Buscar:log one

"INTERSCOPE RELEASES ORIGINAL SOUNDTRACK TO NETFLIX SERIES 13 REASONS WHY (SEASON 2) OUT MAY 18THSOUNDTRACK FEATURES NEW MUSIC FROM SELENA GOMEZ BACK TO YOU' AVAILABLE TODAYSOUNDTRACK ALSO INCLUDES NEW SONGS FROM ONEREPUBLIC FEATURING LOGIC, BILLIE EILISH FEATURING KHALID, YUNGBLUD FEATURING CHARLOTTE LAWRENCE, AND LORD HURON FEATURING PHOEBE BRIDGERS. In addition to new music from Gomez, the 13 Reasons Why soundtrack includes new songs from OneRepublic featuring Logic ( Start Again'), Billie Eilish featuring Khalid ( lovely'), YUNGBLUD featuring Charlotte Lawrence ( Falling Skies'), Lord Huron featuring Phoebe Bridgers (a new version of The NightWe Met'), and Colouring ( Time'). Like its predecessor, the soundtrack also features a mix of '80s New Wave favorites, including classics from New Order, Echo & The Bunnymen, Orchestral Manoeuvres In The Dark, Tears For Fears, and Siouxsie and the Banshees."

The keeping of pets marks humans' attempt at taking possession of a part of reality that is not at his disposal. Dressing a piece of the real that lives according to entirely non-human rules and which only in the saddest case does not resist the discipline of the human symbolic order vehemently and in a sustained matter, is a violent act of protection. Because in the non-place of the real, all that which we are helpless in the face of looms: the non-logical and the nameless, the violence and the noise, yet also the unrestrained and unfiltered desire.The innocuous figure of the pet marks a gateway to an investigation of these eerie milieus, while electronic dance music lends itself to this investigation in an outstanding way. This constellation marks the subject of Column's 'Pets II.'

Column is the name of Cologne based renaissance man Jan Philipp Janzen, who, as chief emissary of Cologne's pop internationalism, has been playing the field in various functions for Von Spar, Cologne Tapes, Urlaub in Polen, Owen Pallett, Scout Niblett or The Field, and who has also, in one way or another, been involved in most relevant records coming out of Cologne for the past number of years. After his excellent solo debut 'Pets I' (Areal, 2016), Janzen presents another extraordinary record in 'Pets II,' perfectly complemented by another ghostly oil work of Burkhard Mönnich on the cover.Sonically, 'Pets II' marks a clear development for Column. In its exploration of the thresholds of the real, it sets two points of focus, corresponding with the split in sides A and B.

Side A, on which Janzen teams up with long-time friend myr. (PNN), explores the uncanny as a fissure of the symbolic order, and the subsequent breaking in of the real. It opens with two peaktime rockets that have their wooden, nether-regional groove narrated by grim, down-pitched vocals. The ethereal remix by Leibniz (hundert) seems to be observing the situation from a hiding place, and is the side's clandestine and no less dark closer.

Side B, for which Janzen invited studiomate Marvin Horsch (Dorfjungs/Beats in Space) along, delivers two swaying synthesizer workouts, the second of which, 'Molly and Swerve,' is directed firmly at the dancefloor again. What is at stake here is the transition between a free, undirected jouissance of the real and a more ordered becoming-lust. Here, as in Map.ache's (Kann/Giegling/Altin Village) remix which closes out 'Pets II,' it becomes clear what connections dance music can foster between a free, impersonal desire and the sphere of interpersonal wanting, but also the losses that are negotiated in it. Above all, however, it becomes evident what a courageous daring project 'Pets II' is in all of its conceptual and aesthetic determination; with Von Spar's standout 'Garzweiler' 12' (Altin Village & Mine, 2017), it documents a New Cologne Realism.

In search of the sublime, contemporary electronic musician Steve Hauschildt has designed grids and panoramas of sound across multiple releases through the rise and dissolution of his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music. Consistent with his solo work is Hauschildt's ability to coil his craft in precise, varied, and distinctly physical forms. Gently spinning arpeggios converse with post-industrial decay. Sonic bers sway like pendulums from static melancholy to motorik bliss. Dissolvi, the artist's rst full-length with Ghostly International, engages sublimation from an ontological perspective: by dissociating the self. Hauschildt steps out from the singular path, for the rst time in a traditional studio, to compose and arrange contributions from friends. As a result, his most collaborative work to date extends a vast, vibrating framework in which to consider the state of being.

The album's title — a reference to cupio dissolvi, the Latin phrase meaning "I wish to be dissolved" — needn't be taken one-dimensionally or as purely solipsistic. It does, however, serve an apt reference. Physiological phenomena are of interest to Hauschildt. These back-of-mind ruminations nd their way out. Songs are cerebral in orientation, but beyond explanation, the music is truly visceral.

Involuntary eye movement inspires the serene, sanguine-nearing-suspicious "Saccade." Hauschildt feathers soft percussion beneath the echoed refrains of Los Angeles musician Julianna Barwick, together shaping a svelte suggestion of the anxieties brought about by modern-day surveillance; if everyone is being watched constantly, there is no individual, no self, only a broadly monitored and clumsily cataloged populous. The work of Chicago poet Carl Sandburg comes to mind: 'I am the people—the mob—the crowd—the mass.' The individual dissolves into the taxonomic crowd.

Minimalist techno impulses provide a stylistic through-line for Dissolvi. Understated synth phrases and drum grooves take hold in selective moments, like synchronistic structures onto which nebulous mists, like the rapturous voice of Gabrielle Herbst aka GABI on "Syncope," cling to and cloud, producing a dazzling rift in consciousness. The 7-minute centerpiece "Alienself" reiterates this creative logic, burbling like an amorphous body of water on a low-gravity planet, on the verge of dissolving, but never fully dematerializing.

The album was constructed in Chicago (where Hauschildt now resides) and partially in New York. "Much of it was recorded in a windowless studio which removed elemental or seasonal references to time in the music," says Hauschildt. "The focus this time was on mixing the album and incorporating a broader set of instrumentation. I describe my compositional approach as being quasi-generative." Embracing new methods and philosophical curiosities, and in turn, expanding the range of his repertoire, Hauschildt proposes a fascinating and profoundly rich experience in listening, being, and deliquescing.

- Direct from Spain and totally lost in time the orchestra Enterprise was a great blend of the ''Disco Orchestral'' and ''Space Disco'' styles.
- Amazing project, wisely conducted by Josep Llobell Oliver, a Spanish keyboard player, composer, engineer and producer.
- Enterprise was the perfect soundtrack to your space trip, that dancing hidden treasure you always wanted to discover.
- Remastered reissue includes pictures and linernotes by Dr. Vinilo (Madmua Records).
#funk #soul #spacedisco #cosmicdisco #josepllobell #oliversplanet #spanishgrooves
In 1975 he was commissioned by the label's artistic director to produce a studio album with a hefty budget. It was his first company and he named it after the intergalactic ship Enterprise. He assigned the bands logo (inspired by the musical group Chicago) to a friend-musician and selected the tracks: Barry White, Chick Corea, the everlasting Beatles, sonidos calientes and other well-known hits, all played by Llobell along with the labels other musicians, all on payroll thanks to Belter. Javier Cubedo, Enrique Tudela, Gabriel Martinez, Kitflus, Ricard Roda, etc. all gave their best on a magnificent first album that would be followed by 3 more, one per year, all including original compositions by the group along with international hits that are currently part of our countries wonderful music library, even though they still haven't received all the recognition they deserve, Garcia Segura, Santisteban, Calderón, Pepe Nieto, José Solà, Manolo Gas, Adolfo Waitzman and Algueró, Ramón Farrán, Miguel Ramos, Albert Peter, Jaume Cristau, Josep Llobell and many others, published albums in the 70's.
Josep has been inexhaustible, for many years he has influenced the career of soloists and bands, modernizing their sound, Manolo Escobar, Peret, Junco, arrangements and productions for Marfil, Bachelli, Ana Reverte, even great artists from 'La Movida' and rock music like Burning or El Último de la Fila.

