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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.

Following on from the release of FBA21 Collected Works 1996 -2017, which was released November 2017 Matthew Puffett decided to wrap up the project, with a handpicked selection of artists to remix key tracks from the compilation. Amongst these figures are some significant influences on Puffett`s early years The set includes Kirk Degiorgio, whose reworking of 'Cross Dissolve' reimagines the track in full machine mode, serving up a slab of driving techno for the main room. A fan since the early 90s, Kirk and Matt have been in contact over the years, culminating to this powerful re-creation. Steven Rutter (B12) has also reworked 'Cross Dissolve', but in contrast to Degiorgio, Rutter's mix brings out an almost abstracted, ambient mood, a characteristically expressive and textured piece from one of the leading figures in UK electronica. Hardway Bros, Sean Johnston (Andy Weatherall's partner in 'A Love From Outer Space) tackles 'Mourning', a piece of melancholic euphoria. In typical Johnston style, Sean slows it all down, bringing it to a mid-tempo Balearic vibe. A big influence on Matthew in the 1990s, Lee Grainge used to work at the infamous Fat Cat records. A renowned arbiter of sounds, Grainge turned Matt onto countless records from Detroit and beyond, which was crucial in shaping FBA's sound. Here, he remixes 'Diagram', in a manner reminiscent of classic dub techno, Basic Channel. Another influence on FBA's sound is former Eevo Lute Muzique boss from Eindhoven, Stefan Robbers. FBA recorded a mini album for EevoNext in 2009, and the pair team up again here to reinvent 'Machines Can Help'.

Way back in 1967, an animated superhero cartoon was released into the world. It was created by Grantray-Lawrence Animation and was based on a web-spinning, crime fighting blue and red dressed character that had originated in1962, in Marvel Comics by Stan Lee and Steve Ditko. This amazing series (that we're not allowed to mention the name of for legal reasons) ran on ABC TV in the USA, then Canada, then a few years later started to spread its web further, running here in the UK throughout summer holidays, after school and possibly early mornings at weekends in the late 1970s. The series then got released on VHS video (and probably Betamax too) in the mid 1980s and still continues to spin its animated magic around the world through further broadcasts, YouTube and DVDs.

The series was notoriously low budget, with animated errors everywhere and numerous scenes, sequences and backgrounds being re-used all the time, often across the same episode. Even a certain spider logo on a costume would appear with six legs, then eight legs later on, then back to six again in the same show.

Series One opened with a newly written spider theme, a classic, hooky song all about doing whatever spiders can, and had, as Big George (RIP) once pointed out to me, a set of session singers falling slightly out of time with the backing track after the first verse. Series One also featured background music by jobbing composers Bob Harris and Ray Ellis but these cues and master tapes are now believed to be lost.

After Series One the company Grantray-Lawrence went bankrupt, so the amazing spider series (that we're not allowed to mention for legal reasons) was taken on by producer Steve Krantz. He brought in new talent, including animation director Ralph Bakshi who later went on to turn a Robert Crumb strip cartoon into the feature Fritz The Cat. Krantz also slashed the already cripplingly small spider budget, and brought in the idea of using economic library music. Here, thanks possibly to an independent sync agent (it has been suggested that a company called Music Sound Track Services may have been the one) production turned to the KPM catalogue. This was one of the few really established library catalogues around at the time with a modern edge, it was full of fabulous, modern dramatic music tracks - often all on the same LP. But more importantly all the tracks were far longer than the one minute musical cuts that many of the fledgling USA library companies were issuing at the time. Not only would this KPM music be efficient, affordable and very easy to use, it would also mean syndication worldwide would not be held up by any future musical issues. Krantz produced two amazing spider series (that we're not allowed to mention for legal reasons), and both were smothered with KPM music. In fact barely a spider second goes by without music playing in either the background or foreground.

For many years I - and many nostalgic others - have been thinking about putting this vinyl album together. For many enthusiasts this really is formative music - a junior foray into hip swinging crime jazz and esoteric musical grooviness. I've also read on line accounts by DJs from WFMU on the trail of original spider master tapes, and there's even a whole forum dedicated to Spidey-Jazz'. Then recently I was looking at an old spider tracklist and realized that several of my favourite KPM cues were there including Syd Dale's Hell Raisers' and Walk And Talk', both from one of the most elusive and desirable KPM albums of all time (yes, you just try and find yourself a copy of KPM 1002 right now), so I decided to push on and get the album made.

So, what features on this Spider-Jazz Lp Well it's music from the amazing TV series we are not allowed to mention for legal reasons, BUT, not music from Series One. No, but it is all from Series Two and Series Three. From looking at archival cue sheets, over 50 tracks from various early KPM 1000 series albums were used across episodes. I've distilled this down into one exciting and enthralling LP, and if this works a further Spider Jazz album may well swing in to production. If you're interested (and I'm sure you may well be) cues here came from KPM1001, KPM1002, KPM1015, KPM1017, KPM1018 and KPM1043 and were composed by master library composers of the era - Dale, Hawkshaw, Hawksworth, Mansfield etc.

And if you are listening over there in the USA, you may well recognize many of the cues here not just from the amazing TV series (that we're not allowed to mention for legal reasons) but also from classic 1960s and 1970s NFL highlight shows that we are allowed to mention.

Crosstown Rebels celebrate their fifteenth year with their monumental 200th release. American DJ and producer Arthur Baker reunites with Rockers Revenge for the first time in thirty years. To complete the package, dance music heavyweights Francois K and Michael Mayer take on remix duties.

On A Mission is exactly that, 'a mission of love, a mission of peace'. The positive vocals hark back to those of early 90s house tracks, which created unity through music and clubbing. The rhythmic beat of the drum is determined, as percussive layers build and the vocals bleed into the synths. Francois K provides two variations of the track. His remix features more prominent drumbeats driven by a growling bassline. On his rockers dub version, Francois goes all out and dubs us into the stratosphere. Up next is the Michael Mayer remix, with a more electronic take on the original with driving synths and a whirring, throbbing bass-line.

Created in 1982, Rockers Revenge was the brainchild of Arthur Baker and Donnie Calvin. Donnie provided lead vocals with Baker's wife, Tina B, Dwight Hawkes and Adrienne Dupree Johnson on backing vocals. Their most prominent track, Walking On Sunshine, was a post-disco hit reaching #1 in the US dance charts and #4 in the UK charts.

Three years ago Baker and Hawkes reconnected through social media with Baker sending through his original Mission idea. Baker is known for his work with hip hop artists like Afrika Bambaataa, Planet Patrol, and New Order whilst also remixing the Pet Shop Boys' 1986 hit In The Night. Fast forward to 2018 and the group performed a monumental live show at Get Lost Miami, and are currently in the studio working on new material. This Summer they will shoot a new documentary and perform live at various events.

Sing a song fighter have never been more proud and happy than to finally announce and release this unissued and unheard fantastic recording South African in exile Johnny Dyani was one of the greatest bass players. Played with Don Cherry, Chris McGregor, Archie Sheep, Dollar Brand / Abdullah Ibrahim etc etc. He also made many great albums as a bandleader. And a few rare minimal albums where it was mostly him and his upright bass. He died way too early, in 1986. Karl Jonas Winqvist (Sing A Song Fighter) ranks some of Dyani's works ("African Bass", 'Witchdoctor's Son" with Okay Temiz and "Good News From Africa', with Dollar Brand) as "the most natural, creative musical force there is'. KJW investigated for years if there was more recorded Dyani material waiting to be heard. And where After e-mailing endlessly with the National Radio Museum in Switzerland he finally found what he was looking for.In 1978 graphic designer Niklaus Troxler arranged the great Willisau Jazz Festival in Switzerland. A lot of legendary artists like Max Roach, Jan Garbarek, Elvin Jones and Don Cherry were performing, and Johnny Dyani was one of them. He did this rare solo concert with some of the material that two years later would end up on his great album "African Bass". This LP contains the concert from beginning to end, showing Dyani at his very best on piano, gong, bass and vocals. Spiritual, adventurous and truly free,beautiful music.Gatefold cover, with extensive liner notes from Francis Gooding and Niklaus Troxler

Factory Benelux presents a new vinyl edition of Swimming, the debut album by Belgian new wave group The Names, originally issued in June 1982, and now issued in a limited edition of 300 copies on clear vinyl.

Between 1979 and 1982 The Names recorded a string of excellent records for Factory, Factory Benelux and Les Disques du Crepuscule, all helmed by legendary producer Martin Hannett. Recorded at Strawberry Studios in Manchester, Swimming has come to be regarded as a European cold wave classic, combining strong songwriting from Michel Sordinia and poised, tasteful delivery by guitarist Marc Deprez and keyboards player Christophe Den Tandt.

"Exhibits many of the fine qualities of early 80s avant-rock: icy brutalism, spectral reverb, tormented vocals, techno-tribal rumbles" (Uncut, 12/2000); "Swimming retains a gorgeously shrouded, sepulchral mood" (Mojo, 12/2011); "Intelligent and imaginative" (The Face, 7/1982)
Bonus tracks include the popular singles Calcutta, Nightshift, Spectators of Life and The Astronaut, as well as the band's John Peel session from February 1982 - the first ever recorded by a Belgian band. The gatefold sleeve features original artwork and poster design by Benoit Hennebert, and photographs by Marc Portee.

Raga Abhogi
1) Alap
2) Jod
3) Jhala

Raga Vardhani
4) Alap
5) Jod
6) Jhala

Zia Mohiuddin Dagar : rudra veena
Annie Penta : tanpura

Concert recorded at the home of Shantha and Niranjan B. Benegal, Seattle, Washington 9 March 1986.
Recorded by Niranjan Benegal. Files obtained from Jeff Lewis.
Mastered & Cut by Rashad Becker at Dubplates & Mastering 1117 & 0318.

Liner notes by Renaud Brizard, edited by Stephen O'Malley & Ian Christe.
Front and back cover photos by unknown.
Interior photography by Niranjan B. Benegal, Dan Neuman & unknown, Seattle 1978-1980. .

Around ten years ago, deep into a cozy and hazy night following a concert with my sound brothers Daniel O'Sullivan and Kristoffer Rygg in London (as Æthenor), they graciously introduced me to a recording of rudra veena (a kind of noble deeper bass relative to the sitar, in a way) as performed by dhrupad master Zia Mohiuddin Dagar.

Dhrupad, for those who do not know, is a branch of Hindustani classical music said to "show the raga in its clearest and purest form". It's pacing concentrates heavily on the slow, contemplative alap section and works with specific microtonal gestures and deep characteristics of resonance ... in short I was hooked on this new (to me) and ancient form of music from the first listen, and feel that a more or less continual listening & reviewing of Zia Mohiuddin Dagar's recordings in the years that followed have influenced my own approach to music quite heavily (if, albeit, indirectly).

In early 2015 I was able to make contact with Zia Mohiuddin Dagar's son Bahauddin and some of his American students/disciples, primarily Jeff Lewis. Over time we developed a friendly and educational exchange, access a massive archive of recordings and developed these two paired titles for my label. It's been a long path to arrive at actually releasing them but also probably in many ways one of the most significant releases I've worked on. And I'm proud to be able to reveal these to date unreleased archival recordings of one of the masters of dhrupad, Z. M. Dagar, to the public for the first time.

Zia Mohiuddin Dagar was the nineteenth generation in a family tradition known as Dagar gharana, a rich lineage which continued and performed the musical form of dhrupad (Bahauddin Dagar continues the lineage as a master rudra veena dhrupad player of note today). Initially, dhrupad was a rigorous, austere, devotional genre that was sung in Hindu temples. But between the 16th and the 18th centuries, it became the preeminent genre in royal courts in North and Central India, and the Dagar gharana developed and continued publicly following the eventual loss of court patronage for dhrupad in the 19th century. The French ethnomusicologist Renaud Brizard covers the story of Zia Mohiuddin Dagar's life and teaching (a long story also in Seattle, my hometown!), the Dagar family and gharana, the rudra veena and more topics in an extensive set of liner notes in this release.

Ragas Abhogi & Vardhani were recorded in a private house concert in Seattle at the home of the Benegals in March 1986 (the week before the accompanying release SOMA029 Raga Yaman was recorded). The Benegals were friends (& Shantha Benegal was also a student) of Dagarsahib who sometimes hosted Hindustani music concerts in their home. It's a rare glimpse of a more intimate, personal and perhaps different kind of performance considering the form of dhrupad.

-Stephen O'Malley, March 2018, Paris, France

Stephen O'Malley would like to especially thank Bahauddin Dagar, Jeff Lewis & Jody Stecher for their enthusiasm, cooperation, patience, insight & advice toward developing these editions. Thank you also to Laurel Sercombe & John Vallier from the University of Washington Ethnomusicology Archives, Shantha Benegal, Philippe Bruguière, Dan Neuman, Ira Landgarten, Renaud Brizard, Ian Christe, Peter Rehberg, Rashad Becker, Daniel O'Sullivan & Kristoffer Rygg, all for their direct or indirect cooperation, assistance & patience.

A true funk-soul masterpiece. Sampled by Madlib, Homeboy Sandman, Ghostface Killah, Black Milk, Roc Marciano, 9th Wonder, and more.

