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UK wave funk veteran DMX Krew returns to Abstract Forms with his latest double album project. Escape-MCP features 13 tracks of synth drenched electro and elastic techno grooves drawing inspiration from a 1983 computer game where the player is trapped inside a computer by a rogue processor. Fortunately DMX Krew isn't trapped inside a computer and is still with us making killer grooves. Don't sleep!

New project from Massimo Vanoni in which his black streak with Slow-Down & Nu-Disco-Funk features prevails.
The tracks have strong groove rhythms, with intense, rather thick and ascent.loops. The contaminations collected
by the club consoles seem to merge in the creation of unreleased songs which recall an interesting return to the
old beat with dynamic rhythm. Deluxe package Artwork.
For fans of Frank Booker, LTJ Xperience, Stereo 12", Tee Mango, Fouk, Inkswell, The Revenge, Session Victim, Debonair...

EYE is a project from Laurène Exposito from Rennes (France), where she runs the intimate label Waving Hands. EYE's debut album 'Sabine' takes us into Laurène's silk-covered dreamworld, at once mad and serene, sounding like a breeze and a blast at the same time. Bedtime stories or lucid nightmares You decide...

Growing up in a royal household in Nigeria, Joni Haastrup began his musical journey performing for his brothers band Sneakers and was quickly snapped up as a vocalist for Orlando Julius Ekemode and his Modern Aces' Super Afro Soul LP, one of Afro-beat's formative LPs. Soon after, Ginger Baker of Cream fame replaced Steve Winwood with Joni on keys for Airforce's UK concerts in '71 and the success of the collaboration led to further shows with Baker as part of the SALT project before he returned to Nigeria to set up MonoMono. Back in London in 1978, Joni recorded his solo gem Wake Up Your Mind for the Afrodesia imprint. Coming in a Deluxe gatefold Replika LP with printed sleeves.

With a title that suggests great things, making reference to 6 Victoria Crosses awarded to the Lancashire Regiment in World War 1, Mr Fantastic and Coherent (of Journeymen fame and much more) have set themselves a tall order. Before you have even listened to the music, the presentation points to success in this venture, with original artwork by the brilliant Stilts and marbled camouflage coloured vinyl to boot!

100 years after the press reported 'the winning of 6 VCs before breakfast' during the Gallipoli campaign in World War 1, S.O.E. (Special Operations Executive) opt for beats and rhymes rather than guns and bombs, and the resulting record is essential. The initial salvo is fired in 'Ready For Combat' which sees Mr Fantastic combine hard-hitting drums with stabbing guitar chops for Coherent to set the tone. The result is an instant smash which will have you rewinding, as I was, time and time again! From there, the duo, joined by Rola (The Numskullz/Journeymen) and Truck (also a member of The Journeymen), stage a three pronged assault over a haunting beat, spitting verse one after another like a creeping barrage before Mr Fantastic delivers the final victory courtesy of his trademark tight scratches. The concept for this EP is highly original and perfectly apt and on 'Foreign Lands', this is perfectly demonstrated as Coherent weaves tales of carnage that would sound at home on a jungle warfare documentary. 'Lyrical Assassin' once more sees Coherent dropping vocal hand grenades over double bass and electric piano skilfully fused together by his fellow soldier Mr Fantastic. Throughout, the subject matter and music is dark and 'Heavy Artillery' encapsulates this perfectly - Mr Fantastic's thumping, bass-heavy production would have sat perfectly on Show & AG's sophomore LP next to tracks like 'Night Time'. On 'Carcasses', Coherent shows the enemy why he is such a skilled MC, delivering surgical strikes with his tight metaphors and hard-hitting punch lines.

The question, then, given the highly ambitious nature of this project, is whether S.O.E. have won the battle they set out to win. With meticulous artwork, dark brooding beats and Coherent's masterful wordplay, the result is clear. They didn't just win the battle but the whole darn war!

Fuckthegovernment.Ltd, a.k.a. F.T.G (Alfredo Trastulli) and Music Box head honcho, Marco Riff, return to the Skylax fold in 2016 with a cache of house nuggets for our listening pleasure. Their last venture on Skylax saw F.T.G collaborate with a bunch of his friends, resulting in some of the best tracks we'd heard all year, including the unforgettable Fuckthegovernment theme. Their tracks have been celebrated and hailed by some of the best DJs in the game, names such as Derrick May, Ricardo Villalobos, Raresh, and DJ Harvey. The bar set by the first record remains sky high, and somehow, these two manage to raise the bar even higher. It may be the biggest cliche going when talking about an album, but the duo certainly do take us on a journey, through the past and present of house music. It's a record not too dissimilar in tone to Paranoid London's from a few years back, but F.T.G and Marco strip things back even further than those guys did, in our opinion; The sound is more raw with less frills, and no track names to predispose feelings in the listener either. This eight track project is cohesive and elaborate, with movements through sounds both acid and jazzy, minimal and maximal. It explores sounds that came to prominence in famous house locales such as Detroit and Chicago over in the U.S., but the underground European influence is definitely present, from Paris to Berlin, and of course F.T.G and Marco's home of Italy. With this album, these guys add to the underground sound that has cultivated in the city of Perugia for years now, a place that has seen the likes of Simoncino and Nicholas hone their craft.Don't miss out on a piece of Skylax history!

ears ago he started putting together some selections for a friend of his: Luca. The intention was to pick songs to be played during car rides, and like any other kind of ritual, this too would come with strict rules. You'd have to go throw the whole selection of 100 tracks without skipping, because every single one was important. Be it the sounds, the arrangement or its creativity, each track was there for a very specific reasons. It quickly became a monthly event which for several years evolved in a deep musical research without genre boundaries: Disco and psychedelic, soundtracks, library music, exotica, electronic and dance music, italo, new wave, pop or prog. Tracks of each and any historical period and provenance had been featured in this special compilations. But it wasn't always that easy to come up with the right piece and eventually Francesco started producing a few on his own to fill in the gaps. After six tracks, it was quite clear that there was a project developing, one in which he could finally experiment freely, leaving behind the rules that often come with dance tracks. Of course, no name could have been better than the one of his friend that had inspired everything And so L.u.c.a was born. Now, while preserving the same mind set, L.u.c.a is back with an album that embraces a new-hippie vibe, strongly pervaded by a mystical naturalism. This is a whole new universe in the making, where rumbling magmatic atmospheres evolve gradually in a journey through an idealist new world, celestial interludes revealing a full take over of nature, with a pervasive library feel that dates back to the great Italian masters, carrying on Edizioni Mondo's legacy.

