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Robert Hood's techno and Femi Kuti's Afrobeat intertwine in a new form where jazz-grooves reign supreme. For the fourth season of La Compagnie des Indes & Sourdoreille "Variations" live series of creations for France TV, the duo were united around the singer and producer James Brown, performing a tribute to the legendary Godfather of Soul who passed away in 2006. This "Variations" album is the live recording of this unique collaboration and performance, capturing a very special moment in time.

The evening witnessed a meeting of two icons in their own genres: one with synths and drum machines, the other on saxophone: Robert Hood and Femi Kuti embody excellence in their respective fields and the pair combined to make something truly unique, soulful, funky and spontaneous. Recorded in one 30+ minute take, "Variations" is embellished by Femi's exquisitely free-flowing yet restrained saxophone, whilst Hood anchors the groove with layers of pads and kicks with the long-time mastery of a true DJ.

Alongside Jeff Mills and Mad Mike, Hood is one of the original members of Detroit techno group Underground Resistance. His style is characterised by minimalist and experimental tones with an assertive groove. Throughout the '90s, he helped pave the way for techno to flourish - giving birth to minimal techno with his seminal album "Minimal Nation". Since then, he has been consistently forwarding electronic music culture with ground-breaking productions, sensational performances and his M-Plant label.

Alongside him, Femi Kuti takes on every musical style with his saxophone, which he plays with a virtuoso touch: pop, soul, electronic music and Afrobeat, of which he is one of the leading exponents. The son of Afrobeat singer and political activist Fela Kuti, he has inherited his father's zeal for both music and activism, where he continues to highlight the plight of most Nigerians living conditions in the oil rich state.

With "Variations" the duo capture an explosive combination on a special night in Paris 4 years ago, November 2019, filmed at the ADP Group headquarters (Paris Aéroport - Charles de Gaulle (CDG) - Roissy).

"It is so amazing when a vision comes to fruition. I enjoyed collaborating with the legendary Femi Kuti for this special project." Robert Hood

After their debut 12" on Feel My Bicep and their contribution "Halluzinelle" to the Dots And Pearls 7 compilation, DeFeKT and Extrawelt are joining forces again.

In the act of remembering the true spirit of no-nonsense, raw, and direct techno, they created these two masterfully executed, original, and timeless cuts.

Each time they get together they come up with something truly unique, blending their styles effortlessly and seamlessly. Their expertise, knowledge, and recognition of our music's history just radiates out of this release. Both tracks immediately captured our souls here at Cocoon headquarters and we couldn't be more excited to put them out right away on this beautiful, limited, hand-stamped 10" vinyl.

Martha and Jessica Kilpatrick (aka Waterbaby) had a creative upbringing in South London – spending their days singing in Southwark Cathedral Choir or experimenting with recording ideas onto cassette tapes, such as trying to make their out-of-tune family piano and a flute sound like an electric guitar. Eventually settling together in an attic flat in Peckham, the sisters became quiet, mystical forces in the underground London scene, emerging in and out of the sanctuary of their studio to perform their hypnotic live show with artists as varied as Kedr Livansky, James K, TAAHLIAH, and Dorian Electra. The sisters’ insular and feminine sonic world showcases inventive song structures backed by dizzying layers of production – all crafted on their stash of lost & found analogue gear in their South East London studio, squashed between Hyperdub’s headquarters and a mechanic’s garage. In a world where the analogue and the digital seem to be in constant headlock, Waterbaby effortlessly solve the equation – operating in a space where Cocteau Twins-esque anachronism meets the sharper edge of contemporary experimental electronica. Press: “The 10-track album is a window into the duo’s alternate reality, where folklore and mysticism blend together to create a kaleidoscopic dreamworld of experimental electronica." – Dazed “The sisters often go to magical places with their celestial compositions … Across the album’s 10 tracks, there’s a great deal of artistic ambition within the arrangements.” - Loud & Quiet "Like a distorted transmission from somewhere out of time, Waterbaby serve as our conduits, lightning rods for pop music and art of a more mystical variety." - Fact Mag "Their long-awaited debut 22° Halo' locates their sound somewhere between the nebulous chamber pop of Cocteau Twins, the meticulous synths of Air, and the speculative electronics of Arca or Oneohtrix Point Never

This is the first color pressing of this performance. Doug Sahm AKA Sir Doug was both a Texas rock & roll legend and pioneer. True, there were others before him (Buddy Holly and Roy Orbison come to mind), but the Sir Douglas Quintet counterattacked the British invasion of the mid 1960’s with their own brand of Chicano-influenced rock that they had been playing around their hometown of San Antonio. Wearing their tight-fitting, English-looking suits, they hit the charts with “She’s About A Mover” in ’65, riding the waves with Doug’s incessant guitar twangs and Augie Meyer’s much-imitated, two-to-a-beat Vox electric organ chords. This performance, recorded October 14, 1975, came after Doug had temporarily retired the Sir Douglas name, but features original member Meyer along with musical compadres Martin Steitle, John Barber, Steve McDaniels and Harry Hess. All the Sir Douglas Quintet classics are here, including “She’s About a Mover,” “Mendocino,” and “Rains Came,” and Doug ventures into other musical territory ranging from T-Bone Walker to Bob Wills. Long before the Quintet, Doug had been making music since even before the birth of rock & roll. He began his career as “Little Doug,” a guitar-playing prodigy who was invited to join the Grand Ole Opry when he was only 13. Over time, with the help of his irrepressible personality, he became a voice for Texas music, the original “cosmic cowboy” back in the heyday of the Armadillo World Headquarters in Austin. But his influence went beyond Texas; in 1973 he even lured Bob Dylan out of hermitage to record with him, and Bob in turn invited him to join his legendary Rolling Thunder Review Tour. Doug left us suddenly in 1999, but he left behind a unique legacy, a “Groover’s Paradise” indeed. - Terry Lickona (Producer Austin City Limits®)

Maw Records are proud to present the masters At Work Remixes of the Kenlou classic “Moonshine”

Masters At Work are in top form, ready to fill dance floors,clubs & festivals in 2022. Kenny Dope & Louie Vega met at the Kay-Dee headquarters for a few days and jammed together.

Moonshine being one of the tracks they put up in the studio to createnew fresh versionswith a Maw TwistAce beats, programmimng in excellence by Kenny Dope, layered withLouie Vega Keyboards, Synths & Baselines.

