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Respuesta Alternativa or the Alternative Response was the project of Spanish musician Jesus Mª Catalan, created with the help of Julián C. Pérez.
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As the title implies the music was generated in response to traditional music notions of the time, and reflects how Jesus Mª Catalan would challenge these traditional ideals using a fusion of styles and his unique vision. Jesus laid out his synths and drum machines, while other musicians played traditional instruments over the top. This unique approach worked to create atmospheric tracks capturing simple themes, with each influence being carefully thought of in the joint result. As he explains each instrument weaves independently throughout a passage in a curious game where the listener's attention goes from focusing on a keyboard, guitar to bass or percussion. Previously only released on a cassette album in Spain, Left Ear have polished 5 choice cuts for a 2018 12'.

160 BPM hardtechno killerz... With an A-side into Acid Glass effect, crazy ambiance and so good to mix : 1 long track a side, running 45 (and playable 33... what's a deejay if you don't change the speed ^^) ... B side same speed with a masterpiece of kick-caller... and a superb tune to mix. Punk beat rules ! Precious style... very rare, not acid and exploring that inbetween Techno and tribe sound ! Must have !

CULT EDITS from MANFREDAS, SIMPLE SYMMETRY, and SIAUBAS guaranteed to burn the house / club / teepee down.
These top-secret jams have been extensively tested, ended countless epic parties, soundtracked highlight-reel Boiler Room moments, and prompted innumerable feverish attempts at track IDs. Heard in the sets of illuminati DJs, the cult exclusivity now extends with this limited edition VINYL ONLY release. CULTED 001 - worth believing in.

Wild Oats is happy to present this debut release entitled Pure Amethyst' from Caron Miller aka Q'uran D'Mar aka Q'D' who is another gifted young brother from Detroit. Our hope is this record adds some thoughtfulness, love and intentionality to your inner world at the beginning of this Lunar new year.

February's birthstone is the Amethyst so we found it very synchronistic that this debut is released in February.
The Amethyst crystal guards against psychic attack and transmutes that energy into love. From The Crystal Bible by Judy Hall, she also states this valuable piece, This stone facilitates the decision-making process,bringing in common sense and spiritual insights,and putting decisions and insights into practice. Mentally it calms and synthesizes, and aids the transmission of neural signals through the brain.'

Pure Amethyst Sonically personifies this internal shadow dance that one must participate in in order to get to a grounded and positively intentioned state of being. Questioning ones motives, accepting and releasing the blame of past traumatic experiences as the reasons for deficiencies inspires you to find a new way forward from where you are. Ultimately realizing it is you today who is going to inspire the goodness in your life. As the great Arthur Ashe states, "To achieve greatness, start where you are, use what you have, do what you can."

Sincerely, Kyle J Hall

LillyGood Party! Is a label focused on licencing tracks that Alex And Stephane play for years at their parties .
The aim is to re-edit and revisit those jams from soul to house , jazz to afro , boogie to techno and make us and people enjoy and smile on the dancefloor because those tunes are really really good J Both tracks here are classics dancefloors tunes , nothing rare , just favourite tunes that Alex and Stéphane play in their sets On the A side the ONWARDS INTERNATIONAL version is longer than the original and the arrangement quiet different for more intense dancefloor action. Here they both worked on the edit to find the right balance and the right sound in order to revisit the UK classic jazz funk number, a firm favourite here @ LIllyGood !The B side is an amazing disco modern soul gospel track from ELBERNITA TWINKIE CLARK already reissued some time ago but the cherry on the cake is that you have here a 12' version extended and a new mastering for extra loud play This version is slightly different than the original, Alex extended parts : the beginning with drum intro looped for mixing and changed the end to make it longer keeping the original flavour.
Please enjoy as much as we do because we love those edits, we love those tunes, we love Music we are very happy to share with you these limited vinyls releases .

Eternal is a piece of the best underground rap in Bogotá.
Shaby had already recorded songs that were classics not only in the rapper neighborhoods of the south of the city, but in all Colombia.
Classics of the rapper scene, classics of the city ... Eternal collects some of them, remixed and mastered, to make it clear what it is about.
(Shaby, is known as one of the founders of the mythical Bogota rap group "Fondo Blanco." What happened to this great artist after the end of the group).

But this is not only about collecting the story. Remixing and re-producing these themes that became anthems - we managed to get a wider audience, beyond the rapper who has been able to follow these stories, to appreciate the level of one of the born talents of this dirty south - of the dirty south.

Eternal is a bit of history, to remember some of the best rap themes of this South American continent.
It is also one of the best voices in the Colombian underground scene. In this album you'll find unpublished songs that have the same signature, the same power ...
It is not the return of a great artist. Shaby has always been there... preparing more of what's coming next.

Mouse on Mars is recognised as one of Germany's most defning and versatile electronic music projects. With their
anarchic mixture of sound that oscillates between uncontrollable chaos and meticulously arranged structures,
Jan St. Werner and Andi Toma have forged a unique musical language, which is readily decomposed by the
unpredictability of its myriad mutations. Free from schools of thought, genre conventions, and from the constraints
of the music establishment, they have worked under the Mouse on Mars alias for 24 years, mapping their own
idiosyncratic trajectory through a no man's land between pop, art, club music, and the avant-garde. - Jan Rohlf
Idiology takes the acoustic experiments of Niun Niggung even further, and it's this combination of electronic
and 'traditional' music -- melding keyboards and synthesizers with french horns and guitars and trumpets into a
seamless whole -- that points the way through the dead-ends of most electronica.'
- PopMatters
Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live
musicianship, and sometimes between Earth and outer space.' - The A.V. Club
On April 13th Mouse on Mars will release Dimensional People,
their brand new studio album on Thrill Jockey.
The album features Werner and Toma joined by a number of
prolifc guests: Justin Vernon (Bon Iver), Zach Condon (Beirut),
Spank Rock, Aaron and Bryce Dessner (The National), Swamp
Dogg, Eric D. Clarke, Lisa Hannigan, Amanda Blank, Sam
Amidon, Ensemble Musikfabrik, and about 20 more musical
collaborators.
After a series of notorious dance oor releases, Dimensional
People reveals them working deep within their own vernacular,
digging into fertile terrain of their inexhaustible vault of digital
and acoustic experimentation, and charismatically making
elemental components new again. This album makes clear how
their craft is of discovery, of fnding new contexts for places,
sounds, memories, sensations, ambiences, technologies,
relationships, and of course, people.

Nat Birchall charts new paths toward spiritual communion, connecting jazz with classical Indian influences guided by the wistful flow of the harmonium.

Cosmic Language sees the UK-based saxophonist, composer and arranger return to Jazzman Records with a cross-cultural approach: an exploration of the parallel musical paths of jazz and Indian ragas. Here he takes influence from spiritual jazz forebears such as Alice Coltrane and Yusef Lateef and introduces the Indian harmonium to his band, where it takes the place of the piano. Making new connections to realise his transcendental ambitions, it's a logical next step in making music as spiritual cleanser.

The idea for the album was spawned from a one-off performance at a meditation centre, the Maharishi Golden Dome in West Lancashire. Seeking to bring a band set-up that was fitting to the quiet-minded setting, Birchall brought the harmonium with him. A small pump organ, it's an instrument he'd been in possession of for many years but hadn't previously used in his music. Building on the spiritual context of that show, and the associations of that instrument, it led naturally to the musical approach undertaken on the album.

Both the album and the show which preceded it were recorded with the same tight-knit group of players which have featured on Birchall's previous albums. All members of the group are part of the same like minded circle of Manchester-oriented jazz musicians, sharing stages and acquaintances with the likes of Matthew Halsall (a longtime collaborator with Birchall) and GoGo Penguin.

Birchall has always channeled wide-ranging ideas into music that's simple to understand, and this album is no exception. Album opener 'Man From Varanasi' is an ode to Bismillah Khan, one of Birchall's heroes of Indian music who hailed from the northern Indian city named in the title. It also sees him taking cues from the Indian raga tradition which, as with most other traditional Indian music, is a foundation which underpinned Khan's music.

Crucially, the ragas tap into the idea of of music as a means of spiritual release. As Birchall explains, "The whole act of making music is a spiritual experience. It's during performance and when playing music that I look for a kind of truth. It's with music where I find myself feel closest to attaining that 'enlightened' kind of feeling." "On rare occasions I've actually felt as though I was listening to the music being played rather than being involved in making it, almost like an out-of-body experience."

This natural feeling comes from Birchall's attitude toward jazz music. He sees it as an essential part of day-to-day life: instead of brightly-lit, occasional entertainment in lugubrious concert halls, he considers it an everyday, vital source of inspiration. At a moment where jazz-influenced music is undergoing creative renewal and wider appreciation, it's an important perspective that's found resonance elsewhere. His experiences and the world around him are filtered through his music, and he looks to have his music - be it live or on record - absorbed in the same quotidian way. "To me, it's an integral part of society, an everyday thing," he says. "You should hear the music every day."

Females have never figured strongly in the ranks of blues and rock guitar players, but the woman featured on this LP can claim to be one of the formative influences on modern rock 'n' roll guitar. Sister Rosetta Tharpe is remarkable, not just because she was an acclaimed gospel singer from the late Thirties to her death in 1973, but because she was also one of the earliest exponents of the electric guitar. In fact she helped to invent the whole concept of rock lead guitar. Her guitar-playing, which featured a fingerpicking style unusual at the time, strongly influenced Elvis Presley, Johnny Cash, Jerry Lee Lewis, Etta James, Little Richard and Bonnie Raitt. Enjoy some of those moments on this collection selected from her prolific first recording decade.

Next up on Bodytonic Music comes a release from Tr One. In the past they have received critical acclaim and support from Moodymann, Prosumer and Ben UFO. Most recently, they have released music on Lunar Disko, Apartment and the acclaimed Don't Be Afraid imprint.

First Word kicks off 2018 with the welcome return of Quiet Dawn, and a new EP, 'Human Being: The Short Story of The Reed'. A suitably ice-thawing six-track opus to compliment the change of seasons, dedicated to the winter blooming plant's desire to be human.

Parisian Will Galland first appeared on the label in late 2014, releasing his debut album 'The First Day' the following year. Collaborations on that album and subsequent mixes since have included offerings from Oddisee, Miles Bonny, Eric Lau, Bastien Keb, Sauce81 (Eglo), Mayaka McCraven and Sarah Williams White.

Evolving his music from a palette accumulated over the years of Hip Hop, Broken Beat and House, he has expanded his talents for arranging and composing, and now drafted in a wealth of musicians for this sublime new EP, his most ambitious yet. Strings glide effervescently atop of Quiet Dawn's assorted analogue synths, and an array of percussive organics combine to build the tale of The Reed. In-places, the set transcends into the kind of grooves that saunter somewhere between the land of Bonobo and Quantic, and the cinematic library record craft of Alan Hawkshaw et al. Deep, organic and epic.

"The reed from the earth and waters,
Human by the flesh and bones,
Bring by the love and others,
Now, you're not alone."

