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Too $hort's legendary 1992 effort 'Shorty The Pimp' is back in effect on vinyl thanks to the hip hop preservationist at Get On Down. Though many don't consider this to be one of Too $hort's strongest releases, the project did move well over 80,000 in its first week of release landing at Number 6 on the Billboard Top 200. Taking the title from the incredibly rare 1973 Blaxploitation film, Too $hort does what he does best on Shorty The Pimp: funk beats, boastful braggadocio, a few conscious rhymes and layers of straight up pimp talk. The lyrical content can certainly be considered comical and entertaining. 'Shorty The Pimp' is also a stand out project for producer Ant Banks who did many of the beats for the project, his first works with Too $hort with many more to follow over the next decade. Oddly enough, one of the best comments on 'Shorty The Pimp' comes from a random guy on the internet who commented on his experience listening to the release, 'I ran my car into a tree after listening to 'It Don't Stop' Definitely made for cars with the booming systems!'

Hip hop heads, 7" freaks - Check this one!

Earth shattering early 80's Bronx sounds transmitted back to us as fresh as the day they were terraformed!
NYC's Easy Street label is known for it's contributions to house music, electronic disco and boogie, but there was a handful of early rap singles on the label too including this megaton bomb from the freshly monikered Lil' Jazzy Jay & Cool Supreme from '85, all the way live. This record has it all, dubbed out FX, vox, cuts and brain frying vocoders..... not to mention the monolithic drum machines and dope braggadocios rhyming.

This is the FIRST TIME this mid 80's rap rarity has been made available on a 7". Both the 'club vocal' & 'dub instrumental' are featured here, cut at 33 rpm for maximum sonics. Made available courtesy of Above Board distribution for 2019. Shout out to Easy Street, %100 legit re-issue, re-master & re-press, essential wax!

It's that time again. The skies are calling and its time to board our trusty jet for the 5th outing of Africa Seven's premiere class compilation Africa Airways. For volume 5 its time to brace yourselves for 10 slices of Afro boogie goodness.

We up the boogie time groove with The Black Bells Group (the first band of lead singer Sidney 'Patrick Duteil' who went on to become the godfather of French hip-hop and a well know TV presenter. Here the groove is swinging... the perfect opener. Next up is German-based Cameroonian musician and cousin of Manu Dibango, Charly Kingson with this bass-synth boogie stomper. Big brass and jazzy trumpets add layers of sparkle too.

Next its time for some highlife inspired boogie from Ghanian Gyedu Blay Amboley. Highlife fused with reggae, disco, boogie and jazz just as the lyrics say.

Next we pair up with Africa Seven friend Eko once more under his Dikalo guise. The Cameroonian master musician is on fine form with his heavy brass and deep percussion with a driving afro boogie groove. To round off Side A its off to Cameroon again to groove with Jean 'Mekongo President'. Think Bernard 'Chic' Edwards on the bass with some African style and you can see it's the bottom end groove and afrobeat drums that power this gem along.

We open the second side slowly and purposefully with the highly sought after 'French Girl' from Fotso. Drippy bass synth grooves and a wondrous percussion and drum shuffle pair with piano riffs to make this a unique sounding track. Our friend Tala AM is next with the foot-stomping 'Sugar Lump'. JK Mandengue is next with most definitely the catchiest chorus you will hear today. Nigerian Jide Obe gets synth and clavinet rich with his doe to sensible dating advice 'Too Young'. We close off the album with a track from label good friend Jo Bisso under his Mulamba guise. Sounding like a long lost TV theme from a late night TV show circa 1977. Let's get down and boogie with the brand new dance in town folks... the Dashiki.

Until Volume Six takes flight it is time to unbuckle those seat belts folks.

The first part of various artists samplers featuring numerous gems from the Big Shot archives.

From the vaults of seminal Canadian house label Big Shot we're proud to present a fully legitimate and remastered selection of classics and obscurities from the labels enviable catalogue and the masterful crew of Nick Fiorucci, Komix & co. Leaning on the late 80's and early 90's output of the label and featuring cuts from some of the first releases. Amy Jackson, whose sultry 1989 jam 'Let Me Loose' is a class example of the deepest vocal House done right kicks off proceedings, followed by Jillian Mendez's classic 'Don't Know What You're Missing', another '89 vocal burner punctuated by classic piano's and synth lines. These tracks are the real deal! On the b-side we are treated to In-Dex's classic 'Give Me A Sign', a perfect blend of Freestyle attitude and early House atmosphere that hits the spot just right. Finishing this essential collection of tracks is Dionne's tough and classy 'Come Get My Lovin', another classic Komix production that rolls nice with stepping drum machines and smooth organ riffs. All in all - this EP is an old school House heads dream right here, essential cuts from end to end.

Keep an eye out for more high quality Big Shot reissues, all remastered from the original source materials and with the full involvement of the rights holders. A collaboration between Above Board distribution and Big Shot records, Canada. Remastered by Optimum Mastering, Bristol UK. 2018.

Hungarian producer Giash has been on Metroline Limited radar for quite some time. It took a while to get him on board but the wait is finally over: the misteriously titled Sen_d_Ingo Ep is here and it is super-tasty!

An expert crafter of minimal beats and hypnothic grooves, Giash career has spanned over 10 years with his productions being released on wax through seminal labels such as Archipel, Plaisir, Why So Series and many more.

The opening track, Brunc_hc-_h, give us the first shot of underscores and a high dosage of machine funk minimalism. It's a full on/slow-mo industrial churning groover with sci-fi licks and lush pads work!

The second cut on the A side it's the beatiful Imagin__ary and it's deep minimalism at the highest level. It's a great mixture of new and old as far as reduced jacking grooves are concerned.
It could have easily fitted in the late 90's Perlon/Playhouse era but it surely sounds as current, fresh and forward thinking now.

Side B is solely occupied by the tripped out grooves of Sen_d_ingo. Close your eyes, imagine yuorself in an East London basement at the darkest of after-parties, this track is the perfect fit for that particular moment.
Over 13 minutes of dark and hypnotic beauty, the track is crunchy and punchy with a wigglesome broken rhythm, some subtle synth variations and plenty of dark and deep atmoshperics!

