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Given its short gestation, it is striking how far removed the new album is from its predecessor . After the dark complexity of recent output, Same As You is startlingly fresh, as inclusive and accessible as the title suggests, while still maintaining the playful experimentation on which the band has made its name.

Originally conceived as a single longform piece, the tempo remains constant but does not prevent the band from producing swells of raw, joyous, life-affirming energy within these self-imposed limits

The vocal performances and the heartfelt, spiritual lyrics are an inspired addition to the rich instrumental mix: Pete Wareham and Mark Lockheart (tenor sax), Tom Herbert (double bass) and Leafcutter John (guitar, electronics), with Shabaka Hutchings (Sons Of Kemet, Melt Yourself Down) making a guest appearance.

The album's lead single 'Dont Let The Feeling Go' sees Rochford take on vocal duties alongside a choir of friends and collaborators: it's Polar Bear at their most direct.

The use of vocals may catch the ear but that should come as no surprise given that Rochford has enjoyed working with singers as diverse as Beck, Spoek Mathambo, Paolo Nutini and Rokia Traoré over a 15 year career that has seen the drummer, composer and producer emerge as a pivotal figure in contemporary British music

Recorded by Rochford in London, and mixed in the Mojave Desert with Ken Barrientos late last year

Polar Bear will tour Europe from February (see confirmed dates below)

m 17. März ist es soweit: Nach ihrem Debüt-Album, dem Chartstürmer Megalitic Symphony, stellen AWOLNATION ihr mit Spannung erwartetes neues Studioalbum mit dem Titel Run (Red Bull Records) vor. RUN wurde vom musikalischen Architekten Aaron Bruno verfasst, gespielt und produziert und im hügeligen Hinterland von Malibu in Kalifornien aufgenommen. Das neue Album ist der Höhepunkt von Brunos Erfahrungen nach dem Durchbuch ihres Debüt-Albums Megalithic Symphony. Das Endergebnis ist ein feinst abgestimmtes musikalisches Meisterwerk, das sich manchmal - und urplötzlich - expansiv atmosphärisch, übermutig, ernst und verfeinert gibt und von Momenten des typischen aggressiven Unbehagen punktiert ist. "Auf dieser Platte ist jede einzelne Sekunde sorgfältig zugeordnet", erläutert Bruno. "Jedes einzelne Element dient einem Zweck".
Neben der ersten Single "Hollow Moon (Bad Wolf)" fallen besonders das cineastische "Jailbreak", die erhebende Hymne "I Am", der Titelsong "Run", das euphorische "Windows", das schmerzlich verwundbare "Headrest for My Soal" und die atomare Rebellion von "KOOKSEVERYWHERE!!!!" auf.

If we have press-agent, you can read now something like "smashed drums", "ultra fast broken beats", "sharp guitar riffs", "earfucking duel of vocals", "wall of noise", "absolutely dancefloor killers", and again about guitars - "hard, speedy, motorbike sounding", and again about drums - "punchy hammerbeats", and again about noise - "king size",
and again about vocals - "mouth full of nails, unique, sexy".
If we have press-agent, you can read: "industrial", "hardcore", "breakcore", "gabber", "noise", "digital hardcore".
If we have press-agent, you can read: "must have", "strongly recommended", "you can love it or hate it, but you can not stay in the middle".
But we have not.
We made this album, just because we are. We believe one hundred percent everything we says.
We don't make music - we are the music. It's sound of underground. It's our rock'n'roll.
Are you ready for blowjob, suckers Bon courage!

Remastered reissue of the 1987 album *All Systems Go* by queen of disco Donna Summer. Pressing on heavyweight 180 gram vinyl, download code included.

