Buscar:james place

For fans of AMON DÜÜL, CAN, FAUST, NEUBAUTEN, BRIAN ENO, CLUSTER, CULT OF LUNA, NINE INCH NAILS, MASSIVE ATTACK OR - Norwegian for "dizzy, confusing" - is the third album from Italian avant-rock trio OSLO TAPES, and the album keeps what the word promises: a dizzying ride through a feverish dreamscape of imaginary Norwegian highlands painted in cubistic shapes. Hypnotic basslines, repetitive drum patterns, new wave synths and psychedelic guitar textures covering the full width of the stereo room, all seamlessly woven into a gloomy Kraut - tapestry which sounds refreshingly_ modern, while paying tribute to the aged genre. Marco Campitelli, born and raised in Lanciano on the Southern Adriatic coast of Italy, founded OSLO TAPES in the early 2010s after a trip to the Norwegian Capital left him deeply impressed. Under the influence of this infatuation, he composed and produced OSLO TAPES' first record "OT (un cuore in pasto a pesci con teste di cane)" within a week in 2013. Supervised and supported by friend Amaury Cambuzat (faUSt / Ulan Bator), Campitelli's first attempt to capture the mystical vibe of Norway was released on DeAmbula Records (Ulan Bator, The Marigold, 7C). In 2015 he was joined by Mauro Spada and Federico Sergente (Zippo) and together they recorded OSLO TAPES' sophomore album "Tango Kalashnikov", also released on DeAmbula Records. "OR" is a much more collaborative effort for OSLO TAPES than the first two records. Next to Campitelli, the album was co-produced by Amaury Cambuzat (Ulan Bator) and James Aparicio (house engineer for Mute Records and mixing and mastering engineer for Depeche Mode, Mogwai, Nick Cave). During production, Campitelli became friends with Emil Nikolaisen of Serena Maneesh w h o guided him "through the Norwegian imagination". As a result, the record's title is also courtesy of Nikolaisen. During this journey spanning over eight songs, OSLO TAPES, completed by Mauro Spada (bass) and Davide Di Virgilio (drums and percussions) construct a dense and ever so dark atmosphere that is captivating, brooding and imaginative. After a spiraling takeoff with "Space is the place", we find ourselves floating weightlessly above the nocturnal Norwegian highlands through "Zenith" and "Kosmik Feels", an airy circulation of jazzy drums, pulsating bass lines and shimmering guitar clouds. We saddle up, gallop across the sky on "Bodo Dakar" and drift back into the night on "Cosmonaut". The trifecta of "Norwegian Dream", "Exotic Dreams" and "Obession Is The Mother of All" conclude this agitated fever dream journey. There is a sense of solitude in OSLO TAPES' compositions which makes it easy to imagine them as interstellar jam sessions between cosmonauts, each in their own isolated space capsule. Every spin of "OR" brings new discoveries: sometimes it is a noise that we did not notice before, sometimes a slight change in the drum groove, sometimes just a piece of the lyrics, meandering through our mental space. "OR" is a vertiginious journey to be remembered - and repeated. "The focus of Oslo Tapes is to harmonize the noise" says Marco Campitelli.

For Jayda G, joy is a state of mind. Whether she transmits it through her upbeat productions or magnetic energy at the decks, the Canadian-born DJ and producer, real name Jayda Guy, is a beacon of empathy on the dancefloor. It's no surprise, then, that Jayda G's DJ-Kicks mix captures the buoyant spirit of the music that has influenced her most. "DJ-Kicks has been a personal goal of mine for a really long time. I've been a fan for decades now. I remember there was one mix by Chromeo and it had some French disco on it that always stood out in my mind," she remembers. Clocking in at just over an hour, Guy's mixtakes you on a journey that moves through loved classics and new bubblers. The mix contains Jayda's Brand new single "All I Need", the follow up to Grammy Nominated breakthrough single "Both Of Us", a slinky house tune co-produced with James Ford that fizzes with shimmering energy. A rallying cry for kinship and understanding, Guy's insouciant vocals insist "all I need is you to hear me", gliding across the perfectly swung house beat. "Because the mix was made during the pandemic, I thought, 'What music makes me happy?' I want people to feel like they know me. I wanted it to be approachable, still honouring the disco and soul music that I love. I hope that translates in some shape or form."

TRANSPARENT ORANGE VINYL

For Jayda G, joy is a state of mind. Whether she transmits it through her upbeat productions or magnetic energy at the decks, the Canadian-born DJ and producer, real name Jayda Guy, is a beacon of empathy on the dancefloor. It's no surprise, then, that Jayda G's DJ-Kicks mix captures the buoyant spirit of the music that has influenced her most. "DJ-Kicks has been a personal goal of mine for a really long time. I've been a fan for decades now. I remember there was one mix by Chromeo and it had some French disco on it that always stood out in my mind," she remembers. Clocking in at just over an hour, Guy's mixtakes you on a journey that moves through loved classics and new bubblers. The mix contains Jayda's Brand new single "All I Need", the follow up to Grammy Nominated breakthrough single "Both Of Us", a slinky house tune co-produced with James Ford that fizzes with shimmering energy. A rallying cry for kinship and understanding, Guy's insouciant vocals insist "all I need is you to hear me", gliding across the perfectly swung house beat. "Because the mix was made during the pandemic, I thought, 'What music makes me happy?' I want people to feel like they know me. I wanted it to be approachable, still honouring the disco and soul music that I love. I hope that translates in some shape or form."

Backed by members of the David Nance Group, Rosali (Long Hots, Wandering Shade, Monocot) wades through the emotional mire with infectious, earworm melodies led by her luminous voice. With their rich, raw instrumentation, these rock ballads sound like the resilience discovered in facing one’s darkest moments, the assurance of the calm and clarity that comes after the storm. As she sings on the second track, “Bones,” “Through the darkness of the field / I walk through without yielding / To the rest of the feelings / I’m carrying.” With her confident song craft, Rosali illustrates the ability to push through, moving toward something greater without being destroyed by the weight of trauma.

Engineered by James Shroeder and featuring Kevin Donahue (Simon Joyner), James Shroeder (Simon Joyner, DNG, Connor Oberst), David Nance, Noah Sterba, Colin Duckworth, and Daniel Knapp, the album was recorded in ten days and the raw immediacy of the music is palpable across these ten tracks. Added adornment was contributed by Philadelphia's Robbie Bennett (War on Drugs) on organ and keys, and Matt Barrick (The Walkmen, Jonathan Fire Eater, Muzz) makes a percussion cameo on “Whisper,”which was tracked at Philly’s Silent Partner Studio, where No Medium was mixed by Quentin Stoltzfus (Mazarin, Light Heat). The open creative collaboration elevated the songs, resulting in the exciting, vibrant sound of the album.

Rosali wrote the bulk of these songs in January of 2019 while on a self-imposed two week residency in the hills of South Carolina. Alone in an old farmhouse, she experienced supernatural events and faced her own demons in the deepest darkness. Perhaps as a result, there is a boldness that permeates the album, a daring vulnerability in both the lyrical themes and their musical accompaniment. Rosali says, “I approach guitar playing the same intuitive way I sing, which is profoundly spiritual for me. Where words fail, the guitar becomes the conduit for raw feelings, providing a direct connection to them. I’m constantly working on being fearless in my work, which means showing the rough side, the mistakes along with the triumphs.”

While writing No Medium, Rosali was inspired by harmonographs—swinging pendulums that create beautiful illustrations of the mathematics of music—considering how the mind, too, creates images through song. She imagined herself as the swinging pendulum—“a body suspended from a fixed point” (Encyclopedia Britannica), governed by the forces surrounding her. She thought about the pendulum’s relationship to time, movement, and even its use in divination practices. The album’s title, lifted from Charlotte Brontë’s, Jane Eyre, resonated with this vision: “I know no medium: I never in my life have known any medium in my dealings with positive, hard characters, antagonistic to my own, between absolute submission and determined revolt. I have always faithfully observed the one, up to the very moment of bursting, sometimes with volcanic vehemence, into the other.” With the multiple meanings of “medium”—as middle ground, a term for psychics, and as the material of artistic expression—No Medium felt like the appropriate name, describing how the self is shaped by the patterns of life .

The influences for the sound of No Medium reflect this pairing of assured vulnerability, in the stylistic coherence of Bob Dylan’s Desire, the tender delivery in Iain Matthews’ Journey From Gospel Oak, the strut and swagger of Bowie’s Hunky Dory, the ambition and beauty of Gene Clark’s No Other, and the playful catharsis of Harry Nilsson’s Nilsson Schmilsson. The Richard and Linda Thompson-esque album opener “Mouth,” places Rosali within both a physical and emotional space. “East of the river I was travelling on / watch me lie, undone / rest me in a forest, overgrown / until I am free of all that I’ve known,” she sings. There is movement, both within a cityscape, and in her outlook on love. Speaking of her thought process when writing the song, she says, “I imagine confidently walking away from the past, toward a new approach to love and intimacy to achieve a closer relationship with myself.”

In “Pour Over Ice,” Rosali explores her relationship with alcohol and her former reliance upon it as a social lubricant to quell her social anxiety, an energizer to keep moving, a means to cope and self-medicate, and most addictively, to lure out her wild side as a free flowing, good time girl. While drinking helped her through some shitty times, it eventually got the upper hand and became an insatiable hole within. She says, “The ‘you’ in the song is really me, talking to that component of myself struggling with drinking and self-sabotage, caught up in the cycle, and all the bad choices I made.” She sings, “Maybe I didn’t care enough / or can’t remember / chasing small pleasures / making fire from embers.” Rosali wanted her lead guitar on this track to simultaneously sound like a slow motion car crash propelling her through the day, and the sound of a gnawing hunger for something more.