The seminal 1994 double album by the original PAINKILLER line-up BILL LASWELL, JOHN ZORN and MICK HARRIS on vinyl for the first time! Avant-jazz, grindcore, dub and ambient melt into eerie tracks of haunting atmospheres.

When PAINKILLER started in 1991, their first two albums "Guts Of A Virgin" and "Buried Secrets" (both released on extreme metal label Earache) were heavy attacks blending grindcore and free jazz that brought together the musical backgrounds of the three protagonists: drummer MICK HARRIS had just left grindcore legend NAPALM DEATH, JOHN ZORN explored new extremities with his NAKED CITY project while BILL LASWELL had as a member of roaring free jazz quartet LAST EXIT ( PETER BRÖTZMANN / SONNY SHARROCK / RONALD SHANNON JACKSON) proven that he was not only a visionary producer but also an accomplished bassist. But it is their 1994 double album "Execution Ground" that remains the opus magnum of the brilliant trio: ZORN's unmistakable shrieking saxophone, HARRIS' pounding drums and LASWELL's growling sub-bass lines were given heavy mixing desk treatment, resulting in extended tracks that are no less intense than their early works but display the full range of the musicians' skills. Soaked with reverb and delay, avant-jazz, grindcore, dub and ambient melt into eerie tracks of haunting atmospheres - even more so in the ambient versions of disc 2. Mastered and cut by RASHAD BECKER at D&M Berlin, "Execution Ground" is now available on vinyl for the very first time as 2x 180gr LP incl. a download code and insert in a limited edition of 500 items.

Strut team up for the first time with respected French label Heavenly Sweetness for the brand new album by the inspired poet, novelist and musician, Anthony Joseph.The Caribbean is an influence that runs through Joseph's discography, obliquely or headon, suggested or on full display. It resonates on each of his albums, from the furious trance of 'Bird Head Son' to the more polished 'Time'. On 'Caribbean Roots', he has now decided to turn a guiding thread and a reference point into a communications cable - a powerful bond that makes light of distance and braves the seas to link his island to that of his friends in the Caribbean arc, dancing to the strains of tumbélé and mendé only a few miles
from Port of Spain where people live it up to rapso and soca beats. Caribbean Roots' represents a return to his roots for Anthony Joseph, who has always remained true to a powerful, deep-seated sense of his Caribbean identity. Having started
out as a joint project with the outstanding percussionist Roger Raspail (Cesaria Evora, Papa Wemba, Kassav), 'Caribbean Roots' swiftly grew into a creative force incorporating
the rhythms, sounds and vibes that rock the Caribbean from San Fernando, Scarborough, Kingston and Les Abymes to Port-au-Prince and Havana. Backed by a band made up
of a blend of local musicians, the album attempts to unite the different islands into a single entity whilst ensuring that the identity of each is in no way diluted by the mix instead creating a richer and stronger alloy. The saxophones of Shabaka Hutchings (The
Heliocentrics) and Jason Yarde, the trumpet of Yvon Guillard (Magma), the bass of Mike Clinton (Salif Keita) and the trombone of Pierre Chabrèle (Creole Jazz Orchestra) all combine to form a group of Caribbean All Stars to which Andy Narrell, the master of the steel pans, brings ringing drum beats. The album features bursts of catchy rhythms and slow percussive riff progressions, as on a film soundtrack, incandescent voodoo funk and rhythmic high-speed frenzies shot through with free-jazz sax. This reunion of the Caribbean diaspora was never meant to come up with a formula divisible into eleven separate tracks - its goal was to explore and discover new sounds. And all of this under Anthony Joseph's guidance, as he spins his lyrical blend of afro-futurism and surrealism, commemorating the Caribbean people's sometimes violent resistance to colonialism. Anthony Joseph, one moment a chronicler reciting his text against a background of simple percussion, the next a storyteller possessed by the power of a hypnotic bassline, then an adventurer chanting among mangroves where the rhythm section and the brass have created an impenetrable thicket. At turns, an MC too, strutting to a fat, throbbing groove in vocal tandem with Sly Johnson or David Rudder to pay tribute to Mighty Sparrow, the undisputed and indisputable king of calypso

Thomas Blanchot, 40 years old percussionist and drummer, started his production structure Mato Production in 2001, where he collaborated and directed for many projects.

Composer, music publisher and producer of music for TV, advertising, films and records, he also began a career as reggae producer since 2006, under the name "MATO". Since then he's released music through various projects concepts, coming out through labels such as Makasound, EDR Records or Big Singles. In the meantime he developed a real trademark: taking over classics French, Hip-Hop, or Pop song, into roots reggae-dub new versions.

Besides since 2010, Mato has built a solid reputation thanks to his hot remixes of Hip-Hop classics on Stix Records. And in 2014, he presented Homework Dub, giving his own vision of the multiplatinum classic album by Daft Punk, quickly acclaimed internationally as a true performance.

Today, Mato is back with another target for his special skills as a tailor of reggae music, this time focusing on classic musical themes from original soundtracks. Imagine if Lalo Schiffrin, Nino Rota, Gorgio Moroder, Ennio Morricone or John Williams had been blunted at Lee 'Scratch' Perry's Black Ark studio... there you go, this is Hollywoo Dub!!

This is the remix edition of Dino Sabatini's recent second album "Omonimo" (April 2016, Outis Music).Like the recent album, this EP "Concentrica" features renowned Italian veteran pianist/accordionist Antonello Salis on the tracks "If" and "It All Ends Here", albeit here in different versions. Out of these two tracks the former is on "Concentrica" reworked by Dino Sabatini and the latter in a collaborative live variation between Salis and Dino Sabatini. Simultaneously with the announcement of "Concentrica" was it announced that Dino and Antonello are launching their new live project: Dino Sabatini & Antonello Salis present 'Electronic Opera Concentrica'. Howie B is veteran producer mainly known as a purveyor of early trip hop, having produced cuts from Tricky's debut album, Björk's "Post" and "Homogenic" as well as other major like U2.
After inaugurating the 'Opera' sub-series of his Outis Music label with the sublime 'Omonimo' double LP this April, Dino Sabatini has invited some choice allies to help define the vocabulary and expand the vision of the new imprint. The aforementioned album, which wove together Sabatini's atmospheric conjuring skill with the piano flourishes of Antonello Salis, already exhibits the label's commitment to dismantling the 'either-or' logic of contemporary genres by successfully merging a variety of supposedly irreconcilable styles, talents, and worldviews (e.g. both mythological and the technological perspectives). The follow-up EP, 'Concentrica', draws on the material from 'Omonimo' and delivers it into the hands of additional remixers in order to continue the Outis Opera voyage.

