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Pre-Order. Releases June 21.

Unsurprisingly for a creator as prolific as Muslimgauze’s Bryn Jones was, when he was asked for a contribution for any sort of group project, he would tend to provide more options than necessary. In the case of longtime label Staalplaat’s 1996 compilation Sonderangebot, where Jones would find himself in the company of everyone from Charlemagne Palestine to Reptilicus, the selected track was the characteristically headspinning “Kaliskinazure”, nine minutes of insistent digital percussion bouncing the listener back and forth between samples of wailing women’s voices and a trebly, blurry little whirr that traces the percussion. It’s distinctive enough even among the vast Muslimgauze corpus, but as the continued excavation of DATs Jones submitted to his labels continues, sure enough there’s more to that track’s story, too.

An extended “Kaliskinazure” makes up the second of four tracks on Babylon Is Iraq, although it’s been lost to the mists of time whether an outside editor excised the more drifting, less needling coda that makes up the extra six minutes found here, or whether Jones simply submitted both versions of the track at different times. This more complete version of “Kaliskinazure” is surrounded by shorter tracks, with the opening “Kaliskinazure — Momada” sounding not very much like either track it references (instead being a barely-there wisp of far-away sampled wind instruments and what sounds like treated cymbal sounds) and the title track constantly coming to a full, roiling digital boil. The lengthy “Momada” closes out the album with a different, more tersely internal arrangement surrounding the same percussion pattern that will be familiar to any Sonderangebot fans, although the way the quieter atmosphere transforms the feeling of that rhythm indicates once more than Jones’ way of reconfiguring his pieces over and over was perhaps more purposive and even more effective than he’s sometimes given credit for. The result is a fascinating expansion on one of Muslimgauze’s strongest stand-alone moments.

Berlin based trio Keller Crackers collective likes to shape haunting esoteric sounds, in which self-built instruments dance with ritualistic synthesised rhythms, field recordings, psychoacoustic drones and poetical spoken silhouettes.

After a self-released MC and a mesmerising tune called “Anem” out in February 2019 on the custom-made Kashual Plastik 007 double-vinyl compilation, now they give birth to their own debut record “KC”, a four track EP resulting from various improvisational studio sessions, a bag full of spontaneous visionary DIY sound fashion that melts meandering serialism, foggy ‘Chris & Cosey’-ness, exoticism and freely expressed emotions. Some pieces are given time to evolve, being dragged through long arrangements and slow transitions, while others are playful and short. To close up the magic circle, the release includes a tripping Tolouse Low Trax signature remix.

The opening tune “Specialised” swings on a trance-like hypnotic bass line, while a self-made kalimba played through a tape delay and overtones from a DIY circuit bended device inject dynamics and colour to the composition. Out of the sonic depth, the spoken words of Sylvana Wickman emerge enchanting and unreal, naming a series of technical terms, assembling a deep notion on the specialised society we live in.

“Cow Tongue” follows, a fleeting composition of crackling electronic clicks jumping off a micro-modular device. They got overdubbed again by Sylvana’s voice, delightfully reciting phrases from a recipe of regional delicacies.

The A side of KC`s first strike finishes with a spaced-out synth bass and the lo-fi beats of a Yamaha RX15 drum machine. They are the gripping foundation of “Aithouses Anamonis“, which means “Waiting Rooms”. It describes the scene of a man sitting in a waiting room observing the consumerist behaviour by the folks around him.

The B-side opens with a Tolouse Low Trax remix of “Specialised”, elevating the original with the bass line of “Aithouses Anamonis“, while melting the all into a dark nebulous Tolouse Low Trax signature stripped down funk for endless nights in neon lights.

For their final track “Colours”, Keller Crackers invited a steady free member of their live shows to record with them: free jazz musician Robert Würz. He tuned his flute enthralling over a suspenseful bass line formed in a whirlwind of synth-sounds. The whole frenzy gets divine through sliding chords that rise from a self-built guitar.

A musical bouquet for open spirits, that value charming minimal wave zones, undefinable post-industrial psychedelics and hallucinogenic poetry reflections on the current state of our mechanical times.