Rosali’s alliance with the Omaha musicians that orbit David Nance Group (including Nance himself) came about while on a Long Hots / DNG tour in the summer of 2019. Great friendships formed and one night after playing in Detroit, Dave suggested they be her backing band. The pairing was effortless and natural, and in November of the same year, they were recording No Medium in a basement in Omaha.

After closing the first part of Fundamental Records' experiment called Music for The Other People Place, the second part begins. Music for The Other People Place. Experiment 2. A special and highly limited electro / electronics project (tributed to James Stinson), produced by different artists that will remain anonymous, if they choose to...

LA-based producer, composer, songwriter and multi-instrumentalist James McAlister is a rare creator, and highly sought after collaborator. Perhaps best known for his work with Sufjan Stevens , McAlister has also appeared on record with Lorde amongst many others, and is a regular contributor to Aaron Dessner 's projects, including the latest albums from Taylor Swift, folklore and evermore . His regular work with film music includes The Two Popes, The Big Sick, and Ron Simonsen 's recent films. In 2018 he joined Stevens, Casey Foubert , St. Vincent and Moses Sumney for the Oscar performance for music from Call Me By Your Name, where he played piano and a bottle of cupcake sprinkles. With nearly countless projects to his name, it was in 2017 that his collaboration with Stevens, Nico Muhly, and Bryce Dessner entitled Planetarium was released by 4AD. Around the same time McAlister started a deep dive into a personal sonic realm that has manifested as an ambient project under his own name. 2018 saw the release of Three Breaths , the first offering from this exploration. 2021 will see the second installment, an album called Scissortail which vividly puts McAlister's evolving master craft on display. It is a collection of moving, meditative, immediately satisfying and quietly stunning work. It is the sound of an artist letting go entirely of pre-conceptions or expectations, instead mining the depths of that very real and abstract place of sound, texture, color and feeling. Some songs arrive almost intuitively, while others feel mechanically made, fed through the framework of synthesizers and the patchwork of recording gear. And with that comes a compelling duality to the work; a machine grace informing the on-going but subconscious dialogue between energy and material, sensitivity and asceticism.

They Say: “New directions in contemporary scoring”.

We say: Contempo is one of the best full album listens in the KPM 1000 library. Succinct smoking soul, super tight breaks and string-drenched sleaze composed by the library master, Keith Mansfield.

The creator of the romping tunes that became the iconic themes to the BBC’s Grandstand programme and their televised Wimbledon Tennis Championship coverage, Keith Mansfield was perhaps KPM’s most prolific artist from the mid 1960s right the way through the 1980s. As well as the sort of pop orchestral sound that is all over these classic library records, he could also turn his hand to raw, edgy rock and funk. Quentin Tarantino is a big fan, going as far as including some of Keith’s work on the soundtracks to Kill Bill and Grindhouse.

Many library records are a game of two halves and Contempo is certainly one of those. The first side cooks on a high funk breaks flame whilst the flip is something altogether more tranquil, yet no less groovy. It lays back with dreamier, post-coital grooves.

Rugged funk opener “The Fix” confidently displays its low slung languid grooves with heavy drums, horns and bass. Smokin’ in slow motion. The punchy “What’s Cooking” follows and has a lighter, more whimsical touch. But the drums still roll and the clavs wiggle in fascinating opposition to those horns. The dark and moody intro to “Cut To Music” gives way to a more inclusive, relaxed funk that’s all irresistible bass and stabbing horns. The mid-tempo “Man Alive” signals the time to really get down. A percussive monster jam. If you can’t strut to this then we really can’t help you! Closing out the A side, fresh guitar licks drip all over the slick drums of “Funky Footage”, with a New Orleans piano vibe coming on to really light a fire.

Whilst the dramatic crime funk of the A side is enough on its own to have earned this record its place in the great library record canon, it’s undoubtedly the more smoothed out B side for which Contempo is rightfully adored and celebrated. It’s so chilled and mellow, with beautifully arranged, sweeping strings, sax solos aplenty and a real 70s soundtrack feel. Think Love Boat, CTI label, Bob James, Grover Washington Jr.-type jams.

The super sleek and sexy jazz funk of “Breezin’” is as light and magical as you’d hope. An open-air masterpiece, its indulgent sound is just a taster of the sophisticated funk to follow. The elegant, romantic feels of “Good Vibrations” (used brilliantly by Odd Future’s Mike G for “Swiss Army”) is a string-drenched, wah-wah fuelled ode to living your best life. Nonchalantly. Whilst it keeps a very West Coast feel, the blaxploitation strut is certainly more Blackbyrds than Brian Wilson. “Sun Goddess” will blow your mind with the sensuous sound of glorious horns and beautiful keys. The luxurious “Love De Luxe” and its horizontal grooves have been much sampled, but here it proves that it doesn’t need any help to get you in an intimate mood. Closer “Snake Hips” is a cool mid-pace slouch. Just divine.

Originally released in 1976 but, like the very best KPM records, wonderfully timeless, Contempo is also no mere LP-length collection of loosely related tracks. This is a rare example of a library record that is a genuinely great listen from start to finish.

As with all of our KPM re-issues, the audio for Contempo comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.
: Contempo (KPM) (LP)

Mondo, in collaboration with Back Lot Music, is proud to present a vinyl pressing of James Newton Howard's Golden Globe Nominated score to Universal Pictures’ powerful new film from acclaimed filmmaker Paul Greengrass, News of The World.

Set five years after the end of the Civil War, News of the World follows Captain Jefferson Kyle Kidd (Tom Hanks), a veteran of three wars, who now moves from town to town as a non-fiction storyteller, sharing the news of presidents and queens, glorious feuds, devastating catastrophes, and gripping adventures from the far reaches of the globe.

In the plains of Texas, Kidd crosses paths with Cicada, aka Johanna Leonberger (Helena Zengel, System Crasher), a 10-year-old taken in by the Kiowa people six years earlier and raised as one of their own. Johanna, hostile to a world she’s never experienced, is being returned to her biological aunt and uncle against her will. Kidd reluctantly agrees to deliver the child to where the law says she belongs. As they travel hundreds of miles into the unforgiving wilderness, the two will face tremendous challenges of both human and natural forces as they search for a place that either can call home.

The film is a moving exploration of our present through the lens of our past, and the music by eight-time Academy Award® nominee James Newton Howard (The Hunger Games, The Sixth Sense, Signs, The Fugitive) is innovative, emotional, and beautiful, as it follows Captain Kidd’s journey from regret to redemption. A haunted, and healing sound of vintage Americana floods from your speakers as the tender strings and piano guide you over gorgeous landscapes.

Krijn Moons aka Alchi emerges as a new voice in instrumental electronic music with his debut 'Full of It' released with Mylja.
Inspired by artists such as Nicolás Jaar, Boards of Canada, Sigur Rós and James Holden, Alchi produces and performs music that is rooted in experiment rather than a single genre, flowing between and weaving through alternative dance, instrumental electronic postrock and neoclassical influences. Playing with imperfections and disarray, Alchi’s work honours emotional ambiguity, cultivating a sound that can be equally euphoric as it can be melancholic, a feeling that words cannot - and do not have to - articulate.
This is also the approach to composition and production for ‘Full of It’, Alchi explains. “More than the sum of its parts, the sound of a song creates a space that it starts to exist in, an intangible context shaped by the details that come from zoomed-in sound design and
production or even working with old or broken instruments. At a certain point, in this space that feels somewhat unknown and familiar at the same time, everything comes to life.”
Within this ambiguity, Alchi finds a place to liberate himself from instrumental boundaries, creating landscapes that value coincidence, playful sound choices and a little bit of chaos.
'Full of It' portrays an uncommon kind of music that, in its abstraction, layers and linear structures, will balance both the familiar and the surreal.

An exploratory record that dances across time and genre, guided by fidgety miniatures and jazz inflected collage. Throughout, the band pool together their instrumental chops, moving from fluid and serpentine R&B to meditative, minimalistic piano, evoking a contrast of virtuosity and self-surrender.

While constructed from the inspiration of soul, funk and film music, BÉE mediate those influences having first digested them through the productions of Madlib & the RZA.
A sticker on the sleeve tells us Self Help “combines jazz-funk and mysticism,” a signpost to where its musical and spiritual concerns align. The jazz-funk component translates to arresting hooks in sideways song forms: echoes of Gainsbourg spooled through Azymuth-style Brazilian jazz and punctuated by the whip and snap of Steely Dan. “The Sound Where My Head Was,” the instrumental centrepiece, exemplifies present-wave jazz but also ancient sounds, giving off the mothballed air of a Hiroshi Yoshimura record in a library-music archive.

Self Help’s mysticism emerges in broad and specific ways, denoting not only a search beyond cliché and intellect but also an inquiry into the beat, the spirit, the one will. This isn’t new territory for them: Turnbull—the artist formerly known as Slim Twig, who writes and performs with U.S. Girls and various other Toronto concerns—named the group’s Nature, Man & Woman EP after the Alan Watts book. Building these songs from his drafts over three weekends at Toronto’s Palace Sound studio, the ensemble was free to tap out of the city and into some other place, taking up residence in a collective mind maze. The album produces, in equal measure, familiar surprises and the surprisingly familiar. Intoxicated jazz riffs swerve left at phantom intersections. Rhythms cut loose and tie you in knots. But wired in to each song is a sense of gentle accumulation, making every featherlight flourish weigh a ton. U.S. Girls’ Meg Remy brings serenity to “Sing a Silent Gospel,” and wears its antic melodies lightly. The soul shimmer of “Unity (It’s Up to You)” lets the players pool their R&B chops into something fluid and serpentine while, on guest vocals, the musical performance artist James Baley issues urgent declaratives: “Water must pool, as a rule, before tasted/Or else the water is wasted.” The words throughout the record complement the ensemble music while riffing on the precarious nature of unity itself. Then, closer “Extinct Commune” finds Turnbull deserted at the piano, playing phrases of meditative minimalism taking after the composer Joanna Brouk.

