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Volume Three in the Mr Bongo Record club series. Another showcase of recent vinyl finds and favourites from our DJ sets and radio shows. This is an extra special one however, as it lands in 2019, the year that we celebrate 30 years since it all began way back in 1989.

Compiled by David Buttle and Gareth Stephens, assisted by Graham Luckhurst and Gary Johnson.

Following on from their debut band releases in 2018, Daytoner follow up with a single for this year's festival season, a double A-Side featuring 2 tracks that have proved popular in their live sets at over 30 UK festivals to date, both of which have already received radio support on The Craig Charles Funk & Soul Show on BBC6 Music and BBC Radio Cornwall.

"Daytoner knocking it out the park! Over the years I've known this Cornish crowd they've been going from strength to strength to be honest, this season continuing their one direction"

(Craig Charles on 'Shout Love' - BBC Radio 6 Music - Oct 2018)

"Daytoner continue in their love of updating the 60s sound, and they do it very well"

(Craig Charles on 'My Sweet Baby' - BBC Radio 6 Music - Jan 2019)

No one sculpts volts & frequencies into a story quite like David Morley. For Futurepast’s third release, he has delivered a precise rendering of its vision to transcend temporal associations and perceptions. In the title track Boundary Travels, he ascends quickly into a weighty melodic line that oscillates like the natural intonations of an inner monologue, built upon a foundation of tightly knit hits and bleeps. The story of Limbo unfolds in the infinitesimal margin where intensity becomes softness, hesitation becomes resolution, and boundaries become intersections. Sounds drift past, above, and below in Crushing Pressure as if a city, or its memory, was suddenly suspended in a black hole. Boundary Travels might be the closest we can get to such a horizon.
- DVK

As a winemaker hailing from the Palatinate, Florian Hollerith understands a thing or two about vintage. It's something that also comes through when you sample his music - rich, full bodied with just the right level of acidity. 2018 was already a good year with Ohrenzirkus featuring on both Sven Väth's Sound of the 19th Season mix CD as well as this year's Dots and Pearls vol. 5 compilation. Florian certainly announced his arrival on the scene in style, so it's only fair that he gets the chance to demonstrate his full range of skills on his very own Cocoon Recordings release. 2019 however, has a darker, more complex flavour...

Florian certainly knows a hookline when he finds one. On the EP's title track Perlas, he's working from the inside out with complex layers creating a vortex of sound. This dense sonic mesh is playful yet dangerous, with ethereal voices and jagged chants adding to the disorientation of the opening exchanges until the congas and skipping bassline give us something to hold onto. The dance floor melts under our feet as a raw, tripped out groove takes hold before the bass suddenly morphs into a brassy acid line that spreads its wings and soars. It's music for the headstrong, a celebration of the timeless tribal ceremonies that have come to define us.

Love Summer adds a contemporary twist to the melodic joys that drenched the early nineties in pure ecstasy. The soulful vocals soothe the mind as horn stabs punctuate the sensual groove, generating power and passion in equal measures. It's a straightforward approach, revolving around a familiar yet eminently seductive riff that just keeps on rolling, propelled forward by the force of its own momentum. There's no need to fuss when you hit on a winning formula like this.

More retro futurism abounds on Electro Indianer as arpeggiated bleeps usher in another vast, sprawling soundscape designed to induce a collective trance on the dance floor. Whistling, circular effects wash back and forth increasing the tension notch by notch as we're led deeper into the wormhole. Finally, the track deconstructs slightly, creating enough space for classic Casio-style bleeps and percussion to embellish a beautiful blissed out ending that trails off into the sun rise, as ancient Native American pipes pick out a haunting melody in the distance.

Berlin-based Mechatronica founder Daribone presents a potent blend of EBM, new beat and electro on "Body Realism", the fourth record in the label's limited edition White series of hand stamped vinyl-only releases.

A wild ride into the Chilean producer's vivid take on reality, spirituality and fantasy, the EP moves from slow-burning mantras and religious mania on "Shamanic Tendencies" and "Yolavi Bahar" through the hazardous alien landscapes of "Upper Norfair" and a final encounter with the Mechanoid beings, gatekeepers between our consciousness and the universe.

"Mattheis and Amandra collaborate for Ahrpe on their Ventriloquist Chant EP. While the Nous'klaer affiliated artist is commonly known for his tension building synth lines and rich atmospheres, the Ahrpe co-founder has turned his percussion and complex bass line programming into its very own distinctive art form. Their debut EP consists of four tracks, exploring the spectrum of their approach on synths and percussions, and displaying the result of a collaboration between two established artists that yet sound like they were meant to cross each other's paths.

Yotam Avni has been a long fixture of the Tel-Aviv nightlife scene, well known internationally thanks to releases on Ovum, Innervisions and Hotflush. We welcome him to our SPEICHER series with three unlikely cuts that you would expect from him (or us).

“Mañana Mañana” swells with a mid-90’s prowess that echo the earliest of Kompakt’s days in the best of ways. “Track For Agoria” thrives from the method of true minimal techno but abstractedly brought into harmony with bells and tweaking synths. Finally, “Heavy Lifting” is righteously led by a soaring synth that envelops itself into snap dragon snares and washed out hi-hats. He saves the best for last as the track opens into classic rave synths - guaranteed to open dance floors to all of eternity.

