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Fresh off their latest VA, The Press Group hand the reins over to up-and-coming Ukrainian producer Sasha Zlykh, here delivering his debut 12" effort. Clocking in with a quartet of club-oriented weapons and off-road house-y pumpers that shall bring dancefloors to a slow but steady simmer, the Kyiv-based producer blends in an avalanche of breaks-strewn rhythms, bleepy melodies and reshuffled UK bass patterns to create his own distinctive hybrids, halfway straight dance functionality and non-formulaic experimentality.

As playful in essence as it is serious in its execution, 'Lie To Your Mom' EP starts off with the title-cut, which works a wonky swagger that proves all the more infectious as bars fly by. Engineering a finely-woven mix of off-kilter drum programming, raucous analogue belches and volatile harp stabs distorted to the max, the track's shadowy intro is eventually offset by overlapping tides of luminous pads, released as one lets the light break through a vampire den. 'RnB Ritual' follows up close in the vein, meshing a brooding late-night-ish atmosphere with playful percussive mechs and sustained rhythmic accidents.

Flip sides and you'll be treated to a choice pair of remixes from in-house groove traders Rupert Marnie and Youthman. First in line, Marnie turns 'Lie To Your Mum' into a straight jacking and shuffling Chicagoan chugger. Going deeper into soulful terrains and lavishly-textured expanses, TPG's main operator exploits the whole melodic potential of Zlykh's original, bringing its anthemic power to further completion beautifully. More on the dubby end of things, Youthman adds his uniquely vibey touch to the main cut, deftly navigating betwixt a classic deep house kinda vibe, post-rave'y electronics and a Basic Channel-esque sound spectrum, which all in all should have people instinctively clapping their hands as their mind begins to sink into a weirdly introspective sense of euphoria.

Rounding up five years of Heist also means we're releasing our fifth version of the Round Up. Last year's edition was full of highlights with Fouk remixing Nachtbraker's anthem 'Hamdi' and Alma Negra going all tribal on Nebraska's 'Big plate chicken'. This year, we've seen a lot of new faces on the label, which has brought us a fresh set of combinations and a couple of really nice revisions of the tracks that made our year.

First up is Detroit Swindle's take on Heist's latest signing Hugo Mari. They chose to remix 'Change ur ways', beefing up the dreamy original. They focus on a simple but effective grainy groove and added a twist on the bass to give a more 'warehouse' feel to it and play around with the lovely detuned keys and vocal chops of the original to great effect.

Alma Negra show you just how loose their limbs are with a Rhodes filled version of Kassian's Acid surprise 'Bad Habit', while the full B side is dedicated to Pitto's personal take on Adryiano's classic house track 'Me and you and her'. His version takes the track into a new territory that lies somewhere between balearic and dreamhouse. Whatever it is, it's got a lovely vibe where the vocal is complemented by airy pads and a touch of acid.

Kassian on their turn, have done a great job on taking Pitto's 'Treat me like a fool' into 4x4 house territory. They've opted for a sub heavy club track where reverbed hits and the vocal take turns over a solid house groove. Next up on the C-side is Adryiano. He's picked Detroit Swindle's moody-but-heavy album track 'Cut u loose' and does what he does best: a steady and nicely distorted filtered house groove that packs quite a punch. The final track of this compilation really is a great pair of artists: Hugo Mari and Alma Negra. Hugo takes the tropical warmth of 'This is the place' and adds a subtle punch with a smart percussion loop and some added pressure on the low end.

So there you go. Another year, another Roundup. We hope you'll enjoy listening to these re-interpretations as much as we do. Yours

Sincerely,
Maarten & Lars.

Irish mastermind David Kitt aka New Jackson returns to Permanent Vacation with his forth record for the label. This time out he takes his beloved MPC and XOX machines back to Japan, their birthplace, for five imagined train journeys. The results are some of the most stunning and multilayered music he has produced to date with that constant locomotion pushing us on down the tracks and providing the perfect soundtrack to the sights and romance of the land of the rising sun.

For the 27th release of la Vie En Rose Records, coming from the most romantic town in Russia called Saint Petersbourg, we have the honor to receive the talented Vadim Shatalov.

He delivered 3 tracks between cosmic textures, melodic bassline & classic house beats.

On the A-side we have "Maybe Tomorrow" a solid housey beat, built with some classics chords, surrounded by a special atmosphere almost chaotic, the strong bassline is keeping the track really groovy and catchy. There is no doubt that "Maybe tomorrow" define the world of Vadim original, funny & futuristic.

On the B-side we have "Get Together" a bit of poetry coming from Saint Petersburg, Classic housy rhythm, fat 909 snare with a heavy subbbass, helped by some intense fm harmonics sounds, the result is an inimitable swing groove. The melodic pads are reducing the intensity of the track into something really romantic & sexy Vadim is a russian lover!

To close the EP we have "Bring it Back" same process, sexy and warm pads with a classic house 909 beat with different style of hats & textures, some warm and intelligent motives making the melody of the track, nice ambiance to close this wonderful EP.

"Maybe tomorrow" is an essential release for fans of La Vie En Rose Records illustrating what will be the the next chapter, keeping the roots and the Adn of the label.

To kick off 2019 Haven are setting their sights on the farthest reaches of the resurgence in EBM. New Zealand based hardware warrior Body Beat Ritual grew up in the UK exposed to the body music of the 80s and 90s and his experiments in industrial-tinged dance tracks inspired by the likes of Front Line Assembly, Ministry, Subpoena The Past, Nitzer Ebb, and Revolting Cocks were made in complete isolation from, and with no awareness of, the EBM resurgence in Europe's clubland.

This EP represents the first of Body Beat Rituals explorations into this sound. The A1 starts the EP with 'Instinct Primitive' - a certified body moving slammer featuring haunting screams, samples ruminating schizophrenia, a funky bass-line and drum rolls aplenty. The A2 welcomes Poland's VTSS to Haven for the first time with a bouncy gabber kick and distorted tones on her tough remix of 'Instinct Primitive'. The B1 begins the flip with the hectic drum workout, cutting bass and synth programming and political samples of 'Crash Report', followed by the destructive drums and scratchy timbre of Blush Response's remix on the B2. Not one to be missed for fans of dance-floor focused, gnarled industrial techno and EBM!

'Bohemian Rhapsody' Original Film Soundtrack

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

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

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

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

For the third release 'Purify Records' presents the first solo EP of the cologne based label co-founder 'Tangram'. Having refined his craft for many years 'Circadian Rhythms' showcases his unique ability to create immersive and hypnotic soundtrips tailored for dancefloor usage and home listening pleasure alike. Deep electronic excursions in their purest form.

KosmoramaDisco Vol. 2 is the second of a series of compilations that KosmoramaDisco label begun to release in 2018. This is a follow up of what the label it's been trying to show in the last 2 years. For this we have a new bunch of artists which music styles fit again with the philosophy and taste of the label: from Italo to Dark Disco and Slow Mo all wrapped, as usual, in club dancing format.

When the past and the future collide, unexpected things can happen. And when we have music at the core and such talent providing the raw materials being the vector for this encounter is a privilege we like to gloat. Carioca avant-gardiste Guerrinha's Repetentes 2008 is a project that is close to our hearts and minds through its rare ability to convey deep nostalgia in a playful futuristic way, renovating a tradition that is the quintessence of their hometown's musical heritage with a zest for jest. Exactly what the offer here in two irresistible grooves that, while maintaining the clarity of references they lie upon, refresh them in a joyful way: 'Missão Misturebar' and 'Judas Preist'. The flipside 'Gelo Geronimo' takes us across a similar path, but intensifies the emotional element and desnifies the rhythmic components to deliver the kind of track that only a master of French alchemy such as Gilb'r could transmutate by subverting its principles in a somewhat darker take. How about that for science

Kyle Geiger isn t your average DJ/producer. From his marathon sets at legendary clubs like Berghain to his powerfully pounding but yet sensationally melodic productions, there are plenty of notable musical accomplishments on his resume. When you scratch the surface though, what you find is a genuinely humble human with a true passion for techno and a love for DJing the kind of grateful joy you find in those who come from small Midwestern towns in the U.S., and find themselves relocated to an area where techno is so widely consumed: decades of experience collecting and programming music for some of the toughest crowds to be finally rewarded with chances to play in venues that have carried the music to where it is today. We are beyond happy to have this true legend and gentle giant on MATERIA with his awe-inspiring 4-tracker Thirty Seven EP

After a spell on the disco sidelines, Dublin label Fatty Fatty Phonographics are back with the 2nd instalment of their 'International Disco Mafia' series.

Extending its reach around Ireland and then again over the sea to Italy, it begins with a 13 minute disco trip by a young man called The Crown Prince of Waterford, with the wirey Catholic white boy spirit of Walter Gibbons in his veins.
The immortally titled 'Getting Fingered On The Waltzers' is overloaded with fizzing disco-rock dynamics, crazy organs and driving endless drum breaks that keep on pushing you all the way to an inevitable, gushing disco climax. Phew!

On the flip we have another Irish up and comer, Island Times, and his chunky disco driver 'Together'.
Just like his debut on the first volume, this one comes up trumps with a big, drum driven sound and a loose, live feel.

Last but not least, we're travelling up along the Adriatic from Trieste with Umberto Lumber, who takes a classic slow jam and pitches it down Baldelli style to a sweet cosmic sludge.
Perfect as a mood setter or as a spaced out bump and grind to finish the night off, it rounds off this 3 tracker in some style...

Mark Van Hoen (prior jaunts in Seefeel, Scala, Autocreation among others) as Locust emerges with the first of a series of EPs for Transfusions that dive into unadulterated techno spaces that you were clearly not prepared for. Four powerful weapons start this series with sounds and textures that clearly incorporate Locust's indescribable signature that we have all fallen in love with but take the dance floor to an undisclosed locale where deep vibes transfix our minds into pure bliss. Armed with a new razor sharp identity and vision, we are in for an adventure. Completely new Locust logo and extra special sleeve artwork masterminded by Paul Nicholson (OG Aphex Twin artwork visionary). This is serious.

* Walton kicks off 2019 for Tectonic with 4 cuts of pirate radio infused dancefloor orientated DJ tools. 'Inside EP' follows on from Walton's exceptional 'Black Lotus' LP, which dropped on Tectonic last summer, gaining widespread acclaim - even rated as The Guardian's 'Contemporay Album Of The Month'!

* What we have here is 4 tracks that all sit around the 130bpm mark, providing grime sonics to a techno compatible form. Built for those who don't really give a f**k if you call it techno, grime or bass blah blah so long as it bangs in the dance and moves those feet.

* Sampling snippets of MC's chatting between tracks, each track takes a mostly functional approach, building raw elements in a simple but effective fashion. 'Bullet #2' sets the scene, kicking off with a radio style wheel up - before dropping into rolling 4/4 square wave power moves. 'Inside' follows the mood, building towards a more rolling technoid construct. 'More Cowbell' bangs out like an old 4/4 grime anthem with a contemporary production sonic, while 'Gunshot Clap'
closes out the EP, with its swooping square wave stabs and background shouts from behind the mic.

Kumasi was a group comprised of Ray Phiri, Jabu Sibumbe, Isaac Mtshali and Lloyd Lelosa. Sometime between their formation as The Cannibals (*needing reissues*) and the almighty group Stimela, Kumasi released one album and a couple of singles. The artists had contracts under Gallo and couldn't reveal that they were linked to the music in any way, leading Kumasi to have only a brief mysterious run in the early 80s.