Standing at the intersection where techno meets classical music, Ólafur Arnalds directs the newest Late Night Tales, set for release on 24th June 2016.

After releasing the breakthrough album 'And They Have Escaped The Weight Of Darkness', in 2014 he was awarded a BAFTA for best original music for the TV series Broadchurch. Arnalds' music has a quietude that seems perfectly apposite and that's evident here as each song drifts like an autumn wind towards the next.

Arnalds has enlisted the help of a few of his countrymen for the journey out west - electronic bands Samaris and Hjaltalín - and just as his records manage to combine the experimentalism and adventure of electronic music with a classical sensibility, here he weaves them perfectly, using tracks like Koreless' brilliant post-dubstep 'Last Remnants' alongside the enigmatic brilliance of Jai Paul. It's a perfect musical landscape that is eerie yet beautiful, as on Odesza's 'How Did I Get Here'.

As if Ólafur wasn't spoiling us enough, he offers up three exclusives: his own 'Kinesthesia I' and 'RGB' and 'Orgoned' by his techno side project Kiasmos. Alongside that we have the obligatory cover version (Destiny's Child's 'Say My Name') and also a Late Night Tales debut for David Tennant, reading a story by Anam Sufi, with whom Ólafur worked on Broadchurch.

When I was asked to do the next installation of the Late Night Tales series I thought "This will be fun and easy, only a couple of days work. No problem!". Six months later, I was still pulling my hair out in some kind of quest to make the perfect mix. As someone who has never really done mixes before, I learned a lot of things along the way and the whole experience was very inspiring. I decided to approach the mix in a similar way as I would one of my scores. This is the soundtrack of my life. I included songs from many of my friends and collaborators and tried to deliver a mix that represents who I am as an artist and where my influences are coming from - both personally and musically.'

Raime's second album, Tooth, arrives June 10, 2016 on 2xLP, CD and digital formats. The widescreen melancholia of their 2012 debut, Quarter Turns Over A Living Line, gives way to an urgent and focussed futurism, in the shape of eight fiercely uptempo, minimal, meticulously crafted electro-acoustic rhythm tracks. The DNA of dub-techno, garage/grime and post-hardcore rock music spliced into sleek and predatory new forms.

No let-up, no hesitation. Needlepoint guitar, deftly junglist drum programming, brooding synths and lethal sub-bass drive the engine. The production is immaculate, high definition. No hiss, no obscuring drones or extraneous noise: the music of Tooth is wide-open and exposed. The seeds of its supple dancehall biomechanics can be found in the self-titled 2013 EP by Raime side-project Moin, an ahead-of-its-time synthesis of art-rock and soundsystem sensibilities, but Tooth pushes the template further, binding the disparate elements together so tightly that they become indistinguishable from one another.

If Quarter Turns was an album that confronted total loss and self-destruction, even longed for it, then Tooth is the sound of resistance and counter-attack: cunning, quick, resolute, calling upon stealth as much as brute-force. At a time when so many pay lip service to experimentation without ever fully committing themselves or their work to it, Raime return from three years of deep, dedicated studio research with a bold and original new music: staunch, rude, and way out in front.

Michigan's ambient and soundtrack specialist John Beltran introduces a new LP that will be co-released by Delsin and his digital only label Dado Records. Entitled Through the Blinds, it features ten tracks by Blair French (who also appeared on his Music For Machine compilation on Delsin last year) and will be released on January 18th 2016. Blair French aka Dial.81 is an experimental producer and visual artist who won an award for his score of Detropia--a documentary about his home city of Detroit--and now makes his ambient debut. As you would expect of such a project, it boasts suspensory and near spiritual pieces of ambient music with angelic chords and glassy textures. There are also more frosty cuts that sound like a chilly Autumn walk, tracks that feature emotive neo-classical piano pieces and suggestively rhythmic compositions that sooth your mind. The second half of the record touches on church like passages of synth heavy sounds, strikingly sad violins and lo-fi arrangements that sound, one hopes, a little like what you might hear as you pass from this life to the next.

Killer LP that mixes elements of zouk and tropical influences from the French West-Indies, with heavy disco and funk flavors. Tip!
Crystal was an 8 piece combo from the French West-Indies islands led by Franck Donatien. Gifted guitarist and composer, Franck Donatien had a few experience leading band projects such as Crystal, Lazer or Taxi Créole, and is mostly known and respected for his long and prolific career as a musicians for many artists from the local zouk music scene.

With Crystal, he released 2 albums between 1984 and 1985, both today very hard to find and famous for including some amazing tracks. If Funky Biguine, Crystal's second album, is mostly a 1 track LP with few other moments, Music Life is truly a brilliant album from first note to the last, including climax titles such as Music Life', or Santo Domingo'.

Favorite Recordings makes this forgotten treasure available again for all. Fully restored and remastered with great attention to sound quality, Music Life by Crystal is presented in a deluxe vinyl replica, and digital versions.

The Roundtable & Northside Records are pleased to offer this long awaited and special Record Store Day reissue of this highly collectible Australian rare groove LP.
If you can imagine the gathering of a group of Australian session musicians channelling the sounds of Herbie Hancock Headhunter's and Marc Moulin's Placebo, recording an album out of hours at a TV studio and then releasing a privately pressed hard hitting jazz funk record then what you have is Arena, one of Australia's most revered and scarce rare groove records.
This was the name given to a pick-up group of session players led by Ted White, a veteran of the British big band jazz scene (an associate of Ted Heath and Basil Kirchin) who had immigrated to Australia in the 1960s to work in the burgeoning television industry. This one-time studio project (recorded only to test out the facilities for a new studio) barely yet thankfully saw an LP release in 1975. Pressed in minute quantities only with limited distribution, the album was subsequently forgotten and obscured by time, only to be resurrected in the 90s by DJs and collectors seeking out lost and rare records.
The album has since become one of the country's most celebrated and collectible jazz funk recordings and has proved to be a pivotal point in Australian jazz, marking a shift from the modern jazz and R&B sounds of the previous decades to the cross pollinating electric jazz funk of the 70s. Characterized by the heavy use of electronically treated saxophone, psychedelic guitar, Moog and spacey Fender Rhodes, the album is a classic of the genre.
While acknowledging the often compiled and sampled breaks track, The Long One, the complete album offers much more, exemplified by its complicated and obsessive jazz rhythms, abstract and middle-eastern horn lines and pulsing electric funk.

