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LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

James Clarke's Mystery Movie was released in 1974 as modern, small group compositions in various moods. Ideally suited to the new Americanised style of T.V. and cinema flm where music is used to create the mood and carry the action'.
So this collection covers a lot of bases, but it does so brilliantly and has absolutely no right to be such a fantastic listen from start to fnish.Mystery Movie is best known for the slick drum breaks underpinning the top-notch jazz-funk chase theme Car Patrol', the fuzz rifng and ARP soloing of The Heavies' and the slow-mo strut of Mystery Moll'. Study In Fear' and Empty Streets' are horror soundtrack fodder of the fnest sort.
However, it's the understated, plaintive pieces that we fnd the most rewarding.
Ambient feels and strung-out fried-folk treats, full of cyclical naïve melodies.
Music that evokes the 'downlifting' Ronnie Lane and Ron Wood instrumentals from their great Mahoney's Last Stand LP, as well as the beautiful soundtrack work of Jack Nitzsche and Ry Cooder. You might also recognise Waiting Game' from being sampled by melodic downbeat masters Express Rising.
Check Relaxed Theme', Quiet Girl', Routine Procedure' and Quietness Sustained' for a melodic, melancholic set, with the last three performed on just acoustic guitar and harp. Gorgeous work.
As with all ten re-issues, the audio for Mystery Movie comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Piano Viberations' 'small group jazz featuring piano and vibes with rhythm' makes for a gorgeous Francis Coppieters showcase, surely one of Belgium's best-kept musical secrets. Released in 1975, and arguably the most low-key of the KPM and Themes records we're re-issuing, this is easily our current favourite.
'The Open Highway' is the appropriately-named opener, and immediately demonstrates Coppieters' dexterous interplay between piano and vibes in assured, joyous fashion. The shufing bossa of 'Sales Notes' is a jaw-dropper, well-mined by samplers with impeccable taste. The mellow head-nod drum-break
that is 'Funky Chimes' brilliantly demonstrates Coppieters' quiet majestic side with its slow-motion funk rhythm with beautifully refective notes throughout.
The upbeat and joyful 'Cross Talk' closes out side A. Vibes and piano are defnitely at the heart of the arrangement here. The quick cut movement of 'Piano In Transit' is another gem, driven principally by piano but those vibes along for more than just the ride. On a more gentle, elegiac note, 'To Shearing With Love' is a warm, slow, romantic piece in the style of George Shearing. It's
plaintive and sublime.
Piano Viberations is one of those rare library records the original description of which makes as much sense now as it did when it was frst released. Piano and vibes with rhythm indeed.
As with all ten re-issues, the audio for Piano Viberations comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

UK Techno heavyweight Mark Broom and Berlin's Discrete Circuit have teamed up before - but this is their first fully-fledged collaboration aimed squarely at conveying just how well this combination works. A heavy hitting merger from both sides of the channel, boldly stating that form follows function. This collaboration is to the point.

MBDC The A side opens with a superbly engineered kick and counterpoint texture that allows for an otherworldly synth to slowly worm it's way out of the abyss. Frequencies open and shut to allow for the exact exchange of energy welcome in the mix. With no trickery, and at just the right moment, a pulsating binary hook reveals itself in the track and guarantees the desired effect. The A2 tilts the hat toward a stripped back motor city influence. Groovy, tooly, slightly dissonant. Blips, claps, punctuation where it works. Just the right shade of reverb and modulation, push and pull in the arrangement, reveal the versatility of the track and round out the opening side with punch. The flip side, and third track from the collab is also direct, firing up with the ubiquitous clap on the one. Looping acid and a purist minor stab alongside sizzling hats and rides force the energy ever upward. The break is needed as the expertly air drenched acid line opens up the whole space before driving back down into the intensity for the remainder of the cut. The final track of the EP features a remix of the B1 by Astray's other in-house producer, H4L. Back with a frenetic, broken, idm influenced belter of a remix with scattered and distorted 808's - all reigned in cohesively with some stellar beat science and gnarly touches. These 4 numbers are built for impact.

This is a long overdue reissue of a fantastic album! Here we find a pure disco classic from the US scene of the late 70s. The original copies retail at plus $300, that's only if you can find one at all! So those who love to spin good music, but are unwilling or unable to lay down too much money can now lend an ear to this fine vinyl! The opening track is 6.5 minutes long and consists of ongoing grooves with a hint of rock thanks to the melodic lead guitar. The driving rhythms are irresistible with soulful and strong female lead vocals that capture you right away. This reminds me strongly of the lengthy Donna summer dance classic, released during the same period 'Better than walking out' which became a dance floor sweeper. There is nothing complicated here, just sheer groove interwoven with catchy melodies. 'Lovin' you is so easy' follows and is a mid-paced soul anthem that comes as clean, slick and close to pop music a tune can come, but the melody of the chorus will stick to your mind. The arrangements are tight revealing several layers of instrumentation on second take. The lead singer's expressive voice matches with the best of its genre. A grand dame of soul familiar to a wide audience. While we ruminate about the different stylistic ingredients of this album we reach ''Woman', an entire instrumental with a straight groovy beat paired by cool funky rhythm guitar that lies beneath a soundscape made by the electric piano. Both seem to interact tightly and communicate with another. This tune just moves you physically with ease. Lushly orchestrated ''Our love is special' turns out to be a wonderful soul pop anthem of the kind that stays with you when you have only enjoyed it once. I'm almost certain that most fans of the late 70's soulful dance and pop will spin this record over and over again. This is what the DISCO LADIES are made for. Their music has this certain disco feeling but the classic 60s Motown Soul roots are so obvious and keep the whole collection of songs so grounded, that the music will go straight to the heart, nestling there for a long time. ''I second that emotion' is again a mid-paced groover that has this fluttering beat with great instrumental figures build upon this footing. One might hear elements of reggae, gospel and funk melting into an utterly joyful soul pop tune that eventually would become an evergreen in the clubs. Last but not least we are treated to ''Woman', again the arrangements of lead and backing vocals are amazing! These are footed by equally amazing strings and horns. These melodies, soulful, expressive, intense and full of joy! The last tune is a vocal version of 'Woman'. Definitely being the highlight of the entire album and a worthy finale for a record that sticks out of the masses of disco music productions of it's era! All this makes a wonderful and delightful reissue ! worthy of joining every black music aficionado of the 1970s.

We are pleased to present you the second EP of the infernal duo INTERNACIONAL ELECTRICAL RHYTHMS formed of Trikk and Mathias Schober. Let's dive right in and start with "Azaka" and it's live recorded percussions. This track just builds and builds until it falls back into that irresistible and sexy main groove. It reminds a bit of old DJ Gregory tracks - just 10 BPM less. Some would even say it is epic, we wouldn't argue though. Anyways, it serves the dance floor well and proved it many times in the past.
The second track "Kosanba" keeps the EP in balance. "Kosanba" sounds more like a Sci-Fi movie soundtrack at first listen. A basic rhythm built around a modular sequence, upright piano, washed out guitars and an eerie spacey melody with tons of reverb form a track that still works in a club context, yet it's definitely one of those tracks for the right moments as it sets a different tone for sure. Bruno and Mathias sure continue what they've started so well last year with their INTERNACIONAL ELECTRICAL RHYTHMS disguise.