For all the record’s reach, it is these contrasting quiet moments that bring Self Help’s communal spirit into focus. A note on personnel: Badge Époque Ensemble now has a seventh member in Karen Ng, the saxophonist and sometime collaborator of Do Make Say Think, Feist, and others. In BÉE, Ng joins Chris Bezant and Giosuè Rosati, her bandmates in the Andy Shauf live band, as well as U.S. Girls co-conspirators Turnbull and Ed Squires, and other Torontonian cross-pollinators listed below. Guest vocalists across Self Help include Meg Remy, who sings with Dorothea Paas on the opener, James Baley, and Toronto singer-songwriter Jennifer Castle on the remarkable “Just Space for Light.” Words by: Jazz Monroe

"When Candy Opera first appeared on the kaleidoscopic early 1980s Liverpool music scene, by rights they should have changed the world" ~ Louder Than War
"Very welcome news as a highly underrated band who is now back with a force. While their previous output is stellar, this new single is even more commanding of attention. This is absolutely stunning, the band reaching higher than ever before" ~ Big Takeover Magazine
Sometimes it takes a while to realise what you’ve got. So it goes with pop craftsmen Candy Opera, who emerged during Liverpool’s 1980s golden age and whose new LP 'The Patron Saint of Heartache' is their first collection of new material in nearly three decades.
Ahead of that, they present 'These Days Are Ours', a rally cry of hope for the current times and the first single from this long-play, which is due for release in mid-November via European / UK label A Turntable Friend Records. The video was created / produced by James
Davies and Paul Malone.
Mixed by Grammy award-winning producer Guy Massey and featuring back vocals by Paul Simpson of The Wild Swans, the track was recorded at Elevator Studios in Liverpool.
With all the hallmarks of an enduring pop anthem, this impeccably produced, adrenalin-fuelled song captures the essence of Candy Opera’s infectious energy and celebrates life with a genuine wonder-lust, whilst delivering the excitement of their live performances.
Following the overdue release of two archival sets - '45 Revolutions Per
Minute' and 'Rarities' (released in 2018 by Firestation Records., quickly selling out of their first runs) - their new album 'The Patron Saint of Heartache' picks up where the band left off, with 14 fresh songs ready for discovery of a sound as timeless as any Candy Opera output.
Candy Opera were formed in Liverpool in 1982 and went through various incarnations before calling it a day in 1992. By 1985, the band had played alongside the likes of The Pogues, The Go-Betweens and The Redskins, as well as appearing on Granada TV.
The band's current line-up is drawn from all eras of the band’s existence and features Brian Chin Smithers (guitar, vocals), Alan Currie (drums), Frank Mahon (bass), Paul Malone (vocals, guitar), Ken Moss (guitar) and Gary O'Donnell (keyboards, vocals, percussion).
This new LP also features a swathe of friends and contemporaries, including Paul Simpson (The Wild Swans) and Phil Jones (Afraid of Mice). The result is an exquisite piece of pop craftsmanship that brings their songs into the light. This is a labour of love born of experience, but retaining the sense of wonder that brought the band together in the first place.

"When Candy Opera first appeared on the kaleidoscopic early 1980s Liverpool music scene, by rights they should have changed the world" ~ Louder Than War
"Very welcome news as a highly underrated band who is now back with a force. While their previous output is stellar, this new single is even more commanding of attention. This is absolutely stunning, the band reaching higher than ever before" ~ Big Takeover Magazine
Sometimes it takes a while to realise what you’ve got. So it goes with pop craftsmen Candy Opera, who emerged during Liverpool’s 1980s golden age and whose new LP 'The Patron Saint of Heartache' is their first collection of new material in nearly three decades.
Ahead of that, they present 'These Days Are Ours', a rally cry of hope for the current times and the first single from this long-play, which is due for release in mid-November via European / UK label A Turntable Friend Records. The video was created / produced by James
Davies and Paul Malone.
Mixed by Grammy award-winning producer Guy Massey and featuring back vocals by Paul Simpson of The Wild Swans, the track was recorded at Elevator Studios in Liverpool.
With all the hallmarks of an enduring pop anthem, this impeccably produced, adrenalin-fuelled song captures the essence of Candy Opera’s infectious energy and celebrates life with a genuine wonder-lust, whilst delivering the excitement of their live performances.
Following the overdue release of two archival sets - '45 Revolutions Per
Minute' and 'Rarities' (released in 2018 by Firestation Records., quickly selling out of their first runs) - their new album 'The Patron Saint of Heartache' picks up where the band left off, with 14 fresh songs ready for discovery of a sound as timeless as any Candy Opera output.
Candy Opera were formed in Liverpool in 1982 and went through various incarnations before calling it a day in 1992. By 1985, the band had played alongside the likes of The Pogues, The Go-Betweens and The Redskins, as well as appearing on Granada TV.
The band's current line-up is drawn from all eras of the band’s existence and features Brian Chin Smithers (guitar, vocals), Alan Currie (drums), Frank Mahon (bass), Paul Malone (vocals, guitar), Ken Moss (guitar) and Gary O'Donnell (keyboards, vocals, percussion).
This new LP also features a swathe of friends and contemporaries, including Paul Simpson (The Wild Swans) and Phil Jones (Afraid of Mice). The result is an exquisite piece of pop craftsmanship that brings their songs into the light. This is a labour of love born of experience, but retaining the sense of wonder that brought the band together in the first place.

Catz 'n Dogz are back with album 'Moments'. Written and recorded in the midst of this crisis. Twelve tracks form the backbone to this wide-spanning sonic journey that document the highs and lows of this time. Drawn out of their comfort zone, it's safe to say this shift in their creative paradigm resonates throughout 'Moments'. Inviting you to gaze deeper inside, the album floats in a haze of dreaminess and cottony serenity. Though seemingly simple, the track titles point at themes more complex and universal that will strike a chord with every soul.

Traversed by a vaporous jazz vibe and highlighting an obvious lean towards laid-back atmospheres, 'Moments' effortlessly alternates between. Lo slung house 'Sunrise' features James Yuill, the heavy-lidded, funky bass-heavy 'Memories' and the rolling brass anthem 'Time', in collaboration with Jaw - and more doped up trip-hop-ness. 'Life', the slo-mo chugger that will get the feels on alert, the chillax of 'Nothing' and 'Love,' and the luscious 'Moment' feat. Angelika Nowak, a sample-heavy, soul jam whose naive charm will prove hard to resist, even for the stonehearted.

Catz 'n Dogz explore inwards the heart's non-spoken spheres, where the pop-infused hip-hop 'Meditate' introduces Heather Chelan. A more personal affair 'Listen' makes for a playful interlude. 'It's OK' invites you to let go of the shame at shedding tears, a memorable cut with its joyful whistling, elated guitar riffs and rousing bass.

To close off this sonic micro-odyssey, 'Tomorrow' casts a spell of positiveness. With blazing synth lines and robotised talk, unfolds an anthem for tomorrow's world. One where music holds the crucial place it's always had. So be the kids' dreams, the person they want to be in the future. Be Batman, be a firefighter, be a rock star.

Craig Charles has been a soul & funk fan since his teenage years in Liverpool, going to see local heroes The Real Thing live, and wearing out his shoe leather dancing in the city's many underground clubs. Craig has been sharing that passion for the music via his 6Music and BBC Radio 2 shows and DJ nights for nearly 20 years. His brand new 'Trunk Of Funk' compilation series, blends up-tempo club classics, with fresh music from the cream of the crop from the contemporary soul and funk scene, and will be Craigs very first vinyl release - a beautiful, double vinyl gatefold LP and he's certainly excited about it, stating; "I can't wait to bring you big beats, bass lines and booga-bloomin-loo! Presenting The Craig Charles Trunk Of Funk Volume 1 as my first ever vinyl release has put a proper wiggle in my walk!" This collection of 21st century disco, soul, funk & afro grooves from includes tracks from contemporary heroes of the scene such as Monophonics, Amp Fiddler and The James Taylor Quartet, it's also peppered with some old school classics and rare grooves from legends such as Roy Ayers, PP Arnold, Miriam Makeba and Patrice Rushen. Craig has personally selected and sequenced this collection to take the listener of a musical journey, the closest thing to having Craig visit and personally DJ for you in the comfort of your own home! It also includes two 'Trunk Of Funk Edits' that are 100% exclusive to this compilation and not available anywhere else.

GRITTY, ODD & GOOD is a new weird, pseudo-music compilation curated by avant-garde experimental composer and audio artist Francisco López.

