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Greenvision is the collaborative brainchild of two ESP Institute artists, Juan Ramos and Luca Trentini AKA Trent, both longtime fixtures of Berlin's infamous playground known as Cocktail d'Amore. Separately, these two explore their own very personal avenues of expression, putting their time in the trenches and endlessly polishing their works (this makes Juan's third release with the label), but when their efforts overlap we're gifted a view into their uncanny synergy. Juan and Trent channel an exorbitant amount of smoke-fueled creativity, building layers upon layers into music so dense that the bulk of their studio time might then be spent navigating and formalizing their output into tangible tracks. Greenvison's collective debut with the ESP Institute showcases three intense cerebral workouts, Banana Paradiso, Rambutan and The Color Of Maracuja, an array of experiments pulling from all the corners of the duo's imagination—it is disorienting, cacophonous, introverted and psychedelic, but at the same time playful, melodic, euphoric and undoubtably arresting—guaranteed to induce hallucinations under proper circumstances. We welcome the induction of Greenvision to the ESP Institute, and with us as your guide, we welcome you to accompany on our descent into their abyss. Try not to get lost.

Strut presents the brand new album from cosmic jazz travellers The Pyramids, led by saxophonist Idris Ackamoor, 'An Angel Fell'. I wanted to use folklore, fantasy and drama as a warning bell,' explains Ackamoor. The songs explore global themes that are important to me and to us all: the rise of catastrophic climate change and our lack of concern for our planet, loss of innocence and separation... but positive themes too, the healing power of music, collective action and the simple beauty of nature.' Produced by Malcolm Catto of The Heliocentrics, the album was recorded during an intense week at Quatermass studios in London and is one of the deepest, richest works yet from a band reaching their highest creative peak since the early '70s. Some of the many highlights include the poignant title track depicting a fallen angel in purgatory, outrage and grief on the powerful, hard hitting 'Soliloquy For Michael Brown' and the lilting, beautiful album closer, 'Sunset'.

The Pyramids originally came together in 1972 at Antioch College, Yellow Springs, Ohio where teachers included renowned pianist, Cecil Taylor. After forming in Paris and embarking on a cultural odyssey' across Africa, the group recorded three independent albums, 'Lalibela' (1973), 'King Of Kings' (1974) and 'Birth / Speed / Merging' (1976) and became renowned for their striking live shows, mixing percussive, spiritual and space-age jazz with performance theatre and dance. After migrating to San Francisco, they disbanded in 1977. 35 years later, the band reunited in 2012 following growing demand for their music from vinyl collectors. German label Disko B released the freeform album 'Otherwordly' and in 2016, they released their first album for Strut, the acclaimed 'We Be All Africans'.

'An Angel Fell' is released on Strut on 11th May 2018 and features full hand-painted artwork by Lewis Heriz.

New concept album by leading cosmic jazz collective exploring global apocalypse, climate change and the healing power of music
Produced by Malcolm Catto of The Heliocentrics - Superb cover painting by Lewis Heriz
Full priority worldwide PR campaign and marketing
Release supported by major European tour dates in May and key Summer festivals

Shkedul is back on his imprint NORD LTD with a powerful four track EP. Dynamic, intense and bleeping techno. 300 copies - no repress

Japanese vocal performer Hatis Noit will release her enigmatic EP Illogical Dance via Erased Tapes worldwide on 23rd March 2018.
The arresting 4-track record creates unique song-worlds with transcendent vocal interpretations that at once deconstruct and recombine Western Classical, Japanese folk and nature's own ambience atmosphere. Illogical Dance also features Björk-collaborators Matmos, who were so impressed with Hatis Noit's recordings, they volunteered to edit the lead track Illogical Lullaby.

Hailing from the distant Shiretoko, a small town in Hokkaido, which is the largest island in north Japan, Hatis Noit's accomplished range is astonishingly self-taught, inspired by everything she could find from Gagaku — Japanese classical music — and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop vocalists. The sounds she created on Illogical Dance, co-produced by Haruhisa Tanaka and Matmos, bring to mind the experimental vocal patterns of Meredith Monk with the attentive production of Holly Herndon.

