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Echocord returns late June with a new release, Joel Alter under his Jor-El alias, entitled 'Tilted Reality' and comprising three originals from the Swedish artist.
Currently based in Copenhagen, Sweden born producer and DJ Joel Alter is a name synonymous with
the contemporary Techno scene on both his home turf and across the globe, his back catalogue to date features a long player for the Uncanny Valley imprint, solo EP's for D'Julz' Bass Culture, Sweatshop and collaborative works for Kontra Musik alongside Henrik Johnsson amongst much more.
This time round though we see Alter return under his Jor-El guise under which he first started releasing material on DJ Hell's Internation Deejay Gigolo imprint. Up first is title-track 'Tilted Reality' laid out over seven minutes with a slowly unfolding dynamic feel, encompassing spiraling atmospherics, distorted rhythms and blooming stab- sequences.
'Elevation' follows and takes a more direct groove-driven approach via straight four-four percussion and hooky bass chops, whilst tension building pads and fluttering dub echoes gradually build around the foundation.
'Solitude' closes out the package deliving into deeper realms with soft ethereal dub chords, acid tinged leads and emotive strings.

Pantha Du Prince (Hendrik Weber) has been working with longtime engineer Kassian to create an ambient version of last year's triumphant studio return, 'The Triad'. This reworking showcases the otherworldly and moody delicacy that makes Weber's music so absorbing and affecting, with the beats and most vocals removed, his dreamy sonic details come to the fore.
LP is accompanied by a digital download that also includes bonus extra versions of some of the album tracks.

Profusion (noun): an abundance of something rich.

The sonic partnership of K15 and Emeson originated in the days of MySpace. A future of combining their skills was inevitable, and now in 2017, it's time to unleash their debut studio album into the ether.

The solo-projects of Tottenham-raised Kieron Ifill (aka K15) date back a decade, but were truly kick-started on labels such as Kyle Hall's Wild Oats and WotNot Music, with a number of genre-crossing releases dropping ever since, including the WU15 project (along with Yussef Kamaal's Henry Wu, on Eglo Records). Additionally to his production work, he has established himself internationally as a DJ, from the Jazz Cafe to the CoOp parties.

Partner in Profusion, Emeson, has many skills to his bow - singing, songwriting, producing, promoting, DJing (under the alias Ed Nice) and acting. As a musician, his varied skill-set has seen him work with Chico Hamilton, Carla Duke, Karmasound, Uzo Madu and Chris Jerome. A frontman for soul-jazz groups LifeSize, The One and Saturn's Children, he has featured on releases for BBE and Tokyo Dawn, and appeared live on stage at the likes of Ronnie Scott's.

The debut single was supported by tastemaker blogs Wonderland, XLR8R and Stamp The Wax, has been bumped by selectors such as Lefto and Jazzie B, and played on NTS, Worldwide FM, Mi-Soul, LeMellotron, Balamii Radio, Itch FM, Invader FM, Soho Radio and various stations across Europe and the US.

This album is full to the brim with summery sun-soaked synths, drifting across the warmest of basslines and heavyweight beats. Emeson's rich vocals gracefully ride atop of K15's delectably bruk twist on neo-soul sonics and electronics, this is some seriously classy contemporary London soul music, that manages to incorporate flashes of various dance music techniques, sound-system etiquette and jazz-tinged rhythms. As future-thinking as it is subtly retrospective, it doesn't lend itself to one genre, it intentionally embodies the best of many. An array of everything that is great about British black music in 2017. The message the album conveys itself couldn't have come at a more poignant time. Where do we begin

Profusion - an abundance of something rich indeed.

Jigsawtooth is the third album from Hendrik Kroez's Miwon project.

Limited randomly packed red or white vinyl. Non-Returnable.

On this long-awaited follow up to is critically revered A to B (City Centre Offices) Kroez displays his skill in marrying motorik techno infused rhythms and soaring pop ambient melodies.

This is most evident on 'Charezza' which could very well be the most uplifting track in the n5MD cannon. Other cuts on Jigsawtooth utilize sweeping synth-work that encourage a near kraut/kosmische travel worthy flavor to the proceedings.

Other genre signposts are evident on Jigsawtooth but that's something that's always been a constant with Kroez's work as Miwon. In his hands such coalescence sounds cohesive, natural and is some much welcomed diversity to nought-era electronica.

Based in Bath, UK and born out of a love for drinking tea and dusty rhythms. Mint Tea is a platform that searches for up and coming talent within an emerging scene. In this blend, a various artists release with producers from four different countries curated into the perfect accompaniment for late nights or early mornings. With tracks from Moda, Raar, Akasha System and James Henry the release combines a beautiful balance of influences from ambient, lo-fi, techno and house.

Stockholm-based Wolfbrigade announce the news of their ninth full-length album, titled Run With The Hunted, set for release on April 28th through Southern Lord.

Formed in 1995, initially as Wolfpack, after five years they ventured into the new millennium as Wolfbrigade. The band have released an impressive volume of LPs and smaller releases, and have toured widely over the years, becoming one of the premier acts of their genre. Their damning music surges with outcries against human socio-political injustices, yearning for transformation and freedom.

