Cerca:high

After years of mythology, misinterpretation and procrastination Nurse With Wound’s Steven Stapleton finally chooses Finders Keepers Records as the ideal collaborators to release “the right tracks” from his uber-legendary psych/prog/punk peculiarity shopping list known as The Nurse With Wound List, commencing with a French specific Volume One of this authentically titled Strain Crack Break series. Featuring some Finders Keepers’ regulars amongst galactic Gallic rarities (previously presumed to be imaginary red herrings) this deluxe double vinyl dossier demystifies some of the essential French feee jazz and Parisian prog inclusions from the alphabetical “dedication” inventory as printed the anti-bands 1979 industrial milestone debut.

When Steven Stapleton, Heman Pathak and John Fothergill’s anti-band Nurse With Wound decided to include an alphabetical dedication to all their favourite bands on the back of their inaugural LP the notion of creating a future record dealers’ trophy list couldn’t have been further from their minds. By adding a list of untravelled European mythical musicians and noise makers to their own debut release of unchartered industrial art rock they were merely providing a suggestive support system of existing potential likeminded bands, establishing safety in numbers should anyone require sonic subtitles for Nurse With Wound’s own mutant musical language. Luckily for them, the record landed in record shops in the midst of 1979’s memorable summer of abject apathy and its sound became a hit amongst disillusioned agit-pop pickers and artsy post-punks, thus playing a key role in the bourgeoning “Industrial” genre that ensued. On the most part, however, the list , like most instruction manuals, remained unreadable, syntactic and suspiciously sarcastic... As potential “real musicians” Nurse WIth Wound became an Industrial music fan’s household name, but in contrast many of the names on The Nurse With Wound List were considered to be imaginary musicians, made-up bands or booby traps for hacks and smart-arses. It took a while for the rest of the record collecting community to catch on or finally catch u

Since then, many of the rare, obscure and unpronounceable genre-free records on The Nurse With Wound List have slowly found their own feet and stumbled in to the homes of open-minded outernational vinyl junkies, D’s and sample hungry producers, self-propelled and judged on their own merit, mostly without consultation of the enigmatic NWW map. But, to the inspective competitive collector’s chagrin, one resounding fact recurs, NWW got there first! Via vinyl vacations, on cheap flights and Interrail tickets, buying bargain bin LPs on a shoestring while oblivious to the pending pension worthy price tags after their 40 year vintage, Stapleton and Fothergill, even if you’ve never heard of them, were at the bottom of the pit before “digging” became paydirt. And NOW at huge international record fairs that occur in massive exhibition halls (or within the confines of your one-touch palm pilot) amongst jive talk acronyms such as SS, PP, BIN, DNAP and BCWHES the coded letters NWW have begun to appear on stickers in the corner of original copies of the same premium progressive records accompanied by a customary 50% price hike to titillate/coerce the initiated as dealers extort the taught. Like “psych” “PINA” or “Krautrock” did before, “NWW” has become a buzzword and in the passed decades since its first publication The List has been mythologised, misunderstood and misconstrued. It’s also been overlooked, overestimated and under-appreciated in equal measures, but with a growing interest it has also come to represent a maligned genre in itself, something that all members of the original line-up would have deemed sacrilegious. Bolstered by the subtitle “Categories strain, crack and sometimes break, under their burden,” all bands on the inventory (many chosen on the strength of just one track alone) were chosen for their genre-defying qualities... A check-list for the unchart

Forty years after Nurse With Wound’s first record, Finders Keepers Records, in close collaboration with Steve Stapleton remind fans of THIS kind of “lost” music, that there once existed a feint path which was worn away decades before major label pop property developers built over this psychedelic underground. As long-running fans and liberators of some of the same records, arriving at the same axis from different-but-the-same planets, Finders Keepers and Nurse WIth Wound finally sing from the same hymn sheet resulting in a collaborative attempt to officially, authentically and legally compile the best tracks from the list, succeeding where many overzealous nerds have deferred (or simply, got the wrong end of the stick). Naturally our lavish metallic gatefold double vinyl compendium would only scratch the surface of this DIY dossier of elongated punk-prog peculiarities hence out decision to release volume one in a series which, in accordance with Steve’s wishes, focusses exclusively on individual tracks of French origin, the country that unsurprisingly hosted the highest content of bands on the list. Comprising of musique concrète, free jazz, Rock In Opposition, Zeuhl School space rock, macabre ballet music, lo-fi sci-fi, and classic horror literature inspired prog, this first volume of the series entitled Strain Crack And Break throws us in at the deep end, where the Seine meets the in-sane, introducing the space cadets that found Mars in Marseilles.

Like the Swedish flat-pack record shelves that attempt to house the vast amounts of vintage vinyl that goes into a multi-volume compilation like this, its time to prepare your own musical penchants and preconceived ideas about DIY music and hear them slowly strain, crack and b

Philippe Cam is the Thomas Pynchon of the electronic music world. Little is known about him and only a couple of pictures have been put online since he emerged on this planet to write his first and only album18 years ago. We know he worked as a sailor and that’s it. If you dig deeper you might find out that he worked as a DJ in the beginning of the 90ies in Brussels and began to study electronic music there and also began to write music for theaters and ballets.

The American distributor Forced Exposure once wrote that about him: „Philipe Cam is a star in his own field. He is among the few people who have succeeded to write hypnotic dance music without a conventional beat still conveying a thrilling, dramatic feel. Cam has developed an accurate, intense and complex formula of modulation-techno. Starting with music similar to Pan Sonic in 1996, his music turned towards a more elegant form of minimal music. Abstract soundtracks lead to an organic form of music, which was equally influenced by modern techno as Wolfgang Voigt's Studio 1/Gas or Basic Channel/Maurizio. Cam's music corresponds heavily to the Cologne scene, where his music is appreciated and played throughout the clubs by the likes of Michael Mayer, Tobias Thomas and various other DJs as well as experimental djs from the A-musik corner.“

So what’s new with his music? Basically the art of filtering is still his passion. Maybe he can be less associated with techno and the themes of his new tracks emerge in a more distinctive pattern? Well that’s hard to say, we would comment the energy of his early techno days in Brussels have returned here in a fierce way with some oft he tracks. The rhythmic movements are classy and stick with you. Whereas other tracks look for a distinctive relaxation of some kind.

We are releasing the album as a double clear vinyl with cover art by Yvette Klein who also designed the cover for his Philippe Cam’s album 18 years ago. Graphics for "Rotterdam" come from Cologne designer Daniela Thiel. We also would like to thank the cultural department of Cologne for supporting us to finance the album and to see the artistic value in this piece of minimalism.

The album kicks off with the mellow and soothing "Cocoa Beach". A Gentle beat that moves like bodies swaying in the hot summer sun. The clock moves a step forward and then a step backward as evolution takes a rest.

"Manga" feels like an acceleration to the moon, the contemplative moments come in spurts and hide in the intervals of the chords which are on the loose. Philippe Cam is the most energetic person in the world when it comes to core activity, this is head banging stuff for the ambient lounge.

"Short Summer" is a heavy and violent recognition. As intensive as it is it knows when to stop and disappear. In the ear and brain of the listeners it leaves an indisputable echo which lingers on for minutes. We suggest not to make a pause but jump directly into "Vermillions Sands".

What can be said about into "Vermillions Sands"? Be prepared some Terry Riley might lure around the corner to offer you some oranges on a silver plate, but don’t eat them. This is luring and beautiful at the same time. Maybe the best ambient track ever written and yet who can ever venture to say that without making a fool of himself. "Vermillions Sands" comes in waves and they could be longer we think.

"Rotterdam" the home of Philippe Cam for a long time but not anymore. He moved away. So that changes the perspective. But when was the track written? "Rotterdam" seems mechanical and rusty and spooky and divided. This arrangement is very different to all the other tracks so far and is almost dub in style but way more fractured. A steady stop and go emerges. But the longer it runs the better it gets. At minute 6 the brain resets itself and tries to grasp what has happened so far, reconstruction as a result of its own phantasmic imagination and hardly true at all, wonderful. Applause included!

Here comes "Bis", a short episode of a track and before we can comment on it, it is already over.

"The Game" is a mule of a track. It has a quiet stubborn sequence that bites and kicks you in the back without any change in near sight. We can hear a voice whispering, which sounds like a miniature vocoder featuring the voice of a child calling out - never stopping. This is treadmill to some extend but starts to breathe towards the middle of the track and slowly changes perspective. In fact there are some changes taking place here which go beyond a sound design that works heavily on the stereo image. Stick with it and the experience will be a great one.

"Ultimate Fly For Halloway" somehow orchestrates how you might feel after you climbed a 8000 meter high mountain and reached the top. A rejoicing off a special kind. Lava for the ears. No cheerleader murder plot sorry.

"Last Track" is a perfect example of a true minimalistic pice of music that manages to make contact with other genres and does this with elegance, determination and a lot of soul.

key selling points: The key selling point is the fact that Philippe Cam once was referred to as one of the main protagonists of the minimal music scene along with Wolfgang Voigt's Studio 1/Gas and Basic Channel/Maurizio. A true artist with a vision which is very rare.

Philippe Cam has picked up the sound he was famous for but has developed it further without selling out to any genre and expectation that rules our daily business.

Exactly this is the strength of the album to create a vivid world of impressions by using instruments in a whole different way than all software developers would suggest.

"Rotterdam" is a piece of art that can set off a firework when you listen to it and it owes nothing to anyone.

Dreamin' Wild's second album Heaven in Thirty Eleven owes a lot to Footscray. The inner-western suburb of Melbourne features not only in the album title (its postcode is 3011) but goes deeper to form a central part of the record's narrative and reflection.

For all six members - Chris Jennings (Swazi Gold, Sagamore, Sledgehammer), Sam Cooper (Crepes, Swazi Gold, Sagamore, Sledgehammer), Tim Karmouche (Crepes, Swazi Gold, The Murlocs), Sarah Quirk, Monty Hartnett (Sleep Decade, Miris, Sagamore) and James Guida (Laguna, Environments) - Footscray buoyed periods of music exploration and discovery. After more than six year of writing, rehearsing and recording in the suburb, there's no doubt that Footscray is home for the band.

Jennings adds that the album is, "a bit of a recap of the last three years for Dreamin' Wild," drawing attention to the change and growth many of the eight songs have undergone since creation.

"I Don't Disagree" is an album highlight; an almost seven-minute track that struts along calmly, taking life as it is. Quirk's soulful refrain soars atop Jennings' laconic vocals, carrying the song to its end. "Dynon Life" is another album gem, reminiscent of summer in the city, and happy seeking excess.

Heaven in Thirty Eleven is an ode to a Melbourne suburb brimming with culture and stories, made by artists who are proud to call it home.

Ukrainian born and New York-based artist Matuss is delivering anotherinstallment of Absence Seizure. This time she is teaming up with
Norwegian but could be Berlin depending on the time of year
basslines that are pulsated by some intricate synths.


The Absence Seizure imprint is run by none other than Matuss herself along with Abe Duque and they focus on limited edition vinyl with a
nose for deep and meaningful house and techno. The last release saw the two bosses’ team up on Absence Seizure 11 to deliver some
pulsating beats and orgasmic synths. Expect a deeper cut this time around with the two artists verging more to the house side of the
electronic music spectrum on this project. Karina’s ‘Acid Meow’ is the first track on AS012. Karina is one of The
Zoo Project Ibiza core residents a player of all things vinyl with releases on the likes of God Particle and Cymawax. ‘Acid Meow’ has a
fearless acid-tinged bassline that gives the track a motivating drive. Reminiscent of 90s minimalism she’s kept the beats simple
putting all emphasis on the merciless acid sequence. Tip! Real energy to the dancefloor!


Matuss takes over the EP after the initial cut starting with ‘Travel High’. It has a long build to begin with these quizzical keys that
create anticipation. It discharges with an old school funky bassline that is slowly pushed. It’s accentuated by a ghetto vocal belting out
the title of the track and ends with some punchy percussions and bongo drums. She follows up with ‘Ninja Moves’. A more secretive and sultry number.
It tingles out a smooth bassline and revolves some nice chatter claps and snaps to add a certain silkiness to it. A bit of a floater
it has some beeping 80s keys on it that just add to the sway. If you want your mind to drift
you can get lost in this. Last but as always not least is ‘People Like You and Me’. The track starts with that fun festival horn that makes nostalgia exude out of
your prefrontal cortex. It divulges into these rolling clicks and toms that is carried by this dubbed bassline. Eventually
a bright and sunny synth emits light over the track as the vocals invite you in. The juxtaposition of the synth and bassline just work in harmony and
really make this cut hit home.

The UK's future Art Rock Stars build on recent successes with new album 'Dissolution'. The highly anticipated second record to feature the King Crimson / Porcupine Tree drummer Gavin Harrison

The CD edition of 'Dissolution' is presented in Sleevepac packaging complete with a 24-page booklet, while the single LP edition of 'Dissolution' is pressed to audiophile 180g vinyl and features a 4-page booklet. The blu-ray edition of

'Dissolution' includes a 16-page booklet of additional artwork and features the album plus bonus music in a 24/96 DTS-HD MA 5.1 surround sound mix and 24/96 hi-res stereo audio. It is presented in Amaray packaging.

'Dissolution' is the highly anticipated follow-up album to 2016's 'Your Wilderness' and is the band's second album to feature King Crimson and Porcupine Tree drummer Gavin Harrison, spurring The Pineapple Thief on as leaders of Europe's

experimental rock domain. Their efforts on 'Your Wilderness' produced 4m+ album streams, a #7 in the UK Independent Charts and two extensive headline European tours culminating at London's Islington Assembly Hall where the

concert was recorded for the live release 'Where We Stood'. The new material establishes The Pineapple Thief's intent to elevate themselves to new heights, with a desire to develop their songwriting and technical

capabilities, and with artwork created by iconic design agency Stylorouge, whose previous work includes Pink Floyd, David Bowie, Blur and British film Trainspotting. The album concept tells of the often dark consequences of living in

a society in which everything is played out on a public stage, a theme paralleled in the cover art, which was created by 'glitching' the original photographs. Songwriter Bruce Soord explains 'In a time when we are supposed to be bound

closer together than ever, I have never felt so apart from the world. We are living through a revolution and right now I am not sure it's a good one. Lyrically this is the most vivid I have been.'