The beating heart of our annual summer gathering, Subsonic Music Festival, is the Paradiso stage from which this EP takes its inspiration. With a soundtrack from some of our favourite underground international & local artists, this EP represents just a slice of that unique place. On the A-side is the always incredible and globally respected Alexkid & the man of the moment who is making huge waves after an amazing year of releases, Stephan Bazbaz. On the B-side we go deeper with some of Australia's finest boy wonder Retza and the sophisticated minimal grooves of Katie Drover.

A collection of Jamaican doo wop & R&B records taken from the late 50s and early 60s. These records represent a period in which soundsystems were just starting to dominate the island, with Duke Reid and Sir Coxsone stepping up their rivalry by beginning to make and release their own records rather than rely on US imports for use in their dances. Many of these records are definitely more-or-less imitations of the American records, as the uniquely Jamaican ska sound was yet to take hold - however many of the future stars of ska, rocksteady and reggae were beginning to cut their teeth in the industry on these records, incl. Jimmy Cliff, Derrick Harriott, Alton Ellis and more, and they provide a unique view into the fledgling independent record industry culture in Jamaica that would prove to be unbelievably proflific and unparalleled for an island of it's size.

After two visionary LPs for his own tiny Nodlew label, Weldon Irvine signed to RCA for Cosmic Vortex (Justice Divine), exploring the deeply spiritual and political terrain of his previous efforts on the kind of grand musical scale that major-label funding accommodates.

This is a big, bold record by any measure, with a startlingly pronounced focus on lyrics and vocals. At the same time, however, the melodies spread out like tentacles, informed by the improvisational sensibilities of jazz and the deep-groove spirit of funk. Jason Ankeny/AMG

As one of NYC's most innovative individuals, Incienso are happy to announce Kiki Kudo's debut full length EP 'Splashing'. Operating seamlessly between the mediums of music, food and general vibes, her new release follows up the 'Mineral Sequences' mixtape on Good Morning Tapes, plus a track on Physical Therapy's allergy season compilation 'Physically Sick Vol 2'.

After starting music production just last year with one sole piece of hardware (but DJing in NYC years before), these are some of the wildest songs in time. A self-described mix of 'Nanotech Pop, Synth Jams, Kitchen Wave, and Listening Techno' - somewhere between the experimentalism and anything-goes ethos of the downtown scene, the out-there exploration of City Pop, and a world all of her own.

Third album from U.S. Hip Hop rapper, singer and producer.
The album has already charted Top 10 ahead of the 17 song physical release. Includes the Top 10 hit single "Sicko Mode" and more to follow. Radio support across R1, Capital, Kiss, ILR, with playlists and ads. Online, social media activity. Ads, features, interviews and reviews across all press. Video plays at Vevo and MTV.
Just moved to November 9th.

Kalita Records are proud and honoured to announce the first
ever and official reissue of Kallaloo's sought-after 1982
disco single 'Star Child', accompanied by interview-based
liner notes. Originally released on Jeffrey Turpin's
Trinidadian record label IDA, 'Star Child' has since become
highly sought-after by both DJs and collectors alike as an
invisible, yet astonishing piece of Caribbean disco. Unable
at the time to gain the traction and success that it deserved,
we hope that this re-release provides an opportunity to bring
such a great record to a much wider audience.
Kallaloo consisted of various Trinidadian musicians including
Keith Alexander and Peter Wayne Barkley. Keith had been
well-respected as a member of the Trinidadian group Impact, and
was later to become an in-demand producer and composer under
the name of Keith Diamond, responsible for various hits by Billy
Ocean, Donna Summer, Starpoint and Melba Moore. In contrast,
Peter was a well-known recording session drummer, but after
'Star Child's' release he moved to North Carolina to pursue other
interests and 'was never heard from again'.
'Star Child' was recorded at Right Track Recording, in mid-town
Manhattan, New York. As Jeffrey recalls, the atmosphere in the
studio was 'great', with 'everyone upbeat, the cream of the crop
just looking for that break... everyone was talented and just
wanted the chance to express their own ideas'. Five hundred
copies of the record were released on IDA with a white label
design, and they were sold both in Brooklyn, New York and Port
of Spain, Trinidad. It was also released on a red label, however
this was not to Jeffrey's knowledge at the time.
Jeffrey explains that the reason why the record didn't fare well at
the time was because of the difficulty in getting the song played
on the radio. As he recalls, radio stations were much more likely
to play 'radio versions' of songs which lasted for a couple of
minutes, rather than five or seven minute 'extended' versions
such as 'Star Child', which were more suitable to a club
environment. In addition, as Jeffrey explains, radio airplay is a
'political business', and also within a short while band members
such as Keith got their own breaks, and the Kallaloo era was over
as quickly as it had started.

Freedom To Spend's first catalog wide deep dive into an artist's career focuses on four albums from Rimarimba, beginning with 1983's Below The Horizon, followed by 1984's On Dry Land, 1985's In The Woods, and finally, the once-imagined, now-realized assembly of 1988's Light Metabolism Number Prague.

Somewhere out there around the turn of the 1980s, to the left of the post-punk crew, to the right of the minimalists, and surfacing with a friendlier face than the dour industrialists of the time - there existed, seemingly unbidden, an entire, networked, tape-trading community; a community that crossed continents and oceans, that relied on the postal service to do its bidding; a community full of humble visionaries and lost, misunderstood, or just plain ignored home steeped genius.

Exploring that thicket of weirdness in the UK wild, you'd likely stumble across labels like Cordelia, Hamster, and Unlikely; compilations like the should-be-legendary Obscure Independent Classics series, or the Real Time cassettes; and inexplicable one-offs like The Deep Freeze Mice, Jody & The Creams, R. Stevie Moore, Leven Signs, Jung Analysts, and Rimarimba.

Rimarimba was the project of Robert Cox, based in Felixstowe, on the seaside in Suffolk, UK. Rimarimba was not Cox's first entry into the world of recorded music, but was the first time he explored, most perceptively, the parameters of a particular musical mode: one where minimalism is removed from its 'high-art' mantle, Cox inveigling its practices in amongst the doit-yourself creativity of a burgeoning and beguiling underground, letting the music breathe - and most importantly, letting it play, gifting it with imagination.

The first in the Rimarimba series, 1983's Below The Horizon, feature Cox in exploratory mode, figuring out exactly how to make his music. There's a pleasure in hearing how he feels out the parameters of his aesthetic, here - there's a boxy minimalism, slightly clunky and charming with it, that reflects the home-spun, improvisatory tenor of the compositions. It's ambitious music, though, wanting to do the most and the best it can with its limited resources. Cox himself admits to not being 'pre-wired' to making this music, but that only makes it more compelling: 'Were I to be properly musical, it wouldn't actually work as well in some ways; it'd be just another album of contemporary clattery music.'

