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‘Visions’ is a new collaborative album from BADBADNOTGOOD co-founders, Matthew Tavares and Leland Whitty. The Grammy Award winning, multi-platinum producers have been performing and writing music together for 10 years. They have achieved international acclaim with BADBADNOTGOOD and Tavares’ recent solo single ’Self-Portrait’ has been championed by tastemakers such as Gilles Peterson and Benji B. ‘Visions’ is the latest upshot of their incredibly fruitful partnership.

Recorded in Toronto, it was produced by Tavares and Whitty - with Tavares also mixing the album and arranging strings. After a three-week writing period it was played in its entirety in one continuous studio session; almost all the tracks on the album are the first take. Tavares is on piano and guitar, Whitty on saxophone and flute. The rhythm section of Julian Anderson-Bowes on bass and Matthew Chalmers on drums completes the players. They make an impressive collective and are performing at the peak of their powers.

Conceptually the album is a canvas for a combination of composition and group free-form improvisation. Tavares and Whitty are the sole composers, but with some tracks collectively improvised, there is also a group dynamic running through the album. The outcome is a sublime melting pot of modern jazz, impressionist classical music and Arthur Verocai-esque arrangements. It is a sound that is hard to date; it is certainly of the now but is also reminiscent of a lost classic. Similar to the process of its creation, the optimal listening experience for ‘Visions’ is in its entirety. As a coherent body of work it draws the listener in with waves of intensity and crescendos that release back into tranquility - there is both darkness and light in the album’s narrative arc. There is also rawness and honesty to the music, which makes it feel like an intensely personal and intimate offering.

It's been a long, winding road to Hailu Mergia's sixth decade of musical activity. From a young musician in the 60's starting out in Addis Ababa to the 70's golden age of dance bands to the new hope as an emigre in America to the drier period of the 90s and 2000s when he mainly played keyboard in his taxi while waiting in the airport queue or at home with friends. More recently, with reissue of his classic works and a re-assessment of his role in Ethiopian music history, Mergia has played to audiences big and small in some of the most cherished venues around the world. With 2018's critical breakthrough "Lala Belu" Mergia championed himself and consolidated his legacy, producing the album on his own and connecting with listeners through the sheer creative power of his version of modern Ethiopian music. His subsequent performances revealed an artist who is in no way stuck in the nostalgia for the "golden age" sound. The press agreed, including the New York Times, BBC and Pitchfork, calling his music "triumphantly in the present" in its Best 200 Albums of the 2010's list. Mergia's new album "Yene Mircha" ("My Choice" in Amharic) encapsulates many of the things that make the keyboardist, accordionist and composer-arranger remarkable_elements that have persisted to maintain his vitality all these years, through the ebb and flow of his career. The rock solid trio with whom he has toured the world most recently, DC-based Alemseged Kebede (bass) and Ken Joseph (drums), forms the nucleus around which an expanded band makes a potent response to the contemporary jazz future "Lala Belu" promised. "Yene Mircha" calcifies Mergia's prolific stream of creativity and his philosophy that there is a multitude of Ethiopian musical approaches, not just one sound. Enlisting the help of master mesenqo (traditional stringed instrument) player Setegn Atenaw, celebrated vocalist Tsehay Kassa and legendary saxophone player Moges Habte from his 70's outfit Walias Band, Mergia enhances his bright, electric band on this recording with an expanded line up on some songs. Mergia produced the album which features several of his original compositions along with songs by Asnakesh Worku and Teddy Afro. An artist still reinventing his sound every night on stage during his marathon live sets, this 74-year-old icon refuses to make the same album twice. The album feels as urgent and risky as his concerts can be, pushing the band to the outer limits of group improvisation and back with chord extensions during his exploratory solos. "Yene Mircha" captures this live experience and fosters an expansive view of what else could be in store for this tireless practitioner of Ethiopian music.