- Legendary debut album from George Clinton's vocal
group
- 1970 cult classic from originally issued on the iconic
Invictus Records label
- Reissued by Demon Music on 180gm Heavyweight vinyl
- Features tracks sampled by De La Soul, NWA and DJ
Shadow
- The Invictus label was set up by the famed song writing
team Holland-Dozier-Holland after they left Motown. Hit
artists on the label include Freda Payne, Chairmen Of
The Board and Ruth Copeland

Celestial electronics are always at the heart of James Welsh's music, via a number releases for labels such as Erol Alkan's Phantasy Sound, Wolf Music and Hypercolour. 'Hammers' is Welsh's second release for Futureboogie (following 2013's 'Craven' EP), and finds the UK based producer on particular fine form.
With its airy pads and shrouded ambience, 'Hammers' drives a 303 bass line right through its centre, perfectly balancing the tracks emotive and darker sides.
Hodge (Livity Sound/Hemlock) comes on board with an industrial sized remix, carving out some heavyweight tribal drums and additional percussion and letting the acid do its tweakable thing.
'Denergy' meanwhile channels some electro tinged bassline moves over super funky, tight drums, a flourishing acid line, and laced with the futurism and sound aesthetics that's keeping James Welsh at the top of his game.

Bendik HK is now launching his debut EP “Depot” via Oslo based label Mutual Intentions. The EP boasts Bendik HK’s futuristic approach in the realm of techno, house and ambient. His progressive production revolves around melodic structures, rhythm and soundscapes. On all four tracks Bendik HK uses an atonal percussion instrument called “Sixxen”, brought to life by the Greek contemporary composer and architect Iannis Xenakis. On “Depot”, this instrument is fused with more classic synths, in an attempt to “challenge” the club genre and invite something new; not only through rhythm and production, but tonality as well.
Vital sales points:
Bendik HK (Bendik Hovik Kjeldsberg) is best known for being one of Norway's most skilled and sought after drummers, playing alongside acts such as Charlotte Dos Santos, Ivan Ave & Gundelach.
He also works regularly with the internationally renowned composer/producer Pantha Du Prince, touring the world and playing events and venues such as Berghain, Sonar, Mutek, and Boiler Room.

When Dunham Records/Daptone producer and musician Thomas Brenneck first heard the close family harmonies of the Sha La Das he had a revelation; he knew he had to get it on tape.



Direct from Staten Island, the four Schaldas, father Bill and sons Will aka Swivs, who also toured the world playing keyboard for Charles Bradley and his Extraordinaires, Paul of Paul and the Tall Trees and Charles Bradley and his Extraordinaires, and Carmine had come into the studio in Brooklyn to record background vocals on Charles Bradley's Victim of Love. It was a passion that drove Brenneck from the very beginning.



'Hearing them sing together in the studio was incredible', says Brenneck. He collaborated with Bill Schalda writing songs and applying harmonic sensibilities rooted in doo wop, blues and soul. It wasn't a stretch for Bill, after all he'd been second tenor when still a teen in Brooklyn vocal group, The Montereys in the 1960s (their 45, Face In The Crowd/Step Right Up on Blast records sells for $500 these days) who would play venues from neighborhood bars to the 1964 World's Fair in Queens.



'Bill is the genuine article, just like Charles Bradley and Sharon Jones, he came directly from the source,' says Brenneck. Indeed, Bill Schalda was right there amongst doo wop and r&b groups of the era, singing Moonglows and Flamingos tunes.

'You'd go out on the street and constantly hear a bunch of guys singing on the corner, they'd finish playing handball in the schoolyard during the day and then they'd start singing at night,' says Bill. 'We were all just guys in the neighborhood in Brooklyn, who gradually found each other.'



After their children were born, Bill and wife Linda moved the family across the Verrazano-Narrows bridge to Staten Island. Growing up, sons Will, Paul and Carmine remember summer nights singing group harmonies on the stoop of their home with their father Bill guiding them. 'He would bring us out on the stoop on Staten Island and he would teach us each parts of say, the sesame street song - we were his backing group very early on - that was fun,' says eldest son, Will.



On this, their debut, the talent is harnessed in 11 songs, each tender-voiced delight delivered with absolute conviction combined with musicians that have help define the Daptone/Dunham Records sound including Brenneck, Homer Steinweiss, Dave Guy, Leon Michels, Nick Movshon and Victor Axelrod. 'I wanted to take the Sha La Das outside of the doo wop genre,' says Brenneck. 'To take the whole vocabulary of doo wop harmony and reapply it to soul - so you get super soulful harmonies along the lines of The Manhattans & The Moments.'



From the opening atmospheric guitar strum of Open My Eyes via a walk along the Coney Island boardwalk catching the last glimpse of sunlight at dusk of Carnival to the sublime crescendo of harmonies of the winsome Love in the Wind, each song evokes a deeply personal yet universal yearning that none of us can escape. Quite simply every song yields magic.

There's something special when a family can meld voices in close harmony. The Everly Brothers had it, The Beach Boys had it, the Schalda's have it.

After the release of their playful debut album "Worldstyle" the Budapest duo are now returning with their 2nd album "Brotherhood" and this time their message is more serious. The music if often summons blues elements but also influenced by dub, funk and a little hip-hop while the lyrics are mainly about the social and personal problems of our time interpreted by talented guest vocalists from all over the world. The guest performance of KRSA puts the point on the letter 'i' in 'Brotherhood' and in the other reggae-inspired song 'Pass It On'. Being one of the dominant figures of the Hungarian ska movement he is an
important guest on the album. As the main driving force behind the 90's very popular and recently revived British band Freak Power Ashely Slater needs no introduction. He has worked with Dub Pistols, Dublex Inc., or Fort Knox Five, and his
talents and professional performances are turbocharges three
completely different songs. 'Revolution!' has previously released in 2016 as a 7' single and features dazzling electro blues and Ashley's food for thought lyrics. In 'Life Is Love' he proves that his talent has no barriers whether he sings lonely doo-woptempo or the dub-ska of 'People Kill People' which is a unique cover of Éric Serra's seminal 80's cult classic 'Guns & People'.
Denise M'Baye known as the MC/singer of Mo'Horizons is featured in two downtempo tracks. 'Wings' is a laidback song about love while and 'All My Life Is In This Bag' smuggles back a little bit of the mood of 'Worldstyle'.Fedora is the best-known female MC/singer of the Hungarian bass music life. She made her own solo album in 2017. With 'Come Away With Me'
she proves that she's not only an bass music MC, but a great singer with deep emotions. Another guest from Hungary is the lead singer of the downtempo-funk band Mystical Plants. Bryant Goodman contributes to the album in two different tracks with his gravelly voice. 'Bad Man's Ballad is bittersweet song about the average politician of our age while 'Keep Going On' on
the other hand is full of playfulness and delivers a short but positive message.
At last but not least we have the Ghanaian M3NSA on the board from Fokn Bois and RedRed. His lyrics in 'It Works' is very motivating for everyone and spreads the message of not giving up even if the world is seemingly against you.
Savages Y Suefo's new album 'Brotherhood' is a lot different from their previous one in many ways but it remained just as eclectic as its predecessor 'Worldstyle' and still proves Savages Y Suefo's wide interest and openness in music that is needed today... and not just in music.

