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First new LP in over 15 years. Builds on 3 successful ATFA reissues of Mergia's music. Legendary artist still active after decades of historic work. Modern Ethiopian jazz built on ancient scales and standards. Capping several successful years traveling the world performing to audiences big and small, Hailu Mergia's Lala Belu has been a long time coming. It builds on Mergia's remarkable career resurgence over the past few years. Beginning in 2013 with the reissue of his dreamy Hailu Mergia and His Classical Instrument followed by the enormous success of his seminal Ethio-jazz masterpiece Tche Belew and continuing with last year's widely acclaimed Wede Harer Guzo, Mergia has received considerable accolades from listeners and press globally, including The New York Times, Pitchfork and The Wire. His old recordings are cherished revelations for Ethiopian music fans; however, Mergia's return to the stage has been just as inspiring and electrifying. Mergia's vintage recordings are known for an inherently mysterious and worn-in quality, while his new recordings echo his band's 21st century live show with modern instrumental interpretations of crucial Ethiopian standards and Mergia's own original compositions. Tony Buck (drums) and Mike Majkowski (bass), who have backed Mergia on tour throughout Europe and Australia, form the bass-drums trio on the recording. Having played venues from Radio City Music Hall and the Kennedy Center to jazz festivals, rock clubs and DIY spaces all over North America, Europe and Australia, Mergia and Awesome Tapes From Africa want to document this moment in his landmark career with a snapshot of Mergia's current sound. Since he emigrated from Ethiopia and built a life in Washington, D.C. around 1981—where he remains working as an airport taxi driver when he is not on tour—Mergia's career has followed a humble trajectory. He made a few recordings in America but they didn't easily reach fans back home. He kept making music on his own and with friends but after the early 80's his gigs in the U.S. mostly dried up. It wasn't until he began working with Awesome Tapes From Africa and putting together bands with the help of booking agents and musicians in Europe and the U.S., that he was able to chart a new path. With a broad audience of young listeners in diverse venues and distant locales, at age 71, Mergia is enjoying his comeback and is not slowing down.

Damian Lazarus' magical live project The Ancient Moons returns today with their new single Five Moons.

The band led by Lazarus, is comprised of Ben Chetwood on drums, Rob Gentry on keyboards, and new vocalist J Appiah. On Five Moons they are also joined by the Australian punk sensation Chela for a dubbed out, soulful excursion into the darker recesses of the dancefloor.

The Ancient Moons first debuted in 2014 with Lover's Eyes, and followed that with the acclaimed album 'Message From The Other Side', dubbed a 'a journey into techno's dreamiest recesses' by The Fader and a 'psychedelic masterpiece' by Vice. Since then The Ancient Moons have travelled the world with their highly immersive live show, supported Roisin Murphy on tour and played at Glastonbury festival and Melt! amongst others.

Last year the band resurfaced, after locking themselves away to record in the Italian countryside, with I Found You, which nabbed a BBC Essential New Tune and stunning remixes from Black Coffee and Patrice Baumel. Today Five Moons offers another glimpse into this summer's forthcoming album..

Spread across two 180g discs, spanning 24 cuts and served in a gatefold sleeve designed by members and affiliates, the Young Echo LP is a capsule intended for cementation through time.
It's been almost five years since their last album. As a group, extended radio submissions, prolonged studio sessions and notorious club nights make up the cogs of time. Over the course of these years, the network has grown continually, both as one, and with singular, multi-directional paths from each of the 11 artists that make up the Young Echo collective, counting Jabu, Vessel, Kahn, Neek, Ishan Sound, Ossia, Manonmars, Bogues, Rider Shafique, chester giles and Jasmine towards the crew, with projects such as Bandulu, FuckPunk, O$VMV$M, Gorgon Sound and ASDA adding to the table in their individual ways.However, this record aims not to be judged on any single producer or vocalist. It is most effective as a whole, simply titled Young Echo. Of course each of the artists has an important part to play, but it is very much about the act of balance, accepting individualism to form a greater whole.A good example is the welcome addition of new energy coming from Jasmine (1/3 of Jabu) who injects endless space with her vocals, perfectly answered by the cool-killin' wordplay of Manonmars - who makes his long awaited debut here - sharing stage with the immediate poetry of ASDA's very own chester giles, along the mighty sound of Rider Shafique, and Bogues' versatile style that can flit between rap & song within seconds. Five very different vocalists that could've tried to find a compromise, but instead choose to connect in different ways, finding their niche in the equal range of rhythms and sounds that sprawl in this shared space, the juxtaposition.
Detuned soundsystem stylings, love songs swaying in hacked up ambience, skeletal dancehall, microphone technique, dread electronics, outsider pop, this record manifests the outcome of the shapeshifting anarchy which rears it's head when no one idea can rule, embracing the diversities when one path must be made up of many.

On 30thMarch, Wah Wah 45s will release ORANGE WHIP, the new album by their latest signing, Honeyfeet. The outfit, who have received praise from the likes of The Guardian, have also set festivals alight up and down the country with their unique melange of sounds.

For the last couple of years the Honeyfeet (who name from a line in the Blues Brothers film) have been a conduit for the ideas and expressions of an exotic mixture of Manchester based musicians. This genre-defying band incorporate styles including jazz, folk and hip hop into their music. Someone once called it Folk-Hop and Barrelhouse-pop, and that's just vague enough to make sense.

The band are fronted by Ríoghnach Connolly - also known for her work with Real World artists Afro Celt Sound System and The Breath - "a remarkable singer and flautist who...can ease from Irish traditional influences to soul" (The Guardian). The line up is completed by Rik Warren (vocals/harmonica), Gus Fairbairn (tenor sax), Biff Roxby (trombone/vocals), Ellis Davies (guitar), Lorien Edwards (bass guitar), John Ellis (keyboards) and David Schlechtriemen (drums).

ORANGE WHIP finds the band at their most incredibly diverse. Opening with recent single Sinner (received radio play from the likes of 6 Music and BBC Manchester), which showcases Ríoghnach's extraordinary agile and emotive voice, the album moves with dizzying swagger on songs covering a wide range of subjects. Quickball tells the story of being so infatuated with someone you want to eat them, while Whatever You Do addresses the fear-mongering of the press over folk-hop and oom-pah, and Demons deals with love and redemption on a blast of harmonica-driven country, sung by Rik Warren.