Modeselektor veröffentlichen eine dreiteilige, limitierte Picture-Disc-12"-Serie mit den Highlight-Tracks ihres Albums "Who Else" samt Vinyl-exklusiven B-Seiten. Die Single "Wealth" mit der Londoner Grime-Künstlerin Flohio erscheint samt Instrumental und Accapella-Version (Vinyl-only). "Who", die knusprige Kollabo mit dem estnischen Rapper Tommy Cash, wird mit Modeselektors atmosphärischem "Who Else" gespiegelt. Und der Dancefloor-Hammer "I Am Your God" mit Otto von Schirach ist gekoppelt mit dem nicht minder effektiven "Bronko". Alle Picture Discs erscheinen in vollwertig bedruckten Innenhüllen und Außencovern.

Soft Machine is a surreal wander through the mystical sonic forest. A vision curated and designed by Chicago native Justin Aulis Long. A Cyclopian point of view while gazing through a wide lensed scope, which exists in the liminal spaces where light meets dark and angelic forces bath in the sludge and stardust of unfiltered eroticism.

Eye of the Minotaur - collage 001 is a collection of artists working in varying musical practices that are channeling the solitude of mutantness, strolling through the familiar yet unfamiliar halls of the uncanny, refusing ordinary structures of the mundane, grasping the cold humor of cynicism, basking in the dichotomy of cosmos and chaos, and invoking the energies of Eris and Eros.

Setting the ground is Ciarra Black, a Berlin based New Yorker who makes no apologies for her bare knuckled soundscapes. DuPont Street is a ritualistic unification of discordant entities that summons visions of Pazuzu (lord of the demons) and Inanna (goddess of love) fornicating beneath The Tree of Life. Razor edged synthesizers slice through the atmosphere with the precision of an avenging angel’s flaming sword, while a psychedelic drum code activates ritual movement of the body.

As the needle passes beyond the next threshold it is met by a towering totem, bristling with the illuminated light of the sonic astral plane. Erected from the foundational matter that birthed the Detroit electro punk sound, Eyes Up continues to add to the narrative that is drenched in deranged electronics intuitively mangled in a post punk tradition. Dystopian percussive rhythms generate an unorthodox domain where muffled utterances present an aural Rorschach test. Could this be the riddle of the Sphinx, or an ancient spectral being that possesses secret knowledge? Only its creator, Stallone the Reducer, holds the key.

Fixed at the axis of the journey, Perfect Headache Forever, a mystic operating within the DIY spaces of Chicago, levitates on a transcendental mass that is equally melancholic and optimistic. Her voice hosts a strength equal to a pantheon of titans. Armed with a magical electronic musical box, she weaves narratives that are prophetic. Itself Ecstatic is a voyage through a misty soundscape that begins at one point, but ends in a distant other, in accordance with a system of divination.

Gazing into the murky waters of the oracle’s cauldron, Circling Vultures, (a collaborative effort by Justin Aulis Long and Kenneth Zawacki) channel and evoke the spirits of Antonin Artaud and Geroges Bataille. The poet’s voice, engaged in an act of mutilation and self cannibalization, howls while projecting visions of sacred conspiracies, sensations of vertigo while peaking over the edge of the abyss, and the looming weight acquired from the solitude of the Minotaur alone, sitting silently at the center of the labyrinth. Accompanying the mystical bard’s verbal declaration is a triggered mechanized synth that roars with the vitality of Cold War era Wave music, which is then juxtaposed against applications of loose keyboard playing. The artist’s hand is revealed against the calculated actions of machines.

Bringing the document to its finale, Libby Del Barrio, a multi disciplinary artist based in San Antonio, performs a closing ritual in a manner that only she knows. Setting fire to the Elysium Fields while personified as Moze Pray, Del Barrio rejects plastic narratives that aim to pacify. No Tears, is an unapologetic account of life’s feedback loop around the Wheel of Fortune. Sacrificial actions through ceremonial performance reveals a gateway founded on truth and torment. Moze Pray’s ability to combine musical production, poetic vocalization and ritualistic body performance is charged by chaos and amalgamates into a product of pure expression that defies the rose colored filters aiming to conceal harsh realities.

2nd outing from Jonny Nash & Suzanne Kraft in their MATstudio series. These records are intended to catalogue some of the experiments, explorations, accidents and fortuitous events that regularly take place at their Amsterdam studio. Each record features two compositions created from a collage of works.

Modeselektor veröffentlichen eine dreiteilige, limitierte Picture-Disc-12"-Serie mit den Highlight-Tracks ihres Albums "Who Else" samt Vinyl-exklusiven B-Seiten. Die Single "Wealth" mit der Londoner Grime-Künstlerin Flohio erscheint samt Instrumental und Accapella-Version (Vinyl-only). "Who", die knusprige Kollabo mit dem estnischen Rapper Tommy Cash, wird mit Modeselektors atmosphärischem "Who Else" gespiegelt. Und der Dancefloor-Hammer "I Am Your God" mit Otto von Schirach ist gekoppelt mit dem nicht minder effektiven "Bronko". Alle Picture Discs erscheinen in vollwertig bedruckten Innenhüllen und Außencovern.

After numerous features and collaborations Obenewa, Kaidi Tatham and dego combine together to form Blacks & Blues.Three song based dance tracks to fill the void of underground vocal club music.

'Spin' is flavoured with S.A house & afrobeatz whilst Obenewa sings about the wonder that is love. 'You Know The Feeling' moves towards the funk that is synonymous with 2000Black and 'Don't Know Why (chant for love)' is purely the marriage between reggae and jazz.

Eno Williams, frontwoman of Ibibio Sound Machine, uses both English and the Nigerian language from which her band's name is derived for the dazzling new album Doko Mien. Long lauded for jubilant, explosive live shows, Ibibio Sound Machine fully capture that energy on Doko Mien, the followup to their Merge debut Uyai.
In a glowing piece in the New York Times, those songs were praised for following 'in the tradition of much African music, [making] themselves the conscience of a community.' By pulsing the mystic shapes of Williams' lines through further inventive, glittering collages of genre, Ibibio Sound Machine crack apart the horizon separating cultures, between nature and technology, between joy and pain, between tradition and future. That propensity for duality and paradox seems common in people whose lives span continents.

