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"For the final part of SchleiBen 5 - 8, Emotional Response welcomes two Scottish based artists to close out the series. In Jon Keliehor you have a world and music traveler with history from psychedelic rock to fourth world exposure, alongside one of the best electronic producers of the last decade, Lord Of The Isles. As the drummer of West Coast folk rock / psychedelic band The Daily Flash, Keleihor spent much of the mid-60 based in and out of Seattle and Los Angles, playing alongside the likes of Jefferson Airplane, Cream and The Doors, before an increasing interest in meditation and philosophies outside of the 'rock' realm led him to England in the early 70s where he become involved in dance theatre. Teaching Advanced Rhythmic Music Studies at the London Contemporary Dance School, his music composition style became influenced by his studies of world music. Finally settling in Glasgow for over 20 years, while running the Luminous Music label and Gamelan Naga Mas, his earlier recordings for labels like Indipop, Touch and Bruton have seen a recent revival, with music appearing recently on contemporaries Optimo Music and Invisible Inc. The wonderful recordings included here span over 3 decades, from sessions at the Luminous Studio at The Diorama Theatre, London in the early 80s, through to recent field-work based recordings in the Cairngorms. Reconfigured and updated, a common thread appears through the pieces - a sense of longing and appreciation - as Jon's knowledge of outer-national instrumentation alongside equally extensive travels around the globe gives the recordings a seamless blend of organic craft. The tonal consonances within unlikely combinations of instruments, with tuned glasses (tarang), tabla, jaw harps, clay flutes and ocarinas, Chinese instruments that include Xiao-Bo and Xiao-Ping, large Noah bells, small and larges gongs all employed, the recordings have been reconstructed, edited and updated via sampling and digital processing. Featuring the playing of John "Jhalib" Millar - the extraordinarily gifted musician and tabla player - who has appeared with an EP on sister label, Emotional Rescue (ERC029), sadly recently deceased, the contribution acts as a tribute and more. To close, the music of Lord Of The Isles is an excellent companion to Jon's work. Neil McDonald's list of club-based releases on labels CockTail D'Amor, Ene, Firecracker, Permanent Vacation, ESP Institute and Phonica is comprehensive and exemplary, however within his productions has often been an other-worldly element, a space between the beats and occasional fully ambient pieces. Approached originally for series one of SchleiBen, the 7 pieces included were worth the wait, a journey in themselves and the perfect completion. Spanning almost 5 years, the majority were written during an extended exile in the Cairngorms. The lifting, ethereal, but melodic nature of the music fits that aesthetic. Blue skies, snow, long walks, space to think, but with a longing and appreciation of family and friends. The solitary nature found in SchleiBen 8 and the geographical incidence of both artist's recordings including sessions in the Scottish Highlands fits the series ideals and is a nice closure. Enjoy and listen. "

First Ever Vinyl Reissue, Limited Edition To 500 Copies Only, Bonus Tracks Not On The Original Lp, Remastered Sound, Insert With Liner Notes By Nick Rossi And Photos, Beautifully Housed In Three Back-flapped 1960s Uk Style Picture Sleeve ! The Wynder K. Frog Story Evolves Around Mick Weaver. After He Switched From Piano To Organ He Joined A Band Named The Chapters That Would Soon Be Renamed Wynder K. Frog And Perform Material From James Brown's Flames, Booker T. And The Mgs Or Even Songs Learned Through Georgie Fame's Recordings And Graham Bond's Repertoire. Wynder K. Frog Moved To London And Became Regulars In The City's R&b Scene Playing At Swingin' London's Clubs Like The Tiles Or The Marquee. A Contract With Island Records Was Secured And -under The Wings Of Producers Like Chris Blackwell, Guy Stevens, Jimmy Miller Or Gus Dudgeon- Wynder K Frog, A Name That Would Eventually Be Used As A Pseudonym For Weaver More Than A Proper Band Name, Did Some Some Amazing Hammond Organ-ized Recordings And Issued In Three Lps And A Bunch Of Cool 45s.

At The End Of The 1960s, Weaver Would Quit The "band Scene" To Become One Of The Most In Demand Session Musicians And Throughout His Career He'd Be Heard Backing Names Such As Eric Burdon, Roger Chapman, Dave Gilmour, Keef Hartley, Alexis Korner, Ralph Mctell, Taj Mahal Or Otis Rush A.o, But His Lps As Wynder K Frog Are Classic Hammond Sound From The 1960s Uk And Will Appeal To Those Into Brian Auger, Graham Bond, The Artwoods, Zoot Money, Jimmy Mcgriff, Booker T. & The Mgs And The Likes.

Out Of The Frying Pan

Released At The End Of The Summer Of 1968, And With A Host Of Session Musicians That Included The Brass Section Of John Mayall's Bluesbreakers, Producer Gus Dudgeon Helped Weaver / Wynder K Frog To Improve The Results Obtained On The Debut Lp And Get One Step Closer To The Live Action. The Formula Was More Or Less The Same, Instrumental Hammond A Go Go Covers Of Hits From The Era, Including The Rolling Stones' "jumping Jack Flash", A Funked Up Version Of The Classic Tommy Tucker Blues Number "hi Heel Sneakers", An Exploding Cover Of "tequila" Or The Standard "green Door", But It Also Included The Sensational Weaver-penned "harpsichord Shuffle".

Speed For Lovers release debut album 'Hot Yoga Emoji' on society Records / Ubishi Recordings
Originally from Sheffield, Liverpool & The Forest Of Dean, the three lovers met in the network of little mesters music studios on John Street in Sheffield.Initially engineering, producing and playing on each other's projects, they subsequently teamed up to form Speed For Lovers in 2010.
The past eight years have been spent wearing out rave trainers, building studios in their attics and sheds, geeking out with Sound on Sound articles and faffing with tech.
With two members who came and stayed and one who couldn't leave, 'Hot Yoga Emoji' is the band's ode to Sheffield.
Field recordings of late nights out and early stumblings home link tracks together and place their moments of creation in the city.
Spurred on by Sheffield's Kabal nights and trips to The Electric Chair in Mcr, 'Hot Yoga Emoji' mixes live drums and bass guitar with pocket sound generators, old synths and vocals to create an album of irresistible live dance music.!

Remastered And Resissued Double A Sider For Soul Aficionados, B Boys And Jazz Funk Lovers.

Both Instantly Recognisable Across The Generations, The A Side Sees A Reissue Of One Of The Most Feel Good Records Out There In - 'express Yourself'. Most Famously Sampled By The Mighty N.w.a. In '89.... 'whatever You Do, Do It Good'.

On Flip You Get Pure Funk Destruction In The Form Of The Meters - Just Kissed My Baby. An Insatiable, Groove Laden Intro Which Has Been Prime Sampling Material Throughout The Years - Most Notably In Public Enemy's 'timebomb'.

Limited repress on Black vinyl, with a large / dinked centre hole.

* "Of all the dubplates in my bag from this last few years, the ones I've selected most often have Walton's name scribbled on the sleeve. 'Black Lotus' is a unique creative statement; I'm very proud to release it on Tectonic and to support Walton, who I believe is a true talent." Pinch

* On July 6th Tectonic recordings presents the game-changing second album by 26 year old Mancunian Sam Walton, better known as simply Walton.
* 'Black Lotus' follows his inclusion on Tectonic's landmark 100th release - Riko Dan's 'Hard Food' EP, plus the 'Praying Mantis'/ 'Koto Riddim' 12' (also on Tectonic) and the 'Taiko' EP on Kaizen - the latter two of which hinted at the album's sound, but didn't fully prepare us for the brilliance to come.

* Abstract electronics, grime, dubstep and new styles that don't even have a name yet coalesce perfectly on this classic in the making. It finds Walton at peak power, reaching just as far (if not more so) than anything on the Pan, Different Circles, Boxed or Tectonic catalogues for pure futurism and new-terrain-traversing brilliance.

* Spacious and modern sounding, with just the right amount of grit, on 'Black Lotus' Walton has taken things the next level - setting an impressive new high bar. This is the best music to take inspiration from far eastern culture since Photek's seminal 'Ni - Ten - Ichi - Ryu' and 'The Water Margin'.

* Cinematic may be a term bandied about too often, but on this record it unquestionably applies, with the whole thing playing out like an epic movie, full of highs, lows, action, reflection and changing scenes.

* The album kicks off with 'Black Lotus', which makes it quickly evident that this isn't just another generic longplayer; a weightless/sino style intro segues into a mystical kalimba line, which is then is enveloped by huge waves of synthesized, pitched-down brass.

* 'Point Blank' offers locked, harsh mechanical funk, full of aggravated excitement, before sleek, spacious grime and disguised pop garage achieve twisted anthem status, on the hugely satisfying 'Koto Riddim'.

* 'No Mercy''s Yakuza crime riff is perfect for Riko Dan's threatening menace, especially at the point his voice gets distorted into a guttral and unsettling, demon-like wretch.

* 'Mad Zapper' is abstract, comprised of simple yet challenging beats, tones and stutters, whilst 'Angry Drummer''s taiko/kumi-daiko style percussion has a rousing, heavy thump.

* 'Pan' sounds equally enthralling whether soundtracking a dark movie scene of impending danger, or carying enratptured ravers on a danceflor journey, especially one suited to the synapse-prodding drama of a high production, lazer-heavy festival set.

* Choppy drums and bouncy bass tones are laced with the georgeos melody of 'Ehru', and 'Vectors' is sleek 'n' deep breakbeat-garage-meets-IDM.

* Although already known for elements of musicality, Walton raises his game even higher with the beautiful closing track 'White Lotus', which has a wow factor akin to hearing Aphex's Twin's 'Jynweythek Ylow' for the first time.

