represents a convergence of disparate personal and musical pleasures. Accordingly Exterior draws on rhythmic mavericks as divergent as Fugazi//Battles//Swans as well as DJ Spoko//Clark//Hieroglyphic Being. In addition, there is a deep undercurrent of melody and texture, drawing on the likes of Burial//Miles Davis//Bjork. Eschewing the modern home computer in favour of an exclusively hardware based approach, Exterior espouses a physical relationship to what is at heart an abstract practice, composing electronic dance music.

Perhaps it's unsurprising, then, that one of the things which really sets Exterior apart is his intoxicating live show. He gets the crowd going every single time he performs, so infectious is his energy, as he throws shapes and struts his stuff behind the gear, clearly 100% in the moment and his element.

His debut EP 'Public Transport' was released on London/Barcelona-based Land Recordings earlier in 2018. Having made his international headlining debut in Berlin in September, more continental sorties are currently being arranged (see below).

This record represents a significant move forward in sophistication and club-readiness.

On remix duties, anonymous analogue techno lover DALI returns on the back of four slices of extended club gear released via two Hobbes Music 12"s (2017-18), boasting colour-themed, screen-printed sleeves and an uber-simple design for that evergreen minimal aesthetic with a hint of mystique. These gained excited support/plays from the likes of Ben UFO, Nina Kraviz, Daniel Avery, DJ Deep, Laurent Garnier, Avalon Emerson, Twitch, XDB, Bill Brewster, Bawrut, Tom Findlay (Groove Armada) and many more... Clocking in (again) at just over 9 minutes, her 'Collapsing Star' remix is another marathon-length effort and does exactly what it says on the tin. Setting the beats to classic electro, everything's pushed hard until it all seems ready to fall rapidly apart (and it very nearly does), before dissolving in a fiery sizzle: a more visceral, dance floor accompaniment to Exterior's heady affair.

In a career spanning 45 years, Leo Sayer has sold more than 80 MILLION records worldwide.
To coincide with Leo's forthcoming return to the UK for his 22-date 'Just A Boy At 70' tour, 'The Hollywood Years
1976-1978' is the second of a series of three Vinyl LP box sets.
'The Hollywood Years 1976-1978' comprises Leo's three studio albums. 'Endless Flight' (released 1976/UK
#4) 'Thunder In My Heart' (released 1977/UK #8) and 'Another Year' (released 1978/UK #15) and marked a
clear departure from his early albums.
Leo recorded these three albums with legendary producer Richard Perry, who brought in a variety of songwriters
and collaborators to work on the projects with Leo; it was a venerable Who's Who of the record industry.
Each vinyl LP Box set in this Limited Edition release, will be pressed on heavyweight 180g clear vinyl and contain
a signed 12'x12' print.
This project has been overseen by Leo Sayer, who remains one of the UK's great singer/songwriters of all time.

- Daniel O'Donnell's recording career has now spanned almost 35 years and he continues to delight fans around the world by his
recording and touring activities.
- Daniel is the UK chart's most prolific and one of the most successful recording Artists. In 2018, he broke his own world record, by
becoming the first recording artist to chart at least one new album every year in the Artist Albums Chart for 31 consecutive years.
- During his career, in the United Kingdom Daniel has amassed thirty-seven Top 40 albums, including sixteen Top 10 albums, with
fourteen of them this Century, a feat not achieved by any other recording Artist.
- 'The Gold Collection' is a heavyweight 180g Gold-colour vinyl LP, featuring duets with his long-term singing partner Mary Duff his best
known hits, including twelve Top 40 hits, in this 16-track set.

"In 2013, the For Those That Knoe imprint burst into record shops with a release from one of the UK's unsung heroes, Jaime Read under his LHAS alias. 5 years later, we're proud to present a reissue of a selection of Jaime's music from his 1997 album ""The End of the Beginning"".

Jaime's take on futuristic chi-town influenced house is present across the selections. Written 21 years ago, the music is more relevant that ever. Serene galactic themes and time travel optimism permeate the collection: the music tells tales of optimism rather than the bleak images carved by other similar compositions of the time. Originally pressed in finite numbers, this is an opportunity to get a copy of the key material on vinyl again, split across two 180g 12"" EPs with a free digitial download code.
"

Command Strange Delivers His Highly Anticipated Lp On Fokuz Recordings. A 12" To Enjoy If You're Into The More Jazzy And Atmospheric Sounds Of Drum And Bass. With Piano Driven Melodies And Stunning Pads This Is A Deep Yet Melodic Record To Enjoy As Well In A Club As At Home. All And All It's A Well Balanced Record And No Doubt This Will Be A Highly Wanted Record.