Williams was born in the UK, but grew up in Nigeria, always steeped in her family heritage. She obsessed over West African electronic music, highlife, and the like, but was equally empowered by Western genres such as post-punk, disco, and funk. The London octet have enveloped themselves in that maximalist quilt proudly since their 2013 formation. Though it can often bring with it news of stress and uncertainty, the modern world further brings all these disparate traditions into connection.
'Everyone has everything now,' says multi-instrumentalist Max Grunhard. 'Everyone has immediate access to every genre, picking things up from everywhere—like magpies.' And while they haven't suddenly left their African roots behind, Doko Mien does find increased representation of English lyrics in the ratio. By sharing more directly with more universal lyrics, the record feels more anthemic, reaching for grander heights.
'We wanted to give people a reason to sing along, to find their soundtrack every day,' Williams says. 'We wanted everyone to feel as if they're part of the music as well.'

Late album highlight 'Guess We Found a Way' addresses the change with a coy smile. 'Guess we found a way to speak to you/ Guess we found a way to say what's true/ To say what's real,' Williams coos over glistening chains of reverberant synth and diamond dust percussion, before returning to Ibibio in the chorus. Perhaps the best example of the group's ability to convey meaning across language and tradition, to blend past and future into a singular present comes on 'She Work Very Hard'. The traditional Ibibio folk tale bobs over the waves of tuned percussion, chunky synth, and pinprick highlife-esque guitar, while Jose Joyette's drums and Derrick McIntyre's bass funk groove bring everyone to the dance floor. 'These stories won't be forgotten. Feel the music: it speaks to everybody,' Williams says. 'We can travel back in time together, while convening on a futuristic, present tense. We hope that we can give people that reason to wake up, that one song to sing and dance and be happy.'

Doko Mien: Tell me everything. On their new album, Ibibio Sound Machine provide the perfect companion, ready to digest as much as possible and then further unfurl beauty and hope. They remember and honor the past and charge forward toward the future, all while intensely expanding the present.

"This single features 2 of the greatest heroes of history of Mauritius island Sega music and announces the upcoming release of vol.2 of Soul Sega Sa! compilation.

Unique character and overexcited singer Roland Fatime (also known as Ti L'Afrique) began his career on the Mauritian scene in the early 70's, along with the group Features of Life, with Eric Nelson's saturated electric guitar and Raoul Lacariate's untamed rhythms; Fatime sparked a new raw, funky and explosive Séga style.

His superb Séga-Blues lo-fi tune 'Bal Souki Souki" is reissued on this very 7' along with another nugget buried on the island: 'Soul Reggae Prisonnier' by Ramone, Ti l'Afrique's ex-rival! In the same blues and soul vein, this Séga immerses us in a dramatic story of judicial error and prison environment, which are unfortunately all too familiar with some mauritian musicians!"

Meda Fury welcomes Tom Wrankmore aka Eliphino to the imprint for a stunning EP of thunderous breaks, 303’s and serious sub-bass pressure. Hailing originally from the Leeds, but with wider travels to settle down in both London and Berlin, Wrankmore’s music embraces hip-hop, rave, and UK garage. He now serves up
a pungent confection pitched between the Hessle Audio crew, Joy O and Demdike
Stare’s most recent efforts. Having released heaters for Brownswood and Hoya Hoya over the years, Eliphino now debuts as part of the Meda Fury family with the Realistic Sex EP.

Wrankmore has been locked away in his studio for the last 1.5 years, abstaining from gigging and releasing records to knuckle down and produce, emerging with a new darker edge and a much more hardcore sound. Tom explains: “The theme of the EP
is trusting your intuition in an information flooded world. I’ve collaborated with visual
artists Tom Pounder & Jon Harris who have created two videos for the release, one for Disc Rhythm and one for Realistic Sex." Meda Fury boss Nick Williams; “Tom's new music epitomises to me what modern club tracks should sound like - wild, energetic, deadly. He’s discovered his own dark new world of sound fusing breakbeat, acid, speed garage and even industrial stylings”

Berlin’s Answer Code Request and Marcel Fengler remix two cuts from AVION’s ‘Untrod’ album on his Crossing Imprint.

Established in 2013, Crossing has become a home for the majority of VAION’s releases including his debut album that picked up support from the likes of Darko Esser, Cosmin Trg, Anastasia Kristensen, Steve Bicknell and many more.

For this compelling remix package, AVION invites Answer Code Request and Marcel Fengler two legendary Berghain residents known for releasing on Ostgut Ton and their own eponymous imprints, who together have been honing a musical hybrid that stands apart from some of the more uniform forms of techno.

Answer Code Request’s ‘Evasion’ kicks off proceedings with an ethereal ambience balancing a tough syncopated drum sequence, resonant pads and atmospheric synth keys floating underneath. On the flip, Marcel Fengler’s remix of ‘Streetlights’ rounds off proceedings with menacing breaks-tinged percussion,

murmuring oscillations graciously fused with Emika’s delicate vocals and resilient modulations throughout.

Following on from big recent releases from Neue Grafik & Oliver Night, CoOp Presents Sivey, with an all-new double-header of heat, 'Nobody Else' and 'Somebody Samebody'.

For those that don't know, Manchester-based Sivey became a player in the future beats scene a couple years back, releasing music with the LA-based collective Soulection, as a solo artist and via collaborations with Evil Needle, which came to fruition after a series of online beat battles, as well as releases and remixes with labels like Astral Black and Ninja Tune.