The band recorded Dissolution independently across the UK, including at Gavin's 'Bourne Place' studio in London and Bruce's 'Soord Studios' in Somerset, sharing their ideas via instant messaging. The mixing was handled by Soord and

Harrison, and mastering by the band's keyboardist Steve Kitch. The penultimate song 'White Mist' also features experimental guitarist David Torn (David Bowie) providing a bedding of abstract, off-kilter sounds.

Wah Wah 45s are very proud to announce the release of Kalba, the first album from Ghanaian xylophone master Isaac Birituro and Leeds-based producer and singer- songwriter Sonny Johns AKA The Rail Abandon. The boundary crossing duo were introduced to the world via the first two singles released in early 2019, Yesu Yan Yan and Für Svenja, and the reactions to the project have been overwhelmingly warm.

There are many differences between Isaac and Sonny, but a powerful similarity -- which gives Kalba its element of relatability -- is that desire to hear the usual done unusually and play with the shared influence of the music from afar. Named after the town in North Ghana where Isaac resides, the album is a combination of differences; a magnifying glass over the Venn diagram of our lives, the unfathomable meeting of parallel lines.

“It was clear to me that, though he played a traditional instrument in a traditional way, Isaac was influenced by the Western tinged music that filled the streets of Accra - in fact his father, Edmund, introduced him with “He plays the modern way!” Partly dismissive, mostly proud,” said Sonny. “And as this Viking sat before him played the guitar, it sounded too much like the stringed instruments of Mali for it to be just a coincidence.”

There are so many stories behind each track on this album, but the common denominators are clearly the importance of community, of preserving and presenting local cultures, the ardent desire to contribute to changing the world around us, and, of course, the love and power of music created from a genuine place.

Tough, mid-tempo Ghanaian funk & Highlife grooves from Ebo Taylor Junior, son of the mighty Ebo Taylor..
Originally released in 1978... These tracks are super tough and raw! GREAT recordings.., so groovy.

Spencer Parker returns to Rekids with looping techno roller ‘You’re Under My Control Now’ featuring remixes from Truncate, P.Leone, Fadi Mohem and label boss Radio Slave.

Released on last year’s ‘Dance Music’ album via Parker’s own Work Them Records, ‘You’re Under My Control Now’ is an infectious and mesmerising techno banger that’s garnered support from the likes of Midland, Len Faki, Amelie Lens and Marcel Dettmann.

One of the track’s biggest supporters, Radio Slave is now releasing it on Rekids with a medley of top tier remixes. Radio Slave’s reimagining scales back on the original’s high-octane energy, instead taking a more uplifting direction with an arpeggiated bassline, meandering synths and clattering percussion.

A regular on Seilscheibenpfeiler (alongside artists like FJAAK, Solid Blake and Kasper Marott), Fadi Mohem is next with a dark and atmospheric rendition complete with driving kicks, subterranean chords and echoing effects before Truncate serves up his cavernous ‘Mind Control’ Remix which combines tantalising melodies with robust drums and murky vocals.

E-Missions co-founder P.Leone and Radio Slave, having paired up for a remix of Deep Dimension last year, collaborate again here to provide a robust, compelling piece of house music littered with breathy samples and oscillating atmospherics.

In-demand deep modal jazz tune from Belgium featuring Babs Roberts!

The lesser-spotted jazz atoms that formed the fusion of Futurist Flanders! It might sound like an ambitious claim but having been a firm fixture at the top of many European jazz collector want lists over the past decade Finders Keepers wouldn’t be alone when proclaiming this extremely rare, lesser-known two-track 7” from 1969 as one of the best jazz 45s of all time! Alongside Polish pianist Krzysztof Komeda’s soundtrack 7” for the film Cul-De-Sac and ranking closely with François Tusques’ commemorative Le Corbusier exhibition 45 (featuring Don Cherry) this format-specific release known only as Brussels Art Quintet might well sit at the top of the podium while striking similarities and arguably combining the best stylistic traits of both aforementioned contenders.

This is all speculative and clearly a matter of individual opinion but it’s not often that one should find a recording from this era, comprising such high production qualities, keen compositional values and robust craftsmanship spread across two equally spellbinding individual tracks, all of which awards this record justified hyperbole albeit subject to a 50 year delay. It is safe to say that this unique release is “rare” on many levels. Like all privately pressed art projects this 45 comprises some serious outsider art trappings. However, on closer inspection it also stands as a pivotal record in the micro-genre of Belgian jazz, pin-pointing an early axis for some vital progressive jazz players who went on to become sturdy pillars of the central European happening.

Essentially as a five-piece, the short-lived Brussels Art Quintet neatly combines members of both the mythical Babs Robert Quartet (early exponents of Belgian spiritual jazz) and key players from the leading progressive jazz/rock/funk unit known as COS (formally Classroom) who would stand as close affiliates of the likes of Marc Moulin, Kiosk and Placebo through the 1970s. Reproduced in close collaboration with COS leader Daniel Schell, who, under the early guise of Daniel “Max” Schellekens, authored both tracks that make up this facsimile 45 single, this one-off single includes the only known output by the Brussels Art Quintet thus marking the essential in-road to instantly start and complete your entire BAQ collection not without reliving the early germination of the froward-thinking jazz fusion that came to shape Belgium’s truly unique movement.

Dutch powerhouses Parrish Smith and Interstellar Funk team up for their debut collaboration on L.I.E.S. with a new four track ep. Striking up the perfect balance of both their signature styles, this record hits the sweet spot between metallic synthwave, slow beat industrial, and clanging EBM hybrids. The duo effortlessly weave together a sonic narrative with nods to the past but unmistakable emphasis on their ever expanding foward thinking future sound. Recommended!

Charles Trees. Myth, tall tale, legend of a human being, one of those people who one minute you'll be scouring reddit for obscure content and the next, stepping on stage to casually DJ to thousands of people like “no big whoop” at a French music festival. Charles is unassuming, the kind of person who effortlessly mixes ghettotech into soul for lulz, who samples a speech (/rant) by Funkmaster Flex in an acid track, or rides BMG & Derek Plaslaiko’s “True Story of a Detroit Groove” with Velvet Underground’s “Sister Ray” for 8 minutes straight.

Charles' relationship with electronic music started early. In high school, Dave Shayman (Disco D) introduced Charles to DJing and he was a regular at Dubplate Pressure*– Todd Osborn's now-legendary record store in Ann Arbor. By 1998, he was already playing on raves in Detroit. A year later, he was the first person to show Zach Saginaw (Shigeto) to Ghostly International, arguably altering the course of our lives forever. In the late 2000s, they became label mates on Moodgadget, the record label of Jakub Alexander (Heathered Pearls).

Through out the years, Charles has been a musical mentor (whether DJing, producing or throwing shows) to many, danced at every weekly at every venue in Ann Arbor & Detroit, produced Hip Hop, and fronted a psych rock band. He has released music on Moodgadget (US), Musique Large (FR), Lovemonk (ES), Vanity Press (US) and JFX Lab (FR). Today, between DJing, hosting radio shows and producing new music, Charles regularly throws shows/parties/raves, and hosts a monthly at Deluxx Fluxx.

We love Charles Trees and we're proud to present "2019," the eighth record on Portage Garage Sounds.

*Additional reading: Dubplate Pressure: was the precursor to Technical Equipment Supply; how Todd Osborn was discovered by Richard D. James and signed to Rephlex Records; where Sam Valenti IV, the founder of Ghostly International, met Tadd Mullinix (Dabrye, JTC, Charles Manier, X-Altera); one of the reasons why we're all here

"Got No"
Hit the ground running.
Chopped up vocal stabs and a playful syncopated melody accompany this percussion heavy two-step shuffle as it speeds down the Lodge on a Friday night in Detroit.

"Think First"
Undeniable rhythm section pocket.
Acoustic bass and dirty ride symbols swing alongside lush keyboards and sprinkles of light melodicism in this psych house banger.
Think St. Germain with CAN playing a warped version of "Rose Rouge."

"In Arms"
Crave the rave. Whips crack and sizzle in this dubbed out techno slapper. A modern take on a classic sound. Trees conjures an era close to his heart: when the warehouse was church and service didn't stop until the sun came up.


"Acja feat. Marcus Elliot ("12 club mix)
Beautifully understated and triumphant.
This closer marks the return of Detroit Saxophonist Marcus Elliot (Detroit pt II - PGS 001). His notes dance and soar over a creeping acid line, while driving drums and warm pads effortlessly take you home in this powerful house anthem.

An artist who deliberately plays with labels, taking in contemporary and novel forms, boldly launching into experimentation (as demonstrated by her collaboration with percussionist Vassiléna Sérafimova), Chloé wanted to take the album’s tracks and transform them in front of an audience by feeding them with new textures and inspirations. Performed over a year at events such as Nuits Sonores, Sónar, Mutek (in Montréal and Mexico), The Peacock Society, and festivals such as Marsatac, Musilac and Colors of Ostrava, Endless Revisions’ live performance has evolved with every show. It was out of the question to let these new versions - replayed, recreated and restructured alongside the evolution of the performance’s very architecture - fade away without a trace Chloé’s prolific Lumière Noire label, in the wake of its first anniversary, had to produce a recording that bears witness to the work that these ephemeral creations represents. Slowly introduced by Dune, then propelled by the impulse of Because it’s There, the mix is articulated around the appropriatelytitled Outerspace, followed by Party Moonster and the bewitching The Dawn, heard here in “clubbier” versions and adapted to a context in which the audience (whose enjoyment of the performance was audibly captured in the recordings), must be kept in suspense, as if carried away in a narrative. The set leads up to Moonscape, an exclusive track created during the performance series, before the performance ends with a new version of Sometimes, Chloé’s relentless 2002 instant classic. At nearly 50 minutes, this recording is like a snapshot of a work’s vital momentum, remaining faithful to the spirit of Chloé’s Endless Revisions while detaching itself in order to conquer new territories. It is what music must also be: a moving creation that is activated and reacts in contact with its audience.

'Broken Toys' showcases the prodigious talent of Eshan Gopal andcaptures the essence of 70s soul and disco, yet it sparkles with more than enough retro-futurist fireworks to light up the pop horizon.Arranged and performed to perfection, this soulful track delivers feel good nostalgia and is elevated further by the young lead singer voice, which can only describe as the king of pop's second coming.

Carrying heartfelt messages about love, moving on and growing up, coupled with warm and uplifting instrumentation; 'Broken Toys' is a breath of fresh funk and soul without being marred by controversy. Its pure, exciting and enjoyable music for any age and The Tribe of Good have totally nailed down every element of this soul groove.

On the flip of the vinyl is a 'Percapella' which features these stunning vocals layered with a stripped down percussion backing. Offers a weapon clean enough to shake things up in your DJ mixes.

The Tribe of Good are the secret weapons behind your favourite chart hits. The super group steered by Grammy-nominated producer Hal Ritson (Chemical Brothers, Katy Perry, Duke Dumont, High Contrast) features an array of producers who have worked with the likes of Nas, Cee Lo, Taylor Swift, alongside a cast of musicians such as Basement Jaxx singer Vula Malinga and Jamiroquai guitarist Rob Harris to highlight a few.

Hamburg-based Mireia Records is ecstatic toannounce their thirteenth release: Julian Stetter’s “Sensual EP”.
You’ve probably crossed paths with Julian in thelast couple of years. Not only because he’s the tallest guy in Cologne, but the producer and DJ has been actively shaping modern dance music
with his flourishing, melancholic sound. He’s been releasing music with Permanent Vacation, Kompakt, Correspondent and hometown labels Ancient Future Now and PNN.

It’s also not his first time on Mireia Records. Remember the beautiful “Porto” on “We’ll Sea
Pt.1?” Here, Julian presents two original tracks which are reinterpreted by SONNS and Matt
Karmil.
The title track “ Sensual ” manages to erase the mundane, the world’s vanishing around you.
It’s pitched shaker and airy bells evoke introspective tones. The bassline on the other hand
keep you steady - the dancefloor is still visible through the clouds!
“ Rumors ” picks up the pace. Kick drum and syncopated hi-hats set the stage for a serious
bassline, interwoven with fleeting melodies.
Bright and euphoric brushstrokes from Julian’s synth elevate the pace and catapult the track
towards a crescendo. Booming snares signal the peak.
New Release Information
Strobe lights, sweat and ecstasy.
SONNS opens up the B side with the first remix by whispering “ Rumors ” in your ear. A
brooding bass line takes you on a trip to the dark corners of the city. Hypnotically chugging
toms highlight the sights. Let’s get lost tonight!
With his releases on Kompakt and strong DJ Sets SONNS’ been a long time favored entrant
into Mireia Record’s catalogue.
Matt Karmil’s version of 'Sensual', although on B2 of the vinyl, doesn’t hide its assets.
Kicking off with frantic high hats and a distorted glitch, he pushes the track forwards
intriguingly. Arpeggiated melodies layered supremely over the percussion drive the track
forwards, the simplicity of the track and sharp cuts and drops create an interesting dynamic
to the single creating a perfect juxtapose to the other tracks on the release.
Matt’s also been on Mireia’s radar for a long time. His atmospheric adventures for Studio
Barnhus, Smalltown Supersound or Beats in Space always convey a spirit of living, breathing
leeway.