This EP was made during a period where my whole outlook on everything was transforming. The Voidloss project started as an investigation, I was conducting a lot of research and study on the mind, the occult, on different thought modes, and the Voidloss project represented this. The idea was about a leap in to the void. A leap of abandonment into the dark, with total acceptance, total commitment. The idea was to lose myself to the void. This was mainly a spiritual journey for me, and could be best explained by 3 things, the void of Miyamoto Musashi from Go Rin No Sho, The concept of the Tao from the writings of Lao Tzu, and the concept of the abyss from the works of Aleister Crowley. Part of this journey deep inside the self was frightening and horrific, the total loss of self, of all identity and ego, and part of it was beautiful and enlightening. I wanted the music to reflect this, and I wanted the music to change as I changed, as I went to and through all these interesting places. In essence this was about freedom. So fast forward some years and I felt I had sharpened my mind quite effectively, the music had twisted and changed and flowed with me. At the point I began making the music for this EP, I had grown quite angry with the amount of conformity I was perceiving in life. Politically, socially, musically, there was this drive of conformity in the world. I think part of it, and only a part, comes from the prevalence of social media, the need to belong and to be liked, the idea of judging yourself and your works through the perception of others. Musically I felt that within techno there was a tendency for the music to fit within a set of confines dictated by fashion and hype, and this was reducing the diversity of the music, it seemed also that the practices of commercial music were seeping in to techno as the music became more popular. Hype and business driven decisions, brand building and so on. I always felt techno was more about art, and I began to get frustrated. Equally I felt that politically there was less and less choice, as all decisions seemed to lead to the same outcomes. I became more interested in the concept of anarchism, of the idea that government was no longer needed. I have always in my life had a drive to question everything. I've always been 'naughty' and rebellious and done things my way, to my advantage or my disadvantage, I could never accept being anything other than myself all the way. If everyone walks in one direction, I will walk the other way, even if it takes me over the edge of a precipice, just to see what is there. All this stuff influences my music, and during the period of making this EP I was angry, kicking against the things I no longer liked or wanted, screaming dissent. There is a lot of anger and rage, and of course rebellion. I wanted the music to capture that unbridled fury you have when you are in your late teens, when you just start learning about yourself and you start rebelling and questioning things around the time the world is really pushing you to conform. I was soundtracking my own philosophical riot. Previous to this my Voidloss stuff had been more introverted, more pensive and melancholy, more self destructive, more cerebral. For this new music I wanted something more immediate but without being too obvious. In terms of the choices I made I still leaned more towards broken rhythms for beat structure. I find it very difficult to do anything interesting with 4x4 kicks any more, it's too rigid for me, it limits my freedom. I like the looseness you get from more 'drummer' like beats, I guess probably because I have been playing drums all my life. The challenge is to get the same rolling power from broken rhythms as you get from 4 to the floor. It's not easy, there is a ridiculous amount of trial and error and the rejection percentage is high. I also was trying to use less 'synthy' sounds. I wanted to try to take a more acousmatic approach to sound design. With the current modular synth revival in techno I was hearing a lot of 'old' synth sounds re-emerging, and this didn't seem like a progression to me. I wanted to make sounds that were hard to source for the listener, where they weren't sure if it was synth or real world sample, digital or analogue. This involved a lot of experimentation. My process involved a lot of field recording, especially with contact microphones, which open up a whole new world of interesting sounds. You are effectively recording sounds through objects in the environment, 'hearing' the world as these objects hear them, I was using guitars, feedback loops, handmade instruments as well. So I was combining this with different synthesis, granular synthesis, sample synthesis, physical modelling, FM synthesis and of course analogue. Everything was reprocessed and re-synthesised, I tried hard to obscure the source and make something new as much as possible. The stuff on this EP was part of my live PA for some time, so as I learned how the music worked live I could go back and make changes, sometimes the environment I was playing in transformed the sound as well, and so I would try to go back an incorporate this in to the music. For remixes I wanted to choose artists that I respected for their vision as well as for their output, so my list of people I wanted was extremely short. Inigo Kennedy has always been an artist I have respected greatly. His music has always been unique to himself, he remains outside of fashions and trends even though his name has become very big recently. He takes risks with his work, experimenting and exploring, yet remaining relevant to the club, and just tirelessly forging ahead, seemingly for the sake of art above all else. And he's just a really nice guy to deal with. His remix is everything I expected it to be in that it is the unexpected. Regis is another artist who forges his own path in music, you cant really even begin to discuss the avantgarde in techno without including his name, he is one of the foundation stones for artistry and the outsider mentality in techno. His music is always unique to his own vision, and along with it comes an interesting artistic philosophy taking in situationism, post punk and industrial ideology and a good dose of tricksterism ala PT Barnum, all of which comes out in his music and the way it is presented. The man is a truly singular force and it is an honour to have him on this record. Overall the concept here is that of rebellion and dissent. Of asking questions, following your own path, of maintaining some place in yourself that burns like a forest fire.

