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“Sol LeWitt is an artist whose work I’ve admired since I was a child — my mom took me to several exhibitions growing up and there are a couple LeWitts in the Nelson Art Museum in my hometown of Kansas City, Missouri.

In 2012 I was invited to perform at M-Museum in Leuven, Belgium, and was asked to pick the room where the performance would happen. There was a large Sol LeWitt exhibition up at the time of the performance with around 20 wall drawings. I visited the exhibition, chose a gallery of large black and white stripes and invited 6 cellists to perform in this room.

To prepare for the performance I revisited Sol LeWitt’s artist books, many of which contain the diagrams and lists of instructions that are used to execute the wall drawings. I made a score in photoshop: a tower of black lines, some broken, some continuous, extended across a sheet of A4 paper. I indicated that the lines are in the key of F. The 6 cellists performed this score reading left to right, top to bottom. There was a live audience. The cello ensemble performed the graphic score twice of the course of the evening. These are the 2 pieces on this record.”
– Christina Vantzou

Performed by Nelle Bogaerts, Mauro Sarachian, Anne Van Os, Lieselot Watté, Jasmijn Lootens, Tine Hubrechts. Recorded, edited and mixed by Christina Vantzou - Spatial sound design by John Also Bennett.

Only 2 more pieces to come to conclude this 7 x 7" series.

After an intrepid new phase in the label’s history - initiated by the “Solidarity Forever” series and followed by releases from Katerina, Mujaji The Rain, Gladkazuka and also Matias Aguayo’s “Support Alien Invasion” (w/ “Crammed Discs”) - Cómeme is happy to announce a new release by a wonderful and unique artist, who chooses to walk adventurous paths beyond nowadays musical normativity, and media spectacle: JOE.
(You might already be acquainted with his releases on the ever - exciting “Hessle Audio” label) On his first EP on Cómeme, JOE invites us to “Get Centred” via fresh sounds, perfect beats, and unusual time signatures – difficult to play, and easy to dance!

A1 GET CENTRED
New rhythms inspire new dances and new ideas, and already at the very first bars you realize that this record can be both a joyfully twisted dance floor work out as also beautiful listening experience - with its shifting arpeggios and trippy crescendos. Reminiscent of minimalist milestones it crosses the artificial barriers between body, mind and soul, satisfying those in need of getting centred, in times of accelerated alienation...

A2 LINE TO EARTH
Triplets are back and here to stay! Such as in this percussive creature Joe unleashes onto the festive crowd. This very catchy jam is clever and intense drum programming at its best, with its swirling toms that seem to float in the air. We feel them activating different body parts for futuristic popping, whereas the relentless boogie rhythm that lays the foundation for this track gives us material to twist our legs in sync to the beat.

A3 RIO LEA
Joe closes this EP with “Rio Lea” - an elegantly swinging jam that smoothly and slowly builds up to a melodic meditation. Its many decorative elements seem all - necessary to make this work and are always falling rightly into place. You can imagine this a perfect fit for a long drink on a spacecraft, watching meteorites pass by, as we are sure it will also work in a bus on headphones late at night, watching the rain rolling down the windows...

Ukrainian born and New York-based artist Matuss is delivering anotherinstallment of Absence Seizure. This time she is teaming up with
Norwegian but could be Berlin depending on the time of year
basslines that are pulsated by some intricate synths.


The Absence Seizure imprint is run by none other than Matuss herself along with Abe Duque and they focus on limited edition vinyl with a
nose for deep and meaningful house and techno. The last release saw the two bosses’ team up on Absence Seizure 11 to deliver some
pulsating beats and orgasmic synths. Expect a deeper cut this time around with the two artists verging more to the house side of the
electronic music spectrum on this project. Karina’s ‘Acid Meow’ is the first track on AS012. Karina is one of The
Zoo Project Ibiza core residents a player of all things vinyl with releases on the likes of God Particle and Cymawax. ‘Acid Meow’ has a
fearless acid-tinged bassline that gives the track a motivating drive. Reminiscent of 90s minimalism she’s kept the beats simple
putting all emphasis on the merciless acid sequence. Tip! Real energy to the dancefloor!


