Search:lo five

Unknown Pleasures, the debut studio album from Joy Division, was first released in 1979 on Factory Records. Within the first year, the album's atmospheric sound had won over fans and critics with tracks like "She's Lost Control" and "Day of the Lords" and in the thirty-five years since it has more than secured its classic album status. Instantly recognisable by Peter Saville's iconic design, this new heavyweight vinyl reissue replicates the artwork to painstaking detail and features audio from the 2007 remaster, available for the first time on vinyl.

Available on vinyl for the first time in 40 years, Outernational Sounds is proud to present a masterpiece from the Los Angeles jazz underground - Horace Tapscott's burning, spiritualised 1978 set, The Call.

One of the unsung giants of jazz music, the composer, bandleader, arranger, pianist and community activist Horace Tapscott was the undisputed keystone in the grassroots Los Angeles jazz scene. Throughout the 1960s and 1970s, his radical community arts and music formations the UGMA (Underground Musicians Association, later changed to UGMAA - Union of God's Musicians and Artists Ascension), and his protean big band, the Pan Afrikan Peoples Arkestra, were at the epicentre of music, culture and politics in the Los Angeles area.

From their 1960s base at the Watt's Happening Coffee House on 103rd St, to their decade-plus- long 1970s residency at the Immanuel United Church of Christ on 85thE St and Holmes Ave, Tapscott's groups were the beating heart of underground music in LA. Hundreds of musicians passed through and played their part. Major figures in LA jazz such as Arthur Blythe, Azar Lawrence, Jimmy Woods, John Carter, Bobby Bradford, Sonny Criss, Ndugu Chancler and dozens of others all paid dues or just got down with Tapscott, not to mention the core Arkestra regulars who have since become celebrated names - Nate Morgan, Jesse Sharps, Adele Sebastian, Dadisi Komolafe, Gary Bias, to mention only a few.

Tapscott and the Arkestra were down on the ground - playing fundraisers in park and street, organising teach-ins and workshops for young and old, mixing it with radical theatre groups, firebrand poets, political radicals, Black separatists, community groups and churches. They lived communally, and built an ark for the Black arts in the heart of the city. But as a result of this grassroots community focus and Tapscott's antipathy to the music industry, the Arkestra didn't record for nearly two decades. That only changed when long-time jazz fan Tom Albach started Nimbus Records. The label was initiated specifically in order to document Tapscott and his circle, and the first three records showcased Horace and the Arkestra.

The Call was put together from two studio sessions in April 1978, one at Hollywood Sage and Sound, one at United Western - the latter session had the addition of a string section, who can be heard on the moody Cal Massey composition 'Nakatini Suite' and Jesse Sharps' swinging modal trip, 'Peyote Song No. III', with its swirling soprano solo. In keeping with the communal nature of the Arkestra, the other two compositions, 'The Call' and 'Quagmire Manor at Five A.M.' are also by Arkestra members. But at the centre of the music is the builder of the Ark, the visionary whose original call to action started a movement whose legacy continues to this day - Horace Tapscott.
Heed The Call!

Last year saw The Last Poets celebrate their 50-year anniversary with the righteous, politically-charged poetic record, "Understand What Black Is". Now to continue the party, Brighton production-maestro Prince Fatty has reworked the album with a fresh twist and blend of smooth, dub-delights. Set to land on the 29th March, the revolution marches on - this is "Understand What Dub Is".

After Prince Fatty's involvement in the production of the original project, he was the perfect person to help update the record with five decades of experience for a new audience to enjoy. The ten tracks of "Understand What Black Is" depict a relevant, historical philosophy of identity and race that has followed The Poets over the last 50 years. Since the origins of the civil rights movements back in the late 60's, Abiodun Oyewole and Umar Bin Hassan (two of the longest-standing group members) have provided social commentaries and a voice to African-American consciousness that has now been heard on a global scale.

Their raps, exploitations and insights quickly evolved into the origins of hip-hop in Harlem, New York back in 1968, and now in 2019 they continue to voice their dedication to the cause with the backing of slick rock-steady infused beats to keep things moving. Having had their work sampled by the likes of NWA, Dr Dre, Kanye West, Snoop Dogg and countless others is just a testament to the timeless sounds and prophecy they have created, and now Prince Fatty has stepped up to put his stamp on it.

Prince Fatty's ever-reliable work gives "Understand What Black Is" another lease of life as he maintains an undeniably slick groove throughout. Both therapeutic and warm, the soulful rhythms of "Understand What Dub Is" provide the perfect platform for The Last Poets to delve into everything from Trump's inauguration, nods to Biggie Smalls and respect to Prince. The calm, collective and downright thought-provoking words go hand-in-hand with the roots-driven reggae medleys with ease - this is dub in its rawest form.

Not only do these songs explore personal struggles and individual endeavours, they also represent a collective of deprived aspects of humanity and socialism, that perhaps now need to be pointed out more than ever. Although there is a variation of sound, the overlying topics remain a constant - it is time to "Understand What Black Is" once more.

The five-track EP by Leonid Nevermind has everything you want for your body and mind. Picturesque electronics with deep funky, jazzy and mellow Electro moods. Musically rich with a blend of attractive drifts between breezy and melodious Detroit House, dark and smooth 90s indie-house, jazzy piano flourishes, clunky broken beat, and sticky Lo-Fi House.

- 180 GRAM AUDIOPHILE VINYL
- BRAND NEW 2019 NEO-CLASSICAL ALBUM
- PRINTED INNERSLEEVE
- LIMITED EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT VINYL

Fermata, Pieter de Graaf's debut project and the birth of a new talent in the neo-classical world. 'Filmic,' he replies when asked about the direction he had in his head, and there's an epic grandeur to many of the tracks. 'I have always written music' de Graaf explains, 'but with Fermata I felt that I could do so much more than just being a pianist, so I thought: 'Why shouldn't I try' The songs aren't 'written' in any traditional sense; instead he plays and improvise segments, records them, and listens back over and over before deciding what to use, what to discard, and what to embellish. No stone is left unturned in being guided by what the song requires - he has travelled North to record a church organ, wrote a score for a choir of four sopranos, and enlisted the help of friends and colleagues at Kytopia, the music collective in Utrecht that houses his studio.