Each track of the EP tells a different chapter of the story. In the words of Quiet Dawn, "This record is about human behaviour, relationships, happiness, sadness, peace, anger, sex, love, birth, death... But as viewed by The Reed. The Reed is a plant that wants to be human, after observing them all around her. Over the course of the record, The Reed evolves and desires to feel feelings, gradually learning that becoming human is not so simple... ."

Also with artwork by Sophie Bass and Grégoire Marty, this glorious six-track vinyl and digital EP is released February 2018 on First Word Records.

D.KO Records regular Mad Rey joins Rekids with a pair of deep house cuts this March.

The Parisian producer and Red Lebanese co-founder started releasing music as Mad Rey in 2014, providing D.KO Records with their second release (having already contributed to the D.KO01 various artists EP under his real name Quentin Leroy).

He now joins Rekids with a solid two track package initiating with 'In My House N°6', a lively slice of house featuring funky bass licks and jazz influenced melodies complete with a compelling groove. On the flip, 'L'orage (Dub)' 'L'orage (Dub)' slows down the tempo whilst exhibiting sampled strings, crunchy snares and twinkling effects.

This record is special release for the label. It's a tune I have been chasing for years and just had to get released so that everybody can own a copy. Originally written in 2006, Snow Forest was a Slew Dem anthem and when I got to know Spooky in 2009 it was one of the first tunes I asked him for. Rarely given out to anyone, it was one of my favourite dubs but I always dreamt of putting it out on my label. After finding the original CD that Spooky gave me back in 2010 the time was right to finally get it pressed up on vinyl and in the shops. Backed with Funky Dub, a tune from 2009 that still gets a massive reaction.
This release shows that good music is timeless, simultaneously cartoonish and menacing with a blend of rudest bass and daftest melody in a proper UK style.

10" aqua green coloured translucent vinyl in pvc sleeve with sticker

To celebrate the 10th anniversary of Dekmantel's goings on in the world of events, festivals, and great music, the team behind the label have been releasing a record a month featuring some of their favourite artists, as part of a ten-year anniversary series collection. Featuring acts close to the label's collective, debuts, and legacy talents the crew have always wanted to sign, the series has seen the likes of Gigi Masin, Call Super, Fatima Yamaha, and more. This penultimate EP, sees Dekmantel debut releases by Lena Willikens, Space Dimension Controller, and Dutch lo-fi star Betonkust and Palmbomen, in addition to a special cut by Bufiman.The EP kicks off with a new track by Salon Des Amateurs resident Bufiman — real name Jan Schulte — who also goes by Wolf Müller. 'Hymn to the Moonface' ensures that percussion comes first and foremost, in this upbeat, prog-breaks, jaunty, summer cut following up on his Dekmantel debut "Peace Moves". Dutch duo Betonkust and Palmbomen release their first track on Dekmantel with 'Onrust Bij Tihange' - an ode to the Tihange Nuclear Power Station in Belgium. Specialists in crafting lo-fi, nostalgic sounds, Betonkust and Palmbomen do what they do best, with a pulsing, analog, nostalgic electro track that sounds as if its been fed through a VHS player, a top of recording of Miami Vice. What happened at Tihange through is another question. Belfast-producer Space Dimension Controller, a.k.a. Jack Hamill adds some galactic, space-flare, mid-tempo, D-funk to the flip side. With a debut EP dropping on Dekmantel soon, SDC contributes one of his most beautiful compositions to date, highlighting his flair for melody, blending it astutely together with rich techno hat and snare combos. Concluding the record, is Dekmantel favourite, Lena Willikens. After so many appearances across so many of Dekmantel festivals, it's a pleasure to have the astute selector release a rare production on the label. Willikens' dark wavey cut is something one would expect to hear in one of her sets, sounding like a modern take of a long-forgotten, and unknown krautrock band.

Furcula is a collective work by composer Asger Baden and recording artist & actor Peder. Peder and Asger Baden work as film composers on a daily basis at their townhouse studio in central Copenhagen. They have worked for 'Breaking Bad", 'Beastie Boys", 'Wolfpack' amongst others. Whenever they have some time, they work on Furcula. The music is based on the acoustic colours of two very different rooms: The Village (large orchestral studio in Copenhagen) and Vor Frue Kirke - the biggest church in Denmark which features a reverb of over 7 seconds. All sounds, instruments and samples are recorded in these two rooms and used as samples in the studio to create the music. The result is the depth and contrast between the huge reverb and very close textures that feel as though they're right next to you, scratching your skin. The result is ghostly, dark, cinematic and beautiful. Art by Rob Sato. - Debut album as a collective by filmcomposers Asger Baden & Peder who has had music featured in Breakin Bad. - Peder has 4 solo albums under the belt released by Ubiquity records, Wordandsound, Fake Diamond and allways featured in Radio Nova. Featured artists like Oh Land, Coco (Quadron) Jonas Bjerre from MEW amongst others. - Asger Baden solo debuted with a classical album 2015 recorded in Prague and The Crooked Spoke in 2008. - 2/4 of danish group Cours Lapin - As cinematic as it gets.

Belgium's favourite underground house DJ Red D celebrates the 10 year anniversary of his We Play House Recordings label with 6 vinyl samplers containing new tracks and some very wanted gems from the catalogue. Artists featured are San Soda, Fabrice Lig, FCL (featuring Lady Linn), Kiani & His Legion, krewcial, Reggie Dokes, Raoul Lambert & Nacho Marco, Art Of Tones and many more. Voices Near The Hypocentre
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About We Play House Recordings

We Play House Recordings - WPH - is the work of Belgian DJ & producer Red D. Started 10 years ago to release the music of his friend san Soda, the label had (and has) the aim to release house music in all its shapes and forms. WPH's house ethics date back to the days where house was just a name for music that was played in clubs. There is no such thing as tech house, no such thing as deep house or minimal, there is simply (house) music, good or bad.

We Play House Recordings is lovingly led by Red D (real name Bart Van Neste), one of Belgium's leading underground music figures. Be it in his role as DJ, A&R, promoter, music panel host or general nitelife instigator, Red D does things with passion, humor and a healthy dose of keeping-both-feet-firmly-on-the-ground...with a twist...

WPH was started in 2007, so it takes no math genius to know that in 2017 the label is celebrating its 10 years anniversary. Running from the spring till winter 2017 this anniversary will be celebrated with special vinyl releases, a triple CD, a digital compilation, a Spotify playlist and a series of label nights all over Belgium and beyond. True to form the compilation will have WPH classics but also a BIG bunch of new material from core artists of the label like Locked Groove, San Soda, Kiani & His Legion, Fabrice Lig and many more.

The next collaborative release between Freeride Millenium and Pauls Musique is a terrific two-tracker from Manchester artist Joseph Louis Harland Manning under his new alias Los Angeles with the 7 vinyl release artwork designed by Daniel Rajcsanyi as part of his 'BABY' exhibition in Austria. Joseph Louis Harland Manning was the drummer of the band Wu Lyf and is involved in projects like Los Porcos, the Mancunian boyband Menage a Trois and Dream Lovers. Under his other aliases he released on Aficionado, Cracki, Ocean Records and Is It Balearic sub label Uber as well as having made music videos for Molly Nilsson. Here he is fine form across a pair of delicate and moving synth tracks. Opener 'L'amour' is a gentle cut that starts with celestial chords and wide-open expanses of synth before a buried deep groove slowly comes to the fore. Breathy vocals also add to the loved-up, dreamy feel and the whole thing carries you away in a majestic reverie that shifts from ambience to new age house. The track features the artists own field recordings from the streets of Berlin, twisting up sounds from the sidewalk into percussive notes that give an organic feel. The perfectly soothing second offering is 'I Wanna Go To Heaven' is a gorgeous synth piece that suspends you in a crystal clear blue sky on a warm summer's day. Chords are smeared and stretched whilst angelic, wordless vocals drift by. It is the sound of a blissful passage to the afterlife and will leave you feeling cleansed. This is a truly emotive package of music that marks another first rate release on this ever evolving label

Long-term Soma collaborator Tony Scott drops his debut album with the label under his Edit Select alias, the perfectly crafted experience, 'Cyclical Undulations'. Having released with Soma under his Percy X moniker for years and having countless hits under his belt, Scott reinvented himself as Edit Select. Known for his dark, expressive and expansive music, Edit Select has become once of the most well respected and renowned artists in the genre. With this latest full length, he continues to explore the furthest reaches of the Deep Techno spectrum.

The Cyclical Undulations journey begins with Insta Grain, a mesmeric odyssey of ebbing pads and sparse percussive elements that seem to drift of into the expanse. A perfect opener before the first foray into more 4x4 territory begins with Above Ground a pulsating affair before Two Step Phase, a more stripped back affair, reminiscent of earlier Percy X works in it's 90s heyday. Undulation, more propulsive in it's approach, melds warping synth hooks alongside spectral tones. Horizon#1 follows in a similar vein yet drift into slightly more hypnotic territory as recurrent tones lead the track. Scott flourishes with yet more machine-throb crafting Close Up & In The Beginning She Was, both stacked with subtle nuances of his stylised percussion lost across dream like states. The later half of the album has a distinct minimalistic approach yet seem to provide maximal output with every beat. Horizon#2 is dark and ominous yet still characterised by a tough percussive element. Contact, produced in collaboration with Claudio PRC, delves into more submerged sounds with heavy sub bass and echoed drums, finishing of with Towards The E; a shuffling broken beat affair with after hours vibes and an endearing ethereal quality.

Cyclical Undulations demonstrates a mature sense of production from Edit Select. An assured collection of material, each track providing a striking insight into a true artistic mind.

A generation younger than the founders of the Teklife crew, DJ Rashad and DJ Spinn, DJ Taye was originally a rapper and beat maker before hooking up with the collective and jumping into the world of footwork production and DJing.
However, it was Rashad's untimely passing in 2014 that was the unlikely catalyst for developing the sounds and ideas for this album. He says, "When Rashad passed away I felt inspired to continue evolving the music that I loved so much coming up in this world. So, I had to do something...make something brand new."

100% committed to pushing further the potential of the footwork template, Still Trippin' is ambitious in its range and scope. Taking two years to formulate, the record broadens the possibilities of the sound, forcing it to adapt to songwriting, and also revives Taye's talent for MCing and producing beats to which he can rap and sing. Furthermore Taye definitely ups the ante with his complex and precise drum programming, never losing sight of footwork's ability to confound. The album features a range of guests that span contemporary music, the eccentric, instructive rapping of Chuck Inglish of Detroit duo the Cool Kids is featured on 'Get It Jukin', Odile Myrtil, a young vocalist from Montreal, lends her smokey soul to 'Same Sound', Fabi Reyna, the editor of the celebrated women's guitar magazine She Shreds, sings and plays bass and rhythm guitar on 'I Don't Know' and Jersey club queen UNIIQU3 offers production and rapping on 'Gimme Some Mo'.Also, Teklife members DJ PayPal and DJ Manny assist on production, and DJ Lucky is a guest MC on 'Smokeout'. Taye is ambitious in his hopes for the album, "I took this as an opportunity to not have boundaries with footwork. Different approaches to our 'underground' sound to make it broader. It's only underground until it crosses that visible threshold.' This album brings all of this to the forefront.

