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The KBCS are:

Lucas Kochbeck - Drums

Nicolas Börger - Keyboards

Lars Coelln - Guitars

Daniel Stritzke - Bass

The KBCS were born in the northern hemisphere under the zodiac sign of snowman. They sound like Föhr and nicely topped pizza, tight as thinly folded pizza boxes and with drums dry as flour that would nearly make you cough. But hotter. Laughing is part of their ritual to get into the zone. Even though some of them prefer Ph without coriander, they still won't order it online because of plastic waste.

The moon shone happily while they recorded their spiced up cinematic, funky & atmospheric lowdown grooves album.And since the polar star was missing, they headed for Venus instead. Luckily, they didn't keep it four-dimensional but had old friend and funk head Mr Flo Mega himself on keys and good vibes - things got really wicked from there. Few people were present and those who were are not entirely sure how it all happened or where it began. Some people say it was Roy, others blame it on the sauna. Fact is that the session took its own course and most people were smiling during the recordings.

Nobody knew then about the flamingo on the cover or why the bird at least looks like one. Hailing from Hamburg, Germany the KBCS not only love to record but also play around Europe. Be sure to welcome them with a Ph in your city and they will surely return the favor by taking you on a ride utilizing a special horse: the (space) funk lama.

Daughters Of The Sun's singer / guitarist Nick Koenigs has been toiling solo as Filthy Huns for a couple quiet years at this point, layering grease-stained drum machines with badlands guitar, mirage keys, and desolate vocals, alternately broke-down and road-burned. His debut is a dusty midnight ride through black hills. “Watch Of The Bear” in particular captures a loner-in-leather mood, headlight off, pushing 70, chasing the horizon under a sea of stars. Elsewhere there's woozy, hungover dub (“Hot Morning”), peyote campfire awakening (“Infinite Ride”) and stoned sunshine raga (“Out Of The Grave"). Barren times on the highway, through darkening deserts.

Rsd Title

Jauzas The Shining (Shipwrec, Last Known Trajectory) returns to New Flesh Records, this time accompanied by his compatriot Eliot Forin aka Foreign Sequence (D.KO Records, Concrete Collage). The unexpected duo delivers four unreleased killer cuts of high caliber for your own pleasure. Very Sci-Fi-esque "Talking Machines" takes place in a dystopian future and brings together a collection of powerful electro tracks incorporating elements of rawness, acidity, and melancholy at the focus of this intent.

In overture of the A-side, gloomy "Death By Fuzz" offers an epic collaboration between the two artists: the song fully illustrates the analog brilliance and dancefloor dazzling that they are able to. This heading jam picks things up with solid metallic drums while punishing percussions lift the track even higher until the end. Brainwashing "Painful Headaches" instantly following sees Foreign Sequence in a brilliant solo exercise where he unleashes the acid whereas a solid rhythm leads you to the dancefloor for some robotic and insane movements!

Side B opens with eponymous track "Talkin' Machines", a pulsating journey into processors and computer drivers from the French pair. Characterized by unhealthy melodies, pounding beats and cyborg noises, the cut merges fascinating sequences and dark atmospheres. With its astral pads, Jauzas The Shining's final song "Colombia" takes you on a cosmic trip, traveling at light speed through time and space thanks to mighty distorted FX. A rough ride, deep and intricate to destination unknown, the perfect future funk soundtrack for an no return exploration.

"Talkin' Machines" celebrates the collision of two worlds, two artists with strong universe and personality to become one entity. Rush on it!

Jakarta/Indonesia based DJ/Producer/Akamady Records boss Gerhan Ferdinal & friend's project "KOMODO" made 2x floor killer tunes. Many people have been waiting for this 12" since Ene boss CHIDA played "Night Time" at his Boiler Room show in 2014. And "Make It Scream" is massive & heavy killer tune too. Underground music/party scene in East South Asia has grown up so fast these years. and still there are many great artists world unknown. Ene planning to release more Asian artist, new stuff from friends in the world in 2019.

Nach seinem begnadeten Remix für Axwell^Ingrosso 2018 auf Astralwerks überzeugt das aus Deutschland stammende Duo minds&machines, ein menschlich-elektronischer Hybrid zweier Individuen, mit seiner neuen EP auf Solomuns 2DIY4 Label. Auf "Silenced / Nothing" lassen minds&machines Spuren von Garage, Electronica und Ambient auf deren divergierenden Routen für einen kurzen Moment kollidieren, womit ihnen ein neues Highlight innovativer Musikschreibung gelingt.

Wehbba collaborates with ghetto tech legend DJ Deeon, to deliver another superlative EP on Drumcode.

Since his debut on Drumcode in 2017, Brazil's Wehbba has become one of the most dependable and impressive artists on the roster. Last year saw two standout EP's 'Eclipse' and 'Catarse' drop on the imprint, alongside 'Just', his strong contribution to A-Sides Vol.7. He also made his mark playing Drumcode events at OFF Week, Resistance Ibiza and the much talked about double header in Manchester and Bristol when DC took over Warehouse Project and Motion respectively.

