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This publication from Blind Allies is comprised of 6 tracks. This is the first release from series where records are made on modular synthesizers. It includes a part from live jam by Philet, journey to the world of obscure feeling from Igors Vorobjovs & Void Cells and cosmic adventure by redstripedown. Dancefloor killer by Tunnel, a tale from HHNOI and a flashback to soviet electronic music from Marta SmiLga. This release will take you away to a parallel universe.
Vinyl only.

Tint is the first new solo recording from Joe Talia in over a decade. Australian-born but now based in Tokyo, Talia is known to many listeners as a drummer (frequently collaborating both live and in the studio with artists such as Oren Ambarchi and Jim O'Rourke) and as a recording and mixing engineer responsible for dozens of releases across the fields of contemporary experimental music, wayward pop, and jazz. Alongside James Rushford, he is also responsible for one of the most legendary releases in the Kye records catalogue, the creaking electronic morass of Manhunter (2013).

Lovingly crafted over many months in his tiny Tokyo studio, Tint is an album-length electroacoustic suite that brings together Talia's expertise as percussionist, studio engineer, and performer on analogue electronic instruments (primarily modular synth and Revox tape machine). Ranging from minimalist austerity to kosmische lushness, Tint refreshingly refuses the dark and moody sonic palette of much contemporary electroacoustic music in favour of an airy, at times almost weightless sound-world of gliding tones, skittering percussion, and burbling field recordings. Drawing inspiration from Jean-Claude Eloy's epic concrète love letter to Tokyo, Gaku-No-Michi, Talia makes extensive use of his own recordings of his new home, but removes any sense of audio verite, abstracting them into transparent glosses of outdoor ambience or unidentifiable chimes and creaks. Flowing seamlessly between distinct episodes, Tint is compositionally controlled while retaining a sense of played spontaneity, eventually building to a maelstrom of analogue synth zaps and tape manipulated percussion that reflects Talia's deep engagement with the relentless yet constantly shifting dynamics of free jazz.

Claque Musique kicks off another piece of beauty. "America", Joe Montana's iconic house jam from 1996, is back out now, after more then a decade, remastered and remixed from Chicago House pioneers Virgo Four and The Museri.

Previously unreleased live and studio sessions from 1969/70. Transeuropean Jazz by Bruno Spoerri's and Hans Kennel's sextet and octet "Jazz Rock Experience" from Zurich. Deep brew of electrified Jazz-Funk, spiritual sounds, folk music from Eastern Europe and free improvisation. Original material plus vibrant versions of Leadbelly, James Brown and Eddie Harris, featuring a.o. Spoerri (el-ts and ss), Kennel (tp), Dave Lee (el-pi, clavinet and vibes), Raffael Waeber (g), Jonas Haefeli (fl and perc), Freddy Meier (ts), Hans Foletti (b) and Kenny Schmidt (d). Comes with unseen photos and new sleeve notes by Bruno Spoerri

Led by Saxophonist Rob Mitchell, Abstract Orchestra have been a consistent presence on the u.k. music scene, touring constantly in the promotion of their debut LP "Dilla" and steadily building a loyal and supportive fanbase.Inspired by the legendary live performances of The Roots with Jay-Z and the 40 piece orchestral arrangements by Miguel-Atwood Ferguson of the work of J Dilla, classic arranging techniques underpin modern loop-based structures, breathing new life into familiar material.The band itself is based on the classic jazz big band instrumentation of saxes, trumpets, and trombones and features the cream of the north of England's jazz scene, who collectively have played with Jamiroquai, Corinne Bailey Rae, Mark Ronson, Martha Reeves, John Legend & the Roots, Roots Manuva and Amy Winehouse.

"New Day" is the eagerly anticipated new single and features rapper and J Dilla's brother Illa J on vocals. Supported by a U.K. tour with Illa J throughout February, "New Day" takes the blueprint laid out on last years LP "Dilla" and expands it with Illa J's understated vocal delivery. Radio support anticipated from BBC6's Gilles Peterson who has been an advocate for Abstract Orchestra on both his BBC6 and Worldwide FM shows, as well as Huey Morgan (BBC6), Shawn Lee (Soho) and Dom Servini (Wah Wah 45s). "New day" is the first original work by Abstract Orchestra and builds on the foundations laid on their debut. Flutes and electric piano lay out a gentle pad, propelled forward by Joost Hendrickx's insistent drums. Occasional fragments of saxophones add an urgency to the insouciant groove laid out by the rhythm section as soft trumpets and trombones are gradually added to the flutes. This provides the perfect foil to Illa J's laid-back vocal delivery as he describes a typically relaxed Tuesday morning spent contemplating the day ahead. The B-side is the AO remix which takes the instrumental performances of the A-Side, chopping and fragmenting them and re-framing the original with a slightly harder edge, which should be popular with those DJs and listeners looking for something with a tougher sound.

"I Can't Love You Anymore" is the first single by hard working soul performer Carlton Jumel Smith recorded with Cold Diamond & Mink, and the man has revealed his middle name just for the occasion. Otherwise known simply as Carlton J. Smith, there's no doubt he has swallowed a large pill of soul since seeing James Brown live at the Apollo Theatre as an 8-year old.

Smith's Timmion debut single sinks him into drum heavy southern flavored deep soul, a style that comes out of him naturally as water from a mountain spring. Backing him up on the falsetto parts is Pratt, who recently turned some heads with his Pratt & Moody release "Lost Lost Lost" on Stylart Records, and together the two basically NAIL IT.

When looking for artists, who just seem to move through time effortlessly with a steady air of confidence, passion and precision, one might pick up the phone and give CJS a call. Even though his discography of couple of late 2000's albums and some guest spots in early 90's soulful house 12"s is a bit mysterious, there seems to be not one bit of difficulty to his craft or personality. As a recording artist, "I Can't Love You Anymore" is a new opening into raw soul territory, and it is just what the world needs today. He laid down an album worth of tracks on his last Helsinki visit, and this might be something to look forward to.

We're super excited to present the latest artist to join the Dirt Crew stable, French producer Sekou Babe. He ticked all the right boxes for us with this beautiful debut EP 'Foresight Prevents Blindness' which explores his fresh and vibey outlook on house with sideways glances to smokey jazz, breaks and garage. The a-side lines up three varied tunes. 'Perspectives of the Youth' and 'Soukoun' step in quickly with lively breakbeat rhythms. The first boasting warm soul vocals and steady bass groove, the second a melancholic yet uplifting back and forth between vintage piano and warbling rhodes. 'Treize Zero Zero Trois' is a deep and dreamy house jam. Cinematic elements infused with punchy percussion and 80s sonic touches add up to good times all round. On the B, our good friend Nachtbraker does what he does best, flipping 'Treize Zero Zero Trois' bringing the deep, dubby Amsterdam vibrations. His version is lush, textural and slightly fruity, with surging synths, tropical percussion and a stomping kick. Sekou Babe rounds things off with the extravagant 'Crown Collection", showing us yet another colour in his musical spectrum. It's trip hop meets Detroit where warped strings introduce shuffling drums before the track begins to build layering subtle arpeggios, smooth pads, crash hits and a buoyant melody. Sekou Babe would like to add that all tracks were written and produced by b.b. at 7e Republique Studio and says thanks to Peter, Ghizlène, Mohammed and Florian, you beautiful souls.