It can take a while for an artist to find their true calling. For Pieter de Graaf, he's been searching since he sat next to his father, aged five, and watched him play the classics and the classical. He later immersed himself in the world of jazz, dedicating hours to practice, and studying at the Conservatory of Rotterdam. Several years spent touring with various bands, friends, and hip hop groups including The Kyteman Orchestra taught him an invaluable lesson, something that has informed his new project right from the start. His influences - Miles Davis, Nils Frahm, Rachmaninov, Bach, Herbie Hancock, and above all Keith Jarrett - allowed him to combine easy melodies with more virtuoso passages without losing the meaning, or the essence, of each song.

Fermata is available as a limited edition of 500 individually numbered copies on transparent vinyl.

Movente Is A Debut Lp From A Vital And Long Standing Figure Of Italy's Clubbing Scene Under A Brand New Alias. That Alias Is Cleptophonic, And The Album, Due In 2019, Is An Autobiographical Collage Of Experimental Trip Hop Sounds That Is Truly Immersive.

Under A Former Alias, Cleptophonic Has Spent Years Djing And Experimenting In The Studio And Has Made A Real Impact On His Native Scene As A Result. He Is A Very Delicate Person With Serious Attention To Detail That He Puts To Best Use By Delving Deep Into What He Loves: Playing On Turntables And Immersing Himself In A Sonic Realm Cuts Him Off From The Real World And Acts As Therapy For This Meticulous And Selective Person And Artist.

He Is A Master Of A Stylish Musical Collage Technique - Both In Sound And Images. As Such Movente Is A Collage Of Different Sounds, Sampled With The Turntables And Put Together With Logic, While His Passion For Collage Also Spills Over Onto The Album Cover, Which Is Made By Pieces Of Paper From Magazines, Newspapers And Comic Strips. The Result Is An Experimental Trip-hop Album With A Singular Sound That Puts Together Pieces Of Life, Sounds And Images That Are Meaningful For Him, Especially The Last Song, Which Is Dedicated To His Mother Who Sadly Committed Suicide A Few Years Ago.

There Is A Beauty And Delicacy To The Music Throughout This Most Excellently Escapist Album That Is Utterly Absorbing. Pads Swirl Round Louche Beats, Crisp Hits Ring Out Into The Night And You're Left In A Deep State Of Contemplation Throughout. There Are Warped And Shimmering Cuts, Dub Tracks Drenched In Reverb And Melodically Rich Broken Beats. The Whole Thing Is So Spacious You Get Sucked Right Into The Centre Of It All And The Thoughtful Moods And Deft Sonic Details All Making A Truly Lasting Impact. This Is An Exquisite Album That Encourages You To Really Get Lost In A Unique Musical World.

The B-52's The B-52's on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Ranked at #152 on Rolling Stone's List of the 500 Greatest Albums of All Time Delightfully Campy, Intentionally Goofy, Lyrically Kitschy: 1979 Set Is Nothing But a Good Time
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (America's Best Record Plant): LP Bursts Forth With the Color and Vibrancy of the Brilliant Pop Within
The B-52's' Wild Planet and Cosmic Thing Also Available on Silver Label LP Boffo! Beehive hairdos, goofy sci-fi humor, lava-lamp kitsch, thrift-store fashions, party-starting tunes, unconventional perspectives, and the unique blending of the underground aesthetic with mainstream accessibility: The B-52's mix all this and more into a dizzying cocktail on their self-titled debut, which remains one of the most ahead-of-its-time, endlessly enjoyable, and vividly colorful albums ever released.
Ranked at #152 on Rolling Stone's list of the 500 Greatest Albums of All Time, The B-52's has its roots in the band's improbable genesis, itself reflective of the record's gleeful moods and quirky charms. The five members first played after sharing a tropical alcoholic beverage at a Chinese restaurant, the ironic silliness and spontaneous irreverence indicative of the music on its breakthrough record. Not to mention how it mirrors the unusual hodgepodge of instrumentation: organs, walkie talkies, bongos, glockenspiels, tambourines, toy pianos, smoke alarms, and more!
Musically, the band proves just as adventurous and whimsical. Using pleasant harmonies as a backdrop and Kate Pierson's squealing organ as a starting point, the B-52's draw upon surf-rock grooves, beach-bound soul-pop, herky-jerky funk riffs, minimalist rhythms, and Ricky Wilson's unusual guitar lines to craft songs that tower above the sarcastic suggestiveness and campy declarations. Of course, the latter are plenty entertaining on their own, but there's no denying the dance-bound persuasiveness and melodic shimmy associated with the classic cult single 'Rock Lobster' and splendid cover of the ubiquitous Petula Clark standard 'Downtown.' You've never heard anything like this.

Indeed, the B-52s were about a decade ahead of the alt-rock revolution when they recorded this delightfully campy, intentionally goofy, lyrically tawdry, and undeniably harmonic 1979 new-wave set that comes off as the best dance party you might ever hear. This is 40 minutes of nothing but a good time.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (America's best record plant), Silver Label numbered limited edition LP presents the B-52's brilliant debut in a fidelity it's never previously enjoyed. So detailed and realistic are the timbres, accents, and harmonies, you'll think the band's bright outfits are appearing right in front of you. Plus, the LP is worth the cost alone for the iconic album cover, which spotlights those bouffant 'dos.

We are very excited to present you this new signing and debut EP by Dampé. A studio and live project from South East London. Since moving to the city, Dampé has been intimately involved in its club culture " from running warehouse spaces and booking venues to DJing and performing in groups across the city and Europe, under a slew of different aliases.

The music is made on a boat on the Thames and is a combination of dusty analogue gear, live instrumentation, and samples. For Dampé, influential parties were "Co-Op, FWD>>" and "You're A Melody" and echoes of those dances can almost be felt in the sound. Across five original tracks, the EP explores weirder and worldlier ends of house music, all with a nod to undeniably UK sounds.

"Peach Shuffle" is a made-for-the-floor, broken beat work-out that has this great warped and chopped Persian vocal sample giving the track a unique and world-wide touch, followed by "St James" Road", a crunchy live Rhodes jam and ode to a favourite street south of the river. "Move Me" is all garage-infused vocal loops and singing bowls and acts as an experiment-come-DJ tool. "Carn" is a super-swung hip hop beat featuring "SMBD" aka "Simbad" providing additional keys. Closing out with "Zongo Junction, At Night", a late night roller with material pieced together from saturated CR 78 samples and field recordings made when Dampé was recording sound for a film about witchcraft and the internet across rural Ghana.

