Suche:la ma

The Venetians were formed in late 1982 as a studio concept band after Rik Swinn (lead vocalist) arrived in Sydney with master tapes of tracks he recorded in England with engineer/producer Vic Coopersmith-Heaven - It's Cat Stevens, The Rolling Stones, The Vapours & The Jam. - He also read a newspaper advert placed by two musicians who were looking for a lead singer.

Within weeks Swinn formed a touring band and enlisted David Skeet on guitar, bass guitar, synthesiser and vocals, and Peter Watson (ex-Scandal, Extractors) on guitar, bass guitar, synthesiser and vocals.
Drummer Tim Powles (ex-Ward 13) joined next and keyboardist Matthew Hughes (ex-Gotham City) completed the line up of the Venetians.

They released their first single, "Sound on Sound", in April 1983 - original copies of which go for upwards of £150 on Discogs.
This 12" includes the original plus remixes by Andrew Weatherall & Zatua (Music from Memory).

German cult band Bohren & der Club of Gore release their eighth studio album via PIAS Recordings. The band have built a loyal international fanbase on the back of their trademark ‘Doom Jazz’ sound and count musical icons such as Mike Patton and Stephen O’Malley among their fans. Strictly instrumental, this band and their sound have the healing power to survive these hectic modern times.
For fans of Melanie de Biasio, Sunn O))) and the soundtracks of David Lynch. The band played two sold out shows in London’s Round Chapel recently and will tour the UK again in 2020.

Whenever newspapers write of the Great Voices of the 20'th
Century, Billie Holiday will be among them. She is among the finest ever interpreters of the popular song as well as being a great jazz vocalist. The rock musician, 'J.J. Cale' described her appeal by saying, “Billie Holiday is probably the biggest exponent of laidback there is. She always sang behind the beat and I loved that.”Just listen to the miraculous way Billie sings the standard 'The Very Thought Of You' or songs from 'George Gershwin’s & 'Porgy And Bess'.

... LP FORTHCOMING Inc. Soundfiles to the Tracks.

Ella Fitzgerald’s singing talents were simply supreme. Every one of her contemporaries looked up to her as the standard to be judged by. There are dozens of quotes from everyone including Crosby, Sinatra and virtually all the major band leaders extolling her virtues.
'Ella Fitzgerald' was undoubtedly one of the greatest jazz and pop singers and interpreters of the twentieth century.

Listeners can dance to her work, relax to it, laugh with it, cry with
it, and everything in between as she can satisfy every mood ...
This album gathers some of her very best recordings, and could serve
as a starting point for some deeper delving into her fine catalogue
of songs.

When was the last time EDMX served you what you expected? Maybe you drop the needle down in anticipation of some slick boogie-inflected synth pop and get walloped in the face with hellfire techno. Perhaps you were itching for body-popping electro and got cerebrally hijacked by pagan coldwave.

On this latest magnum opus, his first on Queen Nanny. Ed Upton is in the mood to get down low in every sense of the word. On the frequency range, this is a record dripping with lard-fed bass at every turn. The arrangements too are devilishly low in channel count – raw riddims with just a few key ingredients to do the necessary damage. Then there are the tempos, which predominantly set cruise control at 90 BPM and glide.

It’s not hard to tell where EDMX’s inspiration has sparked from on this album – in the spirit of celebrating the compatability of oddball sonics from all corners of the globe, he’s patched his sound into a specific vibe and struck gold with some of the most distinctive riddims you’re likely to hear all year.

Bombstrikes make a long awaited return to the world of vinyl with this limited edition 7'' from The Allergies. There are two outstanding funk jams to choose from here, both taken from their Funk N Beats compilation, with the guys working their magic in the form of collaborators or remixers.

On the A side, long time friend of the duo Andy Cooper (Ugly Duckling) delivers the vocals on ' Why You Buggin'' a tribute to the legendary Run DMC. Over on the flip, the Bristol duo remix Dr Syntax and Pete Cannon's 'Downtime' in their trademark style with the funk licks complementing the infectious vocals perfectly.

This is pure dancefloor gold and available for the first time on vinyl! Get in quick though as these won't last long.

Andy Ash has been quietly sneaking out seriously good analogue-driven electronic music on some of the best underground labels for over a decade.

The Liverpool-based producer, DJ and visual artist (the artwork for this re- lease is Andy’s own oil on canvas) has graced the likes of Chicago’s Stilove4music, NYC’s On The Prowl, Sydney’s People Must Jam and has remixed Fantastic Man for Detroit label Kolour LTD amongst many others.

The bottom line is that he’s definitely one of the UK’s unsung heroes when it comes to deep, raw, Chicago and Detroit-influenced house music and we’re proud to welcome him to Delusions Of Grandeur with an amazing three tracker entitled the Bottleneck EP.

The title track opens with snappy hats, flappy congas and sloppy baseline all sitting perfectly in the mix and with a looseness that is much harder to achieve that it may seem. A simple synth melody doubles up the bassline while an extra square wave lead adds that little extra hook without distracting us from the bouncing groove. With Bottleneck, less is definitely more.

Flipping over we have Hump, an altogether darker affair with a twisting acid line joining distorted 808 drums and tripped-out snippets of spoken word coming in and out of focus. The low-slung bumpy groove and spacey synth parts make this a compelling warehouse track which will draw everyone into it’s seductive confines.

Closing the release we have Actual Price, a shuffling, deep groover with rumbling low end and machine-like analogue synth part skipping around the crunchy beats. A cerebral yet punchy and dynamic closer to an excellent release!

After well received releases on Shadeleaf, Dead Horse and Hot Peas And Butter last year, Preston's finest soul brother Simba comes through Quintessentials with the 'Box Room Perspective' EP.
Leading the way is „Can You Free Me?“ featuring the beautiful vocals of Maddie Ellerby taking a distinct soulful flex a la Kerri Chandler.
The dub takes things a lil deeper for the heads stripping back to the essentials much like a Matthew Herbert dub. On the flip we have „True“, what has been described as „90's Planet E meets Broken Beat“, an excursion between the lines of house, disco and techno.
It’s hot up north!

Arandel's new opus, 'InBach', released 24th January 2020 by French label InFiné, pays a poetic, infinitely respectful and innovative homage to Bach's sacred workings.

Arandel was granted limitless access to the galerie of (sometime rare and ancient) instruments, as a well as a countless recordings of the prestigious Musée de la Musique in Paris with a view to sounddesign his brand new creation. He performed a few months after at Philharmonie Paris a hybrid live performance/DJ set 'Switched on Bach', named in acknowledgement to the legendary 1968 by American composer Wendy Carlos (Tron, A Clockwork Orange, The Shining).

From candles to LEDs, from DJ sets to museums, from historical instruments to machines, from Bach's themes that have entered the collective unconscious and inspired contemporary flesh and blood musicians… 'InBach' was a foregone conclusion.

In the immensity of Bach's oeuvre, in the company of his fellow wanderers, within the constraints of his-torical instruments, emboldened by the delightful, sometimes technically dangerous friction between acoustics and electronics: Without a net, Arandel walks a tightrope without a faux pas.

Vital Sales Points:

- Strong French environment including institutional support from Philharmonie / Musée de la Musique in Paris with a big shows' scheduled.
- A hybrid album with a mix of rare instrument sounds, synthesizers and innovative creative bias.

It’s that time of the year again: we’re finishing our 6th year of Heist Recordings with our annual potpourri of remixes with this
year’s artists on ‘The Round up part VI’. This year, we’ve got a few really cool newcomers on the label like Demuir, Perdu and
Makèz, as well as label mainstays Fouk and yours truly delivering a great collection of remixes.

The EP starts off with label heads Detroit Swindle giving their high-energy take on Fouk’s ‘Need my Space’. They’ve chosen for
a stabby club version of the more introverted original, with different layers of synths building up alongside a pumping drum track
and a punchy Moog bassline. Check the break for a nice dreamy broken beat section before the track comes back into full
dancefloor madness.

Makèz have only just released their well-received debut EP and now they’re flanking Detroit Swindle on the A-side with their
remix of Perdu’s hit ‘Sacramento’. They replace the broken beat vibe of the original and instead go for a 4x4 track with a driving
bassline, warm pads and subtle placement of Perdu’s original elements.

On the B-side, we have Fouk reinterpreting Demuir’s take on Detroit Techno with their remix of ‘3nity returneth’. Their version is
a tom-heavy high-energy club track with a strong nod to the past, whilst still keeping that strong Fouk signature intact. They
mangle the vocal sample in a drunk and twisted break before setting the track back on fire with an extra acid line for good
measure.

The B2 goes to Perdu’s dreamy slow burning remix of Detroit Swindle’s classic house bomb ‘Music for clubs’. His version takes
the tempo down and dials the dreamy level up a notch. A mellow but punchy acid line and worldly synth hits give this remix it’s
cool twist and it’s a great showcase of Perdu’s view on the broad world of house music.

This year’s Round up finishes with Demuir’s trippy ‘playboy edit’ of ‘Random Visits’ by Makèz. He takes the vocal sample and
layers it behind a haunting string, dreamy keys and a steady groove. It’s got a funky vibe where Demuir’s knack for a good
groove fits perfectly with the fresh original.

The Round up is a special moment for us each year and we’re excited to share these reinterpretations of another year’s worth of
house from the world of Heist Recordings with you.

Yours Sincerely, Lars & Maarten.

Today’s News Flash. Public Possession takes another step forward by signing “Nice Girl” to the label. Their collaboration w/ the New Zealand born, Melbourne based artist is initiated by a two-track 10” featuring one original song by the artist, plus a remix by long-time label affiliate Bell Towers.

The original “Take a step” is an instant party starter (does not take long to make its point). The remix gets all big (room) & techy. Two tracks - maximum spectacle. Right on.

Repress

Be With Records present the hugely anticipated first ever vinyl release of r'n'b star Cassie's seductive debut. A late-night classic of chilly electro-soul, the self-titled album has influenced many in the dance music fraternity since its original CD-only appearance back in 2006. Particularly revered by Jamie xx, Four Tet, Hot Chip and Tri Angle Records, the r'n'b cognoscenti went into overdrive when rumours of this release first leaked.

Perhaps most famously, it features the slick summer smash "Me&U" which reached No.6 in the UK charts and topped the US equivalent. Yet the remaining 10 tracks serve to create a "minimalist r'n'b" masterpiece; the intricate and space-filled arrangements are laced with sinister synth bleeps that wouldn't have been out of place on an early 90s Warp record. The dark, hypnotic high ends coupled with Cassie's ice-queen delivery made this stand out from the tired crowd of mainstream r'n'b at the time. It still sounds wholly and eerily unique.