In 1985, I started working as a sound engineer in the famed Far Studios of German hit producer legend Frank Farian in Rosbach near Frankfurt, and there had an array of gear at my disposal that not many producers could afford, and know how to use in consequence. In the center a high-end Neve studio desk, but also the finest machines created by mythic brands like Linn, Kurzweil, Publison, or Quantec. Confronted with this considerable amount of opportunities on a daily basis, I soon decided to use what I was surrounded with for my own musical ideas, and started experimenting with it in my spare time. My perception of sounds quickly surpassed what I had known before. The equipment offered me many possibilities to position sounds within a song and I learnt how to compose by filling up all the places in between the speakers. There was not only left and right but near and far as well, and even up and down. My preferred perspective grew to be that of standing in front of the speakers, "looking down" on a song from a slightly higher position. The material was recorded on analogue reel-to-reel audiotape, which I subsequently edited and deconstructed manually with a razor blade, an edit block and a roll of audio splicing tape.

Atmomatix Records return to black wax with arguably their biggest release to date. Taking three favourites from their growing back catalogue and reaching out to some of the scenes most respected for remix treatment was always going to come up trumps. Add a fresh original from the ever collaborating head honcho Critical Event into the mix and it is easy to see why this is getting pressed. Zero T features once more on a velvet smooth rolling twist up of Humanature's jazzy "Upside Down" from last year. It has all the warmth and grit we have come to expect from Irishmans's output and sets the tone perfectly for the remaining tracks. Remix competition winners Bert H and High N Sick take on the second Humanature track on this release "Cosmos" flipping it around with fresh vocals silky piano licks whilst retaining the sumptuous atmosphere of the original. Macca makes his spectacular Atmomatix debut with a vintage remix of fan favourite "Take Your Soul Away" by Low:r and Hiraeth. Pure euphoric amen scattered bliss, Macca builds on the vibe of the original to create a 3am hands in the air piece of classic liquid. Rounding out the release is a collaboration from Critical Event, Humanature, Hiraeth and Pixel entitled "Never Let Me Go". The close friends linking in perfect harmony to bring forth a soothing glide through their unified take on the Atmomatix sound.

Since completing his two-decade-long hip-hop trilogy as Dabrye in 2018, Ann Arbor-based artist and Bopside label head Tadd Mullinix has engaged his arsenal of aliases with renewed heat. First came the debut of X-Altera, a new project flexing a wildstyle hybrid of drum & bass and deep techno. Now, he returns to James T. Cotton, a moniker which dates back as far as Dabrye and helped define Spectral Sound, the dance imprint of Ghostly International. While historically tagged as Mullinix’s acid house alias, JTC has always expressed with a more pliable sense of genre, freely fusing an eclectic blend of classic electronic sounds; helpings of Chicago acid, Belgian New Beat, and the leftfield techno stylings popularized both in Berlin and Detroit. With Indigo, Flesh and Fire, Mullinix moves closer to the latter city, adopting a bright, optimistic tone informed by minimalism and futurism.

"I have been more withdrawn and introspective on a personal level, in a positive sense, and I think that fact has made my creativity reach toward feelings about peace, positivity, fantasy, wonder, and openness,” says Mullinix.

The EP is packed, but still playfully ambiguous; a club-ready set built to max out mixing boards with spacious and nuanced melodies and motorized percussion. Five tracks, each with roughly five-minute run-times, offering all but a few breaths in a quest for highly operative dancefloor hypnosis. The record wastes little time locking in; on the first track, “Innerloire Rendezvous,” a dense square kick plows through a brisk four-on-the-floor routine phasing over harmonious synth stacks of rubbery fifths and sevenths. The title track splatters a lenticular static spray between thumping kick, billowy melodic swells, and staticky clicks, snaps, and claps.

Mullinix’s distilled musical vocabulary, developed by his many years in the game, gives the set a misty-eyed quality without compromising its contemporary merit. This is music, inspired by history but fiercely forward-thinking, that feels both subterranean and airborne; in the grind on the ground and soaring above in an iridescent super-charged fog.

key selling points: - Debut release on Spectral Sound - Past releases on Firm Tracks, Nite Owl Diner, Sweat Equity, FCR, Clave - Limited to 300 copies worldwide.

Untameable Anatolian feline fuzzy folk funk finally uncaged. A spontaneous Turkish-Norwegian-Dutch expedition, where seafaring jazz cats entangled with fugitive roadies and Tee-Set mods, makes the story of Durul Gence’s highly anticipated/ill-fated Asia Minor Mission group the stuff of lost-rock legend and remains one of Turkish music’s great “what ifs?” The black cat is finally out of the bag...

Having forged a celebrity status as one of Turkey’s premier percussionists and bandleaders, Durul Gence assembled the underground fusion group known as Asia Minor Mission (AMM) in early 1972 (with Irfan Sumer, Oguz Durukan and Ugur Dikmen) while trying to escape the constant daze of paparazzi camera flashes that followed him across Turkey. During a far-fetched post-gig brainstorm the group pondered relocating to Norway (based on fact that none of them had ever visited the country) when a local seaman who claimed to have recording studio connections in Oslo overheard them. Enlisting the roadie services of a streetwise Istanbul taxi driver friend on the run from the police AMM took the plunge, accepting the sailor’s offer of passage on his next sailing.
In these new idyllic surroundings, the same region that played host to fellow Turkish percussionist Okay Temiz, Durul found the peace he desired discovering a muse in Norway’s welcoming creative climate. Much like Barıs Manço and Mogollar in France, Cem Karaca and Gökçen Kaynatan in Germany, Gence’s relationship with Norway rekindled a passion for composition in ways he couldn’t have imagined in his homeland, opening doors thought previously unreachable. As a potential prodigal son for Anadolu pop Durul joined a wider pop-cultural diaspora alongside electronic pioneer Ilhan Mimaroglu, Tülay German (aka Tuly Sand) Kardasllar’s “Alex” Wiska (collaborator with Krautrockers Can) and Maffy Falay from the band Sevda.
Despite a blooming fan base and original repertoire the Nordic dream was not to be and after two years without a studio session, AMM called it quits during a tour of Holland after which Durukan and Dikmen went home to join Cem Karaca’s band Dervisan - Dikmen’s keyboards feature on Finders Keepers releases by Turkish singer Selda (FKR011). Retreating to the city of Delft to ponder his next move, Durul met Peter Tetteroo, former vocalist from successful Dutch psych-pop combo Tee-Set, who also found himself in a lonely boat after the demise of his long-running group. As an AMM fan, Tetteroo suggested they record two Gence penned AMM demos for Dutch Philips signed exotic songbird Sasi Naz at Peter’s home studio. A session was hastily arranged and a talented, yet unconfirmed, guitarist was enlisted. Durul maintains it was the work of Ferry Lever from Tee-Set/After Tea, something Ferry has denied, and with Tetteroo having died in 2002 the question remains. Upon entering the humble studio Durul stumbled upon a skeletal drum kit. Lacking hi-hat, toms or even a snare he cobbled together a bongo and a tambourine and set to work. Together, under the watchful eye of Tetteroo, the pair jammed stripped back versions of the AMM live staples Black Cat and Boo Song, with an added freak factor otherwise missing from their jazzier approach. Laid down in just 30 minutes, with Gence’s accomplished guide vocals and fuzzy overdubs, the rudimentary but professional recordings never made it to Philips execs and the tapes returned to Turkey under Durul’s arm as one of only two documented AMM recordings (the other being a live performance in Oslo’s Hennie-Onstad Art Centre in May 1973).
Unintended for commercial release, curiouser and curiouser, Finders Keepers proudly present these previously unheard tracks sourced directly from original tapes, which stand as a testament to the inimitable talent of Gence and the only studio document of the mythical AMM Turk jazz funk troubadours, representing a pop-psych Hollandaise holiday postcard which has taken five decades to be delivered. 45 revolutions later... The cat’s got the cream.

Called out by The Irish Times as “Ireland’s best new rock band” and named as an one of NME's “100 Essential New Artists for 2019," When I Have Fears is the debut album from Dublin, Ireland's The Murder Capital.

Produced by Flood (PJ Harvey, New Order, Foals) the album features both singles from the band so far, "Feeling Fades" and "Green & Blue", as well as the first studio recording of breakthrough track "More Is Less".



An exercise in both darkness and light, “When I Have Fears” only serves to highlight the early ambition in the band's sound. From the post-rock build and breakdowns of the two-part "Slowdance", to the tender, bruised confessional of "On Twisted Ground" and industrial pulse of closer "Love, Love, Love", there's a consistent intensity throughout that marks out The Murder Capital as a band arriving fully formed on their debut album.

Following sell-out shows on their April tour, the group have also announced a new string of UK & European headline dates for October and November 2019 - see below.

30th anniversary pressing limited to 1000 copies. With the 2016 Roots

mini-series such a success, there is new interest in Quincy Jones’ original

soundtrack to the ground-breaking 1977 mini-series.

Highlights include the “Roots Mural Theme,” composed by Gerald Fried, and

the 28 minute, ‘Roots Suite,’ with Letta Mbulu as the featured vocalist. Plus

the stunning “Main Title: Mama Aifambeni” as sampled by Moodymann and Andrés.



Also included are snippets of dialogue from Roots actor Lou Gossett. Featured

players include: Shelly Manne, Victor Feldman, Ernie Watts and Lee Ritenour.

* Back on vinyl officially for the first time since 1973

* Reissue of this RARE Nigerian landmark Psy-funk album

* Comes with insert containing exclusive liner notes

* Strictly limited to 500 copies worldwide, comes with obi-strip


Tidal Waves Music now proudly presents the first OFFICIAL reissue of this landmark Nigerian album. This RARE classic (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited vinyl edition (500 copies) complete with the original artwork and exclusive liner notes/pictures provided by Ofege's founding member 'Melvin Ukachi' who also supervised this reissue.



Ofege was formed in the early 1970s by a bunch of teenagers at the St. Gregory's College in Lagos Nigeria. They were largely influenced by the guitar solos of Carlos Santana, Jeff Beck & Jimmy Page while closer to home, they were influenced by the music of 'BLO' (Berkley Jones, Laolu Akins and Mike Odumosu), 'Monomono' (led by Joni Haastrup), The Funkees, and Ofo The Black Company.

Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom. At the turn of the century (and because of tracks appearing on various psychedelic music compilations) Ofege would receive international acknowledgment for being the first of their kind and the ultimate West-African psychedelic funk band!

Their first album was recorded while the band members were still in high school (average age of 16), Ofege's debut album 'Try And Love' was originally recorded and released in 1973 on EMI Nigeria.

'Try And Love' is wild and uncompromising blend of soul, funk and rock with complex and groovy rhythms. Ofege succeeded in creating a debut album drenced with fuzzy guitars, plaintive/wailing vocals and a backbeat as influenced by James Brown as it is by Fela Kuti. It's a unique, raw and beautiful take on the psychedelic sound. The ingenuity allied with the inexperience of its members makes this album a real treasure.

Originally released in 1983 on independent label For Sale (sub-label of the highly influential Baby Records, home of some of the most striking italo-disco ever), this album is quite a different monster. Produced, composed and arranged by Maestro Gian Piero Reverberi (once part of the progressive cult heroes Le Orme and then the man behind the ‘classical gone disco’ project Rondò Veneziano) Presage lives in a ‘twilight-zone’ where new-wave, post-prog and disco weirdness collides. Some of these numbers could have been easily played at the Hacienda in Manchester or even used as a soundtrack for some mid-eighties Argento movie. Part of the musicians used to be involved in the prog band from Genova Struttura & Forma, while others spent time behind the desk with some minor disco stars. All in all quite an unusual heavy rare-groove collection.

Renate Schallplatten's eighth release comes from Michal Zietara with Olympia Europa. The four-track EP, the Polish-born, Bavaria-raised, Berlin-based Renate resident's solo debut features three originals plus a remix from Ian Pooley.

Opener "Mr. Joy" is a late-night uptempo jam with a punchy bassline and warm pads. Chopped vocal samples come to the fore around the breakdown, raising the tension for maximum euphoria upon the beats' return. Ian Pooley's flowing remix on the A2 is in the signature '90s filter house style. The vocals lead the way, adding some warmth to a rather stripped-back affair. It's another peak-time cut that makes you want to close your eyes and move to the music. The punchy beats and upbeat melodies return on "Euro Robot," this time paired with intricate drums, fluttering vocals, and high-pitched keys. Closer "Pink Seal" is more downtempo and pensive, centered around coherent vocals and smooth pads. The beats feature less prominently, even fading away after a brief midsection. It's a cerebral track; a moment of self-reflection in an otherwise upbeat, high-energy EP.

The EP is Renate Schallplatten's second of 2019, following Longhair's label debut. Earlier EPs have landed from Moscoman, Sebastian Voigt, Wareika, and more.

2025 Repress

2019 marks the year that Music for Freaks has officially been running for over 20 whole years. Two decades of topsy turvy, downright Freakish behaviour. How the hell did that happen?

So, what better time to delve deep into the labels vaults again and uncover more of its hidden treasures. Back in 2015, we approached some of today's most discerning producers, those who truly "get" the label's ethos from old, to let them loose on tracks old and new. It brought to the fore the "Freaks - Let's Do It Again" series of releases and we're super chuffed to bring you the 3rd in the series to kick off the label's 20th anniversary celebrations; a new collaboration with likeminded artists and we think you'll agree it's another testament to the divergent & insouciant house music that has always been the beating heart of this label.

First up, we welcome back the Chilean anti-hero Ricardo Villalobos.

When we sent Ricardo the parts to the Freaks album, "The Man Who Lived Underground" a few years ago, he sent back 5 interpretations which blew our collective minds. This is the 3rd of his journeys. Edited by head Freak, Justin Harris, it delivers a tripped out, discordant tech mix of the Freaks track, 'He's Angry' and is a wonderfully warped and highly hypnotic jam, that drives deep down into the subconscious.

The 20th anniversary wouldn't feel right without some brand spanking new music from Freaks themselves.
This track was properly hidden in the Freaks DAT vaults from the 1990's and Justin & Luke have dusted it off, mixed it down and "Unbeknown To Us" will finally see the light of day. It's safe to say Freaks have always had a timeless feel to their music and this track, despite being 20 years old as an original production, is no exception.