The Song Says - Bruno Pronsato´s label restarts after 4 years of hiatus with a Vinyl Version of his seminal "Lovers Do"

It's been fours years since the original release of Lovers Do. For the first time now finally released on vinyl. In the meantime he's kept very busy--primarily with side projects. First there was Others, his experimental house outfit with Daze Maxim. Then came Public Lover, his duo with the French artist Ninca Leece that debuted last year on thesongsays (Bruno's label). He's continued to join forces with Sammy Dee as Half Hawaii, playing live shows around Europe and putting out tracks on Perlon and Diamonds & Pearls. As half of the duo Ndf, he coproduced Since We Last Met, a single that marked his debut on DFA and landed in Pitchfork's top tracks of the year. But while he was juggling all these different projects, one piece of music was slowly taking shape: his third and most immersive album, Lovers Do. Like much of Bruno's work to date, Lovers Do is experimental without being snobby--or to use his own term, accidentally avantgarde'-- but this one takes it further than the others. It has a looseness that's truly rare in techno, scrapping formulaic verses and breaks, it winds along like an abstract sketch, guided by intuition instead of logic. Some songs are fraught with nervous tension, others are soothing and rich with detail, from dappling rhodes to orchestral swells, jazzy drum fills and wet hand claps. Human voices swirl in and out of the mix, serving only to make things more surreal. Many of the tracks stretch well beyond ten minutes, one bows out after less than three. The album overall is delicate and subtle, but it also features Bruno's best club tune in years, the eerie and delirious Feel Right.' Brian Eno once described his own

Two Words is the debut release from the duo of Canadian sound artist crys cole and Australian songwriter Francis Plagne. Building on a series of experimental live performances in which the pair toyed with possible common languages for their seemingly unrelated approaches to music, the LP's two sides present a single piece that brings together abstract texture and slow-motion song in a sonic space where genre cedes to the logic of dreams.

The piece begins with a long, nearly static sequence built primarily from rubbed surfaces, using movement in the stereo field and changing mic placements to create a unified but unstable sonic environment that mimics wind, water, and breath, opening an impossible space between nature and artifice. This artificial outdoors ultimately makes room for Plagne's electric organ, which sounds a series of melancholic chords to accompany a wandering Wyatt-esque keyboard line as cole's intimate contact mic textures sizzle and pop in the foreground.

From here the piece makes a surprise detour into song, as the majority of the second side finds Plagne intoning a series of obtuse two word phrases (from a text by Berlin-based poet Marty Hiatt) to an austere organ accompaniment. Working closely with engineer and producer Joe Talia, cole and Plagne extend the studio-as-an-instrument tradition of Teo Macero and This Heat, introducing subtle yet unexpected production shifts that lead the listener from the initial austerity of the organ and voice to an oneiric space of asynchronised vocal doubles, creaking textures, and distant whistling, ultimately arriving at something like an imagined meeting of Organum and Arthur Russell.

Packaged in a suitably mysterious sleeve featuring a lush work by Australian painter Anne Wallace on the front and text by Hiatt on the back, Two Words is both comforting and strange, a disorienting blend of seemingly discrepant elements.

* "Of all the dubplates in my bag from this last few years, the ones I've selected most often have Walton's name scribbled on the sleeve. 'Black Lotus' is a unique creative statement; I'm very proud to release it on Tectonic and to support Walton, who I believe is a true talent." Pinch

* On July 6th Tectonic recordings presents the game-changing second album by 26 year old Mancunian Sam Walton, better known as simply Walton.
* 'Black Lotus' follows his inclusion on Tectonic's landmark 100th release - Riko Dan's 'Hard Food' EP, plus the 'Praying Mantis'/ 'Koto Riddim' 12' (also on Tectonic) and the 'Taiko' EP on Kaizen - the latter two of which hinted at the album's sound, but didn't fully prepare us for the brilliance to come.

* Abstract electronics, grime, dubstep and new styles that don't even have a name yet coalesce perfectly on this classic in the making. It finds Walton at peak power, reaching just as far (if not more so) than anything on the Pan, Different Circles, Boxed or Tectonic catalogues for pure futurism and new-terrain-traversing brilliance.

* Spacious and modern sounding, with just the right amount of grit, on 'Black Lotus' Walton has taken things the next level - setting an impressive new high bar. This is the best music to take inspiration from far eastern culture since Photek's seminal 'Ni - Ten - Ichi - Ryu' and 'The Water Margin'.

* Cinematic may be a term bandied about too often, but on this record it unquestionably applies, with the whole thing playing out like an epic movie, full of highs, lows, action, reflection and changing scenes.

* The album kicks off with 'Black Lotus', which makes it quickly evident that this isn't just another generic longplayer; a weightless/sino style intro segues into a mystical kalimba line, which is then is enveloped by huge waves of synthesized, pitched-down brass.

* 'Point Blank' offers locked, harsh mechanical funk, full of aggravated excitement, before sleek, spacious grime and disguised pop garage achieve twisted anthem status, on the hugely satisfying 'Koto Riddim'.

* 'No Mercy''s Yakuza crime riff is perfect for Riko Dan's threatening menace, especially at the point his voice gets distorted into a guttral and unsettling, demon-like wretch.

* 'Mad Zapper' is abstract, comprised of simple yet challenging beats, tones and stutters, whilst 'Angry Drummer''s taiko/kumi-daiko style percussion has a rousing, heavy thump.

* 'Pan' sounds equally enthralling whether soundtracking a dark movie scene of impending danger, or carying enratptured ravers on a danceflor journey, especially one suited to the synapse-prodding drama of a high production, lazer-heavy festival set.

* Choppy drums and bouncy bass tones are laced with the georgeos melody of 'Ehru', and 'Vectors' is sleek 'n' deep breakbeat-garage-meets-IDM.

* Although already known for elements of musicality, Walton raises his game even higher with the beautiful closing track 'White Lotus', which has a wow factor akin to hearing Aphex's Twin's 'Jynweythek Ylow' for the first time.

* 'The title came from the idea that I wanted it to be sweet and melodic in areas, but dark and grimey at the same time', recalls Walton. 'I never really listened to much Japanese and Chinese music before working on this, and that element originally came from listening to a lot of Sino grime stuff. It wasn't until I was deep into the process of making the album that I started listening to loads of traditional stuff on YouTube for melodic ideas, which changed how it turned out. The whole dubstep techno crossover thing was also a big influence.'
* 'I'm really happy to have Riko Dan & Wen on there', he adds. 'I've done a few remixes of Riko tunes which have had a great response, so it's been wicked to get some original material done together. The track with Wen was first started a while back, so I'm glad it was finally finished and will see a release.'
* Walton has been steadily gaining serious clout through releases since 2011 on Hyperdub, Keysound, Tectonic and Kaizen, with supporters including Mumdance, Logos, Slimzee, Laurel Halo, Wen, Hodge, Mary Anne Hobbs, Giles Peterson, Paleman, Teki Latex, Commodo, Loefah and Kode9. Key club, festival and radio shows include FWD at Plastic People, Fabric, Outlook, NTS, Rinse and BBC 1xtra.

Way back in 1967, an animated superhero cartoon was released into the world. It was created by Grantray-Lawrence Animation and was based on a web-spinning, crime fighting blue and red dressed character that had originated in1962, in Marvel Comics by Stan Lee and Steve Ditko. This amazing series (that we're not allowed to mention the name of for legal reasons) ran on ABC TV in the USA, then Canada, then a few years later started to spread its web further, running here in the UK throughout summer holidays, after school and possibly early mornings at weekends in the late 1970s. The series then got released on VHS video (and probably Betamax too) in the mid 1980s and still continues to spin its animated magic around the world through further broadcasts, YouTube and DVDs.

The series was notoriously low budget, with animated errors everywhere and numerous scenes, sequences and backgrounds being re-used all the time, often across the same episode. Even a certain spider logo on a costume would appear with six legs, then eight legs later on, then back to six again in the same show.