Few authentic Electro producers from the UK can wear the badge 'legend' with the same level of justification as Phil Klein aka Bass Junkie. Active since the late 80s, Phil has been peddling his own take on Electro almost constantly, either as a solo artist or as part of numerous collabs with the likes of Dynamix II, Keith Tenniswood (Radioactiveman) and Si Brown (Dexorcist). DJ, remixer, live act, and the man behind the killer Battle Trax label, there is nothing this Junkie hasn't done.

With essential releases on labels such DMX Krew's Breakin Records, Andrea Parker's Touchin' Bass, and Billy Nasty's Elektrix; the Bass Junkie sound spans the old school beats and vibes of the Electro genre's origins, to the borderline industrial. From funky to ferocious, Bass Junkie's discography is a must have for anyone claiming passion for the genre - influential, individual, and infectious with every beat.

His 'Low Frequency Fugitive' EP is a welcome return for his Bass Junkie project, after several years working primarily on collabs. The EP brings four new tracks that maintain the Bass Junkie sound that brought him such success and notoriety in the first place, with a healthy dose of evolution too.

This is one Fugitive everyone should try and track down...

Up next from the Rhythm Buro label is an EP from Cyspe, who might be better known as Robin Koek or for being one half of the almighty Dutch techno duo Artefakt. RB003 marks a special occasion for the label in releasing a full EP from a single artist. After This World seems to proceed forward fittingly on the same path once paved by Cyspe's debut record 'Amnesia', released on Koek's own label, Insula, in 2014.

From the label's inception, Koek has been a supporter and close friend of the Rhythm Buro team. Playing live at Rhythm Buro parties as Cyspe as well as live with Artefakt, the two have worked and partied close together. A release from Cyspe became a very welcome natural step for all.

A1 bursts open with 'Nexus,' a cerebral-atmospheric-blanket of a dance track, arguably the strongest offering on 'After This World'. Apparently, quite the story can be told in just seven and a half minutes for those attuned to listening. 'Mindscape' comes next, providing a notably nice ambient contrast to its dance floor-feeding predecessor. A2 maintains a similar vein and flavor of the sublime, if not a further development toward the heavenly and spiritual. The B-side proves to be a prime example of what 'deeper techno' is capable of: grooves that drive the dancer from this realm to the next. Both 'Earwitness' and the title track are sure to be rich vehicles for those sacred 'closed-eyes' moments on the dance floor.

The Shadows is the new album from Leeds-based six-piece Tomorrow We Sail. Building on their debut release For Those Who Caught the Sun in Flight (Gizeh, 2014) over the course of three years, this new work combines perfectly the soaring atmospherics, gorgeously intertwined vocal harmonies and dramatic shifts in tone and dynamics that have come to characterise Tomorrow We Sail's sound. Yet, there is a new sense of urgency here. Very much an album of its time, The Shadows draws upon the same sense of connection to both past and present that defined its precursor but features storytelling that's even more defiant and deeply personal.
Like its predecessor, the record features seven songs but from the chiming guitars of opening track Side By Side it is clear that the stately pace of For Those Who Caught the Sun in Flight has made way for a far more dynamic and driving energy; perhaps best captured in the righteous anger of The Ghost of John Maynard Keynes. Tomorrow We Sail still invoke a keen sense of measured grace in their songwriting - from the sweeping, elegiac title track, through to the sparse, restrained, yet haunting beauty of Winifred and To Sleep. Urgent, yet assured, The Shadows demands your attention.

Andrew Scott, aka NY*AK, Scott has remained a consistent representative of the music scene and we're delighted to have him on board for the first release of 2018 on Local Talk, Bound EP.

We're treated to four tracks, the opening track 'Bound' is a cut up, soulful disco house slammer.
Next up we got Dancing, a perfect example of Andrew's skill when it coms to slowing down the tempo but still letting the track have enough character to keep you...'dancing'.

On the flip we got 'See More' which takes you straight to a dark and gritty club with it's stuttering chords, tight drums and pulsing bass.
Last but not least we got 'Sandwiches' which features long time collaborator Ian Blevins.
A stunning low deep groove for any Theo Parrish or Marcellus Pittman fans out there.

Solipsism heads into new territory with this deeply hypnotic four track EP of Dubbed out Downtempo Techno and Fuzzy Electro. Hypnagogo EP has had support from Soma Records (Scotland) Joe Muggs (Mixmag, The Guardian), Indie Rock Magazine (France), Is This Music Magazine (Scotland), Regal Radio (Scotland), Relaxed Machinery (Australia) & many others. Comparisons have been drawn with artists as diverse Beaumont Hannant, Boards of Canada and Deepchord.

Rumore debuts on Hot Haus Recs with 6 low lung house jackers, super deep breakbeat houz 4 the headz!

Chiara Kickdrum is a Torino-born, Melbourne-based DJ, producer and composer. Her unfaltering work ethic has secured her a place above the noise of an over-crowded late-night club scene, with the city she now calls home showing no sign of losing its appetite for the mastery and focus any of her sets readily showcases. Her self-titled 12" is the third release from Melbourne's niche imprint Temporal Cast, demonstrating the raw power and depth her production and live performances in particular are known for. This highly limited, long-overdue physical format release of her own is certain to please those who have been eagerly awaiting it.

Tristan Kino releases his first vinyl EP on Short Black. 2 original deep techno weapons with a remixed dancefloor work out from Johannes Volk (Exploration Records) Having released on labels such as Tief, Dolly, Token & Suburban Avenue to name a few Johannes really step in to a full club sound. Driving and perfectly arranged for busy floor. Tristan Kino's originasl need no words. We are very happy to have them both on the label. Support local record stores, support techno!

Distant Early Warning is the debut solo album by Australian drummer, percussionist and composer Laurence Pike.

For the best part of two decades Pike has operated at the cutting edge of the electronic and jazz music worlds, releasing albums to critical acclaim and touring the world with his bands PVT (formerly Pivot), Triosk and Szun Waves, and featuring on numerous albums, tours and soundtracks as a collaborator. On Distant Early Warning he carves himself a moment of reflection. The calm in the eye of the storm. An ominous portent as the rocks appear on the horizon.

Originally conceived as a technological and spiritual jazz suite for drums, Distant Early Warning is a series of solo performances for kit and sampler recorded live in a single day. For a long time I've been feeling there's a central part of my musical voice that didn't have an outlet,' Pike says. So this album is definitely a product of inner necessity.'

James Ramey, better known by his self-depreciating stage name Baby Huey, was a potently flamboyant presence in Chicago's soul scene during the 1960s. Though he suffered weight problems throughout his life due to a glandular disorder, he was easily recognizable for his appearance, which featured an enormous afro, and long, flowing African robes. He and his band The Babysitters were a wildly popular and successful local act across Illinois, cutting numerous 45 singles, without releasing a single full-length album. A chance audition with Donny Hathaway and Curtis Mayfield of Curtom Records would change everything for the band. Though the two of them were pleased with the group, they opted only to sign Baby Huey without the Babysitters. Huey would go on to spend much of

1970 recording a studio debut of psychedelic soul and funk music, comprised largely of covers of tracks by Mayfield, Sam Cooke, and others, plus two original compositions. During this time the now 400-pound singer struggled with addiction to alcohol and heroin. Huey would not see the release of his debut album, dying at the age of 26 from a drug-related heart attack. So many years after its 1971 release, Baby Huey's studio album Baby Huey: The Living Legend went on to become a cult phenomenon, a massive influence to hip-hop artists and fans, and is now considered a classic of its era. Tracks from the album have been a treasure trove of sample material for artists like A Tribe Called Quest, Wu-Tang Clan, DJ Shadow, and The Chemical Brothers to name just a few. Additionally Huey's own vocal style, which dabbled in sing-song melodies and self-referential rhyming, has been said to have influenced the development of rapping itself.

The french duo Klash Point , who have already enjoyed DJs support from the likes of minimal techno scene, Hot on the heels of their Module Records debut with their "Persistence E.P.", is back with four tracks of roughened groove ; this new "Mono Phase E.P." is likely to attract even more attention. Side A ,"Mono Phase" is just The true definition of a deep techno mood!
And "Stockholm" rocks around an hypnotic rolling groove that as it perpetually twists and turns.Side B ,"Kologne" push up you higher with its straight atmospheric synth ...And with textures and tones nodding to both Berlin and Detroit, once again there's a strong sense of timelessness and versatility to play "Dolby".

Dark Entries Editions is proud to reissue Ghost Town' the 1984 debut 12' single by Mono Band from Italy. The project was conceived by producer Rene 'D'Herin and Massimo Fantinatiti aka Fantenax. They teamed up with songwriter and guitarist Luigi Venegoni aka Svengile who had previously worked with progressive and jazz-rock bands Arti & Mestieri and Venegoni & Co. as well as cosmic disco group Stratosferic Band. Treading the lines between Italo Disco and the darker side of New Wave, the trio crafted a mysterious sound. Melancholic arpeggiators, a throbbing baseline, stuttering samples, and the classic Linn drum machine run throughout the track. Vocals were handled by an uncredited Carlo Rossi who raps about a ghost town filled with fear. When female vocalist Elena Sansonetti begins to softly whisper the chorus one might get goose bumps. The trio were joined in the studio by DJ Mike aka Michele Paolino of Make Up/Mike Up, DJ Moody, Fabrice Bellini of Art Fine and producer Miceli. The song was recorded in a few days at Dynamo Sound Studio in Turin and originally released on the popular Discomagic Records. This reissue includes the original vocal version, backed with a longer dubbed out instrumental Ghost Version' on the B-side. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The 12' is housed in an exact replica of the original sleeve with an astrological photo the planets orbiting the sun. Each copy also includes a 2-sided postcard.

Driven by a vicious and visceral soul, The Buttshakers are known for their fierce and fiery music: turntables steam from the heat of their records, dance floor buckle under the blistering pressure of their infectious grooves, a group with a burning Midas' Touch.

Yet after nearly a decade of touring and recording, it was with a different musical vision that they approached Sweet Rewards, their first collaboration with Underdogs Records.
Accustomed to the raw, primitive sounds of 60s garage rock and the crude sexuality of pre-Motown soul music, the Buttshakers have created a reputation as a must see live band perfectly aligning loud rock riffs and lustful desires. A sound they could have continued to dig into again and again. Instead they decide to take another route. A creative shift, a return to a style of soul music that no longer has to rely on pure energy alone, a sound that concentrates on the quality of writing composition and interpretation rather than pure virility.