A true master craftsman in the studio, his first contribution for 2019 is typically impressive. A huge inspiration to Wehbba since his nascent raver days, ghetto tech icon DJ Deeon contributes a fierce vocal to 'We Have Bass', after a serendipitous hook up in São Paulo. A peak career moment collaborating with one of his original heroes and the artist responsible for the classic 'Freak Like Me', the resulting percussive-heavy cut kicks like a rodeo bull. 'Third Wave' is coffee geek Wehbba's homage to his favourite brew, constructing the production to mirror the experience of a caffeine fix, as a loopy trance-inducing groove leads to powerful synth stabs that are heavy on impact. 'Steamroller' is a stripped back slice of techno driven by the Brazilian's Korg MS-20 and found form after it initially begun as a studio jam inspired by Richie Hawtin's 'Minus Orange'.

A Jean-Michel Jarre fan stretching back to his childhood, 'Another Mistake' was conceived after Wehbba saw the French legend in concert last year and was subsequently able to meet him backstage through a mutual friend. While creating the track, the producer imagined Jarre playing the main layers of the hook on his famous Laser-harp, eliciting an almost celestial quality with the melody. This is a stirring slice of techno fit for stadiums. The EP ends with 'Purge', the artist's stream-of-consciousness expression recorded in one-take and a beautiful beat-less way to conclude the work.

Available on vinyl for the first time in 40 years, Outernational Sounds is proud to present a masterpiece from the Los Angeles jazz underground - Horace Tapscott's burning, spiritualised 1978 set, The Call.

One of the unsung giants of jazz music, the composer, bandleader, arranger, pianist and community activist Horace Tapscott was the undisputed keystone in the grassroots Los Angeles jazz scene. Throughout the 1960s and 1970s, his radical community arts and music formations the UGMA (Underground Musicians Association, later changed to UGMAA - Union of God's Musicians and Artists Ascension), and his protean big band, the Pan Afrikan Peoples Arkestra, were at the epicentre of music, culture and politics in the Los Angeles area.

From their 1960s base at the Watt's Happening Coffee House on 103rd St, to their decade-plus- long 1970s residency at the Immanuel United Church of Christ on 85thE St and Holmes Ave, Tapscott's groups were the beating heart of underground music in LA. Hundreds of musicians passed through and played their part. Major figures in LA jazz such as Arthur Blythe, Azar Lawrence, Jimmy Woods, John Carter, Bobby Bradford, Sonny Criss, Ndugu Chancler and dozens of others all paid dues or just got down with Tapscott, not to mention the core Arkestra regulars who have since become celebrated names - Nate Morgan, Jesse Sharps, Adele Sebastian, Dadisi Komolafe, Gary Bias, to mention only a few.

Tapscott and the Arkestra were down on the ground - playing fundraisers in park and street, organising teach-ins and workshops for young and old, mixing it with radical theatre groups, firebrand poets, political radicals, Black separatists, community groups and churches. They lived communally, and built an ark for the Black arts in the heart of the city. But as a result of this grassroots community focus and Tapscott's antipathy to the music industry, the Arkestra didn't record for nearly two decades. That only changed when long-time jazz fan Tom Albach started Nimbus Records. The label was initiated specifically in order to document Tapscott and his circle, and the first three records showcased Horace and the Arkestra.

The Call was put together from two studio sessions in April 1978, one at Hollywood Sage and Sound, one at United Western - the latter session had the addition of a string section, who can be heard on the moody Cal Massey composition 'Nakatini Suite' and Jesse Sharps' swinging modal trip, 'Peyote Song No. III', with its swirling soprano solo. In keeping with the communal nature of the Arkestra, the other two compositions, 'The Call' and 'Quagmire Manor at Five A.M.' are also by Arkestra members. But at the centre of the music is the builder of the Ark, the visionary whose original call to action started a movement whose legacy continues to this day - Horace Tapscott.
Heed The Call!

We Are Mattimatti. Two Mattis Living In Different Countries - Sweden (malmö) And Germany (berlin). We Travel Around The World Playing Music While Asking Ourselves, 'who Are We'. The Answer Seems To Change Just As Our Surroundings Do. But The Music Stays With Us And So Does The Friendship. It Is Cliché That It's Hard To Put A Label On Music. And To Say It Has Almost Become A Cliche Itself. But Whole Meaning Of Music Is To Listen To It And Create Your Own World By It. To Create One's Own World One Needs Space. Space That Is Not Interrupted By Either Style Or Defining Categories. Mattimatti Is An Attempt To Step Into That Space Creating Music That Is Solely Built On Improvisation. Our Music Is An Invitation To Places Not Yet Known, Where Rhythmic, Suggestive And Meditative Soundscapes Meet The Present Moment. Music Represents Many Things For Us. First Of All, It Is In-sync With Our Friendship, When The Relationship Is Stuck So Is Our Music. Our Music Is Therapy. We Need To Be Authentic With The Music In Order To Have A Real Friendship And The Other Way Around. As Friends And Musicians We Welcome The Unexpected. This Has Lead Us To Places Where We Never Would Have Ended Up In If It Weren't For The Music. In That Way, Music And Life Walk Hand In Hand. If We Dare To Be Real About It. We Are Living In A World Full Of Confusion When It Comes To Identity. It's Easy To Loose Yourself. All Of A Sudden You Are Standing There Playing Music But Missing The Music At The Same Time, Or Hanging Out With Your Best Friend While Missing The Friendship. We Are Trying To Stay Connected. It Is A Constant Task. We Lose It But Then We Find It Again, Just Like Everybody Else. Sometimes It Ends Up In Music For The Moment. Sometimes It Ends Up In The Shape Of A Record. We Met On The Streets Of Berlin In Spring 2013 While One Of Us Was Playing On The Streets. After We Played The First Time Together, There Was No Question That We Would Travel A Musical Journey Together From That Day. Mattimatti Was Initiated. On Our Quest We Began Playing Improvised Tunes On Sitar And Hang On The Street While Travelling Through Sweden And Germany. This Lead Us To Be Invited To Numerous Festivals All Over Europe While Constantly Developing Our Music And Sound. Since Then Our Set Has Added New Instruments Such As A Drum Kit With Hang, African Harps, Sitar, Guitar, Harmonica, Clarinet, Hank Drum And Vocals On Top Of It Extending The Sound With A Space Echo. The Long, Intimate Tunes That We Are Creating Have An Original Structure And Sound. There Is A Certain Present Resting In The Music Which Is Hard To Describe But Easy To Experience If You Listen To It. Our Live Concerts Have Been Dubbed Mythical, Hypnotic, Magic And Epic. Traveling Is Our Biggest Influence On Music. Mattimatti Are Now Both Based In Berlin & Malmoe And Work Together With The Contemporary Circus, Dance And Music Group - kollektiv Knaster .