But the secrets out! This release presents a collection of five songs from their incredibly rare full length LP, and adds to that their version of the South African classic, 'Picnic'. Pressed as a 2x12' compilation, sounding incredible! Kumasi brings a unique blend of disco funk with that special South African tinge.

Ray Phiri died in 2017 - this album goes out in his dedication.

*Release has four variations of the Protea flower sticker*

Originally starting out in the late 90s, Paris-based 8 piece, Cotonete originally gained fame for renditions of tracks from their contemporaries, the likes of: Deodato, Lalo Schiffrin and Banda Black Rio. Replicating the heavy grooves, sweaty jazz-funk with a nod to the Brazilian warmth and beach breeze. Before bowing out of the game thinking the fun was over….

Fast forward to more recent times, having had their flame reignited by Melik Bencheikh, head honcho of Paris vinyl emporium, Heartbeat Vinyl. He encouraged the band to get back together and over the last two years the band released four EPs of original material - including the collaboration with Dimitri from Paris - quickly becoming collectors items, and now gearing up for 2019 they are finally ready to present a full body of work, their album debut 'Super Vilains'.

Left Ear are issuing two previously unreleased Full-Length versions of Space Farm's mid 90's Egyptian inspired tracks. Both, 'The Dawn of Birds' and 'Camels in Desert Air' were initially cut short to allow for additional remixes on the original release. For their 2019 issue, Left Ear have decided to focus only on these downtempo original songs allowing the heavy percussion and synth workouts to shine through on a loud 45RPM press.

Space Farm is the story of three friends Darrin, Bill and Waleed their love for 80's NY culture, Egyptian music and a cross continental business plan that never materialised. Darrin and Bill grew up in North New Jersey only a few miles from NY city and met while studying in '90. Bill spent his formative years listening to the emerging sounds of 80's left-leaning New York radio stations, while Darrin immersed himself in the DJ and B-Boy culture. Fast-forward to '94 and the two found themselves living in Boulder, Colorado. By this time the tag-team had started producing music and would look to their NJ roots for a group name, deciding on the title 'Space Farm' after a kooky local petting farm they often cracked jokes about. Armed with an open mind and a bunch of old studio gear the duo began producing music inspired by 80's NY, however after a budding friendship began with Egyptian native Waleed they were inspired to start experimenting with Egyptian and Arabic sounds. After hearing their output Waleed pushed for the release of an Egyptian inspired record saying 'it would sell like crazy in Egypt', that 'he would bring it back to Egypt on his next visit and get it to all the right people that need to hear it'. The record got done but, due to circumstances beyond their control it never made it over to Egypt. The duo performed live a few times in Boulder before finally returning to NJ. Darrin recalls playing their final party in Boulder in which the Space Farm record was played from start to finish, 'Some joker ran up to us while we were playing and kept signalling to up the tempo we were like F Off! raver boy'.

In 1991 Baritone Tiplove released the highly acclaimed 'Young Ladies Drive Me Crazy' 12' on Easy Street
Records introducing the world to the bizarre minds of this fictional duo. The 12' was well received and
followed up by the cassette only LP 'Livin Foul' which has gone on to be a highly sought after rarity and has
even been called the greatest cassette only rap album. In 2017 Diggers With Gratitude released the first of a
planned three part series of unreleased Baritone Tiplove material, recorded across the late 80's and early 90's.
Now, in December 2018, In Effect Recordings and Diggers With Gratitude are proud to announce the second
EP in this series.
Many people know Baritone as the alter ego of the multi-talented Phill Most Chill (aka Soulman) who has been
enjoying somewhat of a resurgence in popularity of late amongst hip-hop vinyl fanatics. Recent collaborations
with DJ Format ('The Foremost') and Paul Nice ('The Fabreeze Brothers') have been widely acclaimed, as
have his numerous guest appearances, and our previous release of vintage material from Phill, 2011's 'All
Cuts Recorded Raw', remains our best selling release to date and is now highly sought after. Suffice it to say
we expect these to sell out quickly, don't say we didn't warn you!

The Next release of BORDEL ENSEMBLE features the work of Label Co-Founder OPUS DELHI Partnering up with Lodee Gruv.

Two side / two track Maxi.THe A side is an introduction to Opus Delhi's world with a slow tempo deep beat paired with a melodic sample riff and amysterious hypnotic voice coming in an out along the trip... The B side is a rework signed by Lodee Gruv who just took the existing elements and twick them as he pleased. The result is an hi velocity beat with the sample pad pitched up and a different gimmick. Bordel002 is the first even number from Bordel and all of those will have the particularity of featuring collaborations from various artists of the Bordel Crew. Exciting debut for Opus Delhi...

James Baldwin was an unparalleled master of the written and spoken word. He was best known for his brilliant essays, plays and novels that shone light on his insights into race, sexuality, spirituality and humanity. Baldwin was an incredible orator who commanded the power of words. Whether on the pages of his books or in speeches and debates, he was passionate, compelling and powerful. This EP is the second half of a project that is a tribute to Baldwin. It features extracts from the audio portion of a documentary film shot of a discussion led by James Baldwin and Dick Gregory at the West Indian Student Centre in London in 1968.

Peabody & Sherman is a partnership between Phillip C Hertz and Curtis Ruptash - drummer and bass player respectively. They share common interests in dub, afrobeat, funk, jazz, ambient and improvisational music. They have long histories of the employing 'studio as instrument' approach to recording. The foundations for this EP was P&S rhythm tracks recorded at the Wayback Machine Studio in 2011. Supplemental instruments were layered on to create the final product. The same original sessions were also the source for their James Baldwin EP released in 2012. That EP featured remixes by Area and Afrikan Sciences.

The same concept is applied here, with remixes being contributed by Waajeed and BusCrates. Waajeed is a Detroit producer known for inventive and genre-defying music. He is background includes his work with Slum Village through to the Platinum Pied Pipers and to his work with his own Dirt Tech label today. BusCrates is a Pittsburg based producer known for his inventive use of electric and vintage synths to create deep layers of analog goodness.

For Fans Of... Durand Jones, Leon Bridges, Otis Redding, Al Green, Son Little.. Limited Honey Yellow Vinyl orders are for Indie stores only, stock is very limited and orders may well be cut. Fresh, sweet soul from Akron's Wesley Bright & The Honeytones. After going through some changes in both personnel and sound, Wesley and the guys have found their groove. This tune represents a new direction for the band, produced by Colemine Records' in-house producer Leroi Conroy at their Loveland, OH studio, these tunes are rough and tough, yet super sweet as well. Maybe that because lead singer Wesley Bright is also a beekeeper. That's right. He's a sweet soul singer that makes honey. You can't make that up.

Midday Moon is a survey of ambient and experimental music that emerged from Australia and New Zealand between 1980 and 1995. These recordings are sourced from a rich variety of micro-labels, private pressings, theatre soundtracks and artists' personal archives. Curated by Melbourne based DJ and archivalist, Sanpo Disco (a.k.a Rowan Mason), the collection delves deep into the world of outsider music that emerged in Australia and New Zealand in the latter half of the twentieth century, as synthesisers and early workstations began to enter the consumer marketplace. The record is an odyssey in itself, a journey that takes listeners into the unsung world of Australian new age composers. There are stories abound within this volume, from the mysterious disappearance of Helen-Ripley Marshall after the release of her 1988 album 'Green Chaos', to the journey of American-born, Perth based blues/rock guitarist John Heussenstamm, who unexpectedly turned his finger to 'ambient' music in the late 80's; and again from Melbourne based Ros Bandt, who made a series of recordings exploring the resonance of a hollow concrete cylinder 5 stories beneath busy Collins Street in Melbourne's CBD. Compiled by Sanpo Disco / Mastered by Mikey Young . '(Ambient music is) a surrounding influence that induces calm and a space to think... it can accommodate many levels of listening attention without enforcing one in particular.' - Brian Eno / 'A richer and more diverse ambient genre began to form. Music that crafts a unique cultural geography of landscapes and atmospheres: real and imagined, natural and man-made. Some artists turned their attention to the singular acoustic ecologies of overlooked spaces around the country. Others fostered interests in non-Western music cultures and instruments. The common thread is their use of new technologies to conjure interior and exterior regions, through acoustic and synthesised sounds.' - Sanpo Disco

Nino Šebelic, The Serbian Producer And Longtime Vienna Resident, Is A Man Who Lives And Breathes Techno. On His Premier Pomelo Release, 'jupiter Ep', He Channels True School Detroit Electro, Upgraded With His Energetic And Unique Touch. The Ep Starts Off With this Is For My Hood', A Peak-time Bass Monster Reminiscent Of Aux88's Most Intense Productions. It's Followed Up By church Of Tasmania', A More Stripped Down Affair That Is Destined To Unfold Its Magic On The Dance Floor. On The Flip Side baltimore' Explores The Space Between Electro And Techno, Oscillating Between Moody Synth Workouts And Pumping Ebm Patterns. 14357.977km' Equals Roughly The Distance Between Detroit And Vienna And Back, And For The Eponymous Track Šebelic Appears To Have Indeed Been Visiting The D For Its Glorious Chord Pads And Subaquatic Moods. Lastly get Brate' Closes The Ep With A No-holds-barred, Straight To The Point Electro Bass Banger In Best Electric Soul Style.

'learning To Cope With Cowardice', The Groundbreaking Debut
Solo Album By Visionary Post Punk Iconoclast Mark Stewart, Is To Be Given A Definitive Reissue Alongside 'the Lost Tapes', A Newly Discovered Cache Of Unreleased Material.
'learning To Cope With Cowardice' Is Released On Double Cd,
Double Vinyl With Digital Download Code And Separately As
Digital Download Albums. 'learning To Cope With Cowardice' Is A Vital Chapter In The Legacy Of Mark Stewart & The Maffia, A Project That Would Prove To Be A Revolutionary Benchmark For Many, From The Innovators Of The 'bristol Sound' (the Wild Bunch, Smith & Mighty, Tricky, Massive Attack) Through To The Likes Of Trent Reznor And Nine Inch Nails. Collected Together This Set Realizes An Expansive Restoration Of One Of Stewart's Most Audacious Statements. As It Was In The Early 1980s So It Is Now, 'learning To Cope With Cowardice' Is A Masterwork Of Mutant Design And A Rude Awakening Of Extraordinary Bite.
Mark Stewart Himself Perceives 'the Lost Tapes' As A Document
That Now Possesses A Storied Significance: it Was A Real
Adventure Discovering This Forbidden History, A Twisted Tale Of
Muswell Hillbillies, French Pirates And A Dutch Schizophrenic
Doctor Doing Psychic Archaeology.' Whilst Adrian Sherwood
Describes These Works As Characteristic Of A Distinct Primitivism: ('the Lost Tapes' Represent) The Early Childhood Of The Songs Before Mark And Me Conducted Frenzied, Scorched Earth, Slash And-burn, Twenty Hour Mental, Manic Editing Sessions At Crass' Studios That Led To Birthing The Finished Album.'

