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Nigeria's Kingsley Bucknor's 'Just U and Me' LP gets the long-awaited reissue treatment from Melbourne's Left Ear Records. After cutting his teeth playing with Fela in the 70's and releasing two afrobeat LP's Kingsley travelled the globe before finding himself in London, it's here that he laid down 6 distinctive electro-funk tunes inspired by African rhythms and music he'd heard through his travels in the States and in Europe. Originally issued on Kinglsley's own KAB records in '85 and according to Kingsley the release was well received at the time, but due to constraints of international marketing the record remained mostly unknown outside of his homeland. Fast-forward to 2017 and the stage is set for a new global audience to appreciate the distinct sound of KB.

It's just over 3 years since we launched the Africa Seven label in Paris and London. Our first release back then (Airways One) is still our best seller and had to be repressed 4 times so far. Forty or so releases later it is time to take to the clouds again. Being the unimaginative bunch we are, the fourth installment of our African sky filled musical cornucopia is called African Airways Four (Disco Funk Touchdown - 1976 - 1983). This time around all tunes have the Disco flavour. As ever it's all about the music... the skies are wide and funky and the air is filled with musical goodness. Your flight is about to leave.

Your flight opens with a punchy disco funk assault from Paris based Cameroonian Tala AM. Here with his drive bass and guitar funk riff 1981 stomper "Get Up Tchmassi". Next up and staying with the Cameroonian connection is Eko with "Bowaa Mba Ngebe". The lyrics talk of accomplishing the things in life for your family and yourself. The sweeping strings and gloriously uplifting music matching the sentiments of the words perfectly. Uta Bella began singing in the 60's and by the time disco hit in the 70's she was already established a singer in her native Cameroon, here the locked on groove of "Nassa Nassa" is a perfect snapshot of the sound and the African disco times.

Charly Kingson (cousin of Manu Dibango) is next with his "Nimele Bolo". Recorded in Germany with the cream of Munich's session musicians the bass synth is out in force on this one. Punchy brass, rock solid grooves and jazzy Rhodes add all the right ingredients for a fine disco synth excursion. Next is the musical heavyweight from Cameroon cousin Manu with his 1978 Disco, jazz funk masterpiece "Sun Explosion".

Side two opens with a blast of Elvis Kemayo and his piano and guitar funk bomb "Biram". Next Momo Joseph gives us "Africain". Best known in France as an actor, this disco funk groover was released on his self pressed LP "War For Ground" in 1983. A true gem indeed. Nigerian, ex Funkees member Jake Sollo is next with "Tinni Yanana". Recorded in the UK in 83 its slick and smooth with a hint of "at the car wash" groove. Pierre Didy Tchakounte follows on with his soul funk 'golden years' style groover "Soul Magabe". Produced by one of our favourite Parisian producers Slim Pezin. We close off our journey with the tribal chant disco-funk special from the Monstars "Funny Saga".

Ladies and Gentleman, we have landed at your destination, please remain seated until the aircraft has reached the terminal. We look forward to welcoming you aboard Africa Airways again soon.

The Remixs:
Pointsman - we dont know who he is but he provide a deep big room monster.
Tripmastaz - Probably the only funky Russian you will ever meet. The only Russian artist with releases on Cocoon, Minus, Desolat, Cadenza. The only Russian artist with 4 vinyl labels. Hes funky housey remix is the most faithful of the four.
bpmf - Schmer label head provides a grimey and noisey big bottom Soviet style jam.
Steve Stoll - NYC Acid legend made a hard banging acid tracer.

In 1996 Serotonin label heads Selway and Szostek went to Moscow to perform at the invitation of Magazine. Synapse performed at the Waterclub' and met the legendary DJ Compass Vrubell. They went to his studio' where he had perfected the art of making entire tracks out patterns on the Yamaha DX-5. Szostek brought a DAT of these jams back to NYC and Schmer-003 DJ RX-5 A Taste for Crap' was released as a small run white label in 97. The run sold out and disappeared to be forgotten forever...