It was at the age of 16, during a trek in Nepal to the Buddha's birthplace, when she realised singing was her calling. While staying at a women's temple in Lumbini, one morning on a walk Hatis Noit heard someone singing. On further investigation it was a female monk singing Buddhist chants, alone. The sound moved her so intensely she was instantly aware of the visceral power of the human voice, a primal and instinctive instrument that connects us to the very essence of humanity, nature and our universe.

The name Hatis Noit itself is taken from Japanese folklore, meaning the stem of the lotus flower. The lotus represents the living world, while its root the spirit world, therefore Hatis Noit is what connects the two. For Hatis Noit, music represents the same netherworld with its ability to move and transport us to the other side, the past, a memory, our subconscious. It is the same for Illogical Dance, a set of transformative songs that taps into our most primal instincts.

The human voice is our oldest, most primal yet most powerful instrument. I use it to describe nature's many sounds, a language that isn't logical. Yet it forms a beautiful conversation that isn't restricted to words like the human language is. I want my music to remind us of that.' — Hatis Noit

Wanting to interpret and mimic the sounds Hatis Noit hears in nature, Illogical Dance is as unpredictable, beautiful and mysterious as the world around us. Each track is made up from multi layers of vocals, all improvised and without words, before being carefully pieced together. Astonishingly no samples are used throughout, even the sound of crushing leaves came from Hatis Noit's own vocal chords.

The result is a stunning array of sound sculptures that see her switching between multiple styles with great ease. From the sweet operatics on Illogical Lullaby, the manipulated vocal loops duplicating electronic production on Anagram c.i.y. to the primordial chanting call to arms of Angelus Novus, a 10-minute odyssey that features whispering and leaves crunching, it showcases Hatis Noit's full range and introduces a truly original artist.

Previously only available in Japan, Illogical Dance will receive a worldwide release on 23rd March 2018 including a first edition on 12' vinyl. After participating in a ceremony for memorial and appreciation tailored to the withdrawal of the evacuation area in Fukushima on 31st March 2017, Hatis Noit collaborated with renowned visual artist Nobumichi Asai on a project titled INORI (prayer) which they premiered live as part of an Erased Tapes showcase at Mutek Japan in Tokyo.

Having recently moved to London and performed a first string of UK shows, followed by a special live performance at the Milan Fashion Week and Mutek Japan appearance, Peter Broderick has invited Hatis Noit to support him at the Jazz Cafe on April 15th. She's also been announced as part of this year's Sea Change Festival line-up, and asked to participate in a workshop with the London Contemporary Orchestra.

The Works of John B. McLemore, the star of one of last years biggest podcasts, S-Town, which is coming out on Dais. The story behind this release is truly fascinating.. the music itself is ambient remixes of Tor Lundvall's best works, but with John's idiosyncratic slant on them, with some having been woven together using the horde of clocks he use to keep in his basement. This story is really worth a read if you get a chance."In September 2012, I received an e-mail from someone named John B. who said he had assembled a lengthy remix of my music, which also incorporated some of his own material. John asked if I'd mind if he posted this recording on YouTube, to which I agreed. He also mentioned that there was a second part to his mix that was "roughed out", but never completed. I was curious to hear both parts, so shortly afterwards, John mailed me two CDrs which I enjoyed very much. The recordings were hypnotic and haunting, evoking images of vast fields at twilight. I was especially fond of the second disc which had a darker atmosphere and featured more of John's original material, beginning with ghostly clock chimes and ending with a mysterious piece using dried seed pods and other cryptic sounds that slowly built-up into an intense, almost claustrophobic environment.

My correspondence with John lasted about two months. In one of his final e-mails, John said "I have to observe that your paintings seem to have a great deal of loneliness involved in them... even multiple characters seem to be together alone, so to speak... I really appreciate looking at your paintings as well as your music, I think I have connected with the spirit of them both as much as anyone can." He went on to discuss his struggles with depression, caring for his aging mom and his concerns about the future. I tried to encourage his music as a possible outlet, perhaps as a means to help transform his feelings of loneliness into a more content solitude. Always easy to say, but as I well know, not always easy to do.

