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Mechanisms Industries owner Fanon Flowers extends the PRRUKBLK catalog with a slice of wax in his signature style. Vivid synth work with repetitive sequences that linger through the listeners mind long after the initial listen. ''Strong Interaction EP'' is combined of 4 dancefloor cuts on the moody side of things. Beautiful patches and lucid hats come together in a wash of dancefloor oriented techno.

Omar has a totally unique, individual style and sound still marks him out as a future thinking and utterly unrivaled artist, who has collaborated with so many legendary names that it would be foolish to deny his worldwide reputation - who would dare contradict the likes of Stevie Wonder, Erykah Badu, Carleen Anderson, Angie Stone, Common and fellow fans and followers like Maxwell and Jarrod Lawson

Following on from 2013's album The Man, 2016 sees his new long player further cement this undeniable reputation. Love In Beats is Omars' 8th studio album of his long, illustrious career and may just be the most eclectic & varied to date. Somewhat more electronic in it's conception and sound than it's predecessor, Love In Beats incorporates soul, Caribbean rhythms, an undercurrent of funk, with touches of zouk, a jazzy waltz, spoken word and also features collaborations with Us soul legend Leon Ware, Blue Note pianist Robert Glasper, grime MC Ty, Guadeloupe born singer Jean-Michele Rotin, and Uk soultress Natasha Watts, The Floacist and Mayra Andrade, the Cape Verdean born singer who lives and records in Paris.

Co produced by Scratch Professer, Omars Grammy winning brother,this collection should create excitement worldwide, the sounds are varied - but all have Omars' unique fingerprint on them, style and substance beautifully merged!

The album was produced by John Congleton (Blondie, Sigur Ros), Greg Saunier of Deerhoof and Xiu Xiu's own Angela Seo.

It features guest appearances by fabled minimalist composer Charlemagne Palestine, L.A. Banjee Ball superstar commentator Enyce Smith, Swans guitar virtuoso Kristof Hahn and legendary drag artist and personal hero of Xiu Xiu, Vaginal Davis.

FORGET was recorded during a period of epic productivity for Xiu Xiu. While writing FORGET, they released the lauded Plays the Music of Twin Peaks, collaborated with Mitski on a song for an upcoming John Cameron Mitchell film, composed music for art installations by Danh Vo, recorded an album with Merzbow and scored an experimental reworking of the Mozart opera, The Magic Flute. All of this frantic, external activity lead to a softly damaged dreaminess and broadened intent that has not been heard before in other Xiu Xiu works.

Standout track, Wondering' is one of the catchiest boogie pop gems in the Xiu Xiu catalog, but like much of FORGET, it still bears an underlying tension that manifests differently in each piece. From the haunted guitar duet of "Petite", the hilariously fraught lyrics of "Get Up," the advanced industrial boxing match of "Jenny GoGo," or the experimental goth explosion of "Faith, Torn Apart", all the songs, in their own ways, build to a roiling boil of a fate in vanishing.

The calligraphy on the cover translates literally to "we forget." It bows to the universality of everything and everyone's inevitable decline and foggy disappearance. Regarding the album title, Xiu Xiu singer Jamie Stewart said, To forget uncontrollably embraces the duality of human frailty. It is a rebirth in blanked out renewal but it also drowns and mutilates our attempt to hold on to what is dear.' FORGET is both the palliative fade out of a traumatic's past but also the trampling pain of a beautiful one's decay.

Xiu Xiu is Shayna Dunkelman, Angela Seo and Jamie "Butch Jenny" Stewart.

Brand new Transatlantyk release contains elusive synth works of Sasha Zakrevska aka Poly Chain.
She likes to call herself a 'Ukrainian ambient chavette' and the title of her debut album is a tongue-in-cheek spin on Eno's classic. 'Music For Candy Shops' is much more sticky and syrupy than its famous predecessor though. In every track on this record Poly Chain's rich and warm synth textures are glazed with another layer of radioactive sweeting.
From atonal melodies on top to occasional spicing in form of odd reverbs, delays and drum sounds - it's all there.
Let me tell you straight up: this candy shop serves some weird sort of sweets, inducing hallucinations, anxious feelings of omniscience and transcendency. Use with caution!
Available as a 200 copies only vinyl LP

Visible Cloaks' Reassemblage is a collection of delicately rendered passages of silence and sound that invokes - and invites - consciousness. The foundation of the duo's second album is gently poured upon the ground their musical predecessors explored, using the materials of chance operations, MIDI translation,' and other generative principles that favor inclusive musical environments over the narrowly constrained.

In 2010, Spencer Doran, one part of Visible Cloaks alongside Ryan Carlile, prepared the first volume of Fairlights, Mallets, and Bamboo, a mixtape indicated by Doran as an investigation into fourth-world undercurrents in Japanese ambient and pop music, years 1980 - 1986.' These mixes contextualized the outré orbit of Yellow Magic Orchestra-related solo projects and their abstract, radiant forays as forever futuristic modes of music.