The two once again set it off with a bang !!!

Having been deck slaying as near their London headquarters as Germany and as far as Canada, goth techno prodigy Lesser Of is steadily approaching double digit release count. With an established residence at queer x trans focused, revolutionary event series Subverted, their efforts have been welcomed to a formidable list of industrial electronic labels and remixed by a tidy sum of high profile scene icons.

Here at Depth.Request our sonars are attuned to emanant potential, and so we conscript Lesser Of to hammer out our fourth acetate offering to date. To this, harsh noise and drone music inspirations are declared, alongside an artistic secret of the trade: lights-off sessions in live room of a recording studio vibrating with the pulse of a bass guitar ran through a freeze pedal were what begot the tracks, and they are well intent on assaulting your headphones with noise. Reeko on the remix - yes, this record fucks.

Prolonged, ominous intro? Nah. Have a face full of Crude Manifestation Of Power instead, as an insatiable, 10-minute long opener braces your ears for a week of ringing with a sonic equivalent of metallic thrashing one could expect from being a sinful, rave-lusting scoundrel. On title-diverting continuation Within My Fragility the words "strength in fragility" are truly alliterated as the pace, abrasiveness and intensity of pummelling are all ramped up fiercely, with linear open hats thrown against them from time to time for good measure. Having reached 140 BPM and concrete mean, Masked proceeds in a well anticipated ra(n)ge: infernal atmosphere, sandy hats and layered tectonic tremors achieved with increasingly undefined low end consisting of a rumble line and rolling kick morphing into abrasive haze. Winding the tempo back a notch, a halftimearranged contemplation Our Descent grows in direct, hyperborean vector: glassy drones and sharp syncopulsation first - atonal reverberations, distorted arpeggios and punchy stabs endwise. Reeko's analog reinvention of Masked convolves the drum structure by borrowing from breakbeat narratives and authorizes the dystopian ambiance to rise and fall on more gradual, panning, confined terms; adding, however, more disorder to the mix with spectrum slicing, high-range chaos.

As you would have learned to expect from Depth.Request, Within My Fragility EP is not an easy listening five-tracker. If by the end of it you find yourself feeling as if you just stepped out of a pounding warehouse at 3AM and you don't know what day it is, you wouldn't have been experiencing this mindspace alone.

Luv*Jam presents The Legend Of Gelert 3000.8 ‘Tryfan’ with Lootbeg.

Anti lockdown nip alert. Lootbeg climbs out of lockdown hibernation and delivers a record to make us wiggle our hearts out with a gigantic dizzy sunbeam smile... Time to climb the 8th highest peak of the 3000’s - Tryfan with its two distinct large slabs marking the summit “Adam & Eve”, not forgetting the widely recorded “cannon” stone too. This is the 8th summit and 8th record of a highly collectable 14 piece series brought to you from the very same NiP headquarters that brought us Crow Castle Cuts and Blind Jacks Journey... Extra Peaky Nippiness from the ever secretive Rucksack Club.

Pressed on super duper yummy yellow vinyl, like the dream house classic “Blorp93” from Gnork!

These mint late 90's early 2000's Italian deadstocks come straight from Afro / Cosmic and Tribal Italia headquarters near Rimini where the club Melody Mecca spread the movement following Daniele Baldelli & Beppe Loda seeds. Consider "Afro" like what some would have called "World" has we're speaking about crazy African, Oriental, Indian, Reggae, Latin, Brazilian and even Bulgarian & Irish downtempo wrong speed trance tracks and edits like (!) Might be cheesier and more fun than expected since Dizonord recent Studiolo compilation, hope you're ready for the ride.

OZRIC TENTACLES' ED WYNNE ANNOUNCES NEW ALBUM WITH GRE
VANDERLOO FROM 'GRACEROOMS'.Since 1983, the Ozric Tentacles have
woven psychedelic audio-tapestries that capture the almost dangerous
musical diversity of the free festival scene, blending acid rock with dub,
reggae, ethnic world music & electronic, jazzy experimentation
Ed Wynne, founding member & leader of the outfit, now presents a new project. A
long- term admirer & friend of Gre Vanderloo, better known from his project
'Gracerooms', the two have now teamed up to record 'Tumbling Through The
Floativerse'.
"I've always enjoyed the synth orientated musical worlds he creates with his
project 'Gracerooms'" says Ed of his new collaborator. "Shortly before lockdown
2020, whilst making the early stages of the recent Ozrics album 'Space for the
Earth', we decided to try & make some tunes together. Gre came over from
Holland where he lives, to the Blue Bubble Studio here in Fife & we started
recording pretty much straight away. We ended up with about six definite starting
points, which then developed & unfolded into a harmonic realm we referred to as
'The Floativerse'… A place where you might escape gravity for a moment".
Featuring guest appearances from 'Gracerooms' bassist, Paul Klaessen & longterm Ozrics synth player Silas Neptune, the entire album was recorded at Ozrics
headquarters; Blue Bubble Studios, engineered & produced by Ed Wynne &
mastered by Adam Goodlet. Mind- bending artwork comes courtesy of Valerie
Fangman.

Before Dan Klein's unfortunate passing, The Frightnrs agreed to keep a promise he asked of them - continue making music together. Part of that promise has been made manifest here... Daptone Records is proud to present ALWAYS - the raw, soulful new long player from The Frightnrs.

The road to Always began with a period of intense songwriting back when The Frightnrs and producer Victor Axelrod (Ticklah) were working on the group's debut, rocksteady masterpiece, Nothing More to Say. In addition to the scorchers heard therein, Axelrod and The Frightnrs agreed many of the recordings were too sweet to tamper with in order to fit the rocksteady mold. Some were created at their headquarters in Queens with Dan on the mic, some were elaborations on older ideas, others were brand new creations made at the finish line.

Thanks to the vocal stems they had captured in this golden period, Dan Klein's other-worldly voice lived on, giving The Frightnrs all the raw material they needed for an entire album's worth of new, original music. So with that, The Frightnrs and Axelrod returned to the studio and painstakingly conceptualized, tracked, re-tracked and mixed them into a complete album with their beloved friend singing lead. The fruits of this arduous process lay bare the undying love and respect between musical brothers.

The last song written for this album, "Why Does it Feel Like a Curse", married two song concepts with one of Dan's original vocal performances - creating a beautiful, flawless composition that not only serves as a highlight reel of their editing skills and songwriting prowess, but also as a kind of metaphor for The Frightnrs jour ney. The per fect ending f or ALWAYS.