His last wave of output was greeted with enthusiasm by fans of soulful beats championed by artist collectives such as HW&W and Darker Than Wax, and saw Sivey subsequently spinning at events across the UK, and perform shows as far afield as Los Angeles and Tokyo.

Rooted in hip hop production, Sivey's largely instrumental tracks have brought together elements of millennial R&B, neo-soul, UK garage, jazz and 80s funk. In the few years since his previous releases, Sivey has continued to experiment with new ways of exploiting his diverse influences in his productions. As his listening habits became increasingly orientated around jazz and obscure 70s fusion records, his own productions began to reflect the shift.

The recent resurgence of the broken beat movement was something that also inspired him, admiring the balance between musicality and danceability of the genre. He made his first experiments with bruk in 2017 and found that it mixed perfectly with what he'd already been creating. Eager to share the results with the world, it made perfect sense for his first offerings of this ilk to find a home here with us at CoOp Presents.

These two tracks exemplify the ever-evolving progression of Sivey's sonics; the familiar deep keys and synth sounds of his previous productions are there, but nestled alongside more uptempo grooves, and the lush rhythmic complexity of bruk. Tied in with his love for jazz fusion, 'Somebody Samebody' sees Sivey reinterpret a late 70's track by Japanese guitarist, Kazumi Watanabe; this one also enlisting the help of Trian Kayhatu on keys. As well as the original tracks, prolific Selectors Assemble crew member Danvers adds in his own tasty heads-down version of 'Nobody Else', and label co-founder IG Culture (who recently received a Worldwide Award for 'lifetime achievement'!) provides a dope bruk-funk flip of 'Somebody Samebody' to close out the set.

Best known to the world at large for their disco evergreen “Lady Marmalade,” the powerhouse trio of Sarah Dash, Nona Hendryx and Patti LaBelle are revered in the deeper dance underground for a couple of epic soulful rock workouts that have been known to provoke life-changing moments on the dance floor. With New Orleans legend Allen Toussaint producing and leading an all-star band with the Meters at its core, “What Can You Do For Me” and “Messin’ With My Mind” crackle with energy and rise to thunderous crescendos that rival a gospel revival. Mr. K’s edits acknowledge these songs’ long history in NYC DJ culture, dating from the Gallery and the Loft in the mid-‘70s and running unbroken to today, with masterful extensions that push the inherent energy even further without ever becoming repetitive or obvious. Most Excellent Unlimited is proud to present these sure shots on loud and carefully mastered 7-inch pressings, an essential addition to any gig box or collection.

Cochemea Gastelum is coming home to connect with his roots. After nearly 15 years of touring the world with Sharon Jones and The Dap-Kings, the saxophonist offers a deeply personal album of jazz and indigenous-influenced rhythms. All My Relations¸ out February 22 on Daptone Records, is 10 tracks of mesmerizing and spiritually ascendant instrumentation. The first single 'All My Relations' is available now.

'All My Relations is a way for me to explore my roots through music. Some of it is a memory that is imagined from a time and place I've never been ('Sonora') or a musical impression of ritual ('Mitote'),' Cochemea says. 'I felt compelled to add the way I feel when I go to ceremony, when I feel connected with my ancestors, to the musical narrative.'

A California native with Yaqui and Mescalero Apache Indian ancestry, Cochemea grew up surrounded by music but without knowing much about his heritage. Both his parents were musicians, and they gave their son a heavy name meaning 'they were all killed asleep.' Cochemea has spent much of his diverse musical career - as a soloist, musical director, composer and ensemble player - exploring and iterating on roots music, and All My Relations is a capstone meditation on his own ancestry.

Originally conceived during Sharon Jones and The Dap-Kings' final year of touring, Cochemea and Daptone's Gabe Roth cast a varied but familial set of New York musicians to bring All My Relations to life. A large portion of the album was created through improvisation and collective writing, where its 10 musicians created a melodic, percussive conversation. 'It was a beautiful experience - people would start playing and we'd work up these arrangements on the spot, then record it.'

'In a sense, this record is a prayer for unity, love and the recognition that we are all part of a web, and everything we do effects everything else,' Cochemea says. 'These days there's so many lines being drawn, I wanted to focus on what unites us.'

Cochemea has a long history of uniting multiple genres with his powerful polyrhythmic sensibilities. His roots in jazz, Latin, funk and rock led to multiple tours with funk-jazz organist Robert Walter's 20th Congress, and connected him with Sharon Jones & the Dap-Kings for their 2005 Naturally tour. Cochemea also played tenor sax with The Budos Band and Antibalas, and Baritone sax on the Amy Winehouse sessions, before becoming a full-time Dap-King in 2009.

In between marathon tours, Cochemea recorded a critically acclaimed solo album of soul, funk, and afro-Latin jazz, The Electric Sound of Johnny Arrow, all while doing session work for the likes of Mark Ronson, Rick Rubin and Quincy Jones. He's performed alongside Archie Shepp, Beck, David Byrne, Public Enemy and The Roots. Cochemea was also a featured soloist in the award-winning Broadway play Fela!, which led to historic performances in Lagos, Nigeria.

Tokyo based DJ/Producer Tsuyoshi Ogawa presents "Seven Samurai". This vinyl-only label has been founded in 2018 and it is operating in Tokyo, Japan. It pays tribute to the Japanese legendary movie director 'Akira Kurosawa'. This 4th EP featuring Foog from Tokyo who is a pioneer of Japanese electronic music since the early 80’s as Yukihiro Fukutomi. The EP includes two tracks inspired by the movie "The Lower Depths" that well know "Donzoko" in Japanese. 1st title track "The Lower Depths" recorded using the sound sample from the movie. The beat influenced by the Japanese Rakugo and impressive Syakuhachi phrase brings us toughness and funniness of those who survive in Edo-Ghetto like that movie. 2nd track "Fourth Wall" asks us about the confusion of the modern world with human negative emotions, evil, anger, poverty and greedy from the movie in 1962 across time and space. It will be a warning message to the modern economically unequal society from the ancient economically unequal society. This EP is dedicated to Kurosawa as a new spiritual soundtrack for The Lower Depths.