FWM Entertainment has kept that same energy in its second release by label head, Stefan Ringer. The A side track 'SO' is instantly exciting! The chorded turned arpeggiated melody and rhythm section take over your body and the song invokes different feelings and emotions as it progresses; this is a song you will definitely want to have for this summer and beyond. Over on the B side, 'Afrotine' brings a more tropical broken beat type of flavor. The percussive yet chromatic sound of the kalimba is almost hypnotizing. Sunshine, cool breezes, and smiles come to mind when hearing this one. The B2, 'Time' is a slowed down vocal groove that slaps! The melody floats effortlessly along the beat with the bass line following closely behind, complimenting the changes throughout. Overall this one is a keeper and a great follow-up to the acclaimed FWM001

Kalita's obligatory Record Store Day offering is something rather special: synth-funk visionary couple Emerson and Leora Sandidge's mythical unreleased album finally sees the light of day, following Emerson's sole private press seven-inch single release way back in 1988. Those two tunes ("Sending All My Love Out" and "Why Are You So Cold?") make the cut on this belated debut set, alongside six other previously unreleased recordings from the same sessions. Their take on electrofunk, boogie and '80s soul is colourful, soulful and synth-heavy, with the included tracks veering from up-tempo club workouts (see "Raw Deal Cocaine Kills") and fizzing dancefloor pop workouts, to sugary ballads and seductive slow jams. In other words, it's a more than tidy selection of rare and unheard gems.

Kalim Shabazz looks to find common ground between the old and the new. Electronic music with a soul. Organic electronic music that moves the dancefloor in a new, but not unfamiliar, direction…

This 3 track EP with keyboardist Jerrell Battle signify the true organic deep house vibe with "Bassic" a deep melodic journey with guitar riffs that moves you. On the flipside "Dana Byrd" beautifully demonstrates the power of the voice as "She" is dedicated to the most important women in our lives. Delivering that true NY Soulful vibe you would hear at the Shelter. Lastly "Sound Module" finishes the record with straight deepness.
Shabazz a true Brooklyn native, made his mark in New York in 1993 with his legendary Afterlife party with Kim Lightfoot. Since the early 90's Kalim has been working with partner Nick Jones; recording history together with their first release, “Wake Up People”, on Bobby Konders’ Massive B Records which featured Satoshi Tomiie & Cassio Ware. Shabazz and Jones continued this partnership under various studio monikers including ‘Moments of Soul’ and ‘Soul Movement’ with releases on labels like Wave Music, King Street Records and Shelter Records. The rest is history!

Heist is first and foremost a label dedicated to quality house music with an eccentric angle. Promoting great music from the Netherlands comes as a close second. After presenting a lot of notable artists from our country, it’s great to showcase another young Dutch talent with our latest release: Perdu.
You might know him from his solo debut on Let’s Play House or the follow up on Optimo Music last year. Perdu’s music gets played by the big ones in the game like Hunee, Optimo and Palms Trax to name a few; and obviously, by us. We’re proud to introduce you to his “Skye EP”. His new release includes 3 varied originals and a rave anthem made by none other than our fun loving Ozzie friend DJ Boring.
The A side kicks off with “Jane’s World” and is the track that made us fall in love with this EP when we heard the demo. It’s a worldly tinged house monster, filled with harmonized drum rolls, a counting Frenchman and a funky arpeggio for good measure.
“Sacramento” takes a more introverted approach, leaning on a broken beat and atmospheric pads. The consistency of the kalimba with the vocal gives it a certain swing that got our ears longing for more.

The B-side starts with “Morbid”, a life-affirming electronic anthem, where Perdu shows his mastery of creating a proper build up. Over the whole course of the track, there’s a lead that slowly but surely opens its filter. There’s bells, harps, hand percussion and rides that all build up towards a lovely climax towards the end, while the track never feels like it’s forcing itself upon you.
Where the 3 originals are all, to some extent, quite introverted and modest, DJ Boring’s remix is anything but that. His version of “Jane’s World” is all about ravey leads, powerful percussion and huge breakdowns, which will do wonders at any festival or club closing set.
We hope to pleasantly surprise some of you, and as always, make a musical impact on your moment in the club, at home, or wherever it is you enjoy the music of our new Heist release.

Yours Sincerely,

Maarten & Lars.

Kalita Are Delighted To Announce Their Next Release, Steel City Connection's1978 Single 'steel City Disco', Accompanied By Extensive Interview-based Linernotes And Never-before-seen Photos.