Reassemblage evokes similar musical futures celebrated on the Fairlights mixes, but does so observantly rather than reverently. The title Reassemblage, for example, is taken from a film essay by Trinh T. Minh-ha, which explores the impossibility of ascribing meaning to ethnographic images. The author aims to speak nearby' rather than speak about.' In other words, to embrace lapses of understanding, and realize that the impulse to map direct meaning across a cultural gap often results in further disconnect.

In an effort to speak nearby' rather than speak about,' Visible Cloaks filters and forms source material to become young again. Often the duo strip tonal elements of their specificity or randomize melodies so they become stirring and lucid. Essential patterns emerge, conscious experience heightens. In these moments, the musical language of Reassemblage finds unlimited resonance and presents a path to uninhabited realities.

The origin of this language could be described as translingual or polyglottal, working within the eastern / western feedback loop of influence, Fourth World ambiguity, and the universality of human emotion. Incorporating an international array of virtual instruments to advance the idea of panglobalism through digital simulation, tones and colors cohere into a living, breathing pool of sensorial experience in Visible Cloaks' environs.

Beyond embracing the fluidity of worldly musical influences, Visible Cloaks works fluently between mediums. The contribution of stalwart digital and installation artist Brenna Murphy's dream dimensions to Reassemblage's cover artwork and surrounding videos extends the album's exploration of global headspace into a visual, visceral reality.

Adriano Canzian has by now developed a trademark sound unlike any other, a genre-twisting hybrid of EBM, techno, industrial and acid beats that has acquired nuance and influences throughout the years, aiming at that uniqueness he's always been reaching for. Confessions Of A Dangerous Mind is a breathless, unrelenting march of a record, a whirlwind of classic industrial sounds driven by a hammering pulse and a shimmer of melting matter. David Carretta's remix smoothens out some edges into a mix of techno and new beats, then Canzian charges on again with Sick Goates , skillfully adding noise frequencies to a goth background, before letting Spain s The Plumbers close with their rendition of Sleeplessness , marked by a dub-sprinkled techno no less belligerent than most of Canzian s catalogue.

We continue THE ORB's SIN IN SPACE remix EP series with a third volume focussing on the duo's latest full-length, the highly acclaimed COW / CHILL OUT, WORLD! (KOMPAKT 354 CD 134). The spontaneous, organic vibe and sample artistry of the album is reflected in three distinct reworks from highly respected Kompakt mainstays THE FIELD, DAVE DK and JÖRG BURGER - all of them informed with surprising twists and displaying a clear lineage to the source material.
THE FIELD's remix of 9 ELMS OVER RIVER ENO takes the original's percussive part and unfolds it to a swirling, tropical epic that alludes as much to The Orb's multifaceted sound collages as it does to the hypnotic, looping flow of The Field's own output. Meanwhile, DAVE DK turns in a club-friendly revamp of 4AM EXHALE with the fittingly titled ACCELLERATOR MIX, indulging in exquisitely lyrical glitches and the magic of the straight bassdrum. JÖRG BURGER takes a shot at the beatless 5TH DIMENSIONS with the excellent DSCHUNGELOPER MIX - its loose pop jam feeling and flirty shuffle rhythm recall Burger's lush lounge core efforts under his Triola monicker.

It was the spring of 2007 when Paul 'Mudd' Murphy and Kevin Pollard announced the arrival of the former's Claremont 56 label with Villa Stavros', a magical frst collaborative 12'. It
seems somewhat ftting, then, that Claremont 56's fnal release of its' frst decade will be N7 Odyssey, the frst collaborative album from Mudd & Pollard. By the time Villa Stavros' came out, the pair had already been regular studio buddies for a couple of years. Initially, Murphy had recruited Pollard - a hugely talented keyboardist and composer - to play on tracks he was working on for Rong Music. One thing naturally led to another, and soon they were joining forces to make music as Murphy's home studio in
Holloway, North London. As the years rolled by, further acclaimed singles followed Villa Stavros' - the bubbly, Rhodes-laden Balearic disco shuffe of Vincent', and the lilting, intergalactic dub disco of Scaffold', most notably - before the duo's other musical commitments began to take precedence. Murphy had his hands full running the Claremont 56 and Leng labels, while Pollard carved out a successful career as a soundtrack composer for both flm and television. Now, the album they set out to make all those years ago is fnally fnished and ready to be
released. N7 Odyssey - titled in tribute to the Holloway studio they recorded in for many years before Murphy moved - draws together freshly re-mastered versions of their previously released singles with a clutch of previously unheard tracks. Built around the duo's own fne musicianship, with Pollard handling synths, keyboards and electric piano, and Murphy guitar, bass and percussion, the album's ten tracks offer a musical journey through their shared love of shuffing grooves, sun-kissed soundscapes and
gentle positivity. Highlights come thick and fast. There's the swirling strings, futtering futes, jammed-out electric pianos and heady female vocals of Far Away', the enchanting new age ambience of December', and the rush-inducing Balearic disco breeze of Mawson's Walk', a former single blessed with sublime horn solos and rising, cinematic strings. Check, too, the head-
nodding beats, fuid electric piano solos and jazzy guitars of Inatin', the gentle Eastern mysticism and vintage ambient house aesthetics of Anura', and the ultra-deep house pulse of N7 Odyssey'. The album fttingly fnishes with a sublime ambient interpretation of Scaffold', arguably the duo's most celebrated track. It may have taken a decade to emerge, fully formed, but Murphy and Pollard have delivered an album that's beguiling, magical, and hugely comforting. Clearly, it's an odyssey worth
taking.

