Suche:har

Direct from the Midwest CLEAR is proud to present four tenacious hardware workouts from Juzer.

In theory the 12” starts slowly, with the 100 bpm rattle of Old Reliable, although it’s fitful energy is anything but, while the following track September coils itself into a tightly wound circuit freak-out. Busy Bees and We Work Hard We Play Hard are the buildup and climax of the record’s machinedriven anxiety, fit for a chase scene in a post apocalyptic megacity thriller.

Juzer is the joint project of two artists central to the underground musicscene in Chicago, Beau Wanzer and Dan Jugle. The work of both straddles the fault-lines between, noise, techno, industrial, EBM, and the more frenzied shades of house. In addition to a prolific number of solo releases, Wanzer is a member of Mutant Beat Dance with Traxx and Steve Summers, Civil Duty with Shawn O’Sullivan, and many more. Like Wanzer, Jugle was a habitual collaborator and his untimely passing last year shocked Chicago’s electronic music community. Jugle was a natural collaborator, the sort of person for whom creating music was a daily act, and even better with friends. In addition to Juzer he was also a member of Dar Embarks, Chandeliers, and Ghost Arcade. Previous Juzer material was issued on The Corner and Dog In The Night.

4 monstruous tracks straight from the basement feat. one of the original house music creator RON HARDY.All the real djs were looking for those for years. Grab it before it's sold out, we have very few copies. A must have.

All the real djs were looking for those for years. Grab it before it's sold out, we have very few copies. A must have.

All the real djs were looking for those for years. Grab it before it's sold out, we have very few copies. A must have.

A truly special reissue of a fantastic and incredibly rare Afro-disco 12” from 1978, Tumblack - 'Caraiba/Invocation'. Originally released on the seminal French disco label Barclay, you'd be hard pressed to even find an original copy in the UK, let alone for a reasonable price, so it's high time an officially licensed, remastered reissue came around.

Taking the A side of this EP Stefano Ritteri provides a “Spaziale Version” of 'Caraiba' that seamlessly blends elements of African, Afrobeat, Funk and Disco styles, with segments that continually morph and evolve into new tracks. Irresistibly funky and percussive drumming patterns and melodies hypnotise the listener, with only the occasional outbreak of African chanting breaking up the grooves.

The B-side contains the original version of “Invocation” that is effectively one long drum track broken down into 7 segments that never drop a beat alongside the original version of 'Caraiba' in all it's glory. As EP's go, this really does take the listener on a journey to Africa, via 1978 New York, and is a true one of a kind. And for all those sample-spotters out there, there's no end of complex drum patterns and basslines to dive into.

It's the third album by drøne for Pomperipossa Records - Anna von Hausswolff's label. drøne is called 'Mark Van Hoen' and 'Mike Harding' - and for 'The Stilling', guest musicians include Charlie Campagna (Player for Cello & double bass), Katt Newlon (Also Cello) & Zachary Paul (Player of Violin). With the trademark drøne sounds of static, radio voices, field recordings, modular synths and found sounds, recording chance sounds right up to the final mix add to the dynamism and energy of the album.

'TNT' has never released a record before (aside from the 12" we did last year), so this is a huge fucking honour to be trusted with this material. TNT Roots has continued a solo career since Earthquake quietly folded in 2002, trading short-run CDr's on Ebay and the Blood & Fire forum. His music still survives on not-for-sale dubplates - pushed exclusively by legendary 90's sounds like Aba Shanti.

The result is the Raw Dub Creator LP - a survey of his 2006 - 2018 CDr selected by Bokeh. Urgent steppas for dark dances, heavier than the grave - next evolution soundsystem muzik. These are driving militant sounds for these times made in seeming isolation in Northampton (TNT never plays live, doesn't want Bandcamp, just wants to sell his CDs quietly over email). TNT Roots' contribution to dub is seismic, almost dinosauric, but through some glitch in universe fabric, 'Mighty In Battle' Bokeh 2018 was his first official vinyl release.

As half of Earthquake - he's responsible for the darkest, forward, most slept-on future of dub to grace us. This unique and heavy vision has reset the whole game with long unavailable LPs like Revelation in Dub and Dub Harder Than Steel make obvious an understated lineage flowing from 90's steppas down to jungle, grime, hardcore, darkcore, doomcore, it's kinda pointless to list them. It's dub. TNT and Earthquake's rightful place alongside those mystic giants, Iration Steppas, is more than assured by those that know.

"Drugstore phones" is a double LP from Russian wizard Piper Spray. This enigmatic producer is a hidden gem of Russian electronic underground. The album is taking you on an unexpected trip in many ways - it's hard to define the genre but one can feel the author's willingness to experiment and explore new sounds. This sonic documentary of Piper's world is breathing and constantly changing, though it's the most balanced and mature work of the author. A spectacular opener for GOST ZVUK's gatefold LP series.

"Drugstore phones" is a double LP from Russian wizard Piper Spray. This enigmatic producer is a hidden gem of Russian electronic underground. The album is taking you on an unexpected trip in many ways - it's hard to define the genre but one can feel the author's willingness to experiment and explore new sounds. This sonic documentary of Piper's world is breathing and constantly changing, though it's the most balanced and mature work of the author. A spectacular opener for GOST ZVUK's gatefold LP series.

This double 10" vinyl features some absolutely enormous remixes that are not to be missed! Hamilton (Dj Ham) steps up to the plate and delivers a blisteringly dark remix of an already dark tune. Tough and rough, this one has a bassline that shakes the speakers to death and is built to last in his customary RAM records style.
Abyss gives us a glorious old skool drum and bass remix, in line with the 1994 sound, full on amen cuts, heavy sines and deep atmospherics.
Lowercase and Psycangle move the whole track into early 90's Ruffneck Records / Malice territory, with a furious old skool gabber remix, hard as nails and noisy as hell.
But perhaps the best is saved for last, because Sunny & Deck Hussy do the near impossible and take a dark tune and flip it on its head, making it euphoric and deep without losing the essential character of the original.

Club / DJ Support
Shimon, Andy C, Randall, Ray Keith, Chase 7 Status, Zinc, Jack Frost, Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Liquid, Hyper On Experience, Ant To Be, Ponder and many others

Glasgow based label "Out From Out There" present its first release by label owner "Sadistic" along side "Ohmega Sir". 4 slabs of dark and hard hardcore techno. Limited Edition of 150 Copies - Vinyl Only!

After their successful cooperation in the band Arbeit Adelt! Dani Klein and Willy Lambregt started Vaya Con Dios, together with contrabass player 'Dirk Schoufs'. All three musicians shared the same passion for jazz, opera & gypsy/Balkan music, a combination of music styles that was hardly known in Belgium at the time.

Vaya Con Dios (Spanish for Go with God!') stood out for its mixing of these styles, as well as the distinctive voice of lead singer Dani Klein. He's one of the most successful Belgian music acts ever, having sold more than 7 million albums and more than 3 million singles.

Night Owls is the second studio album by Vaya Con Dios, originally released in 1990. The album was certified platinum in several countries, including Germany, France, The Netherlands and Belgium.
The album spawned several international hit singles like Nah Neh
Nah', What's A Woman' and Night Owls'.

As part of the Brewed In Belgium campaign, Night Owls is available as a limited, numbered transparent vinyl edition.

Heinrich Dressel was an archaeologist, epigraphist and numismatist, creator of a table, still in use, for the cataloging of Roman amphorae. For over ten years, one of the founders of MinimalRome, Valerio Lombardozzi, has embraced the name of the German scholar, becoming both the guardian of a dense collection of sounds from the past and the creator of new brilliant electronic ones. “Completion Of The Amphoras Table”, originally released on cd by Legowelt's Strange Life Records, was the final chapter of the so-called 'Studium Amphorae Trilogy', a triptych of albums which tried to 'evoke' in notes not only the discoveries and the studies of Monte Testaccio's fragments made by the former pupil of Theodor Mommsen.
The first vinyl release of “Completion Of The Amphoras Table”, curated by Souterraine.org and Envlp_Imprint, fills not only a recording void, but also gives posterity a remarkable album to rediscover, worthy successor of “Mons Testaceum” (2007 ) and “Escape From The Hill” (2008),
which reconstructs one more time the ghostly atmosphere of a Rome at the dawn of the 20th century. Heinrich Dressel adopts the stylistic features of gloomy soundtracks and, above all, relies on a set of polyphonic synthesizers that, starting from the rare Elka Syntex, favor the composition of abstract textures, punctuated by some appropriate variations, and harmonies which, net of the
deep bass, make every single track even more magnetic.

Hardcore punk pioneers 'Bad Brains' released their sixth full-length 'God Of Love' in 1995. The original line-up was back together and the album was promoted with a big tour and concerts on the Beastie Boys’ Ill Communication tour.
The album consists of a mix of reggae, hardcore, punk, and hard rock tracks. The band continued to evolve and created such a versatile album that people from different backgrounds felt attracted to it.

'God Of Love' is available as a limited edition of 1000 individually numbered copies on coloured (transparent green & yellow mixed) vinyl and the package includes an insert.

Public Release once again plunges into the deep well of dance music talent it's hometown of San Francisco has long fostered for Moon Replacement, the debut single by Anderson Chase, two originals wrapped around a couple remixes of its titular track.

Clocking in at over eight minutes, “Moon Replacement” is a tense, drawn-out affair. It coaxes you onto the dancefloor with hardedged drums that slap with a metallic clang, a steely bass throb that defines its backbone, and spindly synth noodles that creep around the crust on top. Chase’s previous life as a punk and metal drummer seeps through; this is a tenacious house boogie that trundles along at that Goldilocks BPM of 118, fast enough to snap you to attention, slow enough that you don’t lose stamina as you give into the groove.

Japanese house producer Gonno, known for his ability to graft scalpel-sharp minimal techno loops onto out-there, mindexpanding arrangements, puts his own spin on the song for the A2 slot.
He darkens the mood while zapping it with a static charge to quicken its pace. On the reverse is Mark E’s take, which goes in the opposite direction, applying some heat so the square structure’s joins start to melt, wiggle, wobble. The bottom is still stocky, a molten mass of heavy-duty bass energy, but the melody that dances around the top is airier and lighter, glints of sunshine through storm clouds.

And then “Between Us” arrives to stick the landing, get us back to where we started. Like “Moon Replacement,” it’s a blocky foot-stomper that directs you forward with its tireless rhythm section, though this time with an even longer shadow cast behind it.

At the start of the year, Rocafort Records treated us to it's first roots reggae outing in the form of 'The Circle of Confusion' featuring the legendary Studio #1 vocalist 'Cornel Campbell'. ... Warm, feel-good, socially conscious, intergalactic dub.

We hoped for more, and finally it's here! Although slightly more digital in production, "Yesterday was History" cannot be claim to differ enormously from its predecessor. But hey, why mess with the formular when the results are pure and damn-near perfect ... ?

'The Circle of Confusion' are a Swiss production duo: Seb.K (Shakedown productions) and Phil'eas (Black Diamond Sound).
Recorded at Addis records in Geneva on the day of Mandela's passing, this track is another slice of dubby humanity-driven peace and love that buoyantly skips along aided by the sweetest scatting voice in reggae, (not showing any signs of it's 73 years), and all the appropriate studio space-age sound effects, harmonics and vintage keys. Modern roots reggae at its best, where the dub version is as banging and cosmic as the A Side.

