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Far View’ is a compilation of tracks from Joel Vandroogenbroeck’s series of library
music releases for the Coloursound label, a uniquely trippy catalogue of music
vignettes long overdue for their day in the library music sun, remastered from the
original analogue reels.
 The late Joel Vandroogenbroeck was among the rare breed of musicians who defy
all categorization, using music conventions to explore the far reaches of human and
cosmic consciousness. After passing through the jazz and rock worlds from the
1950s through the ‘70s, Joel found new outlets for his expansive vision in the ‘80s
with the Swiss library music label Coloursound. ‘Far View’ draws tracks from these
releases, which form a unique entry in the genre of library music. For the uninitiated,
this is just one way to begin a brilliant musical trip through Vandroogenbroeck’s
undersung career.
 A musical prodigy from youth, Joel arrived at Brussels’ classical Music Conservatory
in the early ‘50s, but his studies were curtailed by the revelation of jazz. Soon, Joel
was touring in groups around Europe and beyond with luminaries like Eje Thelin,
Stan Getz, Bob Brookmeyer and Zoot Sims. As time passed, his musical
consciousness continued to expand: time spent in Africa sparked a deep exploration
of the music of the Middle East. The new rock sounds from England, like The Beatles
and Jimi Hendrix, were mind-blowing. And from Germany came the krautrockers,
with something completely else again.
 Vibing on the eclectic energies of the day, Vandroogenbroeck formed Brainticket,
whose approach to composition fused jazz, rock and a mélange of global musical
traditions, combining a Western rhythm section and analogue synthesizers with an
astonishing array of acoustic instruments; ethnic flutes, sitar, harp, kalimba and all
manner of percussion. Steeped in diverse approaches of playing and listening,
Brainticket drew from prog rock and psych, traditional sounds and minimalist music,
all of which passed through their hands like the tributaries that formed the basis of
what would soon be known as New Age music.
 In the late 1970s, Vandroogenbroeck began composing for sound libraries, with
recordings to be used as underlay music in films, radio and television. Gunter
Greffenius’ Coloursound Library was formed in 1979 with an inclusive vision of
music, including experimental, progressive rock, and some of the earliest examples
of ambient music - styles not well represented in other libraries. Coloursound gave
Joel the freedom to create music in any style or genre, and over the next decadeplus, he embarked on a musical journey that is unmatched anywhere in the world of
library music. Working under the pseudonyms VDB, his output on Coloursound is
some of his most sublime and otherworldly - ranging from dark electronics to
imagined music of the ancient past to ethereal ambient sounds of the future, which
makes sense, as Joel’s records were always ahead and in and out of their time.
 Joel VandroogenbroeckJ passed away in in December 2019, while work was being
done assembling this collection. Curated by David Hollander, whose ‘Unusual
Sounds’ album and book of the same name delightfully explore the library music
world, ‘Far View’ draws from ten of Joel’s Coloursound albums with lovely cohesion.
Featuring brilliantly remastered sound, liner notes from David Hollander, album art
designed by Robert Beatty and reproductions of the Coloursound album jackets, ‘Far
View’ is an entry point to Joel Vandroogenbroek’s mind-bending body of work - sonic
soma to expand your consciousness and vibrate with the cosmos.

After Tigerhead’s highly anticipated appearance on HET006 with “Sleeping Paralysis”, she now comes up with her very own release named “Silk Road EP”. The A-Side of the vinyl: “Rave 4 Dave” is just made for the peaktime dancefloor – pure banging power. “Lethal Combination” is breaking things down hard, while citing and quoting the drum’n’bass-genre. On the B-Side Matrixxman deliveres two remixes of Tigerhead’s tracks. His “Darkside Remix” of “Lethal Combination” can be heard as a Techno-Electro-fusion – this one is definitely putting the cowbell back on the map! Finally Matrixxman’s remix of “Rave 4 Dave” is a trippy dancefloor track, that is rounding up the EP nicely.

Leng Records has long admired Andrew Meecham’s work as the Emperor Machine. Last year, Meecham made his first appearance on the label via a fine remix of Harks & Mudd favourite ‘Susta’. 12 months on, Meecham returns to Leng with his first Emperor Machine outing of 2021, a typically eccentric, heavily electronic dancefloor outing featuring the seductive vocals of rising star Séverine Mouletin. Meecham is one of British dance music’s most experienced and lauded producers, with a packed history stretching right back to the acid house era. He first rose to fame as part of Bizarre Inc and Chicken Lips (both alongside long-term studio partner Dean Meredith), but over the last two decades has devoted far more time to solo work as The Emperor Machine. In the process, he’s developed a sparse, hypnotic, heavily electronic trademark sound that combines analogue and modular synthesizer sounds with nods to post-punk disco, new wave, trippy proto-house and the mind-altering experiments of the Radiophonic Workshop.



‘Dance Par Amour’, his first solo single on Leng, is typical of his now familiar personal sonic style, with echoing, alien-sounding synthesizer motifs (some reminiscent of those that marked out Chicken Lips’ club classic ‘He Not In’), with bubbly sequenced bass, unfussy machine drums, rubbery slap-bass riffs and flashes of post-punk disco guitars.



Sparse but weighty and pleasingly trippy, the EP-leading ‘Extended Vocal Mix’ is classic Emperor Machine: a near ten-minute workout in which Mouletin’s tender but confident vocals rise above Meecham’s stylish and note perfect backing track, which sits somewhere between early ‘80s ‘no wave’ New York disco, lo-fi European synth-pop and the trippy late night dancefloor dubs that were once a feature of American boogie and proto-house records. Meecham further explores his love of these sparse, effects-laden “synth-dubs” on the accompanying ‘Erotique Dub’, a thrillingly heavy, heads-down affair awash with echoing vocal snippets, hypnotic drums and synthesizer flourishes that attractively echo across the sound space. Like the best DJ-focused dubs of the early 1980s, the remix is propelled forwards by a strong bassline, around which other elements – guitar, bass guitar, sparkling synth sounds and mind-mangling electronics – appear, make their mark and then drift off into the ether. With key passages of Mouletin’s vocal appearing periodically to encourage people to dance, it’s the kind of delightfully wayward revision that will keep people dancing well into the early hours.