Like all Be With releases, this record is officially licensed and has been cut by Frank Arkwright at the legendary Abbey Road Studios. Pressed on audiophile 180gram vinyl - befitting the heaviness of the music contained within - it also features the original artwork set elegantly within its 12"x12" borders.

The new album by Robert Piotrowicz does not fit any category. What this multicoloured electronic instrumentation aims to channel is the acoustic experience and energy of the performing musician. As a result of a wide range of creative means used, the narrative language of the compositions bursts withtension and mystery.

The album includes slow hypnotic passages of stone electronics (“To Fleh”), vigorous tempos and circular repetitions (“Euzo Found Gitar”), sprawling artificial soundscapes, back-to-origins ethnicity (ethnical subsoil and elements) liberated from any geographical identity (“Ocarina Wars”), as well as dreamlike minimalism with unpretentious cinematographic traits (“Flares Et Wasser Hole”). Some of these unusual melodic patterns may resemble the corporality of the animal throat rather than any human-created instrument (“Electros Spong”).

Although Euzebio was recorded with synths, the final shape of individual tracks and the album’s overall acoustic image go far beyond any electronic genre. The instruments have not become a goal in itself. They were merely a building block, a tool that helped achieve the album’s extended structure - a diverse whole with rich spatial features.

All sounds performed and recorded by Robert Piotrowicz on Buchla and Serge synthesizers at EMS Elektronmusikstudion in
Stockholm 2013/2014. composed, mixed and premastered by Robert Piotrowicz artwork and photos: Robert Piotrowicz design
and layout: Lasse Marhaug special thanks: Ocarina Jones and Tomasz Gil mastered and cut by Rashad Becker at D&M Berlin
Produced by Musica Genera

4Weed Records is very grateful to announce its new 12inch vinyl release.
Featuring Higher Regions’ boss Mighty Prophet outta Italy and the young and highly talented Baodub outta Spain.

On A side ‘Cradle Of Civilization’, Mighty Prophet shows his hi-quality dub producer’s skills. Played by King Shiloh as last tune in many dances, this track and its dub side fit perfectly in your heavy dubwise selection! Meditative melodies and spacey arrangements. Just powerfull!

B side ‘Echo Cave' arrives with an incredibly potent sub-line, combining tribal percussions, ancestral echoes and superb drum work to provide an energetic vibe. A jewel by Baodub!

For this first volume of Musax Background Music Library, Farfalla Records continues exploring the maze of the french library music through one of its most discreet and prolific representatives: Jacky Giordano and one of his many projects, the Musax label. Farfalla Records carefully selected this tracklisting among LPs recorded between 1978 and 1979 of which the originals became particularly sought after by the collectors. Jacky Giordano who appears under his aliases Joachim Sherylee and José Pharos, is surrounded by qualified and renowned musicians such as Jean-Pierre Decerf, Jean-Claude
Pierric, Serge Planchon, Patrick Petitbon, Gérard Gesina, Jean-Charles Capon, Daniel Humair and also a band composed of members from the legendary Crazy Horse cabaret, namely Pedro Perea, Claude Brisset, Bruno Bompard, Jean-Claude Guselli, Claude Thirifays, Vincent Momplet and Joseph Gatineau. This selection mixing explosive jazz-funk, lascivious jazz and electronic music more spacey
or experimental, which could also be the soundtrack for a TV show, a porn movie or a car chase between cops and gangsters in the bad neighbourhoods of Paris. A fascinating slice of the French music scene of the late 70 is brought to life before our very eyes. (Erwann
Pacaud)

Favorite Recordings proudly presents Recalling You, a dazzling Disco/Jazz-Funk new single EP by our longtime friend and label mate Andre Solomko. Born in Ukraine and based in Finland for a while, Andre Solomko is a rich and engaging personality, but above all, a talented saxophonist, composer and engineer, with contagious passion. Since they met 7 years ago, Andre and Pascal Rioux’s (founder of Favorite Recordings) collaboration resulted in 3 albums and a couple of singles acclaimed internationally. Primarily known for a sound mixing Jazz-Funk, with European Soundtracks, Pop and Soul influences, Andre Solomko’s skills for composition and production are much wider. Almost 2 years ago, he’s therefore demonstrated his versatility when delivering the hot Disco anthem “Le Premier Disco Sans Toi”. This first attempt definitely seduced many DJs and collectors, and it seems Andre enjoyed the trip too and decided to embark for it again with “Recalling You”. For this new single, Andre’s idea was to revive two of his past compositions, tailoring brand new glamorous Disco suit and arrangements for it. Backed again by a close team of musicians and the beautiful and charming vocals of Charlotta Kerbs, the new session was recorded live and analog as usual, and then brilliantly mixed in France by Jordan Kouby at Question de Son studios. It ended with what might be Andre Solomko’s best level of productions and sound so far. To make it short, “I Recall” and “Teasing You” felt in love and had a baby at the nightclub… here comes Recalling You, packed in a 45rpm 12inch vinyl edition and coming with a hot Dub edit by Charles Maurice on B-side.

Italian production duo natural/electronic.system. is back on their homebase Tikita Recordings. With four immersive deep techno cuts they continue the journey they've started when debuting on the label back in 2016. Now they could be seen as one of the key figures on the Moroccan based imprint with 'Mediterranea' being their third full EP on the label.

'Scirocco' starts in a deep mood, on low pace and mesmerizing percussion improvisations. 'Grecale' is the most swinging cut of all four with its tribal drum flow rambling on a playful up-tempo groove. Flipping to the b-side 'Libeccio' comes in at a lower bpm but still an unavoidable catchy and danceable motive where 'Maestrale' ends this playful EP with a lush and dreamy electro jam in deep blue space atmospheres.

The release of Marc‘s album „Voyage de la planète“ in 2017 marked a new era of his career. With ten rather beatless tracks where he combined his definition of electronica with classical instruments like violine, cello, double bass and piano Marc began to walk the path of fresh sounding music for the brain.

The title track has been the most successful one so that Marc called no one else than Erased Tape‘s poster boy Ben Lukas Boysen from Berlin to contribute his very own interpretation. Ben created a typical and unique version which comes along with a, believe it or not, 4/4 kick pattetn towards the end. But listen yourself, it totally makes sense. And Bordeaux‘s best Ocoeur made a short but epic ambient version you also should not miss.

Concealed within the eclipse, Overdue presents a new black-label 12" series - symbolic of its sinister auditory contents.

Further proof of their unbridled dedication to sound system music and commitment to quality, the Belgian Dubstep imprint unravels
it's fifth physical release. Based in Denver, its newest signee by the name of Ghast returns to the spotlight, following up on heavyweight releases on prominent labels such as Encrypted and Gradient Audio.

The talented American artist sets the stage with two unruly armaments, alongside murderous remixes by Denmark's bass music stalwart RDG as well as the label operators themselves, Substrada & Caba.

Starting the engines, 'Mothership' immerses the stage in flickering echoes and haunting wails - the air bustling with anticipation. Eerily disfigured, granular reverberations materialize amid a pressurized and truly outlandish soundscape, barren at its core. Heading into the second section with renewed vigour, no dance floor remains unscathed in the ensuing aftermath.

The subsequent doomsday scenario, as engineered by Substrada & Caba, strips the ship to its bare essentials - laced with trippy drum instrumentations and the psychedelic foley samples. The meticulous flow presents itself in a bleak dungeon style - hoodlum vocal fragments rounding off the resulting low-frequency inferno.

Flipping the record to its equally profound B-Side, 'Vehement Mess' unhinges another portal into madness - dance floor upheaval guaranteed. Showing no signs of mercy, the infernal armagedon proves to be emblematic for Ghast's dystopian sound design. Profusely industrial and with clinical efficiency, hitting all the right frequencies as the second wave ignites but all available power reserves.

Finishing off any remaining survivors with his irreproachable signature style, RDG's remix marches onwards with unrestrained might in a four-to-the-floor fashion - super-charged, galvanizing the rave in a no-holds-barred shutdown.

Joe Lucas creates music under a few monikers most often as Causa and notably has appeared on Tusk Wax, Boogie Box and Birdie.

The Causa sound elegantly touches on deep house grooves and melodic techno but with contemporary style and is an obvious choice for the Verdant family. The Locks EP is released as Sixtyone leaning towards Detroit flavours with intricate percussion layered with warm soulful keys.

Previous releases have attracted high profile remixes from Kuniyuki, Luv Jam and Young Marco and that trend continues. On the flip of The Locks Stojche provides a burly, peak time reshape of Zelo upping the Detroit vibes. Hiver's reshape of the delicate Tregnanton original adds a firm kick, swinging bassline and heady 303 sparkle with dazzling effectiveness.

Repress

Mr. G embarked on his first US tour in 2019. The result has been a ton of new inspiration, after which he wrote ''The Alien With Extraordinary Abilities''. PG062 is a collection of six versatile tracks ranging from thumping G sound House / Techno to hazy works of ambient textures.

Alex Bradley's new reissue division at Utopia Records recovers the early works of Gianni Gebbia, a saxophonist and composer from Palermo, Sicily whose highly sought-after debut LP from 1987 is remastered with added unreleased material and updated art work by Gebbia himself.
A minimal and contemporary jazz album of the highest order, its beautiful sound, sentimental electronics and use of synthesisers - that were a precursor to the house and dance music scene of the early 90's - has made the album endure the years that have passed.

It will be sure to be a valuable addition to your home listening collection with stand out tracks like Cud evoking visions of a Sicilian beach stroll and the intense and brooding 'Vedersi Passare le Cose Attorno' with its Juno chords transports you to a Detroit night club in 1992 counterbalanced by Gebbia's soft saxophonic embrace...

The self taught Gebbia's works touches on the avant-garde whilst maintaining a musicality and fluidity with his technique of circular breathing adding an extra element to his playing, the ability to create Reichian like minimalism with a single breath whilst maintaining melodic structure.
The multi solo album artist is noted recently for working on the music score of Heiner Goebbels' music performance piece 'Everything that happened and would happen' at the Manchester international festival and for his curating of the "Anassimandro Festival of Music and Philosophy" in his home city of Palermo of which Bradley hosted last years after party.

As electronic musician Lorenz Brunner sketched his vision for the first Recondite full-length on Ghostly in five years he took a step back to assess who and where he was as an artist. 2013’s Hinterland accelerated a progression — he’s since been touring around the world and releasing music with labels such as Hotflush and his own Plangent Records — yet, for him, the album cast a shadow of pressure that widened over time. As with most art forms, perhaps especially music, there is an expectation to change, to creatively pivot elsewhere with each project. After careful consideration, Brunner rejects this notion with his new work, opting alternately to use the icy Hinterland as an aesthetic and tonal template for a like-minded map of evocative compositions aptly titled after the German word “stillstand,” now presented as Dwell.