Series One opened with a newly written spider theme, a classic, hooky song all about doing whatever spiders can, and had, as Big George (RIP) once pointed out to me, a set of session singers falling slightly out of time with the backing track after the first verse. Series One also featured background music by jobbing composers Bob Harris and Ray Ellis but these cues and master tapes are now believed to be lost.

After Series One the company Grantray-Lawrence went bankrupt, so the amazing spider series (that we're not allowed to mention for legal reasons) was taken on by producer Steve Krantz. He brought in new talent, including animation director Ralph Bakshi who later went on to turn a Robert Crumb strip cartoon into the feature Fritz The Cat. Krantz also slashed the already cripplingly small spider budget, and brought in the idea of using economic library music. Here, thanks possibly to an independent sync agent (it has been suggested that a company called Music Sound Track Services may have been the one) production turned to the KPM catalogue. This was one of the few really established library catalogues around at the time with a modern edge, it was full of fabulous, modern dramatic music tracks - often all on the same LP. But more importantly all the tracks were far longer than the one minute musical cuts that many of the fledgling USA library companies were issuing at the time. Not only would this KPM music be efficient, affordable and very easy to use, it would also mean syndication worldwide would not be held up by any future musical issues. Krantz produced two amazing spider series (that we're not allowed to mention for legal reasons), and both were smothered with KPM music. In fact barely a spider second goes by without music playing in either the background or foreground.

For many years I - and many nostalgic others - have been thinking about putting this vinyl album together. For many enthusiasts this really is formative music - a junior foray into hip swinging crime jazz and esoteric musical grooviness. I've also read on line accounts by DJs from WFMU on the trail of original spider master tapes, and there's even a whole forum dedicated to Spidey-Jazz'. Then recently I was looking at an old spider tracklist and realized that several of my favourite KPM cues were there including Syd Dale's Hell Raisers' and Walk And Talk', both from one of the most elusive and desirable KPM albums of all time (yes, you just try and find yourself a copy of KPM 1002 right now), so I decided to push on and get the album made.

So, what features on this Spider-Jazz Lp Well it's music from the amazing TV series we are not allowed to mention for legal reasons, BUT, not music from Series One. No, but it is all from Series Two and Series Three. From looking at archival cue sheets, over 50 tracks from various early KPM 1000 series albums were used across episodes. I've distilled this down into one exciting and enthralling LP, and if this works a further Spider Jazz album may well swing in to production. If you're interested (and I'm sure you may well be) cues here came from KPM1001, KPM1002, KPM1015, KPM1017, KPM1018 and KPM1043 and were composed by master library composers of the era - Dale, Hawkshaw, Hawksworth, Mansfield etc.

And if you are listening over there in the USA, you may well recognize many of the cues here not just from the amazing TV series (that we're not allowed to mention for legal reasons) but also from classic 1960s and 1970s NFL highlight shows that we are allowed to mention.

Not much info on this one. Two serious cuts on a hand stamped red record with a D2B logo. Think fast, these won't hang around for long.

Enfant Terrible was one of the first labels to give recognition and attention to the pioneers of minimal electronics / proto-elektro / avant-garde pop / experimental pop music from the late 1970's and early 1980's. Next to that it is one of the few labels in this field of music that truly invests in the development of new talents in this music tradition. In short: Enfant Terrible has been mapping the field of this counter culture and contributing to its development since the very start of its activities.

But in this world of followers and copycats we have an agenda of our own. We go furthur and dare to move into new territories. Both when it comes to content and ways of organizing the business part we are at the forefront of independent music culture. We keep it real, stay ourselves and a hundred percent independent.

While Enfant Terrible for an important part has built the current niche of minimal electronics we also have always looked beyond rigid style definitions and established artists. All our compilation releases have been highly acclaimed for this.

The time is now... we go for the logical next step... supporting and contributing to the local music scene.

'Kamp Holland' is an overview of the current independent electronic music scene from Holland. Some of the artists on this compilation have been inspired by the music tradition we have been building. Others are inspiring Enfant Terrible in its current development. Always furthur we go...

This is the Royal Dutch Underground!

Co´meme writes a new chapter of its own history, introducing a new artwork, a new logotype and new music starting with these three Various Artists EPs. We have decided to call it 'Solidarity Forever' as a motivator for our everyday actions, and as a reminder of why we are doing what we do.
These 12's will introduce artists new to the label, new collaborations and new approaches from Co´meme members already familiar to you.Volume One will feature tracks by MATIAS AGUAYO, KATERINA, DANIEL MALOSO x RED AXES and GLADKAZUKA, you will be able to hear heavy modern latin riddims, technotic melancholia, lysergic disco fantasy and post internet underground funk - utopian music against dystopian times.And this is only the beginning.

Picture Vinyl

* BCee's 'Northpoint' LP gets the remix treatment from the big dogs.
* LSB puts his touch to 'Surfacing' and take things deep, turning what was an amen tear out into something beautiful.
* Lenzman strips back 'Black Sky' and turns it into a piano roller that liquid lovers are going to go mad for.
* New kid on the block Monty demonstrates his production skills and shows us exactly why Alix Perez snapped him up for 1985 music.
* As if that's not already enough, Bladerunner, Seba and Anile all join the party, all in all making this one heaven of a remix package.
* Support from all the big dogs, a few cats and a chicken.

Japanese vocal performer Hatis Noit will release her enigmatic EP Illogical Dance via Erased Tapes worldwide on 23rd March 2018.
The arresting 4-track record creates unique song-worlds with transcendent vocal interpretations that at once deconstruct and recombine Western Classical, Japanese folk and nature's own ambience atmosphere. Illogical Dance also features Björk-collaborators Matmos, who were so impressed with Hatis Noit's recordings, they volunteered to edit the lead track Illogical Lullaby.

Hailing from the distant Shiretoko, a small town in Hokkaido, which is the largest island in north Japan, Hatis Noit's accomplished range is astonishingly self-taught, inspired by everything she could find from Gagaku — Japanese classical music — and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop vocalists. The sounds she created on Illogical Dance, co-produced by Haruhisa Tanaka and Matmos, bring to mind the experimental vocal patterns of Meredith Monk with the attentive production of Holly Herndon.

It was at the age of 16, during a trek in Nepal to the Buddha's birthplace, when she realised singing was her calling. While staying at a women's temple in Lumbini, one morning on a walk Hatis Noit heard someone singing. On further investigation it was a female monk singing Buddhist chants, alone. The sound moved her so intensely she was instantly aware of the visceral power of the human voice, a primal and instinctive instrument that connects us to the very essence of humanity, nature and our universe.

The name Hatis Noit itself is taken from Japanese folklore, meaning the stem of the lotus flower. The lotus represents the living world, while its root the spirit world, therefore Hatis Noit is what connects the two. For Hatis Noit, music represents the same netherworld with its ability to move and transport us to the other side, the past, a memory, our subconscious. It is the same for Illogical Dance, a set of transformative songs that taps into our most primal instincts.

The human voice is our oldest, most primal yet most powerful instrument. I use it to describe nature's many sounds, a language that isn't logical. Yet it forms a beautiful conversation that isn't restricted to words like the human language is. I want my music to remind us of that.' — Hatis Noit

Wanting to interpret and mimic the sounds Hatis Noit hears in nature, Illogical Dance is as unpredictable, beautiful and mysterious as the world around us. Each track is made up from multi layers of vocals, all improvised and without words, before being carefully pieced together. Astonishingly no samples are used throughout, even the sound of crushing leaves came from Hatis Noit's own vocal chords.

The result is a stunning array of sound sculptures that see her switching between multiple styles with great ease. From the sweet operatics on Illogical Lullaby, the manipulated vocal loops duplicating electronic production on Anagram c.i.y. to the primordial chanting call to arms of Angelus Novus, a 10-minute odyssey that features whispering and leaves crunching, it showcases Hatis Noit's full range and introduces a truly original artist.

