Buscar:hook

Raga Abhogi
1) Alap
2) Jod
3) Jhala

Raga Vardhani
4) Alap
5) Jod
6) Jhala

Zia Mohiuddin Dagar : rudra veena
Annie Penta : tanpura

Concert recorded at the home of Shantha and Niranjan B. Benegal, Seattle, Washington 9 March 1986.
Recorded by Niranjan Benegal. Files obtained from Jeff Lewis.
Mastered & Cut by Rashad Becker at Dubplates & Mastering 1117 & 0318.

Liner notes by Renaud Brizard, edited by Stephen O'Malley & Ian Christe.
Front and back cover photos by unknown.
Interior photography by Niranjan B. Benegal, Dan Neuman & unknown, Seattle 1978-1980. .

Around ten years ago, deep into a cozy and hazy night following a concert with my sound brothers Daniel O'Sullivan and Kristoffer Rygg in London (as Æthenor), they graciously introduced me to a recording of rudra veena (a kind of noble deeper bass relative to the sitar, in a way) as performed by dhrupad master Zia Mohiuddin Dagar.

Dhrupad, for those who do not know, is a branch of Hindustani classical music said to "show the raga in its clearest and purest form". It's pacing concentrates heavily on the slow, contemplative alap section and works with specific microtonal gestures and deep characteristics of resonance ... in short I was hooked on this new (to me) and ancient form of music from the first listen, and feel that a more or less continual listening & reviewing of Zia Mohiuddin Dagar's recordings in the years that followed have influenced my own approach to music quite heavily (if, albeit, indirectly).

In early 2015 I was able to make contact with Zia Mohiuddin Dagar's son Bahauddin and some of his American students/disciples, primarily Jeff Lewis. Over time we developed a friendly and educational exchange, access a massive archive of recordings and developed these two paired titles for my label. It's been a long path to arrive at actually releasing them but also probably in many ways one of the most significant releases I've worked on. And I'm proud to be able to reveal these to date unreleased archival recordings of one of the masters of dhrupad, Z. M. Dagar, to the public for the first time.

Zia Mohiuddin Dagar was the nineteenth generation in a family tradition known as Dagar gharana, a rich lineage which continued and performed the musical form of dhrupad (Bahauddin Dagar continues the lineage as a master rudra veena dhrupad player of note today). Initially, dhrupad was a rigorous, austere, devotional genre that was sung in Hindu temples. But between the 16th and the 18th centuries, it became the preeminent genre in royal courts in North and Central India, and the Dagar gharana developed and continued publicly following the eventual loss of court patronage for dhrupad in the 19th century. The French ethnomusicologist Renaud Brizard covers the story of Zia Mohiuddin Dagar's life and teaching (a long story also in Seattle, my hometown!), the Dagar family and gharana, the rudra veena and more topics in an extensive set of liner notes in this release.

Ragas Abhogi & Vardhani were recorded in a private house concert in Seattle at the home of the Benegals in March 1986 (the week before the accompanying release SOMA029 Raga Yaman was recorded). The Benegals were friends (& Shantha Benegal was also a student) of Dagarsahib who sometimes hosted Hindustani music concerts in their home. It's a rare glimpse of a more intimate, personal and perhaps different kind of performance considering the form of dhrupad.

-Stephen O'Malley, March 2018, Paris, France

Stephen O'Malley would like to especially thank Bahauddin Dagar, Jeff Lewis & Jody Stecher for their enthusiasm, cooperation, patience, insight & advice toward developing these editions. Thank you also to Laurel Sercombe & John Vallier from the University of Washington Ethnomusicology Archives, Shantha Benegal, Philippe Bruguière, Dan Neuman, Ira Landgarten, Renaud Brizard, Ian Christe, Peter Rehberg, Rashad Becker, Daniel O'Sullivan & Kristoffer Rygg, all for their direct or indirect cooperation, assistance & patience.