Johannes Brecht (diynamic) Und Christian Prommer (sonar Kollektiv) Setzen Nach Ihrem Kollaborations-debüt-ep "voix Grave" (2016), Die Wochenlang #1 Der Beatport Deep House-charts Belegte, Ihre Exklusive Zusammenarbeit Auf Diynamic Fort. "page Blanche" Ist Eine Weitere Klassisch Inspirierte Komposition Der Beiden, Die Sie Nochmal Einzeln Neu Interpretieren. Während Brecht Mit Einem Treibenden Melodic Techno-schwert Dunkle Und Vernebelte Clubräume Durchdringt, Nimmt Prommer Die Dramatische Richtung Und Kreiert Mit Zusätzlichen Synth-stufen Eine Melancholische Aura Um Das Arrangement.

"ambitions" Ist Das Sechste Album Von Prins Thomas Und Seine Zweite Soloarbeit Für Smalltown Supersound (neben Den Beiden Kollabowerken Mit Björn Torske Und Bugge Wesseltoft). Die Neue Tracks Auf "ambitions" Sind Kürzer, Prägnanter Und Melodischer, Gleichzeitig Präsentiert Prins Thomas Mit "feel The Love" Seine Erste Vocalsingle, Basierend Auf Einem Sample Der Norwegischen Popikone Alex Naumik. Jazzlegende Bugge Wesseltoft Wiederum War An Den Aufnahmen Zum Albumfinale "sakral" Beteiligt.

For its 2nd release, Nanga boko Records is very proud to present you Ye Mot Ai Kare Mot,
the official 40 years anniversary reissue of the first album of the Cameroonian musician
Atangana Pascal 'Quelqu'un'.
7 raw Bikutsi & Soukous tracks (+ one exclusive bonus track !), recorded after midnight in a
single recording session in a nightclub of Yaoundé.
Deluxe hand-numbered edition, limited to 300, includes a bonus track never released on vinyl
before!
Each record comes with an insert that includes exclusive pictures and very detailed biographies
in both English and French languages, an HQ Digital Download Card and a A2 format (40 x
60cm) poster!
Approved by the artist himself, 100 % legit, all 8 tracks are under exclusive license of Nanga
Boko Records.

Jaali's sound reflects a timeless wave of electronic music inspired by futuristic ambient spaces and expressive techno rhythm. Subtle darkness meets haunting melody, a blurred picture of the vast electronic music history. Working out the tracks in their own studio, the record was finished in Nils Frahm's stunning Funkhaus Saal 3 Studio. The mixing was done on his Konsul 1 desk, enhancing the radiophonic touch with the original GDR reverb chamber.

One of Brazil's most prolific artists, Eumir Deodato has participated in the creation of over 450 albums, racked up 16 platinum records, won a Grammy (and received two more nominations), and sold over 250 million records in the USA alone. Over the course of his career, he has written for, arranged music by and played with artists including Frank Sinatra, Tom Jobim, Kool & The Gang, Earth, Wind & Fire, Marcos Valle, Aretha Franklin and Bjork, among others.

At the height of Deodato's productivity in the early 70s, Os Catedraticos 73 was recorded between Rio de Janeiro and New York, featuring a Brazilian rhythm section comprising Azymuth drummer Ivan 'Mamão' Conti, percussion master Orlandivo, and Sergio Barroso on bass, while the horn section features some of the big apple's top players from the CTI in-house brass.

A firm favourite with rare-groove enthusiasts and fans of Latin jazz alike, Deodato melds the musical sensibility of post-bossa nova Brazilian jazz with North American soul & funk, and the explosive Latin influences of '70s New York. Os Catedraticos 73 certainly swings harder than some of Deodato's earlier releases and opening track 'Arranha Ceu' (Skyscrapers) is a euphoric dance floor classic, which has been lighting up clubs for years.

With the blessing of Deodato himself, this official Far Out reissue has been remastered and pressed to 180g vinyl, with replica original artwork from the OG Equipe release.