Mystique Sound Explorer Scherbe Is Bursting Out Danceable Groove Science Between Epiphany And Delusion. Urban Misty Visions Of A Past And Current Future Deconstructed And Cludged Together Again, Twisted And Dubbed Into Danceable House.
The Ep Contains 6 Tracks In Mid Tempo, Each Of Them Having A Distinct Emotive And Dense Energy. Ready To Be Played In Clubs As Well As Tailored To Accompany You In Your Everyday Frenzy.
Steady Work By Dear Friends, A Heidelberg (germany) Based Label, Is Feeling Honoured To Disseminate His 3rd Release Featuring Scherbe, Who Used To Live A Long Time In Heidelberg And Is Now Based In Dresden. This Release Fits Well Into Scherbe¥s Discography Who Yet Released A Variety Of Records On Numerous German Underground Labels Like Uncanny Valley, Or*s, Kashual Plastik And Big Bait.

From Mississippi, Veatrice Thomas moved to Los Angeles and in 1967 began recording as Ty Karim. She worked closely with her writer/producer husband Kent Harris since her debut single 'Lighten Up Baby' through to the rare groove/modern soul masterpiece 'Keep On Doin'' first released in 1980. Both the 7' and 12' have been highly desirable on the collectors scene, exchanging hands for vast sums of money. This is pure quality, as you would expect from Expansion. Features co-lead vocals by George Griffin.

White Shadows In The South Seas is the title of a book written in 1919 by Frederick O'Brien as part of a trilogy he wrote based on his experiences living in the Pacific islands in the early part of the 20th century. His book was taken as the starting point for a film to be directed, initially, by Robert Flaherty (famous at the time for his groundbreaking documentary / fiction film Nanook Of The North) with W.S.Van Dyke as his support. The film, ultimately, apart from the title, had little to do with O'Brien's book and Flaherty left the film after a few months leaving Van Dyke to finish it.

I purchased O'Brien's book, along with many others, from Basement Books, a secondhand bookstore in Melbourne/Australia. Part of my 'Islomania' and on going fascination with all things Pacific. When I discovered there was a 1929 silent film based on the book I sought it out and started to present it as part of my 'Live Music/Silent films' repertoire. Tabu by Frederick Murnau, which coincidently also had Flaherty as co-director originally, was the first film I ever wrote / improvised a score for and presented as a live film/music performance. My repertoire extends to over 23 films now.

My eclectic and diverse musical and artistic interests extend into 'Hawaiian', 'Exotica', 'Ambient' and 'Electronic' Music. I have produced several volumes of so called 'Electronic, Ambient, Exotica' on CD and Vinyl, including Kiribati, Globe Notes, Rayon Hula ( on Vinyl, CD and digital format ) and most recently, New Globe Note on Vinyl and White Shadows In The South Seas on CD.
White Shadows In The South Seas features some of the music presented in my live screenings of the 1929 silent film.

The film is the story of Dr. Matthew Lloyd, an alcoholic doctor who is disgusted by the exploitation by white people of the natives on a Polynesian island. The natives dive for pearls, however, numerous accidents occur and one diver dies. In anger, Dr. Lloyd punches Sebastian, the employer. As revenge and to prevent further interruption of his activities, he tricks Dr. Lloyd onto a ship with a diseased crew (thinking they are ill) and his men rough him up and send the ship off into a storm. Dr. Lloyd survives and is washed ashore on an island where none of the natives have ever seen a white man before. Lloyd is rescued and ultimately falls in love with the chief's daughter, who is Taboo, hence Lloyd is prevented from pursuing his love for her. An incident occurs and a young boy is thought to have drowned but Lloyd is able to revive him, earning him points and permission with the chief's daughter. Lloyd begins to realise that the local islanders have no sense of the value of the black pearls which grow in abundance around their island and he starts to dive for them and collect them. One morning the white man Sebastian unexpectedly turns up on a scooner and starts to offer the islanders trade for their pearls. Llloyd tries to interrupt the encounter and is shot and dies. His wife and the islanders morn for his dead body and, symbolically, the passing of a way of life.

Mike Cooper plays - Electric and acoustic lap steel guitars / electronics / Zoom Sampletrack / Kaos Pad / Casio SK1 / Korg Drum Machine / Self Made Instruments.

It also features field recordings made on Pulau Ubin by Mike Cooper during a month as Artist In Residence for The Artist Village / Singapore.

I would like to acknowledge and thank Lawrence English (Room40 Records) for his assistance and encouragement with the original recordings and the CD version of White Shadows In The South Seas.

All music written and played by Mike Cooper PRS/MCPS - except Po Mahina (trad. Arr. Cooper) and Hilo Hanakahi (trad. Arr. Cooper)

Recorded and Mixed at the Steelworks in Rome 2012/2013.

A White Shadow In The South Seas
In February 2014 'A White Shadow In The South Seas' was the title of an audio-visual installation I made at the Teatro In Scatola in Rome, Italy, presented as part of a series of sound installations titled 'Visitazioni' produced by Proposte Sonore.

The essay below, as well as our collection of Hawaiian shirts, Exotica and Hawaiian vinyl records, was an inspiration for this installation.

'..the transformation and reconstitution of the souvenir commodity as an indigenous ethnic art form and a scarce relic of Hawai'i's romanticized past...' from - Clothing and Textile Reasearch Journal - From Kitsch to Chic by Marcia A. Morgado.

And....
Michael Thompson's Rubbish Theory (1979)
' ...a critical aspect of Western culture is the pre-disposition to see objects in terms of two overt categories: the transient and the durable. Objects identified as transient have finite life spans and lose value over time, whereas those identified as durable have infinite lives and over time increae in value....category assignments are arbitrary, but once assigned a category membership determines relative value. Fashion apparel-by defenition-is assigned to the transient category; paintings commonly are designated durables....how is it that transient objects.. ( e.g. Hawaiian shirts and vinyl records ) ..sometimes become durables.

Objects assigned to the rubbish category are largely invisible, have no value and, ideally, no life span. Fashion for example, no longer worn and relegated to the back of the wardrobe has fallen into the covert rubbish category. But rubbish can be rescued and transformed. Thompson says ' What I believe happens is a transient object gradually declining in value and in expected life span may slide across into rubbish. Here it exists in a timeless and valueless limbo where it has a chance to be re-discovered and be successfully transformed to a durable. Such transferes are radical: objects gradually slide from transcience to rubbish, but the transformation from rubbish to durable involves an all-or-nothing leap across two boundaries, that separating the worthless from the valuable and that between the covert and the overt. Things drift into obscurity but they leap into prominence.

The delightful consequence of this hypothesis is that in order to study the social control of value we must study rubbish.

The rubbish-to-durable transformation is accompanied by the development of highly specialized knowledge derived from the discovery of subtle variations and complex details that went unnoticed in the objects transient stage. The discoveries initiate renewed interest in the object and its market value begins to climb. As prices soar beyond the reach of ordinary people, the object becomes available only in high priced collectors' markets. Furthermore, as market values rise, the aesthetic value of the object undergoes a reassessment as well, and it becomes increasingly apparent that the objects intrinsic beauty has been overlooked. Ultimately the object is re -assigned as a durable and becomes recognized as a timeless classic.

Exotica, Ambience and Pacificism - A dialogue with Mike Cooper & Professor Philip Hayward Deputy Pro Vice Chancellor of Research Southern Cross University, Lismore, Australia.

Art is a matter of different phases and influence. The artists' core reaches out like heat waves. And very rarely do these artists' core merge like Brigitte Fontaine and Arseki Belkacem have. Their Saravah Era lasted ten years (1969 to 1979), ten years of "folle sagesse" (crazy wisdom), above all genres and song limitation.

"Le plaisir secret que donne une chanson, dessin à la craie sur le mur de tes sons" (the personal delight within song, a chalk drawing on your wall of sounds) whispers Areski, right after Brigitte's voice on the penultimate song of the double album "Vous et nous". Released in 1977, this free flowing record contains 33 songs, it's their 6th album after "Comme à la radio", "Brigitte 4", "Je ne connais pas cet homme", "L'incendie" and "Le bonheur", and it continues to spread the wide and generous spectrum of the couple fully blossoming talent. Electronic experiments, North African trance, refined acoustics and medieval drones gracefully blend with the acid and candid tongues of the singers, surprising us each step along the way. The making of this record was also full of twists and turns. It started out as a solo effort by Areski at Jean-Pierre Chambard's studio. Little by little, as Areski was filling tapes with poems and improvised skits, Brigitte would sneak into the studio at nightfall, adding her voice here and there, her whispers then became screams, giving fuel to the fire in a total blaze, a surreal blaze. The solitary work ("je") thrived to become us ("nous") and you ("vous") ...

Benjamin Barouh, June 2018

Off the back of the highly conceptual project 'Plata - Last Dayz', Circadian Rhythms quickly return to focus on their white label series and solidify their signature sound. CRWL003 takes form of three club driven tracks from the arsenal of Leicester based producer R@ (Lewis Ireson). The 21 year old's current studies in Video Game Development have evidently started to seep into the ferocious sound that has drawn him attention.
His praised debut EP 'Neural' was released on Stella Beats in October 2018 and following his DJing debut at the CR003 Live event alongside Mssingno and Plata, he now continues this run with his first vinyl release, showcasing his signature production.

Reaper Recordings is a brand new label focusing on delivering a regular supply of second to none jungle and jungle related music.

Reaper is getting the ball rolling with the first in a series of 10' vinyl releases courtesy of Ghosty, who has released music under many different aliases for over 15 years. Presented here are two tracks of meticulously programmed hardcore jungle: modern production values and attention to detail whilst maintaining grit, dirt, warmth and weight. Both tracks have recently been road tested with great reception at various Jungle events around the UK.

Side A, 'Dead Already' is a low slung, bass driven, dark jungle workout with creeping, tape saturated arpeggios with powerful lows and aggressive, punchy percussion.

Side B, 'Forward' is a soul influenced, 94 style jungle track. Solid, deep sine basses hold down the chopped, steppy, dynamic drums.

* These recordings stretch back to the tail end of the late 1980's, with the original line up of Dub The Earth, who were one of a few dub reggae-inspired groups sprouting up in the west of England in those times, such as Military Surplus (who morphed into Radical Dance Faction), Rhythmites and Revolutionary Dub Warriors who all had a strong presence in the free festival scene in the UK at that time.* Featuring the late Steve Swann (Revolutionary Dub Warriors, On-U Sound) on vccals and mixed & produced by Rej Forte from Jah Works.
* The 10" features a vocal, dub and a violin cut.
* The vocal and violin cut have only previously appeared on the cassette only various artists release `One Foundation' from 1990.

In the cracks that sprawl between electronic and analog music, visual art, and craft creation, Yamila dances on the edge of sound and conceptual heights. The Spanish composer, cellist, singer and producer is based between Belgium, Holland and Spain. In recent years Yamila has created music for contemporary dance productions in places such as The Gothenburg Opera, Netherlands Dans Theater, and Dance Forum Taipei, among others. Her projects have been presented at festivals such as Sonic Acts Festival (Amsterdam), Arts Electronica (Linz), Seoul International Computer Music Festival, STRP Festival (Eindhoven), and Today's Art festival (The Hague) to name a few.

With 'Iras Fajro' (Forbidden Colours), her debut album, Yamila, summons in 11 songs with the strength of electronic sounds in front of a fragile voice that at times unfolds in small coral clusters. The brilliant electronic arpeggios and rhythms dissolve in the velvety voices of the cello, which are sometimes intertwined with the creations of two collaborators, the British producer and composer Clark (Warp) and the multifaceted ex- flamenco Nin~o de Elche (Sony).