Wolfbrigade's Run With The Hunted strikes with ten brutal new tracks of their trademark d-beat, hardcore-crust-punk fury, elevating both the harsh intensity and the melodic attributes of their music to new extremes of savageness. There's a concentrated sense of urgency across the record, and a sense of dystopia fuelling the scathing vocal wrath. Run With The Hunted was recorded in both Studio Fredman in Gothenburg (At the Gates, In Flames, Martyrdöd), by Fredrik Nordström and Henrik Udd, and in Sunlight Studio (Dismember, Entombed, Grave) in Stockholm, by Tomas Skogsberg.
 
  About the new album, Wolfbrigade declares, We looked to explore our rawness, writing straight-up, in-your-face, primitive songs. On this record, we decided to push the melodic strains even further, but without losing either intensity or brutality. Lyrically we have been inspired by both classic and obscure dystopian literature, finding suitably horrible metaphors for the decline of western society. The search for freedom continues, but this time the path is pointed inwards, into ourselves.'
Run With The Hunted











 

Stockholm-based Wolfbrigade announce the news of their ninth full-length album, titled Run With The Hunted, set for release on April 28th through Southern Lord.

Formed in 1995, initially as Wolfpack, after five years they ventured into the new millennium as Wolfbrigade. The band have released an impressive volume of LPs and smaller releases, and have toured widely over the years, becoming one of the premier acts of their genre. Their damning music surges with outcries against human socio-political injustices, yearning for transformation and freedom.

Wolfbrigade's Run With The Hunted strikes with ten brutal new tracks of their trademark d-beat, hardcore-crust-punk fury, elevating both the harsh intensity and the melodic attributes of their music to new extremes of savageness. There's a concentrated sense of urgency across the record, and a sense of dystopia fuelling the scathing vocal wrath. Run With The Hunted was recorded in both Studio Fredman in Gothenburg (At the Gates, In Flames, Martyrdöd), by Fredrik Nordström and Henrik Udd, and in Sunlight Studio (Dismember, Entombed, Grave) in Stockholm, by Tomas Skogsberg.
 
  About the new album, Wolfbrigade declares, We looked to explore our rawness, writing straight-up, in-your-face, primitive songs. On this record, we decided to push the melodic strains even further, but without losing either intensity or brutality. Lyrically we have been inspired by both classic and obscure dystopian literature, finding suitably horrible metaphors for the decline of western society. The search for freedom continues, but this time the path is pointed inwards, into ourselves.'
Run With The Hunted











 

Christopher, Henning & Severin sind AnnenMayKantereit. Sie leben in Köln, sind zusammen aufgewachsen und schreiben heute Songs darüber, wie sie das Leben und die Liebe zerreißt, ratlos macht und beflügelt. AnnenMayKantereit haben sich mit ihren Konzerten von der Straße in ausverkaufte Clubs gespielt.Ihre Videos drehen sie selbst und das erste Album haben sie im Alleingang live eingespielt. Die Fangemeinde ist im letzten Jahr beeindruckend gewachsen,die Videos werden tausendfach aufgerufen und ihre Shows sind immer öfter ausverkauft.Viel Aufmerksamkeit für eine so junge Band, die gar nicht versucht hat, jeden Blick auf sich zu ziehen. Schlagzeug, Gitarre, Bass, Gesang, Klavier,Mundharmonika - das ist das Besteck - und mit guten Songs, viel Blues und Hennings unverwechselbarer Stimme treffen AnnenMayKantereit die Herzen ihrer
Generation, der davor und der danach.

Fresh off of a pair of well-received EPs on his recently-launched Manhigh imprint, Berlin's highly respected techno auteur Henning Baer makes his first appearance on Nonplus with 4 excellently crafted, saturated machine techno tracks on The Idea of Instinct. Following on feelings suggested in the title, the EP opens with a pair of more contemplative pieces: the title track's spare arrangement puts mechanical rhythmic drive behind its exploration of dusky electronic atmospheres, while the feeling of 'DNA' is both brighter and slightly pacier, its hypnosis deriving from the pads and synthesizer sequences that circle the drums. 'CCC II' takes a darker approach to a similar idea, this time with the suggestion of polyrhythms in the distant and heavily-treated percussive elements circling in the background behind uneasy ambience. It builds to the closer 'Spiritual Quest', where overlaid rhythms in 3 and 4 are not easily reducible and create the tension at the track's centre driving it to its conclusion.

Palto Flats & WRWTFWW Records are ecstatic to announce the highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient / minimal album "Through The Looking Glass", originally released in 1983 by RCA Japan.

Considered a Holy Grail of Japanese music by many, "Through The Looking Glass" is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience.

The fully licensed reissue is available as a single 33rpm LP and a limited 45rpm DLP, both cut directly from the original studio reels (AAA), at Emil Berliner (formerly the in-house recording department of renowned classical record label Deutsche Grammophon) for the 45rpm DLP, and at the equally famous Frankfurter SST Studio for the LP. It is also available in CD format for the first time. All versions come with extensive liner notes.

Jerome Meyer AKA Von D is a master craftsman, well-known for releasing dubstep and bass music since 2009. On an increasingly prolific trajectory since last year, recent 12's on Infernal Sounds, Trojan Audio and Scotch Bonnet have signaled his renewed focus on dubwise productions. We are proud to say that Von D's Khaliphonic debut sees him fully committing to reggae and dub - in his words, going back to my musical roots.'