Rico Puestel is in charge for our Cocoon Recordings 144th release. Rico is an 'producer animal' who released more than 100 tracks & remixes since 2005 under various project names such as Dinamoe, Central Scrutinizer and of course under his main moniker Rico Puestel. The enormous amount of productions shaped Rico's knowledge and taste and his new cocoon release 'Neyst' and 'Enokid' seems to be the logical result of his long journey through the techno-universe. Puestels style is very unique and merges elements of dark and hypnotic mainfloor techno as well as orchestral sounds and even industrial elements. 'Neyst' is the perfect hypnotic and dark techno circle that keeps on progressing and building up into sheer madness. No fast food, no leightweight, this is heavy techno business! 'Enokid' comes with a little more of a Chicago house vibe however it is again still deep in Puestels very own style. We especially fancy the crazy break in the middle with the spaced out room effect part and the melody coming in after the break. As stompy and musclepacked this track is, it still seems to be very musical and deep at the same time - what a trip! This one demands a good and proper sound system, well what other Cocoon Release doesn't

2023 repress

For their first multi-artist compilation, Music From Memory take us on a trip to the heart of the Amazon rainforest. Outro Tempo: Electronic and Contemporary Music From Brazil, 1978-1992 is a double LP that explores the outer reaches of Brazilian music, where indigenous rhythms mix with synthesizers and where MPB mingles with drum computers.

As Brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of Brazilian music and culture. They embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. At the same time they referenced the musical forms and spirituality of indigenous tribes from the Amazon. The music they produced was a complex and mesmerising tapestry that vividly evoked Brazilian landscapes and simultaneously reached out to the world beyond its borders.

The product of extensive research, this compilation is a unique introduction to this visionary music and features many fresh discoveries in a country well trodden by record diggers. It gathers tracks from obscure albums that have for too long been neglected by even the most avid collectors of Brazilian music. It includes now highly sought after music by Andréa Daltro, Maria Rita, and Fernando Falcão, as well as unknown gems like those of Cinema, Carlinhos Santos, and Anno Luz. This is an essential release that reveals a broader spectrum of Brazilian music, striking a unique sonic signature that is full of innovation, experimentation, and beauty.

Compiled by John Gómez and featuring extensive liner notes, Outro Tempo showcases this overlooked corner in Brazil's rich music history for the first time.

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

A bit about the artist: Wahono, real name Harsya Wahono is an artist from Indonesia. He graduated from Berklee School of Music studying Jazz Performance. He had a brief stint in NYC working with the good people at Other Records before they unfortunately closed shop in 2016. He is now back in Indonesia where he runs the label Divisi62. This is his first release and we look forward to many more.

Nach ihrem ersten generationsübergreifenden Zusammenarbeit, "Late Night Endless" (2015), begeben sich die beiden Protagonisten zu spannenden, neuen Soundexkursionen in eine Vielzahl von Subgenres wie nervösem Funk, Industrial-Drone, Jungle-Rave, Cosmic (zu gesprochenen Weisheiten von Dub-Meister Lee "Scratch" Perry), furiosem Synth-Grime und trägem Breakbeat (im Cover von Ryuichi Sakamotos "Merry Christmas Mr. Lawrence"). Neben Lee Perry begrüssen Sherwood & Pinch auf "Man Vs. Sofa" weitere illustre Gäste wie Martin Duffy (Primal Scream), Taz (Dizzee Rascal) und Skip McDonald (Sugarhill Gang, Tackhead, Little Axe).

In the fourth Modern Cathedrals release, Altstadt Echo crafts three original works with a focus on experimentation with broken beat structures and grainy percussive texture, against a backdrop of austere atmospheres. Varg contributes a remix that emphasizes the despairing tones of "The Descent," contrasted with glistening treble percussion and and stumbling bass. To end the release, Evigt Mörker offers an extended hypnotic version of the track that slowly develops from a functional framework into an atmospheric drift.

The thematic aspects of the release follow the development of Modern Cathedrals as a label, expressing existentialist themes centered around the search for meaning in a life that forbids it. The label art features photographs of the beautiful remains of one of Detroit's many unused churches.

Phonica Records is extremely proud to unveil the next release on its Special Editions imprint; the stunning debut album 'Vuduwave' by Niños Indigo.Niños Indigo is the alias of audiovisual artist Valeria Hernandez. Developed over the course of a month, the album was recorded in Hernandez's home country of Chile and recorded in a single week, resulting in a flowing, organic yet otherwordly listening experience. Valeria explains; 'This record is a compilation of influences that have been inside me a long time... they keep coming back; Afro drums, Hindu instruments, Candombe, Psychedelia in South America. The rhythm of what surrounds me; the lake, the forest near where I live, the calm that surrounds it, the love of my friends and daughter. All of these feelings are what I like to put in my songs, a reminder to value the simple, to seize the resources that I have and to try and free myself of what's on my mind.'Originally released on digital and cassette label Discos Cetaceos in 2014, it's a recording that truly deserves to be given a new lease of life on vinyl.