My love wears forbidden colours My life believes My love wears forbidden colours My life believes in you once again

Sydney Valette has earned a solid reputation among post-punk scene of Paris. 'Space and Time' is a sample of his very upcoming new album. Minimal synthetic maneuvers combined with sharp guitars for a perfect modern dark sound, probably his best studio work to date. It arrives presented on 12 EP format and produced in a ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid WHITE vinyl. All tracks have been specially remastered for LONG CUT vinyl by Eric Van Wonterghem.

ORACULO RECORDS is proud to be again the selected label for another very awaited album advance. In this case, NEON ELECTRONICS 'Apollo', to be released in early 2019. Leadered by Dirk Da Davo (Ex The Neon Judgement), NEON ELECTRONICS plays on the bounds or krautdarkrock and minimalistic ebm pushing the audience to a lysergic trip. This EP includes as well an amazing live version of TNJ super classic 'TV Treated' recorded in 2018. It will be presented on 12 EP format and produced in a ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid black vinyl. All tracks have been specially mastered and remastered for LONG CUT vinyl by Eric Van Wonterghem.

BELLADONNA GRAVE is a new solo project from L.A, California. Past august 2018 has been released 2 mindblowing albums at the same time, 'Behind Despair' and 'Spiritual Death'. This double EP put together the best of the best of those majestic works. At ORACULO RECORDS we strongly think that we are more than probably in front of the cold synth / electronic record of the year. It arrives on ultra deluxe 2×12 EP format and produced in a ONE-OFF truly ultra extra limited edition of 200 copies lacquered pressed on 180 gr. high quality solid black vinyl, including inner big postcard with tracklist and a POSTER of BELLADONNA GRAVE's scan/copy based art. All tracks have been specially remastered for LONG CUT vinyl by Eric Van Wonterghem.

After over 100 million album sales the Backstreet Boys return newly signed to RCA Records. Formats are double LP (1st Feb) and CD (25th Jan). Includes the singles "Don't Go Breaking My Heart", "No Place" and the Ryan Tedder/Shawn Mendes penned song "Chances". Radio support across R2, ILR network, plus ad campaign. Video plays at Vevo and MTV. Ads, features, interviews and reviews across all press. Online/social media activity. Recent TV performances have included Strictly Come Dancing, Loose Women, This Morning, Lorraine, ITN News, 'Stand Up To Cancer'. Sold out June UK arena dates. Poster campaign and database mailout.

Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released on CD by Unit Records in 1995. Born in 1948 and residing in the medieval Swiss town of Lenzburg, and virtually unknown outside of the German-speaking world, Häusermann is a multi-instrumentalist and enormously prolific composer who works primarily in the medium of absurdist music-theatre. A virtuoso wind player and free improviser who also composes for traditional classical instrumentation, his work is characterised by subtly surreal humour and the unlikely combination of extended technique and simple, at times almost child-like, melodic ideas. Named after his rehearsal room in Lenzburg, Galerie Randolph uses an enormous array of instruments to craft a work of singular compositional vision. Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones played on a home-made contraption stretching two guitar strings between the top of Häusermann's alto saxophone and an amplified cup, and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements (whose pitch gradually raises throughout the record) are complemented by entirely different material, all of it played by Häusermann. Ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time. Calling up the most unlikely combinations of possible predecessors - Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -Galerie Randolph ultimately defies comparison. Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before.

Presented in a deluxe gatefold sleeve with gorgeous archival images by the composer. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

Key selling points: - Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released in 1995, the album utilises an enormous array of instruments to craft a work of singular compositional vision.

- Calling up the most unlikely combinations of possible predecessors - Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -Galerie Randolph ultimately defies comparison.

- Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements are complemented by entirely different material, ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time.

- Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before.

- Galerie Randolph is presented in a deluxe gatefold sleeve with gorgeous archival images by the composer with design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

This is a special release... Sometimes you just feel right about it... O'girl is Ellinor Jackson P, hailing from Karlskrona - Sweden. Her experiments with freeware on different devices turned up to be a real good Lo-Fi production... And yes! The original tracks has this feeling of a bad mp3 copy, so the Lo-Fi sound you hear at the snippets is aswell on the vinyl too... If you're looking for a high end house 12" dont buy this. If you're looking for something special then you might have a listen to this. A side is the two original tracks and on the B side there is two remixes / edits by VILLA ABO. ==A VERY LIMITED PRESS==

Masterworks Music Rolls Into Town Once Again, This Time With France's Very Own Chevals Firmly In The Saddle. Four Peak Time Disco Edits Of Tried And Tested Dancefloor Anthems, Ready And Raring To Be Unleashed.

First Out Of The Blocks, 'my Feet Keep Changin', Drenched In Uplifting, Gospel Leaning Vocals That Will Have Hands Reaching For The Heavens. Couple That With Dazzling Piano Melodies, A Pulsating Bass And Staccato Strings, Alongside A Spiritual Breakdown That Will Bring About Full-on, Holy Disco Enlightenment. Next Up, A Filtered Disco House Gem In The Form Of 'this Time Is Dedicated To Love'. Shimmering Vocals, Synth Trills And Guitars That Radiate Warmth Combine With Fresh Percussive Samples And Lush Female Harmonies.

Take To The B Side And You're Hit With 'never Will I Leave You Baby'. Sun-kissed, Beachside, Wind In The Hair Vibes - Bringing Back Memories Of Those Warmer Months, Where Everything Just Seemed That Little Bit More Blissful. '80s Synths, Fuzzy Hats, Filtered Phrases And Sweet Chord Progressions In Abundance. Closing Out The Ep Chevals Goes Heavy On The Modulated, Wobbly Synthwork And Rich Bass Tones On 'love Somebody' Before Those Deep, Soulful Keys Take Centre Stage.

Disco Edits Done Properly!

Split album by Joe Corfield and Slim, two of UKs most promising beatmakers. It's the follow-up to the 'KO-OP 1' album by Smoke Trees and Juan Rios on KO-OP, the sub-label and community dedicated to the art of beatmaking founded by reknown hip-hop label Melting Pot Music from Cologne, Germany.

When we started KO-OP in the summer of 2017, little did we knew where this journey would take us to. Ever since we had the pleasure to work with 21 artists from all over the world and have put out almost 80 tracks on lp, tape and digital. Now we are happy to share with you KO-OP 2 - a split album by two of our favourite producers from the UK: Slim and Joe Corfield. Slim is one half of London rap group Summers Sons. The Sons are signed to MPM where they have released two albums ('Undertones' & 'Uhuru').

In February 2019 Summers Sons will play their first German tour together with Children of Zeus. Slim has released instrumental cuts on KO-OP, Brownswood and Banoffee Pie, plus a beattape on Yogocop Records. Joe Corfield hails from Birmingham and has released a string of albums via Radio Juicy and Yogocop.

He is coming with his very own sound. Futuristic and soulful, with a great ear to detail. It was actually Flofilz' idea to have them both on one record. 'KO-OP 2' will be released on one LP with two individual covers by Rahel Süßkind, a Berlin based artist (and part of Money $ex Records) who is responsible for all KO-OP artwork.

Our Favourite Bothy Botherers Mac-talla Nan Creag (comprised Of Hoch Ma Toch, Other Lands And Lord Of The Isles) Return To Firecracker Recordings, Channeling Ancient Rites, The Mysteries Of The Scottish Landscape And Its Elements Through Technologies Both Old And New For Your Listening Pleasure.

This Time Round The Archaeological Work Of Forestry Commission Scotland At Dun Deardail In Glen Nevis, And The Links Between That Site And The Ancient Celtic Myth 'the Sorrow Of Derdriu' Provided Fertile Ground For New Exploration And Response. Accompanying The Music Once Again Will Be A Lush Booklet Containing Some Of The Stunning Imagery That Results From The Work Fcs Have Done There, All Packaged And Silk-screened With The Usual Finesse We've Come To Expect From Firecracker Recordings And Their Chief Visionary House Of Traps, In Conjunction With 12th Isle's Al White.

Captured In Part In A High Vaulted Medieval Church, Then In Home Studios, Bouncing Ideas Back And Forth Over The Internet, Mtnc Have Once Again Drawn On Field Recordings, Traditional Instrumentation, Analogue Electronics And The Simple Power Of The Human Voice To Create A Shimmering And Expansive Song Cycle.

Whereas The First Album Was Borne Out Of An Intense Period Of Field Trips And Whisky Fuelled Jam Sessions In Brochs And Had A Loose Approach Overall, The Second Is Perhaps More Focussed In Its Themes Relating To The Ancient Tale - Love, War, Beauty And Tragedy All Intertwined - And They Arguably Go Deeper This Time, Conjuring Up Something Of The Fourth World Feel, By Way Of The Firth Of Forth.

With Additional Contributions From Professor John Kenny - Whose Primal Zummoesque Playing On A Range Of Horns Including A Giant Conch Shell And A Replica Of The Ancient Deskford Carynx Underpins Several Tracks On The Album - And Eva Sutherland (daughter Of Other Lands) Who Provides A Reading From The Myth At The Very Beginning, This Is An Album That Not Only Carries The Heaviness Of History But Also Looks To The Light Of The Future.'

Duckett returns to Wisdom Teeth with another otherworldly four-tracker of melodic, trippin' house-n-techno. While recent outings on Berceuse Heroique and Solar Phenomena have showcased the more abstract edges of his sound, Corde Raide Vers Nulle Part comprises a collection of the Welsh producer's most melodious work to date. Throughout, the tracks are driven by snaking FM basslines, shimmering video game synths and tonal drums, creating a record that will appeal equally to fans of golden era Night Slugs, bleeping minimal techno, and the compositional electronica of labels like RVNG International and Latency.

Ella's 1960 Christmas album is a sultry, swinging holiday classic. Originally released on Verve and her only full length Christmas album for the label, it features arrangements by the great Frank DeVol who worked with a who's who of 50s/60s pop and jazz vocalists from Nat King Cole and Sarah Vaughan to Tony Bennett and Dinah Shore. A beautiful collection from one of jazz music's finest all-time vocalists. Perfect for that swinging holiday party!

Sinking Into A Miracle is the debut album by Glasgow's AMOR, a quartet of musical travellers exploring the sonic open-ended-ness of dance music. Following two critically acclaimed 12-inches, this is a fully developed treatise on ecstasy and transcendence. Here, Richard Youngs, Michael Francis Duch, Paul Thomson and Luke Fowler are more honed, razor sharp in focus and timing, testing their instrumental prowess on condensed song structures and new, enlightened feelings of expansive hope and bliss. From the outset, it's an ambitious yet ultimately inclusive journey. Recorded to 24-track tape at Chem 19 and mixed by Paul Savage and Richard McMaster (Golden Teacher), this full length retains the elastic grooves of Paradise and Higher Moment, the group's previous singles, but relinquishes the classic Philadelphia International-tinged sound in favor of looser rhythmic patterns. There are new depths to the compositions: a more free-flowing approach to percussion and deft experiments in hybridity make for a full and rounded, emotionally tinged record. Indeed, there are times when AMOR sound like the lost house band from David Mancuso's Loft parties: Richard Youngs' uplifting, gospel-tinged lyrics talk about moving beyond, universal truths, sailing through the horizon. It's a wideeyed optimism Mancuso would perhaps have approved of and which is embroidered with spectral details that begs to be auditioned on large, tweaked out sound-systems.
Fantastic cover art by Robert Beatty.