Slowdive’s 5 EP was released in 1993 and contains 4 songs, 3 of which are instrumental. Neil Halstead had a blast experimenting with electronic beats. The instrumental tracks on this EP are all accompanied by a solid beat.

Slowdive once again succeed beautifully in producing tones that leave you numb as to how you should feel. There is an unmistakably euphoric edge to it, something heavenly, something convincing, something that takes you to places where everything is more beautiful, more colorful.

5 EP captures a brief moment of Slowdive’s journey - not quite like anything they did before it and not quite like anything after it, though it does have elements of both Souvlaki and Pygmalion in there.

“In Mind”, “Good Day Sunshine”, “Missing You” & “Country Rain” are trippy, dreamy, spaced, melancholic and cinematic... Overall an essential part of the history of one of the most influential acts of the late 20th century.

This rare and sought-after EP is now finally available as a limited edition of 4000 individually numbered copies on pink & purple marbled vinyl. The jacket has a special deluxe “alubrush” finish. The package includes an insert with the Slowdive catalogue.

This one is about the 14th district of Paris.
On the first side, you'll find a track by MLM which invites you to a minimal trip between the René Coty Street and the Montparnasse tower. The track name is a reference to a french poetic movement.
Next is L-e-o's track which takes you around the parisian "prison de la santé" in a very trippy way.

On the side B, you'll find Soufflé Caramel's track that brings you to the Alésia neighborhood and reminds us the early hours of Minimal music.
Then, the maestro Djebali pleases us with a reference to his now world-known Ideal Ghetto Touch.
Finally, the geniuses KERAW make you lose your head with this galactic jungle that will get you travelling around the famous Montsouris Park.
We hope you'll like it !

LMR003, 12", Paris 2021.
Master by SFX Mastering.

Remastered vinyl re-release of Kamchatka EP from Garo. Stumbling beats, trippy melodies and some chopped up madness. Featuring legendary track Freddy and exclusive bonus scratch skit.

Nottingham don Lukas Wigflex and "The Wizard" Tom Smith come correct with their Me & Meds project. Following on from their debut together on Wigflex, the follow up is just as inventive & playful.

2 years in the making- the studio skills of the pair shine through across the 3 tracks. The opener "Curtains Nine Tails" moves and warps over the first few minutes only to penetrate the listener with a crescendo of god-like basslines and tripped out vocals.

Faffhammer which gained big popularity when Lukas played it on that boat party at Love International is an atmospheric, wonked out euphoric number of the highest order.

The records finished off with the offside ramblings of another notorious Notts head - Des Hagenasty. This is his first outing on wax and it does not disappoint, backed by the analog wobbles and techno grit of Me & Meds, this one bites. The videos an eye opener too, just you wait!

0115 is alive.

Following 12"s from Ricardo Tobar and MANASYt, the third release on Tel Aviv's MUSAR welcomes rising UK star and Super Hexagon label boss, J.Wiltshire. The Laghan Pux EP finds Wiltshire sharing his psychedelic electronic side and brings his versatile skills together, serving up four completely different soundtracks. The gleaming sci-fi gem 'DESklep' opens the EP as a pure melodic IDM track loaded with Cornwall style while the bass-heavy title track 'Laghan Pux' is pumping as a dark & sharp peak-time trippy beast. On the B side, the mysterious Roy of The Ravers, gives you an interpretation of what proper acid sounds like, whereas 'Chained Releases' takes you on a deep and hypnotic adventure into space, full of warm guitar melodies and trancey synths.'Summon Them' closes the EP, an ambient magic piece for a hazy, orange morning where the birds just woke up and the trees singing for the first time to break the day.Early support from: Josh Wink, Danny Daze, Cinnaman, Marcel Dettmann, AME, I:Cube, The Hacker and more...

This is a super-limited strictly 1000 copy one-off only edition pressed on white coloured vinyl of this in-demand Trees Speak classic debut album.
When the band Trees Speak, coming out of nowhere, released an exclusive one-off 100-pressing white label 45, described as CAN/NEU! meets LIQUID LIQUID, it sold out so quickly (in less than 30 min) that Soul Jazz Records decided to release their album almost immediately.
Soul Jazz Records rarely release new music but found the music of TREES SPEAK’s album ‘OHMS’ so stunning and to have so many elements of music that they admired that they felt compelled to release it.
The group Trees Speak are from Tucson, Arizona and create new music that sounds like GERMAN KRAUTROCK meets NO WAVE/POST-PUNK and PSYCH ROCK – music for fans of CLUSTER, TANGERINE DREAM, CAN, NEU!, SILVER APPLES and early KRAFTWERK.
The album ‘OHMS’ sounds at times like a tripped out & moody JOHN CARPENTER/GOBLIN/MORRICONE soundtrack that seamlessly segues into propulsive, ‘motorik’ Krautrock instrumentals loaded with fuzzy, hypnotic mellotron, synths and analogue effects, as well as elements of ART ENSEMBLE free jazz, and all at times reaching a kind of post-rave psychedelia. More recent comparisons would include BEAK and GHOST BOX who draw upon similar themes and styles.
Trees Speak are Daniel Martin Diaz and Damian Diaz plus musicians from the Tucson, Arizona scene such as Giant Sand, XIXA and James Hunter. ‘Trees Speak’ relates to the idea of future technologies storing information and data in Trees and plants – using them as hard drives – and the idea that Trees communicate collectively.

