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Taking a turn to some of its roots, Emotional Rescue offers a reissue of Ramjac Corporation's UK house/breaks anthem Cameroon Massif!. First released on the increasingly cult-status Irdial Discs in 1990, this was very much the sound of the big bang explosion of Acid House morphing and splintering, as subsequent multi-genres developed, formed, imploded and reformed in new ways that still subsists today.

Within the melting pot of anything goes, chemically-enhanced optimism that spread across the UK during that return to the summers of love from 1987 onwards, the nascent sounds coming from Chicago and Detroit were mixed with a hybrid of 80s British influences, taking in European synth pop, US electro, new beat, hip hop and reggae. Out of this appeared a new sound, mixing that love of techno and house with dub bass and break beats into a proto-jungle swirl.

Like many growing up through the ever-evolving 60, 70s & 80s British music scene, Paul Chivers' early years of learning piano and guitar, moved from Beatles era pop to take in punk, jazz and anything an eager musical mind could explore. Developing a long-term interest and study of Cuban and Afro-drumming, his acquisition of an Atari and sampler soon moved to programming of both drum machines and TB303 and with that, Ramjac Corporation was born.

Playing live at some of the earliest raves in 1988, as often through luck and "right time, right place", including the infamous Back To The Future and Energy parties, Ramjac went from playing from 50 to 10,000 ravers in a matter of months, as the nation was gripped, depending on your cultural standing, by either a mixture of drug apocalypse paranoia or ecstatic celebration.

It was a meeting with Akin Fernandez, founder of Irdial Discs, that led some of the first studio experiments and creation of Cameroon Massif!. Utlising Akin's in-house studio and production skills, alongside Chivers' jazz influenced outlook of improvisation over arrangement, the track took shape, mixing the live programmed percussion, heavy doses of phase, delay and reverb and Sun Ra inspired keys that resulted in a number of mixes of Massif!.

Collected here are the original 12" "Massive" and "Massing" mixes, plus a special live version taken from the "Live At The Brain" reunion gig of 2009. The sought after 1990 versions and original Live mix are taken a step further with this 13 mins + mix, in essence a resampling and remixing reversion with didgeridoo and live on mic MCing, that gives a real glimpse of those early live sets. With more Ramjac Corporation material upcoming and a live reel-to-reel show appearing soon, the return of Cameroon Massif! is now.

The young Dutch DJ & producer Lewski debuts on Darko Esser's Wolfskuil Limited series with 'Folkloric Human' EP presenting four fine Electro / Techno cuts.The title track opens the EP with a blend of old school electro and distinctly modern techno, featuring rhythmic bouncy beats and a playful built up perfect for the floor, followed by 'Phase Mistress', a vintage sounding beauty with captivating bass sequences and plenty of analog flavor.'EreBus' kicks off the B-side with its twisted drive, cyborg samples and sinister attitude that justifies it's name been derived from the mythological god of darkness. The atmospheric, Detroit flavored 'Decommissioned Androids' rounds the EP off with tight basslines and relentless analog madness.Lewski's debut EP on Patron Records last year gained support by the likes of Ben UFO, DJ Stingray and Umwelt. Lewski is part of a select cut of young artists who are absorbing electro's legacy, carrying it into the future and with his release on Wolfskuil Limited we can be sure that the future looks very promising.

Bangers and Ash is back. The rough & ready series of records that spawned the wider Styles Upon Styles imprint has always challenged artists (Clay Wilson, Certain Creatures, Best Available Technology to name a few) to work their sonics for both the club (Bangers) and the clouds (Ash), now welcoming Contakt to the family in 2018. A native of Michigan and a long-time resident of Brooklyn, Contakt cofounded the boundary-pushing club night TURRBOTAXr with previous releases on Argot, Icee Hot and "Second Shift" and "Detritus" feature on the Ash side with a spacious wash of atmospheric analog synth constructs, while "Shut Off Notice" and "NDO" are Bangers that divebomb deep into classic Detroit techno. Each record has been screen-printed, stamped and stickered by Contakt and SUS, with mixing by Phil Moffa and mastering by Josh Bonati."

n5MD is proud to bring you All That Was Lost, The 3rd album from cinematic ambient composer Stray Theories. A treat for for fans of Hammock, Eluvium & the more soothing works of Sigur Ros...
Australian born and current New Zealand resident Micah Templeton-Wolfe is the sole force behind Stray Theories, and this album finds him following-up 2014s We Never Left EP with his first new long-form Stray Theories material, not to mention, his first album to be pressed to vinyl.
Templeton-Wolfe's time away has not been for naught. Composing for films, collaborations with like-minded artists and a plethora of remix projects, all while creating a sample pack for the Noiiz sample app under new project Ocean Lost. So it's been a busy time for Templeton-Wolfe.
While he has seemingly been focusing his efforts else- where, Templeton-Wolfe has been quietly composing for All That Was Lost, an album which is imbued in spades with Stray Theories' signature mood-altering sound- scapes.
Muted electronics have always played a part in the Stray Theories pallet, and some of Templeton-Wolfe's extracurricular work might have something to do with those textures now being brought a bit more to the fore. In Templeton-Wolfe's hand, these fit in perfectly within the personally subjective nature his music has always suggested. All That Was Lost is a cinematic ambient gem brought into the world at a time when we need it most.

Picking up from where she left off with last years successful Tools of My Purpose, E- Saggila has returned to BANK employing a more sublime and immersive electronic document. Previously leaning toward noisier and distorted rhythms, she has incorporated more sophisticated elements into writing and production. Dedicated to Sublimity is a product of growth and progression but still reflects the raw elements we've heard in her early recordings. Lush and atmospheric elements coincide with the brutality of her live sets and play off one another as a cohesive representation of the E-Saggila project.

Picking up from where she left off with last years successful Tools of My Purpose, E- Saggila has returned to BANK employing a more sublime and immersive electronic document. Previously leaning toward noisier and distorted rhythms, she has incorporated more sophisticated elements into writing and production. Dedicated to Sublimity is a product of growth and progression but still reflects the raw elements we've heard in her early recordings. Lush and atmospheric elements coincide with the brutality of her live sets and play off one another as a cohesive representation of the E-Saggila project.