For their seventh release in partnership with SEGA of Japan, Data Discs is delighted to bring together the complete music from the classic Mega Drive games, Golden Axe (1989) and Golden Axe II (1991), in one special package. This release features the unforgettable artwork from both games, supplied on two thick lithographic prints, with the record itself pressed on heavyweight translucent gold vinyl. The outer sleeve features rare artwork from the 1989 Japanese edition, sourced from the SEGA archives and presented on 425gsm cardstock with gold flood printing. As always, the audio has been carefully restored and mastered using the original console as the source, ensuring these memorable soundtracks are preserved for many quests to come!

‘The Afro Modern Seventies Sounds of Soweto’s First Nightclub

• Over ten years in the making, this is the first compilation from South African vinyl re-issue specialists Matsuli Music

• Ten track double gatefold album journey through jazz, funk, fusion and disco, detailing the incredible story and sounds behind the Soweto nightclub during the height of apartheid

• Uniquely South African take on the trans-Atlantic sounds of Philadelphia, Detroit and New York City

• Cover artwork by Zulu Bidi (of Batsumi fame) with unseen photographs, and liner notes by Kwanele Sosibo featuring interviews with key musicians, players and a former president of South Africa

• Audio mastered and cut for vinyl by Frank Merritt at The Carvery with heavyweight 180g vinyl pressed at Pallas in Germany

A night-time haunt in the backstreets of Soweto run by a well-known bootlegger should have been a prime zone for nefarious underworld activities. Instead, it nurtured an underground of a different kind. Soon after its opening in 1973, Club Pelican became a spot where musicians steeped in the tradition of South African jazz began to cook up experimental sounds inspired by communion, competition and the movements in funk and soul blowing in from the West. Located in an industrial park on the western edge of Orlando East, Soweto, Club Pelican was off the beaten track, among a matrix of railway and industrial infrastructure. In a different time and place, this would have been a prototypical nightclub location, except there was no local precedent to follow. This was Soweto’s first night club.
In the intervening years, this location has served to heighten the now-defunct spot’s legendary status as a singular venue, one that ruled the night in the Seventies. Initially called Lucky’s and established in 1973, the Pelican’s impact on the Soweto cultural landscape was immediate. Lorded over by a charismatic figure known as Lucky Michaels, the club became the jewel in a nondescript collection of family businesses. It boasted a diverse pool of talent in its succession of house bands and an A-list of ghetto-fabulous singers as

its cabaret stars. Its VIP section was a veritable who’s who of Soweto society and its stage, hosting a mix of the day’s pop culture infused with the creativity and individual histories of the musicians, the Pelican filled a live music vacuum.
One Night in Pelican captures the halcyon seventies period with a single nightclub embodying an indomitable spirit of its troubadour players. While schooled and rooted in “standards” and local forms, the music could take any direction, at a moment’s notice. This compilation features all the key groups and players of the time: Abacothozi, Almon Memela’s Soweto, The Black Pages, Dick Khoza and the Afro Pedlars, The Drive, Ensemble of Rhythm and Art , The Headquarters, Makhona Zonke Band, the Shyannes and Spirits Rejoice.’

Who could forget the BAMs, the BLAMs, and the BAOMMs?!

Ubisoft, Microids and Laced Records have conspired to bring the fabulously percussion-heavy music of XIII to vinyl.

Based on the graphic novel by Jean Van Hamme and William Vance, the 2003 cult first-person shooter adopted a cel-shaded look and visual onomatopoeia to set it apart. Mixing action, stealth, and exploration, XIII is chock full of conspiracy, assassination, and plot twists.

French composer Lionel Gaget created a superb spy-jazz soundtrack that fuses John Barry’s ‘60s James Bond musical blueprint with David Holmes’ Ocean’s Eleven instrumental funk. The 11 specially remastered tracks on the LP — featured in both the 2003 and 2020 versions of the game — are stuffed full of first-class percussion, deep bass and subtle jazz stings.

The audiophile-quality, heavyweight 180g black and white LP will be housed in a deluxe card sleeve.

Baia Club is a new collaboration born in the Really Swing headquarters L’Amaro Studio, between Quiroga, Whodamanny and Dario Bass. "Shine On" is an italo funk groove with an incredible vocal by Whodamanny, while on the flip side the instrumental version is an homage to the Italian house golden era.

The Surprise Package recorded the album "Free Up" with Lee Hazlewood, featuring heavy fuzz guitar, rock organ, keyboard bass (like The Doors) and a fifteen-minute title track. Despite touring with the Beach Boys or Led Zeppelin, success did not knock their door_ Munster Records is proud to present the second installment of the Lee Hazlewood Industries (LHI) Records Reissues Series with the first ever reissue of The Surprise Package, "Free Up". Born out of the fertile 1960s music scene of the Pacific Northwest, The Surprise Package was comprised of members from The Viceroys and The Galaxies. These two bands were regulars at regional teen fairs and often played alongside The Sonics and The Wailers. After a record deal with Columbia Records and Terry Melcher fell through, the group found themselves in the waiting room of LHI headquarters for an audition with Lee Hazlewood. Lee liked what he heard and the band was signed. In the late 1960s, Lee went on a creative tangent into the world of psychedelia, releasing far-out tracks from Ann-Margret, The Aggregation, Hamilton Streetcar and many others. The Surprise Package recorded the album "Free Up" with Lee, featuring heavy fuzz guitar, rock organ, keyboard bass (like The Doors) and a fifteen-minute title track. Though Lee was always willing to experiment in the studio and explore many different genres, psychedelia wasn't totally his bag. He spent a lot of the sessions in the control room drinking scotch. "I can give you a quote from Merle Haggard," joked Surprise Package singer Rob Lowery. "He was sitting in on one of our sessions once and he said 'You know, I don't understand this rock 'n' roll bullshit!' I don't think Lee understood it either, but he liked it and he was behind us." A stadium show with Led Zeppelin, extensive touring with the Beach Boys and other national acts failed to bring success. The band parted ways with Lee and LHI, changed their name to American Eagle and put one final record out on Decca. Remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin, the reissue is complimented by a new Q&A interview with Surprise Package member Rob Lowery and GRAMMYr-nominated reissue producer Hunter Lea.