Splatter Vinyl

Latest compilation of ISSUES containing big tracks from artists such as Detlef, Chicks Luv Us, George Smeddles, CAAL & BAUM and Brown Vox.

On the A side we find George Smeddles with hard hitting house track “FIX”, from trippy and sexy vocals to smooth cut baselines. Second track by Caal & Baum “I Wish”, a playful groove, solid bassline, robotised vocals and a powerful breakdown.

On the B Side Detlef is on remix duties for Chicks Luv Us “Other Dimension’ with a bass driven remix, combined with clever effects, chopped vocals and a solid breakdown that will bring dancefloors to life and last but not least we have Brown Vox’s “Do It Ma Way”. A track with smooth elements, bouncy beats, subby basslines, a massive breakdown with vocals and a quick drop that surprises everyone before it kicks in.

Orange Vinyl

Casey Spillman returns to LOCUS with his four-track ‘Summer Dreaming’ EP.

A favourite amongst the FUSE family and an artist who embodies the label’s sound and mentality throughout his productions and sets, London’s Casey Spillman continues to grow and evolve as one of the hottest talents within the capital. After his ‘Bit More Raggo’ EP on LOCUS in 2020 provided four heavy slabs of dancefloor ammunition for the likes of Skream, Samuel Deep and Varhat, he returns to close October with a quartet of fresh cuts across his ‘Summer Dreaming’ EP.

‘Get Upper’ sees Spillman opt for a powerful combination of warping bass licks, infectious vocals and sturdy kicks, while ‘I Know’ offers up a restless bass-heavy shuffle beneath dubby textures as moody harmonies contrast against evolving leads. The B-Side houses title track ‘Summer Dreaming’, delivering swinging percussion beneath glitchy electronics and trippy atmospherics, before closing with an ode to FUSE’s original home of 93 Feet East across ‘Good Morning Ninety Free’ – a classy cut weaving dusty deep chords amongst taut drums and sweeping synths.

Cardinal Fuzz and Feeding Tube Records are at long last ecstatic to bring to you for your listening pleasure “Nudity - Is God’s Creation” 2xLP . A retrospective release of recordings dating from 2005 to 2010 of orgasmic interstellar mayhem . Reissued and for the first time available domestically in the USA

In 2004, a commune named NUDITY, formed by four travellers from the astral plane, appeared in Olympia, Washington. The founding members were Dave HARVEY (guitar) and Jon Quitty QUITTNER (bass - though Josh Haynes of the mighty guitar fuzz scorchers Feral Ohms plays bass on the majority of the tracks featured here), both of whom were former guitarists of Tight Bros From Way Back When and Eryn ROSS (drums) from Growling, A couple of self-distributed Cdrs and a 12” on Discourage were a visual akin to coloured liquid sloshing around on a transparency machine and were a pure drip feed for psych /kraut and Jap Rock fiends around the world as Julian Cope and Terrascope raved about them. Alas for whatever reason no full length LP arrived from the original line up - something that at last has been rectified as now all these tracks have been brought together (along with some unreleased gems and a couple of live bonus download tracks). The sonic ear candy contained within the 4 sides of vinyl presented here go From Detroit fuzz blazing face melters to acid trippin' head swirling raga’s via The Flower Travelin’ Band and Hawkwind. Nudity were the masters and for those that missed out the first time this double album was released - Don't make the same mistake a second time.

Terrascope gushed about Nudity - "This is seriously fucking good; one of those quite literally extra-ordinary LPs that come along every once in a while which you just know instinctively are going to be dug out and played, sniffed and caressed for years"

New Japanese label "amidst" debut EP by up-and-coming Colombian-born Canadian producer and DJ, Cosmic JD. The tracks stand somewhere amidst solid Techno with a Garage twist, cosmic funky Deep House, trippy Downtempo and epic Ambient.

Cinema' is a brilliant snapshot of both artists working together in unison, with Fabrice providing his trademark 'high tech funk & soul' sound alongside Wolfgang's keen, tried and tested ability to fuse clever pop inspirations and catchy vocals through the use of robotic mechanics. Perfect music which balances the headphones and dancefloors on the horizon.
Five versions are on hand with the EP, including the original version of 'Cinema,' a French version of the original, as well as a remixes from Detroit's Ectomorph, UK Electro kingpin Carl Finlow, and Dutch synthesis maestro Versalife aka Conforce.
The original version of 'Cinema' is a gorgeous slice of sonic wizardry designed for exploring the borders between underground electronic club music and pop sensibilities. Catchy vocals play alongside a multitude of synth textures, coexisting perfectly in a melodic mélange equally as pleasing to the ears as the dancing feet. Catchy and clever vibes in equal doses.
Detroit legend Ectomorph's 'Sinema Mix' strips away the main elements and twists the original into an analogue heavy, heads-down drum workout saturated with carefully calculated effect manipulations to the vocals. Equal parts trippy and relentless, the remix is a broken beat workout designed to melt minds, fully ready for a dark concrete warehouse when permissible.
Electro legend Carl Finlow (Random Factor / Silicon Scally) delivers an interpretation of the original which stays loyal to the playful pleasantries of the original version. The signature bouncy, staccato-tinted grooves from Mr. Finlow are at center stage, with the UK producer fully embracing the original vocals and musical elements. A crisp, clean and precise remix, just as expected.
Versalife (aka Conforce) brings his beloved Dutch electronic style to higher levels with his take on the original, fully utilizing (what feels like) each and every one of his favorite machines from within his studio. Aggressive, quickly moving mischief is the name of the game with his remix, complete with sharp, attention- grabbing synths stabs and punchy, powerful drum programming.
!