Whether or not I have succeeded I guess is down to the listener, I'm never happy with my music, I keep wanting to move forwards, or somewhere else, and am constantly trying and failing to capture some essence of perfection. But like Bukowski said
'It's the only good fight there is'

Requiem for a dreamstate. It's possibly somewhere between heaven, hell and high water, down the Thames Delta towards Eden. It may involve techno and a distorted state or simply mates sat listening to music together, drifting on the open sea of their minds. This is Jon Hopkins' world, not so much joining the dots as colouring the whole damn picture in.

After releasing his debut album 'Opalescent' at the rookie age of 21 in 1999, he's gone on to work with Brian Eno and David Holmes, produced King Creosote and via Eno, worked on three Coldplay albums. He released the breakthrough album 'Immunity' in 2013, which was nominated for the Mercury Prize.

The story arc with which Hopkins succeeded on 'Immunity' makes its appearance on Late Night Tales too with a perfectly sculpted excursion on this widescreen mix. . Opening with the unreleased 'Sleepers Beat Theme' by composer Ben Lukas Boysen, ghostly pianos skip elegantly hither and thither, among rising strings, as on Darkstar's 'Hold Me Down'. Nils Frahm is here, his sonic palette perfect for the job, while labelmate A Winged Victory For The Sullen contribute 'Requiem For The Static King Part I'. Sigur Ros offshoot Jónsi & Alex's heroic 'Daniell In The Sea' sends us forth towards the Baltic with tears streaming.

Beats occasionally appear, as on the Grace Jones-sampling 'Yr Love' by Holy Other or the pair of Black Country acts Bibio and Letherette, whose 'After Dawn' is almost spry in comparison to the minor key symphonies on display here. The perfect contrast to this comes from Alela Diane's wistful 'Lady Divine' or even Four Tet's mesmerising 'Gillie Amma I Love You', with its enchanting kids' choir. Exclusive to this release, Jon Hopkins provides a startlingly vulnerable new piano version of Yeasayer's 'I Remember'.

Poet and fellow Brian Eno collaborator (their joint album 'Drums Between The Bells' was released by Warp in 2011) Rick Holland narrates the exclusive spoken word closer 'I Remember', underpinned with additional sound design by Hopkins.

"Putting this album together was a unique opportunity for me to present music that I have been listening to for years, free from the constraints of a club setting or from trying to stick to one genre. I chose tracks not just because they have been important to me but because of how they sit together, putting as much thought into the transitions and overall narrative as I did into the track choices. I mixed by key and by texture more than anything else, using original sound design, pivot notes, and often recording new synth or piano parts to link things together in a way that flows as naturally as possible." - Jon Hopkins, December 2014

Diverse house compilation from the Soiree camp with a rare appearance from Santonio Echols!

Riding on the back of a surge of interest in De La Club, the debut LP from Hold Youth, comes a smartly picked repress of House don Nail. While the duo is known for their eclectic vision of dance music, the first repress on the label I've Been There EP is in fact an exemplary example of straight-up, no-fuss House. Enjoying a modest comeback of late both as a producer and DJ, Nail originally released Full of Beestone Promise EP on DIY Discs in '97. The stronger two of the four tracks will be repressed one on each side, 'Our Love' and 'I've Been There', distinctive for its melodic vocal and recent inclusion in the Apollonia fabric 70 compilation.

While we have become accustomed to Hold Youth's diversification of sounds with the current LP, I've Been There reminds us that a pigeon-holable classic can be highly refreshing.