“I am coherent with what I do, even if I’m not reinventing myself,” Brunner says contentedly. In regards to the album title, he adds, “It’s like when you’re on a hike and you stop and look at the scenery; you may know which path you want to go next but right now you are dwelling.” The title also doubles as a reference to everyday domestic life, a restorative haven for Brunner between tours. Like Hinterland, he incorporates a subtle range of field recordings to intensify the textural atmosphere. While he worked at home on “Mirror Games,” Brunner noticed the buzz coming from across the room, where his wife was using an electric toothbrush, naturally harmonized with the track. He decided to push that frequency further and record the device directly, syncing vibrations for added urgency across the propulsive piece as well as parts of the ambient “Interlude 2.”

Windswept, moody, and melodic, moments on Dwell linger with emotional resonance. The title track sends an eerie synth loop through a field of techno kicks. The beats recede for a breather four minutes in as if to survey the surroundings. If Brunner pivots anywhere — possibly just a new perspective afforded by being confidently stationary in his craft — it’s by leaning more into hip-hop structures. He’s an avid rap fan and his love for those production techniques is notably present on “Nobilia,” a queasy shuffler (titled in reference to the Super Nintendo game Secret of Evermore), “Interlude 1,” which skitters in lockstep with contemplative synth chords, and “Surface,” an isolatory, ruminative sequence. The closer “Moon Pearl” soothes and shimmers like its namesake, a cherished gem in The Legend of Zelda series that allows carriers of the gem to retain their shape and essence in the Dark World.

In an era where constant reinvention and highly self-reflexive brand awareness reigns supreme in the music industry, Brunner as Recondite does something many artists try to avoid, he dwells in his own established identity, one that has garnered him a devoted fanbase. His murky electronic productions, built around mirage-like pads and clipped drum programming, have proven to be highly functional and spectrally enveloping; Dwell is not a return to form, it is a further study of the shapes, it is the modes, and the structures Brunner has trademarked.

As electronic musician Lorenz Brunner sketched his vision for the first Recondite full-length on Ghostly in five years he took a step back to assess who and where he was as an artist. 2013’s Hinterland accelerated a progression — he’s since been touring around the world and releasing music with labels such as Hotflush and his own Plangent Records — yet, for him, the album cast a shadow of pressure that widened over time. As with most art forms, perhaps especially music, there is an expectation to change, to creatively pivot elsewhere with each project. After careful consideration, Brunner rejects this notion with his new work, opting alternately to use the icy Hinterland as an aesthetic and tonal template for a like-minded map of evocative compositions aptly titled after the German word “stillstand,” now presented as Dwell.

“I am coherent with what I do, even if I’m not reinventing myself,” Brunner says contentedly. In regards to the album title, he adds, “It’s like when you’re on a hike and you stop and look at the scenery; you may know which path you want to go next but right now you are dwelling.” The title also doubles as a reference to everyday domestic life, a restorative haven for Brunner between tours. Like Hinterland, he incorporates a subtle range of field recordings to intensify the textural atmosphere. While he worked at home on “Mirror Games,” Brunner noticed the buzz coming from across the room, where his wife was using an electric toothbrush, naturally harmonized with the track. He decided to push that frequency further and record the device directly, syncing vibrations for added urgency across the propulsive piece as well as parts of the ambient “Interlude 2.”

Windswept, moody, and melodic, moments on Dwell linger with emotional resonance. The title track sends an eerie synth loop through a field of techno kicks. The beats recede for a breather four minutes in as if to survey the surroundings. If Brunner pivots anywhere — possibly just a new perspective afforded by being confidently stationary in his craft — it’s by leaning more into hip-hop structures. He’s an avid rap fan and his love for those production techniques is notably present on “Nobilia,” a queasy shuffler (titled in reference to the Super Nintendo game Secret of Evermore), “Interlude 1,” which skitters in lockstep with contemplative synth chords, and “Surface,” an isolatory, ruminative sequence. The closer “Moon Pearl” soothes and shimmers like its namesake, a cherished gem in The Legend of Zelda series that allows carriers of the gem to retain their shape and essence in the Dark World.

In an era where constant reinvention and highly self-reflexive brand awareness reigns supreme in the music industry, Brunner as Recondite does something many artists try to avoid, he dwells in his own established identity, one that has garnered him a devoted fanbase. His murky electronic productions, built around mirage-like pads and clipped drum programming, have proven to be highly functional and spectrally enveloping; Dwell is not a return to form, it is a further study of the shapes, it is the modes, and the structures Brunner has trademarked.

Since relocating from Amsterdam to Bergen on the Netherlands’ north west coast, Tom Trago has gone back to basics. Every day he jams out tracks in his home studio using a small selection of electronic instruments, drum computers and effects units, a process that allows him to quickly capture ideas, emotions and the intense moments he experiences while making music.

It’s these diverse and sometimes surprising musical moments that will be showcased on Trago’s new DIY record label, Jong Nederland. The imprint is named after the building where he now lives and works, an historic and storied place that has been home to artists of all descriptions since the 1960s. Each vinyl release will feature tracks made by Trago using his improvised, straight-to-tape technique, packaged in handcrafted sleeves illustrated by internationally renowned Dutch artist – and fellow Bergen resident – Pieter Bijwaard.

The Jong Nederland story begins with two tracks of undulating, slowly shifting dancefloor voodoo rich in crunchy drum machine hits, lilting electronic melodies and instinctive dancefloor warmth. On the A-side you’ll find “Whisper”, a hypnotic but fluid affair where hushed melodies tumble down over off-kilter polyrhythmic machine drums, spaced out effects and bubbly, ever-changing analogue electronics.

B-side “Belltower” sees Trago up the tempo a little and bounce us towards the farthest reaches of the galaxy. Utilizing a rubbery rhythm track full of sturdy but supple kick-drums and hissing cymbals, Trago layers up fizzing synthesizer lines, poignant minor key chords, wiggling acid-style motifs and starburst electronics to fire the synapses and stir the senses. Like its’ A-side companion, “Belltower” gently twists and turns throughout, reflecting the real time, hands-on changes made by its creator during the spontaneous sessions that led to its creation.

On this Caribbean island that is Cuba, El Tipo is a pioneer of Hip Hop. The founder of Obsesion group with he has committed three albums, traveled Europe, Latin America, United States. He has invested the mythical scene Apollo Theater of Harlem, shared the stage with The Roots, Common or Kanye West, integrated the Gilles Peterson’s band for the Havana Culture Tour. 500 LTD!In the world of beatmaking, Al Quets (originally known as Quetzal) is a figure. An instrumental designer who cut, loop, program, cadence, compose. A name marked by 5 albums and collaborations with Onra, Guts, La Fine Equipe ou Milk Coffee and Sugar. Between the French beat maker and the cuban MC, there’s thousand of kilometers but a desire to connect so strongly that no force could have prevented the meeting. So, rather than exchanging digital files , Al Quetz preferred swallowing on the same frequencies. Together they drew on all the musical currents of the island and around, absorbed Afro- Cuban sounds, added the freedom of jazz, the metronome of hip hop grooves, smoking riddims and heavy bass of the Jamaican neighboor.

Chicago-based contemporary electronic musician Steve Hauschildt has composed panoramas of synthesized sound for over a decade. First within his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music, and later across a steady and critically-acclaimed stream of solo releases spanning ambient techno, arpeggiated electronica and post-kosmische styles utilizing synthesizers, computers, and digital processing. In 2018, he extended a collection of rich, visceral tracks titled Dissolvi, his first release on Ghostly International and his most collaborative work to date. Just a year later, Hauschildt returns with Nonlin, an album that's freer, leaner, and looser, both structurally and conceptually; less linear compared to its predecessor, but still captivating. Developed and recorded in several studios during and around the edges of tour - Chicago, Los Angeles, New York, Tbilisi, and Brussels - this material emulates an alienating encounter with a smattering of places, a replicant of culture shock, a solitary and stark experience with uncanny environments, melody and dissonance as oblique locales. Nonlin finds Hauschildt evolving his palette of tools, integrating modular and granular synthesis. The improvisatory and generative nature of modular systems, when paired with his signature grid-oriented and hand-played techniques, guides these compositions slightly out of line to hypnotic effect. Opener "Cloudloss" permeates the mix with an unsettling smog, which reappears and all but engulfs "A Planet Left Behind." On cuts like "Attractor B" and "Subtractive Skies," pockets of air rest between sequenced pulses, whose crumpling and flattening folds build into a restrained rapture of crisp frequencies and milky reverb-swallowed coruscations. The album's title track and centerpiece logs on to a foreign network, a fractured percussion signal that modulates and stutters into static amidst curious melodic sparkling in the hazy bandwidth. "Reverse Culture Music" casts an elegant and brooding stream of strings, pizzicato and churning bow from Chicago cellist Lia Kohl, against chiming minimalist synth frameworks. A surprising pattern emerges in the taciturn systems at work. Hauschildt continues to expand his already horizon-wide repertoire, here exploring the effects of corrupting coordinates; a flight subject to the collapsable abilities of time in remote spaces, a smearing of the axis to elegiac ends.

Visible Spectrum is the newly launched creative playground of Yuri Boselie, also known as Cinnaman. Since donning the Cinnaman alias nearly two decades ago, he’s become a well known figure of the Amsterdam nightlife scene with long running residencies at the city's most lauded clubbing institutions like Club 11, Trouw and most recently De School. Next to his DJ sets, he's made early moves in label curation with A&R work for Rush Hour and Kindred Spirits offshoot Nod Navigators, and with his own Beat Dimensions compilations in the late 00s. With Visible Spectrum — defined as the electromagnetic frequencies visible by the human eye — a new chapter is born. It is an outlet for electronic music in the widest sense. Each sleeve will have its own unique screen printed artwork by Marilyn Sonneveld.

The first EP comes from Mor Elian, the Berlin based artist and owner of the Fever AM label. Here she offers the loose and hypnotic rhythms of 'Clairvoyant Frog' which is deep and atmospheric, like some sort of primordial techno soup. 'Shoshana's Roses' then picks up the pace with layers of rumbling drums, wooden hits and snaking synths taking you into a steamy, humid jungle before closer 'Planet Kismet' is a much quicker and more urgent bit of enchanting break-beat techno with pummeling minimal drums and warped synths and perc getting you under their sci-fi spell. A fascinating first outing that sets a high standard from the off.

Releasing his first ever vinyl release 'El Sunset' on James Holden's, Border Community back in 2007, Chilean producer Ricardo Tobar has since been held in high regard by the seminal UK producer. Intricately constructing his way around the parameters of emotionally-lead, highly atmospheric electronic music, Ricardo has brought his sound forward to grace the rosters of Jennifer Cardini's, Correspondant, ESP Institute and MUSAR Recordings. Continuing to extend his already significant discography, he now returns to MUSAR Recordings for a third time with the 'After The Movie' EP.