Mellow Waves, Cornelius' first album in over 11 years will be available in a limited deluxe edition pop-up gatefold vinyl (including phenakistoscope animation insert), standard package on 180g, CD and cassette format on January 26, 2018. The album, released July 21, 2017, was previously a digital only release. Pre-orders for these formats are available now.

Cornelius announced eight North American tour dates for March 2018, including shows in Mexico City for the NRMAL Festival, New York's Irving Plaza, the Carnegie Music Hall at Pittsburgh's Andy Warhol Museum, and LA's Fonda Theater.

Filmed live at his record release shows at Tokyo's Liquid Room, Helix / Spiral' captures the Cornelius live experience, with its Kraftwerk-esque roboticism and immersive visuals meticulously synchronized with the performance from The Cornelius Group.

For the uninitiated, Cornelius is the brainchild of Japanese multi-instrumentalist Keigo Oyamada. A performing musician since his teens, Oyamada created his creative alter-ego (the name is an homage to the Planet of the Apes), in the early 1990s from the ashes of his previous project, Flipper's Guitar.

With the 1997 release of Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records. Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown.

With 2002's Point, Cornelius' music took a quantum shift, going from sampling found sounds' to looping organic elements and creating lush soundscapes. Using water drops as the rhythmic backbone of Drop' on his vocoder-infused cover of Brazil', the album dazed and amazed fans and set the path for the next phase of his career.

2007 brought this philosophy to an even higher level with the release of Sensuous. Cornelius' live shows are known around the world for spectacular visuals (all perfectly synchronized to the performance), custom lighting that doesn't simply augment the performance, but becomes another instrument within it, and a full band of equally talented and diverse players.

The companion piece to the album Sensurround + B Sides, earned the nomination for Best Surround Sound Album' at the 2009 GRAMMY Awards.

The summer of 2016 saw the release of Fantasma Remastered, on Lefse Records. The package, a 2LP reissue of his classic album, also included 4 additional outtakes and earned Pitchfork's Best New Reissue'.

Cornelius has recorded music for Edgar Wright's Scott Pilgrim vs. the World, scored the anime mega-film Ghost in the Shell Arise, performed as the backbone of Yoko Ono's reformed Plastic Ono Band, played the Hollywood Bowl with Yellow Magic Orchestra, and co-wrote and produced the Japanese artist salyu x salyu.

At a point in time when Johnny Winter had only recently recovered from past addictions and blues giant Muddy Waters had faced a decline in his career with illness and the collapse of Chess records in 1975, it was Steve Paul of Blue Sky records who would appear as saviour to both musicians. The results of his investment soon paid off and Winter's childhood dream to play alongside his hero Muddy waters was soon realised. Waters' comeback album was a return to his original Chicago sound. Its raw, expressive feel harked back to his Chess Records days, and the outstanding musicianship and intimate exuberance exceeded all expectations, earning Waters a Grammy in the process.
The Hard Again tour combined the respected powerhouse of Waters, Winter and Cotton with musicians from the Hard Again sessions. Hard Again cast a further four albums with Blue Sky before Waters would leave in 1983. Although this particular collaboration was short-lived, it has provided blues fans a rare opportunity to indulge in the work of two hugely important musical figures whose respect for each other is evidently unflinching.

Move D (David Moufang) and Jordan GCZ (Jordan Czamanski) are back again on wax after a hiatus since their 2015 live in Seattle album, on Further Records. Here they team up again for 2 ice hot and slow burning studio jams - recorded this year in Amsterdam ... immerse yourself..TIP!

Hot off the back of "On Top" that featured on our "Deep Love 2017" compilation, Lorenz Rhode returns to the label with his debut full length EP "Risa". A gifted musician, known for his fierce take on funk, performance prowess on German TV show "NEO Magazin Royale" and as part of Detroit Swindle's live outfit, he's sent us a three-tracker packed full of vibe and musicality.

Opening the A-side "And I Said" is an uplifting, funked-up house jam. Exuberant and alive it's built around a Rhodes riff with a romantic twist, swelling stabs and straight forward percussion direct from Lorenz' collection of Roland machines. The following "Risa" is loaded with energy. A gritty analogue snare and raw drums punch as central synth lines and rippling arps ramp up the intensity to bursting.

On the B1 the mysterious Amsterdam based K.98 returns with his second ever remix! After the huge success of the "Thrilogy" remix for WOLF Music in 2015, we are extremely happy to see Lorenz' original turned into a blasting 909 frenzy, 100% guaranteed dance floor action on this one!

Closing we have "Xpandau", a feel-good indie/disco gem reminiscent of Lindstrøm and Röyksopp. The central lead that sounds like something sampled from a dusty African guitar recording, actually came from a vintage Oberheim Lorenz recently fell in love with. Warbling key melodies dance over the top along with tuned percussion, maintaining the light hearted, tropical tinged tone to the end.

It's already been 5 years since the last Zombie Zombie album 'Rituels d'un Nouveau Monde', after which the group explored other territories by signing 2 film scores, namely 'Loubia Hamra' by Narimane Mari and 'Irréprochable' by Sébastien Marnier, as well as creating the music accompanying a contemporary circus show called 'Slow Futur' created by Martin Palisse and Elsa Guérin. Wouldn't these beautiful parentheses make you want to return to the sources After 10 years at Versatile Records, 2017 also marks the decade anniversary of the release of their first album 'A Land for Renegades' in 2007, at the time considered to be one of the 10 best albums of the year according to Rough Trade.
'Livity' - Zombie Zombie's latest opus seems to plunge us deep into science fiction, with a cover designed by the mythic cartoonist Philippe Druillet, who is also the founder of the cult Métal Hurlant comic series. The title of the album is somewhat misleading, as one could mistakenly think of a certain dub record made at
the famous Island Records Compass Point studio in the Bahamas. For the uninitiated 'Livity' or 'Life force' is actually a Rastafarian spiritual concept based on the idea that an energy exists within, and flows through, all people and all living things. The record was recorded last winter in Paris, in a very short time frame. 7 tracks played live in 7 days, by Etienne Jaumet (synthesizers / rhythm box / metallophone / sax), Cosmic Neman (drums / vocals / sound effects), and Dr. Schonberg (percussion / electronics / trumpet), recorded at the Red Bull Studios by Thibaut Javoy and Jerome Caron, 2 very competent engineers. To keep it in the family, the album was then mixed by another member of the Versatile stable, the mysterious and legendary DJ/producer I:Cube, done in the label's Victor Studio.
On this album the principles that are dear to the group rest being respected, still as far away as always from the standards of 'radio play', A living kind of music, composed of long instrumental moments recorded with analog synthesizers and drum machines, accompanied by drums and percussion. But I:Cube's touch may bring the unique energy that one may find at Zombie Zombie's concerts; on certain cuts like title track 'Livity' that the group recorded in Laos, a wild combination of 808 kick drums and bewitching jungle sounds that sound quite unlike anything else out there, and especially on 'Hippocampe', which gives the impression of hearing an old school hip hop rhythm with the power of a metal band who have replaced their guitars with an army of synthesizers: we recommend you listen to this particular track in a convertible while speeding down the highway.
As with all of Zombie Zombie's music the cinematic component is still strong, on titles like 'Ils existent..' 'Acera' which was originally composed for ciné-concerts accompanying the films of Jean Painlevé et Maurice Pialat. The energy of the beginning is still very present, as is - of course - the kraut inspiration. But it's also an album that takes new directions and sonic risks, like on 'Looose', which brings to mind the Art Ensemble of Chicago, or the groove of James Chance in New York in the early 1980's, featuring the free sax solos of Etienne Jaumet and Dr. Schonberg on the trumpet. The group also offers some slower and calmer titles, like 'Heavy Meditation' as well as exploring more experimental tracks in the line of French 70's groups such as Lard Free or Richard Pinhas, for example on the bonus track 'Black Moon'.
Please - Take your time, and enjoy listening!