James K is a stranger to obviousness. Over the past few years the New York native has quietly honed her sound and peculiar aesthetic. Equally organic and electronic, her sound is a combination of odd dreams, industrial beats and vocals, both incomprehensible and appealing, with a thick layer of glitter on top of it. James K is a concentrated dose of emotion mixed with sorrowful iciness, which in turn ties together ripped, broken, morphed and enchanted samples. James K stands for a fusion of visual and sonic elements, deeply rooted in conscious art practice and downright freak-out. James K creates a mythology of her own.
'PET,' her first LP due out in early 2016, will be a co-release with Dial and her own label, She Rocks! A special edition of the album with added bonus tracks and interludes with be released on cassette through Canadian label 1080p.
In James K's words: 'The underlying desire of 'PET' divides into two parts: an escape into ethereality and a mischievous denial of my own experience. It narrates my search for honest expression by means of the premature denial- a childish excursion into a world of monstrosity and innocence.
PET reflects my mental state during its production - as a person, I was owned, objectified and hurt by other, and that wound I then unwillingly internalized. I turned to my music as a way to dissect these thoughts. The product became my possession, or 'pet.' In retrospective, this process gives me strength over myself; love—knowledge and wisdom enacted. The arrangement of the music and the PET itself relates to my endless struggle, namely, my attempts to reclaim myself.'
Her 'Sokit' 7' is a double track single for her album, which she released last Spring. James K is featured on the recent compilation released by Dial Records for their 15-year anniversary, and a mini LP of her noise pop project SETH (along with producer Gobby), was also recently released by label 1080p in June, in cassette and digital form. She rocks.

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

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

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

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

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

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

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

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

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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.

Minimal Wave present an album of long lost tracks by Dutch electronic music pioneer Das Ding, entitled 'Missing Tapes'.

Danny Bosten formed Das Ding as a solo project in the early 1980s and released his music and friends' music via his own cassette label called Tear Apart Tapes. At the time, he was studying graphic design at art school, and in turn he ended up designing the artwork, cassette-sleeves and illustrations for the label himself. Meanwhile, he recorded his own music as Das Ding. Powerful dark electro, he made several addictive and danceable tracks which later become Minimal Wave hits. Danny made all his music in his bedroom which essentially turned into a small recording studio. He went on to release many of his own tapes and also played some live gigs.

Old tapes were uncovered around 2010, and Minimal Wave released a remastered version of 'H.S.T.A.' and select other tracks. A wave of renewed interest followed the record's release and soon people were in touch to propose live shows. Twenty years later, and after some deliberation, Das Ding was reincarnated under its old moniker but now with a revised line-up and a working set-up that reflected inevitable technological change.

Recently, Danny came across further tape archives from those early days. And from the batch, we selected our favorites to present to you in vinyl release form. 'Missing Tapes' is a limited edition LP pressed on 180 gram creamy yellow vinyl, and housed in a heavy weight printed glossy black and white sleeve featuring one of Danny's original illustrations from 1982.

'Sidetracking - Part 1: Prologue' is the first vinyl taste of Jona's de- but album project for Alex Niggemann's forward-thinking AEON la-bel. The musical puzzle will be completed in February 2016 with the release of a second vinyl instalment, featuring 6 more original tracks, and the full 10-track album on CD format. Created over the course of two highly creative years, the concept for 'Sidetracking' was for Jona to invite some of his musician and producer friends to collaborate with him in the studio and compli- ment his album's solo productions. This impressive coming together (to be fully revealed over the coming months) features Varoslav (Rue de Plaisance, Paris), Usio (Studio Barnhus), David K (Cocoon), Bo- livian percussionist Daniel Aguilar, Italian pianist Giovanni Verga, and Edinburgh-based producer The Reverse Engineer. Driven by his desire to explore new sound perspectives and ideas, Jona has carefully forged his career path by consistently creating exciting and forward-thinking music. His previous label outings: 'Traffic' on 'Lost Tapes Volume 1' (AEON010) and 'Gemini EP' (AE- ON016) have seen him fine-tune his own unique sound. By incor- porating a wide range of styles into his tracks, Jona strives to break down unnecessary boundaries and explores new ideas and ways to ignite that hallowed dancefloor flame. It is therefore no wonder that his collaborative creations for 'Sidetracking' have yielded such stimulating aural delights. Fittingly, the album prologue opens with a track whose style is heav- ily influenced by the jazz music that Jona was so in love with dur- ing his formative years. Calling on the somewhat mysterious Usio (whose 'Kuwa Huru' LP on Studio Barnhus should be checked by everyone) to join him in a studio jam, has resulted in 'The Chase', an utterly compelling afro-beat influenced percussive groove, topped with swirling funk-fuelled stabs and strings, mesmerising chiming piano, and a large helping of pure, hip-swinging goodness. Taking 'The Chase' on an entirely different and yet perfectly com- plimentary twisted trip, AEON family members Simone Sinatti and Marco Paladin (aka Speaking Minds) conjure up a futuristic technoid disco demon that is all about throbbing energy, sweat, darkness and hissing smoke machines - perfect ingredients for an unforget- table strobelight serenade. Changing the mood entirely and cutting the tempo to a dublicious skank, 'Transmission Breakdown' sees Jona's experimental creative juices in full flow, as he teams up with Edinburgh-based digital com- poser and sound artist Dave House (aka The Reverse Engineer) for a delightfully hazy downtempo jam. Both as an artist and a DJ, Manchester's Marcus Intalex has been at the forefront of soulful, musical drum & bass for what seems like forever. A passion for techno has always run deeply through his music and under his Trevino moniker he is also a powerful creative force (check his recent 'Front' album to get the full picture). Here, he takes 'Transmission Breakdown' on a magical excursion, filled with subtle, hypnotic, evolving energy, anchored with an irresistible pul- sating bassline throb - a perfectly synergetic interpretation to round off Jona's 'Sidetracking' album prologue in style.