Ricardo's 'After The Movie' EP forms a selection of cuts that have been held in his locker for quite some time. Uncovered by MUSAR Recordings label head, David on a podcast from way back, it seemed only natural that this unreleased music from Ricardo would find its home on the Amsterdam-Tel-Aviv label.

"This EP is quite special to me because it reflects a long timeline in my work. The 'After The Movie' track had been in the vault for ages until David from MUSAR found it in an old podcast; it really takes me back to those first steps in recording music." Ricardo Tobar

Across his EP, Ricardo plays with varying textures and arrangements that in turn provide a cross-section of his sound that has expanded and developed over time. 'After The Movie' presents the experimental ambience synonymous with his early works, whilst 'Parques' brings an idyllic, cinematic feel with strictly crafted synth arrangements riding high, post-rock influences also show through. 'Regain Your Power' represents a change of course, whilst also channeling a political message punctuated by social unrest taking place in Ricardo's home country, Chile. He abandons experimentalism in favour of tougher 4x4 elements, allowing his machines to run riot.

"The mixture of ideas and feelings on this EP have a politically charged spirit, as electronic music always does. A few weeks after I finished 'Regain Your Power' the whole Chilean social explosion took place with the same ideals I had in mind when recording the track." Ricardo Tobar

Stepping up on the remix is a pair whose names are etched into the history of UK electronic music, Andy Turner and Ed Handley a.k.a. Plaid. Reworking title track 'After The Movie', they produce an emotive, soundscape complete with droning basslines and ex-terrestrial flourishes.

Satin is the first solo EP from Lack, the alias of Manchester based artist Charlie Foy - having previously featured on various twelves for the Cong Burn collective. Recorded between 2016 and 2019, these tracks were started during long train journeys, before being finished in the studio. More introspective than previous material, these tracks offer a unique insight into the window of serenity that comes from movement and being in-between places.

These exceptionally balanced and well-crafted compositions use production techniques that explore the relationship between the natural and synthetic, using transients from field recordings to trigger machines, as well as granular synthesis and resampling techniques that further blur this distinction. Equally suited to listening at home or in a club context, these tracks reward deep listening and continually reveal details with each listen.

Ansatz der Maschine is back with a new record! For the album "Burial Songs", Frontman Mathijs Bertel went to the Greenhouse Studio's in Reykjavik, Iceland. He worked together with Producer Valgeir Sigurdsson (Bjork, Feist, Bonnie 'prince' Billie, Coco rosie,...) . The result is a poetic and fairylike record, a mindblowing trip where neo classical harp and cello meets organic click 'n cut electronics, but just as well there are some warm folktronica songs where singer Sophia Ammann (Be/Ca) takes the lead. Every record Ansatz der Maschine likes to collaborate with other musicians. For the song "Invisible" they worked together with AMEN RA frontman Colin H. Van Eeckhout. The video was shot in the wild nature of Iceland with both of them. The Britisch born ambient/folk musician Will Samson (who just released an album on Wichita) lents his voice to the song ‘Untold’.
For this record, Mathijs worked together with musicians Nicolas Rombouts (ex-Dez mona/ Stef Kamiel Carlens...), Seraphine Stragier ( Laïs, SunSunSun Orchestra,....) Gianni Marzo (Isbells, Marble Sounds,...)

Borneo Records welcomes Swedish made, Berlin based DJ City to the family!

As a fairly fresh face to the European dance music scene, involved with renowned musical outlets like Cocktail d’Amore and Born Free, DJ City has been turning heads with his playful and energetic style.

For Borneo’s ninth release DJ City delivers two deep dance floor cuts, referencing and paying hommage to his childhood idols, craftily combining well known building blocks into future classics.

”Sierra Madre” is a warm and deep dive into the aesthetics of the late 90s electronic music scene, balancing between lush pads and low bit rates. Steadily it progresses as the loops unfold and evolve into an ambient landscape of clear peaks and valleys. Dreamy and suggestive without becoming too literal or camp, it invites its listener to let the mind wander during the course of the dance.

On the flip side, “5426261” is a more playful feature as its percussion and somewhat off tune melodies roll out. The texture is light and invites its listener to venture in thought to an imaginary Mediterranean location right before dawn. The enigmatic title is repeated in a sample towards the end, implicating it is a phone number. Who are you trying to reach?

Written & produced by J. Norling, 2016-2018, Örebro/Berlin. Artwork by Nicole Martens. Borneo Records Rotterdam 2020.

Dusky Adriatic debut vinyl release: a slamming acid, raw hypno groover v.a.

As electronic musician Lorenz Brunner sketched his vision for the first Recondite full-length on Ghostly in five years he took a step back to assess who and where he was as an artist. 2013's Hinterland accelerated a progression he's since been touring around the world and releasing music with labels such as Hotflush and his own Plangent Records. His new album uses the icy Hinterland as an aesthetic and tonal template for a like-minded map of evocative compositions aptly titled after the German word "stillstand," now presented as Dwell. Windswept, moody, and melodic, moments on Dwell linger with emotional resonance. The title track sends an eerie synth loop through a field of techno kicks. The beats recede for a breather four minutes in as if to survey the surroundings. If Brunner pivots anywhere - possibly just a new perspective afforded by being confidently stationary in his craft - it's by leaning more into hip-hop structures. He's an avid rap fan and his love for those production techniques is notably present on "Nobilia," a queasy shuffler (titled in reference to the Super Nintendo game Secret of Evermore), "Interlude 1," which skitters in lockstep with contemplative synth chords, and "Surface," an isolatory, ruminative sequence. The closer "Moon Pearl" soothes and shimmers like its namesake, a cherished gem in The Legend of Zelda series that allows carriers of the gem to retain their shape and essence in the Dark World. Recondite does something many artists try to avoid, he dwells in his own established identity, one that has garnered him a devoted fanbase. His murky electronic productions, built around mirage-like pads and clipped drum programming, have proven to be highly functional and spectrally enveloping; Dwell is not a return to form, it is a further study of the shapes, it is the modes, and the structures Brunner has trademarked.

"I'm always looking for ways to be surprised," says composer and multi instrumentalist Jeff Parker as he explains the process, and the thinking, behind his new album Suite for Max Brown, released via a new partnership between International Anthem and Nonesuch Records.

"If I sit down at the piano or with my guitar, with staff paper and a pencil, I'm eventually going to fall into writing patterns, into things I already know. So, when I make music, that's what I'm trying to get away from-the things that I know." Despite its musical departures, in presentation Suite for Max Brown is an informal companion piece to The New Breed, Parker's debut release on International Anthem, which was honored as one of the "Best Albums of 2016" by New York Times, Observer, and Los Angeles Times.

"I made The New Breed based off these old sample-based compositions and mixed them with improvising," Parker says. "That's in a nutshell how I make a lot of my music; it's a combination of sampling, editing, retriggering audio, and recording it, moving it around and trying to make it into something cohesive... With Max Brown, it's evolved." Though Parker collaborates with a coterie of musicians under the group name The New Breed, theirs is by no means a conventional "band" relationship.

Parker is very much a solo artist on Suite for Max Brown. His accompanists are often working alone with Parker, reacting to what Parker has provided them, and then Parker uses those individual parts to layer and assemble into his final tracks. The process may be relatively solitary and cerebral, but the results feel like in-the-moment jams-warm-hearted, human, alive. Suite for Max Brown brims with personality, boasting the rhythmic flow of hip hop and the soulful swing of jazz.

21-year-old New Zealand musician Arjuna Oakes's debut EP,
The Watcher, is a showcase of his ability as a singer-songwriter, instrumentalist and producer, and a testament to his depth of engagement with music. The first two tracks on the EP fit neatly
within the jazz-infused soul music landscape he is quickly becoming part of, but the latter half of the EP is far harder to categorise.

Featuring instrumentation from some of New Zealand’s most exciting young jazz musicians, The Watcher explores a wide variety of themes and musical ideas, with Arjuna’s charismatic soul vocals and robust sonic palette serving as a connective thread. From big social issues to personal relationships and internal self-discoveries, across The Watcher, Arjuna takes his cue from the title track and exploration of mass surveillance, and it’s relevance within our everyday lives.

This watcher theme continues throughout the rest of the EP, with the stories told rendered as if being observed by an outside force. Decorated by cinematic soundscapes, hypnotic grooves, creative improvisation and catchy melodies, Arjuna's debut is a test palette for his future projects, one that makes his enthusiasm to develop and explore themes and style in song abundantly clear.

Comment to come ...

'DJ producer' comes here with an Unreleased cleaner collection of 8 tunes... It's a bloody mind recall, nearly described: a pure collection of crazy hardcore tunes, most wanted played in parties through these years by one of the best hardcore Deejay ever... Needed!´Cut by 'Shane, The Cutter'.

Four blazing Disco Edits venturing deep into American and Asian Disco by Son Of Lee from Brooklyn. He played a seamless DJ set for Disco Bizarre at KitKat Club Berlin in November 2019 and ever since we wanted to release some of his material...

What a great opportunity to start up our new label, venturing deep into Italo, Disco, HiNRG and all the bizarre stuff in between!

We are happy to finally introduce our label newcomer and multi-instrumentalist Lopal with his debut EP. Teasingly and with great finesse Lopal (@lopalmusic) intertwines powerful chords, twinkling melodies and a snugly baseline towards distant climaxes, which seem near and yet far away as he unhastily stacks up hypnotic patterns.

Dick Verdult, a.k.a Dick el Demasiado is the Philip K. Dick of multi-disciplinary art, the Moby Dick of “cumbia lunática”, and the Charles Dickens of literature and experimental cinema. He first fell in love with cumbia when he heard his nursemaid singing the classic “La pollera colorá”. From this moment on, he adopted the genre and reinvented it, in a perpetual degeneration called Cumbia Lunática, twisting up the elements of traditional cumbia, the “cumbia of the mucamas”, to create an anarchotropical vertebral rhythm, one which supports every moving part.

Celulitis Illuminati is the powerful debut of the anarchotropical gentleman knight of the abstract, Dick el Demasiado, eight dangerous tracks recorded for the first time on vinyl, songs that, upon listening, will liposuck all that grotesque accumulation of adipose tissue out of buttocks and brain. They interweave an amalgam of South American folklore and the cables of electronic music, the plugged-in Ranqueles indians, as in “Asi Que Los Que Sí” (“So That Those Who Yes”) on Side A, surrealist and lugubrious beats, poetry made song and “the dead man’s drool is good for painting watercolors”, as he sings in “Búho Sin Un Ratón” (“Owl With No Mouse”).Euphony that will abduct you away to a viscous street party with “Son Cosas De Hoy” (“They’re Things For Today”) and to an eclectic and excessive dimension with “pero bien bweno” (“but very proper”).