LP There's been an air of hypnagogic mystery surrounding Acid Test's sublabel Avenue 66 from the start. Joey Anderson's oblique, Prince-inspired incantation "Above The Cherry Moon" set the tone for a label that's sound that has found beauty in the furthest recesses of the dance floor, in the murkiest decay of kick drums and rave stabs. Fitting then, that the first album on the imprint comes from Trux, an artist who has chosen to reveal nearly nothing about themselves. Following a cult classic mini-LP for Office Recordings, "Orbiter" bears out the anonymous producer as a master of liminal, conceptual dance music. "Orbiter's" ten tracks have a vaporous, shape-shifting quality, threatening to topple over into full-on kick drum bliss or vanish into ambience. Opener, "With It," moves from heady ambient rush to skeletal piano, while "Blinko" and "Roy's Garage" spell out a hazy memoriam for the UK continuum. Forlorn pianos ring out amongst the field recordings, excitable toms and jungle bass all softened in the enveloping gauze. "Orbiter" positions Trux as an unknown auteur who puts evocative world of tone and echo into dizzying motion, content to watch from the wings.

orrespondant welcome Berlin duo Hinode Having established themselves with a string of well received cuts on their own Science Fiction imprint, they were spotted by chance by label boss Jennifer Cardini on a recent record-shopping jaunt. With a raw, no-rules sense of machine funk running through everything they create, they're the perfect match for Correspondant and make their label debut with four numerical delights... 'I' lights the analog fire with raw sleaze and off-beat mischief. Unkempt and wily, it sets the tone for the entire EP: 'II' writhes snake-like with its slinky kicks and purring textures, 'III' slurs with bass groans and shakes with paranoid, alien melodies while 'IV' closes with much more of a tunnelling, sense-blurring experience. Total machine harmony, unbounded synthetic creativity, made to mix and wholly outer-planetary... Hinode and Correspondant are a match made in the stars.

As featured on Feeling Nice Vol.4, we thought it is well worth to re-release Frederick Knight's "Steppin Down" on 45 too. Even better, the B-side "Heart Complication" is a monster deep-soul track which many of you may have not heard yet. We here at Tramp re-release good music, whether it is rare or not. This one is indeed rare so get your hands on it before all copies are gone.

For over 20 years, your irrepressible host Rex and his legendary Fool's Paradise radio show on WFMU has held a grudge against the whole square world. Broadcasting from an undisclosed location in rural New Jersey in a fur-lined fall-out shelter located miles below the earth's crust, this weekly "excursion to nowhere" continues to proudly play nothing but greasy grooves from inane 45s, non-hit misfires, curveballs and oddballs from the Rock & Roll era. Yes sirree, those weird and warped ones about monsters, beatniks, chickens, apes, stewed moonbeams and mosquito knees...

And now, in the tradition of free love and nickel beer, Jazzman Records has teamed up with Rex to bring together a fabulous collection of his top spins! These are the songs that, by virtue of Rex's dogged persistence, have now achieved a kind of classic status that was surely never previously thought imaginable - The Fool's Paradise Favourites.

Gatefold LP includes 18 tracks with extra special chicken-themed twin spin bonus 45 single!

Two New York latin soul bangers from legendary band leader Hector Rivera and Vocalist David Coleman.. Hector wrote and arranged for many famous latin Ray Barretto, Machito, and Tito Puente as well as releasing several Lps himself , these cuts come from his successful LP "At the party". Both sides have been spun by myself for years so happy to finally license them for the AOTN stable.

A solid two sider for your soul box from the Old Town vaults, 'Say It With Feeling' is a great mid tempo soul track which i have used as a warm up track for many years and had remained popular on the soul circuit as well. For me the real magic happens on the flip. 'Conscience' is a haunting mid tempo off-kilter number, memorable in the extreme, challenging to work it into a set, a charming, fascinating record, no wonder it was a huge popcorn spin in belgium.

As one-third of Yellow Magic Orchestra and an Academy Award-winning composer for his work on the soundtrack for The Last Emperor, synth pop innovator Ryuichi Sakamoto is among the most groundbreaking artists to have emerged since the late 70s. A musician's musician, Ryuichi Sakamoto has created intriguing musical unions with artists such as David Sylvian, Iggy Pop, Tony Williams, Bootsy Collins, Jaques Morelenbaum and many others.

Following the massively successful release of the electronic masterpiece async in 2017, Ryuichi Sakamoto's first studio album in eight years, Milan is proud to announce the remix compilation async remodels: a dozen remixes of async's tracks by a who's-who of experimental giants - everyone from Icelandic composer Jóhann Jóhannsson (Arrival, Sicario) to Oneohtrix Point Never (composer of Good Time) to Arca (producer of Björk's numerous releases) have gotten their hands dirty remixing Sakamoto's work. Even reworks by the Canadian synthpop duo Electric Youth and Austin-based synthwave legends S U R V I V E are included. With such a well of talent reinterpreting such a personal album, this is one release Sakamoto fans can't afford to miss.

What we have here is one of Cornell Campbell's great Dancehall early 80's set of song.
Dancehall was when the beat slowed down to that classic one drop style that suited his voice so well.
The album includes the title track 'Boxing' which was a massive hit for Cornell on its initial release in 1982.
It also includes a Dancehall reworking of 'Queen of the Minstrel' and a fantastic dancehall cut to Bob Marley's 'Natty Dread'.
This was a new chapter in Reggae's sound that saw the rhythm slowed down and seemed to add even more emphasis to the songs meanings.
A reissue of Cornell's early 80's 'Boxing' set is complete here. We have also added some other Cornell period classics to the CD version of this release.
Be sure to play it in full...Cornell Campbell at his finest

Having recently appeared on Bosconi Records and Altzmusica, Daisuke Kondo is a producer on the rise at present. This outing on Vibraphone adds fuel to that particular fire with four distinctive cuts that push to the outer edges of house music without losing sight of the groove. "Hold On To Love" is, on the surface, an upbeat, disco-infused house jam, but there's a certain trippy approach Kondo takes in the processing department that edges the music into a different head space. "Life" meanwhile gets gritty and bass heavy at one end of the frequency range, and airy and melodic at the other. "Feelin Blue" gets even dustier and scratchier with its sample treatment, and then "Fallen Star" lays down some unflinching machine beats with wonky, distant piano licks.

'Intraverso is a journey in that momentary 'inbetween land' that many of us experience sometimes. It explores the turmoil of feelings of when one gets stuck in the middle, floating in between ambition and complete stillness'.

Fabrizio Lapiana is a well-known name on the contemporary Italian techno scene. He has been involved in music since the 90's when he started DJ'ing in his hometown Rome. To date he has over two handfuls of releases on labels such as Figure Jams, Arts and M_Rec Ltd - as well as his own imprint, the well renowned Attic Music, founded in 2008.
Intraverso is Fabrizio's debut album, set for release on his label. The record is a very personal journey, according to the artist himself. You here find him examining different territory than where he usually heads within his productions. The album, which consists of nine songs in total, was composed between April 2016 and February 2017 in his studio in Rome. Written in a state of 'introspect', we here see an artist in motion. Changing. Evolving. The perfect moment to explore something new and unveil a different side of yourself to the world.

The intro 'Early Morning Waves' opens the album with its own quiet dramatic tone, waves hitting the shore as we move into 'Bret'. A cloud-walking kind of melody welcomes you, accompanied by a curious beat driving the journey forward. A deep heavy bassline and almost ancient sounding melody rises in 'Onironauta' (reflecting 'Early Morning Waves' mystical mood) until more playful elements blends in. The contemplative bass elements continue in the title track of the album; 'Intraverso' is a track of mind traveling discovery, yet before drifting too far you are grabbed by a snare, a clap of white noise and a pulsating beat to keep you on track. Further on, 'Lost In Negative Thoughts (reshaped)' reveals itself with its heavy ominous drumbeats and a dark spun web of strings is joined by sounds of distant life and machinery. Then there is 'Distance' which is the album's first flirt with more dancefloor friendly territory. Still under a veil of ill-lit melodies, expertly programmed percussion and claps creates something for a more personal body move experience. Moving into 'Again' sees the expedition continuing journeying through the dancefloor, albeit in a deeper landscape where flickering extraterrestrial sounds watches you go along. In 'Backlit' you find the albums most organic moment, an ambient slow thoughtful walk through the consciousness of the producer - only to end up with the album's final moment; 'Freckles (beatless)'. Here we drift deeper off into slow ambient melodies with a comforting thoughtful bassline taking us to the end of our voyage.

Lapiana has composed an album where you get to travel with him on a sonic journey into the deepest corners of his mind, baring vulnerabilities as well as strengths. Intraverso carries a feeling of ancient atmosphere via its melodic language through its whole running time, perhaps since the foundation of the album is based on emotions and the mind. Thoughts, feelings and mental states that always have been with us, no matter the time and place. It is a mature debut album for an artist that proves he is willing to risk going into different areas than the tried and tested ground. One might say Intraverso is a record created for an introvert introspective dancer, willing to see what lies beyond that of which is visible at first glance.

Following our first release with Opal, which aimed at the dance and the bodies, we wanted with this second EP to reach to people's mind. As a Geneva-based techno label, it was fundamental to work with our local hero: Opuswerk. He's already been working outside of the country with artists like Fran ois X and labels such as ARTS, Semantica or Dement3d. It was time we involved him in our project. Through this EP, Opuswerk clearly shows what he knows and does best. Much like his DJ Sets, he connects dots and layers in unexpected ways, like a rhizome connecting different multiplicities. Inspiration for the original tracks came from designing systems of independent yet connected sounds, where events are triggered, un-triggered and alter other events, each behaving on their own. As one of those elements, the artist acts as a guide, directing them from one place to the next acting as and with the machines. The "mot d'ordre" is about becoming one of the machines, blending techniques with vibes and catching them like ever escaping dreams. The result is two uniquely sounding spaces, either filled with raw energy like on Extensum or with subtle and serene ever-evolving bleeps on Spatium. Those two extremes are fitting to how we want present the multiple dimensions of our artist's works to the world. The same logic went into choosing the remixers, with whom Opuswerk had a human connection with. Inland and Antigone need no introductions, having both established their sound on labels like Countercharge or Token. Each brought their own re-interpretations of the original tracks bringing them closer to the dancefloors.