As far as creation itself is concerned, big cities do not manifest anymore as the catalytic cultural centers they used to be. Their iconic status as hip locations seems more symbolic than real. The combined mighty forces of neocapitalist gentrification and telecommunication / information decentralization might have generated a substantially different landscape of geographical cultural distribution. And so unlikely places are also sources of physically-isolated, but culturally-interconnected, new creation. This is just but one more example of the larger phenomenon of techno-cultural atomisation (not to be confused with the more restricted so-called “democratisation”) that allows millions of people to create and share, pre- and post-internet. The amateur is the new potential master; and that is decided by the crowd in the circus and the stadium, not at the academy. With all of this comes the potential for new aesthetics, or at least the open-ended evolution of the previous ones, –far better than the current confusion between ethics and aesthetics- from the uninformed and the unknown. Atomization of this kind also brings for some the desire and the right to anonymity. And so it is for the unknown obscure artists of this compilation of weird experimental music –“gritty, odd & good”, with drones, glitches, cut-ups and more- who won’t reveal anything beyond their unlikely locations: San Marino, French Guiana, Philippines, Lesotho, Oman, Faroe Islands, Tuvalu, Liechtenstein, Kyrgyzstan. An innovative compilation presenting a world of unusual experimental de-constructed and recombined music casting a strong and exciting light into the unusual corners of our world. Dive in.

Compiled and Mastered by Francisco López
Vinyl mastered by Rashad Becker

a 1 Ragazza Raddrizza (Live Excerpt) - Giuseppe Moretti San Marino 3:00
b 2 SCVB - Daryana Jean French Guiana 4:39
[c] 3 One One Six Bee - James Ocampo [Philippines] 5:37
[d] 4 Coogan Radio - Thabiso Makhetha [Lesotho] 3:18
[e] 5 micro-Sister (Al'ukht Alsaghira) - Rashid Al Balushi [Oman] 3:59
[f] 6 Mond - Lív Jacobsen [Faroe Islands] 3:10
[g] 7 Sansobavo Mix - Eteroa Apinelu [Tuvalu] 8:38
[h] 8 Sans Titre (Fumée v.3) - Zzodiakk [Liechtenstein] 6:38
[Kyrgyzstan] 1:17

After closing the first part of Fundamental Records' experiment called Music for The Other People Place, the second part begins. Music for The Other People Place. Experiment 2. A special and highly limited electro / electronics project (tributed to James Stinson), produced by different artists that will remain anonymous, if they choose to...

After closing the first part of Fundamental Records' experiment called Music for The Other People Place, the second part begins. Music for The Other People Place. Experiment 2. A special and highly limited electro / electronics project (tributed to James Stinson), produced by different artists that will remain anonymous, if they choose to...

limited vinyl

The Sweethearts is a project by Tyler Thacker together with Sam Mehran (ex Test Icicles).
Songs were written on a tiny casio between Sam and Zak Mering. Tyler pretty much played all the instruments.

As Tyler explains:
This album was recorded a decade ago underneath a bunkbed in a crowded apartment we shared in Brooklyn. At the time, ‘The Sweethearts’ was just another anonymous moniker among many, intended as a pop-minded musical outlet between primary contributors myself, Zak Mering and Sam Mehran, featuring whatever friends happened to be passing though that day including but not limited to Morgan Whirledge, James Ferraro, Zak Davis, Aaron Frankle, Ian Drennan, Ariel Pink, Ryan Howe.
Like so many of the collaborations from those years, these songs and many more floated to the wayside as we each barreled through various other configurative projects, eventually retired to failing hard drives. But the specter of this specific catalogue always haunted me despite shifting primary focus to painting shortly thereafter. Two years ago in July, the world lost one of its most fearless creators, Sam Mehran , and I lost one of my best friends who oozed melody as effortless as breath.
These songs are letter bombs to adolescence in the information age: reterritorializing the tropes of heteronormative psycho-sexuality proliferated throughout western pop music on top of self-deprecation, heartbreak, disappointment, indulgence, and loss of innocence.
At one point, I caught myself singing harmony to Zak and Sam on a song called ‘Tonight’s the Night’ and it was in that meeting place between the metaphysical and the spirit world, that I finally got to say goodbye to Sam.

in a trio of records by Andrew Wasylyk which unearth and reshape the landscape of Eastern Scotland as shimmering and inventive instrumental music.

Where Themes for Buildings and Spaces (2017) toured the architecture and industry of Dundee, evoking a place caught between decay and regrowth, the Scottish Album of the Year Award shortlisted The Paralian (2019) explored the littoral exchanges between sea and shore on the North Sea coastline.! !

Fugitive Light And Themes Of Consolation carries a trace of this arc on a return upriver, drifting back inland along the River Tay's inner estuary: a record of the low light on winter fields, empty suburban streets at dawn, the deep clear waters of the quarry excavated to build the city.

Ten songs circling landscapes for meaning, channelling half-heard melodies and misremembered memories; caught somewhere between settling down and setting out towards the shining levels of the estuary and beyond.! ! The record is threaded with the influences of people, place and musical lineages – David Axelrod, John Barry, Virginia Astley, Mark Hollis, Alice Coltrane – yet as with all of Andrew's solo work it has a deft, clear voice all of its own. Recorded between Summer 2019 and January 2020, Fugitive Light…

displays his talent as a multi-instrumentalist and composer: all hushed drum grooves, rolling waves of plucked acoustic guitar, cascading upright piano, Bob James-inspired Fender Rhodes, rippling clàrsach harp, and ECM-worthy electric guitar motifs. As on The Paralian, string arrangements are by fellow Tayside musician Pete Harvey, known for his work with King Creosote, Modern Studies and The National Theatre of Scotland.! !

If you are passionate about local music scenes as much as we are you might already know about the current brood of great bands going on in Cardiff, Wales.
Chain Of Flowers were the first to hail from the Welsh capital, followed by related side projects such as Night Thoughts, more recently came Private World of which the two boys we’re about to introduce are also live members of.
A new wave/synth act from the same city called Plastic Estate is emerging this year.

The duo composed by Nicholas James and Stanley Fouracres have released a few digital singles in 2019 as they’ve opened for The Murder Capital at Sŵn Festival and played alongside the likes of M!R!M, Josiah Konder and The Love Coffin. This Place is their first physical release and it’s due on 7-inch vinyl and digital on June 19.

On the two songs that compose the single, Plastic Estate clearly draw influence from the best UK new wave and pop artists such as Dave Gahan, Paddy McAloon, Roddy Frame and yet there is a sophisticated casualness and an innate freshness in their songwriting that makes them not sounding dated at all.
Amazing composition skills for such a young band and a perfect balance between electronic dance elements and acoustic instruments allow them to pay homage to the above-mentioned masters and to be a perfectly contemporary group at once.

Although it’s possible to pick out some darker lyrics, the overall feel is up-beat and breezy. It’s a contrast that runs through a lot of their music – like a dichotomy between dark, melancholia and happier, brighter feelings.
Whether it’s a happy pop synth riff mixed with sombre lyrics or vice versa, the young Welsh duo is delivering the best 80’s-inspired modern pop craft.
RIYL: Echo & The Bunnymen, Prefab Sprout, Depeche Mode, Orange Juice, Wild Nothing.

The Prisoners are one of the most influential bands of the 1980s, an astounding live act whose records were the opposite of what pop radio demanded in that era. Raw where they were smooth and full of character where those records needed to be blandly conformist. They hardly sold a record and yet they can count the likes of Noel Gallagher and political journalist John Harris as their fans. Steve Lamacq devoted a whole chapter of his book to his love of them whilst Tim Burgess of The Charlatans once said that at that time he only checked for The Prisoners and New Order. At least two UK hits used their arrangement on Joe South’s ‘Hush’ as their basis.  ‘In From The Cold’ was the final shot at success by The Prisoners the only problem was they didn’t want it. Signed by Eddie Piller to his Stiff-backed subsidiary Countdown they were put in the studio with Troy Tate (Teardrop Explodes / The Smiths) and made this astounding album which they then disowned.  By 1986 they were an incredible live band and had released three albums of their distinctive 60s influenced garage rock. A four-piece featuring Johnny Symons on drums, future Acid Jazz hitmaker James Taylor on organ, Allan Crockford on bass and backing vocals and the compellingly soulful Graham Day on vocals. Graham also wrote fantastic songs. Ten years later and they would have been lauded as heroes in Brit Pop land but the mid-80s had no place in the mainstream for a band with their influences.  ‘In From The Cold’ is full of amazing songs from the hard edges of ‘All You Gotta Do Is Say’, ‘Ain’t No Telling’ and ‘The More That I Teach You’, to the mournful ‘Wish The Rain’ and ‘Be On Your Way’. It is no surprise that Mojo journalist Lois Wilson described this as her favourite album by the band.  This reissue on coloured vinyl is the first time the album has been issued in its original form since 1986 when, due to Stiff’s imminent demise, it was deleted very quickly.

Releasing his first ever vinyl release 'El Sunset' on James Holden's, Border Community back in 2007, Chilean producer Ricardo Tobar has since been held in high regard by the seminal UK producer. Intricately constructing his way around the parameters of emotionally-lead, highly atmospheric electronic music, Ricardo has brought his sound forward to grace the rosters of Jennifer Cardini's, Correspondant, ESP Institute and MUSAR Recordings. Continuing to extend his already significant discography, he now returns to MUSAR Recordings for a third time with the 'After The Movie' EP.

Ricardo's 'After The Movie' EP forms a selection of cuts that have been held in his locker for quite some time. Uncovered by MUSAR Recordings label head, David on a podcast from way back, it seemed only natural that this unreleased music from Ricardo would find its home on the Amsterdam-Tel-Aviv label.

"This EP is quite special to me because it reflects a long timeline in my work. The 'After The Movie' track had been in the vault for ages until David from MUSAR found it in an old podcast; it really takes me back to those first steps in recording music." Ricardo Tobar

Across his EP, Ricardo plays with varying textures and arrangements that in turn provide a cross-section of his sound that has expanded and developed over time. 'After The Movie' presents the experimental ambience synonymous with his early works, whilst 'Parques' brings an idyllic, cinematic feel with strictly crafted synth arrangements riding high, post-rock influences also show through. 'Regain Your Power' represents a change of course, whilst also channeling a political message punctuated by social unrest taking place in Ricardo's home country, Chile. He abandons experimentalism in favour of tougher 4x4 elements, allowing his machines to run riot.