Written, programmed, recorded and produced throughout 2019/20 by Ed Wynne in ‘Blue Bubble Studios’ by the sea, this exploratory and diverse musical adventure comprises seven new tracks spanning 45 minutes.

Inspired by the Scottish hills, valleys and beaches surrounding his studio, Wynne feels that lockdown in a strange kind of way has provided ‘Space For The Earth’ to breathe for a while and for people to rediscover its resonant healing frequency. ‘This is space music for people from the Earth to enjoy’.

Ozrics’ synth player Silas Neptune and drummer Bal zs Szende join forces again with Wynne on the album which also features special guest appearances from former members synth player Joie Hinton, drummer Nick Van Gelder, flautist Champignon and percussionist Paul Hankin. Psychedelic voyager Gracerooms also contributes additional synth layers.

The album ebbs and flows through blissed-out soundscapes featuring incendiary guitar solos, space grooves and ambient atmospheres. Wynne plays his recently revived Ibanez Jem, a new 8-string guitar, all kinds of synths and bass. Van Gelder uses the original snare he played on the first six cassette albums and early live Ozric performances. One tune features Champignon playing kaval, a traditional wooden Balkan flute.

The album artwork was inspired directly by these seven tracks and realised by arboreal artist Kitty (Twisty-Trees) with help from Ed and cosmic artist Ivy.

One of the most influential bands to emerge from the UK’s festival scene, Ozric Tentacles formed during the solstice at Stonehenge Free Festival 1983 going on to become psychedelic staples at Glastonbury and other festivals. The creative vision of multi-instrumentalist Ed Wynne, the Ozrics’ uniquely trippy soundscapes connect fans of progressive rock, psychedelia and dance music culture.
‘Space For The Earth’ represents the next harmonic step in the unfolding Ozric
journey.

Summer 2021 sees the fourth in the Frigio Allstars series hitting all respectable shelves.



Jack Carel opens the 12” with the acid burning grunge of “Fuck This Shit” followed by Sons of Traders with the chugging 4/4 nastiness of “A for All.” A trippy, dark industrial streak runs in the snares and swagger of Rambal Cochet’s “Doomsday Scenario Interface” and in the powerful introspection of Daniel Holt’s “The Recluse.” Neud Photo arrives on Frigio with a menacing debut, “The Split” which pierces a haze of smoke in this late-night floor-filler. Honored Matres who appeared on the first volume of these series, returns with the blackest of the compilation. Machine gun percussion close the 12” with Chris Mitchell offering the chopped and gnawed “Alsina.

Raven returns to Rekids with ‘Mania’ this September.

Born in Canada and now based in Berlin, having spent time in Los Angeles, Chicago, Barcelona, Toronto, and Mexico City and more in between, Raven is a singular artist distilling influences ranging from Techno, Electro, R&B and more into her own genre-spanning, vocal-driven productions. Following her debut EP ‘Flames’ on Rekids in 2020, which picked up support from the likes of Joy Orbison, Deetron, and many more, as well as an appearance on Amelie Lens’ Exhale imprint earlier this year, Berlin-based DJ/producer Raven returns to Radio Slave’s imprint once again with the fierce ‘Mania’ 12”.

With ‘Flames’ featuring five original tracks, Raven narrows her focus on ‘Mania’, turning in two killer techno cuts backed with alternative mixes of each. Leading the A side is ‘Nobody’, a hypnotic late-night affair peppered with emotive vocal hooks and trippy synth leads, followed by the ‘Sudden Urges’ mix, which sees the track stripped of its pulsing 4/4 and replaced with haunting atmospherics, breakbeats, and additional synth work.

On the flip, ‘Cold Sweat’ returns to the club with a dose of speaker-rattling kicks, mind-bending leads, and siren-esque effects before the ‘Comedown Mix’ brings a subtler approach, with electro-flecked drum patterns, dense ambience, and spacious reverberations rounding out a standout second release from Raven for Matt Edwards’ Rekids.

"We don't want to conquer space at all, we want to expand Earth endlessly. We don't want other worlds, we want a mirror" these words uttered by Dr Snaut from the masterpiece of Science Fiction novel "Solaris" couldn't better outline this tripped-out 6 tracks ep. RTR crafted a hypnotic pull, drawing the listener deeper into its enigmatic journey by joining the dots between colorful, moody and very melodic electro all way long. It rolls out as much structures as Solaris planet can carve out on his ocean surface, intertwining acid-tinged bass, crisp techno, break edits, jungle. Fans of electronic music's 90s golden age will find plenty to love about Splash of a drop.

“Is the juice worth the squeeze? Is the honey worth the bees? Is the trip
worth the risk? Is the rub worth the fleas?”
These are some of the big questions CHILDCARE find themselves pondering
at the top of their second album ‘Busy Busy People’. It’s a mantra that returns
later in the record but remains in the back of your brain throughout, a playful
enquiry into the purpose of our everyday activities that highlights the South
London-based group’s knack of marrying the surreal with the ordinary; soberly
tripping out during the big shop.
It’s something the group have been refining as part of their identity since their
genesis, when singer Ian Cares spent the time between school runs at his nannying job writing songs. He started adding other musicians to the project gradually until two EPs (2017’s ‘Made Simple’ and 2018’s ‘Luckyucker’) and one
album (2019’s ‘Wabi-Sabi’) later, Ian, male guitarist Rich Le Gate, bassist Emma
Topolski, and male drummer David Dyson have shaped CHILDCARE into one of
the most unique emerging groups in the UK.
They’ve earned themselves a loyal following of fans, sold out their biggest
show (so far) at London’s Scala and gained support from BBC Radio 1 (Annie
Mac, Jack Saunders), Spotify (several New Music Friday slots) and five SXSW
2020 showcases, which of course, never happened.
Busy Busy People was recorded at Somerset’s Distiller Studios with producer
Dom Monks (Laura Marling, Big Thief, White Denim)
Former BBC Radio 1 Track of the Week with key supporters incl. Jack Saunders,
Annie Mac plus BBC 6 Music’s Steve Lamacq & Radio X’s John Kennedy
Performed on the BBC Radio 1 stage at Reading/Leeds 2019 and were slated
for SXSW ‘20 before the pandemic hit.
They also sold out London’s Scala in Christmas ‘19.
UK tour kicks off September ‘21 Bassist Emma Topolski also performs as touring
member with Bombay Bicycle Club, Dua Lipa & Laura Marling