Previously only available in Japan, Illogical Dance will receive a worldwide release on 23rd March 2018 including a first edition on 12' vinyl. After participating in a ceremony for memorial and appreciation tailored to the withdrawal of the evacuation area in Fukushima on 31st March 2017, Hatis Noit collaborated with renowned visual artist Nobumichi Asai on a project titled INORI (prayer) which they premiered live as part of an Erased Tapes showcase at Mutek Japan in Tokyo.

Having recently moved to London and performed a first string of UK shows, followed by a special live performance at the Milan Fashion Week and Mutek Japan appearance, Peter Broderick has invited Hatis Noit to support him at the Jazz Cafe on April 15th. She's also been announced as part of this year's Sea Change Festival line-up, and asked to participate in a workshop with the London Contemporary Orchestra.

In the Eighties there was an incredibly interesting underground scene emerging in the Belgian Leuven area. Bands like 'The Neon Judgement', 'Sovjet War' and countless others all came from that area and era. One of the most underestimated bands in that scene was 'Company Of State', a duo with a unique sound that played dark moody guitar-electro with a minimal DIY touch. Influenced by a wide array of artists (such as Joy Division, Velvet Underground & Edith Piaf) the duo Rudolf Hecke & Paul Taes formed the band 'Company Of State' and recorded their self-titled debut (a four track 7'EP) on their self-founded label in 1983. Best described as: wild guitars with all kinds of feedback & distortion combined with a heavy bumping rhythm-box in the background... and once the vocals kick in you get that melancholic magic that makes this EP a true classic. With this kind of pedigree, it was only logical that the band landed in the stable of Ludo Camberlin and his label 'Anything But Records', where Belgian dark & danceable underground groups such as 'The Neon Judgement' & 'Aroma Di Amore' resided in those days. Later the band would move to Maurice Engelen's label 'Antler', in company of similar acts such as '2 Belgen', 'Nacht Und Nebel', 'Siglo XX' and many others.

Mannequin Records presents a trilogy of reissues from the avantgarde Italian-born producer Doris Norton, "Nortoncomputerforpeace" (1983), "Personal Computer" (1984, originally released by Durium Records), "Artificial Intellingence" (1985).Apple's first music "endorsement" and Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro / computer music. Norton is the wife of Antonio Bartoccetti, progressive rock guitarist, and mother of the musician and techno producer Rexanthony. As a teenager, she was drawn to medieval, Renaissance and Baroque music, not to mention quantum physics, differential equations, organic chemistry, the experimentalism of John Cage and animated movie soundtracks. Her love for modules and circuits found expression through the waves of an old harmonium, the frequencies of a Minimoog, a Roland System 100M, a Roland System 700 and the ARP 2500/2600.

In 1980, Norton began her solo career by recording at Fontana Studio 7, the Milan studio of the composer and musician Tito Fontana, resulting in the electronic opera "Under Ground". Norton became more prolific, continuing her adventures in experimental electronics and computer music with Parapsycho (1981), Raptus (1981), Nortoncomputerforpeace (1983), PC (1984) - whose album cover prominently features Apple's colored logo - and Artificial Intelligence (1985).

While the beat-oriented style of Norton's music aligns her with such global fellow-travelers as Yellow Magic Orchestra and Kraftwerk, her championing of the personal computer as a tool for self-sufficient musical creativity also connects her to more artsy musicians such as Pietro Grossi, Laurie Spiegel, and the League of Automatic Music Composers. Norton's predilection for the bright, glossy timbres of early digital instruments also recalls Hubert Bognermayr and Harald Zuschrader's bizarre 1982 one-off Erdenklang.

Later, her talent and expertise attracted the attention of IBM, who in 1986 named her as an official consultant. Already the reigning queen of the Italian electronic scene, she recorded two CDs for IBM: Automatic Feeling and The Double Side Of The Science. Influenced by her son, the musician and producer Rexanthony, Norton brought her fascination with the early days of techno into the 1990s, when she released three volumes of Techno Shock on Italian trance/hardcore label Sound Of The Bomb.

While her music remains largely out of print and inaccessible, Norton's early records have recently begun to receive the inevitable rediscovery treatment.

"In the late sixties I had already conceived computers as personal.' I have always trusted in the benefits of solitude, (being) alone means freedom... What's better than a personal' computer for materializing ideas, by oneself" (Doris Norton)

Logistics, one of Hospital Records' most prolific artists, is back with his seventh studio album 'Hologram'. Inspired by his travels to Hong-Kong and New Zealand, this universally admired drum & bass figure presents a vibrant 16-track collection soaked in his signature groove, soul and liquid-funk stylings.

Opening track 'Lotus Flower' sets a warm springtime tone with fluttering harp-like arpeggios and atmospheric pads. 'Broken Light' follows on from the success that singer/songwriter Thomas Oliver brought on Logistics' collaborative LP with brother Nu:Tone. A sombre tone matched with melancholic lyrics bring a blissful beat to the album.

Keeping true to the craft, 'Chant' flips to Logistics' jungle style with molten-hot flair. A powerful punch of expertly sliced breaks and vocal stabs are the ingredients for this dancefloor weapon.

It's safe to say that this has been worth the wait. Although titled from the ever-growing illusion of the digital-age, 'Hologram' is an example of Logistics' very real talent and is a welcomed addition to his impressive repertoire of drum & bass classics. Quantity, quality and a fierce musical character is everything we have come to expect from this Hospital staple.

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

It's the big 5! Berlin - Frankfurt based label House Is OK is celebrating its five-year long presence and has decided to mark that period with something special Label's story started with a sticker Homeboy printed in his former hometown, Zagreb, saying House Is OK'. Catchy, right It became an underground slogan of the local scene. It didn't take long for people to embrace the idea stating that it's OK to be into melodic, fresh, groovy yet, at times, a bit awkward dance music.
Just around the same time Homeboy's Frankfurt based bro's Oliver Achatz and Janis played with the idea of starting a record label. Guess what the logical choice for the name was
Ten records, dozens of original songs and remixes later House is OK continues to grow.
Literally. What was once a platform for the original three founders is now an international family affair supporting the talented artists from Frankfurt, Stockholm, Alexandria and Orlando. Nurturing the friendly approach this musical family continues to grow.
Looking back at the first five years, not only at the music that connected them all but at the bonds that deepened through the production process, House is OK crew wanted to take
create a proper reminder and thank the ones supporting them throughout the years. A double 12' pack titled Gemišt' seemed like a proper way to do that.
- Gemišt will be released as two separate EPs featuring the original music from Kornél Kovacs, Roman Flügel, Gavri & McQueen, TCB, House Of Life and the label makers themselves. Oliver and Janis deliver tracks under their known names, while Homeboy
introduces his new project with fellow Wilde Renate resident The Swift, called Longhair.
Croatian artist Ugruv Smek marks his yearlong collaboration with the label delivering yet another smashing artwork.
Mark the upcoming February when Gemišt part I' is to be released and while you're at it, move on to March just so you don't miss the Gemišt part II' release. And yeah, in case you're wondering - of course it's both 12' EP release and in digital format. House is OK's got you covered.

Nat Birchall charts new paths toward spiritual communion, connecting jazz with classical Indian influences guided by the wistful flow of the harmonium.

Cosmic Language sees the UK-based saxophonist, composer and arranger return to Jazzman Records with a cross-cultural approach: an exploration of the parallel musical paths of jazz and Indian ragas. Here he takes influence from spiritual jazz forebears such as Alice Coltrane and Yusef Lateef and introduces the Indian harmonium to his band, where it takes the place of the piano. Making new connections to realise his transcendental ambitions, it's a logical next step in making music as spiritual cleanser.

The idea for the album was spawned from a one-off performance at a meditation centre, the Maharishi Golden Dome in West Lancashire. Seeking to bring a band set-up that was fitting to the quiet-minded setting, Birchall brought the harmonium with him. A small pump organ, it's an instrument he'd been in possession of for many years but hadn't previously used in his music. Building on the spiritual context of that show, and the associations of that instrument, it led naturally to the musical approach undertaken on the album.