Rik also takes lead vocal on a re-working of Robert Johnson's Love in Vain, a song showing Honeyfeet's more reflective side, his Skip James-esque drawl bringing an eerie quality to the lyrics about a doomed relationship. The band reshape the progression too, swinging the tune slowly and creating a little underground blues club in the midst of the recording.

Elsewhere the band go all New Orleanian on Colonel Hathi's Trunk Juice, a sinister tale inspired by trombonist Biff Roxby's horn riff recalling one of the elephants of The Jungle Book. Further showcasing their virtuosity, on one of the album's best moments - especially the nuanced vocal performance by Ríoghnach, who was raised on Irish folk - on Hunt and Gather the band do their own take on prog-folk, with a flute and cello melody running alongside a brass counterpoint.

Ríoghnach turns in another incredible vocal on the album's final track - future single Meet Me On The Corner. With a pounding beat, it is one of the album's main highlights. Guitar and brass propels Ríoghnach to sing lyrics that could be straight out of the playground, but suggest something deeper, possibly mystical even, in it's demands for a dalliance on the street. It closes the album on a high note, for a band who have that rare ability to distil all their disparate influences, while always sounding like their unique selves.

ORANGE WHIP heralds the sound of a remarkable band going overground.

Black & Clear Mixed Vinyl

aniel Schwerdel aka Acid Lab has been a familiar face on Lossless Music and Dope Plates over the last few years. Turning heads with his tracks 'Ancestors' and 'Tundra', Dan has laid the ground work for a bigger project, a solo album. 'A Matter Of Time' is a stunning 10 track breakbeat odyssey which sees Dan draw on influences from the past as well as futuristic visions which combine to form a body of work that perfectly fits the Dope Plates ethos.

Cover with laser-cutting and printed inner sleeve, ltd. to 500 copies, incl. mp3A Score for Darling is both the sound track for the Danish film "Darling" (2017) as well as a collection of outakes from it. Raúl Pastor Medall (Rauelsson) and Erik K Skodvin (Svarte Greiner & 1/2 of Deaf Center) were paired together to work on the accompanying music after the director, Birgitte Stærmose wanted to try a new direction. Both together and individually they have created a highly affecting collection of pieces to a film that is not afraid of pushing the emotional content to the max, centered around the story of a dancer on the rollercoster ride of her life. This is also the first time either of them have made a full lenght sound track, making it their debut on the big screen.The music and instrumentation heard on the album is brimming with dynamics and diversity, featuring violin by Christoph Berg, cello by Anne Müller as well as a mass of other sounds like church organs, synths, guitar amp violation, electro-acoustics, piano and more, all layered together into 15 beautiful and devastating fragments of mood. The final piece of the album "Breathe" - featuring Otto A Totland on piano and Katinka Fogh Vindelev (We like We) on voice - can be seen as their own lamenting end title to a longer period of work with this album, finally finished.

8* Following recent excursions channeling the big room sound, Project Pablo returns with a sleeker, more refined EP for Technicolour.The resulting five tracks span upbeat opener 'Napoletana' - a rough and ready duet between a MFB 522 drum machine and Juno 106', through the swirling improvised piano loops of 'Last Day' - recorded in an hour just before he packed up his gear at the studio of fellow Montreal residents Braids and moved it all home, to the bumpy 2-step of 'Less and Less'. The Canadian producer has had a stream of quality releases via labels such as Clone's Royal Oak imprint, Spring Theory, Lone's Magicwire and most recently Ninja Tune's Technicolour imprint.

Repress from space-disco LP from 1983/1984 by Argentinian group led by keyboardist Bruno Carlos Musso.

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Carefully remastered by Fabrizio Martina (Jolly Mare), who also produced the bonus track (a disco-club oriented remix).

STRICTLY CONFIDENTIAL: WE WRITE TO YOU WITH ALARMING NEWS ABOUT THE EXTRA-TERRESTRIAL SPECIMEN DISCOVERED IN THE FORBIDDEN FOREST IN JULY 2017. THIS LIFEFORM, CODE-NAME DARLING', ESCAPED FROM THE TOP-SECRET SAFE TRIP ORGANISATION HOLDING FACILITY LATE LAST NIGHT.
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ALL THAT WAS LEFT INSIDE THE SUBJECT'S ENCLOSURE WAS A PRESSED POLYVINYL DISC CONTAINING TWO PIECES OF ELECTRONIC MUSIC. THE FIRST, WHICH WE HAVE TITLED WHEN SHE HATES ME', SOUNDS LIKE A CALL TO A DISTANT MATE OR PARTNER, COMPOSED AT SUNRISE AND SHOT THROUGH WITH BLISSFUL POSITIVITY. THE OTHER, NOW KNOWN AS ISLE OF RED', COMBINES SURGING DRUMS WITH POIGNANT AND MELANCHOLIC SOUNDS THAT ARE CLEARLY UNEARTHLY IN ORIGIN.

There are some records that manage to sound both of a time and utterly timeless and Bon Voyage Organisation's Jungle Quelle Jungle (a nod to Supertramp's Crisis What Crisis) is one of those albums. Its silken-smooth production, irresistible grooves, funk-tinged guitars, lush soundscapes and general glowing presence could easily lead one to believe that have dug up a lost disco gem from the 1970s. However, behind the disco-pop gleam lies eerie dystopian sci-fi ruminations of a futuristic bent and tones that can often feel as French as they do Asian or African.

This sort of cross-continental exploration is an expansion on BVO's previous two EPs, the man behind the Organisation, Adrien Durand, says. 'I tried to continue the musical expedition between dystopian Science-Fiction Haunted Africa - plus Haitian Vaudou on 'Soleil Dieu' - and futuristic Asia. Addressing, in a double entendre manner, some of the political issues that I am sensitive to.' In fact the jungle in question in the album's title is a metaphorical one and one that creates a vast series of environments for Durand to explore such subjects as world trade, utopian ideals and themes of idols, as well as of time and communication. However, one will need to speak French to decipher such explorations, as well as shake off the natural impulse to move with every glorious beat on its 13 tracks, of which are moved along by Maud Nadal and Agathe Bonitzer's golden vocals.

