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Formed in 1997, and inaugurated that year with a split 12' from new-comers and label founders, Solvent and Lowfish, this year Suction Records celebrates it's 20th anniversary with the re-introduction of their famed Snow Robots series of compilations. While originally started as a North American answer to UK electronix labels like Rephlex, Skam and Warp Records, a sound that is still a staple of the current Suction Records catalog, Suction's sound has also swerved into new territories, reflecting our love of dark '80s electronic music - synthpop, EBM, and beyond.... Snow Robots Volume 4 features an international array of artists, from Suction Records mainstays like Digital Poodle, June, Celldöd, and Ceramic Hello (with their much sought-after 1982 vocoder anthem), to label-favourites appearing on Suction Records for the first time: Beau Wanzer, Morah, and one of Skanfrom/Sleeparchive's lesser known aliases, Civil Defence Programme.

Born in London, 1945, Labi Siffre's recording career has spanned over 30 years and produced a body of work that has attained anthemic status across the world. He has had two number one hits (directly and indirectly) and is considered by those in the know to be one of Britain's most important musicians of the past fifty years. So it's a strange modern quirk that his actual voice is rarely heard, as it is from covers and samples of his work that he is best known. You may recognise his genius being sampled by Eminen for 'My Name Is' or the Madness cover of his song 'It Must Be Love' that was a huge pop hit across the world.

For his release on Mr Bongo we have gone back to the original source - his classic 1975 release 'Remember My Song'. This is his fifth album and features 'The Vulture', 'Sadie and the Devil' and 'I Got The', sampled by Eminem, Jay-Z, Wu-tang Clan, Atmosphere, The Beatnuts and Frankenstein, amongst others. Co-produced by Derek Lawrence and Big Jim Sullivan - a prolific session musician, artist and producer - who also worked with artists such as David Bowie, Serge Gainsbourg (on 'Histoire De Melody Nelson') and Frank Zappa. Brian Bennett of The Shadows, Chas Hodges and Dave Peacock aka Chas 'n' Dave also feature on this funk masterpiece from 1975.

This LP is reissued in new and improved sleeves (made in Japan) and features label designs as per the original 1975 release.

While our output in 2017 has been delayed, our pursual of quality artists persisted. Moods & Grooves welcomes Detroit area artist Jason Hogans best know for his debut EP Peter and the Rooster on Planet E. His introductory effort on M&G also features the multi-talented Paul Randolph."Sue" features Paul's effortlessly awesome vocal and bass guitar talents, funky Wurlitzer chords, and chunky drums. Andre´s gives "Sue" a proper deep bounce treatment with his stomping remix."Work The Terminals" is an animated, minor-key, wall-shaking analog bassline (ask his neighbor) & cracking drum kit with an LFO/filter-freaked sample chop chutney holding it all together on a funky house tip. Yum, y'all.The Work The Terminals EP is inspired by Jason's traveling and performing over the past several years and we hope it moves you.

Osage (pronounced Oh-Sage) is the electronic music making alter ego of dj/producer lil'dave, a veteran DJ on the Philadelphia nightclub scene, a member of the highly respected dj crew Illvibe Collective and the co-host of the internationally known broadcast Eavesdrop Radio. As a recording artist, he has released music under various aliases for record labels such as BBE Records, Tru Thoughts, Record Breakin' Music, Soulspazm, and First Word Records and collaborated with and remixed a diverse range of artists such as RJD2, Lady Alma, Ty, Ryat, Captain Planet, Foremost Poets, and more.The Osage sound is an amalgamation of musical influences such as deep house, samba, African rhythms, futuristic r&b, boogie, uk garage, salsa, broken beat, and soul. Built from slightly unorthodox drum programming, and layers of synthesizers, the music is focused on bringing the soulfulness out of the machines he is working with. Over the years, he has been building a solid reputation by creating a catalog of clever dance floor edits, remixes, and original tracks which have been supported by notable tastemakers such Gilles Peterson. This 12" compiles 4 of our favorite moments from the 2 EPs that Osage has released thus far on Bastard Jazz. The record kicks off with the bubbling house vibes of "I Found You" featuring Dezeray Dawn on vocals, before moving into a deeper House dub of the track from Washington DC's Sol Power All-Stars. On the flip, "Last Call" is a late end of the night anthem with Osage himself offering words of inspiration, and the EP rounds off with the "Anyway", a sparse dance cut with syncopated claps, moody synths and heartfelt vocals from Yemi.