From Their Unassuming Origins As A Group Of
School Friends Drawn Together By A Shared Passion
For Music To The Global Touring Force (supporting
The Cure And Editors At Arenas And Stadiums) They
Have Quietly Become, The Twilight Sad's Ascent Has
Been Forged The Old Way, With Grit, Graft And Four
Exceptional Studio Albums.
Now Signed To Mogwai's Rock Action Records, The
Band's Fifth Album Does Not Disappoint And Will
Certainly Please Fans Of Their Previous Works. It Will
Also Appeal To Fans Of The Cure, Frightened Rabbit,
The National, Interpol And Editors.

Born the 26th of October 1956 in Aïn Azel near the Algerian city of Sétif, Nordine Staïfi, real name Larbi Smati, was very young when he emigrated to the French Chambéry region.
After having recorded 'Sraoui' style songs, his real devotion as a singer took place in 1978 when publishing the song 'El Ghorba S'hiba', a disco version of a traditional East-Algerian piece. This song would revolutionize the modern Algerian music, and made Nordine one of its most important protagonists of the 1980s.
For nearly ten years he dedicated himself to the modernization of his music, traversed by the themes of exile, love and the nostalgia of his country.
Nordine Staïfi died prematurely on December 17th 1989 in France, at the age of 33.

Ken Oath slip on their moon shoes for a joint venture with Freda & Jackson, pressing up four cuts that will have you slipping the surly bonds of earth and dancing in the skies. Loaded with basslines heavier than a neutron star and well-chopped breaks, produced with a dubwise ear for space, this is some of the duo's finest material yet 'Kendama' is the heaviest cut here, a deep psychedelic outing that's swathed in an foggy haze. Abstracted digi-flutes and koto plucks are paired with a skull-boring bassline and exacting breakbeat dissection, adding some levity to the leaden heaviness of the track's bass-weight. 'Cubone' slows but retains the hallucinatory haze that coils around all these trackers. Thudding bass anchors the floating drones and glitches, while percussion snakes through the track, building, like smoke slowly filling a room. The steady build is transportive, to the point where you hear the final echo tail trailing out into silence, and wonder how that all time dissipated Flipping over the record, 'Platform 22' is where you'll find the two of them at their loosest. Submerged vibraphone melodies and swirling voices play over a bassline that sounds like its descending the stairs, boisterous and half-drunk, to culminate in an orgiastic percussion frenzy at the end. Spacious and dubwise, 'Noggin' is a tellingly heady closer. Samples are set adrift across the track as they are dubbed-out and dissolved into smears of sound. There's a buoyancy to the whole piece, a pleasant weightlessness that keeps you floating after the final notes fade out. One time for ya mind.

Black Rain returns with Computer Soul: the final part of a sequence of Blackest Ever Black releases that began with 2011's Now I'm Just A Number: Soundtracks 1994-95, and a first glimpse of the project's richly imagined future. For this outing Stuart Argabright (Ike Yard, Dominatrix, Death Comet Crew) is joined by BR founder member Shinichi Shimokawa as well as more recent recruit Soren Roi and Zanias (vocalist on 2015's Dark Pool) - making for the most most group-oriented iteration of Black Rain since its earliest days. Sonically too, there is a sense of evolution but also of coming full circle: the cyberpunk techno of Argabright's celebrated William Gibson soundtracks (compiled on Now I'm Just A Number) and extrapolations of Dark Pool's neuromantic yearning cut with glimpses of the thrash and industrial rock energies that animated Black Rain's incendiary live shows - and sought-after tapes for Kombinat and TPOS - in the early 90s. More than ever, Black Rain is propelled by a powerful science fiction impulse, whether responding to the themes and characters of Gibson's Sprawl or the Blade Runner universe (particularly K.W. Jeter's spin-off/continuation novels which extended its mythology, and timeline, further). It's not news that many of these works' most powerful predictions and prophesies have come to pass - the replicants are already living among us - so Computer Soul projects further into several possible unforeseen futures, its events 'set' in the second half of the current century, fifty or so years after those of Dark Pool. The hyperpopulated metropolises of Dark Pool are no more; the apartments are empty, haunted by ghosts of AC current, devices and machines running lonely without their owners...a melancholy internet of things. Where has everyone got to Gone but perhaps not gone. Oblivion beckons - always does - but on the other side of that, something else... another time, another place, a river....and a new way of living.

The man behind Workshop and Out To Lunch famously takes his time to make electronic productions that are, in turn, out of time. Over the course of his career he's released tracks that could have been made yesterday, years ago, or a decade into the future. with Avenue 66 he's found a leftfield home that celebrates pure creativity, that embraces the liminal, the weird and the sublime. Light Surfing fits all of these descriptors.

The double-LP rewards deep, repeated listening. There's plenty to unpack, but those who cherish the murky bangers that have been Lowtec's stock and trade will find plenty to love. "Boy With The Broken Glasses" weaves a subtle, dancehall-inflected riddim into hazy ambient house, while the closer, "Burnt Toast," is the latest example of Kuhn's uncanny ability to perfectly fit a soulful vocal sample into an alien dance floor soundscape.

Unexpected moments of sideways beauty also unfurl across the four sides. The two-part "Light Surfing" is one of Lowtec's most evocative suites to a date-its mournful string soundtrack is the album's recurring, longing motif. Elsewhere, as on "Mynthenquai," Kuhn applies avant-garde strategies to his synth leads, taking us on head-spinning melodic journeys.

Light Surfing is a masterful balancing act between dream states and machine-like efficiency, the experimental and functional, precision and spontanaeity. Lowtec could have only gotten here by taking his time.

Hungarian producer Giash has been on Metroline Limited radar for quite some time. It took a while to get him on board but the wait is finally over: the misteriously titled Sen_d_Ingo Ep is here and it is super-tasty!

An expert crafter of minimal beats and hypnothic grooves, Giash career has spanned over 10 years with his productions being released on wax through seminal labels such as Archipel, Plaisir, Why So Series and many more.

The opening track, Brunc_hc-_h, give us the first shot of underscores and a high dosage of machine funk minimalism. It's a full on/slow-mo industrial churning groover with sci-fi licks and lush pads work!

The second cut on the A side it's the beatiful Imagin__ary and it's deep minimalism at the highest level. It's a great mixture of new and old as far as reduced jacking grooves are concerned.
It could have easily fitted in the late 90's Perlon/Playhouse era but it surely sounds as current, fresh and forward thinking now.

Side B is solely occupied by the tripped out grooves of Sen_d_ingo. Close your eyes, imagine yuorself in an East London basement at the darkest of after-parties, this track is the perfect fit for that particular moment.
Over 13 minutes of dark and hypnotic beauty, the track is crunchy and punchy with a wigglesome broken rhythm, some subtle synth variations and plenty of dark and deep atmoshperics!

CYRK, the Belgian-German duo of Sammy Goossens and Pascal Hetzel, is giving its debut release on Vakant with three fast-paced no-holds-barred electro jams topped off with a remix by French producer Voiski.

'Superior Things', the eponymous title track, kicks off the EP with driving funk and and acid lead synths, followed by 'Heatwave', another futuristic high-tech-funker. On the flip we have 'Chappers Said So', a sublime homage to classic Detroit electro and last but definitely not least Voiski's remix of the latter, an immersive and trance-inducing techno re-work for you to get lost in.

Artwork by SEO

Pi Gao Movement presents their first and long awaited release of the HAdES (Humanoid Advanced Engineering Society ) Network concept on vinyl. Originally released as a digital download, Descendants of Starfish Prime introduces Majestic 12 as a genre - blending mavericks of electronic music. Much like the name implies, Descendants takes a still landscape and captures it in time as it is violently uprooted, stripped to it's base elements and becomes something foreign, something unimaginable, something beautiful. This four song release takes the listener through a journey offering little consolation and no apologies; using varying tempos, patterns, structures, and vocals as operators on a clean canvass. What is the HAdES Network Series The HAdES or Humanoid Advanced Engineering Society Network series will be a collection of works from various artists presenting obscure and diverse facets of electronic music. Man creating machines to replace the human being. Who is Majestic 12 Majestic 12 is not a who, but a what. There are no names attached to this conceptual group. It is a cluster of concepts that have been carefully selected through experimentation. Strains have been extracted, combined, and developed

The dystopian reality is here but as humans possess enormous power to destroy, we are still subordinated to the greater powers of nature and material world. Desastere depicts the fragility of human experience when compared to space. The A side gives the sensation of inveitable and slow, intimidating superclusters with it's opener Mare Nostrum, and on side A2 - Supernova track that decelerate into hard-kicking loops. The B side is making an introduction to the final cut that will happen with the Cap on side 1 and B2 The Dune - which finalise the encounter in their off-beat and industrial manner.

Artist Biography:
Franck Vigroux's music is made of tectonic tensions, beats, electronic textures and a very personal approach to sonic exploration. He has performed and recorded with musicians such as Mika Vainio, Reinhold Friedl, Elliott Sharp, Zeena Parkins, or Ars nova ensemble instrumental. Vigroux's uniqueness comes from his artistic approach that integrates new media and performing arts. He designs transdisciplinary shows and audiovisual concerts, collaborating with visual artists such as Antoine Schmitt and Kurt d'Haeseleer. Vigroux's records have been published on many labels worldwide such as DAC Records, Leaf, Cosmo Rhythmatic, Monotype, Radio France, Erototox.

With 'Caused Corruption & Spilled Blood', the second release on Voidance Records, Chafik Chennouf & Katsunori Sawa have created a soundtrack of the tragic drama of humanity´s fatal flaws, meditating on the question whether the angels were right to fear mankind's creation of causing corruption and spilling blood according to an anecdote that all Abrahamic religions share.
The follow up - Mediate Between Them' may not provide an answer to this question, but further elaborates on the topic. Whereas issues such as obstruction of truth for personal gains, affinity for internal destruction or longing for salvation were originally approached more internally by means of ambient or experimental electronics, the experience now emerges through the work of renowned artists Samuel Kerridge, Eomac, Nene H. and Stave using Noise, Techno and stepping Industrial as their weapons of choice.
Voidance Records is proud to present Chafik Chennouf & Katsunori Sawa´s vision once again, this time through different eyes of 4 unique artists. Not only is - Mediate Between Them' the reverence these tracks deserve, but also demonstrates a huge step forward in the Label's position as a striking new voice in contemporary electronic music.

Domestic Exile are proud to present the devastatingly deplorable and malevolent recordings (that are sure to corrode yet electrify your ears) by Glasgow's very own KLEFT.

KLEFT aka Vickie McDonald is rooted in and has actively propagated the underground DIY radical queer punk and feminist movement here in Glasgow. Their projects have included the skull crushing sludge doom of Cartilage, the unflinching and infamous multi- membered hard core stars that were DIVORCE and the sacrificial, druid drone glitch of MOURN. Alongside these projects they have uncompromisingly disrupted, motivated and facilitated collective endeavors to take down the capital power structure of the dominant system of patriarchal club venues and abhorrent fuckers in this town.

For this record 'H+ Sexualis', KLEFT explores the neo-modern space where flesh is left behind. Negotiating, analyzing and tearing to shreds the relationship and balance between flesh and technology. KLEFT's expansive and palpable sonic offerings delve into themes of transhumanism and body hacking and seep into our collective skin begging the question; can flesh ever be created digitally. Does a lack of physicality alienate human experience in a post transhumanism society Are we all destined to be skinless yet digitally connected Will the body become superfluous Toward "the utopian dream of the hope for a monstrous world without gender," as stated on Donna Haraway's essay ''A Cyborg Manifesto.'