On October 5, Freedom To Spend will offer Below the Horizon in a one-time edition of 750 copies, followed On Dry Land and In The Woods on January 8, 2019 and February 22, respectively. Each album features artwork reinterpreted from its original edition by Will Work For Good, and accompanying abstracts by Jon Dale.

Sometimes Magic Happens. Sometimes, Emotions Enwrap You In A Way You've Rarely Experienced Before. Sometimes, It's Just A Matter Of Freedom: The Freedom To Create, Improvise, Process, And Re-process, Without Specific References, Deadlines, Or Obligations To Please Whatever Markets Or Audiences With Clear-cut Styles And Sound Signatures.

Actually, This Tomat Petrella Affair Is Quite Unexpected. It's A Game Of Two: Turin-based Davide Tomat, Who Has Over Twenty Years Experience As A Multi-instrumentalist, Band Leader, And Sound Designer In Several Italian Projects (niagara, N.a.m.b., And Founder Of The Superbudda Collective); And Musician Gianluca Petrella, Hailing From Southern Italy But In Fact A Citizen Of The World And - More Importantly - One Of The Most Revered And Inventive Jazz Trombone Players In The World From The Last Decade Or So (as Stated On Several Down Beat Critics' Polls And Proven On His Blue Note And Ecm Releases).

'kepler', Their Collaborative Effort, Is A Beast Of A Different Nature. It Has So Many Textures, Intuitions, And Complexities That You Can Hardly List This Simply As A 'jazz-meetselectronica' Project.

So Much Cheesy, Well-educated, Nicely Predictable Music Has Been Produced Under That Moniker, But So Far None Of Them Have Had 'it'.

Lance Ferguson's Raregroove Spectrum is a collection of newly recorded versions of classic funk, soul, jazz and latin vinyl rarities, which features some of Melbourne's finest musicians across the album, including past and present members of The Bamboos, The Putbacks and Hiatus Kaiyote.

This 2 track single provides just a hint of what delights the full Raregroove Spectrum album contains - Lance explains that much of the inspiration for the re-works comes from his experience as a DJ; "Some of these versions can almost be looked at as DJ re-edits, sometimes we're extending what may be a really short track into something longer, or teasing out the elements in a song that really make it work on a dance-floor. It's essentially what someone does with a club re-edit, except we went the extra step and re-recorded the whole thing with a live band".

First up is a reinterpretation of a super obscure deep funk acetate 45 released by Keb Darge, Egg Roll - the follow on track is Lance's take on The Soul Vibrations The Dump.
The forthcoming album reaches further - and includes James Mason's 'Sweet Power, Your Embrace' as a sun-drenched Samba, or Anderson Paak's sure shot tune 'Am I Wrong' given an 1980's style Boogie/Jazz Funk makeover to the epic, widescreen Jazz-Funk of Pleasure's 'Joyous' - Rare Groove Spectrum provides new perspectives on the obscure to the well-loved, from old-school to new sounds - this is rare grooves re-grooved... beautifully.

Sme used to think that here's a guy who's just too cute to be underground, but SEBASTIEN BOUCHET proved them all wrong - with releases like the trippy "Fallen Angel" EP (KOMPAKT 210) or his gutsy contribution to Kompakt's Speicher series (KOMPAKT EXTRA 77). He also had a spectacular appearance on YOU AND YOUR HIPPIE FRIENDS' inaugurating release "A Very Nice Combinado Volume Uno" (YAYHF 01) with the tune "Captain Drag" - which went on to be played around the world, from clubs and festivals to Chanel fashion runways. Now, Sebastien returns with COYOTE CRY, his first full-blown EP for the Hippie Dance sister label: eclectic and unique, this five tracker reflects different sides and moods in his work, but always takes the momentum center stage - from the guitar-infused vocal shaker JAMBE DE BOIS to the heavy-duty bass of JATAGARAZI or the melancholic drive of the glistening title cut.

The artwork recreates the cover of the band's 1977 debut album with modern fashion icons Duckie Thot and Jazzelle Zanaughtti

'I've had the great privilege of producing some of the greatest artists in the world so when it came time to collaborating for my own record the barometer was shall we say pretty high' explains Nile. 'Nao, Mura Masa and Cosha were important to me and to be able to debut the songs we wrote live with them on Later . . . With Jools before we've even put out recorded versions makes it even more special.'

Nao shares: 'We all grew up on CHIC! No matter who you are or where you're from, they're one of those bands that have sound tracked at least one part of your life. So to now be part of that story and playing in the band - albeit temporarily - is just wild. We've had such great fun making records and playing together, it's been a joy. I'm so glad they're back, the world - especially right now - needs more CHIC!'

'BOOGIE ALL NIGHT' ft Nao is lifted from the long anticipated 10th studio album 'It's About Time'.
Coming this September though Virgin EMI, it's the group's first album in 25 years!!

Inspired by talent, multiple Grammy-winning composer, producer, arranger and guitarist Nile Rodgers is always collaborating, working with musical superstars and breaking artists alike. He amplifies his legacy by constantly traversing new musical terrain and successfully expanding the boundaries of popular music. The new record sees the UK's Nao, Mura Masa, Stefflon Don, Cosha and Craig David share in the journey alongside the likes of California's Anderson .Paak and Chicagoan Vic Mensa, with many more exciting collaborations to be announced.

The album's cover revisits a strong sense of conceptual aesthetics that have run through the bands career since the very start. The artwork of their debut self-titled album (inspired partly by Roxy Music album covers such as 'Stranded' and 'Country Life') featured Valentine Monnier and Alva Chinn, and personified the band's unique style and intent. The 'It's About Time' cover features models Duckie Thot and Jazzelle Zanaughtti. Shot by Britt Lloyd and directed by Greg Foley, co-founder of V Magazine, Duckie and Jazzelle are not only modern fashion icons, but also activists making huge strides for women of colour in fashion.

'When I first came up with the concept for the first CHIC album cover more than 40 years ago it was a deliberate statement that we could all be abundant, we could all be with the beautiful people, we could all be included, we could all have good times. Looking at the world today for the release of 'It's About Time' I felt that it was important to make those statements again for a new generation' Nile explains.

As the co-founder of CHIC, Rodgers pioneered a new musical language with chart-topping hits like 'Le Freak,' (the biggest selling single in the history of Atlantic Records!) and 'Everybody Dance', even sparking the advent of hip-hop with 'Good Times'.

His work in CHIC and his production work for artists like David Bowie, Diana Ross, and Madonna have sold over 500 million albums and 75 million singles worldwide while his innovative, trendsetting collaborations with Daft Punk, Avicii, Sigala, Disclosure, and Sam Smith have kept him in the vanguard of contemporary music.