A1 is that classic Nebraska “This Is The Way” vibe; warm, atmospheric, sample-heavy 21st century disco with a truly euphoric build and release. A2 revises that first tune in a more tripped-out excursion. Both B-side tracks feature a French spoken-word vocal from BeBelle. “Fuis” is a blissed-out slow jam, whilst “Espace Fuis” picks the tempo back up again, adding a celestial choir and a fritzed-out arpeggiator solo.

Ish Returns To System Error With Drum & Bass Infused LP titled “Psychedelic Renaissance”.

Berlin based artist and live performer, Ish, showcases his diverse productions once more on the quickly establishing, System Error imprint. Taking care of the launch of their ERROR300 series. The “Psychedelic Renaissance'' LP is for the versatile tastemakers amongst us, focusing on a drum & bass style with a futuristic edge. The album meanders through six tracks that sum up the genre straining ethos the System Error brand continues to push, embracing the unique, and propelling otherworldly sound environments for listeners to enjoy.

“Psychedelic Renaissance” sees the Swiss producer utilise his vast musical knowledge, proving his versatility once more with an intriguing body of work that sits comfortably under the System Error umbrella as they inaugurate their Drum &

Starting their 2020 with a bang, OdD swiftly follow up their D Construction EP with another trio of reductionist sure shots for adventurous travelers in the minimal realm. "Pythagorean" lives up to its name with an intricately arranged pattern of percussive threads creating a kind of geometry that crystalises around a sturdy minimal groove. "Do Re Me" features plenty of tripped out FX sweeps and swishy pads that give this roller a dubbed out flavour perfect for the after hours. "Solfegio" switches things up with a crooked broken beat template and some pointed chord drops that really lift the track into an intriguing new realm - this is classy minimal with personality so don't sleep on it!

Tape

Limited Edition cassette …. 100 copies ‘Your Job Is To Make Art’ is built for the floor, four slamming techno takes, plus remixes from labelmate Swarm Intelligence and Manchester’s Kander. Drawing influence from the Manchester scene, but written in the isolation of rural, north-west England, Kontain’s debut EP is rhythmically relentless, buoyed by trippy vocals and distorted percussion, each track lands hard. From the artist: “Training and competing in BJJ, this EP is almost a soundtrack to the constant mental & physical assault. High energy, constant tension.” “It’s better to be stomped by the bull than up in the stands” Mastering by Joe Farr

Cocktail d'Amore Music returns from a short hiatus with a new release from Russian producer TMO. The three tracks are tied together by a propensity for heavy rhythm construction and distorted acid lines, executed to great effect. Opening with "Last Moment Jam" , a searing main room projectile, TMO presents what is heavily inspired by early Chicago acid track. For those looking for something on the trippier end, "Drums Jam" provides a low bpm hallucination full of delays. Closing is, "Buchla 909 Jam", a 10 minute slow burn exercise in analog fundamentals for late night fantasies.

A new lick of paint for the House of Disco, serving you slick, sophisticated and just as stylish. Taking the keys for the thirtieth release, Dutch dynamo Cleanfield, who lays down a four track EP dripping in summer sun.

The A side opens with ‘Sunshy’ a disco house banger, complete with bumping bass, sun-kissed toplines and warped Kool & The Gang synth warbles, before ‘Oregano’, takes you on a Mediterranean flavoured, supercharged dream house journey spliced with tripped out arppegiated wanderings.

On the flip, ‘Krispy’ a tropical, synth-heavy party starter with sandy beaches and crystal-clear oceans in mind and ‘Caught In The Act’ an underwater sea sensation, drenched in drunken arps and a cocktail of chants, guitar licks and good vibes.

Within Melbourne’s burgeoning cinematic-soul scene, which includes
breakout acts Surprise Chef and Karate Boogaloo, mysteriously sit
The Pro-Teens.
Helmed by prolific drummer and percussionist Hudson Whitlock, who also
plays in both aforementioned bands, this breakaway studio project involves an
interchangeable collective of incognito, Melbourne-based, esteemed instrumentalists playing under outlandish pseudonyms such as “’Dead Honest’ Dean
Amazing” and “Libby Clique-Baite”.
Symbolically led by keyboardist “Snooch Dodd”, new album ‘I Flip My Life Every
Time I Fly’ is the latest musical concoction from Whitlock’s eccentric brain,
marrying the soul/funk roots of sample culture with the principles of boombap hip hop.
Incorporating the colourful comic book stylings of MF DOOM and Kool Keith,
or the dark and exotic flavours of Gravediggaz and The Wu-Tang Clan, The ProTeens also take cues from their composing heroes Galt MacDermot, Richard
Evans and Marc Moulin.
The Pro-Teens bop, zip, whip and fling on this phantasmagorical journey - an
unorthodox patchwork of cinematic soul, hip hop-guided funk breaks, vivid instrumental textures and film score-esque moods.
The Pro-Teens work on the same analogue recording model adopted by the
tight-knit College Of Knowledge label, self-recorded and produced with the ragtag crew of musicians putting tracks down live to tape in crammed attic studios
and sharehouse recording spaces.
The first limited pressing of ‘I Flip My Life Every Time I Fly’ was released on the
‘College Of Knowledge’ imprint in late 2020. It was one of the highlights of the
year at Mr Bongo HQ who loved the concept and felt this tripped out masterpiece from Melbourne needed to be heard well beyond those lucky enough to
have bagged those limited first copies.