"Tom Bolas.
Berlin Scavatrice. Commerciante
Kangham Funk. Fifa Perfetto Koreano
Senopati Punk. Indo Punk Ubriaco
Di Piu. Di Pi. Di Piu !!
"

Die Neue Kitsuné America-compilation Mit 18 Tracks Zwischen Pop, Indie & Electro. Kurz Nach Eröffnung Des Neuen Kitsuné-flagship-stores In New York Im Herbst 2018 Erscheint Vol.5 Als Limitierte Erstauflage In Kooperation Mit Der Nba (national Basketball Association), Der Karten Aller 18 Künstler Im Basketball-style Beiliegen.

Smalltown Supersound Präsentiert Unveröffentlichte Aufnahmen Des Heute 58-jährigen, Norwegischen Ambient-meisters Erik Wollo Aus Der Zeit Zwischen 1986-1992. Inspiriert Von Jon Hassell, Brian Eno, Harold Budd Und Klaus Schulze, Fing Wollo Damals An, Mit Moderner Midi-technik Spacig-kosmische Klangkulissen Zu Erzeugen, Die Später Einen Massgeblichen Einfluss Auf Den Cosmic-sound Norwegischer Produzenten Wie Lindstrom, Björn Torske Und Prins Thomas Haben Sollten. Die Aufnahmen Auf "sources" Wurden Von Helge Sten (deathprod) Auf Basis Der Originaltapes In Seinem Audio Virus Lab Gemastered.

Koehler was hurled headlong flaming from the ethereal sky. This is his first offering for the ESP Institute. Side A recalls the hazy memory of an ear-worm chant heard over a decade ago on the streets of Thailand, a melody that since haunted the artist and has finally been exorcised by his own hand in the shape of 'Melencolia V'. Somewhere between an enchanted bashment and a sailor's watering hole, Koehler found a gargantuan kick drum that lands solely on the 4, slammed it together with a wide pulsing bassline and brutalized Dancehall snare, then laced it all up with his elusive synth melody. Add to this a generous sprinkle of finely-ground cosmic dust and we're all tripping the light fantastic. On the flip side, the artist buckles up for a rough and rapid-paced journey with 'Invidiosa' — a relentless snare scrapes, gouges and corrodes over 7 minutes, coupling with a simplistic bass loop and swiftly marauding through a demented assembly line, accumulating various nuts and bolts of instrumentation along the way — an undeniable dancefloor exciter for those hours when the club becomes unhinged, dancing becomes raving, and slightly more audacious folk can channel their inner truth. These two songs will have you question your existence.

With "Being Water" Lali Puna refine their distinctive take on pop and electronics, pushing the boundaries towards classical songwriting. The four songs - equally affecting and catchy as self-reflected and aloof - are complemented by the airy tripiness of a remix by Dave DK (Kompakt, Pampa Records).

Although singer Valerie Trebeljahr wrote "Being Water" mostly by herself, being backed by bandmates Christian Heiß and Christoph Brandner, she rejects the idea of authorship: "Nothing comes out of myself. I'm a sampler: I write music because I listen to music. And I write lyrics because I read". Accordingly, topics and references of "Being Water" vary quite widely: "Who's That Genius" pays tribute to Virginia Woolf and Madonna - and questions why the term 'genius' is still connoted primarily with maleness. The title track refers to the famous Bruce Lee quote "Be formless, shapeless, like water" - but here it is turned upside down: It was Hito Steyerl's video work "Liquidity Inc." that got Valerie's attention, re-reading the quote as a neoliberal paradigm. In contrast, a title like "For Only Love" might sound a little naive as Valerie claims - but: "It surely won't be hate that will save us all". The lyrics were written after watching Obaidah Zytoons and Andreas Dalsgaards documentary "The War Show".

"Diversity is queen" - this goes for the music as well. While the dreamy pop of "Who's That Genius" or the catchy guitar loops of "Being Water" are in the same vein of Lali Puna's earlier albums, the free-floating piano chords and tricky rhythm patterns of "Beatx" in some ways mark new territory as Valerie explains: "I am very proud of this song because it is so fiddly. I thought that was something reserved for men".

A third of Italian production act Agents Of Time, Sharp Felon loops out of the trio's orbit to land his debut solo EP on Maceo Plex's Lone Romantic, 'Let The Game Begin' - featuring three stunt-driving cosmonautical bangers that aim to abolish all sense of gravity in the club and beyond. Breaking in at fierce speed, 'Devil Trail' attacks pedal to the metal and leaves prismatic wisps of vapor in its wake. A proper electro-magnetic dasher, the track alternates steady shooting sequences of 303-marinated bass with eloquent kosmische-indebted synth maneuvers and laser-precise breaks, all joining forces to have your feet shuffling and mind drifting up into higher spheres of consciousness in one potent backhanded caress.

A more straightforward affair, B-side opener 'Telework Titan' lifts its listener off to a further compelling state of meditative balance through a nonetheless muscular groove and epic-sized sub-bass moves. Cruising in the upper layers of the stratosphere, Sharp Felon's stamps on the accelerator of his shark-mouthed spaceship and hedgehops across craggy alien reliefs with personal hands-on skills. Intergalactic transmissions announce an imminent extra-terrestrial invasion, it's time to tune out and enter the melee. Laser guns blazing and acid stabs smoking, 'Cyber Fex' nose-dives in an enemy-occupied territory and washes over the ground brawl like a hi-tech tsunami. Purebred Donald-ian face-melter in sheer Dopplereffekt meets Arpanet fashion, this one lacks no oomph.