Belabouche is an Italian Producer. His Disco/Funk edits have been released on labels like DiscoDat, Gimme! Gimme !,

Magic Wand, Midnight Riot, Paper Disco, FKR, and Spare Change Disco. After making some remixes, he is out now with
a new EP on the JDP Disco label. 4 juicy tracks, including Brooklin with the feat. by flutist George alla Dispari, written and performed in his studio. Further enhanced and mastered by Francesco Brini.

Director David Lynch once said "I long for a kind of quiet where I can just drift and dream. I always say getting inspiration is like fishing. If you're quiet and sitting there and you have the right bait, you're going to catch a fish eventually. Ideas are sort of like that. You never know when they're going to hit you." Inspired by this quote in both name and spirit, Hollie Kenniff's The Quiet Drift is an ambient gallery of cloudlike synths, seraphic strings, echoing guitars, and other celestial textures guided to cohesion by Hollie's own wordless singing. Though the album certainly creates (and originates from) the kind of space where Lynch's proverbial "fish" can be caught, The Quiet Drift is a fitting title for Hollie's own history, both recent and distant. During the course of the album's creation, Hollie and her family moved cross-country from an island in Washington state, to an island in Maine before ultimately relocating to Canada. "As a child I visited Ontario year-round," she explains in her own words. She continues "More than any other landscape, I think the lake, rivers, and woods there left the most enduring impression on me. The landscape and pace of life of these places will always stay with me." But the reverberant spaces Hollie crafts need no physical headquarters. Instead of conjuring views of nature at the ground level, her sound more readily evokes a top-down perspective, with the distinct features of the land shrinking underfoot as the listener becomes untethered from geography altogether. The Quiet Drift belongs more to the liminal spaces between life and afterlife, memory and fantasy, landscape and dreamscape, than any mappable locale. Describing her formative years, Hollie says "As a dual US/Canadian citizen who spent my childhood in a rural town-- one that I haven't returned to in many years - I have a sense of not entirely belonging anywhere. When I was a teenager my close friends were male musicians, so I was also an outsider to the degree that they were wild and anarchic in a way that I wasn't. I was a quiet book reader and avid music listener who enjoyed being around a creative group. I was also a radio DJ for alternative and punk music throughout high school." In this light, The Quiet Drift attests that creativity is placeless, and calls into question the stereotype of artists as scene-centric city dwellers. Having come of age in the absence of metropolitan sensory overload, Hollie learned to spot the muse in nature, and within herself, instead of the echo chamber of a frenzied peer group. On The Quiet Drift Hollie Kenniff wholly escapes from such pop-culture feedback loops into transcendent, shimmering realms, and she brings the listener along with her. In this age in which we have all been called to reevaluate our relationship to indoor spaces, and seek refuge in the great outdoors, The Quiet Drift provides an apt soundtrack for such rebalancing.

2x Grammy nominated band Gojira have announced details of their long-awaited new album, FORTITUDE, which will be released April 30th via Roadrunner Records and have released the forthcoming album’s first single, “Born For One Thing”. FORTITUDE stands is Gojira’s first album in five years and the follow-up to 2016’s Grammy nominated LP MAGMA.

Recorded and Produced by Joe Duplantier at Silver Cord Studio - Gojira’s Ridgewood, Queens, headquarters – and mixed by Andy Wallace (Nirvana, Rage Against The Machine), FORTITUDE is a collection of songs urging humanity to imagine a new world—and then make it happen. The band initially laid the foundation for FORTITUDE last year with the surprise release of the 2020 single “Another World.” NPR hailed the track as “an apocalyptic banger,” while STEREOGUM declared, “Gojira are one of this century’s most important underground metal institutions.” Voted by fans as the #1 release on REVOLVER’s “5 Most Anticipated Albums of 2021,” FORTITUDE continues Gojira’s career-long tradition of harnessing their music as a vehicle for environmental activism with songs like “Amazonia” and “The Chant” not only surveying critical cases, but also catalyzing listeners to take action.

On 2016’s MAGMA, Gojira found strength—and crossover success—through a singular commitment to self-reflection. The intensely personal record, penned in memory of the Duplantier brothers' late mother, was a painful significant turning point for the French group. The album earned the band two GRAMMY nominations - ‘Best Metal Performance’ and ‘Best Rock Album,’ and upon release, MAGMA took the #1 spot on BILLBOARD’s ‘Hard Rock Albums’ chart, a first for a French band. MAGMA also asserted itself as one of the most acclaimed albums of 2016, earning METAL HAMMER’s coveted “Album of the Year” title while also landing on ROLLING STONE’s “Top 20 Metal Albums of 2016,”

Digging deep through old and new, Basso captures arcane woodland fusion, serene electronic suites and wide eyed Balearic bliss on this first Growing Bin compilation.

This collection celebrates those precious records which land in your life on their own terms. Even the most advanced digger will admit that chance is the secret ingredient in any successful haul. Sure, it helps if you know where to look, but if you arrive a day early at that secluded second hand shop, or an hour late at the convention, you might miss out on a rare sight of sound. But there are still ways to skew the odds in your favour. Even in the most crowded urban environment, a solitary tree soon becomes a nest, and Basso's fostered an abundant garden in his Hamburg hometown. A decade on and the Growing Bin is a safe haven for those exquisite sounds crowded out of the mainstream, the rare birds with the most striking song.

'Coffee' comes right after cocoa in the bin's headquarter, though start your morning with One Tongue and be prepared for a different kind of day. A witch's brew spiced with a hint of Durian and the early bird, this 1990 composition could be the blueprint for the Teutonic trance dancers beloved by the Salon set. A more meditative magic flows through the A2, a smooth blend of fusion guitar, softly syncopated drums and counterpoint keys from one time art-rockers Inandout. This Growing Bin favourite from their '93-95' LP sounds right at home beside the majestic melodies and spheric bass of Matthias Raue's 'Brücke am schwarzen Fluss 2'. Taken from the soundtrack to a TV drama filmed in Mali, this digital homage to African rhythm shimmies in step with New Age dancers from Mkwaju Ensemble and Louis Crelier. The A-side ends with the unbridled optimism of Kosmische maverick Hardy Kukuk. The synthesist hit the studio with friends Karsten Raecke and Andreas Schneider in 86, coalescing crystalline electronics and gentle guitar into tender chord progressions suited for sun bathing beside the Sea of Tranquility.