The next batch of all-time CLASSIC hip-hop anthems from the Nervous vaults, pressed onto high quality dinked 45's. Collectors and DJ's take note!

Remastered from the original source material and featuring the unedited 'dirty' version on the A-side, and the full instrumental on the B-side, these 45's are for the heads who know what time it really is!

The original LP version of the slamming underground jam 'I Gotcha Open' from 1994 sees Black Moon doing what they do best - spitting some serious heat over more Beatminerz grooves. It's all here, the filtered bassline that is a straight Beatminerz trademark, paired with some killer echo-laden drum programming and those sick horns! The perfect vehicle for the Buckshot Shorty to get loose with his inimitable style. This is that classic mid 90's flavour, classic from end to end. If that wasn't enough for you, you get blessed with Evil Dee & Mr Walt's instrumental on the flipside which will definitely get you open, fronting is optional but not advised! You have been warned.

Fully legit, licensed and reissued by Above Board distribution in conjunction with Nervous Records, NYC. 2018.

Big news on the Apparel Tronic side. We're here to celebrate another step forward of our newest label introducing the 7th release on the catalogue & 2nd on vinyl, by an artist we really admire and we're delighted to have on board with us: Julian Habib aka Inkswel, on this project with his alias 'That Dude Inkswel'. The man himself created an 8 tracks LP which truly represents our spirit of experimentation, this time round steering towards a more jazzy influenced hip-hop, shaped up staying true to the sound we love. 'The Sound' LP features dope collaborations such as the Detroit vocalist and multi-instrumentalist Brownstudy singing on the opening and title track, the amazing progressive artist Maia Von Lekow giving her voice for B1 track 'Mother' alongside Mista Monk, the superb Han Litz's flute and Trujillo on Kellin' it & also Divine Species on 'Galaxies' and Mr. Shem rapping on A3 track 'Dedicated to Mr. Schem'. This work is a bold and captivating selection of different styles belonging to the same soul orchestrated by Inkswel and his musical mastermind, listening to 'The Sound' is like jumping on a caravan for a journey where every track is a different stop: crunching beats, deep bass lines, psychedelic melodies. The ingredients for this amazing recipe are all coming from different parts of the planet, a place that Inskwel seem to have written on his palms seen his capability of bringing different music influences under the same roof, where he finally invited Apparel Tronic to hang for a bit.
racks such as 'Snooker Club' and 'Viejos' delve into more caliginous, IDM territory. The result is a rich and varied collection that demonstrates Apparel Music's unwavering ability to continue to keep listeners guessing.

The Brothers Jonathan And Ferdinand Bockelmann Aka Glaskin ... The kellerkinder' Who Are Taking Care Of The schall Im Schilf' & back To The Woods Festival' Form Together The Duo Glaskin. In Recent Months, A Lot Has Happened To Them, They Have E.g. With Esacpe Velocity Released Her Debut Ep And Another 2 More On Hotflush. tymewriter' Is Carried By A Broken Beat Over Which Gloomy Surfaces Overlap. Just Fat !!

Simon D And Pluto Produce Together As Preset. With club Sub' They Deliver A Dirty Techno-breakbeat Board That Does Not Look The Same. Techno Smasher !!

Blitz Resident & Lighthouse Festival Booker Leo Küchler Aka vince' Made His Vinyl Debut With namechanger'. He Does Justice To His Style As A Dj With This Housig-playful Number In Each Case.

Phillip Von Bergmann Is Rote Sonne Resident And Firmly In The Circle Of Friends Of Ilian Tape, Maurice Paloni Runs The Label Alden. The Result Of Their Collaboration Is A Breaker Club Track, Perfect For Building Tension.

Anders Trentemøller's career is a travel-heavy one, with his touring schedule taking him pretty much all over the world. But it's his home port that's inspired his latest project, the sprawling, stunning compilation mix 'Harbour Boat Trips Vol. 02: Copenhagen'. Clocking in at just over an hour long, the compilation sees Trentemøller curate and craft sixteen songs into a heavy, hazy mix that ranges from shoegaze to electronica, featuring both familiar and celebrated artists like A Place to Bury Strangers (with a new Trentemøller remix) and Slowdive to more obscure finds, as well as Trentemøller's own tracks and remixes, most notably a brand new Trentemøller cover of Neil Young's classic 'Transformer Man'. The mix sees him pick up a thread he left off earlier in his career. In 2009 he put together 'Harbour Boat Trips - 01: Copenhagen', a compilation mix comprised of his favourite music, both Danish and international, from across four decades, loosely inspired by the motion and movement of Copenhagen's busy harbour. Closing in on a decade later, we're getting the second edition, with 'Harbour Boat Trips - 02' arriving this November.