Until 2016 Szostek casually mentions its existence to Techno Uber-Nerd Nina Kraviz who just had to have it for her Fabric 91' CD. So DJ RX-5 was back from the ash heap of history and Schmer got a NEW release from him on Schmer07.

Then Schmer got the word out far and wide that they'd like a remix EP for two of the originals: Compass provided stems because like a miracle he still had the patterns after 20 years. Heeding the call were Pointsman, Tripmastaz, Steve Stoll and Schmer's own BPMF. So this is what you get: A Taste for Remix'. It will leave your lips wanting more, for sure!

* Back with the heat, Chicago native DJ Jana Rush kicks off Objects Limited's 2017 with her debut album 'Pariah'. Jana Rush received attention for her mind-bending drum acrobatics on last year's 'MPC 7635' EP also released by Objects Ltd. Jana started djing aged just 13, releasing her first record on Dance Mania back in 1996 but having a hiatus from music between 2000 to 2013. With 'Pariah' she has created an album rooted in Chicago's footwork sound, but with a myriad of influences, such as jungle, acid, soul, jazz and house, developing her sound on from 'MPC 7635'. By popular demand from a kickstarter, now on vinyl!


* We kick off with 'Midline Shift' whose breathy, clipped erotic vocals intertwine with a pulsing bass and dry 808 rims creating a shimmering robotic effect. Moving on, the frantic 'Beat Maze' confuses the mind with white noise rushes and interlocking snares. Changing the scene, 'Divine' is sweetly soporific and charming, a beautiful, almost eerie track. The pace picks right back up with ' ', whose warbling jazz clarinets cut into a juke bounce. The stripped back beats of 'Break It' give one room to breathe before the croaking bass and distorted acid of 'No Fuks Given'. 'Old Skool' is exactly what you'd expect, its sample syncopated around a feverish rhythm throughout. Both 'Rapid Fire' and 'Acid Tech 2' are bangers, hitting you deep in that sweet spot. Jana brings it back down with 'CPU''s computer noises and sub bass hits. 'Chill Mode' gives time for reflection after all that fire, but its no ambient track, theres still that Chi-Town vibe. We finish with 'Frenetic Snare' whose Amen breaks will have Brits thinking of jungle, but it's a different beast altogether.

There is no end to composer Peter Broderick's creative output, and so we present to you his new album titled All Together Again — available worldwide on November 17th 2017 via Erased Tapes.They say music takes you on a journey, and this collection of commissioned work by Peter quite literally does that. From a ferry boat ride in Istanbul, to walking down the aisle at a wedding, these songs were created for particular situations, yet Peter found a way to work without any sort of limitations and on his own erms. The result is an assortment of works from the past ten years, coming together as one: Peter's new album. Words from Peter, October 2017: Ever since I started releasing records in 2007 (10 years ago now!), people have contacted me periodically to ask if I'd be interested in making music to accompany their projects. Most of these projects have been things like films, dance pieces and theatre plays . . . but every so often I get the odd request for something a little different. Peter, would you write a song for my wedding My one year anniversary A ferry boat ride
In early 2015 I was asked to perform 12 minutes of music during a runway show as part of New York Fashion Week. I agreed and began composing a 12-minute piece which I could perform on my own with a few different instruments and some looping pedals. I made a recording of the piece and sent it over to my contacts at the fashion show . . . but a few days before I was to fly out to New York, they wrote back and told me they actually just wanted me to play a few older songs that they were already familiar with. Feeling slightly disappointed, I shelved the other piece, giving it the title If I Were A Runway Model.It is with great pleasure that I now present this piece in a collection of commissioned works spanning the last decade . . . it's All Together Again. This group of oddball works does indeed include a couple pieces written for weddings (Our Future In Wedlock and The Walk), and a song someone asked me to write as a gift for his wife on their first year wedding anniversary (Emily). And indeed, there's a 17-minute piece written to accompany a ferry boat ride in Istanbul (A Ride On The Bosphorus). A few of the pieces were written for films (Robbie's Song, Atlantic and Seeing Things), and one for a kind of interactive installation (Unsung Heroes).In my early days of recording, I took pride in playing all the different instruments myself and doing the recording myself as well. And then at some point I started branching out, working with other musicians and recording engineers. But this record is very dear to me in that it's a return to that original approach . . . playing all the different instruments myself, working with my limits on each one, and my own limits in recording and mixing. I've always held a broad curiosity for all different instruments and all different styles of music, and if nothing else I hope this record will portray that curiosity, and my pure love for this thing we call music. Can you dig it The cover art was made by Peter himself in his hometown of Portland, Oregon, by cutting and sticking different coloured paper fragments to depict the individuality of each track.