Since 2000 Mapstation has been the moniker for the solo work of TAL Label founder Stefan Schneider. Schneider has won international acclaim as a founding member of KREIDLER and to rococo rot as well as through unique collaborational works with artists such as Joachim Roedelius (Cluster/Harmonia), Bill Wells, Katharina Grosse, Dieter Moebius (Cluster/Harmonia) Sofia Jernberg or Jochen Irmler (Faust). There has not been a new Mapstation release since 2009's THE AFRICA CHAMBER which had former FELA KUTI member NICHOLAS ADDO-NETTEY on percussion.

The new album PRESENT UNMETRICS, is not entirely a stand-alone creation either. There are guest appearances by THOMAS KLEIN (KREIDLER) on percussion, MICHAEL ACHER (THE NOTWIST) on Sousaphone and an outstanding vocal contribution from japanese singer HACO, all deeply woven into the digital topographics of the music.

PRESENT UNMETRICS offers a collection of radically subtle music. The guiding principle of the album was to construct direct and nuanced tracks which embody a sense of open-ended incompleteness and heterogenous dynamics.

Out of sync bass arpeggios, infused with uneven rythms, fractured synth stabs and intimate melodies, frequently created here with a Schlumberg sine wave generator, are continuously engage with experimentation, both on sound and structure.

Expertly pieced-together and produced in timeless fashio, PRESENT UNMETRICS displays all the coherence and artistic authority of an album on a constant quest so vital to the music of Mapstation. An album that couldn't have been made by any other than Mapstation.

‘I Want You To Be Mine’ has all the hallmarks of classic 1960’s Rocksteady, an era which many refer too as the Golden Age of Jamaican music. Over the top of a live one-drop beat, cool & deadly sax and warm analog guitar & bass Deemas J rides the riddim in a ‘old time style & fashion’ whilst Rachel Wallace provides the perfect accompaniment with her gorgeous vocal. On the B-Side we have the deeper cut ‘Questions’, where Deemas delivers a poignant poem over Adam Prescott’s moody instrumental in the style of Linton Kwesi Johnson. Featuring live instrumentation from Harry ‘Papa B’ Bradford (Sax), Clifford Junior (Guitar) & Guillaume Metenier (Hammond Organ). As an integral part of the Reggae Roast Soundsystem team Adam has established himself as one of the finest selectors in the world. Initially with some early support and guidance from Mark Iration (from the Leeds based Iration Steppas), Adam was quickly recognised as one of the key players in the re-emergence of British Reggae, producing first class original songs featuring the likes of Cornel Campbell, Macka B, Sugar Minott, Ranking Joe, Rod Taylor, Johnny Osbourne & Earl 16 to name but a few. Add to that consistent play on BBC Radio One & Rinse FM plus huge support from Sir David Rodigan, featuring Adam on his ‘Best Of British’ show on 1Xtra, Adam has become one of the hottest prospects in the revival of soundsystem music. Deemas J has built a formidable reputation as a go-to MC & vocalist with equally genre-busting credentials; His background in Reggae & Jungle means that his lyrical skills and style holds no bounds. He currently works with 3 of the top London Reggae Soundsystems, Unit 137, Reggae Roast & Solution Soundsystem as well as running his own Sound Limey Banton Bass in Guernsey. He has released music on some very well known labels such as Irie Ites, Irish Moss & Tru Thoughts, which released the cult LP ‘Wrongtom Meets Deemas J in East London’. More recently his latest release ‘Muhammed Ali’ received fantastic support from Don Letts, Sir David Rodigan & Ras Kwame. His virtually endless CV boasts collaborations with everyone across the worlds of Drum & Bass, Old School, Garage, Reggae and Hip hop, including High Contrast, Andy C, DJ EZ and Nick Manasseh to name just a few as well as touring the world with Manudigital

Mysterious German producer His Master's Voice makes his debut on Delsin Records. With three mind bending originals plus an absorbing Vril rework his entry on the Delsin e-series is a deeply immersive beat trip into another dimension. The roughed edged ambiance of 'Fire Red' opens the dance in soothing yet engaging fashion with superbly spacious soundscapes pulling you in and slowly involving into a foggy kick drum extravaganza. 'Eve' then offers a deep and propulsive electro groove with glitchy atmospheres. Lead track 'Transition' hits hard, an intergalactic trip on turbulent stuttering drums and whipping synths. To finalize an immersive EP, close friend Vril jumps in for a rework of 'Eve' where he smoothly connects the dots between his typical dark bass lines and blistering dub chords.

The hyper talneted Stellar Om Source (NOT NOT FUN, RVNG, NO 'LABEL) blowing up new styles on this one!

"If there is one thing that leaps out from Stellar OM Source’s music, it is the sense of a highly active mind at work. There is an indivisible feeling that a real person is behind this dynamic flurry of tones, waves, vibrations and modulations. On I See Through You, the first full Stellar OM Source release in over four years, the spark that first LP piqued the interest of so many listeners is glowing stronger than ever.

In the 2010's, Christelle Gualdi carved a name as one of the most essential live electronic musicians around, dazzling dancers and home listeners in kind with her bombastic, acidic hardware jams. Circumstances outside her control forced a stop for the Stellar OM Source project. It was touring, including two shows in the summer of 2019 at Dekmantel Festival and Listen! that Gualdi credits as year highlights, which proved to be the integral jump-start to the engine.

Inspiration came rushing back thanks to the human connection of performing. Seeing a younger generation connect with her put fresh charge into the circuitry of her gear. All this accrued into new material on the road, and thus I See Through You was born.

The spirit of 2013’s cult favourite Joy One Mile is alive and well on I See Through You. There is once again immediacy, urgency and lust. But Stellar OM Source stepping into a comparatively more poppy and playful mode on these four tracks could also throw some. Fundamentally she says, it comes from a similar place, and ends with an enmeshed and positive outcome. Gualdi credits both “1995 rave” and “the clarity, bass and breath” of hi-def hip-hop productions as being twin northern stars for her to follow.

The artwork comes from friend and highly respected photographer & director Pierre Debusschere, whose work similarly flits between arresting close-ups and, well, the widescreen luxe of Beyoncé videos. “I’m definitely not a purist anymore,” Gualdi laughs – and with club-ready impact meeting human warmth, this shows in abundance.

“Night Alone” wastes no time in getting the listener up to speed. Is that an LFO sample running through “Night Alone”? Is this a lost Metro Area classic? Is that Stellar OM Source taking a diversion into searching Ibiza-rousing vocal for a moment, or did we imagine that in a heat haze? Where are the kicks? Oh there they are. How many elements are buried and revived within just over five minutes?
It’s hard to tell. Before we know it, “Lost Codes” is up and away, keeping pulses racing. A pitter-patter of baby kicks feel like a pre-tremor before a welting electro-Italo lead crashes into play. With fizzing energy, rasping synths and a frisson of danger, fans of Unit Moebius and The Hacker will be doing somersaults of joy.

“White Echoes” wastes kicks off the flip side with low gurgles descending briefly like a UFO reverse parking into the spot SOS had vacated. Soon, 303s are twisting like Chinese burns while warm chords offer a salve. The mood maintains on “Wild Palms”, the only song on this record not to feature additional mixing work from Peaking Lights’ dub-wise sensei Aaron Coyes.

True to form, the B2 is all Stellar: elements switching up and out, with all the fun and frenzy of capital-L Live action. Kick drums and bassline darting back and forth like a synchronised swimming routine, all elements in concert. The momentum of a runaway mine cart that you can’t help but strap yourself to. I See Through You is one for the dancers who have given Stellar OM Source the motive to move forward once again."

Opolopo’s impressive musical career spans over more than two decades, covering the spectrum of Funk, Soul and House.
With releases on prestigious labels such as Om, Tru Thoughts, Local Talk, Z Records, Especial, and a DJ diary spanning destinations from London to Tokyo, he has the perfect musical pedigree to create the very best, blissed-out, beats.

Toolroom Records are proud to present three brand new exclusive productions from Opolopo ‘Sickla Side Push Shuffle’, Groovitational Waves’ and ’Aqua Lung’, all of which showcase his unique, signature sound taking you on an astute musical journey with interesting harmonic melodies and plenty of groove.

Two years after an acclaimed first album, Al Sunny and Favorite Recordings proudly present Planets, carrying on their collaboration and bringing it to another level.

Al Sunny is a young and talented singer/musician/composer emerging from the French soul music scene. During his conservatory studies, he refined his knowledge and confirmed his desire to write and compose. He quickly matured the music that he truly loves, inspired by artists such as Tim Maia, America, Al Green, and Al Jarreau. Giving birth to the majority of his compositions through his guitar, he always seeks to bring his songs’ melody to the forefront. During his studies he kept experiencing live performing on different scenes and confirmed his choice for a musical career, while also meeting many brilliant musicians, including Florian Pellissier, who later introduced him to Pascal Rioux and Favorite Recordings.

It resulted in 2017 in Time to Decide release, a dazzling first album establishing Al Sunny’s music and writing style, looking towards the 70s and 80s Westcoast movement, infused with Blue-Eyed-Soul, Pop and Folk flavors. Built on the same influences, Planets is made of 8 new compositions (including a CD and digital bonus), and is clearly a continuation of its cadet, asserting Al Sunny’s talent and singing skills.

Fully recorded live and analogic in Paris, this new album also stands out by an impressive level of production, faithful to some classics of the genre. Mixing catchy melodies, soulful vocals, warm and heavy bass, strong beat and beautiful guitars and keyboards harmonies, Planets just perfectly meets the AOR and Modern-Soul golden era standards.

R.Zee Jackson, a born Jamaican spent his early childhood in Clarendon and later in Old Harbour, St. Catherine, Jamaica, West Indies. In 1975, as a student, he moved to Canada with his Mom. There he met Oswald Creary of Half Moon label and studio. At Half Moon studio, he recorded the original tracks of ''Long
Long Time'' released as a 12'' vinyl record on his own label ''Ital''. Esso Jackson also recorded at ''Dub World'', the dubplates cutting studio in Toronto. All the sound men from all over came to see ''Snipa'' the dub cutter; “It was great, dancehall was rocking in Canada. We have it lock with all the big sound systems and artists from all over the world”. One day, the keyboard master Jackie Mittoo say to Esso “you can't stay cold up yourself in
Canada”. Because R.Zee had many family in the UK, it was easy. So he decided to see what was going on in London. In 1980 he released the album Trodding, produced by Mike Brooks (Teams / Coptic Lion). Few years later, he released "Ina South Africa", a heavyweight digital reggae to fight against Apartheid and also "At The Reggae Party", a pure dancehall anthem to mash up the dance. The songs were recorded at Utopia studio (London, UK) in 1985.

Influential UK artist Man Power makes his Skint Records debut this December with a thrilling new offering featuring Berlin’s Private Agenda.

Man Power is a true electronic virtuoso who has proven he can do searing acid, raw techno and expressive disco with equal elan.
As well as running his own Me Me Me labels, he has appeared on top outlets like ESP Institute and Correspondent and now impresses once again with the help of Berlin’s Private Agenda.

The electric original version of ‘Do It Thin’ is an intense and steamy affair with Eurobeat synths and Italo piano chords that are sure to make a huge impression on the crowd. Vocals that Bronski Beat would be proud of soar to the heavens and get hands in the air whilst the hard hitting drums drive things forward.

Dramatic chords build the suspense, leading you towards an epic, guitar laden breakdown with well sequenced synths adding weight and colour. Edgy and expressive, it is a real stomper with a fusion of myriad different styles.
An instrumental version is also supplied that removes the vocal and allows the studio skills and musicianship to really shine, this was a showstopper in Man Power’s recent Boiler Room set and it not to be missed.

Man Power marks his Skint debut here with the same sense of timelessness and quality that has defined his career to date.