Als in den Neunzigern Punk durch Bands wie Green Day und The Offspring sein großes melodisches Revival
erlebte, bedeutete das auch den endgültigen Durchbruch für NOFX. Das kalifornische Trio hatte sich schon
1983 gegründet, schuf 1994 mit "Punk In Drublic" einen bis heute unvergesslichen Skatepunk-Klassiker und
avancierte spätestens mit seinem siebten Studioalbum, "So Long And Thanks For All The Shoes", zum
Punkrock-Schwergewicht. Im Gegensatz zu vielen anderen Formationen weigerten sich NOFX jedoch
resolut, Kapital aus dem wieder erwachten Interesse an Punk zu schlagen. Angebote von Majorlabels wurden
daher konsequent ausgeschlagen. Bis "Pump Up The Valuum" im Jahr 2000 auf den Markt kam, standen
NOFX bei Epitaph unter Vertrag, dann wechselten die Kalifornier zu Fat Wreck Chords, dem Label von
Bassist und Sänger Fat Mike. Zum Ausstand veröffentlichte Epitaph 2004 die Kompilation "The Greatest
Songs Ever Written (By Us)". Die Zusammenstellung enthielt Evergreens wie "Linoleum", "Reeko", "All Outta
Angst", "Bob", "Leave It Alone", "180 Degrees", "Kill All The White Man" oder "The Longest Line" in neu
gemasterten Fassungen. Epitaph bringt die Sammlung nun erstmals auf Vinyl heraus.

Too $hort's legendary 1992 effort 'Shorty The Pimp' is back in effect on vinyl thanks to the hip hop preservationist at Get On Down. Though many don't consider this to be one of Too $hort's strongest releases, the project did move well over 80,000 in its first week of release landing at Number 6 on the Billboard Top 200. Taking the title from the incredibly rare 1973 Blaxploitation film, Too $hort does what he does best on Shorty The Pimp: funk beats, boastful braggadocio, a few conscious rhymes and layers of straight up pimp talk. The lyrical content can certainly be considered comical and entertaining. 'Shorty The Pimp' is also a stand out project for producer Ant Banks who did many of the beats for the project, his first works with Too $hort with many more to follow over the next decade. Oddly enough, one of the best comments on 'Shorty The Pimp' comes from a random guy on the internet who commented on his experience listening to the release, 'I ran my car into a tree after listening to 'It Don't Stop' Definitely made for cars with the booming systems!'

Andrew Wasylyk is the alias of Scottish writer, producer and multi-instrumentalist, Andrew Mitchell.

In 2018, Andrew was extended a residency invite from arts centre and historic house, Hospitalfield, Arbroath, Scotland to create new music for their restored, 19th century, Erard Grecian harp.
During Wasylyk's five-month sojourn he created melodies and progressions echoing the building's unique relationship with the looming North Sea horizon. Using not only the harp, but the house's original grand piano, Andrew explored the Angus landscape and beyond, gathering field recordings on trips to neighbouring Seaton Cliffs and Bell Rock Lighthouse (the world's oldest surviving sea-washed lighthouse).
Winter slipped into spring, and harp-led compositions gave way to an ambitious third, full-length album, exploring a range of themes utilising a broad palette of instrumentation, including flugelhorn, euphonium, oboe, string trio, vintage synthesisers, drones and upright piano.

From the wandering, Bob James-esque, Fender Rhodes and shimmering strings in the study of coastal light, "(Welter) In The Haar", to the plaintive brass and farewell transmission blowing through, "Adrift Below A Constellation", punctuated by the fragility of Wasylyk's sole lead vocal of this collection - "The Paralian" (a dweller by the sea), is a conclusion embued with blue and golden melodies that land in a territory akin to experimentalists such as Robert Wyatt and Brian Eno. Through which, Wasylyk weaves the listener along a Modern-classical, Ambient and Jazz dream of Scotland's east coast.

Athens Of The North team were stunned by the luminous beauty and creativity at play in this work. Falling between genres and time, it stands next to 60s British Jazz, effortlessly blending notes of Library and soundtracks with dashes of British Folk.