Politricks' is a masterwork, cut from the same living rock as the classic Cuss Cuss riddim, a simply huge bass and drum workout that is truly one for the ages. Politricks is an anthem for now, a call to avoid the dead-end of politics-as-usual and a warning to beware of the lies politicians tell to keep themselves in power - full of promises but changing nothing. Von D says that working with Don Cotti was very natural,' and their easy relationship is audible - the tune fits the vocal like a glove, and Cotti's instantly-recognizable singjay style gives even more gravitas to an already heavy track. The dub version spools out Von D's signature saturated echoes even further, and opens up spectral chambers of reverb that shimmer and glow.

The B side Ygrec' is an equally massive tune, just as compelling if more meditative and mysterious, coming in both one drop and power-steppers mixes for maximum versatility and vibes. Both tunes and their versions feature an incredibly robust, warm, human sound - one that simply can't come from machines alone - live drums, bass, and kete drum among other instruments maintain the tradition of live musicians in dub - to say nothing of expert desk-based mixing and deployment of live analog effects the way the elders intended. Both tunes dial in at 140 making them perfect for roots and dubstep selectors alike.

Von D got his start as a drummer and engineer outside Paris, in the heady days of original jungle. Early releases on Disfigured Dubz, Hench, Boka, Black Acre and the seminal V Recordings, as well as his reggae-oriented Liquid Wicked project, cemented his reputation. Don Cotti is a prolific producer, DJ and MC with releases stretching back to 2006 on labels as varied as Bass Face, Studio Rockers, and Soul Jazz.

Mastered by Lewis at Stardelta. Art & design by Polygon Press.

Green Marbled Vinyl Vinyl Only!
great 1988 summer of love old school acid house release, recorded with analog machines tr909, tr808, tr707,
tb303, sh101, juno106, dr.boss220, korg ms2000. pressed in random acid colours, including full color info/cover sheet. recorded by Joppy Mister & Hennie V. from well known dutch vinyl acid label and former record shop boss.
marvellous oldschool acid house tracks in limited edition HQ vinyl pressing.
Bass ik Records vs. Dance Drugstore Records - Vinyl Only!

Fresh off Son Of Sound releases on Delusions Of Grandeur and Local Talk, New York based Henry Maldonado is back on his District 30 label with Son Of Sound 05 / The Love Up Beat Down. This 3-tracker features something for everyone, as Jackin' House, Disco-Chug and even Detroit Techno are well represented. Kicking things off on side A is 'Bout Love Again, an adrenalin induced shot of disco house served up the old fashioned New York way. MPC style loops, chop-ups and breakdowns give a nod to the '90s House 2 House style tracks Henry produced on Strictly Rhythm. Not falling too far from that tree is the disco-house chugger Need Each Other.
Rhodes chords accompany a bed of sliced-up New York Disco, for an infectious groove that will denitely keep that 120BPM momentum.Lastly we round out this EP with Inuence Is Bliss. This one will denitely appeal to lovers of Detroit Techno and House alike. Pounding drums, 16th note ride cymbals, arpeggiated synth lines and ghostly soulful chord progressions effectively distract you from the fact this track doesn't even have a bassline.

A real rarity! 1977's "Stepping Out" by obscure Oliver Sain produced Funk/Soul outfit The 13th Floor has always been a tough LP to catch, the only release by this lesser known St.Louis outfit showcased a unique blend of jazz, funk and soul that has intrigued hardcore collectors of rare grooves and black music since it's release. Released on the highly collectable Blue Candle sub label of Miami's TK Disco empire, "Stepping Out" features lots of different musical flavours - from the languid, Ohio Players-esque "Hang loose" and the incessant mid-tempo burner "Leanin" to the dance-floor groove of "Sweet thang", the LP showcases across it's 9 tracks show a band at the top of it's game, completely in tune with each other and firmly in the pocket. This should be no surprise when you consider the opening track of the album is co-written by a young Chaka Khan and members of the band went on to form parts of her band Rufus and played alongside artists such as Patti Austin, Maxayn Lewis, Ronnie McNeir and High Voltage. The overall feel of the album is one of amazing musicians keeping it gritty, soulful and most of all, funky! This album has always demanded high prices on the second hand / used vinyl market and is a truly lesser spotted gem, which is surprising considering the eye catching sleeve artwork!
This is the first time that The 13th Floor's "Stepping Out" has been reissued on vinyl, fully remastered from TK's original tapes, represented the way the the LP was issued in 1977 with all original cover and label artworks intact. Now, almost 40 years after it's original release the album has now been made available again for 2016, fully licensed in conjunction and with the full permission of Henry Stone music / TK Disco, Miami, FL.

Presenting the new ssaliva release on Ekster: We Never Happened'. 180g vinyl packed in a pantone printed outer sleeve with drawing by Charles-Henry Sommelette. Comes with printed inner-sleeves and silk screened plastic oversleeve.
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I am a vessel. A muffled mass. A bulk. Extent. A womb. I move. So I am neither here nor there. Always somewhere in between. To give substance to this frame, I carve out a piece of me. Sometimes a shape, sometimes a form. Into this space I pour the siege of me: words, pictures, you. So we can become me. Viscosity and temperature dictate the time it takes. When it is done, I break the mold I am. I take the cast inside and place it by the others. Choose one and take it home.