From the depths of Sydney's underground scene comes Mango - an exciting and talented producer, DJ and multi-instrumentalist who first came to our attention with an incredible live set in 2017 that blew minds and left the room in awe.

MS002 is his first official release, a collection of tracks from the vaults that explore a range of soundscapes made strictly for dancing.

From peak time cuts to sun down/sun up groovers and low slung broken club tracks, all have a uniquely raw energy and swing that only an MPC can produce.

Coming from a background of Hip Hop and Beats, The 'Mood Organ' EP is the sound of a producer stretching out into new territory, expanding on a strong base of sample heavy experiments, maturing his skills and sounds while exploring new influences to deliver a collection of compositions as a statement with serious intent.

On Video Age's forthcoming album Pop Therapy, out June 22nd via Inflated Records, longtime friends and songwriting partners Ross Farbe and Ray Micarelli conjure up a thrilling assortment of experimental pop songs. Using a palette of vintage synthesizers and the propulsion of a Sequential Circuits Drumtraks drum machine, the New Orleans-based group's buoyant synth-pop echoes from some imagined vision of the past, leaning on an invented nostalgia to soundtrack an ideal future that never arrived. Video Age brings that future fully to life on Pop Therapy. Emerging from New Orleans' DIY scene and label collectives, Farbe and Micarelli were intrigued by each other's songwriting among several curiously satisfying guitar pop bands. As a producer and prolific engineer, Farbe has helmed some of the most exciting releases from genre-pushing New Orleans artists, whose singular visions are made possible with his gifted ear and love of tape recording. Micarelli's talent for crafting simple, tangible melodies complements Farbe's studio world-building, letting ideas drift until they emerge into impressive arrangements. The pair's seemingly effortless gift for crafting earworm hooks was glimpsed on their 2016 debut Living Alone, a gorgeous collection of guitar-driven melancholy. On Pop Therapy, they're joined by Duncan Troast, Nick Corson and Jordan Odom, taking inspiration from the limitless possibility on sonic canvases of the late 1970s and early 1980s (Yellow Magic Orchestra, McCartney II, Donald Fagen's The Nightfly). Where Living Alone catalogued the solitude of reflecting on what was and could have been, the sentimental love songs on Pop Therapy gaze longingly at the likeliness of a brighter tomorrow.

Here's one for all the hardcore Disco and Soul lovers out there, one of the finest and rarest manifestations of the legendary writing, arranging and production team of Randy Muller and Jeff Lane (Skyy, BT Express, Brass Construction, Aquarian Dream, Spiders Webb and many more!). First appearing as a 'Columbia Records Disco Series' promo 12" in 1976 this is a wondrous example of that mid to late 70's uptempo Soul sound morphing into Disco, and boy are we glad it did! Drenched in pure Philly vibes 'I'm Ready To Give Up My Life' is a real beauty, clocking in at over 9 mins of pure dance-floor joy with soaring strings and a driving rhythm. Pure class all the way and one for the aficionados for sure. Beautiful Soul music that will certainly deliver the goods in the club indeed. As per the original 1976 promo release this 12" features the same program on both sides.

This underground Disco classic has been legally reissued by Above Board distribution in conjunction with the legal rights holders - Sony Music Entertainment. This high quality repress features original Columbia white label Disco 12" artwork and has been remastered from Sony's original sources by Optimum Mastering, Bristol UK.

After their psychedelic tour to Alice's Wonderland on their adventurous second album, CRuNCH 22, the Tel Aviv based Rhodes, turntables & drums power-trio, is back with "LUSH FLUSH", a fiercer than ever EP of raw, in-your-face grooves.

Opening track "Cairo" places a persistent Egyptian orchestra sample on top of a Led Zepplin-styled heavy beat; "Osaka" sounds like an early 2000s indie-pop with vocals sampled from a japanese folk song; "Baba" fuses Middle Eastern leads with broken beats; "Minderbinder" is a quirky afrobeat and "Young & Happy" is an odd metered pseudo-house track. While this list might seem as eclectic as you can get, the band's unique instrumentation and live playing style manages to make it sound completely coherent.

On the flip side of this 12" vinyl are three remixes by some of Israel's finest producers: Markey Funk's space-rock version of Cairo; Mule Driver's techno edit of Baba; and Obas Nenor's house remix of Young & Happy take these tunes deep into the dancefloor, making the "LUSH FLUSH" EP an important tool in any DJ's arsenal.

The unseen forces emitting out around ever being natures forces of destiny. Belief itself is God.

AURA's journey could be best described as a spiritual call to connect man and music.

Each new day brought in new and more difficult problems. In the hardest of times Aura lost their original lead guitarist. Green-Bird real name Dannie Stewart - a Jamaican, humble, handsome, and talented to the bones. He was too nice to die. He was drowned in a river within the historical city of Benin. All friendly hearts cried and cried, a memory too sad to recollect. Aura's journey sorrowly went along. Full of accedents, and frustration. We nearly crash-landed.

Thanks to Sheila, for her love and courage. Uzo, a true frendship that inspired every-body in Aura. He solved so many problems. Gratitude is the only word of our choice. The Lawsons and the Shotade family also have their very noble thanks; they were nice and helpful. Many more thanks to the numerous friends and heart-felt appriciations to Mr. J. H. Booth - Decca's new Director for his kindness and the entire staff that made this great 8 track maiden stereo album possible.

A solid belief in ourselves has pushed this group to this point; Aura making an "Astral Trip". This is an album which is a sincere sweet fruit of determination, soulful enough to turn you loose into true life experiences of good music.

All I owe you is love and appriciation.

GMT (Phil Moffa, Guy Gerber and Seth Troxler) heads of the A side with a bang. The haunting strings of the original wind their way through drums reminiscent of jacking 90's house before the
drop of the classic Decompression bassline, chopped and spliced sure to make your mid section feel nice.
Mike Shannon touches down with a modular synth rework that takes the original and twists it into a modern acid trip and groove signature of his programming style. Like surfing a spaceship through a technicolor wormhole to planet funk.
Deadbeat shows his strength with a spaced out dub version. A master of his craft he delivers a reverb drenched, morphing grove that will transport your head to an indica haze.
Natalia Escobar stretches the pulls the track into an intense ambient time machine. This escape into the 5th dimension will induce shivers down your spine and make your 3rd eye burst into flames.
We hope you enjoy the work of these talented navigators! Safe travels :
Volume 3 is still to come and will feature DJ Rush, DJ Sodeyama, Quenum and S Katz (a.k.a.Katsuhiko).