* 'The title came from the idea that I wanted it to be sweet and melodic in areas, but dark and grimey at the same time', recalls Walton. 'I never really listened to much Japanese and Chinese music before working on this, and that element originally came from listening to a lot of Sino grime stuff. It wasn't until I was deep into the process of making the album that I started listening to loads of traditional stuff on YouTube for melodic ideas, which changed how it turned out. The whole dubstep techno crossover thing was also a big influence.'
* 'I'm really happy to have Riko Dan & Wen on there', he adds. 'I've done a few remixes of Riko tunes which have had a great response, so it's been wicked to get some original material done together. The track with Wen was first started a while back, so I'm glad it was finally finished and will see a release.'
* Walton has been steadily gaining serious clout through releases since 2011 on Hyperdub, Keysound, Tectonic and Kaizen, with supporters including Mumdance, Logos, Slimzee, Laurel Halo, Wen, Hodge, Mary Anne Hobbs, Giles Peterson, Paleman, Teki Latex, Commodo, Loefah and Kode9. Key club, festival and radio shows include FWD at Plastic People, Fabric, Outlook, NTS, Rinse and BBC 1xtra.

Salvador Font studied violin, clarinet, composition and harmony at the Conservatori Municipal de Barcelona, but very soon started to gain notoriety as a saxophonist in the rich jazz scene of 1940s Barcelona. Font would soon be playing tenor sax and clarinet in the Orquesta Gran Casino. He was in his early twenties and his hot swing technique was already praised through the citiy's scene, he would grow to be considered the best saxophonist in Spain by playing in many orchestras and combos, among them: José Puertas', Antonio Vilá's Virgina, Bonet de San Pedro's band, Pierre Michel, El Lirio Campestre, Los Marios, Luis Rovira y su orquesta, Orquesta brasileña Fon-Fon, Jaime Camino, Los Embajadores, Italo Leone's... With these and others, Font toured constantly, visiting many countries and even staying on some for long seasons: Mexico, Morocco, Switzerland, Egypt... Hungarian violinst of Turkish ancestry Kurt Dogan gave him the "Mantequilla" surname - he felt "Mantequilla" (which means "butter") fit Font's mellow yet swinging improvisation style.

Mantequilla y su conjunto

In the early sixties, "Mantequilla" had the chance to lead his own combo, Mantequilla y su conjunto, with which he was to record the three splendid EPs that are compiled on the present album. All these 7" have become elusive collector pieces in the record market, with sellers demanding from 200 to as much as 950 euros per copy.

In 1961 "Mantequilla" was at his best moment, his gigs at the Jamboree Jazz Cava had brought him back to the first line of Barcelona's jazzmen after he had been working abroad for a long time, and was approached by the Belter label to record an EP. On the sessions he was accompanied by Manolo Mercedes on trumpet, Pedro Ferré on piano, Rafael Lizandra on double bass and Rafael Verdura on Drums. The material chosen for the disc were four original compositions by Salvador Font which had a high West Coast flavour all over: "La Tuna Club", "Whisky Jazz" and "Jamboree" named after famous jazz clubs and "Azul Trompeta", dedicated to Manolo Mercedes.

In late 1962, after spending some time in Madrid working as members of the Italo Leone combo, "Mantequilla" and pianist Manuel Gas came back to Barcelona for the recording of the second "Mantequilla" EP, also on Belter. We find again Manolo Mercedes on trumpet, Pedro Ferré on piano and Rafael Lizandra on double bass, the drummer this time was José Farreras. Another news is that Manuel Gas also sat on piano and vibraphone. The songs chosen for the occasion were two tunes from the Art Blakey Jazz Messengers repertoire: Bobby Timmons' classic "Moanin'" and the Jacques Marray track "No Problem" from the soundtrack of the Les liaisons dangereuses film (mispelled "Not Problem" on the sleeve and label), plus the Salvador Font penned "Blue Note" and "Full de ases" - on "Full de ases" "Mantequilla" trades his sax for the violin, which he also mastered under high influence from Stephane Grapelli. The record was released on Belter in early 1963 and showed "Mantequilla" adding a certain aggressivity to his sound, in a soloist style which has been compared to that of tenor saxophonists Barney Wilen or Benny Golson.

1965 was the year of release of Mantequilla y su conjunto's third EP, now on the Discophon label. Mercedes and Farreras are again present in the recording sessions, joined by Ricardo Miralles on piano and Enrique Ponsa on double bass. Four original Font compositions make up the fantastic EP: "Blues 3/4", "Atmósfera", "Vat 69" and "Balada".

There would be a further EP on Belter, released in 1971 as Mantequilla Group it was a cash-in operation to take some redits of the ye-yé discothèque phenomenon, it gets quite afar in style from the jazz works of Mantequilla y su conjunto, so we just left it aside for the present edition.

"Mantequilla"'s career would continue, in 1968 he would settle in Majorca and form a swing band with Bonet de San Pedro and Manuel Bolao. He played in local orquestras and also with first class world acts like Gerry Mulligan, Tete Montoliu, Errol Gardner, a.o. He was even approached by Henry Mancini to play sax on The Pink Panther Theme in a gig Mancini did with his orchestra in Palma de Mallorca in 1975, He also joined his son Salvador Font (a demanded drummer himself who has played with Máquina!, Orquestra Mirasol, Música Urbana, Gary Burton Quartet, Georgie Fame, and many others) and his peers Carles Benavent, Emili Baleriola, Josep Mas 'Kitflus' and Jordi Bonell with whom he recorded his acclaimed "Mantequilla" album in 1987.

Now, for the first time ever, the legendary three ultra rare and imposible to find EPs by Mantequilla y su conjunto are compiled in a lavish vinyl LP with remastered sound, featuring liner notes and photos and a fantastic period inspired, three backflaped, front laminated sleeve. It is a stricly limited edition of only 500 copies and they are expected to sell out very soon, do not miss your chance of getting yours - it may be the last chance of chasing the Mantequilla sound on vinyl at a reasonable price!














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The Album From 1978 Gets A Limited Repress! Recorded And Mixed At Harry J Recording Studio With Sylvan Morris At The Controls. The Trio Of Culture Met The Producer Team Of Jaime Hatcher And Seymour Cummings And The Backing Band High Lites Sons Of Jah To Perform And Record Songs For The Short Lived New Jersey, Usa Label April Records.

C R E D I T S
Bass: Clynton Rowe
Drums: Glen Washington
Guitar: Merrick Dyer
Keyboards: Phillip Williams
Percussion: Bernard Shaw, George Subratie
Lead Vocals: Joseph Hill
Vocals: Albert Walker, Kenneth Dayes
Backing Band: High Lites Sons Of Jah
Engineer: Sylvan Morris
Recorded And Mixed At Harry J Recording Studio.
Produced By Jaime Hatcher And Seymour Cummings

Michael Beharie (new York) And Teddy Rankin-parker (chicago) First Met More Than 10 Years Ago While Attending Oberlin College. Since Graduating, Beharie And Rankin-parker Each Veered Into Markedly Different Avenues. In Addition To A Consistent Output Of Solo Releases On Nyc-label Astro Nautico, Beharie Also Recently Joined Up With The Ever-confounding New York Ensemble Zs (northern Spy, The Social Registry, Troubleman Unlimited), Recently Performed On Albums By Laurel Halo, Greg Fox & Colin Self, And Is A Regular Composer For Dance And Film. Rankin-parker Became An In-demand Cellist For His Prowess In The Work Of Improvisation, Avant-garde Music, And The More Exploratory Realms Of Indie Pop, Lending His Talents To A Wide Array Of Bands And Collaborators, Such As Primus, Iron & Wine, Steve Reich, Pauline Oliveros, Glen Hansard, Father John Misty, International Contemporary Ensemble (ice), Chicago Sinfonietta, And Nicole Mitchell's Black Earth Ensemble.

New Zealand based EBM auteur Body Beat Ritual makes his debut on Bergerac with an incendiary EP of full throttle intense dark wave bangers. Growing up in North West England immersed in hardcore punk and rave culture led to musical experiments and Body Beat Ritual is his unique splicing of both aesthetics.
Using a combination of hardware, audio samples and midi sequencing, Body Beat Ritual reclaims the moment when underground musicians in Manchester, Chicago and Ghent put down their guitars and picked up drum machines and sequencers bringing the intensity, rawness and aggression of the band environment to the dancefloor. Mortal Sin is a certified smasher. Absolute dancefloor decimation whenever it's played out. No more description necessary. No Mercy evokes the Lost Boys vibe with an equally high octane raw workout. Trent Reznor meets Jeff Mills at a DAF gig on a flatliner. The EP closes with Body Politics which lowers the tempo to a chuggier zone, with an ode to female empowerment which keeps up that Body Beat pressure and intensity.

Austin Based Experimental Collective Thousand Foot Whale Claw Is Back With The New Cosmic Full Length black Hole Party, Out June 29, 2018. Featuring Members Of S U R V I V E, Troller, Single Lash And Future Museums, This Is The Supergroup's Second Lp And Their Most Accomplished Work To Date. Inspired By Progressive 70's German Kraut-rock, Thousand Foot Whale Claw Maintains A Classic Style While Establishing An Original Voice. With Album Art By Renowned Contemporary Sci-fi/fantasy Illustrator Kilian Ang, black Hole Party's Aesthetic Is Cohesively Curated Throughout Its Dense, Multi-layered Track List, Ranging From Serene Sound Baths To Driving Dance Beats.

Tfwc Was Founded In San Marcos, Tx By A Core Group Of College Friends Who Bonded Over Loose Collaborative Jams Of Effects Driven Improvisations. Eventually These Unstructured Practices Evolved Into Refined Studio Sessions And Intense Live Performances, Leading To A Rich Discography And Enthusiastic Fanbase. Balancing Repetition With The Unexpected, Tfwc's Sustained Motifs Slowly Reveal The Band's Signature Free-form Experimentation. Known For Heavy Walls Of Guitar And Electronic Drones, Tfwc Spirals Into Circular Rhythms And Looping Riffs Stacked With Shredding Guitar Solos And Ambient Soundscapes. Explorations Spurring From A Central Theme Is The Basis For The Band's Compositional Approach, Always Seeking New Instruments, Sound Sources And Production Techniques For Each Piece. Recorded And Engineered At Stassney Studios In Austin, Tx With Producer/artist Dylan Cameron, black Hole Party Has Become The Band's Most Defining Body Of Work Thus Far.  