Raga Yaman
1) Alap
2) Jod
3) Jhala
4) Gat (Composition in Chautal)

Zia Mohiuddin Dagar : rudra veena
Manik Munde : pakhawaj
Gayathri Rajapur & Annie Penta : tanpuras

Recorded by unknown at the University of Washington, HUB Auditorium, Seattle, Washington 15 March 1986 , concert co-sponsored by the UW Ethnomusicology Division and Ragamala.
Original digitally processed audio recording made with Panasonic PV-9000 VCR, Sony PCM-F1, PZM mics. Mastered & Cut by Rashad Becker at Dubplates & Mastering 1117 & 0318.

Liner notes by Renaud Brizard, Stephen O'Malley & Ian Christe.
Front and back cover photos by Niranjan B. Benegal, Seattle Center Folklife Festival 1979. Elizabeth Reeke & Annie Penta on tanpuras.
Inner gatefold photography by Niranjan B. Benegal & Ira Landgarten.

Around ten years ago, deep into a cozy and hazy night following a concert with my sound brothers Daniel O'Sullivan and Kristoffer Rygg in London (as Æthenor), they graciously introduced me to a recording of rudra veena (a kind of noble deeper bass relative to the sitar, in a way) as performed by dhrupad master Zia Mohiuddin Dagar.

Dhrupad, for those who do not know, is a branch of Hindustani classical music said to "show the raga in its clearest and purest form". It's pacing concentrates heavily on the slow, contemplative alap section and works with specific microtonal gestures and deep characteristics of resonance ... in short I was hooked on this new (to me) and ancient form of music from the first listen, and feel that a more or less continual listening & reviewing of Zia Mohiuddin Dagar's recordings in the years that followed have influenced my own approach to music quite heavily (if, albeit, indirectly).

In early 2015 I was able to make contact with Zia Mohiuddin Dagar's son Bahauddin and some of his American students/disciples, primarily Jeff Lewis. Over time we developed a friendly and educational exchange, access a massive archive of recordings and developed these two paired titles for my label. It's been a long path to arrive at actually releasing them but also probably in many ways one of the most significant releases I've worked on. And I'm proud to be able to reveal these to date unreleased archival recordings of one of the masters of dhrupad, Z. M. Dagar, to the public for the first time.

Zia Mohiuddin Dagar was the nineteenth generation in a family tradition known as Dagar gharana, a rich lineage which continued and performed the musical form of dhrupad (Bahauddin Dagar continues the lineage as a master rudra veena dhrupad player of note today). Initially, dhrupad was a rigorous, austere, devotional genre that was sung in Hindu temples. But between the 16th and the 18th centuries, it became the preeminent genre in royal courts in North and Central India, and the Dagar gharana developed and continued publicly following the eventual loss of court patronage for dhrupad in the 19th century. The French ethnomusicologist Renaud Brizard covers the story of Zia Mohiuddin Dagar's life and teaching (a long story also in Seattle, my hometown!), the Dagar family and gharana, the rudra veena and more topics in an extensive set of liner notes in this release.

Raga Yaman was recorded at a public concert in Seattle at the HUB Ballroom at the University of Washington in March 1986 (the week after the accompanying release SOMA028 Ragas Abhogi & Vardhani was recorded) at the end of his last tour of the United States. Yaman was a special raga for Zia Mohiuddin Dagar, one of his signature raags. For centuries, Yaman has been considered as one of the most fundamental ragas in Hindustani music and is one of the first ragas which is taught to students. A deep knowledge of Yaman gives a key for understanding many other ragas. It's filled with tranquility, contemplation, pathos and spiritual yearning. .

-Stephen O'Malley, March 2018, Paris, France

Mgun, Or Manuel Gonzales To His Friends, Has Long Been A Fixture Artist For Dba. Since Making His Uk Debut On The Label In 2012, Having Already Featured On Detroit's Celebrated Wild Oats Imprint, He Has Smoothly Yet Slowly Progressed Through The Presses Of Fellow Dance Music Tastemakers Third Ear Recordings And Kiev's Wicked Bass. Following 2016's Warmly Received 'gentium', 'axiom' Finds Manuel Gonzales Back On Dba With An Index Of Offbeat Jams That Couldn't Have Emerged From The Mind Or Studio Of Any Other Producer.