Bristol-based multi-instrumentalist producer Memotone returns to Diskotopia for the stunning full-length LP Invisible Cities, undoubtedly his most accomplished work to date, effortlessly joining the dots between Martin Denny, Yasuaki Shimizu, Nurse With Wound, and Mark Isham…

Memotone is the principal alias for Bristol-based multi-instrumentalist, composer, and producer William Yates. As a solo artist, he has released on labels such as Black Acre, Bedouin, Project Mooncircle, and Brownswood either as Memotone or under his other alias Halfnelson. In addition to doing composition work for film and television, he works as a session musician for the likes of Dmitry Evgrafov, Connie Constance, and Phaeleh. He's also part of the Avon Terror Corps project helmed by Bokeh Versions, Giant Swan. Noods et al., and is a member of ATC-affiliated Pheasantry Society. His music has been championed on the radio, a key influential medium for Yates growing up, by the likes of Gilles Peterson, Mary Anne Hobbs, Tom Ravenscroft, Nick Luscombe, and more.

Drawing from Bristol's own sonic history, from the late 80s to the present, as well as the writing of Italo Calvino, Yates has put together 10 tracks on Invisible Cities that sit somewhere between neo-classical, ambient, fourth-world exotica, and post-krautrock. The mix of different timbres of live string and wind instruments, astute synthesizer touches, and skittish drum machine strokes creates an organic and ethereal energy deftly manipulated into a delicately interwoven narrative through Yates's production prowess. Already garnered support from the music press and radio DJs, the album will strongly appeal to a wide range of music lovers and fans of Ryuichi Sakamoto, Dorothy Ashby, Alberto Iglesias, Labradford, Delia Derbyshire, Peverelist, Toshifumi Hinata and more…

First Word Records is incredibly proud to present 'Starts Again', the debut album from Tawiah.

The latest signing to the Worldwide Award-winning indie label, Tawiah is somewhat of a trailblazer in the world of alt-soul. Despite this being her debut album, she's long-established in the UK music scene, having previously self-released two EPs and a mixtape, as well as high-profile collaborations with Cinematic Orchestra, Blood Orange, Mark Ronson, Kindness, Cee-Lo, Wiley, Zed Bias and Eric Lau. Additionally being championed by the likes of Zane Lowe, Gilles Peterson and The Guardian, and supporting Moses Sumney on his recent EU tour, it's finally time to unleash a full solo project into the world.

'Starts Again' is an exploration of her identity as a queer woman of colour, raised in a pentecostal family, and a determination to express her musicianship in all its raw glory, free of the constraints of major label wrangles from before.

Co-produced with Sam Beste (Hejira), the album also features vocals from Sharlene Hector, Vula Malinga, Ladonna Young, Ade Omotayo and Rahel Debebe-Dessalegne, as well as glorious string arrangements composed by Miguel Atwood-Ferguson, with a series of field recordings from Ghana, amongst the varied components.

In Tawiah's words; "the process of creating this record independently has taken years!! From self-produced demos to live recording sessions with my good friends; Blue May, Sam Beste, Alex Reeve, Alex Bonfanti, Nathan Allen and Lewis Wright. Sam and I then had two years of long joyful studio sessions working on the post production. With no external deadlines or briefs we had the freedom to create whatever came. It was a privilege to collaborate in this way".

A triumphant 10-piece opus, the music seamlessly blends avant-garde sensibilities with low-slung beats and layered harmonies. The vestiges of Tawiah's early church vocal training contrast subtly against a distinctive South London accent, which has helped place her firmly at the vanguard of the British alternative soul movement, and establish a rep as one of the country's most exciting live performers. Time Out even saying "she slays so hard, you better hope there's a doctor in the house".

With a series of immersive live shows being planned in collaboration with spatial artist, Studio Myrrh, the latter half of 2019 headed into 2020 is looking to be a busy time for Tawiah. A decade on from her debut EP, 'Starts Again' is a creative reset of-sorts, though she is already highly revered within the music industry. A unique talent, this debut album should rightly cement her status as one of the UK's finest recording artists and songwriters.