Hebi is tough, stomping, mesmerizing romany funk, riding Far East from the Baltic Sea on clopping hooves of uranium, with synths from spaceways further out still. Weakheart deejays will scatter, but Sotofett has road-tested this on dubplate for six months, tearing up parties and dancefloors.

Deeply meditative, desolately beautiful, Haru will stop you in your tracks. Osaruxo’s violin could be a rebab or a shamisen, a reed instrument or a voice.

Ravishing music.

High John & Douniah sind ein Alternative R&B / Neo Soul-Duo aus Hamburg und Berlin. Johns warme, Lo-Fi-beeinflusste Beats und Douniahs charakterstarke, soulige Stimme harmonieren auf eine organische und zeitlose Art, verbinden die Vibes der 90er Urban Music mit den Klangfarben und Themen unserer Zeit. High John hat dieses Jahr zusammen mit Plusma (dem Produzenten von Ace Tees “Bist du
down?”) das Instrumental-Album “High+” veröffentlicht und ist Teil des Raw Suppliers-Kollektivs. Douniah machte in den letzten Monaten mit zwei feinen Kollabos von sich reden: “Don't You Worry” mit Fuchy (aka Farhot) und “Naked Trees” mit Cap Kendricks.

They Say: “Composite themes and incidental cues for dramatic application”.

We say: Well, it’s definitely dramatic. No wonder this LP was mined by a multitude of 70s and 80s crime shows. Much like Beat Incidental, this true gem includes a raft of enjoyable sub-ten second incidental cues alongside satisfyingly stretched out, hard-knocking sleuth-funk.

The Hunter (Drama Suite) / Adventure Story is a real library-head’s library album. We’re treated to some of the best works of no less than five different heavyweights of the genre: drummer Brian Bennett, guitarist Clive Hicks (of The Gentle Rain), saxophonist Duncan Lamont, rock bassist Dave Richmond and keyboard session giant Steve Gary! Something of a dream line-up, they each contributed stellar efforts to create one of the most sought-after of the legendary KPM albums.

Both sides of this LP are dripping with insidious grooves and dramatic spy-score themes, bursting with heavy guitars, swirling flutes, creeping piano-funk and drum breaks galore. Originally released in 1975, it’s clear that these library heroes were heavily influenced by the tough funk and street soul sonics emerging from the cutting edge Blaxploitation soundtracks.

Dave Richmond’s taut swagger and wah-wah guitar licks of “Nightwatch”, Steve Gray’s sleazy horn and clav-funk on the A-side opener “Theme For A Hunter” and Brian Bennett’s rolling strut of “The Investigator” are just three of the highlights here. That last one being sampled by Jeff Jank under his Captain Funkaho guise on “My 2600” for Stones Throw back in 1999.

As with all of our KPM re-issues, the audio for The Hunter (Drama Suite) / Adventure Story comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!

They Say: “A selection of suspense underscores and drama blackcloths which vary in intensity and cover a wide range of suspense and drama situations”.

We say: A breaky, funky library great masquerading as a horror score. Oh, and the cover art is amazing.

Breath Of Danger was originally released in 1974, and rounded up a killer ensemble cast of library legends including Alan Hawkshaw, Brian Bennett, Alan Parker, David Lindup, Kenny Salmon, Barry Morgan and Ray Cooper.

Lindup’s opener “Cold Sweat” sounds like hip-hop-friendly mode Axelrod and, indeed, was brilliantly sampled by Kool Keith for his Dr. Dooom project. Alan Hawkshaw and Brian Bennett’s “The Manipulator” sounds like it arrived straight out of the same sessions as their legendary Synthesizer & Percussion LP from the same year.

Over on the B-side Alan Parker’s “Psychosis” is a moving and beautifully restrained funk-guitar/cello/harp workout. Stunning. Kenny Salmon’s “Flying Squad” is a sleazy, flute-enhanced gem and the album closes with “Voodoo”, a seventy second riot of sound and colour from the dynamic drumming-percussion duo of Barry Morgan and Ray Cooper.

Sonically, there’s a widescreen vitality in all these tracks thanks to the driving rhythms, vibrant horn sections and blazing guitar work. It renders Breath Of Danger - 45 years old - truly ageless. The Themes series is known for having particularly striking sleeves, which was unusual for library records at the time, and Breath Of Danger’s scraps of comic-book crazy make for one of the most eye-catching.

As with all of our other Themes re-issues, the audio for Breath Of Danger comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

They Say: “Documentary and industrial underlays for current themes of modern life”.

We say: Mind-blowing, percussion-heavy, Afro-tinged, cosmic-disco library bomb.

This is the one. An absolutely outstanding record from 1983 and definitely one of the hardest to find on the collectable German library label, Coloursound. The Now Generation (Percussive Underscores) is comfortably one of the very best library records full stop.

The record comes galloping out the gate with a pair of rapid synthy-eurodisco bombs - the title-track and “Panama” - before slowing down to a woozy pace on “Inorganic Matter”. “African Nightclub” sounds like it reads, and is a particular favourite of Prins Thomas. Indeed, it was used to great effect on his seminal Cosmo Galactic Prism mix for Eskimo back in 2007. It’s followed by the dark, druggy, slow motion industrial groove of “Grease Plant” before “Southerly” lifts the tempo to close out side A with its Latin funk strut of bells and melancholic keys.

For us, though, it’s all about the opener to side B: “Mechanical Heart”. Seven minutes of building, mid-tempo disco-funk joy, deceptively explosive, club-ready gear for body and soul. The back cover dryly describes the track as “Guitar and percussion, light industrial underlay”. Hmmm. How about, “after finally emerging from a particularly heavy week jamming in a sunless, lawless German warehouse, Chic warily press record on a wayward, illicit instrumental for basement gatherings”. Just wait for those drums at the 3 minute mark…

The beatless ambience and menacing stabs of the proto-electro “Chemical Threat” follows, before the open drums and incredible fills of the metronomic “Steady Going” and fantastically monotonous funk breaks of “Nepal Trek” round out this sensational set.

This is a library masterpiece in no uncertain terms, full of synth funk, afro beats, exotica, leftfield madness, dance floor dynamite and all-around greatness.

As with our KPM and Themes re-issues, the audio for The Now Generation comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metalic silver glory.

“Lugar Alto presents their very first release: the incredibly rare and absolutely stunning “Homenagem”, by Leonardo V. Boccia. This is a forgotten gem from the eighties that examines traditional Brazilian themes such as choro, northeastern folk, and capoeira with touches of eighties electronics and new age.

Leonardo Boccia is a musician, multi-instrumentalist, composer, researcher and university professor of Culture and Society at the Federal University of Bahia, whose interests include sound studies, manipulation of sound media, audiosphere and aesthetics, musical theatre, audio culture and neuromusic.

Born in Italy, this respected academic studied music in Berlin, moved to Rio de Janeiro and established himself in Salvador where he was invited to research the northeastern music of Bahia. There he created the experimental group Macchina Naturale, an eclectic combo that performed regularly during his stay. In November 1980, Boccia participated in the first Instrumental Music Festival of Bahia as a soloist where he performed works of his own.

But it was in 1983 that Professor Boccia composed, directed and produced the LP Homenagem. With photos by renowned photographer and artist Mario Cravo Neto for the front and back cover of the booklet, the album presents new and original compositions for instrumental ensembles, such as: Choro Fantasia – for guitar and berimbau -, Canção para Iracema, Homenagem and Lenda do Sertão. The LP was originally released on January 3rd, 1984, with a live performance in the main hall of the Castro Alves Theatre under the title Tribute to Brazilian Music, with the participation of vocalist Sueli Sodré, who contributes to the album, instrumentalists Zeno Millet and Onias Camardelli, accompanied by choreography and visuals.

Much of Homenagem examines the genre of Brazilian music known as Choro, or Chorinho, a genre which appeared in Rio de Janeiro in the 19th century. Choro is regarded as the first typically Brazilian urban music and, over the years, it has come to be considered one of the most prestigious genres of national popular music. Stylistically, it originates from Lundu, a percussion-based rhythm of African inspiration but also influenced by European genres. The instrumental composition of choro was based on the trinca flute, guitar and cavaquinho. Over time, other wind and string instruments were incorporated.

Here, in Homenagem, Professor Boccia deliberately mixes the old and the new, the traditional and the innovative; the album is the environment of Chorinho reconsidered and recontextualized, and its melodies and harmonies still capable of surprises. Just listen to “Terra e Povo” – it has an almost proto-acid-house quality to it, while the synth washes on “Mãe Natureza” with the ethereal vocal stylings of Sueli Sodré ushering in the progressive quality of the album.

Too long out of print, new label Lugar Alto now offers you the chance to reappraise this fascinating reissue of yet another forgotten chapter in Brazilian music.”

After a short hiatus, the dynamic duo of VSK & Conrad Von Orton return with their collaborative project, Symmetrical Behaviour.
After a steady stream of releases via Soma over the last couple of years. The pair took time out to focus on solo projects but return with a vengeance with the "Superconducting Harmonic Oscillator" EP which furthers their experiments in sound design and high-powered Techno.

Title track "Superconducting Harmonic Oscillator" kicks off the EP at a furious pace as highly charged atmospheres create and emphatically large sound for the pairing's suitably tough beats to hammer through. "Quantum Interference Device" goes down a more direct path as expertly crafted rhythms overlap against a backdrop of highly evolved drones and synths.

"Amplitude Spectral Density" keeps the tempo moving but leans on a more industrial tip with crashing beats submerged against articulately mangled synths that drive home the true force of the track. "Resonant Antennae" closes out the new EP from Symmetrical Behaviour and really has them show off their production prowess.

Jarring and off kilter rhythmic structure combine to deliver a truly head pounding track complete with the pairs stylistic atmosphere manipulation.

All Tracks Mastered by Conor Dalton @ Glowcast Mastering.

Sound is a potent force that can awaken your purpose and re-balance your spirit. It has the power to relax, as well as inspire you, through the positive therapy of sound vibrations. Elemental Resonance is a trailblazing meditation album where vibrational sound practitioner, Tracie Storey, combines the energy waves made by music, with positive words of love and harmony to produce inner peace, deep relaxation and a higher spiritual connection.

Storey explains “The idea for this album came to me 2 years ago when I was living in Montreal, Canada. I’d been learning to form shapes, textures and colour with sound and going deep within the architecture of my own inner space. These powerful compositions have really helped me on my journey. Creating transformative tools are now part of my life’s work, using the medium of vibrational sound which transcends all boundaries”.

Storey guides you through a series of mindful meditations - each connected to the seven energy chakras - and each supported by sound vibrations, colours to visualise, and positive affirmations to re-balance your entire being and bring you waves of calmness, strength, warmth and joy.

Released on Celestial Being, label boss Felix Buxton (Basement Jaxx), says “I’m thrilled to support this project, everywhere I look people are discovering more about Vibration and how it affects them.
Tracie is leading the way forward for new generations, uncovering more of our potential as humans. This is a great way to switch off the world and switch on to your deeper self.”

Storey has been active as a vibrational sound practitioner, for the past 5 years. Previous to six years training under Master Fabien Maman, who’s one of the world's leading experts on vibrational sound therapy, founder of the Tama-Do Academy.
She also travelled the globe as a DJ on the international dance scene (releasing on Ministry of Sound and producing mixes for the likes of Kiss FM).