In his last e-mail in late October 2012, John sent me a beautiful slideshow of his Fall flower beds and his dogs. I was touched and I told him how much watching his video had brightened my day. That was the last time I heard from him.

Last year, I visited John's YouTube channel to see if Part One of his mix was still posted, which it was, and still remains. I was shocked and saddened to read in the comments section that he had passed away. The comments also suggested that John had received some sort of national attention recently. This quickly led me to the S-Town podcast. Although I had mixed reactions after listening, I was thankful that S-Town shed more light on John and his remarkable life... but somehow, I just couldn't place the person in the podcast with the person I had corresponded with. Had I not listened to S-Town, I would have remembered John as a very private, somewhat dark and lonely person. He may have been these things, but there was obviously far more to him than that.

After finishing the final episode, I decided to play the second, unreleased CDr of John's recordings for the first time in years. Listening to his clock chimes ringing in the dark was an eerie and chilling moment. I was reminded of a line from my song "29" which says "I live with dreams and a lonely mind, my clock is set to a different time". I wondered what those lyrics might have meant to him.

John had mentioned that he wasn't satisfied with his final mix, but I felt his work was too special not to be heard. I hope that these recordings offer another glimpse into the creative mind of a unique, complex and gifted individual who tragically left this world all too early."

Tor Lundvall
January 17th, 2018

JOHN B.'s NOTES:

This is what was intended to be the second part of my Tor Lundvall Remix series. Unfortunately I am dissatisfied with it due to a few defects, and it is highly unlikely that I will ever be able to complete it. Still it serves as a testament to my interest in the work of Tor Lundvall that I made it this far. Defects are as follows: The first movement is too 'fussy', and the first section of the fifth movement seems a bit long and may bore the listener, but since it consisted of so many slow moving textures, I don't know how I could redo it and still achieve what I was wanting to accomplish. Additionally, this recording was done just days before my Father died, and there are many feelings of guilt associated with the time spent on it. If you are receiving this recording, either you are one of my better friends, or you are a great admirer of Tor Lundvall, and requested that I send it to you.

1st Part: Basically a track of me fiddling around with old clock bells, and air turbulence mixed with Tor Lundvall and Field Recordings of rain, birds, cicadas, frogs and such.

2nd Part: My interpretation of Lundvall's Dark Spring. This track was inspired by the music of Carl Michael von Hausswolff.

3rd Part: Very ambient Field Recordings inspired by the work of Francisco Lopez.

4th Part: A Very Quiet passage consisting of delicate Field Recordings.

5th Part: Music performed entirely by me inspired by the Darker paintings of Tor Lundvall. Most of the instruments on this piece consisted of dried seed pods from the plant; Showy Rattlebox (Crotolaria Spectabilis), that I had collected and dried the previous Fall. There are other sounds from my own environment as well.

This mix was assembled in the Late Fall of 2003. There are some very Quiet passages in this piece, so it requires a nearly Isolated listening environment... It should be heard After Midnight, in the Late Fall of the year, and, not surprisingly, a Very Long Attention span is a Prerequisite.

John B. McLemore
September 10, 2012

Limited edition of 300 copies. Comes with printed sleeve and black innersleeve.

Stepart presents "The Curve": a dark and intense EP which blends influences of UK Bass Music with the assertive sounds of Techno. The Parisian producer demonstrates his skill and versatility, as this EP takes a sharp turn away from his previous style of music production. Featuring his signature combination of lugubrious bass and unpredictable drums, Stepart reveals a late night sound palette which places his music at the heart of the club.