The second side slinks into motion with the deep beauty and sincere spoken word of Frank Suchland's 'Schnee', a subtle body in a cocoon of reverb which takes Sade's 'I Never Thought I'd See The Day' to another level of placidness. Melancholic Germans Die Fische met in Cairo for the first time, and 'Conversation Of Everyday Lovers' could be the theme for that great city. Underpinned by primal percussion and a restrained groove, the track twists and turns between a trio of ineffable motifs, eternal combinations to the catacombs of Abusir. From there we go sublime, soaring skywards with a ten minute triumph from Hugh Mane. Balancing concentric sequences and space age synth riffs atop an irresistible breakbeat and bubbling bassline, the British producer finds a sensuous sweet-spot between fellow Growing Bin affiliates Krakatau and Singu.

Lucky are we who hear the Bin's sounds.
Patrick Ryder

Luigi Madonna returns for his first Drumcode EP in five years, teaming up with fellow Neapolitan and label favourite Robert Capuano.

We got our last taste of the creative synergy that marks Luigi Madonna and Robert Capuano’s friendship when the pair dropped ‘Limitless’ in 2017, a brilliant addition to A-Sides Vol.6. Prior to that Luigi hadn’t dropped a cut on DC since 2015’s hook-driven ‘Magic Land’, while Capuano stands as one of the label’s most infallible contributors, last year’s ‘The Walker’ EP was typically impressive.

Crafted between two studios in a pre-COVID-19 world, the three-track conceptual EP opens with ‘Mad World’, as masterfully layered industrial hits and rides depict it’s narrative, while a pulsating melodic lead ensures heavy impact. ‘System Alert’ is inspired by the destructive effects of climate change and the track’s composition mirrors this malaise, as a pitch-bending synth elicits rhythmic chaos alongside Luigi and Robert’s deft drum work. ‘Headquarter’ is steeped in drama and cinematic charm, backed by a distorted vocal sample, stormy oscillating synths and a sharp percussive backdrop.

GES: Anthology of American Pop Music

Six great pop standards remembered: five pop songs are dissected by sampler, stretched, compressed, and re-collaged. In this way, their identity is lost. What remains is a vague concreteness: flashes of déjà vu and remote echoes that evoke the original.
GES (Gesellschaft zur Emanzipation des Samples)
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Active members: Helmut Schmidt, Jan Jelinek
Founded: 2009
Headquarters: Federal Court of Justice, Karlsruhe, Germany
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GES Glossary

Acoustic Surveillance Series

A 7-inch vinyl record series curated by GES focussing on historical methods of acoustic surveillance. Each record introduces a surveillance system from the past. Starting with Uguisubari in 2017, the series will continue with the release of Orecchio di Dionisio in 2021. GES is open to further suggestions on this subject.

Bundesgerichtshof (German Federal Court of Justice), Karlsruhe

“The use of audio samples as artistic practice may justify the infringement of copyright and intellectual property rights.” (ruling of the German Federal Court of Justice pertaining to Metall auf Metall II, 2016). The court is also the official headquarters of GES.
Circulations

What happens to copyright claims when music from a passing car is captured in a street recording? Is it legal to use this recording freely or is it necessary to obtain licensing rights? Circulations re-enacts this recording situation: audio players are placed in public spaces, where they reproduce the desired sample material. The acoustically choreographed space is then recorded, creating a field recording in which everyday noises circulate together with seemingly incidental music.

Emancipation of Sampling

Fuelled by its criminalization, the act of sampling existing recordings forfeited some of its artistic prestige (see Sampling). GES wishes to rehabilitate and re-emancipate the practice of sampling as a form of art in its own right. Strategy: 1. Name samples and sources explicitly. 2. Choose samples that are as popular and as recognizable as possible (Beatles, Carpenters, etc.). 3. The editing and manipulation of the sample must not compromise its recognizability (negotiable). 4. Use as many samples as possible. 5. Always name more sample sources than were actually used in the composition.

Field Recording

A compositional practice widely used in sound art and ethnomusicology that involves the recording of natural acoustical phenomena. Two additional requirements are usually imposed: The recording process should take place outside a studio environment, i.e. outdoors. And the person recording does not generate any of the acoustic material him/herself. GES expands this definition by introducing the concept of choreographed public space (see Circulations).

Gambling

An acoustic event favoured by GES, already used in numerous sound collages (must take place in public). The most popular option is thimblerig, a cup and ball gambling game commonly played in the street. Compositional instruction by GES: Place an audio playback device in the proximity of a thimblerigger. Play works for orchestra (by Debussy or Mahler). Move slowly towards the gamblers with a microphone.

Helmut Schmidt

Multiple identity and fictional character devised by GES. Figures variously within the semiotic system of GES as member, guest artist or public representative. Following the historical example of Subcommandante Marcos (EZLN).

Kraftwerk

The German band founded by electropop musicians Florian Schneider-Esleben and Ralf Hütter (a.k.a. Die Prozessoren) is the natural enemy of GES. Protected by computer-generated avatars, Kraftwerk operates a quote-hostile cultural hegemony. Their strategy: Install a special brand in the collective consciousness by means of a sophisticated system of quotations and references that may in turn not be quoted by anyone else. Other bands with such delusions of omnipotence: U2, Metallica.

Marcel Duchamp

As the inventor of the readymade, Duchamp may be viewed as a precursor to the art of sampling. However, the artist is appreciated above all for his sonorous qualities, as his vocal silence has often been sampled and processed. It was the inspiration for Jelinek's radio play Zwischen.

Orecchio di Dionisio

This 65-meter-deep limestone cave in the Sicilian town of Syracuse, carved out of a hillside in ancient times, has exceptional acoustics: A person standing at the cave entrance can hear every word whispered deep down inside it. The painter Michelangelo da Caravaggio gave it its name (The Ear of Dionysius) in 1608. The cave indeed resembles an ear and – according to Caravaggio – had a specific function: The tyrant Dionysius I imprisoned his political prisoners in the cave in order to spy on them. Orecchio di Dionisio will be featured in the Acoustic Surveillance Series in the near future.

Sampling

Compositional practice whereby recorded music is fragmented, turned into sound collages and transferred into different contexts of meaning. Since the advent of affordable sampling technology in the 1990s, the music industry has been trying to criminalize and/or promote the practice. Both strategies are driven by the same principle: Profit.