The UK's best kept secret Chocky returns to Dessous Recordings after the success of his first outing, the well received Self Knowledge EP. Here we see the talented DJ / producer drop four tracks via the Playtime EP - yet more sublime house music for Steve Bug's imprint. 'Double Dip' is a chunky, stripped down vibe, reduced the vitals that will slay dancefloors - firing percussion over a shuffling groove and a cut-up vocal reminiscent of Pepe Bradock. 'Organism' is a deep affair - spacy pads provide the counterbalance to the tough drum track, softening the edges but keeping the vibe high. 'Soul Alive' taps into Chocky's clear appreciation for the 90s, with a strong vocal, atmospheric strings and a loose yet crispy beat. 'Playtime (Dub)' brings the whole EP home with yet another stormer - beginning as a driving basement jam but then introducing an unexpected piano riff that flips the script and takes things in a welcome jazzy direction.

'Socorro' is a banging, mid-tempo Brazilian funk groove taken from their second Copacabana LP and a 7' from 1977. Tough.
Half-speed heavy funk on 'Retrato De Dete', written by Arnaud Rodrigues. We don't know very much about Ronaldo unfortnately. The track surfaced on a Copacabana 45 in 1970 and is difficult/expensive to pick up now.

The Passage EP brings together two of the chief champions of far reaching sounds in AYBEE, and Lars Bartkuhn. Bartkuhn best known for his work with his iconic (NEEDS) imprint, and AYBEE for his boundary pushing ethos at (Deepblak). A project spawned of mutual love, and respect the two met at an impromptu jam performance at the Xjazz Fest where the seeds were planted for further collaboration. Committed to stretching out beyond tight parameters they sought to capture the spirit of the dance. As "The Astral Walkers" they set out to combine the fearless freedom of the Jazzfunk era with the endless possibilities within electronic music.

The free will of Struments has led them to concentrate in one 12inch the encyclopedic knowledge of Marc Pinol, a duo of kids that present themselves as T.A.L., and the responsible for all that, Spastor, that appears in a remix signed by Florian Kupfer. Lliure Albir sounds as if Pinol was dazzled by the light of a lantern in a chill out while Paranoid London resound in the next room. In his remix, Palms Trax bet on tom toms and certain tribal groove, adding soft eighties keyboards, deep atmosphere, speeches and dub deliriums that perfectly fit in the freak universe of Pinol. Florian Kupfer remix made of Spastor's Death In La Paz: a hit made in the German musician style whose groove is created by a fold in the sound and the apparent imbalance it has with the bass drum. If after this dawn breaks, it will not be small thing. T.A.L. are guided by a retro-spatial pulse to open a fan of sounds that expands and contracts threateningly, and delicately form what looks like an EBM hit stripped of the hammers.

* 2017 year marks TEN YEARS OF INTEGRAL RECORDS and looking back upon the label's incredible back catalogue, what a decade it has been for drum & bass music that we hold so close.

* Initially set up as a passion project and a platform for showcasing future talent, the label has been consistently releasing cutting edge drum and bass since 2007. The ethos of the label has always been about quality control and finding those special vibes that no question capture heart and soul. Honing their unique musical language, selections are carefully handpicked by head honchos Artificial Intelligence and more recently in collaboration with label manager Emma G that fit with the forward thinking, original spirit we know as Integral.

* Now 40-odd releases deep and renowned for breaking some of the most exciting artists on the roster today, the label also boasts signature classics from some of the scenes most prolific residents. Names include the likes of Lenzman, Lomax (one half of Loadstar), Alix Perez, Calibre, System, Zero T, Technicolour & Komatic (Technimatic), LSB, Steo, Dawn Wall, Mohican Sun, Phil Tangent, Satl and just recently, A.I. themselves.

* Celebrating the seminal journey thus far, a double album will mark this very special occasion. Part One will showcase a selection of the finest from over the years in a chronological journey of the label's sound (for digitial release.) A second curation will simultaneously launch across all formats of entirely new and most exclusive material to date, reinforcing Integral's place at the round table of bass.