Durand is a full-time producer based in Paris, working with the likes of Amadou & Mariam, so it makes sense that this record would absolutely sparkle in this department. Durand feeds off the variety of musicians coming and going during recording sessions as well as the rotating members and numbers of people involved with the band but fundamentally he writes all songs on piano first before bringing them to record live. 'We recorded a rhythm section of five - drums, percussion, guitar and myself on bass/synth bass and keyboards - at La Frette which is a studio located in a mansion outside of Paris and fitted with a beautiful 1973 NEVE desk. We only used analogue gear, by taste really, and found it a pretty reliable way of doing things. This simply consists of putting good players together in a room and waiting for the right take to happen.' Two four-day sessions and a 'cooling off' period (to let the recordings settle) soon followed before Durand picked the material back up to give it a final polish.

The resulting album is one loaded with intricacies and idiosyncrasies, something that Durand puts down to his own unique approach. 'I don't consider myself much of a songwriter but I love arranging rhythm sections and I'm pretty proud of the ones on this record.' This applies when it comes to working with such musicians as Inor Sotolongo Zapata, who with Durand used traditional Cuban percussive instruments and explored Haitian rhythms. When Durand expands on some of the ideas and influences that were funnelled into the record, you begin to get a sense of the vastness of the sounds that fill his world, from Trevor Horn's production work on ABC's Lexicon of Love, to the literary work of JG Ballard to the visual flair of the original Blade Runner and even the Tuareg sounds of Tinariwen, due to the fact that his studio neighbours their manager's and he would hear their rhythms bleeding through the walls. You therefore end up with an album that offers tracks such as 'GOMA' that fuses Chinese and African rhythms as well as 'SI D'Adventure' a piece of pop music that is dazzlingly hook-laden.

As a result of this cooking pot of sounds, influences, thoughts and creations, Durand has more of a gumbo approach to making this music than a set-out scientific formula. 'There is no definite recipe for me to like the production of a record,' he says. 'Of course it really sticks out that my work is really influenced by the 1978-1983 period, the golden age and last stand of analogue studios and session musicians.' Whilst Durand adores the traditional and conventional music, he really views this as something bigger and wider. 'I have a taste for the otherworldly vibe from records coming from less sought-after musical scenes, particularly Poland, Haiti, Ethiopia, Somalia, Congo and early Cantonese pop. Languages and the rapport of the people involved in the making of those records really inspires me. I particularly hate the use of the word 'World Music' as a potpourri for everything that doesn't sound quite western enough.'

Das norwegische, in Berlin lebende Electro-Pop-Duo Soft As Snow, bestehend aus Oda Egjar Starheim und Oystein Monsen, präsentiert mit "Deep Wave" auf Houndstooth sein Debütalbum, co-produziert von WIFE (Tri Angle Records). Die 13 Tracks bestechen durch einen frischen, originären und innovativen Leftfield-Pop, inspiriert von Cabaret Voltaire, Throbbing Gristle, Detroit Techno, 1990er IDM, Fever Ray, Cold-Wave und den 1980er "Mutazione" Compilations.

To celebrate New Flesh Records 20th release to date, French veteran DJ Umwelt (Shipwrec, Falling Ethics, Rave Or Die) returns to his own label with a mind blowing LP!

Built like the soundtrack of a dystopian movie where main characters evolve in a hopeless future, Sci-Fi Abandon In Place delivers no less than height cinematic masterpieces half-way between electro and ambient registers.

From the menacing sirens of opener Void Of Nothingness to the melancholic synths of closing Galactic Wreck, passing through the Blade Runnerish vision of Celestial Matter, this soulful album depicts nothing but the extinction of mankind in a ending world.

Besides its terrific message, Abandon In Place showcases the unlimited talent and incredible versatility of Umwelt, a mighty producer able to split from the most cutting edge music on New Flesh Records to a more radical, straight to the dancefloor approach on Rave Or Die.

A gloomy journey through apocalyptic tones, slow yet deep basslines, industrial touches, cold and un- compromising emotions! Umwelts most forward thinking opus to date sum up in once sentence: By the end of the day, all is dust.

All tracks written & produced by Umwelt

Olsen's first release on vinyl, surely not his last. Melodic, dreamy and understated.

- Astonishing solo debut by acclaimed cellist and composer Lucy - A daring, non-conformist and deviant approach to composition and instrumentation - One side of filigree, multi-layered autobiographical collage-work, the other of raw and phased cello glissandi - RIYL: Mark Leckey, Alvin Lucier, Beatrice Dillon, Nate Young, Valerio Tricoli, Popol Vuh

Lucy Railton is a prolific performer who has appeared on countless recordings and collaborations with many important figures in contemporary music over the last few years. Paradise 94 is, remarkably, her solo debut - featuring archival, location and studio recordings which serve as a time capsule of all the myriad disciplines and influences that have brought her to this point in time. It both plays up to and shatters expectations of her music, which harnesses a duality of energies - acoustic/electronic, real/imagined, iconic/iconoclastic, pissed-off/romantic; out of place and androgynous - resulting in a visceral emotional insight and rare narrative grasp. Variegated, asymmetric, and located somewhere between her usual fields of exploration, Paradise 94 gives free reign to aspects of her creativity that have previously been subsumed into collaborative processes and interpretations of other composers' work. Here, she's free to probe, sculpt and layer her sounds through a much broader range of techniques and strategies, placing particular focus on non-linear structural arrangements and exploring the way her cello becomes perceptibly synthetic through collaging, rather than FX. At every turn Paradise 94 is bewilderingly unique. The A-side unfolds an oneiric, inception-like sequence traversing temporalities, timbres and tones from what sounds like a spectral ensemble playing on a traffic island in Pinnevik, to bursts of rabbit-in-headlights trance arps emerging from meticulously dissected musique concre`te in The Critical Rush, and a collision of masked vocals, string eruptions and a deeply moving, light-headed Bach rendition in For J.R. On the other hand, Fortified Up on side B tests out a far rawer approach, sampling herself playing the same glissandi over and again, which she layers into a sort of perpetual, sickly motion, the Shepard Tone riffing on the listener's psychoacoustic perceptions before calving off into a cathartic dissonant folk coda in its final throes. In the most classic sense, you can only properly begin to f*ck with something from the inside once you truly know it. Railton's dedicated years of service have more than equipped her with the nous and skill to do just that, gifting us with what will no doubt be looked back on as a raw, exposed and important solo debut in years to come.

Fresh ambient / synth / wave compilation centering the man who brought us Absent Music / The Misz / June11. Introvert gold!'