- 180 GRAM AUDIOPHILE VINYL
- FIRST PRESSING OF 750 NUMBERED
COPIES ON ORANGE VINYL

Primarily released to showcase the sublime talents of one of Jamaica's most celebrated vocal trios, The Heptones, the aptly titled Heptones & Their Friends album features a selection of superior reggae sides by the group alongside hugely popular works from the three of reggae's biggest stars of the period: Judy Mowatt, Nicky Thomas and Peter Tosh of The Wailers.

Backed by top session crew, the Now Generation, the Joe Gibbsproduced selection is of a predictably high standard throughout, with highlights including Be The One', a pitch-perfect slice of classic roots, a gloriously cheesy pop cover of the Drfters' Save The Last Dance', the strident Freedom To The People' and one of the biggest Jamaican hits of the early 1970s, Hypocrite'.

After 'Cobraxine', 'Boogie Throb', and the Ana Ott released 'Molochville', Brecht Ameel (Razen/Ameel Brecht) gives us his new album under the Br'lâaB moniker 'Other People's Crimes'; a high-on-paranoia, pre-crime-surveillance narrative, constructed after hours in the studio from a combination of Ameel's own recordings on a widely varied set of instruments, library music, flea-market broken vinyls and old cassettes. Part blind-overdub palimpsest-collage, part straightforward composition, the 10' contains both Br'lâaB's loop constructions and tracks performed by the found audio phantom band called the Acid Boogie Quartet. Bearing more gritty layers of both sound and subtext than ever, the 'Other People's Crimes' EP stands as an artefact of wild paranoia and spy-thriller sonics, weaving vignettes of surveillance gone wrong, doublethink and confessional echolalia.

Police and thieves are in the streets, running wild with nosebleeds and ill will ids. Dial v for victim as the night horizon broods a neon luminol glow. Howling at the vortex, buried under blindfolds, vigilantes take to crime with fear and ketamines.

Long time unsung UK techno artist Aubrey is to release Gravitational Lensing, a first artist album since 2001 and his third in all. It lands in early 2019 on Out-ER and across 12 tracks it finds him getting more personal and instinctive than ever before with jazz, techno, broken beat and house all colouring this most coherent of musical adventures.
Aubrey s discography dates back to the early nineties, when he was a key part of the UK scene on labels like Solid Groove, Textures and Mosaic. Up there with the greats from Chicago and Detroit, he has turned out a steady stream of music that marries perfect dance floor functionality with real musical invention. Always inspired by anything deep with a good groove, everything from synth band Japan to funk king George Clinton, electro break beats to Jean Michel Jarre all inform his work.

As a DJ, he cut his teeth playing the biggest raves in the UK with names like Carl Cox and Eddie C having been swept up by the acid house records that hit English stores when he was just 15. Add in a love of jazz, ambient and US house, and you have all the eclectic influences that this criminally under-the-radar artist has drawn on for his latest album.

It is one that finds him really put his personal stamp on his sound. It s a chance to be more who you are and what you feel without pressure to conform to a particular sound, it s a chance to be free, says the artist of the album process. It was partially produced at Out-ER s studio in Nard , Lecce over the course of a year s worth of studio jam sessions, and is his finest and most cinematic work to date.

Things kick off with the ambient synth modulations of Aerglo Visible before exquisitely loose jazz drums and sci-fi pads suspend you in the cosmos on Floating to Rigel. There is an experimental feel to the off grid drums, rippling chords and drunken keys of Doctor Portia that keeps you brilliantly off balance, and the first deep techno trip is Journey To the Blue Planet , which has gorgeous ambience swirling over rolling, dubby kicks and soulful Detroit synth work. Carrying on through more lush, musical synth work and inventive drums, there are moments of heads down dance floor power and hi-tech soul, serene techno landscaping and chord-laced deep house that is superbly cerebral throughout the album.

In all, it makes for a complete and storytelling record that draws on a rich variety of genres and reworks them into something deep, multi-layered and hugely emotional that works as well in headphones, at home, as it will in the club.