Next up, The Martinez Brothers make their MFF debut and to say we're chuffed to be releasing this one after 3 years of it being in the vault, is a huge understatement. There's nothing but good vibes, cranked to eleven, on this cut and the brothers have cooked up a true rip snorting tech house remix of "Time", that will charm the roof off any self-respecting club or festival tent.

And last but by no means least, fellow previous collaborators on Let's Do It Again, Part 1, Gerd Jansen and Phillip Lauer, aka Tuff City Kids, have graced us with another superb remix of a firm Freaks favourite from back in the day, "Turning Orange". The duo have whipped up an excellent stripped 808, electro-hop mix with low slung electro beats, minor key atmospherics and nostalgic 80s vocal pitch-shifts. Villalobos, Martinez Brothers, Tuff City Kidz and Freaks all on the same record? This is the type of house music madness that dreams are made of.
A fitting start to the celebrations - we reckon you'll agree!

Artwork by Hiroshi Yoshimura, 350gsm Sleeve with selected UV High Gloss Varnish, Liner Notes by Midori Takada, Satoshi Ashikawa, and Gareth Quinn Redmond, Sticker

Initially released in 1982 as part of the Wave Notation series*, Still Way is, without a doubt, a seminal Japanese environmental/ambient/minimalism album, often mentioned alongside Midori Takada's Through Looking Glass and Hiroshi Yoshimura's Green as one of the genre's most important pieces.

"Like the moment of stillness, after the wind passes through the garden, when the rain stops for a brief second…" Notably inspired by Erik Satie's Furniture Music and Brian Eno's ambient work, Satoshi Ashikawa aimed to compose music "intended to be listened to in a casual manner, as a musical landscape or a sound object…not something that would stimulate listeners but music that should drift like smoke and become part of the environment."
The result is simply phenomenal, subtle minimalism and emotional elegance exquisitely orchestrated by Satoshi Ishikawa and his team consisting of his wife Masami Ashikawa (on flute), Midori Takada (on vibraphone), Yuko Utsumi (on harp), Tomoko Sono (on piano), and Junko Arase (on vibraphone).
In conjunction with Still Way, WRWTFWW is releasing Laistigh den Ghleo, a companion album by Irish ambient/minimalist composer Gareth Quinn Redmond, inspired by Ashikawa's approach.
*The Wave Notation series also includes Hiroshi Yoshimura's Music For Nine Postcards album.

350gsm Sleeve with selected UV High Gloss Varnish, Liner Notes by Midori Takada and Gareth Quinn Redmond, Sticker

"Conceptually derived from the work of Japanese minimalist composer Satoshi Ashikawa, I have composed an album which hopes to engage, enrich and reflect the listener's surroundings, an Environmental Music." - Gareth Quinn Redmond

Working with Still Way as a base for inspiration, Gareth Quinn Redmond takes Ashikawa's meditative sound designs to more dramatic and lyrical landscapes, gracefully instilling his personal touch into the master's melodic patterns and presenting six pieces which blend and reflect the modern listener's ever changing environment. As Midori Takada explains in the liner notes, "Even though Gareth is deeply influenced by Still Way, he looks above, toward the air and the sky. He pays respect to Ashikawa's approach, but adds bold elements from another dimension…Satoshi Ashikawa aspired to crystallize the sound structure of nature that exists in the environment. Gareth tries to capture what flourishes out of it."

Laistigh den Ghleo is released in conjunction with Satoshi Ashikawa's Still Way (Wave Notation 2) reissue on WRWTFWW Records.

Label Quote "Turquoise Colored French Tourists are back with six pool-party essentials for your next lousy bathing event in your parents' backyard. Early support by everyone you know and your mama"

Short Info:
Turquoise Colored French Tourists release their Pöseldorf Poolparty EP, a 6 track extravaganza of high end production, House music know how mixed with Funk and a flair for live drum sounds which elevate this EP.

The artists behind this - Scharbatke and Bias joined forces having met years ago in their favourite bar Goldengrün and agreed after a few gin's to establish the live performing House music super group Turquoise Colored French Tourists. With their differing backgrounds both coming to play in this EP, adding a depth to the groove.

This record is essential for the most in the know Poolpartys, for the most exclusive parts of town - we begin the EP with the title track, motes of DamFunk and a truly groovy opener that should loosen things up nicely as the still hyper funky but more straight up and dance-able Altona im Sonnenschein carry's us onwards.

Crepes takes us deeper, Housier but still with a tweaked aesthetic that marks this out from others. A true adventure in jacked rhythm. The EP continues to turn gently into the more filtered House vibe with Spätfolgen, whilst not forgetting its funky roots with Jameson. The latter bringing a slight 80's touch to the vibe - if there is one thing this EP does well its keeping it fresh at each and every turn.

Closing the EP "Feels so good" lets the melody flow a little, warm and inviting with a little bit of everything that has come before it.

* Reissue of the very rare 1974 Peer Library LP.

* 12 Tracks of Spacey Jazz Exotica

Fresh from recording the legendary Inner Space soundtrack, 1974 saw Sven Libaek embark on Solar Flares, an amazing library recording for Peer International UK.

Possibly best described as the companion piece to Inner Space, a polar vision in which this time the themes were inspired by the far reaches of 'Outer Space'. A pioneering recording that featured the Australian designed synthesizer, the Qaser, a prototype of the first digital sampler, the Fairlight CMI.

Although recorded in Sydney, it only saw a limited library issue in the UK and has since become a highly collectible LP. Expect Libaek's trademark sound of sublime spacey jazz exotica. Featuring Australia's finest studio and jazz musicians.

ODD OKODDO is a Kenyan/German duo formed by Olith Ratego and Sven Kacirek. This vinyl single marks their first outing, announcing the album "Auma" which will be ripe and ready in autumn 2019. Olith Ratego performs his immaculate vocals in the musical style called "dodo", which originates from the shores of Lake Victoria in Kenya, high in pitch and soulfully expressive. He himself refers to his music as "dodo blues". As a skilled luthier, Olith Ratego designs and builds his string instruments himself, first of all the five-stringed Okoddo which lends its name to the project. Sven Kacirek is a multi-instrumentalist commuting between Germany and Kenya for many years now. He plays the marimba, percussions and piano, next to producing this project. He has closely collaborated with various international musicians, among them Nils Frahm, Shabaka Hutchings, F.S. Blumm and Marc Ribot. "Okitwoye" is one song of the first ODD OKODDO album "Auma“, it comes in a multi-layered, ambiguous rhythm between three and four. The remix on the B side amplifies the essence of the song. Peter Power is a part of the Voodoohop collective from Brazil and his releases on Multi Culti or Polychrome Sounds fuel the rather slow, organically hypnotic dancefloors. He premiered this remix at the Heliodora festival in Brazil, at sunrise next to a giant waterfall, and it was just perfect.

After 10 years of vinyl pressings on Lapsus Records it's now time for our first ever "vocal" release!

Many of our Lapsus Radio (Radio 3) followers may already be aware of our fondness for synth-pop, however as a label we have never dabbled with this often unfairly maligned genre, until now...

From the moment we first heard the material from British artist Circa 2000 something magical transpired. William Wiffen's production blueprint signals a new twist in this forty-year old genre. ‘Thoughts In Vias’ –the album released in 2017 on Computer Club, the sub-label of influential Sheffield label Central Processing Unit– offered the first opportunity for us to witness the work of Circa 2000, the UK producer and composer residing in the costal city of Brighton. After his debut, in 2018 William released the ‘The Sun To The Waxing Moon’ EP on the multifaceted Chilean platform Infinito Audio, in which he delved into his more experimental production side.

Circa 2000 now joins Lapsus Records to present ‘Faith Healer’, his most personal work to date and a palpable tribute to the work of Scottish composer Alex Harvey, during his time leading The Sensational Alex Harvey Band. ‘Faith Healer’ is a seven-track album that revisits the nascent days of new wave and synth. It is an exercise in raw and analogue electronics that transports us back to the golden era of synthetic electronica, in which bands like Deux, Victrola and Monoton redefined minimalism and underground pop.

‘Faith Healer’ will be released in July and available on limited edition vinyl and all digital formats. As always, the Basora studio has once again provided us with stunning artwork for this release.

Drummer/producer Teppo Mäkynen presents a new album by his lauded trio ensemble 3TM in 2019. Before the second 3TM album "Lake" comes "Abyss", a collection of 10 ambient pieces laying the groundwork for the upcoming album. This prelude album is a full-bodied work in itself, a glorious and somewhat mysterious LP which brings forth yet another shade of multifaceted Mäkynen's musical vision. The 10 compositions on "Abyss" feel like the discovery of life and movement in deep waters, where only the rare shades of light breaking through indicate that another world exists above the surface.

"Abyss" will be available as a clear vinyl edition, on tape and digitally, and both as a standalone album and as a bundle with the upcoming 3TM trio album "Lake".

Teppo "Teddy Rok" Mäkynen is a drummer/producer from Helsinki, who works at the centre of the lively jazz scene in Finland. His work includes projects such as 3TM, The Stance Brothers, Teddy Rok Seven and the new duo with sax player Timo Lassy. Mäkynen also plays drums in several highly-regarded ensembles such as Timo Lassy Band, Aki Rissanen Trio, Jukka Eskola Soul Trio, Verneri Pohjola Quartet, Nicola Conte Jazz Combo, plus many more. As a producer, his work has been highly regarded in projects such as 3TM, The Stance Brothers, and the albums of Timo Lassy and Jukka Eskola.

When A&R get an email from a legend saying 'listen to these tracks, I think they're up your street' we knew we were on to something special.



Please welcome Biochip with their debut release 'Synthase'. Eight tracks of analog electro and acid techno, all recorded live. Very much of the Selected Ambient Works Vol. 1 ilk. Beautifully noisy, highly melodic and raw, with those emotional mid nineties IDM tendencies that very few successfully capture.

Biochip are Melissa Speirs and Julian Kochanowski from Montreal, Canada. Listening to Synthase you can tell they are huge fans of vintage analogue synths, magnetic tape and drum machines; their sound has a reassuring warmth and human feel to it.

We already can't wait to hear their next live sessions.

The Four M Company, previously unreleased Modern Soul, & Boogie Funk recorded in 1979 at Paul Serrano's P.S. Studio in Chicago. This 6 song LP carries lush vocal harmonies with syncopated synthesizers, driving funk bass and brass elegantly crafted together into masterful arrangements. Band members in these recordings are David & Wendel Sudduth (The Eight Minutes, Perception Records), Terri Johnson, Paul Ramey & Duane Faulkner. Produced & Arranged by Vince Willis. After The Eight Minutes, David formed The Four M Company in High School. His brother Wendel joined and they played every prom every year from 1974-1978 on the north and Northwest side of Chicago. Approximately 35 members have played with The Four M Company at one point in time. Cut direct to lacquer for vinyl replication at 45 rpm from the original Master Tape. Limited Hand-Stamped Wax (500 copies).

Brous One is one of the best-known artists in the field of instrumental hip hop. So far his beats have been strongly inspired by the sound of the Boombap era, but on his latest release "Cityscapes" the producer from Saarbrücken goes in a more relaxed direction. Jazz is still the main inspiration, but the beats are much smoother. "Hasta Luego", for example, is carried by a dreamy piano melody and the soothing vinyl crackle is omnipresent. Thus the musician creates a perfect feel-good atmosphere for a nocturnal ride through the "Cityscapes".

“Following on from Homenagem, Lugar Alto’s first critically acclaimed project, the São Paulo label's new endeavour is the reissue of another neglected masterpiece. This time, it’s “Poema da Gota Serena” turn by Zé Eduardo Nazário from 1982. This unique work gathers elements of free jazz, Brazilian Northeastern rhythms, Asian percussive instruments and electronics.

Zé Eduardo is a virtuoso drummer and percussionist with a prolific career as a musician and teacher. He was introduced to music in his youth and started playing professionally at the age of thirteen. In the late 60’s he was a regular at the famous Totem night club in São Paulo, where he performed alongside the pianist Tenório Jr. and other exceptional instrumentalists. It was there that he met Guilherme Franco, and together they formed the Grupo Experimental de Percussão. This period defined Nazário’s interest in different sonorities involving percussion, and he broke away from the more traditional genres, such as bossa nova and jazz. Over time, this distinctiveness in sound and playing allowed him to create his own path which culminated in an extensive number of remarkable works, including the colorful and psychedelic “M andala”, which examines Indian and hippie themes. He also played with Hermeto Pascoal’s group and joined him and Jaques Morelenbaum for the recording of the cult classic “Imyra, Tayra, Ypy” by Taiguara. For Egberto Gismonti’s “Nó Caipira”, Nazário performed with the khene, a mouth organ from Laos, a present from Gismonti himself.

But it is Nazário’s work with the 1976 collective Grupo Um which is his most well-known, who, during their 6-year legacy recorded, amongst movie and ballet soundtracks, 3 albums: “Marcha Sobre a Cidade”, “Reflexões Sobre a Crise do Desejo” and “Flor de Plástico Incinerada”. The combo is considered one of the most innovative formations of its time, unusually combining electro-acoustic elements, jazz and Brazilian traditional music.

Poema da Gota Serena was Zé Eduardo's first solo project and it was financed by the legendary Lira Instrumental, a collaboration between the ground-breaking venue, label and publisher for the São Paulo avant-garde, Lira Paulistana, along with the always interesting Continental Records, home to such luminaries as Tom Zé. The album was offered as a package deal simultaneously with the production of “Flor de Plástico Incinerada”, ensuring 2 studio sessions at JV studios in October 1982.

