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For over 18 years, Spectral Sound, the dance music imprint of Ghostly International, has thrived at the forefront of techno and house. It has been a source of support for numerous DJs and producers during that time, from Matthew Dear and Benoit & Sergio to Avalon Emerson and Hieroglyphic Being. Now, Spectral brings the past alongside the present with its latest release, a compilation that offers a vibrant cross-section of the current moment in underground dance music. Despite the wide-ranging selections on Spectral 139, a throughline of classic style and infectious energy emerges from the up-and-coming and established artists alike. Rising talents such as Minimal Violence, Russell E.L. Butler, and Earth Trax x Newborn Jr. bring unique perspectives to their hardware-centric productions. Veteran producers bring their own edge as well: D'Marc Cantu blows the roof off with the outsized funk of "Regularly People," and Nigil Caenaan's "January's End," a low-key Detroit classic from the late '90s, closes Spectral 139 with a whirlwind of manic rhythms and sedate synths. Gunnar Haslam opens the tracklist with his acidic mindbender, "Versione Antica." And Ghostly regulars like Tadd Mullinix, who drops a lush JTC remix of his new X-Altera alias, and Matrixxman, who collaborates with Riccardo Limiti on the cavernous "Inferno," tie everything back to the label's roots. The double-12" compilation, as well as each individual single, features original work by Los Angeles-based artist Nina Hartmann. Her designs have appeared on releases from labels such as Ascetic House and Big Love, and the pieces for Spectral 139 continue to develop her cryptic aesthetic. The marriage of Hartmann's striking, high-contrast symbols with such bold dance music speaks to a collection that aims to stand out.

New year, new artwork, new music. We are starting 2015 with our next instalment, LL1205. And, it's boss business with SB - half of SBTH - debuting with his solo EP 'THE WASHINT’. The EP is showcasing the various shades of modern Housemusic as it’s ranging from neat, clean and synth driven ‘Matters of Depth’ to hypnotic, organic and percussive ‘The Washint’ via reduced and evolving ‘Gyil Tool’. Pick your favourite.

Children Of Tomorrow will celebrate soon its 10 years anniversary. The label was created by Emmanuel Ternois back in the day and being joined by Arnaud Le Texier in 2011. Since then they focused on Techno producing amazing artists, to name few: Terrence Dixon, Zadig, Tensal, Antigone, Oscar Mulero, Jonas Kopp, Samuli Kemppi etc... Children Of Tomorrow is now presenting the first album from Arnaud Le Texier. After almost 30 years Dj-ing around the world and almost 20 years producing. Signing many releases over the years and always busy delivering dance floor releases, it's been a long wait to finally get an album from ArnaudOn his first album we can feel that he wanted to tell a story and to express something deeper with his production experience. There is a different variety of Techno that stretches from ambient / broken beat / hypnotic / raw Techno along with subtles grooves, wondrous atmospheres & sonic textures. On A side the album opens with Dusk, an ambient atmospheric mid-tempo track with sonic sounds that is a perfect intro.Pattern 2 starts with drones and blip sounds and a broken beat groove follows with a pad that sounds like a voice coming from the space. The track ends with some modular click sounds that make the whole track clever. Followed by the album title Granular Therapy, a deep techno track with modular bass line and melancholic pad. A perfect track to play in after or to warm up a party.The B Side is more dedicated to the dance floor with Black Nympheas that is a proper dark modern techno with a grinding bass line and magic drones. A simple beat makes the track evolve in a nice way. Blade Pass frequency is 4/4 effective Techno with a 909 kick, a syncope acid bass line and a pad that sends you to another dimension. It is a powerful track but with a sense of deepness and sensibility that Arnaud can achieve sometimes. This side closes with Binary Sun Dawn which is an ambient track with melody that has a jazz feeling mixed with dark atmospheres, sonic drones and water drops. The C side opens with Mono Driver, a minimal track with a little synth that stays until the end repetitively until it makes you travel and lose your mind. Deep and dance floor at the same time.

Then Snapper is a more percussive track with some shinning bells and a grinding modular bass line.

The last track Virgo Consortium is a cosmic broken beat with dark atmospheric drone, simple bass and phasing efx. The D Side starts with Midi overdub which is a beauty. A mix between ambient and broken beat. The pad has the deepness that transports you somewhere else with an angel choir on top. The beat is spacial and groovy at the same time with smart high hats. This reminds Arnaud's past ambient production but with a modern approach. Surely a special track of the album.

Hideous Engine is more dance floor with metallic bass line and 4'4 beat going towards a sonic pad that closes the track.The last track Dawn is ambient with drones and blip sounds and an acid bass line modulate. A perfect end of the album.This album is an accomplished journey that makes you dance and travel from dusk till dawn. Arnaud Le Texier shows a coherent vision and illustrates his vast diversity in the techno world. Hopefully we won't have to wait 20 years to get another one.

This is already our seventh Deep Love compilation and we dare to say our most complete yet in sound and flow. The ten pieces on this sampler blend in perfectly with that laid back 'late' summer mood. We are very pleased to welcome yet again some new acts to Dirt Crew with the likes of 'Jaxx Madicine', 'Ouer', 'Times are Ruff' and 'S3A'. We cross many borders not only in genres but also country wise. From the heavy Disco sampled jam by French producer 'S3A' to the Jazz and Funk laden epos of the Italian 3 piece 'Jaxx Madicine' over to the Dutch deep house boys 'Times Are Ruff' who are well known from their, same named, label and finally to the Berlin duo 'Ouer' who also run an own label and released with our good friends at 'Heist Recordings', delivering an ecstatic electronic floating tune here.