On black Hole Party, The Polished Structure And Acute Development Of All Six Tracks Is Distinct And Tangible, Making This Record More Composed Than Any Of Their Previous Releases.  Propulsive Songs Such As deridium Rail' And The Album's Title Track Are Driven By Four-on-the-floor Dance Beats And Arpeggiated Synthesizers, Contrasting Songs Like genesis Effect' That Predominantly Features The Natural Tones Of 12-string Acoustic Guitar And Harmonium. The Wide Variety Of Sonic Flavors Is Reflective Of Tfwc's Vast Musical Tastes, Refusing To Settle On One Approach And Allowing The Band's Idiosyncrasies To Shine Regardless Of Genre. To Classify Tfwc As An Instrumental Psych Band Is Only Partially Accurate, However There Are A Lack Of Proper Terms To Fully Encapsulate The Band's Broad Scope. Black Hole Party Is The Latest And Brightest Collection Of Songs From Thousand Foot Whale Claw, Meant To Be Enjoyed In A Multitude Of Environments For All Fans Of Expansive Listening. 

At a time when on every street corner, adolescent wannabe gangstas believed they had to tell everyone and their dog about their greatness and the inferiority of all others, there was a cadre of Munich-based Hip-Hop artists producing incredibly fresh and imaginative music, inspired, of course, by the golden era of the 90s. They played gigs in small clubs in front of some dozens of people, spread mixtapes and Eps and were celebrated by their friends and the rest of the scene. The world took no notice - until now ! Tramp Records, specializing in unearthing forgotten pearls of musical art, documents with "Golden Hits", an era of Munich underground Hip Hop which flew completely under the radar, spanning ten years from 2005 to 2015. The musical bandwidth and quality of the tracks is astonishing, but so much more could have been possible. Much of this music remained fragmented or unreleased for a host of reasons, families, stressful jobs, musical reorientation, and even lost hard disks... but one story has a happy ending! When Masta Ace had a live show at the legendary Atomic Cafe, Primatune's Fid Rizz was able to hand over a CD with demo beats. Unfortunately the CD was blank by mistake! But the curiosity of Masta Ace had been piqued, and he got back to him, the rest is history. Features of other stateside rap heroes like Wordsworth or Declaime followed.

The very best of this era, including tracks never before heard and ideas remaining fragmented, has now been compiled by Tramp Records to take you for a fascinating listening journey.

Hip Hop, as it was since it's inception in the Bronx, fresh and real, and made with passion by neighborhood kids spitting truth about life and the struggle!

Key selling points:

- including many unreleased songs
- the vinyl LP comes with a full album download code

MotorCity Wine Recordings returns in fine style with its second EP featuring a swashbuckling blend of house and jazz sounds from Detroiters and their compatriots. Rising live techno star Haz Mat leads this 12' with a house-tinged boogie funk cover of Blue Six's Music & Wine', complete with vocoder and massive drums. Kuumba Reunion Band slides through next with the Afro-Jazz number 3 Fingered Fist (Jabbar)', a cut loaded with hand drums and chunky saxophone solos for the jazzdancers and listeners alike. MotorCity Wine guest and London native Aroop Roy kicks off the flip with a dubbed out beatdown house joint, a brilliant midtempo track perfect for the dread moments of the night. Last but certainly not least, The Hughes/Smith Quintet finish the release with an uptempo Jazz-Funk piece, with generous amounts of Fender Rhodes and call-and-response melodies. Only 500 vinyl pressed— enjoy the soulful sounds of Detroit.

One of the world's most iconic drum & bass acts, Pendulum have announced their return for 2018 with a brand new album and brand new live shows. 'The Reworks' is a project unlike any
other released by the band before, and marks the end of their seven year hiatus, officially launching on 16th March.

To mark their return, the band have announced their first headline show since 2011 at London's unique new space, Printworks . The show sold out in under an hour and will be both an auditory and visual spectacle for fans.

Also announced is Pendulum's return to one of the UK's biggest events - Reading and Leeds Festival . Headlining the BBC Radio 1 stage - the same slot they graced the last time they played in 2010, the shows mark a welcome return for the band in the UK.

The news will undoubtedly be well received by Pendulum 's legions of fans, with the band having hinted at a comeback by returning to the live stage last year, headlining the UK's South
West Four and Nass Festival , and confirming for this years Snowbombing festival in Austria.
For 'The Reworks' , the internationally-renowned band have tapped some of the most innovative talents from over the past few years to deliver dynamic and refreshing interpretations of their
biggest hits and some of their personal favourites. Friends and collaborators Skrillex , Icarus ,Knife Party and Matrix & Futurebound take their turn on this who's who of electronic music
royalty, whilst Noisia 's explosive cut of the now-iconic track 'Hold Your Colour' will be available with the album preorder from the 16th March.

'The Reworks' album will be available in both CD and vinyl formats from the 29th June.

This exciting announcement marks the beginning of a new era for Pendulum , who have long been considered one of electronic music's most important and pioneering acts, famed for their
no-holds-barred live shows. With more huge festival dates TBA across the summer and new originals on the horizon, 2018 marks the an exciting chapter in Pendulum's already lengthy career.

Noisia' s remix of ' Hold your Colour' , the first single to be taken from Pendulum 's 'The Reworks' album, is set for release on 16th March alongside the preorder, with the full album set to drop on 29th June.

Red Hare's roots run all the way back to the Washington D.C. music scene of the 80's and 90's, where Shawn Brown, Jason Farrell and Dave Eight immersed themselves in the braids and tangles of that city's unique strain of hardcore.
In 1987, Brown (the original (and current) singer of Dag Nasty) and guitarist Farrell founded Swiz— a harsher take on melodic hardcore released via Dischord's sister-label Sammich and their own freshly-minted label Hell- fire. Eight joined Swiz on bass in 1989 and remained until the band wrapped it up in 1990.
By 1995, Farrell and Eight reconvened to immerse themselves in the angular post-hardcore stylings of Bluetip, yet found enough juice to again tap Brown for the short-lived Swiz reboot, Sweetbelly Freakdown. Meanwhile, Joe Gorelick was living a parallel existence drumming in the band Garden Variety. A fortuitous string of circum- stances led him down the Jersey turnpike straight into Bluetip's empty drum chair. Although Gorelick did not record with the band, his prowess was nonetheless noted and cataloged for future missions — first in 2002 with Farrell in Retisonic and now with Brown, Farrell, Jason and Eight in Red Hare.
Red Hare are set to release their second album Little Acts of Destruction on May 11th through a joint effort with Dischord and their own label Hellfire. Like their debut Nites of Midnite (2013) and their stop-gap 7', Lexicon Mist (2016), the album was recorded and mixed by longtime collaborator and friend J.Robbins. These 14 songs are a heady/hearty mix of the familiar and new that bristle with the energy of the hometown sound they helped shape.

Word Of Advice To Funk Lovers, There Is Not A Minute To Lose. Get On Board Of The Big Hustle's Spaceship. Before We Take Off, Let's Do A Little History. The Band Was Founded In 2014 By Bass Player And Composer Sébastien Levanneur And Its Aim Is To Bring Together 70's Old School Funk With The Hippest Actual Sound Laced With Influences Spanning From Steely Dan And Headhunters, To Snarky Puppy And Soulive. With Mighty Horn Players, A Rock And Funky Rhythm Section, The Big Hustle's Music Has A Very Large Variety Of Soundscapes.

The First Destination Takes Us To The Washington, D.c. Area With turn Up'. The Groove Is Clearly Go-go Music Flavored With The Trademark Sound Of Cowbells And Of Course It Reminds Us Of Zapp By The Use Of The Talk Box On Lead Vocals, Performed Here By Saad El Garrab. And Don't Miss Out Shaun Martin (snarky Puppy, Erykah Badu, Kirk Franklin Amongst Others) As A Very Special Guest Performing The Talk Box Solo! Second Stop Is a Curse, A Blessing'. It's An Instrumental Very Much In The Freddie Hubbard Vein During His Cti Years. The Last Leg Of The A Side Ends With An Instrumental Interlude Titled flying Donut'. Double Tribute To Jay Dee And Flying Lotus, The Music Is A Simple Hip Hop Loop Based On Samples.

The B Side Takes Us Back Into The Past With Two Brilliant Covers, Involving Rod Temperton The Late Great British Songwriter Who Scored Some Of Michael Jackson's Biggest Hits. Now The Idea For This B Side Is To Do The Opposite Approach From The A Side. Taking 70's And 80's Original Music And Make Them Travel Into Time To 2018. We First Land With A Heatwave Song Named the Star Of A Story' From Their 1976 Central Heating Album. Track 2 Is A Herbie Hancock Song Named gettin' To The Good Part' From His 1982 Lite Me Up Lp. This Time Traveler Ep Journey Ends With An Interlude. Called gimme Dat', The Song Deals With The Need Of New Music, New Sound.

Again, This Blend Of Deep Rooted Funk Laced With A Contemporary Edge Is To Be Consumed Without Moderation. And Do Not Forget That E.p. Also Stands For Extended Pleasure.

Favorite Recordings presents this new official album reissue of State of Emmergency by French band The Fizz: A real underrated, complete and intriguing album, originally released in 1986 as a private-press LP and quite hard to find in good conditions nowadays.

The Fizz is mostly the result of Patrick Jouanneau, a French musician, composer and producer who's still active today. He remembers: In the early 80's I had a recording studio allowing me to easily fulfil my desire to create songs. It was then that I began to compose and write songs, in French or in English in this case. State Of Emergency (spelling on the LP is a mistake), is born from a fierce will on my part, and the other four have followed, but it was not easy, the musicians, you have to get them out of bed! I have to say that Richard Larozé, the pianist, was a very strong guy with harmonies, and has somewhat changed my first version, much more oriented in Soul and R&B.'