VENT is proud to house Cindy's debut ep, which is a no-nonsense message of grime and salt that we never hesitated even for a second to release. Cindy's raw knuckle approach to production has a haunting beauty to it, and we look forward to being able to say: 'remember where you heard it first'.

Following the success of its first release by the ever elusive Jason Grove, the vinyl-only sub-label Skylax Extra Series returns with a little something beyond special. For those house-heads in the know, the man needs no introduction, but for those uninitiated, sit back and prepare for this double 12' selection to further your education in house music.Joey Kay hails from Chicago in the US and has influenced a great many producers in the last two decades with his signature take on the deep house sound. He keeps things simple in the best possible sense of the word, stripping back tracks to their bare essentials in order to maintain what the spirit of house music is all about: the groove, the soul and the feeling of being carefree, even if only experienced for a few minutes at a time. There are no superfluous or ancillary sounds in Joey's music and this is all the more evident when taking a step back and listening to his spectrum of output in this collection, which spans more than twenty years of his career.

Roland Tings is Melbourne's jack-track anomaly with a penchant for acid coastlines and nebulous rhythms. Still fresh off 12 releases for 100% SILK and Club Mod, the Melbourne producer dropped the stunning 'Who U Love' EP with us last spring, to critical acclaimand in anticipation for his debut whoch is finally here now. and what we are truly excited to present. Forged by Melbourne's forward-thinking nightlife institutions, Tings made his debut with the Milky Way EP on 100% SILK - the enigmatic dance imprint founded by Not Not Fun's Amanda Brown. Having laid the groundwork of a raw-satin aesthetic inspired by that of Larry Heard and Robert Hood, his sound was solidified on the Club Mod-released follow up Tomita's Basement, featuring remixes from Future Times' Maxmillion Dunbar and Junior Boys' Jeremy Greenspan. Functioning as club-ready oddities with neon finesse, his releases thrive as rhythmic visions pushing dancers into his very own modular oasis. Having toured across much of Australia and Europe, he's backed up headline club shows with appearances at MONA FOMA and The Meredith Music Festival as well as support slots for the likes of of Tim Sweeney and Juan Atkins for Modular's Sydney Festival showcase. Now riding with a tight community of Australian producers enjoying recognition around the world, Roland Tings' custom texture continues to fold into a vibrant late-night fabric accessed around the world and you will see this reflected by the goodness and versatility of the 8 tracks on this vinyl.

Comes in a beautifully designed (5 different artworks inside) coloured vinyl (black x white) package
[A] a1 | Mario & Vidis Feat. Jazzu - I'll Be Gone - Gemini Love Dub

'Decadubs 5' is a vinyl-only double-pack companion to 'Hyperdub 10.4', the fourth and final CD in Hyperdub's series of collections throughout 2014 to mark the label's first decade in existence. Both 'Decadubs 5' and its full-length parental set explore the club spaces opened up by house, garage and techno, as viewed through Hyperdub's singular filters. Side 1 leads out with 'Lambeth', a long awaited previously unreleased track by Burial, with an unusually triumphant and - compared to recent extended montages - relatively direct 2step feel. This is followed by the low slung tech-garage of Kode9's 'Oh', while on the flip the whole of Side 2 is given over to the lush deep house of Cooly G's 'Love Again'. Side 3 opens with the fathoms-deep bubbling bass and synth washes of DVA's extremely psychedelic 'Monophonic Nightmare', then Dorian Concept turns in a quirky remix of Martyn's classic 'Mega Drive Generation', which originally appeared on Hyperdub's fifth anniversary compilation in 2009. Side 4 reveals another classic from the vaults in the shape of Cooly G's skeletal house cut 'Him Da Biz', and the EP comes to a close with energy levels turned up on Funkystepz's 'Vice Versa', a track much in demand since it first appeared on Kode9's 'Rinse 22' mix compilation from 2013.