To round up this exciting EP we ask a fellow SE London enthusiast "Nebraska" to make a remix of the title track "Peach Shuffle". Cutting up the vocal of the original, adding some mean bass and pouring a smooth "dance floor" sauce over it. The delicious end result is something we are very proud off and we hope you will enjoy as much as we do!

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.


The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.


The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

In 1997 legendary producer Orlando Voorn delivered two tracks for the Get Lost and Past-Present+Future compilations, as well as the idea of a full length album for his Ultra moniker. This was completed in 1998 shortly before the initial shutdown of Multiplex. Some tracks were scattered onto other releases, but this Planet Ultra EP is compiled of five previously unreleased compositions from the Multiplex album of the same name, plus the Barwork track - finally on vinyl after more than twenty years.

DJing since at the age of 12, he won the Dutch DMC championships in '86. Going on to produce a multitude of club bangers since the early 90's. Spanning many genres, his short lived Ultra alias was reserved for a deep electro vibe.

On ice for two decade these classic electro tracks reference the early UK breakbeat of the 90's as well as the obvious sci-fi connection. To that effect we kick off with "Teflon" and "Plasma", followed by the funky "In The Galaxy" which adds a touch of Herbie Hancock. On the flip side "Ultra Light" evolves to an all-encompassing, atmospheric trip, before the deep "Barwork" and finally "Open".

* Five years have passed since the first release of Nowadays Records.Launched with Fakear's signature (seen on Ninja Tune), the label founded by oOgo and Chomsky from La Fine Equipe has seen the growth of many projects such as Clément Bazin, Everydayz, Phazz (who produced for Travis Porter, did remixes for Soulection, Interscope and Mad Decent), Leska, Jumo and many others, all of them carried by the irreplaceable quartet of La Fine Equipe.

Five years during which Nowadays Records released 75 EPs and LPs, toured in and outside of France, and generated several hundred millions stream plays.With its heart in the right place, its eyes on the emerging scene and its ears open on the world, Nowadays built itself a singular and racy identity through the time. Fed by inspirations like Stone Throw, Ninja Tune or Warp, the label places itself as an ambassador of a fast growing scene, defending it through its shows, releases, and events like the two Boiler Room shows in Paris and London.Without sticking itself to a musical gender, Nowadays keeps on widening its horizons by working with foreign artists and mixing the inspirations through its releases, driven by its sound and visual trademarks and aesthetics.

In order to celebrate those five years spent defending as many projects as musical crushes they had, and to thank its community made of more than 150 000 followers around the world, Nowadays unveils the 'Nowadays V', double album with a digital and physical release on November 30th.Through this compilation, Nowadays gathers on one side the tracks that marked its history and, on the other side, unreleased tracks that sometimes lead to collaborations such as the one between Clément Bazin and Leska, or the one between Fakear and La Fine Equipe.

Third LP of Cabaret Contemporain, French band (featuring Fabrizio Rat on keys) who use acoustic instruments (piano, guitar, bass, drums, contrabass) to produce a « hand-crafted » club music infused with techno. Inspired by Jeff Mills, Robert Hood or Drexciya, the five members already had a career on classical scene; their idea is not to replay classical techno tunes but to create a new path for the electronic music. 2 tracks featuring with the label boss, Arnaud Rebotini.

« Ballaro », which opens Cabaret Contemporain's third album, begins with light percussions, which seem to turn on themselves, while being conveyed by reverberations close to dub. After a few minutes of convolutions, the piece gets out of hand, transporting the listener into a rich form of pulsating trance, irrigated by a soaring melody and punctuated by persistent piano tones. « La selva »; more subdued, has the same energy, the track ending in an even more powerful way, a kind of paroxysm.

Finally, the strangest and most minimal « Cactus », features a singular groove, which evokes the most brutal house from Chicago, or the sometimes obsessive techno from Detroit. Just like other tracks such as « Transistor » or « TGV », fuelled by sweat and trance, Séquence Collective bears all the intensity of a techno cut for clubs' dancefloors. The only difference being that their music is not played with synths, drum machines or software, but with acoustic instruments. Dual curriculum The band is composed of five musicians and a sound engineer: Fabrizio Rat on piano, Giani Caserotto on guitar, Julien Loutelier on drums, Ronan Courty and Simon Drappier on double bass and of course Pierre Favrez on console. They are all in their thirties and met at the prestigious Paris Conservatoire in the late 2000s. However, all the musicians in the band have a double curriculum and navigate freely between the institutional realm and the underground or pop music scenes. Through classical or contemporary music, jazz and improvisation, rock and experimentation, they share a common passion for the original and futuristic techno of the 1990s, that of Jeff Mills, Robert Hood or Drexciya, which they have decided to reinvent and further in their own way. Not as a simple stylistic exercise practiced by virtuoso musicians, but rather as a new path for modern music, and for their generation. « The original idea » they say, « was to make club music by hand, like craftsmen. Like in the early days of jazz, our band managed to transform itself into a kind of dancing machine. Our music is therefore functional because it is danceable, but also mental and abstract, while offering several layers of listening. You can dance and play, have a purely physical and sensory connection to the music. But you can also immerse yourself in its listening, perceive refined harmonies or more complex rhythmic superpositions »

If the tones of Cabaret Contemporain are truly unique it is because each member of the band has developed a very personal approach through the use ''prepared'' instruments. The strings of their piano, guitar or double bass may recall strange machines with literally incredible sounds, obtained using objects such as chopsticks, clothes pegs, foil, hangers, a tiny pie mould or many other utensils from a DIY store. A collective energy