SPECIAL LIMITED EDITION X 300 WITH BONUS 7 :
Limited special edition with the 7" containing the track "Lune noire", in 2 parts - one per side.
It's already been 5 years since the last Zombie Zombie album 'Rituels d'un Nouveau Monde', after which the group explored other territories by signing 2 film scores, namely 'Loubia Hamra' by Narimane Mari and 'Irréprochable' by Sébastien Marnier, as well as creating the music accompanying a contemporary circus show called 'Slow Futur' created by Martin Palisse and Elsa Guérin. Wouldn't these beautiful parentheses make you want to return to the sources After 10 years at Versatile Records, 2017 also marks the decade anniversary of the release of their first album 'A Land for Renegades' in 2007, at the time considered to be one of the 10 best albums of the year according to Rough Trade.
'Livity' - Zombie Zombie's latest opus seems to plunge us deep into science fiction, with a cover designed by the mythic cartoonist Philippe Druillet, who is also the founder of the cult Métal Hurlant comic series. The title of the album is somewhat misleading, as one could mistakenly think of a certain dub record made at
the famous Island Records Compass Point studio in the Bahamas. For the uninitiated 'Livity' or 'Life force' is actually a Rastafarian spiritual concept based on the idea that an energy exists within, and flows through, all people and all living things. The record was recorded last winter in Paris, in a very short time frame. 7 tracks played live in 7 days, by Etienne Jaumet (synthesizers / rhythm box / metallophone / sax), Cosmic Neman (drums / vocals / sound effects), and Dr. Schonberg (percussion / electronics / trumpet), recorded at the Red Bull Studios by Thibaut Javoy and Jerome Caron, 2 very competent engineers. To keep it in the family, the album was then mixed by another member of the Versatile stable, the mysterious and legendary DJ/producer I:Cube, done in the label's Victor Studio.
On this album the principles that are dear to the group rest being respected, still as far away as always from the standards of 'radio play', A living kind of music, composed of long instrumental moments recorded with analog synthesizers and drum machines, accompanied by drums and percussion. But I:Cube's touch may bring the unique energy that one may find at Zombie Zombie's concerts; on certain cuts like title track 'Livity' that the group recorded in Laos, a wild combination of 808 kick drums and bewitching jungle sounds that sound quite unlike anything else out there, and especially on 'Hippocampe', which gives the impression of hearing an old school hip hop rhythm with the power of a metal band who have replaced their guitars with an army of synthesizers: we recommend you listen to this particular track in a convertible while speeding down the highway.
As with all of Zombie Zombie's music the cinematic component is still strong, on titles like 'Ils existent..' 'Acera' which was originally composed for ciné-concerts accompanying the films of Jean Painlevé et Maurice Pialat. The energy of the beginning is still very present, as is - of course - the kraut inspiration. But it's also an album that takes new directions and sonic risks, like on 'Looose', which brings to mind the Art Ensemble of Chicago, or the groove of James Chance in New York in the early 1980's, featuring the free sax solos of Etienne Jaumet and Dr. Schonberg on the trumpet. The group also offers some slower and calmer titles, like 'Heavy Meditation' as well as exploring more experimental tracks in the line of French 70's groups such as Lard Free or Richard Pinhas, for example on the bonus track 'Black Moon'.
Please - Take your time, and enjoy listening!

2022 Repress

HQ Gatefold, 3x12 140g Vinyl, black innersleeve, download code
EXTRAWELT are back! Although in fairness, they were never gone. On the contrary, since their first release on James Holden's Border Community Label dropped in 2005, Arne Schaffhausen and Wayan Raabe have been responsible for a plethora of classics including "Schöne Neue Extrawelt" and "In Aufruhr", their two seminal albums on Cocoon Recordings. The duo are one of the most booked live acts worldwide, commanding a huge fan base. Their performances are the stuff of legend, making them the absolute highlight at every club and festival they play. So it's with great pride and respect, that we can announce the release of Extrawelt's third album for Cocoon Recordings. "Fear Of An Extra Planet" completes the Cocoon trilogy and the excitement growing among their fans represents a new high in the history of EXTRAWELT!
Musically, of course, there's enormous pressure on EXTRAWELT to deliver, but this is dismissed with a playful disregard and they are clearly focused on the job in hand. The album title "Fear Of An Extra Planet" sounds cinematic, like some art-house science fiction film, without giving too much away.
However, from the first seconds of the opening track "Superposition", the album title makes 100% sense and sets the scene for the rest of the trip. We are immersed in wide open spaces and invited to explore dark and dusky worlds that transport us back to their Border Community years. Timeless and elegant, "Superposition" perfectly captures the epic, dream like quality that made James Holden's label so influential.
New Release Information Second up, "Gott ist Schrott" takes a much more minimalist approach with its retro 80s drum programming, monster bass lurking in the breaks and playful Rhodes/synth riffs that span the divide between early German techno and deep Detroit electro with a distinctive film soundtrack aesthetic. "Oddification" continues this theme, adding extra spice reminiscent of the techno-synth vibe of Detroit with a punchy, almost Prodigy-style breakbeat complete with shredded vocal samples that gives us a taste of what's in store. "Gentle Venom" then takes the breakbeat motif to the next stage. The main focus here is the classy sprinter of a bassline, peppered with a flurry of intricate and subtle effects and modulations, that immediately trigger an intense, movie-like 'in pursuit' feeling.
With - Das Grosse Flimmern" we cautiously approach the album's high point. It's still in keeping with the soundtrack aesthetics, but faster and with more urgency. Almost hypnotically, Extrawelt invade us with an energy and impetus that always radiates from their music. Next in line is "Silly Idol" and here Arne Schaffhausen and Wayan Raabe opt again for a more minimal tack, focusing even more intensely on the dance floor to reveal a pulsing, twisted heart to the album.
"Punch The Dragon" is the hidden gem of the collection, utilising and melting together the most bombastic and playful elements. This one is totally off the hook, a sensory overload in an acoustic widescreen format! Then we have the title track "Fear Of An Extra Planet" which perfectly sums up the album concept. It opens up like a film score, with minimal passages following dark sequences that morph into dreamy melodies, all grounded by cool, constantly alternating analogue drum patterns. If you're not listening closely, you might get the impression that three or four different titles are mixed together; such is the effortless flow of the album.
As we near our destination, "The Friendly Coroner" really does honour its name. The morbid charm of the title is captured by a fluid bassline and melodic arrangements that border on the absurd, until the funky drum beat finally drops. In our mind's eye we see a cheerful medical doctor removing his bloody gloves, hanging his smock in the closet and vibing out in his neon drenched workspace. And there we sit, glued to our cinema seat, submerged in the different textures EXTRAWELT have conjured up on "Fear Of An Extra Planet". Over the course of the last title, the strings usher in the final acknowledgments as the credits roll. The dramatic end of "2084" leaves us transfixed in front of a black screen in a large, dark room safe in the knowledge that we've just witnessed a science fiction epic.