This is all completed by some excellence from long time Dirt Crew artists. '25 Places' have been with us for many years now and their two Ep's have gotten so much love from the deeper deep house community. Here they drop an epic almost IDM techno like tune that closes this great album in the best possible way. Our Icelandic stall wart 'Felix Leifur' drops a heavy hitter named 'Buster'. After his recent 'Bobby Donny' Ep earlier this year we are thrilled to have him back on Dirt Crew! 'Harry Wolfman' and 'Ponty Mython' need no introduction really, they are adding Electro/ Disco/ Electronica fuelled cuts that form a great middle part to this mix of tunes. Harry going in very smooth and relaxed, something else than his usual House workout which we really loved to present to you. 'Ponty Mython' drops an irresistible 'good times' indie acid track in his unique 'free' style.

Last, we must of course not forget 'Dan Only' and key wizzard 'Lorenz Rhode'! With another beautifully smooth cut 'Dan Only' follows up on his latest debut Ep with us. Again a smart cross over in Techno and House with a distinct relaxed groove and atmosphere to it. Lorenz is back 'On Top' here after his super successful first offering to the Deep Love series last year and his 'And I Said' EP which stormed many charts. In the middle of touring and working with Detroit Swindle on their 'High Life' album we are super happy that he found the time to make another gem with that raw n funky live feel to it... We couldn't have started this compilation off with a better joint than 'Marakuja'.

Enough words for now ... just put these vinyl on your decks or stream/play it on the go and don't forget to drop them at a sweaty club night. Deep Love is here to stay!

A Love Story. 3 Tracks Made Over A Period Of 3 Years Finally Coming Together For Release. For The Third Instalment Oloo Db Takes The Hypnotic Sounds Away From The Darkness Of The Previous Records And Into A More Textured And Melodic Arena. One For Long Summer Days, And Warm Floaty Nights.

Ltd Edition!

Battle Lines Ist Das Zweite Album Von Bob Moses. Es Folgt Dem Debütalbum "days Gone By" Das Ende 2015 Veröffentlicht Wurde Und Zu Einem Auftritt In Der Ellen Degeneres Show, Zwei Nominierungen Bei Den Junos Und Den Grammys (und Einem Grammy-gewinn) Und Einem Top 15 Us Alternative Radio-hit Mit Der Single "tearing Me Up" Führte. Ineinandergreifende Gitarren-licks, Dancefloor-ambiente Mit Lyrischer Tiefe Und Klassischem Songwriting, Der Sound Von Tom Howie Und Jimmy Vallance Spricht Clubbesucher Und Rockmusik-fans Gleichermaßen An. Das Neue Album "battle Lines" Baut Natürlich Auf Dem Vorgänger Auf, Verstärkt Aber Den Groove Und Die Unmittelbaren Chöre, Um Eine Platte Mit Zukünftigen Hymnen Zu Liefern.

Battle Lines Wurde Von Bob Moses In Los Angeles Geschrieben Und Aufgenommen Und Von Lars Stalfors (health, Local Natives, Cold War Kids) Koproduziert.

- Keyfacts: Bunt Marmorierte Heavyweight Doppel-lp In Gatefold Sleeve Mit Mp3-downloadcode

Following a greatest hits compilation in the late 90s the Human League signed to the Papillon label. The line-up
of Philip Oakey, Susan Sulley and Joanne Catherall recorded the 'Secrets' album, with keyboard player Neil
Sutton, who co-wrote most of the songs with Oakey, and programmer David Beevers providing the trademark
Human League sound.
The album's release in 2001 was preceded by the single 'All I Ever Wanted', but both the single and album lost
promotion and sales when Papillon ran into financial difficulties and was closed shortly after the album's release.
This 2LP edition features the original album over the first three sides, while the newly-added fourth side
features a non-album B-side, along with one rare remix each of 'All I Ever Wanted', 'You'll Be Sorry' and
'Love Me Madly'.
Housed in a gatefold sleeve, the inner sleeves features all the lyrics.

The first release on Standards & Practices since the widely acclaimed remixes of Talker's 'Battle Standards' EP (by Surgeon / Regis / Broken English Club) from late last year, 'Live From Frankfurter Strasse' represents the first recorded collaborative effort from Jonathan Krohn (Stave, also 1/2 of Talker) and Jan Grebenstein (Downwards, Horo).

Culled from recording sessions following several successful improvised live performances in San Francisco, Los Angeles, & Berlin, 'Live From Frankfurter Strasse' is 3 tracks of seismically powerful, industrial dub music that represents a new direction for the pair and is unquestionably some of their strongest material to date.

The twitchy, pared-to-the-bone opener 'Alfa' is at once vast and frighteningly claustrophobic, recalling the brutal, clinical precision of Mika Vainio & Ilpo Vaisanen's output, with a brilliantly tricky arrangement that continually pulls the rug out from under the listener - it's vertigo-inducing twists and turns are simultaneously disorienting and endlessly hypnotic. On the flip, the brooding, scorched-earth 'Stirn' & 'Verstarkerstufe' work at a much slower tempo, uncurling like a plume of smoke with a spacious, cerebral quality that occasionally brings to mind early Gescom.