Death To Techno'Death to Techno is a new, futuristic ep of "The White Screen", ever before into a world of ruff beats, dark electronics and analog effects. Musical producer Dori Sadovnik, the sound genius from Red Axes, produced this ep at Garzen Studios, diving together with the whites into a new world of unknown pleasures and sins.

A mind and body bender between techno rhythms and broken rock n 'roll tapes, between the dancefloor and a campfire, between darkness and light - the new recordings are asking big questions about past and future, vintage and electro, about the screen and about the white.

"Death to Techno," the main track that opens the record, is also treated in a wildly remix version of the RED AXES pair. The cover of the album - "Hellenic Plasticine Party" - was created by multidisciplinary artist Oren Fisher, who has been accompanying the band since its inception.

Produced by: Dori Sadovnik

Musicians:
Stav Ben Shahar - Drums
Noa Ayali - Chello
Liat Raz - Vocals
Nimrod Goldfarb - Contra Bas
Shay Landa - Organs

More leftfield techno sounds from one of the scene's more unassuming producers, A Sagittariun delivers a new single stamped with his trademark sound aesthetic. The 'Fahrenheit 451' EP brings together three new productions in lieu of a new album coming later in the year.

'The Golden Apple' brings together brain scrambling drums, a heavy hoover bassline, and a typically Sagi style wormhole riff, whilst 'Blue Lotus' throws tropical shapes around the broken beats that flourish into a rapid 4/4 stomper, with scattering hats and equatorial ambience giving a unique vibe. A Sagittariun strays into disco territory on 'Liebe Tanzen', flitting between modern intergalactic synth riffs & basslines, and sampled disco drums.

For the third release on Intergraded, we welcome Tracey to the label. Having cut his teeth as a DJ and producer in Amsterdam over the last 15 years his sound has developed into something both classic and futuristic. Across the 'Outcome' EP he follows on from his two excellent EP's on 'Voyage Direct', with four tracks that traverse from electro, sci fi soundscapes and trippy club rhythms that fit perfectly into the sound of the label.

With new track 'Warschauerstrasse', Claudio Ricci has created an expansive seven minute workout of twisted synths and deep house drums. The first remix comes from long time techno heavyweight Timo Maas and the prolific and inventive Basti Grub. Their singular remix speeds up the original and layers in fluttering toms and percussive sounds as well as broad, groaning synths and the distant sound of a bustling city at rush hour. Sudam label boss and Ibiza based artist Kintar flips the track into something spacious and haunting. Eerie keys and sweeping synths keep you on edge as the rubbery techno groove rolls on into the night. Bulgarian based Metodi Hristov loves to experiment and has a distinctive techno style that gains support from the likes of Richie Hawtin, Carl Cox and Adam Beyer. In his hands the track becomes a peak time tech banger.

Next up on Francis Harris' exceptional imprint Scissor & Thread comes a collaboration with American Producer, DJ Aakmael. Aakmael has built a reputation for some of the deepest, rawest house music sounds coming out of the States, releasing well-received tracks on the likes of Freerange Records, Release Sustain, Kolour Dogmatik and NDATL. Returning to Scissor & Thread, Aakmael and label boss Harris cook up an intoxicating vibe across this 5 track EP. Each shares a track and work together on the fifth, while also remixing each other's solo cuts. First up Aakmael's Deep Muzik- a quintessential nod to its self-proclaimed mission statement. Skittering drums, a shuffling groove, deep keys, and chords make up this essential opener. Frank's (aka Francis Harris) All That Light Mix shows another side, finding pockets of space and developing the fizzing percussion to produce an equally affecting piece of dancefloor bliss. Sharing production duties from the outset on Mercy of Means, the guys slip into an easy mid-tempo groove with plenty of depth - the rhythm rolls along and offers the perfect basis for some sublime melodic touches. Frank's Part Song also hones in on the subtle deep grooves. Bumping, slightly filtered and saturated drums provide the main body, with beautiful washes and keys finding their way through, Aakmael's remix beefs up the groove somewhat, making the snares snap harder and kick hit a little stronger, but the essence of the tracks melodic atmosphere remains perfectly in place.

Capofortuna is a duo made up of legendary Bologna-based house maestro, DJ Rame and multi-instrumentalist Ricky Cardelli from Rimini. Perhaps our 'housiest' release to date. Crush On You is an EP of particularly sophisticated forward thinking dance music. With glorious live instrumentation and joyous arrangements this is the kind of record that is going to slip right into many DJ's collections. Don't sleep on this one.

Coming back for another round after his first EP for Figure last summer, Shlomi Aber continues to explore different avenues of his multi-faceted sound, tying it all up in a nicely rounded package. Setting the pace is driving opening track Whistler, the producer showcasing his ability to craft something big but undoubtedly refined. He then lets old school drums cruise along gentle sways of washed out ambience, giving the deep heads something to really get into... Back with more techno on the B-side, this time in true Figure-style: lean, sharp, and utterly effective Penetrate The System is sure to leave its mark and comes complete with an extended, separate intro, making for quite an experience. Staying atmospheric to the end, Aber chooses to step out in half-time, taking cues from dubstep as hollowed kicks carve out an endless tunnel that leads only ever deeper down the rabbit hole.

Here it is !

The long-awaited new LP from former Dubtribe Soundsystem shaman Sunshine Jones

Far from basking in Bay Area bliss, Sunshine has been busy redefining his organic approach to music making and sound synthesis into a rich and textured fresh take on the House blueprint - best realised in his elaborate & ever-evolving live shows.

Assembling these improvised pieces into a cohesive whole, that might well just be the best vinyl based representation off a full night out you're likely to hear this year.
From the emotive opener to last year's anthemic 'Fall In Love, Not In Line' closer, Home represents the fluid but refined garden of sound that's grown from Dubtribe's rich 90's foundation.