Fatal mental acid tribe, epic tunes enlarging your ears... Solid kick suporting heavy sounds with a big pannel of ambiances... really a beautyfull EP ! Once Again ! MASSIVE

Mit - They`ve Given Me Schrott! - Die Outtakes' erscheint nun zusätzlich eine Edition als 3er CD und
5er LP mit den bisher nur in der Seitenhirsch-Box veröffentlichten Outtakes. Vom allerersten
Cassettenrecorder-Demo - Der lustige Astronaut' (1978), über bislang nur auf Vinyl erhältliche Songs
aus der Frühphase der Band, mit - Helgoland' die Demo Ur-Fassung von - Westerland', sowie zig
weitere seltene und kuriose Demos, Radiotracks und Gimmicks, und das oft erwähnte und nie
veröffentliche englische Album.
Anmerkung: Bitte erwarten Sie hier keine durchgängig hochwertige Audioqualität: Diese Raritäten sind
zum Teil Kellerfunde auf Basis von alten Audiocassetten oder Vinylplatten, die aufwendig restauriert
und neu gemastert wurden. Allerdings kann man aus einem Toaster kein Rennrad machen.





















































[ZZA] I5 | Smash the System, fuck the Police
[ZZB] I6 | Nie wieder Krieg, nie mehr Las Vegas! 
[ZZC] I7 | Eine Botschaft von Die Ärzte 
[ZZD] J1 | I laugh if you die 
[ZZE] J2 | Herrliche Jahre (Das Leben ist `ne Party) 
[ZZF] J3 | Yoko Ono 
[ZZG] J4 | Techno ist die Hölle, mein Sohn 
[ZZH] J5 | Worum es geht

On Pedro Vian's second album, the now Amsterdam-based artist opens up a new sonic chapter of his life, running through depths of emotions and feelings, traversing moments of euphoria, fury, serenity, hope and love. Recorded between 2014 and 2018, the self titled LP opens with a melodic flourish, drops down through mournful vocal driven pieces and lands on fast moving synths across a set of 12 deeply personal tracks.

A follow up to Vian's 2016 acclaimed debut album 'Beautiful Things You Left Us For Memories' - supported by Pitchfork, RA, XLR8R, Ransom Note, The Quietus, NTS - this sophomore LP shows the breadth and maturity of Vian's sound, falling in between the cracks of downtempo electronica, ambient and post rock. Pedro discloses: 'I have tried to be sincere, transparent and pure. During the recording process I have avoided artificiality. I do not like the overproduction of music. I like to feel the naturalness and the essence of the beat of the instruments. I like to look inside until I find something real with which to communicate'.

'Pedro Vian' arrives on Vian's own Modern Obscure Music imprint, home to like-minded artists such as Jamal Moss, Gavin Russom, Tevo Howard, Ivy Barkakati, Eterna and Sau Poler. Vian initially cut his teeth in the Barcelona scene, first as part of the duo Aster with JMII on Hivern Discs and Jamal Moss' Mathematics then as a solo producer on his own Modern Obscure Music, MM Discos and Spring Theory.

European music culture has never been closed, on the contrary - it has always integrated influences from all other parts of the world. Two Tribes makes an effort to give insight in how musicians living in Europe today incorporate and transfer musical traditions particularly from the African continent into their own oeuvre.

Featured on Two Tribes are a broad range of constellations, ranging from musicians with roots in African countries who reside in Europe to collaborations between European and African artists. Musically our compilation tries to capture at least a part of the enormous diversity that contemporary music from Europe of this kind has to offer. The spectrum ranges from classical - songs' using traditional instruments from both continents to electronic productions that combine musical heritage with current club culture. Our selection can only be a musical snapshot since there is so much movement in this genre at the moment.

As you can hopefully see and hear, the leitmotif while compiling Two Tribes was to keep an eye on the ease of handling different cultural influences amongst the featured artists. It was important to us that the included music doesn´t just copy African music styles one to one but has an own handwriting and builds a bridge between the musical legacy of both continents. With all the track included, we have found a number of great examples and decided to showcase twelve of them on this first volume. The music included refers to the musical traditions of Senegal, Kenya, Nigeria, Ivory Coast, Ethiopia, Morocco, Zimbabwe and South Africa amongst others. The involved musicians are spread all over Europe, from Finland to Great Britain, Italy, England, France and Portugal to Germany.