And when asked about his main influences, Patrick says: It's always difficult for me to speak about influences, out of respect, and humility especially, but they nourished us and nourished this project, Stevie Wonder, Al Jarreau, Earth, Wind & Fire, and so on, were and still are important to me and this was the case for the entire FIZZ group.'

At the end, State of Emmergency by The Fizz is a very interesting and brilliant album with great inspiration in melodies and compositions. And who knows, listening to the title "A So Called Being", it could even have inspired a certain King of Pop'...

King Coya ist das digitale Alter Ego des argentinischen Musikers, Produzenten und Komponisten Gaby Kerpel. In den Neunzigern entwickelte Kerpel die furiose Theater-Performance "De la Guarda" mit, später setzte er seine Kreativität für das preisgekrönte Showprojekt "Fuerza Bruta" ein. Abgesehen davon ist er bekannt für die innovative Verbindung lateinamerikanischer Folklore mit moderner elektronischer Musik. Seit seinem 2009 veröffentlichten Solodebüt "Cumbias de Villa Donde" fertigte der König Remixe für Acts wie Amadou & Mariam, Brazilian Girls, Julieta Venegas, Luzmila Carpio, Chancha Via Circuito, Tom Tom Club, Petrona Martinez und Magin Díaz an. Weiterhin beteiligte er sich als Mitglied der Band Terraplén an den Aufnahmen zu "Tira Torito" (2010). Mit "Tierra de King Coya" setzt Kerpel den eingeschlagenen Pfad weiter fort. Zur Geltung kommen neben kolumbianischer Cumbia und argentinischem Folk insbesondere traditionell in den Anden gebräuchliche Instrumente wie das Zupfinstrument Ronroco oder die Schnabelflöte Tarka. Natürlich werden alle Sounds vom King so lange am Computer aufbereitet, verfremdet und geschichtet, bis sich explosiv-tanzbare Songs ergeben. Neun Stück sind es auf "Tierra de King Coya" geworden. Bei diesen wird er von La Yegros, Iara Nardi, Isabel Pinedo Rengifo, La Walichera, Balvina Ramos und Queen Colas am Mikrofon begleitet.

Bruno Pronsato hat schon länger erfolgreich Erwartungen in der Techno- und House-Szene untergraben. Im früheren Leben war er Schlagzeuger einer Speed-Metal-Band mit einer ernsthaften Leidenschaft für Zwölftonmusik. 2005 zog er nach Berlin und eroberte die Aufmerksamkeit der elektronischen Musikwelt mit seiner LP "Why Can't We Be Like Us". Pronsato kehrt nun mit seinem neuen Album zurück ins Rampenlicht. In Zusammenarbeit mit Yonatan Levi hat er "A Face Wasted On The Theatre" geschrieben und produziert. Diese Verbindung ist bereits bestens eingespielt: Seit 2014 arbeiten die beiden immer wieder zusammen. Das neue Album entstand in zwei verschiedenen Studios im Prenzlauer Berg, der Wahlheimat des Texaners Steven Ford, wie Pronsato bürgerlich heißt, - und zwar meist nachmittags und nicht etwa in tiefer Nacht. Auf sechs der acht Songs ist Levi alias L.A.Teen erneut am Bass zu hören, weitere Gäste sind der Komponist und Produzent Peter Gordon und der israelische Saxofonist Yonatan Yudkowitz. Auch Levi stammt aus Tel Aviv und ist klassisch ausgebildeter Gitarrist und Bassist. Er ging einst in die USA und machte sich in der New Yorker Jazz-Szene einen Namen.

In its second venture into reissuing hidden gems of electronic music produced in Eastern Europe in the 20th Century, LITTLE BEAT DIFFERENT ISSUES focuses on the work of a Czech composer, musician and producer, Alexander Goldscheider. Born in Prague in 1950, Goldscheider started as a music orrespondent in New York in 1968/69, went onto reading Music at Charles University whilst continuing as a music critic and radio/club DJ, before becoming a record producer at the top Czech label, Supraphon. As a composer, he pioneered the use of synthesizers in his songs for major Czech pop/rock singers as well as in his own instrumental tracks. After moving to London in 1981, he first recorded two albums at the renowned Red Bus Studios, then proceeded to work at the legendary BBC Radiophonic Workshop, before co-founding and establishing Romantic Robot, a software and hardware design and manufacturing company which later moved into music recording and publishing. Of the many original products, THE MUSIC TYPEWRITER was ground-breaking software enabling the writing and printing of real notation on the Sinclair ZX Spectrum. Similarly TEREZÍN: THE MUSIC 1941-44 was the first ever release of CDs with music written in the Theresienstadt Concentration Camp during World War II. Goldscheider's 1980s LPs THEMES FOR A ONE-MAN BAND Vol I & II reflect his work as a solo artist, always writing, recording and producing single-handedly. He had, though, a team of technical aficionados and inventors back in Prague, who adapted and developed his electronic music equipment incl. synthesizers, sequencers and even a Studer multitrack recorder, thus creating a revolutionary set-up, on par with the much later MIDI.This LP samples Alexander Goldscheider's music produced for records, films, TV and even an art exhibition in the space of 25 years starting from 1975.

Smoove & Turrell's second single outing from their album 'Mount Pleasant' is a double helping of up-tempo dancers for those that like to shake it...

Never one's to stop experimenting and pushing their musical boundaries, this single is a perfect example of exactly that, featuring two tracks with massively contrasting styles but with a quality of song writing and production that these guys have got down to a fine art in their years together.

'I Feel Alive' is a tasty electro disco cut inspired by a hedonistic night in Paris. It's the perfect blend of Smoove's trademark groovy productions with Turrell's sweet tones and honest relatable lyricism. Keys man - Mike Porter gets a chance to engage the arpeggiator function on his synth collection as he and the rest of the band create a host of spacey sounds to form the backdrop of this catchy number.

On the B side is 'Mr Hyde' - a beast of a track that opens with energetic live drums and a memorable guitar riff that form the backbone of a rocking tune that sees John Turrell manically singing through a distortion effect delivering the lines "I'm Jekyll and baby you need to hide" in a suitably menacing style...

Fusing garage rock, psyche, northern soul and pop sensibilities it's a Frankenstein's monster of a track that works on multiple levels with the lyrical subject matter.

Continuing Ostinato's Series Of Cape Verde 45s Showcasing Diasporan Bands That Are Staples In Europe's Cape Verdean Communities, Ostinato Records Presents Timeless Dance Music For The Summer By Conjunto Jovens Africanos, Founded By Ze Orlando, A Respected Producer Originally From São Tomé. Formed And Originally Based In Lisbon, The Band Fused Raw Funaná Rhythms From The Cape Verdean Island Of Santiago With Syncopated Electric Guitars, Raucous Synthesizers, Relentless Percussion, And Addictive Vocals That Kept Their Compatriots On Their Feet Across Little Known Krioulu Nightclubs In Europe's Major Cities. First Released In 1984, Conjuntos Jovens Africanos' "nhu Jhon" And "volta Pa Terra" Are Stellar Representations Of Modernized Funaná's Endless Energy.

WHITE RING mark a triumphant return with a brand new full-length Gate Of Grief, due out on Rocket Girl on 22 June 2018. Their debut album arrives a full eight years since their benchmark EP, Black Earth That Made Me, which sold out almost instantly, making their records some of the most highly sought after on the underground scene and earning them a cult following across the globe. Swerving from aggressively abrasive to beautifully ethereal, musically they draw from varied and challenging palette, whilst tackling themes of loss and acceptance due to struggles with drug addiction and existential dread on a broader scope.

WHITE RING were originally formed by Bryan Kurkimilis and Kendra Malia, before they were joined by Adina Viarengo, with Bryan and Adina currently touring as a duo. One of the most acclaimed proponents of the "Witch House" movement, WHITE RING blend heavy, distorted electronics with eerie, unsettling vocals. However, their new material, created over the course of seven years, pushes the boundaries further, subverting genre ideas and mashing them all together, with industrial, metal, rave, chopped and screwed, rap, grunge, neo folk, post punk and new wave all in the mix. As Bryan Kurkimilis explains; 'We treat our influences like tools to create a certain feeling. We are interested in covering more ground than sticking to a certain formula.'
Bryan and Kendra originally met on Myspace in 2006. At the time Bryan lived in New Orleans and Kendra was in New York, and they didn't even meet face-to-face until 2008 after they had already released a few singles. In 2010 they released the EP Black Earth That Made Me, which was a collection of songs that they mostly recorded before they met in person. The record confounded expectations by selling out immediately on pre-order, making it very rare and highly sought after, with copies going on Ebay for large sums. It was reissued by Rocket Girl in 2011 and still continues to sell in voluminous amounts.