Released in 1982, "Weltweit" was the sole output of the band. It has appropriately become quite rare and difficult to find with the resulting high prices to obtain an original copy. Inspired by the greats such as Kraftwerk, YMO and Klaus Schulze, the three members crafted an exquisite collection of electronic pop songs played on a very impressive collection of analog synthesizers (Arp Odyssey, Korg MS series, MiniMoog, PolyMoog, Moog Modular System 55, PPG 360, some Rolands, and Doepfer sequencer), self-builds and drum machines (Roland TR-808) that were considered cutting edge at the time. The band would have recorded a second album but split up before that was possible. Members of the band continued to be involved in the music industry at least peripherally but didn't participate in further collaborations or bands. Also interestingly, MONOPOL was basically a studio-only project and actually never played live (despite some TV appearances).

Definitely a must-have for fans of NDW such as Bal Paré, Grauzone, Piefke & Pafke, Rheingold, Stahlnetz, Ti-Tho and the like.

COMPILED BY PETE PASQUAL, ERICA OLSON & DJ KINETIC

Following on from acclaimed compilations like 'Down Under Nuggets' and 'Heavy Soul' (and two other new titles 'Running The Voodoo Down' and 'Dodgy Bossa (& Silly Sambas)' - details below), Festival Records presents another deep dig into the archives, this time shining a light on rare Australian soul-jazz, jazz-funk, and freaked-out groove rock from the late '60s and '70s.

BACK ON THE STREET AGAIN - AUSTRALIAN FUNK, SOUL & PSYCH (MOSTLY) FROM THE FESTIVAL VAULTS is a stunning 20 track CD and 2LP release that highlights a point when the previously disparate styles of rock, jazz and soul all started influencing each other, and exciting new genres were created. To quote the liner notes (by DJ Kinetic):

Australia produced some amazing music during the 60s and 70s that sat outside of the normal rock mould. Avant guard artists like John Sangster pushed boundaries and experimented with the fusion of local and overseas influences, artists like Dalvanius recorded soaring disco music that was lost amongst the popular music of the time, only to be rediscovered by DJs overseas who were searching for unknown sounds, composers like Brute Force and His Drum took risks and recorded left-field funky sounds hidden within their more mainstream compositions, and popular artists like Billy Thorpe occasionally strayed from their A&R directions and took leaves from the books of American artists who were largely unknown in Australia at the time. Beneath the veneer of bland rock and roll lay an unknown multitude of funky sounds hidden from mainstream view.

In addition to the artists that Kinetic mentions (and the compilation features two John Sangster tracks - stunning versions of 'Hair' and the Beatles' 'A Day In The Life'), the collection includes iconic names of the era like the Daly-Wilson Big Band (featuring Kerrie Biddell), Renee Geyer and the Johnny Rocco Band. '60s sides from Ross D Wyllie and The ID (featuring Jeff St John) reveal the various styles' roots in American rhythm & blues, and the unexpected inclusion of some legendary Australian rock outfits like Tamam Shud and Blackfeather reveals the psychedelic and progressive rock influences at play. The full range of the music is highlighted by the inclusion of both cabaret/daytime TV performer Al Styne and outrageous Kings Cross club act Count Copernicus & The Cosmic Fire as well as the in-house studio 'pops' orchestra, Festival Studio 24 Orchestra.

Co-compilers Pete Pasqual, Erica Olson and DJ Kentic to undertake interviews with specialist media around release. Facebook ad's around release.

Six years after his last album on Miasmah, Schattenspieler, it's great to find Marcus Fjellström resurrected after several long years spent composing his audio-visual opera Boris Christ.

Born out of shattered dreams and an obscured vision of the future, Skelektikon is a delirious yet lucid exploration of the farthest and most conflicted reaches of the heart, teeming with confusion, passion, and ghostly shadows. Being no conventional composer in any way, Marcus stumbles further down his musical domain of detuned orchestral (re-)arrangements and pain-inducing synth passages, arriving at a most unique and personal result. Where Schattenspieler gave way to noir filled alleyways, Skelektikon fills them with paranoia. It's the sound of Limbo, of dancing amoebas, of deviant skeletons, nostalgia and futurism, or quite possibly none of that.

Inhabited by the bizarre and the beautiful, Marcus's music is a blurred yet encouraging representation of how you can never trust your own feelings - or eyes and ears for that matter. And yet, we can't shake the idea that the truth is to be found somewhere within this alien language, as delivered to us through the speakers. Opening our eyes after the final track has dissipated, we wouldn't be surprised to find someone or something there, staring at us, in silent and unsettling knowledge.