Cerrone goes back to his roots and reforms Kongas, his first afro-rock band which sound is dominated by drums and percussions. With this project he explored through the 70"s the major influences that would eventually forged the singular "Cerrone sound" and disco music more broadly.
With 3 originals and an exclusive new track, "Afrodesia" shines a light on Cerrone"s cult formation and the 7 young musicians who plays with him today, standing as the heirs of a timeless sense of hedonism.

Johnny's disk record is an independent jazz label run by the owner of jazz cafe kaiunbashi no johnny located in rikuzentakata city in iwate prefecture, japan.

the legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz, avant-garde jazz to left-field pop. albums such as 'farewell my johnny / left alone' and 'aya's samba' has reached cult status among fans as some of the best works to come out of the japanese jazz scene.

following a cult classic jazz fusion album on bourbon records, king kong paradise delivered an album of alternative, left-field balearic rock that was way ahead of its time.

an anomaly that sticks out in johnny's disk's catalogue, the rare record may appeal more to new wave, reggae and rock fans than jazz heads—in fact, i wouldn't be surprised if people like dj harvey or theo parrish dropped this oddity in their sets.

if you dig the kind of weirdness that's being reissued by music from memory, you might find this record intriguing.

Berlin Express was a one-time collaboration between Conrad Schnitzler (Kluster, Tangerine Dream) and his son Gregor Schnitzler together with Peter Baumann (Tangerine Dream). They composed and recorded at Paragon Studios (Berlin) a 3-track 12' single released in 1982.

This 'electro-wave' project is now re-issued including the three original tracks plus a rare mix of 'The Russians Are Coming' from the same recording sessions. Limited run of 500 copies with a postcard.

The Indigenous - A Minimal Jazz House Track With A Climax. Perfect For Starting Out Or Finishing Off A Set.

Stand Alone - A Driving Track With Chaotic Vibe That Fits Nicely In An Up Tempo House Set

Adrift - Minimal Techno That Builds Into An Atmospheric Groove.

Red & Black Flowers - Some Call This Chicago House And Others Say It Leans More To Techno. A Stormer With A Detroit Chord And Vocal Samples From the Warning'.

These Tracks Were Recorded At The Vibenotic Recording Studio With The Following Instruments: Clavia Nord Lead 3, Korg Minilogue, Elektron Monomachine Sfx-60, Machinedrum Sps 1uw Mk Ii, Analog Keys And Digitakt.

" I used to live in rue de Clignancourt, and remember as a kid going to the 14th of July West Indian ball organized by my father rue André Del Sartre in Montmartre every year. There I would meet, among others, saxophonist Robert Mavounzy. Sticking to the area, my older brother had a band and often played at the famous venue La Cigale, where even Henri Salvador joined him for a jam from time to time."Since childhood Serge Fabriano bathed in music, to-ing and fro-ing between his native Guadeloupe and Paris where he grew up. He attended the music conservatory, learnt how to play bass, met and played with many musicians and was ultimately angling for a career as a music teacher. But Serge had wanderlust; he lived to meet new people and was passionate about travel.Thus, it was in a squat located rue de Flandres in the 19th district of Paris that Serge Fabriano met by chance zarb player Djamchid Chemirami, one of Iran's greatest percussionists, who invited him to the Arts Festival of Shiraz-Persepolis. After a month-long motorcycle journey, he and his guitar teacher, Roger Bénichou, arrived in Tehran. Sadly their guitars didn't survive the journey. It was there that he met, among others, Woody Shaw, Max Roach and his wife Abbey Lincoln. Serge also formed a friendship with saxophonist Gary Bartz and stayed on a month playing with the cream of the musicians who'd attended to the Festival.During the mid-70's, he alternated between teaching classes and live gigs, and performed in Germany with a funk band comprised of ex-GIs from the US Army. He also met the members of Chick Corea's group, Return to Forever, and especially Stanley Clarke who became a great source of inspiration to him.From 1978 onwards, Serge Fabriano put aside teaching and devoted more time to music. He became a musician's musician, doing studio recordings with rock bands. He also played with members of the Caribbean diaspora, which included the great drummer Marcel Lollia (known as Velo), Patrick Jean-Marie, Guy Conquette, Winston Berkley, Mino CineluDuring the "Ayatollah Comédie" musical comedy tour organized by the Journal Liberation, Serge met actor Pierre Clémenti (Il Gattopardo, Belle De Jour, The Conformist). This was a game-changer : "I was trying to record my first record. Clémenti suggested the Studio Beaubourg in Paris. "The group Fabriano Fuzion - Fabriano Unit Zion - was born.The band brought together some of the Caribbean's most inspired musicians: Martinican-born Mario Canonge on the piano (his first appearance on an album), Alain-Jean Marie on the synthesizer, Edouard and Pierre Labor on saxophones, Claude Vamur (Kassav ') on the drums, singer/percussionists Marie-Reine Lamoureux and Marie-Céline Lafontaine, percussionists Roger Raspail, Sully Cally and Hector Ficadière (Tumblack, Vent Levé) on Ka percussions.It is precisely the Gwo Ka - this ancestral 'root' music deeply embedded in the heart of the Guadeloupe musician - which constitutes the rhythmic backbone of this first opus. The Gwo Ka, the jazz, the poetry and the spiritual vibe are gathered here to form a splendid album; one of the true masterpieces to emerge from the French West Indies.Rarely will a band have borne its name so well than Fabriano Fuzion - its music is a multiple and collective work in which each element brings its identity and its richness, conferring to this major work a truly fusional dimension.