After two hip-hop albums (Got To Get Down in 2016 and Impact in 2017), the unpredictable Afro Latin Vintage Orchestra comes back to its fundamentals with a new instrumental album:
MORPHEUS which repositions the band in the spirit of their previous spatial, almost cosmic albums Last Odyssey (2012) and Pulsion (2015), both released on Ubiquity Records and acclaimed by spiritual and fusion jazz lovers, library music fans, as well as rare grooves diggers (ALVO's first 4 vinyl albums now being out of stock).
Each new ALVO new release is a millesimal which evolved and learned from its predecessors.
Masta Conga, who's still leading the herd, has for main purpose to explore the musical space-time, gaining ground on never before revealed tracks, followed by his now faithful team of atypical and
farseeing musicians.
Compared to Miles Davis and his On The Corner by Wax Poetics, the band dives again in this realm of psychedelia and beyond', in particular with the contribution of Indian musicians. Twirling
around violins, superimposed patchy keyboards and effects, just as if their conductor wasn't already sufficiently influenced by Pierre Boulez and others such as Hiroshi Murakami... The result is however more uncluttered and loaded with multiple vibes than its predecessor Pulsion, which already carried the ceremonial characteristics of cult movie soundtracks. Tracks Moksha',
Air' and Morpheus' are the perfect demonstration, and far beyond their names. Simple grooves, lunar, but terribly efficient, emphasized by a mix that puts focus on these fiddly contributions of ethnic instruments, on percussions and horns on a drip of delay, reverbs and other space-echoes.
On the other side, the very rhythmic Descarga Uno', Descarga Dos' and Super Dopamine' show that the Parisian crew hasn't lost its good habit to look around latin, ternary, and syncopated
rhythms, in the ALVO only style! A new millésime, a Grand Cru maybe, but for sure to taste and appreciate in all weathers including space ones.

- This four LP box set features some of the best studio recordings by Bill Wyman's Rhythm Kings, the ten-piece band that Bill
put together after leaving the Rolling Stones in 1992. Whilst the band features guest appearances by all-star musicians (including
Mick Taylor, Eric Clapton, Chris Rea, George Harrison,Gary Brooker and Peter Frampton on these recordings), it has an all-
star core line-up that features Georgie Fame, Beverley Skeete, Albert Lee, Terry Taylor and Bill Wyman himself of course.
- For this compilation, Bill Wyman has chosen forty three tracks that showcase the fantastic lead vocals of both Beverley
Skeete, perhaps the UK's busiest session singer, and Georgie Fame, a star (and legend) in his own right since 1964 of course.
- Each singer has two LPs: Georgie's features his renditions of songs by the likes of J.J. Cale, Mose Allison, Dan Hicks, and Bill
Wyman & Terry Taylor, while Beverley's features her take on songs by Nellie Lutcher, Screamin' Jay Hawkins, J.B. Lenoir and
The Rascals.
- This box set marks the first appearance of any Rhythm Kings recordings on vinyl. The four LPs are housed in an attractive rigid
outer slipcase and the inner sleeves feature all themusician credits.