Once More Envisioned And Engineered In His Native City Of Detroit, The Record Finds Mgun In More Auspicious And Domestic Circumstances. Now Firmly A Father And A Homeowner, 'axiom' Allows Gonzales To Flex His Party Muscle, While Further Pushing The Elastic Boundaries Of His Notoriously Unpredictable And Brilliantly Raw Production Style. Across Twelve Tracks, Listeners Are Offered An Unpredictable Trip Into The Restlessly Experimental Snatches Of Studio Time Gonzales Is Afforded Away From His Day Job At The Legendary People's Records Store. It's Here That Gonzales Absorbs Endless Releases And Rediscoveries Passing Through The Stock, Trading The Occasional Tip With Some Of Detroit's Best Known Producers.

Beginning With The Off-kilter Funk Of 'you Inside Me', 'axiom' Expertly Toes The Line Between Full-bodied, Soulful Club Weapons ('you're Never Home', 'nichrome'), And The Sort Of Lo-fi Tinged Jams That Enable Gonzales's Unusual Weirder Hooks And Rhythms To Extend Into Something Altogether More Hypnotic And Psychedelic ('kartwheel', 'sil').

There Are New Sounds And Approaches Throughout. Centrepiece Track 'see It For Myself' Finds Gonzales On Vocal Duties For The First Time, And The Dystopian Tinted 'vap' Finds His Sound Expanding Into Weightless, Dreamlike Electro. And While Certain Tracks Date Back Years, Having Slowly Matured To Full Funk, Others, Such As The Gloriously Unhinged '359' Were Rapidly Produced To Capture The Inspiring Energy Of A Late-night Glaswegian Rave.

Simply Put, 'axiom' Does The Work Of Representing Mgun At His Musical Best, An Analogue Celebration Of Pure Party Potential.

Plug in and dream .... Lullabies for Robots continues the run of fine EPs on Verdant Recordings exploring the melodic, deeper side of techno. This release a split shared by Vancouver's ESB known for his meandering soulful analogue jams. Verdant Recordings has been lucky to sign two exquisite tracks. 'Subliminal Wave' is R2D2 getting off to an acid groove whilst 'Phayse Distance' holds a more relaxed droid after party vibe. On the other side Mihail P is back for Verdant after his debut appearance on Emerald City. Memory Upgrades features warm bumping percussion underneath a joyful hook. Memory Upgrades is a masterful piece of delicate electronica with references back to Warp's seminal Artificial Intelligence series. Another beautifully presented EP on heavy vinyl and printed sleeve with artwork by Sophie O'Leary: perhaps the best cover of the series to date

æ Productions are pleased to present the new single by Truck featuring Phill Most Chill - 3,665.

Original AE co-founder Truck is back with a new album coming soon and delivers a taster with this lead off 7' single featuring fellow AE Productions recording artist and Hip Hop legend Phill Most Chill. 3,665 refers to the distance between Truck and Phill Most Chill's home cities and the pair duel brilliantly over a heavy beat by Sir Beans OBE (The Aroma/Parlour Talk/Ruztik Records). No chorus hook nonsense here but Mr Fantastic supplies some sharp cuts to complement the MC's.

The B-side is the 'Raw Skeleton Version' of Right or Wrong - a special stripped back version of a track from the forthcoming album produced by Mr Fantastic which will not to be released elsewhere. Truck flows effortlessly over the DJ friendly obscure Funk groove.

Available on black vinyl 7' in a run of 350 retail copies in full colour sleeve designed by Mr Krum.

Comprised of Vancouver producers and multi-instrumentalists Nick Wisdom and Astrological, Canadian duo Potatohead People boast a number of noteworthy accolades thanks to a their signature sound drawing influences from 90's boom-bap, future soul, classic jazz, deep house and boogie/funk. Beginning with a series of EP's, including their landmark "Kosmichemusik" EP, Potatohead People's productions quickly made their way to artists like Illa J who tapped the duo to produce his now critically acclaimed self-titled album, as well as producers like Kaytranada (who co-produced Illa J's "Strippers" with the pair). Supporters such as Soulection, Nightmares on Wax, Pomo, DJ Spinna, Big Boi, and Phife Dawg have also played formidable roles in championing the sound of Potatohead People worldwide.