Uguisubari

Sound-making floorboards in Japanese temple and castle complexes, featured in the Acoustic Surveillance Series in 2017. In the Edo period, the “nightingale floor” (literal translation of uguisubari) was a popular acoustic warning system. The principle was straightforward: When someone stepped onto the boards, nails would rub against metal clamps beneath the floor, creating a tell-tale squeaky sound that was said to resemble the chirping of the Japanese nightingale.

Wind

A generator of acoustic events and an amplifier/transmitter of existing sounds. A meteorological form of energy appreciated by the GES on account of its unpredictability. A series about wind as an acoustic phenomenon is planned. Working title: Hotel Corridors.

Zwischen (Between)

Radio play by GES member Jan Jelinek based on recordings of various public interview situations. From the speech of the interviewees (all of them eloquent personalities) the pauses between coherent utterances were extracted and assembled. What we hear is an archaic body language: modes of breathing, word particles and onomatopoeic turmoil. A key question for GES: Which comes first, personal rights or artistic freedom? For Zwischen, Jelinek used only recordings by public figures that were already available to the public.

Friends, it is time for a finish. Here's the seventh and last chapter of the festivities that we put together for our 50th catalogue number. Once again, the mighty graphics wizards Doppeldenk from Leipzig provided us with a delightfull artwork. And once again, you'll get a record that sports a kaleidoscope of sophisticated dance music from Uncanny Valley veterans and newcomers. This time with the emphasis on bright and positive timbres which can be associated with the colour yellow. Cuthead starts things with a bang and his PARTY CHORDS set the tone perfectly (including neck pain after nodding your head to the beat like there's no tomorrow). If chords could be president this would get a lot of votes. Massimiliano Pagliara shifts down a gear with the acoustic road trip SUNSET FUNK, a masterfully arranged track, made up for driving around on your bike, skateboard or whatever vehicle you are using to get from A to B. The slow and sexy IWESU YEWISU from the soul brothers of Duererstuben is a longtime favorite in the Uncanny Valley headquarters. We are super happy that this groover will finally see the light of day. Panthera Krause provides the subtle but euphoric THE NAKED NOW, a House music lesson that's bubbling under the surface. And finally, Uncanny Valley first-timer Daniela Da Luz closes the record with WHEN YOU GO ALL IN AND WAIT, a drum heavy but also embracing excursion into your own neural circuit

In September last year, Josh Tillman stopped by our Nashville headquarters on an otherwise ordinary Tuesday afternoon and surprised us all with a lunchtime solo, acoustic set before his sold-out Ryman Auditorium performance. We, of course, had our 1955 Scully Lathe warmed at the ready to capture the occasion.

As is typical for direct-to-acetate recordings in the Blue Room, Josh warmed up the room (and our engineers) with two songs before we started cutting the LP. He began with the debut performance of his newly penned 'Mr. Tillman' (foreshadowing its release as the first single on God's Favorite Customer 9 months later). We then used the second song as an opportunity to carve a 12' on-the-spot single of 'Now I'm Learning to Love the War,' which was promptly handed it to a lucky attendee for safe keeping. If you want to know more about that, you'll have to scour the depths of FJM's fan net.

Live at Third Man Records covers songs from all three Father John Misty albums out at the time of its recording, heard here stripped totally bare





Virgins)

At home, in the islands of Cabo Verde, there was grog, or grogu, a strong sugarcane moonshine not dissimilar to Colombian aguardiente, copiously consumed at Funaná parties. In the diaspora, in Europe, there was leite quente (hot milk). "I can still remember the taste of the first leite quente I drank in Lisbon," says Antonino Furtado Gomes, Pilon's drummer and current band leader.

Synthesize the Soul, Ostinato Records' second compilation, revealed chapter one of the Cabo Verde cultural story in Europe, zooming in on visionaries like Paulino Vieira who made Lisbon the headquarters spearheading the musical revolution taking place within Cape Verdean emigre communities across Europe in the 1980's. Musicians from across the diaspora would eagerly travel to the Portuguese capital to record.

Grupo Pilon represents the second chapter of the Krioulu diaspora story. In smaller pockets, second generation musicians were independently contributing to one of the most lush periods of cultural innovation by immigrants in Europe. In Luxembourg, in 1986, a group of teenagers formed the largely unknown (outside of Cape Verdean circles) but consistently brilliant band named after the blunt instrument used in the islands to pound corn for Cabo Verde's national dish, cachupa.

With only five members, Pilon combined searing estilo Krioulu drumming and the hybrid ColaZouk style with blissful synth work and rugged guitar licks, creating a stripped-down, addictive sound that masterfully straddled two worlds, a seductive electro-Funaná carnival born from the first few sips of hot milk.
The band drew from the inspiring political changes of the day: the release of Nelson Mandela in South Africa and the fall of the Berlin Wall. The right to democracy became a constant theme in Pilon's songs.

With access to better opportunities than their parents' generation, Pilon's roster were part time musicians. Music was not part of their academic upbringing nor a full-time gig. Their rhythm and style were wonderfully imperfect, made out of rawer skills and inexperience. Pilon did not follow the templates established by revered Cabo Verde bands. Keyboard player Emilio Borges played off beat and the band preferred arranging their songs to start from the beat normally heard in the middle of a composition rather than the beginning.

These two elements made Pilon's music simple, unique, and inimitable. From 1997-2015, a lack of concerts and professional musicians proved near fatal. Today, Antonino and what remain of the original quintet are slowly piecing back together the puzzle of their once mighty outfit from an unlikely pocket of Europe. In it's heyday in the 90's, Pilon serenaded audiences in Paris, Lyon, Marseille, Lisbon, Rotterdam and Frankfurt, securing their reputation as a respected and unifying cultural force.

This LP, drawing from the six most powerful songs from Pilon's three-album catalog, is the serving of still fresh leite quente to spice the summer and maybe even fuel the next generation of musicians in the Krioulu corners of Europe.

Phillipi is set to release his debut solo EP ‘Amadurecimento’ on November 29th via DEEWEE, the multi-faceted label and creative space operated by brothers David and Stephen Dewaele (2manydjs, Soulwax).

São Paulo duo Phillipi & Rodrigo dropped their beautifully uplifting debut album ‘Paciencia’, which earned the backing of an eclectic array of supporters including 6 Music, Mixmag, DJ Mag, PAPER, Tiga and Joe Goddard + more.