They started playing live in 2009 and rapidly grew a reputation for their captivating performances, usually bringing their own lighting equipment and putting on a spectacular laser show. They have played for large crowds in their hometown of NYC and toured the UK in 2010 in support of their sold out split 7" with oOoOO, playing InTheCity and SWN festivals - which were their first shows outside of New York. They have since shared the stage with the likes of Cold Cave, araabMUZIK, Liturgy, Blank Dogs, Gatekeeper, Blondes, oOoOO, Clams Casino, and others.  
They started recording Gate Of Grief in 2010, with the hope of exploring new musical territory, however they took a while to find their path. Bryan and Kendra had some tough personal battles to fight, a sense that pervades the whole album. Thematically it delves in to some pretty dark places whilst exploring the concept of time and what it does to people, relationships and society. As Bryan explains; 'There is a lot of tragedy in this album but there is also hope at the end of it.'
By 2016 pressure was building to finish recording, however due to Kendra's ill health, they needed to bring in someone new to assist with vocals. Fortunately they found Adina Viarengo, who had played in various bands and gave them the impetus needed to complete the album. Shortly after meeting in Brooklyn, Bryan and Adina moved to Joshua Tree, California to finish recording the album, before settling in Massachusetts. Her vocal style fitted in seamlessly with what Kendra had been doing, and although she sang on half the songs, it's almost impossible to tell who is singing on which track, thus making her the perfect addition to the band.
Gate of Grief can be considered the second part of Black Earth That Made Me, or rather, they are the first two chapters in an overarching trilogy about evolution. As Bryan explains; 'First you are born but then you realize what you are and what is against you and it's a flood of emotion that you can only hope to hold on for and let it pass.'
The album title, Gate of Grief, refers to the real gate between Africa and Saudi Arabia that is believed to be the spot where the first humans migrated out of Africa and went on to populate the rest of the world. The album art ties in with this concept, with an image depicting a group of settlers in the USA in early 1900 during a parade. They were actually from a cult in the early 1900s in Bryan's hometown of Fort Myers, Florida.













M 13) Burn It Down

Who Do You Go To For Your Very First Session When You Have Just Been Gifted Your Very Own Top-flight 'stradivarius Of Synth Based Studios' Enter 'the Grid' ...mr David Ball: One Man Band Of Pioneering Electro-pop Distorters Soft Cell, Part Time Psychic Tv Personality, Film Soundtrack Composer And All Round Synth Afficionado & Richard Norris: Eclectic Beat-meister & Ambient Dj, Record Producer, Commited Psychedelicist From 'beyond The Wizard's Sleeve'. The 1990's Saw Worldwide Commercial Success As The Grid Scored 10 Uk Chart Hits, Many A Euro Hit Including 1994's International Mega-hit 'swamp Thing' Featuring A Twisted Use Of Sampled Banjos Lifted From The 1970's Okie Shocker Movie 'providence. In 1996 The Grid Went On A Holiday And They Didn't Return Till 2005. In The Initial Week Of The Moog Sound-lab In Early 2015 As The Studio Was Literally Put Together Around Them, Our Abiding Memory Was Their Absolutely Delighted Grins As Each Moog Unit Was Added To The Lab. Dave & Richard Created This Benchmark Album Of Deluxe 'tronic Trax That Showcased Their Prarie Wide Knowledge Of Electronica & Their Ocean Deep Skills As Both Technicians & Original Soundscapers - Kraftwerk-ian Werk-outs, Space Noise Jams, And Slinky Grooves With Subtle Pop-tones.

And now for something completely different...CGI is extremely excited to present the Proof Of Concept EP from Shanghai-via-
Chicago's OSHEYACK. These are productions with a weight and freshness that we at CGI have not previously encountered. While on
a small US tour in June 2016, Osheyack played a set in Atlanta and thoroughly blew everyone in the room away with a mastery of
rhythm, sound, and arrangement that is uncanny.


We approached Osheyack after the gig for demos and what we received was as dense and inspiring as the live set. Words don't do this sound justice but it's perhaps most fun to close your eyes and imagine a demonic cirque-du-soleil-esque techno marching band stomping through the graveyard of your dreams and resurrecting all of the wasted souls to stomp on their
graves in a frenzied trance...

RSN ist Produzent, DJ und Musiker aus der griechischen Metropole Athen. "Strange Eyes" ist bereits sein viertes Album und gleichzeitig sein Debüt auf Agogo. Es enthält 13 Songs, die von Electronica und Trip-HopSounds beeinflusst sind, die typische Elemente aber mit ganz ungewohnten Klängen zusammenbringen. HipHop-Beats mit fetten Basslinien treffen auf effektvoll melodische Gitarren, eine Hammond-Orgel und atmosphärische, analoge Synthesizer schaffen einen idealen Klangraum für die Musik des Griechen. RSN hat zudem zahlreiche außergewöhnliche Sänger und Musiker als Gäste für diese Produktion eingeladen. Seit 2009 ist er als DJ bei der bekannten britischen Band Belleruche aktiv. Mit diesen Meistern des Souls tritt er regelmäßig bei vielen Konzerten in Griechenland und im Ausland auf, sei es in Serbien, in der Türkei, Russland, Schweiz, Frankreich, England oder Ukraine. In den vergangenen Jahren ist er so auf den großen Festivals in der ganzen Welt zu Gast gewesen. Als DJ hat er selber die Live-Shows von Top-Künstlern wie Alpha Blondy, Wax Taylor, DJ Krush, Parov Stellar und anderen eröffnet.

Favorite Recordings proudly presents Combattant, first EP by Pat Kalla produced by Bruno Patchworks' Hovart (aka VOILAAA).

PAT KALLA is a musician, singer and storyteller. Patrice of his birth name, in tribute to the great Lumumba! Lover of words, French language, and music of course. Born in Lyon, from a Cameroonian father, musician and political activist, and a French and literary mother, he explores from his childhood the Soul, the Slam, the Funk ... and the art of telling stories, life being a great one...

After years of touring alongside many bands (Conte & Soul, Legend of Eboa King, Mento Cloub, Voilaaa Sound System), and several acclaimed titles on the two albums by Voilaaa, he comes back with this project to put a bit of primordial lightness in a rainy world: A tribute to the African culture in honor of a father with "Sawa" origins, the tribe from the people of Makossa.

Jojo Ngallé, Moni Bilé, Pain, Manu Dibango, Franco, Rochereau, Kabaselé, Fela, François Nkotti & The Black Style, all these legends' vinyls have turned on the family turntable and the collection has whetted the child's appetite. Through this new trip, he revisits styles that are sometimes little known to Western audiences, such as High-Life, Makossa, Angolan Music, Afrobeat, Afro-Disco and others. We could talk about Franc CFA', we could talk about Jacques Foccart, but we will rather dance, because "the dancer seems naive, but his feet must be connected with earth to understand history..."

Backed by the "Super Mojo Disco", a hyperactive band from Lyon with deep groove and positive energy, Pat Kalla offers us an anti-crisis project, where swaying and feel-good humor is mandatory! An album soon in the crates, beware « c'est médicament » (it's medicine)!!

Never one to be constrained by musical genres, multi-instrumentalist, composer and producer Adam Gibbons (aka Lack of Afro) has taken it up several notches with his sixth studio record 'Jack of All Trades', a multi-genre tour de force that combines soul, funk, hip-hop, disco, rock and everything in-between, all wrapped up in his signature chunky production to create arguably his finest work to date.

The album is blessed with some incredible vocal performances. Regular collaborator Elliott Cole, Nick Corbin (formally of New Street Adventure), ex I Am Giant vocalist Ed Martin, Wax & Herbal T, Alyssa Marie, Camila Recchio, Juliette Ashby & Emma Noble are all on scintillating form on an album that is crammed full of infectious hooks, top musicianship, and more importantly, vibe by the bucketload!

Classic soul ('Back To The Day', 'Reach Out'), hip-hop ('Back In Business', 'Take It Up A Notch'), disco ('Only You & Me'), rock ('Over & Out'), modern soul ('Baby Be Mine'), folk ('Home') and a healthy dose of funk ('The Messin' Around Intermission', 'Good Love'), all combine to create an album that is stuffed with gorgeous phonic gems of all varieties and represents a definite step up from anything he has done before.

Packed full of beautiful horns and lush strings (and all recorded onto tape through a 1970's mixing desk), 'Jack of All Trades' is Adam doing what he does best and then some - blending the old and new to come up with a crossover classic that's entirely his own, whilst all the while ensuring that the songwriting takes centre stage.

Lack of Afro continues to go from strength to strength. 2016's 'Hello Baby' picked up a BBC 6 Music 'Album Of The Year' nomination & appeared in the Top 10 of the iTunes R&B / Soul chart in 21 countries worldwide.

His music also continues to be in high demand across all aspects of film & TV by networks such as ABC, Fox, NBC, Sony Pictures & the BBC. More recently he has signed to licensing label A Remarkable Idea, an imprint of Universal Music alongside artists such as Maximo Park, Pulled Apart By Horses, Alt J & label boss Benson Taylor. A remix of his 2011 song 'P.A.R.T.Y' by French duo Ofenbach (released on Warner Music in March) is all set to be one of 2018's tracks of the year, whilst his debut album 'Press On' (2007) has just been given 'classic' status by Future Music Magazine.

'Jack of All Trades' is supported by a live band UK tour in May & also at various festivals throughout the summer.

'Middle of the Road Less Travelled' is not only the debut release by Michal Turtle on Light of Other Days, it is also his first new material released since the amazing reissues put out by Music From Memory in recent years. The three tracks on this EP were written and produced by Michal in 2017 with additional production and guitar playing by Light of Other Days' very own HOVE.

The two met back in 2016 when HOVE contacted Michal after he heard the 12' «Are you Psychic» and was blown away. As it turned out Michal was living in Basel which is only a short train ride away by train from the Light of Other Days home base in Zurich. The two started meeting and playing music together. Soon after, they put together a live-show for Michal's music which had its debut show at Phono Festival in Denmark in 2017. During this time, they started working on new music together as well. The result is this EP.

The music on 'Middle of the Road Less Travelled' is a continuation of Michal's musical exploration into other-worldly territory. Michal is a master in building hypnotic textures from repetitive rhythms that collide with trippy and atmospheric synthesizers. The delayed and dubby guitar lines by HOVE were recorded during rehearsal sessions in Michal's living room in Basel and the last track of the EP 'Agallo (Real)' ends with vocals performed by Lucianne Lassalle. Besides playing in local bands with Michal back in the 80s, Lucianne also performed and co- wrote early Michal Turtle tracks like 'Phantoms of Dreamland' or 'Village Voice' from his first record 'Music from the Living Room'.