From the opening track 'Ossein' the listener grasps a foreboding lethargic build up, lurking out of the spatial ritualistic shadows into a sea of suffocating nothingness. A void where there is no gravity. Skeletal and brittle shattering rhythms which echo DMZ / Skull Disco dubstep alongside the more frozen, glacial ominous explorations of grime are often felt proving KLEFT is an artist whose inspirations run deep and wide and generally exist in the darkest recesses of our subconscious. These fearful, disjointed rhythms are set against weightless atmospheric oscillated synths, as if roaming through bleakly opaque, claustrophobic narrow corridors on a first person survival horror video game such as Resident Evil.

Moving through to 'CMBR', KLEFT's dissonant, degrading soundscape ferociously ascends. The resilient kick drum is propulsive and pulverizing akin to 'ardcore tekno - or intense gabba if you have the guts to adjust the tempo up to +8 - aesthetics that overwhelm and agitate finally revealing it's grotesque biological / amorphous bio structure. Elevating the repetitive 4/4 kick to a destructive, distorted banger of a track as layers of converging atonal noise and sound design simultaneously further enhances the sense of imminent radioactive contamination.

Next is 'Writhe, Squirm, Broken' continuing the convulsive, nauseating permutations of the prior track but reconfigured like a mangled, gruesome Cronenberg-esque parasite that has infiltrated an open wound, excruciatingly feeding off of the inner anatomy of it's hosts body from within. Repulsively reformulating the shape and dimension. The intro is akin to a panic stricken bouncy ball contracting and expanding, the spring reverb building momentum and traveling further away in distance and speed.

'Hackfleisch Deluxe' is a muuurrderous stomper and is one of the more grime / bass orientated tracks that deconstructs and disrupts the tempo familiar to sub-low producers on Black Ops / Jon E Cash / DJ Dread D. The crawling, plummeting frequency of the synth is a nauseating rush of coagulating blood to the heed; a deep throbbing sensory depravation in sharp, paradoxical contrast with the driving harmony layered on top which proves to be infectiously addictive. Furthermore are splintering programmed vocal samples that gives a sense of artificial disorientation, mind over matter, a possible hint at our evolving sentient cognition within a nightmarish simulated, augmented reality

Second to last we have 'Keratin' which is filled with the near fatal dissolving thud of Djax-Up acid that gives the impression that you're a biologist peering through a microscope into a petrie dish and witnessing the rapid and furious genetic cellular replication of bacterial and viral organisms.

Culminating in 'Bruised and Bleeding Hands' where the squashed density of a deflated and depressurized helium filled balloon and elastic umbilical cords, barbed wire and copper wires grind n' coil around the lens of a zooming camera. Taking no prisoners, this is a punishing grime weapon. A phat, surgical kick drum bulldozes its way thru causing carnage, syncopated punching snares after every rave stab and dizzying third beat. It won't be long until ye hear this on Silver Drizzle's youtube channel in the near future.

This record transports us to the hyperkinetic mutation scene on the cult cyberpunk film Tetsuo The Iron Man where the organic flesh / mechanical rust of the Iron Man metamorphoses with the Metal Fetishist during the rebirth sequence and we say 'LONG LIVE THE NEW FLESH!''.

Deep in the Romanian wilderness, beyond the foggy wastelands and the drab greyness of the metropolitan district you can find the base of two musical wizards who invoke the spirit of the past to transmit a very modern interpretation of their nation's musical traditions.

They are known as Livio & Roby and they have been putting their own supernatural twist on house and techno for the past 10 years. Their connection with the global electronic music movement has been channeled via highly influential outlets such as Desolat, VIVa, Saved and Fumakilla. While their physical presence has been felt in a myriad of venues from Buenos Aires to Detroit, and across much of Europe. From dynamic DJ sets and innovative live performances to album projects and a constant flow of cutting edge, dancefloor-based productions the duo remain one of their nation's leading lights in the field.

The tribal rhythms, inspired by Romania's colourful history, penetrate your psyche: the organic instrumentation lifts your spirit; flutes and vocals combine with delicate chimes, while groovy basslines and solemn melodies create a magical concoction. It's a formula that caught the ears of their early supporters, Steve Lawler signed them up to VIVa Music and Berlin stalwart Woody introduced them to the city's music scene via his highly-respected Fumakilla label.

It's easy to eye collaborative records between two established artists with either a weary sigh or a degree of cynicism. In an age where a track or record seems to perform better directly in relation to how many artist names are on the digital byline, it can often feel like engineered circumstance or a desire to exponentially boost appeal comes before any natural create endeavour. In the case of 'On Reflection' however - the new record by Derwin Dicker AKA Gold Panda and Jas Shaw, one half of Simian Mobile Disco, the venture, under the moniker Selling is rooted in a long-standing friendship and prior creative history.

Lance Ferguson's Raregroove Spectrum is a collection of newly recorded versions of classic funk, soul, jazz and latin vinyl rarities, which features some of Melbourne's finest musicians across the album, including past and present members of The Bamboos, The Putbacks and Hiatus Kaiyote.

As the man at the helm of many musical projects over the years including Cookin' On 3 Burners, Menagerie & his solo project Lanu, Lance is no stranger to the art of imaginative musical re-interpretation, be the material soul, funk and jazz based or the works of James Blake, Roxy Music and Prefab Sprout.

For Raregroove Spectrum, Lance explains that much of the inspiration for the re-works comes from his experience as a DJ, "Some of these versions can almost be looked at as DJ re-edits, sometimes we're extending what may be a really short track into something longer, or teasing out the elements in a song that really make it work on a dance-floor. It's essentially what someone does with a club re-edit, except we went the extra step and re-recorded the whole thing with a live band".

In other cases, top-shelf classics have been re-imagined in different guises: James Mason's 'Sweet Power, Your Embrace' as a sun-drenched Samba, or Anderson Paak's sure shot tune 'Am I Wrong' given an 1980's style Boogie/Jazz Funk makeover. Stir into this musical gumbo stew the raw Deep Funk of 'Egg Roll', the swinging Mod R&B of Googie Rene's 'Smoky Joe's La La' to the epic, widescreen Jazz-Funk of Pleasure's 'Joyous' - Rare Groove Spectrum provides new perspectives on the obscure to the well-loved, from old-school to new sounds - this is rare grooves re-grooved... beautifully.

Jac Berrocal, David Fenech and Vincent Epplay return with Ice Exposure, their second album for Blackest Ever Black. A sequel and companion piece of sorts to 2015's Antigravity, its title couldn't be more apt: sonically it is both colder, and more exposed - in the sense of rawer, more volatile, more vulnerable - than its predecessor, capturing the combustible energy and barely suppressed violence of the trio's celebrated live performances with aspects of noir jazz, musique concrète, no wave art-rock, sound poetry and spectral electronics all interpenetrating in unpredictable and exhilarating ways. While there are moments of great sensitivity and even a cautious romanticism, the prevailing mood is one of anxiety, paranoia, and mounting psychodrama: close your eyes and Ice Exposure feels like a dissociative Hörspiel broadcasting from the seedy backstreets of your own troubled mind. Before he picks up an instrument or opens his mouth, Berrocal's unique and compelling presence can be felt: a combination of studied, glacial cool and anarchic, in-the-moment intensity that has served him well over a long and storied career. It was honed during his time as a theatre and film actor, and in the 70s Paris improv scene, it powered his influential Catalogue group in the 1970s, numerous seminal, sui generis solo sides, and far-sighted collaborations with the likes of Nurse With Wound, Lol Coxhill, Pascal Comelade and James Chance which have seen him come to be valorised by two generations of avant-garde agitators and eccentrics. Now in his eighth decade, it comes with an added gravitas, perhaps, but no less energy or vitality. On Ice Exposure, his lyrical, instantly recognisable trumpet playing is a key feature - see especially the ghostly, dubwise take on Ornette's 'Lonely Woman', the dissolute exotica of 'Salta Girls', and the sublime echo-chamber soliloquy 'Opportunity'. But more often it's his voice that commands centre-stage, whether casually discharging surreal poetic monologues or moaning in animal despair - a vocal tour de force that transcends language and culminates in the Dionysian frenzy of 'Why', Berrocal's half-spoken, half-howled exclamations jostling with David Fenech's slashes of dissonant guitar, over Badalamenti-ish, panther-stalk drums. Fenech's origins are in the mail-art scene of the early '90s, when he led the Peu Importe collective in Grenoble, and since then, in addition to his own recordings he has worked as a software developer at IRCAM and played with Jad Fair, Rhys Chatham and many others. Together with Vincent Epplay he is responsible for Ice Exposure's inspired arrangements and vivid, vertiginous sound design. Epplay is a visual artist and composer with particular interest in aleatory composition, concrete, and the reappropriation of vintage sound and film material. He and Fenech fashion a remarkable mise-en-scene for Berrocal to inhabit, one that embraces cutting-edge electronics while also paying homage to the best traditions of outlaw jazz and libidinous rock'n'roll ('Soundcheck' invokes the brutish spirit of Berrocal's hero Vince 'Rock N Roll Station' Taylor). On 'Blanche de Blanc', Berrocal's voice is framed by a groaning, ghoulish orchestra of industrial drones, while 'Equivoque' evokes the most humid and hostile Fourth World landscapes and 'Panic In Surabaya' lives up to its name, a hectic, pulse-quickening concrète collage that leaves you gasping for air. This is a searching and singular trio operating at the absolute peak of their powers, with an interplay that transcends studio and stage and occurs at an almost telepathic level. Ice Exposure is a triumph of that group mind, an underworld dérive as life-affirming as it is unnerving and psychologically precarious.













Panic In Surabaya

You might know Peter Matson as the founder, frontman, and guitarist of NYC-based breakout band Underground System, who recently released a debut album of otherworldly global-dance anthems (on Soul Clap's self titled imprint) and have been touring their live show at venues around the US. Matson's roots, while nestled in worldly live sounds, also firmly grip deeper dance music styles, though they manage to still pack a refreshingly eclectic energy.

His debut EP 'Short Trips' for Brooklyn's Bastard Jazz connects the dots between his time moving bodies in the club as a DJ, as well as in his group as a guitarist and producer, though this record is better suited for a woozy club floor. "Roma Norte" kicks off the wax with its soulful cocktail of latin-house styles and hypnotic basslines that would elevate the opening hours of any club night. Deep house legend and Freerange Records boss Jimpster provides an ethereal, creative remix that delves into afro-house territory. "3AM to Sete" is a warm and bubbly deep house tune that sounds like something you might hear late-night in a South London nightclub—it's all warm bass vibrations and subtle synth explorations. Matson's seasoned instrumental skills shine on "126," another breezy synth jam with just enough punch to make you move, eyes closed, of course. 'Short Trips' sounds like the work of someone not interested in where one scene ends and the other begins, but instead, where they connect.

Africa cumbia psychedelic

Dark Entries is honored to release a 4-track EP by Swiss musician Carlos Perón, founding member of Yello. Carlos was born in 1952 in Zurich and began collecting music at a young age. Inspired after attending a concert of Karlheinz Stockhausen in the 1960s, he began to compose Musique Concrete pieces using a 4-track reel to reel and found sounds. In 1979 Perón founded the trio Yello with musician Boris Blank and vocalist Dieter Meier. Yello released their first album in 1980 and the following year Carlos released his first solo album 'Impersonator'. In 1983 Carlos left Yello in order to pursue a solo career and released the soundtrack to Die Schwarze Spinne" and 1984 his second solo album Nothing Is True, Everything Is Permitted'. In 1988, Belgian label LD Records released a 4-song EP of instrumental tracks from 1984 that predated, influenced and became staples in the New Beat scene.