The artwork on this splendidly presented gatefold LP is a photograph of Sunshine performing live at the Garden Party in San Francisco by The Holy Mountain, the collage is done by Sunshine and the design is by Fernando_Graphicos. Accompanied by detailed track notes, with all equipment used to make the record alongside sonic schematic. Man and machine aligned for total transcendence !


SINGLE GATEFOLD LP

Crew member DJ Format has joined forces with MC Andy Cooper to produce a special little number for 45 Live Records. 'Get On
That', taken from Andy's most recent LP has been completely re-worked into a brand new track with Matt Format adding his
superb production skills. It's classic Format material, super funky, deftly arranged and aimed squarely at the dancefloor. Throw this
donut on and watch the floor ignite!
This 45 comes complete with an instrumental on the flip, ready to get busy in the mix if you're grabbing doubles.

Time flies, doesn't it It sure does when you suddenly wake up to celebrate your 10th vinyl release as a small label, which is the case with us. But as we're all about quality over quantity, our latest 12" offering comes with a superb collage of fresh music by the one and only Radicall. Having made his mark as one of the most consistent producers, known for his trademark combination of strong, dynamic drum programming and soft and booming basslines, Radicall keeps on delivering top-quality music with each next release. And this 12" single is no exception to the said rule. The playful, happy-go-lucky 'Touch' is a bit of a nod to the old-school/rave/early jungle/footwork/you-name-it style given its complex drum pattern and an array of acid-style synthetic samples and tinges of vocal here and there, but sticking to modern-day standards nonetheless. The flipside comes with 'Build Me Up' remixed by Bungle, who surely knows how to make good things just as good as they are, but yet a bit different. And here we have the Brazilian powerhouse reshaping Radicall's work to make it a bit lighter and upbeat, but still retaining some elements of rawness mixed perfectly with traces of nostalgia. An excellent job, breathing a new life into the original piece - a darker-shaded straight-to-the-point roller, which you can get as a digital bonus added to the release. So here it is - the tenth vinyl item in our catalogue, featuring names you simply can't go wrong with. What better way to celebrate the occasion

Repress!

First Word Records is very proud to present the debut album by Children of Zeus - 'Travel Light'. It's been a long road leading to this album for Tyler Daley and Konny Kon.

They first embarked on their expedition into the music game two decades back - Tyler entered the scene as a songwriter, producer and vocalist, originally under the moniker Hoodman, whilst Konny began MCing, DJing and beat-making for hip hop crews The Microdisiacs and Broke'n'£nglish, along with DRS & Strategy.

To date, Children of Zeus have released three sell-out singles on First Word ('Still Standing', 'I Can't Wait' and 'Slow Down') and a compilation EP comprised of tracks made by the duo over the last decade entitled 'The Story So Far...'. Children of Zeus are finally at the stage where they are releasing their debut album proper, the over-riding ethos of which is about keeping their eyes on the road ahead, whilst shedding the baggage they've accumulated over the years - 'Travel Light'.

Features mainly come from Manny family, ( K S R ), LayFullStop, Metrodome (Levelz) and former Broke 'n' £nglish spar DRS. Guest production comes in the form of Switzerland's Sebb Bash, Nottingham's Juga-Naut, and London's Beat Butcha, and there's your favourite DJ's favourite DJ,

Mr Thing, slicing up the turntables on two tracks too. There's a few extra special ingredients on this album, along with their trademark sub-heavy, rhodes-laden hip hop soul hybrid. Reggae music has always been an integral piece of the CoZ sound-system ethic, so we see Tyler putting on his lover's rock hat for 'Hard Work', and they invite soul queen Terri Walker to join them on the fierce 'Sling Shot Riddim', while the album closes with the epic K15-produced jazz-bruk opus, 'Vibrations', on which Konny breaks it down quite simply: "high frequency means that you travel light, so get lifted yo, we'll live gifted".

Long as the journey has been, the time for looking back is over. This is about the present and future of Children of Zeus. A shining light in Manchester's now-school, and rightly heralded by many as the best new act to emerge in British soul music in the past decade. Aside from the above features, this project is written, performed and produced entirely by Tyler and Konny.
Since the crew first took flight, the end destination has never changed, the aim remains the same - to create timeless music, in their own unique style, without compromise, irrespective of industry and life distractions. The moral being this - travel light.

Echocord sub-label Echo Echo continues this July with Orbite's 'Interstellar' EP, a threetracker from the Berlin- based producer. Orbite is a brand new project founded in Berlin, Germany with a nod towards the raw, dubby sounds often heard across the clubs in the city, and where better to inaugurate things than the recently launched sub-label of Copenhagen's Echocord, one of the leading imprints in the realms of Dub Techno, home to pioneering acts like Rod Modell/Deepchord, Pole and Fluxion who have paved the way for Orbite's own twist on the genre. The ethereal pad textures of 'Skylar' lead on the package, deftly evolving alongside bubbling synth tones, swelling chords and shuffled percussion to create a create dynamically unfolding six and a half minute cut. 'Moment' follows, edging things further into dubbed-out territories with heavily delayed dub echoes and mesmeric spoken word poetry intertwining to create a, hypnotic beatless soundscape. 'Organi' closes the record with emotive, billowing pads, warm bell like tones and vocal murmurs running alongside swinging shakers and stripped-back micro-house percussion.

First Ever Vinyl Reissue, Limited Edition To 500 Copies Only, Bonus Tracks Not On The Original Lp, Remastered Sound, Insert With Liner Notes By Nick Rossi And Photos, Beautifully Housed In Three Back-flapped 1960s Uk Style Picture Sleeve ! The Wynder K. Frog Story Evolves Around Mick Weaver. After He Switched From Piano To Organ He Joined A Band Named The Chapters That Would Soon Be Renamed Wynder K. Frog And Perform Material From James Brown's Flames, Booker T. And The Mgs Or Even Songs Learned Through Georgie Fame's Recordings And Graham Bond's Repertoire. Wynder K. Frog Moved To London And Became Regulars In The City's R&b Scene Playing At Swingin' London's Clubs Like The Tiles Or The Marquee. A Contract With Island Records Was Secured And -under The Wings Of Producers Like Chris Blackwell, Guy Stevens, Jimmy Miller Or Gus Dudgeon- Wynder K Frog, A Name That Would Eventually Be Used As A Pseudonym For Weaver More Than A Proper Band Name, Did Some Some Amazing Hammond Organ-ized Recordings And Issued In Three Lps And A Bunch Of Cool 45s.