Imagine if you could put together a dream line-up of MCs and producers from all four corners of the rap world
That's what artist and illustrator Gangster Doodles set out to do when he put together a stellar collection of tracks by the rappers and talent that inspire his work.

The all-star line-up features everyone from hotly-tipped emerging producers like Eets, Caleb Stone, Maze Mountain and LoVibe next to underground perennials like Onra, Mndsgn and Jon Wayne all the way up to top flight producer Kaytranada and established rap vets like Madlib, Oh No, Blu and Defari.

This second collaboration between All City Records and Gangster Doodles is a jam-packed sonic adventure featuring 27 killer tracks from some of the finest creators out there. Doodles had the idea for a comp two years ago. Hyped after partnering with All City for Knxwledge's "Wraptaypes" project back in 2015, they initially set out to put together an EP but as the tracks kept coming in it exploded into the sprawling double LP of low-slung grooves and bangers from the best in the business.

With everyone on the record being a friend or friend of a friend, the comp just kept growing as GD went to work with the hustle he has learned from penning his post-it sketches day in day out for the last decade.
Word spread fast and soon he was being sent beats from all over, even reaching behind the prison walls of Bergen County Jail, New Jersey and securing a track from former Dipset affiliate Max B.

The last few years have been busy for Marlon "Gangster Doodles" Sassy. He released his acclaimed Gangster Doodles (The Book) alongside an ever-expanding array of prints, original works, apparel and exhibitions across the globe. Topping that off with animation projects, a graphic novel in the works and now, with this LP titled " Gang$ter Music Vol 1", he is about to debut his first ever music compilation.
He says himself: 'Every time a new track came in it was like running down the stairs on Christmas morning to open a present. What started as a slow trickle of work coming in soon turned into a tsunami with some of my heroes like Onra, House Shoes, Blu, Jeremiah Jae joining up with young guns Kojaque, Kean Kavanagh, Dream Panther and others to beef up the record'

'When an email pinged through with a track from brothers Oh No and Madlib it felt like the final gift and Gang$ter Music Vol. 1 was complete.'

Kosmo Sound's new single 'ILAM' comes with heavyweight bass lines, Tuareg inspired guitar riffs and Moroccan percussive elements. On the B-side there is a Special Dub mix by Daniel Boyle (Lee Perry, Max Romeo)

Formed in Ghent in 2016, Kosmo Sound mixes tight dub grooves with jazzy guitar and storytelling saxophone melodies, yielding an organic dance-oriented dub experience. Members have been active in Belgian avant-garde acts such as Madame Blavatsky, Nordmann and Pura Vida among many others; their self-titled debut EP was released last year on Zephyrus Records.

Unprofessional's Debut Featuring Four Unrelenting Tracks That Echo The Golden Years Of Italy's, Everything Goes, Rave Heyday. Her Tracks In This Release Are Characterized By Epic Synths, Jacking Hi-hats, And Lo-fi Hip-hop Style Sampling. Beyond Musical Characteristics, A Fantastical Sense Of Humor Pervades The Release With Self-conscious Samples Embedded In Many Of The Tracks And Overtly In Titles Like civilization At The Bio Store' Or grand Unified Theory.' Before This Release, She Has Been Performing Live The Darker Corners Of Europe's Electronic Music Scene. In The Last Year She Has Been Featured In The Mixes Of Alienata (killekill), Bill Kouligas (pan) Or Pure (praxis Records, Aufnahme + Wiedergabe).
Unprofessional Herself Comes From A Small Town On The East-coast Of Italy. She Began Producing In Her Early 20s In Milan Before She Moved To Berlin And Began Organizing Small Uncompromising Local Parties, Which Featured A Pretty Disparate Group Of Musicians.-
Mastered By Mike Grinser (d&m)
Artwork: Bartosz Zaskorski
Design: Teo Schifferli

Komos Records are proud to present the first time reissue of a cult French private press rarity at the intersection of jazz, percussion and experimental sounds.

'Hypnotic percussion tracks and organic soundscapes drawing on African, Asian, Indian & South American traditions, recorded deep in the French countryside in 1984."

- Founded by long-time friends Gerard Kurdjian and Stéphane Olivier alongside compatriot Christian Berthier in 1983, Nakara Percussions was a trio from the south of France, fascinated with percussion instruments, rhythms and textures from across the world.

- Steeped in Jazz and ethnographic recordings, the trio designed and built their own instruments and played across the South of France throughout the 80s, recording a single album in the tiny village of Alliens in 1984.

- Self-produced and mainly sold at gigs, the record reflects the inquisitive, experimental approach of the group and has become a cult album among DJs and music lovers for its blend of complex rhythms and organic soundscapes, taking in everything from Brazilian batucada to Indian tabla rhythms by way of West African thumb pianos and the drums of the Maghreb.