Both the album and the show which preceded it were recorded with the same tight-knit group of players which have featured on Birchall's previous albums. All members of the group are part of the same like minded circle of Manchester-oriented jazz musicians, sharing stages and acquaintances with the likes of Matthew Halsall (a longtime collaborator with Birchall) and GoGo Penguin.

Birchall has always channeled wide-ranging ideas into music that's simple to understand, and this album is no exception. Album opener 'Man From Varanasi' is an ode to Bismillah Khan, one of Birchall's heroes of Indian music who hailed from the northern Indian city named in the title. It also sees him taking cues from the Indian raga tradition which, as with most other traditional Indian music, is a foundation which underpinned Khan's music.

Crucially, the ragas tap into the idea of of music as a means of spiritual release. As Birchall explains, "The whole act of making music is a spiritual experience. It's during performance and when playing music that I look for a kind of truth. It's with music where I find myself feel closest to attaining that 'enlightened' kind of feeling." "On rare occasions I've actually felt as though I was listening to the music being played rather than being involved in making it, almost like an out-of-body experience."

This natural feeling comes from Birchall's attitude toward jazz music. He sees it as an essential part of day-to-day life: instead of brightly-lit, occasional entertainment in lugubrious concert halls, he considers it an everyday, vital source of inspiration. At a moment where jazz-influenced music is undergoing creative renewal and wider appreciation, it's an important perspective that's found resonance elsewhere. His experiences and the world around him are filtered through his music, and he looks to have his music - be it live or on record - absorbed in the same quotidian way. "To me, it's an integral part of society, an everyday thing," he says. "You should hear the music every day."

Following our first release with Opal, which aimed at the dance and the bodies, we wanted with this second EP to reach to people's mind. As a Geneva-based techno label, it was fundamental to work with our local hero: Opuswerk. He's already been working outside of the country with artists like Fran ois X and labels such as ARTS, Semantica or Dement3d. It was time we involved him in our project. Through this EP, Opuswerk clearly shows what he knows and does best. Much like his DJ Sets, he connects dots and layers in unexpected ways, like a rhizome connecting different multiplicities. Inspiration for the original tracks came from designing systems of independent yet connected sounds, where events are triggered, un-triggered and alter other events, each behaving on their own. As one of those elements, the artist acts as a guide, directing them from one place to the next acting as and with the machines. The "mot d'ordre" is about becoming one of the machines, blending techniques with vibes and catching them like ever escaping dreams. The result is two uniquely sounding spaces, either filled with raw energy like on Extensum or with subtle and serene ever-evolving bleeps on Spatium. Those two extremes are fitting to how we want present the multiple dimensions of our artist's works to the world. The same logic went into choosing the remixers, with whom Opuswerk had a human connection with. Inland and Antigone need no introductions, having both established their sound on labels like Countercharge or Token. Each brought their own re-interpretations of the original tracks bringing them closer to the dancefloors.

Mondo Groove celebrates Italo-Disco in fine style delighting us with the most important tunes from the legendary Phantom Records; a ride deep into the world of the label that has not only produced renowned music, but has been acknowledged as a serious influence on modern disco sounds. Emerging in the late 70's to early 80s, Italo bridged the gap between disco and house, and was a staple of seminal Chicago DJs like Frankie Knuckles (who pioneered many of the drum machines and synths that are still in use today).

I-Robots, a true connoisseur of the genre, hailing from the Piedmont area of Italy, curated and carefully selected the tracks on this compilation.

This eleven track collection features originals and rarities, officially repressed here for the first time, and 2 tracks re-edited by I-Robots. The LP comes with the original Phantom Records logo on the front, scans of original 7-inch and LPs covers, as well as photos of the era on the back.
The sequence begins with "Come with me" by Carlotto. Roberto Carlotto was a keyboard player and singer who was very active since the 1960s. His solo recording career began in 1971 with a 7-inch release, and was followed by the progressive rock cult album "Dedicato a Giovanna G." signed under the pseudonym Hunka Munka. At the time he was distinguished by its remarkable technique and the high quality of its equipment that included an incredible number of keyboards and even the first examples of electronic measures. "Come with me" is an astounding unique Rock-Disco tune pressed only on 7-inch and highlights all of its instrumental and vocal prowess in a tight rhythm.
Comet Music Hall also came out as a 7-inch as a promotional edition for the homonymous discoteque - a kind of psychedelic-disco still currently produced by Enzo Draghi, a key figure of the Phantom, among others.
Roberto Ferracin is the man behind the Music One project, the name by which he produced only one LP of short electro-disco jingles. Included here are four of the most powerful cuts.
Every Italo Funk-Disco collector knows "Radio Cosmo 101", a soulful jazzy-disco-funk number produced by the homonymous radio station that was based in Alessandria in 1975, and spawned from the mind of Tony De Giglio, his two brothers, and a group of friends. At the end of 1974, Tony saw "American Graffiti", which instilled the desire to create a free radio format which became very popular in Italy. The programming took place at De Giglio's house and the wavelength was, in fact, 101 Mhz. The show immediately became quite popular, with programming that began in the morning at 10am and ended at 11pm. Included in this LP are the vocal and instrumental versions, as well as a long-version edit by I-Robots.
Don Luigi Bernini is a Piedmontese priest who has devoted his life to music. His father played the organ in church, and in those days the electric organ did not exist, therefore the father used little Luigi to push the bellows. The boy soon learned to play it as well. He then entered the seminary but continued to study music and graduated from the Vivaldi Conservatory of Alessandria in piano and choral composition. Later, he became a teacher of music education at the State School. He was introduced into the world of pop music by producers Riccardi & Albertelli and debuted with a single in 1977. Of his discography, his most interesting work is undoubtedly the weird "Telepatia" of 1979 - an experimental album, electronic, psychedelic, with the theme of good and evil always in the foreground. Featured in this collection is 'Whirlwind', which was recorded by Roberto Ferracin (Music One) and Enzo Draghi.
For all Italo maniacs!

It's the big 5! Berlin - Frankfurt based label House Is OK is celebrating its five-year long presence and has decided to mark that period with something special Label's story started with a sticker Homeboy printed in his former hometown, Zagreb, saying 'House Is OK'. Catchy, right It became an underground slogan of the local scene. It didn't take long for people to embrace the idea stating that it's OK to be into melodic, fresh, groovy yet, at times, a bit awkward dance music. Just around the same time Homeboy's Frankfurt based bro's Oliver Achatz and Janis played with the idea of starting a record label. Guess what the logical choice for the name was Ten records, dozens of original songs and remixes later House is OK continues to grow. Literally. What was once a platform for the original three founders is now an international family affair supporting the talented artists from Frankfurt, Stockholm, Alexandria and Orlando. Nurturing the friendly approach this musical family continues to grow. Looking back at the first five years, not only at the music that connected them all but at the bonds that deepened through the production process, House is OK crew wanted to take create a proper reminder and thank the ones supporting them throughout the years. A double 12' pack titled 'Gemišt' seemed like a proper way to do that. - Gemišt' will be released as two separate EPs featuring the original music from Kornél Kovacs, Roman Flügel, Gavri & McQueen, TCB, House Of Life and the label makers themselves. Oliver and Janis deliver tracks under their known names, while Homeboy introduces his new project with fellow Wilde Renate resident The Swift, called Longhair. Croatian artist Ugruv Smek marks his yearlong collaboration with the label delivering yet another smashing artwork.

In 2017, the musical term electronic' is nearly obsolete given the ubiquity of computerized processes in producing music. Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment. Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn't be further from the truth, and that more often than not, rich worlds of synthesized
sound are born from deep reverence of the natural world. Smith (who by no coincidence, cites naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on
The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.
The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across four sides of a double LP.
The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana. Smith's music has always woven a youthful thread befitting of the
aforementioned subject. Here she articulates it in signature fashion on the track An Intention,' which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith's watermark. The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness. The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith's ambition to broach subtler and deeper subjects than the average composer. This side offers up another highlight in the form of In The World But Not Of The World' which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse.