Sharif Laffrey is something of an unheralded hero of the underground Detroit scene. Active since the halcyon days of the early-90s Motor City rave movement, his sporadic releases are rarely less than superb. Sharif Laffrey has been playing records and making music for over 20 years. Born in Detroit, Michigan - he's worked on the line checking camshafts for Chryslers & as an operative for Underground Resistance (UR) at Submerge for Mike Banks, at the same time. Currently releasing music on his own label SPECIAL FORCES.
Championed by DJ Harvey, Carl Craig, Dixon, Andrew Weatherall, Ivan Smagghe, Seth Troxler, The Juan Maclean, Optimo, Trevor Jackson, Hunee, Manfredas, Solar, The Chemical Brothers…

"SOUNDS TO COME" - Is the 2nd release on Laffrey's own label SPECIAL FORCES
following its successful debut release "AND DANCE".

'Sounds To Come' is a long trip of low "techno" with a brute baseline and mesmeric vocals - when turning directly into The Golden Hour of a late night / morning is the thing to do.

"Rhyth-matic traditions that have become oblivious to our modus operandi.…
welcome to awesome…..the sound of sounds to come"

Lost Soul is an uptempo funk song recorded and written in Kunming, China with a killer breakbeat that has already become an underground hit in the b-boy scene, finally receiving a release on 7" vinyl via Dinked Records. DJ DSK, The People's Rhythm & Angela Cory penned ideas for the song while touring the Chinese club circuit together.

DSK then approached different musicians living in different parts of China at the time for their help in recording the song. The song has been played at many high level b-boy battles including the final of the UK B-Boy championships by DJ Renegade.

Sauce Combo is a powerful and dynamic jazz trio lead by Marcjean, saxophonist from Bestown (Besançon), sided by the mercenary drummer Tom Moretti and the melodious
Victor Pierrel on bass. The trio's music takes place in the modern jazz renewing coming especially from England and the USA. France has now a champion. Inspirated by vintage african and west indies jazz, 70's jazz funk and fusion but also 90's drum & bass, broken beat and hip hop, the repertoire is a rich jazz bomb exploding to the
ears. Each second brings its his new colorful burst to admire. The band's brilliant game makes it a living listening experience. The music is rich and versatile but cohesive and united. Why?
Crash Test came to light in one day during a single 7 hours recording session at the Honey For Bear laboratories. Arnaud Bataillard, the sound's engineer, wanted to try several new
tubes and audio gears added in his studio set up. The trio went to test it in a crash test session. All the recordings could have been compromise somewhere but... What was before planned as a try ended into a fantastic album. The mental disposition, while playing
when you know that all can be lost in a minute, gave the musicians the proper dimension to express their feelings in a total freedom. They were playing for pleasure and without any pressure. It was for all, but it could have been also for nothing. And we can literally feel that. This unique record had to be release as soon as possible to transmit the freshness of this beautiful impact to the listeners. Above all, Clément Laurentin's "Equilibre Précaire VI" achieves this album, offering a painting with four figures at the edge of the fall, in a constant imbalance, playing with time and gravity. It's the perfect allegory for the three band's members plus the engineer while making this record.

Oh, Juan! We love thee, we love but thee with a love that shall not die ‘till the sun grows cold and the stars grow old.
Once in a blue moon, there is a star for whom we see limitless possibilities, whose inevitably long and fruitful œuvre all but insists we do everything in our power to nurture and provide support.

We diligently examine that sky, seeking rarefied meaning from an often desperate and banal universe, and over this past decade you have surely proven one of the brightest, most wondrous and tenacious cosmic forces we’ve encountered.
Your kaleidoscopic wealth of personality, your emotionally urgent storytelling, your obsessive-compulsive weaving of voices siphoned from the pop culture æther, your ability to synthesize teachings from the Atlantic Northeast, Caribbean and Fatherland to pen an ever-evolving musical autobiography; these superhuman strengths are not lost on us.

The 'Oxford House' EP is particularly special, as 'Fahrt Im Himmel' was our fateful introduction to your work, and though that meeting in a writhing maniacal pit of half-naked sweaty bodies was nearly five years ago, it still lives romantically close to our hearts. We just know the world will fall in love and 'Let It Go', just as we did.

It’s exciting to see you merge a musical adolescence with the now evolved Juan Ramos of 'Oxford House', recognizing your significant coming-of-age and never shying away from your roots, but rather confronting and embracing them at your every turn.

We will continue to champion your creative process and output, in hopes of fueling your inherent quest to illuminate uncharted regions of your vision.
... With all our love, always and forever, the ESP Institute.