Balearic cover version of the early 80's Jazz Funk classic, featuring 2 original band members of Freeze (hence Zee Erf)

From the whip-like crack of Yako's signature staccato vocals and impossible-to-memorize lyrics to the relentless overdrive tempo of their oneof-a-kind prog-core, Melt-Banana have long resided in a cybertopia of their own devising where the limits of technology and human capability are old-world concerns as quaint and cumbersome as bartering with a blacksmith. The demos for Fetch, their first studio album since the severely fried pop-punk of 1997's Bambi's Dilemma, were completed in March 2011, but the Fukushima earthquake changed everything, including
their ability to concentrate on recording. Which stopped completely.

Once they felt ready to return to their music, they decided to approach the songs on a sound-by-sound basis, choosing each tone with meticulous attention to detail, affirming their personal connections, being themselves naturally and openly.


Fetch scrapes glam shimmers off punk's outermost fringes and forges them into a rather intensely technical Deanscape packed with fantastical hybrids. Agata's guitar riffs, seemingly composed in tandem with skipping CD players, are more bad-ass than ever, bright and fractured like the soundtrack for a CC-Hennix-scored biker flick. The album is juiced with electronics and post-rock production, tempering what could easily be a
tiresome and predictable frenzy, yielding unexpected associations: Kate Bush climaxing on Walter White's blue meth; demos of late-period Wire playing metal run through Wasp synthesizers and Autotune; unripe wild
lychees keeping time on an Ankgor Wat tin roof during a monsoon.

They've been performing live as a duo since summer 2012, and will do the same for their '2 do what 2 fetch' tour in support of the album. After nearly 20 years of playing with a live rhythm section, their use of a PC, while opening possibilities for a variety of drum and synth voicings, does not signal a move away from the traditional live band sound, as heard, for example, via the future transmissions from downtown Noiseapolis on
2009's Lite Live: Ver. 0.0. Yako and Agata say they need to feel real band sounds onstage as much as someone in the audience. This is a group that routinely excels at several kinds of impossible simultaneously, so of course any new challenge they come up with for themselves is sure to blow the doors off your Mini Cooper. - First record as a duo expands the M-B sound
into multiple dimensions - LP includes digital download card; first
pressing on clear vinyl

Again shooting for the altitudes reached on MANHIGH's first journey, Henning Baer's second operation returns to the endeavour with a newly diversified mission. 'Operator' finds us already at the furthest edge of the atmosphere, pulsating waves of distorted electronics and distant, disembodied voices floating in the void. 'Pittsburgh Left' is the fall back to earth, the unrelenting metallic rhythm slowly gaining momentum, momentary shifts in perspective and detail flashing by as the decent accelerates inexorably. The contemplation before leaving the ground, 'AIIM' slowly anticipates the ascent and examines the cosmos before lift-off. Surely the launch phase 'Canadian Suit' is both reflective and onrushing, trapped between tense, contrasting moments before being flung into the unknown. Displaying both Henning Baer's typically acute feeling for talent and Kangding Ray's restless ear, the remix of 'AIIM' is a complete reinterpretation, setting grinding triplet rhythms in an industrial soundscape that suggests travels more fearful than those that surround it.

Words: Albert Freeman

'I take my guitar and strum and sing some tings and blow people's mind. But I ain't trying to do anybody's music. I'm doing what I feel' - Shadow

When it came out in 1984 the far-out album Sweet Sweet Dreams by Trinidad & Tobago's Shadow (aka Winston Bailey) was described as 'way ahead of its time'. Undeservedly it was panned by critics and, unable to reach markets, disappeared into the dusty record collections of a few music aficionados. Now, more than three decades later that cosmic dance-floor UFO is about to take off again, change all that and set the record straight. Remastered and cut by Frank Meritt at The Carvery the album is truly a masterpiece.

But who is this Shadow behind Sweet Sweet Dreams Shadow is a man of understated magnitude. A truly enigmatic artist, he first emerged in Trinidad and Tobago during the 1970s, becoming a part of the tapestry of Caribbean music and reinvigorating calypso at the time. Calypso, the indigenous folk music of Trinidad and Tobago, has roots in West African kaiso rhythms, French Creole influences, and the hardships endured by the African slaves brought to Trinbago, whose descendants still use it as a tool for satire, self-expression, and social commentary. Calypso has also given birth to several other music genres, including soca, with its uptempo beats and festival context. Shadow effortlessly moves between both.

Shadow came from a humble but musical family and started writing songs as a youth while tending cattle in the fields. To his family's initial chagrin he chose calypso over church music but his talent and drive were undeniable. In the early days of his career Shadow's style was cramped when working with some of the more conservative music arrangers who felt that calypso and soca should fit a mould. But after a while Shadow teamed up with more innovative arrangers, including Arthur 'Art'de Coteau, who followed their and Shadow's intuitions resulting in a long line of hits.