Dirty Songs' is a collection of songs from Carlos Perón recorded between 1980 and 1986. The recordings were made with the core set up of an ARP 2600, Roland's Drumatix, TB-303 and TR-808. Nothing Is True, Everything Is Permitted (Instrumental)' recorded in 1984 is a slow burner with dark, gloomy atmospherics, presented here in an extended version with a bonus intro. The song was inspired by William S. Borroughs' Naked Lunch' and paints a bleak futuristic landscape. Breaking In (Instrumental)', from 1984, is a crossover of electronic body music and pitched down Chicago acid house featuring overplayed snares by hand though an Ovomaltine Box. Originally featured on the soundtrack for Die Schwarze Spinne', the song is about breaking into a large pharmaceutical company to steal drugs. On the B-side is A Dirty Song (Instrumental)', originally recorded in 1986 and released by Play It Again Sam in 1988. The song uses one of the earliest Roland SH synthesizers, the SH-1 A, as a solo instrument and is strikingly aggressive with percussive rhythms. Et' was recorded in 1980 on a 4-track and later and remixed to 8-tracks in 1984 for the Frigorex' EP, which is where this extended version comes from. Featuring eerie, cut up vocals and Dadaist lyrics by Isa Nogara atop a proto-Techno beat.


All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features a never before seen black and white photo of Carlos taken in 1988. Each album includes an double-­sided postcard featuring the cover art from the Frigorex' EP. Prepare to make your own movie to the Swiss John Carpenter soundtrack vibes of Carlos Perón.

When Dunham Records/Daptone producer and musician Thomas Brenneck first heard the close family harmonies of the Sha La Das he had a revelation; he knew he had to get it on tape.



Direct from Staten Island, the four Schaldas, father Bill and sons Will aka Swivs, who also toured the world playing keyboard for Charles Bradley and his Extraordinaires, Paul of Paul and the Tall Trees and Charles Bradley and his Extraordinaires, and Carmine had come into the studio in Brooklyn to record background vocals on Charles Bradley's Victim of Love. It was a passion that drove Brenneck from the very beginning.



'Hearing them sing together in the studio was incredible', says Brenneck. He collaborated with Bill Schalda writing songs and applying harmonic sensibilities rooted in doo wop, blues and soul. It wasn't a stretch for Bill, after all he'd been second tenor when still a teen in Brooklyn vocal group, The Montereys in the 1960s (their 45, Face In The Crowd/Step Right Up on Blast records sells for $500 these days) who would play venues from neighborhood bars to the 1964 World's Fair in Queens.



'Bill is the genuine article, just like Charles Bradley and Sharon Jones, he came directly from the source,' says Brenneck. Indeed, Bill Schalda was right there amongst doo wop and r&b groups of the era, singing Moonglows and Flamingos tunes.

'You'd go out on the street and constantly hear a bunch of guys singing on the corner, they'd finish playing handball in the schoolyard during the day and then they'd start singing at night,' says Bill. 'We were all just guys in the neighborhood in Brooklyn, who gradually found each other.'



After their children were born, Bill and wife Linda moved the family across the Verrazano-Narrows bridge to Staten Island. Growing up, sons Will, Paul and Carmine remember summer nights singing group harmonies on the stoop of their home with their father Bill guiding them. 'He would bring us out on the stoop on Staten Island and he would teach us each parts of say, the sesame street song - we were his backing group very early on - that was fun,' says eldest son, Will.



On this, their debut, the talent is harnessed in 11 songs, each tender-voiced delight delivered with absolute conviction combined with musicians that have help define the Daptone/Dunham Records sound including Brenneck, Homer Steinweiss, Dave Guy, Leon Michels, Nick Movshon and Victor Axelrod. 'I wanted to take the Sha La Das outside of the doo wop genre,' says Brenneck. 'To take the whole vocabulary of doo wop harmony and reapply it to soul - so you get super soulful harmonies along the lines of The Manhattans & The Moments.'



From the opening atmospheric guitar strum of Open My Eyes via a walk along the Coney Island boardwalk catching the last glimpse of sunlight at dusk of Carnival to the sublime crescendo of harmonies of the winsome Love in the Wind, each song evokes a deeply personal yet universal yearning that none of us can escape. Quite simply every song yields magic.

There's something special when a family can meld voices in close harmony. The Everly Brothers had it, The Beach Boys had it, the Schalda's have it.

Following releases from Mituo Shiomi / Drum Machine and Takeshi Kouzuki, Italian imprint Alley Version is back courtesy of their third release, the split E.P. 'Parallel Journeys'.
This time about, the label welcomes Sähkö Recordings man Nasty Boy to the fold alongside the label owners, FLML. Opening the release is the sounds of Nasty Boy's thrilling 'Give Up'. A slow tempo dexterous and exotic deep house track. Nasty Boy's other original cut here is 'Touching the void', a more raucous track with a heavy emphasis on drum patterns and sharp, simmering synths.

The B side kicks off with FLML's 'Oblivion Street', an analogue-heavy cut deep house jam that's perfectly suited to those dark, colder nights. Culminating matters soon after is FLML's 'Bouncy Dream', a good-time house record whereby FM piano-laden vibes cause havoc from the get-go. Limited vinyl only.

Contemplate, reflect, observe and record. Constanijn Lange presents a story of reminiscence and memory, partial witnesses of past and present journeys. Ideas and ideals of what has been and what could have been entangled between complementing poles of drive and meditation. The result is his rst full length album and a personal story that unfolds all its details the closer you get.

Samo Records is very pleased to introduce the debut EP from Russian Chandeliers, a new project by Julian Grefe (Pink Skull) and Fringe Society (formerly known as Quell). Berliners by way of Philly and Athens (Greece), respectively, the studiomates have perfectly fused the best bits of their signature styles to create a record that's equally suited for headphones and dancefloors.

"Worm In Worm Out" (A1) kicks things off with a chunky, chuggy rhythm that indeed worms its way into your brain, sprinkling vaguely psychedelic echoes throughout.

"Stay In Seattle" (A2) is a slow-burning charmer that layers bleeps and sizzles over a dark and mesmerizing bassline.

Zombies in Miami put a slightly spooky, frantic spin on "Stay In Seattle" for their mix (B1), turning the moody paranoia into a deliciously foreboding frenzy.

MR TC's take on "Worm In Worm Out" (B2) ups the psychedelia, tones down the bass, and gently hypnotizes you into the best kind of euphoric haze.

"Kosmonauten Aceed" (B3) is an immediately captivating slice of industrial-laced acid with just the perfect amount of krautrock drizzled in.

It's a match, mate, innit Stepping in the cypher with a brand-new EP, Last Nubian emerges with a signature sound that reveals the passion of the digger behind. While covering the whole range from hip-hop to house, the London-based producer manages to match the best of both worlds and delivers dusty grooves for the heads as well as catchy dance floor oriented stuff. Although the rhythms and beats often feel nostalgically familiar, Last Nubian always flirts with the fringes of a more experimental sound design while citing Flying Lotus, Mndsgn, Theo Parrish and other pioneers as his influences. Having Blaq Numbers affiliates 2XM and Paso add their two cents to the show as well, makes this artfully crafted tape a family affair.

Les Disques du Crepuscule presents Signals Into Space, a brand new studio album by acclaimed electronic duo Ultramarine. SIS is their seventh album, having debuted on Crepuscule back in 1990.
The new long player was conceived by Ian Cooper and Paul Hammond over a three year period and features four songs co-written with North American musician Anna Domino, a firm favourite of the group since her leftfield pop releases on Crepuscule and Factory in the 1980s. 'For this project we wanted to do something more ambitious and perhaps more accessible than our last album in 2013,' explains Paul. 'We were keen to start collaborating with other musicians again, as well as develop our method of performance-based writing and recording, which is partly improvised.'
 Signals Into Space also features contributions from saxophonist Iain Ballamy (ECM, Food, Loose Tubes) and percussionist & vibraphone player Ric Elsworth. It was recorded and mixed in London with Andy Ramsay (Stereolab) and mastered by Noel Summerville.
 'To some extent Signals Into Space is an escapist record,' reveals Ian. 'Our rehearsal space is a small windowless room on an industrial estate in Essex. Possibly as a result we ended up with a collection of visually suggestive tracks, conjuring mental images of cities, deserts and tropical islands, which gradually came into focus as Anna's lyrical ideas developed. So while the music might have been conceived in a closed space it's imbued with a positive spirit - looking outwards, seeking contact.'
 Cover art by Studio Heretic. Available on CD, digital and vinyl LP (vinyl format includes a free digital copy on MP3).

Recognised for their solid contribution to the electronic & industrial scenes, the musicians in this collaboration (Daniel Myer & 14anger from Rendered, and Ushersan & All von Phllox from Black Egg) have given birth to this magnificent 5 tracks EP, constructed as a bridge between France and Germany. A trip into darkness and winter times, amongst Techno, Coldwave and EBM with a soul. From the hit-like 'No Compromise' to the electronica closing track 'Thelemic Breath', this is a pure techno industrial killer EP !

Tropical Disco plucks out a spellbinding salvo of heaters for Tropical Disco Volume. 7, dished out on suitably heavy wax.

Moodeena's 'The Horns' boldly kicks off the record, effortlessly weaving together elements of funk, soul and afro, influenced by a myriad of far-reaching regions. The earworm of a bassline subtly leads the piece, morphing, dipping and then reassembling as the brass resurfaces, creating a tender, palpable sound palette. On the flip 'What Da Funk's playful track title doesn't reflect its cultivated build, and no doubt lethal functionality on a dancefloor.

Titillating strings are the driving force for Tropical Disco newcomer Sammy Deuce's input, bringing a burning, high-energy ode to golden-era disco with 'Smack My Strings Up'. Hot on the heels of a series of well received releases on labels such as Glasgow Underground, Club Session and Big Love, Sammy deuce offers up a rare guest track on the label that pairs perfectly with a recipe Sartorial and Moodena have refined so successfully.

Sartorial closes the EP with 'Little Love', a carefully plotted symphony and formidable sign off for the release. Hustling a creamy bass and slowly swooning vocal, this audio aphrodisiac will have dancers headed straight to the bedroom...

Tropical Disco's back-catalogue of quality nu-disco obscurities is building thick and fast, and the latest package is a diamond in a gleaming gold mine.

Support across Mi Soul & House FM.

If you read the name Shankar you may right away think of Ravi Shankar, the grand master of contemporary Indian folk music who was very popular in the 60s due to his connection with the music industry in the United States despite staying away from the pure pop music by maintaining his classic sitar and tabla style ragas to express himself musically. Ananda Shankar used to be his nephew who also made a journey to the USA to gather inspirations from rock artists like Jimi Hendrix among others. His first album from 1970, a conglomerate of classic Indian folk tunes and instrumental versions of the hottest rock songs of the day clothed in a veil of sitar melodies and backed up with tabla drum grooves, was an attempt to combine the spiritual approach of his cultural origins with the light minded blissful attitude of western psychedelic pop music. It worked well in the sense that it is still, nearly fifty years later on, a groovy little album that leaves nobody sitting around at any random hippie party. He took a five year break from recording to create what should become his second album and this is what I am about to present to you now. The cover-tunes were replaced by all original compositions with a lush instrumentation that features the typical sitar, tabla and bowed string instruments such as sarong and sera arrangements mixed with sounds that have a definite western origin such as rock guitars, Hammond organ and moog synthesizers plus full drum kits that take care to enhance the actual groove. Psychedelic rock, raga, fusion-jazz and funk flow into each other quite naturally giving birth to something fresh and exciting I would label as Bengali pop'. The borders between eastern and western music get abrogated here. If it was not for a few deeply mythical chants on a bed of drones here and there you could not even tell this was a record by an Indian artist. This album is quite accessible most of the time and comes with a certain slickness that makes it easy for the listener to understand and appreciate what is going on. Still there is the other side of the coin, the depth pop music often lacks. So in the end this might have been too far out for the average western mainstream fanatic back in 1975 when disco began to rule but it is an awesome sound trip for fans of psychedelic dance music like INCREDIBLE BONGO BAND and all eastern influenced popular rock.