- The track 'Balimba' has become a dancefloor classic, finding a home in the sets of openminded techno DJs as well as on the jazz dance and tropical scenes.

A prodigious guitarist at an early age, Willie George Hale earned the nickname "Little Beaver" from friends in family in Arkansas, remarking on his prominent teeth. Over the years Hale would make a name for himself as a reliable session guitarist, appearing on recordings by Betty Wright, Al Kooper, and Blowfly, and gradually developing his own distinct, rhythmic style of blues guitar playing. As the mid-70s approached Hale would embark on his own solo career, cutting albums and singles with Florida's TK Records, working alongside famed musicians like Jaco Pastorius, Benny Latimore, and Timmy Thomas. His career effectively ended in the 1980s with TK's collapse, but he would find new life in 2003 after performing on several Joss Stone albums, and his works would be sampled in hip-hop tunes by the likes of Jay-Z, Slum Village, and People Under The Stairs. Not long after his solo debut in 1972, Hale released the sophomore album Black Rhapsody, which did away with the vocals so Hale could put his own blues guitar chops at the front. Black Rhapsody featured a slew of original deep funk jams from Hale, as well as his own soulful spins on songs by Al Green, The Temptations, The Jackson 5, and even George Gershwin. A rare gem of 70s funk, famously featuring the track "A Tribute To Wes", which beatsmith J Dilla would sample to great effect on the Slum Village track "Conant Gardens."

PAUL LABRECQUE (SUNBURNED HAND OF THE MAN) and GHAZI BARAKAT (PHAROAH CHROMIUM) present two epic cosmic, dystopian tracks where guitars, synths and traditional instruments blend into an anarchic sound system.

After excessive years in rock bands like THE GOLDEN SHOWERS or his solo project BOY FROM BRAZIL, time had come for the German-Palestinian artist GHAZI BARAKAT to develop a new aesthetic - the birth of his alias PHAROAH CHROMIUM where BARAKAT creates "meta-music for meta-people in a meta-world", or in other words:a mutoid blend of post-krautrock, psychedelism, free jazz, ancient rituals, science fiction and electronics. So far the Berlin based sonic performer released a couple of solo albums on labels like GRAUTAG or TAPEWORM and a triple LP with krautrock legend GÜNTER SCHICKERT. For his latest output he decided to simply use his civilian name BARAKAT, as does PAUL LaBRECQUE (SUNBURNED HAND OF THE MAN) who contributesguitar and synthesizer to the two side-long tracks. "Jajouka Pipe Dream" is a clear reference to the MASTER MUSICIANS OF JAJOUKA, with lots of flutes and percussion, a very rhythmical, ritualistic track, while "Planet R-101" turns out a spacey trip with elements of krautrock and Kosmische Musik / Berliner Schule.

What may sound contradictionary on paper functions perfectly on LP - freeform / free-floating music, absorbing and integrating a wide range of influences and inspirations, sounds and styles - and highly psychedelic!

Credits:

Ghazi Barakat: guembri, moog synthesizer, beats, Rauschpfeife

Paul LaBrecque: guitar, synthesizer

Mastered and cut by Rashad Becker at D&M, Berlin

Artwork + photography: Nicolas Moulin

Joe Hart and Scott Fraser's Body Hammer, London's legendary jack party has been capturing the hearts, minds and feet of Londoners for 11 years strong. Having kicked off in 2008 at the Korsan Bar, and now comprising only of residents Scott & Joe, it takes place in various venues every month. Their open minded music policy commands a friendly, spirited, diverse and fiercely loyal crowd making it consistently one of the best nights out in the city, hands down. More recently, taking the party out of London they have been touring at clubs and festivals from New York to Berlin in and everything in between. They now have their own label and its 100% Body Hammer dancefloor certified.

The first release, of course, features two banging club tracks written and produced by Fraser and Hart at Fraser's East London basement studio, mastered and cut by Keith Tenniswood at Curve Pusher.

The A side, 'Spit from the Sun' is a peak-time jacking acid number which will set any dancefloor on fire. Its rattling drums and pulsing bass stabs capture all the intensity of the convict poet on the vocal telling his story and lamenting the waste of his life behind bars.

Over on Side B, 'Igniter' strikes a more subtle tone with its gently rising strings and breathy vocal. But don't let the subtlety deceive you as those kicking drums and thumping bassline come through to get the dancers screaming for more as it hits its crescendo.

WRWTFWW Records is immensely happy to announce the reissue of impossible-to-find cult album Lady Maid by Japanese outfit Normal Brain, available on vinyl, digipack CD (for the first time ever), cassette, and digital, with liner notes by acclaimed sound artist and mastermind behind the project, Yukio Fujimoto.

Originally released in 1981 as a limited vinyl pressing of 300 copies on Agi Yuzurus fabled experimental label Vanity Records (R.N.A. Organism, Dada, Sympathy Nervous, Tolerance), Lady Maid is a testament to the creativity of the early 80s Japanese electronic and experimental scene, encapsulating a prolific era when audio gear became affordable for musicians to explore sounds in the comfort of their home, free from studio time pressure and major label rules.