Rudy returns to Faze Action Records with an all-new collection of atmospheric and evocative tropical sounds. Last August saw the release of the By Nature EP that encapsulated the steamy and exotic textures of the Balearic sound.
This time, Midnight Safari takes up where on the beaches of Formentera, where the last EP left us. This time setting sail on a Midnight Safari with Marimba's and chugging rhythms underpinning sophisticated Piano' melodies. Following this we drop anchor and appreciate the evening breeze of In The Air with its haunting 'Cello, endless drifting arpeggio's and tropical percussion with a hint of North Africa. Reach Backless points the way squarely to the dance floor with chunky drums and synth bass, synth hooks galore and that piano solo that launches into starry evening skies. It's back down to earth with the settled quiet bass guitar harmonics of Windchimes before heading into the more soulful and synth melodic territory of Solar Plex.

*2017 repress, New Artwork* A remarkable follow-up to a timeless album that shows the band taking greater risks in songwriting and playfully experimenting with production techniques.
This album is Witch's stunning swansong before the fast-changing music industry and political environment in Zambia took its toll on the group. Again rooted in American FM radio, from soft rock ballads to boogie, this album sees the group embrace their Zambian roots to a greater degree, which is reflected in the rhythms and even the title of the album. This time around Patrick Mwondela pushes his synth work and electronic production to a whole other level. Kuomboka is the unforgettable last voyage of this legendary band.

Emotional Rescue delves deep in to the past with the release of the first ever recordings by UK post-industrial, ambient pioneers O Yuki Conjugate (OYC). Recorded in Nottingham in 1983, the EP's four tracks showcase OYC's early sound: a beat-driven, lo-fi that places them alongside the early British electronic pioneers.
OYC, celebrating their 35th anniversary this year, are known for their "dirty ambient" sound - but it wasn't always thus. In their earliest incarnation OYC explored a more industrial approach characterised by tortured analogue drum machines, one-finger synth lines, played bass, tape loops and even flute. This naive sound template lasted until their debut album 'Scene in Mirage' (1984) before being jettisoned in favour of more ambient explorations.The story behind these recordings is one of brotherly love between bands. OYC swapped time in their rehearsal space for a day's use of a four-track cassette portastudio owned by their associates, Metamorphosis. Three of the tracks included were recorded on May 1st 1983 at The End Room (literally a studio at the back of one of OYC's parents houses) with the remaining track (live favourite "The Clattering Song") being produced a couple of months later.
To date OYC have remained largely unknown in the UK due to their wilfully obscure approach. They have released a series of very well regarded studio albums and innumerable spin-off and side projects that has recently seen a revival of interest in their early years, including appearances on Cherry Red's compilation of formative UK electronic scene 'Close to the Noise Floor' and Optimo's compilation of Fourth World-style music 'Miracle Steps'.
Accepting their fate as musical outsiders, OYC continue to make music with little reference to the wider world. This EP makes a fine addition to that body of work.

Created at the footstep of Mount Victoria, Groeni wanted to challenge themselves compositionally and sonically with Nihx. Nihx explores the characteristics of points of conflict between opposing forces. As in the past, and as with many electronic outfits, the music had been written 'in the box', so to speak. To counter this technique the three members of Groeni (Al, Mike, and James) each wrote numerous compositional sketches that were more or less complete as frameworks before entering them into the digital realm. With similar inspiration the band wanted to create unique and personalised sounds away from the computer to sample and use with most of the sonic treatment happening also away from the computer. The vast majority of the drum sounds are made from samples of Mike's ever expanding synth collection, numerous sounds are manipulated feedback from guitars or vocals among other things. The entire record was written and recorded across three home studios in Wellington, NZ and has been almost 2 years in the making.

'Nihx' comes out worldwide on limited black, white marbled vinyl (including download code) & digital.

The third release on MDRNTY REC comes from a longtime favorite and friend of the house: Mr. Guillaume & The Coutu Dumonts mostly known for his productions on Musique Risquée, Circus Company, Oslo or for his many other projects and aliases. ! Our fellow Canadian has crafted this Ep specially for us and we are happy to welcome him on the label. On remix duties we have Argentinian Ernesto Ferreyra (partner in crime with Guillaume in the project Chic Miniature). ! This release is a deep excursion into the groove of house and the hypnotic beauty of techno. It is designed for those late hours when everyone is dancing eyes closed, digging a little deeper into the moment. ! Modern Sublime is a long burner cinematic piece of music with it's guitars, epic vocals, drum fills and acid bass lines. This track has it all and skillfully drives the tension high as the story unfolds. ! Landing on the B side showcases a very different but equally hypnotic face of this talented and longtime celebrated producer, with it's arpeggiated melodies and lush pads Guillaume guides us to safe ground with this beautiful and precisely calibrated track full of emotions. ! Last but not least, Ernesto's remix reconfigures the rhythmical structures of Landing and masterfully transforms it into a peak time house gem, guaranteed to move any living soul in the dance floor.

The X Vinyl Series continues with label head Florian Meindl at the helm with the upcoming release Metaphysics. Synonymous with deep, dark techno, Florian does not disappoint with this 4 track EP, enlisting in demand producer and Rabe label boss Denise Rabe on remixing duties. Playing live with his Modular Synth set up, Florian began working on the concept for what would become these three original tracks while playing shows over the last month. The live jam character can clearly be felt in the first two tracks Metaphysics and Holomorphic Function. Florian's original Bell's Theorem has a deep melodic structure. With Denise Rabes interpretation, the track is contorted through some serious distortion pedals and broken beat to match her dark take on the synth line. The outcome is an impressive piece for one of those never ending nights in concrete walled rooms with oversized loudspeakers.

Techno Album of the month March 2018 in Mixmag UK!

Central to the Israeli club scene, Deep'a & Biri have long been defying expectations even within a community they helped construct. Serving as resident DJs, activists and bookers for Tel Aviv's legendary Barzilay Club, the pair helped build a transcendent club scene. Hugely influential artists such as Robert Hood, Derrick May, Rødhad, Ben Klock and Moritz Von Oswald passed through the club, enjoying legendary crowds and what they could surely sense was a genuine air of anarchy, rebellion and unadulterated rave pleasure.