'The first time we met for me to arrange his music we had a heated argument on the arrangement for one of his songs, I was theoretically correct but Shadow was musically right. Shadow broke all the traditional musical rules and made his own and that made him a musical giant. He changed the face of Calypso music in 1974 with the release of "Bassman" a tune in which Bass and magnificent horn line took central stage changing Soca music for ever. What Shadow did with his music was to put calypso on the International Dance circuit, giving it a totally different groove. You could take his music and swing it in any direction, Disco, Pop, Calypso, you name it. His music was different from anything that existed before'. - Carl "Beaver" Henderson, one of Trinidad's veteran producers.

This inert creativeness culminated in Sweet Sweet Dreams which was arranged by Shadow and deals with burning and ever-relevant themes like love and the ups and downs of relationships. a surprising fact for someone mainly known for his satirical and political lyrics. It prompted his manager to wonder if Shadow had written the lyrics while in a state of 'tabanca' (a word used in Trinidad and Tobago to describe lovesickness).

Sweet Sweet Dreams was recorded at the legendary SHARC studios, located on a hill in Chaguaramas (near Port of Spain) and despite a fantastic sound and monster Soca-boogie tunes like 'Lets get it together', 'Lets Make it Up' and 'Way, Way Out' the album was a commercial flop, probably due to the fact that it didn't sound like anything else coming out of Trinidad & Tobago at the time: It fused a range of different rhythms and new sounds, primarily heavy synth riffs.

Shadow took the album's lack of success in his stride with usual aplomb:
'When I did Sweet Dreams I expect something could happen. But nothing big happen because I have no big market and no distribution and all this thing now. So I just cool myself and move on to another song. I wasn't doing just one song. I used to always have plenty songs at the one time. And be writing music'.

What Shadow didn't realise back then was that the proto-electronic cocktail he had mixed in 1984 would only find the recognition it deserved three decades later. Life has swung full circle: Sweet Sweet Dreams has come true and been elevated to holy grail status becoming one of the most sought-after Caribbean disco records in existence.

For this re-release we carried out extensive interviews with Shadow and the musicians and have included as bonuses exclusive photos from Shadow's personal collection and the dancefloor filler tune 'D'Hardest' was added as a bonus track.

7"

Dürerstuben are back at them ivory keys to prove once again their broadly spread outcome of funk and groove.
Being responsible for mothership Luise's first release and hence smoothing the way for a whole lot of pleasent memories we can look back to by now, it's that kind of re-(re!)-animation which puts our hearts to pleaseant warmths. Saddle your moped, pull up your Levi's and straighten your backs: Trays'n'Hits is the right compagnion for long lasting late-night drives, self proclaimed city slackers and mother earth's first outcome of country music you are bound to be proud of listening to. Spin it, Johnny!

Just in time for ADE, we are more than happy to present a new release by one of our main protagonists since our renaissance. Lehar has made a fascinating career in only two years, he is a key member in our label family as well as Diynamic and plays gigs around the world. His "White Diary EP" is his most unique release so far, with two original tracks by him and two dub versions by UK house legend Charles Webster.
"The Cave" is a very touching track which again shows Lehar's love for deep but popish moments in his music. Again, he has teamed up with L.A. singer Rush Midnight, who already lent his voice to "Number One Hero", which was released earlier this year on the Diynamic sub-imprint 2Diy4. An instrumental version is also available in the digital package.
The title track "The White Diary" is a demanding and hypnotic builder, which was already played often by Solomun during the summer. This is a next level Lehar track, signature sound structure combined with a highly effective arrangement. A winner for many situations.
Charles Webster has been a favourite of the Connaisseur label heads Alex Flitsch and Martin Henkel for ages. Requesting a remix by him has been on the Connaisseur bucket list since day one. He gave "The Cave" two different dub treatments, one
better than the other. His "Dub the First" already takes the original one foor deeper, making it very timeless and hypnotic. His "Dub the Second" takes it even deeper and is adding a proper portion of trippiness. Music for the guardians of the real stuff!

Jam Money is the shared musical vision of Kevin Cormack and Mathew Fowler. Mathew (Bons) and Kevin (Half Cousin, Harry Deerness) first began collaborating as part of the Blank Tape Spillage Fete, an ongoing collective project of art and music which focuses on the creation and perpetuation of small DIY exhibitions, related events and limited releases that celebrates the hobbyist nature of home recording.

Jam Money revolves around a passion for the simple and sometimes restrictive nature of four-track cassette recording. Using old half-broken guitars, clarinets, charity shop keyboards, toys, family heirlooms, zithers, home-made percussion, and household objects a shared dialogue appears, involving both mark making and musical mishaps, allowing the makers to be carried along as the music finds its own way.

Genre definitions melt away in Jam Money's music as ambient dissolves into lo-fi rock, noise into fragile naive classroom melodies. Creativity beyond easy categorisation.The first recordings titled 'Blowing Stones' were self-released in 2014. The cover and insert artwork for this record featured abstract paintings by the artist Aimée Henderson whose work and process is a great influence on their music. Having played gigs alongside kindred spirits National Bedtime and Plinth, the tail end of 2015 saw the the band travel to Germany to play with the Notwist and Le Millipede for a series of 'Alien Disko' nights organised by Alien Transistor, a label with a shared kinship of both the weird and wonderful.