The first release on Standards & Practices since the widely acclaimed remixes of Talker's 'Battle Standards' EP (by Surgeon / Regis / Broken English Club) from late last year, 'Live From Frankfurter Strasse' represents the first recorded collaborative effort from Jonathan Krohn (Stave, also 1/2 of Talker) and Jan Grebenstein (Downwards, Horo).

Culled from recording sessions following several successful improvised live performances in San Francisco, Los Angeles, & Berlin, 'Live From Frankfurter Strasse' is 3 tracks of seismically powerful, industrial dub music that represents a new direction for the pair and is unquestionably some of their strongest material to date.

The twitchy, pared-to-the-bone opener 'Alfa' is at once vast and frighteningly claustrophobic, recalling the brutal, clinical precision of Mika Vainio & Ilpo Vaisanen's output, with a brilliantly tricky arrangement that continually pulls the rug out from under the listener - it's vertigo-inducing twists and turns are simultaneously disorienting and endlessly hypnotic. On the flip, the brooding, scorched-earth 'Stirn' & 'Verstarkerstufe' work at a much slower tempo, uncurling like a plume of smoke with a spacious, cerebral quality that occasionally brings to mind early Gescom.

Daniel Terndrup Is A Los Angeles-based Dj And Producer. A Longtime Record Collector And
Digger, Daniel Has Become A Local Authority On Bygone Music. He Hosts Regular Radio Shows
On Dublab (crosseyed & Painless) And Nts (heat-wave) While Also Throwing A Weekly Party
For Heat-wave In Collaboration With Wyatt Potts At Former Hollywood Stripclub, Gold
Diggers. Daniel Started Making Music A Decade Ago As One Half Of Cosmic Kids. Alongside
Ron Poznansky, He Made A Name For Himself Producing Heady House And Astral Dance Tunes,
And Releasing Records With Cult Labels Throne Of Blood, Let's Play House And Dfa. In Addition
To Racking Up Plays On Original Cuts, The Duo Was Regularly Tapped To Deliver Remixes For
Heavyweights Like The Rapture, Holy Ghost!, Poolside And Superhumanoids.
After A Handful Of Releases With Cosmic Kids, Daniel Pivoted Toward His Own Project As Daniel
T. His Solo Output Is Inspired By Everything That You Might Find Leafing Through His Record
Collection: Funk, Post Punk, New Age And Pop Of Yesteryear (think: Compass Point All Stars To
Yellow Magic Orchestra). The Music He Releases As Daniel T. Is A Reflection Of His Global Taste,
But Indelibly Filtered Through His Southern California Surroundings

Blurb Attached
Following His 2015 Solo Debut Tetrachromat, Released On Friends Of Friends Sister Label
Young Adults, Daniel T. Returns With A New Album Called Heliotrope, Out This Summer On
Cascine. In Contrast To The Steady Dance-oriented Tempos Of Tetrachromat, Heliotrope
Moves Across More Dynamic Landscapes, All United Under Daniel's Sun-soaked Sensibility.
From The Breezy Bounce Of call,' To The Lithe Cover Of Tatsuro Yamashita's Classic windy
Lady,' He Effortlessly Wades Into Pop Territory. Elsewhere, On The Neon Glow Of moonlight
Bounce' (inspired By Dan's Near-religious Love Of Roller-skating) And The Ebullient First Single
'heat-wave', His Trademark Mid-tempo Swing Shines As Bright As His Synths. Heliotrope Is A
Reflection Of His Global Taste, But Indelibly Filtered Through His Southern California
Surroundings

Tired of reading the words 'classic', 'masterpiece', 'missing link', 'cult', in every press release Just trust us on this one: We have no choice but to use those words and urge you to(re)discover one of the ultimate Afro-Disco lost classics.
How could such a masterpiece stay in obscurity for so long Well, no one knows where N'Draman is. He's presumed dead, and so is Mr Patrick, the label owner, an ex-football player
who turned his focus into fashion after suffering a career ending injury. Selling jeans from an outlet in Monrovia (Liberia), he only ventured in the music business for a short period of time,
releasing a handful of incredible albums on his Cosmic Sounds imprint. The word on the street was that Nigerian legend William Onyeabor was somehow involved with the production of the album, or maybe playing synths on it. Both were inaccurate, although N'Draman Blintch's previous and first record Cikamele, was indeed recorded at Willfilms, Onyeabor's studio. And some of the musicians playing here were also key members in his pool
of session musicians. Cosmic Sounds is many things: Psychedelic, politically engaged, funky to death, full of synths,
with an artwork to die for, a perfect crossover of African and Western culture: Music for the body and soul, Cosmic disco before the genre even existed. Did DJ Danielle Baldelli hear it
Was it ever played by Larry Levan or Mancuso In a pre-internet era, it's unlikely but not impossible. We are extremely honored in carrying the reissue of this gem and have treated the task with
utmost respect: both artwork and audio were restored by specialists, and liner notes were written by Temitope Kogbe, Afro-Funk expert who runs the Odion Livingston label, founded
with legendary producer Odion Iruoje. 38 years after its original release, the world is finally ready to hear Cosmic Sounds in all its glory.