E C2 | Martyn - Mega Drive Generation (Dorian Concept Remix)

In the beginning of the 80's reggae music became increasingly in tune with what was happening in Kingston's dancehalls....probably more so than at any time since the sound system operators had started to make their own shuffle and boogie in the late 50's..
The international audience and the critics were too busy looking for a new Bob Marley to appreciate what was happening downtown and failed to acknowledge that this was a return to the real,raw roots of the music...brash,confidient,young record producers who were totally in tune with the youth audience stepped forward and seized the moment...
Oswald'Ossie'Thomas began his apprenticeship in the music business at the age of fourteen and served his time as a record salesman for Bunny 'Striker 'Lee and Winston 'Niney the Observer' Holness before moving on to Miss Sonia Pottingers Tip Top Records...
'I ended up working in three record stores on Orange Street from 1976 to 1981...Yeah man,Me deh 'pon me bicycle till I buy my motorcycle..Them days records were coming out left right and centre..everyday'
Ossie Thomas...
It was during his time with Miss Pottinger that Ossie began to produce records for himself and in 1979 Ossie and Phillip Morgan began The Black Solidarity label based deep in the Kingston ghetto on Delamere Avenue.
And the man who had made his name in the business selling other people's records now became one of the most important and influential record producers of the era..

Poker Flat Recordings has been dealing out underground house music with a unique twist since 1999; from the defining debut 'Loverboy' through the Bugnology series, acclaimed albums and worldwide club hits, Steve Bug's essential imprint has unearthed new talent, developed rising stars and welcomed veterans into the fold. Steve Bug's reputation as an exceptionally gifted DJ, producer and music connoisseur is about to carry the beloved imprint to its 15th anniversary, which will be celebrated with its finest collection of raw talent yet, starting with this first installment of the anniversary series called 4 Jacks. Following the winning format of the series thus far, Part 3 boasts two slamming new remixes of classics from the vault, and two brand spanking new tracks from Poker Flat's stellar roster. Argy's 'Love Dose' of 2005 marked the debut of one of the scene's most fascinating newcomers, and defined the sound of minimal courtesy of an unforgettable remix by Luciano; now getting a 2014 update, the track has been taken to by the talented duo Audiofly, who makeover its identity with their signature sleek deep tech style. Two heavyweights go up against each other next, as Joeski tackles the Martin Landsky classic 'Reject

Seit ihrem Start im Jahre 2001 diente die POP AMBIENT Compilationserie als Rahmen für einen unaufhörlich anwachsenden Pool von unterschiedlichsten Künstlern, und dennoch vermochte sie es stets den eigenen ästhetischen Idealen treu zu bleiben. Nicht zuletzt dem Kurator der Serie Wolfgang Voigt ist es zu verdanken daß jede Ausgabe mit einem schlüssigen Spannungsbogen auftrumpfen konnte, erfolgreich neues Talent neben etablierten Namen zum Einsatz bringend. In die gleiche Kerbe schlägt auch POP AMBIENT 2015: die debütierenden Klangwerkler THORE PFEIFFER und MAX WUERDEN werden vorgestellt, während wiederkehrende Pop Ambient-Heroen wie LEANDRO FRESCO, ULF LOHMANN oder JENS-UWE BEYER exklusives Material zum Besten geben.

Stilecht beginnend mit verträumten, klingelnden Synthie-Flächen, entpuppt sich THORE PFEIFFER's WIE ES EUCH GEFÄLLT schnell als sofortiger Pop Ambient-Klassiker, gefolgt von Thore's zweitem Beitrag, einem Gitarren-beseelten Trip in die Zone namens NERO - zusammen bereiten diese immens atmosphärischen Tracks einen idealen Boden für POP AMBIENT 2015, verraten aber auch das verblüffende Talent dieses jungen Produzenten so gar nicht wie ein Neuzugang zu klingen. Als ehemaliger Mitstreiter des ikonischen Projekts Closer Musik hat DIRK LEYERS inzwischen eigene Wege eingeschlagen, fällt aber nach wie vor durch seinen Hang zu stilistischer Vielseitigkeit und wonnigen Melodien auf - schön in den Vordergrund gerückt im paßgenau betitelten DAYDREAMER, einem unwiderstehlich nostalgischen Synthie-Epos zwischen Neonlichtern und Lagerfeuern. Währenddessen vermählt Multiinstrumentalist und Komponist GREGOR SCHWELLENBACH seine avantgardistischen und folkloristischen Interessen im langsamen, auf lässigste Weise monumental erscheinenden ASSPERG - ein nahezu unmöglicher Track, der sich gleichermaßen massiv wie zerbrechlich anfühlt.