Loya is a new project by French producer Sébastien Lejeune, which allows him to research his
own cultural heritage, as a native of La Réunion.
For the past five years, Loya has been exploring the musical environment of the sister islands of the
Mascarenes (Indian Ocean), breaking down the boundaries between electronic music and
traditional music in a globalized world. Growing up in the great melting pot of La Reunion, Loya was
exposed to a number of cultures and rhythms that fueled his curiosity.
Settling in metropolitan France in the mid-90s, Loya's first encounter with electronic music
happened upon discovering acts such as Autechre, Plaid and Boards of Canada. Soon, Loya was
drawing from Intelligent Dance Music and bleep techno to build complex rhythm arrangements and
ethereal melodies. Throughout this research, Loya gradually managed to tame the erratic nature of
his machines to summon states of trance that reminded him of the music he grew up listening to as
native of the Mascarene.
From this route through the meanders of contemporary electronic music, Loya developed a
trademark sound based on triple time beats, pointillist sound design and a taste for experimentation.
Such distinctive features can already be heard on his first self-produced album Eruption, released
in 2014 and the EP Indian Ocean, released in 2016 on Mawimbi Records, although Corail is his
most accomplished work and a testament of his clear talent.
Exploring the blue depths of the Indian Ocean with the fluency of a native, the ten compositions of
Corail unfold like an archipelago. Showcasing the talents of traditional musicians such as Mauritius
ravanne icon Menwar and Madagascan accordion master Régis Gizavo, Corail finds a fine balance
between the soft, velvety ripples of modular synthesizers and the rawness of frantic percussion
motifs and local field recordings.

Following his incredible debut album 'Talisman', Whiney has stepped back into the lab to cook all manner of big, beefy dancefloor beasts. The 'Waystone' LP boasts his most widespread set of influences yet with drum & bass fusions of trip-hop, grime, UK hip hop and ambient across 14 outstanding tracks.

Album highlights include the tumbling jungle rumbler 'The Capital' that scatters down with snappy amens in a perfect storm. Plus the unmissable 'Triple Duppy Demon'; a menacing tribal stalker rearing its head in a display of raw beats and bars from Manchester's own Levelz crew member Truthos Mufasa, alongside a production pairing with Hugh Hardie.

'Waystone' also sees the triumphant return of the dream-team-supreme! Hospital's wordsmith Inja joins forces with Whiney on 'Mission'. This certified heater is a grisly tirade of dancefloor chaos, a worthy successor to fan favourites 'Flashlight' and 'She Just Wanna Dance'.

Of course Whiney's second long-player is also packed with showstopping solo productions such as 'Dismissed', 'Slingshot' and half-time triphop switch up 'Darkest Night'

Known for a broad swath of genre-obliterating club tracks on crucial labels including Critical, Exit, and 50Weapons, Sam Binga approached us earlier this year with a radically different kind of project, a collaboration with Welfare, true junglist and label boss at D&B bastion Rua Sound. The result of their team-up is Conamara Fieldworks. Its unique inspiration and patient process are best described by the duo themselves:

"In early November 2016, we set off through the bleakness of an Irish November into the wilderness that is Conamara, County Galway, Ireland, with about half an idea of what we wanted to do. Our friend Laney had been kind enough to allow us the use of a 300 year old cottage overlooking the sea, itself belonging to her family through generations which she was bit by bit restoring to its former glory. The isolation was perfect - very little in the way of creature comforts, no network coverage, but plenty of turf for the stove and Guinness for the belly.

Our routine for the next few days consisted of trudging the length of the rugged coastline in search of interesting sounds we could potentially process into usable elements for some kind of dub/dub techno-inspired composition...This took us inside tidal caves and abandoned ruins, across sheep fields, up and down mountains and winding country lanes, in and out of the odd pub, under upturned boats and (carefully) across huge washes of seaweed-covered shoreline. Using our handheld recorder (shouts Danny Scrilla for the lend) we assembled a palette of varied noises, constantly battling with the peaking and distortion created by the incessant Atlantic gusts.

Each evening, following some intense huddling around the stove and vital Irish home cuisine and stout, we'd examine and dissect what we had collected that day, sometimes discovering the most interesting material firmly planted in the background of the soundscapes. A certain amount of (but not too much) processing later we had the bones of a few short loops of each sound which made some kind of musical sense when played alongside each other.

Binga suggested staying true to the craft and keeping the rawness to the foreground by attempting to develop the loops into full compositions via live desk mixing, arrangement and effects. We said our goodbyes to Conamara and a month or two later said our hellos to the Dubkasm shedio. Following a crash course from the dynamic duo, we set to work for the day, learning as we went along and enjoying to the full the unpredictability, intuition and sheer vibes a dubbing session can bring, particularly in a studio kitted out with some fine analogue gear which undoubtedly helped us to keep that damp, saturated feeling that Conamara had sown."

The resulting collection of music speaks for itself, and does so in its own language. It is meditative, deeply textural, and richly saturated, with awesome sound design, generous bass weight, and dubwise finesse. Referencing ambient, concrete, and dub techno while never letting any genre dictate its path, Conamara Fieldworks is a deeply rewarding and intensely involving listen. A restrained yet transporting remix from the one Ossia completes the set.

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, its catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. This latest repress from the vaults is a real biggie - a true NYC underground disco CLASSIC!

High Voltage is one of the more familiar names in the P&P / Queen Constance galaxy. Led by Peter Brown and Patrick Adams right hand man and producer Michael Campbell who presided over some of the biggest and best sides the labels put out. This one is a must, essential, do not sleep business. 11.00 minutes of Disco fury! One is forgiven in thinking that this would've been huge had it have come out on one of the 'bigger' Disco labels, but that hasn't stopped 'Rock, spank, freak' becoming a true blue club anthem. Appearing in the playlists of DJ's and selectors as diverse as Larry Levan, Danny Krivit and Daniele Baldelli. Rough n'ready, unpolished but musically explosive the sounds contained on this here 12" are indeed High Voltage! As with a lot of these jams, this one's been badly bootlegged, so ignore those wack counterfeits that are out there and bag you a fully licensed reissue of this absolute bomb. Dope.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Same track on both sides

Look! Ultra rare and super dope Disco-Boogie reissue alert!

That's right, Distinction's 1982 jammer 'That's the way I like it' is back! Fully licensed in conjunction with the rights holders and remastered for 2018 by Above Board distribution. This one's long been at the top of the wants lists of DJ's and dancers for ages, a masterclass in UK Boogie flavour brought to you by the production and writing prowess of Roy Carter who was a member of the UK's legendary Soul and Funk legends Heatwave and who worked extensively with Central Line, Junior Giscombe, Dee C. Lee and many many more throughout his long career. Pretty much all of Distinction's output is tough to find with the majority appearing on tiny labels, and second hand prices for these gems are always on the high side with this particular 12" being one of the most sought after. This is a proper and full reproduction of the original Hansa 12" from 1982 with the added bonus of the 7" mixes being included of both 'That's the way I like it' and b-side winner 'Looking for love'. This one has been booted before with severely lacking quality control, but we are proud to say this reissue has been fully licensed and made using the original tapes with all remastering handled lovingly by Optimum Mastering, Bristol, UK. This is an unmissable reissue if you dig this sound, don't miss out! Pure fire.