Le Matin, always rare and uncategorised, following the reissue of his early synthwavepop tunes on « poussière d'époque » and a track on the good Lena Wilikens' Dekmantel Selectors 005 comp, this new EP on Lost Dogs Ent. let you hear some of his last works. Expect an ultra-cold-minimal-electro riddim, a less-mental-nearly-good-for-the-dancefloor tune with depitched haunted r&b vocals, an analog and bassy arpeggio ride ... On the flip side, Oh My God ! This is the peak-time-for-weirdo-nearly-techno tune, a blast, only for craziest DJs that like broken-frustrated-uncomfortable dandefloors and to finish this well balanced 5 trackers : the « are you depressed that much It's the 10th time you're listening to this OST of a dying world, this won't get any better but at least this is good music ! » tune. Le Matin is a good kept secret that prefer to take care of his kids than to travel the world of nightclubbing with drunk teens (ok that's how it is in France, that looks better in some other countries), but sometime you can hear his music on decks of some wise people and DJs like Call Super, Lena Wilikens, House of Traps, Charles Drakeford, Jon K, Bergsonist, Body Motion...

The Secret Seapony debut E.P. with 4 pieces of varied cuts. Joined by Hillevåg dwellers: Afrahis JJ, Tom Ace & Ulli. Introduced with scattered morse codes pumped into deep turquoise oceans from the acidic dubmarine. Chiming lost triangles of Bermuda-trance w/ solid squared TB 303-bubbles and deep MS10 waves.

B-side greets nature with an uplifting melodic percussion session lead by JJ´s solid DX´ing and playful muranidaes. Last cut comes with full blesselse and merges into a bliss trip w/ Tom Ace & Ulli.

Norwegian Seapony Power!

Fort Romeau & Ali Tillet's Cin Cin imprint return with another impeccable release that showcases fresh and forward thinking leftfield house for discerning heads and feet.  X.O.A., the London based multi-instrumentalist also known as Nick Tyson, collaborates with the electronic duo Wayward for two tracks.  'Koto' and 'Wayo Wayo' both fuse smooth percussive afro-house elements with tougher synth lines, each track encompassing energetic rhythms and absorbing melodies and lead lines.  

On the flip, DrumTalk follow up recent releases on Huntleys & Palmers and Permanent Vacation with a pair of machine driven, techno infused cuts par excellence.   'Ariel' mixes disco bleeps, loose drums and waves of vocal pads and arpeggiated leads that ecstatically rise and fall, and on 'Red Haze' we are treated to modulated drums and an infectious bassline that welcome in a myriad of sounds without ever losing the deadly driving groove that is the track's backbone.

Autre fell asleep in a gondola and awoke in the Krankenhaus. This is his first offering for the ESP Institute. Side A's Everybody In The Past is sharp techno aimed for the alleys of your mind — gritty, driving, and melodic combinations of blown-out drums and classic electro riffs that relentlessly sprint for a good 4 minutes before a squelching arpeggio and angelic solo kick in — tugging the heartstrings and lighting a beacon for those noble morning dancers lost at the front left speaker, channeling from the deep. On Side B, Frigo completely dismantles any expectations you might have after listening to its predecessor. An undoubtedly seductive Samba rhythm comprised of distant snares, rim shots and cowbells holds together an aggressively active bassline, a steel drum harmony and synth solo that crawl all over like a funky worm. This track is truly something special, a gift for the prodigious selector — when dropped in the deserved context, it has the potential to unlock unprecedented levels of euphoria. These two songs are as fluid as a paintbrush yet precise as a scalpel.

VENT is when you say all is fine with ash in your mouth, is when the surface is all, is when the years lead nowhere, is when effort is loss, is when the rulers have defeated themselves, is when you scream with your smile, is when the surface absorbs the space and when you do not say it, is when the body contradicts the surface, is when it is said, is when the dialectics of the voice has been defeated by the synthesis. Wallis is when Tolga Baklacioglu presents two experimental cuts, and two cuts of abrasive stripped down techno.

Berlin-based producer SDX drops an album entitled 'Nocturnal' on Sophia Saze's Dusk & Haze featuring remixes from TXTRL founders 138 and Shipwrec producer SC-164.



Georgia-born, Brooklyn-based Sophia Saze set up Dusk & Haze to release 'genre-free' experimental music, exhibited in the label's debut release entitled 'Solace' EP featuring four versatile cuts from Sophia herself and twisted electro and techno remixes from Umwelt and Benjamin Damage. The second release comes
from the enigmatic SDX, a masked artist who's fiercely championed left-of-centre dance music for decades. Crunchy drums and a thumping bassline kick things off in 'MS 04' before Los Angeles duo 138 provide an outstanding remix incorporating a cacophony of raw breaks. Modulated flutters, warped blips and white
noise create 'MS 08', leading into the organic drums and off-kilter arpeggios of '007' until New York's SC- 164 reworks '007' delivering a pulsating sub and distorted vocal chops.