2x12" Repress

Answer Code Request returns with his sophomore album Gens on Ostgut Ton, entering darker but equally bass-heavy territory.
Answer Code Request's 2014 debut LP Code was an exciting moment for electronic music in Berlin - one that offered a break from the eternal hall and monolithic 4/4 kicks that ruled the city's club landscape. As a hybrid gesture, the album's spirit recalled an especially fruitful era in the German capital from the mid-90s to early 2000s, when dub and paddriven Detroit techno cross-pollinated with Berlin's industrial aesthetic to create one of the city's most exciting musical chapters.
Today the musical vision offered by Berghain resident Answer Code Request, real name Patrick Gräser, has proved far-sighted. While at first glance electronic music in 2018 seems increasingly balkanized, borders between genres have once again become fuzzier.
Now, on his follow up LP Gens, Gräser looks beyond the bass euphoria of Code toward darker horizons and a desolate atmosphere befitting of current global circumstances.
In a sense, Gens (Latin for tribe or lineage) reverses the notion of the hardcore continuum as proposed by music journalist Simon Reynolds: embedded in a tradition of US andcontinental European techno, Gräser seeks its disruption through hardcore outgrowths, from ambient jungle to later variations of British bass music and IDM. It's an interesting twist when seen in the larger biographical context of Gräser who, born and raised outside of Berlin in early 1980s, jumped from East German youth radio DT64 to American hip-hop, acid and early UK hardcore - a radical shift of musical interest born of a radical shift in political circumstances. On Gens, the unsettling atmosphere is established early on with the fading rave opener of the album's synonymous title track, and continues through the scrambled military communications and post dubstep rhythms of 'Sphera'. From there, sci-fi pads, heavy phasing and alien syncopation lead explorative third track 'Ab Intus' out into space. Aglimmer of otherworldly positivity arrives with the warm, distorted breakbeats and interwoven synth melodies of album standout 'knbn2', while Gräser's most dancefloororiented melds jungle and techno, Amen and 4/4 kicks, on 'Cicadae'.

Taciturn Manner is Reggy van Oers's first full length on his own Telemorph imprint.

Pertained in a period of strained self reflection, several field recordings have become the core upon which the album has been created. A persistant continuous movement throughout the elements of the tracks causes a certain constrasting tension and gradually transforms into lush cinematic textures.

An intricate and mesmerizing journey, full of rich and surprising details, resulting in a rather emotional expression of his constraint style and coherent distinct sound.

Mirror Trax proudly presents it's first release: the Esox Lucius EP by Esox Lucius! Born in the late 90's, Esox Lucius seems to have soaked up his environment quickly. Old school flavour transmitted to the depths where Esox Lucius roams seems to be the recipe for elementary and spaced-out techno. Nimbus on the A side is a classic techno track reminiscent of the X-Mix days! It's soothing melody and driving bass will propel you towards the clouds, cruise-missile style. On the B side, the first track Indica is a high-speed techno train. Driven by it's resonant lead and shifting snares, B1 will definitely leave you as high and disoriented as the name implies. Common thread on the B side seems to be a Hague-ish influence, as the closing track is a heavy grinding techno track with a hint of electro. B2 will definitely sink your ship so make sure The Hoff is around!

300 copies available.

Following the recent reissues of Jose Mauro's Obnoxius, Piri's Voces Querem Mate and Victor Assis Brasil's Toca Antonio Carlos Jobim, Far Out Recordings presents a second album from Victor Assis Brasil from the treasure trove of the Quartin Records catalogue, Esperanto. Over the course of the 1960s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato, Quarteto Em Cy, Baden Powell and Vinicius De Moraës. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade's first year. These singular gems in Brazilian music, difficult to categorise yet compellingly beautiful, have for too long gone unheard.Gifted his first saxophone by his aunt at the age of fourteen, only four years later the inherently gifted and determined young musician Victor Assis Brasil recorded his debut album, with a second to follow only a year later. The prodigious young carioca was subsequently granted a place to study at Berklee College of Music, where he played alongside the likes of Dizzy Gillespie, Clark Terry, Chick Corea and Ron Carter. It was also during this period he recorded Esperanto and Toca Antonio Carlos Jobim with Roberto Quartin, upon returning to Brazil in the summer of 1970.Recorded in the same sessions as the Toca Antonio Carlos Jobim album, Esperanto consists of five deep jazz cuts: original compositions except for a heavy-swinging latin-jazz cover of Jimmy Heath's 'Ginger Bread Boy', alongside more moments of wild frenetic jazz, like 'Quarenta Graus A Sombra', amongst more melancholic, but no less captivating compositions like 'Marilia' and 'Ao Amigo Quartin'. Esperanto's influences span both American continents, finding a meeting point for Latin jazz and North American post-bop, with Roberto Quartin's perfectionist approach to sound elevating the already incandescent music to divine new heights. The band consists of some mercurial greats of Brazilian music: Dom Salvador (bass), Edison Machado (drums), Helio Delmiro (guitar) and Edson Lobo (Bass).Victor Assis Brasil passed away aged just thirty-five, due to a rare circulatory disease, but by this point his status was already cemented as one of the most talented musicians in Brazil's history.

The first and only licensed reissue of this rare 1979 two disc set rescued from obscurity by Chris Veltri (Groove Merchant Records, SF) back in 2004. Few have heard it till now. T.J. recorded these four tracks in the South Bay, solo-style after stints in Bay Area bands The Mysterious Minds and Dawn & The Sunsets.
This release contains two 12 inch discs with four side-long tracks housed in a beautiful '70s style matte tip-on gatefold jacket. Disc one plays at 33 1/3 rpm and disc two at 45 rpm. A download card is included.

We know you've been waiting for this one since last summer! Caspa's debut on Youngsta's ridiculously on-point Sentry has been one of the most requested releases in a very long time. Hot on the heels of releases by dBridge, Nomine and Akcept, the Sub Soldier comes in hard with two absolute burn-ups...

'Gutter Riddim' is a stately spacious construction where every weighty element is carefully considered and plays a key role in the momentum. Tightly sprung tension buzzes through it with high voltage as Caspa lays down some of his darkest designs to date. 'Hot Head' hurls us even deeper into the shadows. A true teaser piece, the first bass line is a staccato stab that gives you just enough time to settle into the groove before the real big-balls bass line comes hurtling out of nowhere.

Rewind every single time, this has been causing uncut mayhem for the few DJs lucky to have it early enough. Timelessly gully and a perfect way to kick the doors of 2018 in. As those who were at Sentry's first anniversary at Fire earlier this month will corroborate: London's heart rate is pounding away at 140 again, some of the most crucial bass music is coming out of the city and Sentry, Youngsta and Caspa are slap bang in the heart of it. The wait is over... Enjoy.

Classic Original mix (Remastered) + 4 (!) long Ricardo Villalobos Remixes All
Get Physical's 16th year continues to serve up plenty of excellent and exciting new music with this, an EP full of mesmeric remixes from the one and only Ricardo Villalobos. The source material here is the classic 'We Are Phuture' by pioneering Chicago acid outfit, Phuture. The original is included in specially remastered form and the Chilean minimal techno hero serves up four of his own unique versions. Ricardo has been remixing for this label for well over a decade and just last year his 'Hauswiedermischung' version of Reboot's 'Are You Losing My Mind' was one of the standout tracks of Get Physicals´s oeuvre. The original is an abrasive and jittery house track that bristles with frazzled synths, dark filtered vocals, acid twitches and coarse percussion. It's one to electrify the floor, and still does plenty of damage 20 years after it first came out on Trax. Up first is Phutur I Remix, which strips everything away to leave a fluttering snare line, rubber drums and minimal synth that shapeshifts for nearly ten minutes. Add in some trademark Villalobos vocals that are alien and unsettling and you have a real classic in the making. The Phutur II Remix is busier, with deft drums that ride up and down and have a spoken word vocal floating up top. Alien sound designs and occult acid all join the mix later on, while Phutur III sits somewhere in between.

After two impressive remix EPs taken from ELLEN ALLIEN's seventh studio album, 'Nost', BPitch Control unveil round three with another heavyweight lineup of contributors stepping up to the plate to deliver their own interpretations of the queen bee's original works.

This time around we're honoured to have ALAN OLDHAM, EOMAC, AMOTIK and XDB volunteering their services to bring a whole new dimension to the music from 'Nost'. Each of the four artists has earned a sterling reputation, with a style all of their own.

Next up on Francis Harris's newly-founded record label Kingdoms comes something very special from Brooklyn-based film composer, songwriter, producer and performer Léah Lazonick. Movimenti della Luna D'Oro ('Movements of the Moon of Gold' translated from Italian) is a four-track EP from one of the most exciting musicians and performers around - a beautiful quartet of contemporary classical music with a twist. Lazonick is something of a polymath, having composed and conducted orchestral and electronic scores for short films and commercials as well as being a classically-trained pianist. Lazonick is also a connoisseur of analog synths and vintage drum machines, and will release a second EP focussing on these passions during the course of 2018. Here we are treated to three luscious works for piano and string quartet, written for a one-off performance at Studio OFF Interarts, an art gallery in Montreal. The piece was performed in a forest-like immersive environment, and was originally called In a Forest (A Piece in Three Movements). Lazonick performed the piano parts along with a string quartet she had assembled for the performance/recording. Lazonick explains: 'As opposed to most of the other songs/compositions I have written, I have no concrete sentimental story behind writing this piece. The motivation, inspiration and overall idea behind composing it was of a more technical nature; attempting to relay the music in my head at its purest form, without any compromises, by primarily making use of melodic and harmonic dissonances whilst still keeping the content captivating, musical and continuous.

Here we go...first Split EP on RAWAX & CHIWAX!
On the CHIWAX side we have the Chicago Master, Mr. Boo Williams and the amazing Simoncino
presents the RAWAX side. Very special combination!

Durban's Rudeboyz (aka Masive Q and Andile T) return to Goon Club Allstars to follow up their self-titled 2015 debut EP with new record, 'Gqomwave'. Widely acknowledged as Gqom originators, alongside Goon Club label mate DJ Lag, Rudeboyz' raw, energetic compositions took the sounds of Durban's townships global back in 2015, opening doors for a whole new generation of South African artists in the pro-cess. They themselves hail from from Mount Moriah, just outside the KwaMashu township in North Durban. The duo's latest record, 'Gqomwave', is comprised of four tracks, each bursting with the intense, driving rhythms and boundless energy their productions have become renowned for. Gqom is again the core around which the whole EP functions, as blazing sirens and charging beats play out on opener 'Major Turn Up', but subtle, stylistic nuances point to a growing maturity in their work. The springy elasticity of 'Bounce Back' and the sharp, stripped back drums on relentless club burner 'No Mercy' each offer different, smouldering takes on the Gqom sound, while final track 'Asjableni' features the gritty, hypnotic vocals of long-time collaborator T_D Snaxx who tragically passed away earlier this year.

The Afro-Funk side of the Latin Soul maestro!

Born in Gao (Mali), Boncana Maïga is one of the most talented and popular producer of West-African music since the 60's. He studied flute and Latin arrangements in Cuba during the 60's and founded the famous Les Maravillas du Mali' in 1968.

He became orchestra leader for the national Ivorian TV in Abidjan in the mid-seventies, and toured all over the world with the famous Africando band. During his recording sessions in NYC at the beginning of the 80's with a lot of Latin musicians' from Puerto Rico, Venezuela or Colombia, Boncana Maïga also recorded few rare Funky tracks with heavy breaks!

With the artist, we decided to reissue four rare tracks from 1978 to 1982 dedicated to dancefloor, including a really rare soundtrack for the oil company of Ivory Coast called Petroci'.

In 2018, he'll be back on tour with Les Maravillas du Mali', still have a weekly TV show on TV5 Monde and with this reissue will continue to warm your Afro-Funk parties!

Fully licensed, 12inch vinyl (45 RPM) including interview. Remastered by The Carvery!