Now with three years since their last release, 2015's critically acclaimed debut album Big Luxury, Potatohead People are back their long awaited new album Nick & Astro's Guide To The Galaxy (due out May 11th via Brooklyn label Bastard Jazz) The record picks up right where the pair left off, showcasing a leap forward in production chops, musicality, and songwriting. The first single "Quest For Love" "with it's neck snapping drum break, lush rhodes chords, cosmic synths, guitar & horn flourishes and unexpected musical changeups bring in the hip-hop infected musicality the duo has become so loved for, while Nick & Astro collaborate vocally on top. "Morning Sun" featuring Danish vocalist (and Anderson.Paak collaborator) Nanna.B is in part a melancholy piece with knocking drums, an infectious bassline and a soulful, shimmering hook, while "Do My Thing" featuring Canadian singer Kapok and Illa J is a neck-snapping Hip-Hop joint perfect for the dancefloor. "Liftin' Up" featuring San Francisco's K-Maxx ventures into West Coast boogie territories, while the album's closer "Rituals" goes for a deeper more atmospheric electronic vibe.

Lithuanian based label Sodai started its journey in 2016, making it a label still in it's infancy but making a big impression. Owned by artist Gardens Of God, who started the label to create his own 'no limits' platform for his experimental sounds and projects. While at the same time a platform to give other artists the chance to also have freedom with art and music.

With releases from Raxon, Few Nolder and Alex Krell under their belt, they can announce the exciting debut from UK producer Third Son this April. 'I've been an admirer of Gardens Of Gods' music for a long time, when he asked me if I could do something for his imprint, I was more than thrilled!' adds Joseph.

'Syncope's' synths spread far and wide, making this a journey of a track, modulating and panning in and out, pushing and pulling along a percussive drive. His broad musical range can be felt in this mix, with its slightly hypnotic tones.

'Irony' has a punctuated low end, which creates a deep and dark groove. The synthetic elements in this track gain in attitude, on top of ambient pads, leading nicely into 'Bach' to close out the release. It's driving and determined bass makes the backbone of the track, with a modulating hook line, along building and expanding frequency ranges.

The whole package makes for a very strong first release from Third Son, and Sodai are excited to be welcoming him to the family.

2x12"

Soma Are Proud To Present The Debut Album From One Of Techno's Most Prolific And Renowned Producers, Tensal. As One Half Of The Duo Exium, Hector Sandoval Has Already Carved Out A Career In Techno Spanning Over 20 Years, With Countless Release On Their Self-run Nheoma, Warm Up Recordings & Pole Group, To Name But A Few. In 2014, He Started The Tensal Project As An Outlet For His Own Productions Which Allowed Him The Scope Of Pursuing The More Direct And Minimalistic Approach With His Music And Also His Dj'ing. After Hooking Up With The Soma Camp In Early 2017 And Releasing A Collection Of Well-refined Singles, Tensal Delivers His Debut Album, Graphical. Searching To Go Beyond The Realm Of Standard Techno, Tensal Lends His Considerable Production Experience To This Project And Creates A Sophisticated And Immersive Album Experience That Flows Gracefully Between Idm And Techno.

With The More Stripped Back Approach At The Forefront Of The Project, Belga Gives Us An Insight Of What To Expect From The Album; A Refined Sequence And Melodic Element Build Gracefully And Hypnotically, Ending Abruptly To Leave You Wanting More. Santolaya Picks Things Up And Brings With It A More Pensive And Exploratory View Before The Droning And Atmospheric Roj0 Leans On A Decidedly More Experimental Side. Aimed At Bringing Tension To The Project, Convulsa's Waves Of Sub Bass And Syncopated Percussion Set The Tone For A Pulsing And Edgy Affair. Tensal Brings 4x4 Into Play With Polariex. Slow Paced Yet Staunch In It's Approach, A Gritty Synth Hook Stands As The Backbone. A More Hypnotic Approach On Egoaio Looks To Bring In The Standard Tensal Sound But As Always, New And Experimental Sounds Are At The Forefront. Closing Out The Album, The Focus Begins To Shift To A More Dance Floor Orientated Attitude. Zomb Is A Quintessential Dj Tool, Drawing On The Power Of Restraint, As Its Gradual Swells Create Perfect Cohesion Throughout. P R U V I 4 Continues The Ongoing Theme Of Tension As Multi Layered Hooks Surge Forth Against A Backdrop Of Forceful Drums And Undulating Noise. Tensal Ends His Debut Lp On A High With The Punishing Mimix. Pounding Kicks And Twisted, Tripped Out Synths Are Driven In Intensity With Chopping High Hats That Slice Through With Vigour.