Beautiful, golden-era soul written by Leon Sylvers III, produced by Jerry Butler and Keg Johnson.

The Sylvers were a family from Los Angeles who were very successful during the 70's and into the early 80's, with chart hits - deep into pop-disco territory - including 'Boogie Fever', 'Hot Line' and 'High School Dance'. This is the group's second album, from 1973, and is one of their strongest.

Opening with the awesome mid-tempo 'We Can Make It If We Try' the record moves through funk, boogie and deep soul moods, finishing on a hazy, acapella version of The Beatles 'Yesterday'.

Official reissue in replica of original artwork.

Since the early aughts, Alan Abrahams aka Portable has been producing records for labels like Perlon, Live At Robert Johnson, K7, and Süd Electronic. With his new band project 'RANGEr', the releases as Bodycode and Portable and his very own label Khoikhoi to be launched this summer, the South Africa born Alan Abrahams is an artist in-between genres. 'A Life Without Notifications' is now here, marking his first release for Dial records.

Truly nuts and really kind of essential... the Starship Commander had his whole approach to the Synthesiser Voice technique. B-Boys/Girls delight. Check the instrumental cut, Mastership - a head nod synth voyage of the highest order. Limited copies. TIP!
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'How are you doing, Earthling' That's how Omer Coleman, Jr. addressed his public in the 80s, driving around Kansas City, Missouri in the electric space-car built especially for his alter ego Starship Commander Wooooo Wooooo.

Left Ear Records went back to Coleman's original master tapes for their vinyl reissue of the Commander's 1981 private press album Mastership, a lost electronic funk classic. Coleman performs in an alien voice that comes not from electronic filtering but from his own natural vocal distortions. This visitor from Mars wants people to be happy and, like his song goes, 'Laugh and Dance.' It's an endearing and very personal space-age funk that blends George Clinton and Kraftwerk in a vision of a better and happier world.

Born and raised in Kansas City, Coleman was musically inclined from an early age. His parents couldn't afford to buy him a real drum for orchestra, so he took up electrical wiring and wood shop instead, which fed his muse in a different direction. Omer built enormous speaker cabinets. In the late '70s he was a DJ, and ran a Mobile Disco business that took him across the country, hosting parties. After a trip to California, he came back to Kansas City inspired to dress up as Commander Wooooo Wooooo.

The future commander began working at the Armco Steel Mill in Kansas City when he was 18. He was inspired by older machinists who demanded perfection in their work and in their character. It was while he was working at the steel mill that Coleman came up with Starship Commander Wooooo Wooooo. One day coworker John Manley came up to Coleman with a vision of an electric car, and built it. His coworkers built all of his equipment, from lighting and fog machines to big steel eyeglasses. Coleman's sister, a seamstress, created his outfits.

Coleman started his own label in 1985 but took some time off from music to raise his children, and when they came of age his son recorded with Coleman as a gospel vocalist. When his son was killed in an auto accident in 2004, it took something out of him, and he stopped making music. But he's starting to get the feeling again.

Now 62, he's currently enjoying his retirement from a long stint with the IRS. The former Commander is in the middle of a house project where he's using metal ceiling tiles to line his walls. It's starting to look like a spaceship. Coleman promises, 'There is a real good possibility that we have not seen the last of Starship Commander Wooooo Wooooo!
Pat Padua'

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

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

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

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

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

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

Tor Lundvall
January 17th, 2018

JOHN B.'s NOTES:

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

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

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

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

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

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

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

John B. McLemore
September 10, 2012

18 tracks of rare early Beatles material, including In Spite Of All The Danger' (the only song ever co-written by Paul McCartney & George Harrison) recorded in Liverpool in 1958 when the Beatles (along with John Lowe on piano & Colin Hanton on drums) were still known as the Quarrymen, a 1960 home recording of McCartney's Cayenne' (with Stuart Sutcliffe), Ain't She Sweet' recorded in Hamburg in 1961, Besame Mucho' featuring Pete Best on drums, The One After 909', and I Saw Her Standing There' recorded live at the Cavern Club in 1962, and much, much more!!

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.

The Telescopes were founded in England in 1987 by chief member Stephen Lawrie and released several recordings in the late 1980s but it is in 1990, when the band signed to legendary label Creation, that they hit their stride and helped to define a decade of UK rock music. Fusing elements of psychedelia with noise-rock, and dreamy pop, The Telescopes were near the forefront of the early shoegaze scene and hugely influential on the next wave of early 1990s Brit-pop. This crucial collection complies all 4 of their 12" singles on Creation as well as a 1991 John Peel session and other bonus tracks. Issued on 180 gram 2LP with a deluxe double sided poster insert.

Mannequin Records presents a trilogy of reissues from the avantgarde Italian-born producer Doris Norton, "Nortoncomputerforpeace" (1983), "Personal Computer" (1984, originally released by Durium Records), "Artificial Intellingence" (1985).Apple's first music "endorsement" and Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro / computer music. Norton is the wife of Antonio Bartoccetti, progressive rock guitarist, and mother of the musician and techno producer Rexanthony. As a teenager, she was drawn to medieval, Renaissance and Baroque music, not to mention quantum physics, differential equations, organic chemistry, the experimentalism of John Cage and animated movie soundtracks. Her love for modules and circuits found expression through the waves of an old harmonium, the frequencies of a Minimoog, a Roland System 100M, a Roland System 700 and the ARP 2500/2600.

In 1980, Norton began her solo career by recording at Fontana Studio 7, the Milan studio of the composer and musician Tito Fontana, resulting in the electronic opera "Under Ground". Norton became more prolific, continuing her adventures in experimental electronics and computer music with Parapsycho (1981), Raptus (1981), Nortoncomputerforpeace (1983), PC (1984) - whose album cover prominently features Apple's colored logo - and Artificial Intelligence (1985).

While the beat-oriented style of Norton's music aligns her with such global fellow-travelers as Yellow Magic Orchestra and Kraftwerk, her championing of the personal computer as a tool for self-sufficient musical creativity also connects her to more artsy musicians such as Pietro Grossi, Laurie Spiegel, and the League of Automatic Music Composers. Norton's predilection for the bright, glossy timbres of early digital instruments also recalls Hubert Bognermayr and Harald Zuschrader's bizarre 1982 one-off Erdenklang.

Later, her talent and expertise attracted the attention of IBM, who in 1986 named her as an official consultant. Already the reigning queen of the Italian electronic scene, she recorded two CDs for IBM: Automatic Feeling and The Double Side Of The Science. Influenced by her son, the musician and producer Rexanthony, Norton brought her fascination with the early days of techno into the 1990s, when she released three volumes of Techno Shock on Italian trance/hardcore label Sound Of The Bomb.

While her music remains largely out of print and inaccessible, Norton's early records have recently begun to receive the inevitable rediscovery treatment.

"In the late sixties I had already conceived computers as personal.' I have always trusted in the benefits of solitude, (being) alone means freedom... What's better than a personal' computer for materializing ideas, by oneself" (Doris Norton)

Riding the wave of the German beat craze of the early sixties, British singer Tony Sheridan became a regular on the Hamburg club circuit, recruiting an ever-changing roster of back-up musicians that included, in 1961, The Beatles featuring John Lennon, Paul McCartney, George Harrison and Pete Best. Although still very much on the scene, bassist Stu Sutcliffe did not appear on these sessions. While most of the songs here are covers sung by Sheridan, Lennon and Harrison did write the instrumental "Cry For A Shadow". Hamburg is also where the Beatles first picked up the mop-top. Picture disc LP.

Intimate November tour also announced After their 2012 Mercury Prize nominated debut and 2015's Top 20 follow-up 'Born Under Saturn', musical adventurers Django Django are back for 2017, exploring new sounds with their brand new album 'Marble Skies' which will be released on January 26th on Because Music. Today the album launches with first single 'Tic Tac Toe', a rousing, trippy upbeat rock track with an enormous echoing hookline which will excite fans of the band's rockabilly-influenced elements. The accompanying video for 'Tic Tac Toe' was directed by John Maclean, brother of Django Django drummer/producer David Maclean and director of the critically acclaimed modernist western 'Slow West'. It depicts vocalist/guitarist Vincent Neff enjoying a rapid-fire day-trip to Hastings which takes a turn into the surreal and sinister when a ghost train puts him on a collision course with a grim reaper inspired by Ingmar Bergman's The Seventh Seal. As John Maclean explains: The film could be about the fading era of the beach arcades, time moving too fast, love and games, horror and happiness but it is actually about a man who needs to go buy a pint of milk to make a cup of tea.' After the brilliant, rave-shaped grooves and expansive arrangements of its predecessor, 'Marble Skies' is a more concise and focused offering which recalls the dynamic, genre-blurring music of their debut. It's a return to form, an album which finds them returning to the handmade, cut-and-paste approach of the past. Upon finishing the 'Born To Saturn' tour, Dave ventured to LA to work on a production project, whilst the other band members went to India with the British Council. When they returned, the new album process began with a back-to-basics approach which recalled the DIY ethos of the band's early days, Django Django - minus an absent Maclean - assembled at Urchin Studios in Tottenham, London with Metronomy drummer Anna Prior to experiment with the idea of coming up with new tracks through loose jamming sessions. After ten days of recording, there was plenty of raw material to send up to Dave (then back in his hometown of Dundee) for him to edit, refine and evolve. As ever, all four band members (completed by Tommy Grace on synths and bassist Jimmy Dixon) contributed to the band's music, melodies and lyrics as the final album took shape. Parts of 'Marble Skies' find Django Django sailing into uncharted territories, not least the driving title track (propelled by Prior's drumming), with its echoes of Krautrock and Suicide. Meanwhile, the hazy Zombies-like summer pop of 'Champagne', which explores the joys and ills of alcohol, was inspired by the band's over-indulgence during a boat trip on the Seine that was hosted by their label. Those drawn to the more dance-orientated side of Django Django will find much to love in the twisted '80s electro pop of 'In Your Beat' and the dancehall-influenced 'Surface To Air', a dreamy-headed pop song fronted by Rebecca Taylor of Slow Club. The collaboration came as a result of the two bands meeting up at SXSW some years ago, where Rebecca and Dave in particular bonded over shared interests in R&B, hip-hop and dancehall. Another more surprising collaborator is Jan Hammer, the Czech-born, American-based jazz-fusion and electronic artist who shares writing credits with the band on the gorgeously floaty 'Sundials'. If there's a mood running through 'Marble Skies', it's one of reflection on things past and present, and finding some kind of peace with your place in the grand scheme of things.

FUN FARE is the experimental pop laboratory of Friedrich Günther, Julia Boehme, Joseph Heinze and Jakob Zander, which hails from Leipzig. In combining and distilling their respective influences they are constantly withdrawing from all possible expectations and presumptions. Krautrock meditations are interrupted by synth-pop intermezzi and bathed in waves of post-punk without laying false or random trails. It's more like an experiment under controlled conditions or an elaborate construction that is spontaneous and playful. In the autumn of 2015, Fun Fare recorded their debut album - Wrong Gong , which was released in February 2016 via Hartnack Records and played shows with Candelilla, Soft Grid, Friends Of Gas and Priests. Recently they released a split tape with Berlin post-punk band Plattenbau via Flennen and at the Trans Century Update Festival in UT Connewitz in Leipzig shared the stage with John Maus, Alex Cameron and Thurston Moore Group among others. Their second album Trifles & Events Are Your Concern' promises to deliver on the promise of their early releases and is a strong addition to the catalogue of Späti Palace.

With its seventh release, NEW YORK TRAX welcomes the revival of John Selway's 'Semblance Factor' alias. Selway became an indispensable element of the history of the New York sound by virtue of building an extensive catalog of high quality releases spanning almost three decades and multiple genres of electronic music. From his first electronic band Chaotic Sound Matrix, to his major contributions to the early productions of Deep Dish; from his first success in the techno world as part of the seminal New York duo Disintegrator to the most successful of his collaborations, Smith & Selway, and his deep and minimal techno label CSM; from the intelligent electro-funk of Synapse and Serotonin Records, the electro and synth-pop of Memory Boy to the wild improvisational eclecticism of the Rancho Relaxo Allstars, Selway has created one of the richest bodies of work in the world of electronic music.

'Defiance EP' is a venture into hard-hitting electro, acid, and raw industrial-leaning and experimental sound. Below the intense threshold of sound, there is a message for today's complacent society...