First reissue of this essential LP by Italian pioneer and Ennio Morricone cohort, Alessandro Alessandroni. Originaly released on Munich based experimental, progressive library label Coloursound.

Alessandroni at his best: very refined Italian cinematic sound, tense 12 strings guitar themes, synth sequences, beautiful sound of chamber classical music mixed with psych choir. You can feel Alessandroni's magical touch for melodies and arrangements on nearly each song and at the same time, some François de Roubaix reminiscence on themes like "Dramatic" and "Sad Farewell".

No doubt each track of this underrated masterpiece could have been a classic soundtrack theme.

Tardis Records are delighted to welcome UK tech-house hero Flow to the Tardis Records stable for their eighth release. The three tracks making up the Trine EP were recorded together with Simon Moorecroft (a.k.a. Simon Vinyl Junkie) around the time of his first vinyl releases back in 1996-1997. All three tracks sound completely contemporary whilst having more than enough old school flavour to give flashbacks to any 90's ravers. Lead track 'Boy Girl Action' has skipping, garage-influenced beats with rolling bass and swirling atmospherics, whilst a breakbeat, vocals and a stabby intro give 'Trine' on the flip a more ravey feel. Closing out the EP, 'I See You' is the dubbiest cut here, with another heavy bassline, cut-up vocals,and subtly swung percussion. Eli and Oscar have loved testing these tracks out on the road and can vouch for their impact on a peak-time dancefloor!

raw, soulful and agitating: glenn astro, the humble house sorcerer from berlin, produced four tunes and a sweet interlude for mule musiq that point out: house music is still heading for the future.
with countless eps, album's and collaborations for labels like ninja tune, tartlet or his own co-owned imprint money $ex records, the dj and producer already emphasized that he thinks house counter to the trend.
his new ep shows this anew with unpolished, speedy, even techno-like rhythms and deep gentle melodies. dance music for jagged movers that have enough of high gloss sounds.
if house music is a spiritual, a body, a soul thing, then glenn astro delivers some real fresh groov-ing prayers.

'That Jazz' is Coops' first official offering since signing to High Focus Records back in October. By no means a debut, having already released two critically acclaimed albums 'Lost Soul' & 'God Complex' under his own steam in 2014 and 2016, the London MC is putting his best foot forward - a 'no nonsense' masterclass in smooth rhyming and soulful boom bap, produced by long time collaborator Talos. The beginning in a long line of releases planned for Coops this year, 'That Jazz' serves as the perfect introduction.
'That Jazz' is officially released on Friday 9th of February on limited edition hand numbered 7' vinyl (limited to 300) and across all digital platforms worldwide.

The label will be an outlet for Daniel Jacques his own music productions and its debut release, entitled 'Discovery Change (Part 3)', is the first part of a tetralogy vinyl project. When putting the four separate covers of the releases together, it will depict one large image of a very important person in his life. All songs of the project have been created between 2005 and 2015 and the music will be pressed on 180 grams vinyl (12 inch).

'Discovery Change (Part 4)', is the second part (JR-002) of Daniël Jacques' tetralogy vinyl project. All songs on this part have been created between 2004 and 2016. This time, delivering a variation of (deep) house ('Daruma' and 'Astronomy'), techno ('The Opposite') and even hip-hop music ('Where U Are'). Again, the music is pressed on 180 grams vinyl (12 inch).

55 minutes of relentless power electronics coming via courtesy of OAKE, presented for the first time on vinyl.

Originally recorded during a live performance in Marseille, 2015 and previously released on tape via Ascetic House in 2016.

'Live in Marseille' is now newly presented on 4 sides of wax which have been supervised and editing by OAKE, remastered and cut at Dubplates and Mastering, Berlin and pressed at Record Industry, Holland.

The 2xLP comes housed in a 6mm full cover record sleeve with each copy housing an individually, hand printed artwork and download code.

The Solar Phenomena label welcomes Achim Maerz for its fifth EP. The Hamburg producer is an associate of labels like Don't Be Afraid, where last year he released his mini-album of rough and ready house tracks that are improvised and innovative. The four cuts he serves up here are just as special and have an ethereal air to them.

In My House opens things up with serene synth work and lush Detroit stylings. It's a deep and widescreen track that encourages you to dream. Fresh Air is a little more upright, with rattling hits and pixelated, long tailed synths lingering above the rooted drums. As the title suggests, Leaving This Planet is a cosmic exploration, with ambient keys and meditative atmospheres joined by only the most subtle and suggestive sense of rhythm way down below. Last of all is Two Times, a beautiful deep house track with deft synths drifting, bleeding and wandering off into a starry night sky. All in all, then, these are truly thoughtful house tracks.

Paneadores, it's about time !!

Here you have, the snippets of our third release. This time VCO join us with one track. We want to say; as many paths in life, music it's a way to express ourselves. Therefore, this time we want dedicate this vinyl with all our love, to Charliemoon.

We are proud to announce the kick-off of a new Dynamic Reflections subseries: Dynamic Reflection LTD. A series that is set to explore a broad spectrum of electronic music, and aims to cross the barrier between the club floors and home listening. And to start in a proper fashion, we launch the LTD-series with a very special vinyl + full digital album package by Jonas Korbl.

Three years in the making, this anticipated album chronicles the musical, and in many ways, spiritual coming-of-age of Jonas Korbl. Having started producing house music at a very young age, this debut album under his birth name signifies a new direction for the young Dutchman. In these pieces you hear him shaking off the restraints of formulaic working, opting for more experimental paths instead. You could say Discovered 5 is a story about learning about music; An expression of the author's experience in broadening his horizons.

In the full release Korbl presents nine tracks with a sleek and undeniably dark aesthetic, taking you from ambient soundscapes to main room techno and back, touching down in Berlin and London along the way. Downtempo excursions comfortably rub shoulders with rough-and-tumble club destroyers, but as varied and idiosyncratic as the album is, the music feels far from contrived. Instead, the variation keeps you engaged, with the quieter moments acting as a counterweight to the pieces with a more straightforward approach. Somehow he manages to make all these different places and moods uniquely his own.

The most remarkable thing about this LP is Korbl's uncanny ability to take familiar elements and bending them to his will, creating a new context for the listener to experience his personal brand of electronic music in. The adventurous DJ will surely find a track to create that special dance floor moment on the vinyl release, containing four club-ready tracks. However, for the full experience the entire album is a must-listen, connecting the dots between the highlights placed on the physical LP. All in all, this debut bodes very well. With skills and experience beyond his years, Korbl's star is sure to only rise from here.

Max Romeo has teamed up with UK based, Grammy Nominated Producer Daniel Boyle, to create a stunning return to form, Roots Reggae album with accompanying Dub versions.

''Max is noted for his critically acclaimed work with Lee Scratch Perry in the 1970's, and for his timeless classic songs penned over the last 50 years - Such as 'War ina Babylon' 'Melt away' 'one step forward' and the worlds most sampled reggae song ever -''Chase the Devil'. Picked up by artists such Jay Z, Kanye West, The Prodigy and Blockbuster hit movies.

Max and Daniel have teamed up with an all-star cast of musicians to create a true Part 2, to Max's legendary, ''War Ina Babylon'' album. Using strictly Studio equipment ranging from between the 1950's - 1970's, recorded and mixed in 100% analogue format, and presented with stunning artwork in Physical format.

The people at Antinote are always excited to introduce new names to its roster and Sign Libra, its latest addition, makes no exception to the rule.
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Released under the moniker Sign Libra, Closer to the Equator is the work of Latvian artist and composer Agata Melnikova. Composed for a contemporary ballet at Latvian National Opera in Riga, the music on this record strongly relies on Melnikova's appreciation of BBC-produced nature documentaries. Projecting the life of each creature that inhabits the British TV-program into her very personal and highly synthetized world, Sign Libra lends these microscopic beings her own voice. Each song works like a musical tableau' in which the main protagonists - plants and animals - come on stage to play their part in a ballet carefully choreographed by the Latvian artist.

Sign Libra's mental and musical incarnations of the microcosm of the rainforest have something to do with Software's album populated by exotic insects and crawling plants, a Carnaval des Animaux' released on Sky by a MIDI-addicted Hector Berlioz. These microscopic beings incarnate themselves in resonated melodies that echo through a technicolour rainforest, while winds blow through holographic ferns, vines and palms.

Closer To The Equator synthesizes visions panning treetops as the sun's rays pierce through clouds nearby. Sign Libra takes you into a harmonic world that shines brightly wherever you stand, and offers a genuine synesthetic experience.

For the first release of 2018 we welcome Harry Wolfman to the Outplay family!
Having followed his work for the last couple of years we're very happy to have him deliver this varied 4-tracker, which very well might be some of his best work to date.

The A side starts off with 'Hitch'. A warm and dusty groover driven by rhodes, a rubbery bassline and a thudding kick. A lovely string piece in the middle of the track slowly builds up to the break for it to return to the head nodding groove soon after. The added percussion gives it a nice lively feel as well.

'Pigs in Blankets' sets the pace a little slower, but the funk goes on. The track incorporates 80's style samples with some excellent synth and chord work. Perfect for a warm up session.

Starting on the B side Harry takes it up a notch with 'Nemoto', which will be a definite stomper for the dance floor. It takes you on a 9 minute journey of rolling bumpy basslines, screaming distortion leads and hypnotising synth work.
Finally, to ease things off, STS-136 (Final Call) comes in at a slow 88 bpm pace as a perfect closure to the EP. Dreamy pads, piano licks and a calming marimba melody combined with a beat which feels like a warm blanket will make you wander off for a moment...

Having recorded his last album live in a large, reverberant church, Nils Frahm now invites you to put on ...

Preservation Records dug out two killer blue eyed soul tracks from the Mirage vault.

Here is the original version of "Just Cause I'm Guilty", taken from the unissed tracks from the group. Shelved for over 40 years.

The soulful B side is another sureshot killer soulful track, you have probably heard it by Ruben Howell and Carl Carlton. This version made it to a mega limited demo 7" run on Warner Brothers, but never had an official release. The track is so good that it deserved a place on our Mirage releases.

Carefully remastered and cut by Timmion for Preservation Records.

The latest vinyl slice from FBNM sees us head to the depths of central Africa via Paris to track down a feast of rare seventies afro funky jams from Cameroonian master musician EKO. We've brought FBNM favourite Riccio along for the journey too, who has provided us with a fantastic Rerub coaxing out some modern dancefloor sensibilities and production sparkle.

Eko Roosevelt Louis has had a music career spanning over forty years, born the grandson of a Kribi tribal chief, his musical persuasion beginning humbly with his village's local church before his formal education at the Senegal conservatoire and Paris' École Normale de Musique. EKO made a number of jazz funk and disco records in the mid seventies during a stint recording and touring in and around France before returning to Cameroon to take over his grandfather's tribal chieftaincy, a role he still holds today! Alongside this position of office EKO has continued to work with music, performing, teaching and even leading Cameroon's national orchestra!