Nile Rodgers & CHIC have already confirmed several festival performances across the UK this summer, including Isle of Wight and Wilderness, full list of dates below.

Rodgers transcends all styles of music with a catalogue of work that's garnered him plaudits from the Rock & Roll Hall of Fame (2017) and the Songwriters Hall of Fame (2016). More recently, he was appointed as the first ever Chief Creative Advisor for Abbey Road Studios to cap off a year that included 'festival best' performances at both Glastonbury and Coachella and a BBC Music Awards nomination as 'Best Live Performance Of 2017'.

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

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

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

Footshooter is the moniker of London based producer, DJ and musician Barney Whittaker. His style blends skippy, broken beat production with live instrumentation to create an organic, rich sound and he frequently collaborates with emcees, poets and vocalists exploring different tones and moods.

His last record, Strange Days EP (released on Famous Friends), gained regular plays on NTS, Balamii, WorldWide FM and, most recently, by Bonobo in a DJ set at his NYC Boiler Room.

'Technicolour Nights', due out on YAM Records later this year, is a meditation on long evenings & nights out and how they vary in atmosphere, mood and colour. Opening with the aptly named and ethereal 'Intro', the EP quickly jumps into sunshine territory with 'Juan's Stairwell' before 'On Telegraph Hill' brings the heads down for a meditative two-step groover to close up the A-side.

On the flip, Footshooter flexes his 160bpm muscles on 'Mars' with the help of London based vocalist and MC And Is Phi, before dropping the tempo just a touch on 'Rotations', a steppy, Rhodes-laden journey through London nightlife. 'Our Love' lowers the tempo even further to bring the EP to a close on a bittersweet note.

Optimo Music is delighted to release the new album from Lia Mice, Australian-born but UK-residing DJ, producer and instrument designer.

Here's a few words from Lia - "When I moved to London in 2015, many things changed at once - I started going to more techno and electro nights, I changed my live-set setup, and I had access to a fully-equipped recording studio through my music masters programme. At the same time I was reading a lot of books on time travel, not just science fiction but also psychology and neuroscience - like how the human brain perceives time from moment to moment, how we can experience overlapping time, and how we interact with our past and future through memory and imagination. 'The Sampler As A Time Machine' is the result of all these new influences coming together. The tracks were developed out of ongoing studio experiments interpreting these different ideas of time travel by using samplers and tape to re-sample and manipulate original music performed by me on various instruments including my voice."

Mickey Pearce is back in business with 'One Hundred Smiles', a new album of swaggering UK club music experimentations, and a new label Box Of Toys.

His first album, 'Michael' (2016), saw him exploring new territory; crafting a strange and melancholic landscape of beatless textures and leftfield house and techno. Approached with a fresh perspective, 'One Hundred Smiles' slows the tempo and ups the collaboration.

'The last record was a reflection of my situation around that time. This one is like stepping out from under a cloud. It's about the joy of collaboration; meeting and working with new people. It's also about the ambiguity of smiles, and the complicated relationships we form.'

The album features appearances from rising UK talent Poté, Taiwanese vocalist Meuko Meuko and Greek electronic pioneer Lena Platonos.

'Poté is a crazy talent. We've done a bunch of sessions and made a load of tracks, two of which ended up here and one of which is going on his next record.

Meuko Meuko is an artist from Taiwan. We communicate entirely via Instagram. She'd send me translations of the lyrics in Instagram messages, but I'm still not sure if I've chopped them into any sort of sense. The instrumental was called 'Slime', and she misread that intentionally or unintentionally to mean 'smile' and sent me all these crazy lines about 'your lovely smile' and it was just perfect. I love her.

Lena Platonos is a legend, and someone I was honoured to work with. The day she told me she had been playing and enjoying the record around her friends was a good day.'

'One Hundred Smiles' is the first release on his own label Box Of Toys. The label is named the same as his 2017-2018 radio show series, which featured the album's guests as well as Randomer, Machine Woman, Airhead, The Maghreban and Object Blue.

'One Hundred Smiles' is released on LP and digital via Box Of Toys on 2nd November 2018.

Following on from the three highly-acclaimed CoOp Presents 'Selectors Assemble' compilation EPs from the past year, it's now time to focus on some of the individual talents from the ever-evolving movement. As the international foundation grows, we invite aboard the extremely talented Neue Grafik into the fold.

French producer, instrumentalist and DJ, Neue Grafik, has been building a strong rep for himself over the past few years, releasing records previously on labels such as Rhythm Section, 22a and Wolf Music. His sound is a hybrid of jazz, house, broken beat and hip hop, all with his unique geographical flavours of African ethnicity, Parisian roots and a love for London thrown into the mix.

So to the music - two brand new tracks, 'I Miss Something' and 'Bed Stuy's Mood', complete with remixes from EVM128, Danvers, Xtra Bruk and NameBrandSound (aka label bosses IG Culture & Alex Phountzi) respectively, making this one essential package for the bruk soldiers and beyond.

In Neue Grafik's words...

"I remember the first time I was at a CoOp party and met IG - I just said something like "unbelievable party, well done! Thank you, man". I didn't expect to be a part of this brilliant family a few months after that; it's totally insane to think about it now.

I began to hang properly with the CoOp fam during a DJ session at The Flex in East London. I was so happy to live in this moment; surrounded by these talented performers, artists and producers, excitedly talking about unreleased music on everyone's USB sticks.

This EP is a personal vision of the broken beat scene and my love for that. A meeting with artists who build my own taste, with friends keeping the same vibrancy and desire for this music. 'I Miss Something' and 'Bed Stuy's Mood' are two tracks dedicated to Porte Des Lilas (Paris), and Bedford-Stuyvesant (New York). One was made in my house, the other on holiday. These two tracks, as well as the remixes from the Selectors Assemble crew, represent a real and deep friendship."

More essential music from the CoOp Presents camp, available on limited vinyl and all digital services. Don't sleep.