Exactly two years after their latest Front Teeth LP, the Zürich-based duo VEIL OF LIGHT is back with a new album called Inflict which will be out May 10 on Avant! Records. This is their fourth full-length and their industrial-tinged synth-based post-punk keeps on getting better, making Inflict their strongest release to date. In these eight new cuts you'll hear how their sound has gotten heavier, bulkier, even more beat-driven. Tracks like So Hard and Holy Wars display drums pounding like noises from a rusty machinery, synths on You Done Me Wrong and Fact2019 they’re so sharp they can slice through your skin, Europe and Animal Instinct feature melodies from the abandoned industrial district of your ghost town. We could go on but you are probably aware of what these two Swiss are all about, and if you don’t you'll know the Veil Of Light when you face it. Artwork by Basel-based visual artist and photographer Samuel Trümpy. Limited edition LP on orange vinyl!

Deformer is known for breaking down musical barriers as well as crushing taboos and oh boy, are you in for a treat with this latest release. Musically Deformer reinvents his recognisable sound once again and it's no surprise that over the years many people consider Deformer a genre in itself. The record is fierce, it has dark humor, explicit content, original arrangements and the Deformer signature sound. What better to wrap this release with the bizarre artwork of famous Japanese manga artist Shintaro Kago. It's a match made in.. well, a horror hentai dungeon I suppose. I never knew that I would be comfortable in such a place, but all I can say is that I can't get enough of this record! Deformer has gained popularity in Japan in recent years and this is his tribute to his Japanese fans. Inspired by Japanese hentai Deformer introduced a new genre, sexually explicit Japanese Breakcore now known as: 'Bukkakecore'.

The vinyl release comes with a download code containing two bonus remixes by Japanese Hardcore heroes Myosuke and DJ Technorch.

[a] a1 Bukkakecore [Beat-Bukkake]

Civil Disobedience's seventh and debut vinyl release welcomes Polish artist, TAKA, to the family. TAKA presents 1610, an exceptionally personal and moving collection of music written and produced during a period of coming to terms with her father's passing. In her own words, "I began to feel strong again when I was creating this music." This is an EP where emotions of the darkest and lightest kind dance together.

TAKA executes her story in rough and ready beats, quirky and randomised percussion, with intense and emotive leads progressing throughout each track.

Entrusted to remix such precious material is TAKA's friend, Gareth Wild, who has crafted a signature heavy duty techno destroyer of "Cry Cry. "Cry Cry" especially promises to leave its mark on listeners, its leading chords are a raw melodic masterpiece, underpinned with a pummelling bassline. This piece of music penetrates the soul, awakens the subconscious, and leaves you radiating with profound hope and knowing. Those who hear it do not forget it.

READ CAREFULLY Blistering hardcore punk meets visceral drum and bass. Blastbeats, breakbeats, amen beats and kickdrums. A pure and perfect clash of styles and cultures, born from the same fiercely DIY, anti-authoritarian spirit that has shaped extreme music throughout the decades. This one goes from faster-than-the-speed-of-light-drums with screeching, feedbacking guitars to stomping 220 bpm dancefloor smashers on the flip of a coin.

Five tracks, two guitars, one bass guitar, one drumset, a fuckload of beats and synths. If this sounds too good to be true, that's because it is. We don't know what to tell you, this has never been done before.

For fans of: Minor Threat, Negative Approach, oldschool Amen infused Drum & Bass

2nd funback!

Mainstay of the Manchester DJ scene, Yadava is perhaps best known as a founding member of now legendary club night, So Flute. With 2018's It Rains Here released on Church Records to critical acclaim, he makes a welcome return to Ad Hoc Records with his latest release, Velvet House On Sackville Street, continuing to win new fans through a mix of samba, house and jazz on this one-of-a-kind EP. Luxuriate in the effortless seduction of these choice cuts and transport yourself to a Latin paradise - it's time to groove. Tones of St Germain, Folamour and Gilles Peterson run through every sun-soaked beat of Yadava's music - watch this space and remember the name.

Underground techno fave Path Records is kicking off 2019 with a repress of its highly sought-after first release which came out way back in 1999. The excellent 'Why 2K' EP, a gorgeous piece of techno from Fate 258 a.k.a. label boss Reade Truth, remains a staple on the world's most underground dancefloors and has been widely regarded as a digger's trophy.

Reade Truth, an offspring from New York's Sonic Groove, has been spreading the message of electronic music since its beginnings. He has continuously released high quality techno on many seminal labels including Planet E, NSyde, and his recent album on Cartulis Music.

Path Records is known for their uniquely deep electronic visions. With a steady mixture of both new material and old unreleased tracks, the label remains hotly anticipated. Path 001x is the start of big things for Path this year, with forthcoming releases ahead from some of its other big projects Upsetting Keys and The Lotus Project.

Lapsus Records proudly presents the first solo material from Scottish artist 'Brick Reds, Black Mauves', and is due for release at the end of April. Behind the Brick Reds, Black Mauves pseudonym is producer Alex Ander, better known as part of the renowned duo, Dalhous, one of most interesting projects to emerge from London label Blackest Ever Black.