* A perfect teaser for what's to follow, the Album Sampler will drop this November featuring two stunning tracks. First up, '1000 Souls' comes courtesty of A.I. - tones of the deep, lush and soulful set the sultriest of grooves. Beautifully moody keys entice, chill and soothe. On the flip, 'Defiance' from Mohican Sun follows suit. With a gritty percussive edge, haunting melodies and a desperately emotional vocal to boot, this music will draw you all into the most mesmerising of dancefloor spells.

* Mark November 24 as the official release of the TEN YEARS OF INTEGRAL Album Sampler across all formats. Bag your limited vinyl copy now.

Tr One return with 4 very different tracks recorded in one take at their studio in the Irish southeast. 'A Month Has Passed' uses a dubbed out aesthetic merging influences from UK bass and Detroit using shimmering melodic progression. 'The Boutique Of Never Ending Dreams' works towards a synth laden dreamlike peak. 'The Printer' duly merges playful Chicago drums with an organic chord structure to create a head nodding funk. Finishing the EP is 'Road To The Sea', a pensive sway of dubby sonics masked in a fog of reverb.

Tr One are an established name in the Irish electronic music community and are known for their energetic and engaging performances as DJs. They have received critical acclaim for the raw soulful productions from their studio in hometown Carlow, Ireland. They have gained respect for their ability to deftly move between the lines of genres with a strong sense of adventure and connection with Detroit/Chicago/Dublin machine soul. From this they have released music on Lunar Disko, Apartment and Fine Art recordings, with the strains of the US Midwest never far from sonic influence. They have worked in a range of styles from old movie soundtrack disco with New Jackson to punishing techno sharing wax space with the Phantom Planet Outlaws.

ALONZO is an electro guy. raised in miami and now living in brooklyn, he has been brewing tracks for years. these electro/futuristic miami bass tracks are finally getting the release they deserve. recommended for fans of dopplereffekt, pretty tony, and the west coast sound of holland.

We started with the principle - the cosmic idea that we were taught by our father from a very young age - that the stars and planets make a sound, that deep in outer space there is audible harmony.'With its cathedral-like, richly resonant acoustics, the new HBE album is a brilliant expression of this interplanetary principle. The album is by turns urgent and contemplative, funky and reflective, varied in its textures, but entirely of one piece. Underpinned by concepts of our earth's place in the cosmos, held in place by meditation, swirling with notions of history, science, theology, ancestry, there is a rich conceptual brew here. But always, what talks loudest is the music. The album rings with what back in the 1950s the jazz critic Whitney Balliet called the sound of surprise'. At a time when the phrase Spiritual Jazz threatens in some quarters to become a tired cliche, this is a record that makes you believe again in the genre's validity.

Talking to Cid, one of the Ensemble's two trombonists, one phrase recurs: back to the beginning'. We wanted to go back to the beginning, when we were kids, real young, and our father would wake us up at 5 AM to practice for two hours before breakfast.' One outcome - initially unplanned but subsequently embraced - is that unlike their two previous albums on Honest Jon's, this is an album without a drummer. When we started, as Wolf Pack, just brothers on the street with our horns, there wasn't a kit in sight.' Book Of Sound retains plenty of rhythmic heft, but the absence of a drummer opens up space for a notably varied instrumental palette. Acoustic guitar, piccolo, synthesiser, alto sax - none of them typical HBE Instruments - all have their place on the album. Most striking perhaps are the vocal lines that thread through the album and give it a palpable warmth. In Wolf Pack, we rapped and played, this time we took it a step further.'

Sessions were recorded in Brooklyn and Chicago, and brilliantly mixed at Abel Garibaldi's studio in the Loop ( Abel was like a musician on this record'), and it's the Hypnotic's hometown that permeates. For Cid this is a deeply Chicago record: it's got the vibe of the lake, the vibe of the prairies opening up to the west'. It also has the vibe of those Sun Ra Arkestra albums recorded in Chicago in the 1950s, and - of course - the Phil Cohran albums from the 1960s.

It's Phil Cohran (the father of all seven members of the Ensemble and their first teacher, and not just in music) who is the album's guiding spirit. For Cid it's a major regret that, in the months before their father's death early in 2017, Phil was not well enough to play on the album. He loved the whole idea, and we had the perfect place for his zither'. But Book Of Sound is a magnificent testament to their Cohran legacy. You know, it's tough trying to satisfy everybody with our music. It's hard enough satisfying ourselves, let alone the jazz scene, the hip hop guys, what have you. With this album we just dropped all that as a consideration, and tuned into deeper principles.'