Als in den Neunzigern Punk durch Bands wie Green Day und The Offspring sein großes melodisches Revival
erlebte, bedeutete das auch den endgültigen Durchbruch für NOFX. Das kalifornische Trio hatte sich schon
1983 gegründet, schuf 1994 mit "Punk In Drublic" einen bis heute unvergesslichen Skatepunk-Klassiker und
avancierte spätestens mit seinem siebten Studioalbum, "So Long And Thanks For All The Shoes", zum
Punkrock-Schwergewicht. Im Gegensatz zu vielen anderen Formationen weigerten sich NOFX jedoch
resolut, Kapital aus dem wieder erwachten Interesse an Punk zu schlagen. Angebote von Majorlabels wurden
daher konsequent ausgeschlagen. Bis "Pump Up The Valuum" im Jahr 2000 auf den Markt kam, standen
NOFX bei Epitaph unter Vertrag, dann wechselten die Kalifornier zu Fat Wreck Chords, dem Label von
Bassist und Sänger Fat Mike. Zum Ausstand veröffentlichte Epitaph 2004 die Kompilation "The Greatest
Songs Ever Written (By Us)". Die Zusammenstellung enthielt Evergreens wie "Linoleum", "Reeko", "All Outta
Angst", "Bob", "Leave It Alone", "180 Degrees", "Kill All The White Man" oder "The Longest Line" in neu
gemasterten Fassungen. Epitaph bringt die Sammlung nun erstmals auf Vinyl heraus.

Following well-received releases from Annie Hall, J. Wiltshire, MANASYt and Ricardo Tobar, MUSAR continues with another distinct slice of hugely satisfying, leftfield dance music, this time courtesy of legendary Norwegian producer Mental Overdrive.Limited to 150 copies!

I'm back with another edit; 400 hand-stamped white labels like Mr MacDonald. Make sure you don't miss it! Lorenzo.

In summer 2015 Andreas Oskar Hirsch finished constructing the Carbophone, an electroacoustic invention pushing the concept of the African Kalimba or Mbira. Vertically set up carbon rods, metal bars as well as a rubber band gamut make up this plucking instrument which opens up a whole variety of sound possibilities and features rather particular overtones.

Initially, Early Carbophonics was produced upon invitation by Radiophrenia, a Glasgow based temporary art radio station run by Mark Vernon and Barry Burns, and the pieces were broadcasted for the first time in late summer 2016. Here, Early Carbophonics are compiled on vinyl, and in contrast to the digitally distributed tracks, the pieces are mixed into each other on the record. Sketches from the rehearsal room are combined with more refined pieces through editing processes, sampling and effects resulting in electronic music with a warm analogue lo-fi feel of its own. Straightly rhythm driven tracks are followed by ambient oddities like the promenade of an octopus or a probably senile shipwrecked robot that emerges from a castle moat and starts speaking to you with a haunting voice. Occasionally, the Carbophone is accompanied by some other instruments like a Morse key, a Moroccan flute or the Electric Palm Leaf.

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.

Deep late 80's percussion LP created to accompany contemporary jazz-dance classes. African instrumentation meets Western Jazz arrangements and computer technology. TIP!
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Percussions Pour La Danse was a collaboration between North American born jazz & contemporary-dance instructor Tony Kennybrew and French musician Jean-Pierre Boistel. Tony, a Washington native who had studied, taught and danced professionally since the age of 12, found himself in France in the late 80's. It's here that he linked up with like-minded musician Jean-Pierre; who had recently returned from a 6-month trip to West Africa. A trip that helped refine his craft that begun in the early 70's.

The music was created for Tony to use when teaching contemporary jazz-dance classes and to accompany live performance, allowing students to 'dance slowly, rapidly and change speeds without changing the tempo!'. This work of rhythmic research was based on the 'Balance of The Walk'; in 4 times, in 6 times, in 7 times & in 3 times. In order to reach the spatial possibilities he was striving for, Jean-Pierre would also use computer assisted programming to sample and re-play his own instrumentation. This allowed him to lay down the tempo of the track and then play live over the top, which in turn gave him the freedom to add the desired instruments and effects to each song.

Jean-Pierre's use of instruments such as the Kalimba, Talking Drum & Sanza gives the album a distinctly African feel, while contemporary Jazz-dance time signatures adds a unique perspective to these traditional instrumentations creating an ethereal balance between the old and new.