The optimum effect of Music of the Five Elements will be achieved if each side of this recording is played through, from beginning to end without interruption. Music of the Five Elements, when used as a meditational or body work tool, rather than entertainment, will increase in effect over time. Overplaying or improper use, however, may eventually diminish its designed effect'
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Music is the healing force of the universe. It's an ancient idea bandied about by Pythagoras and Plato. In the last century, music as medication has been explored by musicians as diverse as Albert Ayler, Spacemen 3 and Pauline Oliveros. Nowhere did this concept gain more traction than in the so-called realm of New Age Music, an entire movement of synth droners and echoey flautists recording home-baked healing mantras on 4-track. In recent years, thanks to cassette collecting devotees and open-minded music journalists, New Age has shed its flowing robes and is being mined for the truly incredible music that swells under its pastel surface. Musician/acupressurist Sam McClellan's 1982 Music of the Five Elements is one of those revelatory discoveries, an unrivalled work of intense research and focus, simultaneously a near perfect work of art and a scientifically sound elixir for body and mind.

After studying electronic composition at Hampshire College with Randall McClellan (no relation), Sam McClellan became intrigued with the possibilities of healing through music. He explored this idea by applying the ancient Chinese philosophy of medicine to the principles of musical composition. Using the pentatonic scale (the traditional scale of Chinese music), McClellan related each of the notes to one of the five elements (Wood, Fire, Earth, Metal Water), and created five variations for each. He experimented with tempo, beat, pitch, duration, and sound quality, studying the effect on people's energy levels. Using the results of his tests he developed a comprehensive theory of sonic healing and spent the next year composing an album designed to help people achieve inner balance, reducing anxiety and energy depletion.

Music of the Five Elements is not only the acoustic massage' that McClellan set out to make, but is a fully realized and peerless piece of music. Taking cues from Minimalism, American Primitive guitar (Fahey & Basho) and even psychedelia, the album is a continuous sound voyage for voice, synthesizer, guitar, bowed bass, piano, effects and ciao (Chinese flute) all played by McClellan himself. Although divided into sections, the journey is best undertaken as a whole, without distraction.

After a period of hibernation, aperture records awakens with a bang and a compelling program in the pipeline.
Following their first album released on aperture at the tail end of 2015 'no.3.obliate', the Italian duo T.e.s.o. bring us their second full-length album 'costruzione 04'.
As the title suggests, the album centres around an underlying theme of construction, inspired by radical architecture, brutalism and collages from Superstudio. The concept and title evolved from the nature of the album and the process of building up tracks from a number of separate samples, much like the singular elemental materials used to assemble a structure.
Alongside their music production, the duo have previously created a multimedia installation that investigated the geometric studies of Le Corbusier in parallel to the musical production of Erik Saite and Matteo Castiglioni continues to create impressive audiovisual installations such as the recent 'Freddo Flusso' and 'neon(i)', as well as a collaboration with Danilo Randazzo. T.e.s.o also continue to perform absorbing live sets of their own inimitable range of musical perspective and vision.
Intense, visual and structured, 'costruzione 04' again showcases T.e.s.o.'s complex, obscure and dominant beats and their oblique and sometimes challenging style.

180g
Perfect Records returns with a fully rounded release by Danny Scrilla. The A side, "Mirrors" features talented singer Alis beautifully tagging along on a very Scrilla trip to space. On the B side, "Can of Worms" is an intense, sub-heavy roller that's been blowing up soundsystems left and right. The final track on the EP, "Wipeout", is an absolute hoovery head-nodder for the dancefloor-inclined.

Meo, pseudonym of Daniele Mei, is a cosmic dj from Rimini, Italy. Fine Corsa was his first record, released in 1985. In those days Meo was active in what was later considered to be the most famous Afro Dance Club in Italy: Melody Mecca. This release is an intensely creative hybrid of many styles and many colors. Even up until the present day this record continues to be very important in some preeminent European clubs