Over the past 16 years, Rebelution has had nearly everything a band could
ask for: chart-topping albums, hundreds of millions of streams, a GRAMMY
nomination, even their own festival in Jamaica.The only thing they haven’t
had, it seems, is time.
“When COVID hit, we found ourselves in uncharted territory,” says frontman
Eric Rachmany. “Suddenly we were just sitting still, which was a completely
new experience for us.”
Difficult as it was to leave the road behind, pressing pause proved to be a blessing in disguise for a band that has emerged from lockdown with their most
captivating, eclectic record to date: ‘In The Moment’. Recorded remotely in the
midst of the coronavirus pandemic, the collection is deliberate and wide-ranging, infusing the quartet’s soulful, exhilarating brand of modern reggae with
addictive pop hooks, alt-rock grit, and hip-hop grooves.
The performances here are bold and self-assured, and the production is equally ambitious, drawing on swirling reverb and trippy delay to create an immersive sonic universe that’s both futuristic and vintage all at once. Strip away the
intoxicating atmospherics, though, and what remains is a work of profound
reflection, a probing, revelatory meditation that balances joy and introspection
in equal measure as it contemplates the meaning of time and invites us to sit
back, slow down, and live ‘In The Moment’.
Includes guest appearances by Busy Signal, Kabaka Pyramid, Durand Jones, and
Keznamdi.
coverage out in reggaeville worldareggae niceup Print: Rock at
Night Magazine
Radio plays for “Old School Feeling” on BBC Radio 2 David Rodigan, The Random Reggae Show Swindon 105.5 Swindown FM and Vibes FM Reggae My
Limits

Fresh one on Music With Soul - a channel for hot 7"s that always fly out here. TIP!

"Two and a half frenetic minutes that sound like Aphex Twin and The Incredible Bongo Band dancing Capoeira in the early hours of an illegal rave, somewhere in the deep amazon forest. After the success of his first solo 45, Alex Figueira comes back to the aesthetics of the early Fumaça Preta, with an utterly bonkers 45 that can only be described as an “in-your-face acid macumba techno breakbeat funk freakout”.

The flip side contains a haunting Psychedelic ballad, with the sweet vocals of Maddie Ruthless, from NY’s leading Lovers Reggae sensation, The Far East. Equally trippy and beautiful, the soothing sounds of the Wurlitzer piano and the electric sitar will be bouncing in your head for hours after first listen. The kind of song that finds collectors dropping eye-popping sums, decades after the original release. Guarantee your retirement now by getting a few copies! The song “Maracas” is the main theme of the movie “Maracas, tambourines and other hellish things” directed by fellow record nerds Matteo Fava and Dave Potsma. They managed to convince Figueira to play the main character, and later on, to do the complete music score. The movie tells the story of a struggling underground musician / part time record store clerk, whose music career is basically going nowhere until an improbable encounter gives his life a dramatic turn. They asked Figueira to give them something with “a fresh tropicalized take on Blacksploitation”. One might argue, after listening to the insanity carved on the grooves of this piece of vinyl, that he certainly did deliver.

The characteristic mix of synthesizers and heavy percussion used by Figueira in almost all his projects, gains here a somewhat freer dimension, embracing the chaos openly, without ever neglecting the groove, nor the ancestry axis. Values that are at the core of the label. Even while laying down all the instruments himself, Figueira has managed to capture the same out of control tropical psychedelic spirit of his former band, Fumaça Preta. Fans of the group’s outfit will certainly be rejoiced by this new release.

The flip carries “Grasping & Wishing”, an evocative Psych ballad that retains the same tripped-out flair of the A side, while slowing down the tempo considerably with a decidedly african 6/8 beat. Sung by New Orleans’ own “Rocksteady Queen”, Maddie Ruthless, stepping out of her classic Reggae background, to grace the track with her beautiful voice, permeating the issues of belonging, doubt and introspective reflection portrayed in the lyrics, with a thin layer of exquisite fragility that will comfort your ears.

The production includes a significant number of sound effects, ranging from different types of percussion performed with liquids to bamboo flutes of different sizes and several layers of multiprocessed electric Sitar tracks. Listen carefully and you will discover new sonic nounces every time you put the record on."

NIGHTMARE VACATION vinyl will be released on 27th August via Atlantic Records/Sugar Trap. The genre-defying album features 16 captivating tracks, each showcasing Rico’s out-of-this-world energy and rockstar delivery, complimented by production from the likes of CashMoneyAP, Buddah Bless, Dylan Brady (100 Gecs) and more.

“I feel like this album proved to me that no matter what I’m going through, I can still make powerful music. All of these songs that I ever made were always about power, always about making you feel powerful. Sometimes you give so much power you feel powerless…I just tried to put all the emotions, and the happiness, and the crazy feelings y’all make me feel in this music and give it right back to you to consume and get your power up. So this is a soundtrack to getting back on your shit!” – Rico Nasty

NIGHTMARE VACATION has already drawn early acclaim via a number of international and domestic press looks, ranging from NME, WAVE and CRACK to Rolling Stone, The New York Times, W Mag and more. The album – which includes features from such luminaries as Trippie Redd and Aminé and production also by Take A Daytrip (Lil Nas X, Sheck Wes, Kid Cudi), Avedon (Roddy Ricch, Chloe x Halle), GRAMMY® Award-nominee Tay Keith (Travis Scott, BlocBoy JB, Drake) and longtime collaborator Kenny Beats – is highlighted by the singles, “IPHONE,” “Own It,” “Don’t Like Me (Feat. Don Toliver & Gucci Mane),” and “OHFR?,”.