2023 Repress

This the first time this title has been available on vinyl . At the risk of further labouring a rather obvious point, with Thank God for Mental Illness, their third collection of absolutely stunning music in 1996, the Brian Jonestown Massacre parallels the prolific and effortless brilliance of the Rolling Stones at their fevered late-1960s peak, the sheer scope of their achievements is stunning — rarely are bands quite so productive, or quite so consistently amazing. Thank God is the BJM's down-and-dirty country-blues outing, all 12-odd tracks supposedly recorded on a single July day at a cost of just $17.36 .The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT and Tee Pee. BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club.Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase - the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.

Legendary James Brown's protégée Martha High teams up with mighty Japanese Osaka Monaural to pay homage to "JB's Funky Divas" in her new album "Tribute to My Soul Sisters".

Original Funky Diva Martha High has been an integral part of James Brown's life and career for more than 30 years. She was his backing vocalist, hair stylist, payroll master and his always loyal and reliable confidant.

The idea for this project was hatched back in 2014, when Martha was visiting producer DJ Pari, head honcho of the Soulpower organization and manager of soul legends like The Impressions, Lyn Collins and Marva Whitney. While reminiscing about tours with her fellow James Brown veterans, Martha felt that a tribute to the great soul sisters of the JB Revue, better known as "James Brown's Original Funky Divas," was very much needed.

"I looked up to these ladies of soul," says Martha, "Given the opportunity and the pleasure to perform their songs, is my way of saying: thank you, you're not forgotten. To record the music of the Funky Divas, would mean a lot to Mr. Brown. He always wanted the world to know he had powerful women on stage that could hold his crowd while he was off the stage. They were just as powerful and funky as he was."

Without further ado, following DJ Pari's advice, Martha partnered up in Tokyo with one of the hottest names of the new funk renaissance: Japan's Osaka Monaurail. Deeply influenced by the work of James Brown, Bobby Byrd, Curtis Mayfield and with nine albums under their belt, Osaka Monaurail have been leading the international funk scene for more than two decades, appearing at festivals such as Montreal Jazz Festival, North Sea Jazz Festival and Womad's, as well as recording and touring with funk legends like Marva Whitney and Fred Wesley.

This unique collaboration gives new life to 13 soulful pearls, masterfully interpreted as only an Original Funky Diva can do. To name a few: "Think (About It)", made famous by the female preacher Lyn Collins, "Mama's Got a Bag of Her Own", Anna King's answer to Brown's "Papa's Got a Brand New Bag," "This Is My Story", of which Martha recorded the original version with The Jewels, and the soul classic "Answer to Mother Popcorn" by Vicki Anderson.

Born in Victoria, Virginia, and discovered by rock 'n roll pioneer Bo Diddley, Martha started her career with the soulful, legendary doo-wop group The Four Jewels, with whom she scored the national hit "Opportunity" in 1964. Soon, The Jewels caught the attention of James Brown and joined the James Brown Revue in 1966. The Godfather of Soul recorded and released several songs featuring The Jewels until the group disbanded. Nevertheless, Martha stayed with James Brown and continued to work with him as his personal vocalist for 32 years. She was with him at the Boston Garden during the iconic 1968 gig after Martin Luther King's assassination. She was by his side when he performed at renowned "Rumble in The Jungle" event in Zaire. Mr. Brown produced several of Martha's singles on his own People label such as "Georgy Girl", "Try Me" and "Summertime." Meanwhile Martha launched her solo career in 1979 with the self-titled debut LP for Salsoul Records. Since, she has released five albums under her name and, being one of the "hardest working women in show business", she became one of the leading singers of saxophonist Maceo Parker's legendary funky music machine, working with him for 16 years.

Throughout her career Martha has shared stages worldwide with iconic artists like Little Richard, Jerry Lee Lewis, The Temptations, Aretha Franklin, B.B. King, Stevie Wonder, Prince, Michael Jackson and George Clinton. Martha has been carrying the torch of soul music for her whole life, like a true soul sister. Now, with this new effort, she is keeping the music of the Funky Divas going, and we are sure that the Godfather of Soul and her faithful audience would appreciate it.