Hot on the heels of the co-release between Especial and Cocktails d'Amore Music of the Sfire Remixes EP (EES023/CDA013) comes an accompanying release with a pair of deeper, stripped back remixes from the inimitable Timothy J Fairplay and Willie Burns. Well known as producers, DJs and label managers with their Crimes Of The Future and WT Records respectively, as well as appearing on a who's who of electronic labels including Pinkman, Unknown To The Unknown and L.I.E.S, they have appeared in various guises on both Emotional Response and Especial. Here then are 4 remixes - 2 each per side - that take the unique original to new dance floor extremes. Timothy steps up first with his take on Sfire 2 via differing vocal and instrumental versions. His trademark, echo laden rolling percussion and "Carpenter" key lines take the original Synth-pop homage to the dark room. Adding Arps, a lifting, hedonistic breakdown and the scatter-stepper drums and claps found on the Instrumental version and this is pure COTF territory and the better for it. Willie meanwhile has long followed his own path for his take on Sfire 3, offering one of his deepest remixes to date. Thudding kick, brooding pads and dark strings force the vocals to go down, way down for examination. The distorted vocals of Remix 1 are countered by Remix 2 letting the track shine via a seemingly endless 4/4 beat. Psychedelic, trance inducing, pulsating, this is an ever growing mind expanse.Presented in sparse Hand Stamped sleeves, this one off Limited Edition pressing is a unique EP, taking Sfire to a different sphere that warrants investigation. It was only

Counterweight is well known for their party series in Munich defined by their strong bookings. Now the guys decided to go a step further and start with their own Vinyl label. Their first release shows already what they stand for and what you can expect in the future CWTs releases. This release is also the debut EP of the Spanish DJ and Producer Gonzo MDF, who shows his ambition and love for rough sounds. High BPM, Industrial, violent synthesizers and really heavy kick-drums are what you'll find in this Sacrificio EP. Get your copy before it's sold out, 180 gr Limited Press!!

Red Vinyl

After a very successful label launch last year with "In Aeternam Vale - Self Destruct EP". Linda Records returns with another straight talking, analog fuelled 10". This time welcoming aboard Berlin based Russian artist "Alexey Volkov". His three track EP "Cold Blooded Genius" comes finely presented on transparent red ten inch vinyl (limited pressing). Whilst staying true to its current white label feel, this time Linda's trademark eyes, also a fitting red. On the A Side at 45RPM the title track "Cold Blooded Genius" and on the B Side two tracks will spin at 33RPM, "Unfriendly Nation" & "Curtains Of Flesh". We hate to categorise and attempt to summarise what these pieces of music craft sound like into words, we'll leave you to indulge for a short time to the machine noise of the highly regarded talent that is Alexey Volkov...

Bruno Patchworks' Hovart is one of the top producers of today's groove music scene. After playing as a bassist and guitarist for various bands, he started producing in the mid-nineties and has kept on mixing today's technologies with the raw spirits of House, Electronic, Disco, Funk, Soul, Reggae & Jazz music's golden years since then.

Following the trail of success left by his various projects as Patchworks, and under many aliases, he's proved his musical ubiquity and unexpectedly stroke in various genres. Many House music diggers would indeed remember that before Favorite Recordings was launched in 2006, Patchworks produced many deep-house tracks on various labels.

On this new EP, he's back as Mr President with 2 new banging titles brilliantly mixing House music atmosphere, with Soul and Disco vibes. He's also teaming up again with Sabba MG on vocals, following to their great Give My Love' efforts, released on EDR Records 3 years ago. As Going to a Go Go' is a fully exclusive work reminiscent of the early House music scene from New-Jersey or Chicago, the nice Disco flavors of Night Time' also come to announce Mr President's upcoming new album in 2017.

August 2016 saw Running Back release a first volume of live tracks from Redshape, but January 2017 sees the much loved artist return to Delsin, his most regard label, for a second offering of the same. This time the EP has one track made in Paris, and one in London, and both are filled with the sort of beautifully bleak and lo-fi sounds that have made this man such a standout artist over the years. Up first is 'London,' a chugging track that builds in pressurised layers of coarse hi hats, gurgling bass and pinging kick drums. It is a hypnotic groove that teases you as elements drop in and out and hisses of static and broken little guitar riffs add some cheeky funk. On the flip-side, 'Paris' is much more playful, with colourful pixelated melodies dancing about the mix, industrial drums working down low and steppy synths fleshing things out. Overall it sounds like a future disco for inebriated robots and is one of Redshape's more party starting tracks.

After the phenomenal send100.1 'Check Check' feat. Konrad Cadet aka Baby Ford with remixes by Mihai Popoviciu and Dub Taylor, this is the long awaited vinyl follow up. The Sender 100 saga continues with another superb vinyl release by Benno Blome.

All three tracks from the Mind Control EP- vinyl 12inch will be available digitally in three different releases (send100.3 / send100.4 / send100.5), each track an individual catalogue-number.

Side A: Survivor Testimony (send100.5) Benno Blome & Joss With fast 45 Rpm on the vinyl, was produced by Benno Blome and Joss, his ukrainian friend from Kiev. They started producing the track in Joss's studio when Benno had a gig in Kiev, and finished it in Berlin. A special emotional mood with Juno 60 strings and a spoken testimony from a female CIA-mind control-project-survivor. Real deep shit!