On Respective Edges Of America — Oregon And Maine — Keith Kenniff Records Quiet Music At Night. 'when Things Are Calmer,' He Says. 'my Mind Is Less Distracted When I Know That Everything Is Dark Outside.' For Over A Decade, Such Has Been The Mode — Nocturnal, Unrushed, Using The Same Mini-cassette Recorder, "a Lovely Little Imperfect Way To Treat Sounds" — For One Of The Country's Most Understated Composers. Kenniff Has Housed Dozens Of Ambient Releases Under The Name Helios Since 2004, Alongside Post-classical Output As Goldmund, Shoegaze Pop With His Wife Hollie As Mint Julep, And Commissions For lm And Television. It Is A Reliably Transportive Body Of Work That's Earned Kenniff A Cult Following, And A Genuine Modesty That's Kept Him On The Fringes, Right Where He Prefers, In The Dark.

Kenniff Mostly Lets His Music Breathe Free Of Explanation, Open To Interpretation. As Listeners, We Follow Subtle Suggestions — The ery Sky On The Cover Of 2012's Moiety, The Countryside Daydream Of 2015's Yume — Extracting Meanings From Imagery And Inscriptions. Veriditas, The Sixth Helios Full-length, Shares Its Name With Twelfth-century Philosopher Hildegard Von Bingen's Notion Of "the Greening Power Of The Divine," The Term Derived From The Union Of Two Latin Words: Green And Truth. Bingen Saw The Abundance Of The Earth As Vitality To Be Cultivated, Interconnected With The Body And Spirit. Take The Concept In Concert With Veriditas' Vistas Of Sound, Gazing Beyond The Tree-lined Wonder On Its Artwork, And We Undoubtedly Recognize The Album's Rooting. Kenniff Elaborates, "while I'm Not A Very Spiritual Person As It Relates To A Religious Belief, I Do Feel An Overwhelming Connection Between The Aesthetics I nd Pleasing In My Experience Of Nature And My Experience Of Writing Music."

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.

Southern Lord Is Excited To Bring Forth The Debut Album By Los Angeles-based Rock Trio, The Primals, Founded By Current And Former Members Of Darkest Hour, The Explosion, Dead To Fall, And More.

All Love Is True Love, The Primals' Debut Album, Features Ten Infectious Tracks Produced By John Reis (rocket From The Crypt, Drive Like Jehu, Hot Snakes) And Completed With Cover Art By Laura K. Giron.

Fans Of Wand, Ty Segall, Nirvana, And The Pixies Are Especially Recommended To Tune In.

he band's first full-length, All Love Is True Love, will see release on September 7th, the label this week sharing the first single, 'Fortune & Sons.'  'Fortune & Sons' Now Streaming

About the track the band note, ''Fortune & Sons' is one of the heaviest songs on the record. Though the album offers a plentiful dose of dynamic variety, we wanted to kick you off with a ripper.'

The Primals is comprised of vocalist/guitarist John Henry (vocalist for Darkest Hour), bassist Chad Fjerstad (formerly of Dead To Fall), and drummer Andrew Black (formerly of The Explosion). The band's fuzzy execution is equal slabs ripping guitar heaviness and infectious pop sensibility. Concocted by a seasoned group of thrashers with a historical backbone in D.C. punk community. The disintegrated spirit of grunge rises from the ashes, revitalized in a new light.

Ein Schlussakt voller Dissonanzen, Spannungen und Unklarheiten mit süchtig machendem Potenzial.

Der aus Kanada stammende und in Europa lebende Pianist, Entertainer und Grammy-Gewinner Chilly Gonzales ist für den innigen Klavierklang seiner Erfolgsalben "Solo Piano" (2004) und "Solo Piano II" (2012) ebenso bekannt wie für seine Selbstdarstellung auf der Bühne und Kompositionen für preisgekrönte Stars wie Jarvis Cocker, Feist und Drake. "Gonzo", wie ihn engste Weggefährten nennen, strebt stets danach, ein Mann seiner Zeit zu sein. Er nähert sich dem Klavier auf der Basis einer klassischen und jazzmusikalischen Ausbildung - aber mit der Haltung eines Rappers. Wie die beiden vorangegangenen "Solo Piano"-Alben findet auch die dritte Folge ein glückliches Ende in C-Dur, doch auf dem Weg dorthin finden sich mehr Dissonanzen, Spannungen und Unklarheiten als früher. Denn mittlerweile ist es Chilly Gonzales egal, ob seine Musik gefällt oder nicht, und damit werden falsche Noten auch nicht mehr glattgebügelt. Dadurch erhalten seine geheimnisvollen Akkorde und seltsamen Strukturen einen solchen Suchtfaktor, dass sie schließlich wie unvermeidlich klingen. Im Gegensatz zu den ersten beiden Editionen ist die musikalische Reinheit von "Solo Piano III" kein Gegengift für unsere Zeit, sondern reflektiert all das Schöne wie auch Hässliche, das uns umgibt.

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.

Adrian Younge Presents: Voices of Gemma is yet another achievement in Younge's continued exploration of songwriting and composition. Imagine if David Axelrod and Charles Stepney came together to record a psychedelic album with the vocalists from Sesame Street and Electric Company. Voices of Gemma features vocalists, Brooke de Rosa, a favorite of Younge's who sings on his Something About April, Ghostface Killah and Souls of Mischief projects, and another special voice, the classically trained Rebecca Englehardt. Recorded and mixed by Adrian Younge at Linear Labs, the preeminent analog studio of Los Angeles, CA.