Side B is pure dynamite: “Mecha flan” (“Pudding Fuse”), “Sábado cultural” (“Cultural Saturday”) and “En la jeta” (“In the face”) represent the perfect blend of Lucho Argain (La Sonora Dinamita) and Muslimgauze (Bryn Jones). On top of this, the album includes an as-yet unheard gem, “Llama Mi Abogado” (“Call My Lawyer”), produced by Dick himself and Manuel Schaller, the telepathic mage of the Theremin. When the Dutchman stepped off the boat and onto the block, as well as offering us the TV set, the sculpture of a deranged English woman who devours islands like they were sandwiches, the synthesizer, the sound effect, the African drum, the maraca, the indigenous whistle, he obtained for us the song and the stanza, he provided us with the language and the poetry, the truthful, the epic of the ugly. Cellulite for mortals, cumbia lunática for the enlightened ones! Alfredo Padilla (Trans. Komurki)

For the first time on 12” single, two Curtis Mayfield songs given the Patti Jo treatment and mixed by Tom Moulton. While originally from the early 1970's, these versions were previously only available on 7” originally from the Scepter/Wand labels.

Patti came from Florida and sang in her own group P.J. Smith & Co before releasing just four songs across two singles as a solo artist. Released in brand new Soul Brother 12” range bag.

French duo Double Mixte bring their digital thunderstorm of neon lit noire to the Italians Do It Better family on their debut EP. Mixed and produced by label head Johnny Jewel, Romance Noire opens the door to a new wave of Italians Do It Better artists coming in 2019.

Fresh Blood. New Tears. The title track arpeggiates and boils as waves of bass flow beneath. Rhythms are carried to the ceiling by a searing cascade of disintegrating color. A heavy backbeat anchors Clara Apolit’s poetry, ready to wear for a night in the face of oblivion.

The cinematic “Arlette” is a call for discovery through a darkness lit only by the glare of headlights in digital rain. Through all of this, Thomas Maan’s incantations search for the lonely, lost in the void of electronic fog. “November” finds in Clara an Anglophonic chanteuse, meditating on the cycles of time.

A blend of suspended sound and an uncertain melody contracts and expands before dissolving. Romance Noire is art that both contemplates and tanscends time’s firm grip. It’s a filmic journey inducing a vague sense of future nostalgia. Happy Valentine’s Day. Double Mixte is Clara Apolit and Thomas Maan.

The duo met in Paris and there was an immediate pull to create music together. They pooled their combined interest in powerful narrative & dark 70’s French film music to write lyrically vivid songs. In 2017, Thomas reached out to Johnny Jewel for what soon became a collaboration that expanded their vision into a haunting debut EP, out today on Italians Do It Better.

Indeed, while he's best known as a DJ/producer in his own right, Duvante's own A&R skills are impressive, with Residual counting on everyone from Fym to Boo Williams to Garrett David over the years. As with their last V/A (the brilliant Refraction Vol. III), the label owner has done another expert job at rounding up some great troops here, with four emerging producers delivering the goods courtesy of Refraction Vol. IV.

We get underway courtesy of Rukka's 'Stellar Radiation'. Full of zippy, nimble synths and clever cowbell sounds, 'Stellar Radiation' is a brilliantly constructed slice of intergalactic funk that brings the rabbit role in some style. Teakup's 'Believe' is a more stuffy, techno-focused cut, the likes of which has been produced in a unique, urban-influenced vein. Miscellanea I on the Is / Was label, it's another reminder of the Ohio native's undoubted talents.

'Sepehr's 'Exit Your Body' plays out like a vintage cut from The Martian. Loaded with funk and soul motifs and characterised by its 808 sounds, this is techno of a real swagger and panache. Deep but brilliantly catchy, it's indicative of the label at its very best. It's then left to Italian producer Pressure Point to see us out, a task he fulfils in some fashion thanks to 'So Far So Good'. Another track with its roots in classic sounds, it too maintains a sort of contemporary edge. Really fascinating and sumptuous stuff that strays down different paths throughout the course of its almost 6 minutes, it closes the release in truly emphatic fashion.

Space-influenced tracks that bring the listener to the heart of the funk cosmos, Residual's latest serves up a brilliant and dexterous voyage to soundspheres that are well worth getting lost in.

Label Boss of UNCAGE label, Marco Faraone delivers a series of incredible remixes of Tin Man's Nonneo single, which was originally released in 2011.
First up is the Floor Mix, which leaves the wispy, undulating acid line form the original in place but layers in more heavy, earth rattling drums down below. It makes for a truly hypnotic track.

Then comes a dub version, which is built on elastic drums with gentle acid riffs floating above the compelling kicks, and last of all is a Dreamy Version that is awash with lush heavenly pads that float up to the skies as the rooted drums keeping things moving down low.
This is a varied and vital package from Faraone, coming on a fresh slab of 10".

Still Loving You, by Twilight, was originally released in 1981. Housed in a low-fi generic album cover, this very polished, professionally produced record sounds like it was made by a super talented band. Strains of Earth Wind and Fire, George Duke and Roy Ayers, flow through a collection of tunes that effortlessly blend soul, disco, funk, Latin and Brazilian vibes.

But looks, as evident with the LP cover, can be deceptive. Twilight was not a band. In fact, with the exception of a guest horn section and one guest vocal, Twilight was, and still is, Lawrence Ross; one man with a clear vision of what his music should sound like, and how he would make it on his own. Working the nightshift at General Mills, Ross was a Head shift packer at a flour mill where, in the twilight hours, there was enough quiet time to create songs.

He estimates it took him about a year to write the album, but recording only took a week. Able to get by with only 3 hours sleep he recorded Still Loving You in a seven-day stretch between 10 am and 11 am every morning, just a few hours after finishing work. Ross showed-up to the studio with a master plan to make a record as he heard it in his head, by playing everything himself. “I laid out a tick track from begin to end on the first day,” he explains. “Then I went in and laid down the bass on the next day, and then drums, and then keyboards etc, with each process taking one hour of studio time each day.”

unning Back Incantations present Yogtze!
A joint venture of Daniel Helmer - musician, producer (Mantra Mantra, Gudrun von Laxenburg)and filmmaker from Vienna and Daniel Meuzard - (Feater, Skymax, Vallay) and a headstrong trip deep into the tune-in-turn-on-drop-out-mentality of European minds outside of their natural environment. Helmer and Meuzard met around 2005 in Peru where they both participated in an ayahuasca ceremony.
After this experience they decided to travel and discover South America together for some weeks. During that journey, the idea of a musical project (Yogtze) was born.
Two years and many miles later, Helmer and Meuzard saw Alejandro Jodorowsky’s „Montana Sacra“ at a small film festival in Paris. The movie inspired them to create a musical composition that reflects its spirit and atmosphere. In order to do so, they decided to travel Morocco and record music on a small 8-track tape machine at a friend’s home studio in Essaouira. "The artistic process felt very natural. All we had to do was to open up to the cosmos and let the music flow through our bodies“, said Meuzard. Neither Meuzard nor Helmers intented to release those recordings, since the sessions were more of a personal nature and meant to create a musical experience for themselves.
A decade later, their moroccan friend, who stumbled upon the tapes while cleaning his storage, urged them to release their recordings so everyone could experience the same musical journey as they had back in 2007. "It would be a grand act of selfishness not to share this work of art with others“ he told them. Luckily for thew world, Helmer and Meuzard decided to finally edit, mix and master the rest of the material in 2018/2019 and named their project „YOGTZE“. Expect a record full of wondrous soundscapes, haunting melodies and capturing themes that would fit in many categories or definitions and none at the same time. Music from and for memories, tangerine dreams and chessboards.

Kicking off 2020 in style, Life And Death welcome Madrid based groove maker Bawrut for some of his distinctly off kilter brilliance.
Italy born Bawrut makes warm, heartfelt electronic music that crosses the musical spectrum, doing so with a true left of centre perspective. He imbues his productions with weird and wonderful sounds and an exquisite sense of craft that make them both unusual and engaging. He has done so on the likes of his own Silencio label as well as Ransom Note and PETS Recordings and has become a mainstay of the DJ circuit as a result. Next to high profile shows at places like Nuit Sonores he has also toured as far afield as Vietnam, and here he brings some worldly perspective to this latest for DJ Tennis’ always cultured label, Life And Death.
First up is 'Rollin'', almost ten minutes of synth based excellence that takes you on a real sonic adventure. The drums are firmly rooted and hypnotic while the various pads up top unfold like aural fireworks. It's a tense track that never lets up and keeps you locked for the epic duration. Equally fantastic is 'Terza' with its twisted, tortured synth lines and vocal yelps all bringing real drama to the deep and rolling drums. It's a turbulent track to bring real edginess to the club. Lastly, the grinding 'Drum Beat' has a menacing bassline and tribal vocal stabs cut up with rave sirens. It's a sweaty, strobe lit monster that takes you to the heart of the dance floor.
These are three perfectly slow-release but high impact tracks from this ever more vital talent.

Pacific Express emerged from Cape Town, South Africa in the 1970s. The band were from the so called "Coloured" community and were ground breakers in both musical and political arenas. The founder members Paul Abrahams (Bass), Jack Momple (Drums) and Issy Ariefdien (Guitar) were joined by Chris Schilder (Piano), Vic Higgins (Pecussion), Barney Rachabane (Alto Sax), Stompie Manana (Trumpet) and Zayn Adams & Kitty Tshikana on vocals for their second album "On Time" in 1978.

On several occasions the group fell foul of Apartheid laws and discrimination by the state broadcaster, SABC. On one occasion they were asked to leave the stage of an international tour by Australian act John Paul Young, because the law forbade racially mixed performers on the same stage. The promoter, management and band members all resisted and once he incident made the Australian newspapers the authorities had little choice and turned a blind eye.

And so to the music. The most important thing. The LP opens up with the slick jazz-boogie funk of "We Got A Good Thing Going On", a perfect vehicle for the vocals of Zayn and the statement-of-intent, on-point musicianship of the band.

"I Hear Music" is the first of three smooth sweet string-laden ballads to feature on the LP. The majority of the songs on the LP were written by keyboard player Chris Schilder. As well as high-craft songwriting Chris also contributes layers of effortless musicality with his Rhodes and piano. "Good Old Days" (the only cover on the LP) is next and its smooth-rock grooves swing effortlessly to the fore. The A-Side of the vinyl closes with the instrumental jazz funk of "Saturday Night".

The flip side of the album opens with the bands biggest commercial success. A sweet soul ballad penned "Give a Little Love". Stepping outside their usual sound. This hit however was not without controversy as the video was removed from the TV airways after the South Africa Broadcasting Corp realised that the group were of mixed race, which was against rules for so called local artists in public performance at the time.