Matuss takes over the EP after the initial cut starting with ‘Travel High’. It has a long build to begin with these quizzical keys that
create anticipation. It discharges with an old school funky bassline that is slowly pushed. It’s accentuated by a ghetto vocal belting out
the title of the track and ends with some punchy percussions and bongo drums. She follows up with ‘Ninja Moves’. A more secretive and sultry number.
It tingles out a smooth bassline and revolves some nice chatter claps and snaps to add a certain silkiness to it. A bit of a floater
it has some beeping 80s keys on it that just add to the sway. If you want your mind to drift
you can get lost in this. Last but as always not least is ‘People Like You and Me’. The track starts with that fun festival horn that makes nostalgia exude out of
your prefrontal cortex. It divulges into these rolling clicks and toms that is carried by this dubbed bassline. Eventually
a bright and sunny synth emits light over the track as the vocals invite you in. The juxtaposition of the synth and bassline just work in harmony and
really make this cut hit home.

Current Age is the first vinyl release from Chicago newcomer label Tres Dias.

Label head and artist Juanne takes us on a visceral journey with three tracks that dig deep into your headspace. Taking from his experiences in the underground and its outer edges lends to create an audible sequence that manifested as the CURRENT AGE ep.
“Crops” is the intro track and invites you into a dark ethereal landscape. With a dreamy, haunting vocal, somber keys and ravenous bassline that grabs you and leads you in.
“Rivers” is the second offering and a tribute to the A.M. dance floor. Hypnotic synths, warehouse sounds and core shattering bass.
“Point of Entry”smashes in as the final track and most dance floor heavy tune on the ep. Nothing short of beating sounds all through your gutty wuts.
Artwork by Chicago's Stephen Cadiz
Mastered by the talents of New York's D.Schoenemann.

“A genius” - Nai Palm
“One of the most incredible live performances I’ve seen” - Gilles Peterson
“He's like a human centipede sewn out of all the greatest musicians from the past 80 years” - Liam Pieper

Emerging from Brisbane’s music-art bohemian West End in 2008, self-taught, prodigious musician Lachlan Mitchell aka Laneous, began his eclectic and colourful journey in music as the leading member of funk band KAFKA, stamping his trademark falsetto croon on an Australian music landscape that wasn’t quite ready for an artist whose standout influence was D’Angelo’s ‘Voodoo’. Word of their talent soon reached UK’s perennial tastemaker Gilles Peterson who featured the band on his compilation, Brownswood Bubblers Four alongside other breakthrough acts at the time, Mayer Hawthorne, Floating Points and Lone. A world-class guitarist, vocalist, composer, visual artist and – significantly - muse, Mitchell’s unique ability to shine, create and inspire across genres was his obvious forte, even then. Regularly sought after to provide features for other bands and cover art for Hiatus Kaiyote albums Tawk Tomahawk and Choose Your Weapon, he worked diligently to support his community. But while Hiatus’ Nai Palm told media Laneous was “a genius” he often credited music and drawings to pseudonyms.

In 2016, after 8 years of humbly dominating the Australian underground art, soul and jazz scene [with ‘mutant-soul/croon punk’ cult group Laneous & The Family Yah, reggae band Kooii and improv-jazz-beat trio, Vulture Street Tape Gang] Mitchell relocated to Melbourne - a move that would instigate and inspire the long-awaited debut solo LANEOUS record that fans and peers had been craving for nearly a decade. Excited to create new music with an artist they’d previously referenced as an inspiration, Paul Bender and Simon Mavin (Hiatus Kaiyote) came on board swiftly, joined by Hudson Whitlock (Cactus Channel) on drums and Donny Stewart (Jazz Party) on vibraphone and flugelhorn - a key element in bringing Mitchell’s vision of an exotica/soul infused album to life. In classic Laneous fashion, the musical references for the record run deep, winding through an eclectic array of artists from Martin Denny, Burt Bacharach and The Beach Boys to Shuggie Otis, Wild Cookie and Wu-Tang.

The debut single Modern Romance was unleashed in October 2018 with a kinky, captivating visual accompaniment that marked the return of the Laneous legacy. After selling out the Melbourne launch of the single, the band was invited to headline Gilles Peterson’s Worldwide FM x Northside Records live Melbourne broadcast, teasing exclusive album cuts and drawing high praise from Peterson, stating it was “..one of the most incredible live performances I’ve seen’.