Mint Condition - A brand new record label focussed on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics and overlooked gems mined from the last 20+ of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond, Mint Condition have got their expert digging hats on to bring you exclusive heat and those rarer than rare jams that have been on your wants list for years! Dig in....
Arthur Forests name should be more widely known in the world of dance music, the man lent his expert to touch to more than one classic record emanating from Detroit during his time and has quietly left an indelible fingerprint on House and Techno history. Here at Mint Condition and for our third release we are extremely proud to present one of Art Forest's (in our opinion) finest moments - The majestic, futuristic 'Expectations' EP. Released in 1992, this 4 track EP has always been sought after by Detroit lovers worldwide. Often very difficult to track down and commanding high prices on the second hand market, this 12" is a real rarity. Showcasing a style that stands out from a lot of records released around the same period "Expectations" still sounds so killer today. Listen to "Flow with me" on the b-side, an insanely deep, melancholic piece of Detroit house, steeped in motor city futurism (those synth pads!) and with an otherworldly vocal performance from Dan Carter it ticks all the boxes, absolutely sublime and worth the admission fee here alone. Stunning.
If you're up to your neck in the history of Detroit dance music, or if you've literally just stumbled upon this entire world of amazing music (Welcome!) you'll want a piece of this. Beautifully crafted deepness from a quiet master of the artform, what's not to dig MC003 has been reissued with the permission and involvement of Arthur Forest and remastered by London's very own Curvepusher. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your new favourite reissue label - Mint Condition!
'Mint Condition - We're out there'

Keep on keeping on, that's what they say. We are here at Hizou. So we are delighted to be back with this the ninth release on our main label, another exciting various artists affair and a follow-up to the well-received limited edition EP, Keepin' The Legacy.
 
First up is the house music equivalent of a heavyweight tag-team in the shape of respected veterans Chez Damier and Abacus, producers with credentials so impressive and lengthy it's eye-watering, alongside the rising talent that is Jorge Caiado (Balance/Groovement). The trio's dub mix of their cut Closer is proper deep-down-and-dirty bumpin' house of the old-school kind.
 
Another man with an impeccable pedigree, in-demand musician and producer James Duncan (Le Systeme/Real Soon), makes a welcome return to the label with the hypnotic 416 Zone Dub, an irresistible groover aimed squarely at the more discerning dance floor.
 
Making his debut here at Hizou is yet another seasoned artist, Jacksonville, owner of Doppler Records and gun-for-hire with the likes of Atmospheric Existence and Inner Shift. Having eyed his chugging and infectious Twilight Industries from afar, we are delighted to finally nail it onto our vinyl.
 
Keeping the fire burning and more than holding his own in such fine company is label head Satore, who unleashes his inner disco diva with the groovy, soul-drenched Keep On.

Leyla's 'Parallels & Influences EP' brings together Mondkopf, Positive Centre, Codex Empire & Yuji Kondo for an assaulting 4 tracks of power infused and industrial strength techno.
Mondkopf starts things roling with militaristic snare rolls and off-kilter analog synthesis into a climatic fervor of dystopian scene-scaping. This then is followed upu energetically by the pounding pressure and liquid 303 squelches of Positive Centre's 'Rub'. Crushed out cymbals battle against booming sub bass as a foghorn call rides high above the tempestuous patterns.
Codex Empire's 'Hessdalen' is as slick and detailed as it is ruff and raw. Huge sweeping backgrounds with intense high end percussion lick over a stomping, staggered kick pattern. Yuji Kondo (one half of the excellent Steven Porter project with Katsunori Sawa) brings things to a close with 'Whip Blow'. Bringing his signature refusal for traditional percussion sources - this peaking track pits high level technicality against deeply hypnotic and brooding rhythm.

Closing the sweltering season & sonically chronicling the transition from Summer to Fall in Detroit w/different takes on a melancholy tune f/ Egyptian Lover (electro), Pontchartrain (house), Table Daddy (techno), the original, & a slomo extract.

Clear Vinyl

Khemia Records the new imprint from Kaos London announces the fourth and final edition in their current series. A limited edition, transparent vinyl (333 copies): The 'Winter Solstice Edition' featuring Codex Empire and MARMO.
* On the Solar side British born, Vienna based, industrial techno pioneer Codex Empire delivers 'Sevde' an experiment in long-form techno written specially for the label. A massive, propulsive beast, punctured with hammered rhythms and sub-aquatic bleeps, a maelstrom of whiplash cracks, disembodied voices and electrostatic, reverberating across an insistent techno groove.
* On The Lunar side MARMO present 'Alchimia' a track written specially for this release. MARMO is a conceptual, straight-forward, complex music sculpture. 'Alchimia' unfolds an epic sonic journey across vast swathes of desert.
* Intuition is really a sudden immersion of the soul into the universal current of life.- Paulo Coelho, The Alchemist
* Credits: 'Sevde' written and performed by Codex Empire 'Alchimia' written and performed by MARMO Mastered by Andrea Merlini, Utrecht Produced by Khemia Records, London Distributed by SRD Artwork commissioned from REIN VOLLENGA X LVM Khemia Records London
* Credits: 'Sevde' written and performed by Codex Empire 'Alchimia' written and performed by MARMO Mastered by Andrea Merlini, Utrecht Produced by Khemia Records, London - Distributed by SRD Artwork commissioned from REIN VOLLENGA X LVM Khemia Records London