As the duo held down dozens of parties with dozens of DJs, there was no 'eureka' moment for their emerging sound; just a steady stream of brilliant, inspiring electronic music, much of which left an indelible imprint on the pair. Now based in Berlin, for Deep'a & Biri, things are much the same, even if the landscape and the city is different. Always rooted in the fertile ground between machines and emotion, on their second full-length LP, 'Dominance', the duo demonstrate their unique grasp of the sensitive, unfolding relationship between man and machine. Steadfast in their insistence never to remain in one lane in terms of their sound, 'Dominance' flawlessly segues between forcefulness and weightlessness. From beginning to end, this is not a record afraid to show its teeth with an uncompromising, instantly recognisable techno palette that kicks the foundations of any sound system with menace, anger and determination, particularly on tracks such as the dense 'Voltage' and pulsing throughout the more industrial flourishes of 'Ecole De Nancy' and 'Seeking Solace'.

Beyond these grittier, although never mindless, moments of authority, a sense of escapism and curiosity imbues the album. 'Alpha Cephei' offers the first hint of Deep'a & Biri's more wistful concepts, producing a smoke trail of twinkling electronics out of a smudged but distinctive bassline. That understated sense of emotional catharsis carries throughout, to be found between the complex-yet-familiar bells that drive 'Flow Diverter's' rhythm to a Detroit-indebted landscape that will surely instantly elasticate any keen dancers, while 'False Memories' offers big-room techno fulfillment with none of the character or sincerity removed for cheap thrills. Saving the most remarkable moments for last, the pair sign off 'Dominance' with the poignant and purifying 'Astral Trails', fusing an ethereal, ambient landscape with the more pronounced rhythms of their hardware.

The album's distinctive artwork comes from the studio of Jewish orthodox artist Avraham Guy Barchil, who forged a powerful connection with Deep'a, both was immediately drawn to 'weird atmosphere, amazing technique and emotions involved with his work'. Perhaps one of the most interesting painters from Israel, Avraham is known for his unique perspective, taking his inspiration from the Zohar - the foundational work in the literature of Jewish mystical thought known as Kabbalah. The ambiguous figures represent mystical aspects of the Torah (the five books of Moses), as well as material on mysticism and mythical cosmogony.
Ensuring their natural, conscious touch always remains at the forefront of this unapologetically machine-driven music, Deep'a & Biri have produced an album in the lineage of their heroes and greatest influences. Cerebral yet satisfying, deep yet always engaging, 'Dominance' both reasserts and evolves Deep'a & Biri's forward facing and singular sound.

Since composer Sean McBride unveiled his first utterance as Martial Canterel almost 2 decades ago, he has produced a body of work both substantial and alluring within the field of live analogue electronic music. Effortlessly fusing a variety of styles and influences, Martial Canterel is one of the premiere outfits utilizing analogue electronics and modular synthesizers. In particular FM synthesis is employed to produce clustered polyphonies and organic atmospheres - a staple of his signature style.Three years have passed since Martial Canterel's last full length album Gyors, Lassù was released on Dais Records. During this down time, McBride found himself in a state of flux, ebbing back and forth between material displacement and musical aestheticism. His expert pedigree in electronic sound and arrangement bridges the gap created by an undecidability between life at home and abroad - his new album, Lost At Sea, is an attempt for the artist to locate common ground, mutating fable with reality, exteriority and interiority.

The album's introductory track, Giving Up, has all of the hallmarks that Martial Canterel has utilized in the past...melodic chorus, upbeat rhythm and classic sequential dynamism. Where the song diverges is in its core theme of nature: nature's return to a period of restoration after the failures and recklessness of humankind. Although this first glance refamiliarizes one with the tight, upbeat appeal typically found within the genre, Lost at Sea quickly takes a more serious and sobering tone.The slower pace of songs like Scampia and Puszta yearn for McBride's complex love affair with far flung destinations. Re-evaluating the political strife and social unrest in these historical locations, McBride delves deeper into political and geological reference points creating symbolic representations using mechanized percussion, white noise and various sine waves.The conceptual nature of Lost at Sea reaches even deeper depths within the waveforms of Astralize, a track based upon academic Donna Haraway's pre-civilized theories of human neglect after the 'azstralization'.

New York City has had a long history of dance music fused with confrontational performance. Whether it came from within the late 70's No Wave canon projected through venues like the Mudd Club or the downtown avant-garde galleries such as The Kitchen, the feeling that influences and infects Brooklyn-based duo Wetware's overall being as a cohesive and confrontational unit is as much enigmatic as it is familiar. Formed in 2015, Wetware eased into its performative role with their live shows around their home base of Brooklyn, NY.

Vocalist Roxy Farman, who's familiar voice was last seen on Drew McDowall's 'Unnatural Channel' album, stole audience's attention from the moment they started, using her body in tandem with her voice as a weaponised vehicle for the band's anxiety filled performance. Matthew Morandi cut his teeth in the electronic music world through his solo tech-industrial project Jahiliyya Fields and partner to Inhalants, the techno collaboration of Morandi and Max Ravitz (Patricia). The synergy that developed between Farman and Morandi has been explosive. Wetware's live antics and behaviour has caused alarm and envy amongst their local audiences, causing Wetware the group to 'not be missed' on any particular bill that they are allowed to take part in.


Wetware stepped out from their live persona and self-recorded a selection of songs that viewers had grown accustomed to and were debuted on the flawlessly curated Primitive Languages imprint. Shortly following their recorded premier was an EP collection of demo recordings on the much praised Bank NYC label. Once the band reconciled with documenting their work, they set out, with the help of engineer Kris Lapke (Alberich / Hospital Productions) to formalise their most recent output in the context of their first full length album entitled 'Automatic Drawing'.

Given Wetware's penchant for endurance, as displayed by their 3 hour long production at Koenig & Clinton Gallery in the Summer of 2017, one would expect the usual restlessness on Wetware's debut full length. All of the apprehension and unease in Wetware seems to have been channeled into a string of cohesive electronic statements found on songs 'Frequent Dreamlands' and 'Ode to Joe'. Industrial dance rhythms bounce around Farman's poetic stance on 'Where Ever You Were', causing flashbacks of an early 80's dystopia that jumps around a confusing, uncomfortable backdrop. Inter-spliced with modular electronic instrumentals like the album's opener 'Pantomime', Wetware's devastating portrait is that of a society in peril.