Serotonin Records, the little neuron that could, returns with a compilation of futuristic electronic funk.

'It's What We Live For: Volume 1' is the first in a series of compilations sharing our vision of tomorrow and/or the sound of the day after yesterday... Serotonin has always been what we've lived for, now we'll try and make sure it's what you live for too.

John Selway takes us 'Solar Sailing' on a tour of classic Serotonin themes set in the deep space between our ears. Of course it sounds like Selway, but it's the unique sound of Selway on Serotonin.

Alex Cortex has been making electro for years and Serotonin is excited to finally catch up with him. His contribution 'Proxy' is a deep, fat and brain chemistry-altering groove.

Synapse, the duo consisting of label heads John Selway and Jason 'bpmf' Szostek, reach into their archives to deliver 'Payback'. What was the debt Well, that was already paid back with another track so we can share this golden slice of the electro dream with you.

TCMF with isti.f can transform your body with laser beams and bass. 'We Are The Almost People' is just weird enough to rock you out of your seat so you can get up and jam.

Pointsman and bpmf each deliver a loop so that the Serotonin never runs out.

Watch out for more releases soon, including a full Synapse EP and some old friends doing new tricks.

Serotonin, It's what you we live for...

"a_000 is a project born from the spontaneous encounter between two Italian djs and producers: Alan Backdrop and Enrico Rlt. Their productions are the outcome of studio jam sessions, recorded live so as to capture the alchemy of the moment. The sound reflects their fascination with 90s electronic music, nature, and travelling: "Road to Nauta" was inspired by a journey in Perù"

As BPMF started making techno again, he surveyed his techno friends asking them what it was about his music they found the most annoying. The answers TR-606 hi-hats and portamento.
He proceeded to focus on these aspects of his music and today the results are here: "Abide the Glide Volume 4" wherein BPMF is pushing all the right buttons to get the DJ thinking about the sounds their pumpin. Jamie Morris provides an excellent DJ freindly remix of "Even Straighter", taking BPMF's idea and going even straighter.Old Man Raver Pants" proves that a 50 year old man can still party, so long as he's wearing his raver pants and while there's been alot of talk about alternative facts, "Alt-Slacks" is a dub inspired jam that seems like it's narrative might fall apart at anytime.Schmer label head BPMF has been making electronic music since 1984. As Free World released cassettes, was entered by WFCS into CMJ's Best Unsigned Bands competition and in 1985 earned the duo a spot on an Epic Records compilation. In 1986 they released "Amagi", an eclectic collection of experimental electronica inspired by underground new wave and industrial music of the 80s.BPMF and Taylor Deupree formed Decameron and released two cassettes on Havoc Music. Some tracks would appear on early techno CD compilations under pseudonyms. Havoc Music's own compilation "Techno Criminal Sub Cultures" is where BPMF first appeared in 1991.
With Dietrich Schoenemann and Taylor Deupree, BPMF assembled classic early 80s analog gear and as Prototype 909 they released "Acid Technology" on Instinct records; performed their first live show, met Abe Duque who invited all of his techno friends to the legendary Limelight Club in NYC. BPMF brought records and gear jammed live with them. The Rancho Relaxo All-Stars would release three albums and tour Europe together even destroying the original Ultraschall in Munich, quite literally tearing the place down. With John Selway, BPMF channeled early electro and new wave sounds forming Synapse and creating Serotonin Records to bring the funk back and help give birth to the electro revival scene.Prototype 909 recorded four albums and played 70+ shows. Synapse was the first American electro group to play live in Moscow. BPMF released tracks on Serotonin, Schmer, Instinct, Analog/EMF, Tension/Rancho Relaxo Records. His approach to electronic music is hands on and experimental, so more than having a "sound" his music reflects his values: spontaneity and a sense of urgency.

Britain's very own Twitter all-star is back... James Blunt will release his fifth studio album, 'The Afterlove' on March 24th through Atlantic Records. The new album is the follow-up to 'Moon Landing', which reached platinum status in the UK and spent 33 weeks in the UK Top 40 after it was released in 2013.

James worked with a wide range of talent when writing and recording 'The Afterlove' including Ed Sheeran, Ryan Tedder, Amy Wadge (Ed Sheeran, Shannon Saunders), Johnny McDaid (Example, Biffy Clyro), Stephan Moccio (Miley Cyrus, The Weeknd) and MoZella (Miley Cyrus, One Direction).
 
James Blunt will also be embarking on a UK headline tour, The Afterlove Tour, which includes a date at London's Eventim Apollo. This is the first tour for James following his extensive Moon Landing Tour, which saw him perform over 140 shows across the world over the course of twelve months.

After a first release by Dub-Techno father Brendon Moeller, Submersive Records is back with a various artists ep. The Paris based label, launched in 2016 by Process B, is now introducing 3 artists who were invited to present 3 different visions of the label's musical identity, completed by a Albert van Abbe remix. The ep starts with the first appearance of french duo Bevel (Positive Clearance & Process B). Slow yet electric saga, 'Hob' swings between atmospheric, industrial and deep techno sounds. A perfect introduction to the label's roots. Elements come one after the other while holding a certain incisive vibe and giving birth to a track that can fit in both warmup or peak time sets. 9beats, young producer from Lyon, explores a more melodic side with 'Through An Interstellar Cloud'. Used to dive people into his spatial universe through his tracks or analog live sets, 9beats's travel is a good transition from ambient to techno.We said Techno Isolated Lines will not contradict and brings us straight in the middle of the night. Saturation, noises and modular variations are confronted to some melodic slackening, making this track a great immersive weapon.Invited to one of Submersive's label night at Batofar in 2015, Albert van Abbe closes the ep by giving us a completely new version of Bevel's Hob. We easily recognize the original track's lead, mixed this time with raw classic drum jams. Somewhere between Electro & Techno the Remodel version of Albert van Abbe overwhelms by its effective authenticity.From Brendon Moeller to the young and promising Techno scene, this second ep pursues Submersive's mission into the Techno abyssal depths.

De-Bons-en-Pierre is a project from Beau Wanzer & Maoupa Mazzocchetti. Beau Wanzer spends the majority of his days sifting through paraffin embedded animal tissues and reading old issues of Fangoria, occasionally breaking his monotonous routine to record in various fits and bursts. As well as solo material, he is also in numerous projects including Streetwalker, Mutant Beat Dance, Civil Duty, and Corporate Park. He's released on many labels including; Diagonal, L.I.E.S, Cititrax, Nation, Rush Hour, and Light Sounds Dark. Maoupa Mazzocchetti is the pseudonym of Florent Mazzocchetti, a French producer based in Brussels. Florent is strictly devoted to a DIY mentality around music production and his sound revives the electro-industrial aesthetic of the late 70s and early 80s. He's released notable productions on labels such as Unknown Precept, PRR! PRR!, Knekelhuis and Mannequin Records.