With Graphical, Tensal Has Constructed A Body Of Work That Is More Than The Sum Of Its Parts; Easily And Intelligently Displaying His Production Prowess By Crafting A Sonically Accomplished Album.

* The second in Joker's trio of special releases to commemorate 10 years of his Kapsize label is to release this coming May.
* Over the past decade, Kapsize has put out some of Joker's most defining work, including the iconic 'Purple City' (produced with Ginz) — a track widely recognised as ground zero for Joker's purple dubstep aesthetic — and 2015 album, 'The Mainframe', as well as early records from Asa & Sorrow and L-Wiz.
* To be released both on special edition vinyl, A-side 'Marching Orders' features legendary grime MC and producer, Footsie, who goes hard over Joker's monstrous instrumental — think relentless, hyper-distorted club hydraulics — even acknowledging him on the hook; 'Oi Joker this beat's sick, crazy'.

* On the flip, B-side 'Polka Dot' is equally as tough, despite the dizzying melodies and gentle tones of the track's opening throws, landing as a crunching melee of textbook Joker sounds.

2x12" Reflecting on a career spanning three decades, Luke Slater is a true dance music legend. The British producer has not only been pivotal in the rise of techno but his work continues to play a vital role in driving the genre forward, particularly under his Planetary Assault Systems name. Following its launch in 2006, Slater's L.B.Dub Corp moniker has been responsible for refreshing house music on labels like Mote-Evolver and Ostgut Ton, with the latter hosting the pseudonym's debut album in 2013. 'Side Effects' is the project's first body of work since then. "I wrote the tracks over the last year between being on the road as P.A.S. and playing a few L.B.Dub Corp house sets, which naturally evolved into 'Side Effects' almost accidentally" - Luke Slater Crashing stabs and a rolling hook inaugurate the album in 'Reel One' before the meandering 'Night Time Hawk' demonstrates effervescent effects and bursts of white noise. Commanding kicks and a moody bassline make up the robust 'Edge 7' whilst 'IELBEE' exhibits a bouncy aesthetic complete with intricate melodies. 'Float When You Can' is dark and ominous from the off but an echoing note sequence adds a glimmer of light, making way for the reverberating mechanics of 'Bass Machine' before leading into the twisted sounds and ghostly air of 'Forever In A Day'. Nearing the end, 'LBEES Jam' is the most lighthearted track on the album with its twinkling lead melody until Slater rounds off the release with a soulful and vocal driven affair 'All Got To Live'.

Since the early 1990s, keyboard player Jessica Lauren has been a familiar part of London's alternative music scene. Jessica's keyboard skills have augmented the live performances and studio recordings of world renowned artists such as Jean Carne, Tom Browne, Dexter Wansel and James Mason, Japan's United Future Organisation, and UK soul diva Juliet Roberts.

Her previous Freestyle album 'Jessica Lauren Four' (2012) highlighted Jessica's minimalist approach, something rare and refreshing in the jazz world: she instills her compositions and playing with a refined sense of space which makes her music as much about what she doesn't play as what she does.

The albums' opener - Kofi Nomad is a deeply percussive afrocentric epic, featuring the beautiful baritone saxaphone of Tamar 'Collocutor' Osborn, one of the most in demand woodwind players working today, underpinned by a powerful foundation of percussion courtesy of Richard látúndé Baker, Phillip Harper and drummer Cosimo Keita Cadore.

Jessicas' amazing skill for writing simple, understated yet superbly memorable and catchy hooks remains undiminished. Highlights in this new collection are almost too numerous to mention, but Amalfi is a breezy bossa, which conjures up images of easy living days and sun dappled Mediterranean coastlines, whilst the angular and brooding Simba Jike has something of an Eddie Harris style deep, dark groove over which Jessica riffs and solos beautifully on grand piano - and Tamar once again blows freely, whilst 'level' Neville Malcolms' upright bass figure roots the entire thing in a solid, almost primeval sound.