'A Gathering Kind' is the second album by Jam Money: a journey of sound and colour, subliminal images and narrative. The roots of this collection found Fowler and Cormack using an earthier, more instinctive language, making it a rougher-edged sibling to their other recordings, with parallels to the home-spun worlds of Flaming Tunes, Pumice, Maher Shalal Hash Baz and World Standard. Aimée's artwork features again, both paintings and music forming a collective language of dream-like adventure.

"Poignant and exploratory. Melting together acoustic and electronic elements, the narrative throughout is one of a ghostly world heading for winter. A firm fan favourite Stephen Pastel (The Pastels & Monorail Music) on Blowing Stones.

"Created in question and answer form, their songs exist like little sculptures - wayward and peaceful, sometimes whirring into automatic life under the pair's combined attention."

Digging deep into the annals of Gospel now, the name Pastor TL Barrett should be familiar to the eagle eyed crate diggers amongst you. An extremely "colourful" character from Chicago's Southside neighbourhood who found himself on the wrong side of the law for his involvement in some activities of a dubiously illegal nature, more importantly, besides this the pastor was widely known for his community activism and positive sermons preaching love and responsibility. Shady past aside, this fantastic 1976 LP entitled "Do Not Pass Me By" is a real Gospel beauty and features 8 tracks of resplendent hands in the air rejoicement. Having never been reissued before this rare as gem is finally back out in the open, complete with it's incredible untampered with sleeve artwork and design. Barrett's unique voice and message is timeless and instantly recognisable, you can't help but become one of the congregation whilst listening to these wonderfully rousing and positive paeans to the lord almighty. Saying that, even if you find yourself to be a non-believer, the soul, funk and jazz stylings (with the odd flourish of synth!) the good pastor is laying down will be equally as alluring to those of you who dig those particular sounds. "Do Not Pass Me By" was originally released on Miami's TK Disco offshoot Gospel Roots, it's the Pastor's second release on the label and is a beautiful snapshot of how things might have gone down at his "Mount Zion Baptist Church of Universal Awareness". A unique LP with with a somewhat lo-fi charm, the tracks contained run the gamut from slow, downtempo ballads to roof raising, danceable Disco-esque anthems.
This is the first time that "Do Not Pass Me By" has been reissued on vinyl, fully remastered from Gospel Roots/TK's original tapes, represented the way the the LP was issued in 1976 with all original cover and label artworks intact. Now, almost 40 years after it's original release the album has now been made available again for 2016, fully licensed in conjunction and with the full permission of Henry Stone music / TK Disco, Miami, FL.

Aufgewachsen in London mit Jungle, Grime und Broken Beats, ist der Jazz-Ansatz von Yussef Dayes und Kamaal Williams (aka Henry Wu) geprägt durch den Basssound der Piratensender, ähnlich wie die US-Kollegen Robert Glasper oder Kamasi Washington HipHop in ihre Musik einfliessen lassen. Weitere Inspirationen auf dem Yussef Kamaals Debütalbum ist der freiheitliche Anything-Goes-Spirit des 1970'er Jazzfunk eines Herbie Hancock oder Mahavishnu Orchestra, während ihr Pianospiel an Thelonious Monk und ihr Drumprogramming an Kaidi Tatham angelehnt ist.

Finally the third chapter of the journey is out!

Non Series celebrates five years with three-part compilation series. Psyk, ROD, Architectural and Yotam Avni feature on NON Series's vinyl part I/III.
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In December 2016, Psyk's imprint Non Series will reach its fifth anniversary and to celebrate the Spanish label will be releasing a compilation series. FIVE comes up as a birthday countdown divided into three parts that will be released September 30th, October 28th and November 25th respectively.

FIVE will bring together artists from the label family as well as some new faces to deliver 3 various artists EPs according to the Non Series sound. Expect to hear beats from regulars like Mark Broom, Chevel, Henning Baer, Savas Pascalidis, Architectural, Tadeo, Eduardo De La Calle, Aiken and the label boss Psyk, while ROD, Dimi Angelis and Yotam Avni will join the crew for the occasion.

The first EP will feature the bleep-like groove of the label head Psyk, the textured sound of Architectural, ROD's representative funky rhythms and a mesmerizing cut from Yotam Avni.

Giant Step/De Ole Folks at Home is the third studio album by American Blues artist Taj Mahal. A double album, the first disc (Giant Step) is electric, while the second (De Ole Folks at Home) is acoustic.

The nine cuts on Giant Step feature support from the instrumental trio of Jessie Ed Davis (guitar/keyboards), Gary Gilmore (bass) and Chuck Blackwell (drums). The arrangements are unique and offer the artist's distinctive approach.

Those who are searching for an introduction when discovering Taj Mahal's voluminous catalogue are encouraged to consider Giant Step as a highly recommended starting point.

Tale Of 2 Cities (or T.O.2.C for short) is the culmination of what was just a whim of an idea from label owners Mike & Justin. It's the first of its kind for us & anyone who knows anything about Kolour LTD should know that we shall leave no stone un-turned on a release of this magnitude. This 14 track, 3x12 vinyl compilation is a smooth journey throughout the realms of deep house, mid-tempo grooves, funk/soul, with an edit (or two) for good measure.Disc #1 features the incomparable talents of Jimpster (under his Franc Spangler alias), Admin, Ugly Drums & Lady BlackTronika, Henry Wu, and The Hue ft. Kissy Asplund.
Disc #2 features the FOUK boys, Frank Booker, Vincenzo de Bull & Halve Soul, & Inkswel.
Disc #3 features the talents of Eddie C, Napoleon, Sleazy McQueen & VinylAddicted, Patchworks, and LeBlanc.
3 x LP in a Trifold sleeve & Poster.