- Black and Purple vinyl versions.-LP includes download.
-Son of Blue Note legend Bruce Lundvall.
-12 years since his last record to feature vocals.
Dais Records is proud to unveil the new dark pop masterpiece from artist and composer Tor Lundvall. His first vocal album since 2009's Sleeping and Hiding, and following the release of two instrumental albums and three CD box sets since that time, Tor returns with an album of beautifully intricate sadness and reflection: A Dark Place.Born in 1968 in Wyckoff, NJ, Tor Lundvall is a painter and ambient composer.
The son of Blue Note Records legend Bruce Lundvall, Tor was exposed to artwork, music, and creativity from a young age, and began his professional painting and music output in the late 80s. Widely known for his dark imagery and thoughtful, provocative soundscapes, Tor Lundvall's artwork is all-encompassing. His music, when paired with his paintings, creates a world within which one could easily disappear. An intensely private individual, Tor Lundvall eschews the gallery circuit and live performances for his private studio in Eastern Long Island, NY, preferring to show his artwork privately and focus on studio production and writing without the pressures of the audience and all it encompasses.
Dais Records is honored to provide another glimpse into his world through his recordings. We hope you find it as special and as unforgettable as we do. Artist Statement:It's been twelve years since I recorded my last vocal album, "Sleeping and Hiding" (released in 2009, but recorded in 2005). After completing those sessions, I felt that I had said just about everything I wanted to say lyrically. I wasn't sure if another vocal album would ever materialize, but slowly and surely, new lyrics came with new songs to accompany them. Finding the words to describe this album is almost as difficult as the past couple of years. There is a lot of pain, fear and sadness wrapped into these eight songs. More so than usual, I think. The loss of my father in 2015 and coping with his absence certainly hangs heavily here. I recorded this album at night while I stared out from my bedroom window into the shadows of the garden and the neighbor's house next door. The reflections of the flower lights encircling my bedroom window looked like distant, golden constellations through the glass while I worked. A nice memory. A few of the melodies were inspired by, or constructed around some of my earliest riffs and abandoned sketches, one dating all the way back to 1985. The lyrics to the final track, "The Next World", came to me while swimming alone in the bay one clear October afternoon about five years ago. I originally envisioned a lighter, more optimistic song to accompany my first draft of lyrics, but the piece evolved into a song about final reflections, lost dreams and the terrible sadness of the passing of time.

* After two years of the "Anubi" released, awaited return on the Italian duo Beat Movement has embarked a new journey in Berlin and unveils this landmark sequel under Luciano Lamanna's Love Blast, among their own label Dlbm. the duo has released Ep's collaborating various artists like Endlec and Umwelt. Moving into the future sound, Beat Movement envisions a new era of dynamic techno by curating futuristic and punchy form of music dismissing the most commonly used of dark frequencies which break all the usual boundaries of techno music. Entrainment is a futuristic prodigy with hypnotic synthesis, syncopated basses, and progressing into intense rhythms that will encapsulate the mind and body, transporting it to a full-blown raving era.

This EP shows the musical development of the past 2 years in which KAUW has translated their live sound to studio recordings. It's made with the intention to work well for the club, while all of the live elements such as acoustic drums and bass guitar are on the foreground of the tracks. It's important for the band to show the energy of their live shows in the record. In this way, this EP is a switch from the more funky, live first record (which suggests the electronic side) to this EP which is on the crossroads of live music and produced House music.

The A side featuring 'PITCH' is a bit darker and a real dancefloor killer. Hard synths, deep bass, clear drums and an intense dynamic in which you're taken on a Kauwjourney to which it's unable to stand still. The B side featuring 'Nergens' is more funky, light and sweeter with beautiful synths, funky basslines and groovy drums, inspired by the mix of '90's Disco and House. San Proper's remix takes this funky track to a real Proper-world with beautiful guitar melodies, deeper basses and extravagant vocals.

Montreal electronic duo Essaie Pas are back with their fifth album (their second on DFA Records).