Each side of the album explores different duets which, with its suite formated tracks, give the album the feel of a cohesive whole. The first half of the A side, “Energia dos Três Mundos”, is shared with the improvised saxophone of Cacau. Nazário delves into free jazz rhythms and plays his drums with a rolling and tumbling swing, using the kit in full, demonstrating the power of Brazilian jazz fusion. The second half of the suite takes us into a more tranquil mode. “Só Prá Ouvir”, demonstrates Zé’s mastery on the glockenspiel, and Indian percussion instruments, such as the tabla and mridangam. Cacau, on his side, switches his saxophone for more delicate dancing flute driven passages, equal parts northeastern rhythms and deep Amazonian indigenous influences. The B side, with “Prá Pensar / Prá Sentir e Prá Contar”, contrasts heavily with the A side’s more organic and natural feel. In Prá Pensar Lelo Nazários’s synth clusters and electronic blasts strangely interact with the exploring, wandering percussion. This track leads into the sublime “Prá Sentir e Prá Contar” where South Indian inspired vocals, performed by Zé Eduardo, accompany the graceful synth chords and fluttering percussion. The result is a hypnotic, otherworldly feel to the music that is infectious and takes the listener on an extraordinary journey.
With Poema da Gota Serena, it is possible to hear music that extrapolates the lines of the avant-garde and popular music. It is an album the demonstrates that Brazilian jazz fusion can be both spiritual and challenging at the same time.

All the tracks were expertly remastered by Lelo Nazário, directly from the original tapes, maintaining the high quality of production that Lugar Alto are becoming renowned for. All the artwork was reinterpreted by the São Paulo design studio Sometimes Always, including an exclusive insert and unpublished images.

It seems that Lugar Alto have managed to excavate yet another gem from the seemingly bottomless Brazilian mines. Long may they continue to do what they do so well.”

UB40 have a catalogue of poignant original material and era-defining cover versions that make the band so loved. This collection brings together some of their undisputed highlights and deeper album cuts alongside all their of their UK No.1s – ‘Red Red Wine’, ‘I Got You Babe’ and ‘(I Can’t Help) Falling In Love With You’. It is a fine, unmistakeable body of work that has been part of the fabric of the UK music scene for over four decades. This collection brings onto LP the highlights from the CD version of this title which to date has sold over 300k units in the UK. DL code included.

'Motherlode' is a classic James Brown compilation album, primarily focusing on his funk recordings of the late 1960s and early 1970s, & including live performances and remixes as well as studio recordings. This is the first vinyl edition of the 2003 expanded version of 'Motherlode', a 2-LP on 180g in a gatefold jacket, featuring a number of tracks never before available on LP. Highlights include a live 'Say It Loud - I'm Black and I'm Proud', 'I Got Ants in My Pants (and I Want to Dance)', the chart hit 'She's the One', and more.

“A genius” - Nai Palm
“One of the most incredible live performances I’ve seen” - Gilles Peterson
“He's like a human centipede sewn out of all the greatest musicians from the past 80 years” - Liam Pieper

Emerging from Brisbane’s music-art bohemian West End in 2008, self-taught, prodigious musician Lachlan Mitchell aka Laneous, began his eclectic and colourful journey in music as the leading member of funk band KAFKA, stamping his trademark falsetto croon on an Australian music landscape that wasn’t quite ready for an artist whose standout influence was D’Angelo’s ‘Voodoo’. Word of their talent soon reached UK’s perennial tastemaker Gilles Peterson who featured the band on his compilation, Brownswood Bubblers Four alongside other breakthrough acts at the time, Mayer Hawthorne, Floating Points and Lone. A world-class guitarist, vocalist, composer, visual artist and – significantly - muse, Mitchell’s unique ability to shine, create and inspire across genres was his obvious forte, even then. Regularly sought after to provide features for other bands and cover art for Hiatus Kaiyote albums Tawk Tomahawk and Choose Your Weapon, he worked diligently to support his community. But while Hiatus’ Nai Palm told media Laneous was “a genius” he often credited music and drawings to pseudonyms.

In 2016, after 8 years of humbly dominating the Australian underground art, soul and jazz scene [with ‘mutant-soul/croon punk’ cult group Laneous & The Family Yah, reggae band Kooii and improv-jazz-beat trio, Vulture Street Tape Gang] Mitchell relocated to Melbourne - a move that would instigate and inspire the long-awaited debut solo LANEOUS record that fans and peers had been craving for nearly a decade. Excited to create new music with an artist they’d previously referenced as an inspiration, Paul Bender and Simon Mavin (Hiatus Kaiyote) came on board swiftly, joined by Hudson Whitlock (Cactus Channel) on drums and Donny Stewart (Jazz Party) on vibraphone and flugelhorn - a key element in bringing Mitchell’s vision of an exotica/soul infused album to life. In classic Laneous fashion, the musical references for the record run deep, winding through an eclectic array of artists from Martin Denny, Burt Bacharach and The Beach Boys to Shuggie Otis, Wild Cookie and Wu-Tang.

The debut single Modern Romance was unleashed in October 2018 with a kinky, captivating visual accompaniment that marked the return of the Laneous legacy. After selling out the Melbourne launch of the single, the band was invited to headline Gilles Peterson’s Worldwide FM x Northside Records live Melbourne broadcast, teasing exclusive album cuts and drawing high praise from Peterson, stating it was “..one of the most incredible live performances I’ve seen’.

Out May 10 via Soul Has No Tempo, Mitchell’s MONSTERA DELICIOSA stands as a sublime genre work, peerless in Australia - his magnum opus bears the name that’s backed him from day one:

Koma Saxo is a highly potent new five-piece produced by the visionary Berlin-based Swedish bassist-producer Petter Eldh. The lineup brings together five heavy jazz names on the Berlin–Nordics axis, including Eldh on bass, Christian Lillinger on drums and the frontline of three saxes: Otis Sandsjö, Jonas Kullhammar and Mikko Innanen. Despite the top-billing names, make no mistake: this is not just another "supergroup", but a real working band with their own sound and musical trejectory.

Eldh's vision for the Koma Saxo sound is one step ahead of what groovy avantgarde jazz could sound like in 2019, involving postproduction work with the raw material recorded in Helsinki in connection to Koma Saxo's successful debut at the We Jazz Festival. Both studio and live tapes exist side by side, and Eldh goes deep in molding the final music to be heard on the upcoming Koma Saxo releases.

The first introduction into the world of Koma Saxo comes in the form of a 7"/digital single "Port Koma / Fanfarum For Komarum". Side A presents a restlessly dubby beat track, which would be ripe for hiphop sample use. The flip launches into a joyful full-on groovy free jazz fest which is hard to resist. Think Art Ensemble of Chicago at their swingingest but add a little "Nordic Noir" dropped right into the busy streets of Berlin's Kreuzberg.

When the Tramp Records crew read the internet-sweeping spam/story of Nigerian Astronaut and Air Force pilot Abacha Tunde, they knew that they had to spring into action to help this unfortunate fella out. Dr. Bakare Tunde, the cousin of Abacha Tunde explained the situation as follows: "My cousin was the first African in space when he made a secret flight to the Skylab Space Station in 1979, shortly before it crashed to Earth. 19 years later he was on his second spaceflight, this time to a secret Moon Base located on the far side of the Moon. In 1999 his crew members returned to earth, but his place was taken up by return cargo. There have been occasional supply flights to keep him going since that time. Although he is in good humor, he wants to come home, now, after 20 years in space."

After this hilarious story the idea of a compilation album was born - and "Trip To The Moon" is the result. The goal to raise three million dollars to cover the cost of Abacha Tunde's return flight may never be achieved. Nevertheless, a 41 year experience in the music business is the basis for a fantabulous track listing of 11 amazing and highly underrated Rare Grooves about the Moon!

The Swinging Astronauts open the set, followed by La La Wilson's equally great rhythm & blues rocker "The Moon Man Is Back". With The Moon-Dawgs, this album makes a slight turn into the 1960s garage rock era while Hase Cäsar (backed by none other than the famous Ingfried Hoffmann and his orchestra!) contributes one of two songs of german origin. Now it's time for some funk: Rev. Jamel & Bob Johnson's "Walking On The Moon (Men Are Starving)" criticizes the US government for spending millions of dollars for their space program instead of supporting their own people. "Mars in 75" is deepfunk at its best although some may lament the lack of production. Sidney Ownen's breakbeat-laden "Sputnik" is sought after in collector's circles and needs no justification as to why it is included on this album. Ernest & D.L. Rocco's "Moon Child" is our personal favourite, closely followed by the hypnotic groove of "Mondgesicht" by legendary german saxophonist Ambros Seelos. Scott Cunningham's name should ring a bell as he was featured on several Tramp compilations over the past few years. Finally, the album closes with a psychedelic folk track titled "Voyage To The Moon".

Tramp Records is absolutely convinced that this album will surely be the best way to shorten the wait for Abacha until a rescue space mission finally brings our African soul brother back home.

Key selling points:

- deluxe gatefold LP with detailed liner notes and unseen photographs
- the vinyl LP comes with a full album download code
- most of the songs appear on a 12" album for the very first-time

Maybe the best Alessandroni's album ever. A true holy-grail for any collector and worldwide music lover, which we can consider nowadays as the most sought-after record of the whole legendary RCA SP 10000 series, and as the rarest album from the king of Italian libraries.

Jazz, mellow-funk, downtempo breaks, and incredible rock blends, make this record a refined portrait of the 70's American way of life, viewed through the fully Italian lens of Alessandroni's sensitivity.

The magic around Spontaneous is that this album is not only beautiful and astonishing, but is certainly on of those amazing records to which time gives new life and freshness, making it sounds unbelievably contemporary.

After five years of exhausting research, finally Four Flies can give a light to this obscure and fascinating mystery, rescuing it from the darkness. It's not just another piece of Alessandroni's legacy that is finally put back in the right place. This should be considered as the definitive act to re-estabilsh Alessandroni's leadership into the library music scene, and beyond.

Available again from July 19, coming in 180gr black vinyl, housed in a hard tip-on sleeve cover.

Limited Edition 500 copies, don't sleep!

The Vega Records 5 Pack Vinyl Unreleased Projects have become very sought after pieces amongst vinyl enthusiasts and collectors, thanks to Vinyl Parties and Performances by Louie Vega at Phonica Records in London and Rush Hour Records In Amsterdam (during ADE).

Previously only available as a 5 pack 12" which now commands high prices on discogs and have never available outside of a few select stores worldwide.

Now available as unique 12"s for the first time the fifth part features Sa'd Ali - Asylum (Louie Vega Remix).

PAREDO presents new and exclusive works by three female japanese music producers: KOPY, TENTENKO and MIKI YUI who are based in Osaka, Tokyo and Düsseldorf respectively and a radical reinterpretation using elements of the featured works by Lena Willikens, the PAREDO MEGA MIX. All four contributions showcase their highly individual approaches to contemporary electronic dance music. Paredo is directly informed by multi-directional encounters of four musicians and their close observations of musical production and reception in practice.

In 2017 Lena Willikens and TAL founder Stefan Schneider have both, though independently from one another, been invited to Japan under the auspices of the Goethe Institut. While Schneider researched electronic noise music cultures in Osaka, LENA WILLIKENS and her artist partner SARAH SZCZESNY developed aspects of audio mix and filmed footage for their collaborational art project PHANTOM KINO BALLETT while in residency at Villa Kamogawa in Kyoto.

"While in Kyoto, we often went to Osaka or Tokyo to explore the diversity of the music subcultures there. It was fascinating to witness how Japanese underground cultures adopt influences from abroad and turn them into something original and very much their own. We also saw live performances by KOPY and TENTENKO whom we quickly befriended."

KOPY is a consistant part of the vital electronic music scene from Osaka. Besides a few performances at Düsseldorfs famous SALON DES AMATEURS, she has also been invited by LENA WILLIKENS to her showcase at the MEAKUSMA FESTIVAL in 2018.

TENTENKO begun to enter into the japanese music scene with a steady flow of experimental cdr productions as well as collaborations with members of the legendary japanese noise band Hijokaidan.

MIKI YUI originally from Tokyo has lived in Düsseldorf for more than two decades now. Besides albums of her solo work for LINE (US), or more recently, for Cusp Editions (UK) she also collaborates with Carl Stone in the duo REALISTIC MONK (on the Meakusma label) and was a member of Klaus Dingers last band JAPANDORF (Grönland Records).

LENA WILLIKENS who has a background in fine art, first honed her unique approach during a long residency at Düsseldorf’s Salon des Amateurs. Outside of the club, the Cómeme label was home to her first EP, 2015's Phantom Delia. In 2017 she has released a remix of Kenyan singer OGOYA NENGO for the ON MANDE EP, TAL02.

Vinyl-Wiederveröffentlichung des vierten Studioalbums von Millencolin aus dem Jahr 2000.

Melancholie verbinden die meisten mit Schwermut. Für Skater ist "Melancholy" aber einfach ein Trick mit dem
Board. Und wer des Schwedischen mächtig ist, verbindet Millencolin mit einer Ska-Punk-Band. Die wird von
Nikola Sarcevic (Gesang, Bass), Erik Ohlsson (Gitarre) und Mathias Färm (Gitarre, Drums) im Herbst 1992 in
Örebro, Schweden, beim - ist doch klar! - Skaten gegründet. Komplett ist die Band 1993, als Schlagzeuger
Fredrik Larzon dazu stößt. Einige Platten und weltweite Touren später erscheint im Frühjahr 2000 ihr viertes
Album "Pennybridge Pioneers". Pennybridge ist die wörtliche Übersetzung des Namens ihrer Heimatstadt
Örebro (Öre = Penny, Bro = Bridge). Produzent ist Brett Gurewitz, Chef der Labels Epitaph und ehemals
Mitglied der amerikanischen Punk-Urgesteine Bad Religion. Für viele Kritiker gilt "Pennybridge Pioneers" als
beste Veröffentlichung von Millencolin. Kennzeichnend für das Album ist der Abschied von Ska-Rhythmen bei
gleichzeitiger Hinwendung zu eher rockigeren Riffs. Wenn man so will, bietet "Pennybridge Pioneers"
Punkrock nach amerikanischer Tradition in einer schwedischen Variante. Die Vinyl-Wiederveröffentlichung
kommt wie seinerzeit das Original via Epitaph auf den Markt.