The perfect Christmas gift for discerning fans of cutting edge analogue electronica. And Kraftwerk!

Radioland was initially devised as a breathtaking audio-visual live experience by the Anglo-French trio of Matthew Bourne (synthesisers, voice), Franck Vigroux (electronics) and visual artist Antoine Schmitt.

The original music has been transformed with hurricanes of modulated electronics, earth-shattering bass frequencies, vocoders ebbing and throbbing and the occasional drop into periods of eerie near-silence.

Using a variety of vintage analogue synthesisers and electronics, they have recreated the futuristic, industrial world of ominous darkness and dazzling light imagined by Kraftwerk in 1975 and reconstructed in this bold new manifestation for 2015.

The album is mastered by Denis Blackham, who mastered Kraftwerk's classic 1974 album Autobahn

The LP edition is limited to just 1,000 copies for the world in a deluxe gatefold sleeve with a CD included

Both versions include liner notes by David Stubbs, author of Future Days: Krautrock and the Building of Modern Germany, and photographs and images from the project

The album cover artwork is taken from the video work of Antoine Schmitt, creator of the captivating visuals that are a vital component of the Radioland performance

Matthew Bourne and Franck Vigroux's impressive collective CV boasts collaborations with artists such as John Zorn, Nostalgia 77, Marc Ribot, Annette Peacock, Elliot Sharp, Mika Vainio, Ben Miller and Zeena Parkins

More Radioland shows are expected to follow the release in 2016

Only 150 worldwide

After more than 10 years in the game and a string of successful
EPs to his name, Idriss D releases his first proper album on his
own Memento Records. At first conceived as a succession of
singles for his Dib 00' series (the first two being Constantine
and Alger), the project then became more of a collection of
dance floor tracks influenced by what he likes to play in his DJ
sets. The title Amalgamation' comes from the desire of
bringing together his life experiences over the last few years,
both music-wise and from a marketing and management angle,
this time exclusively focusing on himself and gathering all the
inputs in one single piece of work. Transition''s atmospheric
vibe and ethereal sounds open the LP with a blast of hazy
vocals and noises, followed by the percussive and trippy Casa
Baratas', a nod to the early 90s Acid House movement.
Karma''s pounding kick drum and stripped down arrangement
are a true example of Minimalistic Techno at its wildest. The
more personal RIP Ouarda' was composed in memory of his
grandmother who passed away: dark and hypnotic, it stands
out as one of the most experimental on the album. Title track
Amalgamation''s landscape of lush eerie synths makes it a
blissful comedown number, while Parall-el''s bouncing rhythm
speeds up the pace to high effect. Strong Hayet' is dedicated
to his mum, a source of continuos strength in Idriss' life,
both in good and difficult times: the heavy bass line and almost
obsessive looping vocals and hi-hats are icy and dramatic.
Barn''s pitch shifts and manic vocal samples swing through a
maze of rim shots and toms, its stomping groove and pulsing
beats closing off the album with a bang.

Following on from his well received Foreign Parts LP this Summer, Seb Wildblood releases new four
track EP 'Submarine', on the SW catalogue. The DJ, producer and co-founder of south London's
'Church', delivers four dreamy house cuts with a remix from 1080's Project Pablo.
As the title of the release suggests, all four tracks submerge the listener in Wildblood's deep, melodic
grooves. Lush soundscapes are complimented with subtle 4/4 beat structures . The EP is out December
4th.'Seb Wildblood has a penchant for making bubbly, feel good house music' - mixmag 'Seb Wildblood shows a more chilled-out side to Church, employing an old school yet very fresh style to
great effect throughout.' - DJ Mag 'Seb Wildblood has been bubbling away on the underground, catching the attention of some of the most prolific names in the house and techno scene including the likes of Seth Troxler and Maya Jane
Coles to name but a few' - iD Mag

Words Unspoken, Acts Undone. The passing of time, what has been spoken, now unspoken. All that has been, has been undone.
CW/A present their remarkable debut album, Words Unspoken, Acts Undone. Since their inception CW/A have forged a path through the murky world of electronic music, with a number of releases on Vakant, M_REC and their own Parachute Records. Previously accomplished musicians in their own right, Thomas and Francesco joined forces in 2013 to begin a live project that took the act of performance into the club. Shying away from typical setups so prevalent nowadays, CW/A bring to the club a level of live performance which they've now translated into their first full-length.
Weighing in at 11 tracks the album demonstrates the duos musical heritage of early Warp style bass but also UK Jungle and Downwards-
influenced dub Techno. This isn't an album that looks back with any misty-eyed nostalgia, it respectfully brings its nineties influences straight into 2015, seamlessly weaving from genre to genre with an up-to-date element to the production.
If you're expecting an album of rave breaks or straight up 4/4, you won't find it here, but if you're ready to leave behind that which you've heard already, Words Unspoken, Acts Undone will reward you from the moment you drop the needle.
Words Unspoken, Acts Undone is released on CD and 2x12' on Parachute Records.

There have been many different ways in describing the personal stories behind the protagonists of the electronical music scene in the 90ies. It´s in the nature of things that especially producers, whose place of work is the studio, remained rather in the background.
One of them is Ralf Hildenbeutel. He was the producer of Sven Väth´s most important releases such as "L'Esperanza" or "Fusion" and an essential creative part of the Eye Q label in the 90ies. His "Earth Nation" project was the first live act from that genre who was taking a drummer on the live stage, playing on international festivals and stages including the "Montreux Jazz Festival". The vita continues. While many other musicians kept on working on techno, Hildenbeutel composed for artists such as Laith Al-Deen or Phil´s son Simon Collins and wrote filmmusic for movies such as "Hommage á Noir" which won the Goldmedal for music on the New York Filmfestivals. The film adaption of Martion Suter's "Der Koch", "Ausgerechnet Sibirien", TV thriller such as "Kommissarin Lucas" or even the series of "Verbotene Liebe" have been scored by Ralf Hildenbeutel. His filmmusic for the international multi-awarded shortmovie "Momentum" was nominated at the Newport International Filmfestival. On "Moods" Hildenbeutel finds more back to electronical music. Fans of artists such as Ólafur Arnalds, Nils Frahm or Jon Hopkins will enjoy this longplayer. Hildenbeutel mixes complex string-arrangements and piano pieces with clicks & cuts and invents his own coherent language which allows both directions to live in harmony. Elegiac compositions and vivacious, percussive breakouts as in "Spark" (for which an video by award-winning filmmaker Boris Seewald will be made) meet on this album.
An album which grows and gains depth with each hearing.