Out May 10 via Soul Has No Tempo, Mitchell’s MONSTERA DELICIOSA stands as a sublime genre work, peerless in Australia - his magnum opus bears the name that’s backed him from day one:

PAREDO presents new and exclusive works by three female japanese music producers: KOPY, TENTENKO and MIKI YUI who are based in Osaka, Tokyo and Düsseldorf respectively and a radical reinterpretation using elements of the featured works by Lena Willikens, the PAREDO MEGA MIX. All four contributions showcase their highly individual approaches to contemporary electronic dance music. Paredo is directly informed by multi-directional encounters of four musicians and their close observations of musical production and reception in practice.

In 2017 Lena Willikens and TAL founder Stefan Schneider have both, though independently from one another, been invited to Japan under the auspices of the Goethe Institut. While Schneider researched electronic noise music cultures in Osaka, LENA WILLIKENS and her artist partner SARAH SZCZESNY developed aspects of audio mix and filmed footage for their collaborational art project PHANTOM KINO BALLETT while in residency at Villa Kamogawa in Kyoto.

"While in Kyoto, we often went to Osaka or Tokyo to explore the diversity of the music subcultures there. It was fascinating to witness how Japanese underground cultures adopt influences from abroad and turn them into something original and very much their own. We also saw live performances by KOPY and TENTENKO whom we quickly befriended."

KOPY is a consistant part of the vital electronic music scene from Osaka. Besides a few performances at Düsseldorfs famous SALON DES AMATEURS, she has also been invited by LENA WILLIKENS to her showcase at the MEAKUSMA FESTIVAL in 2018.

TENTENKO begun to enter into the japanese music scene with a steady flow of experimental cdr productions as well as collaborations with members of the legendary japanese noise band Hijokaidan.

MIKI YUI originally from Tokyo has lived in Düsseldorf for more than two decades now. Besides albums of her solo work for LINE (US), or more recently, for Cusp Editions (UK) she also collaborates with Carl Stone in the duo REALISTIC MONK (on the Meakusma label) and was a member of Klaus Dingers last band JAPANDORF (Grönland Records).

LENA WILLIKENS who has a background in fine art, first honed her unique approach during a long residency at Düsseldorf’s Salon des Amateurs. Outside of the club, the Cómeme label was home to her first EP, 2015's Phantom Delia. In 2017 she has released a remix of Kenyan singer OGOYA NENGO for the ON MANDE EP, TAL02.

Light up the BBQ and turn up the soundsystem, Leoparden invites everybody for a sunny garden party, or more precisely 'Hagefest' as Norwegians call it.
A deep organic groove with a heavy dub version on the B side !

Mateo Kingman conceives of his second album Astro as a cure for the healthy. It’s a journey across the constellation of the snake, a journey at once earthly and cosmic. The poetic text expressed with a multiplicity of vocal timbres drives the musical journey, starting with the decision to face up to our demons, passing through a deep sense of vertigo and sacred healings, to return us to ourselves, reconciled and grateful.
 
Musically, Astro expresses an intense investigation, tying together different threads: contemporary urban song (trap, hip hop, and elements of electronic music), traditional Latin American melodies influenced by shamanic icaro chants, and the emphasis on synthesizers, resulting in a new, hypnotic kind of sound. 
In a world in which we increasingly need more stimuli and approval from the outside, Astro invites us to take a look inside and explore all the aspects of the self, from the darkest to the lightest. On this record, Mateo Kingman shows a strong point of view as the author, although he moves away from the sounds and themes with which he made his name, daring to mix current trends, urban rhythms and vocal experiments, forming a constellation through which we can all travel, showing a clear personal and musical evolution.   

Kognitiv Records is about music that connects with the listener on a deeper level, evoking emotion. Music plays a large part in so many lives and guides us through all emotional states as a form of therapy. So join us for your own Kognitiv Therapy.

Label boss DeVante delivers the third release for Kognitiv Records titled “Experimental”. He has invited Italian powerhouse duo Marvin & Guy to remix.

“Experimental” is a track that follows the storyline of an experiment. Whether it be a social experiment or science experiment, the emotional journey can be very similar. Feelings of uncertainty, tension, suspense, contentment and/or grandeur feature throughout this track. DeVante allows listeners to take their own journeys through all his tracks, so have a listen and find out where “Experimental” takes you!!


Marvin & Guy are making waves worldwide for their signature sound and it is an absolute pleasure to welcome them to Kognitiv Records. The boys have delivered a gem of a remix suitable for all occasions. Not only is it a great track to listen to in your day to day life, their remix tears the roof off a dance floor. Marvin & Guy have a strong ability of fusing current musical trends with nostalgic 80’s sounds and we love everything they do. We are sure you will too!