Entirely imagined and brought to life by an inspired Yukio Fujimoto, the 6-track opus was conceived with a Korg MS-20, a Korg SQ-10, a Boss Dr. Rhythm DR-55, anda Texas Instruments Speak & Spell! Its elegantly minimalist, honest and witty, very playful, cleverly pop, and downright fascinating. The a-side captures the fun side of avant-garde electronica, lo-fi wave, proto-glitch, and IDM, a joyful ride beautifully interrupted by the cinematic mood switch of the b-side - a 20 minute ambient piece flirting with sci-fi, melancholy, and hints of metallic darkness. Unclassifiable and marvelous!

Yeah, we get it: You cant technically be clinically paranoid if everything youre afraid of is actually happening. Its been a few years since we were scared shitless of letting cell phones anywhere near our crotches and suddenly, the electromagnetic waves mess with our brains big time. Lets not beat around the bush here, its all true. Your thoughts are being supervised, the government even has taken complete control over them, all while your moral compass is spinning at 78rpm like a broken shellac. Its bad, it feels weird and just so wrong. It doesnt even pay well, for fucks sake.
We know, we know: You need a remedy and you need it, like, yesterday at the latest. What we can offer for now is Konrad Wehrmeister from Munich, whose handcrafted alpha waves will interlock with your brain activity and set your will free by taking it over - it hasnt been yours for a while now, after all. Wehrmeisters pummeling techno is the B2B (business to brain) or even B2B2B (business to brain to booty) solution your sorry existence needs in these dire times, and he will professionally lead you to your destination with a little splash of »Radiation« to fire you up. Hes done it for Public Possession, hes done it for Ilian Tape. He can do it for you, if you trust him enough.
So please come and join us in eternal dispersion. RSVP by the complete loss of your sanity.

Ambient/Traditional Flute Music from Japanese Shakuhachi Master Teruhisa Fukuda

The shakuhachi is an end-blown bamboo flute with one dorsal and four frontal holes and a bevelled notch as mouthpiece. There are two elements in the name of the instrument: shaku refers to an ancient measurement which is the equivalent of 30,3 cm; hachi means eight. Originally shakuhachi thus refers to a flute that measures 1,8 shaku, that is, 54,5 cm.

For this CD, 2LP Master Fukuda chose a series of seven pieces from a repertoire dating back to the seventeenth century. These were originally performed by monks belonging to the Fuke sect of zenBuddhism, who viewed their instrument as means for meditation. The seven pieces are destined to be played solo, in the spirit of zen.

Teruhisa Fukuda
Born in 1949, Teruhisa Fukuda is an eminent artist who has explored a vast range of musical techniques from, both, traditional and contemporary music.

April 2017, Osaka, Sakura, the beautiful time of the cherry blossom. We quickly get a warm coffee from the drinks vendor down the street, then off to Kabamix' LMD studio downtown. Time is short, the off-days are counted on tour. As the year before at the SVS label camp in Budapest, we stick to the plan: one track a day. This time we have guests! Marimari, Arihirua and Ryoko epitomize the perfect antipodes to the lonesome samurai on his white horse (Shiroi Uma) we had in mind on our first EP (SVS010). Everything flows, everything is improvised, the music itself is the place where we meet, no much talking about what´s happening, we just carry on doing the thing. The studio of Kabamix, longtime soundengineer of Haruomi Hosono, has built up over many years, it´s a hoard of like-minded people. Gekko No Odoriko translates to 'Moonshine Dancer'. The rhythm, as usual a driving force in our music, is converting every listener unwillingly into a squirrelly moving dancer. Heavy, yes, bassy, yes, yet never isolated drums build the foundation of the beatgrid as well as the arrangement. With an ascending condensation of musical events, the track enfolds it´s physical energy vertically and horizontally. And just as the spacey synth enters the track, Mari Mari has entered the studio, a Korg Prophecy under her arm, straight into the recording cabin, recording 'it'. Vocals by Ryoko aka Mt.Chills and us happy bunch. Holy Water: Visiting the holy mountain near Nara national park, the impossible seemed so simple: capturing water. An old man mumbling on the floor next to the entrance, little volvic bottles making their rounds to this special zone, bamboo growing high all over the place, deers walking close by as if there was no distinction between us living beings.

I was thrilled when Joe Goddard asked if he could make an EP for the label and were even more thrilled when I heard it. The fact that he roped in the legendary Kool Keith to appear on one track just kept on bringing the thrills.

Here are some lovely words from Joe about this release - 'It's an honour to release some music for this label. I feel that due to the ravages of unrestrained and brutal capitalism, people across the world are finding life particularly difficult right now- both economically and emotionally. Capitalism is an insidious and elusive enemy and many people are currently turning to intolerance and hatred instead of recognising that at these times what we really should attempt to do is love and respect each other as much as possible. Therefore I support Keith's efforts wholeheartedly, and on a personal level I couldn't think of a nicer or more talented person to release an EP with.'

AF Trax's message is very simple. The far right ultimately wish for the destruction of our way of life and indeed the lives of many of the people we love. The message is love. The message is solidarity. The message is No Pasaran - They shall not pass. It is a call to stand together, it is a call to stand up, it is a call to ACT. Individually we may be powerless, but together we are strong.

If you're not outraged, you're not paying attention!