It's been over 10 years since the release of Gui Boratto's breakthrough full length debut 'Chromophobia'. As to what its title suggests, he shook up the techno game with a contrast of lushly coloured minimal grooves and melody, whilst many will recall that the album included the highlight single Beautiful Life' which became a dance floor anthem for that era. Four albums in and countless EPs and remixes under his belt, the Brazilian producer's unique savoir-faire in carving out a functional album out of diversely routed singles and features is back at it on his fifth studio LP, 'Pentagram'. Here Gui Boratto lays down a nuanced 12-track narrative that reinvigorates his signature sound into a refreshingly different perspective that feels all too familiar - including the return of Beautiful Life' vocalist (and Gui Boratto's wife) Luciana Villanova on the single "Overload".

Through his signature kaleidoscopic approach, Boratto delivers an album built as a far-reaching hub-and-spoke system, broadly inclusive as can be. From the opening cut, 'The Walker' - hot on the trail of Tears For Fears 'Elemental' (one of Boratto's "favourite 80's bands") - to the hi-NRG euphoria of 'Forgotten' and its pounding tech alter ego 'Forgive Me'. "I was going into 2 different directions", Boratto says, "the typical indie- electronic-rock' Boratto kind of production like It's Majik' or Like You' and a much more techno approach." He goes on, "I decided to split them into two twin sister songs. When I play live I always put these two songs together."

The Brazilian Producer further embraces the pop-friendly essence of his past work on tracks like 'The Phoenix', featuring vocalist Nathan Berger, and 'Overload', both melding acidulous synthlines with laser-precise breaks, vox hooks and drops calibrated for extended radio and club use, although sieved through his distinctive rainbow-hued musical prism. For the symbolists out there, the album's pared-down closer '618' duration accidentally happens to equate the proportions of the said pentagram. "Coincidence" Boratto questions, and capsulises, "not so ufanista and supporter of Brazilian neo-concretism, but I guess the brazilian sculptor Lygia Clark also inspired me a lot. Not the meaning of her sculptures, but the shape of the hinge of most of her work. I've wanted to transmit the scientific pentagram's point of view. It's not a religious kind of thing."

Whereas 'Spur' (a field-tested 808 and 909-heavy "purist track", "very, very old school" Boratto insists) and 'Alcazar' are sheer smooth-edged four-to- the-floor epics, the album also shares its lot of startling moments, such as with the John Barry'esque 'Scene 2' (with a hint of Amon Tobin, 'Easy Muffin' style, throw in) and its refined string-laden buildup, 100% fitted for a 007 opening credit sequence, or with 'Hallucination' (feat B.T.) and the further James Holden-ish title-track 'Pentagram' (think 'The Idiots Are Winning'), "one of those exercises I did when I got my Buchla modular synth" Boratto analyses, "I think I've used more then 30 different snares, with different delays and reverbs. The whole song is alive". And so is 'Pentagram' in its entirety: alive and definitely just as manifold and hopeful as its architectonics are the stuff of science and dreams all at once.

Es ist zehn Jahre her seit der Veröffentlichung von Gui Borattos bahnbrechendem Debütalbum - Chromophobia . So wie der Titel vermuten ließ, war das Album mit seinen kontrastreichen Minimalgrooves und den üppig gefärbten Melodien ein Schocker im besten Sinne. Ihr erinnert euch sicher noch an die Hit-Single - Beautiful Life , eine Dancefloor-Hymne aus dieser Zeit. Nach vier Alben und unzähligen EPs und Remixen ist das einmalige Savoir-faire des brasilianischen Produzenten, aus vielfältigen Singles und Features stimmige Alben zu schaffen, auch auf seinem fünften Studioalbum - Pentagram zu hören. Hier legt Gui Boratto ein Zwölf-Track-Narrativ vor, das seine Handschrift auf erquickende Weise wiederbelebt. Wiederbelebt wird auch die Stimme von - Beautiful Life (die der Frau Gui Borattos gehört) auf dem Stück - Overload .

Durch seinen charakteristisch kaleidoskopischen Ansatz liefert Boratto ein Album, das gebaut ist wie die Speichen deines Fahrrads, von dem Opener - The Walker - direkt auf der Spur von Tears For Fears - Elemental (einer von Borattos - favourite 80's bands ) - zur Hi-NRG-Euphorie von - Forgotten und seinem stampfenden Counterpart - Forgive Me . - Ich bin in zwei unterschiedlichen Richtungen gegangen , sagt Boratto: - den typischen ,Indie-Electronic-Rock'-Weg wie in - It's Majik oder - Like You und den Techno-Weg. Er fügt hinzu: - Ich hab mich entschieden jedem Track seinen Zwillings-Track an die Seite zu stellen. Immer wenn ich live spiele lege ich die zwei Stücke zusammen.

Der brasilianische Produzent erschließt weiter die Pop-Essenz seiner vergangenen Arbeit auf Tracks wie - The Phoenix (feat. Nathan Berger) und - Overload . Beide kombinieren zwitschernde Synthi-Melodien mit lasergenauen Breaks, Hooklines, Drops und sind wie gemacht für die Rotation und den Club. Und für die Symbolisten da draußen: die Länge des reduzierten Closers - 618 beträgt zufälliger Weise genau die Proportionen des besagten Pentagramms. - Fügung , fragt Boratto und fasst zusammen: - Ich bin kein Anhänger des brasilianische Neo-Konkretismus , aber ich glaube die brasilianische Künstlerin Lygia Clark hat mich sehr inspiriert. Nicht die Bedeutung ihre Skulpturen aber die Form der meisten ihrer Arbeiten. Ich wollte den wissenschaftlichen Blickwinkel auf das Pentagramm übersetzen. Nicht im religiösen Sinne oder so."

Während - Spur (ein erprobter - purist track auf der Basis von 808 und 909, - sehr, sehr old school , wie Boratto betont) und - Alcazar glatte Vierviertel-Epen sind, hält das Album auch Überraschungsmomente bereit. Z.B. das John Barryschen - Scene 2 (auch eine Spur von Amon Tobins - Easy Muffin ist darin zu hören) und seinem Streicher-Aufbau, der hundertprozentig geeignet wär für eine Eröffnungssequenz in einem Bond-Film. Auch - Hallucination (feat. B.T.) oder der James-Holden-hafte Titeltrack - Pentagram (wir denken da an - The Idiots Are Winning ) wäre da zu nennen. - Einer dieser Übungen, die ich gemacht habe, als ich meinen Buchla-Modular-Synthesizer bekommen habe, war , erinnert sich Boratto, - mehr als 30 verschiedene Snares, Delays und Reverbs zu verwenden. Der ganze Song sollte am Leben sein. Und so ist - Pentagram im Ganzen: lebendig und sicher genau so vielfältig wie sein Bauplan, der auch der Wissenschaft und den Träumen zugrundeliegt.

Dynamic composer Neil Cowley is set to release 'Spacebound Tapes' a four track EP featuring remixes of his Trio's 'Spacebound Apes' album ("A miss- this-at-your-peril release" Drowned In Sound 9/10) by Rival Consoles, Throwing Snow, Christian Löffler and Vessels

'Spacebound Apes' was written by Cowley for his trio and long-time bandmates drummer Evan Jenkins and bassist Rex Horan, with contributions from Brian Eno collaborator Leo Abrahams on guitars and FX. A bold exercise in atmosphere and emotion, the album was woven together with some of the most breathtaking, impassioned music that Neil has created. Originally inspired by Arthur C Clarke's 1956 sci-fi book 'The City and the Stars' the album was recorded at Cooper Hall, a studio and cinema set deep in the Somerset countryside with Stanley Kubrick's '2001 A Space Odyssey' running on permanent rotation.

The sci-fi aesthetic is firmly grasped by the four remixers, echoing the theme in their own reinterpretations. The reimagined tracks retain the inventiveness of the originals while exploring progressive but considerate paths. In his version of 'Weightless', Erased Tapes signed Rival Consoles feeds off of the electronic songwriter's critically lauded humanised techno, while rising German musician Christian Löffler brings new dimensions of space and scale to 'Death To Amygdala'. Houndstooth's Throwing Snow delights in deconstructing 'Duty To The Last' with pulsing energy and Vessels' take on 'Echo Nebula' applies machinic facets to the delicate sounds of the original.

Miss Kittin & The Hacker are the Electro duo of Caroline Hervé and Michel Amato from Grenoble, France. The pair met during the early 90s at a rave and soon after bought turntables and began DJing. In 1996, they started writing music heavily influenced by 1980s synthpop and post-punk bands like Fad Gadget, DAF, Liaisons Dangeuresues, and Yazoo, as well as Italo Disco. Bored by the techno scene at the time, they set out out to lighten the serious tone and bring a campy sexiness to the dour musical landscape. Upon hearing their demos DJ Hell signed them to his Munich-based International DJ Gigolo label and released their first 2 EPs in 1998 and 1999. Their debut album 'First Album" was released in 2001 followed by . in .

Lost Tracks Vol. 2' contains 4 previously unreleased demos recorded between 1997 and 1999. The duo fused 80's European New Wave/Italo Disco with 90's Detroit Electro acts like Le Car and Dopplereffekt. By utilizing verse-chorus structures, they playfully shook up the loop based hard techno and electro that was popular at the time. Their studio set up at the time was a Korg MS-20, Roland SH-101, TR-606, TR-808, Siel DK80, and Boss DR-660 drum machine. The songs are direct, spontaneous, seemingly improvised in places. Miss Kittin sings about falling in love in the new millennium, snuff movies and controlling the unknown trip to death, all in her cheekily derisive French accent.