On July 26th the top-ranking leftfield star Clark will release ‘Kiri Variations’, via his own label Throttle Records – and as always, he has musically metamorphosized into something fresh and new.

This album of plaintive beauty, eerie wyrd arcadian horror and childlike outsider music epitomises his constant ability to flip-the-script and coherently organise an abundance of new ideas.

Mysterious and morbidly beautiful pieces driven by piano, harpsichord, clarinet, strings, electronics and voice are interspersed with fabulously unusual and highly original curveballs:

Odd-in-a-brilliant-way, the faux naïve ‘Kiri’s Glee’, evokes traveling minstrels of yore accidentally eating the wrong ‘shrooms, and ‘Coffin Knocker’ has diffracted psych feel, like David Axelrod’s work with the Electric Prunes, but chopped, screwed and scorched.

‘Forebode Knocker’ is darkly funky, like the kind of lost diggers’ nugget unearthed and sampled by RZA, whilst the sonically-perfect ‘Primary Pluck’ unfurls exquisitely, swaying slowly ever forward like a funeral march.

‘Cannibal Homecoming’ is nothing short of Clark’s most song-based composition ever, featuring augmented human voice as evident elsewhere and also a fully-fledged vocal sung by him.

‘Kiri Variations’ started life as the score to the BAFTA-nominated TV program ‘Kiri’, but only a small (and highly effective) portion of the music recorded was used – intentionally sparingly – by director Euros Lyn. That first incarnation has since grown and morphed intosomething entirely of its own being; a proper artist album.

“In addition to my usual methods of controlled randomness and tangential ideas, the TV commission was a prominent spark for new approaches. It’s a great balancing contrast with the solipsistic studio album”, Clark explains.

The record allows simplicity and playfulness to shine through: “It’s a skeleton of an album, reduced to bare essentials, although it started out rather dense - the thing that takes time is making it succinct."explains Clark. “Certain parts are also what you could call anti muso – for example the recorder on ‘Kiri’s Glee’ is totally out of tune – but it sounds so colourful. I can’t resist the primary paint of acoustic instruments; it’s an antidote to frictionless digital music.

This year, First Word Records celebrates its fifteenth year in the game. The year commenced triumphantly with First Word being named "record label of the year" at Gilles Peterson's Worldwide Awards 2019. Over the past six months, we've seen new music from 14KT, Souleance, Myele Manzanza, Teotima, Don Leisure, Children of Zeus and a range of artists across Europe, on the 'Music! Musik! Musique!' compilation.

To commemorate the 15th anniversary, First Word has a series of releases in the works for the second half of the year which see collaborations by artists from the label's current roster. To kick off, we have this special double-AA sided 7" single featuring Darkhouse Family, Kaidi Tatham & Tyler Daley.

Darkhouse Family consists of two Cardiff beatmakers & musicians, Earl Jeffers - founder of Melange Records and producer of 'A Library Excursion' from 2018, and Don Leisure, who recently provided us with 'Halal Cool J', the beat-tape sequel to 2017's 'Shaboo'. Over the years they've had releases, solo & individually, on Fat City, Metalheadz & Earnest Endeavors to name a few, bridging the gaps between various strains of dance music, beats and hip hop, with the organics of jazz and funk. Recently making noise across the UK with their new live band, and production work for the likes of Kamaal Williams, this is their first new release since their highly-acclaimed 2017 debut album 'The Offering' & subsequent remix project which also featured DJ Spinna, and one Kaidi Tatham.

Kaidi Tatham is one of the most revered multi-instrumentalists in the game. His endless contributions have included Bugz In The Attic, Amy Winehouse, Slum Village, Mulatu Astatke, Soul II Soul, Moonchild, Leroy Burgess, Amp Fiddler and loads more. Dubbed by Benji B last year as "the UK's Herbie Hancock", his versatility as a musician is actually more akin to Prince. He can play most things, and play them well. Providing flute duties on this track, he also graces the flipside with a full "flutestrumental" version. Aside from numerous other projects, Kaidi released three EPs on First Word to date, 'Changing Times', 'Hard Times' and 'Serious Times', and an album last year, entitled 'It's A World Before You', which featured daddy of 2000 Black, Dego, son of Jazzy Jeff, Uhmeer and Children of Zeus, Konny Kon & Tyler Daley.

Tyler Daley hails from Manchester, alongside son of Zeus, MC / DJ / beatmaker, Konny Kon. Somewhat of a veteran in the game, Tyler is currently one of the most-recognisable talents in the British soul scene, also lending his talents to dance music royalty along the way, including the likes of Goldie, Zed Bias, DJ Marky & Lenzman. With Children of Zeus, the duo have had a whirlwind 12 months since the release of their debut album 'Travel Light', performing shows across the globe & gaining new fans daily. The record was named "album of the year" by Complex magazine and BBC 6 Music's Huey Morgan, amongst a number of other notable tastemakers & selectors. Hot on the heels of the 'Excess Baggage' EP, Tyler laces this one with his inimitable brand of bars and soul.

A veritable super-group amongst the First Word stable, this low-slung slinky joint sees the guys work up a unique blend of jazz, soul, beats and hip hop - guaranteed to go 'All The Way'…

'All The Way' is released on First Word Records on July 26th 2019, limited 7" vinyl & digital.

Produced & mixed by Darkhouse Family

Vocals by Tyler Daley (Children of Zeus)


b B1. All the Way (Flutestrumental) [feat. Tyler Daley & Kaidi Tatham]


[b] B1 | All the Way (Flutestrumental) [feat. Tyler Daley & Kaidi Tatham]


[b] B1 | All the Way (Flutestrumental) [feat. Tyler Daley & Kaidi Tatham]

Omar-s Introduces Detroit's Newest Diva On The Scene, Simon Black With An X-rated 12" For The Real Freaky Types. In Line With Some Of The Definitive Vogue House Tracks Of The Past, "i'll Do It Again" Will Become Future Ballroom Staple. On The Flipside, "freaky Type" Black Slows It Down And Steams It Up With Some Nasty Vox Over A Beat Produced By Fit Siegel. High Kicks And Hand Snaps All Around!

Wilcoxia poselgeri can be found primarily in South and West
Texas, as well as the adjoining Mexican state of Coahulia.
Sometimes referred to as the “Lead Pencil Cactus” or “Dahlia
Hedgehog Cactus” due to its slender stems and tuberous
Dahlia-like root system, Wilcoxia poselgeri grows in the sandy
soils of hills and valleys on either side of the Rio Grande. When
in bloom Wilcoxia poselgeri produces large, moderately
fragrant pink flowers that open during the day and close at
night. Initially erect, Wilcoxia poselgeri gradually begins
sprawling amongst its surroundings as it matures to support
the growing weight of new stems. Regarded as a slow-growing
yet uniquely beautiful specimen, Wilcoxia poselgeri’s relative
ease of cultivation makes it a remarkable addition to any
collection. Our botanists strive to source and produce highquality specimens to enrich your mind as well as your ears.
After many months in the field our team has returned with a
diverse selection of sonic seedlings. Following a series of
meticulous experiments in our research facility each seedling
has been deemed safe for general propagation and cleared for
release.

Limited to 200 copies. Sturqen is a highly overlooked techno duo from
Portugal … they have been releasing their own style of techno since 10
years Has been the style of Sturqen since they started … This new EP
showcases their style of dark beats … from EBM orientated to
pounding industrial to flirt with … Review: This is exactly the kind of
techno that also goes down well with the EBM and industrial group:
analogous, somber, hypnotic. The most important track here is
probably “Nik”, a high-pitched song, interspersed with atonal noise and
driven forward by a whipping 1987 EBM beat. Especially through this
song and also the experimentally broken “Absoluto”, “Marginais” owns
the weirdness of old EBM / Industrial records from the early 80s and
also the works of the legendary Alien Sex Fiend … Maybe “Nik”
became so after their own named by crazy singer; said “Absoluto”
certainly reminds more than a little bit of ASF’s old street tunic
“Hurricane Fighter Plane” … Either way: The Portuguese Sturqen fit so
well as a techno act on that label, that in the past has given us the
works of Agent Side Grinder, Sulfur Yellow, and the crazy techno /
EBM mystics Newborn Night Music. On vinyl, limited to just 200 copies.
Uwe Marx for Sonic Seducer

“In October 2018 we took several recordings in and around Eddie Prévost’s home village of Matching Tye in Essex, where he has been living for the past fifty years. The majority of the pieces that made it to this LP took place in All Saints Church, High Laver, the burial site of John Locke. This fact was notable in the choice of title for this set of recordings, and it seemed necessary to put forward Eddie’s own take on Locke that he offered in our correspondences:

“Scholars of Locke’s philosophy will be familiar with the idea of mixing labour with materials as a fore-running notion of possessive individualism and basis for private property. Such ‘mixing’ is a persuasive description of a creative act. But the theory is more worthy of a social dimension.” As for the individual titles for each of the studies on the LP, each takes ideas and elements from music past. For example, MaxPlus makes a nod towards bebop pioneering drummer Max Roach who offered an earlier hit-hat study. Eddie utilises such examples, offering further creative insights which can then be woven back into the common wealth of sound. The final track, returning to the bowed cymbal method of the first, was recorded outdoors on a breezy green, and is pictured on the back cover of the sleeve. It was an attempt to capture the playing in its ‘metamusical’ relationship with the untempered sounds of the external environment.

Eddie has written about Metamusic in his book The First Concert (Copula, 2011): invoking childlike ‘protomusical’ behaviour, or the sense of music that a person might possess before the inevitable influences come to play any role in their productive, and appreciative, musical development.

Ross Lambert provided a few words along side his cover drawing entitled ‘The Metamusician’: “The eyes would symbolise for me things like searching, examining, closeness or friendship I think; engagement with the world. Decisions in making the image were completely intuitive, this is just me looking for the meaning, post-analysing, post rationalising.””

- Daniel Kordik & Edward Lucas, March 2019

Tropical Disco Records return with another sizzling four-tracker, tackling deeper, more soulfully sustained tracks which still cipher the same party-centric impact consistent across every release.

Moodeena’s ‘The Chase’ is a fireball of an opener, showcasing a tantalizing flurry of teasing brass and uninhibited guitar strokes, cooly climaxing, sending shocks of piloerections to every corner of your body.

Next up label co-founder Sartorial on a slightly slowed, yet typical love flex with ‘Addicted To You’. It oozes high romantic interfusings of heady beats and a fantastically reinvented vocal. It’s an ode to that golden moment in mood music paired with midsummer sun, certainly one of his best works to date.

Tropical Disco debutant Chevals offers up a delectable deep house symphony with ‘Saturn’, a lush suite of hazy chords, boogie vamps and shuffling percussion.

Gledd & The Funk District’s ‘Late At Midnight’ closes of the record in fine style, looped swells and vintage stabs, laying a dexterous foundation for the full-frontal, fanatical vocal to follow. It appears the label are showing off using this tyrannic tool as the EPs send off, making you nostalgic about a night never experienced and stomping another firm footprint in contemporary disco’s orbit.

Yeketelale is the third album from Franco-Ethiopian group uKanDanz, combining a heady brew of rock energy, saxophone zigzags and Ethiopian melodies, all fronted by veteran singer Asnake Gebreyes grooving harder than ever.

In Ethiopia, sons follow fathers and, together, their names tell a story. Some discographies are the same way. After Yechelal (''It's Possible''), Awo (''Yes!''),here's Yeketelale (''It Continues''), the third album from Ukandanz.
The adventure that links Damien Cluzel (guitars) and Lionel Martin (tenor sax), the two founders of the group, with the Ethiopian singer Asnake Guebreyes continues and, with this album, takes on new colors and a new dimension. It is a polished synthesis that keeps the rock energy of their first recordings and gives even more space to the subtle vocal ornamentations that mark great Ethiopian singers. Add to that a groove that is more danceable than ever, carried by Adrien Spirti's synth bass and Yann Lemeunier's drums, and you have the magic formula of Yeketelale.

This came about slowly over the course of a dialogue that began in the early 2000s when Damien Cluzel, arriving with a circus in Ethiopia, met up with the occupant of the next room in their hotel. A stroke of luck: this was Francis Falceto, high priest of the Ethiopiques collection (Buda, 30 volumes to date) which had introduced to the West the treasures of swinging Addis, the capital that vibrates to the sound of big brass orchestras. With him, he dives into the capital's nightlife and meets a galaxy of musicians. The singer Asnake Guebreyes is among them.

Recruited by the famous Police Orchestra at the tender age of 16, he already had all the power, energy and class of his role model, Tlahoun Guessessé ''the Ethiopian James Brown''. He began his solo career at the beginning of the 1990s with several major successes, most famously an explosive duo with the singer Fekker Addis.

This experience made a big impact on the French guitarist. Having learned how to blend in with a uniquely Ethiopian groove, he was now ready to take it to other places and in other directions. In his old friend Lionel Martin, he found an ideal partner to engage in such experiences. But they needed a singer. The idea of Asnake Guebreyes was mentioned. Then Francis Falceto called and suggested going to see him at the Addis Music Festival. Ukandanz, a rock version of Ethiopian groove, was born.

Some pieces, like the disturbing Yene Hassab, call to mind Herbie Hancock's experiments in the seventies, as well as the Juju guitars of the Gulf of Guinea. Others, like the dark Fetsum Deng Ledj Nesh, allow Asnake's voice to soar above the synthetic waves, like a siren song for a freighter in distress. Dance and trance are not left out, with inspiration from the inexhaustible Ethiopian traditional repertoire. In a nod towards Asnaké's first album (Ahadu, also reissued by Buda) Ukandanz returns to its track Ajiré, transfigured by the guitar, claps and synthetic bass and takes us back to the glory days of breakdancing. Listening to the two versions gives the key to understanding the unique touch of Ukandanz and of the rich musical colours of Yeketelale (''It Goes On''), a fusion musical journey that brings the electric spark of the Frendj (Westerners) to Ethiopian lyricism.