Cabaret Contemporain is first and foremost a live band that has been performing in venues and festivals since its inception in 2012 (Nuits Sonores, Siestes Electroniques, L'Aéronef, Le Trabendo, Philharmonie de Paris, Gaîté Lyrique, Rewire, Dancity, Barcelona Accio Musical...), both at traditional jazz and contemporary music venues, and more often at electro music hubs. When facing the audience, the band, which plays each of its sets in one go, without a break, shows an intense physical presence, which competes with the musical power of DJs who share the stage with them. Their performance, full of tension and repetition, which requires maximum concentration and a state close to trance from the musicians, is sometimes, according to them, « a mental journey and a mystic experience ». A dimension that brings to mind the historical techno culture and its dancers who, communicating on the dancefloor, were carried until the early hours of the morning by the power of the beat. An album inspired by the stage Since their beginnings, their compositions on record have drawn their energy directly from the practice of their concerts, whether referring to Terry Riley (2014) or Moondog (2015), an EP and an album dedicated to the repertoire of the two American artists, the original compositions of Cabaret Contemporain (2016) and Satellite EP (2017), as well as this new album. Séquence collective can be listened to as a condensed transcription of their inventions and their live experiments. The tracks, more than half of which were improvised during sessions held in the former Vogue studios near Paris, were recorded in live conditions, « like an old school rock band » they say. As usual, they invited a new musician to join them in the studio. After collaborating with Étienne Jaumet or Château-Flight, Arnaud Rebotini, César winner for best film music, added a welcome synth touch on two tracks (Pro- One, Prophet 600), which boosted the group's formidable collective energy. The album ends with « October Glide », again performed with Rebotini, a lyrical and lively track, built on a powerful and slow progression of timbres and percussions, which would ideally find its place at the core of a techno party « peak time »

Matt Edwards' R-Time Records welcomes back Sir Lord Commix with five silky cuts for the fourth 'Retroactive' release.

Amoon Andrews' outfit Sir Lord Commix returns with the fourth instalment of re-released gems that have been in high demand on the vinyl market. Born out of Rekids, R-Time Records has previously released twelve of Commix's cuts, yet his treasure trove discography keeps on giving, spanning two decades.

Released on Ugly Music in '96, 'World Of Groove' is a smooth house cuts with an abundance of soulful stabs and driving percussion whilst hypnotic melodies and sweeping cosmic strings envelope 'Life Cycle', which first appeared on Cynic in '05. 'Cosmic Jive' - from the highly sought after 'Evidence' vinyl of '97 - pumps a reverberated kick amongst shimming chords and rising bleeps.

Appearing on an extremely rare release on Hard Up, 'Under Seige' has an off-kilter rhythm and erratic yet funky slapping bass melody. Finally, the release concludes with an ethereal cut titled 'Beyond Reach' complete with liquid breaks, floating arps and shining melody (originally from a Talahachi VA in 2014).

Andrew Wasylyk is the alias of Scottish writer, producer and multi-instrumentalist, Andrew Mitchell.

In 2018, Andrew was extended a residency invite from arts centre and historic house, Hospitalfield, Arbroath, Scotland to create new music for their restored, 19th century, Erard Grecian harp.
During Wasylyk's five-month sojourn he created melodies and progressions echoing the building's unique relationship with the looming North Sea horizon. Using not only the harp, but the house's original grand piano, Andrew explored the Angus landscape and beyond, gathering field recordings on trips to neighbouring Seaton Cliffs and Bell Rock Lighthouse (the world's oldest surviving sea-washed lighthouse).
Winter slipped into spring, and harp-led compositions gave way to an ambitious third, full-length album, exploring a range of themes utilising a broad palette of instrumentation, including flugelhorn, euphonium, oboe, string trio, vintage synthesisers, drones and upright piano.

From the wandering, Bob James-esque, Fender Rhodes and shimmering strings in the study of coastal light, "(Welter) In The Haar", to the plaintive brass and farewell transmission blowing through, "Adrift Below A Constellation", punctuated by the fragility of Wasylyk's sole lead vocal of this collection - "The Paralian" (a dweller by the sea), is a conclusion embued with blue and golden melodies that land in a territory akin to experimentalists such as Robert Wyatt and Brian Eno. Through which, Wasylyk weaves the listener along a Modern-classical, Ambient and Jazz dream of Scotland's east coast.

Athens Of The North team were stunned by the luminous beauty and creativity at play in this work. Falling between genres and time, it stands next to 60s British Jazz, effortlessly blending notes of Library and soundtracks with dashes of British Folk.

Mysterious white label release 'ALFA EP' coming from new kid on the block 'Alfa Cornae'.

This EP is all Italian, recommended listening: cruising through the Tuscany countryside, riding shotgun in a vintage Alfa. If the above is not at hand, then any local nightclub with a decent sound system will do.

Ok so you climb into your Alfa, a thing of beauty, you rev the engine, it sounds like your ex... in a good way.... This is a serious roadster, we're not talking Ford Mondao, we're talking all Italian smooth V8 engine, luxury leather upholstery, the real deal!

You're on your way to the best party in town, driving down the freeway toward Milan, 120 mph, roof down, a virgin Negroni in the passenger seat, casually smoking on a fat Toscano cigar; you're on the way to the biggest discotheque this side of the river Po.

Now you're in a hot tub. You don't know who's it is but it has bubbles. You turn to your right; next to you is Roberto Baggio. You take a big drag on your cigar and smile at him, he responds with a cheeky wink. Next thing you know you're dressed as a goalkeeper and everyone's dancing. Negronis all round, even for the reserves. Everyone is dishing out high fives; there's been one too many cigars smoked. Gerd Janson is dressed as a lama and the crowd is loving it.

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

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

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

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

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

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

Two sizzling South African boogie tracks from Kabasa's Tata Sibeko. A killer producer, arranger and bass wizard, Tata channels the gloomy current affairs landscape of 1985 into a glimmering Afro-synth nugget. As South African pop embraced 1980s synth sounds, Maxi Singles on 12-inch vinyl became a new canvas of expression with wider grooves for fat beats and extended mixes that suited dancefloors.
.
The supergroups of the 1970s fragmented into solo recording artists with the likes of Harari's Sipho 'Hotstix' Mabuse releasing his seminal 'Burnout' single in 1984. Former Kabasa frontman Tata Sibeko dropped 'It's A Mess' in 1985, addressing the world's Cold War climate with an appeal to 'learn to love each other' and 'save ourselves from catastrophe.' The B-side 'Afro Breakdance' marked the evolution of Tata's Afro-global sensibilities from 'Afro Funkin'' that had appeared five years earlier on Kabasa's self-titled debut in 1980. Tata Sibeko (RIP) passed away in 2017 after approving the restoration and reissue of this single. This release is dedicated to his kindness, charm and creative zeal.