One afternoon in 1975, friend and fellow music traveler, Harold Schroeder, showed up at Poo-Bah Record Shop where Tom Recchion worked selling records and experimental music to people, forcing them to buy albums that he swore would change their lives. Harold asked if Tom wanted to share in a studio space close to the shop. After seeing it Tom immediately said "YES!". They moved in and divided the space in half. On Tom's half he made drawings, paintings, performances, video, sculptures, installations, and music. Harold had his all set up for music with his newly acquired Steiner-Parker synth and guitars and things. At the beginning they played under the name The Two Who Do Duets. Soon the late-night jam sessions that took place in the back of Poo-Bah moved over to the fourth floor of 35 South Raymond. It was pretty beat up and derelict, the way one imagines an artist's studio to look. They could make all the noise they wanted. No one else was on their floor. The music heard on this LP has remained unheard since it was recorded and was created just before and right after the inaugural concert by the Los Angeles Free Music Society (LAFMS) groups Le Forte Four, Doo-Doettes, and Ace & Duce. That concert took place in late January 1976. The sessions on this release feature members of the newly formed and expanded Doo-Doettes, which now included Dennis Duck, Juan Gomez, Harold Schroeder, and Tom Recchion, as well as Ju Suk Reet Meate from Smegma and Ace, of Ace & Duce. 35 S. Raymond eventually became a sort of LAFMS headquarters, with Chip Chapman of Le Forte Four, artist and future Extended Organ vocalist/guitarist Paul McCarthy, and soon to become singer for Nervous Gender, punk/folk artist Phranc, who along with many other artists and musicians, moved into the building. 35 S. Raymond allowed for free expression and explorations of all sorts. Some wild parties ensued, not to mention the luxury of endless hours of experimentation. Parking was free and so was the art and music. Ace found the tapes for side one ("Tom's Studio") in his archive and Ju Suk Reet Meate found the tapes for side two ("50 Of Every American Are Machines") and edited them both for this release. No overdubs or remixing was emplo

It has been exactly ten years since Finders Keepers Records rst liberated Luboš Fišer's immaculate soundtrack music for Valerie And Her Week Of Wonders (Valerie A Týden Divu) from the vaults of the Barrandov Studio in Prague. As the inaugural release of an ongoing discography of previously unreleased scores from the hugely creative 'Film Miracle' that occurred during and after the Czech New Wave (CNW), this score will always retain a special place in the heart of the label as well as our listeners who consistently request an updated repress of this signi cant vinyl milestone. Having grown in status from an obscure and misunderstood socialist-era art house oddity, via the hands of risqué foreign uff merchants, to nally nd its rightful audience as a bona de surrealist cinematic masterpiece of world class standards, this 1970 lm adaptation of Vítezslav Nezval's 1935 avant-garde novella (a lm that literally cross-pollinated Max Ernst's A Week Of Kindness and Lewis Carols Alice In Wonderland) has garnered widespread critical acclaim. Inspiring ongoing generations of visual artists, musicians, writers and lmmakers - all of whom regard this truly individualistic and inimitable surrealist lm poem to be an indelible in uence - Valerie continues to impregnate their daily artistic referential fabric.

- 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.

After being absent for a while, Glance is returning with a uncompromising authentic record on Footjob. It recently has become quieter around the man who used to be a founding member of Running Back, but for this occasion he went and dug in his archives and came back with some beautiful old tracks, just to compile them in a classic, full of groove second Footjob EP. As a bonus he finishes and ends the record with two Downbeat sounding songs in reminiscence of his former genre crossing alter ego Siro. So this goes out to all the realkeeper, oldschooler und newcats. Glance is back on the map.

'Time flies' as the saying goes and indeed it has as Quintessentials celebrates its 10 year anniversary. For a decade this mighty label has been getting some true love and support from all quarters. Listening to the back catalogue now, most of the tunes still sound fresh and keep the label's famous "deep, raw and real" motto alive.

Quintessentials has always been a platform for new talents as well as established artists, and with he likes of Anton Zap, Vakula, Baaz, The Zohar, MCDE, Nicolas, Ugly Drums, Toby Tobias, Borrowed Identity, Mat Chiavaroli, 4004, Soul of Hex, S3A, Los Goddard, Felipe Gordon, Javonntte......to name but a few, it's an enviable back catalogue.
This "Ten Years Quintessentials" compilation offers a wide range of styles: Detroit inspired Techno and House, a ruff Chicago stomper, some proper deep House, a discoish tool, and crafty beats and basslines all over! We hope you enjoy this compilation as much as we do. We are ready for the next decade! Are you

It is said that every generation casts its mind back to a previous era in times of crisis; the resources that will allow us to decode the questions of our moment may lie in the myths of another era.

Le Renard Bleu, the new musical and cinematic collaboration between Lafawndah and composer Midori Takada, and filmmakers Partel Oliva, takes a cross- generational echo as ground zero for recovering a crucial myth for uncertain times: the blue fox.

As transmitted by Takada, the fox appears in both ancient Senegalese and Japanese folktales as the trickster archetype; belonging both to the heavens and to the earth, the fox is the agent of chaotic good, shaking the world up when its energy has become stagnant. Above all else, the fox is famous for its cunning nature.