While ‘Paciencia’ pulsated with a euphoric beach party vibe, Phillipi’s solo project explores much darker territory. By uncompromisingly maximising the bass alongside a relentless beat, lead track ‘São Paulo’ is immediately oppressive and ominous. That intensity only amplifies as it’s blown open with tribal percussion, almost whispered vocals and glitchy synth stabs. ‘Vibe De Verao’ then takes a more progressive approach, with minimalist techno constantly evolving in surprising and inventive ways.

The EP’s second half extends Phillipi’s impossible-to-pigeonhole approach. In complete contrast to the preceding tracks, ‘9000’ is cinematic in scope and lighter in tone, feeling like the score to a lost ‘70s sci-fi cult classic that’s been reworked for 2019. And ‘Gelo Seco’ caps an unorthodox sonic adventure by setting a spliced, stuttered vocal simple around a dancefloor-friendly soundscape - making the title, the Portuguese phrase for dry ice, entirely appropriate.

As with all DEEWEE releases, ‘Amadurecimento’ was recorded, produced and mixed at the label’s inspiring headquarters Ghent, Belgium.

Are you ready for fresh blood! Some time ago, Tomorrow Is Now Kid! head honcho Alex Salvador and Jelle Meeuwsen aka "Pokopoko" met while spinning records and talking music at a party in Tilburg, The Netherlands. A big stack of demos got sent over to the TINK! headquarters and eventually a debut EP named "Petrichor" was created. A powerful four-tracker with a dusty and melancholic take on today's House music. It's raw and funky but changes vibes throughout, keeping it fresh. That said, "Petrichor EP" is an emotional rollercoaster and a tribute to the ever-changing and unpredictable Dutch weather.

DJ Feedback

Harry Avers:
"A solid EP."


Colin Dale:
"Great sound and a solid EP."


Jeff Barker:
"Iglozbub and Stipperflip are cool. Will support, cheers!"


Simon Huxtable:
"There's a distinct 90s UK house vibe to this EP. Good stuff."


Michael Serafini:
"Excellent! Petrichor and Hurdy Gurdy solid."


Jacques Renault:
"Always dig a new release from Tomorrow is Now Kid!"


Tim Haze:
"Very nice EP, will definitely play out. Soulful, funky, deep and energetic all at the same time. "


Mirco Violi:
"Very nice tracks."


Robert Monk:
"Quality proper Deep House cuts - love em all."


Eric Downer:
"Love the slowly unfurling start to the ep, 'Hurdy Gurdy', introducing things with floaty keys and jaunty percussion. this leads into the smart, sunny and upbeat 'Iglozub' which is snappy, bringing the mood up a little and spilling into the deep, meandering but no less uplifting 'Stipperflip' and a driven hi-hat dripping over a thick bass pump. Pokopoko saves the best for last, however, with all tracks leading to the majestic 'Petrichor', deep, dynamic and evolving with sweet, aching chords laced up with a crispy shaker and syrup-smooth bassline. Perfection."


Agus Arbol:
"House music at its best."


Severino Panzetta:
"Cool vibe."


Tunde Adams (DJ Caspa):
"Really nice ep here, will be supporting. "


Ben Gomori:
"Iglozub is stunning."


Al Bradley:
"Cool EP right here, saving the best to last with Petrichor doing the business!"


Timos:
"Nice work, I like it thanks!"


Paul Hazendonk:
"Lovely lovely vibe in Iglozub."


Times are Ruff:
"Nice work! Cool tracks."


Nathan Goode:
"Another fine release by TINK! Can't wait to play this one on air! "


MEAT:
"Great tunes!"


Robert Colon:
"This Is Some Beautiful Sexy, Dirty & Filthy House & I Am Loving It! I Will Be Smashing This Out."

What is the Inner Dance? A musically assisted trip through thought-movement. It is not a show, it is a party. The participation of a room full of individuals having their own personal experience. Like looking closer at the ground to see there is movement within, focus acutely and see the life within life.


Gene Tellem launches her own label Bienvenue Records, welcoming you to a world of sounds for all the extroverted introverts out there. With headquarters at La Rama in Montreal, we plan on assisting your journey through local & international sounds.


For this first EP Gene lays down the foundation for what is to come. Journey agent tracks for all looking to experience the music, an extended groove, more than just a drop & repeat. ‘Groove PM’ sets the scene, we play in the sun during the day and at night we smooth out the rigid edges of the hustle. ’N’ You’ is here to get you in touch with your natural swing, ride on the simplicity of moderate changes and witness just how much we have. ‘Tender As A Rhodes’ is an ode to that thing that changed it all, the universal jazz sound, dub it out, stretch it out, and watch the whole room come together. As the morning comes we get ‘Chipped’, dance ’til the next day comes and hit the streets with a little pep in your step. Crossing paths with your neighbours on the way home, they might not know but all who witnessed do, we who dance the night are the warriors that keep the light on in the darkness.


Thanks for joining us and please do stay tuned for more.

-La Rama

BX127 signs back in with Figure for an EP that is maybe his most intricate as to date.
Four groovy alien transmissions, sent in directly from his headquarters somewhere in the outer rims of Saturn. Seemingly effortless these creatures build their momentum, treating the theme of miniscule power to the maximum effect. The tracks have an elegant air to them, each moving gently at its own pace. Whether through ticks and bleeps, finely plucked 303s or swaying dub chords; all the sounds on display know how to work their magic for some stellar listening experience.

Gary Holldman returns to International Day Off for a solo work , delivering four original & trippy techno tracks on hand-stamped vinyl.

Stefan Smith has channeled an elevated reverence for process, texture and synth-extrapolation with the forthcoming release of his self-titled LP on the Sapiens imprint. A relative new-comer to the land of rapid fire releases and dance floor formulae, Smith is deeply steeped in the art of music creation, performance and theory.
As a graduate of Mills College's revered music department, Smith's prosaic understanding of music partially explains his migration to Sapiens, a label headquartered in Paris, France, which, under the direction of techno luminary, Agoria, has been expanding the realm of possibility for what a techno label can become. Collaborating with musicians, visual artists, film directors, shamans and sound designers, the young Sapiens platform releases may include political speeches, radio hits, dance floor tunes, sensorial or cognitive music or a gentle computer
virus'. Smith's LP contribution will definitely fall on the more delicious end of this spectrum, having woven a synth-lovers dream tapestry.