Rounding up five years of Heist also means we're releasing our fifth version of the Round Up. Last year's edition was full of highlights with Fouk remixing Nachtbraker's anthem 'Hamdi' and Alma Negra going all tribal on Nebraska's 'Big plate chicken'. This year, we've seen a lot of new faces on the label, which has brought us a fresh set of combinations and a couple of really nice revisions of the tracks that made our year.

First up is Detroit Swindle's take on Heist's latest signing Hugo Mari. They chose to remix 'Change ur ways', beefing up the dreamy original. They focus on a simple but effective grainy groove and added a twist on the bass to give a more 'warehouse' feel to it and play around with the lovely detuned keys and vocal chops of the original to great effect.

Alma Negra show you just how loose their limbs are with a Rhodes filled version of Kassian's Acid surprise 'Bad Habit', while the full B side is dedicated to Pitto's personal take on Adryiano's classic house track 'Me and you and her'. His version takes the track into a new territory that lies somewhere between balearic and dreamhouse. Whatever it is, it's got a lovely vibe where the vocal is complemented by airy pads and a touch of acid.

Kassian on their turn, have done a great job on taking Pitto's 'Treat me like a fool' into 4x4 house territory. They've opted for a sub heavy club track where reverbed hits and the vocal take turns over a solid house groove. Next up on the C-side is Adryiano. He's picked Detroit Swindle's moody-but-heavy album track 'Cut u loose' and does what he does best: a steady and nicely distorted filtered house groove that packs quite a punch. The final track of this compilation really is a great pair of artists: Hugo Mari and Alma Negra. Hugo takes the tropical warmth of 'This is the place' and adds a subtle punch with a smart percussion loop and some added pressure on the low end.

So there you go. Another year, another Roundup. We hope you'll enjoy listening to these re-interpretations as much as we do. Yours

Sincerely,
Maarten & Lars.

Irish mastermind David Kitt aka New Jackson returns to Permanent Vacation with his forth record for the label. This time out he takes his beloved MPC and XOX machines back to Japan, their birthplace, for five imagined train journeys. The results are some of the most stunning and multilayered music he has produced to date with that constant locomotion pushing us on down the tracks and providing the perfect soundtrack to the sights and romance of the land of the rising sun.

The latest transmission from Francis Harris' exquisite Scissor And Thread imprint showcases the many talents of Tokyo's Tomi Chair aka Tominori Hosoya. The DJ and producer goes by both names, and here presents five tracks of lush, emotional music veering between ambient excursions and dance floor heaters. The original version of title track 'Tropical Imagination' opens the EP, and is a deep and thoughtful dance floor number. Elegant chords set the tone while the percussion adds a silky funkiness that's impossible to ignore. The 'Dream Version' strips the track down to its pads and atmospheres. Next up is Tomi Chair's 'Heat Exhaustion' - an exceptionally beautiful beatless piece that drifts through droney pads and occasional fragments of minor key melody. Using the Tominori Hosoya moniker, side B begins with 'We Are Here' - another powerfully restrained piece that merges woody percussion with low key pads and field recordings to create a magical whole. Francis Harris adds his touch to 'Heat Exhaustion' with his respectful Reform version, adding skittering percussion and underpinning the piece with a leftfield ambient house edge that builds and builds. Another essential addition to the Scissor And Thread catalog

The great jazz guitarist Kenny Burrell on one of his most celebrated sets of all-time. Recorded live at the Five Spot Café in New York City on August 25, 1959, this is the second set and the band is really cooking. Featuring the brilliant drummer Art Blakey as well as the wonderful, but unfortunately under-recorded tenor saxophonist Tina Brooks, Burrell's band is in tip-top shape on this set of compositions ranging from originals to Gershwin to Gillespie. An essential live jazz set for any fan of the golden era of modern jazz.

"It's been nearly five decades since Joe McPhee assembled a group of musicians to perform the weekend concerts that would become Nation Time, his debut LP. It was December 1970, thirty-one-year-old McPhee was inspired by Amiri Baraka's poem 'It's Nation Time,' and the students at Vassar College didn't know what hit them. 'What time is it?' shouted the bandleader. 'C'mon, you can do better than that. What time is it?!'

"The music on Nation Time came out of the fertile, but little-known creative jazz scene in Poughkeepsie, New York, McPhee's home base. Two bands were deployed, one with a funky free foundation featuring guitar and organ, the other consisting of a more standard jazz formation with two drummers and the brilliant Mike Kull at the piano. Across the concert and the next afternoon's audience-less recording session, the band was ignited by McPhee's passion and his gorgeous post-Coltrane / post-Pharoah tenor. On 'Shakey Jake,' they hit a James Brown groove filtered through Archie Shepp, while the sidelong title track is as searching and poignant today as it was during its heyday.

"Originally released in 1971 on CjR, an imprint started expressly to document McPhee's music, Nation Time has a sense of urgency and inspiration. Additional material from those December days would later appear on Black Magic Man, Hat Hut's first release. In fact, the first four records on this seminal Swiss label all featured McPhee.

"Nation Time was largely unknown a quarter century or so later, when it was first issued on CD through Atavistic's Unheard Music Series. On Corbett vs. Dempsey, we reissued the album along with all known tapes leading up to and around it as a deluxe box set, but the standalone LP has long remained incredibly rare. Now is the time for a new generation of freaks to lose their shit when settling into the cushy beat of 'Shakey Jake' and answer McPhee's call with the only appropriate response: It's NATION TIME."

– John Corbett

Chapter five. London based Teffa returns to Cue Line Records with a large five track EP. The piece has been crafted with a clear mission that evolves throughout the tracks by a well-balanced progressive expression. The style is raw and dirty yet with a rich profoundness. The EP features a collaborative track with Berrik (US) and a remix of the title track by Gaze ill (DK), both bringing an extra touch to Teffa's brilliant Faulty Line EP. An outstanding piece, made as a heavyweight 180 grams 12" vinyl.

Knock Knock - after three years of think tanking, digging records, talking gear and hosting events in and out of Leipzig, Clear Memory is showing up at your party, eating your hors d'œuvres, drinking up your champagne and convincing the DJ, it'd be better to play this Various Artist EP.