Dear reader,
as part of Massimiliano Pagliara's album 'With One Another', Ramona presents 'Major Fun', a limited 10" vinyl release only. The record is dedicated to two of Massimiliano's closest friends - Joshua, who sadly passed away and Lucky who is gladly still with us. Side A features 'Major Fun' - a piece that celebrates the essence of life with a sprightly chicago-rooted acid-bassline and a certain italo-flair. On the flipside the much deeper disco-house excursion 'Your Love Away', featuring Jules Etienne on vocals. Ramona is proud to fulfill your desire for the complete Massimiliano Pagliara enjoyment.

Stay humble,
Ramona

After their very large re-make of 'Dinosaur's 'Kiss Me Again' on Volume 2, Pablo and Shoey go straight for the jugular again here, extending an old housed up bootleg version of Eddie Kendricks' 'Keep On Truckin' into 8 minutes of dancefloor devastation.
Pre- Discogs, pre MP3's of everything ever recorded on the 'net, this little gem was one of the most potent secret weapons for The Unabombers in the heyday of Electric Chair. Some old fashioned, dusty crates digging by Pablo turned it up - now the world gets to have a listen !

Also included in the package is Detroit legend Terrence Parker and his deep, shimmering 1996 house classic 'Your Love', an after hours staple for the DTS boys since year dot.
Drenched in a hypnotic organ loop and a beautiful, tender vocal, it's house music with a warm heart and a sharp kick, perfect for a 'Let's All Have A Hug' moment at 5am !

Slo -mo house at it's best deep shape, including the rare, sought after Maurice Fulton remix for Alice Smith 'Love Endeavour'. Compiled by Rainer Trüby.

We live in hectic, turbulent times. It seems season- and reasonable to slow things bit down. In fact: slow house down to what we calling now: SLOUSE. Implying down to earth club music, with a tapping foot under 116 beats per minute.
House music and its many sliding genres have ruled the clubs and charts, well, a special focus on the slo-mo house is well-deserved.
Rainer Trueby become a guarantee for vanguard soulful dance music and club tunes with such special vibe, which he had formidable approved not only as a DJ but also with sucessful compilations like - Glücklich', - Maiden Voyage' on Compost, DJ Kicks (K7) or compilations for Nuphonic, King Street, Talkin' Loud and other labels.
Rainer Trueby, an artist who spreads love like in the good old days, selected some of the best tunes on the planet, some rare, sought after like the rare Maurice Fulton Remix for Alison Smith - Love Endeavor', in demand tunes like S3A - Deep Mood Act2' or Ron Deacon's - Untitled', amazing discoveries like the Moonstarr tune, or a Laid Back remix, few underrated tracks, well all tracks are worth the grab and get played again & again. It's a full palette of slo-mo house flavors and moods as Rainer Trueby takes us on a magical trip into his imagination of Slouse.

The result is a future classic compilation with melodic and groovy masterpieces, made for your home-, garden-, car- , club listening pleasure. It works for the happy hour as well as the after hour.

Hope you love it as much as we do !

Snuff Trax celebrates magic record release number 010: - Happy Jackin Birthday!' For this little anniversary we asked four great artists to rework chosen tracks from the label`s back catalogue. Leading us off, Mr White (you know him from his collaboration with Larry Heard) made an edit of Snuff Crew`s - Are You House'. Followed by Humandrone from Tokyo remixing Perseus Traxx - - Don`t Feel Alone'. On the flipside you hear a remix treatment for Raiders of the lost ARP - - Stealing My Love' made by our man Takeshi Kouzuki of Kobe/Japan. And last but not least DimDJ from Thessaloniki created his own version of - Galaxian Journey' by Elec Pt.1