Essaie pas always seek out fresh challenges. After all, there's a whole universe of sounds, sights, and new ideas to explore. Emerging from Montreal's sprawling electronic scene, the duo - Marie Davidson and Pierre Guerineau- feel completely free to express themselves, to sketch out hitherto unmapped musical regions.
Forthcoming album New Path takes this one step further. The duo's fifth album to date - and second on powerhouse label DFA Records -is loosely based on Philip K. Dick's A Scanner Darkly', a classic of dystopian science fiction.
I read the book a long time ago, maybe 15 years ago, and it had a strong impression on me,' explains Pierre. In our previous work we always looked to music as inspiration in our lives, but this time we felt the desire to try something different, that's not based on ourselves but on someone else's universe. It was going to be more conceptual, more political.'
New Path touches on personal ground, on addiction, loss, and the lingering strength of identity within late capitalism's mass media paranoia. It pins down the central character's destructive addiction, using this as a metaphor to explore the dichotomous rupture between our inner lives and our social environment, one that is often fed and soothed by drug abuse, social media, or any kind of dependence.
I think it touches us on many levels,' Pierre continues. We can talk about drug addiction issues, we can talk about the mass surveillance world we live in, but there's also the experience of loss, of grief. I was surprised by how the book felt so modern and accurate to the time we live in right now. Dick's visions of surveillance are the reality of social control today.'
It's a record that continually ties itself in knots, a puzzle that is outwardly beguiling while the solutions remain inherently allusive. As Pierre points out, it's even present in the title. I like the fact that it sounds optimistic, but in the book it's actually an illusion,' he explains.
But it's a challenge met with humour, picking up on the wry elements of Philip K. Dick's own writing - witness the subtle wit of songs such as 'Complet Brouillé', 'Les Agents Des Stups' or as in 'Futur Parlé's tripped-out lyrics, offsetting intense themes with something a little more playful.
The conceptual nature of New Path belies the subtle personal shifts within the band. A husband and wife duo, Essaie pas thrive on freedom, on parting to focus on outside projects in Montreal and Berlin before returning renewed, flushed with fresh inspiration.
Both personally and for Essaie pas it's good that both of us have separate projects,' he explains. Marie has been constantly touring solo for the last year. On my side I've been producing other people's music (Bernardino Femminielli, Pelada or Sleazy to name a few). Collaborating in the studio with talented people with unique aesthetics and different creative processes is really refreshing as an artist.'
The complexity of the project mirrors the complexities within Essaie pas' career to date - forever unpredictable, their wiry, individual sound offers a tangled vision of tomorrow's aesthetics. I think this was the main challenge,' muses Pierre. To adapt what we've been doing live, which before was always changing, and corner it, make it cohesive'.
Ultimately, what the duo want is a challenge, to be forced to raise their expectations again and again, to look continually to the future. This is cold music for cold times, yet beneath this lies a continual search for the humane.

One year into his music production career, WHB' is the startling debut release from Brooklyn's Kellen303. A unique hybrid, the tracks are inspired by goth rock/industrial, footwork and vogue music. It's perhaps a happy but unlikely accident that they also fit into Keysound Recording's dark, rolling UK sound. Across five tracks, four cut to vinyl, Kellen303 maps out his unique but bleak vision. The title track, a relentless volley of thunderous kicks, samples a phone interview Kellen303 held with a grime MC close to Keysound's hearts. 'What's Happening Brotha' is titled such because these songs were made at a very dark time in my life,' he explains. I decided to turn my anger and frustrations into music.' There is also a visual/thematic component to my music. Specifically, within the world of 'Planet X.' Where 'Planet X' is a song about going war, the Interstellar mix is song about traveling to that war in suspended animation. The song take place in a dream state where thoughts, emotions and images from the day are passing in and out of the subconscious.' As his thoughts suggest, Kellen303 is also an intensely visual person: outside DJing, he's a filmmaker and screenwriter. He also co-founded Transit FM, a vibrant American web radio station. The EP also features a vocal from Bronx based Afro-Dominicano MC, Rainey.

Sonic Groove Records presents the advent of a new strain of contemporary techno for 2018 and advancing electronic music culture further into the future with this release. This is a document of the convergence and alliance of two distinct artistic visions, that of veteran and pioneer Thomas P Heckmann under his Drax moniker and current dedicated activist Blush Response. The results of this cutting edge collaboration are pure dance floor revelations of the infectious and mind expanding kind. Four cryptic transmissions initiating a sequence of combined sonic DNA output.