"The mixture of ideas and feelings on this EP have a politically charged spirit, as electronic music always does. A few weeks after I finished 'Regain Your Power' the whole Chilean social explosion took place with the same ideals I had in mind when recording the track." Ricardo Tobar

Stepping up on the remix is a pair whose names are etched into the history of UK electronic music, Andy Turner and Ed Handley a.k.a. Plaid. Reworking title track 'After The Movie', they produce an emotive, soundscape complete with droning basslines and ex-terrestrial flourishes.

The vitality you hear on Antique Blacks is a testament to the unique energy of the community around The Foxhole Cafe in Philadelphia, as Ra honed his unique brand of Afro-Futurism through the late 60';s and 70's. Cosmic theatre, spiritual chants, and experimental electronics make this record an essential document that was ahead of its time. Ancient to future! BIG TIP !

The 1970s saw change in Sun Ra's recorded output, and as far as we can tell, the content of his live performances. By the middle of the decade, Sun Ra's music no longer seemed comprehensible as part of the jazz New Thing – quirkier, more idiosyncratic elements were more to the fore.

At this time, 1974, every Sun Ra record still surprised, and seemed radically different from everything else he had released up to then. The musical universe proposed by free jazz had never circumscribed Sun Ra. He had been part of the movement, but was able to use the possibilities it suggested without being limited by its conventions.

The Antique Blacks illustrates this well. Recorded as a radio broadcast in Philadelphia, according to Dale Williams, it has a well defined but oddball structure. Sun Ra was a master architect, very concerned to use the unfolding of an album, a broadcast or a live performance to create a satisfying structure.

Song No 1 starts on an upbeat note, it's a lively, tonal introduction, featuring John Gilmre on tenor saxophone, Sun Ra on roksichord, Dale Williams, then aged 15, on guitar, and Akh Tal Ebah on trumpet.

Sun Ra's poetry is featured on There Is Change In The Air, a track which has on occasion been used for the album title: in its original incarnation as a Saturn LP, there was no dedicated sleeve artwork, and this record appeared under many names. Ra's poetry is allusive, elusive and paradoxical, and this was its first major appearance on a record. During instrumental passages, Dale Williams' guitar is heard, along with the saxophones of Marshall Allen and Danny Davis.

The Antique Blacks is a similar setting for a Sun Ra poem, which encompasses "spiritual men", and Lucifer as a dark angel. The Arkestra is heard in conducted improvisational ensembles, in between the sections of the poem.

This Song Is Dedicated To Nature's God has Arkestral vocals, with John Gilmore's voice in th foreground. Williams' guitar is once again prominent in the instrumental passages.

Sun Ra's poetic declamations provide the structire for The Ridiculous I and The Cosmos Me, which also has a fine unaccompanied tenor solo by John Gilmore, keyboard improvisations by Sun Ra, and closes with bass clarient from Eloe Omoe.

Sun Ra's keyboards are heard with minimal Arkestra support on Would I For All That Were – a fine synthesiser improvisation, with electric piano left hand accompaniment.

Tension is resolved by Space Is The Place, which rounds the album out in an upbeat mood, with Akh Tal Ebah, James Jacson and Sun Ra prominent among the vocalists. The closing section includes the chant Sun Ra And His Band From Outer Space, often used at the close of live performances. This isn't strictly live, though: in one line the vocal is played backwards on tape!

Klein's offbeat singular vision continues to defy classification. Her acclaimed, self-released records – Lagata, Only and CC – along with Tommy for Hyperdub and her theatre musical Care, have allowed glimpses into Klein's uniquely spirally perspective on vocal abstraction, disarming experimentalism and pop culture wonderment. Yet these chapters have also served as masks to conceal the artist's own personal crises of self-belief, misrepresentation and belonging.

An 18-month writing process led to her new album Lifetime. It's an unexpectedly literal body of work which Klein compares to "giving someone your diary." Lifetime embraces the inevitable cycles of existence, phasing through moments of brutality, vulnerability, estrangement and unexpected fortitude. Lifetime embraces the inevitable cycles of existence, phasing through moments of brutality, vulnerability, estrangement and unexpected fortitude. Every sound in Lifetime is intentional, every influence—from 'King of Gospel Music' composer James Cleveland, to early 18th century tonalities in the b side, the work of 'race film' pioneer Spencer Williams, the residue of the religious experience is deeply personal. The 12 songs of the album are pieced together like a puzzle; seamless transitions connect each of its compositions in a reverse chronology, while every chord from every song is echoed someplace else.

What's been hinted at in Klein's live performances is now realised in full for Lifetime. Less vocal work allows her to be even more expressive, and in eschewing a tendency towards brief, truncated sketches, each song serves as its own long conversational piece, committed to realities of a lived experience. The artist who once grappled with self-doubt has set about breaking the cycle of insecurity for others like her, while mindfully chipping away at the conventions of classical music.

Like its artwork, Lifetime addresses intersecting life cycles: the inner and outer selves, hypermodernity versus history, living nightmares and dream states, while seeking the light and darkness in both. Part 1 opens with unmistakable Klein flourishes on the title track. Gusty pads, anxious, frayed-edge static arcs, and craters of deep negative space, all of which melt down to the clean slate of "Claim It," which is a tribute to embracing one's own blessings. "Listen And See As They Take" and "Silent" form their own microcosm, as the sound of crackling kindling burns backwards into imposing structures of distorted strings and disembodied marching drums, before returning to heat and ash again. "For What Worth", in collaboration with sound artist and saxophonist Matana Roberts, explores the kinship between two artists whose shared exploration of lineage leads them both toward uncharacteristically sweet clarity.

Part 2 is further steeped in black expressive styles of the past. "Enough is enough" links the Lifetime narrative to the broader diasporic black experience, inhabiting every chamber of a harmonica with ghostly notes of the present and past, as fragmented gospel chords reflect spiritual bonds between self and the divine. "We Are Almost There" begins the journey with nothing but the looped structures of multitude of voices. The drums and dischord of "Never Will I Disobey" wordlessly create the conditions for "Honour," a near 10-minute composition where crossed boundaries and crossed wires are exposed in real time, and sharp expressions of hurtfulness, accountability and corrupted expectations are rendered beautiful in representational form, via sustained synth tones which hum, jab and flit in natural disharmony. The interlude "Camelot Is Coming" draws on the choir tradition to prelude the spoken word recounts the cycles of trauma and death that form "99." Lifetime closes with the dystopian swirl of "Protect My Blood" a composition which details an excruciating rift, before blooming into serenity as it draws to a close.

Klein's Lifetime is laid bare, from the end to the beginning, and cycled over again. From her place within her family, to their place within her, to viewing the fragility of culture through the lens of memory. It's a lifetime, an embodiment of young livelihood, and an end as much it is a beginning.

Woolfy vs Projections (aka Simon James and Dan Hastie) strike back with their new album on Permanent Vacation. “Destinations” is their fourth studio album, which makes WVP the longest running artists on the label from their debut release back in 2007. Once again, Woolfy vs Projections make California (one of the few places where endless summer isn’t just a hollow phrase) an outpost of the Balearic islands and proof that they’re truly one of the greats of the genre. Over the past decade Simon and Dan created a prolific catalogue of modern day classics with tracks like “Absynth” (described by Resident Advisor as “Air covering ?Steely Dan?"), “Neeve", “Set Me Loose” or “Set It Up". “Destinations” definitely follows suits. 10 tracks that combine the classic West Coast sound, a twist of dark disco, with a deep balearic twilight vibe.??

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On 28th June 2019, drummer / producer / composer Myele Manzanza will release his eagerly anticipated third album 'A Love Requited' on First Word Records (winner of Worldwide Awards 'Label of the Year' 2019).

Produced with award winning Australian bassist & long time musical collaborator Ross McHenry and featuring a plethora of New Zealand and Australia's finest young instrumentalists, 'A Love Requited' is as much a musical journey as it is an attempt to process, work through and come to terms with the life around him.

"The music on this record was written often as a place of psychological refuge from the tensions of an ultimately failed relationship at home, as well as an attempt to come to grips with thought patterns and personal history that caused an often problematic relationship to music itself. Meditating on themes of love, fear, family, anger, death, ego and acceptance has helped create a narrative arc that grounds the album as well as a mode of therapy to begin working through these issues for myself.

'A Love Requited' is easily my most personal work to date and my hope is that beyond the music itself it may be of help to others, if only to say that your not alone in your struggle to make sense of the world".

This album also features the stellar talents of APRA award winning NYC based pianist Matthew Sheens (John Pattitucci, Cecil McBee, Ross McHenry Trio), alto saxophonist Jake Baxendale (Antipodes, The Jac), trumpeter Ben Harrison (Dave Douglas, Horns Of Leroy), trombonist James Macaulay (The Lagerphones, Epic Brass), multi-reedist Jason McMahon (The Shaolin Afronauts), flautist Adam Page (NZSO, John Psathas, Noel Gallagher), guitarist Django Rowe (Wizard Tone Records) as well as additional keyboard contributions by longtime collaborator Mark de Clive-Lowe (Ropeadope Records, Mashibeats), Brenton Foster and Jack Strempel.

Where Manzanza's debut album 'One' presented his ability as a producer / beatmaker, and his sophomore album 'OnePointOne' showcased his live performance and band leader prowess, 'A Love Requited' puts Manzanza's skills as a composer to the fore.