In just a year of existence, Chloé's Lumière Noire has brought emerging artists and promising newcomers together - and this first compilation of 13 brand new tracks expands the roster, exposing the label's eclectic vision in full daylight. When Chloé talks about her label, she puts forward the fundamental values that informed her own musical journey, her trust in her own musical taste - and, of course, the predominance of human relationships: 'I followed
my bliss and only commissioned tracks from artists that I respect and whose music I love. That to me is Lumière Noire's musical palette.' With this 13- track, unmixed compilation, Chloé makes a case for a label aesthetic that is based in open-mindedness. Familiar, elemental Lumière Noire artists are represented, as are new faces, producing a kind of group photo presaging what's next for the fledgling label. Lyon's Markus Gibb leads the track listing with Kuru with a deep chiaroscuro matching the label's ethos, followed by other mainstays Il Est Vilaine's Farenheit 451, which evokes Ray Bradbury's retro-dystopic angst with the
band's usual electro-pop elegance. Sutja Gutierrez, who released in debut EP, The Legend of Time on Lumière Noire in April, pursues his electro Shamanism with the ceremonial Allodoxaphobia, while Iñigo Vontier (whose EP Aluxes came out on the label in late 2017) brings his C O N T R A project
online with track Taurus, a further development in voodoo house. Elsewhere, Suuns lead singer Ben Shemie, who lent his fascinating art-rock croon to Recall, a single from Chloé's Endless Revisions LP, contributes A Million Kinds, a synthy, psych-pop debut that is as brilliant as it is surprising. On to the freshman class: Dutch producer Drvg Cvltvre (who gets personal kudos
from Chloé with each new 12') brings the uncompromising dark electro of his hypnotic and claustrophobic Last Rites. Jonathan Fitoussi's airy, minimalistic Cercles Polaires brings the respite of his recent Versatile Espaces Timbrés LP (a collaboration with Clemens Hourrières): 'I met him at Xavier Veilhan's
Studio Venezia at the Venice Biennale. He's a great guy, and his universe is unique,' says Chloé. Benedikt Frey's deep techno track Iaon, is on par with his smash 2017 album, Artificial, out on ESP Institute. First-timers are also part of the recruits: Bajram Bili with the ten cerebral minutes of Restart, Théo Muller with the ultra-deep Douce Transe, and Lumi, a Basque band that fuses
electronic sounds with acoustic instruments, brings the ompilation to a close with a track commissioned by Chloé. These audacious choices are anchored down with the likes of Permanent Vacation pioneer Lauer's hooky, 80s-infused Pythor ('Just like him, I was a resident of the Robert Johnson, and he was a guest of mine at one of my Lumière Noire nights at the Rex. He is one of these people whose music I highly appreciate'); Aergeworc & Franck Agrario, half of English duo Swayzak David Brown's project, weaves an ethno* mood into Grace's techno. Bringing together different generations, genres, and styles That may not necessarily be Chloé's MO. She invokes a more arbitrary, personal logic: 'I like to mix of-the-moment tracks and more timeless one, but the rule is above all 'do I love this or not'. That was my ethos when I started Lumière Noire.' In that way, the label is definitely in keeping with its time

Format: 180g vinyl, mastered at half speed, heavy cardboard old Stoughton tip-on sleeve, obi, sticker, liner notes - First ever reissue of important Swiss jazz album Stuff Combe 5 + Percussion by Stuff Combe available on 180g vinyl mastered at half speed, with liner notes by Alain Morisod. - For fans of jazz, soul jazz, funk, sci-fi, bossa nova, spaced out sounds, jazz ensembles, collective wizardry, deep solos, Swiss magic, Francy Boland, Benny Bailey, Geneva Tracklisting A1 Space Trip A2 Boss Turquoise B1 Eastern Blue B2 St-Thomas Info We Release Jazz is very happy to present its fourth release (following Ryo Fukui's Scenery and Mellow Dream and Le Cercle Rouge's soundtrack by Eric Demarsan), the official reissue of 1974's Stuff Combe 5 + Percussion, a hard to find soul jazz jewel from a cast of illustrious jazzmen led by glorious Swiss drummer Stuff Combe. The limited edition 180g vinyl LP is mastered at half speed, cut at Emil Berliner Studios, housed in a black and silver Stoughton tip-on sleeve, and comes with liner notes. Recorded in Geneva, Stuff Combe 5 + Percussion finds Stuff Combe conducting an all-star ensemble consisting of Bob Jacquillard on bass, Francy Boland (The Chet Baker Quintet, arranger for Count Basie, Benny Goodman and the list goes on) on piano and electric piano, bebop and hard-bop legend Benny Bailey on trumpet, and Tony D'Adario on saxophone. The sessions ooze with funk, spaced out sounds, breathtaking solos, and moments of absolute collective wizardry. It's soul jazz at its best with sci-fi and bossa excursions! Born in Bern in 1924, Etienne Stephen Jean Gustave 'Stuff' Combe had a wonderfully prolific career, playing all over Europe and the US and working with Buck Clayton, Bill Coleman, Stan Getz, Kenny Clarke, Oscar Pettiford , Art Taylor, Dizzy Reece, and Lucky Thompson just to name a few.

After a break of 6 years, Atlanta based electronic musician, producer and sound designer Richard Devine returns with a new album 'SortLave' on Venetian Snares' Timesig imprint. Recorded between 2016 and 2017 using Richard's custom built Eurorack modular system and two Nord G2 Modular units, SortLave features 12 tracks of intricate electronica that ranges from abrasive percussive experiments such as 'Revsic' to 'Astra's dazzling juxtaposition of sounds and onto the radiant ambience of the album's closer 'Takara'.

Talking about the album's genesis Devine explains 'I've been using modular synthesizers since I was 17, but have never written complete tracks using these newer systems. This was my first experiment to see if it would be possible and I probably spent about 5 years building up the systems that I used on this album.' 'I wanted the record to sound very different to my previous works which had been more cold, digital, clinical even, and had all been made using computers. The aim here was the complete opposite, to create something that felt very organic, detailed, spacious, big and warm and just as importantly, a record that you could put on and play all the way through that flowed in a seamless way.' This new approach was to prove fruitful and enabled Devine to create music in an entirely new way. 'I really wanted to break free from timeline-based music creation and do things with my hands on the fly,' he explains. 'So the tracks are more like captured snapshot performances where I could experiment and play around with the idea of probability-based sequencing for every patch, string multiple sequencers together that would feed other sequencers to come up with interesting rhythms and melodies. It was really fun coming up with new sounds this way too, I felt like I created several I haven't heard before with this album. Some of the tracks on the album were complete accidents and evolved from something that happened spontaneously. In the end I feel this is one of the best records I have released to date, so I'm very excited to share it with the world.'

Making his debut in 1995, Devine's releases for labels including Schematic, Warp Records and Detroit Underground have established him as one of the leading figures within the electronica community. In addition to his musical productions, Devine has enjoyed a lengthy and successful career in sound design, developing patches for many of the world's leading music technology businesses and working with companies such as Google and Nike.

- Maybe that is something unique to Cologne, a good balance between the human and the machine. (...) This was an idea to find people particulary from Cologne, I think that there is a scene here. Just parachuting me in and seeing what will happen, you know. It's all about finding people who think alike.' Kurt Wagner (Lambchop)

In 2016 Week-End Festival invited Lambchop's Kurt Wagner to perform songs from his album FLOTUS in new version with musicians from Cologne. Here are two songs he did with Gregor Schwellenbach. Recorded live at Stadthalle Köln-Mülheim

Finally, Marlena Shaw's timeless cover of Diana Ross' 'Touch Me In The Morning' gets the official, remastered, reissue treatment alongside the downtempo, slow jam - 'Shaw Biz / Suddenly It's How I Like To Feel'.