Well before Shuggie Otis (Born Johnny Alexander Veliotes, Jr.) cut his debut album, musicianship and performance had long been a part of his life. The son of rhythm and blues legend Johnny Otis, Shuggie learned to play guitar as early as the age of two, and performed professionally with his father's band at eleven. Throughout his long and illustrious career he'd performed on records for the

likes of Frank Zappa, Al Kooper, Etta James, and George Duke, to name a few. In spite of all this, widespread mainstream success eluded Shuggie for much of his career. His most famous release to date is his 1974 album Inspiration/Information, which would experience new resurgent life in 2001. Those willing to dig a little deeper however, would discover hidden gold in his earlier releases, especially in the album directly before Inspiration/Information, his sophomore 1971 release Freedom Flight. As with his debut, Freedom Flight was produced by Shuggie's father Johnny Otis, and built upon the distinct sounds of his debut album: lush, baroque, string section arrangements, paired with hard funk rhythms, and funky blues melodies, with the majority of the instruments once again performed by Shuggie himself. The album also featured backing from premium session greats like George Duke and Aynsley Dunbar, and the track "Strawberry Letter 23". which became a Billboard hit for The Brothers Johnson 3 years later. An unearthed treasure of deft, technical skill, and virtuosic composition.

ossession Records proudly present the new album by Soft Riot, entitled 'The Outsider In The Mirrors'.Soft Riot is the stylised musical alter-ego of JJD, Canadian by birth and an ex-resident of London and Sheffield, now based in Glasgow (so not unfamiliar with sites of post-industrial decay!). With over twenty years of playing in various post-punk and synth-punk bands, he has been crafting the sound of Soft Riot since the early turn of the decade, releasing a slew of albums across a multitude of labels and touring obsessively around Europe and beyond.With 'The Outsider In The Mirrors', his sixth full-length, he has found a new home for his sound on Possession Records, a fledgling Glasgow imprint founded by JJD, Claudia Nova (aka Hausfrau) and Andy Brown (Ubre Blanca). Their aim is to bring together their pool of musical talents and provide a more permanent home for their future creative endeavours, whether it be music, video or otherwise and to experiment with what it is to be a 'label' in the ever evolving 21st century. Future projects and releases will see them getting a select group of their peers and friends involved in Possession's focused vision, locally or from further afield.'The Outsider...' is a consolidation of all the stylistic elements Soft Riot has pursued in the past; the manic propulsive energy of 'Waiting For Something Terrible To Happen', the infectious, off-kilter dynamics of opener 'The Eyes On The Walls' and the pulsing, elegiac synth washes of 'The Saddest Music In The World'. Throughout the album Soft Riot fuses his maximalist sonic palette with a sharp-edged sense of post-punk anxiety, unique synth interplay and brooding, claustrophobic new-wave dread. Comparisons to musical kindred spirits like John Foxx, DAF, early Depeche Mode, Fad Gadget and Virgin-era Cabaret Voltaire would be analogous, but JJD is defiantly fusing these basic references into something highly idiosyncratic and personal.
The music on 'The Outsider...' is evocative of an kind of nostalgic futurism, of a refusal to give up on a desire for the future (dystopic or otherwise) and the unpredictable nature of the urban situation. The music is tense, synthetic and precise, embodying and exploring issues of isolation, urban alienation and social paranoia. Yet despite these dark thematic preoccupations the Soft Riot sound is not without its warmth and humour. Wry and self aware without irony, the songs are hook laden, infuriatingly catchy and designed for dancing as much for static listening. It is a peculiarly Soft Riot take on the electro pop sound that will engross and captivate any adventurous listener.

Having been an electronic activist in Marseille for more two decades and more, DJ OIL is now a firm staple of LDDLM. Following the RAIN ep released in the summer 2016, here is the first 2018 outing from us: the already bubbling HERITAGE ep.
'Heritage' has been an Ivan Smagghe (and a few others) secret weapon for more than a year now, a strange sampladelic track featuring a full Marcus Garvey speech. A subtle yet powerful appropriation of early house clichés, the hit has one feet in tradition, one feet in political modernity.The EP comes with two more warped cuts: the slow guitar swamp of 'Brouillage' and the System 01/McKenna influenced 'May Be'. Psychedelics and sun.
A second 12' by DJ OIL will follow shortly, doubled with a full digital release of the two EP's with digital extras.
Expect new releases from our camp by Rheinzand, Init, Johnson and more...

IMA (Intense Molecular Activity) is the duo of Don Hunerberg (synthesizers) and Andy Blinx (drums and percussion). Based in New York City and active between 1979 and 1982. Don, a studio Sound / music engineer and musician, Andy an electronic clothing designer, drummer and sound reinforcement engineer at downtown clubs like Max's Kansas City, Mudd Club and CBGB. In between doing sessions at Radio City Music Hall Studios for groups such as Ramones, Richard Hell, Sonic Youth, Liquid Liquid, John Zorn, Glenn Branca and many others, IMA took advantage of off hours to create their own music. As far as influences go, Don's background was in electronic music and Andy's in prog rock. To produce the songs, Don used his own method of creating patterns from 2-track tape loops and then edited them together on to a 24-track recorder adding more tracks of overdubs, In a very similar way that sequencers are used today. By 1980 the duo honed their own unique sound and version of Post Punk and No-Wave with the tools of the trade of the early 80s. Situated above the proscenium of the Radio City Music Hall stage, the studio was outfitted with a variety of orchestral instruments (timpani, bells, xylophone, etc). They self-released a 4-song EP titled 'IMA' on an 8' flexi-disc which was distributed by Ed Bahlman of 99 Records. The music bridges the wild psychedelic-rock of the 60s, the synth-punk of the late-70s and the elaborate constructions of progressive-rock. There are nods to the freak-outs of Chrome and the super neurosis of Suicide, but IMA takes a more clinical approach which also takes notice of Hawkwind and Pink Floyd's interstellar overdrive. We've added 4 bonus tracks recorded during the same studio sessions and included them here for the first time on vinyl. DJ Hell lifted elements of IMA's song "Blurb" virtually intact and uncredited for his electroclash club hit "Keep On Waiting" 20 years later. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a spray painted IMA tag a top a red dashed 'Do Not Enter' sign. Each copy includes a double-sided postcard with notes. This Album Is dedicated to the memory of Andy (Blinx) George.

Following the release of Synkro AKA Joe McBride collection of his formative early works earlier this year, Apollo Recordings is proud to present a brand new EP that draws on the rich heritage of library music. Despite having come up during the dubstep era McBride's music has always resisted easy classification - 'Hand In Hand' sees him shift his musical focus in a yet more cinematic direction. McBride explains : "The record was inspired and influenced by my love of electronic 80's UK library records like the Chappell AV series, Bruton, Soundstage & De Wolfe Music library. There's a lot of synth work that carries on from my album using my trusted Juno-6 / SH101 / JX8P combo with the addition of drum samples via an old akai S2800 I purchased recently. Most sounds I've made from scratch on hardware based on sounds used in the library records I mentioned above along with a few cheeky samples." Synkro's signature expansive atmospherics are still very much present, but now they have been burnished by soaring synth pads and pulsing drum tracks that call to mind the haunted melancholy of John Carpenter or contemporary such as Legowelt or Andy Stott. Rhythmically 'Hand In Hand' sees McBride moving somewhat away from his usual off kilter programming inspired by 2-step and garage, embracing the steady pulse of 4:4 which turns out to be an effortless fit.

Keyboardist Eddie Russ hailed from Pittsburg and played with many of the greats including Sarah Vaughn, Benny Golson, Stan Getz and Dizzy Gillespie. Eddie is somewhat of an enigma, but he has always been held in high regard in the UK, and he finally was able to perform here in London at the Jazz café in the early 90's a few years before his untimely demise.

His debut album 'Fresh Out' was recorded for the Jazz Masters label and includes the jazz dance classic 'The Lope Song', he also contributed heavily to Sonny Stitt's 'Tornado' album on that label. His band The Mixed Bag also made an album for the Detroit Tribe label. In 1976 he signed to John Richbourg's Sound Stage 7 label and made two great jazz funk albums which were released on the Nashville's Monument label and like his debut were produced by Bob Crawford.

From this first album 'See The Light' the title track is a great take on the Earth Wind And Fire song, 'Poko Nose' is a great funky groove oriented track, but it is the magical 'Zaius' that has become an all time jazz funk classic, a track that has maintained its popularity over the past 40 years.

The Monument albums include some great musicians including Marcus Belgrave and Larry Nozero, and on the Take A Look At Yourself' album Motown's Eddie Willis, a very young Kenny Garrett and the funk group Quazar.

Alésia Cosmos was a collective of musicians led by Bruno de Chénerilles formed in the early 1980s in Strasbourg, France. The group consisted of Pascal Holtzer (guitar, synthesizer, tapes, drum machine, vocals), Pierre Clavreux (vocals, gong), Marie-Berthe Servier (vocals), Bruno (guitar, tapes, synthesizer, drum machine, vocals) and Tunisian percussionist Lotfi Ben Ayed (darbukas, bendir). In 1981 Bruno composed and wrote some sci-fi radio plays for French state radio channel France Culture. Under the influences of William Burroughs, John Cage, Pierre Henry and others, he developed tape music studio work. By 1982 he appeared for the first time under the name Alésia Cosmos Furi Show. It was a solo performance on guitar, voice, analog synth and tapes. This experimental show lead to a music project based on Bruno and Pascal's compositions to be performed and recorded with other musicians in the beginning of 1983.

Exclusivo! was the group's debut album recorded and self-released in 1983 on Planetarium. Pascal and Bruno would compose tunes in their personal home studios. Then they would bring the tapes, electronics, guitar lines and lyrics to experiment and rehearse with the other members of the group. Improvisations and adaptations brought more ideas and the album was recorded in a few days. The result was a musical mixing of electronic music, field recordings, North African and Asian percussion, electric guitars and voices, compositions and free improvisations. All four musicians take turns singing onomatopoeic phrases and backing vocals, even sometimes in an unknown language, a sort of mixed bag between Breton and Japanese. All songs have been remastered cut by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a replica of the 1983 cover and includes a 6-page insert with photos, lyrics, reviews and liner notes by Bruno de Chénerilles.

4 pumped up jams for djs to take control - don't hold back, just let go and feel the n·r·gee. Early support by Eduardo De La Calle, Jennifer Cardini, Andrew Claristidge, Gilb'r, Daniel Kyo, Photonz, Angel Molina... Points of interests - Only for the headstrong tripping on strictly undeground massive hits. - For fans of techno, warehouse, (old school) breaks and bleeps. - Pure reel-2-real analog recording and extra loud mastering by F.Stader at MMM. - Features 6 eternal loops and bonus samples for extended dj pleasure. - 121th release from renowned Swiss Mental Groove Records est. 1989 (Dj Rush, Eduardo De La Calle, Sun Araw, Miss Kittin, Luciano, Brodinski, Donato Dozzy,...), also home of Musique Pour La Danse (Olivier Abbeloos, Frankie Bones, Orlando Voorn, Nate Krafft, Dirk De Saever, Todd Sines...) and We Release Whatever The Fuck We Want (Midori Takada, Michel Legrand, Kenji Kawai, John Carpenter...).

Sub Rosa presents two rare tracks by Coil, originally commitioned by Sub Rosa in the late 80s / early 90s and now finally released on vinyl!

"Another Brown World" (12:09 min) was written by John Balance and Peter Christopherson, produced and mixed by Coil, and recorded by Danny Hyde at Threshold House, London in the Summer of 1989. The vocals were recorded at the Animist Monastery situated at the Summit of Mount Popa in Pagan, Burma.

"Baby Food" (12:32 min) was written and performed by Coil: Danny Hyde (essentials) Peter Christopherson (fundamentals), and John Balance (vibrant rays of spiritual psychosis). This track is the first to utilize the recording process known as "Sidereal Sound", a continuation and advancement of the deep listening theories as demonstrated on the album Love's Secret Domain (1991). Recorded in a storm in London in the summer of 1993.

These two pieces were commissioned by Sub Rosa for these two specific projects: Myths 4 - Sinople Twilight In Çatal Hüyük (1989) and Chaos In Expansion (1993)

Black Truffle is thrilled to announce the first ever vinyl reissue of legendary performance and sound artist John Duncan's forgotten gem Klaar, originally released by Extreme in 1991 and partly created in collaboration with Andrew McKenzie (The Hafler Trio). Duncan is perhaps most well known for his notorious early performances pieces, which explored violence, self-denial, and the establishment of extreme psychological and physical states in both artist and audience. Alongside these transgressive experiments, Duncan began to create audio works primarily using short wave radio. Where some of Duncan's earlier recordings are composed of magnificently sculpted but abrasive walls of noise, Klaar, recorded while Duncan was living in Amsterdam, occupies a more meditative territory.
Opening with 'Delta', which layers long tones seemingly sourced from slowed down voices over a distant, watery field recording, the remainder of the first side is occupied with the epic title piece, which arranges shortwave radio abstraction, vocal experiments, and field recordings (street sounds, fireworks, monastic chants) into an episodic cinema for the ear. The second side is dominated by the long, brooding 'The Immense Room', where layers of shortwave interference and field recordings are gradually built up into a pulsing, wavering bed of sound infused with a subtly disturbing sense of psychological unrest. This rises to the surface near the end of the piece as sexual moans and ominous rumbles crisscross the stereo image before being abruptly brought to a halt.
A singular work of electroacoustic composition, Klaar is both compositionally sophisticated and infused with a sense of mystery and a vital reality often lacking in more academic experimental music; it sits proudly alongside contemporaneous recordings by Duncan's friends and collaborators Jim O'Rourke and Christoph Heemann and is a must for anyone interested in their work.
- Francis Plagne

As BPMF started making techno again, he surveyed his techno friends asking them what it was about his music they found the most annoying. The answers TR-606 hi-hats and portamento.
He proceeded to focus on these aspects of his music and today the results are here: "Abide the Glide Volume 4" wherein BPMF is pushing all the right buttons to get the DJ thinking about the sounds their pumpin. Jamie Morris provides an excellent DJ freindly remix of "Even Straighter", taking BPMF's idea and going even straighter.Old Man Raver Pants" proves that a 50 year old man can still party, so long as he's wearing his raver pants and while there's been alot of talk about alternative facts, "Alt-Slacks" is a dub inspired jam that seems like it's narrative might fall apart at anytime.Schmer label head BPMF has been making electronic music since 1984. As Free World released cassettes, was entered by WFCS into CMJ's Best Unsigned Bands competition and in 1985 earned the duo a spot on an Epic Records compilation. In 1986 they released "Amagi", an eclectic collection of experimental electronica inspired by underground new wave and industrial music of the 80s.BPMF and Taylor Deupree formed Decameron and released two cassettes on Havoc Music. Some tracks would appear on early techno CD compilations under pseudonyms. Havoc Music's own compilation "Techno Criminal Sub Cultures" is where BPMF first appeared in 1991.
With Dietrich Schoenemann and Taylor Deupree, BPMF assembled classic early 80s analog gear and as Prototype 909 they released "Acid Technology" on Instinct records; performed their first live show, met Abe Duque who invited all of his techno friends to the legendary Limelight Club in NYC. BPMF brought records and gear jammed live with them. The Rancho Relaxo All-Stars would release three albums and tour Europe together even destroying the original Ultraschall in Munich, quite literally tearing the place down. With John Selway, BPMF channeled early electro and new wave sounds forming Synapse and creating Serotonin Records to bring the funk back and help give birth to the electro revival scene.Prototype 909 recorded four albums and played 70+ shows. Synapse was the first American electro group to play live in Moscow. BPMF released tracks on Serotonin, Schmer, Instinct, Analog/EMF, Tension/Rancho Relaxo Records. His approach to electronic music is hands on and experimental, so more than having a "sound" his music reflects his values: spontaneity and a sense of urgency.