"Dream" follows on with the driving jazz rock and travelling keyboard solos. "Reaching Out For Love" is a power-pop boogie groover powered by guest vocalists Erica Lundy and Kitty.

"Say The Last Goodbye" is the last of the trio of ballads. A smooth style moment sounding all the bit like a 70's US TV drama closing theme. The LP features with a funky workout where the band show off their chops and slick level of musicianship.

Besides the success in southern Africa this album became a regional hit as a pirated music cassette in Nigeria. It was also released in France and Japan.

The band would go on to record one further LP in 1979 and a single in 1981. They carried on performing however well pass that. Throughout their years together the band acted as central hub for Jazz musicians within the Cape Town area. Players as Tony Cedras, Jonathan Butler and Alvin Dyers gaining experience alongside established names such as trumpeter Stompie Manana and alto saxman Barney Rachabane.

Here at World Seven we are ever so pleased to be re-releasing what we consider the bands finest album moment.

Award-winning bassist Daniel Casimir and vocalist Tess Hirst release their debut album via pioneering London-based record labe Jazz re:freshed. Following the success of Daniel Casimir's critically acclaimed debut EP 'Escapee' which featured Hirst on vocals and fellow rising stars on the scene Moses Boyd, Joe Armon-Jones and Shirley Tetteh, this album - 'These Days' is inspired by the duo's London surroundings, delivering thought-provoking lyricism, neo-soul and modern jazz

Casimir, a former Birmingham Conservatoire student, has collaborated with Julian Joseph, Jason Rebello, Benet McLean, Lonnie Liston Smith, Nathan Facey, Shane Forbes, Chihiro Yamanaka, Ashley Henry, David Lyttle, Nubya Garcia, The Tracey Quintet (Meantime Jubilation), Tom Harrison (Unfolding In Tempo), Jasmine Power (Stories And Rhymes), Camilla George and Art Blakey Jazz Messenger saxophonist, Jean Toussaint.

Named Young Jazz Musician of the Year by the Musicians' Company in 2016, Casimir has received plaudits for his arrangements and recital, while Hirst has made a name for herself with her vocals on the jazz circuit having moved between London, Leeds and LA to hone her craft. What sets Hirst apart as a musician is not only the originality of her music but her perspective of herself as an artist. She is an Ethnomusicology Graduate of SOAS and her writing style walks us through her upbringing in West London and down the halls of academia

Casimir and Hirst fuse traditional jazz sounds into beautiful compositions, narrating their way through a political and cultural landscape across these twelve tracks. The frenzied groove heavy'Security' addresses the need to trust one another and how we protect ourselves personally, while the rich atmospherics of 'Freedom' combined with Hirst's vocals, explore liberation and the rejection of duty - from a female perspective.

At the heart of 'These Days', Casimir plays with a passion and power that resonates throughout each composition. His knack for complex chord changes are highlighted in 'What Did I Do', bringing an energy and enthusiasm to the track while Hirst decries our changing capital. Elsewhere, references to John Agard's poem 'Listen Mr. Oxford Don' in 'The Magic Money Tree', explore the past and its relevance to now while a re-imagining of Charles Mingus' 'Fables Of Faubus' further ensures this theme remains central to the essence of the album.

Daniel Casimir and Tess Hirst have already received radio support from BBC Radio 3, BBC Music Introducing and Jazz FM, along with coverage in the London Evening Standard and Jazzwise Magazine

'Don't Let Them' interpolates elements of 'Fables Of Faubus' written by Charles Mingus (c) 1959. Published by Jazz Workshop Inc. Administered by BMG Rights Management (UK) Ltd. Used by permission. All rights reserved.

After lasts years beloved Operator release, SOLIDE returns with the second part, again by label head honchos D.Y.A and Kalyma.

With this current release, they take heed of a well known principle that has been brought upon us by the Hollywood film industry - any thrilling, perfectly executed and audience approved production needs to get a sequel - So, the curtain raises now for Operator II, a tune instantly reminiscent of its predecessor in beat architecture and kalimba arrangement, yet thought through with even more sophistication and sensitivity.

A Gardener's Perspective pursues that same kind of vibe, coming along with slight Electro-borrowings and cocooning synth-harmonies, climaxing in an masterly organ solo that has soul and devotion to sound written all over it.

Yet another tune that doesn't even have to conform with peaktime arithmetics to send whole floors into frenzy, no matter what time of the night it might be. Closing things off it's Casino Lunch Break, another strongly vibing and very tribal affair radiating afterhour qualities, ending another more than solid offering on Solide on a high note.

A spiritual successor to our last Sleazy McQueen 12", Daikaya is a slab of buttery, slow-burn disco that coats the dance floor in molasses, making the party move with a certain sensuality.

The four-track vinyl EP includes three originals, all by Sleazy McQueen and Terry Grant, and one remix, courtesy of Versatile chief, Gilb’R, who turns the title track inside out and gives it a creeping, alien presence while not letting go of its starry-eyed, luscious warmth. For the digital edition, a second version, stripped down and dubby, is tacked on as a bonus.

Der Berliner DJ/Produzent Alex.Do läutet für Seilscheibenpfeiler das neue Jahr mit dem 4-Tracker "Amplified Music" ein. Als Gründungsmitglied der Dystopian-Crew war er maßgeblich an der Erschaffung eines neuen Berliner Techno & House-Sounds beteiligt. Seine neue EP spannt sich von warmen, moody Electro-Tracks bis zu atemberaubendem IDM und weist Alex.Do als stilistisch sehr aufgeschlossenen und fähigen Musiker aus.

Legend has it that Brian Eno’s concept of ambient music came to him while laid up in a hospital bed after an automobile ac-cident in the 70's. A friend brought him some records, playing them too low to be properly heard, and Eno couldn’t get out of bed to adjust the volume. While the record spun softly, Eno’s idea for music you could ignore as easily as you could give it your full attention, like a sort of sonic wallpaper, was born. It’s in that spirit of quiet isolation that Ghostly International, in associ-ation with Adult Swim, shares Ghostly Swim 2, our way of giving listeners a space to get away from the manic holiday bustle.

For those keeping track at home, Ghostly is wrapping up its 15th anniversary as an Ann Arbor/Brooklyn-based indie. 2014 has seen the company soundtracking video games (Playstation’s Hohokum), collaborating with awesome companies like Warby Parker and VOID watches, and clearing 300 releases of for-ward-thinking music with records from Tycho, Com Truise, and HTRK. What better way to end this banner year than to revisit one of our favorite partnerships from the past decade and a half?

Released in 2008, Ghostly Swim was praised for its adventurous survey of exploratory dance and pop music. Our curatorial focus has shifted this time around, moving further inward (spiritually) and outward (as far as our roster goes) to reflect the electron-ic underground in all of its hazy and vibrant experimentalism. Ghostly Swim 2 is a document of textured ambient zone-outs and woozy, granular house and techno that will help you find some downtime away from The Most Wonderful Time of the Year. So sit back, lower the volume, and enjoy our selections.

THE NEW ALBUM LAUNCH! Available on LP & CD – Artwork & Sound Attached. 'IZIPHO SOUL RECORDS' cannot contain their excitement any longer. The eagerly anticipated follow up to ‘ONE LOVE’, which was last year’s number one independent soul album of the year, is soon upon us. ABSOULUTELY is an album described by Cornell as ‘Songs that came through my Soul and out of my Heart!’

No sales pitch required - suffice to say it’s all killer - no filler.

Eight original songs and two classic covers from our heroes Curtis Mayfield and Marvin Gaye (Mr Gaye’s heavenly spirit filled the room when CC & Co laid this one down!) Songs: Say Yes, I See Love, Earn It, Come Live With Me Angel, I Could Never, Ever Since, Love Thang, Morning Touch, Ghosted & We’re A Winner.

Unknown Berlin area label/producer RECYCLED makes an outstanding debut release. Classic soundings, perfect structure and a styling that clearly makes reference on oldschool Techno. The record means busyness from the beginning with the floor heater Industries, followed by the steady firm beats Block. In B Side, Energy is probably the strongest track on the release and Skynet brings some chords and colors, adding class and deepness to this awesome 12".

This time last year, The Forgotten Man launched the Noctu Recordings imprint via a superb single-sided salvo. It portrayed a producer in tune not only with dancefloors, but also the fundamentally far-sighted, intergalactic vision of Motor City techno. The good news is that this belated follow-up is arguably even better. Epic A-side "Pulsar" is a superb example of his craft; a deep and melodious voyage through shimmering pads, B12 style sci-fi melodies and crunchy machine beats. His ability to wrest every last ounce of soul from his machines is confirmed by delicious B-sides "Sky Birds of Ki" and "Beyond Sector 9", both of which fix dreamy chords and melodies to punchy electro grooves.

smokey vinyl / label sleeve / incl. dl code

Next on the label that only releases tracks at One Hundred and Seventy Five beats per minute, come two tracks that are quite different from one another.

"The Opposites" strongly relies on the contrast between melody and extremely energetic percussion, tied together by the voice of a girl who wonders how close two people can get without triggering "their crazy". The track's friendly atmosphere almost makes it a Crossbreed love song of sorts.

The much harsher flip side of this release entitled "More Primitive" deals with a different kind of issue: what happens when people get pushed hard, forced to act on instinct... the moment their true, often damaged, selves are revealed.

The seventeenth release on One Seven Five is proof that The Outside Agency still has a lot more tricks up its sleeve, showing the world what Crossbreed is all about.

After taking time out to search for the right blend of carefully curated tracks, Bristol-based dancefloor futurists Innate return with a third multi-artist EP - shot through with melody, warmth and soul.

A quartet of timeless-sounding tracks full of stargazing sounds, undulating acid lines, far-sighted electronics and crackling beats, the A side kicks off with Perseus Traxx's "Drifting In Space": a loose-limbed exercise in analogue house deepness that wraps slowly shifting pads, meandering melodies and pulsating TB-303 motifs around broken house drums.

Welcoming Australian scene stalwart Ewan Jansen to the fray with "Sinders", he effortlessly blurs the boundaries between far-sighted, Motor City style techno and the kind of head-in-the-clouds analogue sounds that have always been his forte.

On the flip, Reedale Rise adds his touch with "Coral". In keeping with the brilliance of his 2018 debut album "Luminous Air", he drops a colourful, picturesque voyage into deep electro territory rich in ear-catching melodies, engaging chord sequences and crunchy machine percussion. To round, label co-founder Owain K returns with "Teifi", another ultra-deep treat: an enveloping, dancefloor excursion rich in fluttering lead lines, slowly expanding chords, vintage bass and punchy drums. A fitting conclusion to Innate's latest immaculate, eyes-closed voyage."