Odd Beholder, the project of Zurich-based musician Daniela Weinmann, releases the full-length debut album "All Reality Is Virtual" this fall.

"All Reality Is Virtual" is an intelligent, tenderly flowing and weird pop album, colourful, assertive. It deals with the strange temptations of our time: from tinder to AI, from offline loneliness to obsessive self-marketing. "I noticed that the main temptation of a digitalized life is the idea that everything can be measured, recorded and therefore known." says Weinmann. "But I yearn for surprise, for wonder. The unknown, the uncontrollable is appealing to me."

Odd Beholder have released two highly acclaimed EPs already, "Lighting" and "Atlas". Followed by the "Remixes" EP. Those remixes have been contributed by friends made along the way and artists Odd Beholder became fans of: The/Das, Fejká, Hundreds, Alessandro Giannelli, Kalipo, Thomas Atzmann. After having played tours in China, Germany, Switzerland and Italy, Daniela Weinmann teamed up with swiss musician and producer Martin Schenker to finish producing Odd Beholder's debut album. "All Reality Is Virtual" will be out Oct. 19th, 2018 on Sinnbus and Mouthwatering Records.

Kalita Records and CC:EDITIONS (a new venture by
Australia's CC:DISCO) jointly announce a 12' EP
comprised of four of Nana Tuffour's greatest electronic
burger highlife tracks, accompanied by interview-based liner
notes. Here, in partnership with Nana, we select two highly
sought-after songs from his 1993 release 'Genesis', namely
'Sikyi Medley' and 'M'Anu Me Ho', and pair them his with two
lesser known yet equally deserving tracks 'Asamando' and
'Jesus' from his 1997 CD-only release 'Highlife Tropicana'.
Hailing from Kumasi, the capital of the Ashanti region in Ghana,
Nana Tuffour is by far one of the most important exponents of
modern highlife music. He studied piano at college and cut his
teeth in the '70s as an organist and vocalist for the incomparable
Kyeremanteng Atwede and Dr. K Gyasi's Noble Kings Band.
Fast forward to 1981 and Ghana was at the apex of its golden age
of music. This era was brought to an abrupt end by political
upheaval when the military took over the government and as a
result a restrictive dusk to dawn curfew was imposed between
1982 and 1984. This resulted in a total obliteration of the country's
night life, and Nana just like many other prominent musicians
including Pat Thomas and George Darko left Ghana for greener
pastures, the most popular destinations being Nigeria and
Germany. The Rheinklang Studio in Düsseldorf run by a young
inimitable German sound engineer Bodo Staiger and another
'exiled' Ghanaian musician Charles Amoah played a crucial role
for those musicians who had chosen Germany. This studio
became the focal point for Ghanaian musicians and the birthplace
of a new sound, now known as 'Burger highlife' - traditional
Ghanaian highlife infused with the more up to date electronic and
disco sounds of the West. It is arguable that Nana has played a
crucial role in Burger highlife and developing the sound of
traditional Ghanaian highlife more widely to what it is today, with
his innovative use of electronic accompaniment pushing its
boundaries to its creative extremes.
It is Burger highlife's transcendence of traditional musical
boundaries that helps make it so accessible to listeners,
appealing not only to Ghanaians back home but now highly
regarded and sought-after by those in the West interested in
more occidental disco and electronic sounds. We hope that you
enjoy the four songs offered here, each chosen to demonstrate
Nana's singular influence on the development of Burger highlife.

Crotocosm is an occasional collaboration between Jordan GCZ (Lushlyfe, Off Minor) and Willie Burns (Black Deer, WT Records). Tracks were recorded together live in Amsterdam and Brooklyn between 1996 and 2017.. it's a TIP !

Odd Beholder, Das Projekt Der In Zürich Lebenden Musikerin Daniela Weinmann, Veröffentlicht Das Debüt-album "all Reality Is Virtual".