Genre blending and audience crossing drummer/percussionist Eric Thielemans is proud to present a brand new, exciting combo together with Rudy Trouvé , Mauro Pawlowski , Roman Hiele and Jean-Yves Evrard . With this eclectic band ET sets out to explore, or rather rub against the obscure repertoire by Jazz masters such as Ornette Coleman, Alice Coltrane, Sun Ra and Albert Ayler .Are The Mechanics a Jazz combo The Mechanics don't know. As of yet, The Mechanics have no real memory of their own. What they do know is that they are impatient to check out the mechanics behind those musics that tick their tock. They will do so as they are feathered. In colours, primal and expressive. And what better way to understand something than by breaking it and then trying to fix it .Tagging The Tag : The Ex, Liquid Liquid, Ornette Coleman, Sun Ra, James Chance, Alice Coltrane, Aphex Twin, Roland Kirk, John Cage, The Love Substitutes, Hiele, Evrard, Trouvé, Pawlowski & Thielemans.
Tag Away ! The Mechanics is an exciting new band operating out of Antwerp, home base to bands and musicians such as dEUS, Evil Superstars, Dead Man Ray, Chantal Acda, Tape Cuts Tape, Gruppo Di Pawlowski, The Love Substitutes, Kiss My Jazz, Mâäk's Spirit, The Mechanics bring together 2 generations of musicians out of the avant jazz, improv, rock, songwriter and electronics scenes. Mixed into an exciting cocktail of energies childishly bald and raw, maturely tender and constructive, spiritually curious and rocking loud with electronic burning sonic edges.

- Chris Difford's place in the pantheon of great English songwriters is assured - surely nearly everyone can sing along to at
least one Squeeze song.
- So in anticipation of the new Squeeze album The Knowledge' (and extensiveUK and US tours this autumn), and following
Chris's autobiography and demos album as well as Edsel's CD box set of Difford's three solo albums (I DIDN'T GET WHERE
I AM (2002), THE LAST TEMPTATION OF CHRIS (2008) and CASHMERE IF YOU CAN (2011)), we now present all three albums on vinyl, with outer and inner sleeves, gathered together in a handsome rigid slipcase.
- Of these only the first album has appeared briefly on LP before - The Last Temptation...' and Cashmere...' make their
vinyl debuts.
- The inner sleeves feature all thealbum lyrics, track-by-track sleevenotes and brand new notes by Chris about the writing
and recording of each album.

Everybody who knows Connaisseur, will probably be aware of the fact that we simply love the concept of remixes. To fnd the right person for a specifc track in order to turn an already amazing original into a new direction, is always an exciting challenge. Of course, there is always some wishful thinking on our side about what it will turn out to be like. Usually, we are completely wrong, which however doesn't mean that we are not happy with the result. Usually, we love the result even more than our own brainchild. In April, we released Of Norway's sophomore album
"The Loneliest Man In Space", a diverse masterpiece.
Since then, we have been searching for remixers whom we personally really like and of whom we are sure they can turn the track into a direction we can't even imagine. It was a bit of a journey, but now after the product ist completed, we are more than happy that we were able to bring such a group of remixers
together on one product.
As every remixer has delivered such a great interpretation, we decided to give each of themenough space to be discovered, which is why we will be releasing one remix per week over the course of two months. A selection of these remixes can be found
on a 12" extract. One extra remix is exclusively for radio and streaming.
For the vinyl extract we picked the interpretations by Lauer, Panthera Krause, Legowelt, Davis & Zopelar and Roy Of The Ravers.