All songs have been transferred from the original DAT tapes by the band and remastered for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a glossy jacket featuring a black and white photo of the duo taken in 1996. Each LP includes a postcard with liner notes from Miss Kittin and The Hacker designed by Eloise Leigh. As Miss Kittin says of these demos, We were naive, innocent, adventurous and we didn't expect anything in return'

Twenty-eight Years Ago, Pissed-off Twelve-year-olds Around The Universe Discovered A New Planet, A Black Planet. Public Enemy's Aggressive, Benihana Beats And Incendiary Lyrics Instilled Fear Among Parents And Teachers Everywhere, Even In The Border Town Of Laredo, Texas, Home Of The Future Founders Of The Latin-funk-soul-breaks Super Group, Brownout. The Band's Sixth Full-length Album (out May 25th) Fear Of A Brown Planet Is A Musical Manifesto Inspired By Public Enemy's Music And Revolutionary Spirit.

Chuck D., The Bomb Squad, Flava Flav And The Rest Of The P.e. Posse Couldn't Possibly Have Expected That Their Golden-era Hip Hop Albums Would Sow The Seeds For Countless Public Enemy Sleeper Cells, One That Would Emerge Nearly Three Decades Later In Austin, Texas. Greg Gonzalez (bass) Remembers A Kid Back In Junior High Hipped Him To The Fact That Public Enemy's bring The Noise' Is Built On James Brown Samples, While A Teenaged Beto Martinez (guitar) Alternated Between Metal And Hip-hop In His Walk-man, And Adrian Quesada (guitar/keys) Remembers Falling In Love With Public Enemy's Sound At An Early Age. when I Got Into Hip Hop, I Was Looking For This Aggressive Outlet . . . And I Didn't Even Understand What They Were Pissed Off About, Because I Was Twelve And Lived In Laredo . . . But I Loved It And I Felt Angry Along With Them.'

Joseph Abajian (fat Beats' Owner) Must Have Sensed The Deep Hip-hop Well Lying Beneath The Versatile Band's Latin-funk Veneer. i Thought Their Sound Would Work Covering Public Enemy Songs,' Abajian Says, And, it Was Good To Know They Were P.e. Fans . . . We Came Up With A Track Listing And They Went To Work.' Despite The Band's Eagerness To Work On New Original Material (an Album Of Original Songs Is Slated For Next Year), They Couldn't Pass Up The Opportunity To Pay Homage To This Iconic And Influential Posse.

Translating Sample-based Music To A Live Band Turned Out To Be More Of A Challenge Than They Anticipated. Adrian Tried To Get Inside The Bomb Squad's (public Enemy's Producers/beat-making Team) Head In Order To Find The Inspiration To Reinterpret P.e.'s Songs: imagine The Bomb Squad Going Back In Time And Getting The J.b.s (james Brown's Funky Backing Band) In The Studio And Setting Up A Couple Analog Synths And Then Playing Those Songs.' While Some Songs Closely Follow The Original Musical Blueprint, Others Use The Source Breakbeats As Jumping-off Points Later Sweetened By Trombonist Mark speedy' Gonzales' Horn Arrangements, Synth Wizardry Courtesy Of Friend-of-the-band Peter Stopschinski, And Dj Trackstar's Turntable Scratches. But Don't Listen Expecting To Hear Paint-by-numbers Recreations Of Classic Public Enemy Jams. our Approach Is Never In The Tribute Sense,' Adrian Explains. we've Always Taken It And Made It Our Own, Whether It's The Brown Sabbath Thing Or This Public Enemy Thing.' Coming Off Numerous Tours As Brown Sabbath And Even A Stint Backing The Late Legend Prince, Brownout Is Arguably The Tightest And Funkiest Band On The Road Today And They're Psyched To Bring This Revolutionary Music To The People. For A Band Without An Overt Political Agenda, They Collectively Couldn't Resist The Opportunity To Play This Music Live, Especially Now. if There's Any Way That We Can Use The Already Political And Protest Nature (of P.e.'s Music), We Would Like To Try,' Beto Says. the Album's Title, Fear Of Brown Planet Is Definitely A Relevant Idea Today And We're Not Afraid To Put It Out There, Because We Want To Speak Out.' By Reinterpreting These Hip Hop Classics In Their Unique Style And Channeling The Spirit Of Public Enemy That First Echoed Around The World And Captured Their Imaginations All Those Years Ago, Brownout Is Doing Exactly That.

The War On Drugs announce their fourth full-length album, A Deeper Understanding, out August 25th on Atlantic Records. A Deeper Understanding is the band's first album since 2014's universally acclaimed Lost In The Dream, and their debut album with Atlantic. Following the Record Store Day release of the 11-minute Thinking of a Place,' The War On Drugs present the album's lead single, Holding On.'

For much of the three and a half year period since the release of Lost In The Dream, The War On Drugs' frontman, Adam Granduciel, led the charge for his Philadelphia-based sextet as he holed up in studios in New York and Los Angeles to write, record, edit, and tinker—but, above all, to busy himself in work. Teaming up with engineer Shawn Everett (Alabama Shakes, Weezer), Granduciel challenged the notion of what it means to create a fully realized piece of music in today's modern landscape. Calling on his bandmates - bassist Dave Hartley, keyboarding Robbie Bennett, drummer Charlie Hall and multi-instrumentalists Anthony LaMarca and Jon Natchez -- continuously throughout the process, the result is a band record' in the noblest sense, featuring collaboration, coordination, and confidence at every turn. Through those years of relocation, the revisiting and reexamining of endless hours of recordings, unbridled exploration and exuberance, Granduciel's gritty love of his craft succeeded in pushing the band to great heights.

Sing a song fighter have never been more proud and happy than to finally announce and release this unissued and unheard fantastic recording South African in exile Johnny Dyani was one of the greatest bass players. Played with Don Cherry, Chris McGregor, Archie Sheep, Dollar Brand / Abdullah Ibrahim etc etc. He also made many great albums as a bandleader. And a few rare minimal albums where it was mostly him and his upright bass. He died way too early, in 1986. Karl Jonas Winqvist (Sing A Song Fighter) ranks some of Dyani's works ("African Bass", 'Witchdoctor's Son" with Okay Temiz and "Good News From Africa', with Dollar Brand) as "the most natural, creative musical force there is'. KJW investigated for years if there was more recorded Dyani material waiting to be heard. And where After e-mailing endlessly with the National Radio Museum in Switzerland he finally found what he was looking for.In 1978 graphic designer Niklaus Troxler arranged the great Willisau Jazz Festival in Switzerland. A lot of legendary artists like Max Roach, Jan Garbarek, Elvin Jones and Don Cherry were performing, and Johnny Dyani was one of them. He did this rare solo concert with some of the material that two years later would end up on his great album "African Bass". This LP contains the concert from beginning to end, showing Dyani at his very best on piano, gong, bass and vocals. Spiritual, adventurous and truly free,beautiful music.Gatefold cover, with extensive liner notes from Francis Gooding and Niklaus Troxler

Having debuted with a fine EP by Job Sifre, Artificial Dance has returned to the source for release number two. The 12' pays tribute to one of the most influential figures of original DIY electronic music scene of Holland, Hanjo Erkamp.
During the first half of the 1980s, Erkamp had a hand in some of the most experimental and forward-thinking releases on the now legendary cassette label, Trumpett. Famously, he was a member of two of the label's key bands - industrial outfit Doxa Sinistra and new wave combo Ende Shneafliet - but during the period he also recorded a swathe of solo tracks as C. Stein, most of which only saw the light of day decades later.

La Bombe Plastique', a thrillingly spacey and futurist cut rich in proto-techno rhythms, intergalactic electronic motifs and drowsy choral vocals. For this timely reissue, the superb original version comes accompanied by a fresh re-edit created primarily for DJ use.

African Scream Contest 2

A great compilation can open the gate to another world. Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin Once Analog Africa released the first African Scream Contest in 2008, the proof was there for all to hear, gut-busting yelps, lethally well- drilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space with the same electrifying sureness as any favourite blues or soul or funk or punk sampler you might care to mention.

Ten years on, intrepid crate-digger Samy Ben Redjeb unveils a new treasure- trove of Vodoun-inspired Afrobeat heavy funk crossover greatness. Right from the laceratingly raw guitar fanfare which kicks o Les Sympathics' pile-driving opener, it's clear that African Scream Contest II is going to be every bit as joyous a voyage of discovery as its predecessor. And just as you're trying to get o the canvas after this one-punch knock out, an irresistible Afro-ska romp with a more than subliminal echo of the Batman theme puts you right back there. Ignace De Souza and the Melody Aces' Asaw Fofor" would've been a killer instrumental but once you've factored in the improbably-rich-to-the-point-of-being-Nat-King-Cole-influenced lead vocal, it's a total revelation.

The screaming does not stop there, in fact it's only just beginning. But the

strange thing about African Scream Contest II's celebration of unfettered Beninese creativity is that it would not have been possible without the assistance of a musician who had been trained by the Russian secret services to "search and destroy" enemies of the country's (then) Marxist-Leninist president Mathieu Kerekou.

Already familiar to fans of the first African Scream Contest as a mainstay of ruthlessly disciplined military band Les Volcans de la Capitale, Lokonon André vanished in a cloud of dust at Ben Redjeb's behest with a list of names and some petrol money, only to return a few days later having miraculously tracked down every single name he'd been given. The source of this Afrobeat bounty-hunter's impressive people-finding skills - his training with the KGB - highlights the tension between encroaching authoritarian politics and fearless expressions of personal creative freedom which is the back-story of so much great African music of the 60s and 70s. Happily, in this instance, Lokonon was tracking the artists down to oer them licensing deals, rather than to arrest them.

Where some purveyors of vintage African sounds seem to be strip-mining the

continent's musical heritage with no less rapacious intent than the mining companies and colonial authorities who previously extracted its mineral wealth, Samy Ben Redjeb's determination to track this amazing music to its human sources pays huge karmic dividends.

Like every other Analog Africa release, African Scream Contest II is illuminated by meticulously researched text and eortlessly fashion-forward photography supplied by the artists themselves. Looming large - alongside Lokonon André - in the cast of biopic-worthy characters to emerge from this seductive tropical miasma is visionary space-nerd Bernard Dohounso, who laid the foundations for Benin's vinyl predominance by importing and assembling the turntables that would play the products of his Bond villain-acronymed pressing plant SATEL, a factory that would revolutionise the music industry in the whole region.