* From the pumping heart of The Magnetic System comes the 'dirtiest' Da-Da-dancefloor anti-jams with this lost 1979 blueprint of Italian conceptual cosmic disco played by the cream of the Goblin studio band. Ultra-rare and unscrubbed,Finders Keepers finally snip the trip from the cash machine to the trash machine.
* Carving its own grubby niche as an early prototype of cosmic disco cum Italo space funk whilst simultaneously harbouring Dada hat stand satire with a junkshop glam aesthetic, this ecological illogical poplitical crab cabaret clearly broke the mould before way before the jelly had set.
* Fans of 'other' obtuse outernational agit-camp might find a fantasy fusion between France's JP Massiera and Sweden's enviroMENTAL marvel Kaptain Zoom while trying to unravel the Madfilth tangle - but rest assured there were method men behind this madness and a portal to Italian funk royalty still festers
at the bottom of the psych rap scrapheap.
* Originally drip-fed out of Cesare Andrea Bixio's Cinevox stable as one of a tight grip of non-soundtrack LPs, made to test the label's commercial potential, Madfilth would follow the band Goblin (and their non-cinematic Roller) as well as the hens' teeth eponymous long player by the group The Motowns in what was perhaps the last-ditch attempt at custom built popsploitation - combining the skills of overqualified composers with undercooked conceptual mind belches. Naturally, after almost 40 years in the barrel, this micro-brewed oddity finally quenches the acquired taste of a new breed of shambolic psychotropic guzzlers proving that 1979 was obviously good year for fool's gold. The Madfilth medicine has finally come to cure your psychic ills so open wide and don't bite the spoon.
* It is beneath the flamboyant rhythm rants and vari-speed osric slop of alt-comedic sarcy-satirist Alberto Macaro (a genetic beneficiary of a vaudevillian comic bloodline) that we find The Magnetic System maestros Franco Bixio and Vince Tempera as the sonic driving force behind this unmarked treasure trove of
B-musical diamanté discoids. It will also come as little surprise that
Cinevox/Dario Argento favourites Goblin were not too distant from the whiff of this curate's egg with the men who many consider to be the group's greatest assets - bass player Fabio Pignatelli alongside sports rock drummer Agostino Marangolo. It was this unison that remained consistent throughout Goblin's career, weathering the temporary departure of Claudio Simonetti and
maintaining the stylistic heartbeat of the group. Madfilth's inclusion of Goblin synth Maverick Maurizio Guarini and the band's mid-period guitarist Carlo Penessi (founder of the band Etna) pinpoints the jobbing Goblin session group during the time they recorded the soundtracks for the films 'Buio Amiga' and 'Squadra Antigagsters'. This lesser-celebrated late 70s era also witnessed the mutating Goblin rhythm section providing discoid backbeats for records such as Giorgio Farina's 'Discocross' album, Simonetti's own Capricorn alter-ego and the homoerotic nightclub spin-off Easy Going - all of which, alongside Madfilth,
provide a strong mutual stylistic support system for their claim to cosmic disco's deep red bloodline.

Exclusive edition imprint, very different from the general style of the TochnoTechno label but still in a techno acid way and includes 4 names of the biggest producers coming from Eastern Europe. We are calling it "Acid Era" in present days so why don't we put out something provocative. We are excited about Tripmastaz' debut on the label who has absolute support by Josh Wink, Dj Sneak, Ricardo Villalobos and many more... Oleg Mass real techno star of Fachwerk Berlin and Koett, rhythm composer and genius from South of Russia who makes the most underground and cool party XoXo. Yulia Niko is dropping last track of her album she has done in 2016 at Brooklyn before moving to Berlin.

more talking all that jazz, more high aiming music by fumio itabashi: mule musiq is ready to release another record by the legendary japanese jazz pianist, born in ashikaga, tochigi in the year 1949.
this time his first solo record ever: the heavy jazzing 'nature', which has never been reissued on vinyl since its birth in 1979. it has been recorded at nippon columbia 1st studio, tokyo from march 13 to 15 in the year of its release.
it features itabashi making feverish love with the piano and sharing the studio with the great bass players hideaki mochizuki and koichi yamazaki, drummers kenichi kameyama and ryojiro furusawa, soprano saxophonist yoshio otomo and vibraphone wizard hiroshi hatsuyama.
they all joined him to perform his very own songs, composed by itabashi himself and produced by ryonosuke honmura, who also produced japanese jazz heroes like saxophonist keizo inoue during his career.
but enough background information. what counts is sound. it is fresh, propulsive, twitchy and melodi-ous from the first to the last tone. sometimes the instrumentalists play a classic solo in an overall deep modal jazz atmosphere that seems to be made for cats that love the good old stars and inventors - from john coltrane to mile davis, from thelonious monk to art blakey.
'nature' also shows how deep itabashi studied the history of the genre, while keeping his very own vision of jazz alive. the man that made his professional debut as a member of the sadao watanabe quintet in 1971 and that also was a member of the elvin jones jazz machine world tour from 1985 to 1987, plays the piano in all tempos: nervous high-flying quick, deeply blue blues style slow.
besides the traditional jazz flavours, you get a feeling of mind-expanding spiritual jazz, that grand mas-ters like pharaoh sanders or gary bartz turned into a sacred music genre. a master-class record in ravishing big city jazz music, adventurous, sometimes meditative, sometimes faster than the speed of light, always grooving with a bright, pure-toned sensibility and deeply soulful melodic imaginations.
it extends the jazz history with a fine balance between tradition and innovation. and it stays infectious all the time while sounding surprisingly fresh due to a lot of thrilling musical spontaneity that touches profoundly even though all notes have been written down by fumio itabashi before he and his combat-ants entered the studio.
and maybe that's the mystery of these timeless five at times epic recordings: all notes been written on paper but each musician had the freedom to dance with them in his very own unique way. so, turn the volume loud and get ready to be steamrolled by fumio itabashi's 'nature', an inebriant album that is talking all that jazz deeply!

Seven years ago, Max Tundra sent Daphne and Celeste a tweet, asking if he could write and produce their comeback single. Four years later their song You & I Alone ripped through the internet. Today they announce the forthcoming release of the most unlikely comeback album of 2018.

Three years after their comeback song, 'BB' arrives online as their new album's appetiser, an uncompromising takedown of the anodyne and anonymous. BB stands for Basic Busker,' explains Max, any one of countless identikit instigators of mundane melodies that have brought the mood down in recent years. Pop music should lift the spirits - so why are the airwaves full of these mundane strummers'

The world has changed a hell of a lot since Daphne & Celeste stormed up the charts with their effervescent earworms U.G.L.Y. and Ooh Stick You, back near the birth of the 21st century. So you'd be forgiven for failing to predict the fruitful union of D&C with a maverick electronic producer known for his records on Warp and Domino Records. But Max Tundra has long held an ambition to become a pop producer, and this new album is an addictive combination of the eccentric, creative and melodic.