"Over the last few years I've really enjoyed the process of getting away from music software tools and just sitting at a piano with some manuscript paper and a cup of coffee and seeing what comes of it. I'm a very amateur pianist and my music theory knowledge is fairly limited, but in some ways that's an advantage as I'd be starting with a basic barometer of "does this sound good to me?", without too much consideration for formal rules and structure. From there, developing the arrangements to present to musicians forced me to get a better understanding of melody, harmony and orchestration and to really hone in on refining my ideas to a point where I now feel as much satisfaction and confidence putting myself out on the world stage as a composer as I do playing the drums."

'A Love Requited' will be available on vinyl & digital from the 28th June 2019.

“Featuring the rumbling scowls of James McGovern's vocals… a gloriously well-crafted narrative, it's abrasive punk stance and places itself, front row, in the eyes of those yearning for someone to die for.” ­
– THE LINE OF BEST FIT
Overview
“Green & Blue” is The Murder Capital’s second single, following their official debut single “Feeling Fades,” produced by Flood (Foals, PJ Harvey, Depeche Mode), digitally via their own label Human Season Records on January 11th and as a 7” on April 5th (April 19th in the US). "Green & Blue" was released digitally on April 25th and will be released on a limited edition 12" on June 14th via Human Season Records.

Yeketelale is the third album from Franco-Ethiopian group uKanDanz, combining a heady brew of rock energy, saxophone zigzags and Ethiopian melodies, all fronted by veteran singer Asnake Gebreyes grooving harder than ever.

In Ethiopia, sons follow fathers and, together, their names tell a story. Some discographies are the same way. After Yechelal (''It's Possible''), Awo (''Yes!''),here's Yeketelale (''It Continues''), the third album from Ukandanz.
The adventure that links Damien Cluzel (guitars) and Lionel Martin (tenor sax), the two founders of the group, with the Ethiopian singer Asnake Guebreyes continues and, with this album, takes on new colors and a new dimension. It is a polished synthesis that keeps the rock energy of their first recordings and gives even more space to the subtle vocal ornamentations that mark great Ethiopian singers. Add to that a groove that is more danceable than ever, carried by Adrien Spirti's synth bass and Yann Lemeunier's drums, and you have the magic formula of Yeketelale.

This came about slowly over the course of a dialogue that began in the early 2000s when Damien Cluzel, arriving with a circus in Ethiopia, met up with the occupant of the next room in their hotel. A stroke of luck: this was Francis Falceto, high priest of the Ethiopiques collection (Buda, 30 volumes to date) which had introduced to the West the treasures of swinging Addis, the capital that vibrates to the sound of big brass orchestras. With him, he dives into the capital's nightlife and meets a galaxy of musicians. The singer Asnake Guebreyes is among them.

Recruited by the famous Police Orchestra at the tender age of 16, he already had all the power, energy and class of his role model, Tlahoun Guessessé ''the Ethiopian James Brown''. He began his solo career at the beginning of the 1990s with several major successes, most famously an explosive duo with the singer Fekker Addis.

This experience made a big impact on the French guitarist. Having learned how to blend in with a uniquely Ethiopian groove, he was now ready to take it to other places and in other directions. In his old friend Lionel Martin, he found an ideal partner to engage in such experiences. But they needed a singer. The idea of Asnake Guebreyes was mentioned. Then Francis Falceto called and suggested going to see him at the Addis Music Festival. Ukandanz, a rock version of Ethiopian groove, was born.

Some pieces, like the disturbing Yene Hassab, call to mind Herbie Hancock's experiments in the seventies, as well as the Juju guitars of the Gulf of Guinea. Others, like the dark Fetsum Deng Ledj Nesh, allow Asnake's voice to soar above the synthetic waves, like a siren song for a freighter in distress. Dance and trance are not left out, with inspiration from the inexhaustible Ethiopian traditional repertoire. In a nod towards Asnaké's first album (Ahadu, also reissued by Buda) Ukandanz returns to its track Ajiré, transfigured by the guitar, claps and synthetic bass and takes us back to the glory days of breakdancing. Listening to the two versions gives the key to understanding the unique touch of Ukandanz and of the rich musical colours of Yeketelale (''It Goes On''), a fusion musical journey that brings the electric spark of the Frendj (Westerners) to Ethiopian lyricism.

Calling Marcelle a DJ doesn’t wholly represent what she’s doing. (Three) turntables and a mixer is more the medium that she uses to create and share sounds, ideas and moments.

The same goes for her own productions. They don't have a fixed style, as can be heard on all five EP's released by the Munich label Jahmoni since 2016. They are free in attitude and music and cross boundaries between genres. Most tracks are a collision of ideas, a magically gritty, self-aware car crash as if Muslimgauze grew up in sunny Lisbon with the Principe crew as opposed to the grim North of England.

On her new LP 'One Place For The First Time' we find nine tracks brimming with ideas that ignore stale production norms. Sure, the pulsing drum 'n' bass-esque 'Hippies Use Side Door' is weirdly danceable, just like the cackling stomp of 'Respect Caged Animals', but can we dance to 'Technicians And Their Smoke Machines'? (Answer: We’d certainly enjoy trying). It's almost a jazz song, but like with everything Marcelle does, it's jazz from a different world and has proven to be a dancefloor smash when she’s played out the dubplate over recent months.

Marcelle's life-long love for far-out dub is clear in 'Dub (Dub)' and 'Respect My Snack Foods' is in the same 'educational' tradition as was the song about how to deal with constipation (olive oil!) from the 2018 'Psalm Tree' EP. Now we learn how to apologise. 'The Mother Of All Messes' (a UK newspaper headline about Brexit) introduces perhaps a more tender side, a comforting nursery rhyme plays while a muffled kick occasionally growls with distortion - as if it knows the importance of its place in the dance.

By the time the refrain of the intro track returns it seems to carry more significance, Marcelle has made her point quite clear. Defiant til the end… ‘Don’t touch the table!’ This particular sample is taken from Marcelle's legendary Boiler Room performance at 2018's Nyege Nyege Festival in Uganda where the MC of the event repeatedly declares that 'She Plays Vinyl' and therefore asks 'Don't Touch The Table!'. It goes without saying that the latter song is full of banging on the table noises.

The sleeve - as always with Marcelle - is very colourful and features photos of knitted egg cosies and images related to individual songs. It's a bit of a puzzle to find out which photo connects to which song, an enjoyable challenge, just like the LP itself.

Shining on lineups whether they’re cutting edge festivals, big clubs, touring circus shows or DIY garage venues comes naturally given she approaches all with the same mindset ('always the same, always different'), these causes are adopting her rather than the other way round.

Marcelle is a genuine innovator who remains inherently relevant by not following trends, not focusing on technicalities, having a sense of humour, dissolving obsolete structures, being excited, defying others rules while creating new ones, eschewing #tagline posers and ‘tasteless A&R wankers’, supporting artists that need it, supporting places that need it, supporting people who need it and not giving a fuck for as long as possible.

And HUGELY welcome living proof that you can excel in doing things differently and having a bloody good time n all.

James Marrs, London, March 2019

Penalties Of Love Is The Debut 12' From 21 Year Old Vocalist, Multi-instrumentalist And Producer Sequoyah Murray. It Is A Remarkable Debut, Striking In Its Maturity And Originality. Writing Deeply Confessional Lyrics And Creating Abstract Textured Song Structures, Sequoyah Is A Product Of His Time, Place And Borderless Generation, Making Music That Is Both Wildly Experimental And Unforgettably Accessible, His Lyrics Proudly Recasting His Vulnerabilities As Strengths. He Was Born Into A Musical Family Atlanta, Georgia, One Of The Music Capitals Of The World: His Mother Is A Singer, And His Father A Percussionist, Both Having Spent Their Lives As Creative Musicians. If His Frst Loves Were The East African Music Introduced To Him By His Father And His Mother's Sumptuous Falsetto, The Booming Baritone Of Arthur Russell Became One Of His Oldest Friends And Most Important Touchstones. Just Like Russell, His Music Is At Once A Self-created World And The Result Of Deeply Organic Collaboration. While Sequoyah Serves As His Own Producer, He Enlisted The Help Of Acclaimed Producer And Remixer James Ginzburg (empstyset, Ginz, Bleed Turquoise) & David Corney To Mix. His Family Also Contributed, With His Father's Drumming Throughout, And His Mother And Little Brother Singing On penalties Of Love', And second Born', Respectively. 12' Ep Pressed On Virgin Vinyl And Packaged With With Free Download Card

Funnuvojere is the new imprint founded by Massimiliano Pagliara. Now marking his third album release, after countless remixes and EPs, the Panorama Bar resident widens the horizon of his musical contributions by launching a label "deep as the ocean" as the name suggests, and open to different musical genres. The first instalment comes from James Booth. Known also as The Gardener and North Vest, the Manchester born producer has been known for his distinctive deep sound very dear to Los Angeles based imprint 100% Silk and Hamburg's Growing Bin Records that released his latest LP in 2017. "Bath Time" is a thrillingly deep-cosmic cut rich in melodies and emotions. The EP starts off with a spaced-out, italo classic cut where form assumes a different dimension as the music layers intertwine in an everlasting flow. If the title track seems ironically like a perfect place to start a party night, "Roller Chrome" is an emotional ballad for hopeful dance floors; while "Such Is Life" is a nostalgic piece of balearic tradition.