The scene documented here couldn't have been born anywhere else but in the Benin Republic , and the prime reason for that is Vodoun. It's one of the world's most complex religions, involving the worship of some 250 divinities, where each divinity has its own specific set of rhythms, and the bands introduced on the African Scream Contest series and other compilations from that country were no less diverse than that army of dierent Gods. At once restless pioneers and masters of the art of modernising their own folklore, the mystic sound of Vodoun was their prime source of inspiration.

One especially irascible Vodoun-adept was Antoine Dougbe, who styled himself The devil's prime minister' while turning ancestral rhythms into satanically alluring modern beats. As Orchestre Poly-Rythmo songwriter Pynasco has observed sagely, Evil is not elsewhere, evil extends into the house'. And African Scream Contest II is a gloriously cinematic road-trip through an undiscovered realm of music lore whose familiarity is every bit as thrilling as its otherness.

Written by Ben Thomson, March 2018

South African Mbaqanga And Bubblegum Instrumentals For The Dance-floor. First Time Available Outside South Africa. Cult Favorite Among Collectors. Follows The Successful Reissue Of bafana Bafana' Last Year. Professor Rhythm's 1991 Recording Professor 3 Is A Vivid Reflection Of Urban South Africa As Apartheid Was Ending. Thami Mdluli's Production Project Had Young And Old Dancing To A Sound That Sought To Unite Blacks Within Southern Africa. our Music Gave Hope To The Hopeless,' He Says. Mdluli's Third Instrumental Album (which Contains Some Background Vocals, To Be Exact), Portrays The Moment When The Dominant Mbaqanga And American R&b-based Bubblegum Sounds Being Produced In Johannesburg And Other Urban Centers Were Transforming Into House And Hip-hop-inspired Kwaito. The Pop Of The 80's And All That Went With It—from The Models Of Synths And Drum Machines To The Lyrical Style—gave Way To A Changing Melodic Emphasis And New, Much Slower Tempi Using A Completely Different Rhythmic Skeleton. Upbeat, Chipper Bubblegum, Often With Double-time Breakdowns And Upstroke Syncopations, Faded And The Sounds Began To More Closely Resemble Those Of Contemporary Black America—where Hip-hop Was Slowing Down And The Bass-lines And Melodies Were Getting Moodier, Darker In General. At The Same Time House Music Had Briefly Reached Mainstream Acceptance In The States And That Popularity Continued To Feed Into Awareness Overseas. These Two Influences Blended With The Burgeoning House Music Scenes In Johannesburg And Pretoria As Professor Rhythm 3 Was Being Produced In March 1991 (the Same Year Apartheid Ended). Mdluli Explains, we Were Influenced By Foreign Bands And So People Updated Their Sound.' According To Mdluli, The Evolving Sound Was Bolstered By Widening Availability Of House And Rap Records From Abroad While, Most Importantly, An Increasing Sense That Apartheid Might Soon Be Finished Was Met With A New Positivity Vibe Society. 1991, '92, '93... Mandela Was Released. People Were Upbeat, They Were Happy, The Music Was Good.' Professor 3 Came Out On Vinyl As The Lp Business Was Dying In South Africa And Sold Around 20,000 Copies. It Was Mainly Distributed On Tape, Which Sold Closer To 100,000. With The Help Of Engineer Fab Rosso, The Recording Features Backing Vocalists From Mango Groove. After Making A Half-dozen Records As Professor Rhythm, Mdluli Once Again Shifted His Focus Musically. By The Mid-90's He Had Veered Off Gospel Music— And Left Playing In Bands And Started Making His Own Solo Recordings. His Enormous Success In The Gospel Realm In The Years Since Is A Remarkable Story In Its Own Right, But For Now We Are Only Dancing.

Multi-instrumentalist, composer and producer Adam Gibbons (aka Lack of Afro) is back in some style with 'Back To The Day', a beautifully produced summer sizzler crammed full of infectious hooks, top musicianship and most importantly, vibe by the bucketload! Taking a nod from classic material by artists such as The Jackson 5, Earth Wind & Fire (and more recently Vulfpeck), 'Back To The Day' is Lack of Afro doing what he does best and then some - blending the old and new with big drums and heavy percussion to come up with a crossover classic that's entirely his own, whilst all the while developing his abilities as a songwriter.

Providing a dynamite vocal once again is regular collaborator Elliott Cole. Not just the voice of the track, he also plays guitars and bass, whilst ably backed up by some stellar musicians including George Cooper (Haggis Horns) on keys, Rory Simmons (Blur, Jamie Cullum) on trumpet, string and horn arrangements and Harry Harding (Yola Carter) holding down the backbeat on drums.

Keeping the dancefloor packed and turning the party vibes right up to 11, 'Take It Up A Notch' (featuring the brilliant Wax & Herbal T and taken from the critically acclaimed 'Back In Business EP') completes what is arguably one of the strongest single packages of the year!

Lack of Afro continues to go from strength to strength. 2016's 'Hello Baby' (released on his own label LOA Records) picked up a BBC 6 Music 'Album Of The Year' nomination & appeared in the Top 10 of the iTunes R&B / Soul chart in 21 countries worldwide. More recently, Adam's music continues to be used across all aspects of film & TV by networks such as ABC, Fox, NBC, Sony Pictures & the BBC whilst he also has released music on Universal & Warner Brothers Records.

Both tracks are taken from the new album 'Jack Of All Trades', released on LOA Records in May 2018 and supported by a live band UK tour in May & throughout various festivals throughout the summer.

A near-perfect record, White Magic was the lauded CD-only debut album by Sorcerer (Californian native Dan Judd, one half of Windsurf with Hatchback). Just in time for Spring/Summer, we present the first ever vinyl issue, released as a deluxe double LP.

Back in summer 2007, this majestic set gently nestled itself into the Balearic soundtrack-to-summer slot for many, making him a household name for Cosmic Disco heads alongside the likes of Lindstrom, Metro Area, Todd Terje, Mudd, Studio and Quiet Village. In the intervening years, exceptional producers have created vibrant variations on the dreamy, dubby, melodic nu-disco theme. Happily, the emergence of such luminaries as Jex Opolis, Harvey Sutherland, Suzanne Kraft, Tornado Wallace et al has only served to make the master - Sorcerer - sound ever more brilliant and vital.

Utilising his array of guitars, drum machines, synths, and trusty MPC, the loved-up Sorcerer sound inspires halcyon memories of warm days, endless sunsets and pure youthful abandon. Influenced by surf, 80s dance pop, acid-R&B, space jazz, krautrock, disco, dub, and am radio gold, his music maps a tour through a uniquely Californian lifestyle. Yet when music so vividly captures a vibe and a feeling, it can make writing about it appear almost redundant. Instead, to glean the full colour of what your turntable will soon gratefully radiate, we prescribe the generous soundclips presented here.

And, for a unique insight into the process behind the wonderful sounds conjured up, here's Sorcerer himself:

"White Magic is a reflection of personal freedom and discovery. Having been in bands for years, this was a chance to develop music that stood alone and for me to be in full control.

I was living alone and worked on jams whenever I could. I was highly inspired by a new openness to music as a pure inspiration, not being part of any scene. I tapped into the mixes I was hearing coming out the UK where deejays were playing "cosmic" sounds that were so strangely familiar.

I was picking up all kinds of $1 vinyl and throwing bits of it into my sampler almost randomly to see what would come out.

In my mind, I was making music to be played at my friend's Broker/Dealer Pop nights where they fused golden German techno sounds with the new disco emerging at the time. Also, I took vacations and reconnected with the Pacific Ocean where I spent so much time as a kid: it spilled out into the sounds.

Lastly, I forged a partnership with Hatchback (Sam Grawe) who was working on music in the same way. I learned so much about arrangement and the colors of music. We began recording together as Windsurf and released our own stuff. It all seems like a small glorious moment in time, so I am so excited to keep the legacy alive and I continue to work on my music with these spirits inside of me."

Lovingly remastered by the esteemed Simon Francis, cut reassuringly loud on to heavyweight double vinyl and presented in a deluxe gatefold jacket with freshly commissioned artwork throughout from original designer Rich Robinson, this limited edition of 500 copies is sure to fly.

Following the 'Screaming Ghosts' collection highlighting the music of C Cat Trance, Emotional Rescue and Malka Tuti return with the first of two EPs where the band's music is given over to a selection of artists, friends and collaborators for reinterpretation, re-editing, replaying and remixing to provide a modern outlook on the bands mixture of East meets West musicology.
Very much the vision of Malka Tuti and close to their ground-breaking releases of the last two years, the genius is out of the bottle with a who's who representing both labels. First, Autarkic go supergroup in enlisting Tel Aviv's White Screen for a cover of Screaming (To Be With You). Totally replayed, this is the perfect opening, with wide-screen production, updated arrangement and decimal delivering vocals setting the standard.
Following comes an effusive, simple and on-point remix of Dalbouka by the inspiring ledge that is JD Twitch. Platitudes aside - enough has been said by others - but the fact Twitch is as enthusiastic and driven as ever is testament enough. The simplicity and genius of his rework, where 909 is added alongside fx to speaker shaking effect, shows that less can be much more.
In Sneaker (DJ) we have a name moving steadily from the (cult) periphery to become one to consistently check and respect. Following EPs for Rat Life and Bahnsteig 23, the singularity of his reversion is audacious and entrancing. Brevity, purity and ultimately intensity of percussion, horns, bell and guitar. Enter.
To end volume 1 comes Die Orangen. Kris Baha and Dreems' bromance of Aussie label (red) heads, united in post-industrial explorations. With a deep, expansive album incoming on Malka Tuti, their brooding, rattling, ghostly mix is one for late night thinkers, that steps up to encapsulate an EP that successfully marries old and new, bringing C Cat Trance's music present.