The House Music Institute is the new label by Pete M.. A recognized face on the Madrid underground scene, Pete M. has been making the city dance for the past two decades mixing House with Future Disco and Techno.

His first EP, LOFT 301 - Fourth World' includes two original tracks plus a remix by Jonny Sender.
Pete M. created two original tracks with a late night vibe using a classic groove and 4/4 rhythms combined with 808 analog sounds and beats.

Pete reached out to Jonny Sender for a remix who's recently released a number of original productions and remixes. Sender, bass player in the legendary band KONK, was part of the early '80s downtown scene in New York City as well as being a long time DJ. Jumping off from the original track, Sender brings some jazzy early '80s flavor while keeping the vibe strongly rooted in the present.

The Numero Group's dive into the deep end of America's private press continues. Having battled the witches and wizards of Darkscorch, the outlaws of Cosmic Americana, and traveled alongside Ladies From the Canyon and their Lonesome Heroes, it's time to take it easy.With pop music's volume knob adjusted for deflation in the early '70s, softness begat smoothness. Crewmen arrived from the worlds of jazz, folk, rock, and soul, all peddling a product that was sincere, leisurely, and lofty. A sound that was buoyant, crisp, defined. Sometimes classified as West Coast—and, later, Yacht Rock—the compass points of our Private Yacht expedition are the blue-eyed harmonies of Hall and Oates, the cocaine-dusted Fender Rhodes of Michael McDonald, and the combover strums of James Taylor. Here, at the glassy apex of rock's softer side, 20 strong swimmers are gathered together. An album for both relaxation and reflection, where listeners can enjoy the present, a cool breeze, and a taste of the good life.

Running a record label offers adiversified and challenging field of activity. This is particularly true when speaking of tiny independent re-issue labels where one, two or three guys have to take care of everything. Tracking down musicians, collecting their stories, writing the liner notes, creating the cover artwork, mastering the songs, promoting the release, communicating with pressing plants and distributors, and so on. Most of the tasks mean fun with the exception of one thing which nobody here at Tramp is keen on doing: writing the sales notes.

Far be it from us to praise our release to the skies. Naturally, we are pretty much convinced of the sheer quality of each song, otherwise we would not have invested so much time and efforts into completing those compilation albums. One thing which surprises us is that despite thousands of Rare Groove compilations on the market neither of the songs to be found here has been compiled elsewhere yet. A fact that not only fills us with pride but also determines our claim for the future. As for now we have done our homework and it is time to let the music speak so that the Gunn High School Jazz Reunion, Keither Florence, Robert Cote, Plas Johnson, Charlie Chisholm Boss-tet, and all the others get the recognition they so richly deserve for their talent and work.

When Tramp opened its doors in the early 2000s it was just for the fun of it. A business plan did not exist and nobody involved with the label had studied anything music related. It was just a bunch of crazy record collectors and music lovers with a simple idea: to share their favourite music with the world. Nobody could have known that this would last for 15 years - and there is no end in sight.

Ninth instalment of Redscale. Grad_u with a masterpiece of dub techno. Vinyl only.

"Holdback", an unexpected twist of events for followers of Redscale, is actually a bold step forward in terms of pace and light. The enticing chords work like a magnet, and the potential of the lady on the mic is no lower than that one of a siren. The personal weapons of grad_u, the most powerful of which are the embracing loops, are of course out there, indicating the
producer's inner spirit and roots.

Picking up where "Holdback" left off, "Outwards from Laniakea" is a statement more rugged, yet as absolute as the message on side A. It's an invitation to put that jacket back to the
cloakroom, switch off that phone and let yourself go, again and again. It's, once again, a compelling statement against conformity.

***

Early support by DJ Deep, Cari Lekebusch, Jonas Kopp, Shlømo, Josh Wink, John Osborn, Echoplex, Don Williams, Wata Igarashi, Regal, Mark Broom, Marcus Intalex / Trevino, Ryan James Ford, Francois X, Albert van Abbe and many more... .

The Haggis Horns will release their fourth studio album in September 2017 and as a little teaser, they drop a summer single worldwide on June 9th via their own Haggis Records, a feel good bouncing hip-hop/funk jam featuring guest UK MC/rapper Doc Brown. Think back to the dawn of hip-hop in the early 1980s when the first rap singles featured the Sugarhill Records house band laying down heavy funk grooves for MCs like The Furious Five and Treacherous 3 and you get the flavour. No-nonsense party hip-hop/funk for b-boys, soul sisters and funk brothers! And keeping with that old school flavour, it will come with a limited edition 7" vinyl pressing alongside the digital single and feature an instrumental version on the b-side with the Horns cutting loose on the solos.

Now in their 19th year, The Haggis Horns are still as popular and busy as ever playing clubs and festivals around the UK and internationally and finishing this new album for autumn release. Expect another slab of heavy funk and sweet soul with longtime vocalists John McCallum (Corinne Bailey Rae band) and Lucinda Slim on various featured tracks plus the hip-hop collaborations with Doc Brown. As always, their famous super tight rhythm section holds it down alongside one of the UK's best horn sections of the last 2 decades whose gig/recording credits include Mark Ronson, Amy Winehouse, Jamiroquai, Martha Reeves & The Vandellas and Lily Allen.

A new My Rules release from the always on-point Justin Van Der Volgen featuring two previously unreleased remixes that showcase his varied and unique style.
The A-side sees him take both the original and Spencer Parker remixes found on the the 2016 Shit Robot single Lose Control and through editing, blending and layering of FX concocts one serious bomb of a mega mix .
Think classic DJ bootleg remixes on legendary labels like Razormaid, Disconet and Hot Tracks.
The B-side is an altogether different affair where Justin dispenses with all of the original music and only keeps the vocal from Felix Dickinson's 2014 acid jam 'Burning Flame'.
What comes out the other end sounds like Lee Perry and Murk made a tune once they got back from a sleazy NY after hours.
Early plays and support from Gerd Janson, John Talabot, Tim Sweeney.

* Includes a DIN A2long poster inside the 12" sleeve with edition number and music download code

* Rogue Style 1 EP is an international homage to b-boy culture, where the worlds of breakbeat music and breakdance collide. Sinistarr (USA), Kiat (Singapore), Kabuki (Germany) and HomeSick (Canada) are connected in many ways, now they lay bare their hip-hop roots and give something back with a fresh take through the eyes of drum & bass and juke/footwork. Here is what they have to say:

Sinistarr: "As a teenager I grew up as a b-boy, dancing anywhere I could: schools, parks, festivals, you name it, my crew was there with cardboard and a speaker. I eventually got deeper into DJing and making music and learned to bring a sound that's not just for the crowds and the purists, but also for all the dancers!"

Kiat: "Hip Hop has taught me to keep evolving, to explore new forms in all my art. Progression is the key to evolution. -- I met Sinistarr online thru myspace and we had a musical connection which led to our first collaboration 'Black Diamonds' which is still one of my personal favourite tunes I've been fortunate to be part of it's creation. With Kabuki, i've always been a fan of his work since his 'Makai' alias on No U-Turn, despite meeting him only recently thru the label.I've always known him to be constantly progressing his ideas in his music which I respect alot."

Kabuki: "B-boy culture has always been a strong influence on how I pursued my art, mainly because of its DIY ethos and attitude of perfecting your craft. Incidentally these were also the aspects that drew me to Jungle when I first discovered it in the nineties. -- I'm happy to rub shoulders with Kiat, Sinistarr and HomeSick on this release, as I'm a fan of their music foremost, but also because we became friends through the music."

HomeSick: "I was only a child in the 90s and as a result I feel like my understanding of b-boy culture was experienced second hand thanks to 90s/early 2000s hip hop music. I appreciate the parallels I can see with footwork culture, particularly the similarities to the community mentality of break dancing. -- I know Sinistarr through booking him for our local party night in Alberta, Canada called Percolate. Our city must have left an impression on him because a year later he made the move here from Detroit. Had the pleasure of hosting him as a room mate for a little over half a year, the home was a very potent creative space during this time. Kabuki hit me up a few years ago and we very quickly got to sharing tracks and collaborating together. Mans a master of production and a super important part of the global scene."

The idea for a reminiscence of b-boy culture stem from label owner Booga:

"Why am I interested in this so much I grew up in East Germany and as the movie "Beat Street" premiered in 1985 over here I was age 13 and blown away by the energy, the music, the wit, the style - everything in this movie was better than everyday life in Leipzig. So I started saving for a cassette recorder and taped music shows from West German radio and prepared tapes for school disco gigs to the hope somebody would do the "robot" to Arthur Baker "Breaker's Revenge". Unfortunately that never worked out hahaha. But I was hooked since then and as the wall came down in 1989 I travelled to West Berlin just to buy the Beats, Breaks and Scratches 1-4 vinyl box by Simon Harris. The fascination for breakbeats never stopped and before I discovered Jungle around '94 I was down with the British cut up house thing from the likes of Marrs, Krush and Coldcut as another form of breakbeat music. The "do it yourself" spirit from hip hop culture inspired me to start a local website called breaks.org in 2000 to locally promote the drum and bass scene with emerging producers, djs and mcs for a wider audience and I threw in some interviews with Storm, Kabuki, Rob Playford, Klute and John B. That turnt into a multi author blog called itsyours.info in 2004 which still exists - that is where I had the pleasure to introduce Kiat and Ash in 2007. All these years I was listening and playing drum and bass tunes when the occasional "bboy tune" came up, some were obvious like Alex Reece "B-Boy Flavour", Lemon D "B Boyz", Commix "Change" and some were not so much self-explanatory like Digital & Spirits "Phantom Force" and the remixes by T-Power & Codeine or Fracture's Astrophonica Edit - but I felt the hidden force of breakdancing nevertheless. With the Rogue Style series I have the first class opportunity to ask established and new Defrostatica artists to present a current interpretation of b-boy culture. This is a dream coming true."

FUSE bosses Enzo Siragusa and Seb Zito have been invited by the highly respected Rawax to bring a taste of their beloved London rave culture roots to the labels first release of 2017.
Since their launch in 2011, Rawax's catalogue has beamed with nothing less than the finest, and Enzo and Seb are a welcomed addition to their already colourful and diverse roster. Barac, Boo Williams, Fred P, Paul Johnson, Ricardo Villalobos, Ron Trent and Unbroken Dub are just a small portion of an incredible list of artists that have released via the labels original monarch and many offshoots thus far.

With 'Woonie Trax' Enzo and Seb perfectly resurrect the sounds of early UK rave culture into the present by digging out the early gems of their record boxes as inspiration.

'Barring the kicks, I think almost everything came from sampling old garage, hardcore and jungle records from the 90's. For those in the know, the clues are in the names of the tracks'. - Enzo Siragusa

Whilst 'Shades of Riddim, 'Lil Ley', and 'Blue Notes' all lend themselves to the early UK sound, each track has its own individual quirk making the EP a diverse representation of the days Enzo and Seb fell in love with rave.