Together with cohort Marc Dall, the Edinburgh pairing immediately achieved international recognition thanks to releases including "An Ambassador For Laing" (2013) and "Visibility Is A Trap" (2014), which subsequently led to their participation at the first Lapsus Festival in 2014.

It is not the first time that Alex Ander has collaborated with Lapsus Records. In 2016 Dalhous formed part of a dual release with Pye Corner Audio entitled "Run For The Shadows", demonstrating the strong sound connection shared by both projects. Alex Ander returns in 2019 to present his new adventure Brick Reds, Black Mauves.

His debut release for Lapsus Records is a four-track homonymous EP that could be considered as a soundtrack to a post-apocalyptic feature film, full of exuberant ambient and melodies in constant motion, somewhat reminiscent of names like Demdike Stare or even Scottish band Boards Of Canada. On the EP's excellent fifth track, remix duties are expertly performed by Dalhous, giving "Cabochon" an even more introspective and experimental atmosphere, if that were deemed possible...

The "Brick Reds, Black Mauves EP" is, without a doubt, one of Lapsus Records' most exciting debuts to date and will be released at the end of April. Once again, the Basora studio has been vgiven the task of designing the artwork for this EP, which will be released on both vinyl and digital formats.

Repress available in early May.

Faitiche releases a new collaboration between the Japanese sound artist ASUNA and Jan Jelinek: the album Signals Bulletin brings together joint improvisations and compositions made over a period of three years in Berlin, Kyoto and Kanazawa. ASUNA’s meandering organ drones merge with Jelinek’s pulsating synthesizer and field recording loops to create dense superclusters that span broad harmonic arcs.

"Watching the Japanese sound artist ASUNA playing the organ, some people might be surprised. ASUNA is no virtuoso flying over the keyboard in a rage. Instead, with the calm gestures of an office worker, he cuts strips of adhesive tape to the correct length before sticking them onto the keys of his instrument. In this way, large clusters of keys are held down, creating a dense and sustained range of frequencies, while the sound artist continually prepares further sets of keys or removes tape again. I have rarely seen a more convincing performance concept, with such a power to fascinate.

I first met ASUNA when we both gave a concert at the 21st Century Museum of Contemporary Art in Kanazawa, his home city. He performed the organ drones as described above and I immediately knew I wanted to collaborate with him. Six years and five meetings later, we completed Signals Bulletin. The album includes both joint improvisations and compositions, recorded in Berlin, Kanazawa and Kyoto.

Whether using prepared organ, Casio keyboards or mechanical plastic toys, ASUNA creates rich textures of sound that barely change over long stretches of time. It is a music without breaks. For a while, I was unsure how my loops made using modular synthesizers and live sampling fitted here – until I realized the role I had to take in this duet: I would provide the rhythmically pulsating foundation over which his dense continuums could unfold.

The result is harmonically drifting superclusters that put us into a meditation-like state. It can perhaps be compared to Automatic Writing – a mode of creative expression floating somewhere between concentration and distraction. Both the structure of our pieces and our approach to our instruments allow a similar “absence”: we let the machines play and repeat themselves – while we, in a mild form of trance, adopt the role of observers, intervening only occasionally.

It is no coincidence that ASUNA owns a collection of Doodle Art – drawings jotted down during conversations or while talking on the phone. It is said that works made like this point to the unconscious and reveal pet motifs – because a doodler always inadvertently returns to his or her favourite themes. The artwork for Signals Bulletin features pictures from the collection, in this case sheets of paper from the pads provided in stationery shops to test out pens. The special quality of such doodles is that the jumble of drawings is the work of a collective whose individual members do not know each other. Layer by layer is added, by someone different each time – until it becomes a dense cluster of lines and symbols ..."

Jan Jelinek, Berlin 2018

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.

Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s 'The House Music Anthem (Move Your Body)' featuring Curtis McClain.

The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.

Matthew Puffett, also known as Future Beat Alliance, launches a series of EPs on his new ‘Reward System’ imprint. The new label will explore and dive deep into the mind of Matthew Puffett’s eclectic and unpredictable musical archives. Showcasing everything from lost and found DAT tapes from the FBA vault to brand new productions. Releasing his music on labels such as Delsin, Tresor, Eevo Lute and Rush Hour before now, here you will hear his recognizable style with warm synths, uplifting bass heavy grooves and dusty break beat rhythms once more. The six track ‘Reward System.1′ EP features all of this and more and is another exciting chapter in the Future Beat Alliance catalogue.

Schmer Schmer has been looking for the next Prototype 909 since 1995. While they may never be found, we have instead found a few artists that with the same spirit of adventure have taken electronic music to new frontiers of unimaginable creativity. Primary among them is Lena aka Galcid aka Lenacid.

Lena's electrifying live performances utilizing eurorack modular synths with vintage and modern machines follow three simple 3 rules:

NO PCs, NO Presets, NO Preparation!

She has been called Jeanne d'Arc of modular because her style her appearance and her fearlessness.

For Schmer, Lena has created an EP made for the melting of your mind, if it doesn't first melt your speakers.

Lena uses her electronics in the most effective way possible. The classic acid machines are deployed to establish the themes the modular synths bring in sounds that take these tracks to another level. The eponymous track will hypnotize you into the state of focus necessary to allow you to go deep inside. Then the Acid Police show up! A funky drum machine rocker sure wake you out of your trance. Steel Vein has the intensity to rewire your modular mind. bpmf provides an hard driving aggressive take on Melting to help us turn on the switch.
Legendary DJ and producer Hisashi Saito has been making acid and techno since the early 90s. Using his unique
skills this EP has a rare clarity of sound not often heard on such ambitious recordings. Lenacid “Melting EP” opens up a new frontier for acid, for Schmer and for Lena that you are invited to explore with us this spring.