Side three emphasizes a feeling of being confirmed enough in one's own identity to begin giving back to the formative forces of one's upbringing, which is arguably the duty that all great artists
aim to fulfill. This side ends with the exploratory album cut Who I Am & Why I Am Where I Am' recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble
piece of sound design serves as a contrast to side four's verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself. This final side represents a
return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On To Feel Your Best' this concept is voiced in the bittersweet refrain one day I'll wake up
and you won't be there' which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the
listener, and both interpretations are equally moving.
Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners,
and here she represents her kind proudly. The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar
gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here.

Alan Watts, another logical inspiration of Smith's, once expounded that people record themselves to confirm their own existence, and as such, echoes and resonance are reminders that we are alive. You're not there unless you're recorded,' Watts muses, if you shout, and it doesn't come back and echo, it didn't happen.' The Kid speaks to this idea directly. As Kaitlyn Aurelia
Smith explores her existence through music, she guides us in gleefully contemplating our own.

hain & the Gang : Ian Svenonius

Chain & the Gang ... the world's only 'DOWN WITH LIBERTY' group ... the best and most radical rock n roll group ever ... have a BRAND NEW long playing record out on RADICAL ELITE records and its a 'head scratcher' for sure ...

Chain & the Gang - known as the dynamic and irresistible live combo that pens provocative, unforgettable odes to obedi- ence and total destruction (e.g. 'Devitalize', 'Certain Kinds of Trash', 'Detroit Music' ) got sick of the simple fare so prevalent at the rock festivals these days. After nodding off to the washed-out zzzounds of the latest five-star folly critic's catastrophe, 'Chain & the Gang' decided to respond with their patented perversity ; they reached to the farther corner of the lab and came up with an immortal classic in the hard-to-hear genre of 'EXPERIMENTAL MUSIC' (!!!!!!!!)

In fact, this record is so confounding, so new and uncharted, they decided to call it 'EXPERIMENTAL MUSIC.' Not only is it a pounding super-classic, but it's the final word in the experimental music genre, answering the questions initially proposed by John Cage, Yoko Ono, LaMonte Young etc., shutting down the need for further experiments forever. The Lab is Closed!

Besides CHAIN & the GANG's 'Chain' — aka Ian Svenonius -- the 'EXPERIMENTAL MUSIC' LP features an all-star cast of avant-garde geniuses such as DANNY KROHA (the Gories, Demolition Dollrods, Danny and the Darleans), FRED THOMAS (Saturday Looks Good to Me, Lovesick, Tyvek, His Name is Alive), SHELLEY SALANT (Shells, Tyvek, SLGTM, Swimsuit), AMBER FELLOWS (Swimsuit), MADELINE MCCORMICK (Chain & the Gang) and BEN COLLINS (Mini- Horse) and was recorded live to four-tracks at WORLD CLASS TAPES in ANN ARBOR, Michigan.

The title track sets forth the premise and the rest of the tunes expound upon it. Its a foot-tapping, head scratching, torso tornado that will crinkle the connossieur's temple in a tantrum of cerebral delight.
Writers in one hundred years will still be piecing together the puzzle of perversity that's named EXPERIMENTAL MUSIC by CHAIN & the GANG on RADICAL ELITE Records.

Following some ear-catching manoeuvres across releases like last year's self-released 'Only' and 'Lagata', which gained her early fans like Bjork and Dev Hynes (who she supported in the USA), 'Tommy' marks Klein's deepest plunge yet into the deep, dark ocean' of her musical imagination on her Hyperdub debut. On 'Tommy' her vocals play with Fifties-esque melodies before switching to familiar tones akin to Brandy and Rodney Jerkins, her live voice and live piano playing filtered through hyper-glitchy and looped production with a loose, internal logic, cutting from angular atonality to pockets of skewered harmony. 'Tommy' also steps things up in conceptual terms. Its eight tracks are broken down into acts that are rooted in themes of vulnerability, sisterhood and death, threading the chaotic sonics with modern operatic undertones and a Shakespearean sense of tragedy. There's a lot of bluster about originality in contemporary UK music and what rises from the noise here is a creative voice who, by her very nature, plays with the construct of what pop is. This is Klein's world ... it's on us to get with it.

Black Truffle is honored to present a new issue of Annea Lockwood's classic 1970 tape piece Tiger Balm, unavailable on vinyl for over thirty years, accompanied by two exquisite unreleased works for percussion and voice.
Created while Lockwood was living in the UK, the side-long Tiger Balm is a singular work within the cannon of tape music. Inspired by research into the ritual function of music, the piece explores the possibility of evoking ancient communal memories through sound. Breaking entirely with the dynamic language of the musique concrète tradition, Lockwood uses a select palette of mainly unprocessed sonic elements chosen for their mysterious and erotic characteristics (a purring cat, a heartbeat, gongs, slowed down jaw harp, a tiger, a woman's breath, a plane passing overhead), presenting at most two sounds at once. As one sound flows organically into the next, their shared characteristics are highlighted, opening a space of dream logic and mysterious associations between nature and culture, the ancient and the modern.
The B-side presents two pieces for percussion recorded here for the first time. Amazonia Dreaming (1987), performed by Dominic Donato, uses unaccompanied snare drum and voice to evoke the nocturnal soundscape of the Amazon rainforest. Unorthodox techniques and materials (marbles, chopsticks, a plastic jar lid) transform the snare into a resonant field of sensual textures.
Immersion (1998), performed by Donato and Frank Cassara, is a slow-moving exploration of gentle beating tones, performed on marimba, tam tams and gong. Like the other two works presented on this LP, it provides captivating proof of Lockwood's belief in the complexity that deep listening can reveal within seemingly simple sounds.
Francis Plagne
Presented in a stunning deluxe gatefold sleeve with archival pics and liner notes by Annea Lockwood including the score to Amazonia Dreaming.
LP design via Stephen O'Malley
Mastered and cut by Rashad Becker at D&M, Berlin February 2017

10 Years Boxset

In the spring of 2007, musician and producer Paul 'Mudd'
Murphy decided to launch his own label. Named after the house
he grew up in, Claremont 56 would release beautiful music by
friends, associates, collaborators and like-minded musicians.
In the 10 years that have passed since, Claremont 56 has more
than surpassed Murphy's modest expectations. It has built up
a cult following around the world, with listeners responding
positively to the label's combination of magical music, beautiful
artwork, and impeccable packaging.
To mark the label's frst decade, Murphy has put together
a sumptuous vinyl box set of previously unheard material,
produced and presented with the same attention to detail that
listeners have come to expect.
Each copy of Claremont 56: 10 Years contains fve weighty slabs
of wax and a bespoke info sheet, housed in a specially designed,
hand-numbered box with debossed logos on the front and rear.
However impressive the packaging, it's the music that makes
Claremont 56: 10 Years stand out. Featuring a mixture of
unreleased tracks and brand new remixes of vintage label
releases, the highlights come thick and fast.
As you'd expect, some of the most impressive contributions
come from those artists you could describe as legendary',
including Chicago deep house originators Larry Heard and Ron
Trent. Can legend Holger Czukay kindly contributes one of the
standout moments, the eccentric 'Music To Be Murdered By',
from his own unreleased catalogue, while Afro-cosmic pioneer
Daniele Baldelli joins forces with Marco Dionigi to deliver a
typically spacey remix of Bison's 'Familiar Stranger'. There's also
an epic, Afro-tinged dub disco remix of Smith & Mudd's 'Nether'
by Norwegian scene founder Bjorn Torske.
Elsewhere, Good Timin' man Jex Opolis turns an overlooked
track by Paraiso into a samba-boogie killer, Sean P dubs out
Zee Erf's beautiful cover of 'Southern Freeez', and Phil Mison
turns FreshRo's laidback electrofunk cut 'Pacifc State' into a
breezy, Balearic gem. Look out too, for the emotion-rich beauty
of Statues' 'River Darkness' - a track arguably worth the cost
of the box set on its own - and the deep space explorations of
Almunia's Leo Ceccanti.
We could go on, but we're running out of space. Sufce to say,
Claremont 56: 10 Years is a lovingly compiled, curated and
presented celebration of the label's frst decade.