Renard Bleu marks the first new music released by Takada in nearly twenty years; it would be difficult to overstate the importance of her return to the public eye. Her first solo record, 1983's Through the Looking Glass, has been rediscovered and heralded as a lost classic; the influence of her percussion trio, the Mkwaju Ensemble, continues to permeate and inspire a new generation entranced by its lucid beauty, playfulness, and sensual patience. Takada has performed in numerous film score orchestras, including the ensemble for Akira Kurasawa's Dreams, coincidentally a key influence on Renard Bleu.

In the ensuing years, Takada has worked closely with theater group the Suzuki Company of Toga on productions of Electra and King Lear, an experience, she says, that allowed her to pursue 'a unity of music, body and space.' Recent live solo performances have evinced the depths of her exploration of all three.

Equally, it is Lafawndah's freedom of tone, decentralized maps of ancient and modern music cultures, and alloying of devotional intensity with modern songcraft casts her as a distinct relative of Midori Takada's.

Over the course of two EPs, self- directed music videos, and countless live performances, Lafawndah has drawn out an uncompromising exploration of how theater, situational intervention, and choreography can amplify the affective palate of forward pop music. One can trace the influence of artists such as Meredith Monk, Carlos Sara, and Andy Kaufman as much as musical antecedents AR Rahmann, Missy Elliott, or Geinoh Yamashirogumi.

It is in a mutual commitment to this unity that Lafawndah, Takada and Partel Oliva find fertile aesthetic common ground.

The music of Renard Bleu originated in Takada's preoccupation with the legend of the fox; after constructing a vivid instrumental composition dramatizing the spirit animal's journeys through waterphone, bells, marimba and various forms of drums, Lafawndah responded - in her inimitable mix of fairytale and undertow-- with melodies and lyrics capturing a dialogue between her and the fox himself. Eventually, the duo met in Tokyo for a week of communing with the material at Avaco Creative Studios, where new elements were composed on site.

Created in partnership with KENZO and premiered today via their channels, it was Partel Oliva who imagined a contemporary cinematic frame for the myth of the fox to re- appear, creating a hybrid of choreography and narrative around Takada and Lafawndah's performance of their joint composition (also titled Le Renard Bleu.) Returning to film in Japan for the third time, Partel Oliva's moving image work (Club Ark Eternal, The Pike and the Shield) has set the standard for and revolutionized the fashion art film. Their deployment of original music, dance, and a highly stylized mis en scene coalesces here in the casting of Los Angeles krump artist Qwenga as the eponymous fox, stalking the halls of the ancient Noh theater in which Takada and Lafawnda's performance takes place.

Why call up the myth of the fox now In Le Renard Bleu, Lafawndah and Takada's collapsing of distance between generations, styles, and milieus intimates that the relationship to time must be shaken. The future lies in fragments in the past; to remember is to recover it; the fox rises to thicken the plot.

Following our 004 EP we present our first VA release with NorthSouth Records bossman and all round Don Henry Hyde (aka Harry McCanna) kicking things off. 'Still Talking' epitomises the forward-thinking sound that is currently coming out of London - a perfect example of our ethos and aesthetic at the label. A tried and tested bomb that will do serious damage on any dance floor.

Kepler is another artist we have been working closely with over the course of 2017, an exceptional year for him bringing his sound to the masses. Happy to be working with him, with plenty more to come in 2018 - you can catch Kepler's solo release in the form of 006 later this year..

On the B Side, a name I'm sure you have all heard & also now officially a member of Entity : London, Lost Act sets the pace with his trademark groove on 'Locked'.

Smoud Beats complete the EP with a funky fresh track primed for the dance floor. The young duo from Italy have been creating some real good music of late and I'm really happy to have them on board to round off this record.

Dirty Projectors Melden Sich Mit Neuem Album Lamp Lit Prose Zurück!

Lamp Lit Prose Erscheint Nur Anderthalb Jahre Nach Dem Selbstbetitelten, Lezten Album. Man Darf Es Getrost Als Yang Zum 2017er Yin Verstehen. Die Dunklen Zeiten Des Break-up-albums Hat Longstreth Hinter Sich Gelassen. Nun Herrscht Hoffnung Statt Das Gebrochene Herz. Die Stärke Aus Der Neuen Lebensbalance Macht Lamp Lit Prose Zum Wahrscheinlich Zugänglichsten Album Des Dirty Projectors Kataloges. Songtitel Wie I Feel Energy, I Found It In U Oder (i Wanna) Feel It All Sprechen Für Sich. Zurück Sind Die Gitarren, Zurück Sind Auch Die Verschlungenen Gesangsharmonien. Lamp Lit Prose Ist Das Wiederbekenntnis Zu Den Soundidealen Von Dirty Projectors. Produziert Wurde Lamp Lit Prose Vom Gesicht Der Band, Dave Longstreth, In Seinem Ivo Shandor Studio In Los Angeles. Und Wieder Hat Er Eine Illustre Schar Von Gästen An Bord: Syd, Empress Of, Amber Mark, Haim, Rostam, Robin Pecknol, Dear Nora Sowie Nat Baldwin Und Mike Johnson, Die Beide Schon Sein Vielen Jahren Die Rhythmus-sektion Der Dirty Projectors Ausmachen.