The first Clear Memory Record contains five tracks by our members who chose anonymity and integrity over the hollow promises of fame and fortune. Five tracks equally of robo-romantic dystopias, cold electronics, rousing anthems and dead-on floorfillers.

Suitable for hard working DJs, craving collectors and home listeners alike. Join the pack - this is just the beginning.

If you read the name Shankar you may right away think of Ravi Shankar, the grand master of contemporary Indian folk music who was very popular in the 60s due to his connection with the music industry in the United States despite staying away from the pure pop music by maintaining his classic sitar and tabla style ragas to express himself musically. Ananda Shankar used to be his nephew who also made a journey to the USA to gather inspirations from rock artists like Jimi Hendrix among others. His first album from 1970, a conglomerate of classic Indian folk tunes and instrumental versions of the hottest rock songs of the day clothed in a veil of sitar melodies and backed up with tabla drum grooves, was an attempt to combine the spiritual approach of his cultural origins with the light minded blissful attitude of western psychedelic pop music. It worked well in the sense that it is still, nearly fifty years later on, a groovy little album that leaves nobody sitting around at any random hippie party. He took a five year break from recording to create what should become his second album and this is what I am about to present to you now. The cover-tunes were replaced by all original compositions with a lush instrumentation that features the typical sitar, tabla and bowed string instruments such as sarong and sera arrangements mixed with sounds that have a definite western origin such as rock guitars, Hammond organ and moog synthesizers plus full drum kits that take care to enhance the actual groove. Psychedelic rock, raga, fusion-jazz and funk flow into each other quite naturally giving birth to something fresh and exciting I would label as Bengali pop'. The borders between eastern and western music get abrogated here. If it was not for a few deeply mythical chants on a bed of drones here and there you could not even tell this was a record by an Indian artist. This album is quite accessible most of the time and comes with a certain slickness that makes it easy for the listener to understand and appreciate what is going on. Still there is the other side of the coin, the depth pop music often lacks. So in the end this might have been too far out for the average western mainstream fanatic back in 1975 when disco began to rule but it is an awesome sound trip for fans of psychedelic dance music like INCREDIBLE BONGO BAND and all eastern influenced popular rock.

'The ancient nightmare is come again!'
This latest visitation of The Hitchhiker's Guide to the Galaxy:
Tertiary Phase comes on heavyweight coloured vinyl,
sumptuously packaged in the style of the galactically
successful Primary Phase and Secondary Phase LP
releases.
For the first time ever on vinyl, here are Episodes 13 to 18
of the BBC radio series. First broadcast in 2004, the Tertiary
Phase is based upon the Douglas Adams's third novel Life,
the Universe and Everything. This is also the first ever
publication of the original radio edits of the Tertiary Phase,
as heard on their original broadcast.
When Arthur Dent and Ford Prefect hitch a lift away from
Prehistory on a Chesterfield sofa, it's the beginning of a
galactic quest that takes in Lord's Cricket Ground, deadly
cricket bat-wielding robots, a spaceship that looks like an
Italian bistro, a planet of sentient mattresses, a wretched
soul who keeps being murdered, a giant spaceborne
computer, and much, much, more. Reunited with Marvin,
Zaphod, Trillian and Slartibartfast, they must prevent the
Krikkitmen from retrieving the Wikkit Key and unleashing
terror upon the Universe.
Starring Peter Jones and William Franklyn as The Book,
with Simon Jones as Arthur Dent, Geoffrey McGivern as
Ford Prefect, Mark Wing-Davey as Zaphod Beeblebrox,
Susan Sheridan as Trillian and Stephen Moore as Marvin
the Paranoid Android, with a guest cast including Richard
Griffiths, Leslie Phillips, Joanna Lumley, Toby Longworth,
Michael Fenton Stevens, Henry Blofeld, Fred Trueman and
the voice of Douglas Adams himself, with music by Philip
Pope and Paul 'Wix' Wickens. Adapted, Directed and Co
Produced by Dirk Maggs
Three 180g heavyweight yellow vinyl discs are presented in
illustrated wallets inside a rigid, bound 20 page book, with
exclusive sleeve notes written by producer Dirk Maggs and
Jem Roberts, Douglas Adams's official biographer.
'Howzat!'

Turbo Kid Is A Contemporary Classic From The Depths Of Cult Cinema With Quebec-duo Le Matos' Score To This Acclaimed Science Fiction Picture.

Turbo Kid. A Stirring Tale Of A Boy, A Girl, And A Bmw Amidst A Post-apocalyptic Landscape, The Film Is A Delightful Throwback To The Teen Wish-fulfilment Fantasy Films

Of The 1980's Through The Prism Of Modern Splatter, Complete With A Deliciously Villainous Performance By Legendary Genre Character Actor Michael Ironside (scanners, Total Recall).

Propelling This Insanity Is An Incredible Score That Cherry Picks Its Influences From The Best Of Electronic Film Music From The Past Thirty Five Years,

Running The Gamut From The Inevitable John Carpenter Bleed Through - With Some Beautifully Malevolent Atmospheric Pieces -

To Riffing Off Of The Classics Of Van Halen All The Way Through To Modern French Electronic Music From The Like Of Daft Punk & Ed Banger Records.

Turbo Kid Is Diverse But Not Disparate; It Plays Fast And Loose But Not At The Expense Of Cohesion, So There Are Moments Where You Can Just Lie Back And Relax

To The Mesmerizing Ambience And Dream Of Authentic Alien Landscapes, Or Freak Out To The Best Of The 80's Hedonistic Synth-pop,

Or Let Yourself Be Inhabited By An Eerie Chill From The Evocative Electro-goth Vocals.

Turbo Kid - A Place Beyond Your Dreams, A Record Beyond Your Imagination.

Thandi Zulu known as T.Z. Junior was a young girl from Soweto. She started her musical career with Peter Moticoe who produced "Love Games" with The Young Five on Heads label in 1984. Then, Peter Moticoe brought her to Phil Hollis at Dephon Entertainment who then teamed them up with Attie Van Wyk who was the producer for Yvonne Chaka Chaka at that time.