Although this wasn't directed by but Sergio Leone, but by the less known Giulio Petroni, "Tepepa" is one of the best films in the spaghetti western genre, thanks to a perfect synopsis - even if as set in the 'abused' Mexican Revolution of the early '900 - to a trio of exceptional actors and, finally, to Ennio Morricone's soundtrack. The protagonists are in fact the immovable doctor John Steiner, the histrionic revolutionary Tomas Milian and the massive Colonel Orson Welles, a unique and practically unrepeatable combination, however directed in a 'leone-ish' way by Petroni, who often focuses on large panoramas and close-ups on the character's faces. As always, Morricone means quality: for "Tepepa" the Maestro creates a memorable soundtrack, dominated by strings and, curiously, by the acoustic guitar! Reissued several times on CD, this album has awaited for a vinyl reprint for 35 long years! When the film was premiered in the theatres (1969) just a the single 45rpm "Viva la Revolucion / In Mexico I would like" had been released, both songs are of course included here, the second of which is sung by Christy (stage name of Mary Cristina Brancucci) in a very felt and compelling way.

'Soul Jazz Records' new journey into the mighty vaults of Clement Dodd's Studio One steps once more into the fertile musical environment of Jamaican music in the late 1960's and early 1970's, from the sweet harmony vocals of seminal 1960s Rocksteady right up to the nascent birth of Reggae and Roots music at the start of the 1970's. Sleevenotes to this album are by Steve Barrow, author of 'Rough Guide to Reggae' as well as Soul Jazz Records' own 'Reggae Soundsystem Cover Art' books.

While Ska at the start of the 1960's had taken American Rhythm and Blues as its main influence, Rocksteady focused on the emergence of American Soul music - with Jamaican vocal harmony groups such as The Gaylads, John Holt & The Paragons, Carlton & The Shoes showing a particular fascination with the close harmonies of Curtis Mayfield and The Impressions and other US Soul acts. Here The Heptones even feature with a cover of Bob Dylan's 'I Shall Be Released'.

The influence of Soul music on Jamaican Rocksteady and Reggae is almost palpable, so much so that one wonders how much more successful singers like Delroy Wilson, Alton Ellis, Slim Smith and John Holt would have been had they been born in Chicago, Detroit or Memphis. Artists such as Alton Ellis, Delroy Wilson and Owen Gray defined the era - a slowed down beat as Jamaican political and social heat slowly increased when the 1960's progressed into the start of the 1970's - and the music evolved further from Rocksteady into Roots Reggae. This album is released on heavyweight gatefold sleeve double vinyl (plus download code), CD with slipcase and digital album (ex-North America).

Translated from Spanish as 'The Shade', Chip Wickham's debut album La Sombra drops after a 25-year career touring, recording and experimenting across three decades of jazz, funk, soul, hip-hop, Latin and electronica. La Sombra is a monumental record for Chip as it symbolises the moment he stepped out into the light as a director of his creations with freedom to explore his roots, express and tell his version of jazz and pay testament to his heroes Roland Kirk, Yuseef Lateef & Harold McNair.

Now living in Dubai after an intense and productive six years in Madrid, it was Manchester where Chip studied in the late '80s and became enmeshed in the chaotic and thrilling music scenes emanating from one of the world's most culturally prominent cities of the time. Recording and generally 'keeping things real' with Manchester's hip-hop collective Grand Central Records, Rae & Christian, The Pharcyde, Fingathing, Nightmares on Wax, Graham Massey (808 State), Chip was in a city that was undergoing a music revolution with the Haçienda as its temple. Yet it was the headlights of the M62 motorway and not the strobe lights that were lighting Chip's path during his student years ('88-'92). The lure of the jazz and funk clubs of Leeds, where The New Mastersounds were breaking out and building the blocks that would lead them to UK funk royalty status, proved too strong.

In the 1990s Chip continued to refine his craft in the rainy city and the gigs booked were growing in stature. It wasn't long before he was on the road with Roy Ayers and Badly Drawn Boy. Around that time Chip met up with trumpeter Matthew Halsall that was the beginning of a friendship that lasts to this day. Chip was a recording artist on Matthew Halsall's breakout album Sending My Love and continues to work with him, with live dates confirmed in spring 2017. This close connection with Halsall gave rise to other collaborations, such as with Nat Birchall and Go Go Penguin's Rob Turner.

Three decades after his late night excursions to Leeds, Chip found himself recording with Eddie Roberts from The New Mastersounds in Madrid, as part of their new band, The Fire Eaters, which he'd formed soon after he moved to sunny Spain in 2007 - the same year he released the Fried Samba album under his moniker Malena, his electronic Latin band that became a hit at the turn of the century for Freestyle Records. During his time in Spain he connected with the local scene and brought together many of his musicians colleagues from the UK to Spain and it was for a local and well established label, Lovemonk, that he released two 45s blending raw funk and Latin. These new roads and musical leanings led to an invitation to play for the prestigious Craig Charles Fantasy Funk Band. Based on a poll from Craig Charles' top rated BBC6 radio show, Chip was chosen to play alongside the cream of the UK funk & soul scene: James Taylor (JTQ), Snowboy, The Haggis Horns (Mark Ronson), John Turrell (Smooth & Turrell), and Mick Talbot (The Style Council).

La Sombra takes an altogether more rooted direction than Chip's recent collaborative work, with the jazz of the late '60s and early '70s a dominating influence to the recordings. Comprising of seven tracks recorded in Madrid with musicians assembled by Chip from Madrid's jazz scene, it combines contemplative explorations akin to Yusef Lateef's early work on tracks like 'La Sombra' and 'Pushed Too Far'. There's a fiery cover of Camarón de la Isla's classic 'La Leyenda Del Tiempo' and tracks like 'Sling Shot' and 'Red Planet' are locked in a groove harking back to Freddie Hubbard's Blue Note era and Luv N Haight's Nathan Davis.

Following the recent reissue of Vox Populi!s Aither album, Emotional Rescue further explores the more discerning, esoteric sounds of the French 80s avant-garde scene in coute Visual artist, sound designer, musician, label founder and emotional tree consultant Ramuntcho Matta is a man of shifting, relentless talents. Diagnosed with autism at a young age. Therapy based on yoga and music set him on a path, leading to learn from the likes of composter Cuarteto Cedrn. Discovering avant-music at an early age, he moved to New York to study in the "Third Street School of Music", meeting John Cage and going on to work on projects with Laurie Anderson, Brion Gysin and Don Cherry. His architectural concepts applied to composition were explored on his 3 solo LPs from the 1980s. The middle of these, coute, is possibly his most cohesive, exploring the use of extra-European musicians, especially African and Brazilian percussion, jazz horn playing, as well as Uruguayan singer Elie Meideros. Mexicos Cacau de Queirozs performance on saxophone and flute is stunning, former Gipsy Kings member, Jorge Negrito Trasante attributes much of the LPs Brazilian percussive flavour, while Magmas bassist Jannick Top brings gravitas, including performing a water claps duet alongside Matta on the exquisite O Clapo. As one piece, coute endlessly avoids standard musical formulas, seeking textures of far-flung elements; alchemy against a background of freedom to experiment that would be the theme throughout Mattas career, whether setting up SSR records under the alias Michael Pope or in his more recent output, teaching methodology of doubt

When Jerry Lee Lewis walks on-stage, he provokes uproar just by standing still... And from the moment he hits the keyboard, hands raking and floating around the mic stand, hair flying, he leaves no one in any doubt about who gives the greatest live show on earth.



One of the few serious contenders to Elvis Presley's title of the King of Rock 'n' Roll, Lewis made his finest recordings during his early years with Sun Records. Whilst there he recorded prolifically, encompassing the diverse musical styles, including: country, gospel, blues, hillbilly and R&B, genres which he had grown up listening to.



This new LP highlights the cream of Lewis' peerless recordings made for Sun Records, when he was at his creative peak and includes: 'Great Balls Of Fire', 'Whole Lotta Shakin' Going On', and 'Wild One (Real Wild Child)'.



The Sun Rockabilly Legends Series is produced by Sun Entertainment Corporation president John A. Singleton and Charly Records founder Jean-Luc Young.



'The Killer' changed the face of both Rock 'n' Roll and Country Music.' - Clive Anderson

Celebrating the 50th anniversary of the creation of the Rocksteady music genre, 17 North Parade presents "First Class Rocksteady". The collection captures early work from some of the genre's defining artists, and here are further 24 hot tracks additionally to the tracks of the limited edition 7x7Inch box set of the same name. Available as double vinyl with deluxe printed inner sleeves featuring sleeve notes and images.

Tracklisting: Side One A1. Hold Them - Roy Shirley with Lynn Taitt & His Band A2. I Am Lonely - The Heptones with The Supersonics A3. Dance All Night - The Tartans A4. Rock Steady - Alton Ellis and The Flames A5. Ba Ba Boom - The Jamaicans with Tommy McCook & The Supersonics A6. Pata Pata Rock Steady - Patsy & The Count Ossie Band Side Two B1. You Don't Care - The Techniques with Tommy McCook & The Supersonics B2. Little Boy Blue - Pat Kelly and The Uniques with Bobby Aitken & The Carib Beats B3. I'm A Loving Pauper - Dobby Dobson with Tommy McCook & The Supersonics B4. Return Home - Alva Lewis with Lynn Taitt & His Band B5. Just Like A River - Stranger Cole & Gladdy B6. El Casino Royale - Lynn Taitt & The Jets feat. Count Sticky Side Three C1. The Beatitude - The Uniques C2. Revelation - Alva Lewis C3. A Change Is Gonna Come - Ken Parker with Bobby Aitken & The Carib Beats C4. The Big Takeover - The Overtakers C5. I Am The Upsetter - Lee Perry C6. Musically - Keith Blake with Lynn Taitt Band Side Four D1. Lonely Heartaches - The Clarendonians with The Aubrey Adams All Stars D2. Napoleon Solo - Lynn Taitt & The Jets D3. Intensified - Desmond Dekker and The Aces D4. Hold Me Tight - Johnny Nash D5. Seeing Is Knowing - Stranger Cole & Gladdy with Lynn Taitt & The Jets D6. Darling Jeboza Macoo - Stranger Cole

TOTAL compilation series hardly needs an introduction: we rummage through the Kompakt releases to select our favorites from the past year that reflect our best and unsaid tracks, compiled and packaged as a cohesive whole.

For TOTAL 16, the 2xCD and digital track listing features 25 prominent cuts from artists such as THE FIELD, WEVAL, REX THE DOG, TERRANOVA, HUNTER/GAME, FRANKEY & SANDRINO, JOHN TEJADA, BLOND:ISH or PATRICE BÄUMEL.

On top, TOTAL 16 includes eight exclusive tracks which happen to make up the 2xLP vinyl track listing. What you have is a dynamic assortment and comprehensive profile of Kompakt's current label portfolio, including both newcomers and veteran producers in peak form.

Keeping up a good old TOTAL tradition, we also planted brandnew material from core artists and friends - check out exclusive tracks such as MICHAEL MAYER's aptly named ACTION, an absolutely rinsing acid cracker, or MATIAS AGUAYO's stellar KOMM, sitting comfortably among his best and most stirring work to date. Meanwhile, JÜRGEN PAAPE drops silky, atmospheric synth pads on EDEN and THE MODERNIST teams up with Hot Chip's JOE GODDARD for the pop-infused THE PRICE OF LOVE. Another highlight is the debut release from exciting newcomer LAKE TURNER: BEACON FIELDS is a misty- eyed, melancholic piece focussing on exquisite electronic textures and sweeping melodies.

As with previous TOTAL installments, we collect these exclusives on a separate 2xLP edition, but like to add a handful of cuts that can only be found on the vinyl version - for TOTAL 16, these include ALEX UNDER's LLAMAN A LA PUERTA, a densely layered, slow-paced synth jam that makes for a inspired detour from the propulsive, lean beats the Spanish producer has become known for. SWEET 100 present a masterfully crafted study in hypnotic minimalism on SIX, while VOIGT & VOIGT hark back to the pounding, sensual abrasiveness of early Auftrieb releases on DENKEN SIE LAUT, crossbred with the tongue-in-cheek gloom of the brothers' later, more psychedelic offerings.

The Kompakt favorites from the past year, compiled and packaged as a cohesive whole, with cuts from THE FIELD, THE ORB, COMA, BLOND:ISH, HUNTER/GAME, JOHN TEJADA, REX THE DOG, TERRANOVA and many more..

Features exclusive new tracks from MICHAEL MAYER, MATIAS AGUAYO, JÜRGEN PAAPE, THE MODERNIST, ALEX UNDER, SWEET 100, VOIGT & VOIGT and LAKE TURNER

The seminal 1994 double album by the original PAINKILLER line-up BILL LASWELL, JOHN ZORN and MICK HARRIS on vinyl for the first time! Avant-jazz, grindcore, dub and ambient melt into eerie tracks of haunting atmospheres.