Frank Hatchett was a legendary dance instructor and originator of VOP. VOP is not an abbreviation but, as he himself puts it: "VOP is a style". It's used to flavour the choreography and to communicate and translate emotions to the audience. The record produced by Don Alan Tipton is a wonderful complement of said VOP style. It features 11 tracks made for dancing that are produced and arranged in a moving and funky fashion.

2024 Repress

Red Vinyl

Born and raised in the Techno capital of Berlin, Opal merges experimental and forward stepping electronic music with an unique touch. His latest "Dominator" EP coming via Voxnox is no exception.

Following his industrial steps from his last productions, the opener and title track "The Dominator" brings raw, yet pushing heat for your infamous dancing pleasure by combining a shouting vocal rip with an ever growing groove - eventually turning things to a dominating level. Netherlands native Remco Beekwilder delivers the A-side remix by not only keeping this vibe, but with even extending it with his own synthesiser symbiosis in order to move things to a deeper level.

"New World Order" represents the EP's flip side, focusing on the good old rave experiences we all remember very well. An ever marching kick teams up with mysterious patterns and evolving drums to blurry your mind the right way. Inhalt Der Nacht remixing this track can only mean an ecstasy of emotions and power, perfectly rounding off this release.

Vinyl Only

Obrani Records goes back to business with the new release "Test" EP from label's founder Kristina and TC80's remix. Starting with references to the vintage sound, - through some psychedelic patterns and haunted beats to a delicate surreal tech landscape. It may bring you to a parallel reality of hidden cyber worlds, so don't miss the opportunity to join this fascinating trip of twisting groovy house, minimal, techno, and electro into exciting new forms.

After a digital single on Optimo Music Digital Danceforce, Optimo Music welcomes Bergsonist to the main label with a full album. Ridiculously talented and prolific, Bergsonist is one of thee most interesting, thoughtful and important artists of our times.

Bergsonist aka Selwa Abd is a New York–based artist and musician originally from Morocco. She is the founder of Bizaarbazaar, a music platform and publication that publishes podcasts and interviews by DJs and producers from around the world.

Under the guise Bergsonist (derived from Deleuze’s Bergsonism),
she uses a variety of media to investigate social resonance through divergent conceptual aesthetics (minimalism, techno, and music concrete, to name a few). Through her work, she explores notions of identity, memory, and social politics.

In 2017, she started Pick Up The Flow, a resource to promote congregation and exchange between peers. Currently, co-run with Stephen Decker. In 2019, she co-founded 3afak with DJ Sanna, a collective that aims to empower Arab women’s creative vision in
New York.


Words about the album:

Middle Ouest is an ode to my history, present and future self. Like a sonic autobiography, It’s the first body of work that realistically depicts my identity. It’s a statement towards all the people who tried to put me into a box. I’m not a box but a genre-less ocean. I don’t make genres, I just make music I feel making in the moment.

It’s all about capturing the moment in a given time. If the aesthetic happens to be house or techno then it is. But I’m not a techno artist... I’m just a free sonic ‘voyageur’. I make music as i feel the world; it can be dark, jovial, weird… I mirror the feelings into sonic compositions. However, the only variables that never change in this equation are the message and intention.

Dwight Yoakam occupies a singular position in contemporary country. No artist has better balanced mainstream commercial success with
artistic, alt-country credibility, while somehow managing to embody both the music’s most traditional and its most progressive impulses. ‘Blame The Vain’ marked a milestone for Yoakam as his first self-produced effort since splitting with producer / guitarist / bandleader Pete Anderson. Released in 2005 to critical acclaim, ‘Blame The
Vain’ has sold nearly 200,000 records to date. In honour of the 15th Anniversary of this album, New West Records are proud to present ‘Blame The Vain’ on vinyl for the first time.
Gatefold sleeve, 140g vinyl.

Direct from the Midwest CLEAR is proud to present four tenacious hardware workouts from Juzer.

In theory the 12” starts slowly, with the 100 bpm rattle of Old Reliable, although it’s fitful energy is anything but, while the following track September coils itself into a tightly wound circuit freak-out. Busy Bees and We Work Hard We Play Hard are the buildup and climax of the record’s machinedriven anxiety, fit for a chase scene in a post apocalyptic megacity thriller.

Juzer is the joint project of two artists central to the underground musicscene in Chicago, Beau Wanzer and Dan Jugle. The work of both straddles the fault-lines between, noise, techno, industrial, EBM, and the more frenzied shades of house. In addition to a prolific number of solo releases, Wanzer is a member of Mutant Beat Dance with Traxx and Steve Summers, Civil Duty with Shawn O’Sullivan, and many more. Like Wanzer, Jugle was a habitual collaborator and his untimely passing last year shocked Chicago’s electronic music community. Jugle was a natural collaborator, the sort of person for whom creating music was a daily act, and even better with friends. In addition to Juzer he was also a member of Dar Embarks, Chandeliers, and Ghost Arcade. Previous Juzer material was issued on The Corner and Dog In The Night.

- non-gatefold sleeve without 7"

Rush Hour announces their second artist compilation Patchwork, curated by one of the label’s most loved family members, Sassy J. The Swiss DJ is the very embodiment of passion and long-standing dedication to the craft of the DJing, but also to the community surrounding the music that she lives and breathes. For the past fourteen years Sassy J has run the Patchwork night in her native Bern and in London, with guests ranging from Theo Parrish and Little Dragon to Floating Points and MF Doom invited to share their respective musical visions. Her collaborative approach stands out in a DJ world that is too often weighted in favour of promoting the individual. This compilation grows out that unique sensitivity, foregrounding a theory of curation that centres on long-term bonds, articulated through Sassy J’s personal relationships with the contributing artists.

Patchwork speaks to the grass roots values that Sassy J espouses, showcasing music by many of the artists that have joined her throughout the years in clubs, on the radio, and at home. It is an expression of Sassy J’s individual musical path that casts its gaze firmly in the future: Patchwork is made up almost entirely of new and unreleased songs that are exclusive to this collection. Patchwork captures a sound that has continued to evolve in its restless search for new musical directions. Across thirteen tracks we find forward thinking electronic music rubbing elbows with cosmic jazz and deep percussion workouts from Brazil and beyond.

There are irresistible calls to the dancefloor: 2000 Black’s UK boogie and the syncopated rhythms of WaH-chU-kU nod to the West London sound, whilst the early rave of Nu Era and Aardvarck’s sub-rattling techno channel the grittier edges of the club experience. We find machine music imbued with humanity in Larry Heard’s deep house classic “Survivor” and in Ron Trent’s WARM project, whose gentle breeze points to a different side of the legendary producer. Patchwork also opens a more immersive listening space in which the radical indie soul of Georgia Anne Muldrow, the ambient spiritual jazz of bandleader Carlos Niño & Friends, and the lament for the Amazon rainforest by Azymuth’s drummer Ivan Conti can channel the overall spirit of group interplay and solidarity. Patchwork also includes Sassy J’s collaboration with veteran producer Alex Attias, marking her own place in a universe that is held together by her singular thread.

"This is the compilation of the year!" - DJ Spinna

Holy Fuck have today announced details of new album 'Deleter', which will be released on January 17th and is further previewed with the video for acclaimed latest single 'Luxe' (ft. Alexis Taylor). Having just concluded a US tour alongside Hot Chip, the seminal Canadian band will play a selection of European headline dates later this month (with a London show at Moth Club on October 23rd selling out immediately).

Arriving at a moment where attention spans are shot and anxieties are going into overdrive, 'Deleter', Holy Fuck’s fifth studio LP, is a defiantly full-bodied affair. Polyrhythmic and pleasure- focused, 'Deleter' sees Brian Borcherdt, Graham Walsh, Matt Schulz, and Matt “Punchy” McQuaid utilises their signature sound - seamlessly fusing the gauzy drive of krautrock and deep house’s dreamy ineffability, expertly blending purring motorik percussion with the sort of fuggy synthetic fizz and tang they are renowned for.

From the thrusting minimalism of opener ‘Luxe’ through to the triumphant chug of closing track ‘Ruby’, via club-ready rollocker ‘Free Gloss’ and the cosmic clatter of ‘San Sebastian’, Deleter is a record that joins the Holy Fuck dots within their widescreen, technicolour, crescendo- heavy sound.

Aussie house maestro, Matt Meler debuts on House Puff with a tasty club-focused four track release. The A-side kicks of with 'The Looker' full of freq'd 'n' filtered stabs and pads that'll get the juices flowing. A2 strips a few layers off for a hypnotic bumper, 'Rub- A-Dub'.

Incognito Cognito, thumps us with a heavy hearted groove with etherial textures and psychedelic atmospheres. Closing out the B-Side is 'Nice Things', Saturated with classic deep influences, wonky LFO's and hats for days. Wrap your head around this all class EP.

ALEX ATTIAS presents his new single featuring GEORGIA ANNE MULDROW on vocals and KID K playing soulful jazz keys . The track is simple and groovy , warm and soulful, exactly what Alex is into right now . Alex is very happy to have Georgia Anne Muldrow singing on an uptempo track and Kid K playing Rhodes , analog keys and moog bass. Theres also Cicco the percussion man laying great congas and percussions as well as Arthur Donnot young musician on sax giving the track a live jazz dimension.The B side is a dub instrumental to get the musical vibe of this track made with love . Another great release for Visions Recordings in 2019. Watch out for more goodies in the near future .

Legacy Chicago craftsman Mark Nelson’s latest offering as Pan. American is less a distillation or divergence than it is a return to his musical and spiritual beginnings. Spare, subdued, and largely acoustic, A Son unfurls like late summer dusk on the edge of town, expansive but intimate.

Motivated by notions of “moving backward” and tracing roots – as well as a couple years of hammered dulcimer lessons – the album’s nine songs were written and recorded in his home in Evanston, Illinois, and honed during a recent solo tour in Europe. The emphasis on uncluttered arrangements and the centrality of the guitar and vocals reveal these songs as the most direct and emotional statement of his career.

Nelson cites everything from June Tabor, The Carter Family, Suicide and Jimmy Reed as oblique inspirations, though his truest muse was creative self-inquiry: “What does music do, Where does music start? How simple can it be? How honest can it be?”

After decades of mining post-rock pathways and latticework electronics in Labradford and early Pan. American, A Son strips away ornament and distraction in favor of a direct gaze into the heart of what is.

The Initiation has been made. An oath has been taken. Now we see the return of AKOV to Bad Taste for the end of 2019. This time The Syndicate stands beside him, with members Maztek, Billain, Exposure, Mean Teeth, Zombie Cats and Vegas forming the inner circle. These varied personalities banded together to forge a joined creation and imprint their thoughts upon time itself. ... The last piece of the puzzle is you. Will you become part of The Syndicate?