The nine tracks composing the album, Stefan Smith', draw the listener in on a river of oscillators, which push just past the banks of perceptible sound with with flawless production and loving sound treatment. The idea behind the album is very raw and organic. Stefan Smith focuses on atmosphere, mood, tones, and frequencies, rather than melodies. His productions are a response to the subliminal, and about feeling.
This album came together from a natural flow of working with computers and synthesisers, and also from the musical connection fostered Sebastien Devaud (Agoria). His approach to the album's production was to edit as little as possible, keeping the original feeling of chance and temporality intact. We can sense here Smith's intuition as sound designer, a role which has enabled him to work with artist Nicolas Becker and through this association further contribute work to the Philippe Parreno 'Anywhen' exhibition in Tate Modern Turbine Hall. The feedback
generated by studio experimentation gives birth to new ideas for aural shapes and textures. If one were only to lie back and identify the various wave forms, like butterflies and birds flittering through dappled sunlight, in each track's canopy of bountiful synth elements the mind's eye would dance with the steady intervals of Smith's real-time probe of his machinery, however, deep tracts of emotion and effortless grooves won't allow for a purely sensory listen. In the spirit of exploration, enjoy the ride.

One afternoon in 1975, friend and fellow music traveler, Harold Schroeder, showed up at Poo-Bah Record Shop where Tom Recchion worked selling records and experimental music to people, forcing them to buy albums that he swore would change their lives. Harold asked if Tom wanted to share in a studio space close to the shop. After seeing it Tom immediately said "YES!". They moved in and divided the space in half. On Tom's half he made drawings, paintings, performances, video, sculptures, installations, and music. Harold had his all set up for music with his newly acquired Steiner-Parker synth and guitars and things. At the beginning they played under the name The Two Who Do Duets. Soon the late-night jam sessions that took place in the back of Poo-Bah moved over to the fourth floor of 35 South Raymond. It was pretty beat up and derelict, the way one imagines an artist's studio to look. They could make all the noise they wanted. No one else was on their floor. The music heard on this LP has remained unheard since it was recorded and was created just before and right after the inaugural concert by the Los Angeles Free Music Society (LAFMS) groups Le Forte Four, Doo-Doettes, and Ace & Duce. That concert took place in late January 1976. The sessions on this release feature members of the newly formed and expanded Doo-Doettes, which now included Dennis Duck, Juan Gomez, Harold Schroeder, and Tom Recchion, as well as Ju Suk Reet Meate from Smegma and Ace, of Ace & Duce. 35 S. Raymond eventually became a sort of LAFMS headquarters, with Chip Chapman of Le Forte Four, artist and future Extended Organ vocalist/guitarist Paul McCarthy, and soon to become singer for Nervous Gender, punk/folk artist Phranc, who along with many other artists and musicians, moved into the building. 35 S. Raymond allowed for free expression and explorations of all sorts. Some wild parties ensued, not to mention the luxury of endless hours of experimentation. Parking was free and so was the art and music. Ace found the tapes for side one ("Tom's Studio") in his archive and Ju Suk Reet Meate found the tapes for side two ("50 Of Every American Are Machines") and edited them both for this release. No overdubs or remixing was emplo

Rat Life Records presents Serial Error a Project by Credit 00, Jacob Korn & Sneaker. This outfit was brought to life in 2013 when Red D called for some New Beat style tracks for his "Our Beat Is Still New" Compilation. Flying a bit too low under the radar ever since Rat Life decided to reissue Drum Abuse on a Super Sound Maxi Single. The Track was made in Jacob Korn's headquarter studio / synthesizer museum. The task distribution was hit quickly: Jacob squeezing the acid out of his huge Formant modular system, Credit 00 beating the drums on the Boss DR 660 and Sneaker throwing his unique vocals on top!

Bratha is the name of the Berlin based collaboration of Matt Nowak aka No Mad Ronin and The Analogue Cops aka Lucretio and Marieu. Their releases on their own label Bratha, on Voitax and on Restoration have quickly sold out without any mainstream promotion. "Topless Dancers" is their debut E.P. on Matt Nowak´s imprint Zaijenroots. As usual, this vinyl only release recorded at the Restoration Headquarters and mastered at Dubplates & Mastering, combines refined samples and quotes with extremely solid, pumpin´ beats and fat basslines. The grooves move smoothly from the metronomic dance attitude with a romanian touch -topless dancers- of the title track, to the wobbling "Estate", undergoing to the suspended, melancholic fluctuations of "Space Boogie" and the slow discoidish "No Mad Ronins death". This pumping EP for sure fills every dancefloor with a deep and smooth vibe of real underground d

Limited White Vinyl Pressing!
While some of you might think of Planet Rhythm as one of those old labels from back in the day, it may not necessarily be the correct judgement. Not only is it a product of its past achievements, but it's also pushing things forward in the present time, with Woo York being one of a few new artists emerging from the imprint's recent catalogue. That said, 2014 starts with Ukrainian duo taking over Planet Rhythm headquarters as the label's proprietors and getting in charge of all of its future development.

First out of press is the duo's own EP highlighting their shift towards brand new, hardware-driven studio setup. From abstract TB-303-ish structures of Acid Rain, through the building peaks of Analogue Swamp, a perfect example of stripping functional techno, to Come Closer's uplifting trance-y melodies and the closing sequence of Strobe 1, this record is shaping up to be Woo York's strongest release to date.

Man of the moment Alan Fitzpatrick teams up with Jon Gurd to bring us one of his finest tune to date. Quartz headquarter decided to call Rotterdam hero ROD aka Benny Rodriguez to remix the tune and the man gave us two essential versions of From Here to There. If it wasn't enough Paul Ritch - the label boss - complete the package with his own interpretation of the track.

Emerson Todd is our prized import from New Zealand. Since settling in Berlin, he's become a valuable team member at the Upon You headquarters, improving our English by cracking jokes and also assisting in the studio with technical needs. The man with a plan! Back in NZ he produced some well-known bands, but his relocation to Berlin sparked his specialization in tech-house. The results of his work have been heard on several labels including Cocoon and Saved Records, but for his third EP he returns to Upon You, once again showing his keen interest in funky sample work, pulled from his dusty vinyl collection. A1 'Inside Out' and A2 'Streetwalker' exhale radio moments from the past, but bolstered by the contemporary construction of modern power tools. The B-side is a winning remix harvested from the Thuringian Forest with a pounding climax, custom built by Mr. Mathias Kaden.