'Touch Me In The Morning' is as iconic a track as you'll ever hear, becoming a huge anthem of discotheques the world over. A tale of lost love, capturing the emotions and exposed honesty of a separation, contrasted with those intrinsically uplifting string and horn sections. It is a truly epic embodiment of strength and courage that Shaw's vocals summon from your very soul.

Hunee melted hearts by dropping 'Touch Me In The Morning' to close out the main stage of Dekmantel 2017 - a spine-tingling moment of inclusion, hope and emotional outpouring, bringing a whole festival that little bit closer together. This is a 7-and-a-half-minute journey to completely lose yourself in and few have done it better than Marlena Shaw.

On the B side is 'Shaw Biz/Suddenly (Its How I Like To Feel)' - Marlena's cautionary account of the emptiness and loneliness that can come with success and material possessions, before finding true love just when it was needed. It's slow, sultry and passionate, much to do with Shaw's voice bringing a pure outpouring of the soul that she duly became famous for.

If you're going to call your band audiobooks, you'd
better have some good stories to tell. Stories that
should move you and stories to make you move.
Stories about real life and surreal life and all that
weirdness that you just glimpsed out of the corner
of your eye. Luckily, audiobooks really do.
The London-based duo have developed a unique
ability to conjure up magical aural snapshots that
wallop you like bong hits.
Each of their discombobulating observations comes
stretched out over a series of discomfiting
oscillations, like messages from the spirit world or
pulp fictions found in a box at the end of your road
or a crackling pop broadcast from a far-away
galaxy.
'One to definitely get under the skin... a thing of
exotic beauty' - DJ Mag (8/10)

* Belia Winnewisser is returning to Präsens Editionen with Radikale Akzeptanz. The record is her debut album as a solo artist and it marks her second release on 'the curious label arm of Lucerne's zweikommasieben magazine.'

* Radikale Akzeptanz, a furious amalgamation of (synth-)pop references and more abstract sounds, combines long running traits from Winnewisser's practice in various band projects with rather new interests from her studies in sound art. Thus, bittersweet off-pop-hymns with bubble-y melodies can be found next to austere examinations. Add a good amount of time spent in clubs and you get a Skull Disco-esque banger at the end of this gutsy album.
The title Radikale Akzeptanz—or radical acceptance—stems from a concept in evidence-based psychotherapy. Even more than the concept as such that is about accepting uncompromisingly your situation, however, it is the expression's mere sound that is of interest to Winnewisser. Homey and adventurous, gentle and challenging, at ease with itself and full of tension(s).

Edition of 300copies, artwork (incl. booklet) by Vinzenz Meyner.

Quotes:
'Interesting stuff! It has a surprising bit of post-rock language in it to my ears, just executed with electronics.' - Byron Westbrook (Hands In The Dark, Umor Rex)
'A pleasant listen! Especially 'III,' 'Trapped In My Mind,' 'The View' and 'Albasty.' Also, found that the idea behind the title is weighty to the extent it can be related to relevant issues of today's ways of interaction!' - Arcagelo de Castris (Macao, Dance Affliction)
'Sounds like John T Gast, Caterina Barbieri and Klara Lewis making tunes on a space ship!' - James Marrs of Laura Lies In
'This is really good.' - Hypermedium's Timos Alexandropoulos 

Press / Promotion*Airplays on NTS Radio by Flora Yin-Wong, Hypermedium and more, airplay on Radio Raheem by Arcagelo, feature on Noods RadioVarious (release) events upcoming, incl. a show at London's Café Oto, an exhibition in Lucerne and gigs next to Lorenzo Senni, Puce Mary and more.
Premiere of 'WAHDWTH' on Bizaarbazaar.PE / zweikommasieben mailing list = 2000 subscribers

Social NetworkingPräsens Editionen - Facebook = 550 likes / Insta = 500 / Spotify = 350 subscriberszweikommasieben - Facebook = 5200 likes / Insta = 2000 / Twitter: = 680 followers

Roman Flügel needs no introduction, so lets not hammer on about his lengthy history as a kingpin of contemporary German dance music, his essential contributions to the musical evolution of Darmstadt and Frankfurt, his achievements as a virtuosic multi-instrumentalist traversing genres with remarkable grace, his sense of dynamism and urgency in the construction of big-room anthems or the meticulously woven textures of melancholy found throughout his minimalist work, his ability to pay homage to pioneers of his musical heritage without diverting to pastiche, his fearless combination of familiar melody with synthesized aberration and imperfection, his approach to instrumentation as Haiku poetry where the ordinary is made profound through simple isolation, his rejection of stylistic pretense and acceptance of comforts found in the constructs of folk and pop, his contrast of cold efficiency with a warm naivete´, his yearning to return down previously-forged paths with a new accumulation of experience, the confidence to paint the room blue when it was meant to be black, his belief that a beautifully executed idea will always transcend the need for incessant polishing, the way in which he leads arrangements to the edge and only implies a resolve, his framing of musical narratives as sketches, outlines, or skeletons where the listener's perception compliments the whole, or his notion that sometimes stories might not need a clear articulation but might only come through in hints of mood, pace, and color, a language which doesn't rely on words to communicate but which paints for us in Themes. Yes, rather than hearing our attempt to elaborate on Roman's Flu¨gel's debut album with the ESP Institute, lets just simply listen.

New York producer and pianist Eric Maltz lives in Berlin. He produces and mixes his music in a simple, subtle and elegant way and puts his music out on his own label - Flower Myth.
In 2017, Eric Maltz released his first record on Levon Vincent's Novel Sound, including the splendid 'We Have Power', an ode to freedom and celebration of life, featuring the warm vocals of Peruvian Cristina Valentina.
On the brooding rhythmic dancefloor, Cristina's voice opens up and reminds of the power of a meaningful lyric, how a loving message can touch the heart ever so strongly.
Over the past year, 'We Have Power' has become a permanent fixture in the Possible Futures record bag. The two had to learn more about Eric and Cristina. 'Naked Broken' is the first engraving of this newly formed and inspiring musical friendship. A hot groover rooted in a rich NY House tradition, featuring di erent versions for the adventurous DJ.
Eric Maltz & Cristina Valentina played live in Berlin on September 2nd, for The Hot Run! - the annual Possible Futures open-air summer dance, along with Elena Colombi, Kassem Mosse, Sassy J and Tom Trago.

eedwant welcome Bristol born, Berlin based Geoff Wright aka Kemback (Omena/Futureboogie) to the label.

By day, Kemback teaches music production classes to students in Berlin, with such a musical background behind him, his latest EP Moving Through Clouds is every bit exquisite as you'd think. Opening with the luscious 'I Need You', hi-hat, bongos and sumptuous strings are just some of the elements that blend together seamlessly, a touch of modern jazz-house. The experimental combinations continue on 'Stepping Back', a heavy breaks track coupled with harps and saxophones. Whilst the hazy pads of 'Moving Through Clouds' goes down a more atmospheric route. The EP includes remixes from Soulphiction and Kim Brown (Needwant).