The albums closing statement Argentina is a masterpiece of pathos and perfectly demonstrates Jessicas' approach which is almost akin to a minimalist architecture style of composing and playing, such is the strength of its atmosphere and subtlety.

Flexure is a collaboration between Jamie Behan & Stephen Mahoney. Both have been DJing since the mid-'90s, but Flexure is a relatively new hardware-based project that sounds like a mashup of techno, acid, electro and Chicago house. In Orbit is Flexure's second EP, a collection of unhinged machine bangers.

Orbit is the A side, a smash of a stomper, massive claps and a wild hook with vocals swirling claiming Orbit as a peak time destroyer.
B side contains Computers, a floor filler with a massive acid hook, total dancefloor killer. Next is Opioid a deep growler mof a track that is sure to find its' way into a multitude of sets.

Two seminal cuts from Norman Whitfields standout project, The Undisputed Truth. Remastered and reissued on 180g vinyl.
If you're not familiar with 'You + Me = Love', well that bass synth intro will have you hooked from the off. 'Sandman' on the B side is a funk bomb nestled on the Smokin' LP....must have!

Desolat's Loco Dice joins the roster of Martinez Brothers Cuttin' Headz label this April with
'$lammer', backed with a remix from Detroit Techno veteran DJ T-1000.
Du¨sseldorf's Loco Dice has long been one of the most respected figures in contemporary electronic music with releases over the years on leading labels like Cocoon, Cadenza, Ovum and of course his own Desolat as well as a heavy touring schedule taking him across the globe year in year out. Here though we see Dice offering up his new single courtesy of Cuttin' Headz, a platform the Martinez Brothers and associates to deliver high octane, dance floor focused House and Techno.

The original mix of title track '$lammer' leads with spiralling brass like bass tones, flute licks, shuffled shakers and resonant synth hooks running alongside a bumpy bass line and an amalgamation of heady, processed vocal lines.

Following is Detroit's DJ T-1000 stepping up on remix duties, stripping back the aesthetic of the original to lay focus on robust rhythms and various vocal refrains from the original whilst chugging bass and tension building atmospherics gradually unfold throughout.

After a short break in the African wilderness, Black Rox return for part 4 of this acclaimed series. 'Date With The Rain' sees Soft Rocks turn in an 11 minute 'One For The Lion King' manipulation of a joyous and uplifting jam that fuses traditional rhythms (think a humm-ba-ba) and vocals that are underpinned with a strong 4/4 kick.On the flip side,Roots Unit perform some major surgery with a 'Pump Up The Jam' reconstruction on 'Le Beat Is Technotronic'. Crazy percussive jungle rhythms and wonky vocal hooks rule the roost until it merges into a future 'techno-techno' Amazonian world.

The latest release on Serotonin brings recently remastered versions of four classic Synapse tracks from the early years of the label together into the "Cosmic Freak Gas Bubble" EP

Side A features two tracks from SER004 "Get the Freaks and Get Some". Side B contains two tracks from SER-002, a split EP with Auto Kine c.

"Cosmic Connecton" is classic Synapse electro-chill, featured
back in the day on the infamous late night German television
series 'Space Night' and related compilatons. This track is a call
to intelligent extraterrestrial seekers of intergalactc FNK. Fse
this as your beacon, broadcastng across the galaxy and bringing the aliens to you.

"The Freak" is an undeniable body mover and was featured on the legendary DJ Assault mix CD "Straight Up Shit Detroit Vol 3". An homage to straight up Detroit funk is exactly what Synapse was going for and with 'The Freak' they clearly hit the target.

Back in the rave days 'Gas" was an electro/breaks cross-over 'hit" in the FSA, getng play in dirty warehouses across the naton in 996. A randomly

selected spoken Japanese vocal clip provides a repetetve, non-sensical hypnotc hook. The sample apparently has something to do with environmentalism and sounds cool. The hybrid style of "Gas" hits a lot of the Serotonin values, from funk to new wave melody to breakbeat rave energy.