For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London's dance scene, from where it has ricocheted around the world. Having conducted the first set of major interviews with David Mancuso, Lawrence started to put on Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In early 2004 he published Love Saves the Day: A History of American Dance Music Culture, 1970-79, which tracked the influence of the Loft on the wider New York DJ, dance and disco scene. In 2009 his biography of the iconic musician Arthur Russell became the first book to map the wider downtown music scene. These beautifully written and politically insightful histories have educated, inspired and celebrated the previously overlooked foundations of contemporary dance music.

Lawrence's most recent publication, Life & Death On The New York Dancefloor, 1980 - 1983, published in late 2016, shines a light on 'one of the most dynamic and creative periods in the history of New York City'. Falling between the more regularly celebrated sounds of disco, house and techno, the period produced a uniquely hybrid series of sounds that never acquired a settled name. This led them to be largely ignored by historians and even DJs, yet the power of the period's music and the scenes it birthed, Lawrence argues, remains undeniable. Met with a rapturous response, Life and Death On The New York Dance Floor saw Lawrence on the road for most of the next year as he spread the word about the characters, the records, the clubs and the bands that shaped the post-Disco, post-Punk, and burgeoning Hip Hop landscapes of New York City during the early 1980s—a period when freedom still ruled.

This, the first of a 2-part sonic tribute to the 1980 - 1983 era as well as a musical companion piece to Life & Death On The New York Dance Floor sees recognised musicians (David Byrne of Talking Heads) nestle up alongside the belatedly recognised (Arthur Russell's Dinosaur L and Loose Joints, and Suicide's Alan Vega) and the downright obscure (Gray, 2 Teens Kill 4 and Tuxedomoon). An indication of what's to follow, Dinosaur L's original album version of 'Go Bang' has been dramatically overshadowed by the definitive François Kevorkian remix yet received regular play by David Mancuso and remains an enthralling experimental Arthur Russell jam.

Lovingly curated across 2 slabs of vinyl, the album introduces listeners to a stunning array of sounds, styles, vibes and feelings that encapsulate this most fertile and forward-thinking era, when music, fashion, sound system innovations, leaps in music technology, a DIY attitude and a freedom from corporate politics combined with extraordinary expressivity. All music contained within this album has been hand-picked and programmed by Tim Lawrence. It represents a selective yet rich introduction to one of the most extraordinary periods in New York City's epic musical history.

This is the first release on Reappearing Records, a label led by Tim Lawrence and distributed worldwide by Above Board distribution. Licensing courtesy of Tracksuit Music. Mastering by Optimum Mastering, Bristol UK. Artwork & design courtesy of Atelier Superplus. 2018.

Upon examining the eventful life of Can bassist Holger Czukay, one might conclude that this intrepid musician was a loner. His turbulent career exuded an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly emphasized that his creativity was always contingent upon a musical partner, whether that was a skin-and-bones counterpart or an anonymous manifestation that interacted with him through radio waves or, as happened later, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble, his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records, who already released the highly acclaimed retrospective 'CINEMA' to mark the occasion of Holger's 80th birthday at the beginning of the year, has taken it upon themselves to release reissues of Holger's music in order to make it accessible once again.

Upon examining the eventful life of Can bassist Holger Czukay, one might
conclude that this intrepid musician was a loner. His turbulent career exuded
an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly
emphasized that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an anonymous
manifestation that interacted with him through radio waves or, as happened
ater, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a
Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble,
his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records,
who already released the highly acclaimed retrospective 'CINEMA' to mark
he occasion of Holger's 80th birthday at the beginning of the year, has
aken it upon themselves to release reissues of Holger's music in order to
make it accessible once again.

Upon examining the eventful life of Can bassist Holger Czukay, one might
conclude that this intrepid musician was a loner. His turbulent career exuded
an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly
emphasized that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an anonymous
manifestation that interacted with him through radio waves or, as happened
later, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a
Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble,
his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records,
who already released the highly acclaimed retrospective 'CINEMA' to mark
the occasion of Holger's 80th birthday at the beginning of the year, has
taken it upon themselves to release reissues of Holger's music in order to
make it accessible once again.

We are excited to release a 6-track EP from San Francisco based DJ, producer, and remixer Sepehr Alimagham. The San Jose native has been a fixture in the Bay Area house and techno scene for quite awhile now — on the dance-floor, behind the decks, in the studio, or all of the above. Early influences like Boards of Canada, Aphex Twin and post-hardcore bands later in high school started his affinity for off-kilter, underground music. In 2017 he began performing live PA sets, utilizing his immense production backlog to perform vivid and electric sets, from potent dance music to psychedelic and esoteric soundscapes.

"Body Mechanics" is six tracks of acid drenched dance music that ebb and flow from floor filling club thumpers to more cerebral soundscapes. Inspired by the new wave of the acid sound as well as nostalgia from his formative years in the San Francisco music scene, 'Body Mechanics' takes a functional, yet psychedelic approach to 303 styled techno and electronica. Attention demanding basslines, indiosyncratic structures and hallucinatory atmospheres provide an effective framework for Sepehr's vision. The themes of the track titles take root from a series of dreams Sepehr had with a common atmosphere of strange characters and textures, akin to scenes from David Lynch's 'Twin Peaks'. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket featuring a dark and inviting cyborg hand holding a rose designed by Nicole Ginelli.

The journey continues... deeper into the unknown universe, stretching the seams of time and space.

The maiden voyage for this new label out of Birmingham was a success. The second release is a collaborative effort from Nicky B (Simple Elements/HOG) and fellow Brummie, Anthony Ellis - working together as Koheziv Mindz.

The tracks are the result of years of tuning in to the sounds seeping out of the speakers in choice local clubs and buying the latest imports on vinyl from Europe, Chicago and Detroit.

The day-to-day living in Birmingham has certainly etched into their creative consciousness, the hustle, bustle and alien like chorus of a vibrant environment resonates through their work, from a city that never sleeps.