Phil Hollis started Dephon Promotion (Dephon Entertainment) in the late 70's and developed into the largest independent record company in South Africa. He describes himself as the only person who has been involved in recording of major hit songs in nearly all genres of music in all the languages in South Africa. Phil Hollis was involved in all aspects of the Entertainment industry from production of recordings, recording company, distribution, marketing and promotion, events management, staging major events and filming.

"Sugar My Love" and "Are You Ready for Love" were produced and arranged by Attie Van Wyk. 'Back in the 80's I was a songwriter for a band called Ballyhoo when I got an offer from the Dephon Record Company to join them as a music producer. So I quit the band and joined them, producing records mainly for music targeted at the black market in those days,' he says. Between 1982 and 1992, Attie Van Wyk produced over 120 albums, including many for Yvonne Chaka Chaka.

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

As the darkest month of the year draws upon the northern hemisphere, bbbbbb records introduces another Icelandic artist; the elusive electro producer Kuldaboli. With roots in hardcore-punk, metal-core and heavy-metal, Kuldaboli's electro bangers are as dark and grimy as they come. 'Ancient civilisations, 20th century history, the possibility of the existence of other dimensions along with the unbearable emptiness of human existence' are amongst the most prominent subjects of Kuldaboli's creations.
'Ég elska þig eilífa stríð' consists of five hypnotic tracks, some of which are overlaid with cryptic texts; ominous poetry recited in Icelandic. Icelandic is a dying language in many ways, only spoken by around 350.000 people and constantly giving in from outwards influences. Who knows, perhaps it will be wiped out all together in the near future. But then again, humanity might not persist for much longer either. Only time will tell.

Lost Futures is a new label that explores experimental and often radical approaches to dance music from the past. In a musical landscape that increasingly claims to seek and reward new forms and ideas, Lost Futures delves into the recent past to revisit forward-thinking, optimistic projects that, owing to the social, musical or outright political climate, perhaps struggled to find an audience. Allowing only time to re-contextualise these leftfield, sometimes misunderstood and ultimately human bodies of work, Lost Futures taps into the inherent idealism of rave.

LF001 trips back until the early nineties to revisit the alternative scene emerging from the Dutch city of Utrecht. Here, three young men - DJ Zero One (Sander Friedeman), TJ Tape TV (Arno Peeters) and DJ White Delight (Richard van der Giessen) - joined forces to form 'The Awax Foundation'. Inspired by the transcendent and revolutionary electronic music arriving on their shores imported from Chicago and Detroit, combining their knowledge, gear and ever-expanding vinyl collection allowed additional freedom in paying sincere tribute to these intoxicating sounds, while also developing their tastes in a more personal, eclectic direction.

The musical flavours of Awax initially leaned toward acid house and the roots of techno. However, with three different mindsets in the mix, their tastes were rarely fixed. One thing each shared in common was a devotion to collecting rare sounds, specifically more adventurous and international samples than those emanating from the increasingly-hard, masculine dance music emerging from the Netherlands during the period. Inspired by the cross-over global sound of bands like Suns of Arqa, or 'World Music', as it was perhaps patronisingly termed at the time, the trio became interested in the idea of making techno with 'ethnic instruments'.

Of course, this being 1992, none of The Awax Foundation had access to such instruments, instead, they had a vast, collective library of samples from all over the world. There were no collaborations and no clear plan. Instead, they set to work using a Yamaha TX16W sampler, the legendary Atari 1040ST computer, a cheap mixing desk and a couple of low-end synths and FX machines. When Richard mentioned the project to his friend, Akin Fernandez, the London DJ and owner of cult label Irdial Discs, Fernandez was intrigued enough to invite the trio to record a one-hour show for his 'Monster Music Radio' series on London's then-burgeoning Kiss FM.

Forced to come up with a name, 'CultureClash' seemed like the obvious choice, even if the members of Awax were only creatively sparring among themselves. Along with the term 'ethno-techno', slightly dubious to a hopefully more conscious Western audience in 2017, these were the only guiding principles to the quietly ambitious project that soon combined cutting-edge machine rhythms with samples sourced from everywhere from Bolivia to Togo, and inspired by everything from Ravi Shankar's epic soundtrack to the Oscar-winning movie Ghandi, to the technical limits of their own setup requiring a dazzling degree of cut-and-paste work. Some tracks even emerged out of academic studies within the ethnomusicology department at The University of Amsterdam.

The show aired on October 2nd, 1992, recorded in one blistering take and without any rehearsals, traversing a huge variety of tempos and styles. If the performance wasn't seamless, it was undeniably thrilling, fresh and ambitious. As such, several labels, including Fernandez's aforementioned Irdial Discs expressed an interesting in commercially releasing CultureClash, while another imprint proposed a series of twelve-inches and an album. But the sheer complexity of the project meant that it never saw the light of day, while the trio embarked on different journeys ahead, both creative and personal.

Twenty five years later, and the original CultureClash lineup and founding members of The Awax Foundation provide the sound of the first release from Lost Futures. An otherworldly, ambitious and optimistic compilation, accompanied by extensive sleeve notes from the trio, CultureClash is a timeless ode to experimentation in dance music's ever-overlapping culture.

It has been bubbling for almost four years now inside the walls of a basement in the small-town idyll of Salzburg. Word gets around about ecstatic nights in an intimate atmosphere in the Heizkeller location of the cultural association FREAKADELLE. The monthly events held by the club culture collective, which formed in 2011, have long since become known beyond city and state borders, and so, national as well as international guest artists would frequently pay visits to Mozart town in the last years. Following the club members' wish to maintain relations to the artists beyond the fleeting transience of a night in the club, this release aims at strengthening and cementing these interpersonal ties. The compilation includes tracks by Hüseyin Evirgen aka MAGNA PIA (Cassegrain), Institut fuer Zukunft resident PERM, techno pioneer PATRICK PULSINGER and Pop theorist Didi Neidhart aka LOW PROFILER.
Limited hand-stamped 12'' edition. Comes in five different versions of screen printed sleeves.

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

Neville Watson returns to DBA with The Midnight Orchard, his first full-length in five years. Watson is a key figure on the electronic music scene at large and has made regular appearances on Don't Be Afraid, as well as on celebrated imprints such as Crème Organization, Clone and Rush Hour, where he released some of his best-known work alongside Kink.