While Beau was visiting Brussels he stopped by Maoupa's house to jam for a bit. All songs were recorded on April 4, 2016 between 11:00am and 11:00pm, as single live takes.'Crepes' is a 6-track EP, titled so because they ate crepes the majority of the session. Beau says, "There was a bit of a language barrier. We'd mostly just laugh and nod when something sounded cool to us." The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Over 23 minutes of garbles, sludgy synths and leviathan rhythms. Surfing the slippery slope between industrial and electro, but never quite falling in, just a dip of your pinky toe to to test the temperature.

All songs are mastered by George Horn at Fantasy Studios in Berkeley. Housed in a sewage green/blue jacket featuring a crepe-masked duo reminiscent of pulpy VHS covers. Designed by Eloise Leigh and Florent Mazzocchetti. Each copy includes a 2-sided postcard with a photo taken during the recording session.

Sheffield's thatmanmonkz is quite the sonic force to be reckoned with. With an impressive discography across the board, dropping his most recent album "Columbusing" on Delusions of Grandeur in 2016 and running his own successful imprint "Shadeleaf", we're very happy to welcome him to Dirt Crew and present his latest EP "Shade Throw". Kicking things off rough and ready in true Detroit "Hight Tech Jazz" style, "Manna for Poppa" is a Saxed up dance floor bomb ready for the taking. "Intrinsic Divine", a sonically soaring breakbeat outing lightens the mood a little, think classic trip hop meets modern deep house. The cinematic string arrangement is accompanied by freestyle piano and licks of ad-libbed sax over a steady kit. "Space Jam 2017" sees thatmanmonkz team up with New York City's Clyde Phalanx to create a pure psyched up space house outing. We can picture this one over a sun-drenched Balearic scenery or deep in a dark and smokey basement somewhere. Jazzy freestyle drums underpin a live guitar improvisation that gets truly nasty on this interplanetary journey. Slow and sexy is the tempo for the closing track. "Evolver" is a soulful disco burner reminiscent of Idjut Boys, grooving along with smooth RnB vocals and salacious keys while intoxicating strings lift the energy to pure cosmic goodness.

Translated from Spanish as 'The Shade', Chip Wickham's debut album La Sombra drops after a 25-year career touring, recording and experimenting across three decades of jazz, funk, soul, hip-hop, Latin and electronica. La Sombra is a monumental record for Chip as it symbolises the moment he stepped out into the light as a director of his creations with freedom to explore his roots, express and tell his version of jazz and pay testament to his heroes Roland Kirk, Yuseef Lateef & Harold McNair.

Now living in Dubai after an intense and productive six years in Madrid, it was Manchester where Chip studied in the late '80s and became enmeshed in the chaotic and thrilling music scenes emanating from one of the world's most culturally prominent cities of the time. Recording and generally 'keeping things real' with Manchester's hip-hop collective Grand Central Records, Rae & Christian, The Pharcyde, Fingathing, Nightmares on Wax, Graham Massey (808 State), Chip was in a city that was undergoing a music revolution with the Haçienda as its temple. Yet it was the headlights of the M62 motorway and not the strobe lights that were lighting Chip's path during his student years ('88-'92). The lure of the jazz and funk clubs of Leeds, where The New Mastersounds were breaking out and building the blocks that would lead them to UK funk royalty status, proved too strong.

In the 1990s Chip continued to refine his craft in the rainy city and the gigs booked were growing in stature. It wasn't long before he was on the road with Roy Ayers and Badly Drawn Boy. Around that time Chip met up with trumpeter Matthew Halsall that was the beginning of a friendship that lasts to this day. Chip was a recording artist on Matthew Halsall's breakout album Sending My Love and continues to work with him, with live dates confirmed in spring 2017. This close connection with Halsall gave rise to other collaborations, such as with Nat Birchall and Go Go Penguin's Rob Turner.

Three decades after his late night excursions to Leeds, Chip found himself recording with Eddie Roberts from The New Mastersounds in Madrid, as part of their new band, The Fire Eaters, which he'd formed soon after he moved to sunny Spain in 2007 - the same year he released the Fried Samba album under his moniker Malena, his electronic Latin band that became a hit at the turn of the century for Freestyle Records. During his time in Spain he connected with the local scene and brought together many of his musicians colleagues from the UK to Spain and it was for a local and well established label, Lovemonk, that he released two 45s blending raw funk and Latin. These new roads and musical leanings led to an invitation to play for the prestigious Craig Charles Fantasy Funk Band. Based on a poll from Craig Charles' top rated BBC6 radio show, Chip was chosen to play alongside the cream of the UK funk & soul scene: James Taylor (JTQ), Snowboy, The Haggis Horns (Mark Ronson), John Turrell (Smooth & Turrell), and Mick Talbot (The Style Council).

La Sombra takes an altogether more rooted direction than Chip's recent collaborative work, with the jazz of the late '60s and early '70s a dominating influence to the recordings. Comprising of seven tracks recorded in Madrid with musicians assembled by Chip from Madrid's jazz scene, it combines contemplative explorations akin to Yusef Lateef's early work on tracks like 'La Sombra' and 'Pushed Too Far'. There's a fiery cover of Camarón de la Isla's classic 'La Leyenda Del Tiempo' and tracks like 'Sling Shot' and 'Red Planet' are locked in a groove harking back to Freddie Hubbard's Blue Note era and Luv N Haight's Nathan Davis.

Midgar is finally reaching the 10th release with MDG008, a rich ensemble of live jams, adapted to the vinyl format by ambient specialist Shaded Explorer. The record opens with the bleeping saucer Emerald Weapon, activating hyperspace mode as the sidereal ambiances take over in the middle of the track. Skyward follows up with thunderous kicks, adding consistency to the groove but keeping focus on windy atmospheres. The slow-builder Shaded Gems reset the pace on the Bside, where the italian artist fully express the solemnity of the machines. Underwood ends the record with natural textures: a sonic representation of Mother Nature waking up the forests using bright pads and perpetual chirping. Uncanny vibes in Naive's Reality, track which is perfectly resuming Shaded Explorer signature: evocative melodies and organic percussions. This last track will be released digitally with the record, in free download.

Britsh quintet Me and My Friends are set to release their captvatng and mesmerising second album,
Hide Your Way, on Soundway Records this summer. A unique and singular blend, it's the sound of Eng-
lish folk colliding head-on with the golden-era music of 1970s West Africa and the West Indies.
Towering vocal harmonies, soaring cello and clarinet lines, colossal basslines and drum paterns
combine on an exquisite rollercoaster-ride of the emotons from euphoria to melancholia and back
again.
Bound by a mutual love of the sun-drenched vintage sounds of afrobeat, soukous, highlife and roots
reggae, the UK-based 5-piece re-invent these infuences around the instantly recognisable voice and
fnger-style guitar of songwriter and singer Nick Rasle. The band's sound involves a meetng of diverse
musical backgrounds: Fred Harper's gospel-infuenced drumming and James Grunwell's deep basslines
provide the bed for Sam Murray's growling clarinet tone and Emma Coleman's strident cello and faw-
less ear for vocal harmony.
Having enthralled festval audiences across the UK with their breathless live show, Hide Your Way sees
the band embarking on a deeper exploraton of the playfulness and rhythmic agility which has come
to defne their sound. A rich and varied pool of musical ideas sits alongside a plaintve lyricism, as the
songs tell tales of regret, corrupton, loss and deceit. The result is something fresh and original, mar-
rying the emotonal vocal power of folk music with early jazz and delta-blues singing and the driving
rhythms of West-Africa's golden era and the heart and soul of the great roots-reggae songwriters.