• B Boy Records was a significant player in the development of hip-
hop in the 1980s, but a very short lived label shrouded in mystery.
• This double LP selects the best of the independent label, from the
beginning of the label to including past icons and future legends,
hard-hitting drum programming, synthesize and sampled beats
overlaid with fierce battle rap swagger. This is a snapshot of hip-hop
history.
• The label is best known for issuing the hugely influential Boogie
Down Productions LP Criminal Minded, which is included twice on
this release with ‘The Bridge Is Over’ and ‘South Brox’
• Other highlights include JVC Force’s enduring classic ‘Strong
Island’, DJ Scott La Rock (founding member of BDP) & D-Nic and all-
female rap Sparky D, 5 Star Moet.

“We seem to be caught! Trapped, somehow…”
Published for the first time on audio, Demon Records presents a narrated full-cast TV soundtrack, starring William Hartnell as the Doctor in one of his most weird and wonderful adventures!
In this vintage 6-part adventure, first shown on BBC TV in February and March 1965, a strange magnetic force pulls the TARDIS down to the craterous surface of Vortis. The Doctor and his friends learn that the planet has been invaded, and the parasitic Animus is slowly enveloping it in a web-like domain. The giant ant-like Zarbi are under its control, whilst the butterfly-like Menoptra are battling to reclaim their planet.
Presented across 3 x heavyweight 180g pieces of pink vinyl, this narrated TV soundtrack evokes a classic Doctor Who adventure in all its aural magnificence. The alien ambience of Vortis, the insistent chirruping of the Zarbi, and the supernatural voice of the Animus are all accompanied by the eerie sonics of Ron Grainer & Delia Derbyshire’s theme tune.
Written by Bill Strutton, this was the Doctor’s most exotic and lavish adventure yet. Linking narration is provided by Maureen O’Brien (Vicki) and the cast includes William Russell as Ian, Jacqueline Hill as Barbara, Martin Jarvis as Hilio and Roslyn de Winter as Vrestin. Accompanying the pink vinyl LPs are full episode billings, cast and credits, and eight illustrated
panels form a superb artwork montage. This is a first-time audio release for this very special
adventure. Dummedy-dum, Dummedy-dum, Dummedy-dum, Dum-dum…

Two great 'Tom Moulton' Mixes back to back! 'SOUTH SHORE COMMISSION' were a self contacted soul/funk band from Chicago.
They released their one self-titled, Billboard Dance Chart No.1 album in 1975 on Wand Records from which comes the Bunny Sigler composed/produced track “Free Man” featuring Instant Funk.

It was recorded at Sigma Sound Studios in Philadelphia. This Tom Moulton mix on “Free Man” was an original feature of the album and is considered one of the first proto-house records.

ULTRA HIGH FREQUENCY:
More Philly splendor here from 1973 with “We’re On The Right Track” co-written and co-produced by Norman Harris. Mixed by Tom Moulton. Never previously released before on 12” single.

The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

DAT's from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives.

Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’.
Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

Ironik is back for our 3rd Deep Seven Series re-issue (originally Deep 2R). Ant Miles's 1993 alias on Deep Seven brings you another 2 Hardcore destroyers. 'The Calling' & 'Believe In' Remix make up yet another sought after 12" that has been re-mastered from the original DAT and pressed onto our 180g heavyweight vinyl.

Promotion across chosen internet websites and Hardcore 12” vinyl communities.

Bitter End continue to rip up the rule book with a genre defying output that's STILL far better than the rest

Release No.11 hits the ground running with a whiteboy Disco-Funk bomb on the A, a relentless gallop with soaring synth work and an unwavering commitment to uniting sweaty bodies.

BU BU YAM YAM on the AA is an equally irresistible Jazz-Funk looper which harks back to a time when spats and talc Jazz-dancers vied for space in the dark with saucer-eyed rave explorers.

Dependably incendiary !

As always, limited and LOUD

Coming into orbit late November PS001.2 continues the dancefloor focussed explorations of one of Australia’s most loved new labels, Pure Space. Just in time for the Aussie summer the release highlights the sound of the new generation of electro and broken-beat producers emerging from the countries east coast.

On the A-side Point Guard returns to the label with his razor-sharp electro outing ‘Odyssey’. An emotional expedition that harnesses dancefloor euphoria with a powerfully burning bassline. Joining forces to complete the A side is Melbourne producer Disrute and label head Andy Garvey. Here an ever-evolving synthline propels you forward throughout the track that builds infinitely but pauses just to release Garvey’s mesmerising vocal, ‘NRG’.

Flip the axis and you will find swirling synths and scattered percussion that creates the murky club weapon that is emerging Sydney producer PMA’s ‘Hek’. Completing the release, Roy Mills brings you to a full rotation with ‘Aquatic Pressure’. His jittery breakbeat cut that slows to a half step mid way and returns with odd-ball synth mayhem.

... After his first appearance on Subaltern’s 'Kaleidoscope Vol.1’ with the scorching ‘Alter’, far-east sonic assassin and Back To Chill member Helktram makes his comeback on Subaltern Records with a heavy-as-stone three tracker. Each of the cuts is a dance-floor weapon which shows a different side of the Japanese mastermind’s razor-sharp production.

- Recoil: Opening with a crunchy guitar melody, ‘Recoil’ sets the pace
of the EP: a catchy and relentless bass-line takes us on a march
through forests and mountains, as distant pads and SFXs remind us
to stay alert. After the first round the guitar comes back, warning us
we’re not done yet. A straight hitter which will keep playing in your
head long after the night is over.

- Mineral: The aptly titled ‘Mineral' is hard as diamond and rough as
coal. This triplet juggernaut tramples systems all over the world
leaving its mark on any raver who encounters it. A sinister
thereminesque melody paves the way to a stripped-down beat with a
militant bass riff. Skilfully executed distortion engulfs the low-end
turning it into a powerful growly wobble.

- Beware: A threatening melody paints the post-apocalyptic landscape
of the EP’s third cut in what is Helktram’s trademark style. In this
track distortion is the name of the game: an unforgiving lead
matched by grimy and glitchy stabs evolves into an uninterrupted riff
which carries the rhythm leaving space for the bass melody. As the
title suggests, extreme caution is required when handling this
blaster.

After their first issue focus on Benga, a Kenyan musical movement, FLEE is proud to present its new project: «Tarantismo: Odyssey of an Italian Ritual», available on 2LP Gatefold and as a bundle with 2LP Gatefold and a 168 pages Book.

Please note that the book only is not available

Dedicated to Tarentism, this project tells the story of a centuries-old choreo-musical ritual from Southern Italy, mobilizing frenetic rhythms and maniac dances, to exorcise women of a mysterious evil caused by the bite of a spider. Trans-disciplinary, this effort of documentation and artistic re-interpretation of one Europe’s most mysterious trance phenomenon is comprised of a double LP vinyl compilation including original recordings from Italian Maestro's Carpitella, Lomax and De Martino with reinterpretations from Don't DJ, Bottin, LNS, Bjorn Torske & Trym Søvdsnes, KMRU, Uffe and a hardcover Italian/English book.

Hoshina Anniversary is conquerer of the mind, creating the most beautiful sound, other than silence.
This is his first offering for the ESP Institute.

Side A’s 'Sagano' is fairly representative of the Hoshina sound — raw organic samples and instrumentation, of traditional Japanese origin, mercilessly bent and tweaked to suit the needs of his obsessively precise arrangement. Midway through the track, we’re bewildered by his demonic breakdown on the Rhodes, which daringly tags the bassline and strings into a synchronized trio of jazz-funk noodles, and he even throws in a key change before dropping us back into the main hook for the duration of the dance. It's a major flex, and indeed makes an impression.

On side B’s 'Haru Wa Akebono', Hoshina displays an alternate and equally significant side to his songwriting, merging optimistic twinkles and arpeggios with slightly detuned dry percussion for an overall uneasy vibe, not dissimilar to early video game aesthetics or circuit-bent toys. Across both sides, there lies an unhinged overtone, such that we feel one small step from spiraling deep into a demented quicksand, a freak-out where hallucinations get the better of us.

Initiating a breadth of releases planned with the ESP Institute, this single summarizes a few of Hoshina’s most compelling modes, and though there is a whole circus yet to unfold, we hold his cards close, no spoilers before the main act.

These two songs will have you drinking moon juice and dancing naked at the Mardi Gras.

We're very happy and proud to represent with the first release the
first ep which came out on legendary Dance Mania Records!
"Hardcore Jazz" by Duane & Co. was done as a hommage to James Brown. Special thanks to Ray Barney!

Here are some words by Duane Buford. Some yers ago my friend and Mentor Ray Barney started a record label and we sat down and talked about his 1st release, I sat down in my basement and put something together little did I know years later it will be reissued, a little while later we did our second release which was really successful. I really give thanks to Dancemania records a label Ray Barney and I started, many others have tried to claim that they started this record label but all of them are totally full of s*** ...
A little while later ended up getting signed to a major record label which actually served no purpose for me what so ever, it was'nt the label it was the people i was involved with at the time, I was making more money with Ray Barney and Dancemania.

Moral to this, take care of your paper work when you release your music, don't sign away your publishing, you never know where your song will end up.

‘Wild Slide’ is the debut album from techno supergroup, Better Lost Than Stupid, aka 3 of the world’s finest producers and DJs - Martin Buttrich, Davide Squillace, and Matthias Tanzmann.

Released on 13 September by Skint/BMG, the 11 track album follows a slew of singles - ‘Back From The Desert’, ‘The Sky Is Too Low’, and ‘Inside’ – which have won praise from the likes of Mixmag, Dancing Astronaut, RA, Radio 1 (Pete Tong and Danny Howard), Marco Carola, Dubfire, Nicole Moudaber, Kolsch, Joris Voorn, Claptone, Eats Everything, Adam Beyer, and many more.

Electronic music underpins ‘Wild Slide’, but Better Lost’ look beyond it with a varied collection of song ‘Wild Slide’ is the debut album from techno supergroup, Better Lost Than Stupid, aka 3 of the world’s finest producers and DJs - Martin Buttrich, Davide Squillace, and Matthias Tanzmann.

Released on 13 September by Skint/BMG, the 11 track album follows a slew of singles - ‘Back From The Desert’, ‘The Sky Is Too Low’, and ‘Inside’ – which have won praise from the likes of Mixmag, Dancing Astronaut, RA, Radio 1 (Pete Tong and Danny Howard), Marco Carola, Dubfire, Nicole Moudaber, Kolsch, Joris Voorn, Claptone, Eats Everything, Adam Beyer, and many more.

Electronic music underpins ‘Wild Slide’, but Better Lost’ look beyond it with a varied collection of songs that combine synth-pop (‘Inside’, ‘Wild Slide’), electronica (‘Boys & Girls’, ‘Harder Than Gold’), indie rock (‘Back From The Desert’), and downtempo (‘Without The Feeling’, ‘Bender’), with the kind of euphoric techno moments they’re individually known for (‘Inside’, ‘Right Now’).

‘Wild Slide’ shows that the comparisons made between Better Lost’ and stadium techno acts like The Chemical Brothers, and Underworld, stand up. The production quality is every bit as good as you’d expect from Buttrich and co, and the songs have been crafted and written by three people who’ve spent their lives making music and then playing it to hundreds of thousands of people.

After the great success of his last EP, 8Ball is back with a 3-track single featuring the already well known Jungle staple "You" plus two brand new cuts.

"Been Higher" is ode to the sometimes overwhelming dread of a post party dip. It features haunting synth lines with a looping vocal and deep under-laying bass. This is taken straight out of the 8Ball hardcore revisited back catalogue.
"Table Spice" is a jam roly poly wrapped in custard being eaten in the garden of De Skool Amsterdam. 8Ball here strips back the drums to leave the bare bones of atmospheric hardcore tune.

Comes housed in a hand-screen printed sleeve and stickered centre label. Designed in house by Grade 10 International.