In 1978 Lord Creator returned to the Black Ark to re-record his in 1968 in Randys studio recorded song, "Such is Life". One of the highlights of the 70s Black Ark era now finally available again on 12".

- 180 GRAM AUDIOPHILE VINYL
- PVC PROTECTIVE SLEEVE
- SCORE BY JOHN DEBNEY
- CONTAINS A 8-PAGE BOOKLET
- LIMITED 15TH ANNIVERSARY EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Passion Of The Christ (2004), composed by John Debney, is the original score for Mel Gibson's controversial film The Passion Of The Christ. The soundtrack received an Academy Award nomination for Best Original Score and it was on the first place in both Top Christian Albums and Top Soundtracks in 2004. In 2005, the album won a Dove Award for Instrumental album of the year at the 36th GMA Dove Awards.

The soundtrack succeeds as a coherent, moving, well-executed musical statement whether or not has seen the film. The album is a combination of folk instruments, Eastern-tinged harmonics, solo, and choral voices. Debney has used the Indian master violinist and vocalist L. Shankar, and singer/double-violinist Gingger Shankar.

Debney's soundtrack is an interesting and highly recommended work. It will offer those who choose to encounter it a far-reaching and deeply affective listening experience that is as aesthetically beautiful and unsetting as it is evocatively familiar.

Available as a limited 15th anniversary edition of 500 individually numbered copies on transparent red vinyl.

Intergalatic freaks Extra Terrestrial are back after their high impact debut release on Trouble Maker.

Two original tracks and two just as tasty remixes from earthlings Desert Sound Colony and Oli Silva. 


Expect weird but danceable electro & breaky shakers from Extra Terrestrial and some seriously heads down club-workouts on the remixes. 

The truth is out there...

Music by Davide Luciani (guitar, organ, synth and electronics). Recorded and mixed in Berlin in between 2017-2018 by Davide Luciani. Mastered by Simon Scott at SPS Mastering. Illustration by Anna von Hausswolff.

Biography:

Davide Luciani is an Italian electronic music composer and media designer, based in Berlin since 2011. He has a background in the Italian noise-rock scene with projects dating back to 2005. "Calming Counts" is Luciani's first solo release.

His solo practice places acoustic instrumentation into analogue/digital synthesis to create works that bridge the territories of noise, drone rock and minimal music. His approach to electroacoustic music – which he voices with guitar, piano, strings, accordion, synthesisers, VST sorcery and loopers – has a distinct harmonic hue, with layered repetitive patterns and instrumental polyphonies.

As sound and visual designer he has directed and curated a wide variety of projects from soundtracks to space design. His collaborations have been hosted at highly regarded institutions and venues such as Venice Biennial, Berlin Atonal, Ström Festival, Bayreuth Festspiele, Museum Omero, Tresor and MUSMA.

Luciani was a member of the label/platform Dromoscope and has collaborated as visual artist with Grün (Daniele de Santis) and Claudio Rocchetti. In 2014, together with sound artist Fabio Perletta, he co-founded Mote, a multidisciplinary design studio whose practice addresses arts and music.

A year on from the highly-acclaimed album 'It's A World Before You', Kaidi Tatham brings more new music to First Word Records - a continuation of his previous EP's for the label (2017's 'Changing Times' & 'Hard Times'), here we enter 'Serious Times'.

Kaidi Tatham is one of the most revered multi-instrumentalists in the game. Dubbed by Radio 1's Benji B last year as "the UK's Herbie Hancock", his versatility as a musician is actually more akin to Prince in the sense that he can play most instruments, and play them well. His contributions as a musician, composer & producer have included work with Bugz In The Attic, Amy Winehouse, Slum Village, Mulatu Astatke, Soul II Soul, Moonchild, Leroy Burgess, Amp Fiddler and loads more over the years, additionally to being a key player on Jazzy Jeff's PLAYlist album 'Chasing Goosebumps' along with Masego, Stro Elliot, 14KT, Tall Black Guy, Rich Medina and the like, and various projects alongside Dego (2000 Black) and First Word label-mates Eric Lau, Darkhouse Family & Children of Zeus.

'Serious Times' is another 4-track set comprised of Kaidi's unmistakable style, encompassing broken beat, jazz, boogie and hip hop. The EP starts off with the hype jazz-funk bruk of 'Cost of Living', maintaining the tempo into 'Don't Cry Now' which leads with a sweet latin-tinged piano riff. Onto the flipside, and we're treated to the slinky synth-boogie of 'Sugar' before dropping the tempo down & closing the selection with a warped but jazzy instrumental boom bap piece entitled 'Zallom'.

Kaidi is a national treasure quite frankly, and this EP is another mere taster of this man's endless talents and unique vibes. Some grown folk music, perfect for these 'Serious Times'…

Vinyl & digital released on Friday 19th July 2019 on First Word Records (Worldwide Awards 'Label of the Year 2019').

Direct and simple: Christian S embarks to Permanent Vacation and brings five house-not-house tunes.
The bitter gloomy title track “Tannin” vibrates with a dry bassline over which an acid-flavored synth-line
arguments with higher hi-hat spirits. Matias Aguayo added his very special ability for creating haunting
chords and drums to the tune “Dancer” and transformed it together with Christian S into a nervous
house sensation. In contrast, Cologne DJ and producer Korkut Elbay also did some twists on
“Dancer”. His edit concentrates more detailed on the witchy chord construction. With Columbian
producer Sano Christian S puts his love for percussive spheres on the table and created a tune that is
made for magic floor moments, when all dancers melt into to one entity. Finally, the enchanted solo
track “Passant” wafts gently while a nervous melody haunts the listener. It rounds up a free spirited,
percussive, edgy yet catchy EP that is made for all circumstances of the night.

Prince will forever be remembered as a commanding live performer, chart-topping recording artist, and music business revolutionary. Yet for all the time he spent in the spotlight over his four-decade-long career, Prince also worked tirelessly behind the scenes to nurture talent and pen songs for the rising artists he respected.

Sourced directly from Prince’s vast archive of Vault recordings, ORIGINALS is a brand new 15-track album featuring 14 previously unreleased recordings that illuminates the vital, behind-the-scenes role Prince played in other artists’ careers. These are more than just demos, the production quality has been kept high and the recordings resemble a pristine quality similar to that of Nothing Compares 2 U released last year.

By the mid-1980s, Prince was dominating the charts even as a writer/producer with songs he’d composed and recorded for others. In addition to releasing nine of his most commercially successful full-length albums, he also wrote and recorded endless reels of material for proteges The Time, Vanity 6, Sheila E., Apollonia 6, Jill Jones, the Family, and Mazarati. Several of the iconic songs found on ORIGINALS were considerable hits for the artists who recorded them.

Packaging: CD / 2x 180g purple vinyl / hardback 12” gatefold book with glued pocket holding 2x 180g purple LP and 24 page 4 colour booklet.

The Voice of Love is the second album by American singer Julee Cruise, known for her collaborations with composer Angelo Badalamenti (Twin Peaks, Lost Highway) and film director David Lynch (Twin Peaks, Mulholland Drive). It’s the voice of love we hear all over the record, even when the lyrics getting darker and darker. The lyrics are written by David Lynch, while Angelo Badalamenti is the musical creator. The pulsing drums are a little more upfront compared to her earlier work. Julee’s voice is amazing and she has no problem with creating different moods on the album. It’s a beautiful follow-up of her first record Floating Into the Night.

Following the release of grime legend Jamakabi's “Wickedest Ting” EP, grime fans and vinyl collectors alike have been screaming for the bass remixes by Truth and Ghosty to be released on vinyl.

We heard, we listened and we can now deliver!

Rhythm Rollers is proud to present “The Bass Remixes” of Wickedest Ting on limited edition 12” vinyl.

Track A is an absolute monster brought to you by LA based dubstep veterans “TRUTH” which incorporates all the lyrical energy of the original while providing atmospheric low sub baselines that Truth are so well known for around the globe. If you love your dubstep this is a must for your collection and sets!

Track B is a whole different take on Jamakabi and D Double E's 2018 grime anthem. Ghosty steps up to the plate for this one and rises to the occasion in superb style. The Reaper Recording head honcho is quickly becoming renowned for his high energy amen drum patterns and this does not disappoint! If you get a chance to play this on a large system, be warned! The low subby basslines and heavy hitting drums will bring the roof down, and the rest of the building for that matter!

It's not often Grime greats like D Double & Jamakabi bless these type of styles and its even rarer to find them available on vinyl. If you love your Grime, dubstep or your amens this release has to be an immediate addition to your vinyl collection!!

This record contains two stone cold classics from the rave era. If you bought any tape packs or went to any raves in 1992, these are the two staple tracks most DJs would draw upon to keep the energy levels high.


On top of that, they are written by the rave overlord – Ellis Dee. Basically, the go to guy for any promoter that wanted their rave to be up there in the top tier.
These tracks sound as fresh and as the day they were released. And that is why we have decided it needed to have another short run repress as its been 4 years since we first pressed this record. But to make them even more special we have pressed 120 units on heavyweight 180g marbled grey vinyl. And as with every Vinyl Fanatiks release it comes presented in a black paper inner sleeve within a heavyboard Vinyl Fanatiks housebag.


This is a short run so get your orders in whilst they are in stock.


Fantazia… are you ready???

Mysterious Sydney songstress Justine recorded one album in ’79, which was never officially released. Left Ear have chosen two tracks for a 45 RPM 12” single, which they feel best highlights Justine’s unique vocal talents and songwriting ability. Here the crafty songstress wields melancholic soul and a funky Jazz inspired number with personal and reflective lyrics, both with an intimate and honest approach.

Elusive Sydney songstress Justine (Bradley) almost entirely wrote, produced and arranged her sole LP in ’79, an album that was funded by a radio station as the beneficiary for emerging talent. The music was created specifically for radio play without any intention of being manufactured. Luckily however, a friend with ties to a pressing plant known aptly as ‘Midnite Flite’, managed to sneak into said plant one evening and press up a small number for the enjoyment of family, friends & those involved.
Left Ear have decided to release what they consider to be the two most significant tracks from this release onto a 12” single, now for the enjoyment of all. The A-Side will feature the haunting ‘Wordless Songs’, a melancholic soulful number which according to Justine explores the “capacity to comprehend a partner’s internal quest for authenticity and connection”. The B-side ‘Mama Didn’t Tell Ya’ is more uplifting in both tempo and arrangements comprising an extended outro, while the lyrics remain just as personal and reflective.

London’s Terminal Cheesecake formed way back in 1988, quickly establishing themselves as a legendary underground band releasing numerous well received albums and the support of John Peel amongst others. The band, like many of the era eventually burned out before remerging in 2013 with a new line up. Terminal Cheesecake circa 2019, featuring Russ Smith, Horseloaf Horseloafson, Neil Von Fish, Dave Cochrane, Johnny J Beat release an new album 'Le Sacre Du Lièvre' on May 10th via Box Records. Their contribution here is two songs long 'Fake Loop' and 'Song For John Part 2', baked in fuzz and swirling distortion. It's a totally different type of high from the Electric Moon side. Whereas the latter go on a spaced out cosmic trip, the Cheesecake side is more of an earthy, dark but equally glorious ride.

These versions are taken from Marc’s own tapes. All royalties go to the ‘Light of Love Foundation’ for the Marc Bolan School of Music & Film. ℗ 2019 Easy Action Recordings Ltd © 2019 Easy Action Recordings Ltd. 700 copies pressed on cream vinyl. Rare and unheard versions of these songs remastered from Marc’s own personal copies, recently repatriated with the estate. Presented in high quality reverse board 3 mm spined sleeve with photo from Peter Sanders

A wonderful reminder of Big Boi's unparalleled prowess in the rap game. He has literally been doing this longer than some rappers have been alive.' - High Snobiety

Big Boi is one of the OGs of hip-hop and he's still reinventing himself more than two decades after entering the game.' - XXL
An all-star affair.' - Rolling Stone

Big Boi reveals June 16 as the release date for his highly-anticipated third full-length solo album and first release for RCA Records, Boomiverse.

Tonight, the seven-time GRAMMY® Award-winning, RIAA diamond-certified hip-hop luminary, producer, and member of OutKast takes the stage at NBC's The Voice for the very first time. Big Boi and Levine will team up to perform Mic Jack' live during the semifinals. In addition, he's set to debut the song's official music video in revolutionary fashion.By Shazam-ing the performance, fans can unlock the exclusive premiere of the visual. The Voice airs at 8pm ET/7pm CT on NBC.

Kill Jill' and Mic Jack' have already begun to amplify excitement for the album's arrival. Kill Jill' has racked up over 3.1 million Spotify streams to date, while Mic Jack' garnered 1.5 million Spotify streams in just a few weeks. Big Boi unveiled the songs during a high-profile Apple Music Beats 1 premiere before performing Mic Jack'' on The Tonight Show Starring Jimmy Fallon. In addition, both tracks continue to draw critical praise.

One of history's tightest and most clever rhyme mavericks, Big Boi's indelible influence courses throughout two generations of rap music. As one-half of OutKast, he achieved seven GRAMMY® Awards, sold 25 million records, and created a string of music's most influential work, including Aquemini, Stankonia, Southernplayalisticadillacmuzikand Speakerboxxx/The Love Below—which went RIAA Diamond making OutKast the first and only hip-hop artist in history to win the GRAMMY® for 'Album of the Year.' Big Boi's 2010 solo debut, Sir Lucious Left Foot: The Son of Chico Dusty, bowed at #3 on the Billboard Top 200 and received unanimous critical acclaim with Pitchfork proclaiming it one of the "100 Best Albums of the Decade 'So Far'" and topping year-end lists from Time, Paste, Vibe, and more.