Rockets Audio starts the saga with 4 finest minimal house trackers by Matheiu, Denis Kaznacheev and the master trio Wareika. A rocket (from Italian rocchetto "bobbin" is a missile, spacecraft, aircraft or other vehicle that obtains thrust from a rocket engine. Rocket engine exhaust is formed entirely from propellant carried within the rocket before use. Rocket engines work by action and reaction and push rockets forward simply by expelling their exhaust in the opposite direction at high speed, and can therefore work in the vacuum of space.

In fact, rockets work more efficiently in space than in an atmosphere. Multistage rockets are capable of attaining escape velocity from Earth and therefore can achieve unlimited maximum altitude. Compared with airbreathing engines, rockets are lightweight and powerful and capable of generating large accelerations. To control their flight,
rockets rely on momentum, airfoils, auxiliary reaction engines, gimballed thrust, momentum wheels, deflection of the exhaust stream, propellant flow, spin, and/or gravity.

Rockets for military and recreational uses date back to at least 13th century China. Significant scientific, interplanetary and industrial use did not occur until the 20th century, when rocketry was the enabling technology for the Space Age, including setting foot on the Earth's moon. Rockets are now used for fireworks, weaponry, ejection seats, launch vehicles for artificial satellites, human spaceflight, and space exploration.

SOUND rockets are the most common type of high power rocket, typically creating a high speed pitch by the wave of rythm with an oxilator. The stored delay can be a simple pressurized detune or a single filter delay that disassociates in the presence of a curve (EQ + FILTER ), two hats that spontaneously react on contact (RANDOMIZER), two snares that must be ignited to react, a solid combination of effects with oxidizer (solid GROOVE), or solid fuel with liquid oxidizer (hybrid FILTER BAND DELAY). Chemical rockets store a large amount of energy in an easily released form, and can be very dangerous. However, careful design, testing, construction and use minimizes risks.

Inviting slow disco and spaced out ambient characterizes this new material from Golden Bug and In Fields on their collaboration-album ”Vibration Métallique”. Golden Bugs kind of extrovert and electronic sound is recognizable from his previous 7” release on Höga Nord Rekords and together with In Fields it gets dressed in a fluffier costume.

This album is the result of two persons with tons of respect for one another musically, two musicians who have been floating past and sometimes in two each others projects for the last couple of years. Their musical roots In ”Leftfield land” intertwine and reaches up above ground, connecting to different musical stems and holds together the sound; like sightseeing in a familiar town this album has outer limits but as unpredictable as the city can be, this record surprises you from one track to the other.

The album has a springtime feel to it in all it's brightness, but suddenly it shifts shape in a song like ”Lush”, picked straight from the factory floor. This album is both a standoff and a board meeting in electronic music. Golden Bugs metallic excentricity meeting with In Fields darkness and live feel creates an unpredictability and the music goes on an exploratory trip far away!

The Godfather of the Montreal disco Robert Ouimet was a resident DJ at The Limelight between 1973 to 1981.
Basically this man got history!

After a fine release on Basic Fingers last year he now got two funk-disco edits for GAMM. On the A side Robert takes on a classic, Yellow Sunshine by Yellow Sunshine (translated in French on the release) which was a well established b-boy anthem as well as a classic cut for DJs like Danny Krivit and David Mancuso.
On the B, we find another obscure funk-disco jam packed with soulful vocals, moog synths and big disco breakdowns.

Another G.A.M.M sureshot !!

A DECLARATION IS NOT A REENACTMENT. A Pastime For Semi-Gods is an evidence to a new mythology, is the genesis of a collisions. Of waves to a statement on the static, extending in perpetual change. With this album, Ekman is describing the chaos of erotic imagery that is unbroken. On the border of mythology and science fiction.
A Pastime For Semi-Gods is Ekman's fourth release on Bedouin Records and his album debut on the label.

It's the third album by drøne for Pomperipossa Records - Anna von Hausswolff's label. drøne is called 'Mark Van Hoen' and 'Mike Harding' - and for 'The Stilling', guest musicians include Charlie Campagna (Player for Cello & double bass), Katt Newlon (Also Cello) & Zachary Paul (Player of Violin). With the trademark drøne sounds of static, radio voices, field recordings, modular synths and found sounds, recording chance sounds right up to the final mix add to the dynamism and energy of the album.

We are privileged to explore on this essential LP a plethora of Dr.
John's earliest and most satisfying recordings. The unique mixture of styles on display is drawn from the music he grew up listening to in the clubs of the Deep South, where he first practised his (witch) craft. The combination would impress many other musicians, including the Rolling Stones and Jools Holland, himself no mean boogie pianist.

'TNT' has never released a record before (aside from the 12" we did last year), so this is a huge fucking honour to be trusted with this material. TNT Roots has continued a solo career since Earthquake quietly folded in 2002, trading short-run CDr's on Ebay and the Blood & Fire forum. His music still survives on not-for-sale dubplates - pushed exclusively by legendary 90's sounds like Aba Shanti.

The result is the Raw Dub Creator LP - a survey of his 2006 - 2018 CDr selected by Bokeh. Urgent steppas for dark dances, heavier than the grave - next evolution soundsystem muzik. These are driving militant sounds for these times made in seeming isolation in Northampton (TNT never plays live, doesn't want Bandcamp, just wants to sell his CDs quietly over email). TNT Roots' contribution to dub is seismic, almost dinosauric, but through some glitch in universe fabric, 'Mighty In Battle' Bokeh 2018 was his first official vinyl release.

As half of Earthquake - he's responsible for the darkest, forward, most slept-on future of dub to grace us. This unique and heavy vision has reset the whole game with long unavailable LPs like Revelation in Dub and Dub Harder Than Steel make obvious an understated lineage flowing from 90's steppas down to jungle, grime, hardcore, darkcore, doomcore, it's kinda pointless to list them. It's dub. TNT and Earthquake's rightful place alongside those mystic giants, Iration Steppas, is more than assured by those that know.

Havazelet's story is both fascinating and mysterious. She was born in Aden, Yemen, in 1936 as Havazelet Damari, she immigrated to Israel when she was 8 years old and grew up in the disadvantaged Ezra neighborhood, in south Tel Aviv. Havazelet discovered her love for singing when she was a teen, when she would sing at feasts and family events. At one of these events she was discovered by an impresario who decided to take her under his wing.

He asked her to change her family name from Damari to Ron, as there was already a young singer called Shoshana Damari in Israel, who was becoming quite popular. In March 1960 Havazelet Ron's only Israeli album, "The Music of the Desert" was released, produced by the "Makolit" label, featuring Yemenite folk songs. Both songs on this 7" are from that album. The identity of the promoter, the album's recording date and location, and the identity of the musicians, could not be found.The album was ahead of it's time in that it introduced an innovative sound, comprised of drums, electric guitar and an organ, making it one of the first albums in Israel to record this type of composition.

... However, it confused the Israeli audience of the time: The vocals were in Yemeni-Arabic, preventing it from being played on the radio, which mainly played Hebrew music, moreover, it was too innovative and far from traditional music for the Yemenite scene. The album fell between the cracks and her big breakthrough to mainstream did not happen.

Following the album's failure, Havazelet left Israel in 1963 and went to Germany, where she performed in festivals, TV shows and recorded several more albums. All of this was made possible by her unique singing talent in five languages - Hebrew, Yemeni-Arabic, German, English and Yiddish, her impressive appearance and remarkable stage charisma. The European audience enjoyed the original music she produced and her Yemenite-style cover versions of Hebrew songs.

In 1968 Havazelet married and a year later retired from the music scene. In 1980 she returned to Israel but she left again four years later, this time to Los Angeles, where she worked as a kindergarten teacher. Havazelet Ron passed away in Los Angeles, in 2013, after a long battle with cancer. In Israel, her name is almost unknown among music lovers in general and among record collectors in particular.

UKNOWY music is back with a new installment on its more house-leaning "Plastic Garment" vinyl series. This time the EP title is "Midnight Impulse" as every track carries the treats of nocturnal life: it's dark, it's fresh and it's open to all possibilities! Starting with Salomo we have a delivery of a definite club banger with "Transform" - devotees of the likes of Kyle Hall or Steven Julien/Funkineven will definitely get their fancy tickled here. Next comes Italian break-beat maestro Sofa Talk with a rhythmically sophisticated yet deep "ALBA", much in the vein of earlier Plastic Garment releases. Munich house duo Rhode & Brown starts the B side with "You & Me" building intricate synth arpeggios over catchy chords. St. Petersburg's very own Dices closes things off with his more dreamy and at the same time incredibly complex and beautiful "See You There" - a track for the listener or the later hours of the night.

The mostly anonymous producer FSS joins Veyl with ‘MMXX_FFS’, a collection of nine raw, mangled numbers that manage to make lo-fi sound hi-fi. Built in moments stolen from working with DIY punk bands and artists producing for Warp, UNO, True Panther, Lucky Me and Tri Angle.... Originally from New Mexico, now living in London, with NYC on the horizon, FSS is no newcomer, and this isn’t your usual debut.
Inspired by a need to release the rage and disillusionment brought on by the extreme shit show the world has become, the writing of ‘MMXX_FSS’ — “it’s nearly 2020, for fuck’s sake” — doubled as a cathartic process for the artist, providing much-needed relief from the constant struggle of living on this planet.
Urged to push into the wild and off the beaten path, the record’s sound is iltered through an ongoing battle with tinnitus, a heavy fascination with distortion, and a treasure of inspired electronics. Memories of clear, bright landscapes play like loops, bombarded with the shock and suffering of urban action. Based on the constantly vacillating reality between moments of familial bliss to existential terror in white hot flashes, ‘MMXX_FFS’ is a snapshot of this process. Generating more.
FSS’ debut is out this December on cassette and digital, as always featuring artwork by Tomaso Lisca.

Mutual Intentions is proud to present “Mutual Friends" - their first compilation. The compilation is put to life by Stian Stu from Mutual Intentions and features top notch, jazzy hiphop beats from producers
such as FloFilz, Bluestaeb, Fredfades, Elaquent, Ol’ Burger Beats, SRAW, 10.4 ROG, Yogisoul and many more. Artwork by Boiler Room’s own Joe Prytherch.

"Drugstore phones" is a double LP from Russian wizard Piper Spray. This enigmatic producer is a hidden gem of Russian electronic underground. The album is taking you on an unexpected trip in many ways - it's hard to define the genre but one can feel the author's willingness to experiment and explore new sounds. This sonic documentary of Piper's world is breathing and constantly changing, though it's the most balanced and mature work of the author. A spectacular opener for GOST ZVUK's gatefold LP series.