Elkka - the London based DJ, producer and founder of record label and DIY art collective femme culture - has announced her latest EP ‘Every Body Is Welcome’ on her imprint, following a very strong year constallated of live perfromances and DJ sets throughout Europe, and a growing radio presence in London and beyond.

‘Every Body Is Welcome’ will be released on 22nd of November. Smudging the boundaries between eras and styles, Elkka’s free-wheeling dance tracks float between club beats, earthy sounds, full of warmth, soft edges and lovely instrumentation which all lead to a completely captivating and blissful listen. The infectious new five-track EP looks set to further solidify her status as one of the artists changing the shape of dance music in 2019.

The EP kicks off with an acid-sounding dance thumper that elegantly moves along the piano melody, for a beautiful house start to the whole project. In typical Elkka style, the EP moves from the atmospheric, sun-soaked rhythms of ‘Compromise for What’ and ‘LVURSLF’ Interlude, to the more club-oriented, 4am nightscapes of ‘Avant Garde’ - ending with ‘Breathe’, the perfect union to these two different sides of her artistry in one elegant, thumping, soulful track.

‘Every Body Is Welcome’ was informed by Elkka’s own deeper understanding of who she is as an artist and what the dance floor means to her, claiming that “​Arriving in London in my early 20s I was a completely different person in every possible way and discovering club culture, the rave scene and queer spaces allowed me to explore myself fully as a woman and as queer person. For me, the dance floor has been a place where I have felt the most liberated, the most myself, unified with friends and strangers by the music and moment we are sharing. This EP is a celebration of those moments, of the dance floor, of dance music that has inspired me creatively and personally. Every Body Is Welcome symbolises what I hope the dance floor to be - a music utopia or haven, somewhere for everyone to feel safe to express themselves, to find themselves, to be whoever they want to be and feel part of a community of acceptance and tolerance. Idealistic? Yes but I think art should be a space to express idealism and where we hope to be.”

Her previous EP​ ‘​Full Circle​’​, released via femme culture, received acclaim and support from Annie Mac, Pete Tong, Tom Ravenscroft and Elkka was also named as one of the artists to watch in 2019 by ​Mixmag​. In addition, Elkka has garnered playlist and radio plays from acclaimed producers Four Tet, Floating Point’s and George Fitzgerald.

Elkka founded the femme culture label and collective in 2016 in response to the lack of support for womxn DJs, producer and artists, later teaming up with fellow DJ and creative Ludo who she now co-runs the platform with. Since then, the progressively minded collective have been swiftly gaining recognition with their boundary-free ethos that champions women, women-identifying, artists and the LGBTQ+ community whilst pushing forward-thinking music through their carefully, curated club nights and events.

Earlier this year they released their second label compilation ‘HeForShe x femme culture.’ Compiled in aid of the UN Women, the compilation featured fresh new sounds from the likes of Lone, Elkka herself, Martin Bootyspoon, India Jordan, Ouri, Nightwave and more - and earlier this summer they hosted their annual alternative Pride after-party ‘PROUD’, in which all the proceeds went to The Albert Kennedy Trust (a charity for homeless LGBTQ youthsworthy causes).

This is some serious top shelf material out of Baltimore and a certified masterclass in sweet symphonic soul. Optimistics was originally released in 1970 on Turbo and it’s every bit as essential as The Chi-Lites, The Delfonics and The Moments yet nowhere near as known. Those original copies are ridiculously rare and, of course, the prices are equally ridiculous.

Optimistics is a killer LP throughout, beloved of discerning hip-hop producers worldwide and routinely championed by the legendary Pete Rock. The genius George Kerr has handled the production on what is an album of beautiful, naïve soul for mind and body. It’s bursting with goodness and, like the best of its genre, it radiates a heart-breaking ambience that cuts right to the core.

The band of Billy, Harold, James, Charles and Jerome are described on the back cover as “five young, black knights who have embarked on a musical crusade and they're gonna slay a lot of dragons along the way”. We’re not entirely sure how many mythical serpents were dispatched during the making of this album but we can certainly attest to the sense of evangelical drive.