At The End Of The 1960s, Weaver Would Quit The "band Scene" To Become One Of The Most In Demand Session Musicians And Throughout His Career He'd Be Heard Backing Names Such As Eric Burdon, Roger Chapman, Dave Gilmour, Keef Hartley, Alexis Korner, Ralph Mctell, Taj Mahal Or Otis Rush A.o, But His Lps As Wynder K Frog Are Classic Hammond Sound From The 1960s Uk And Will Appeal To Those Into Brian Auger, Graham Bond, The Artwoods, Zoot Money, Jimmy Mcgriff, Booker T. & The Mgs And The Likes.

Out Of The Frying Pan

Released At The End Of The Summer Of 1968, And With A Host Of Session Musicians That Included The Brass Section Of John Mayall's Bluesbreakers, Producer Gus Dudgeon Helped Weaver / Wynder K Frog To Improve The Results Obtained On The Debut Lp And Get One Step Closer To The Live Action. The Formula Was More Or Less The Same, Instrumental Hammond A Go Go Covers Of Hits From The Era, Including The Rolling Stones' "jumping Jack Flash", A Funked Up Version Of The Classic Tommy Tucker Blues Number "hi Heel Sneakers", An Exploding Cover Of "tequila" Or The Standard "green Door", But It Also Included The Sensational Weaver-penned "harpsichord Shuffle".

* "Of all the dubplates in my bag from this last few years, the ones I've selected most often have Walton's name scribbled on the sleeve. 'Black Lotus' is a unique creative statement; I'm very proud to release it on Tectonic and to support Walton, who I believe is a true talent." Pinch

* On July 6th Tectonic recordings presents the game-changing second album by 26 year old Mancunian Sam Walton, better known as simply Walton.
* 'Black Lotus' follows his inclusion on Tectonic's landmark 100th release - Riko Dan's 'Hard Food' EP, plus the 'Praying Mantis'/ 'Koto Riddim' 12' (also on Tectonic) and the 'Taiko' EP on Kaizen - the latter two of which hinted at the album's sound, but didn't fully prepare us for the brilliance to come.

* Abstract electronics, grime, dubstep and new styles that don't even have a name yet coalesce perfectly on this classic in the making. It finds Walton at peak power, reaching just as far (if not more so) than anything on the Pan, Different Circles, Boxed or Tectonic catalogues for pure futurism and new-terrain-traversing brilliance.

* Spacious and modern sounding, with just the right amount of grit, on 'Black Lotus' Walton has taken things the next level - setting an impressive new high bar. This is the best music to take inspiration from far eastern culture since Photek's seminal 'Ni - Ten - Ichi - Ryu' and 'The Water Margin'.

* Cinematic may be a term bandied about too often, but on this record it unquestionably applies, with the whole thing playing out like an epic movie, full of highs, lows, action, reflection and changing scenes.

* The album kicks off with 'Black Lotus', which makes it quickly evident that this isn't just another generic longplayer; a weightless/sino style intro segues into a mystical kalimba line, which is then is enveloped by huge waves of synthesized, pitched-down brass.

* 'Point Blank' offers locked, harsh mechanical funk, full of aggravated excitement, before sleek, spacious grime and disguised pop garage achieve twisted anthem status, on the hugely satisfying 'Koto Riddim'.

* 'No Mercy''s Yakuza crime riff is perfect for Riko Dan's threatening menace, especially at the point his voice gets distorted into a guttral and unsettling, demon-like wretch.

* 'Mad Zapper' is abstract, comprised of simple yet challenging beats, tones and stutters, whilst 'Angry Drummer''s taiko/kumi-daiko style percussion has a rousing, heavy thump.

* 'Pan' sounds equally enthralling whether soundtracking a dark movie scene of impending danger, or carying enratptured ravers on a danceflor journey, especially one suited to the synapse-prodding drama of a high production, lazer-heavy festival set.

* Choppy drums and bouncy bass tones are laced with the georgeos melody of 'Ehru', and 'Vectors' is sleek 'n' deep breakbeat-garage-meets-IDM.

* Although already known for elements of musicality, Walton raises his game even higher with the beautiful closing track 'White Lotus', which has a wow factor akin to hearing Aphex's Twin's 'Jynweythek Ylow' for the first time.

* 'The title came from the idea that I wanted it to be sweet and melodic in areas, but dark and grimey at the same time', recalls Walton. 'I never really listened to much Japanese and Chinese music before working on this, and that element originally came from listening to a lot of Sino grime stuff. It wasn't until I was deep into the process of making the album that I started listening to loads of traditional stuff on YouTube for melodic ideas, which changed how it turned out. The whole dubstep techno crossover thing was also a big influence.'
* 'I'm really happy to have Riko Dan & Wen on there', he adds. 'I've done a few remixes of Riko tunes which have had a great response, so it's been wicked to get some original material done together. The track with Wen was first started a while back, so I'm glad it was finally finished and will see a release.'
* Walton has been steadily gaining serious clout through releases since 2011 on Hyperdub, Keysound, Tectonic and Kaizen, with supporters including Mumdance, Logos, Slimzee, Laurel Halo, Wen, Hodge, Mary Anne Hobbs, Giles Peterson, Paleman, Teki Latex, Commodo, Loefah and Kode9. Key club, festival and radio shows include FWD at Plastic People, Fabric, Outlook, NTS, Rinse and BBC 1xtra.