Any jazz lover will tell you that one of the main considerations in their appreciation of jazz is spontaneity, and the freedom it gives to improvise. In jazz, freedom is everything.

Here we have a record that was recorded simply because some musicians met in the studio one day in 1996. They were not under instruction, they had no plans. What they had was the presence of mind to make music with one another, free to collaborate and spontaneously create new sounds.

Drummer Harbans Srih tells us about 'Short story from Tabla, Drums & Trumpet': "We were tracking some funky jazz with a full band.
All left at the end except for Pandit and myself. As there was a bit of time left I said to Pandit to have some fun tracking tabla and drums. Engineer pressed the record button and off we went without any prior rehearsal. This take is the result. Colin had turned up, took one listen and said he'd like to play trumpet on it. Again without any particular discussion he went in and recorded this take, resulting in this fusion of Indo-Jazz."

... And then in 2003, 'Oye Maia' came about: "We met at the recording studio one afternoon. I had an idea of recording an Indian themed track and had brought along a kalimba. I showed it to Shanti who started to play it. It was suggested that he recorded a 2 bar loop while Pandit and I performed alongside. Shanti then improvised on trumpet utilising Indian phrasing. The track was named after his daughter Maia, and translated it means 'Listen Maia'."

Bathurst is pleased to announce the return of The Motion Orchestra with their new single Sonorous taken from their forthcoming album All One set for release in 2020.

Formed in 2017, this studio project consists of Alexander Bednasch on Double-Bass, Mark Matthes on Violins, Andy Sells on Drums and David Hanke on electronics and production. Though influenced heavily by Neo-Classical and Jazz sensibilities they occupy a musical space that sits in neither sphere, with a compositional style that deftly fuses the orchestral and electronic worlds.

Their debut single – All One was a gorgeous piece inspired by the notion that everything comes from the same source, the same starting point. And it was well received, garnering support from BBC 6Music and Bandcamp Weekly.

Second single Sonorous is just as elegant as their first offering and looks set to continue the upward trajectory the band are currently on. Starting witha repeated electronic motif, it incorporates piano chord harmonics, tasteful bass notes, and swirling jazz drum patterns that interplay wonderfully with beautiful string arrangements, altogether creating a truly captivating character.

The release is comprised of both the original version as well as a the arrangement without the drums. The Motion Orchestra is currently in the process of producing their live show for performances of the debut album.

"The first series comprises six related movements, usually organised in pairs, electronic sounds with instrumental and more rarely, concrete sounds: Incidences/resonances brings into play controlled resonances akin to sounds of concrete origin in a process that helps to expand the variable electronic sound sources.

Here, 'incidents' are opposed to one-off 'accidents' in the second movement: Accidents/Harmoniques (Accidents/Harmonics). In the second movement, very short events of instrumental origin change the harmonic tone of the continuum they interrupt or overlap.

Moreover, the high notes are underplayed, which stimulates the attention given to other phenomena generally hidden by the melodic form applied to the instrumental play. Géologie sonore (Sound Geology) is similar to a flight over an area where different 'sound' layers come to the surface one after the other.

When seen from high above, instrumental and electronic sounds seem to fuse ... Dynamique de la resonance (Dynamics of Resonance) is a microphonic exploration of a single sound resonating through different forms of percussion. L'Etude élastique (Elastic Study) places together various sounds produced by 'touching' elastic or instrumental skins (baloons, doumbeks) or vibrating strings and a number of instrumental gestures close to this 'touch', using electronic processes to generate white noise.

Conjugaison du timbre (Conjugated Tone), the last movement in the series, uses the same substance to apply rhythmic forms onto a perpetually varying tone continuum. "The second series of movements draws its inspiration from concrete and electronic sources rather than instrumental ones. Incidences/battements (Incidences/Beatings) is a reminder of the first movement in the first series which then quickly moves into Natures éphémères (Ephemeral Natures): ephemeral play on instrumental and electronic sounds, singled out by their internal trajectory rather than by the material itself. Matières induites (Induced Matters): just as molecular effervescence triggers a changes of state, it seems that the different states of these sound materials can be generated by each other or through induction processes.

In Ondes croisées (Crossed Waves), the pizz vibrations interfere with somehow 'visible' water drops on the surface of a similar material. Pleins et déliés (Downstrokes and Upstrokes) can be listened to as the energies absorbed in the motion of bouncing bodies, while hollow 'bubbles' and points bring together some people's gravity and others' downwards movements. The work finishes with Points contre champs (Reverse Angle Points).

Here, the notion of perspective of the different sound threads weaving a kind of network, or field, traps the occasional iterative elements in the foreground and progressively absorbs them, giving more space for the angle - and the chanted sound - to grow." (B.P.).

Sound has the ability to heal. This is the primary tenet that has been driving Karma Moffett for over 35 years. Pure tones, resonant harmonics, the sounds of the earth. At the dawn of the 80’s, as the burgeoning movement of privately-issued New Age was taking hold, Karma Moffett was a pioneer. Eschewing the use of synthesizers and other increasingly-available electronic technology, Karma crafted his meditative, introspective music using ancient instruments. Primarily utilizing Tibetan Bells, and Singing Bowls, Karma Moffett crafted sounds that led the listener on an inward journey.

1982’s Sitting Still Within/Sitting Still Without s Karma Moffett’s earliest triumph. Combining the aforementioned Tibetan Bowls & Bells along with naturalistic field recordings, Karma’s first album is a testament to the power of minimalism and repetition. An ambient voyage that truly draws the listener inwardst, and outwards, Sitting Still Within/ Sitting Still Without is music for healing.

Hamburg based Label Mantra Mantra drops its first EP by 11Schnull.
"IMPERIA" is not only the first release by 11Schnull, Hamburg-based Dj and producer, but also marks the birth of a new record and design label named MANTRA MANTRA. It will release electronic music from up-and-coming artists as well as handcrafted merchandising items, created specifically for each new output.

On this first EP the title track spans over an epic length of 10 minutes and combines an ecclesiastical sample field-recorded in the basilica of Imperia, Italy, with trippy choral soundscapes and hard crashing drums. The B side contains "Jam des Terrorglobus", a rough uncut session he held with his friend Baxmann, and a dark and quaky electro piece called "Roofies on fire", a harsh club banger that could potentially be the last track played at an illegal rave before the "Polizei" shows up. But this part of the story will be told on vinyl only.

Beyond Space And Time is the new record label from Japanese music festival, Rainbow Disco Club (RDC). RDC has been welcoming music loving people to Japan for over a decade. Throughout the festival's history, RDC have been fortunate to constantly encounter performers and DJs who've collaborated with them in establishing a beautiful dance floor year in, year out. These relationships have lead RDC to start their own label, and now gives them the opportunity to reveal one of the best-kept secrets: What is in a DJ's record bag?

This time around, festival regular DJ Nobu kindly opens up his collection and shares the music he loves with us all. On visual duty we welcome Senekt - his representational yet contemporary drawing illustrates the emotion we feel from DJ Nobu.
We have much more music to come in future from artists that we trust and respect.

▼ DJ Nobu describes 10 tracks this way ▼

A1. Laurent Garnier - Water Planet
Highly respected French DJ/Producer Laurent Garnier has been releasing tracks for decades capturing the very essence of Detroit Techno and Breakbeat. He always manages to create something truly emotional. This is not his biggest hit, but it's my favorite.

A2. Mono Junk - Beyond The Darkness
This track represents the very early days of Techno with it's ravey atmosphere. It has a primitive feel, and the obscure mixdown sounds almost unbalanced. That said, this one really stands out when DJing. Very cool.

B1. Psychick Warriors Ov Gaia - The Valley
It was always my intention to include this track in a compilation if were I ever to do one. It has a fat underlying groove, with some indigenous spices thrown in. The whole thing is put together beautifully. No complaints!

B2. Melody Boy 2000 - Plenty Of Love
I wanted to include a track that had Jacking feel to it - that is my definition of dance music. This track mixes well in both Techno and House DJ sets.

C1. Drax Ltd. II - Amphetamine
This is my all time favorite track by Thomas P Heckman. It asks questions and strikes down all the boring 'wanna be cool' techno tracks. It is obviously a well known tune already, but I include it here because I'm often asked for it's track ID from new kids in the game. This is a classic that should be passed down.

C2. Dan Curtin - 3rd From The Sun
Curtin's refined synth grooves and bass lines make this a true timeless classic. It do not get tired of listening to his rhythms and melodies - he always gets it just right.

C3. Front 242 - U-Men.
The originator of Electric Body Music. Their husky vocals, hard rhythms and strong synth basslines made the group very popular at the time, and they are still to this present day. To me, this track represents what the Belgian New Beat scene is all about.

D1. The Prince Of Dance Music - E3 E6 Roll On
This is the track I played the most up until around 2006. It is a genuine house track that cuts through trends in music. A hidden floor killer.

D2. Pan Sonic - Lähetys / Transmission
Electronic music has existed for decades, and if you are to choose some of the best from all scattered & hidden places, Pan Sonic's 'Lähetys / Transmission' must be considered. The track emerges beautifully - breaking structures and transcending the past. Every layer of the piece is produced with such delicacy and care, that as a whole it magically drags you into the world of the unknown.

D3. Burial - Archangel
This track merges melancholic emotions with technological prowess at the highest level, and deeply impacted the dance music scene on it's release. I recently played this track at the end of my set at the forward thinking Terraforma Festival in Milan. It faded out to huge applause from the open minded crowd. A moment to be remembered.

RAVE026 is a double hammer of blitzkrieg gabber and seething acid trance/schranz from Service
Animal (Vereker) and Crime Unit, featuring material previously issued on impossible-to-find
tapes by the cult, DIY label; Live Adult Entertainment
The punkish reputation of Live Adult Entertainment precedes them as one of the underground’s
keenest yet elusive operations to emerge in recent years. Based in Thessaloniki, a port city in
northern Greece, they’ve released some 28 tapes, CDR’s and lathe cut vinyl of musick ranging from
psy-trance to industrial noise and concrète since 2017, and always in editions ranging from zero
to 20 tops, leading to feverish and frustrated reactions from those listeners who’ve chanced upon
their YouTube videos before they get taken down. Finally, this 12” features the first readily available
and properly mastered LAE material on a physical format.
On the A-side, Endangered Species label boss Oliver Vereker adopts his gabber alias Service
Animal for his first outing proper since appearing as Renoir on his label’s 2017 CD, ‘Death Always
Follows’. Revolving material originally available on tape in edition of 20 copies, it boots off with
the 12-hp hoof and dive-bombing drones of ‘Core Of Reality’ next to the evil Arcardipane styles of
‘F.T.W’, which are both produced with the same, powerful conviction in charred black metal, noise
and hardcore techno that made his 2015 releases as Restraint and Grace so vital, only with added
acceleration and syncopation.
The B-side follows with a pair of seething workouts from the ‘Cyber Afterbirth Vol.1’ mix by
LAE co-owner, Crime Unit. Hearkening back to a sound that was ubiquitous between Hackney
Warehouses and small-town UK/European techno clubs in the late ’90s/early ‘00s, they are
ravenous examples of the LAE aesthetic, applying scuzzy DIY principles to gnashing German
schranz and adrenalising acid trance with ruthlessly direct results that pack one of the meanest
breakdowns you’ll hear this year. Trust they will mercilessly sort the dancers from the posers.

Clear Vinyl.

Raime explore exquisitely honed rhythmic instincts with scintillating results on the 2nd release on their RR label.