Evergreen opener “You Put Something New In My Life” is a heart-stopping ode to a transformative love. A ballad with spine-tingling chord changes and melodic switch-ups to spare, its sweeping strings and precise drums complement the falsetto delivery perfectly.

It’s followed by the equally beguiling “Let’s Love”. Another string-drenched harmony ballad, it revolves around delicate piano and distinctive guitar lines, crying out to be recontextualised by the best sampling technicians. Closing out the A side, the wonderfully restrained “Love Is God Almighty” is harp and horn-driven, barely-there soul from a higher plain. Heavenly.

Ushering in the flipside, “Should I Let Myself Go”, sampled recently by Knxwledge, is sensational guitar-soul with a yearning that could bring the most hardened soul to tears. It’s followed by the uptempo, Temptations-funk of “Man” and quietly-great “If I Could Influence Man”, where the competing vocals ride a chugging, funky breakbeat and delicious guitar licks. The refreshing, groovy “Say It Baby” is an appropriately positive, upward looking closer. Its sentiment and feel speaks directly to both the band name and the title of this, their only album. Truly optimistic.

The whole LP is a winning blend of slow, spine-tingling ballads and joyously upbeat tracks. It’s a case of A+ vocals, melodies and harmonies over beautiful playing and arrangements. It deserves to be canonical.

This fresh reissue has been mastered with the usual care by Simon Francis and cut by the legendary Pete Norman. The artwork has been lovingly reproduced by the Be With team.

Optimistics should be known to a much wider audience. We’ve hopefully gone some way towards rectifying that.

Born and raised in South London, Hector Plimmer is a multi-faceted producer, composer and DJ whose sound is drenched in tribal rhythms and beautifully crafted bass. Influenced by beat-makers like Flying Lotus and Theo Parrish, but with the subtleties of the classic Metalheadz era drum and bass, his second album 'Next To Nothing' is released on 25th October 2019. The album features guests Ego Ella May, Emma-Jean Thackray, Andrew Ashong, Pie Eye Collective and Alexa Harley.

After featuring on Brownswood Bubblers 11, curated by Gilles Peterson, Hector proved his talent when he was selected as a winner of the PRS Steve Reid InNOVAtion award. At a performance at ‘Sounds Of The Universe’ Record store, Hector caught the attention of Albert's Favourites' label heads Adam Scrimshire & Dave Koor. A conversation was started which led to the transfer of almost a whole album's worth of material and resulted in his debut full length record ‘Sunshine’.

'Sunshine' was met with rapturous acclaim. The record went on to be awarded Gilles Peterson’s album of the week on his BBC 6 Music show and was championed by both Lauren Laverne and Tom Ravenscroft on the station as well as Jamie Cullum on BBC Radio 2. Its success on the airwaves transcended to streaming with the inclusion in the top 50 viral US chart on Spotify.

"This album has been a real labour of love. I spent the most part of a year trying to make music I thought would be fitting to follow my last album, whilst not actually knowing what that might sound like. 'Sunshine' had been received way more positively than I had anticipated and although praise is a lovely thing, it was the cause of much anxiety when the time came to start on this record. I put a lot of pressure on myself to produce music and kept going down routes that felt forced or just didn’t click for me, in hindsight I realise this was me making music not for myself, but for what I imagined other people might want to hear. In a way 'Next to Nothing' is my first real album, 'Sunshine' was more like a collection of four to five years worth of music compiled into the shape of one. This is my first dedicated attempt at creating a cohesive project, something that shows who I am right now and what got me here."
- Hector Plimmer

As a DJ Hector has a monthly slot on NTS radio. He has played alongside the likes of Gilles Peterson, Kutmah, Alexander Nut, MNDSGN, Onra, Dego, Kaidi, Max Graef & Glenn Astro; Hector finds himself in the good company of those talented selectors who play genres across the spectrum of Hip-hop, Beats, Funk, Soul, Disco, Afro-beat, House and Jazz.