The tracks we have selected for reissue are all taken from EKO's third album, Funky Disco Music which was recorded in Paris and released on his own Dragon Phenix imprint. Sung in a combination of English and EKO's native tongue we've lined up a real excursion in feel good afro-jazz, funk and soul made purely for dancing feet and boogying butts!

All tracks have been officially licensed and lovingly remastered for this special release by Andreas (Lupo) Lubich (CALYX Berlin), packaged alongside Riccio's sympathetic work in the cutting room on 12" vinyl with a special interview with Eko Roosevelt Louis himself!

It's quite funny that it took 11 years for us over at Metroline Limited to release an EP with tracks from different artists (at least on vinyl that is) but hey, good things go to those of wait so the wait is finally over! For our first Positive Contribution we gathered Metroline Limited friends and label owners and put together a tasty four tracker that focusses on the deep and minimalistic end of house music. Hamid went a long way since his debut EP on Metroline in 2010. The Berlin based French producer has since released on influential labels such as his own H+, Nervmusic, Minibar as well as becoming a regular figure in clubs all around Europe. His track Unterdrücken starts off the EP in style with his bleeps, squelchy acid b-line, pads and crisp drums. Octad takes control and the second half of the A side and it's yet another display of his amazing production skills. The man behind the mastering of each single Metroline release to date knows very well how to get the best sound out of his tracks! And what a bassline he's come up with for Checkmated! Dhaze and Phiorio have been collaborating for a while swapping remixes and musical ideas. NT is one the finest results from these music exchanges. Deep and rolling, the track has a monster groove, lush pads and dubbed out elements. Last but not least we have another long time friend of the label, Gabriele Mancino. His Cheddar, Lion and Lamb pays tribute both to a London trip and old Perlon releases when groovy and reduced house music was gracing most of the records on the pioneering house label. An ultra-groovy and playful minimal house number with funk and style!

The next EP on Raum Musik is coming from our dear friend Jorge Savoretti. Jorge is hailing from Argentina and is one of the main artists in his country besides Franco Cinelli. We have been following Jorge's work for quite a while and now it was the right match as for our label. We are very happy about this release and we hope that you enjoy the tracks as much as we do.

After the success of his 'I Speak Synth' EP which gained massive support globally from the likes of Barac, Cap & East End dubs, Lorenzo Chiabotti is back on Fake, this time with Vatos Locos's David Gtronic, 3 deep hypnotic grooving house tracks that have been getting support from the Fuse London crew amongst others.

Having recently completed a live tour across Europe, Scott Gilmore returns to International Feel with Another Day. Following on from his "mini-masterpiece" last year, the LA musician confidently delivers four new records. The uplifting Electric Gestures is the first of the four dreamy soundscapes. Setting the tone, it drifts through with tight yet subtle percussion. A melancholic twist ensues with the melodic string number Things Forgotten. Next up, Lately follows suit blending emotive keys with thoughtful strings, which lead onto the hopeful and hypnotic chords of Another Day. "Before recording the songs for 'Another Day' I had never worked on music with the knowledge that it would be released. Both 'Volume 01' and 'Subtle Vertigo' were made in a state of aloneness, and there is a comfort in that state of mind because it is easier to work freely without any inhibitions.Making music that I knew would be heard by others was a process of putting that out of my mind, and a process of remembering that the most important part of creating music is to explore." - Scott Gilmore Sitting comfortably in Mark Barrott's International Feel, Gilmore studied the guitar for eighteen years and his compositions demonstrate a real master at work. Combining elements of 70's underground psychedelia, kosmische, and library music his music "has the distinct air of something you might find in a dusty corner of someone's garage" (Pitchfork).

Boris Bunnik is no stranger in the worl d of electronic music. He released several albums and ep's under a variety of monikers since 2007 on labels like Delsin, Shipwrec, Frustrated Funk and his own Transcendent imprint. Fauxpas Musik welcomes him for a new project called Severnaya. Originally hailing from the Island of Terschelling, the most Northern and remote part of the Netherlands he now made a piece of music dedicated to this special place. Severnaya means north in Russian and refers to the bright frozen landscapes of the northern archipels. Boris often plays with the influences and elements of ambient in his music. If we have to believe the man himself, Polar Skies is his most personal sound trajectory to come from his mind. Drum programming is scarce and what remains is a lush and profound listening experience floating on scapes and melodies. We clearly hear his roots and intentions represented in the airy, tranquil sound design of this new album project. Things sound spacious, and life is at ease in these melancholic compositions. Crispy crackling percussions and icey pads place you in the midst of a resonant arctic landscape. You can hear influences drawn from producers like Biosphere, Pub, Brian Eno but we also hear more contemporary influences from modern day film composition but most of all we here Boris his own signature. The tracks were composed over a couple of years (2015-2017) in a more contemplative mindset. At some point this selection formed a consistent piece of music and as a result you hear his most personal and fragile works to date. Fauxpas Musik is proud to release this new project in 2018. written and produced by Boris Bunnik aka Conforce at the PasadenaOceanlab Studios Special thanks to family, friends and Fauxpas

Captivating, ethereal and majestic, Mammal Hands (saxophonist Jordan Smart, pianist Nick Smart and drummer and percussionist Jesse Barrett) has carved out a refreshingly original sound from a disparate array of influences: drawing on spiritual jazz, north Indian, folk and classical music to create something inimitably their own. Hailing from Norwich, one of Britain's most isolated and most easterly cities, they have forged their own path away from the musical mainstream and their unique sound grew out of long improvised rehearsals. All three members contibute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos. Their records are entrancing and beautiful affairs, while their hypnotic live shows have seen them hailed as one of the most exciting bands in Europe as they push their unique line-up to the outer limits of its possibilities.

Shadow Work is their third album and the first they have self-produced. Recorded at 80 Hertz Studios, Gondwana Records home from home in Manchester, it is the result of 18 months of intensive touring and mammoth writing sessions. The energy from their exhilarating live performances has fed into the writing process and yet there is a quiet reflective side to this album, giving it an expanded emotional range that draws the listener deep into Mammal Hand's sound world. One that builds on the sound of their previous recordings, Animalia and the beautiful Floa, but is wider than ever, with the use of prepared piano strings, more prominent effects and field recordings all adding to the band's most ambitious and accomplished album to date. The striking artwork is by Daniel Halsall and reflects the organic, natural influences underpinning the band's music alongside a darker, modern minimalism.

An ethereal, unresolved presence fading into the stereo field, Hilja breathes into life with a haunted synth line and self-sampling vocal hook that instantly creates an enchanted space. Hilja is the debut album by Glasgow-based musician Maria Rossi aka Cucina Povera. Named after a style of southern Italian traditional cooking associated with precarity and making-do, a philosophy of simplicity and stoicism that applies perfectly to the spare but beautiful music Rossi experiments with. Hilja's marriage of minimal synth, field recordings and the hymnal dexterity of Rossi's vocal performances creates a new language, sometimes literally, to be spoken in some mythological Fourth World we've yet to create.
Originally from Finland, Rossi brings an acute sense of space, surroundings, and practicality to her working practice, with each composition often relying on a limited sound palette to create deeply affecting messages which transcend language. Cucina Povera's power is to communicate purely, often down to the solo-choir nature of Rossi's multi-layered voice, an achingly beautiful instrument which has seems to have an innate spirituality in its grain. The tension between the means and the end is at the heart of Cucina Povera, the invocation of a kind of secular spirituality at times using nothing but Rossi's voice. Indeed there's almost a Dogme-like purity to the arrangements: Elektra is a soothing song based around the lapping waves of Rossi's wordless backing vocals and a simple field recording of stones knocked together. Kehoitus is completely a cappella, a haunted fairytale told in glossolalia, evoking a quasi-religious experience with very little.
For music often minimal and simple there's a boldness that belies Hilja's status as a debut. Rossi allows each word, each sound and rhythm to exist in its own space, finding its own relationship with its surroundings. Mesikämmenen Veisu is perhaps the most ecclesiastical sounding composition here, burbling water trickles below a virtuoso vocal, with incredible arrangements in several registers undulating above. A meditation to relieve hunger and restriction, it's a perfect summing up of Hilja, a music ambient but completely earthed, finding enchantment in what you have to hand, the realism of magic, the magic of realism.
First Press limited to 300 with hand-screened sleeves.

The Make Mistakes ethos is one of diversity and evolution, and that is showcased in full on our newest vinyl release Need Your Luvin'. House, Acid, Techno, Roy England, Jarvi, Fredy Grogan. One track, three styles, all dance floor bounders.
Roy England's original mix is a jackin' house jam with a timeless vibe. A classic house sound propelled forward by the titular vocal sample, England manages to deliver a track that would work equally in the lounge, as well as late night in the big room.
On the B side Jarvi's Acid Workout strips the original down even further, and fills it back up, with a wandering, hypnotic acid line to stitch it all together. An old school party sound, both familiar and fresh. Fredy Grogan deconstructs the original into its component parts, building it back up into his dark, and driving dub techno remix. Drawing it out over nearly 8 minutes, this'll have the heads bouncing off the walls.

House, Acid, Techno, pillars of dance music, mixed together, given the ol' razzle dazzle, and served up hot and ready for mind, body, and soul. Grab Need Your Luvin', stick it in the crate, and never worry, because you'll always have the Luvin' you need.

'Beware the irrational, however seductive. Shun the 'transcendent' and all who invite you to subordinate or annihilate yourself. Distrust compassion; prefer dignity for yourself and others. Don't be afraid to be thought arrogant or selfish. Picture all experts as if they were mammals. Never be a spectator of unfairness or stupidity. Seek out argument and disputation for their own sake; the grave will supply plenty of time for silence. Suspect your own motives, and all excuses. Do not live for others any more than you would expect others to live for you.'

---Christopher Hitchens, Letters to a Young Contrarian

The second album by Istanbul's clarinet virtuoso Cüneyt Sepetçi is an intense trip into modern Turkish wedding and party music. The foundations go deep into Turkey and the surrounding regions' history, which each generation innovates and develops. These days, no wedding or circumcision party is complete without the sound of the micro-tonal keyboard. A new addition, these Turkish keyboardists can play between notes, and supply banging club rhythms in wide variety of time signatures.Sepetçi uses the bedrock of Volkan Sever's synth insanity as a jumping off point for some truly crazy solos. His fluttering sheets of notes tie knots around the pulsating, fried synthesizer. For this recording session, Sepetçi brought in two drummers, Fatih Özden (tapan) and Samet Sertol (darabouka), to play along with the Turkish drum machine. A dense nest of rhythmic complexity is the result. And to further connect to this music's rich past, the ancient double reed zurna of Ahmet Özden and Yasar Uçar's European violin weave ancient melodies and incredible solos throughout.
These musicians are some of the best in Istanbul, and all of these songs are first takes, recorded live with very little planning. Sepetçi essentially leads the band through these complex arrangements as they play them.In Istanbul, one may see Sepetçi playing for change on Istiklal Caddesi, the famous Turkish walking street at the center of the city. Or one may see him on one of the TV stations, playing Anatolian songs in his inimitable style. He's even begun touring outside of Turkey—at Denmark's Roskilde Festival, and at concerts in Italy, Beirut, and Israel. I want to go to America. He says. Do they have mosques there

This 12' begins with Collocutor ripping into Miles Davis' 'Black Satin', from the benchmark On The Corner LP, and owning it from the off. A respectful homage is paid to the original with sensational improvised parts being added with a hip groove from the percussive wonders of Magnus Mehta (Magnus P.I.), Maurizio Ravalico and bassist Suman Joshi. The sparks fly as guitarist Marco Piccioni channels the spirits of late '60s psychedelic fires. The melodic riff of Miles' classic is stripped down by Simon 'Shwaa' Finch and Mike Lesirge who subtly encapsulate the original's atmosphere.