2017 saw the arrival of Pin Up Club here at the Bordello with a superb three tracker, Friends of the Vortex. Now the Dutch partnership are back. This time a quartet of tracks has been selected to produce The Forever Machine. The bold bars of Friends of the Vortex, the romantic rushes and soundtrack silhouettes are all present with new elements being introduced to further develop a truly unique style. Breathy vocals and melancholy are countered by warm synthlines in the brooding 'Valis' before the lonesome 'Is There Anybody Out There' blooms into a daringly bright work of disco dimensions. Opening the flip is the title piece. Smouldering, 'The Forever Machine' burns with quivering chords that rise ever skyward on a column of tight rhythms as lyrics spiral ever upward. 'A Deepness In The Sky' is a perfect illustration of Pin Up Club's ability to transform burgeoning sombre sounds into tempered elation, rumbling strings and fragile percussion intermingling for a heady finale. Welcome back to Bordello A Parigi guys, welcome back to Pin Up Club.

The second part of the Seltron 400 trilogy on MOST, Trans i Bas, sees the group re-embark on their singular journey in search of the essence of the rave. Since the first EP in the series - Zabawa Trwa - came out last year, they have augmented their back-to-back dj sets with a full-on live show, which again fed back into their recording process.

The record's title cut, Trans i Bas (also available in an earth-shaking drum version) is as uplifting as it is spontaneous, complete with trance-infused pads and heavy, tripping bass. Jest Nadzieja brings a little swing and a mental breakdown, while Oo is all crunched riffs and one-finger-string-solo glory. Nuff said.

Always Seen With A Smile On His Face, Inja The Poet, Lyricist, Storyteller And Unparalleled Master Of Ceremonies Presents His Debut Album On Hospital Records. His First Drum & Bass Focussed Long-player 'blank Pages' Flexes His Lyrical Style With Heartfelt Sentiment, Roughneck Flows And Quick-fire Wordsmith Wizardry. All Partnered With Heavyweight Productions From Pete Cannon, Nu:tone, Logistics, Serum, Whiney And Anile.
Inja's Back With Partner-in-crime Pete Cannon On 'war Games'. A Funky Bassline Lays The Foundations For This Fear-fighting Tale. As The Breaks Roll Out Inja's Militant And Deep Rhetoric Puts This Track On A New Level, With Signature Percussive Flair From The Sought After Hip-hop Beatmaker.
Inja's Spoken-word Piece For Amnesty International 'she Just Wanna Dance' Was A Viral Online Hit In 2017. It's Now Been Given A Turbo-charged Re-work By Med School Young-gun Whiney. Inja's Poignant Commentary On The Prolific Problem Of Harassment In Club Culture Sits Atop A Grimey Half-time Stepper That Switches Up Into A Lethal Upfront Roller.
Inja Proves He Can 'juk' Any Riddim In 'samurai'. Serum's Steppy Beat And Woofing Bassline Balances Inja's Story Of The Samurai, Slicing Through The Tune Like The Lyrical Sensei He Is.
even With A White Page And Black Ink, You Can Spell Out More Colour Than The Eye Can See.' - Inja

The first of two wonderful new full lengths for Polytechnic Youth for the first week in July. This is a debut release on vinyl for Spanish based Jordi Navarra whose musical oeuvre stretches between 'Surf, Hippie / Space Rock and crude electronic music' often different yet coated in tons of reverb and echo for 'it's final catalepsy'! 'Micromundos,' needless to say for PY devotees, concentrates on his cruder electronic soundscapes; incredible often ambient, drone themed pieces that on one hand dip their toes into the revered works of Hans-Joachim Roedelius and Dieter Moebius, and the sky back catalogue whilst equally conjuring up a collision of Spacemen 3 psych meets Wire, early Cabs or Magazine darker more atmospheric, post punk industrial / experimental workouts. Eight abstract, kosmische fuelled pieces that act as an interesting sister release to the label's other July offering, the more overtly 'in-yr-face' synth pop themed Mitra Mitra LP. Two beautiful releases expected to sell out pretty swiftly, and released together first week of July.

While notorious in the Chicago streets, RP Boo's music had been unfairly confined to a few white labels and self-released mixtapes until his two archival Planet Mu LPs Legacy and Fingers, Bank Pads & Shoe Prints introduced broader audiences to his sonic history, some of it fifteen years after it was first recorded. I'll Tell You What! is the next step in his mission, and the first time he's released an album of contemporary material. The title, a favorite maxim of his, welcomes listeners to sit down and let him narrate in the unforgettable abstract fashion he's known for. He explores familiar motifs such as the cosmos, movement, and opposition, using densely interwoven vocals, unpredictable percussion, and evil humming bass as his tools of choice. RP Boo's music doesn't follow the traditional rules that most compositions do. Layering decades of samples from yesteryear to the present over his commanding vocal cut-ups, he transports the listener to their own realm of the space-time continuum. The main difference between this record and his prior work is now we hear Boo tell new stories about preaching his gospel outside of Chicago, from his experiences frantically touring the globe over the last five years. The words 'things ain't been the same / since I hopped the plane' are repeated on top of engine sounds and rumbling bass on Flight 1235, a glorious paean to his new jet-setting adventures. The spirit of competition runs through RP's veins as much as blood does, something you can't unlearn when you've been making music for Chicago's footwork circuit as long as he has. The local culture has served as a shelter from the violence that has plagued the city, pitting kids against each other with their feet rather than weapons. On At War Boo reminds us 'we are at war in the streets', a double meaning to both the mayhem in this world and the sweetness of rivalry on the dance floor. Another battle-themed track Cloudy Back Yard, one of the spacier moments on this album, is an abstract on the state of footwork's home. Chicago remains the backyard of this artform even though it's left the porch and traveled to new neighborhoods worldwide. Back at home though, competition among the DJs and dancers continues, and as the man himself says, 'with all this hate, there's smoke, and it's cloudy'. I'll Tell You What! throws more than a few curveballs into the mix. Footwork has always borrowed from hip-hop, and many vocal tracks are almost condensed raps, dating back to the street chants pioneered on Dance Mania Records in the ghetto house days. On Bounty, Boo grabs the mic and brazenly lays down a full-on verse of terror over a thick atmosphere of his signature sweltering low-end and erratic Roland R-70 patterns. While he's most famous for his confrontational battle anthems, his melancholy moments are just as powerful. You get the best of both of those worlds on U-Don't No, with soulful samples finishing his own cocky sentences, one of the most elegant tracks RP has made to date. Deep Sole closes the record out, with the words 'It's always beautiful at the end' looping over waves of hypnotic synthesis, confidently looking death straight in the eyes.