This is an interpretation of techno rooted in radical experimentation and upgraded to the next level with compelling innovation. Side A initiates the drama with mysterious analog machine signals of both purist and experimental dark techno that are composed of elements crafted at the molecular level. Side B continues with intensity delivering more of the combined audio expression of the artists. The intense coded communication weaves through in waves of perfectly balanced synthesis that is reinforced with heavy percussion and complex intertwined and engaging rhythms. A new key to other dimensions in sound. Essential

The third chapter in the vinyl installments on Gaze ill's Danish Cue Line Records is written by Belgian artist Zygos, Georgio Roumans. An unforgettable piece formed by 3 distinct original tracks plus an outstanding remix by Italy's most wanted, DPRTNDRP (D- Operation Drop).

The EP opens with the toxic symphony of 'Laicism'. By chest pressuring hits right from the beginning, we're pushed into another world where everything is moving though it feels like time stands still for a moment. Mellow melodies formed in layers of feedback alike sounds and endless reverberated stabs generate a persistent tension held tight by the static, marching drums. The title track 'Sudd' forms part 2 of the journey through Georgio Roumans' explorative universe. To think everything can move this fast yet keeping a minimal expression is beyond reality. From 8th to 16th to 24th notes - variations through the bass, percussion, and melody sections - a discreetly conducted progression is reached throughout the track. Accompanied by weird background soundscapes the sub bass takes the lead on the tight Halfstep- package of 'Tapered'. The drums are simple and hard, which is just what's needed to tame and control the strong movements from the sub. Super minimal for the sound system. Italian DPRTNDRP brings new life to 'Sudd', which awakens in a completely different light than the tempo- filled original. Strange sounds and rhythms, raw and dirty. DPRTNDRP makes the remix a must hear.

The vibe is intense from start to end, and the EP hits perfection due to Georgio's naturally alive style, and the clever remix from the ever boundary pushing DPRTNDRP. Signature sound, deluxe on 180 grams heavyweight vinyl!

Entering the void...

The Untitled was already present on the 'Unruhe' compilation... This one man project is located in the north of Holland far away from trends and hypes... and so is his music... The ingredients are evident: a pounding bassdrum, screaming synths, ear-splitting acid lines and distorted hi-hats. The result: disturbing and intense techno and acid... music that you can also call post-hardcore, tekno or acid core... and for sure sounds that could also interest fans of industrial music... or anybody interested in extreme sounds...

LillyGood Party! Is a label focused on licencing tracks that Alex And Stephane play for years at their parties .
The aim is to re-edit and revisit those jams from soul to house , jazz to afro , boogie to techno and make us and people enjoy and smile on the dancefloor because those tunes are really really good J Both tracks here are classics dancefloors tunes , nothing rare , just favourite tunes that Alex and Stéphane play in their sets On the A side the ONWARDS INTERNATIONAL version is longer than the original and the arrangement quiet different for more intense dancefloor action. Here they both worked on the edit to find the right balance and the right sound in order to revisit the UK classic jazz funk number, a firm favourite here @ LIllyGood !The B side is an amazing disco modern soul gospel track from ELBERNITA TWINKIE CLARK already reissued some time ago but the cherry on the cake is that you have here a 12' version extended and a new mastering for extra loud play This version is slightly different than the original, Alex extended parts : the beginning with drum intro looped for mixing and changed the end to make it longer keeping the original flavour.
Please enjoy as much as we do because we love those edits, we love those tunes, we love Music we are very happy to share with you these limited vinyls releases .

For a label that wasn't around long, Strata East achieved the same sort of label recognition that Impulse! or Blue Note managed to build. In other words, you knew what you were getting when you bought a record on the label, even if you didn't know the names on the outside of the cover. This is no exception. Who is Shamek Farrah Who knows Who cares It's the music that's important. This is the standard spiritually intense new jazz one learns to expect from the label, soaked in some Eastern influences but always with its ear to the street. Musicians took their roles as leaders and spokesmen very seriously back then. This very adult statement from a group of very serious men is no exception. However, what might be an average, forgettable session is rescued by the propulsive engine of Milton Suggs' bass. He adds the fire and the drive that keeps things interesting and prevents the music from wandering into a circular spiritual morass. For fans of the sound or the label, this can be heartily recommended.