After an initial sharing of tracks and ideas around the release of that first single in 2015, Max Tundra set about writing an album's worth of material, inspired by the unique kinship, born of shared experience, between Daphne and Celeste, and his own unexpected part in their story. Last year, Tundra brought his suitcase full of songs to a desert retreat near Joshua Tree, where he joined D&C for the 'working holiday' that produced Daphne & Celeste Save The World.

A full-length album of giddy, ridiculous, genre-bursting pop, 'Daphne & Celeste Save The World' finds our friends in fine, soaring, melodic voice, with Tundra's restlessly inventive production a toothsome, chordy, maximalist feast. These 13 songs touch on subjects as varied as time travel, succulents, pipelines under the ocean, cabins in the wood, unadventurous guitarists and different regions of the brain, but above all the sweet, enduring friendship of those two people who, long ago, told us all to Ooh Stick You.

Mature debut LP by Dutch DJ & producer Planty Herbs which reflects Nu Soul, Hip Hop and House.

It was May 2017 when Earthboogie's debut release dropped on Leng. The soundsystem-loving East London duo rightly won praise for a fne EP that brilliantly joined the dots between all things intergalactic, terrestrial and tribal.
Having spent the last ten months recording their adventures, Izaak Gray and Nicola Robinson return with Silken Moon', the frst single from their forthcoming debut album, Human Call.
In typical fashion, Silken Moon' cannily combines musical elements from a myriad of styles - most notably Afro-disco, samba and mid-tempo Chicago house - to create a humid hybrid that defes easy categorization. There are bouncy organ riffs, undulating acid lines, clipped Afro-funk guitars, tons of tropical percussion and the chanted, carnival-friendly vocalizations of guest singer Nina Miranda.
The release comes backed with remixes from two members of the extended
Leng family: long-serving producer Felix Dickinson and Turkish rising star Ali Kuru. Dickinson sticks close to the original of Silken Moon' with a mix built around gently jacking machine drums and Earthboogie's sweaty guitar licks while Kuru takes Human Call' in an altogether more cosmic direction. Pushing the track's psychedelic TB-303 lines and tropical textures to the fore whilst
adding his own mind-altering electronics - most notably a fat new synth bassline - Kuru cleverly re-casts the track as a pulsating, late night throb-job.

After last year's stellar EP on L.I.E.S. Records, veteran, Brooklyn-based producer and DJ Jake Reif (Savage Hymn, Upsetting Keys) continues to make waves with his Device Control brand. The first side of the new "EP2" begins with Silhouettes: a robotic, techno-funk work out with a nasty kick drum, swirling modular sounds and a Timothy Leary inspired vocoded vocal. An instrumental version has been included for selectors who prefer tracks to songs.

On the flip, Joystuck continues the aural assault with a slightly more stripped-back approach. Hard-hitting metallic percussion and screaming, alien-esque synth bleeps are all that's necessary here to decimate a dance-floor. Finally, Divisive rounds out the EP with a stomping vengeance, its jacking claps and dissonant harmonics have been carefully designed to deliver a sonic gut-punch, taking no prisoners when played on a club system.

Cut from the same cloth as last year's double-cassette, 'Like All Mornings,' Vanessa Amara's new album trails shorthand piano pieces and wilted strings through magnificent, electro-acoustic surrounds, often settling into buzzing, syncopated reveries. 'Manos' takes its name from an abbreviated term of endearment. Spoken in this form, it's an affectionate and inclusive gesture from friend to friend, or indeed from gang member to gang member. Vanessa Amara seemingly take their cues from either usage. Their new album feels hesitant to reveal its parts, and is perhaps a document of the limits of what can be revealed, a memorial to its own process as it winds itself in and around its delicately hued landscape. Though beginning with a morose gait, the album quickly turns over. And revealing its softer self, the clarity of the moving string arrangements hang in the air like fine mist. Everything settles against surfaces as the day breaks, opening up the space, though eventually condensing into the unnerving crescendo of the album's final piece. A recurrent, gentle whirring, much like a gramophone's needle, tracks through much of 'Manos.' It carefully steadies the listener into a mode of measuring duration, a meditative self-awareness that deliver's Vanessa Amara's world. Always intricate, and effortlessly tender, 'Manos' is an album as textural as it is melodic, and it is certainly the most exquisite suite of works to have been presented by Vanessa Amara thus far.

Slow Glass is not only the debut release by Le Frère it is also a very personal diary of the last two years of his life. All four tracks are based on recordings, samples and ideas he collected while travelling the world. With the concept of 'Slow Glass' in mind Le Frère tried to catch moments of his life without stripping them of their dynamic and evanescence.

The EP starts with lots of positive energy and light but already reveals glimpses of the shadows that slowly emerge throughout the following tracks. 'Nice' is a lightly humming version of an (almost) innocent summer morning. It's a collage of field-recordings, synth-pads and manipulated guitar sounds. 'Candid' is a light and open dialog between a simple guitar theme and a playful synth-arpeggio. 'V1b1n'' creates the dense atmosphere of a rainy Caribbean afternoon dominated by field recordings and everyday noises. 'Nttt8'sets a counter point to the previous three tracks as the energy of Le Frère's travels cumulates in 'Nttt8', making it a more dance-floor oriented piece carried by a dark and heavy bass-line and almost rave-sirens.

The fourth installment in John Osborn's DRED RECORDS series will be from fellow UK producer Harsh Puri who goes under the moniker Reformed Society. DRED 004 consists of six tracks in total - three that will appear on the vinyl release, followed by another three that will be digital-only exclusives. Harsh Puri aka Reformed Society debuted in 2015 with this being his sixth consecutive release in order. Harsh's productions caught John's eye, or rather ear, after being sent to him last year and resulted in this release of six solid prime time deep house stompers. Packaged in an understated matte white sleeve with a black and white picture of Brahma (the four headed Hindu god of creation) handstamped on each cover by the label owner himself, this being a continuation of the human skull DRED logo. 'ONE LIFE' opens the 'DIMENSIONS' EP and is the track given to label boss John Osborn for deconstructing and remoulding into his own specific vision - each release will contain a rework from Osborn. If you are familiar with John's previous work you will immediately recognize his characteristic resonating percussion, the tune being a deep house sci-fi storm expedition driven by a full luscious kick covering the tracks of chords from unsettled pads. The EP's title track has ambient sonic rays flowing through it, being aptly named 'DIMENSIONS' - it is also the record's warmest adventure; distorted percussion juggles sparse subaqueous melodic moments, and from here we go into the 12s final moment, 'CHASING TITANOID". Reformed Society goes in with full yet silent force on this one. A warped bassline co-creates the groove with a particularly bouncy beat with sharp strings piercing though.