Be it organic or electronic music, we think that all of the tracks really deserve your ear! Tobi Kirsch & Ubbo Gronewold, June 2018

Liška, the Czechoslovakian word for fox. Beguiling in its beauty, cunning in it's charm. Said to be one of the most intelligent animals on the planet its global family consists of thirty-seven varieties; all of them recognised, respected and feared for their persuasive, creative, resourceful and elusive nature. The Liška we will talk about today is no exception to these hereditary rules and within the grooves of this record Finders Keepers present an 'elusive' musical artefact that best exemplifies every facet of this composer's animal namesake.

Had he not been born in the small Bohemian town of Smecno in the early 1920s the story of The Fantastic Mr. Liška might have well taken a different course. Alternatively, fettered by the hampers of communism, this lifelong resident of Czechoslovakia would never quite find his seat at the same table as the likes of John Barry, Ennio Morricone, Michael Nyman and Stanley Myers, nor drop enough phonographic breadcrumbs to track his legacy. But having waited patiently behind the borders of the wider landscapes of international cinema, Liška's musical brood, spanning multiple stylistic decades and generations, has now started to walk proudly amongst his would-be, latter-day compeers. In an era where music lovers have almost become immune to adjectives like 'lost', 'rare' and 'unreleased' in a climate where previously lesser-known off-kilter master composers such as Vannier, Kirchin and Axelrod have become widely revered, it is perhaps the perfect time for discerning listeners to advance above the feeding trough and seek out this truly pioneering and revolutionary Eastern European composer. Rivalled only by the likes of Krzysztof Komeda and Andrzej Korzynski in Poland, alongside Alexandr Gradsky in Russia, and often splitting workloads with fellow Czech composers like Luboš Fišer, Zdenek Liska's filmography of over almost 300 fully formed movie scores virtually eclipses the achievements of these socialist era luminaries. Respected unanimously in both Czech and Slovakian by studio bosses, producers, directors and actors alike Liška is widely known for his ability to take the existing energy in a reel of film and literally change the polarity to suit his own interpretation while maintaining the full support from his 'client' who would in-turn end up working under this composer's creative direction. Not only was Liška a genius of emotive orchestral and coral composition, his grasp on small group arrangements and intimate, minimal scores set him above the competition. By utilising primitive sample techniques by 'looping' a films existing ambient noise, or rearranging found sounds and dialog into subtle melodic arrangements, Liška would independently develop his own techniques which had simultaneously become known in Paris as musique concre`te. It is a direct extension of these experiments that saw Liška also draw parallels with Walter Branchi (Ennio Morricone's main electronic sidekick) in Italy as well as Daphne Oram in the UK, making Liška a relatively untravelled pioneer of early electronic composition and sound design due to his unlikely global environment. Imprisoned, preserved or reserved; time has been kind to Liška's music.

Tradition and experimentation are two familiar
territories that C'mon Tigre, a duo who find
their identity by working with musicians from
all over the world, can balance between very
well. As they did for their debut album (2014),
they have put together a multicolored collective
for their second record 'Racines', out on
February 15, 2019 for BDC/K7.
The title is a French word that means "roots",
referring to the musical roots in which C'mon
Tigre's feet, head and heart are immersed, and
from which their contaminated tracks sprout to
create unusual and original sound environments. In their new album the sounds of the
Mediterranean - the sea of their land -
intersect, intertwine and overlap with a
kaleidoscope of other sounds and a new
approach based - they explain - "on the type of
work we had done when we rearranged the first
album for live shows, by emphasizing the
synthetic part of our tracks". This time around
they did it from the very beginning: "The
composition of the pieces immediately included
the use of machines and synthesizers as a
basis for acoustic instruments. The goal was to
reprocess the terrain of Mediterranean
influences that was undoubtedly our starting
point".
Imagine a work in progress where bass and
guitars interact with woodwind, synths, percussions, vibraphones, dipping the listener into a
sensual and hypnotic musical journey. Sailing
from the Mediterranean basin and being guided
by the fascination for Africa and the Middle
East, C'mon Tigre give rise to a personal
language, made up of mixtures with jazz,
afrojazz, the rhythmics of hip hop, funk, 70s
disco. All without ever confining their songs to
one style, but pushing the exploration as much
as possible, into a dimension that every journey
worthy of this name should encompass. "With
the musicians we work with the exchange and
experimentation continue till the end, the
songs can take different directions at any time'.
The result is a mixed, cosmopolitan record,
which escapes from any label for the affirmation of a free attitude. The attitude that led
C'mon Tigre to seek a connection with dancefloor culture, even if considered only as an
evocation to revisit in an absolutely personal
way