His 2012 follow-up Vicious Lies and Dangerous Rumors enamored tastemakers and fans alike and boasted collaborations with A$AP Rocky, Killer Mike, Kid Cudi, and more. In 2015, Big Boi collaborated with Phantogram to create supergroup Big Grams. Their debut self-titled album was released to critical and fan delight.

Keep Your Mind Alive is the LPH debut for Rydm Sectors, an Italian duo that bridges classic New York house and UK garage and lightens the resultant hybrid with well-placed sparkly synth work, jazzy drum fills, swanky piano licks. Nightclub music that’s been genetically modified to be just as functional and fun there as it is laying on a breezy beach, soft white sand your pillow, crashing high-tide waves reminder of the nature around you.

One of the musical highlights from Louie Vega’s NYC Disco album, “Rebel Nation” is a collaboration between grammy award winner Louie Vega, legendary multi-platinum producer Patrick Adams, and Nulu Records president, international DJ and artist Anané. Patrick initially had the idea for the song after seeing a recent Star Wars movie. Louie saw the vision of what it could ultimately be with live music additions, and Anané added the inspired lyrical content and vocal performance. In Louie’s own words, “I call Anané a chameleon, because she transcends so many different sounds with her voice. She gave the track just the right feeling vocally. It’s a very punk-rock approach; the kids speaking out, all kinds of people making the statement, Get Up! Stand Up! Let’s Rise! Rebel Nation.”

Lauded critically and on dancefloors worldwide in its original album version, the track has now been given the all-star remix package treatment with contributions from Danny Krivit, Carl Craig, Soul Clap and Felix Da Housecat X Chris Trucher.

Exactly a year on from 'Travel Light', we release the final single from Children of Zeus' debut album. A dinked 7" single, containing one of the stand-out tracks from the album, 'Hard Work', and a re-vocalled Lover's Rock version of 'The Heart Beat' (a demo version of which appeared on 'The Winter Tape' from Christmas 2018).

'Hard Work' is a term than can easily summarise the past twelve months in the life of Tyler Daley and Konny Kon. They've been busily touring Australia, New Zealand, South Africa, Europe and the UK twice in that time, as well as rocking shows at countless festivals across the continent.

'Travel Light' was named "Album of the Year" by Complex Magazine, BBC 6 Music's Huey Morgan and Rinse FM's Jyoty, as well as taking 2nd place at the Worldwide Awards (for which their label First Word was named "Label of the Year") and numerous high-placing's from Fact, Mixmag, The Vinyl Factory, Juno, Bandcamp, Mi-Soul, Wordplay & Piccadilly Records, amongst numerous other notable selectors, blogs, tastemakers and musicians, with fans far & wide from Radio 1's Benji B to Chase & Status, Jazzy Jeff to Lily Allen, Stormzy to Goldie.

The depth of styles & genres included on 'Travel Light' confirmed that Tyler & Konny are not easy to put in a box. Their initial inspirations of Manchester pirate radio in the 80's/90's all make up to form the sonic tapestry of hip hop, soul, r&b, broken beat, jungle and, in this instance, reggae.

One of the album's biggest surprises was this now-anthemic track, 'Hard Work', which sees Tyler Daley effortlessly ride a one-drop riddim drenched in positivity, and is a highlight in their live sets, as anyone who's witnessed will testament to. Meanwhile, the flip-side transforms the quiet storm vibe of 'The Heart Beat' into a heavy, heavy dubwise track, creating an essential accompaniment and fitting sequel to the original lick.

Pressed on a limited edition rustic JA-style dinked 7", this one is, of course, essential for any discerning collector, fan and DJ. Released on First Word Records, July 12th 2019.

Shimza, one of South-Africa’s shining talents, makes his return to Cadenza with ‘Eminence’, a burning compound of profound percussions and late-night rapturing synths. This Gauteng-born artist is one of the most celebrated African electronic musicians and has garnered the reputation of the “Effect Master” and “Vinyl Assassin” for his technical prowess and intricate mixing abilities. The vibrating drums and persistent arpeggios of ‘Eminence’ make for a captivating peak-time anthem, offering the nostalgic essence of Detroit’s late-nineties splendour. As the EP journeys to ‘Dancefloor Keeper’, the slick trance-inspired stabs and permeating bassline expose its ominous nature as it swells to a seismic drop. On the B-side, Shimza expresses his creative flare with ‘Kunye’; a hypnotic cut that blends the spirit of futuristic synthwave with the soul of African tribalism. ‘Warrant For Arrest’ is a charged number, driven by a snappy compressed kick drum and chiming sequences. As its percussive forces fall away to the second break, a monstrous siren and obscure vocal cuts take focus, guiding it to its summit. The penultimate offering ‘MSC’, is a euphoric gem that flows with expressive phrases and evolving synth pads. The EP’s digital-only bonus track ‘Mirrors’ shuffles effortlessly with a funk-tinged riff, maintaining a high voltage pace, closing the EP in an emphatic manner. Shimza has been on a mission to make 2019 his biggest year to date. Launching his One Man Show concept in Soweto in 2009 to help raise funds for underprivileged children, the project has now matured into an annual event that draws in over 25,000 people each year, hosting some of the country’s most in-demand artists, such as AKA, Black Coffee and Black Motion. The show has seen international editions in France, Spain and Portugal and has helped position Shimza as one o

For our fourth installment of the “Roar Groove meets Dirt Crew” series we present you this new set of shimmering and dubbed out Revenge cuts. After the last episode Graeme has been very busy working his “live” studio setup to come up with a whole range of new jams of which we have selected the below four tracks. We think these best represent his unique style and once you hear these in a club you instantly know “That’s a Revenge Tune”, something we have always loved about his sound.

The opening “Like an Ending” is a trippy, melancholic-euphoric track driven by a Moog Voyager bass line and classic House keys and vibe. The original recording was an 11 minute live take that he has been able to capture the essence off and narrow it down to this thumping club jam.

The A2 is all about those good times and it reminds us a lot of early 90s “French Touch”, filtering House at it’s best, it keeps running around in your head and with it’s slower pace we are sure this one will do especially well on the early morning dance floors and high summer sun drenched beaches.

On the other side we enter darker and more dubbed out territories. Here is the first track in Graeme’s words “This one had been knocking around for a couple of years in various forms, but it wasn’t really until I stripped it all back and let the arpeggiated synth do it’s thing that it really seemed to gel. It’s really the rhythm of the whole thing, I ended up scrapping extra hi-hats and stuff that was just getting in the way.” And we have to mention that we personally love that marimba! This track is like a spaceship floating the skies and eventually touching down.

To close out this new work we have one of these typical stab-y Revenge chuggers, loose and floating, synth lines underlaid by a distinctive beat, it has kind of a breakbeat feel to it and with the improvising on those synths and melodies on top of it all it’s a true Dub House track.

Summer is here and this record sets the pace and tone! Enjoy!

Having spent the last few years impressing audiences around the world with his magical sound, we're very excited to announce that The Turk, Mehmet Aslan makes a welcome return to Highlife!

Onward and upwards - the Belgian dubstep imprint Overdue maintains its super-heated release schedule with full force. With a meticulously curated artist roster and continued support by the likes of Mixmag and other vital institutions, this release yet again perfectly aligns with their vision of subculture sound system music. Spearheaded by a positively prolific artist, their fourth record features Teffa on the controls. Following up on some massive 12" releases on crucial labels such as White Peach Records and Foundation Audio, the up and coming artist furthers his status as a versatile and highly capable producer with three tracks of unadulterated sound system pressure - including a weighty collaboration with Chad Dubz.

Arming the record, "Shell It" heads straight into the matter at hand, precision engineered weaponry clocking in at 140 BPM. Drums like mountains, effortlessly heaving immense amounts of low-end, smoothly embedded on silky pad swells. Fusing old-school elements with the present like few others, the lively arrangement does the rest to keep the crowd aflame without end. Music with an attitude - rewinds assured.

Fasten your seatbelts as the record kicks into overdrive once again with "Sludge" as faint police sirens and reverberate into oblivion only for it to implode into an instant dubstep classic. Driven by its ridiculously effective and minimal instrumentation, the underground unravels itself in sonic form. Spacious pressure wave emissions, especially primed for the dance.

Stepping up to the title track, "Illegal" tops off the 12" most beautifully - packed with Grime and Breaks influences and mesmeric melodies. As unshackled 808's pound away alongside a murderous set of percussions, the electronic soundscape treads through hypnotic harmonies and dance-inducing groove - Teffa signature style at it's finest.

Repress

Berlin's Monnom Black is back again with the King of The Sewers EP; four cuts of pulsating techno from two of electronic music's most uncompromising young figures, DAX J & UVB. Already well-known for its more fundamentally rugged take on modern electronics, the label's 19th release is another intense transmission deep from the underworld.

The menacing tone of the EP hides the friendship that's developed between these adopted Berliners, two young men who met in the city and discovered a shared passion for raw analogue audio and electronic sounds that marry starkness with depth. Although they began DJing at the same warehouses since 2014, the duo have waited until the right moment to bring together their mutual love of unique mechanised noisescapes and the high-end production values they ve developed over years of experience and experimentation. The King of The Sewers is that record, a gritty soundtrack inspired by forgotten lives beneath eastern-bloc cities.

For Monnom Black this latest release continues a run of unmistakable techno records that challenge the mainstream with a non-conformist philosophy. The label's ethos is to push boundary-testing music by artists who are unafraid to explore a chaotic, divided world in the belief that distinctive music can still create moments of grace and community. This is music for the deepest, darkest parts of the night, breaking beyond the dancefloor and into the liminal spaces where analogue and digital, body and mind meet. The King of The Sewers EP represents another step forward in the development of a record label pressing at the borders of what contemporary techno can be.

This third release of Black Lotus on Florian Meindl's FLASH Recordings enqueues in her reflection on space and physics and hypnotizes the listener in her usual kind.

According to ancient and medieval science, Aether is the material that fills the region of the universe above the terrestrial sphere.
In mythology it is seen as the personification of the heaven - the soul of the world and element of all life. An undetectable substance.
The invisible material thought to permeate all the empty space in the universe. The pure air that the gods breathe in the heavens.

Kicking off with the opening theme, with its wild synth hook and sweeping ride, ÔAetherÕ induces a solid trip on the dancefloor.

The second track explores deeper territories with its dynamic cymbals, spacey 303 textures and monotonous dark mood.

Distant Signal is a supernatural story about incessant galactic bleeps, accompanied by heavy kicks and a highly energetic percussion.

Safe trip!

Nils Frahm veröffentlicht heute seine brandneue 5-Track-EP Encores 1.Nils Frahm hat die letzten zwei Jahre damit verbracht, sich sein neues Studio im Funkhaus Berlin zu bauen und dort Aufnahmen zu machen: In diesem Rahmen entstand nicht nur sein zuletzt veröffentlichtes, international gefeiertes siebtes Album All Melody, sondern obendrein etliche weitere Tracks, von denen fünf ab heute als - erste Zugabe erscheinen: die EP Encores 1.

Aus insgesamt 60 ersten Ideen und Songskizzen habe er schließlich jene 12 ausgewählt, die auf dem Album All Melody versammelt sind, was bedeutet, dass ein Vierfaches davon zunächst in der Schublade bleiben sollte: - Die Idee zu den Encores hatten wir dabei genau genommen schon vor All Melody: Nämlich drei Veröffentlichungen zu machen, von denen jede ihren eigenen musikalischen Stil hat und ihr eigenes Thema. Wir dachten dabei zunächst an ein Triple-Album.

Doch dann wurde All Melody immer größer und verdrängte diese ersten Konzeptideen , so Frahm. Als eine Art begleitender Anhang zu All Melody gedacht, wobei sich zum Beispiel das Stück - The Dane auf der aktuellen Welttournee bereits als absolutes Live-Highlight entpuppt hat, konzentriert sich Encores 1 durchweg auf akustische Aufnahmen mit zwei Instrumenten: (Solo-)Klavier und Harmonium. -

Ich glaube, man kann die Idee der Encores mit klanglichen Inseln vergleichen, die All Melody erweitern , sagt Nils Frahm weiter - und deutet damit an, dass die Geschichte von All Melody womöglich noch längst nicht zu Ende erzählt ist ...

Soundway Records presents the eponymous debut LP from in-demand Amsterdam five piece The Mauskovic Dance Band – fusing no-wave dance punk, Afro-Caribbean rhythms and space disco in a “controlled explosion” (The Quietus).

Entirely self-produced, the band has reiterated their favourite elements of the 70s and 80s legacy of the Afro-Latin psychedelic music of Colombia and Peru, interpreting it through the context of modern day Amsterdam. The output is a lo-fi No Wave groove all its own - rooted in a deep love of champeta, Palenque, psychedelic cumbia, chichi, classic afrobeat and picó soundsystem culture.

Since the release of their “Down In The Basement” EP on Soundway Records in early 2018, the band have found themselves on a hectic European touring schedule – not to mention being involved in other side projects. Following stints with Turkish psychedelic folk rock group Altin Gün, and touring with the re-formed 70s Zamrock outfit W.I.T.C.H., Nic Mauskovic also teamed up with Dutch neo-psychedelic artist Jacco Gardner to form the “cinematic Balearic disco” duo of Bruxas (released by Dutch institution Dekmantel) – and together, they mixed The Mauskovic Dance Band debut album in Lisbon.

Lead single Space Drum Machine encapsulates the band’s prototypical brand of busy rhythmic patterns interwoven with insistent synth stabs and vibrant disco toms, layered with an elastic guitar riff drawing inspiration from Kenyan kikuyu and benga styles. High-pitched vocals describe being on a flight together and inciting each other to press a button of unknown consequence with “push it, push it” - and push it they do, at breakneck pace. And of course, the undeniable influence of Amsterdam’s hotbed of underground dance producers shines through as it does on all tracks - with the vintage psychedelic swirl of synthesiser, lo-fi drum machines and tape recording.