In 2017, the musical term electronic' is nearly obsolete given the ubiquity of computerized processes in producing music. Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment. Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn't be further from the truth, and that more often than not, rich worlds of synthesized
sound are born from deep reverence of the natural world. Smith (who by no coincidence, cites naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on
The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.
The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across four sides of a double LP.
The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana. Smith's music has always woven a youthful thread befitting of the
aforementioned subject. Here she articulates it in signature fashion on the track An Intention,' which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith's watermark. The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness. The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith's ambition to broach subtler and deeper subjects than the average composer. This side offers up another highlight in the form of In The World But Not Of The World' which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse.

Side three emphasizes a feeling of being confirmed enough in one's own identity to begin giving back to the formative forces of one's upbringing, which is arguably the duty that all great artists
aim to fulfill. This side ends with the exploratory album cut Who I Am & Why I Am Where I Am' recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble
piece of sound design serves as a contrast to side four's verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself. This final side represents a
return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On To Feel Your Best' this concept is voiced in the bittersweet refrain one day I'll wake up
and you won't be there' which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the
listener, and both interpretations are equally moving.
Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners,
and here she represents her kind proudly. The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar
gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here.

Alan Watts, another logical inspiration of Smith's, once expounded that people record themselves to confirm their own existence, and as such, echoes and resonance are reminders that we are alive. You're not there unless you're recorded,' Watts muses, if you shout, and it doesn't come back and echo, it didn't happen.' The Kid speaks to this idea directly. As Kaitlyn Aurelia
Smith explores her existence through music, she guides us in gleefully contemplating our own.

Following a run of local transmissions from A Sagittariun, Crump, Rob Smith and Atki2, Idle Hands turns its attention to Berlin and the straight-up, no-nonsense techno thrust of Johanna Knutsson and Hans Berg. Both respected artists and DJs in their own right, the pair have been turning out 12"s together for The Free Spirit Society, Klasse and Crime City Disco over the past few years, but most importantly they've been steering the excellent UFO Station Recordings as a vessel for their punchy, primal techno tracks.

The sound on this EP taps into the pure form of stern, dark dancefloor tackle favoured at Idle Hands - no extraneous filler, plenty of space in the mix, but equally built with warmth and personality rather than monochrome functionality. If you need further proof, just look to the fact the EP is named after a Swedish soap opera from the 90s.

The bleeps and bass tones that pulse through "Taggen" are so finely crafted they need not skip and dance around the arrangement. The melodic interplay on "Klimax" is subtle but ultimately uplifting and optimistic where so much techno concerns itself with oppressive gloom. "Bimbo" finds the pair embracing a more psychedelic approach, but even here the modulating effects processes are kept within certain boundaries so as to not dilute the impact on the floor. After all, this is music to dance to, to be felt over a large system (where possible).


Moving from leftfield bass excursions to minimalist 2-step, UK techno and now onto this much more continental sound, theMälarviken EP continues to widen the range of Idle Hands' musical tastes without losing sight of the complete picture.

On Loop marks it's third year with the Volume 3 compilation curated by Moxie, due for release this Autumn. Sampler 1 of 2 provides 4 tracks from the main compilation, featuring exclusive productions from Shanti Celeste, Traxxploitation, Benedikt and Admin. Compiled of music from artists she continues to support on her bi-weekly NTS show, Moxie's selection know-how is apparent throughout. Opening up sampler 3.1 is Bristol DJ Shanti Celeste, kicking off the compilation with deep bongo cut 'Moved', followed by Traxxploitation's exploration of jazzy chicago house in 'Honey Pot'. On the flip, Benedikt switches things up with high-octane track 'Mnemonic', before Admin winds things down with dreamy percussive number 'Space Cadet'. With 2016's Volume 2 gathering support from names like Gilles Peterson, Benji B and Annie Mac - this year's release is set to meet a similar reception. In addition to Moxie's label, the On Loop party series has just celebrated it's 1st birthday with Kornel Kovacs and LK at On Loop's London home The Pickle Factory. The On Loop family has been growing all year, with Moxie inviting guests like Avalon Emerson, Damiano von Erckert, Alexander Nut and many many more, to over 20 parties at venues like Manchester's Soup Kitchen, Edinburgh's Sneaky Pete's and Lyon's Le Sucre. With more parties to be announced this year, an ADE showcase lined up, and a festival stage curation under her belt - Moxie's On Loop imprint is set to continue on it's upward trajectory.