UMC are proud to present the first ever vinyl release of ‘The Very Very Best Of Crowded House‘! An institution in their homeland, a two-album wonder in the U.S., and, during the last half of their ten-year career, bona fide stars in the U.K. and most of Europe, Crowded House recorded some of the best pop music of the late ’80s and early ’90s. Leader Neil Finn’s carefully crafted songs, meticulous eye for lyrical detail, and gift for melody are matched by few other songwriters. The songs of Crowded House & Neil’s songwriting acclaim have been championed by the likes of Ariana Grande & Miley Cyrus, Chris Martin & Eddie Vedder & most recently Fleetwood Mac, for which Neil is currently the touring guitarist/vocalist. The 2010 chart-topping compilation features all the band’s major hits including ‘Fall At Your Feet’, ‘Weather With You‘ & ‘Don’t Dream It’s Over’ plus many (many) more. The 19-track collection is cut across 2 x 180-gram black vinyl LPs featuring printed inners & essay. DL codes included.

2 track vinyl compilation featuring the roots of modern dance music, on 180g heavyweight double LP. P&P was producer and Harlem hustler Peter Brown’s production company. He created some of the greatest moments in underground African American dance music, across a handful of labels in the 70s and 80s.

Due to his independent ethos his releases on imprints such as Heavenly Star, Sound Of New York, La Shawn, P&P and others would often disappear after a single low numbered pressing making them incredible hard to find on original pressing.

Tracks such as Mary Clarke’s ‘Take Me I’m Yours’, and the Fosters Jackson Group’s ‘Feel The Spirit’ have been championed by DJs such as Floating Points and Dimitri from Paris. Whilst the sheer rarity of some singles such as Clyde Alexander and Sanction’s ‘Got To Get Your Love’ and Louise Murray’s ‘Let’s Just Stay Away’ would set you back multiple hundreds of pounds to buy on original copies.

Dutch Techno master Orlando Voorn has opened up his archive for the second essential instalment of an ongoing artist focused series brought to you by new imprint Above Board Projects. The compilation will be spread across 2 double 12" volumes and will feature tracks from many of Voorn's pseudonyms including; Fix, Baruka, The Ghetto Brothers, Mute & many more. We are proud to introduce the first of a 2-part archival collection entitled 'Diligence'. Each track featured on the compilation has been carefully selected and programmed in conjunction with Orlando Voorn and the Above Board Projects team. Voorn has an extremely long and storied career in making music and is severely underrated as a producer in our humble opinion. His DJ skills are, of course, legendary, with him winning the prestigious DMC mixing championships in 1986 in his native Holland and making a career as one of the country's leading Hip-Hop DJ's. As a producer he has long been linked to numerous legendary producers and releases, counting labels such as Fragile, Metroplex and more as homes for his output. His association and collaborations with Detroit have been the stuff of legend since day one and some of the music contained within these compilations celebrate that while showcasing some of the more overlooked tracks from the man's more than extensive catalogue. Part 2 opens with the minimalistic bladerunner Techno of Voorn & Juan Atkins' Infiniti classic 'Game One', a true modern classic, also featured is the rolling, paranoia inducing late night groove of 'Dream World' from one of Voorn's more obscure projects Complex, all showcasing a wide variety of styles and sounds. Flawless selections from the early 90's sitting alongside later productions only go to show how diverse and talented an artist Voorn is and how fresh and vital his music still is today. An essential collection for any serious techno lover. All tracks fully licensed and remastered with the full permission of Orlando Voorn. Remastering and lacquers by Curvepusher. Compiled and directed by the Above Board Projects team. Design and layout by atelier Superplus. 2019.

Field Recordings, carefully chosen percussion, electronic spice and acoustic ingredients. This is the foundation for every recipe that Bolivian Belgian artist Suso Perez aka Susobrino creates. In 2018, he presented his debut EP “Mapajo” on Global Hybrid Records. Since then he has won several awards; the “Champion Sound Beat Battle” and “Most Promising Artist” at the Red Bull Elektropedia Awards of Belgium. He introduced his creations to numerous festivals in Belgium and abroad.

His new album “La Hoja de Eucalipto” brings alive a more energetic and aggressive part of Susobrino and presents a work focused on the ethnic and world sounds, mixing his masterful percussion with electronic beats to create a unique and distinctive sound. For fans of the organic electro-latino sound of Chancha Via Circuito, Nicola Cruz and Dengue Dengue Dengue.