On the back of an exciting debut album in 2012 that saw him perform live at Sonar festival and later with his band at Vienna's Volkstheatre, before disseminating music on Permanent Vacation, Suol and Connaisseur Recordings, enigmatic Basque Country producer El_Txef_A returns with his sophomore longplayer 'We Walked Home Together'.
El_Txef_A (pronounced 'Elchefa') has crafted a work that just like its journey-conjuring title, charts a shifting palette of sounds and moods, exemplifying its creator Aitor Etxebarria's breadth of skill.
Produced entirely in Aitor's homeland of the mountainous Basque Country, the album showcases the talents of not just its creator who producers, sings and plays piano on the record, but also some of the Spanish region's most outstanding musicians.
Local artist Biskonti is one contributor, whose vocals coat a brooding bed of rough-cut drums on the ice-cold slice of electronica 'I'm Going to Paint You', while Hannot lends his pipes to the moving 'You Left Us In This Physical World' that sweep over a delicately crafted brew of guitars and keys. Both Basque vocalists featured on El_Txef_A's debut 'Slow Dancing in a Burning Room'. Sublime title track 'We Walked Home Together' turns into a family affair, with Aitor's brother Hibai playing the grand piano.
A graduate at 2013's Red Bull Music Academy in Madrid, El_Txef_A has an impressive array of sonic strings to his bow and the Detroit techno inspired 'Claim of Planet Earth' deliciously rubs shoulders with the album's single, the alternative slice of pop 'The Love We Lost' featuring DFA's Woofly.
Elsewhere, Aitor paints a dream-like soundscape with the sublime shoegaze-inspired trip '0730' that seamlessly bleeds into 'Every Day Is Blue Monday', with its atmosphere-heavy swirl of subtle acid lines, floating synths and evocative vocals delivered by Suol records contributor Meggy.
An artist whose music is inextricably connected with his homeland, the album concludes with the stirring 'Mugarrirantz' sung in the native tongue of Euskera by country folk band Napora Iria. It's proof that El_Txef_A is equally adept at doffing his cap to tradition as moving a dancefloor with his inspired brand of electronica.

Hot Casa Records reissues Disco Hi-Life, a real treasure album composed and interpreted by Afro-Soul maestro, Orlando Julius. Comes as delux 180 gramms vinyl with tip on jacket & inserts with interviews & photos. Check!
Following up to the 12inch release (HC07 / 2009), here comes the remastered version of a real mindblower piece from 1976 including four unreleased tracks, all recorded with the best Nigerian musicians, between Ginger Baker' Studio in Lagos and the American Star Studio in West Virginia, USA.
Orlando Julius Aremu Olusanya Ekemode was born in 1943 in Ikole-Ekiti, Nigeria and can be considered as a main figure of the Afro-Soul music history. One of the first African musician to get signed on a 'Major' label (Polydor), he delivered many hit single as a composer and effortlessly performed live as a tenor sax and singer. He worked and met with some of the 'greatest', such as Louis Armstrong, James Brown (for his Nigerian tour with Bootsy Collins), The Crusaders, Gil Scott Heron, or Hugh Masekela.
In the middle of 1975, just after they finished the recording of The Boys Doing It' album with Hugh Masekela, they all flew to Ghana and Lagos. It was holyday and Orlando had also plenty of time to focus on his own songs. He wrote 'Disco Hi-Life' in Yoruba and 'Children of the World' in English. And he immediately planned a recording session including 12 finest musicians, such as the great singer Dora Ifudu Avery, Adelaja Gboyega on keys, Kenneth Okulolo on Bass guitar, Butley Moore on drums, Fela's collaborator Tunde William on Trumpet, and also Ade, who helped sang 'Love Peace & Happiness'.
Originally released by Nigerian label Jofabro in partnership with the UNICEF association for the 'International year of the Child', it was only available in few promotional quantity... here comes the very first official reissue of this dancefloor masterpiece!

Deliciously sophisticated Cameroonian funk, originally issued in 1981 by Phonodisk, the most ambitious Nigerian label at that time. Producer Tony Essien was on the lookout for a successor to Kris Okotie, who had abruptly defected to EMI, and the music is devil-may-care brilliant, with the Mighty Flames band bringing nuff buff Roy Ayers, Kool And The Gang and Chic to the party.