The Sound Of Young Jamaica - More Early Cuts From The Vaults Of Studio One 1959-63

This is the second collection to bring together many of the visionary producer Clement 'Sir Coxsone' Dodd's early recordings made with Jamaica's most exciting young artists and musicians who helped define the world of reggae music over the decades following Jamaican Independence. These recordings were made when Sir Coxsone ruled the dancehalls of Kingston in the late 1950s and early 1960s with his number one Downbeat Sound System, where songs were tested out on dub plates at a dance to see a crowd's reaction - the most popular of which were then released commercially. Featuring early material by Roland Alphonso, Don Drummond, Tommy McCook (all of whom would form The Skatalites), Toots and The Maytals, young singers such as Bob Marley and The Wailers, Delroy Wilson, Owen Gray all captured in their formative days. The music here spans a wealth of styles - Jamaican rhythm and blues, jazz, gospel, proto-ska, Rastafarian - all of which were drawn upon to create the future sounds of Jamaican reggae that Sir Coxsone and the artists featured would soon create at Studio One which opened its doors in 1963. This collection is released on heavyweight triple-vinyl plus download code and double CD with slipcase. Sleevenotes and text is by the author Noel Hawks.

Already played & supported by Laurent Garnier, Patrik Skoog, Marko Nastic, Jamie Behan, Patrick Lindsey, Martin Landsky, Ramon Tapia,

Orbis X is a sublabel of Orbis Records and will be mainly focusing on softer yet often usable as DJ material for the broader mass interested in Electronic music. This sublabel is an extension of Orbis Records' softer, more melodical and experimental side. Music will be ranging from house, dub, chicago over melodic acid and even breaks. Not any track makes it to this sublabel if it can't stand on its own and stand the test of time!

Maik Richter was born 02.02.1987 in Karl-Marx-Stadt / Chemnitz / Germany. He lives in Switzerland since 6 years.
In 2005 Maik Richter gets his first appearances as Live-Act... Professional Music Production is the order of Maik R. The project is going to professional song composition but in which live performance will remain further a component. The sound of Maik R budges to minimalistical domains - the contrary to beginning of its musical representation. Gentleless and deep pressure sounds are significant for Maik's musical interpretation - the music should be stimulating you for dreaming. For new inspirations Maik R. leaves himself by other artists and external influences (e.g. society, nature) to enrich.

Known from his debut on Orbis Records, Grg is back with his typical warm & analog sound, we appreciate very much!
Born and raised in the GDR, today East Germany, Grg started making music in '94 using analog Equipment.
early 1995, he already played live-sets with 2 friends as Ensemble Acid Paul and later as "grg" on his own. He released on TeKknik Experimental and EAP records.
Still producing with the amazing MPC3k, he never focused on one single Genre. "it's just Electronic Music" he told us. A modest guy.

This EP contains a full side of each Artist.
The A-Side, by Maik, shows you how beautiful and wide dub can be. If you're fan of dreamy dub, you'll love this for sure!
The B-side is a melodic beauty. No words needed. Grg pur sang!
"Leidenschaft" is very dreamy soundscape based on smooth dub rhythm. Gentle, Subtle. Amazing. An ideal track to open or close the dancefloor. A secret weapon for laid-back moments with friends and a good glass of red wine.
"Klangbaum" feels like a statement. Deep, Dark, Swiss dub. Great stuff if you like the deeper side of dubby tracks.
On the B-side, "Chroma": a track that starts as a very basic yet surprising arrangement evolves in a very clean and sharp gentle melodic danceable track. Works on the floor as well in the background having dinner with openminded and electronic enthusiastic friends.
The second track "Fuer Pe Mi" could be categorized under trance, but it isn't. It's just an amazing track full of warm feelings. A track Grg wrote to celebrate the love between his and his wife. We're very honored he's willing to share this track with the rest of the world. Big respect.

Full color inner sleeve with 3D art by Kanika Tupathi. Vivian is a great acid banger with high frequency Jupiter 8 eruptions and a
simple 'raga style' melody.

Vivian is a great acid banger with high frequency Jupiter 8 eruptions and a simple 'raga style' melody. The track was made after the last tour was cancelled due to health problems, and was finished after Charanjit Singh passed away. Vivian means alive and is dedicated to Charanjit Singh and the special vibe he and Thee J Johanz had together on stage. The B side a 16 and a half minute take from a live show at the magical Alsisar Palace in Rajastan, India. It's an ever progressing improvised journey, the result of over forty shows played in the US, Europe and Asia. Charanjit Singh is improvising on the Jupiter, like he did on his proto-acidhouse album in 1982, and Thee J Johanz is jamming with the 808 and 303 like he used to do, back in the heyday of acidhouse.

All Tracks Written and Produced by S3A
Mastered by Kuniyuki Takahashi

This house project, based on the idea that electronic music is a blend of different cultures and music, started 15 years ago when Max began jamming on analog machines and samplers with different projects from techno (FriendShip Connection) to house (S3A).
It is through this project that he expresses, among other things, his taste for soul and House music. Such as his beloved artists MCDE, Floating Points... he uses the process of sampling as a basis to color his music with sounds of all his inspirations, he always add his own touch and groove to get his own vision of electronic music: dynamic, warm, emotional and dirty.

Although he discovered electronic music in 92 through UK hardcore with DJ as Tanith or Producer, his culture is based on a solid knowledge of house music, soul, funk, hip hop, making him one of the most promising house artists of the French scene since 2009.

He first came to Paris with Zadig to realize his childhood dream: building a studio and later collaboration, Frendship Connection (All is just a matter of time has actually been playlisted by Marcel Dettmann).

His residency at Concrete helped him to confirm his DJ position since the last 4 years adding as well releases on Lazare Hoche Records, Hold Youth, Concrete Music, Local Talk, Phonogramme and Faces. With these releases, his remix for Laurent Garnier on Music Large and his booking request from the French legend to play with him for his residency at Rex club and Concrete, gave him legitimacy and visibility in all over Europe.


In 2014 he decided to make his own label Sampling As An Art Records and focus on finding new-blooded artists and release his very personal music. A perfect definition between underground quality emotional house music and dancefloor efficiency!
In 2015, he released a collaborative EP on Uncanny Valley Label with Max Graef and Cuthead (whom released S3A RECORDS 03 the same year), made his first live representations and currently continue to spread his vision of music.

You can call them a »supergroup«, but Moderat understands that it's the »group« aspect that makes them interesting.

Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) have been working together as a trio almost as long as their two separate projects have existed. We've seen their collaboration grow from »laptop boy-band,« (as Ring playfully puts it) in 2003—with computers synched using software Ring himself had written, because at the time, »there was just no live performance software around.«

Ring confesses that Moderat wasn't »really meant to be a recording act ,« with Bronsert agreeing that, »it was really just about fun.« This maybe explains the six-year break that followed Moderat's first EP before they finally returned in 2009 with their selftitled debut album. Intent on creating something that contrasted with their own projects, the group started the cycle which blossoms on their second album, aptly titled II, culminating now in the trilogy's completion, III. Whereas I was the combination of two separate entities, II brought the members closer together, and in III, the final chapter in the trilogy, Moderat sounds like one band.