* Emerging from the shadows are the thrills and chills of Royalston's new album the People on the Ground' LP out 30th October on Med School - the experimental sister label of drum & bass empire Hospital Records. For his second album, Sydney-based DJ and producer has ripped apart the rulebook with fifteen eccentric and exciting electronic tracks.
* The People on the Ground' LP explores through the obscure yet brilliant sounds of one of Sydney's most talented exports for a haunting and hypnotic take on drum & bass. Title track features the captivating vocals of Hannah Joy and moves through melodic, piano foundations before catapulting into a euphoric whirlwind of sounds and styles making way for mania to come.
* There are the sudden, schizophrenic switch-ups of Give Me the World' and I Saw the Face of a Person' that highlight Royalston's unpredictable style. His game of guesswork keeps things exciting and exhilarating throughout with influences of techno, house and trance all enticingly tangled into dirty drums and deep bass. The Wrath of Mr Sparkles' and Don't Give Me Up' are not to be taken lightly, unrelenting and unrestricted to any musical parameters.
* Royalston has also enlisted a number of artists to join in the fun and games. Welcoming back Victoria, from pop group MA, cousin and fellow drum & bass producer Pearse Hawkins, Sydney-based singer Emily Harkness and emerging UK hip-hop artist Lyflyk.
* When he's not writing drum & bass Royalston pursues his other passion of illustration, which he's made full use of in this project, with the intricate detail in his music replicated in the artwork he solely designed.
* The "People on the Ground" LP accelerates Royalston from his previous album "OCD", whilst keeping to his unorthodox approach to production mashing and merging genres into one crazed counterpart.

Drew McDowall's back story reads like a primer of psychedelic fiction woven into statements of the unbelievable, superhuman and outright insane. Somewhere in the chaotic madness, comes an artist such as McDowall with total control and absolute calm within his songs and artistic method.

Growing up in the gangs of 1970's Scotland, Drew McDowall started to shy away from the daily violence once punk took hold of the counterculture youth. Drew McDowall quickly scrambled to form his own punk band in 1978 with his then wife, Rose McDowall, called The Poems. Shortly lived, the Poems released a single and various tracks but more importantly, the band allowed McDowall to network with other local musicians in Glasgow, such as Orange Juice, and allowed him to travel down to London thus forming friendships with Genesis P-Orridge, David Tibet and countless others, bringing Drew into the fold of the experimental revolution happening in the UK brought upon by Throbbing Gristle and executed by bands such as Psychic TV and Current 93.

During the 1980's, McDowall found himself in the ranks of P-Orridge's Psychic TV and collaborating with the mysterious duo comprised of former Throbbing Gristle creator Peter 'Sleazy' Christopherson and the enigmatic John Balance who had been creating esoteric and progressive electronic music under the title of Coil. It was during his formative collaborations with Coil that McDowall saw himself shift from occasional contributor to austere full-time member of the arcane outfit. McDowall's impact on the band's sound was apparent as the releases transformed from their previous avant pop signature to a more complex and methodic electronic imprint accompanied by even more abstruse subject matter than previous years. McDowall would continue honing his compositional skills with Coil until the release of the band's two most broad-minded albums, Astral Disaster and Musick to Play in the Dark.

The past decade, Drew McDowall found himself living in New York City and re-appropriating himself within the local music scenes he found himself contributing to. In 2011, alongside his friend and collaborator, Tres Warren (Psychic Ills), McDowall found himself exploring his passion of meditative drone and abstract sound patterns in their project Compound Eye. In recent times, McDowall's production work has provided the music world with some of the most outstanding remixes for bands such as Nine Inch Nails, Azar Swan and Long Distance Poison as well as his well-received scores he composed alongside artist Tamaryn for the works of Bret Easton Ellis. Outside of his collaborative duties, McDowall formed an audience as a solo artist, playing countless performances and showcases around New York's electronic music haunts.

Dais Records approached Drew to solidify his standing as a leading electronic musician with the recording of new material neatly wrapped up in his debut album entitled 'Collapse'. Recorded in 2015 in Brooklyn, NY, McDowall's synonymous modular synthesizer compositions are augmented by obtuse sampling cut-ups and contributions from Nicky Mao (Hiro Kone / Effi Briest) rounding out the lumbering sequential knot work that has become synonymous with McDowall and craft.

Toby Tobias has been responsible for some fine quality music over the past 10 years with labels such as Rekids, Nang, Let's Play House and Quintessentials all dropping his unique brand of raw, analogue house and techno. A DJ's DJ who always seems to pull out a lesser known gem and make it sound like a classic, Toby knows his music as well as his studio, inside out. We've been proud to deliver three EP's from him on Delusions but we all felt the time was right for a full length, especially considering that 7 years have passed since his debut LP Space Shuffle on Rekids. Toby fully embraced the scope and breadth that an LP affords a producer, holing up in his Hackney studio and losing himself in his machines. Rising Son is the result of those sessions and it's brilliant!

From the opening machine funk of The Wonder featuring vocals from Atwell we can hear that Toby is quite sure about the direction he's taken for the LP. 808 beats bring vintage electro vibes whilst Atwell's vocal hints at the golden era of Chicago house, adding a soulful touch to the rigid groove. Love Affair continues the theme of off-world utopia where the droids have a heart and soul and sing torch songs of love lost, the Moroder-esque influences bringing a retro sheen to the LP. As we continue through tracks such as Sloflava and Sending Signals we find blissful, downtempo jams which perfectly soundtrack this imagined night time world which Toby seems so happy to immerse himself and his listeners in.

I Robot follows, providing the one cover version on the LP from the Alan Parsons Project as well as being an LP defining focal point. A track which shows that when the machines are working for you, it could just be a perfect world. But Broken Computer soon shows us what can happen when things go wrong. Incidentally, this is from a genuine computer crash which Toby managed to capture using his phone. A beautiful glitch in the system which spewed out such a mournful noise and a very happy accident that would be completely impossible to create if you set out to try.