Emotive, incredibly lush and shot through with the kind of romanticism displayed in the work of second generation Detroit pioneers Kenny Larkin and Carl Craig. This is a glimpse through a keyhole, a snapshot of two producers taking steps into a bigger world, a whole galaxy.

There are two remixers on board, hand picked to see how the artists would interpret the originals - Darren Nye (Firescope/polarity) and Mihail P (Verdant Recordings/Distant Worlds)- both artists add weight to their already impressive back catalogue of work and display why they are hot and tipped for the top.

Submerge your mind into the rich celestial tapestry of sound, safe in the knowledge you're among good company.

Repress coming!

Razor-N-Tape bring out the big guns for their remix package of the Los Angeles Afro-Latino funk band Jungle Fire.

JKriv's remix of 'Firewalker' channels the original live instrumentation into a bombastic, DJ-friendly workout, while Boston-born/Medellin-based producer Bosq steps up to tackle 'Village Hustle' bringing his unique blend of rhythmic flavours to this melting pot of zesty goodness.

This diverse 12 Inch also boasts the first remix and release by the newly-reunited Black Science Orchestra in 15 years! Original founding members Ashley Beedle and Rob Mello take on 'Culebro' and transform it into an pulsating Afrobeat groover. Bringing the infectious bass to the foreground behind a shuffling rhythm layered with guitar and horn samples, BSO turn out a serious heater of a remix and dub, worthy of their triumphant return!

- Throughout her career, Lulu has worked with some of the best in the business. In the space of ten exciting years, straddling the
60s and the 70s, her recordings were produced by the stellar list of Mickie Most, Arif Mardin, Jerry Wexler, Tom Dowd, Wes Farrell
and David Bowie, with arrangements by the likes of John Paul Jones, Johnny Harris and Peter Knight.
- The hits featured include 'To Sir With Love' (a US # 1), 'The Boat That I Row', 'Love Loves To Love Love', 'I'm A Tiger' (written
by Ronnie Scott and Marty Wilde), 'Boom Bang-A-Bang', 'Oh Me Oh My (I'm A Fool For You Baby)', 'The Man With The Golden
Gun' (John Barry's theme for the Bond film), 'The Man Who Sold The World' and 'Watch That Man', and 'Take Your Mama For
A Ride'.
- The inner sleeve of this LP is lavishly illustrated with many archive photos.

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, it's catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. Wayne Forde's super heavyweight 'Dance To The Music Freakout' is the second reissue from the label for 2018!

Yet again, not much is known about Wayne Forde, or his band 'Stereo'. Could it be another Peter and Patrick studio project Another selection of local, neighbourhood players and singers Who knows What we do know, however, is that this record is a TOTAL disco bomb. All of what you want from a Queen Constance record is here, it's dripping in funk, raw and soulful. Essential stuff for anyone with even a passing interest in disco or anything funky. These jams are super long, percussive dance-floor melters that will do damage! Super rare, too. You won't find one of these nestled in the racks in your local chazzer, which is exactly why these (legit) represses should be in your cart. Essential.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

"It's Maths classes. A red-haired boy sits in the back, rhythmically tapping his fingers on a table like a madman. Although other students' eyesight is focused on the formula being written on the black-board, the boy could not care less. Out of a corner of his eye he notices as the sequence of numbers slowly begins to melt off the blackboard, glittering with colours, and finally spills all over the floor like a fractal leakage from some other dimension. Students from the first rows, scared, put their legs up - and then you start to hear the rhythm. The sounds, once set free, feedback from the walls and find their way to all chinks and cracks, circle all around to finally reach the teacher's ear. The lady cannot stop the upcoming fury, grabs Krzysztof Ostrowski (number 28) by his ear and circumventing the leakage she leads him out of the classroom. It's not the first nor the second time such thing happens. Years later, the boy finally sits by the machine; subtle light comes through the window slightly ajar, the curtain dances with the wind. Krzysztof, bent, is programming the rhythm."
It's warm and bright Autumn of 2018 and Krzysztof emerges again, this time on vinyl released by Jacek Sienkiewicz's label Recognition. The experimental style of "Primary Fluctuation" might come as a surprise to many of Jacek's followers, but there are surely some common features for the two art-ists - from attention to detail to a kind of serious melancholy present in their music. Ostrowski's rec-ord is a journey through futuristic polyrhythm, with enough space for menacing basses or unorthodox samples, reminding the aesthetics of fusion of broken techno and bass music championed recently by the labels like Timedance or Livity Sound. Four tracks (five in digital version) make up a cohesive, intriguing and surprising record, announcing series of special releases prepared by Recognition for the forthcoming months. ,

Camisole Records welcomes you on board for this Business Class Library compilation. During your flight you will be listening to music by Serge Bulot, Alan Shearer, Gérard Gésina and Pascal Wathelet. All these 80's electronic library tracks have been curated by your captain Silver Fox to assure you a pleasant journey. 'To Thwart Soul' by Gérard Gésina will guarantee you an easy take-off while 'Ondulations' by Serge Bulot is perfect to calm down during turbulences. For hours of magnificient dreams try 'Mouvements' by Pascal Wathelet. Landing with'Hollywood' or 'Marathon Life' by Alan Shearer will prepare you for your busy day to come. We thank you for flying on Camisole Records and hope to see you again on our lines. This trip is limited to 500 copies.

The New York Downtown Producer/Composer Returns With His First New Album In 3 Years

EIGHTEEN: the year of release, 2018. EIGHTEEN: the age at which I first used a synthesizer.

In creating EIGHTEEN I worked independently in the studio, initially building up tracks with synthesizers and found sounds recorded in my daily comings and goings. After working with the tracks over a period of months,I shared them with a few musicians, who added their own instrumental layers. Though working independently, we all shared a similar working process: working in our personal recording spaces, as opposed to larger recording studios.

The musicians are: Gabe Gurnsey (drums) of Factory Floor, with whom I collaborated on the Beachcombing EP and performed live at London's ICA. I appear on Gabe's newly released album Physical;

Larry Saltzman (guitar) has played in my Love Of Life Orchestra since the 1970's. Well-known for his work with Arthur Russell ('Kiss Me Again', Flying Hearts), he is in high demand in NYC by acts such as Simon and Garfunkel;

Paul Nowinski, (bass) has played with LOLO since the 1980's. Paul has an impressive list of credits, including Les Paul, Keith Richards, Bernard Purdie and the Boston Pops; Matt Mottel, (electric piano), is the newest addition to the Love Of Life Orchestra. He is half the duo Talibam!, a leading act in the noise jazz scene; Lewin Barringer, (guitar), is a talented guitarist and producer in Philadelphia.