2022 Repress

HQ Gatefold, 3x12 140g Vinyl, black innersleeve, download code
EXTRAWELT are back! Although in fairness, they were never gone. On the contrary, since their first release on James Holden's Border Community Label dropped in 2005, Arne Schaffhausen and Wayan Raabe have been responsible for a plethora of classics including "Schöne Neue Extrawelt" and "In Aufruhr", their two seminal albums on Cocoon Recordings. The duo are one of the most booked live acts worldwide, commanding a huge fan base. Their performances are the stuff of legend, making them the absolute highlight at every club and festival they play. So it's with great pride and respect, that we can announce the release of Extrawelt's third album for Cocoon Recordings. "Fear Of An Extra Planet" completes the Cocoon trilogy and the excitement growing among their fans represents a new high in the history of EXTRAWELT!
Musically, of course, there's enormous pressure on EXTRAWELT to deliver, but this is dismissed with a playful disregard and they are clearly focused on the job in hand. The album title "Fear Of An Extra Planet" sounds cinematic, like some art-house science fiction film, without giving too much away.
However, from the first seconds of the opening track "Superposition", the album title makes 100% sense and sets the scene for the rest of the trip. We are immersed in wide open spaces and invited to explore dark and dusky worlds that transport us back to their Border Community years. Timeless and elegant, "Superposition" perfectly captures the epic, dream like quality that made James Holden's label so influential.
New Release Information Second up, "Gott ist Schrott" takes a much more minimalist approach with its retro 80s drum programming, monster bass lurking in the breaks and playful Rhodes/synth riffs that span the divide between early German techno and deep Detroit electro with a distinctive film soundtrack aesthetic. "Oddification" continues this theme, adding extra spice reminiscent of the techno-synth vibe of Detroit with a punchy, almost Prodigy-style breakbeat complete with shredded vocal samples that gives us a taste of what's in store. "Gentle Venom" then takes the breakbeat motif to the next stage. The main focus here is the classy sprinter of a bassline, peppered with a flurry of intricate and subtle effects and modulations, that immediately trigger an intense, movie-like 'in pursuit' feeling.
With - Das Grosse Flimmern" we cautiously approach the album's high point. It's still in keeping with the soundtrack aesthetics, but faster and with more urgency. Almost hypnotically, Extrawelt invade us with an energy and impetus that always radiates from their music. Next in line is "Silly Idol" and here Arne Schaffhausen and Wayan Raabe opt again for a more minimal tack, focusing even more intensely on the dance floor to reveal a pulsing, twisted heart to the album.
"Punch The Dragon" is the hidden gem of the collection, utilising and melting together the most bombastic and playful elements. This one is totally off the hook, a sensory overload in an acoustic widescreen format! Then we have the title track "Fear Of An Extra Planet" which perfectly sums up the album concept. It opens up like a film score, with minimal passages following dark sequences that morph into dreamy melodies, all grounded by cool, constantly alternating analogue drum patterns. If you're not listening closely, you might get the impression that three or four different titles are mixed together; such is the effortless flow of the album.
As we near our destination, "The Friendly Coroner" really does honour its name. The morbid charm of the title is captured by a fluid bassline and melodic arrangements that border on the absurd, until the funky drum beat finally drops. In our mind's eye we see a cheerful medical doctor removing his bloody gloves, hanging his smock in the closet and vibing out in his neon drenched workspace. And there we sit, glued to our cinema seat, submerged in the different textures EXTRAWELT have conjured up on "Fear Of An Extra Planet". Over the course of the last title, the strings usher in the final acknowledgments as the credits roll. The dramatic end of "2084" leaves us transfixed in front of a black screen in a large, dark room safe in the knowledge that we've just witnessed a science fiction epic.