NIGHMARE VACTION further follows the release of ANGER MANAGEMENT, a collaborative project with longtime producer Kenny Beats which followed the duo’s work together on Rico’s breakthrough 2018 Atlantic Records/Sugar Trap label debut, NASTY.















[o] 15. Smack A Bitch (feat. ppcocaine, Sukihana & Rubi Rose) [Remix]

Repress


Nina Kraviz launches her (pronounced 'trip') label with a double-EP compilation entitled 'The Deviant Octopus', featuring a pair of brand new productions from Kraviz alongside material from Terrence Dixon, emerging talent Parrish Smith & Bjarki, and veteran producers Exos & Steve Stoll.

The idea for has been gestating for some time with Nina Kraviz, an avid crate-digger and frequenter of numerous second-hand record stores, who has long wanted to begin a label of her own which would build on some of the principles of her beloved 90s techno labels in terms of attitude and aesthetics, whilst looking for forward-thinking modern productions that reflect her core tastes for idiosyncratic electronic music.

The art and title of 'The Deviant Octopus' comes from a single-sentence scenario dreamt up by Kraviz: 'Without a moment's notice an Octopus appeared and devoured everyone in sight'. Supplied with this scenario, artist Tombo rendered his own unique visualization for the artwork that adorns the release sleeve. It's Kraviz's own nod to the labels that inspire her and grab her attention while digging through second hand records, the best of which were imbued with the unique personality of the people behind them. This extends to the sound Kraviz intends for : dusky, divergent and trippy music to stimulate brains, dreams and fantasies.

In this respect 'The Deviant Octopus' is a perfect introduction: Kraviz herself is represented on the tracklist by two new tracks that take up the mantle of last year's Mr Jones EP by returning to the vocal-flecked hypnotic techno that marked out that release. Complimenting those are two new cuts from a true master of hallucinatory off-kilter techno, Terrence Dixon in his Population One guise.

Joining them will be a pair of names from the techno pantheon who have been huge influences on Kraviz: with a career that's taken in releases on Synewave, Trax, Novamute and Richie Hawtin's early-90s Probe Records, Steve Stoll has been mining his own variant on techno and acid minimalism for over twenty years, heading up the Proper NYC label and releasing under various pseudonyms, such as Cobalt, of which Kraviz has been a long-term fan. His counterintuitively titled 'Pop Song' sits alongside a 13-minute 90s techno excursion from Reykjavik's Exos - the only previously-released cut (originally appearing on Thule Records sub-label Plast Trax in 1998) - together illustrating that will also live up to its name in the geographical sense: showcasing great music from historically vibrant electronic music scenes outside of the usual Detroit-Berlin axis.

With Kraviz looking to build a small repertory of talent around , this first release also makes room for two newer names: Bjarki is an Icelandic talent to keep a firm eye on, who drew Kraviz's attention in a chance meeting after a gig at Copenhagen's Culturebox club, after which he passed her a collection of mind-bendingly odd demos; while Parrish Smith is a talented Netherlands-based producer whose short yet impactful sketch '1.0 / 8.0 Afrika Genocide' brings the second 12' to a bewitching close.

Grey Vinyl

Nous'klaer presents their summer sampler of 2021! Eight hot tracks by new and known names on the label, to celebrate their 50th vinyl release. Starting with the haunting opener Faded Red by Djoser, to a deep techno cut of Pugilist and straight onto RAFF's banger Yeye. Floid debuts with his pumping 4x4 tune PJEE, and Panda Lassow delivers her signature trippy wonkiness that evolves into an addictive rave climax. The last tracks see Konduku and Oceanic making a return to the label with what they do best - and closing is the dubby debut track from Animalia's label owner Kia. Comes in silver vinyl and artwork, designed by Woody92.

Yellow Vinyl

Next up on Just Jack Recordings mul.apin provides us with 3 contrasting tracks, the rolling infectious beats of 'A moment in Between' take the synths to another level whilst the bass screams 'BIG SYSTEM!!!!' at the top of it voice. A2 ‘From Earth’ is a darker more brooding affair, trippy and with a late night tribal feel but with the dance floor fairly in its sights. One for the more twisted among you!

Finally on the B mul.apin goes deep and techy with some beautiful synth work and his good friend Youandewan smashes the remix out the park as he jacks things up another level for the dancefloor.

Mause makes his debut release on npm with a stunning 4 track EP entitled ‘XOR’.

Starting with ‘LocriLogAcid Seq’ serving up soothing melodies that make you want to drift away on the dance-floor. ‘SeqTuningMlog Acid1’ proves that Mause isn’t averse to switching up tempos and beats with a powerful, trippy acid induced journey.