LP 180 G Vinyl Remastered by Göttsching, Long deleted Vinyl Reissue. Remastered by Manuel Göttsching and released on his own label MG ART. Inventions for Electric Guitar is Manuel Göttsching´s first solo album, recorded: July-August 1974. The album was written and performed entirely by Göttsching on electric guitar, hence the title. Manuel played his guitar and used a 4 track TEAC A3340, Revox A77 for echoes, WahWah pedal, volume pedal, Schaller Rotosound and Hawaiian steel bar.

Phil Collins revisits a career that can boast over 100 million sales and numerous worldwide #1 albums. Both Sides will be remastered by Nick Davis, who earned a Grammy nomination for Best Surround Sound album for his work on the Genesis '1970-1975' box set. Davis has also worked on all of the Genesis retrospective reissues.

Entirely curated and compiled by Collins himself, his idea for the 'Take A Look At Me Now' concept is to examine how his songs have evolved over time, with the majority of the additional content throughout the series focused on live versions of the tracks. By contrasting the original studio versions of the material with later performances, the series demonstrates how Collins' songs take on a life of their own once they're freed from the confines of the studio.

Collins returned to #1 in 2010 with 'Going Back' which represented his first studio album since 2002's 'Testify'. 'Going Back' was a personal labour of love project that found him faithfully recreating the soul gems that played such an influential role in his musical life.

The concept, he said at the time, 'Was not to bring anything 'new' to these already great records, but to try to recreate the sounds and feelings that I had when I first heard them.' That objective was achieved with the help of special guests including three surviving members of The Funk Brothers: Eddie Willis (guitar), Bob Babbitt (bass) and Ray Monette (guitar). 

'I decided to call this version of 'Going Back' 'The Essential Going Back',' he explains. 'In retrospect, I included too much music on the original version, and I believe that too much is not always a good thing. Hence this trimmed down selection of my favourite Motown songs.'

Launched in 1996, PLOINK has been a core brand in Norwegian techno for two decades now, booking the likes of Jeff Mills, Juan Atkins, Derrick May, Carl Cox, Radio Slave and Richie Hawtin, as well as launching a
record label that champions Scandinavian artists. With the likes of Prins Thomas, Mental Overdrive, Nordenstam, Mind Over MIDI and label founder Thomas Urv appearing thus far, 96-16#3 is the third and final
instalment in the 20-year celebratory releases.
One of Norway's well established electro/techno artists over the past 15 years, Skatebård begins proceedings with the sinister 'Kapitalsystemets Belastning' featuring menacing bass and otherworldly synths,
before Bergen's Kahuun demonstrates a concoction of keys, effects and atmospherics with 'Sherlock'.
Next, Kristiansand's +plattform, who's just launched his Graatone imprint, introduces powerful kicks and eerie drones in 'Reluctant', making way for the percussive and rhythmic 'Helle Farben' from analogue-loving duo Dormund. Faarikaal Records founder Henrik S' 'Phobos' then ventures into sci-fi realms with spacey aesthetics and echoing stabs until Krill Music boss Espen Lauritzen ties up the release with the intricately produced 'Tromsø'.

Axodry was the duo of Andreas Talla 2XLC" Tomalla and Ralf "Ra/Hen" Henrich, who formed in Frankfurt, Germany in 1982. The two met at City Music record store where Talla 2XLC worked, supplying the local DJ scene with dance 12's. From 1984 to 1991 they released six maxi 12' singles. Both members were leading figures in the European electronic scene during the 80's and 90's, forming bands like Bigod 20, Tribantura, Micro Chip League, Moskwa TV, Pluuto and Robotiko Rejekto.

In 1988 they released the maxi 12' single You' on ZYX Records/Combeat. Influenced by Depeche Mode, Gary Numan and John Foxx, the duo crafted high impact Industrial, Synth Pop and Electronic Body Music. Their basic set up for recording at RaHen's home studio was a Moog Rouge, Roland SH-101, Teisco synthesizer, Linn Drum and Fricke sequencer. Ra/Hen performed dramatic vocals, which tell of a lost love found in dreams. Included here are the Beauty & The Beat Mix and the Beasty Dub Mix from the 1988 single. On the flip is the Razormaid Remix, performed by Art Maharg and Joseph Watt, that originally appeared on the "Welcome To The Technodrome' compilation in 1989. Also included is Mechanic', originally released in 1991 as the B-side for their final single Losing You'.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a sleeve featuring the original black and blue cover art with hand-painted typography by Dr. Draw, The Gruesome Grapholoic. Each copy includes a postcard with with notes. What Else Is There To Say

kyodai's debut release on mule musiq!
they have released quality house music from freerange,local talk and their own imprint beer.
this time kyodai teamed up with female singer and result is very emotional vocal house tune.
it reminds me bit henrik schwarz remix of ane brun-headphone silence.
enjoy!