“Experimental” is Kognitiv Records first venture into the world of vinyl. There are very limited copies being pressed, so be sure to grab yourself a piece of Kognitiv Records history.

Kognitiv Records will donate a percentage of profits from every release to a different mental health charity in an effort to create further awareness and provide support to people suffering from mental illness.

Archie Hamilton’s Moscow Records invites Mennie for his first solo release of 2019, featuring two spacey cuts in the form of ‘Proxima’.

Joining Moscow Records following releases on Poker Flat, Infuse and Rawax, Mennie is a regular DJ at Florence’s Tenax Club when not performing across Europe including appearances in the UK, France, Germany and Spain. Alongside Julien Sandre, the Italian producer is also one half of Jarau and together they’ve released on labels like One Records, Visionquest and Pleasure Zone.

Kicking things off, ‘Proxima’ injects acid squelches into an atmospheric background which builds to include a wonky bassline laced with echoing distorted vocals. Flip over and ‘Do That’ utilizes a similar otherworldly aesthetic, with metallic effects, electronic bleeps and rattling drum patterns, all guided by a funk infused bass.

Roman Poncet's 2018 debut LP stands an impressive work in its own right. Now Figure has invited a group of artists to contribute new takes on standout album cuts. Some clearly for the floor, some nestling on its verges. But all adding to the unique Gypsophila-vibe.
Antigone turns in dust shaking flurry of tribal drumming, ceaselessly pounding and rattling away for an exhilarating and at the same time grounding rhythmic experience.
Wiggling and squelching, Efdemin blends a bunch of lively elements into one wildly roaming remix, which despite all its inner momentum retains an orderly structure, testament to the artist's extraordinary production skills.
On the flipside, Margaret Dygas adventurously goes on a trip of finely tuned acoustics, patiently letting each sound grow into what becomes an enthralling piece of enchanted electronica. Evocative, emotional and of serene beauty, Echoplex closes the collection with an epic track, led by grand strings and flute-like synths, begging to be dropped at the break of dawn.

Shanghai-based female electronic music producer Laughing Ears is releasing her debut album “Tidal Effect” on Ran Music. It includes 8 tracks featuring her signature dark and cyberpunk sound, with heavy suffocating subs, intensive footwork influenced beats, twisted growling bass lines and mysterious cult-feel melodies. Laughing Ears delivers an epic of world-ending tidal effects using her extraordinary sound design technique.

Laughing Ears is a female electronic music producer who currently lives in Shanghai, China. Her music crosses genres which include Experimental, Ambient, Beats, Bass, Footwork and Noise. She treats sounds as building blocks and by layering and combining them, she builds stylized sound castles of her own. She uses vintage tapes and creates unique beats then processes them using modulated effects and granular synthesizers. She has several releases on Beijing-based label Ran Music and has been gaining recognition in the China electronic music scene ever since. She has been favored by many indie labels in China and has also been invited by NTS radio to play music for their program.

After presenting Detroit Swindle’s sophomore album High Life in 2018, we felt it was the right time to serve you up a tasty selection of remixes from all over the world and all over the sound palette. We’ve got some dub and boogie from Australia and the Netherlands, classic deephouse from Detroit, dark and dreamy deephouse from the UK and some high energy house from Germany. This set of remixes comes from 5 artists we hold in high regard and have made a serious impact on their part of the scene; some recently and some already a long time ago.

We invited Dutch techno -plot twist alert!- legend Steve Rachmad to come up with a re-interpretation of ‘Yes, no, maybe (feat. Tom Misch)’. His Sterac Electronics remix actually has nothing to do with techno but is an uplifting modern boogie version of the already funky original. Glimmering electronics, some added harmonics and a tight 80’s groove is what this version is all about.

The A2 is reserved for Cinthie, who took the high energy afro funk track ‘Call of the wild (feat. Jungle by Night)’ and turned it into a full on house frenzy with solo’s all around and a groove that just keeps on going and going.

The A side is completed with a remix by Jura Soundsystem, who has impressed many of us with his balaeric influenced synth-boogie, and dub on his own label ‘Isle of Jura’. Here, he chose to remix ‘High life (feat. Lorenz Rhode)’ and has done an excellent job in re-imagining the track into a tamed down, dreamy dub.