After mixing the final tracks, I brought the mixes to Berlin. There I worked with the brilliant mastering engineer Mike Grinser who helped to give the album a unified sound.

I think of this album as electronic music. It was created in my home studio, using analog and digital synthesizers, found sounds recorded on my phone, and instrumental parts contributed by friends. Finely crafted melodies and harmonies are set against subway noises, street construction, and distant foghorns. Sometimes there are sustained clusters, generated by my leaning against the keyboard. Deliberateness paired with randomness: this is what guided the artistic process.

This album is atypical for me as I am not playing saxophone. (I do play one reed instrument - a harmonica.) I grew up with the sax as my primary instrument. Yet my father was a radio journalist so the reel-to-reel tape recorder was a ubiquitous presence in the family home. From an early age,

I experimented with the tape machine: recording, overdubbing and splicing tape. I learned about Varese from Frank Zappa liner notes; I read John Cage's 'Silence.' Electronic music was on my radar.

My first exposure to an actual synthesizer came when I recorded my first single at the fabled Sound City Studio in Van Nuys, CA. The studio had a custom Neve board, but it also had a firstgeneration Moog modular synthesizer sitting unused in the maintenance room. I asked and they kindly let me experiment with it. Soon, I enrolled at the University of California - San Diego after I discovered they had separate studios for their Moog and Buchla systems. These large modular synthesizers were affordable then only by institutions and rock stars. But these would be soon eclipsed by smaller, cheaper synths in the 70's and early 80's. In the same way, recording studio technology became accessible in the 90's. . And thus the personal computer and digital audio allowed studio quality production in the home studio. Electronic music had become democratized.
Handmade music by way of digital technology: this is the music of EIGHTEEN

'they've quietly found themselves elevated into the psych scenes premier league.' Drowned In Sound 
 
'when they go pedal-to-metal it rarely fails.' Mojo Magazine
 
'The Lucid Dream are rapidly becoming major players in an ever-increasingly crowded psych scene..utterly seductive.' The Quietus
  
'one of the most enthralling bands in the UK.' Far Out Magazine
 
 
The Lucid Dream return in October with the release of their 4th album, 'Actualisation'.
Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream.
 
'Actualisation' is soaked in the influence of acid house, amalgamated with dub and kosmische. It will again see them acknowledged for venturing into pastures new, setting themselves apart from 'genres', 'scenes' or what any other act are currently doing. 
 
The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove.
Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor.
 
 
Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz).
 
The confrontational techno-punk of 'Alone In Fear' opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is.
Recent single 'SX1000' (the first work from the album, unveiled via 12' vinyl in April this year) is the band's first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by 'Ardency', a track already praised by live critics when aired live for the first time earlier this year as 'even on first hearing, would've raised the roof of The Hacienda'.
 
The 2-part opus of 'Zenith' follows, commencing with a space-dub/house instrumental groove before building into a track that will go for your head as much as your hips. Only 'Breakdown' harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. 'No Sunlight Dub' closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum 'n' bass/jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.
 
 
The Lucid Dream formed in Carlisle, Cumbria, in 2008. A string of sold-out 7s was followed by the debut longer player, 'Songs Of Lies and Deceit', in August 2013. The initial vinyl pressing of the debut album (500 copies) sold out within 2 days, and was backed by a main stage slot at Kendal Calling, and supports to Death In Vegas and A Place To Bury Strangers (full UK tour).
 
The bands 2nd album ('The Lucid Dream') was released in March 2015 to further acclaim. This included 2 BBC 6 Music sessions and plays across most shows on the station, as well as plays from BBC Radio 1 (Huw Stephens) and BBC Radio 2. Further press followed from Uncut, The Skinny, Louder Than War, and Drowned In Sound, who named the album #7 UK album of 2015. Supports to Clinic and A Place To Bury Strangers also coincided.
 
 
3rd album, 'Compulsion Songs' was released in September 2016, on Holy Are You Recordings. The vinyl pressing of the album sold-out within a day, prompting an immediate 2nd press, with pre-sales of the album topping 1,000 before release. The album was backed by a headline UK tour, and a main slot at Liverpool International Festival of Psychedelia (for which they were singled out for major plaudits from The Quietus, The Skinny and Drowned In Sound). The album again received acclaim from the likes of Mojo, Uncut, Classic Rock Magazine, BBC Radio 2 (Huey Morgan) and across the board on BBC 6 Music (Lauren Laverne, Marc Riley, Tom Ravenscroft, Gideon Coe, Stuart Maconie).
 
 
 
'Actualisation' is released on 19th October 2018 (CD/download/ltd red vinyl/standard black vinyl), via Holy Are You Recordings.

'they've quietly found themselves elevated into the psych scenes premier league.' Drowned In Sound 
 
'when they go pedal-to-metal it rarely fails.' Mojo Magazine
 
'The Lucid Dream are rapidly becoming major players in an ever-increasingly crowded psych scene..utterly seductive.' The Quietus
  
'one of the most enthralling bands in the UK.' Far Out Magazine
 
 
The Lucid Dream return in October with the release of their 4th album, 'Actualisation'.
Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream.
 
'Actualisation' is soaked in the influence of acid house, amalgamated with dub and kosmische. It will again see them acknowledged for venturing into pastures new, setting themselves apart from 'genres', 'scenes' or what any other act are currently doing. 
 
The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove.
Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor.
 
 
Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz).
 
The confrontational techno-punk of 'Alone In Fear' opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is.
Recent single 'SX1000' (the first work from the album, unveiled via 12' vinyl in April this year) is the band's first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by 'Ardency', a track already praised by live critics when aired live for the first time earlier this year as 'even on first hearing, would've raised the roof of The Hacienda'.
 
The 2-part opus of 'Zenith' follows, commencing with a space-dub/house instrumental groove before building into a track that will go for your head as much as your hips. Only 'Breakdown' harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. 'No Sunlight Dub' closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum 'n' bass/jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.
 