Just when you think you've fgured out what Synapse is all about, 'Bubble" presents yet another hybrid. The hypnotc dub techno chords create a dream state in which to lose consciousness of the fact that the infectous beat already has you rocking.

The "Cosmic Freak Gas Bubble" EP from Synapse is one record to have when you need some funk to match any occasion.

Over the past few years orchestral instrumental music from outside the classical establishment has become huge, and Neil Leiter and Margaret Hermant of the Belgian Echo Collective have witnessed the evolution and extraordinary rise of this movement right up close. They've worked with some of the most important players, including Stars Of The Lid, Dustin O'Halloran and Adam Wiltze's A Winged Victory For The Sullen and O'Halloran's solo projects, as well as Jóhann Jóhannsson. And though the Echo Collective members themselves very much do come from within the classical music establishment, they don't care which side of the fence they are seen to be on. It was this which grabbed the attention of German music hub !K7's new sub-label 7K! - who have signed them for a two album deal: first to release the Amnesiac reinterpretation, then for a record of Echo Collective's own compositions. Not only that but they have been signed for publishing by Mutesong, which led to a hook-up with Mute mainstays Erasure, re-arranging and re-recording their latest album World Be Gone with classical instrumentation backing Andy Bell's vocals. This ability to flow easily from black metal to Radiohead, from Erasure to Stars Of The Lid shows exactly what kind of musicians Echo Collective are. The album, which features artwork by the renowned photographer and artist Roger Ballen, will be released on 30 March on CD, 2LP and digital platforms.
- New album by belgian band Echo Collective covering Radiohead's classic Amnesiac'.
- Perfect balance between classical, neoclassical & indie.
- Past and ongoing collaborations include Erasure, A Winged Victory for the Sullen, Stars of the Lid, Johann Johannsson and Dustin O'Halloran.
- Echo Collective have produced, arranged and performed on Erasure's upcoming album due to release early March on Mute.
- Artwork by renowned photographer / artist Roger Balle.

Tommy Mandel's Mello Magic' on Invisible City Editions is a compilation of personal synth-laden pop songs created between 1980-87 in NYC. BIG BIG TIP!
.
His professional work as a keyboardist and vocalist found him on stage and in the studio with many of the 80s greats from the Clash, Todd Rundgren, B-52s, Violent Femmes, The Ramones, Tina Turner, Mark Ronson, Dire Straits and Bryan Adams. While offstage and out of the major studio sessions, Tommy wrote in little books, made animation films and hooked up a massive amount of synthesizers, sequencers,microphones and recorded songs like diary entries. He self released almost 20 CDs, cassettes and one Self Titled 12' Ep. Each song selected here is stunningly simple, lush, desperate, playful, and harmonic, touching on disparate trangents like Brian Wilson, Egyptian Lover, Michael Shrieve,Holger Czukay, Ariel Pink, YMO, AOR FM West Coast Rock, Arthur Russell, Martin Denny, Peter Gordon, Drexciya, Prince and Private Issued New Age Boogie. Tommy recently jokingly coined his music corporate ambient' and and it all shouldn't work, but somehow he manages to effortlessly make each song a Tommy Mandel song - DIY, homespun,personal, stunning, and not too serious. This is perfect pop, charming, sincere, infectious and the work of a humble, good hearted, romantic savant. Tommy Mandel's Mello Magic' will be out on limited LP Vinyl release and available Spring 2018. Be sure to check his ambient new age LP from his cassette Music For Insomniacs'also out soon on ICE/Intelligent Instruments. Designed by Marko Vuleta-Djukanov. - Sesto F

A cool film needs a cool soundtrack, right And none come cooler than ATOMIC BLONDE. A double LP filled to the brim with needledrops of some of the '80s best known cuts, as well as some under the radar gems, and a smattering of brand new tracks recorded especially for the movie.