As Galcid, she has played alongside world renowned artists such as Nina Kraviz, Daniel Miller, Oval, DJ Nobu, Isao Tomita, Takkyu Ishino, Ken Ishii, G-man (LFO) among others. In 2016, she was invited by the Japan Media Art Festival to play at the special exhibition, held at the Eyemyth Media Arts Festival in Mumbai, India. Her 1st album “Hertz" received a worldwide release in digital format on the Detroit Underground label. The release attracted the attention of Karl Hyde (Underworld), Chris Carter (Throbbing Gristle) among other well-known musicians the world over. Shortly thereafter, Galcid played at "Boiler Room Tokyo". In July 2017, she embarked on her first EU tour playing shows in Barcelona, London, and Madrid, after she came back, she participated in Iron Island Festival and Mutek Japan garnering high praise in the media. In December 2017, she was invited to headline Future Mix's 20th Anniversary event and workshop in Shenzhen where she performed and held a talk with techno pioneer Mijk Van Dijk.

'The Loop' is the new LP by Los Angeles based polymath Shafiq Husayn, an epic project which saw its inception in 2012 through a series of studio sessions at Shafiq's home, including collaborations with the likes of Thundercat, Erykah Badu, Flying Lotus, Bilal and Anderson Paak. Amongst a close knit circle of friends and family the golden tones of The Loop were created, deeply rooted in ideas of song, story, history, guidance and spirituality. The album bumps, jumps and jangles through progressions in jazz, hip hop, soul and funk, following on from his debut album 'Shafiq En' A-Free-Ka' and adding further to his rich history of timeless, unique music. On The Loop past, present and future are brought together through a psychedelic concoction of time traveling drum machines, celestial string sections and trails of synthesizer vapour. Inflections of Sly Stone, Pharaoh Sanders and Earth Wind And Fire traverse with Marley Marl and Dilla-esqe drums making for an organic yet LA-trifying experience.

Shafiq has brought together an impressive array of LA's musical royalty, enlisting the likes of Thundercat, Miguel Atwood-Ferguson, Kamasi Washington, Chris 'Daddy' Dave, Eric Rico, Coultrain, Computer Jay, Jimetta Rose, Om'Mas Keith, Kelsey Gonzalez, I-Ced and more to provide the backbone to his recording sessions. Drawing in features from an international cast of performers and artists like Erykah Badu, Robert Glasper, Hiatus Kaiyote, Fatima and Karen Be amongst others. Now complete and finally ready for release in 2019 The Loop is truly something to behold. The records is accompanied by a series of paintings by acclaimed Japanese visual artist Tokio Aoyama, who worked in tandem with Shafiq to create a painting for each song on the record.

Written by Chris Franck and Davide Giovaninni, Oba Lata draws on traditional Yoruban chant blending it with a live afro-beat groove. Edgy, rhythmical analogue synths, vocals, guitars and percussion tied together by the clave and driving afro bassline make this a credible dance floor contender. The vocals honour "Obatala", one of the main Orishas in Yoruban culture. He is seen as the creator of earth and a lover of peace and harmony.



NameBrandSound are IG Culture and Alex Phountzi. The duo were part of the original West London broken beat scene and are known for their involvement with New Sector Movements and Bugz in the Attic. This remix draws on some of the modern African rhythms like Gqom (Durban - South Africa) and Coupé-Décalé (Ivory Coast via Paris) and combines them with their own "bruk" sound. Stripped back vocals and instrumentation make this a remix focused heavily on groove.



This instrumental track 'Dakar' is the result of a recent trip to Senegal during the period of Ramadan. It features an 8 piece woodwind/horn section recorded in Belo Horizonte (Brazil) which has been beautifully arranged by Rafael Martini. A mid tempo groove leaning heavily towards North Africa combining acoustic and electronic elements to create a deep modal feel and mood.