When PAINKILLER started in 1991, their first two albums "Guts Of A Virgin" and "Buried Secrets" (both released on extreme metal label Earache) were heavy attacks blending grindcore and free jazz that brought together the musical backgrounds of the three protagonists: drummer MICK HARRIS had just left grindcore legend NAPALM DEATH, JOHN ZORN explored new extremities with his NAKED CITY project while BILL LASWELL had as a member of roaring free jazz quartet LAST EXIT ( PETER BRÖTZMANN / SONNY SHARROCK / RONALD SHANNON JACKSON) proven that he was not only a visionary producer but also an accomplished bassist. But it is their 1994 double album "Execution Ground" that remains the opus magnum of the brilliant trio: ZORN's unmistakable shrieking saxophone, HARRIS' pounding drums and LASWELL's growling sub-bass lines were given heavy mixing desk treatment, resulting in extended tracks that are no less intense than their early works but display the full range of the musicians' skills. Soaked with reverb and delay, avant-jazz, grindcore, dub and ambient melt into eerie tracks of haunting atmospheres - even more so in the ambient versions of disc 2. Mastered and cut by RASHAD BECKER at D&M Berlin, "Execution Ground" is now available on vinyl for the very first time as 2x 180gr LP incl. a download code and insert in a limited edition of 500 items.

Najem Sworb brings us the thirty-fifth edition of Wolfskuil Records adding the Strasbourg-based artist to it's roster. Previously releasing on labels such as Clone Basement Series, Technorama, Metis Recordings and the now defunct Ai Records, Najem Sworb has been transforming through various genres of techno since his debut release in 2007.

Rad.Velc EP brings us 4 original tracks playing upon the themes of house and techno. 'K-159' opens the EP with a fierce relentless bass and squeaky pads ending in a harmonic disarray while 'K-166' follows in a smiliar suit rather with a dub inspired rhythms. On the flipside, Najem Sworb switches up the vibe with 'K-abL' which illustrates the artists more house influences with mystical synth lines. However, 'K-177' demonstrates his knack for techno, delivering an explosive device fit for the dance floor. Together in all four tracks Najem Sworb shows his expertise in unique synth work providing a quirky cadence to his beats.

DJ FEEDBACK
early support from
Answer Code Request: Interesting stuff here!
Rødhåd: Downloading for listen.
Anthony Parasole: This is quite good!
Ben Sims: B2 doing it for me.
A.Mochi: A2 is for me!
Angel Molina: K-abL/K-177 as my fav track on here, especially the last one, killer one.
John Osborn: Really strong release - loving A2 & B1.
Isolated Lines: Very cool tracks! I really like A2 and B2. I'll play them.
Jeff Derringer: Sounds very nice! I'll try this in Detroit.
Phone: Love hypnotic tribal sound of K159.
Truncate: Solid tracks all around... but really digging that B1 track.
Orde Meikle: Great release.
Ekserd: Another excellent one on Wolfskuil. Super nice!
Echoplex: Fresh.
AWB: Long time fan of Laurent's work.
Invite: Another great ep on the label! Keep them coming!
Jeroen Search: Yes!
Blawan: Very nice ep! Full support.
Joseph Capriati: Downloading for Joseph Capriati.
Mr. Jones: Always a surprise what new sound Wolfskuil will bring.Like this funky and fresh EP.
Richie Hawtin: Downloaded for Richie Hawtin.
Marcel Heese: Killer!
Randomer: A side bangs.
Robert Lamart: Support.
Svreca: Feeling specially K-177.
Mosca: Love that K-166 synth!
Tensal: B2 is my pic here, nice stuff as usual in Wolfskuill.
Markus Suckut: 166 & 177.
Sinfol: Will try b2.
Ame: Thanks.

Trani has been representing the Detroit sound in Italy for some years now, with releases on Minimal Soul Recordings, as well as his own Pushmaster Discs (a label that has also hosted the likes of Ilario Alicante, Myles Sergé and Percyl). His latest outing will be his first full-length, an album inspired space travel, that continues to push Detroit sounds, as well as venturing into some jungle rhythms.

DJ FEEDBACK
early support from
Jeff Mills: I like the Alien Pattern Track!
Robert Hood: nice tracks from Mattia.
Dimi Angelis: Like this! Thanks!
Marcel Dettmann: Thanks.
Thomas Hessler / IMF: Nice one! Thank you!
Darko Esser aka Tripeo: Excellent album, right up my alley!
John Heckle: Thanks, some stuff I really like on here.
Marco Zenker: Sounds really dope! Thank you.
Jonas Kopp: Great stuff, will check carefully! Thanks.
Ben Sims: Plenty of great moments here, nice to hear some Detroit/real techno flavours on an album. Thanks!
Milton Bradley: Very nice tracks, 'Traffic 2 Traffic' is my fav.
Truncate: Downloading, thanks.
Donor: Really looking forward to giving this a good listen after download. Thanks.
Marcelus: Wow that's pretty... Very nice one, great tracks and the all thing makes sense, congratz!
Ben Gibson: Looking forward to having a proper listen to this.
Zadig: Really into electro stuff here, and 'Alien Pattern' is also great. Thanks.
Radio Slave: Great sounds here.

Incl. Trus'Me Remix! Early supported by Loco Dice, Ame, Marcell Dettmann, Ben Sims, Ben Ufo, Fred P, Dj Tennis, Reboot, DVS1, Kevin Saunderson, Marco Carola, Truncate, Osunlade & many more..
Abstract Theory is back with a great new EP from Italian bangers Dirty Channels in team with the talented Eternal Entropy, who built up two ghetto house inspired bombs. The package includes a solid techno-dub Remix from Prime Numbers boss TRUS'ME and a lovely deep version from Francesco Bonora & Marcello Arletti.
After music from Terrence Parker, Boo Williams, John Tejada, Tony Lionni, Mike Shannon and Vince Watson, with this new release Abstract Theory confirms to be one of the finest italian labels to watch this year.

You can call them a »supergroup«, but Moderat understands that it's the »group« aspect that makes them interesting.

Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) have been working together as a trio almost as long as their two separate projects have existed. We've seen their collaboration grow from »laptop boy-band,« (as Ring playfully puts it) in 2003—with computers synched using software Ring himself had written, because at the time, »there was just no live performance software around.«

Ring confesses that Moderat wasn't »really meant to be a recording act ,« with Bronsert agreeing that, »it was really just about fun.« This maybe explains the six-year break that followed Moderat's first EP before they finally returned in 2009 with their selftitled debut album. Intent on creating something that contrasted with their own projects, the group started the cycle which blossoms on their second album, aptly titled II, culminating now in the trilogy's completion, III. Whereas I was the combination of two separate entities, II brought the members closer together, and in III, the final chapter in the trilogy, Moderat sounds like one band.

Both Szary and Ring will tell you that Moderat moved progressively from making tracks towards a more traditional writing approach of making songs - a process more fully realized on III. That's partly why the vocals have become more prominent. Mostly, you hear Ring singing (there are no guests this time), as he so often does as Apparat, but listen closely to »Ghostmother« to hear Bronsert and Szary backing him up. Stepping out of their comfort zone is the kind of thing that helped create their interplay between pop and electronics; doing it right won them the Resident Advisor Best Live Act honor as early as 2009, and they continue to gain popularity while remaining independent and underground.

Szary describes the idea behind Moderat as, »imagin(ing) yourself sitting in the cinema and watching a movie with an incredible soundtrack.« This is true with Moderat in general, but III in particular pairs an emotional pull with sensual imagery, creating dynamic sound and depth with lyrics such as »the calming scent of lavender fills the air,« or »burning bridges light my way.« You'd have
to ask them whether they're intending to manipulate the listener in the same way that John Williams or Hans Zimmer might with traditional orchestras.

One of the best parts of Moderat is their use of electronics to achieve orchestral diversity. They update the songwriting tradition with an intriguing palette, borne of careful attention and skill, informed by their »experiences with sounds of nearly 25 years of suband club culture.«
Let's not forget that these three were brought together by Berlin's now legendary rave scene. With this as their common foundation as individuals, III signifies Moderat's maturation in modern pop — an achievement shared under their collective belt.

Bronsert explains that, »the new album isn't based on jams. We went into the studio and knew exactly what we needed to do.« This is reflected in the sophisticated themes explored in the music. Take »Ghostmother,« which ponders inner peace, acceptance, fear of the unknown and how facing that fear often reveals something not so scary. Or »Running,« which is about being part of a mass that constantly needs to move to function, but doesn't have the power to decide the direction of motion. Or how about the wisdom of »Reminder,« which recognizes the world for its flaws and our role we've each played in that, but choosing to act differently and light the way to something better.

Given that, it's a bit of an understatement when Bronsert says, »I'd say our music has definitely matured.« Successful in their own endeavors, now they've mastered the »group«. It doesn't mean the end of Moderat, but it does mean they'll have to find something else to excel in.

Mugwump's debut album, « Unspell » has recently
received serious accolades in the music press, from the
likes of Uncut, Mixmag & Mixmag Germany DJ Mag,
Nowness or The Fader to Les Inrockuptibles, Le Soir, De
Standaard or Metro and been dubbed as « Belgium's
underground answer to Daft Punk » by German
electronic bible, Groove magazine. After two singles and
remixes by Andrew Weatherall, Mark E & Jack Savidge,
Subfield are now launching a massive remix campaign with
the album's opener , « After They Fall » getting the remix
treatment by dance duos only. Mugwump old
acquaintances Tuff City Kids are man-of-the-moment
Gerd Janson (Running Back) paired with producer-of-the-
moment Lauer (Live At Robert Johnson), both delivering a
bonafide italofunk-house anthem (vinyl-only !). Runaway
are Mugwump's NYC buddies Jacques Renault (Let's
Play House) & Marcos Cabral (L.I.E.S), exceptionally
reuniting here for a big Mood2Swing revival moment,
recalling the pioneering duo at their hypnotic best. Eskimo
Twins stay faithful to the original while injecting some
London acid chug and that ALFOS flavor while Mugwump
finally rewrites his killer original with fellow partner DC
Salas into an arpeggiated disco-techno monster (digital-
only). All bases are duly covered with this summer
package. Early support by Andrew Weatherall, Sean
Johnston, D'Julz, Erol Alkan & Jamie Jones.

This is France in the Mitterrand years: fashions fleet as fast as governments. In the early eighties, the happy-go-lucky gather the nectar of each and every new release.
Believing in a bright future for videotex, and loosened up by the sexy talks broadcasted on the budding pirate radios, the new generation dreams of dance floors and holiday clubs. French Boogie, which preserves the spirit of these years of boodle and bunkum, is the ideal soundtrack to their dreams.

What the web now refers to as French Boogie is some synthetic funk reflecting the spirit of those days when nothing was impossible, or so it seemed. Its syncopated flow heralded the dawning of French rap. Often considered as some kind of post-disco, inspired as much by black music as by new wave, this carefree pop music with bawdy lyrics indulged in simple pleasures: holidays, swank and sun were recurrent themes. Totally in tune with its time, it incidentally glorified luxury, success, and a certain consumerism embodied, for instance, in Bernard Tapie.

In popular clubs such as La Main Bleue in Montreuil, or L'Echappatoire in Clichy-sous-Bois - where Micky Milan could be seen behind the decks - an enthusiastic audience discovered this new sonic wave, influenced as much by French pop as by Sugar Hill Gang or Kurtis Blow. The artists who first launched the movement engaged in it wholeheartedly, but as often the case with new music trends in France, humour and casualness quickly became a decoy to impose a new style. This explosive mixture, in which startling and typically Frenchy French lyrics go along New-York-style tunes, is sometimes reminiscent of the kinky comedies directed by Max Pécas or Claude Zidi. On this prolific scene, partly originating from the Jewish community, everybody was looking for success, trying to hit the jackpot with what was to hand. Famous media personalities, one-hit wonders or John Does in quest of fame, all had a go at French Boogie - more or less successfully. Apart from « Vacances j'oublie tout » by Elégance, « Un fait divers et rien de plus » by Le Club, or « Chacun fait ce qui lui plaît » by Chagrin d'amour (produced by Patrick Bruel), very few songs became hits: the story of funk in France is that of a half-baked robbery.

In this myriad of new musicians, the very young François Feldman and Phil Barney pioneered a fresh and hybrid style. Other well-known artists like Gérard Blanc from Martin Circus (Attaché Case), Richard de Bordeaux (Ich), or Jean-Pierre Massiera (Anisette, Pirate Scratch Band, Mandrake, Scratch Man...) added an eccentric touch to this sound-wave, making it often entertaining, and sometimes showy.

Capture d'écran 2015-10-26 à 12.55.43Singers like Agathe (the author of 'La Fourmi' and of the hit song 'Je ne veux pas rentrer chez moi seule') were far more than just window dressing. They even tried to give an ironic and subversive twist to this rather harmless genre. The very vindictive rebel Gérard Vincent shared in this spirit, but as a whole, French Boogie became associated with nonchalance and sauciness. Thus, Stéphane Collaro, Gérard Jugnot, Alain Gillot Pétré and other TV clowns would clumsily contribute to this French variation on funky sounds. In a few but intense years, French Boogie gave all the tips to party with style.

If some hits made it possible for the happy few to get a real house under truly exotic palm trees, the wave actually ebbed away very quickly, leaving quite a few musicians stranded on the shore. Whether they were sincerely motivated, or simply opportunistic, they had failed. In 1984, French Boogie was already breathless, and got merged with other genres: on the one hand, rap and breakdance adapted its flow to a more urban world, especially with Sydney's show, H.I.P.H.O.P, and Dee Nasty's broadcasts on Radio Nova; on the other, italo, new beat and house began to rule over dance floors, even more strongly asserting the will to develop music for clubs.