In this album Susobrino created a story of 5 beings looking for answers in their individual lives.
The first track “La Hoja de Eucalipto” is the ceremony right before the journey. It’s a three part composition to set the tone of the entire album: question, answer and interpretation.
“Despertar” (wake up in spanish) is the realisation of the journey these beings are getting into. The guitar interprets the rain as a cleansing. A fresh breath in, breath out.
“La Marcha” is the physical start of a long journey. They will be walking for days, weeks or even months. The exciting, courageous travellers leave their families and friends towards unknown lands that they never dared to enter. Many days of walking pass and they reach a new habitat. A dense jungle.
“Dispersion”. This brings tension and fear out of the 5 travellers. A 6min long repetitive song that interprets walking in circles. Everyone gets separated from each other and they question with doubts of getting out of the unknown jungle. Eventually, the 5 beings survive the unknown jungle. Exhausted and lost, they keep walking with no idea where to go. That’s when they stumble upon “Polahimán”. A mysterious entity who’s very eager to help and knows exactly where they have to go. With riddles and poems, he gives them directions.
“El Desierto de Pazmancú” A new habitat. An endless dessert. Yet, the beings are refilled with courage, crossing the entire dessert. That’s where Polahimán is waiting for them.
“El Enfrentamiento de Polahimán”. This is the endboss; The Final Chapter. The 5 grown travellers find themselves in many challenges. This is where you, as a listener, can interpret if it’s a good or bad ending. Or an open ending?

Susobrino plays and records everything in his humble studio in Belgium. Percussion, quena (flutes), guitar, charrango, field recordings and a yamaha dx9.

The first artist other than label head Patrick Topping to release on TRICK , his Geordie compatriot Adamson delivers an eclectic mix of tracks. The EP opener and title track, ‘Electric Acid Tater Tots’ is an acid-soaked techno slammer, strung together by Elliots own robotic vocals. Skream then steps up to deliver the labels first ever remix, a trippy, high-energy workout, before the Electric Acid Tater Vox offers a stripped-back vocal version which is available exclusively on the vinyl. Over on the B-side, ‘NYC Dada’ is an infectious disco-house edit destined to fill countless dancefloors, then ‘11am in Brisbane’ delves into melodic techno waters.
“I don't recall writing the lyrics, but I like to believe they appeared in the notes in my phone delivered by some divine spirit via the medium of an Apple iPhone XR - cheers Steve,” Adamson jokes. “About four instrumentals existed for about four weeks and I would often find myself standing on the table at parties singing out the lyrics excitedly trying to explain that 'this is my song.’” - Elliot Adamson The record is also accompanied by two exclusive bonus tracks. Lesgo Lesgo Lesgo is a true techno odyssey and bonus purely for digital copies of the EP. Then, there is the Electric Acid Tater Tots (Acid Mix) , a secret dubplate that has only been sent out to a select number of DJs. A true weapon for the warehouses.
“Elliot had to be the first artist, other than myself, to release on TRICK!” Topping enthuses. “ I’ve been championing his music for years and this release has been a long time coming. He’s now helping me A&R and is a resident at the label parties. His EP genre-hops and this is what TRICK is all about.” - Patrick Topping

Kraak & Smaak's 6th studio album - 'Pleasure Centre' is the culmination of two years hard work since their critically acclaimed 'Juicy Fruit' LP and their first Kraak & Smaak LP released on their own label – Boogie Angst. As expected it's a glorious record packed with future classics, flitting between funky dancefloor focused jams and more relaxed downtempo affairs.

The album has a definite US West Coast vibe to it and sees them fuse classic 70's and 80's yacht rock, dream pop, and indie influences in with their signature electronic funk sound. And this result is no mere accident or emulation… Working on the demos in their own studio before travelling to LA for a month last year to meet and work with featured artists, they stayed in Echo Park and recorded in local studios and sometimes even in the homes or backyards garages of their collaborators.

Hand- picking the best of the local talent: dance diva - Gavin Turek, indie upstarts - The Palms and dream pop dealer – Satchmode all contribute their talents to the cause.