The OUER guys just live down the road from us in Berlin and we have been crossing paths many times these past years so it is with great joy we can finally present a full EP with their unique approach to electronic music on Dirt Crew Recordings. Since their debut on 'HEIST' in 2016 Xaver and Oliver have consistently pushed their sound and production, on their own OUER imprint they released four EP's up till now and the latest called 'E' is just a few weeks old as we speak. The A side opens with the title track 'Stingray Nebula', a bliss composition of layered arpeggios underlined by a deep sub bass, building steadily towards etheric strings setting in and descending again with a break beat ending that builds perfect grounds for the following dance floor stomper 'Undine'. That second A side track is a great mix of Deep House and Electronica and is what makes OUER's music so special, almost entering trance territories here but keeping those Chicago and Detroit references alive. When we head over to the B side we encounter some new tracks that really made us want to release this EP in the first place. The beautiful 'Thales' contains live bass and percussive instrumentation and is a crossover indie-tronica gem. Following that is the deep 'Inside' where an 'emo' piano themed House jam meets clever vocal sampling and filtered synth stabs to produce a great going groove. Closing out we have some real ambience electronica for you in 'Train Ride to Bratsk', again played mostly live and using acoustic instruments recorded in their Berlin studio the OUER guys are crossing borders again and turned out this piece of goodness. Enter the world of OUER, we hope you like it as much as we do!

'Bobbie Gentry's The Delta Sweete Revisited' is
Mercury Rev's committed and affectionate
resurrection of an album that anticipated by three
decades their own pivotal expedition through
transcendental America, 1998's 'Deserter's Songs'.
From their recording lair in New York's Catskill
Mountains, the founding core of Jonathan
Donahue and Grasshopper with Jesse Chandler
(previously in the Texas group Midlake) honour
Gentry's foresight and creative triumph with
spacious invention and hallucinatory flair.
Gentry's stories and original resolve are brought to
new vocal life and empowerment by a vocal cast
from across modern rock and its alternative paths:
among them, Mazzy Star's Hope Sandoval; Laetitia
Sadier, formerly of Stereolab; Marissa Nadler;
Margo Price, the fiery new country star with a
punk rock heart; and Norway's Susanne Sundfør,
who cuts through 'Tobacco Road' with arctic-Nico
poise. Phoebe Bridgers, whose first record was a
softly stunning 2015 single for Ryan Adams' PAX
AM label, hovers through the acid-western
suspense of Gentry's 'Jessye Lisabeth' with floating
calm, like a comforting angel.

'Bohemian Rhapsody' Original Film Soundtrack

featuring previously unavailable QUEEN performances at Live Aid
and new versions of band classics heads for October 19 release.

Available on Virgin EMI (Universal) /Hollywood Records (USA)
For the first time ever audio tracks from Queen's legendary performance at Live Aid are being released as part of the soundtrack album to "Bohemian Rhapsody", 20th Century Fox and Regency Enterprises' forthcoming feature film celebrating the band, their music and their extraordinary lead singer Freddie Mercury. Recorded at the historic Wembley concert in July 1985, these Live Aid songs are among the rare gems and unheard versions from the band's rich catalogue.

Alongside the show-stopping Live Aid performances of Bohemian Rhapsody, Radio Ga Ga, Hammer To Fall and We Are The Champions, the album features other rare live tracks spanning Queen's entire career, new versions of old favourites, and a choice selection of the band's finest studio recordings. Among them are some of Queen's biggest hits, including eleven all-time anthems that reached Number One around the world. The track listing is being announced on 5 September 2018, which would have been Freddie's 72nd birthday.

"Bohemian Rhapsody" is scheduled to have its World Premiere in the UK on 23 October before opening across the world in early November. It stars Rami Malek as Freddie, Gwilym Lee as Brian May, Ben Hardy as Roger Taylor, Joe Mazzello as John Deacon, and Lucy Boynton as Freddie's lifelong companion Mary Austin. The soundtrack, featuring all-original Queen recordings and vocals, is released on CD and digital formats on 19 October.