"all Reality Is Virtual" Ist Ein Intelligentes, Fließendes Und Sonderbares Pop-album, Bunt Und Bestimmt. Es Setzt Sich Mit Den Seltsamen Versuchungen Unserer Zeit Auseinander: Von Ki Bis Tinder, Von Der Offline-einsamkeit Bis Zum Obsessiven Selbstmarketing. "mir Ist Aufgefallen, Dass Die Versuchung Eines Digitalisierten Lebens Vor Allem Darin Besteht, Dass Alles Gemessen, Aufgezeichnet Werden Kann Und Damit Bekannt Ist", Sagt Weinmann. "aber Ich Sehne Mich Nach Überraschung, Nach Verwunderung Und Zufall. Mir Gefällt Das Unbekannte, Das Unkontrollierbare."
Odd Beholder Haben Mit "lighting" Und "atlas" Bereits Zwei Tolle Eps Veröffentlicht. Darüber Hinaus Erschien Im Frühjahr 2018 Mit "remixes" Eine Fein Säuberlich Zusammengestellte Ep Mit Ausgewählten Bearbeitungen Von Freund_innen, Die Odd Beholder Unterwegs Gefunden Haben Oder Von Denen Sie Fans Geworden Sind: The/das, Fejká, Hundreds, Alessandro Giannelli, Kalipo, Thomas Atzmann. Nach Touren In China, Italien, Deutschland Und Der Schweiz, Hat Daniela Weinmann In Zusammenarbeit Mit Dem Schweizer Musiker Und Produzenten Martin Schenker Das Debütalbum Aufgenommen. "all Reality Is Virtual" Von Odd Beholder Erscheint Am Im Oktober 2018 Als Lp, Cd Und Digital Auf Sinnbus Und Mouthwatering Records.

Moritz Simon Geist, media artist and robotic musician, publishes his first record. It is the world's first techno record played entirely by self-made futuristic robots. This is the 4-track EP to the following full-length album out 16. Nov. 2018. All of the sounds on his records are played by robots: small motors that beat on metal, futuristic 3D-printed robo-kalimbas, salvaged parts from old hard drives that click and cut. It took Geist several years to build, tweak, test and play all his DIY robotic instruments. His 'Sonic Robots' try to push the boundaries of the imaginable. He did so already in 2012 with his well-known oversized 808 robot - an iconic drum machine gotten real, 4 by 2 meter, filled with robotic parts which play the instruments live and in front of the audience. Now, Moritz Simon Geist goes even further to discover the unknown and futuristic world of techno robotics. For this quest he teamed up with the berlinian sound wizards from Mouse On Mars and dug deep in the history of mechanical music and experiments of early electronic music.

On the 4-track EP 'The Material Turn' Moritz Simon Geist turns materials into sounds. The opener 'Entropy' is a bassy club-track, played by futuristic bass-kalimbas, a psychedelic pattern of tonal glasses and pneumatic hi-hat patterns. It is core piece to this EP and is also featured in the main video. Even without a visual part, listening to his music, a sound world opens up which is unheard before: in definition, reference and organic nature. Geist: 'When you listen to robots playing, you realize, that they sound precise, but in contrast to digital sounds they transport an immense organic feeling. No beat is like the other, everything is played with actual acoustic physicality and thus actual error. On the same time, the repetitive nature of the robots make it perfect for playing electronic music. Its industrial and organic at the same time.' The second track 'Under Deconstruction' is a metal-on-metal slammer with a heavy beat played on a big sheets of metal. 'I often try to compose a track around one instrument', explains Geist, 'letting the sounds take a lot of room so they can stand out.' The B-side starts with 'Supercharged' - a heavy drone, reminding of the darked sides of music concrete. Here, tuned air fans, and a metallic percussion robot create the texture. 'Detok' closed the EP with an up-tempo club track, featuring complex rhythmic textures and well defined robotic percussion elements. What Moritz Simon Geist came up with is a stunning record of what is possible today - to explore the sound of mechanics that keep on filling our world. Geist creates a smashing soundtrack for both the precise automation and physical fragility that shapes today's society.

Second instalment of Mecanica Records compilation focused to obscure techno/EBM/electro. A selection of new and unreleased tracks by six projects from different latitudes. The opening track is a collaboration between Dmitry Distant (Latvia) and Gestalt (Russia) with a dark electro tune that works perfect as warm-up. Deep Pill (USA) offers a versatile technoid tune and Blac Kolor (Germany) closes the A side with a hard and hypnotic piece. Viktor Kalima (Finland) opens the B side with a body music attack, followed by Santiago (USA) with four minutes of pure psychosis and dementia, and Rendered, the duo formed by Daniel Myer (Germany) and Clément Perez (France), closes this sonic trip with a strong and massive cut that will leave you attached to a never ending loop in your head.