Both Szary and Ring will tell you that Moderat moved progressively from making tracks towards a more traditional writing approach of making songs - a process more fully realized on III. That's partly why the vocals have become more prominent. Mostly, you hear Ring singing (there are no guests this time), as he so often does as Apparat, but listen closely to »Ghostmother« to hear Bronsert and Szary backing him up. Stepping out of their comfort zone is the kind of thing that helped create their interplay between pop and electronics; doing it right won them the Resident Advisor Best Live Act honor as early as 2009, and they continue to gain popularity while remaining independent and underground.

Szary describes the idea behind Moderat as, »imagin(ing) yourself sitting in the cinema and watching a movie with an incredible soundtrack.« This is true with Moderat in general, but III in particular pairs an emotional pull with sensual imagery, creating dynamic sound and depth with lyrics such as »the calming scent of lavender fills the air,« or »burning bridges light my way.« You'd have
to ask them whether they're intending to manipulate the listener in the same way that John Williams or Hans Zimmer might with traditional orchestras.

One of the best parts of Moderat is their use of electronics to achieve orchestral diversity. They update the songwriting tradition with an intriguing palette, borne of careful attention and skill, informed by their »experiences with sounds of nearly 25 years of suband club culture.«
Let's not forget that these three were brought together by Berlin's now legendary rave scene. With this as their common foundation as individuals, III signifies Moderat's maturation in modern pop — an achievement shared under their collective belt.

Bronsert explains that, »the new album isn't based on jams. We went into the studio and knew exactly what we needed to do.« This is reflected in the sophisticated themes explored in the music. Take »Ghostmother,« which ponders inner peace, acceptance, fear of the unknown and how facing that fear often reveals something not so scary. Or »Running,« which is about being part of a mass that constantly needs to move to function, but doesn't have the power to decide the direction of motion. Or how about the wisdom of »Reminder,« which recognizes the world for its flaws and our role we've each played in that, but choosing to act differently and light the way to something better.

Given that, it's a bit of an understatement when Bronsert says, »I'd say our music has definitely matured.« Successful in their own endeavors, now they've mastered the »group«. It doesn't mean the end of Moderat, but it does mean they'll have to find something else to excel in.

Utterly magnificent, sublimely soulful survey of the Gospel Roots label, subsidiary of the mighty TK Records at the height of the Miami Sound. Beautifully presented... the LPs with a 12"-square, full-colour, sixteen-page album of photos and original artwork. Check!!
A&R was co-ordinated by Gospel legends Ira Tucker — from the Dixie Hummingbirds — and Ralph Bass, veteran producer with Savoy, King and Chess. The label was run by Timmy Thomas, who had recently smashed with Why Can't We Live Together, for another TK spin-off, Glades. Operations were overseen by Henry Stone himself, unlikely King of Disco, who had recorded a young Ray Charles, and pushed forward James Brown. They drew in artists from all over the US, from St. Louis, Columbus, Memphis, Brooklyn, Cabrini Green in Chicago: unknowns like Camille Doughty, reluctant to jeopardise her job at GM ('Generous Motors') in Detroit, and huge-sellers like the revered Brooklyn All Stars, who started out on Peacock in 1958.

Choral belters, deep ballads, harmony quartets, epic city-blues, gritty funk, powerhouse female soul... Killer-diller Philly like a scorching version of Harold Melvin & The Blue Notes' Wake Up Everybody, and Jean Austin's raw Spirit Free, co-written by Ronnie Dyson, produced by Jesse James at Future Gold. Chicago Sound like The Fantastic Family Aires — named after the family's furniture store on North Cicero, but reminiscent of the Staple Singers at their best — through to the full-blown glory of The Fountain Of Life Joy Choir, led by Marvin Yancy from The Independents, and featuring Natalie Cole... Singers like Versie Mae Gibson, from the Jordans, by rights up there with Irma, Etta and Ree... Bangers 100%-guaranteed to find their way into Theo Parrish sets, and mortal delirium for the prissiest of soul and gospel purists.

Over the course of five albums, Manchester based trumpeter, composer, arranger and band-leader Matthew Halsall has carved out a niche for himself on the UK music scene as one of it's brightest talents. His languid, soulful music has won friends from Jamie Cullum and Gilles Peterson to Jazz FM and Mojo as well as an ever-growing international following. His new album Into Forever, puts the spotlight on Halsall the composer, arranger and producer. Halsall draws on a diverse range of influences from Alice Coltrane, Dorothy Ashby, Phil Cohran and Leon Thomas to the more contemporary sounds of The Cinematic Orchestra, Max Richter and Nils Frahm to deliver his most complete recording to date. Into Forever features renowned Manchester based soul poet Josephine Oniyama and rising star vocalist Bryony Jarman-Pinto (Werkha) as well as regular collaborators, flautist Lisa Mallett, harpist Rachael Gladwin, koto player Keiko Kitamura, pianist Taz Modi, bassist Gavin Barras and drummer Luke Flowers (The Cinematic Orchestra) and two percussionists Sam Bell and Chris Cruiks. The result is arguably Halsall's finest record, asublime melding of stripped back soulful funk and deep, minimalist, spiritual jazz, that will take you on a journey deep into forever!

Confirmed reviews Mojo, BBC Music Mag, Jazzwise, Record Collector Independent On Sunday, Guardian, Quietus, all main jazzy blogs, Airplay from Jamie Cullum, Gilles Peterson, 6 Music, Jazz Line-up, Patrick Forge, Ross Allen and many more

9 date national tour including Liverpool Capstone Theatre Oct 1, Bristol St Georges Oct 15, Manchester St Peter's Church Oct 23, St Mary's Hastings Oct 28 and London Union Chapel Oct 29 plus Uber Jazz Hamburg Oct 31

Atlanta's TWINS returns with an album of club-ready synthwave for CLEAR. Nothing Left lives on the axis between Wax Trax and WBMX, generating mutant industrial pop for sweaty basement ragers. The record begins with drum machine workout "Can't Go Back", cruises past the electrifying gloom of "Treat Me Like A Freak" and drives straight through to the finale, mechanized torch song "That's What I Never Saw." Matt Weiner, the single entity behind TWINS, is also at the controls of CGI records, a dependable outpost for extraterrestrial club jams. Both solo and as half of Featureless Ghost he's released on Crash Symbols, Night People, Geographic North, Clan Destine, and more. His work has been featured on XLR8R, Pitchfork, Resident Advisor, and Decoder. Forthcoming records from Chicago's CLEAR include two twelves of mind warping techno from locals Mike Broers and Dar Embarks. TWINS may be the first out-of-towner on the imprint but Nothing Left truly echoes the vibe of the city's underground past and present.