Abschaum is a rock band from Lyon, incredibly good, which is trying to keep the mystery on their identity. Sacha met them last year when they played an improvised concert at Heart Of Glass, Heart Of Gold, a festival in the middle of France, and felt under the charm of the energy of the band... Few months later they recorded this LP, and what the fuck !! This was just mindblowing !! Macadam Mambo is presenting here one of its best release, in the influence of bands such as Can, Amon Duul 2 or Alain Bashung...
Abschaum will be on tour from october till the end of the year, so if you have the chance to see them playing don't miss it!

'To Syria, With Love', Omar Souleyman's new album released on June 2nd on Diplo's label Mad Decent. The record introduces itself as the follower of his 2015 al bum 'Bahdeni Nami', and features new 'techno' elements, thanks to arranger Hasan Alo. The first available track is 'Ya bnayya', which means 'girl' in English. Here, Omar Souleyman remembers the time where he fell in love with a beautiful brunette on first sight with a background of feasting drums.



Souleyman, who already collaborated with Björk and Four Tet, began his carreer as a wedding singer, with almost 500 live albums before the civil war bursts out in Syria in 2011. He moves in Turkey and releases in 2013 his album Wenu Wenu. In 2015, the album Bahdeni Nami gets an extraordinary amount of positive critics, of which The Guardian's just below.

Mint Condition - A brand new record label focussed on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics and overlooked gems mined from the last 20+ of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond, Mint Condition have got their expert digging hats on to bring you exclusive heat and those rarer than rare jams that have been on your wants list for years! Dig in....
Jaime Read is something of an unsung UK legend. An original, unique producer who has been making noise in the underground in his own way, emanating from the South coast of England, since the mid 90's. 'Relief Sevensixty' is a collection of Read's rarer tracks that have appeared in a roundabout way, on a legendary Chicago label in a tale that has by now been widely documented. But that's a story for another time. The real focus here is the music, of course. Across 4 tracks this EP shows what a dynamic producer Read is, the music contained within has a depth and maturity and of course it's some funky as, futuristic, space Techno that sounds like it's just escaped the warp drive and landed here on earth and implanted itself in our eardrums. From the joyous, glorious, electronic funk of 'Douch Me' to the curiously monikered piano driven, subterranean stormer 'Droopy Dancing' the whole EP captures a real insight to a remarkable UK talent operating from under the radar. 'Relief Sevensixty' is the first part of a 2 EP set covering Jaime Read's amazing music. Keep your eyes open for the second installment, winging it's way to us through the cosmos as we speak.... soon come!
The 'Relief Sevensixty' EP has been legitimately released with the full involvement of Jaime Read for 2017 and remastered by London's Curve Pusher from the original sources especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your new favourite reissue label - Mint Condition!

Version Galore is a newly found label, deeply rooted into the music culture. We are bringing you the selected reworks / re-edits from the top producers in the game, showing lots of respect and care for the original, but elevating it's spirit and taking it somewhere else. It's all about the dialogue of cultures and the idealistic desire to pass the music legacy on! No half-measures, played-out tunes, lazy cuts, or boring "808-kick boosting" biz!
On the first release of the label we are delighted to bring you the chosen cuts from the man that needs no introduction - Opolopo. He knows a thing or two about making a personal version of a track that can easily overshadow the original, and we guess that's the case with the two cuts he prepared for us on this
records. Things escalate fast. On the A-side you will find originally a midtempo mild jam "Go Get It", which is turned by Opolopo into an effectively-upbeat stomper that will inject true feeling and groove in any house or disco set alike.
It's one of those rare occasions when a soulful tune turns out to be super dance-floor efficient no matter what!
The B-side is all about the raw and emotional funky madness of "American Promise". It's infectious groove, pinpointed with growling sub-bass is just devastating. Epithets are irrelevant here - just play it loud, but with caution! "Version Galore - play some more!"