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Following on from Plus Instruments Love Is Enough Remixes EP comes an accompanying Dubs EP, featuring deeper reversions by Jamie Paton, Luke Solomon, Khidja and joining them with a breaks meets dubwise, Alphonse. Truus de Groots return to her Plus Instruments project after a 30 years break saw the label pick up her off-kilter House roller, Love Is Enough for one of our (e)special remixing packages. Here then, we turn out attention to everyones favourite, the Dubs. Starting with label mainframe, Jamie Paton, his Cloudy Dub-Out pulls his mix through modular prisms for heads down basement rumble. Echo chamber vocals, twisted syncopations and a bass to breakdown walls, this is Patons true calling - dub to get lost in and rightful to kick off the EP. Next guest remixer de jour, Luke Solomon stays close to his original bumpin remix, warping the vocal with skatntrippin wonk, all atop a funk bass line and riding shuffle percussion. Cha cha cha. On the flip, Khidja triumph again with a tougher version. Not a straight up dub of their remix, this pushes a nod to colder (wave) vibes, with industrial percussion riding high on their trademark production. Hard kick atop refrained synths, growing out of Eastern protoid routes to glimpse their future. Finally, mystery man Alphonse comes in from the dark to close with a killer breaks inspired dub. Utilising the originals bass with an angular break, the intricate cut up percussion, Theremin and vocals all glide, keeping the head and feet (jazz) dancing for some (free) party sound system love. Dub is enough

By his debut album "Alcatraz" in January 2015, ARAS label head André Galluzzi thrilled with a concept album inspired by occult sounds and psychedelic vocals. "Alcatraz" as a whole is a captivating piece of art, its the essence of a club night. Now after received a wave of icredible feedback from "Alcatraz", the bird returns to ARAS with a bunch of remixes of the hypnotic track "Mathilda". Time to welcome Mike Shannon and Jacek Sienkiewicz to the ARAS family. This remixes will be a blast at the club by its very deep and reduced, futuristic interpretations. Mike, as head A&R of Cynosure and formerly Revolver Canada Recordings over 10 years, has shown an uncanny ability to select and produce tracks which have become go-to fixtures in the sets of the industry's best DJs. Far from pursuing the next one hit wonder or sound of the season, his steadfast curatorial vision and passion for the music have earned him the trust of discerning music connoisseurs the world over. Alongside DeWalta, Mike impressed lately with his album "Residual" on Cynosure/ meander back in March 2016. Jacek Sienkiewicz lives in Warsaw and he is a key figure in Polish electronic music scene. He holds Recognition since 1999, one famous label based in Berlin. With one foot deep in classic Detroit and Chicago dance scene, and the other in modern jazz and classical music, Jacek's tracks for the past ten years always try to find a right balance between the avant-garde and dancefloor, between primal emotions and highly sophisticated sonic wizardry. His latest album "Hideland" has been released in August 2016 on Recognition.

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

Words: Albert Freeman

Moving across the dynamics of feelings and rythms of matter, Oltrarno Recordings presents 'Observing Organic Structures', a mini LP produced from the duo Raccoglimento Parziale.
The breath of analog machines tarnishes the infinite mirrors of possibilities. Our duo wants us to absorb their work not only with the ears, but through all our pores. Attention becomes our antenna.
To refine this package, long time friend of the duo Spacetravel, who just released his debut double-EP on Perlon, elaborates his personal view with a full galloping remix.


Raccoglimento Parziale is a project by Stefano Meucci and Andrea Giachetti
Written and recorded in Pausenraum, Berlin, 2015.
Mastered by Stephan Betke at Scape, Berlin.
Artwork by Juana Anzellini, von der Serie "Anonyme", 2015.

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

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

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

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

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

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

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

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

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

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

Renowned house veterans D'julz and Jordan Fields drop two tracks each for a split release on Radio Slave's Rekids this December.One of the key components in Parisian electronic music, the A side sees a display of groove led cuts signature to D'julz as 'Shy Town' combines sultry bass tones with mesmerizing atmospherics and tranquil piano chords, making way for the crunchy drums and trippy synths of 'In Your Soul'.
Meanwhile, from across the pond in Chicago, Jordan Fields' raw productions begin with syncopated percussion and fuzzy notes until 'Mformation' concludes the package with thudding kicks and ethereal melodies.
Both artists have been commanding forces in electronic music for 25 years each making this split release very special indeed.