Issued on vinyl for the first time, Outernational Sounds proudly presents a monumental spirit music document from the Los Angeles underground - Jesse Sharp's slept-on deep jazz classic Sharps And Flats.

After the succesfull launch of Larry de Kat his eccentric Katnip imprint he has returned to the scene with a fresh new release drenched in house, disco, soul, hiphop and funk. It's with no doubt that this album conveys an undeniable sexy funky vibe. With eight tracks this is a win/win situation for every music lover.

The rising London based label is quickly defining his own and unique sound laying down the law with another live jam recorded 4 tracks release by his own boss DOTHEDU.Following the success of the first release, Senseverse Records has came back with Lost Acids EP, a rough lost minded trip with an unusual sense of refinement. The producer lets the trip's curtain rise with Lost Acids which takes us to a gloomy hidden place on the edge of the house and techno roots with a banging 909 and crescendo 303 which dives smoothly into the background own producer's voice, Colombine Acids explores the happier stage of the trip and keeps the sound on the thin line in between the 2 genres with his fat kick and the flying and clashing crashes.
The B1 throws us right back deep into the dark with a slowed down and mentally twisted remix by the very well known producer Florian Kupfer. Finally Early Acids rings down the curtain's trip with some fine classic house music sonorities that lead us to a dreamy and dancy closing.

The group Shake was the brainchild of the elusive soul and funk singer/producer Lenis Guess from Norfolk, Virginia. It is now considered one of the great overlooked funk bands of the late 70s Virginia scene - a tight little combo with a warm style that's just right for the dancefloor! The VA groove of the time was a different take on the styles being used up north in Philly and New York - as the groups were often more traditionally funk-based, especially in their instrumentation - but played in a mode that was upbeat and soaring, perfectly suited for the disco-era dancefloor, yet handled with the sincerity of an indie soul group. Shake communicate a heck of a lot in their music - moving through some great original tunes written by producer Lenis Guess, done with some nicely personal touches that maintain the indie spirit of the set, even though the group's overall sound is tightly professional. Originally released on Guess records, it includes the Kon & Amir favourite 'Lost In Space', but the whole album is just great.

N8noface Was The Vocalist For Underground Synth-punk Legends Crimekillz. He Is The Younger Brother Of Tucson-bred Modern Boogie Rocket Man Zackey Force Funk, Both Now Residing In Long Beach, Ca.in 2017, Hit+run Released N8's Visceral Debut Album Stories Of Those, As Well As Demos And Demons Vol. 1, A Ten-track Collection Of Home Demos Recorded Between 2015-2016. On Dia De Los Muertos 2017, Noface Also Unleashed The First Single From His Forthcoming New Album True Story, The Haunting Double A-side Lathe Cut idgaf / Say Goodbye.'
True Story, The 14-track Lp Due This August, Reads Like A Collection Of Compelling Mini-narratives, Brief Yet Honest Tales Of Personal Struggles, Anti-establishment Rants, Dead End Loves, And Real-life Tragedies. N8's Minimal Wave Sound Is Not About Nostalgic Lo-fi Nor Home-recorder Formulas, But His Own Instinctive Style That Defies Categorization And Comparisons. The Result Is A Distinct Sound Of Rapid-fire Hardcore Punk Moshing With Awkward Pop Music. Standout Tracks On The Dense 18-minute Album Include not Like You', bad Day', men Who Dress Well' And glasgow Smile'.

It has been exactly ten years since Finders Keepers Records rst liberated Luboš Fišer's immaculate soundtrack music for Valerie And Her Week Of Wonders (Valerie A Týden Divu) from the vaults of the Barrandov Studio in Prague. As the inaugural release of an ongoing discography of previously unreleased scores from the hugely creative 'Film Miracle' that occurred during and after the Czech New Wave (CNW), this score will always retain a special place in the heart of the label as well as our listeners who consistently request an updated repress of this signi cant vinyl milestone. Having grown in status from an obscure and misunderstood socialist-era art house oddity, via the hands of risqué foreign uff merchants, to nally nd its rightful audience as a bona de surrealist cinematic masterpiece of world class standards, this 1970 lm adaptation of Vítezslav Nezval's 1935 avant-garde novella (a lm that literally cross-pollinated Max Ernst's A Week Of Kindness and Lewis Carols Alice In Wonderland) has garnered widespread critical acclaim. Inspiring ongoing generations of visual artists, musicians, writers and lmmakers - all of whom regard this truly individualistic and inimitable surrealist lm poem to be an indelible in uence - Valerie continues to impregnate their daily artistic referential fabric.

A.g. Returns With All-start Cast, Featuring The Likes Of Diamond D, Lord Finesse, Alchemist And More. For This Album, He's On His A-game, From Beginning To End. Touching On Topics From The Hip Hop Biz, Street Tales And Political Hypocrisy. The Taste Of Ambrosia Is A Full Meal Serving For Mature Rap Devotees Who've Grown Tired Of Contemporary Rhymesayer Laziness. Joined By Guests Including Diamond D, A-bless And Thirstin Howl Iii, A.g. Backs Up His Claim That He Is Ill Enough To Paint His Own Portrait, And Illustrates And Vision Of Rap Immortality That Hardcore Heads And Fellow Legacy Mcs Alike Can Worship Eternally.