Boum Boum Boum! 25 years of KOMPAKT. When a record label still thrives after a quarter of a century thanks to a focus of what was expected to be a short lived music phenomenon called TECHNO, then it stands to prove two things; that it techno has taken its place amongst serious, multilayered musical genres like rock'n'roll, pop and folk music. And that KOMPAKT has never been only for techno, but KOMPAKT stands as a broad-minded, genre-defying entity that has set out to cross-pollinate all kinds of musical inventions within the realm of electronic music. Through its course, KOMPAKT has sent 'Around The World', all kinds of sub-genres, concept series and crossover adventures based on the non- negotiable 4/4 beat. And back again.

Without a doubt, the 100% kickdrum-free POP AMBIENT series is the most endearing and enduring concept that I have had the pleasure to curate. From the start, I felt there was a strong need to add a certain pop- elegance - ensouled by discourse as much as hedonism - to a sound that was recognized as 'Chill Out' music that could be heard in seedy techno club back rooms and forgotten festival areas. Over the years, I like to imagine that POP AMBIENT has crystallized into a highly recognizable trademark sound and a multi-facetted musical universe of its own.

So once again, I had the pleasure to put together this year's edition by plowing through an ocean of sonic jewelry that had been submitted from all over the world by new and old friends. The task was clear: for this special edition, I must create a homogenous listening experience that would both appeal to our trusting followers, to continue our tradition while integrating new micro facets , variations and influences from neighboring musical universes as possible. Obligatory while being innovative. Conspirative while being cosmopolitan. Albeit the headline 'Ambient' might sound a little too humble for a compilation that encompasses aspects of neo classic, atonal music and the most beautiful aural kitsch imaginable, it still helps as a necessary means of orientation in the best possible sense. Same goes for another dear tradition: Veronika Unland's abstract-floral cover design that keeps on pleasing our sore eyes year after year.

Although each and every POP AMBIENT edition doesn't shy away from diving into the relevant question of 'What is contemporary discourse music' - in the end it all boils down to that elevated moment where all theory dissolves into ambient air, into a higher state of cosmic bliss. POP AMBIENT is sacral music for non-believers.

Wolfgang Voigt Cologne, October 2018

Bum Bum Bum. 25 Jahre KOMPAKT. Wenn ein Musiklabel, das seine inhaltliche Ausrichtung im Wesentlichen auf den anfangs als schnelllebig und vor allem kurzlebig apostrophierten - hype' Techno setzt, nach 25 Jahren in jeder Beziehung immer noch voll im Saft steht, dann zeigt das zwei Dinge: Das erstens mittlerweile jeder bemerkt haben du¨rfte, dass Techno eben kein kurzftristiger hype ist, sondern vielmehr ein vielschichtiges, ernstzunehmendes Genre, das sich ebenso wie Rock'n'Roll oder Schlager fest in der Musikgeschichte etabliert hat.

Und zweitens, dass KOMPAKT nie nur ein reines Technolabel war und ist, sondern ein nach vielen Seiten aufgeschlossenes Experimentierfeld, das sich von Anfang an der Grenzu¨berschreitung und dem musikalischen Erfindungsreichtum verschrieben hat. U¨ber die Jahre wurden unter dem KOMPAKT-Signet etliche Subgenres, Konzeptreihen und Crossoverwagnisse auf Basis der unverhandelbaren geraden Bassdrum - around the world' und wieder zuru¨ck geschickt.

Eine der wohl scho¨nsten und nachhaltigsten Konzeptreihen du¨rfte wohl die bassdrumfreie POP AMBIENT-Serie sein, die ich als KOMPAKT-- Altvorderer' nach wie vor die ja¨hrliche Freude habe, zu kompilieren. Dabei hat sich u¨ber die Jahre aus dem anfa¨nglichen Bedu¨rfnis der seit den fru¨hen 90er Jahren in den sogenannten - Chilloutrooms ' grossra¨umiger Technoclubs, - Lounges' und - Muzakkneipen' entstandenen - Entspannungsmusik' etwas entgegenzusetzen, eine eher von Pop-Eleganz, Diskurs und Hedonismus beseelte, eigene Spielart ambienter Musik, eine vielschichtige programmatische Musik mit hohem Widererkennungswert entwickelt.

So hatte ich auch im Jubila¨umsjahr einmal mehr die Qual der Wahl, aus den aus aller Welt kommenden, grossartigen Klangpreziosen guter alter sowie neuer Freunde die subjektiv besten zu einem homogenen Ho¨rerlebnis zusammenzufu¨hren. Dabei ist mir immer sehr wichtig, einerseits den Erwartungen der treuen Ho¨rerschaft im Bezug auf Traditionsverpflichtung gerecht zu werden und andererseits auch immer mo¨glichst viele Mikrofacetten, Varianten und Einflu¨sse angrenzender Stile und Universen aufzugreifen. Innovativ und verbindlich. Konspirativ und weltoffen. Auch wenn der U¨berbegriff Ambient, fu¨r eine Kompilation die sowohl Aspekte von Neuer Klassik, Atonalita¨t und Kunstmusik mit den allerscho¨nsten Seelenkitschklangwelten zu vereinen sucht, zu eng gefasst ist, so hilft er doch bei der notwendigen Orientierung im besten Sinne. Ebenso wie die Tradition gewordenen, wunderscho¨n abstrakt-floralen Kunstblumenwelten der von Veronika Unland gestalteten Cover, die ein ums andere Jahr auch die Augen in Verzu¨ckung versetzten.

Auch wenn jede Kompilation sich aufs Neue an den relevanten Fragen zeitgema¨sser Diskursmusik abarbeitet, so ist der erhabene Moment am Ende doch der, in dem sich alles zu Gunsten eines - ho¨heren, kosmischen' Ho¨rerlebnisses, im wahrsten Sinne des Wortes in ambiente Luft auflo¨st.

POP AMBIENT ist die sakrale Musik der Ungla¨ubigen.

Wolfgang Voigt / September 2018

No one had been through those doors in years. Unchanged, seemingly untouched, just a Guard watching over it, one wondered whether the place would ever see the light of day again. Built in the 70s by Scotch, there were only twenty such places in the entire world. Twenty studios, all identical. Most had undergone a digital makeover in the 80s, but not this one; situated in Lomé, this studio had stayed true to its original form. Silent and uninhabited but waiting for one thing, and one thing only: for the sacred fire to be lit once again. That of the Togolese Recording Office, is studio OTODI for those in the know. Through thick layers of dust, the console was vibrating still, impatient to be turned on and spurt out the sound so unique to analog. That sound is what Peter Solo and his band Vaudou Game came to seek out.

The original vibrations of Lomé's sound, resonating within the studio space, an undercurrent pulsing within the walls, the floor, and the entire atmosphere. A presence at once electrical and mystical sourced through the amps that had never really gone cold, despite the deep sleep that they had been forced into. In taking over the studio's 3000 square feet, enough to house a full orchestra, Vaudou Game had the space necessary to conjure the spirits of voodoo, those very spirits who watch over men and nature, and with whom Peter converses every day.

For the most authentic of frequencies to fully imbibe this third album, Peter Solo entrusted the rhythmic section to a Togolese bass and drum duo, putting the groove in the expert hands of those versed in feeling and a type of musicianship that you can't learn in any school. This was also a way to put OTODI on the path of a more heavily hued funk sound, the backbone of which maintains flexibility and agility when moving over to highlife, straightens out when enhanced with frequent guest Roger Damawuzan's James Brown type screams, and softens when making the way for strings. Snaking and undulating when a chorus of Togolese women takes over, guiding it towards a slow, hypnotic trance. Up until now, Vaudou Game had maintained their connection to Togo from their base in France. This time, recording the entire album in Lomé at OTODI with local musicians, Peter Solo drew the voodoo fluid directly from the source, once again using only Togolese scales to make his guitar sing, his strings acting as channels between listeners and deities...

Following a string of well-received EPs on Cin Cin, Exit Strategy and Get Physical, Belfast's LOR readies his debut, self-titled album 'Lunar Orbit Rendezvous'. This will mark the first release on his newly minted label LOREC. A technique used in Apollo lunar missions, 'Lunar Orbit Rendezvous' charts a journey to the moon and back. A bold album, both in concept and sound, it's the work of an artist coming into his own.The title track and first single 'Lunar Orbit Rendezvous' prepares the album for lift off. It's a track that carries the technical tension of crucial operations, with gnarly acid pulses and happily erratic synths sparring over a steadfast electro beat while vocal samples collapse into themselves. 'Lunar Orbit Rendezvous' comes accompanied by a video from Studio Crême, whose design and video work has been championed by the likes of James Holden, Warp and Simian Mobile Disco. Using a hyper detailed black and white render of a NASA grade rocket, the video brings the optical journey of 'Lunar Orbit Rendezvous' to life The 'Lunar Orbit Rendezvous'

Steve Reich's Drumming is regarded as one of the most important musical works of the last century. Distilled through his studies of African percussion in Ghana during 1970 and Balinese gamelan music, Reich revolutionized our understanding of polyrhythms, sculpting a new sonic territory to illuminate the radical potential of Minimalism.Divided into four sections, performed without pause, Drumming is written for eight small tuned drums, three marimbas, three glockenspiels, piccolo and voice. The singers recite melodic patterns that mimic the sounds of the instruments, gradually rising to the surface and then fading out. The overall effect can be transfixing - pulling listeners into the rhythm and possessing a raw immediacy, directness and energy.The premier performances of Drumming took place in December 1971 in New York City - first at The Museum of Modern Art, then at Brooklyn Academy of Music and finally at Town Hall where this recording was made - and featured the composer along with a cast of longtime collaborators including Art Murphy, Steve Chambers, Russ Hartenberger, James Preiss, Jon Gibson, Joan La Barbara, Judy Sherman, Jay Clayton, Ben Harms, Gary Burke, Frank Maefsky and James Ogden.Originally released in 1972 by gallerist John Gibson in a small private edition, Drumming represents the culmination of Reich's investigation into rhythmic phase relationships and its early realization captures a remarkably organic feel, especially compared to the more widely known version on Deutsche Grammophon from 1974.This first-time vinyl reissue and first-time CD release has been carefully remastered from the original master tapes.