Tapper Zukie's 'Man from Bosrah' album still stands up today many years after its initial release, as only great music seems to do.
Tapper was one of the few Jamaican artists in the late 1970's that crossed over with the emerging punk/new wave audience.
Punk poet Patti Smith had practised her poetry over the rhythms from Tapper Zukies 'Man Ah Warrior' album, before reworking them as songs with her band.
Acknowledging this influence she brought Tapper on stage with her at the Hammersmith Odeon 23 October 1976 and introduced Tapper to a whole new audience. An audience that accepted Reggae as a music that also dealt with struggle and oppression.
The great cover shot shows Tapper standing at the back gates of the school yard in Trench town which was opposite his own yard...so sit back and hear what was happening back then that made this such a time defining album....

Ben La Desh may hover above radars despite his extensive back catalog for the likes of Sleazy Beats/Black Ops, Dirt Crew, Outernational and a recent contribution to the Young Adults House Slippers compilation.

One of the unsung modern forefathers of gradient chug, the Rotterdam native has carved out a niche for engulfing body movers that organically unfold like subtle origami.
Wondering What We Are explores the ever expanding spectrum of the Ben La Desh aesthetic in a compact 4-track capsule.

'Afrodesia' soundtracks a high speed chase through tropical back roads with swirling synths and pulsing drops.
'Your Love' has a slinky half-tempo bounce that skates along an infectious horn loop and vocal refrain.
'We Are' finds La Desh in his signature groove wheelhouse - buttery builds and smoothed-out repetition.
'Why Don't You' may very well be his deepest moment yet, a driving baseline is lathered with clattering percussion and sultry female croons to devilishly sinister effect.

Tis the season to remain anonymous it seems. The guessing games continue here with The Unknown Prankster. We can't tell you who it is, because that would render the artists chosen title useless. And he might be slightly miffed at. If it's even a he....

What you do need to know is that these two tight little magic numbers should not be missed! We'll leave you with the clips so you can make your own mind up..... needless to say, you might recognise one or two things here.

With their debut album on Hamburg's taste making hafendisko, Deo & Z-Man proceed their research in contemporary electronic music beyond stylistic boundaries and present a wide-ranging lucky bag of songs. The Italo-rooted brothers melt influences from modern House music, HipHop, Electronica and even jazzy elements into a fresh and life-affirming total work of art. And here it is in all its glory - 'No Bullshit' . With a healthy dose of tongue-in-cheek humour and a seemingly endless supply of fresh ideas, Deo & Z-Man might have pulled one of the most creative albums of the year. Effortlessly gliding between wigged out house for the dancefloor, synthy space weirdness, hip-hop infused beats and twisted, smoked-out electro pop - 'No Bull-shit' is a rare thing, a collection of esoteric and eclectic influences that hang together perfectly as a proper album. The boys have long since created their own special vibe through their well received singles, live performances and DJ sets - mixing musical knowledge, party rocking skills and a sense of fun that is all too often lacking these days. Even more rare is to capture that magic in the studio over the course of an album. Yet 'No Bullshit', as the name cheekily suggests, nails it. Listening to the album it's easy to see how Deo & Z-Man cut their teeth with HipHop - tracks like 'Tamastar Santini' (feat Janos), 'Two Blue Bros' and 'YRUAG' reveal a background of beats and rhymes that infuses the whole vibe of the album. Equally at home in the club, recent single 'XTC', 'Chopped Memories' and 'Tales of Love' are lessons in leftfield club dynamics - deep, musical grooves that hint at the brothers' leg

Outstanding selection of blasting deep Techno and bare-assed soulful House. Lucretio strikes back after his lionized 'Competing Motivations - E.P.' on Warm Sounds with 4 stripped down advanced cuts. Featuring a collaboration for the dancefloor shaking 'Bukanawa' with Steve Murphy (Chiwax, Muscle Records) also known as 'The King Brenta'. Only on vinyl.