Squeezed in between the age of disco and that of modern electronic music, French Boogie was a transitional phase, but it remains an amazingly refreshing testimony to the intermingling of pop and underground cultures. The genre was hastily categorized as anecdotal in spite of its pioneering synthetic groove and matchless bass lines. An attentive ear will discover the poetry of the ephemeral beyond the eccentricities of the genre, as well as a certain unexpected avant-gardism. At the origin of major music trends, always cheerful and catchy, French Boogie is what you need to party.

The enigmatic Amara Touré from Guinée Conakry finally getting a well deserved compilation showcasing all of the 10 songs ever released between 1973 and 1980. Cuban influenced music of a different kind featuring amazing spaced-out guitar works!! Analog Africa compiles a complete collection of Amara Touré's Afro-Cuban compositions, originally released between 1973 and 1980."Lamento Cubana and Temedy are the two finest Afro-Cuban compositions ever recorded. As if they were played in a smokey, poorly lit ballroom where dark rum was sipped ever so slowly" - Vikram Sohonie - Ostinato Records
Analog Africa to release a compilation by Amara Toure, the enigmatic Afro-Cuban musician from Guinea-Conakry, showcasing all of the 10 songs he ever released between 1973 and 1980.
"Latin music, is it really foreign to us Africans I don't think so. Listen to the drums, to the rhythm. It all seems very close to us - it feels like it's our own culture," declared enigmatic singer Amara Toure. It is the late 50s, and Senegal is going crazy to the groove of Son Montuno and Patchanga. Brought to West Africa by Cuban sailors in the early 40s, these styles were immediately adopted by a flourishing music scene that did not hesitate to embrace the Caribbean sound, mixed it with their own Folklore, and, in the process, created something new. Through the unique cultural fusion of West African and Caribbean influences, Latin music took on a new and unique sound - the format was reinvented. Producer Ibra Kasseì and his Miami nightclub acted as the spearheads of this movement. They brought a breath of fresh air into Dakar's nightlife, further energising one of West Africa's most exciting cities. The demand for ballroom parties and live acts exploded, attracting numerous musicians from surrounding countries. One of the musicians who answered this call was percussionist and singer Amara Toureì, from Guinea-Conakry. Spotted by Kasseì while performing with Dexter Johnson, Toureì was asked if he would like to be part of a new project. Little did he know that this project would become a phenomenon.Immensely important for the development of Senegalese modern music, Le Star Band de Dakar, led by Mady Konate, became a sort of musical incubator and workshop, where many musicians learned and practiced their trade before moving on to become stars in their own right. Toureì's talent on percussion was undeniable, but it was his powerful and raw voice that captivated the producer. The fascinating way Toure interpreted Cuban music was unparalleled, and it was this feature that encouraged Kasse to recruit the unknown artist.
Although already brimming with incredible talent, Amara Toure's joining of Le Star Band de Dakar in 1958 began the band's meteoric rise to the top. The band quickly became Dakar's number one orchestra, and it cemented the reputation of the Miami nightclub as the hottest spot in the country. The place was packed nightly, and Dakar was boiling.
Amara Toure's Senegalese adventure lasted for ten years when he received an irrefutable offer and in 1968, joined by a few talented Senegalese musicians, headed to Cameroon and immediately formed the Black and White ensemble. Many live gigs later and it was time for the first songs to be recorded. A total of three singles were produced between 1973 and 1976. These singles, representing the first six songs on this compilation, fully epitomise and distill the essence of what Toureì had learned during his career. His Mandingue roots fused with the Senegalese sound that he had mastered - the perfect foundation for the Toureì's Cuban interpretations.
If Toure's intention was to create the most sensual music ever recorded in Africa, he might very well have reached this goal. The musicians on the recording sound like they are playing in a smokey, poorly lit juke joint, where dark rum was sipped ever so slowly, and the pulse of the music took up a life of its own. How many couples have danced, swayed, and melted together to the distinct sound of Amara Toure Nobody can say for sure ...
Amara Toureì's success poured across the borders of Cameroon, and in 1980 he went to Libreville, Gabon, to team up with the powerful Orchestre Massako. Toureì recorded an LP at that time which is hailed by many music aficionados as one of the very best African albums. The songs from that LP are the last four on this compilation. It took only ten songs for Amara Toureì to become a legend. These ten treasures, representing Toure ìs complete discography, have been carefully re-mastered from original session tapes and vinyl records, and will be released by Analog Africa on 22 June 2015. After the release of his LP in 1980, Toureì seems to have disappeared. Apparently he was last seen in Cameroon but it is unknown if he is still alive today. His music though is definitely alive.

hile it may seem as though it's been a quiet year in the studio for Brooklyn-based DJ/Producer Greg Schappert (aka Donor), his first full-length album entitled Against All on Chicago-based Prosthetic Pressings, will prove otherwise.

This 10-track release is a tour de force of formidable intensity and suspense and Donor wastes no time creating an ethereal realm right from the start. By taking a deep dive into a dystopian world full of distant transmission like voices, expressed through field recordings taken in and around New York City, Donor successfully paints a picture of what could be his unsettling vision of the future. While it may be difficult to explain how this album progresses throughout, there is something below the surface tying everything together, leaving us with a feeling of despair in that the world does not end how it is likely to be perceived through this beautiful or haunting, yet sophisticated, soundtrack. Alien invasions, civil war, post apocalyptic mayhem, call it what you will, Donor sets the stage for an unsettling vision of the not so distant future that can be heard in his thought provoking debut LP.

Donor's time spent overseas living in countries like Spain and Japan, his love for Birmingham Industrial Techno and early Dutch and Detroit Electro, combined with his upbringing on John Carpenter films, have all contributed to Donor creating his unique, yet recognizable sound.
Feedback:
Audio Injection / Droid Recordings
Yeah my boy Greg getting down! Great album!!
Leonard Posso / Thema
Hands down one of the best bodies of work to date from Greg aka Donor! SOLID PACKAGE! Many of these will get played throughout the night! Big Ups Donor and PP!
Vidal / Droid Recordings
nice sounds
Ergin Karabulut / FAZE Magazin
ok
DJ Nori / Posivision
cool dark essence.
Paul Clarke / Dj Mag
Not exactly heartwarming but lots of good stuff if you like it bleak.....
Mark EG / Core Magazine, Tilllate Magazine
IP Test
Nerk / V-Records / De:Bug
dark & minimal (in a good way)
Exberliner
!
Frank Hilpert / Freshguide (5x Regional A5 Mag) , Freshguide BLN, Freshguide MDL, erwischt.org/
Big - Review to follow.
Berlin Mitte Institut / Berlin Mitte Institut
More IDM than techno. Some interesting tracks on this album.
David Marcia / Phuturelabs, Phuturelabs
Good stuff. Considering for review and radio play.
Bleed / De:Bug
considering for review
Benoît Carretier / Tsugi
solid one tx
Pawel Gzyl / Nowamuzyk
killer1
Laurent Diouf / MCD magazine / WTM radio show
another wtm's playlist is coming soon...;)
Alland Byallo / Nightlight Music, Bad Animal, Pokerflat
Fantastic album. Deep, dark, nasty. Pure mood (and some seriously heavy BOOM).
Solomun
Hello, i am downloading and pre checking all promos for Solomun. I will give you a personal feedback if he plays and supports this release. Thanks a lot and have a great day.
Solenoid / Graphene / Belief System
wikked album of deep ritualistic techno ...
Electric Indigo
cool tracks here. station a14, ip test and own exile are my favorites after first listen. thank you!
Corin Arnold / BLN FM
sounding good, support!
RADIO CAMPUS BESANCON / THE VINYL GUERILLA
not really for me ... DJ Gaogao
Riyaz Khan / Diversions on chry105.5fm
like the shifting tensions and brooding atmospheres throughout!
Fabian Birke / WOMR College Radio / BLN.FM
For radio play, thanks
Andrew Grant (Circo Loco)
Own Excile is very good
Slam / Soma Records
cool album thanx
Sebastian Roya (Connaisseur)
Bomb! nice job!
Matthias Springer / Diametral / Chillkyway
great release, brainsqueezing!
DJ Hyperactive
good tune on here man
Patrick Bateman (Tic Tac Toe / Connect Four)
Hands On, Calling, Menace Is Mine & In Your Place are the ones for me. As always full quality from Donor!
Jonas Kopp / Curle, Deeply Rooted House
Will check properly , thanks.
HalfStereo
Dark moods is what i like...
Angel Molina ( Sonar / Tresor )
LOVE this dark & hypnotic release. Tracks like 'Menace Is Mine', 'Station A14', 'Counter' or 'Fault Is Found' are absolutely fantastic. thanks!!!
Scuba (Hotflush)
thanks. downloading for scuba!
Bryan Zentz / Minus / Thoughtless / Portlandia
I am miserably late on this—but really like it on quick listen. In Your Place and Us For Them are awesome. Looking forward to listening all the way through. Thanks!
Pär Grindvik / Little White Earbuds
thanks
Dr Hoffmann / Blind Spot
Great release, digging most of the tunes. thanks
Philip Downey / Swoon / pastlessonfuturetheories blog
Like Calling, IP Test, Us for Thenm, Fault, could try some on radio.
Tim Thaler / Bln.fm
downloading
Lukasz (Nermal) Napora / Audioriver Festival, Radio 4 Poland
great stuff. eager to listen to it from wavs
Vito Camaretta / Chain D.L.K
Interesting sonorities
Noah Pred / Thoughtless Music
Stark business worthy of a deeper listen.
2000 And One (100% Pure, Intacto) / 100% Pure
Oh yes perfect intermezzo stuff :)
Alexi Delano / AD ltd, Plus 8
Will have a proper listen.
Echologist (Steadfast) / Third Ear, Echocord
really liking this. fresh beats and trippy hypnotic vibes. look forward to spending time with this.
john1 / Bedrock
downloading
James Zabiela / Renaissance
In Your Place is nice in a bleak way.
Marcel Dettmann / MDR, Ostgut Ton
thx
Richie Hawtin / Minus, Richie Hawtin
downloaded for r hawtin
The Advent / Tresor
fantastic.. pure techno here.. Donor - Station A14 Donor - IP Test
Andrew Weatherhall / Rotters Golf Club
Downloading obo Andrew Weatherall
Noice Podcast Series
very nice Techno...
Samuli Kemppi / Prologue
Great album. Donor in top shape. Full support!
Lee Holman
Good album of deep dark sounds. Especially like Station A14. Thank you!
Benna Schneider / Harry Klein
some nice tunes here ,that I´ll play out surely
Douglas Fugazi / Medellinstyle
Yeah! Sounds really good. Thanks!
Plastic Lounge @ Freies Radio Freudenstadt
good tecno,playing
Kyle Geiger / Drumcode
Really like Space Station!
Paul Ritch
thx a lot for the promo
Dave Angel / Apollo, Rotation Records, Polydor/Love, OuterRythum, React Records, Island
Thanks! Will let you know if supporting.
Luciano Esse / Safari Electronique, Out-Er, Leftroom, Material Series
Great sounds, but I couldn't use them in set! Thanks anyway!
Arnaud Le Texier / Affin, Bass Culture, Cocoon, Children Of Tomorrow, Syncrophone.
Some inspiring tracks on this album! Thx
Henning Lösch / Radio Dreyeckland Freiburg
last exit Brooklyn...:-)
Roko (Sub.fm/B.O.M.B.)
OH shit this is good!!
Sigha / Immerse / Hotflush / Avian
loving this, many thanks
Jerzy Przezdziecki / Recognition Records, Boshke Beats Records
raw and mental. i like.
Alex Tolstey / Triangle Eyes/Boshke Beats Records
ho ho! review to follow
Alan Fitzpatrick
epic! love this.!

Reminiscent of a time where we were releasing 4-tracks sampler every month (remember the Secret Gems From The Vault) It is naturally that we thought about a various artists sampler in order to introduce the new wild bunch,

Julian M, is french and is taking over right now, releasing here his first track on Briquerouge, But the man is no beginner, having released on Catwash, Homecoming, Denote, to name but a few and of course recently on our own RZ Muzik, His music is deep, acid, techy and ready to please any crowd, Ange Siddhar is working for Laboratory Records and works with legendary artists such as Ron Carroll, Paul Johnson or Chris Count and now teams up with Illan Nicciani on several House project, They have a strong vinyl lovers community following their releases and just joined the label with 'The Show'

Jepe was one half of John Waynes who already release on Brique Rouge and is now one of the most respected producer from Portugal, Actually living in Berlin, he has released on Get Physical, Blossom Kollektiv or MuleMuziq, Jepe's tracks have a very high level of quality, True House Music,

And last but not least, our good friend from Switzerland, mr Salvatore Freda, With the machine-driven futurism of Detroit in his step, and the bounce of Chicago in his shadow, Salvatore Freda is a pure vinyl DJ from Lausanne, Switzerland. With a production career that began in 1997, Freda has built up an impressive discography over the years. His music has touched some of techno and house's most respected labels including Trapez, Music Man Records, Liebe Detail, Freerange, Area Remote, Push Communications, Dessous, Nightvision, and Cadenza.