The Dutchmen have earned a deserved reputation in particular for the A&R side of the industry, with both the discovery and collaboration of new rising acts high on their agenda. Previous successes include working with Parcels, Alxndr London (championed by Annie Mac) Eric Biddines (6Music playlisted) and Cleopold (signed to Nick Murphy fka Chet Faker's own label). And they continue to uncover hidden gems outside of LA on this record too...

Moon Boots collaborator – Nic Hanson, Jalapeno Records' gospel/soul powerhouse - Izo FitzRoy and soul man Wolfgang Valbrun (Ephemerals/Kungs), New Zealand's imugi and previous collaborator and soul songstress - Sanguita are accompanied by regular members of the Kraak & Smaak live band - IVAR and Berenice Van Leer across 15 fantastic new tracks.

'Pleasure Centre' is everything you'd want in an album and everything we've come to expect from these dance stalwarts – innovative, relevant, and modern tracks with great production and exciting guest features that are guaranteed to fire up your own pleasure centre!











k 11 Sweet Time (feat. Izo FitzRoy) clip

2x12"

Dutch Techno master Orlando Voorn has opened up his archive for the first of what will be an ongoing artist focused series brought to you by new imprint Above Board Projects.The compilation will be spread across 2 double 12" volumes and will feature tracks from many of Voorn's pseudonyms including; Fix, Baruka, The Ghetto Brothers, Mute & many more. We are proud to introduce the first of a 2-part archival collection entitled 'Diligence'. Each track featured on the compilation has been carefully selected and programmed in conjunction with Orlando Voorn and the Above Board Projects team. Voorn has an extremely long and storied career in making music and is severely underrated as a producer in our humble opinion. His DJ skills are, of course, legendary, with him winning the prestigious DMC mixing championships in 1986 in his native Holland and making a career as one of the country's leading Hip-Hop DJ's. As a producer he has long been linked to numerous legendary producers and releases, counting labels such as Fragile, Metroplex and more as homes for his output. His association and collaborations with Detroit have been the stuff of legend since day one and some of the music contained within these compilations celebrate that while showcasing some of the more overlooked tracks from the man's more than extensive catalogue. Part 1 includes some serious rarities and some straight up, futurist Techno heat, take the majestic technoid melodies of comp opener 'Diligent' from one of Voorn's most well loved alias' FIX for example, completely worlds apart from the jacking and sparse Funk of Baruka's killer 'Technision'. Flawless selections from the early 90's sitting alongside later productions only go to show how diverse and talented an artist Voorn is and how fresh and vital his music still is today. An essential collection for any serious techno lover.

And we used to be such a nice record label .... BKV 026 swells up from the Bristol swamp in the forms of post-human industrial duo Bad Tracking. Here they have assembled variously, one spacious black metal intro (with original screams), an industrial-pop earworm not unlike Depeche Mode imploding in a feedback tunnel, two itch-tek dancefloor riddims namecheking local venue bans and I just don't know what to call 'Wellspring' really, the end of days? Well you had it coming anyway…..


Known in town for upsetting local MPs and lisencees with their live performances as 'naked technology sex slaves' think cassette-induced self harm, total nudity, blood from ears, Bad Tracking are the most visceral thing we've seen in this new wave of Avon experimental - a breath of life into the longstanding tradition of industrial performance art (and an antidote to idle BR club culture). Lyrically touching on censorship and tech // sonically they use feedback as a punishing instrument of anguish and expression.Widower EPis truly chewed nail sonics, more human than all your noise records, genuinely more scary than your edgelord power electronics nonsense, more forward than all yer government funded experimental think-records.


You may remember Bad Tracking from their remix of 90s soundsystem legends Bush Chemists on Bokeh last year. It sounded like they played the original through 1,000 knackered tape decks and added one kick drum. It was total sacrilege and we loved it. Bad Tracking is Gordon Apps aka reputed jungle/drumfunk producer Relapse (who also moonlights as Avon Terror Corp's Olivia Mutant John, buy his shit) and poet / VHS video artist Max Kelan (who has lent his visuals to MVs from Hodge, The Pop Group, OM Unit, Young Echo to name only 4). They've released on tRewdindForward family labels like Mechanical Reproductions and champions of bad taste and good music - Fuckpunk.