Over the past ten years the Needwant mantra has been to push the very best in new talent, hav-ing provided the platform for the likes of Kiwi, The Mekanism, Maxxi Soundsystem, The Revenge and many more.

The Afro National Band Was Formed In Freetown, Sierra Leone In 1972. Their Inspirational Leader, Sulay Abu Bakarr Accompanied By His Wife Patricia And Ayo Roy Macauley Split From The Sabanoh Jazz Band To Form Their New Group. They Skillfully Merged Highlife And Jazz Sounds With A Deep Knowledge Of West African Sounds. Growing To Become One Of The Premiere Bands To Emerge From Sierra Leone They Not Only Defined The Sound Of The Country For A Generation But Also Crafted Some Of The Country's Most Popular And Memorable Songs (for Example Sonjo Which Is Included On This Collection).

The Band Toured Extensively Throughout Africa And Europe In The 70s (working With The Giant Of Sierra Leone Music Akie Deen In The Process). Towards The End Of The 70s The Band Departed Sierra Leone, Sulay And His Wife Moving To Maryland In The Us And Other Members Moving To London.

Our Collection Focuses On Possibly Not The Best Known Songs Of The Band But The Tracks Which Have The Rhythms To Move The Dance Floor. We Open With The Foot Tapping "jokenge" And Its Driving Shuffle Beat, Swirling Organ And Percussive Guitar Lines. "push Am Forward" Takes A Afro-psychadelic Turn With Its Hypnotic Rhythms And Driving Distorted Guitar. "mr Who You Be" Is A Cover Of The Fela Kuti Track, Doing It Fine Justice. "gowa" Highlights The Vocal Prowess Of The Band, As Dose The Ever Popular "sonjo" (the Version Featured Here Is A Rare Alternate Recording).

"money Palava" Opens Up Side Two With Its Infectious Highlife Beat And Hooky Vocals. "money Nor Bataya" Highlights The Bands First Use Of Synthesizers. "mother In Law" Sweeps Up Back To Free Town 1973 With Its Clever Vocal. "set My Soul On Fire" Is A Bonus Track Which Brings In The International Flavour Of The Band.

The Afro National Band Continues In Various Guises To This Day, With Sulay And Patricia Acting As The Proud And Talismanic Figures For A Whole Generation Of Sierra Leonean Music.

To put it simply, 'True Meanings', the fourteenth Paul Weller solo album, the twenty sixth studio album of his entire career, is a record unlike any he has ever made before.

'True Meanings', is released on September 14th and is an album characterised by grandiose-yet-delicate, lush orchestration: an aesthetic to which Paul's better-than-ever voice, singing some of his most nakedly honest words, is perfectly suited. A dreamy, peaceful, pastoral set of songs to get lost in, it is both an album that a lot of his faithful audience have been wanting him to make for a long time, and an album that many new people outside of that audience will relate to.

On the 25th May this year, Paul Weller turned 60: a milestone that has unquestionably had an impact on the feel, both lyrically and musically, of 'True Meanings' which comes across being the most singer-songwriter-style album he has ever made. However, it is also the most collaborative: with more guests than any record he's been involved in before.

As well as all the members of Weller's band, Rod Argent of the Zombies provides Hammond organ on 'The Soul Searchers' and piano and Mellotron on 'White Horses'; folk legends Martin Carthy and Danny Thompson add picked guitar and double bass respectively to 'Come Along'; Little Barrie plays lead guitar on 'Old Castles'; Lucy Rose sings backup on 'Books'; and 'Movin On' is the result of a 'scratchy demo'on Paul's phone that was sent to Tom Doyle of the White Label project. Even Noel Gallagher makes a sneaky appearance.

Perhaps most surprisingly of all, especially given how personal and introspective 'True Meanings' feels, lyrics for four of the fourteen songs here were written, to Weller's melodies, by others. Connor O'Brien from Villagers came up with the words to opener 'The Soul Searchers', while 'Bowie', 'Wishing Well' and the closing 'White Horses' are all the work, lyrically, of Erland Cooper from Erland & The Carnival.

'True Meanings' was produced by Paul Weller except 'The Soul Searchers', which was co-produced by Paul and Conor O'Brien and 'Movin On' which was co-produced by Weller and White Label. The album was engineered and recorded by Charles Rees and mixed by Jan Stan Kybert.

The album was recorded in just over 3 weeks at Paul's own Black Barn Studio, with the aforementioned, revolving cast of characters dropping in for a day here and there. The orchestration was added soon after, and that was that. It is always a good sign when the recording of an album is swift, and here you can just hear that the man at the centre of these songs is as focused and inspired - more inspired, even - than he has ever been.

In July 2014, Jungle released their self-titled debut album. Featuring the singles 'Platoon', 'Busy Earnin'', 'Time', 'The Heat' and 'Julia', neo-soul classics all, it was the aspirational sound of young London, a soundtrack of escapism, an unmistakable Jungle sound and a unique, vivid, visual Jungle world. The whole thing was dreamed up by Josh 'J' Lloyd-Watson and Tom 'T' McFarland, a production and multi-instrumentalist duo who never expected to leave their bedroom studios, far less become the core of a talent-filled seven-strong collective that morphed into a killer live outfit. Cue online word-of-mouth and IRL buzz, rave reviews, a Mercury Music Prize nomination, songs of the summer (two summers, even), viral videos, Noel Gallagher declaring the album 'fucking amazing', half a million sales, burgeoning DJ careers, a global tour that lasted two solid years. It all just happened.

Today, Jungle announce news of the follow-up to that defining debut record. The album is titled For Ever and will be released on 14th September via XL Recordings. If Jungle's first album was their imaginary soundtrack to the places they had never been, For Ever is inspired by real life experiences of the places they'd dreamed of for so long. Swapping Shepherds Bush for the Hollywood Hills, J and T set up camp in Los Angeles to write and record the album. Over time however, their romanticization of The Californian Dream clashed with the reality of actually living it, the feeling of being adrift on the West Coast compounded by the collapse of long-term relationships. Returning home to London, they teamed up with highly regarded young producer Inflo where they sought to create a "post-apocalyptic radio station playing break up songs', whittling down loads of ideas this concept spawned into the core 13 tracks you have before you. That station and those songs and that journey are the sound of Jungle's second album For Ever. They had to go away to come home. And what J and T lost in love, they gained in music. For Ever is for real, deeper and higher, more intimate and more expansive, feelgood and, just occasionally, feelbad. It is, then, a proper second album.