Where the London duo’s 2018 EP and RR debut ‘We Can’t Be That Far From The Beginning’ evoked a meditative mood from the info overload of their home city that left acres of space to the
imagination, the ‘Planted’ EP rejoins the dance with four tracks that icily acknowledge strong influence from Latin American and Chicago footwork styles in a classically skooled mutation of hardcore British dance music.

In four fleetingly ambiguous dancefloor workouts they carry on a conceptual theme exploring the digital subconscious with persistently invasive, alien ambient shrapnel - half-heard voices, aleatoric prangs, and tag-covered signposts - woven into and thru their tightly coiled and reflexive drum programming.

UPTOWN, ’Num’ flexes tendons and hips like a Leonce riddim that danced all the way from NOLA and ATL to the wintery dawn of a LDN warehouse, while the lip-biting tension of minimalist 160bpm jungle/ footwork patterns and jibber-jawed vocals in ‘Ripli’ suggests the Alien film’s protagonist lost in a mazy rave space, chased by H.R. Giger-designed face huggers (or gurning energy vampires).
DOWNTOWN, ‘Kella’ then catches them on a grimy dubtech bounce, cocked back and straining at the harness, before ‘Belly’ shuts down the dance with invasive, demonic motifs exploding over dark blue chords and palpitating jungle subs with impeccable darkside style.

The allmighty PRSPCT arsenal gets expanded big time with the coming of PRSPCT XTRM. The name says it all extreme... Over the top underground vibes!!!

The first release sees The DJ Producer going head to head with Bong Ra in a collaboration that's just too much. It starts off with "The Abominable" a track that's insane in every way. Heavy hardcore kicks combined with destructive Jungle breaks is something only this duo can combine! Sitting firm on the edge of Hardcore, Breakcore and DnB like only these 2 can. "Bloodclot Techno" is something totally different. This one focuses more on the jungle/break core side of things but combined with almost Terminator-esque vibes. Definitely an epic production if there ever was one!

Europe’s leading reggaeton experimenters DJ Clara! And Maoupa Mazzocchetti. exert a tripped-out spin on modern Latin dance and vintage Galician folk styles for Low Jack’s boundary-stepping club division of Editions Gravats. Following the duo’s 2018 debut EP
and Clara!’s ‘Meiga de Acero’ single in 2019 for Les Disques De La Bretagne, ‘Luna Nueva’ binds the duo’s astrological, spiritual and romantic dancefloor cues in a significant new take on Caribbean futurism.

Designed to make you sweat - and maybe check your head -
the album pairs Clara!’s effortlessly nimble vocals with lean and spacious co-production by Maoupa Mazzocchetti in a way that faithfully and daringly plays with reggaeton convention, and, by extension, offers a critique of global electronic dance music currents.

Based in Brussels, Belgium, but originally from northern Spain, Clara! brings a strong knowledge of reggaeton, perreo and trap absorbed from beach parties and clubs back home to a wickedly offset batch of productions by Maoupa, who’s arguably earned a mean reputation in recent years for his killer mixtapes with the PRR! PRR! gang, as well as a slew of 12”s for everyone from Unknown Precept and Mannequin to Arma since 2014.

Together they throw down eight distinctive vocal cuts on disc 1, while disc 2 is loaded with their singular instrumentals. Clara! dispatches ice cool but barbed bars in diverse flows, bewitching Maoupa’s rhythms with on point style in the dramatic ‘Badman’ - a bullet for the male gaze - while layering herself in choral cadence on a spellbinding cover of Faltiquera’s Galician folk song ’Sum Sum’ over unusual tablas and drones...

But while the finer details of Clara!’s pointed but humorous lyrics may be lost on non-Spanish speakers, her co-productions with Mauopa are bound to resonate regardless of tongue, with strong, dare-to-be-different highlights in the hard and psychedelic drive of ‘Gaviléan’ and the bolshy bashment grind of ‘Virgo’, along with straight up freaky gear such as ‘Baja Y Suda’, plus their cold fusion of reggaeton and Mahraganat influences in ‘Secreto Ritual’, and warped hypermodernism in ‘Clarividencia.’ No matter what angle or
language it’s approached from, ‘Luna Nueva’ cycles fresh and luminous with a steadfast yet experimental call to the ‘floor while the world collapses around them.

Since forming in 2006 post-punk experimentalists Sebastian Melmoth have been on a thoughtful and adventurous musical journey. In a constant state of aural evolution, the London-based four-piece has a delivered a string of albums and EPs that variously touch on everything from garage-rock, grunge and lo-fi pop, to electro, new wave, dark ambient and music concrete, all the while drawing on a myriad of literary and artistic influences.

The band’s first release for Artificial Dance digs deep into their admirable and eye-opening catalogue and draws together some of the Amsterdam-based label’s favourites from the more electronic end of the band’s output. Entitled “The Dynamics of Vanity” – a comment on Western culture’s obsession with rehashing the past and the band’s own in-built distrust of artistic naval-gazing – the set is not a ‘best of’ retrospective but rather a ‘sort of’ selection of stylistically interconnected cuts that gives a very specific snapshot of the band’s work.

Check for example “Icarus”, a drowsy, hypnotic and sample-laden soundscape that effortlessly joins the dots between post-rock, pitched-down electronica and early morning ambient, or the slowly unfurling throb of thought-provoking opener “The Engineering of Consent”, a swelling, melancholic post-jazz meditation on propaganda and governmental mind control featuring spoken word samples from William S Burroughs in conversation with Brion Gysin, Timothy Leary, Les Levine and Robert Anton Wilson.

The showcased songs are typically hard-to-pin-down, too, with the re-imagined gothic horror break-up cut “Prosopagnosia’ and slow-burn audio addition of “Waiting For Godot” being joined by the wide-eyed morning dream-pop hallucinations of “Seeds (Descent Into Decadence)”. It all adds up to a collection that expertly showcases one engaging thread – of many – running through Sebastian Melmoth’s esoteric body of work.

Vinyl only imprint DMK (sub-label of Dogmatik Records) returns this November with the ‘Future Funk’ EP from Alex Jann.

Alex Jann’s material has amassed a wide array of supporters over the years, from Solid Blake and Alienata to Dave Clarke, Afrodeutsche and Posthuman his strictly hardware and modular synth workouts perfectly weave emotional synthesis with raw, gritty aesthetics. He’s released several EP’s over the years on labels such as his own Censor imprint with remixes of his work by such artists as Marco Bernardi & Animistic Beliefs, multiple EP’s with Clive Henry and shared label space on Rhythm Cult alongside Deadbeat, Barem, & Aquarius Heaven.

Title-cut ‘Future Funk’ leads with crunchy 808 style bumpy drums, tension building strings and squelchy acid licks at its core, while ethereal pad swells and wandering sub bass tones wander within the groove. ‘Robotic Prayer’ follows next, with shuffled percussion, soft atmospherics and a choppy bass line smoothly carried across five and a half minutes all subtly nuanced throughout.

Opening the flip side is ‘The Return’ which employs robust drums and murky synth flutters alongside cinematic string melodies before ‘Liberation Of Mass’ rounds out the release, fusing a broken rhythm and intricately programmed oscillating synth effects to create a hypnotic end to the EP.

We wanted to make a promo text for this release, but then this message by Alphabets Heaven came thru:

Subtitles is my love letter to salsa. A torn, scribbled, badly translated love letter to an old address that the resident left years ago. But fuck it, it's still a love letter.

Every since I heard Larry Harlow's La Cartera about 12 years ago I've been trying to find out as much as I could about salsa. So much of it runs counter to everything I know about dance music, and yet it so clearly bangs. So on and off for the last 10 years I've been buying salsa, trying to work out how many imprints of Fania there were, trying to get my head round the horn arrangements, and generally having a great time with basically no contact with anyone who was actually a part of the culture in anyway. My Spanish is pretty bad as well, so all I really know is quite a few songs are about farmers.

Subtitles is my shot at salsa. My completely uneducated stab at something that's way too complex to just guess at. Not surprisingly, it sounds nothing like salsa. What's weird is that it sounds like pretty much everything else I listen to. I think in many ways it's the most honest thing I've ever made. By completely failing at making salsa I've managed to blend together all the club music, art music and everything else I've loved. You might hear some UK funky, or whatever the 2019 version of that is called. You might hear some minimalism. You might hear some psyched out shit. You also might hear a gigantic fucking mess. Subtitles is a translation to a film done so badly you find out more about the person who translated it than the film. I was trying to tell you about the film, but maybe you'll like the subtitles.

Shout to London Afrobeat Collective for the horns Memotone for the cello Deft for the Woos. Shout out to Scratcha DVA for being Scratcha DVA.

Huren returns to the Zhark Catalogue with his latest fory ‘ELEKTRONISCHE SELBSTDARSTELLUNG’ his first in five years since the ‘MRTVI’ release.
Whith this outing Huren explores further uncompromising Terrain…
While the Signature layers of distrortion and heavy kick drum burials retain his distinct Hardline Approach – with ZHARK032 Huren layeers complex Masses of Sound into Ominous textural electronic compüositions….Drawing interdisciplinary from the works of Marker, Kayn, Ligeti and Penderecki…
Disconcerting and challenging ‘Elektronische Selbstdarstellung’ galvanizes Huren’s place as an artist operating on his own wavelength.

Since debuting on the label in May 2017, East London duo Earthboogie has been part of the extended Leng family. In rhat time, Izak Gray and Nicola Robinson have delivered a swathe of superb singles and a fine debut album, 2018’s critically acclaimed Human Call. Here they present their sole single of 2019, a two-track fusion of intergalactic, terrestrial and tribal elements reflective of their by-now trademark style. Fittingly, lead cut “Creepy Steve” – a previously unheard workout recorded during the sessions for Human Call – contains many of the musical ingredients that made Earthboogie such an enticing proposition. It boasts a raw, fuzzy and driving analogue bassline, densely layered tribal percussion, dub disco-influenced guitars, woozy electronics and sporadic blasts of African style chanting. As if that wasn’t enough to get the blood pumping, Gray and Robinson have also thrown in some extended, rock style guitar solos and more cowbells, bongos and timbales than you can shake a stick at



It comes accompanied by a previously unheard remix of “Human Call”, the title track from their superb debut album, by friend and fellow musical fusionist Joel Harrison. His version is warm, woozy, driving and percussive, brilliantly re-imagining Earthboogie’s original version as a supersonic slab of peak-time ready deep house. The band’s original chanted vocals, guitars and melodies slowly rise above bustling, all-action drums, weighty bass, alien-sounding electronic flourishes, poignant trumpet parts and seriously dreamy sustained chords.

Shasta Cults is the musical project of Canadian electronics technician Richard Smith. For almost two decades, Smith was the official Buchla & Associates go-to repair person for studios, collectors, and musicians around the world, having worked with artists like Aphex Twin, Suzanne Ciani, Mort Subotnick and institutions like NYU, The Library of Congress and Mills College in Oakland, Ca.

Recording demonstrations of the rare equipment that found its way on to his workbench is how Smith describes the origins of Shasta Cults. Although sounds have been trickling out for decades via Soundcloud and other outlets, it wasn’t until 2017 that Smith recorded his first album using one of these rare instruments – the Buchla 700. Configurations, released this past September by Important Records, features eight tracks of heavily-modulated, wave-shaped explorations drenched in effects, and was the catalyst for his latest releases.

Recorded over the span of 3 months in the fall of 2018, this album was programmed solely on the only fully-functional Buchla Touché. Developed in the early 1980s with hardware by Don Buchla and software programmed by musician David Rosenboom, the Touché features waveforms generated internally by twenty-four digital oscillators using frequency modulation and sophisticated digital and analog signal processing for timbre and output assignment, all of this controlled via a six-octave black and white keyboard, unusual for a Buchla instrument.