As The Title Suggests, Joakim Recorded This New Album Last Year At Studio Venezia, The Installation/sculptural Ensemble/recording Studio Created By Xavier Veilhan For The Prestigious 2017 Venice Art Biennale. Built Inside The French Pavilion & Inspired By The Grotto-like Merzbau By Kurt Schwitters, Studio Venezia Had Dozens Of Artists Create And Record There Over The 6 Months Of The Biennale (from Chassol To Brian Eno, From Joakim To Sebastien Tellier), Invited By Xavier Veilhan Himself With The Help Of Co-curator Christian Marclay.

With An Impressive Collection Of Rare Instruments From Medieval Horns To Rare Modular Synths (baschet Crystals And Percussions, A Buchla, A Clavinet...), Studio Venezia Was An Amazing Creative Playground For The Adventurous Musician. Those Instruments Were Captured By A Team Of Sound Engineers In The Best Possible Way Thanks To Nigel Godrich's (beck, Radiohead...) Mobile Studio Loaded With State Of The Art Vintage Recording Gear.

Before Going There In May 2017, Joakim Examined The Instrument List And The Specific Context Of A Studio Open To The Public Within An International Contemporary Art Exhibition To Anticipate His Creative Process. Instead Of Drafting Compositions And Demos Ahead Of The Recording Session, He Decided To Have An in-situ' Approach By Creating A System Involving The Visitors Of The Studio In The Composition Phase. Joakim Asked Random Visitors Of The Pavilion To Pick A Word, A Letter (between A And G), Tap A Tempo And Sometimes Choose The Instruments That He Would Play For Each Piece. The Word Was Translated Into A Chord Using A Transcription Table Joakim Invented. Hence The Song Titles Made Of The Given Word Plus The Name And Origin Of The Contributor. The Music Was Then Mostly Improvised, Based On Those Chords, Scales And Tempi. The Recordings Were Then Taken Back To New York Where Joakim Made Some Light Editing And Mixed The Pieces.

In Terms Of Influences, Joakim Tried To Channel The Spirit Of Proto-ambient German Heroes Cluster, 60s And 70s Modal Jazz, Japanese Evocative Minimalism And Drone Composers' Hypnotic Transcendence.

One Can Hear The Studio Through These Recordings, Which Was The Point, To Use The Studio As An Instrument, Like The Kraut Rock Pioneers Did. You May Hear The Floor Cracking, People Talking Or Coughing, And The Peculiar Quality Of Music Recorded In A Large Space With Its Acoustic Properties, A Rare Occurrence When Everyone Is Now Working From Small Home Studios And Major Large Studios Are Closing Down. This Album Also Marks A Return For Joakim To His Musical Education As A Classically Trained Pianist As You Can Hear Him Improvise On The Piano ( arms', air', dream'), Fender Rhodes ( trust') Or Harpsichord ( absense').

Following The Release Of The Studio Venezia Sessions, Joakim Will Create A Live Performance Based On His Experience In Venice. The Premiere Of This New Solo Performance Is Commissioned By The Villa Medicis In Rome For Their Villa Aperta Festival Early June. More Shows Will Follow.

In 2017, Benedikt Frey released his breathtaking debut album with the ESP Institute, Artificial, and now as we finally come up for air, we're more than proud to offer an eclectic collection of remixes that's nothing short of essential. Side A leads with H For Hysteria remixed by a beloved hero, Nicolas Chaix a.k.a. I:Cube, one of the most prolific and respected electronic artists Paris has to offer. His touch is considered and elegant, imbuing the track with a tasteful 303+808 backbone to support an array of patiently floating melodies and angelic vocal samples. Following this, Tolouse Low Trax of Du¨sseldorf's infamous Salon Des Amateurs remixes the same track, stripping instrumentation down to a skeletal palette of bass guitar and stabbing percussive punctuations, chopped up inna minimalist stylee that has become his beat-making signature. Side B leads with a remix by another Du¨sseldorfer, DJ Normal 4, whose re-imagination of Private Crimes takes us for an even more menacing ride, half-timing the tempo and skillfully rolling out a barrage of jungle snares from rave days of yore. Closing the release is the most aggressive remix of them all, a bonafide techno beatdown of the same track by DALO, the co-producing artist to whose haunting vocals lace the original version. Her dark vision opens with sparse industrial drums that blossom into a driving assault of raw machinery, definitely not for the faint-of-heart. An all-around solid release here, fun for all the family... more than just the tip!

Prayer returns to Black Acre with the 'Vital' EP, a heavy four tracker which blurs the lines between sorrowful sounds and high voltage club energy - limited to 200 hand stamped vinyl.
'A four track EP that delves further into his defiantly outsider sound. Living somewhere near the intersection of classical, jungle and ambient' - The Ransom Note
'This atmospheric modern jungle track has a bit of Burial's sad-but-sweet emotional tinge to it' - Resident Advisor

PRAYER blurs the lines between sorrowful sounds and high-voltage club energy in VITAL; a piece of art that refuses to be boxed off by genre or stereotype.

Opener FEAR explores the producers love of film music; a dark sci-fi landscape punctuated with drums and melodic synths, a Bladerunner-esque track. Moving on, A2 'I'M STILL HERE' is an anthem, a nostalgic mix of hardcore, jungle and classical influences with a DIY, rough and ready feel.

On the other side, PRAYER shows his talent for the piano with B1 - KIND, finessing the skills that reflect his first adventures in sound. It's an emotive, stripped back number. The final track is B2 - VITAL, another drum-heavy, weighty track that sounds only like PRAYER - as ideal for the club as it is for headphones

Jordan Magee brings together the best of Blighty and Berlin into a tightly-sprung package for Lisbon label Helena. The drive and determination of his new German hometown can always benefit from a little Northern swagger, and there's no shortage of it on 'Liberties' and 'Process'. Balance this with some late-night levity and early-morning nostalgia on 'Eksil' and 'Kilo Culture' and you've got yourself an all-rounder ready for any dancefloor.