 
The Lucid Dream formed in Carlisle, Cumbria, in 2008. A string of sold-out 7s was followed by the debut longer player, 'Songs Of Lies and Deceit', in August 2013. The initial vinyl pressing of the debut album (500 copies) sold out within 2 days, and was backed by a main stage slot at Kendal Calling, and supports to Death In Vegas and A Place To Bury Strangers (full UK tour).
 
The bands 2nd album ('The Lucid Dream') was released in March 2015 to further acclaim. This included 2 BBC 6 Music sessions and plays across most shows on the station, as well as plays from BBC Radio 1 (Huw Stephens) and BBC Radio 2. Further press followed from Uncut, The Skinny, Louder Than War, and Drowned In Sound, who named the album #7 UK album of 2015. Supports to Clinic and A Place To Bury Strangers also coincided.
 
 
3rd album, 'Compulsion Songs' was released in September 2016, on Holy Are You Recordings. The vinyl pressing of the album sold-out within a day, prompting an immediate 2nd press, with pre-sales of the album topping 1,000 before release. The album was backed by a headline UK tour, and a main slot at Liverpool International Festival of Psychedelia (for which they were singled out for major plaudits from The Quietus, The Skinny and Drowned In Sound). The album again received acclaim from the likes of Mojo, Uncut, Classic Rock Magazine, BBC Radio 2 (Huey Morgan) and across the board on BBC 6 Music (Lauren Laverne, Marc Riley, Tom Ravenscroft, Gideon Coe, Stuart Maconie).
 
 
 
'Actualisation' is released on 19th October 2018 (CD/download/ltd red vinyl/standard black vinyl), via Holy Are You Recordings.

Hinter Tvam Steht Produzent Joe Oxley Aus Manchester, Dessen Debütalbum "psychic Data" Von Dean Honer (moonlandingz, I Monster, Add N To (x)) Produziert Wurde. Laut Clash Magazine Kombiniert Tvam Den Aggressiven Punk Von Big Black Mit Den Treibenden Atmosphären Von Boards Of Canada. Das Ergebnis Ist Laut The Quietus Ein Epischer Rave-shoegaze-soundtrack Allerbester Güte.

Hinter Tvam Steht Produzent Joe Oxley Aus Manchester, Dessen Debütalbum "psychic Data" Von Dean Honer (moonlandingz, I Monster, Add N To (x)) Produziert Wurde. Laut Clash Magazine Kombiniert Tvam Den Aggressiven Punk Von Big Black Mit Den Treibenden Atmosphären Von Boards Of Canada. Das Ergebnis Ist Laut The Quietus Ein Epischer Rave-shoegaze-soundtrack Allerbester Güte.

tim jones, also known as Preacherman and recorded under midi man, ironing Board Band and t.j. hustler. he made one very rare lp, and two even rarer cD's. these tracks are from the cD's. he was a salesman for iBm in Las Vegas, where he sold selectric t ypewriters and then word processors during the day and at night he would perform in the Las Vegas lounges. he was somewhat of an engineer and adapted a hammond B3 organ to play a moog synth with some of the organ keys, (some still played the organ),
and he adapted the organ's foot controlled bass levers to play two moog synth bass pedals (a failed item moog made for a few years.) thinking he wasn't much of a live performer he had a wooden puppet made that he named t.j hustler, and together with the puppet, he would engage in long philosophical soliloquies, (some of which are featured on this album).if you meet tim, he is not someone who stops talking. in fact he even created a little book called universal Philosophy. he has a lot to say about everything. currently he lives with his 103 year old mother in
Oakland. there he infrequently plays shows on his casio where he fashions himself a live Karaoke performer, who comes complete with 5 wireless mics and P.a. and a list of about a 100 songs he can play. his invented organ contraption and puppet are in storage in Las Vegas, and he seems intensely
uninterested in getting them out, as 'the kids these days want to hear the sounds the casio makes.'

LumieresLaNuit (alias LLN) is glad to welcome back Paris-based music composer, live performer and DJ Vadim Svoboda for the 10th release of the label.

Besides being a close friend of the LLN crew and a regular of the label's showcases, Vadim Svoboda has also become a key artist of the label. Indeed, it's with him that it has all started, about three years ago, when he released his 'Syntherapie' EP (LLN000). Eight releases later, we're glad to have him back on board on the occasion of his debut album 'Seed' (LLN009+1).

'Seed' is made up of two records: 'Roots' (vinyl 1: LLN009) and 'Canopy' (vinyl 2: LLN009+1). Whereas 'Roots' sounds like a mini-album in the album, where melodic and melancholic notes alternates with dark and strong beats, Canopy seems - according to its composition - to refer directly to his 'Syntherapie' EP, even though the listener might find the same inspirations in both records.

Upon examining the eventful life of Can bassist Holger Czukay,
one might conclude that this intrepid musician was a loner. His
turbulent career exuded an enduring eccentricity governed by a
boundless free spirit. Yet Czukay, who passed away
unexpectedly last year at the age of 79, constantly emphasized
that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an
anonymous manifestation that interacted with him through
radio waves or, as happened later, the internet. Nonetheless,
most of his partners were of flesh and blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast
worthy of a Martin Scorsese film. Only the most interesting
character actors were cast: Brian Eno, Phew, Rolf Dammers,
David Sylvian, Annie Lennox, Jah Wobble, his Can bandmates...
the list could go on and on.
Many of these masterpieces are now out of print, so Groenland
Records, who already released the highly acclaimed
retrospective 'CINEMA' to mark the occasion of Holger's 80th
birthday at the beginning of the year, has taken it upon
themselves to release reissues of Holger's music in order to
make it accessible once again.

EFFECTIVE96 PRESENTS

THREE ANGELS AND NINJA RIDDIM EP VOL.1

Label boss Ishio D coraborat with three female Balearic' singer in this V.A compiration EP .

3 styles song for 3 style free electro musics.

First one' Jungle riddim shake Asian vibes' blue sea song from Yokohama Japan .

Second riddim Hawaiian funky lady' rapping high .

Third deep dub beats meets traditional August ' Yoga dance in hot summer Japan.

(Minyo dub .Bon-odori dub)

Nothing others ' Balearic Vibes meets brand new beats from somewhere this planet .