Early Support:

Dubfire / Nacho Marco / Matthias Vogt / Tyree Cooper / Ame / Clive Henry / Renato Cohen / llorca / Blacksoul & many more

Driving weirdo techno, warm melodic acid and daring sound experiments - Killekill welcomes a new duo on board: SKEW & SATIRIST are Max Cooper and Gareth Williams who met in the Not- tingham, UK club scene in the early 00s, living together for a number of years, leading to an effec- tive collaboration.
Max learnt production from sitting and watching Gareth in the studio, Max helped show Gareth the way with his DJing. Both became successful in their solo projects, Max as a regular guest
on stages all over the world, Gareth starting a music technology business with partners such as Richie Hawtin, John Acquaviva or Daniel Miller.
Over the years the musical collaboration between the two friends has continued in the background and they've finally found the time to bring it to fruition and start this project for their darker, more extreme and twisted techno which has been lying dormant over the years.

Freestyle Records is immensely proud to announce the release of this new single from new signing Kalbata & Mixmonster - Prisoner In Love, which is taken from the forthcoming stunning album Congo Beat The Drum.


Kalbata & Mixmonster went into their home studio ago in Tel Aviv, Israel with the purpose of recording a 100% analogue dub album in the spirit of the late King Tubby and the early dancehall era of the late 70's and early 80's. A 16-track tape machine and an old analogue mixing desk were their main instruments, with musicians playing live all throughout the album.


A year after recording the instrumental backing tracks, they travelled to Kingston, Jamaica and started tracking down their favourite singers and deejays from days gone by. The stunning and totally authentic results evoke the heyday of Jamaican music - and on 'Prisoner In Love' legendary vocalist Little John, regarded by some as the first dancehall vocalist, hits just the right feel on this mellow, down tempo number. His voice floats alongside the ethereal piano and on the money drum patterns and deep bass lines perfectly.


On the flip - special guest Kutiman drives the CRB organ on this instrumental version excursion of Prisoner In Love - proper old school JA style!

The Appointment program was launched by Marieu, EMG, John Swing and Lucretio in the early 2010. They started to record coarse functional hardware compositions in the cursory sessions they were able to set up when all the four could summon in the same city. After a couple of seminal releases on LiveJam Records and an official remix made for Moodyman on Decks Reworx, they decided to start their own imprint, with bare handmade ink graphichs on thier white labels and with spare press information and media promotion. To celebrate their 10th release, they have decide to tell the world who they are cutting on vinyl their personal reinterpretation of a live session recorded at the Restoration heaquarters. From Lucretio's post-rave techno, to EMG shrinked deep-house, through Marieu's breakbeat-electro science to John Swing's overloaded hip-house, what you find on this 12 is a true dedication to the sonic quest.
Out at the end of February 2014. ONLY ON VINYL.

Lee Perry's time at WIRL Records, later to be renamed Dynamic Sounds Studios, was a very productive time
in his career. A run of great singles and the shaping of a new sound, the beginning of what we know today as
Reggae .
Lee Perry (b. Rainford Hugh Perry, 28 March 1936, Hanover,Jamaica) began his entry into the music business at
the age of 16.Moving up to Kingston Town and working around various Sound Systems, before finding
employment at Coxonne Dodd's Studio One set up, in the late 50's early 1960's. Perry started out as a record
scout, organising sessions and supervising auditions at Dodd's record shop on Orange Street. Helping to make
hits for Delroy Wilson ( 'Joe Liges','Spit In The Sky') and the Maytals, which would lead to his own vocal records
released through Studio One.The musical backing for which, came from legendary Studio One house band The
Skatalites. Another important relationship for Perry, his first recordings with Bob Marley came in the form of
the Wailers, also providing backing, alongside the Soulettes who featured Rita Marley. Cutting such tunes as
'Chicken Scratch' around 1965/1966. This tune was also to provide him with one of his future nicknames
'Scratch'. A dispute over credits and money saw Perry leave Studio One and work with various producers
including Clancy Eccles and J. J. Johnson, before arriving at the door of producer Joe Gibbs in 1967. Here he
would write songs and produce hits for artists such as, Errol Dunkley and the Pioneers. A tune cut during his
time with Gibbs, voiced a snipe at fellow employee Dodd, a trademark that would become an outlet for his
frustrations in the business.This particular tune 'The Upsetter' would also provide another moniker and a name
for his label 'Upsetter'. Again lack of musical credit and financial reward saw Perry move on this time to WIRL
(West Indies Records Limited) Records, working alongside manager Clifford Rae, who would provide studio
time and pay for pressings in return for helping to promote and distribute WIRL product, which Perry would
carry out on his trusted Honda 50 motorcycle around Kingston town.
This period at WIRL saw some inspired work from Perry. 'Run For Cover' was another musical blow to a
previous employer, Coxonne Dodd and featured the Sensations on backing vocals and Lynn Taitt's guitar
picking skills. 'People Funny Boy' was a massive hit for Perry going on to sell over 60,000 copies. Joe Gibbs
would be at the end of this musical attack. Perry had felt Joe Gibbs had turned his back on him, after he had
provided hits for groups like, The Pioneers amongst others. The song would be one of the first records to
feature a New Beat (Reggae) inspired by the sounds coming out of a Pocomania Church, Perry had heard one
night.The congregation inside, wailed in a more slower way than the current musical style of the time Ska!. Perry
worked up this new style with Clancy Eccles, who would come under attack himself in 'You Crummy'. Their
closeness, which as detailed in that song would find them, 'Even shared the same Gal' but 'Now it's plain to see we
reached the end'. 'Set Them Free' was an answer record to Prince Buster's 'Judge Dread' (which had
featured Perry on it) a plea to the Judges in Jamaica that handed out extremely harsh sentences to the young
offenders of the time. The track was cut on the same rhythm as 'Run For Cover' . 'Django Shoots First'
inspired by the Spaghetti Western film of the same name, features Sir Lord Comic. One of the early DJ's who
used a jive talking style over rhythms. 'Night Doctor' was a hit instrumental that featured the organ talents
of Ansel Collins, that really push the tune along. 'Something You Got' was a cover of an USA R& B track by
Chris Kenner and 'Wind Up Girl' was cut at the same session. 'Water Pump' was a rude style track that
was cut later and originally released in 1974.As was 'People Sokup Boy' a later version of 'People Funny Boy'.
'Labrish' which means idol talk and gossip, was one of the first great talk over tunes that features Lee Perry
and producer Bunny 'Striker' Lee talking about the Political situation in Jamaica at the time and their own
financial situation and stories of various comrades.The track was originally released in 1973.
Bunny Lee would play a major part in lee Perry's career around this time and they were very close, often
sharing sessions and rhythms. Ironically it would be Bunny Lee that took over Perry's roll at WIRL and become
responsible for the labels products in years to come. Clifford Rae who give control to Bunny for a lot of the
WIRL product and even gave him his shop 101 Orange Street. So here we have a collection of music born out
of a time spent at WIRL Records and providing an important chapter in Lee Perry's career and indeed to the
story of Reggae itself.
Hope you enjoy the set.

Alex Niggemann's 2012-defining long player 'Paranoid Funk' dropped in June to a rapturous response from DJs, dancers and home listeners alike. Here, Poker Flat Recordings revisits some of the exceptional highlights of that record, and deliver a remix package sure to be as equally sought-after by those in the know. 'Paranoid Funk' saw the Berlin resident explore a variety of grooves and textures, an experiment that won him many new admirers and a great deal of critical acclaim. Here, some of the hottest remix talent in the scene get their hands on the originals and twist them into new shapes. Following on from releases on Cocoon, Kling Klong, Circle and two strong EPs on Poker Flat ("Dinosaurs' and 'This") renowned producers Alex Flatner and LOPAZZ take on 'Don't Wait' and drop a growling, main room monster that will standout in any set. Francys, the young Italian making quiet a name for himself on the underground house and techno circuit, lends his skills to 'Back 2 Basics feat. Benji' - channeling the spirit of the early 90s into seven ecstatic minutes. Next up is Salvatore Freda - the highly respected Swiss DJ and producer who injects Niggemann's 'I Don't Care' with a narcotic groove that sits somewhere between Detroit and Berlin - the dubbed out vocals adding an element of otherworldliness that work in perfect compliment to the track's twisted (paranoid) funk. Berlin's own Andre Lodemann picks out 'Lovers' for his excursion, a deep bomb that grows and grows around an exceptional vocal from John Rydell - this is one for the very late nights or early mornings. What is clear from this release is that Alex Niggemann's star continues to rise - the classical pianist turned producer and DJ extraordinaire is moving on to the next phase of his career - and with the slew of outstanding releases to his name already, who is to say where that could lead. Tracklist:

RAWAX IS PROUD TO WELCOME MR. K-ALEXI SHELBY TO THE FAMILY!
Mr. K Alexi Shelby
Like a moth drawn to a flame, there is something utterly infectious about the music of Mr.K Alexi Shelby, better known as K-Alexi one of the founding fathers of house music direct from his home city of Chicago. Since the late 1980s, he has pioneered the true house sound, leading to a DH and production career spanning over 20 years, including collaborations with artists ranging from The Pet Shop Boys to Derrick May and from Larry Heard and Felix da Housecat to Will Smith, as well as gigs across the globe.
An impressionable young teenager, Mr.K Alexi Shelby developed friendships with Frankie Knuckles and Ron Hardy whilst attending seminal venues like The Warehouse and The Music Box in the mid 1980s. Being here at this embryonic stage of dance music culture, there were no rules or precedents, so K Alexi drew on a rich musical heritage that had seen him grow up in the 70s and 80s listening to Stevie Wonder, Prince, Curtis Mayfield and David Huff. Those roots continue to influence his music to this day.
It was under the moniker Risque III that Essence Of A Dream was released in 1987, firmly establishing the name of Mr.K Alexi Shelby amongst the most prominent of all house producers at the time. Moreover, those early tracks are still recognized to be the quintessential Chicago house sound. The rumbling and dark bass, smooth strings, incredible percussion and the spoken word poetic and erotic lyrical flow became the trademark for classic Chicago house and the template for everything else that followed. To reiterate, there was no template before this. This was the beginning.
This initial success has lead to Mr.K Alexi Shelby working with the leading names across the electronic music world and beyond. Collaborations and remixes for Chicago peers like Mike Dunn, Mr. Lee and Marshall Jefferson merely served as the springboard for Alexi to work with the best in the electronic scene, from Derrick May to Paul Johnson ,Ron Trent Dave Angel to Felix ad House Kat. Furthermore, his talents have also lead to him working with The Pet Shop Boys and Will Smith.
On top of this, his tracks have appeared on compilations by artists varying from Laurent Garnier to DJ Hell, who used It's Me 2010 contribution to the Body Language series for Get Physical Music. Produced under the Club M.C.M. moniker, the 1991 EP It's Me/Club M.C.M. has been a frequent selection for compilations for 20 years and is rightly regarded as a true underground techno classic.

Recent Songs is the sixth studio album by Leonard Cohen, released in 1979. It was a return to Cohen's acoustic folk music after the Phil Spector experimentation of Death of a Ladies' Man, (MOVLP476) but now with many jazz and Oriental influences. The album includes Gypsy violin player Raffi Hakopian, and even a Mexican Mariachi band. Long-time Cohen collaborator Jennifer Warnes prominently appears in vocal tracks. Members of the band Passenger played on four of the songs and Garth Hudson of The Band also appeared on the album. 'Came So Far for Beauty" seems to be an unaltered outtake from the unfinished 1975 album Songs for Rebecca , which also included early versions of "The Traitor" and "The Smokey Life" (then with music by John Lissauer)."Ballad of the Absent Mare"'s metaphoric lyrics are based on the twelfth-century Ten Bulls (or Ten Ox-herding Pictures). The song is covered by several artists, notably Emmylou Harris on the album Cowgirl's Prayer (as "Ballad of a Runaway Horse"). This album comes with a lyric sheet.

Kenny Gino and Big Mike a.k.a. the Solid Gold Playaz both started playing records in the late 70's/early 80's. Having family from Chicago, who were DJ's and down with some of the big guys at the time, "heavily influenced our music and production styles" both say. "Living so close to the city, we could go down to all the legendary night spots. The Rainbow and the Warehouse, the Box, the Shelter... places where you could just feel the vibe. And you could hear guys like Farley Funkin' Keith, Ron Hardy, and Jammin' Gerald (the Chicago DJ/producer who is Kenny's cousin) play these incredible records". They both were hooked on the house sound, and would bring it back to their home, a small city named Racine, Wisconsin, located about an hour and half north of Chicago. They continued to develop their DJ and production skills into the 90's, but musically, weren't taking things very seriously until they met Chicago producer Louis Bell. He introduced them to many of the people who were building the mid-90's Chicago sound. "Louis gave us access... access to places we hadn't been before. He took us into the offices of Cajual/Relief Records and Underground Construction, and suddenly we were face to face with guys who were doing what we wanted to do... Cajmere, Paul Johnson, Glenn Underground... showing us that we could do this too. We did a few releases just to get our name out, and soon we had some pretty big named DJ's playing our music. We had DJ's actually looking for our records, and telling us how much they liked our sounds... that just blew us away, especially with very little promotion and in the limited numbers we were pressing... our music just started to build a name for itself."