Rico Puestel is in charge for our Cocoon Recordings 144th release. Rico is an 'producer animal' who released more than 100 tracks & remixes since 2005 under various project names such as Dinamoe, Central Scrutinizer and of course under his main moniker Rico Puestel. The enormous amount of productions shaped Rico's knowledge and taste and his new cocoon release 'Neyst' and 'Enokid' seems to be the logical result of his long journey through the techno-universe. Puestels style is very unique and merges elements of dark and hypnotic mainfloor techno as well as orchestral sounds and even industrial elements. 'Neyst' is the perfect hypnotic and dark techno circle that keeps on progressing and building up into sheer madness. No fast food, no leightweight, this is heavy techno business! 'Enokid' comes with a little more of a Chicago house vibe however it is again still deep in Puestels very own style. We especially fancy the crazy break in the middle with the spaced out room effect part and the melody coming in after the break. As stompy and musclepacked this track is, it still seems to be very musical and deep at the same time - what a trip! This one demands a good and proper sound system, well what other Cocoon Release doesn't

The first vinyl LP on our specially created Pied Piper imprint - featuring established favourites, recent discoveries and other rarities from the Detroit-based production company.

First northern soul collectors scoured the junk shops, charity shops, deletion bins and mail order lists for records by their favourite artists. Next they tried other discs on labels for which their heroes appeared. Later came the search for titles by songwriters such as Van McCoy, Popcorn Wylie and Ashford & Simpson and the work of producers, arrangers and the companies they worked for.

Pied Piper was a Detroit-based production company with a big enough catalogue to have been a successful indie label in its own right. Apart from their own short-lived Giant imprint, they were credited on another 20-plus 45s and three LPs issued on various other logos. Even more impressive was the music they left on master tapes. Around 50 finished tracks have emerged over the last 20 years and it has been Kent's honour to release them on our specially created Pied Piper label. This is our first vinyl album taken from that catalogue.

Included are perennial favourites such as 'I'm Not Built That Way' by the Hesitations, 'That's When I Need You' by Freddy Butler and Mikki Farrow's 'Set My Heart At Ease', which we've mixed with recently discovered soul sensations 'Voo Doo Madamoiselle', 'More Than A Memory' and 'We Go Together'. As a bonus, the version of the Cavaliers' 'We Go Together' is a completely different take to the one on our first Pied Piper CD, featuring a rap intro all serious fans will need. Nancy Wilcox's opening track 'More Than A Memory' is a superior sounding master taken from a recently discovered tape and there are alternative original takes of Lorraine Chandler's 'I Can't Hold On' and 'You Only Live Twice'. Classy rarities from Tony Hester, September Jones and Rose Batiste complete the collection.

Ady Croasdell

In My Room proudly presents 'Fixion', the fourth full-length offering from Anders Trentemøller. With 'Fixion', Anders has crafted a logical successor to 2013's 'Lost' - a record that in many ways managed to truly capture the visceral live experience of Trentemøller as a full-band. In much the same manner that 'Lost' built on from the somber cinematic classic that was 'Into The Great Wide Yonder', 'Fixion' has embraced the Danish artist's trademark melancholy and matured it into something uniquely atmospheric and darkly romantic.

Limited Deluxe Collectors Edition 2LP,180g, Gatefold with Spot Varnish+ MP3 Download + Download Bonus Track Rework!

In My Room proudly presents 'Fixion', the fourth full-length offering from Anders Trentemøller. With 'Fixion', Anders has crafted a logical successor to 2013's 'Lost' - a record that in many ways managed to truly capture the visceral live experience of Trentemøller as a full-band. In much the same manner that 'Lost' built on from the somber cinematic classic that was 'Into The Great Wide Yonder', 'Fixion' has embraced the Danish artist's trademark melancholy and matured it into something uniquely atmospheric and darkly romantic.

Those disco specialists at To Rack & Ruin are back in business, kicking off their 2016 campaign with an absolute scorcher from Moscovite producer Phil Gerus. After making waves with a string of releases for the likes of Futureboogie and Sonar Kollektiv, Gerus arrives at the Mancunian edit institution in fine form, ready to take over the world with a quartet of fully loaded floor movers for all you dancing fools.
Going hard and heavy from the off, Phil introduces himself with the tumbling toms and zero gravity sequences of 'Delicious Wishes', a neon tinged reshape of an Angelic original. Working the loops and FX like a pro, the Russian sprinkles space dust all over this camp cosmic classic, packing a whole host of extra oomph in the warp drive! "Bossy Lady" Phil turns his attention to Italo, setting pulses racing and feet stomping with the space age sound of . Playing free and easy with the pitch control, the Moscow magician conjures up a space disco body mover complete with tripped out vocals, chunky guitar and nebulous synth lines. Sticking with the moods and grooves of the Mediterranean,
Over on the flip we have "Stop! Let's Slow Down" powering into the peak time in a shimmer of sequins as it supercharges a boogie vintage for the modern DJ. The finest floor shaking boogie reheat since Tiger & Woods last hit a hole in one, this is gonna raise the temperature at any party worth its salt. Phil takes us home with a spaced out version of an all time Italo classic. Reworking the percussion and looping up that low slung baseline, our host supercharges the groove for modern club deployment, rounding off another essential release from your favourite edit imprint.

Pressed on Black Vinyl with hand stamped logo & info

Formed by MGM A&R man Michael Viner in 1972 to supplement the soundtrack to the virtually anonymous B-Movie flm The Thing With Two Heads, 'The IBB' went from a loose studio collectve to
an instrumental pop covers consortum, interpretng classics of the day in their own inimitable percus-sive fashion.
B-Movie soundtracks, The Beatles, drummers gone bad, Frank Zappa, Kool Herc... These albums have a remarkable story behind them which is detailed in the exclusive insert included in the boxset, writen by Angus Batey.
The IBB's cover of the 'Apache' track - originally made famous by The Shadows - has become simply legendary in the worlds of hip hop and dance music. The track was a staple of Kool Herc and Grand-master Flash in the 70s as they invented the art of Djing at Bronx block partes, leading to its logical status as one of the most sampled tracks of all tme and a hip hop and breakers anthem that has stood the test of tme. It is stll revered as THE break of all original breaks, with the rhythms of the LP it was frst found on helping to coin the term 'breakbeat'.
Apache has been sampled by Missy Elliot, Coldcut, Will Smith, Goldie, Jurassic 5, Moby, Run DMC, Sugarhill Gang, Beaste Boys and Massive Atack among many others.

+ Downloadcode!

The first Late Night Tales release of 2016 is a very special project by Sasha.

Imagine listening to music inspired by Frahm, Richter and Steve Reich, but made by one of the UK's leading house and techno DJs. Away from the hubbub of the club, the craziness of Ibiza, there's a contemplative side to everybody. Forget the beats and the sweat and the billowing anthems; this quiet, undulating, at times pastoral piece is less about songs and anthems and more about texture and atmosphere. 'Scene Delete' is a side of Sasha you've never heard before. I love post-minimalist modern classical, I love to listen to something completely different that's quite hypnotic as well. It almost purges the system.

About three years ago, my collaborators David Gardner and ThermalBear and I wrote a song called 'Bring On The Night'. I sent it to Ultraista and within a few days she sent it back with this amazing vocal on, with Nigel Goodrich playing keyboards. We tried to do club mixes but we just couldn't get it right. So it sat there doing nothing.

Tracks like this kept building up, until finally last summer my frustration boiled over. We'd made so many tunes that I couldn't remember the names of half of them: What was that thing with a bass sound and a string line It drove me mental. At the same time as we were logging these tracks, I was listening to the Jon Hopkins' Late Night Tales and I thought a lot of the music we'd been working on was in the same vibe. So I sent the music over to Late Night Tales and they really liked it.

Initially, I thought we'd just do a Late Night Tales compilation with maybe a few pieces of my own music. But as we went through everything we'd worked on in the last two years, we realised we had about 50 pieces of music. So we started editing and compiling: 'Scene Delete' is the end result.' - Sasha, January 2016

Think of 'Scene Delete' as somewhere between a mix album, an artist album and a gentle stroll through the soundtrack in your mind. Make sure you switch off the lights before you enter.