Pietro 'Bingo' De Lisi and Alex Carpentieri aka Italian duo System of Survival, have long been renowned for their raucous live cuts, the likes of which have firmly established their name amongst fans of discerning house and techno. Regulars at Ibiza institution, Circoloco at DC10, the boys knack for a tune has also brought them to the attention of respected label outlets such as Bpitch Control, Freak n'Chic, Moodmusic, Rawax and Get Physical. However, their latest release - released here via the emerging Deset Music - might just be their best yet. The label's inaugural release sees the boys perk up with two stunning originals and are back by remixes from none other than two Chi-town legends, Boo Williams and Ricardo Miranda.
Opening up the sounds of the release is 'Nu Soul Era'. A raucous, deep cut that displays all that's excellent about System of Survival, this one goes firmly down the rabbit hole in search of kicks. Characterised by its quite brilliant and catchy baseline, the action is dark and trippy throughout, with a firm emphasis placed on a groove that never lets its guard down throughout. A majestic start to the EP, it gets us underway with some distinction.
System of Survival's other original is 'Funky Left Funky Right'. Again, the duo expertly showcase their penchant for melodic structures, this time via a bleepy baseline that's perfectly suited to peak-time floors. Ricardo Miranda's interpretation goes deep and off-kilter, but remains true to the original's full-on characteristics. A stunning indication of the producer's eclecticism and studio mastery, it's an intoxicating take on a track that's never lacking in suspense.

Seeing us out the door is Boo Williams' remix of 'Nu Soul Era'. The 'Mortal Trance' producer can always be relied on to bring the heat in his own inimitable way, and he does so here with the sort of panache for which he's best renowned. Injecting the original with every more bounce, he wastes no time in getting down to business, setting his stall out via an acid-led, 909-flavoured remix that offers up a tantalising version of what's arrived before. An all-round stunning EP of various shapes and sizes, there's plenty here for fans of discerning house and techno to get stuck into on this one.

'He Bleeds Stories EP' is the first vinyl release on VRAAA Records, a techno label with the aim of queering-up the genre. Both original tracks contains elements from Projekt Gestalten's past original productions clashing with new sounds and being incorporated into a whole new context; like pieces of different stories scattered throughout the music and reconfigured into a brand new tale. Each track was remixed by projects with contrasting gender identities: the heavyweight techno duo I/Y, representing the masculine side and the fabulous German selector Anja Zaube, giving a feminine perspective.

Moscow Is Mythologized For Its Grandeur And Gravity But Its Parable Pleasures Offer Splendor And Even Absurdity. Over The Ten, Symmetrical Pieces Of For, Kate Nv Scores Her Native Urban Environment With Just Enough Whimsy To Gurgle Through The City Cracks And Grow Psychotropic Foliage. Each Sound Assumes Its Own Personality, Moving Through The Album Metropolis Like Miniature, Mutating Molecules Viewed From Nv's Apartment Window.

Alternately A Guitar-wielding, Post-punker And One Within The Multitude Of Moscow Scratch Orchestra's Avant-garde, Nv Is A Versatile Artist That Maneuvers Instinctively In Whatever Musical Environs She Finds Herself. Nv's Second Solo Album Is An Even More Abstract Endeavor Than The Hybrid Pop Of 2016's Binasu. Inspired By Casual Moments Of Ephemeral Sound From Within And Beyond Her Apartment Walls, The Record Has A Clarity Arrived Altogether And From Right Under Her Nose. Recorded At Home, Nv Says It Was As If The Music Was Not Written By Herself, But Her Chair.

For Inhabits A Stage That Piero Milesi & Daniel Bacalov, Ann Southam, Or Hiroshi Yoshimura May Have Written Music For And Dresses It With Viktor Pivovarov's Psychedelic Depictions Of Moscow - Contorting Bodies, Flying Pencils, And Multi-dimensional Faces Dance With Subtle Arpeggiations, Conversational Voice Synthesis, And Anthropomorphic Midi. Animating Objects Is Essential To The Album. Like A Surreal Still Life, Each Piece Is An Alien Arrangement Of Common Elements That Extend The Everyday Ritual Into An Eternal Landscape Of Unconscious Activity. Somewhere Along That Landscape, Kate Awaits And Greets With Apples For Hands And Fish For Feet.

Like The Album Title, Each Composition Contained Within Is Represented As A Three Letter Word, In Russian And English. The First Half Of For Was Written In The Spring. Starting With yxo Ear,' Previously Released On The Peaceful Protest Compilation Cassette In 2017, Melodies Meander And Lollygag. a Two' Incorporates Human Breath Played Like Notes On A Pump Organ. Oak' Offers A Warm Tune To Tango. How' Loops Curious Notes That Bump Into Each Other With A Chirpy Acknowledgement. You,' The Only Track On For With Lyrics, Sets A Wassily Kadinsky Poem To Song.

The Second Half Of The Album Was Written In The Autumn. The Feathery Edges Of One' Extend Like Watercolors Bleeding Off A Rubber Scroll. See' Is A Subdued, Shadowy Variation Of How', As If The Same Song Were Played In Different Weather, Dimmer Light, Or By Kate's Devious Doppelganger. The Electronics Unravel And Unwind On Dog' Until The Final Track, Who,' Ends With Vague Solemnity And Rattled Metals.

A Short Online Film Series By Shura Kulak Will Accompany The Release Of For. The Films Follow A Solitary Figure Performing Ordinary Tasks Through A Slow, Warped Lens — Each Song Enacting A Daily Habit: Waking, Dressing, Reading, And So On. In Her Live Performances Around The Album, Kate Nv Will Play Each Song From Memory, Allowing For Variation From The Recorded Tracks, And Scenes From The Films Will Be Re-created And Improvised In The Moment.

Everyone is a moon and has a dark side which he never shows to anybody. Judas is back with one of the biggest collections of records since today, presenting more sides of his vision as an artist and as a conceptual persona, these are 4 cuts that brilliantly put you in the zone, right when the needle drops on the record. Judas present this project in 2 parts, both part of the same creature, and of the same concept, 'Unsaid' goes far beyond the usual aspect of the functionality, in this case, functionality is a pure tool, every single work shows you a path into his mind.