So Low is an occasional night in Glasgow run by Iona Fortune, JD Twitch, Katie Shambles and Becky Marshall. So Low is strictly for creatures of the night and plays music that could perhaps be described by the words Dark Waves / Cold Waves / Minimal Synthesis / Maximal Industrial / Lo-Nrg / Forgotten Flemish Goth Bands, Teutonic Apocalyptic Beats +++
It is now also a label, administered by Optimo Music.
The third release on So Low is a 5-track EP from Ian Hicks, formerly one half of Soft Metals. Ian also appeared on our 'Now & Then' compilation EP. Here he commands his own release and sets the synths to stun with 5 tracks of analogue waves ranging from the XTC bliss out of 'Character Collapse' and 'Depths Of Psyche' to the shockwave klang of 'Chemical Environments' and 'Specter', perhaps leaving the very best to last with the ultimate hypno, sex slug groove of 'Continuous'. Subliminal vocals. Wrecked drum boxes. Synths spiralling.
Full colour picture sleeve designed by So Low collective member and acclaimed Glasgow artist Katie Shannon.

Wicked 4 tracker of
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Old Shady Grady & The Neighbourhood Character (OSGATNC for short) is the result of a chance meeting in Berlin the fall of 2013 between Eric Douglas Porter a.k.a. Afrikan Sciences, one of the most expansive and intensive musical torch bearers of modern experimental electronics and jazz, and Ari Robey-Lawrence, producer, vocalist, and DJ a.k.a. The Neighborhood Character, who began as a jazz guitarist and drummer. They quickly found a mutual bond and a musical partnership emerged soon thereafter, and debuted on Uzuri's The Wilderness Sessions with their EP, Tales from Caturday'.

Via their collaboration, Porter and Robey-Lawrence explore the intersections of diverse musical and emotional territories through improvisational, long format jam sessions-- experimenting both with a wide range of sampled sounds and expressive original vocals, sustained by pronounced, yet fluid rhythmic backbones.

Jordan GCZ says: I walked into their sound check at freerotation festival last year and was blown away. I feel privileged to be a part of putting this music out there'

Lullabies For Insomniacs presents 'For Leena', a collection of unreleased pieces composed between 1991 & 1998 by Dino J.A. Deane for the choreography of Colleen Mulvihill. Gatefold Sleeve
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Dino J. A. Deane began his professional career, at the age of nineteen, as a musical arranger and multi-instrumentalist (trombone, flutes, keyboards, percussion). He worked in funk bands around Los Angeles before moving to San Francisco in the mid 1970's, where as an improvising artist he became involved in the diverse communities of dramatic theatre, modern dance, free jazz and punk rock.

In the early 1980's Mr. Deane pioneered the use of live-electronics, live-looping and live-sampling in three distinct genres that heavily informed his later compositions: As a member of art-punk band 'Indoor Life', touring and recording with fourth world pioneer Jon Hassell and as an electro-acoustic percussionist in the Conduction orchestras of Butch Morris.

During this period Mr. Deane also worked as a sound designer for the theatre, with directors Sam Shepard, Julie Hebert and Christoph Marthaler. He also maintained a presence in the world ofmodern dance, creating and performing compositions for former Olympic gymnast Colleen Mulvihill.

The couple met in San Francisco in 1979 through his good friend Bruce Ackley, whom was commissioned to compose a score for one of her solo pieces. Colleen, was than a member of the Margaret Jenkins Dance Company and was planning to move to New York City to set out on her own as a dancer and choreographer. Their paths crossed again in 1980 when Dino moved to NYC with Indoor Life, during this time they began a long term relationship both on and off the stage, which continues to this day.

TONE SERIES (TS) is glad to introduce to you to its second release TSRS02. In 2016, we launched TONE SERIES. So far, we've have released five EPs (consisting of two tracks each) all composed by French musician David K.

Midway between the first release TS10 and the last one TS01 (TS06 came out at the beginning of September 2017), we thought it would be interesting to ask artists we like to reinterpret one of David K's creations. As a result, we're delighted to present you TSRS02, 2nd EP of the TONE SERIES Remix Series, 2nd EP of the TONE SERIES Remix Series ... consisting of :

A-SIDE: 24 BARS PER DAY (TS08) remixed by English music producer, live performer and Mosaic label owner Steve O'Sullivan,

B-SIDE: FRIENDS (TS06) remixed by French music composer, DJ and C.S.R. label owner Cesar Merveille.

TONE SERIES is an ephemeral French music label dedicated to deep-house music. The project is originally inspired by David K and the different colours that emerge from his music. The name 'TONE SERIES' brings together the idea of interdependence between music and design: what colour follows on from music and, in return, which musicality comes out of a colour.

EZGRO004 follows up our previous release by Submechanical - Armoury EP. Profligate, Death Qualia, Shadows aka AnD and Huren selected their favourite tracks from the JEZGRO003 and made remixes, each one of them in own specific style. A1 is Profligate's rhythmic noise remix of the Pressure, high-pitched with mechanical tones. A2 is also a remix of Pressure arranged by Death Qualia a real glitchy, distorted experimental techno track that simply ramps through. On the side B, Shadows made a remix of Armoury - hunting and seductive power experimental/industrial track. And the last track is Huren's chaotic and massive rhythmic noise remix of the track After Wave, purposely made raw and unpleasantly satisfying.

Simply the West vol. 1
Well here we are again, friends. Back with more music we've found kicking around Rye Lane. There's the Full Take posse, a tight knit cadre hidden beneath the WF trenchcoat.
Steve Flîurs comes with his mystical sludge stomper PÜtron which some say, if played at a specific time, summons a Woolworths employee from the 90s...
Harsh Mellow gets the juices flowing on the B1 with heavy eyes down groover. Solid sequences of salaciousness
Lastly The Pump Boys were getting on it with The Pump Girls so we shoved a field recorder in the room before the gyration came to a close. See you soon with more party favours x