As we continue we're treated to the likes of Friday Analogue Jam, Whisper It and Weird Danger, all echoing bleeps, squelching bass notes, heavenly pads and precision beats. In some ways we get a feeling of a land that time forgot, in others something of sublime beauty and futurism. That Toby can paint pictures with his music in this way speaks volumes, knowing instinctively when to draw out a mood or feeling or flip things on their head to command your attention and beg another listen. And another.....

4th studio album by their very own Dapayk Solo. Titled - #nofilter the album will be out on Oct 12, 2015. Since 1996 producer Niklas Worgt is regarded as one of the most creative and versatile protagonists of Europes club scene. Several projects for his label Mo's Ferry Prod., like the - I LOVE VINYL - Festival or the work on new Dapayk & Padberg releases have kept him busy during the last 5 years. But finally he came around to spend some - solo time in the studio. After having turned to a more melodic and gentle side on his last two album releases as part of the german electronica duo Dapayk & Padberg, - Smoke (2013) and - Smoke- The Family remixes (2014), Worgt is now being much more experimental and edgy in his productions. - I wanted the sound to be very focused - he says about his vision for album #4. More straightforward, more reduced, more analog and dirtier than - anything i have done before . On - #nofilter he combines elements from his early days in breakbeat and drum'n'bass with minimal and techhouse to his very own and very unique signature sound - far off the beaten club sound track. Worgt aims to challenge his audience, willing them to see that there is more than just one way of doing things. Well aware of the fact that: - ..some of the tracks might not be for everyone at first glance. But it's always good to do things in an unexpected way, to change the listeners perspective. Niklas Worgt also proofs his provocative and humorous side with the album title - #nofilter , statistically prooven to be one of the most commonly used hashtags. A keyword, often headlining the fact that a filter has been used.

The enigmatic Amara Touré from Guinée Conakry finally getting a well deserved compilation showcasing all of the 10 songs ever released between 1973 and 1980. Cuban influenced music of a different kind featuring amazing spaced-out guitar works!! Analog Africa compiles a complete collection of Amara Touré's Afro-Cuban compositions, originally released between 1973 and 1980."Lamento Cubana and Temedy are the two finest Afro-Cuban compositions ever recorded. As if they were played in a smokey, poorly lit ballroom where dark rum was sipped ever so slowly" - Vikram Sohonie - Ostinato Records
Analog Africa to release a compilation by Amara Toure, the enigmatic Afro-Cuban musician from Guinea-Conakry, showcasing all of the 10 songs he ever released between 1973 and 1980.
"Latin music, is it really foreign to us Africans I don't think so. Listen to the drums, to the rhythm. It all seems very close to us - it feels like it's our own culture," declared enigmatic singer Amara Toure. It is the late 50s, and Senegal is going crazy to the groove of Son Montuno and Patchanga. Brought to West Africa by Cuban sailors in the early 40s, these styles were immediately adopted by a flourishing music scene that did not hesitate to embrace the Caribbean sound, mixed it with their own Folklore, and, in the process, created something new. Through the unique cultural fusion of West African and Caribbean influences, Latin music took on a new and unique sound - the format was reinvented. Producer Ibra Kasseì and his Miami nightclub acted as the spearheads of this movement. They brought a breath of fresh air into Dakar's nightlife, further energising one of West Africa's most exciting cities. The demand for ballroom parties and live acts exploded, attracting numerous musicians from surrounding countries. One of the musicians who answered this call was percussionist and singer Amara Toureì, from Guinea-Conakry. Spotted by Kasseì while performing with Dexter Johnson, Toureì was asked if he would like to be part of a new project. Little did he know that this project would become a phenomenon.Immensely important for the development of Senegalese modern music, Le Star Band de Dakar, led by Mady Konate, became a sort of musical incubator and workshop, where many musicians learned and practiced their trade before moving on to become stars in their own right. Toureì's talent on percussion was undeniable, but it was his powerful and raw voice that captivated the producer. The fascinating way Toure interpreted Cuban music was unparalleled, and it was this feature that encouraged Kasse to recruit the unknown artist.
Although already brimming with incredible talent, Amara Toure's joining of Le Star Band de Dakar in 1958 began the band's meteoric rise to the top. The band quickly became Dakar's number one orchestra, and it cemented the reputation of the Miami nightclub as the hottest spot in the country. The place was packed nightly, and Dakar was boiling.
Amara Toure's Senegalese adventure lasted for ten years when he received an irrefutable offer and in 1968, joined by a few talented Senegalese musicians, headed to Cameroon and immediately formed the Black and White ensemble. Many live gigs later and it was time for the first songs to be recorded. A total of three singles were produced between 1973 and 1976. These singles, representing the first six songs on this compilation, fully epitomise and distill the essence of what Toureì had learned during his career. His Mandingue roots fused with the Senegalese sound that he had mastered - the perfect foundation for the Toureì's Cuban interpretations.
If Toure's intention was to create the most sensual music ever recorded in Africa, he might very well have reached this goal. The musicians on the recording sound like they are playing in a smokey, poorly lit juke joint, where dark rum was sipped ever so slowly, and the pulse of the music took up a life of its own. How many couples have danced, swayed, and melted together to the distinct sound of Amara Toure Nobody can say for sure ...
Amara Toureì's success poured across the borders of Cameroon, and in 1980 he went to Libreville, Gabon, to team up with the powerful Orchestre Massako. Toureì recorded an LP at that time which is hailed by many music aficionados as one of the very best African albums. The songs from that LP are the last four on this compilation. It took only ten songs for Amara Toureì to become a legend. These ten treasures, representing Toure ìs complete discography, have been carefully re-mastered from original session tapes and vinyl records, and will be released by Analog Africa on 22 June 2015. After the release of his LP in 1980, Toureì seems to have disappeared. Apparently he was last seen in Cameroon but it is unknown if he is still alive today. His music though is definitely alive.