This LP is a continuation on themes first heard on Configurations, with more consideration given to the generation and capturing of the pieces. This album is less dark than previous releases, showcasing the incredible fidelity of the hardware used and Smiths evolution as an audio engineer. Put on some headphones, find a comfortable chair, and let this LP transport you to the mystifying southern cascades of Siskiyou County.

Beastly sounds for a zombie nation as classic 80s gaming soundtrack Shadow of the Beast gets debut vinyl edition with a recording taken from the original platform game, and new artwork from acclaimed illustrator Keith Rankin.

Composed by David Whittaker for the 1989 Amiga platformer of the same name, Shadow of the Beast sees its first ever vinyl release courtesy of the UK's Lag Records, presented in also its first mastered edition as directly taken from the original game system.

A prolific VGM composer, Whittaker holds more gaming soundtracks to his name than any other, with titles such as Lazy Jones to his name, as (in)famously sampled for the 1999 club hit Zombie Nation.  

Shadow of the Beast remains a prime example of his pioneering hands-on approach, programming music directly with instrumental samples of his own on a Korg M1 synthesizer. The tunes make for a singular combination of Spaghetti Western-style tension mixed with world beats. Tracks like The Plains play with harder rhythms like warped speed techno, while a hard-to-miss melancholy pervades the Underground suite.

The fiendishly difficult Shadow of the Beast itself was an interesting example of game design for its time, recorded at a frame rate to match arcade machines as opposed to monitors, and loaded with a 128 colour palette. Two sequels later followed in the 1990s, along with a 2016 remake for the Playstation console.

The soundtrack comes ready for a 2019 audience with mastering courtesy of Jerome Schmitt at the AirLab, and brand new artwork from acclaimed illustrator and musician Keith Rankin in collaboration with artist Ellen Thomas. Shadow of the Beast will also come on transparent purple vinyl, in standard LP format.

pparel Music is delighted to welcome aboard one of the most talented house music producers in the scene, Goddard, who’s the protagonist of APLTD012. The twelfth release of the Apparel’s limited catalogue is a brand new 4 tracks EP called “Signals” by the Mancunian featuring a 4-hands collaboration with Harry Wolfman and a remix by Jad & The. Every single track has been chosen carefully since the beginning of the project to make this record a representative work of the artist who perfectly blends his musical knowledge with the label’s imprint. The opening track “Fourth Dimension” is a teamwork between Goddard and the above mentioned Wolfman and is the ideal start with its crunchy, slightly distorted beat, bold bassline and spacey chords and arpeggios, surely a track for the DJ’s out there to play out to a busy dancefloor. A2 is the title track “Signals” and it lowers the heartbeat, displaying all Goddard’s talent on the keys and creating an impeccable fluctuating soundscape of his musical characteristics: the beat is an oscillating, yet solid structure while the different timbres of his synths evaporate and reappear conceiving a dreamy, spacey track. Side B begins with the whimsical chords of “It’s Not So Cold In Tromso” where the artist takes the listener to a brief and intense trip to see the Norwegian northern lights; the track is made by a strong rhythm section and flighty, far-out, harmonies which really evoke Scandinavian landscapes. B2 is a free interpretation of the previous track by the Australian Jad & The who amalgamates a jungle-ish beat to Goddard’s introspective harmonic section telling his opinion on the trip to “Tromso”.

Signals EP will be released the 2nd of December on 12” vinyl and we’re more than happy to welcome Goddard to Apparel Music’s family.

A key player in the New York scene and boss of her own Dusk & Haze label, it was Francis Harris' Kingdoms that initially released Sophie Saze's standout two-part album, and that is where this forward looking package of highly original remixes lands. First up is German artist Roman Flügel, who’s responsible for a myriad of musical aliases and just as many different sounds. Here he is in experimental electronic mode and reworks 'Cure' into an elongated groove with twisted synth lines layering up over the shimmer, shadowy beats. It's a ghoulish track with a creepy atmosphere.
Swede Anthony Linell makes tripped out, heady techno on Northern Electronics, always with a stylish aesthetic. That continues here as he reimagines 'Aliens' as an absorbing cosmic soundtrack. Supple, rubbery drums bubble down low while broad pads and astral motifs colour the airways above and sink you into a state of trance. New York beat maker and Blueberry Records boss FaltyDL then steps up with a remix of 'Self'. It is a typically off-kilter groove that seems to float on post-jungle drums while distant synth details make for a dreamy atmosphere. Closing out this killer package is Saze's original track 'Dreams', an intense techno cut where coarse textures peel off the industrial clatter of the drums.

'Pulse Code EP' by Amberflame - Andrei Zakharov's (aka An-2) side project aimed at finding the right balance between organic yet experimental sound - is a selection of top-notch electronica with the flair of old-school disco and everything inbetween. The crafty and meticulous use of a variety of custom analogue hardware give way to keeping an open mind with production and sound design, which varies greatly, but at the same time, shares a coherent quality throughout the EP.

The opening track "Hope" sets the mood with its melancholic airy strings and pulsating arpeggios developing effortlessly until the groovy guitar bass kicks in lighting things up and giving the mix a completely new perspective.

Taking a more experimental edge 'Pulse Code' is a PCM-inspired leftfield electronica piece which goes a new direction with its solid synthwork and fluent drum programming.

The title of the closing cut 'Dreamscape' speaks for itself: it is a meditative electro-focused affair

Available for the first time outside Japan, Phosphorescent Dreams is another epic album of symphonic schizophrenic avant-rock from Univers Zéro. Originally released in 2014 - only on CD - through the Japanese label Arcàngelo.

Phosphorescent Dreams presents at the same time, in the same track, even on a single moment, the complex musical schemes and ways of Univers Zéro, ranging from maximalism to minimalism, classical avant-garde with a 2020 vibe in a constant flux.

In a blend of tension constantly emerging from a subtle dialogue between avant-rock and contemporary influences, harmonies and dissonance, Phosphorescent Dreams is a balanced formula of old-school know-how reshaped almost 40 years after the released of the seminal LP Univers Zéro.

Univers Zero represents one of the longest-living bands in Belgium. It was established in 1974. Drummer Daniel Denis had the brilliant idea to gather together a team of professionals sharing the same taste for music. The band has adopted an instrumental progressive style. Over the last couple of decades, the band has also implemented a series of influences from chamber music - most commonly, chamber music from the 20th century. Even if the line-up changes a lot over the years, the overall sound of UZ remained fairly consistent.

Apzolut & MC Goatzak are two brothers with a pretty damn unique background. These viking brothers measure over 2 meters in height each and most women out there wish they had long hair as good as them. Meeting them for the first time we expected them to come from somewhere near the fjords of Norway, but this turned out to be seriously mistaken...

These metal heads grew up in the Caribbean island of Aruba and lived there till somewhere in their 20's before finally making the move to the Netherlands. With no real metal scene on that tropical island
and definitely no breakcore scene it's still a bit of a mystery to us what drove these guys to start producing and playing such extreme music - but we are happy as f*** that they did.

This brand new 5 track EP is one seriously brutal death/black metal breakcore rave mash up. Definitely not suitable for the top 40 radio listening weaklings out there. But if you're a wo(man) that has a hard spot for extreme out of the box music, then this one just might be something for you.

To keep the nostalgic memories alive and as sort of an ode to those dark times years ago - when for a lot of the youth trading and copying cassette tapes was the only way to even be able to find and enjoy underground music - we've decided to make this release physically available only on cassette tape and those are limited to just 75 copies!!

• This is Latin Soul from the heart of Spanish Harlem. A non-stop boogaloo party that never lets up with
plenty of cha-cha and funk grooves
• 1966 album sees Rivera making his biggest splash as the bandleader and vocalist
• Album highlights include Includes Do It To Me, At The Party and Drown My Heart
• Boogaloo classic reissued on 180g heavyweight black vinyl with printed inner sleeve, and original artwork

PINK VINYL WITH PINK SLEEVE.

Kungens Män hail from Stockholm, Sweden and have been around as a musical unit since 2012. Their inspiration comes from the drone, the rattle of the loose screw, the circuit failure of the effects, the phatness of the moog and from the very diverse wiring of a bunch of middle aged Swedish freaks. Kungens Män never plan the next musical move - it presents itself.
 
Nine months after their acclaimed album 'Chef' (also released on Riot Season) the band return with 'Hårt Som Ben’, a stunning follow up with a debut UK tour to coincide.
 
Echoes And Dust on ‘Chef’: “From pure psychedelic freak out, to exploratory ramblings, and all imbued with a sense of communal priority to create together a work of immense intelligence, Chef is an album which begs for continued listens and deep immersion. That it is so accessible too, makes that genius shine through even more so. Superb.”
 
At the end of May 2019 Kungens Män packed a couple of cars full of instruments and life supporting essentials and drove into the woods of Värmland to spend three days in the legendary Silence Studio. It has hosted recordings by bands and musicians like Bo Hansson, Motorpsycho, The Hellacopters, Bob Hund and Union Carbide Productions, the presence felt and seen all over the place. In between watching VHS tapes with Twin Peaks, Miles Davis and Roskilde Festival 92, cooking pasta, sleeping in bunk beds, Bruce Bannering shirts and chilling in the sun, Kungens Män managed to record about 13 hours of music. Some of it will never reach your ears, but here’s the first slab made public – Hårt som ben – Hard As Bone. Not very hard, that is.
 

The new album 'Aesthesis' from Shapednoise aka Sicilian artist Nino Pedone is out in November 2019 on Numbers.
Over the nine tracks and thirty seven minutes, there’s a controlled collision of noise and metal with rave and hardcore. Pedone’s penchant for the peak energies of gritty techno and modern rap/trap bleed through, with earth-shattering blocks of bass and beats conveyed within his practice of sonic sculpture. ‘Aesthesis’ melts these sounds down, evolving them into something new of his own - a complex, hybrid being designed to be played loud. The first listen, CRx Aureal, is one of the most arresting cuts from the record: a nightmarish thrill embracing a sense of constant movement, with intense shards of sound ricocheting and morphing, forged together through a series of metallic refrains. This flirtation with the extremes of sound has engulfed Shapednoise’s entire creative output and lifestyle - from his albums and EPs over the last decade, to his two labels Cosmo Rhythmatic and REPITCH, having recently dropped critically acclaimed releases by King Midas Sound, Shackleton & VTSS. Pedone describes ‘Aesthesis’ as “informed by a set of key elements that intwine all the tracks together, like steps in a long research process. It is intended as a sensory experience where the senses act as an interface, sound as space.” His experimentation with unorthodox rhythmic structures and radical cinematic design reveals actions grounded in direct experience, but “inspired by a kind of speculative realism”. In seeking to master the wild heights of noise and the weight of subsonic frequencies, Shapednoise aims to “generate a sense of unreal-yet-tangible space and time, where the physicality of the music builds up a place that exists between people and objects, rather than the other way around.”

A series of artistic collaborations are heard throughout the album - from the caustic R&B of album opener 'Intriguing (In The End)' which features vocals from multimedia artist E. Jane's alter ego MHYSA (of NON & Halcyon Veil), to Justin K Broadrick (founding member of Godflesh and ZONAL) on 'Blaze', and album closer 'Moby Dick'; a collaboration with Scottish legend Drew McDowall (ex-Coil and Psychic TV member), and Rabit (founder of Halcyon Veil).