A collection of nine reworks crafted by fans and selected by Nils himself form the 'Screws Reworked' re-issue, also featuring his original 'Screws'. The 2012 album 'Screws' by Nils Frahm, was the result of inspiration from his fans and friends while he recovered from an unfortunate accident, which saw him fall from his bunk bed located directly above his studio, which resulted in a broken thumb.

These nine intimate recordings were offered to fans to download for free and in return fans thanked Nils by sending him their audio and visual reinterpretations. Fascinated by the results, Nils then publicly asked his fans to submit their reworks or any form of art that was inspired by the release and all these submissions have been collected since on a dedicated website: It gave birth to the 'Screws Reworked' project from which Nils selected nine reworks to feature on a special edition re-issue which also includes his original 'Screws'.

'Whenever you have to decide between two things, you end up favouring one over the other. In the case of this record, I had to choose nine out of hundreds of songs - but I didn't want to follow this logic, I didn't want the songs to compete against each other. I never liked music competitions, neither when I was a kid playing classical music contests nor today when the best album of 2015 is awarded.

Having been in the situation to pick my own tracks for my own records, I knew that the only way to manage this tough job is to concentrate on the cohesiveness of listening to the songs all together. Screws Reworked should sound like a record, not like a random collection of tracks.

The motivation to make such a record came with the release of Screws in 2012 as a gift to my listeners. I thought about it as a starting point for people to make their own interpretations of the songs. The feedback was overwhelming. A couple of months later, we counted over 300 contributions. Without going through a selection process, they were all available only online until now.

It seemed essential to make it a real record as I imagined how happy it must make those who would find their names - in most cases for the first time - on a real record.

Now is the time to thank you all for your numerous and beautiful contributions. In case you don't find your track here, please don't think it stands behind the others. This record means, in fact, that some of the most beautiful songs couldn't be included as they simply weren't 'good neighbours' and because there is only one rework for each of my original compositions.

However all of you opened your hearts and minds and shared your uniqueness with us and I feel incredibly blessed by each and every single rework of Screws. Thank you!' - Nils Frahm.

To anyone with even a passing interest in the weirder end of good-time party-ready house music, Freaks should need little introduction. Luke Solomon and Justin Harris have been keeping our preferred kind of dancefloor vibrating to the cheekiest manifestations of house music since the mid- 90s, never letting up and moving in the same oscillations as the good ship Circus Company. From first emerging on Phono through to setting up their Music For Freaks label, stopping by Playhouse, Wash House and Rebirth amongst countless other labels along the way, the UK duo have constantly given the traditions of house music a tickle in the ribs without losing that fundamental funk that makes a record great to dance to. We were thrilled to welcome Luke and Justin to remix Dave Aju's 'Nu Threads' at the end of last year, and now we follow up on that connection with a special EP of gems from the extensive Freaks archives. On 'Shrunken Heads (One Pro Mix)' the rock solid foundations of filter house music collide with flamboyant synth noodlings for a truly cosmic end result, while 'Absolut Zero' finds solace in a slower, deeper groove peppered with oddball effects tweaking and disembodied vocal samples. Heading further into loose-fit, slippery territory, 'Funk You (Who Do You Trust Dub)' lets soulful sample licks wriggle and writhe through a decidedly laid-back atmosphere that shows off the range Freaks have always sported in their output since day one. In many ways this coming together of Circus Company and Freaks feels like a logical development for two bastions of the oddball house music community, not to mention a great opportunity to hear tracks that otherwise might never have seen the light of day.

There used to be a time when ring tones were important. You were easily recognizable as one of the few people actually owning one of these new gadgets called ›mobile phone‹ (or ›handy‹ as the Germans say). Later you could make an important distinction by choosing a ›cool‹ ring tone...

In May 2014 the Festival »Doofe Musik« (»Stupid Music - Songs for Dreaming, Sedation and Forgetting«) took place at Haus der Kulturen der Welt (HKW) in Berlin. As part of the »Anthropocene Project« the festival focussed on escapism and the special function of music when retreating from reality. Detlef Diederichsen, curator at HKW, and Holger Schulze, Head of Sound-Studies-Lab Berlin, decided to not only focus on music which music lovers usually hate, e.g. ›Schlager‹, German folk music, Light Jazz, but also on ring tones.

The audio logo of Deutsche Telekom has been part of Germany's mobile phone culture from the very beginning so it acted as a starting point to question the usual concepts for ring tones. Using Christian Kellersmann's idea of the »Pocket Symphony« ten artists were invited to come up with adaptations of Telekom's audio logo. The results were performed for the first time during »Stupid Music« and once again in October of the same year when most of the recordings you can find on the album were made.

As you will hear: The short motif, as simple and unforgettable as it is, is ideal musical material.Everyone knows it, everyone has some sort of connection to it and these ten different versions, these ten different positions, open up the most varied possibilities for associations.

It is time that we take the ring tone seriously again. As the most reduced musical form that is the most-widely available in the whole world it contains enormous and unrealised potential!

* Hospital Records present their latest compilation 'Fast Soul Music' - a welcomed lesson in the art of soul-inspired drum & bass of the high-speed variety. After nineteen years spent building upon it's lounge-core esthetic their extensive library of smooth-rolling sounds is at the ready, now it's time to get retrospective.

* From the work of thirty artists, a carefully selected forty-six tracks highlight the quintessential sounds of soul music in the Hospital Records back catalogue. Not only effortlessly blending classics from Hospital mainstays London Elektricity, High Contrast, Danny Byrd, Nu:Tone, S.P.Y and Logistics but also showcasing the fresh wave of talent that's reached our ears in recent years. The work of Fred V & Grafix, Hugh Hardie, Keeno, Etherwood, Anile, Tokyo Prose and Technimatic showcasing just how prominent soul music is in drum & bass today.

* Accompanying this two-CD collectors item is a perfectly polished mix by longstanding practitioner and newest member of the Hospital A+R team, Nu:Tone. With over two hours of soul-inspired sounds that effortlessly create the ideal soundtrack for any daydream-filled afternoon.

* With a nod back to London Elektricity's '03 classic 'Fast Soul Music' and a look forward to the fresh influx of talent passing through, Hospital Record's latest compilation provides any drum & bass fan with a chance to rediscover those once forgotten gems and dust off the cobwebs from their favourite nostalgia-fuelling drum & bass anthems.

* Digital Marketing: Youtube upload schedule for music and video content on Hospital Records YouTube channel - (260k subscribers), cross promotion exclusive mix upload with UKF Youtube channel.

* Press / Promotion: Comprehensive campaign in-house serving all UK music and dance titles as well as national, regional and student press - Mixmag, DJ, Trap, Notion, Music Week, Future Music, Time Out, Metro, London Evening Standard, The Guardian, The Independent, Dazed + Confused, Vice, The Wire, The Fly, Vice Magazine, Clash. Kmag (interview), D&BA (interview). UKF Website and Youtube Channel. Reddit AMA, FACT Mag TV interview.

* Radio / Internet: Comprehensive in house campain from Hospital Records. BBC Radio1 & 1Xtra support from Mistajam, Friction, B Traits, Annie Mac, Andi Durrant (Kiss), Eddy Temple-Morris (X-FM), DJ Hype (Kiss), D&BA TV Takeover, Rinse FM Hospital Records Show, Hospital Podcast Hospital Records Podcast USA series, Kmag Podcast, Ministry of Sound Podcast. D&BA Podcast, Hospital records Website, Hospital Facebook (262K Likes), Twitter (64K Followers), Soundcloud (48k followers), YouTube (238k subscribers), Hospital Records Mailing List (53k Subscribers)






aG CD 1-7 | Logistics feat. Nightshade and Sarah Callander 'Crystal Skies'
















DISC 2

An efficient good Tribe hardtechno killaz. Nice one. (no represses since 2003) !