On the flip, there’s Matt Karmil’s take on one of the album’s beatless tracks ‘Ketama gold’. He goes in deep with some dusty drums and an arrangement that keeps on building and building, keeping the chord sequence from the track’s outro as a main loop and adding subtle FX, toms and acid hits and a final delivery where electronic cowbells up the energy level by a notch or two.

We finish off the compilation with a moody deephouse re-interpretation of ‘Ex machina’ by Detroit legend Gari Romalis. The twisted machine funk of the original is craftfully replaced by a dusty house loop, dreamy pads and smart usage of the original’s drum effects to build momentum.

This remix package brings a lovely new chapter into the story of ‘High Life’ and we hope you’ll enjoy these reworks as much as we do.
Yours Sincerely,

Maarten & Lars.

Following up on the release of his first album in eight years, Agoria has collaborated with enigmatic French musician Jacques on new EP ‘Visit’, out 14th June.

The two-track offering pairs electronic elements with organic, real-world sounds to masterful effect. Title track ‘Visit’ is the best example of this, with a wonky beat trudging through a plethora of immersive sounds. Meanwhile ‘Jardin’, with a grooving bassline, has a greater dancefloor focus.

“The first time I met Jacques, we were sitting at the same table but we didn’t exchange any words,” Agoria explains. The second time, a year later, we started speaking. A lot. During hours. About Vipassana, a technique of meditation that you practice in silence. The third time, I thought I should share his words and breaths, delivering the untold. So I offered him to record a Sapiens Talk. The fourth time, we both agreed it was finally time to record music together.”

Jacques is a musician who pushes back the border between music, sound and noise, using music as a medium of expression on his quest of transversality. Invited to several TEDx conferences to talk about his obsession with the idea of infinity, he has also revealed his new theory called “Vortex”, which he created with Alexandre Gain in 2015.

His first album in eight years, Agoria described Drift as “sitting on your sofa between your guilty pleasure and your tasteful opinion”. The deeply melodic 10-track LP came off the back of a much-lauded Essential Mix for Pete Tong’s BBC Radio 1 show, which was later nominated for Essential Mix Of The Year.

The new release comes amidst Agoria’s first ever Ibiza residency, which kicked off on 31st May at the Blue Marlin. Named after the new album and featuring everyone from DJ Harvey and Gerd Janson to Groove Armada and Idris Elba, the unique day-to-night parties will take place every Friday until 27th September. He will also take his all new live show on tour this summer, with dates including Barcelona’s Primavera Sound, Belgium’s Pukkelpop and Lowlands Festival in Amsterdam.

The Soulpop Continuum – by Arno Raffeiner
Six songs, one sound signature, one vision. Supreme Beats Series by Drei Farben House is an album
that firmly stands in the tradition of the big records of the disco era: a vinyl disc full of kicks and licks,
just as much as two sides in amazing sound quality can hold.
The album is the latest work of Michael Siegle, the Berlin-based producer and owner of Tenderpark
Records. 13 years after Drei Farben House's first full-length on the acclaimed Force Tracks label, it
features contributions by singer and songwriter Mavin and none other than Robert Owens who's voice
shaped house music forever. The trademark sonic elegance of Drei Farben House blends perfectly
with the timbre of the man behind Fingers Inc.'s Mysteries Of Love. Siegle's work as a producer is not
so much about turning this rich heritage upside down, but about refining it and creating a space within
that realm that's very much his own.
The title of the opening song with Owens states it: I’m Remaining Here. And Supreme Beats Series
invites you to come over and stay there, too, in a refuge of class and funkiness. The record offers
dense layers of rhythm, vintage keyboard sounds, chucking guitar, and vocal samples that indulge in a
many-voiced conversation. Not to forget the prominent, singing rather than walking bass lines
performed by the hands of Michael Siegle himself with his bass guitar.