A Unique EP of remixes from Kniteforce Head Honcho, Dj Luna-C. Each remix is firmly based in the vibes of the old skool, with the rolling basslines and touch of madness that is expected when Luna-C gets in the studio. The tracks were all chosen based on their ability to be folded into something both new and old, and then refashioned into something very different from the source material.
The result is a cohesive mess, an orderly panic, and a clash of harmony, and all the expected trademarks of a prime Kniteforce EP.

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

Rounding-off a landmark year for Clark which saw an accelerated drive for variety and freshness - including skewed renditions of Bach performed at the Royal Albert Hall and a hugely acclaimed score for TV series ‘Kiri’ - the leftfield legend takes it back to the source with two bangers for the massive.

The riff-powered heavy electrics of ‘Branding Problem’ romp from Detroit to Belgium via Chicago and the M25. It’s platinum-grade dancefloor techno, but it’s more too. The production flair and inventive sound sculpting ensure a level of quality and originality not found in your average grist-for-the-mill DJ fodder.

‘Legacy Pet’ is hardcore and tech step dipped in loopy juice; it’s the sound of a raver wandering out from a cavernous warehouse, across fields and into an enchanted dingily dell dance, throwing gun fingers with the goblins and faeries.

“I’ve been quite amused at how easy it is to stream background music these days. How accessible it all is and how entitled we all feel to it, like it’s some sort of air freshener you spray in your Uber.

For some reason I’m imagining a future where Elon Musk does a streaming deal, so he can prance around controlling nano implant VR chips for 1 million amortal coastal elites, while the rest of us don’t have electricity and only manage one rave a year - to a sound system powered by rationed candles. This is music for that fantasy scenario, ha.

Anyway, I don’t want these 2 tracks to be part of background air freshener world. They are limited edition club gear. I wanna play them out so badly in my live show.

Influences: Hardcore UK rave, Detroit techno, Jungle, Oizo, Ed Rush and Optical, No U-Turn. The origins, the source and it’s constant subsequent mutations. BEHOLD THE CONTINUUM, HARDCORE WILL NEVER DIE.” Clark

The Voices of East Harlem were an ensemble of vocalists who for Just Sunshine Records recorded two albums under the direction of Leroy Hutson and Curtis Mayfield. “Wanted Dead or Alive” is one of their most classic songs, a highly sought after ‘Rare Groove’ track together with “Can You Feel It”.

OUTRÉ comprises of Detroit natives Joshua Harrison and Joe Sousa.

Joshua Harrison has released on Psychothrill Records, Beretta Music, DeepLabs Detroit, and currently runs the digital music label NONCOM Records.

Joe Sousa has released on Blank Code Records, and worked with labels Detroit Underground and Acid Friend. He has forthcoming releases on Detroit Underground and Clan Destine Records.



OUTRÉ is an entity that has come forth since 2017. Risen from a portal into the more existential rifts in consciousness, a mirror from the abyssal realm of the minds’ eye.


OUTRÉ 01 is it’s inaugural expression. With focus on live extraction and textural abrasives, chapter one presents ominous weight and forebodeing chaos, yet embraced with melancholic atmosphere and ethereal release.

The soundtrack for Quentin Tarantino’s heavily anticipated music laden film Once Upon a Time… in Hollywood, personally curated by Tarantino himself, the soundtrack is a love letter to the music of 1960s era Hollywood. The Once Upon a Time… in Hollywood soundtrack features over 20 standout tracks from artists such as Paul Revere & The Raiders, Deep Purple, and Neil Diamond, as well as vintage radio advertisements, creating a true time capsule of a golden era of filmmaking.

Quentin Tarantino’s Once Upon a Time… in Hollywood visits 1969 Los Angeles, where everything is changing, as TV star Rick Dalton (Leonardo DiCaprio) and his longtime stunt double Cliff Booth (Brad Pitt) make their way around an industry they hardly recognize anymore. The ninth film from the writer/director features a large ensemble cast and multiple storylines in atribute to the final moments of Hollywood’s golden age. Written and directed by Quentin Tarantino. Produced by David Heyman, Shannon McIntosh and Quentin Tarantino. Georgia Kacandes, YU Dong and Jeffrey Chan serve as executive producers. The film also stars Margot Robbie as Sharon Tate plus Al Pacino, Emile Hirsch, Timothy Olyphant, Dakota Fanning, Bruce Dern, Lena Dunham and more.

Nicola Cruz re-visits his second album 'Siku', released earlier this year to widespread acclaim, with ‘Siku Reworks’. The release provides the listener with another perspective on the ‘Siku’ domain, one envisioned in different corners of the world; Argentina, the UK, and Japan to name a few. In an effort to unlink the original material, Cruz has selected producers to re-work a designated song on 'Siku'; according to their own style. Additionally, Cruz has chosen to re-record two tracks whose live versions have stuck with him throughout a year of constant touring.

‘Siku Reworks’ invokes a psychedelic view of the original material, Hermetics (R&S) provides deep atmospherics with his take on 'Obsidiana'; and Nicola offers an acid-merengue-infused live version of 'Señor de las Piedras'; alongside an infectious and club-ready re-work of live favourite 'Siete'. In some ways it's hard to define Nicola'ssound, shaped by years of global touring, and every track here is unique and succeeds in breaking from the usual electronic music format in captivating fashion.

Girl is the second album from the North London band Girl Ray, released on 8th November 2019 via Moshi Moshi. Recorded at Electric Beach Studios in Margate with Ash Workman (Christine and the Queens, Metronomy), the album is a delightful, sun-kissed tribute to their love of pop and R&B.

The three-piece, comprising Poppy Hankin, Iris McConnell and Sophie Moss, today share a taster of the new record with “Show Me More”. According to the band, the song is about “crushing really hard but having to play the long game and wait it out because your boo is playing savage games. It’s your classic pop banger. Steamy dance floor. Drinks on me.” The accompanying video was directed by Crusoe Weston and features the band cycling around the city at dusk.

It was Ariana Grande’s explosion into pop culture that kickstarted a new era for Girl Ray, as well as the realisation that their most-listened-to Spotify playlists contained pure pop music. When Poppy began experimenting with writing songs on a computer using keyboards, a collection of shimmering, foot-tapping, sparkling pop bangers poured out. With this new set of songs, Girl Ray have been brave enough to completely change their sound rather than play it safe, yet still remain unmistakably themselves - it’s Girl Ray, but with added synths.

Hot off the heels of Aluxes, his 2018 Lumière Noire debut EP, young Mexican DJ/producer Iñigo
Vontier is inviting Chloé's label on a trip to the far corners of the body & mind with an album of
demented grooves, psychedelic take-offs and imaginary comic strips of mystical rituals. A
bewitching debut full-length. Mexicans may never possess the sonic science of the Germans,
the hedonistic madness of the English or the gift for synthesis of the French, but, as proven by
Iñigo Vontier's first full-length for Lumière Noire, their universe is much more exciting than
anyone would have ever thought.
The DJ/producer fully asserts his origins by brandishing the album’s title "El Hijo del Maiz" ("the
son of the corn") almost as an emblem: "in Mexico, corn is eaten daily. It has long been defined
as 'the gold of America', and I consider all Mexicans as children of corn". A spiritual and
embodied vision Iñigo's first Lumière Noire release, the four-track Aluxes, set the tone of the
young talent's distinctive interpretation of dark disco, which creeps up on the dancefloor from its
iconoclastic side. The two tracks and two remixes (one by Flügel, the other by Inigo himself)
featured on the 12" for lead single "Xu Xu" (featuring Red Axes-affiliate Xen's irrelevant vocals)
was a full-bodied confirmation that Vontier sees the dancefloor as an arena for the occult –
whether from the peoples of the equatorial jungle, the Middle East or, even from indocile
machines. But, while the spiritual element seems part and parcel of the Jalisco native’s output, it
is in no way the only ingredient of this first long-player: "this album best reflects my own vision
and spirituality, and the way I feel it" he says.
Whether contemplative or frenetic, the collection of tracks that make up “El Hijo Del Maiz” takes
the kitchen sink and throws it out the window: languid rhythms, haunted vocals, and mysterious
percussion fuel a discombobulated house set that scrambles the listener's five senses, leaving
one disoriented and exposed to the vagaries of vertigo. Following the demented, dystopian “Xu
Xu” EP, which explored an imaginary jungle that harbored Mayan and Egyptian pyramids,
Middle Eastern accents are once more present in the off-kilter “Bo Ni Ke” and its Japaneseinfluenced vocal trickery, which Moroccan flutes à la Jajouka transform into a feverish trance.
With the following three tracks, Iñigo Vontier raises himself to the same level of excellence as
the Pachanga duo (of which pride of the Mexican scene Rebolledo, is also known as a prolific
artisan of deconstruction): “Awaken”'s slumbering voice, heard as through the veil of hypnosis,
slowly introduces a techno beat which, as in follow-up “Time”, literally brings the listener to a
levitative state. In a housier vein, yet continuing in the same psychedelic, 90s-infused spirit,
“Don’t Go Back” disrupts the genre’s usual signatures with an out-of-tune keyboard that is
becoming the artist's trademark, destabilizing the listener into a drunken vertigo, with a good
helping of sexiness: "I think the sexy dimension definitely brings a kind of magic to music," says
Vontier. “I'm sure I felt this magic during my DJ sets, and I like to think that sorcerers use this
element in their practices. I might consider myself a bit of a sorcerer when I take over the DJ
booth, by the way." A mood and sound that can once again be found – in a quieter, more
bucolic version – on “Chiquitita” (feat. the flute stylings of pioneer DJ Rocca, now a partner of
cosmic disco legend Daniele Baldelli). The more cinematic, fast-paced and dreamy beat of the
no less captivating “Little Monster” might evoke the mischievous spirit of the Mayas' minor
mythological creatures, while ode to the magical herb Marijuana (feat Thomass Jackson)
proudly tramples into the debate that such a provocative title inevitably provokes: "psychedelic
drugs are powerful tools to reach a higher level of consciousness about what surrounds us, but
we must learn how to complete this psychic journey by ourselves, notably through meditation
and love.
In the end, El Hijo del Maiz is an album-length confirmation of Iñigo Vontier's uniqueness, and
his adherence to Lumière Noire's policy of letting artists fully express their vision – while letting
their passions guide their idiosyncrasies and explorations of innovative electronic signatures

The ninth record on NEW YORK TRAX was written and produced by Deflector, the Brooklyn experimental hardware virtuoso who previously appeared on imprints such as Clan Destine Records or E-Saggila's Summer Isle. "The Living Flesh" is an angry hardcore piece which needs no further elaboration. In Zero RA, Deflector showcases their brilliant frequency manipulation skills in the context of a sarcastic techno track. The B side opens with "skrrt," a dark yet danceable piece filled with intriguing sounds and rattling bass. md34 rounds up the EP with its stripped down heavy industrial sound.

Italian cult cinematic funk combo Calibro 35 are back! "Stan Lee" is the new single that anticipates "Momentum" new studio album that will be released on Record Kicks next January 24th 2020. The first single "Stan Lee" sees a collaboration with rapper, producer and songwriter Illa J. Former member of super group Slum Village, Illa J is the younger brother of the late legendary hip hop producer and rapper J Dilla and on his solo carrier he has released 4 studio albums for labels such as Delicious Vinyl, Stones Throw, Bastard Jazz and Jakarta Records.

Active since 2008 Milan based combo CALIBRO 35 enjoys a worldwide reputation as one of the coolest independent band around. During their ten years career, they have been sampled by Dr. Dre on his Compton album, Jay-Z Love Child & Damon Albarn, they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and as unique musicians they've collaborated with, amongst others PJ Harvey, Mike Patton, John Parish, Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine's as "the most fascinating, retro-maniac and genuine thing, that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide which includes VIP's fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.