Finale Sessions is really pleased to launch new series Finale Sessions Limited with Berlin up and coming act Arcarsenal. Duo comprised of Alan Mathias and Etienne Dauta, both founders of Bass Cadet Records and its dedicated vinyl store located in the heart of the german capital, they are also active members of the large Underground Quality family. Arcarsenal have already started to establish themselves as proponent of a crossover sound, mixing many influences from jazz, house, ambient to dub and techno. They are always giving a prominence to jam, improvisation and textures work in their studio routine. This EP called « Dark Skies & Wetlands », even if slightly grittier than usual, is no stranger to the rules of the duo. The opening track « Different Planet » is an epic dark deep house cut which develops itself over a course of 8:40. Starting with a stamping ground bassline and hazy atmosphere, the track opens up with synth attacks, dub echoes and slowly brings in a blissful melody that ends up linking all the elements. « Substance Of Arjuna », the following track on the A-side, is a-contrario a short but intense ambient work. Shot in one take, this subtle cut showcases the kind experimentations that Mathias and Dauta can end up doing late at night in front of their machines. The b-side of the EP leaves all the space to « Racoons », one of the weirdest and yet most powerful work of the duo to date. Tribal techno could be a short try to define what they achieved here, but the track goes far more than this. Built on a gritty mental acidic bass and a huge drum kick, the frenchmen bring over aggressive synth work that could sound like an orchestra on rehearsal, pachydermic screams or an overdriven guitar larsen. Underlined by a complex percussion pattern recorded live in their nest and chopped up to the best effect, the track ends up in a looping transe from which the listener might not leave in a normal state.

Following the huge success of the lead single "Settle Down" (played twice on one show by David Rodigan!), Blend Mishkin and the Roots Evolution band deliver their stunning debut album "Survival Of The Fittest" for NICE UP! records. Having spent most of his professional career behind either a computer screen or pair of turntables, Athens based producer Blend Mishkin (real name George Mantas) has been putting in work since the mid 90s with releases on labels such as Pork Recordings, Tru Thoughts, Shadow Records and many more. For this, actually his 8th studio album, he decided to do something a little different and step out from behind the computer. A chance meeting with some like minded musicians led to a conversation about them re-creating some of his past tracks for a potential live show, but after much thought it was decided that something brand new and fresh was needed. After numerous sessions and jams, a collection of tracks had begun to take shape. Recorded live and then taken back to the lab for mixing and dubbing, "Survival Of The Fittest" is the fruits of these sessions. The next step was to scout for vocal performers to bring the rhythms to life, with the focus on using both international and local talent to give a wide breadth of influences and themes. Lining up are Rebel Salute show-stopper and Juno award winning Exco Levi and seasoned veteran Skarra Mucci from Jamaica, UK reggae/dancehall don Gappy Ranks, Italian raggamuffin KG Man, Mandinka Warrior from Denmark and fellow Greek BNC amongst many others. Retaining an authentic vibe whilst keeping it current, "Survival Of The Fittest" is a truly modern roots reggae album.

Fasziniert von der Dynamik elektronischer Tanzmusik und der ungeheuren Kraft und Reichhaltigkeit von Live-Instrumenten, schufen Chris Davids und Liam Ivory, aka Maribou State, mit "Portraits" ein unwiderstehliches Album. Es ist ein Album, auf dem sich Organisches und Synthetisches umarmen und an James Blake oder SOHN erinnern und dessen Groove es durchaus mit dem von Moloko aufnehmen kann. Maribou State setzen uns atmosphärischen Dubstep gepaart mit House und einer gesunden Prise Pop vor - "glitchy, sad and slow" (The Guardian), aber ungeheuer tanzbar und garantiert aus der Mitte des Herzens kommend. Die letzten 18 Monate des Duos waren strikt getaktet: An den Wochenenden wurde wild durch die Gegend getourt (von England, Europa, den USA und Australien war alles dabei, die Bühnen von Glastonbury und Bestival waren nur zwei der Meilensteine auf ihrem Weg), während man sich unter der Woche disziplinert den Albumaufnahmen widmete. Bei Radio-Schwergewichten wie Zane Lowe oder Huw Stephens schaute man auch vorbei und werkelte ganz nebenbei an einer schönen Palette von Remixen für "alte Hasen" wie Kelis, Lana del Rey oder den Crookers. Die harte Arbeit zahlt sich mit Erscheinen des Debüts nun endlich aus.

Serious heat alert! Ridiculously rare sun drenched funky Soul from the mythical Raw Soul Express....

"The Way We Live" is as flawless as it gets, a superior piece of sweet Soul music from all the way down there in Miami, ultra sought after in it's original 45 issue & featuring some absolutely stellar production from the underrated George "Chocolate" Perry this record is an instant party starter! Featured on the mix-tapes & in the play-lists of some of the most discerning crate digging DJ's out there & an OG 45 will literally cost you an arm & a leg ($600 plus) this total gem of a record gets an overdue repress in it's original form. Essential!

Backed here with it's original b-side slow jam "This Thing Called Music" this ultra-rare 45 has been re-mastered, re-pressed & brought back for 2015's dance-floors in conjunction & with the permission of T.K. Disco / Henry Stone Music, Miami USA.

Hot on the heels of his last outing for the Delsin house series comes this, another essential new offering from German producer Erdbeerschnitzel. The experienced producer has many skills in his arsenal and this new EP proves that once again. The title track The Ample Waters is a joyous and lively concoction that fuses curious melodies with busy little piano stabs and more trilling, sunny melodies. It's busy house for bustling dancefloors and next up, Never Tilt slows things down with jumbled, woody percussion falling over lazy drums and stretched, yawning synth smears. Colourful and effervescent, it's a track that makes you want to shake your limbs. With Level Hopes is again characterised by melodic colour, with pixelated patterns stretched over a funky, gooey bassline and clacking percussion. There's a beautifully DIY feel to the loosely assembled track that gives it a life all of its own before closer Yet Unfulfilled pairs slo-mo beats with neo-soul vocal snippets, lazy and stoned summer chords. It's the most emotive of the lot, but all four tracks are truly feel good jams that have come just in time for some serious summer action.

Hot Casa Records reissues Disco Hi-Life, a real treasure album composed and interpreted by Afro-Soul maestro, Orlando Julius. Comes as delux 180 gramms vinyl with tip on jacket & inserts with interviews & photos. Check!
Following up to the 12inch release (HC07 / 2009), here comes the remastered version of a real mindblower piece from 1976 including four unreleased tracks, all recorded with the best Nigerian musicians, between Ginger Baker' Studio in Lagos and the American Star Studio in West Virginia, USA.
Orlando Julius Aremu Olusanya Ekemode was born in 1943 in Ikole-Ekiti, Nigeria and can be considered as a main figure of the Afro-Soul music history. One of the first African musician to get signed on a 'Major' label (Polydor), he delivered many hit single as a composer and effortlessly performed live as a tenor sax and singer. He worked and met with some of the 'greatest', such as Louis Armstrong, James Brown (for his Nigerian tour with Bootsy Collins), The Crusaders, Gil Scott Heron, or Hugh Masekela.
In the middle of 1975, just after they finished the recording of The Boys Doing It' album with Hugh Masekela, they all flew to Ghana and Lagos. It was holyday and Orlando had also plenty of time to focus on his own songs. He wrote 'Disco Hi-Life' in Yoruba and 'Children of the World' in English. And he immediately planned a recording session including 12 finest musicians, such as the great singer Dora Ifudu Avery, Adelaja Gboyega on keys, Kenneth Okulolo on Bass guitar, Butley Moore on drums, Fela's collaborator Tunde William on Trumpet, and also Ade, who helped sang 'Love Peace & Happiness'.
Originally released by Nigerian label Jofabro in partnership with the UNICEF association for the 'International year of the Child', it was only available in few promotional quantity... here comes the very first official reissue of this dancefloor masterpiece!