The A-side is completed with the label's latest signing, DJ Khalab delivering a sharp, warped assault on Collocutor's 'The Search', just in time for the LP's repress.

On the flip is a live version of 'The Search' recorded during the 'Live at the Fish Factory' Session in 2016 which, have so far resulted in two collector's edition dubplates that are as rare as hen's teeth. The invigorated far out sound has been mixed on this recording by producer Sam Jones who has entrenched himself with the On the Corner approach and brought his 'Sam Jones Construct' vision to the label. Marco Piccioni sold his soul at a highway crossroads on the way to the recording. There are spirits riding on the backs of the ensemble guiding this version of 'The Search' out into cosmic oceans.

The 12' ends with bassist Ruth Goller (Melt Yourself Down, Let Spin, Gufo and Bug Prentice) stewarding her virtuosic groove sensibilities into the twilight zone with this brooding off -kilter abstraction of 'Everywhere'. The stripped backbones of the tracks rhythm are punctuated by a dialogue and mantra summoned by Goller that moves menacingly over a synth bass augmented b-line.

As label founder Pete OntheCorner describes the release: 'This EP ushers in a string of releases that embody the label's vision. The futuristic concept first realised by Miles Davis with On The Corner and more generally during his electric period is at the heart of our collaborative, genre-less burning chalice. Analogue genius being mutated with a charge into something other, a vanishing point of ethereal musical feeling where the space for fresh narratives can be formed beyond genre and out On the Corner.

Victoria's artwork is always stunning and for this series of works she has already conquered the sublime with the sleeve for Black Satin".

The current resurgence of jazz in all its' forms has certainly been impossible to ignore in recent times - from the chart-bound, mainstream crooning of Gregory Porter, to the left field 'jazz not jazz' soundscapes of Kamasi Washington, Moses Boyd, Nubya Garcia and Snarky Puppy proves this is a worldwide phenomenon. One artist who has been been ploughing this furrow in the southern hemisphere for longer than most is Lance Ferguson. As the driving force behind The Bamboos, Cookin' On 3 Burners, Lanu, and the Black Feeling series, these are the varied and versatile projects on which he has built an enviable reputation.

Menagerie 'They Shall Inherit' saw the light of day in 2012 (Tru Thoughts Records) and established the fact that jazz of the contemporary type could reach back to it's essential roots and present itself, refreshed and vital for a contemporary audience.

Lance himself explains: "The Arrow Of Time' draws its inspiration conceptually from the themes of space exploration, human evolution and the future of humankind. It's pretty big stuff to be underpinning an album of modal Jazz tunes - but the main message is one of hope, and I hope that comes across in the music"

Late 2017 saw the 2 track album sampler 'Evolution/Arrow Of Time' create a genuine buzz of anticipation, being playlisted on Jazz FM, and also supported by Jamie Cullum (BBC Radio 2) and both Don Letts & Gilles Peterson on their BBC 6 Music shows - having as it does the spirit of deep jazz, but combining an accessible sound that reached way beyond the usual jazz hungry audience - due in one part to Evolution's immensely catchy hooks, with the voice of Fallon Williams focusing the listeners attention on the philosophical themes Lance highlighted above. Now the album, laid out in its' entirety can be experienced, attempting to encapsulate the music with the written word feels like a somewhat futile exercise, so it is best to consider Lance Fergusons' final thoughts about its inspiration, influences and ongoing appeal.

"The sound of record labels like Strata East, Tribe and Black Jazz has been a massive influence on Menagerie. To me that sound is timeless, exciting and just as vibrant as a musical format in 2018 - and the proof is that we're hearing more and more young musicians embracing it"

Having been an electronic activist in Marseille for more two decades and more, DJ OIL is now a firm staple of LDDLM. Following the RAIN ep released in the summer 2016, here is the first 2018 outing from us: the already bubbling HERITAGE ep.
'Heritage' has been an Ivan Smagghe (and a few others) secret weapon for more than a year now, a strange sampladelic track featuring a full Marcus Garvey speech. A subtle yet powerful appropriation of early house clichés, the hit has one feet in tradition, one feet in political modernity.The EP comes with two more warped cuts: the slow guitar swamp of 'Brouillage' and the System 01/McKenna influenced 'May Be'. Psychedelics and sun.
A second 12' by DJ OIL will follow shortly, doubled with a full digital release of the two EP's with digital extras.
Expect new releases from our camp by Rheinzand, Init, Johnson and more...

Returning to Metalheadz for the first time since 2010 we're delighted to have Seba grace the label with his 'Node 46' EP. The magical combo of Seba & Robert Manos head up the release with the Swedish producer also providing us with the dark and relentless title track on the other side. Two further digital bonus tracks complete an EP typical of Seba's incredibly unique style, one that he's so consistently built his reputation around.

Cute Heels is the project of Victor Lenis, a contemporary electronic artist living in Berlin, Germany. He grew up in Bogotá, Columbia during the 1990s, surrounded by the radial punk scene. Over the years, Victor's passion and fascination for synthesizers and drum machines to produce and compose resulted in his debut album 'Spiritual" for Dark Entries in 2014 as well as the Third Skin' EP in 2016. Inspired by equal parts Liaisons Dangereuses, Drexciya and Black Devil Disco Club, Cute Heels connects the dots between Detroit techno, early Chicago house and Belgium electronic body music.State of Mind' is a 4-track EP featuring the vocal talents of Berlin artist Aga Wilk, of electro-punk projects Walkman Music and 77TM, on the the title track. On the A-side are two fresh compositions recorded in New York and Bogota between 2016 and 2017. Victor says, 'State of Mind refers to the subconscious as dominated by real facts, natural, unnatural ,metaphysical or virtual and dynamism of the body as physical shield.' The track is a slow building foray into techno, elegantly suited for intangible moments. 'Golden Tears' kicks off with Cute Heels' signature metallic EBM funk played with punchy, percussive analog synths. On the flip we present two banging club remixes. The first is from LA-4A, techno DJ and producer Kevin McHugh aka Ambivalent, who adds a strong kick drum and lacerating hi-hats that build up to a mind melting breakdown with a full on acid squelch attack. The second remix comes from Noncompliant, Midwest US-based producer Lisa Smith aka DJ Shiva, who creates a raw, thumping exercise though off-kilter mechanics and punishing percussion. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a custom-made die-cut jacket designed by Eloise Leigh featuring suggestive rope bondage graphic printed spot black matte on black hi-gloss finish. Each copy includes a postcard.

Calendar Crowd was the duo of Alan Heaton and Terence tiernan who met in their hometown of Widnes, Cheshire as schoolboys and played together in various bands in the '70s. In the '80s they formed a 6-piece band called Room For Humans 0and recorded one single'Telephone Telephone / Girlfriend'. When the band split and Alan and Terence continued as Calendar Crowd in a more experimental direction. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Eno, PIL, and Joy Division.In 1982 they released their debut single 'Perfect Hideaway/Perfect Hideaway Dub' on 7'. Guitarist David Knowles joined them as they toured the UK and recorded and released their follow up EP 'Listen in to the Heart' in 1985. A reviewer at the time called Calendar Crowd 'A Moody Merseyside trio with strong atmospheric tunes and haunting lyrics.' For this reissue we've compiled both singles on one EP featuring all four songs. Perfect Hideway is a evocative and dreamy, the music escorts you on a tour of icy landscapes, with Terrance's deep, rich vocals guiding the way accented by bright brass stabs. Meanwhile the Dub has stripped back the vocals, added delayed samples and heavy pounding drums. On the B-side 'Listen in to the Heart' and 'Questions Answers' are darker electronic rhythm tracks with layers of ethereal keyboards and guitar melodies. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original Perfect Hideaway jacket featuring black and white October 1982 calendar with the tile hand written in red pen. Each copy includes a double-sided 8x11' insert with lyrics, notes and photos.

Paper Dollhouse is the production alias of Astrud Steehouder and Nina Bosnic. Having previously recorded albums for Jane Weaver and Finders Keepers' Bird imprint, plus the Folklore Tapes and Night School labels. The Sky Looks Different Here arrives via the group's independently ran MoonDome imprint. Paper Dollhouse have collaborated and performed with artists including Old Apparatus, The Wolfhounds, Daniel O'Sullivan, Killing Sound, DB1, Joe Cocherell and Pye Corner Audio, and their music has been featured in mixes by Skee Mask, Mark Pritchard, Blackest Ever Black, Lobster Theremin, Lanark Artefax and Ancient Methods.

The Sky Looks Different Here features twelve tracks that draw parallels between the project's past roots in spidery post-punk electronica and a neon-lit, radioactive ambient pop sensibility. This has lead to the creation of what is sure to be the most concise and realised Paper Dollhouse record yet. One that mixes the group's signature brand of darkwave influenced left-field pop, urban field recordings and electronic composition.

A year after his last 12 inch release Here We Are / That's Desire EP and few months after a CD release Hamburg Süd/Nee IYaow eow eow featuring experimental field recordings and vocal improvisations, Wolfgang Tillmans returns with a new extended play on his own label Fragile. Heute Will Ich Frei Sein sets an energetic tone for the 5 track EP that leads straight on the dancefloor, a space that Tillmans has observed and discussed from various angles throughout his artistic career. While Los Angeles based experimental noise project Wreck and Reference's beats and 808 staccato claps instantly create a hedonistic dance moment, it is Tillmans' lyrics that contrast the simplicity of this message. Tillmans knows that clubs have always been spaces mirroring constant crisis of 'western' societies towards minorities, race and gender. In the light of current political events, it is the singers' nod that informs us about the precarity and necessity of such spaces as no contradiction. Completely Changed and On My Own, Tillmans and his long-term collaborators Jay Pluck, Kyle Combs and Tim Knapp return to more song based recordings but with a stronger approach on synthesiser soundscapes. On My Own finds Tillmans again singing simple lines over a staggering pop production that can be read as a comment on nightlife as well as the artist emerging into a more mature stage in life. It is this ambiguity that marks Tillmans' writing and constant striving for variation. Almost last, the extended play features a remix of Fast Lane, originally released on 2016 / 1986 EP - tracing back to Tillmans' first musical steps with collaborator Bernd Lessmann in 1986.