Luv Jam presents Tonbe and Oddnipp. We found the killer Tonbe summer nipper on the wonderful NANG ARRAY disc and were amazed there was nothing of it on vinyl, hence a quick introduction and a cheeky Oddnipp Renip. A cheeky 10' to add to Jacks catalogue with an odd Kangaroopadella from Bob too!
With Special thanks to Nang and Tonbe.

German techno auteur Pantha Du Prince (aka Hendrik Weber) releases 'The Triad', his first proper studio album since his 2010 breakthrough
'Black Noise' and 2013's collaboration with The Bell Laboratory, 'Elements Of Light'.

Swiss DJ & producer, Mirko Loko, continued to indulge in his intergalactic persuasions on last year's long player Comet Plan". Released on Cadenza, Mirko's second album was enthusiastically received and picked up many fans for its collection of blissfull and wide-eyed electronica and techno sounds. Featured guests on the album included dOP's vocalist, JAW, and Francesco Tristano. 12 months on, and Comet Plan' gets revisited and remixed by two stellar names from the electronic dance community. Sebastian Mullaert is well known for partnership with Marcus Henriksson as Minilogue, the Swedish duo responsible for killer albums & singles for the likes of Cocoon, Silver Planet and Wagon Repair. Mullaert plumps for a solo remix of Venus' of epic proportions, split into two versions, Phaze One' and Phaze Two". An organic trip through the cosmos, Mullaert tweaks and teases over two seductively trippy versions, showing us a master class in minimal electronics. Hailing from Dallas, Brett Johnson has become synonymous with masterful jackin house music via singles for Derrick Carter's Classic, DJ Sneak's Magnetic, Freerange and Visionquest. Brett tackles U Special' featuring JAW, and turn in a very tasty Remix and Instrumental version. Soulful, spacey and groovy in equal doses, Brett delivers the goods in abundance on these mixes. A tight remix package that bows respectfully to Mirko's original visions, and a timely reminder, to the uninitiated, to check out the album for further inspection.

After Neue Grafik , the S3A Records team releases another great new blooded talent from Germany : Henry L ! The 'Gemini' track, clearly for the MCDE lovers, is a smashing hit. It goes forward a sexy downtempo interlude: Dust it off. To finish the side, 'Dice game' is a great deep house track done in collaboration with Matt Flores and contains live played 'MK1 Rhodes, drums, percussions...'The B side comes with two great remixes from S3A and Cuthead of the A side tracks with a Henry L hiphop badass skit between! A great release from the S3A RECORDS team for sure!

15 prime slabs of mid-60s USA garage punk MISERY - garage punk SADness in GATEFOLD SLEEVED luxury with liner notes, band photos, label scans. (NOTE: This is an entirely NEW series and NONE of these tracks were on the old series 'GARAGEPUNKUNKNOWNS'.) The Other Side "DARK SIDE", The Pastels "HOW MANY NIGHTS", The Toads "STAY AWAY", The Henchmen "SHE STILL LOVES YOU", The Night Walkers "STIX AND STONES", The Time Takers "LOVE ME LIKE YOU DID BEFORE", The Night Riders "SHE WON'T MISS YOU", The White Angels "BUT HE NEVER COMES BACK", 24. We The People 'ALWAYSLIES', The Dominions "I NEED HER", The Saxons "THE WAY OF THE DOWN", The Sonics "YOU DON'T HEAR ME", The Mystics "ORPHAN", The Vacant Lot "HEY BABY". The Squires "WHY OH WHY"

Utterly magnificent, sublimely soulful survey of the Gospel Roots label, subsidiary of the mighty TK Records at the height of the Miami Sound. Beautifully presented... the LPs with a 12"-square, full-colour, sixteen-page album of photos and original artwork. Check!!
A&R was co-ordinated by Gospel legends Ira Tucker — from the Dixie Hummingbirds — and Ralph Bass, veteran producer with Savoy, King and Chess. The label was run by Timmy Thomas, who had recently smashed with Why Can't We Live Together, for another TK spin-off, Glades. Operations were overseen by Henry Stone himself, unlikely King of Disco, who had recorded a young Ray Charles, and pushed forward James Brown. They drew in artists from all over the US, from St. Louis, Columbus, Memphis, Brooklyn, Cabrini Green in Chicago: unknowns like Camille Doughty, reluctant to jeopardise her job at GM ('Generous Motors') in Detroit, and huge-sellers like the revered Brooklyn All Stars, who started out on Peacock in 1958.

Choral belters, deep ballads, harmony quartets, epic city-blues, gritty funk, powerhouse female soul... Killer-diller Philly like a scorching version of Harold Melvin & The Blue Notes' Wake Up Everybody, and Jean Austin's raw Spirit Free, co-written by Ronnie Dyson, produced by Jesse James at Future Gold. Chicago Sound like The Fantastic Family Aires — named after the family's furniture store on North Cicero, but reminiscent of the Staple Singers at their best — through to the full-blown glory of The Fountain Of Life Joy Choir, led by Marvin Yancy from The Independents, and featuring Natalie Cole... Singers like Versie Mae Gibson, from the Jordans, by rights up there with Irma, Etta and Ree... Bangers 100%-guaranteed to find their way into Theo Parrish sets, and mortal delirium for the prissiest of soul and gospel purists.