The cleverly structured ambient and melodically complex ‘Strimsang Baecon4’is reminiscent of early Aphex Twin with pure electronic bliss whilst ‘Sunday Multi Acid Seq20d’ is a strong finish to the EP delving deeper within the realms of electro and acid techno.



c 3 Strimsang Baecon4



c 3 Strimsang Baecon4

New York Hip Hop revolutionaries Ced-Gee, Kool Keith, Moe Luv and T.R. Love, known as Ultramagnetic Mc’s dropped their seminal debut album Critical Beatdown in 1988. Immediately grabbing the attention and pushing the boundaries of hip hop into new horizons, it was hailed as a masterpiece by the underground. Influential hip hop magazines The Source and Hip Hop Connection both listed Critical Beatdown in their Top 100 charts, naming it one of the best 100 hip hop albums ever. The 1986 single “Ego Trippin” is one of the first tracks to use the SP1200 drum machine (programmed by producer Ced-Gee), and the SP1200 would later become the golden standard for many hip hop producers. This expanded edition features not only the original album with the 15 tracks, it also includes 6 bonus tracks: the original 12” versions of “Funky”, “Bait”, “A Chorus Line” featuring Tim Dog, “Mentally Mad” plus “Traveling At The Speed Of Thought (Hip House Club Mix)” and “Ego Trippin (Bonus Beats)”. It also contains a 4 page booklet with interviews, rare photos and liner notes written by Angus Batey, the author of Rhyming and Stealing: A History Of The Beastie Boys and a writer for Hip Hop Connection and Mojo magazine.

The weird world of Wombo is a kaleidoscopic journey of sharp turns and
surprising visions, a melting pot of influences with a cheeky cheshire-cat
grin that coalesce into a trippy but infinite universe of the band’s own, and
a portal into their unique vantage point without limitation.
Already committed to living outside the traditionally-heralded country sound
of the music scene in their hometown of Louisville, Sydney Chadwick (vocals)
and Cameron Lowe (guitar) had previously played in punk pop band the Debauchees, and with the addition of Joel Taylor (drums) in 2016 they found a
winning combination of more straightforward indie rock combined with Chadwick’s pitched up, oscillating vocals and unpredictable shifts in melody that see
the band moving forward at an impressive pace.
Their 2020 Blossomslookdownuponus LP is a snapshot of Wombo’s wide-ranging aspirations that careen across avant pop, post punk and warbly indie interludes with a sky’s-the-limit approach to translating the mundanity of regular
life into their own high-frequency language. Lemon Yellow Vinyl w/printed inner sleeve.

For number 90 in the Brazil45 series, we share a couple of lesser-known discoveries that have become recent favourites here at Bongo HQ. First up we head to the north of Brazil with funky Forr / boogie hybrid monster, ‘Vendedor De Mangaios’ by Josan. Originally released in 1981 on the album ‘Rio De Renova es’ on Copacabana Records. This addictive dancefloor gem is still relatively under the radar, but it has become a firm favourite at Bristol’s Worm Disco Club parties and amongst the DJ’s and collectors of Brazil’s underground dance music scene. Taken from the illustrious singer Bart Galeno’s self-titled 1977 album on Tapecar Records, ‘Vou Tirar Voc Daqui’ is an unusual one. Not easily pigeon-holed, he song sits somewhere between MPB / funk and rock, yet isn’t really any of them. Backed with a big orchestrated sound and tripped-out synths, the track has a truly unique feel. We hope you dig these finds. Another testament to the diversity and depth of Brazil’s rich musical heritage.

- Next installment in BRAZIL45 Series.
- Two lesser-known discoveries

Our secret agent in Oslo returns with another essential communique in the Norsk Tripping series...

Six more tracks selected from a private vault of dance floor dynamite & super rarities, which takes in Italo, Dutch new wave, Space Rock & Balearic obscurities.
All given the sonic once-over for maximum playability...

As always, a VERY limited run.

Erased Tapes debut. Wait, what? How? Anyone who has seen
the trail blazing sonic pioneer live will know Nils likes to
deadpan a joke. Graz is in fact the first studio album he
recorded for the label back in 2009, that somehow remained a
secret… until now.

Nils Frahm has quietly changed the musical landscape,
reincarnating the centuries old figure of a pianist-composer for a
new generation of music fans. As Nils’ word-of-mouth popularity
grew and grew, so did the pop-culture profile of his instrument. He
founded Piano Day with a team of like-minded friends in 2015 to
help that process, some years releasing an album of piano
recordings to celebrate one of humankind’s greatest inventions.
Graz is one such record; an unheard snapshot of a young Nils
recorded at Mumuth, the University of Music and Performing Arts
Graz, in 2009 as part of the thesis Conversations for Piano and
Room produced by Thomas Geiger, which received an award in
the Classical Surround Recording category at the 127th AES
Convention in New York.
Whilst at the time it was decided to keep the grand piano
recordings from the Graz sessions locked away and instead focus
on his close mic’ed, dampened piano explorations which would
become his acclaimed studio album Felt in 2011, two of the pieces
— most notably Hammers — lived on as part of his live set, and
were expanded on and re-recorded as part of his breakthrough
2013 record Spaces (a collage of field recordings from concerts
which broke the Fourth Wall and included audience coughs). Over
his mercurial career, Nils has pushed and pulled at the boundaries
and parameters of his prolific work like that. He’s physically
changed his piano (the softened prepared strings of Felt) played
with a modified body (Screws recorded with 9 fingers and a broken
thumb) played with scale (Solo recorded on the 3.7 metre high
Klavins M370) and with the different layers of formats (last year’s
Tripping with Nils Frahm nested his studio setup inside a live
performance, concert film and live album). Now with Graz he has
found the final frontier for play: time itself and his own discography.
Graz is a moment of time at the very beginning of Nils’ quiet
revolution. The essential genius is already evident; the harmonic
language of classical, and the immediacy of jazz. Nils seems to
pull down each idea moment by moment, gently, to not scare away
the muse. He describes: “sometimes when you hear a piano, you
might think it’s a conversation between a woman and a man. At
the same time, it can hint at shapes of the universe and describe
how a black hole looks. You can make sounds that have no relation
to anything we can measure.”