New Release Information
You could think of Supreme Beats Series as a cross-section in time and space. It allows you to take a
closer look at the here and now of a much bigger picture, both aesthetically and socially. Siegle uses
the vocabulary of house music in a way that transcends its conception as merely a genre and speaks
of the historic evolution and the profound roots of this music as a movement. His record takes
inspiration from 60s Motown hits as well as the blue eyed soul of the 80s, you can discover influences
ranging from Philly's pre-disco craze to new jack swing and on to the heyday when house-pop divas
stormed the charts. By drawing these lines, Siegle deliberately opens up the space of a visionary
Soulpop Continuum.
In the 1950s, the American issue of Vogue magazine had their say about Coco Chanel's work and its
ever-lasting impression on fashion and design. They claimed it was all about “infinite variety within
narrow limits,“ and meant that as a compliment, of course. Michael Siegle likes to think about Drei
Farben House in a similar way. And you should, too.
Info about the artwork:
As far as the cover artwork of 'Supreme Beats Series‘ is concerned, the release of Drei Farben
House’s new album shows the second part of an image series which has been started with TDPR
release # 021 and which revolves around architectural photos taken by Achim Valbracht. Tenderpark
art director Till Sperrle and photographer Achim Valbracht like these pictures of various commercial
buildings erected in Berlin in the 1990s to be seen as a critique of investor-driven architecture which
has been dominating Berlin for several decades now.
The fascination of these pictures lies in their ambivalence of staging a normalised and globally
standardised kind of beauty, but at the same time revealing a strong sense of isolation - noticeable not
only but also in the absence of human beings. This new series of images is to some extent a
continuation of art director Till Sperrle's and label manager Michael Siegle’s interest in architectural
photography. However, at the same time the photo series also embodies a new angle on the subject
since all previous picture series on Tenderpark had been an affirmation of socially progressive
architecture which expressed a longing for socio-cultural utopia.

The Black Keys’ long-awaited ninth studio album, “Let’s Rock”, their first in five years, is a return to the straightforward rock of the singer/guitarist Dan Auerbach and drummer Patrick Carney’s early days as a band. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” The album includes the hit single ‘Lo/Hi’. The Black Keys’ touring begins in North America in September, with further international dates to be announced soon.



“Let’s Rock” was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like a homage to electric guitar,” says Carney. “We took a simple approach and trimmed all the fat like we used to.”



The “Let’s Rock” Tour will hit cities including Chicago, Nashville, New York, Los Angeles, and Austin. Special guests Modest Mouse will provide support on all dates, and Shannon & The Clams, Jimmy “Duck” Holmes, *repeat repeat, and Jessy Wilson will each open select shows on the tour. The band also headlines 2019’s Life Is Beautiful festival in Las Vegas on September 21.



Rolling Stone named ‘Lo/Hi’ a “Song You Need to Know” and said, ‘the Keys have officially returned, louder than ever’ and the New York Times calls the song ‘the kind of garage-boogie stomp that the band never left behind.’ In the words of the NME, ‘It’s the soundtrack to the type of party that doesn’t exist anymore, but one you still wish you were cool enough to get the invite to.’



Formed in Akron, Ohio in 2001, The Black Keys have released eight studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), and, most recently, Turn Blue (2014). The band has won six Grammy Awards and headlined festivals including Coachella, Lollapalooza, and Governors Ball.



Since their last album together, both Auerbach and Carney have been creative forces behind a number of wide-ranging artists:



Dan Auerbach formed the Easy Eye Sound record label, named after his Nashville studio, in 2017, with the release of his second solo album, Waiting on a Song. Since its launch, Easy Eye Sound has become home to a wide range of artists including Yola, Shannon & The Clams, Dee White, Shannon Shaw, Sonny Smith, Robert Finley, and The Gibson Brothers; it also has released the posthumous album by Leo Bud Welch as well as previously unreleased material by Link Wray.



Patrick Carney has produced and recorded new music with artists such as Calvin Johnson, Michelle Branch, Damns of the West, Tobias Jesso, Jr., Jessy Wilson, Tennis, *repeat repeat, Wild Belle, Sad Planets, Turbo Fruits, and more. He also created the theme music for the Netflix TV show BoJack Horseman with his late uncle, Ralph Carney.

The first of a new series of VA releases, Casting Shadows reimagines archival music through the eyes of our favourite DJs. Each volume is overseen by a different selector, inviting us to look through the peephole of their crates.

Cutting the ribbon, we invite German luminary Mick Wills. Active over 3 decades, a perennial influence and looming figure across the wave and techno scenes.
Wills refashions 3 of his favourites, giving them the trademark ‘Cut’ treatment for tender floors worldwide.

The first track sees a crucially overlooked Baby Red Torres number 7” fully expanded to 5 am percussive meltdown business.

Next up synth-botherer Paul Nagle sees his early tape emission‘The Mesomeric Effect’ re-cut by cool hand Mick, coming in hot & throbbing in all the right ways.