Ten Years Behind the Scenes - An Anniversary Celebration Keeping anything alive for a decade is worthy of a kudos-but when it comes to club culture and dance music, 10 years is an admirable milestone indeed. For Indigo Raw, it represents another opportunity to bring in the left-field, high-grade dance inducers. And this time, the raison d'etre of the labels tenth anniversary release is a certain infamous duo known as Midnight Operator. Centered around the eponymous creation by Nathan and Mathew Jonson, Behind the Scenes EP is an ode to the kind of off-kilter, moody techno the pair have become infamous for. And on this particular occasion, we're taken for a journey in more than one sense. Equipped with a classic Jonson bass line and a scant little phrase that carries the track all the way through the end, Behind the Scenes is a lesson in transmutation. Sombre beginnings undergo a gradual shift into dancier, sunnier territory-until we are left with the impression that we've tuned into a channel that runs all the way through hills and past Martian wildlife. From dark to light, the brothers lift a veil to reveal a resolutely ecstatic piece of work. One that, in arriving at a very different place from where it sets out, earns all eight minutes of its wandering. In continuation of the jubilee excursion for this anniversary release, reworks of the flagship track have come in from across the globe. From south of the equator, AtomTM delivers an assertive piece that takes the darkest aspects of the Midnight Operator original and, with the help of a relentless stream of stabs and a sped-up beat, brings them into the spotlight. Meanwhile, Nerosky-as in Nerone(indigo Raw label partner) & Fosky-makes their debut with a piece collaborated in the confines of a smoky Catalan studio.

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

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

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

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

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

Astray is the Sublabel of Away, Berlin. Tracklist A Wild Hunt AA Sahara Pump Theory B Wild Hunt (Mark Broom Remix) BB Hell For Leather INFO H4L After Discrete Circuit kicked off ASTRAY, another offshoot of the Berlin party series AWAY, the other half of their joint venture AWAY Soundsystem is in charge for ASTRAY's third installment. H4L, the Berlin-based live studio project, explores some tougher, jam-driven experiments resonating from two decades of warehouse reverberation experience. INFO Wild Hunt EP The title track starts off the release with a dusty, stripped-down pursuit. Marching forward with impelling kick drums, H4L creates an overall organic groove incorporating percussive, distorted sound particles, glancing up in and out of the mix like misty voices. 'Sahara Pump Theory' follows a more robust approach driven by vivid stab sequences and gnarly acidic bass elaborating a vibrant exchange of flow and energy. One of these unfolding weapons that know how to tickle that genuine peak-time madness. Speaking of weapons, UK producer Mark Broom is no stranger to that discipline after hitting dance floors with his ensouled workouts for more than two decades now. Following his old-school compass by calibrating the essentials of groove and melody, Broom's remix of 'Wild Hunt' throws the originals' core parts overboard to empower his highly effective hi-hats as the driving force rocketing into a distant atmosphere. 'Hell For Leather' tops off H4L's package with an unexpected hit-and-run sonic attack. Whether the competing broken and off beats, the IDM rooted drum patterns or the leftfield yet industrial jazz design - this reckless trip is by no means an easy finish, more like a feral crash course about an (almost) forgotten principle: electronic music is either an adventure or nothing at all.

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

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

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

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

The premiere soundtrack release to Peter Weir's 1977 Australian New Wave classic.
Lost electronic score from the enigmatic composer Charles Wain.
12-track LP sourced from the original stereo master tapes.t.
180g vinyl and deluxe packaging including archival film stills and original press material

The Last Wave (also known as Black Rain in the US) was the final chapter in a trilogy of films scripted and directed by the leading auteur of the Australian New Wave, Peter Weir.

Beginning in 1974 with the absurdist black comedy-horror The Cars That Ate Paris, and followed a year later by the lush gothic mystery Picnic At Hanging Rock, The Last Wave was a landmark in existential horror. Sitting alongside other Australian eco-terror films (e.g. Long Weekend) the film featured a haunting electronic soundtrack that is as mysterious and beguiling as the spiritual themes of the film itself.

With no LP issued after the films premiere in 1977, and together with the mystery surrounding the true identity of its enigmatic composer 'Charles Wain', the score is a largely unheard recording of pioneering experimental film electronics, easily compared to the music that contemporaries Klaus Schulze and Tangerine Dream were composing for Australian films during the same period or the electronic soundtracks of John Carpenter.

Tense atonal electronics, synthesizer drones and manipulated Didjeridu all perfectly capture the film's ominous atmosphere, punctuating the slow hypnotic pace of this brooding supernatural thriller. The Last Wave soundtrack is released in conjunction with the lost film music to Nicolas Roeg's 1971 New Wave masterpiece Walkabout composed by John Barry.