Deluxe LP w 180g, Reverse Board Sleeve, MP3 Download - HOLOVR is Jimmy Billingham who also records under the alias's Tidal, Venn Rain, Journey of Mind & Holographic Mind - He has released music on Firecracker Records, Opal Tapes and Hooker Vision as well as his own Indole Records Release Information Anterior Space may strike some listeners of a certain age as an echo of the gilded age of "armchair techno" exemplified by Warp Records' Artificial Intelligence comps. There's a similar convergence of the cerebral and the blissful in the four epic compositions HOLOVR (aka Jimmy Billingham) finesses from his analog and digital synths as that found on those early-'90s pieces by Black Dog, B12, and others. Discussing the creation of Anterior Space, which is the first HOLOVR release to feature no beats, Billingham reveals, "Dropping drums gave me a bit more freedom in terms of tempo and rhythm, and it was actually really liberating. Having fewer elements in a track also meant it was possible to record live, which is my preferred way of working, as you can capture an actual snapshot of time and a natural, in-the-moment negotiation of the different elements of a track. I'd know a track was ready if I could sit there and listen to it looping round for long periods of time and really get lost in it, and then I'd try and capture a nice section of that in the space of 10 minutes or whatever." You can hear this on Anterior Space's opening 11-minute track, "Into Light." Its subtle gradations of warped tones and implied rhythms teem with hyperactive elegance. The titular light glints off of several jeweled facets, like a disco ball made out of diamonds. The slow, mobile-like rotation of synth baubles over a foundation of yearning, icy drones on "Apparent Motion" creates the illusion of a shimmering stasis, but there's actually a great deal happening here. .

Black Truffle is thrilled to announce Reverse Tree, the new LP from the acclaimed duo of Eyvind Kang and Jessika Kenney, two musicians who have established themselves as powerful voices working at a unique intersection of contemporary composition, improvisation, and Asian traditional music forms. Either individually or as a pair, they have worked in contexts ranging from performances of traditional Persian and Javanese music to collaborations with Sunn O))), but their work together as a duo (documented on The face of the earth and Aestuarium, both released on Ideological Organ/Editions Mego) most clearly represents the central concerns of their diverse practices: a music of the inner life of sound, demanding ritualistic focus and promising heightened sensations.
On Reverse Tree, the duo expand their work together into the realm of the chamber ensemble, presenting two side-long works that feature Kenney's voice and Kang's viola alongside a multitude of other instrumentalists. Kang's Thoughts on Being Exiled to the Frontier, for Lord Wei, inspired by a text by the Tang dynasty poet Hsueh T'ao, features an all-star international ensemble: Kang, Kenney, maverick Israeli conductor Ilan Volkov on violin, Icelandic cellist Hildur Guðnadóttir, and guitarists Oren Ambarchi and Stephen O'Malley. The piece is primarily composed of irregular patterns of pizzicato notes and guitar harmonics, gently falling in and out of sync and providing a subtly unstable support for Kenney's voice, which sings long, wavering tones, at times reminiscent of Michiko Hirayama's classic performances of Scelsi. Drawing on 20th century instrumental techniques, alternate tuning systems, non-western music and the experience of nature (the irregular rhythms of the piece calling to mind nothing so much as drops of rain), the piece opens a space both serene and subtly uneasy.
Kenney's 'Elm features Kenney and vocalist Nova Ruth (of Filastine & Twin Sista) alongside an ensemble of strings and Seattle's Gamelan Pacifica, performing on Javanese instruments tuned to the slendro scale. An uncanny timbre created by bowing the keys of the Gamelan's instruments, supported by bowed harmonics from the strings, is heard consistently throughout the piece. After a long introductory section in which this harmonic cloud slowly descends from shimmering high notes to rumbling bass, the vocalists enter, singing a slow and stately setting of a 19th century Surakarta poem (attributed to Mangkunegara the IV). The melody is sung as a rich and wavering heterophony, with the ensemble sometimes rising up to support individual notes. The poem deals with the idea of a form of knowledge achieved through deeds, as a practice and state of the heart. This is music in slow motion, in which, in Kenney's words,

Repress

This is the third release on the fledgling Genosha Basic label. Ghost in the Machine is back to serve up four dark and brooding industrial techno dance floor destroyers that are guaranteed to mess with your sensibilities. This record's got everything: huge intros, huger kickdrums, hugerer breakdowns and cute little hi-hats. It's a winner.

* 'Limerence' is not only Misantrop's debut outing, it is also the inaugurating release of his own label Foul-Up.

* The sound pops out of an industrial mindset, but the title piece reverses out of garage/classic house that nods to 90s r'n'b. On 'Nocturnal Emission' friend Jon Marius Brogaard Aeppli's guitar solo is vogueing out on the floor, psychedelic rock meets psychotic blues by way of sheer UK sound.

* Featuring a wobbling bass on the techno-leaning 'No. 3' - adorned with a reference to classical composition in the cluster strings. 'They Don't Know' puts on a bit of electro, noise and some giallo synth arpeggiation. There's shine, atmosphere and a rather fascinating depth of field.

* 'Limerence' draws its inspiration from all over contemporary music and noise grounds - not wearing its 'influences' in the most opulent manner but well declaring its material with confidence. If the finished product doesn't have the uniformity of a proper industrial product, so much the better...

* Misantrop is out to change the way you listen to music, no matter how chaotic the journey is, showing off a vision that's both deeply human and richly transcendent.

For fans of: Kyle Hall, Actress, Shed, Drexciya, Levon Vincent, Helm, Anthony Shakir, Drexciya, Actress, Mica Levi, John Carpenter, Burial, Aphex Twin