The first LP release for connected comes from Nandu and as with his previous EP releases the LP is a unique genre crossing palette containing elements from Deep House,House,AfroHouse,Electronic Techno and beyond brought together in Nandus' original style. Truly an LP that begs to be listened to from start to finish. In Nandus' own words: 'One mans high can truly be, another mans anxiety. In some parts of life this is very clear like having a baby, do drugs, to work, not to work, be an artist, be a banker and so it continues. Yin & Yang and the whole idea of duality is another way to describe this. When you go left you say goodbye to right - at least for the moment you choose left. What you choose is up to you. It wasn't always my dream to get up at 3pm to change diapers, but it was always my dream to have a family. And here the sacrifice is not even mentionable. It's more than worth it. But when you sometimes in life make a choice that you regret but which always will follow you, or when uncontrollable powers force you into another direction, it can easily switch the poles between high and low. In these cases you just have to look forward, but not without looking back. You need to learn, take it with you, and do better next time. This album is about how my highs also can be my anxieties."

Slender Man Tells The Story Of A Tall, Thin, Horrifying Figure With Unnaturally Long Arms And A Featureless Face, Who Is Reputed To Be Responsible For The Haunting And Disappearance Of Countless Children And Teens. The Album Features The Film's Original Music Composed By Ramin Djawadi (game Of Thrones, Westworld, Iron Man) And Brandon Campbell (the Thinning). The Motifs Are Thin And Sneaky And Not Too Heavy. It Just Fits Perfect In The Dense Tension Of The Storyline. The Classic Horror Sound Is Present At Some Moments, But It's Mostly The Melodies Of String That Pulls The Soundtrack To The Right Direction.
The Slender Man package contains a min-poster and you'll find secret inscriptions in the run-out groove. The album is available as a limited Halloween edition of 666 numbered copies on coloured (transparent & black swirled) vinyl.
-180 GRAM AUDIOPHILE VINYL
-PVC PROTECTIVE SLEEVE
-SCORE BY BRANDON CAMPBELL & RAMIN DJAWADI (GAME OF THRONES / WESTWORLD)
-CONTAINS MINI-POSTER
-SECRET INSCRIPTIONS IN RUN-OUT GROOVE BRAND NEW 2018 HORROR MOVIE
-LIMITED HALLOWEEN EDITION OF 666 NUMBERED COPIES ON COLOURED (TRANSPARENT & BLACK SWIRLED) VINYL

Spectral Empire are George Thompson (aka Black Merlin / Karamika) and Kyle Martin (Vactrol Park / Land of Light). With the release of Iron Muscle they are celebrating 10 years since their debut ep Innerfearence saw the light of day in 2008 on the now defunct THISISNOTANEXIT record label. Legend tells all track were made around the same time (2008-2009), at what was back then Kyle's studio in Archway, London, however opinions remain divided over the validity of this info. What is remembered for a fact is that they'v used practically every home appliance and improvised noise they could find, record and harness, in order to create the feeling of what they describe as a ' Robot walking' for the title track Iron Muscle. Anything from kitchen drawers to DVD's and cutlery was sampled and then drenched in effects and manipulated in order to create what came out as a cinematic futuristic piece to dive into again and again, a soundtrack for an unwritten sci-fi movie, or just a dramatic soundtrack for your everyday lives.. With See the invisible, rules do not apply. An arpeggiated groove sitting on a steady half time 60bpm beat, its like the perfect soundtrack to the perfect car chase. Mediterranean riverbed guitars- not-guitars, sirens, and a heavy (dreamy) atmosphere fill the voids and keeps the track pushing forward throughout... The 4th track on the record is a never before seen the light of day epic remix by Die Wilde Jagd, that back then still included Ralf Beck (Unit 4) as an active member of the band (back when they were still known as Der Rau¨ber und Der Prinz). The release will be a vinyl only release, and is already getting massive support from the likes of Vladimir Ivkovic, Michael Mayer, John Talabot, Red Axes, Manfredas, Trevor Jackson, Lena Wilikkens, Man Power and many more...

Shortly after releasing his highly acclaimed 'The Benoît Pioulard Listening Matter'(Kranky), Pioulard left on tour to Europe in order to promote the album. This tour took him to several distinctive places ranging from urban Brussels to rural France and the mystic capital city of Iceland, Reykjavik.

Once returned to Seattle, these new impressions and memories formed the inspiration to make 'Slow spark, soft spoke'. Not surprisingly, the album continues in the same vein as his tour cd 'Lignin Poise' - which was repressed on vinyl by Beacon Sound - and is characterized by slowly moving lo-fi ambient textures. The album reveals Pioulards most melancholic side and once again shows his capabilities to bring beautiful sonic narratives with only a few instrumental layers.

Mantra makes an entry to Finnish ProForm Series with his raw and uncompromised four track acid EP called 'The Abyss'. After releases on Bunker Records, Polybius Trax, Solar One Music and Abstract Acid under the Mantra alias Craig Stainton delivers four tracks of jackin' pure acid techno madness in the veins of true underground. Starting with 'Next Culture' is a good introduction to pumping beats and a moaning 303 while 'Beat Methods' takes a rougher and tougher angle to acid. Just imagine yourself in a warehouse party in the morning jammin' to some acid. On the B-side 'The Abyss' leads us to the deep end of the 303 or even to the bottom of the acid sea. 'Singularity' ends this package with great 303 lines definitely burning up the house! A limited and numbered edition of 200, after that it's gone, no represses, no digital, so you know what to do!

Marti Caine's infamous Point Of View is a groovy blend of slow-mo funk, dark disco and precise pop. Originally released on BBC Records in 1981, it has attracted a considerable cult following this century. The odd charity shop score aside, it has been impossible to find a copy for less than eye-watering sums (often selling for over £200) and, as such, it's an honour to present the first officially licensed vinyl reissue of this sublime record. Featuring expert liner notes written by Bill Brewster - perhaps the record's most notable champion - this lovingly curated release is limited to just 500 copies.

Marti Caine was a popular UK TV entertainer in the late 1970s onwards and Point Of View presented her with an opportunity to proceed in a hip direction by working with British R&B heavyweight Barry Blue. His legendary reputation was secured with a string of great records, among them the first three Heatwave albums, the Balearic hit "Afro Dizzi Act" by Cry Cisco and the cult smash "Breakin' In" by Javaroo. However, despite the array of talent working on the album, Point Of View sank without trace at the time. It's something that Blue attributes to the bizarre way BBC Records worked, and he entertainingly expands upon this within the liner notes.

Musically, the highlights are many and memorable. Its most notorious track is the sublime soul stepper "Love The Way You Love Me", the reason most people covet this album so profoundly. However, from the dark dubby disco of "Snowbird City" to the moody ballad "Love Is Running Through Me", the lesser heralded tracks are nothing short of exquisite. Indeed, the chugging elegance of sleazy disco opener "Can I Speak To The World Please" showcases a string-drenched strutting-funk that would've been enviable the world over. It's that good.

The outlandish artwork - presenting a striking, green-eyed Marti treating a tiger to a headlock - has been faithfully restored and is arguably worth the price of admission alone. With access to the original tape transfers, Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g. Sadly, Marti died of lymphatic cancer at the tragically early age of 50 in 1995, so is not here to experience what we hope will be a long overdue reappraisal of the hitherto underheard genius of Marti Caine, the singer