User Experience welcomes young German and living meme, Nils Viktor Voss, or Corroid as the world will know him from now on. Corroid sent me a track a while back for mastering... an absolute face melter. I asked him via the medium of dance if he had any more tracks. Now I cannot get rid of him, he sends stuff all the time, if it's not music it's memes. The only way I am able to deactivate the meme machine is to try and divert his attention elsewhere. So, find him on facebook, meme him until he is unable to function. Thank you.

Joining Corroid on this record are two fucking amazing artists who I admire a great deal; Myler and Jasmine Azarian who both execute their remixes with precise brutality. As for the track names I considered translating for the ignorant English (myself included) then I heard Corroid's flatmate say: "YOU CANNOT TRANSLATE THEM, THIS IS TRUE ART". Well that's bollocks but tbh I don't have time for translations.

2019 is mule musiq's 15 years anniversary. we're going to release twelve 12inchs with our friends artists and stefan marx make the collectable artwork. the kick off release is the debut release of bodycode aka portable on mule musiq. we have been talking about making the release together long time and we finally got it. alan invited his favorite female singer 'niqe' and produced two first class vocal deep house tunes.

Part II The title of the project is: "An Intermediary Plane of Existence", an in-between world, a shadow zone, two universes, the place between the entrance and exit of a portal. Most electronic music producers probably know the feeling where they, after producing and recording a track they are extremely content with, are suddenly overcome with a slight fear: "what if my computer crashes, what if the file of the recording gets lost somehow and the music gets lost, it's gone forever...". That feeling and the fact that all music, ever written and even the music that has yet to be written, is "somewhere" when it's not
being played or made. It's either written down in notes, stored in
someone's mind, cut into a piece of vinyl, recorded on tape, converted into 0's and 1's hiding somewhere on a hard drive, a cloud, a CD or a USB stick. It's been taken form the place it was before it was made and stored in another place, in an intermediary plane of existence, waiting to be played, to come back to life and listened to again. We wanted to do this various artists album not with just any talented artist, but with people we've met the past years who became our friends and people we admire for their music and personalities. Friendship is also something that most of the time resides in an intermediary plane of existence. When a friend is not in the same room, city or even country it doesn't mean the friendship is not still there. If you've never even met
someone in person, it doesn't mean you can't be friends. Even if you haven't spoken to your friend for a long period of time, it doesn't mean the friendship doesn't exist anymore. The same goes for love I believe.
Some people you will never stop loving, alive, or dead. Both owners of P-RT-L lost their fathers within a week from each other last year, but I also know people who haven't seen or spoken to their dads or moms in over a year, yet somehow it feels completely different not seeing someone for a long time if you know a person is still alive, even though it's not sure you will ever see him or her again. Their dads went back to the place they were before they were born and they will never come back the way they knew them. Just like all music that went lost before we as humans had the ability to write it down, store it on a medium or pass it on otherwise. That exact music, just like their dads, is lost forever. I know this will probably sound a bit too philosophical for some of you readers, but it's something that keeps me awake at night, sometimes. This albums is a way for us to celebrate the fact that the music on it, will never be lost because we as humans have found a way to store and contain it in a place where we can easily reach it, for ever. We hope you will enjoy the music! P-RT-L Featuring artists: Alex Bau ,AnD,Anouk De Vos, D-Leria, Daniel Kane, Dasha Rush, Frame Six Micol Danieli

Cigarettes After Sex are an ambient pop group based out of Brooklyn NY, led by vocalist/songwriter Greg Gonzalez and are inspired by the likes of Cocteau Twins, Mazzy Star and the sound of early 60s records like the Paris Sisters.

The band became a word-of-mouth phenomenon, generating over 100 million views on YouTube for their exquisitely yearning, graceful pop noir - all without the support of a label. They partnered with
Partisan Records for their debut album, which was released in June 2017.
'Crush' was written and recorded in the same sessions as the album, however was previously unreleased. The B-side is recently released 'Sesame Syrup' (also taken form the album sessions). This 7' will be the first time either of the two tracks have ever been available physically.

'Languid dream pop bleeds into one beautiful, fuzzy headed whole... the intoxicating atmosphere lingers long after the tracks have played out' - Mojo 'A 21st century Don Juan' - Pitchfork

With his third single release, Y-Bayani (pronounced like Why-Bayani) shows clearly that he is the most intriguing roots-reggae sensation coming out of Ghana. He is backed again by the lushly grooving Band of Enlightenment, Reason and Love.

Asembi Ara Amba, sung in Fanti language, is an old Fanti story about having bad luck if you see a vulture up in the sky. As Y-Bayani sees one suddenly and for no reason he gets in trouble with the police. Being hold back in the police station he finally takes his chance to escape into freedom while the police men taking a nap.

On We Are The Band of Enlightenment, Reason And Love the group presents their personal anthem. The song is a cinematic journey starting with a mighty horn theme, followed up by a mantric chant and enters finally into a wall of sound in double time. It's a small symphony for sure.

New Aussie label, Corella Records, run by producer/DJ Blind Tiger (formerly Captn K) is broadening the repertoire with a second release, a new indie disco
12" single, Forbidden Fruit.
Forbidden Fruit - Field of Fruit Mix, is the one to check out. It's an indie dance/nu-disco excursion with driving bass and piano. Reverb slathered vocals from Steve Hensby
and dreamy strings make this track an uplifting 8 minute journey.
With a touch of early Chicago House in the piano stabs, Georgio Moroder in the rhythm, the drive of Underworld and repetitive elements reminiscent of Field.

Forbidden Fruit - Original Mix, is serving up some classic disco with funky synth bass, driving drums and percussion and the full range of vocalist Steve Hensby makes this a great dance floor mover.

Forbidden Fruit - Fruit Jam Mix, Blind Tiger delivers party jam vibes. Complete with electro drum machine, party goers and warped electric guitar from Luke

Dux. It's a fun, stripped-back remix, that feels like the guys have stumbled on a vintage drum machine and a bunch of instruments at a house party and start cooking up a fruity jam.
A little of something for everyone on this one, check it out.

"Master of ambient spaces and far out places, long-time Finnish producer Sasu Ripatti (aka Vladislav Delay) blesses us once again with another release, this from his 'Visa' period of unreleased tracks.


The first track out of the gate is a recognizable Vladislav Delay piece, but instead of gently flowing rivers of sound, instead we have a series of stiff, machine-like rhythms applied to his classic infinitely deep pads and ambient environmental sounds. It just continues to pile in more elements until becoming almost indistinguishable from his natural, organic flow. From there we move into somewhat more familiar territory but still unusually stripped down and mechanical for a Vladislav Delay joint. It’s fascinating to see such an intricate songwriting process laid bare in such a way, often exposing each individual, nearly bottomless sound in isolation.


Deeper into the album, things veer into decidedly more abrasive and synthetic territory, at times becoming an almost unrecognizable artist for a moment, only to be eventually subsumed under layers of shifting ambience that could only be Sasu.


This austere minimalism makes these tracks some of the most hypnotic since the early 90s excursions, but at the same time seems to have left its organic, analog roots and melded with the harsh gridlocked modern sequencer. ~Clint Anderson

Three dance floor hitters by the Dutch Arp Frique. "Nos Magia" holds collaborations with Nigerian funkster Orlando Julius and Cape-Verdean legend Americo Brito. Surprising new cuts that could easily have been made in the 70ties! Big tip!
Arp Frique is Niels Nieuborg from the city of Rotterdam, who has been actively involved in the Dutch live music scene for years, working with Cape Verdean & Surinamese musicians especially. After all these years, he finally presents his own true musical output.

"Nos Magia" is a classic sounding, but unheard Cape Verdean funana song featuring the old skool Americo Brito on vocals. The b-side holds two collaborations with afro-beat protagonist Orlando Julius.....enjoy!!

Literature Recordings Are A Brand New Label Who Have Launched At One Of The Most Successful Times For Independent Dance Music Imprints. It's A Time Where They're Currently Reigning Supreme Over The Charts, Becoming A Formidable Force Against The Majors Who Have For Too Long Dominated The Scene And Proving That Music Is Just As Expansive And Full Of Ideas As It Has Ever Been. The Different Music Alumnus Cuelock Stands At The Helm Of This Brand New Project And He Brings With Him A Range Of Experience To Help Give His Expert A&r Advice To The Artists About To Make Their Debut On The Label. And The First Vinyl Release Comes From Eusebeia - The Upcoming Producer Has Shown His Hard Work And Dedication Through His Forthcoming 'breakdown Of Illusion' Ep, Where He Delivers Seven Brand New Records Which Pedestal His Stellar Talents As An Artist. Between 'truth Is Stranger Than Fiction' And 'annihilation Of Inhibition' There's A Range Of Diversity Which Eusebeia Shows His Audience Throughout The Journey Of 'breakdown Of Illusion'. The Carefully Sequenced Drums And Weaving Bassline Of 'truth Is Stranger Than Fiction' Is The Perfect Way To Begin The Ep, Whilst Tracks Like 'charade' And Titletrack 'breakdown Of Illusion' Continues Eusebeia's High-reaching Trend. Coming Along Next, Both 'no Stone Unturned' And 'camouflage, Pay Homage To The Roots Which Have Built Eusebeia As A Multi Faceted Artist And Demonstrate Why There's So Much Heat Around The Newly Discovered Artist. They Also Highlight The Eye For Blossoming Newcomers Which Cuelock Has Administered For This Release, It'll Be The Gift Which Enables Literature Recordings To Build A Roster Which Will Hold Themselves Up Against Their Counterparts.then Finally You're Left With Both 'dreams Into Reality' And 'annihilation Of Inhibition', Which Leave A Lingering Aftertaste - The Type Which Keeps You Coming Back For More Listen After Listen. It Completes A Package Which Proves The Capabilities Of Eusebeia As Well As Literature Recordings As An Imprint. You Can Expect More Music And Artists Of

HAVING AMASSED OVER 100 MILIION STREAMS ON PREVIOUS RELEASES TOGETHER, RITON & KAH-LO HAVE BECOME ONE DANCE
MUSIC'S MOST IRRESISTIBLY IN-DEMAND DUOS.

A new, heavier direction for Howlround, a project better known for more ambient work. Described as 'Tapeloop Techno', thick knotty tangles of dense, pulsating bass are an echo of Robin's early days making bad dance music, while the abrasive snarls of feedback swirling around these tracks point to his more recent embrace of indeterminacy and chance composition. Previous vinyl releases on Psyché Tropes, The Wormhole, A Year in the Country and Front & Follow as well as his own label The Fog Signals have shown a deep understanding of the possibilities of tape manipulation. On The Debatable Lands Howlround eschews the usual field recordings in favour of exploring the interior world of the machines themselves.