La Fleur releases her new EP 'Right Behind You' via her own Power Plant imprint. The EP includes two tracks, 'Circadian', and the title track 'Right Behind You' - both showcasing La Fleur's in-demand brand of groovy, vocal techno. The EP release marks the end of La Fleur's busiest summer on record. A residency at Hot Since 82's Labyrinth parties at Pacha in Ibiza, touring Brazil with the Watergate crew and remixing their new single from the mighty Sasha have lead to it being a season to remember. The title track, 'Right Behind You', features vocals from Austrian vocalist/songwriter Lula, who is best known for her distinctive work on Danny Tenaglia club classics like La Fleur favourite 'Read My Lips'. La Fleur said: Lula's voice is special and distinct. Hearing her unique way of vocalising on favourite tracks of mine from back in the day (like Tenaglia's '98 single 'Read My Lips' for example), I just felt I had to reach out to her. Creating 'Right Behind You' was a labour of love and we spent months working on it until we finally got to the definitive version.

They expect me to write something informative about the tracks on this EP here but I find it really difficult to express music in words. On top of it I went out last night, to Club Der Visionäre, and I feel hungover and empty inside my head. So now I'm sitting here and all I can think of is, can't you just take a listen to the music!' The EP contains 5 tracks all made in the last couple of lousy summer months here in Berlin in nostalgia for the better days. It's about house and a bit of electro, no gimmicks.

(en) Constantly on the move, never standing still. Always looking ahead and never back. Everything sooner rather than later. This is what our modern lifestyles feel like, keeping us prisoners in the wake of time while everything around us is in a permanent state of change. It seems as though Andrei Anto- nets, aka OID, could sing a song, or at least produce a track about it. But rather than the soundtrack to our hurriedness, the Russian musician has seemingly created the opposite with his new track - Perma- nent Departure'. He achieves this by letting various sounds meander alongside a bass drum for about eleven minutes. Guitars, pads, Hi-Hats, everything comes and goes, arranged with tremendous flair. Antonets has already proven his capability to do exactly this with his project Alexandroid or with his work on labels like Pampa and Sealt Records.
The French Band dOP's remix on the B-side is much shorter but sends us on the same trip as the ori- ginal. Shortened to just eight minutes with a slightly new route, the dOP remix takes us directly to the club and peak time for the advanced. If we have to have a departure, then this is the way.
Also available as a digital mini album together with the MMR 28 and four other tracks by OID.
(de) Stets auf Achse, immer unterwegs. Den Blick geradeaus, nie zuru¨ck. Und alles lieber heute als morgen. So fu¨hlt es sich an, das moderne Leben, das uns gefangen im Sog der Zeit und alles um uns herum im permanenten Aufbruch ha¨lt. Es scheint so, als ko¨nnte Andrei Antonets alias OID ein Lied davon singen - oder zumindest einen Track dazu produzieren. Doch statt den Soundtrack zur Hast, erschafft der Russe mit - Permanent Departure' lieber einen kontemplativen Gegenentwurf dazu. Knapp elf Minuten lang la¨sst er dafu¨r weitla¨ufige Sounds entlang der Bassdrum ma¨andern. Gitarren, Pads, Hi-Hats, alles kommt und geht, arrangiert mit massig Gespu¨r statt purem Geto¨se. Dass Antonets genau das kann, hat er bereits zuvor mit seinem Projekt Alexandroid oder auf Labels wie Pampa und Sealt Records bewiesen.
Fu¨r die Ru¨ckseite lo¨sen die drei Franzosen von dOP mit ihrem Remix von - Permanent Departure' hin- gegen nur ein Kurzstrecken-Ticket - das uns aber genauso auf einen Trip wie das Original schickt. Auf acht Minuten und eine neue Route verku¨rzt, steuert der dOP-Remix ohne große Umwege geradeaus gen Club und die Peaktime fu¨r Fortgeschrittene. Wenn schon Abfahrt, dann bitte so. Auch als digitales Mini-Album zusammen mit der MMR 28 und vier weiteren Tracks von OID erha¨ltlich.