David Bowie, George Michael, The Clash, Nena, Siouxsie and the Banshees, and A Flock Of Seagulls of course need no introduction, and they all contribute absolutely killer songs here. Rubbing shoulders with these A-listers are lesser known acts such as Re-Flex, whose track 'The Politics of Dancing' was a minor hit in the UK and is a pure '80s synth-pop banger from start to finish. After The Fire went from playing uninspired prog rock to recording the should-have-been classic 'Der Kommissar,' full of funky guitar licks and a chorus so hook-laden it should be illegal. 'Voices Carry' by American new wave band 'Til Tuesday features Aimee Mann on vocals and is an all-timer everyone needs on vinyl.

There are some records that manage to sound both of a time and utterly timeless and Bon Voyage Organisation's Jungle Quelle Jungle (a nod to Supertramp's Crisis What Crisis) is one of those albums. Its silken-smooth production, irresistible grooves, funk-tinged guitars, lush soundscapes and general glowing presence could easily lead one to believe that have dug up a lost disco gem from the 1970s. However, behind the disco-pop gleam lies eerie dystopian sci-fi ruminations of a futuristic bent and tones that can often feel as French as they do Asian or African.

This sort of cross-continental exploration is an expansion on BVO's previous two EPs, the man behind the Organisation, Adrien Durand, says. 'I tried to continue the musical expedition between dystopian Science-Fiction Haunted Africa - plus Haitian Vaudou on 'Soleil Dieu' - and futuristic Asia. Addressing, in a double entendre manner, some of the political issues that I am sensitive to.' In fact the jungle in question in the album's title is a metaphorical one and one that creates a vast series of environments for Durand to explore such subjects as world trade, utopian ideals and themes of idols, as well as of time and communication. However, one will need to speak French to decipher such explorations, as well as shake off the natural impulse to move with every glorious beat on its 13 tracks, of which are moved along by Maud Nadal and Agathe Bonitzer's golden vocals.

Durand is a full-time producer based in Paris, working with the likes of Amadou & Mariam, so it makes sense that this record would absolutely sparkle in this department. Durand feeds off the variety of musicians coming and going during recording sessions as well as the rotating members and numbers of people involved with the band but fundamentally he writes all songs on piano first before bringing them to record live. 'We recorded a rhythm section of five - drums, percussion, guitar and myself on bass/synth bass and keyboards - at La Frette which is a studio located in a mansion outside of Paris and fitted with a beautiful 1973 NEVE desk. We only used analogue gear, by taste really, and found it a pretty reliable way of doing things. This simply consists of putting good players together in a room and waiting for the right take to happen.' Two four-day sessions and a 'cooling off' period (to let the recordings settle) soon followed before Durand picked the material back up to give it a final polish.

The resulting album is one loaded with intricacies and idiosyncrasies, something that Durand puts down to his own unique approach. 'I don't consider myself much of a songwriter but I love arranging rhythm sections and I'm pretty proud of the ones on this record.' This applies when it comes to working with such musicians as Inor Sotolongo Zapata, who with Durand used traditional Cuban percussive instruments and explored Haitian rhythms. When Durand expands on some of the ideas and influences that were funnelled into the record, you begin to get a sense of the vastness of the sounds that fill his world, from Trevor Horn's production work on ABC's Lexicon of Love, to the literary work of JG Ballard to the visual flair of the original Blade Runner and even the Tuareg sounds of Tinariwen, due to the fact that his studio neighbours their manager's and he would hear their rhythms bleeding through the walls. You therefore end up with an album that offers tracks such as 'GOMA' that fuses Chinese and African rhythms as well as 'SI D'Adventure' a piece of pop music that is dazzlingly hook-laden.

As a result of this cooking pot of sounds, influences, thoughts and creations, Durand has more of a gumbo approach to making this music than a set-out scientific formula. 'There is no definite recipe for me to like the production of a record,' he says. 'Of course it really sticks out that my work is really influenced by the 1978-1983 period, the golden age and last stand of analogue studios and session musicians.' Whilst Durand adores the traditional and conventional music, he really views this as something bigger and wider. 'I have a taste for the otherworldly vibe from records coming from less sought-after musical scenes, particularly Poland, Haiti, Ethiopia, Somalia, Congo and early Cantonese pop. Languages and the rapport of the people involved in the making of those records really inspires me. I particularly hate the use of the word 'World Music' as a potpourri for everything that doesn't sound quite western enough.'