'For The Colleagues Of Ubu & Their Authorities' is the brainchild of Vienna based vinyl enthusiast, DJ & producer The Reboot Joy Confession. What once started as a series of mixes has been expanded into this compilation, on which he brings together diverse genres of music like electronica, modern minimalism, folk, post-rock, avant-garde or modular music, which also reflect his own versatile musical taste. 'As I stopped thinking in genres, my attempt was to merge my musical taste in the most fluent way possible onto one record. There are mesmerizing songs from some of my favourite contemporary artists - I feel a timelessness in their music, I can ´t get tired of. With the compilation I wanted to create a contemplative, fictitious, surreal world, merging those different styles together. Giving it that title, I wanted the listener to be able to imagine a tale that is building up with each song. I am really happy about the outcome of this compilation and hope that many other listeners can feel the magic.' The compilation includes the surreal work of Swiss producer Dim Grimm (also known as Dimlite), as well as a collaboration between Merz & Julian Sartorius Drum Ensemble who radically altered the original version of 'The Hunting Owl' into a monstrous percussive live version. Taken off the debut album from one of Poland ´s most interesting musicians at the moment, Waclaw Zimpel & Kuba Ziolek, 'Wrens' is a fusion of folk, jazz and modern minimal music. Experimental pop musician & filmmaker Tujiko Noriko appears with an emotional piece that challenges the paths between pop and avant-garde. Gerhard Zander, whose musical work started on the outskirts of experimental pop music in the early seventies in Germany, delivers a modular synth masterpiece with unique sounds, textures and a far-out synth choir. Rock and ambient influenced musician Helen Money (also known as Alison Chesley) is a Los Angeles based cellist and composer who appears with a massively dark post-rock song called 'MF', which was recorded at Steve Albini's Electrical Audio studio in Chicago in 2009. Often compared to Frank Zappa and known for their richness of ideas, Liverpool's a.P.A.t.T. contribute the hypnotic 'Young Free & Parasite', with references to British glam, post-punk or synth rock, but in a fresh and obscure sounding outfit. SSELLF, the moniker of New Zealand ´s Christoph El Truento, inspired by post-punk and noise. 'Visitors' is simple and simply in your face, with lo-fi drums, distorted synths and raw vocals by Christoph himself. After a few seclusive years, The Reboot Joy Confession returns with a new, crispy and soulful track. Cinematic strings written by Martin Riedler, arranged by Flip Phillip, and recorded at the established Vienna Konzerthaus, based on a properly arranged drum outfit and played by a villain named Gurlimu. Both strings and drums are guiding through the whole song and culminate in Glockenspiel and Rhodes melodies. Oceaneer aka Japanese pianist Oneechan Nanashi completes the compilation with her beautiful and profound composition 'The Sea, Forever'. She describes her music as 'improvised instrumental underwater music from the bottom of the Pacific Ocean, played with broken instruments, directed by the spirit of drowned people who are talking through the hands of the pianist. It's lonely and bleak music for the dead.'

Beautiful debut album from the incredible, Ce´lia. Conducted & arranged by Arthur Verocai and Roge´rio Duprat; featuring songs by Lo Borges, Antonio Adolfo and Joyce amongst others.
Ce´lia recorded four self-titled albums for Continental between 1971 and 1977, 'Amor' in 1982 plus several more before she sadly passed away late in 2017, aged 70. This is her debut album from 1970.
Ce´lia was a Brazilian vocalist who worked frequently with master arranger-composer Arthur Verocai in her early years and many other heavyweights over the course of her extensive career. Joyce was particularly supportive in the making of this album, writing the beautiful 'Abrace Paul McCartney' and her husband at the time, Nelson A^ngelo, recorded some of the songs.
Features an exclusive insert of a translated interview with Celia, completed in 2011 in her hometown of Sa~o Paulo. Focusing, in particular on her recording work with Arthur Verocai, it showcases her wonderful sense of humour and how she was embracing her new legion of fans, particularly in the world of hip hop.
Official Mr Bongo reissue. Licensed from Warner Music.

The compilation album The Best of the Guess Who is the ultimate collection of the best songs The Guess Who recorded in the '60s and early '70s. The multi-talented Canadian band created a masterpiece by recording their single hit "American Woman". The 11 track album shows a versatile band, starting with the keyboard hook and guitar accent of "These Eyes". Other Guess Who classics included on this album are "Laughing", "Share the Land" and "No Time".

The Guess Who is one of Canadian's most successful band's, originated in 1965. Fifty years later they're still performing live, with founding member drummer Gary Peterson sitting behind his kit.

The Best of the Guess Who includes an insert and exclusive poster.