In a crowded landscape of factory-line jack trax and synthesis for the sake-of-it, it's little surprise that Watson's physical, arresting takes on house and techno have been such a staple in the record bags of the world's leading DJs for the past twenty years. Throughout The Midnight Orchard, Watson seamlessly bridges his futurist leanings gleaned from a lifelong commitment to electronic music with the anarchic spirit of his acid-house heritage.

The record still finds catharsis in the relentless pulse that has defined Watson's life since his early residencies where he peddled ecstatic escapism to towns on the commuter belts of London, notably via his involvement in seminal Reading party Checkpoint Charlie. However, there's a more somber, arguably introspective and perhaps even somewhat wistful tone at play throughout. This might surprise those who've invested their feet and hearts in tracks with titles like Night Of The Inflatable Muscleheads and Everything I Know About House (I Learned on Facebook).

In a move away from his previous musical leanings, The Midnight Orchard embraces a distinctly more UK sound, unapologetically chronicling the paranoia that can be found skirting the euphoria of rave. And while Watson has avoided the eyebrow-arching pitfalls of the self-serious DJ full-length, it must be noted that the rhythms here are more skittering, the atmosphere less jubilant and the signature lo-fi hiss, fully popularised and bastardised since Watson's last album, has taken on a more fore-boding tone.

Meanwhile, the atmosphere elsewhere harks to a more idealistic world, particularly on the cascading and subdued Eine Kleine Emusik, and the euphoric We Own The Night. Twin Tub and Reet Dux provide dubby, sensual moments of escapism. There's uncompromising, hard-nosed rhythms on Dee Sides, and cosmic electro throughout 4am in the Trees. The album then concludes in a bold fashion with Displays of Brotherly Love and the resolutely hopeful atmosphere of Phosphorescent.

Reflecting decades of immersion in club culture and taking inspiration from wider-found sounds, The Midnight Orchard is loaded with thrilling parallels and a sense of genuine unpredictability. Tracks like Come On In and Anarcho Midnight are layered with unease, utilising pitch dark arpeggios and skittish, growling electronics to devastating effect.

Having dedicated the last eighteen months of his life to the studio, Watson has rec-orded what is undeniably the most unexpected music of his career. Amid the dark-ness, The Midnight Orchard has borne fruit.

First time on vinyl
10th Anniversary of the Breaking Bad TV Series
5 x 10' vinyl in 5 different jackets, 1 relating to each season
Each 10' is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl!
Lift off box-set with Breaking Bad logo on front with special drip-off varnish
Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge
Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad
One run only of this very exclusive BOX-SET
Individually numbered the manufacturing qty for Worldwide is est 4000 with 800 for the UK - we could get some more
PLEASE ORDER BY 12.00 TUESDAY 25 SEPT TO BE GUARANTEED YOUR QTY
Available worldwide
Weight ESTIMATED 950g
All the essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others
Various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more
This release will be heavily promoted on social media, including the social media accounts of Breaking Bad (facebook, over 11 million followers!!!).

MOV proudly presents the OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) 5 x 10' BOX-SET!

A TOP PRIORITY RELEASE with WORLDWIDE RIGHTS!

So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl!

Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018.

The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET!

This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl!

OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) is presented in a beautiful Lift off box-set with Breaking Bad logo on front with special drip-off varnish. The box-set includes a selection of defining songs, devided in five 10' records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10' records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!

Breaking Bad is an American neo-western crime drama television series created and produced by Vince Gilligan. The show originally aired on the AMC network for five seasons, from January 20, 2008 to September 29, 2013. The series tells the story of Walter White (Bryan Cranston), a struggling and depressed high school chemistry teacher diagnosed with lung cancer. Together with his former student Jesse Pinkman (Aaron Paul), White turns to a life of crime by producing and selling crystallized methamphetamine to secure his family's financial future before he dies, while navigating the dangers of the criminal world. The title comes from the Southern colloquialism "breaking bad", meaning to "raise hell" or turn toward crime. Breaking Bad is set and filmed in Albuquerque, New Mexico.

Walter's family consists of his wife Skyler (Anna Gunn) and children, Walter, Jr. (RJ Mitte) and Holly (Elanor Anne Wenrich). The show also features Skyler's sister Marie Schrader (Betsy Brandt), and her husband Hank (Dean Norris), a Drug Enforcement Administration (DEA) agent. Walter hires lawyer Saul Goodman (Bob Odenkirk), who connects him with private investigator and fixer Mike Ehrmantraut (Jonathan Banks) and in turn Mike's employer, drug kingpin Gus Fring (Giancarlo Esposito). The final season introduces the characters Todd Alquist (Jesse Plemons) and Lydia Rodarte-Quayle (Laura Fraser).

Breaking Bad is widely regarded as one of the greatest television series of all time. By the time the series finale aired, it was among the most-watched cable shows on American television. The show received numerous awards, including 16 Primetime Emmy Awards, eight Satellite Awards, two Golden Globe Awards, two Peabody Awards, two Critics' Choice Awards and four Television Critics Association Awards. For his leading performance, Cranston won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series four times, while Aaron Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series three times; Anna Gunn won the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series twice. In 2013, Breaking Bad entered the Guinness World Records as the most critically acclaimed show of all time.

Juxta Position returns to his own Failsafe imprint with 4 post-modern techno pieces, exploring minimalist themes performed on more traditional sound sources, relying on pure sequencing rather than patch programming to convey moods and atmospheres.

Opener "Five Four Piano" recalls the work of modern classical composers such as Steve Reich, but reengineers the aesthetic to fit on techno dancefloors.

Likewise, "Orchestral Manouvers" continues this theme, whilst introducing a Millsian twist, and "Icicles" takes the idea even further into more looped techno territory.

E.P. Closer "Crisp Cold" concludes the record, with a cinematic and serious tone and almost gothic sensibility.

Four tracks which are a break from the usual, expected timbres of contemporary techno.

New label MIC launches with some previously unreleased and unheard material from UK DIY jazz funk maverick, Mike Collins, better known as the brains behind the spacey Loft classic, Sun Palace - 'Rude Movements'. MIC presents a small archive of Collins' material (recorded around the time of 'Rude Movements') and reveals the more experimental side of Collins' production. Five tracks that explore early, proto-house music, electro, and fascinating drum machine observation. Essential issue!