Closing on a dramatic note, Kehrschliefe’s Leonid Brezhnev (previously on Polytechnic Youth) is opened up, ripped apart and smartly re-dressed, oozing class and menace.

3 cuts your way from one of our favourite basement surgeons. Look out for the second volume of Casting Shadows, carefully compiled by an interplanetary presence .

Mastered by Alden Tyrell.

Walls, Corridors, Baffles is the debut album of Swiss musician and producer Samuel Savenberg aka S S S S. Following various releases on Haunter Records, aufnahme+wiedergabe, and Hallow Ground, his LP on Präsens Editionen tries to find an approach to an artistic expression beyond tropes of darkness, harshness and excess. Thus, the aesthetic of Walls, Corridors, Baffles is radically and uncompromisingly sober. Instead of focusing on a conceptual or symbolic treatment of sound as an abstraction, Savenberg emphasizes its materiality. The album consists of eight pieces strung together into a manifesto which calls for a febrile embrace of an unheard-of, intense sobriety.
In Walls, Corridors, Baffles, unadulterated percussive force meets an astoundingly precise and frugal vocabulary of electroacoustic sounds, as for example on the opener “Deserter”. Passages extended over long melodies invite the listener to lose oneself in the contrastive emptiness. Central to the work are the affective qualities of the music which lapses only at moments into a more defined emotional quality – as on the final track “Nothing But the Circulation of Air”.
*Edition of 300 copies

Bastard Jazz is proud to present the new EP from Vancouver's AstroLogical, also known as one half of production duo Potatohead People. With a long list of collaborations outside of the group ranging from Pomo, Phife Dogg, Illa J and Chin Injeti - Astro's new EP "Private World" resides somewhere in between jazz, soul, ambient and future electronic vibes with it's lush keys, chunky breaks, and deep musicality.

Nate Drobner aka. AstroLogical is a multi-instrumentalist producer/composer based in Vancouver, B.C. Canada.
After releasing a number of solo instrumental hip-hop projects through the net label Jellyfish Recordings in the early 2010's under the AstroLogical alias, he had began focusing his energy on the producer duo Potatohead People; a collaborative project with his old friend Nick Wisdom, eventually getting noticed signed by Brooklyn-based record label Bastard Jazz in 2012 (with the help of Nightmares On Wax). Their 2018 full-length sophomore album 'Nick & Astro's Guide To The Galaxy' was released to great acclaim and led them to be invited to Jazzy Jeff's annual Playlist Retreat alongside such luminaries as Lord Finnese, Young Guru, and Pharaohe Monch.

All of the music featured here on this new Soul Jazz Records collection was created by Brazilian
artists in the USA in the 1970s.
In the early 1970s North American jazz musicians were eager to work with upcoming Brazilian
musicians. Miles Davis invited Airto Moreira to join his new ‘electric’ band, Dom Um Romao (part of
Sérgio Mendes’ legen
dary Brazil ‘66 in the 1960s) joined the fusion group Weather Report, Flora
Purim and Airto both became a part of Chick Corea’s new project Light As A Feather, Wayne Shorter
collaborated with Milton Nascimento, George Duke recorded Brazilian Love Affair, and so on.
With all the attention placed on them from these important jazz artists, North America became the
new musical playground for a large number of these Brazilian artists – Airto Moreira, Flora Purim,
Sérgio Mendes, Luiz Bonfá, Eumir Deodato, João Donato and many others.
Most of these musicians had already experienced success through the earlier popularity of bossa
nova in the 1960s, either at home in Brazil or in the USA. But by the end of the 1960s many
Brazilian artists had left their own country, as the military dictatorship became progressively more
authoritarian and repressive. In the USA, through their critically acclaimed work for Miles Davis,
Weather Report, Lightj As A Feather etc., all of these artists were now given reign to explore new
musical terrains away from the restrictions of both a musical genre and a state censor back in Brazil.
This collection brings together some of these finest works and comes complete with extensive notes
that explains the path these musicians took from Brazil to the USA and shows the political and
musical links between Brazil and the USA that created the conditions for this unique fusion of these
two distinct cultures, North American Jazz and Brazilian music, that occurred in the 1970s.
The album comes as a deluxe gatefold double vinyl LP, complete with download code, full sleeve
notes, exclusive photography, double inner sleeves.