Alt-rock icon Josephine Wiggs is best known as bassist in The Breeders, rising to superstardom in the '90s and continuing to draw crowds and critical acclaim in the wake of their 2018 album All Nerve.
But over the years, Wiggs has released several of her own albums, all of which delightfully defy genre. Her new solo record, We Fall, is both a departure and a distillation of an enduring personal aesthetic: moody and spare but also melodic, at once contemporary and nostalgic.
Some influences are clear: We Fall is reminiscent of the experimentalism of Brian Eno's Another Green World and recalls the delicate, languid minimalism of Harold Budd. The album's classical inflections, sharpened by a dialog with electronic elements, evoke Alva Noto and Ryuichi Sakamoto. This is an album of juxtapositions: minimalist at moments, richly layered in others; ambient while also sharply focused; melancholy yet resolute.
There's something both dreamy and scientific about We Fall. Wiggs, an enthusiastic amateur mycologist, has an impressive collection of mushrooms she's photographed in her travels. We Fall could be the soundtrack to what can't be captured in a single photo—the growth and decay of miraculous creatures that a less astute and sensitive eye might overlook entirely.
Composed, performed and recorded by Wiggs, with drums and electronics by her longtime friend and collaborator Jon Mattock (Spacemen 3, Spirit , We Fall is a lyrical, bucolic album with an undercurrent of disquiet. Think of a wintertime walk in the woods as dusk falls too soon. True to the classic album form, the 10 almost entirely instrumental tracks on We Fall form a compelling whole: a crystalline meditation on paths not taken and words unspoken, an elegy for moments lost and last embraces.
JOSEPHINE WIGGS BIO
Josephine Wiggs grew up in an unconventional family north of London. Returning home from a summer holiday with a donkey riding in the back of the family's 1927 Rolls Royce was not considered at all bizarre. Wiggs studied cello as a child, segued from college in London to undertake a master's degree in Philosophy, and then, in a move few would have predicted, joined a rock band.
After making three albums with The Perfect Disaster (1987-1990), Wiggs left to join Kim Deal (Pixies), Tanya Donelly (Throwing Muses), and Britt Walford (Slint) in forming indie supergroup The Breeders, whose debut album Pod came out in 1990. Following a shift in line-up—with Kelley Deal on guitar and new drummer Jim Macpherson—The Breeders released Last Splash in 1993; with its hit single 'Cannonball' and 'Divine Hammer,' they became alternative rock superstars.
During the same period, Wiggs released two lower-key albums with Jon Mattock (Spacemen 3, Spiritualized): Nude Nudes (1992) under the name Honey Tongue, and Bon Bon Lifestyle (1996) using the moniker The Josephine Wiggs Experience. She also recorded and produced Klassics with a K (1996), the beloved and only album by the Kostars (Luscious Jackson's Jill Cunniff and Vivian Trimble). During a brief run of shows, Wiggs joined the band on drums, showing her range of musical ability.
In the late '90s Wiggs collaborated with Vivian Trimble as Dusty Trails, whose eponymous 2000 album is an homage to neo-noir soundtracks, spaghetti westerns, and Gallic pop. Time Out described it as 'one of the most subtly suggestive, understatedly elegant...things likely to have caressed your cochlea in years.'
Allusions in Dusty Trails to film music foreshadowed the next stage of Wiggs's career, writing scores for feature and documentary films—from Happy Accidents by Brad Anderson in 1999 to Appropriate Behaviour by Desiree Akhavan in 2014. Her new album We Fall began as a suite of short pieces for the documentary film Built on Narrow Land. Wiggs has also composed and recorded music to accompany live performance and short films by the acclaimed Brazilian choreographers chameckilerner.
In 2013, following the 20th anniversary of Last Splash, the classic lineup of The Breeders reunited for a world tour. Five years later in 2018 they released All Nerve, with Wiggs co-writing two songs and singing lead on the standout track 'Metagoth.' We Fall, Josephine Wiggs' third album of her own design and ninth album in a career spanning three decades, will be released on vinyl and available for download and streaming on April 12, 2019 by Sound of Sinners.

oe Budden is one of the mainstays of rap. Originally hailing from New Jersey, Budden entered the game after heating up the streets via mixtapes that made the rounds, and eventually caught the attention of Def Jam recordings. After a successful stint there, and a Grammy Award for “Best Male Rap solo Performance” for “Pump It Up”, Budden parted ways and soon after formed the supergroup, “Slaughterhouse” alongside Royce Da 5’9”,Joell Ortiz, Crooked I, which were signed to Eminem’s, Shady Records. After a slew of releases and starring 2 successful shows on VH1; “Love & Hip-Hop: New York”, and “Couples Therapy”, Joe Budden’s brand has never been bigger. Throughout the summer he dominated headlines and timelines via an open and running dialogue with Drake, a dialogue that has resulted in millions of Soundcloud and Youtube streams. With momentum at its peak, Joe Budden returns with his highly anticipated new solo album Rage & The Machine.

Rage and the Machine, is produced entirely by super producer, AraabMuzik and features the likes of Tory Lanez, Fabulous, Joell Ortiz, and more. The music, as Joe describes it is for listeners who still appreciate lyricism with an updated twist. Backed by AraabMuzik’s sonic landscape, the album delves into Joe’s life, thoughts, and perspectives. Budden, never one to shy away from the spotlight announced the album via Complex by jumping out of a plane.

Infuse welcomes Pierre Codarin with an excellent three track release, ‘Pork Chop Express’, featuring a great KOKO remix to boot!

Pierre has been bubbling on the underground surface for few years now, releasing material on respected labels such as Adult Only, LAATE, Tervisio and his self-titled label was launched at the beginning of 2016 and has seen heady plays from the industries peers with each release granting praise from the media, DJ’s and collectors. Pierre brings a very raw and rich sound in both his productions and Performance with a very in-depth knowledge of record selection leaning towards a nostalgic U.S. and U.K. influence.

The title track ‘Pork Chop Express’ is a driving, rib-rattling, pad-infused, triumph of a track causing quite a stir on the floor. On the flip and ‘Lo Pan’ jacks the tempo and gets rough as Pierre drops a smorgasbord of key fills and stabs to keep this beast a grooving! Finally, following on from their brilliant ‘Generation K’ EP on Infuse early this year, KOKO deliver a blistering dance-floor led remix of ‘Pork Chop Express’, perfectly rounding off this great package.

180g
In order to celebrate 5 thrilling and inspiring years, we gathered well-known artists, Goldmin regulars and emerging talents. It was really important for us to express the elusive nature of the Goldmin sound, in the form of a compilation tracklisting. Over the past 5 years, we had the chance to meet most of these guys in person, follow their very own creative path, share ideas, thoughts and there’s no doubt that they all had their part to play in crafting our sound. This intimate and stimulating kind of collaboration had to be expressed and there couldn’t be a better way to capture what we’ve been busily working for, than a serie of Various Artists 12″. What it comes down to is a quintessential, hard-to-follow Goldmin selection devoid of any specific standard or norm. And this whole compilation seems to reflect that non-septate artistic direction, this little something, which has grown throughout our whole catalogue, since the label’s birth.That’s why, picking these select few tracks, that could illustrate Goldmin Music’s essential freedom was probably our toughest work yet. It was also important to pick only the most original and iconic tracks from each artist. In the end each track had to be their most Goldmin one and they all have been tried in all types of situations, in club at 1 and 5 AM, on the highway at night or even staring at the ceiling during a sleepless insomnia session. They all fullfilled their duty.