With this new work Maurizio Abate recovers the discourse started with Loneliness, Desire and Revenge (2016) but with a different narrative sensitivity. The symbolic air that you breathe suggests a personal and universal experience in which thoughts and perceptions remain as enveloped in an eternal cosmic wheel. It's a condition that flows sincerely into an emphatic introspection and identification between the stasis of an inner soul and the flowing vitality of stagnant aquatic landscapes. In this direction the music of Abate always condenses multiple ranges of different emotional spectra evoked by profound naturalistic references. The airy openings of the strings, the distant whispers of the harmonica, cascades of phrasings more calm or more torrential can lead into the magnificent climax of the Nostalgia. The string arrangement for violin and cello by Lucia Gasti introduces in a dimension of idyll, in elegiac passages of touching poetry almost of chamber music but at the same time wet by the pastoral and bucolic moods of autumn landscapes, they are paintings imbued with different flavors and colours that recall the light and the candor of the Venetian tonalisms or the moving paintings full of meaning of Tarkoski. In the darkest and saddest moments the open chords are like suspensions of unresolved questions and torments, but the cathartic finale with a free and minimalist piano prelude to possible future glares, almost to perceiving that even where there's stasis the sun can still shine the hope for the new on the clearing of the pond. Remains the feeling with that stylistic "freedom of expression" dear to the visionaries Fahey and Basho, but also a clear interpretation of the expressive possibility of the lead guitar, absolutely lyrical and contemporary for refinement of the crystalline sound, which places this work in parallel with the basic acoustic tests of others great like Jim O'Rourke, Jack Rose or James Blackshaw.

Synthònia' is an electronic ambient album released only with analog synths (Roland System 100, Roland TB 303, Roland Jx 3p, Korg Polysix, Korg ms 10, Korg ms 20, Yamaha cs 15, Kawai 100f, Teisco 100f) which refers to Tangerine Dream, Jean Michel Jarre, Klaus Shulze and The Berlin Shool' and John Carpenter.

Dyno, from Pesaro, Italy, discovers the passion for electronic music and analog synthesizers at the early age of 15. His first single was released in 1995, for over 2 decades Dyno has established himself as one of the most eclectic and respected italian producers of techno music for many important labels (Global Underground, Yoshitoshi, ZYX Music, DJ Mag, Traum, ecc) supported by artists like Joris Voorn, James Zabiela, Sasha, Sharam (Deep Dish) and Umek to name a few.

His passion for analog synthesizers led him to realize this ambitious Ambient work that float just above, in a perfect geosynchronous orbit, casts enough shade to dampen the extraneous while causing a shift in our perceptions, enough to take us out of time and place, to wherever we need to be.

Dark Entries and Serendip Lab have teamed up to release 'Prototech', the first vinyl retrospective by German electronic trio Hypnobeat, recorded 1984-86. James Dean Brown and Pietro Insipido formed Hypnobeat in 1983, but it was the addition of Victor Sol only a few months later that found the project reaching, as Brown puts it, "the desired level of technical sophistication." In time, Tobias Freund also lent his talents (and equipment) to this loose-fit sonic scheme, where the protagonists sought a new, electronic manifestation of mankind's tribal music roots. Two cassette releases surfaced - 1985's "Huggables", and "Specials/Spatials" the following year. By this point the Frankfurt-based group had already explored fiercely mechanical creative expression through various configurations of hardware and personnel, revolving around core ingredients such as the TR-808, TB-303 and MC-202. The project lived on in spirit as Brown activated Narcotic Syntax in the 90s. While a more modern, digital concern, rooted in the Perlon label family, NS still channeled the Hypnobeat concept of a "new tribalism", not least on their "Provocative Percussion" double 12" released in 2006. For all the punky veneer, there are instances where these tracks reach staggering levels of sophistication, not least on "Slash! Buffalo Eats Brass" with its intricately programmed 303 lines and nimble beats that sound a far cry from most machine music made in 1986. Prescient "Can God Rewind" is also dazzling in the complexity of its percussion and the richness of its synth lines in C as they throb out a bastardised version of acidic Disco straight out of the rhythm collider. Elsewhere, some tracks are more primal in their execution. Visceral opening track "The Arumbaya Fetish" was a cathartic venting of Brown's least favourite sound on the 808, the iconic cowbell, while the astounding proto-Acid miniature "Moon Jump" places limber 303 lead lines in a hail of thunderstruck patterns. "Kilian" has a stripped down quality that speaks more to the industrial era that Hypnobeat was conceived in, and "Mission In Congo" is a raw, reverb-soaked drum workout that captures the percussive-obsessive nature of Hypnobeat perfectly. Six of the seven tracks selected on this collection were primarily powered by two 808s. "I am amazed that the release sounds like we really had a plan back then..." states Brown, but this accidental magic is in fact the raison d'etre of Hypnobeat. They weren't the only ones prefiguring the next big revolutions in electronic music in the mid 80s, but there certainly weren't many artists stumbling across modes of expression that sound so relevant today.

All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in a jacket featuring cave engravings by Pietro Insipido of an archer and animal printed in a wallpaper pattern style designed by Eloise Leigh. Each copy includes an transparent insert of an x-ray photograph from 1984 of Romulus Cœurque holding the circuit board of a BOSS DR-55 rhythm machine.

Underground Jazz, Street Funk & The Roots Of Rap 1968-79. Soul Jazz Records' new release 'Soul of a Nation: Afro-Centric Visions in the Age of Black Power' is released in conjunction with a major worldwide art exhibition, Soul of A Nation: Art in the The Age of Black Power which takes place at the Tate Modern, London, UK (July-Oct 2017) and The Brooklyn Museum, New York, USA.

The album shows how the ideals of the civil rights movement, black power and black nationalism influenced the evolvement of radical African-American music in the United States of America in the intensely political and revolutionary period at the end of the 1960s following the assassinations of Malcolm X, Martin Luther King and the rise of the Black Panther party.

Featuring groundbreaking artists such as Gil Scott-Heron, Roy Ayers, Don Cherry, Oneness of Juju, Sarah Webster Fabio, Horace Tapscott, Phil Ranelin and many others, Soul of A Nation shows how political themes led to the rise of 'conscious' black music as new afro-centric styles combined the musical radicalism and spirituality of John Coltrane and radical avant-garde jazz music alongside the intense funk and soul of James Brown and Aretha Franklin and the urban poetry and proto-rap of the streets.

The Soul of a Nation exhibition draws on the links between Black art forms - art, music, poetry - and how they came together during the civil rights and black power era as part of the wider black arts movement across the United States.

Iconic African-Amercian revolutionary figures such as Martin Luther King, Malcolm X and Angela Davis, John Coltrane, Muhammad Ali all appear in the radical artworks of Barkley L. Hendricks, Romare Bearden, Norman Lewis, Lorraine O'Grady and Betye Saar.
A selection of original radical jazz record sleeves artworks which appear in Soul Jazz Records' earlier groundbreaking Freedom, Rhythm and Sound - Revolutionary Jazz Original Cover Art book will also be on show at the Tate, London throughout the exhibition. The Freedom, Rhythm and Sound book is also newly back-in-print in conjunction with this major exhibition and the release of the Soul of a Nation album.

Stuart Baker (founder of Soul Jazz Records) will appear on the panel of Jazz for Soul of a Nation: Art in the Age of Black Power discussion at the gallery as part of the show. Soul of a Nation comes with extensive sleeve-notes and exclusive photography in a large 36-page outsize booklet and slipcase. Double gatefold vinyl album edition comes with full colour inners + bonus download code and includes full sleeve-notes/photography.

Announcing the first release by Shift Imprint, "Hynek's Scale"!
What magic results if we merge the spirits of Detroit, Chicago, Amsterdam and Lisbon, all in the same record
Hynek's Scale is a smoking' Audiopath collaboration with ex Parliament/Funkadelic member Jerrald James AKA Jerry The Cat, who, besides being an amazing percussionist and great vocalist, is also a serious old school DJ and producer with collabs with names like Derrick May, Theo Parrish and Moodymann.
Together they carefully crafted the main theme "Hynek's Scale" with raging synths, thunderous kick drums, heavy baselines and last but not least, Jerry's sweet voice. This one is a house track you will remember for quite a while! Besides the original mix, there are two remixes, one from a guy that needs no introduction, Mr. K-Alexi Shelby from Chicago (Transmat/Trax/Djax-Up-Beats). K turned the whole main idea upside down and produced a real funky big beat slammer! We love it and we know that you will love it too, trust us! The second is a remix coming from Mechanique (Kaos Records/Affin), a talented Portuguese producer based in Amsterdam. He takes his mix to a very far, deep and beautiful place, a totally different atmosphere from the title track. Finishing the record, Audiopath delivers a banger that he's been anxious to release, "Good Foot", a heavy, heavy, heavy electrofunk track; watch out for this one, it can bite! In short, we sincerely advise you to immerse yourself in the beats and atmospheres explored by these guys, we're sure that theres a track here for each and everyone of you. The record is an immediate encounter with nothing but exquisite music!
Big support by Laurent Garnier!