Emotional Response starts 2015 with a 4 part split (Schleissen) series aimed at highlighting artists pushing the sonic boundaries of electronic experimentalism. Starting with ErB001, featuring Abul Mogard and Harmonious Thelonious.
Emotional Response is pleased to announce a special 4 part, split series of LPs that explores the further reaches of ambient, drone and rhythmic percussion, known here as Schleissen. To start the series is 2 artists long admired by the label. The music of Abul Mogard has stayed pretty much under the radar. Hailing from Belgrade, Serbia, retired factory worker turned drone specialist, Abul has released 2 solo and 1 joint cassette-only albums on Steve Moore and Anthony Paterra's (Zombi) VCO label. A big favourite of the label, Dizziness That Shakes Rivers And Mountains is near 19 minutes of pure, modular beauty. Play loud for full o.o.b.e effect. On the flp, a more well known name in Stefan Schwander's percussion based project, Harmonious Thelonious. First catching the label's attention with a series of drum heavy EPs before moving more towards the dance flor on his most recent releases. On a visit to play the infamous Salon Des Amatuers for the Musiccargo album launch in late 2013, Stefan kindly passed on a CDR of "more experimental pieces" and on hearing these, the idea of Schleissen was first born. 2 pieces of Steve Reich inspired minimalist explorations weld to become an incessant psychoacoustic cycle, melodically deconstructing and reconstructing to create a continuous harmonic movement. A series then created for the more discerning ear, so empty your mind and (un)listen.

Fantasma, the latest project of South African innovator and creatve pioneer Spoek Mathambo, is
a fve-man collectve which weaves together electronica, hip-hop, traditonal Zulu maskandi music,
shangaan electro, South African house, psych-rock and punk to form a unique, original and fresh
hybrid.
The godfather of 'Bacardi House', producer DJ Spoko joins with former Machineri guitarist André
Geld- enhuys, drummer Michael Buchanan and maskandi mult-instrumentst Bhekisenzo Cele to
complete the line up.
Fused by Spoek Mathambo's futurist vision, Fantasma pulls inspiraton from all corners of South Africa:
the sounds and spirits of townships and cites as well as the rural countryside. It is diverse not only in
its membership but also in its forward-looking music.

Buena Vista Social Club release 'Lost and Found,' a new rarities compilation packed with previously unheard live and in-studio material.

Coming almost two decades after the release of the original Grammy-winning, self-titled LP, the new album is a collection of previously unreleased tracks—some of which were recorded during the original album's sessions in Havana and others from the years that followed. Lost and Found is available to pre-order in iTunes and the Nonesuch Store (and outside of North America in the World Circuit Store) with an instant download of the album track "Macusa."

The studio tracks on Lost and Found were recorded at the 1996 Egrem studio sessions in Havana and during a period of rich and prolific creativity stretching into the early 2000s following the recording of the original album. Lost and Found also features live recordings from the world tours of Buena Vista's legendary veterans.

"Over the years we were often asked what unreleased material was left in the vaults," says World Circuit's Nick Gold. "We knew of some gems, favorites amongst the musicians, but we were always too busy working on the next project to go back and see what else we had. When we eventually found the time, we were astonished at how much wonderful music there was."

The original Buena Vista Social Club album became a surprise international best seller and the most successful album in the history of Cuban music. It was recorded for World Circuit Records by Ry Cooder over seven days in Havana in 1996, bringing together many of the great names of the golden age of Cuban music in the 1950s, several of whom were coaxed out of retirement for the sessions.

LTD. FULL COLOUR SLEEVE 12' (500 COPIES ONLY) INCLUDING FULL RE- LEASE DOWNLOAD
Fantasma, the latest project of South African innovator and creatve pioneer Spoek Mathambo, is a fve-man collectve which weaves together electronica, hip-hop, traditonal Zulu maskandi music, shangaan electro, South African house, psych-rock and punk to form a unique, original and fresh hybrid.The godfather of 'Bacardi House', producer DJ Spoko joins with former Machineri guitarist André Geld- enhuys, drummer Michael Buchanan and maskandi mult-instrumentst Bhekisenzo Cele to complete
the line up. Fused by Spoek Mathambo's futurist vision, Fantasma pulls inspiraton from all corners of South Africa:
the sounds and spirits of townships and cites as well as the rural countryside. It is diverse not only in its membership but also in its forward-looking music. The band will be in the studio this summer recording their debut LP set for release early 2015. Watch
this space.

Fatima Al Qadiri is a multidisciplinary artist and musician from Kuwait. In just a few years, she has quickly built a reputation as a conceptual artist, exploring themes informed both by her own background and global pop culture, through a number of highly acclaimed EPs, multimedia projects and writings. She is also a founding member of the production team Future Brown. Fatima's debut album is called 'Asiatisch', and as the track titles suggest, the record provides a simulated road trip through an imagined China. Musically, the album is an homage to that quietly influential sub-strain of grime, often loosely termed 'sinogrime' due to its preoccupation with Asian motifs and melodies, pioneered by the likes of Wiley and Jammer at the beginning of the 2000s in East London. 'Asiatisch' is a provocation which asks more questions than it answers. The title is the German word for Asian. Unlike its title, however, the music on 'Asiatisch' revolves around the fantasies of East Asia as refracted through pulpy Western pop culture, in particular Hollywood, literary fiction, music, cartoons and advertising. Fatima asks what is meant by the term 'Asian' in a digital age of viral interchange and the hi-speed trading of cultural bytes; the concept of 'shanzhai' proves pivotal, a term whose meaning stems from a wild, out of control zone of banditry, but which has come to be used to refer to the Chinese counterfeiting of Western brands and goods. While a number of producers have made takes on 'sinogrime' over the last few years, 'Asiatisch' is really the first record that attempts to articulate this weird complex of sonic interchanges between the West and China. With the exception of the opening track, 'Shanzhai', a haunting cover of 'Nothing Compares to You' with nonsensical Mandarin lyrics, and the shimmering 'Loading Beijing', 'Wudang' and 'Jade Stairs' which sample and distort classical Chinese poetry staging an epic confrontation between China's ancient soul and the onslaught of the industrial factory machine, most of the tracks blend mallets, bells, gongs, flutes, steel drums and choral atmospherics with the searing synth-brass and the skittering drums of grime, playing melodies that are inflected as much by classic R&B as to synthetic versions of traditional Chinese music. On "Dragon Tattoo" for example, stereotypical iconography of imagined China is slotted into a threatening, robotic R&B format. The carefree pirating of Western brands blurs into a soft-synth pirating of Chinese musical signs.'Asiatisch' is wrapped in pristine artwork by Babak Radboy from Shanzhai Biennial, and the music was given a 3D sheen by in demand mixer Lexxx. Proclaiming both its love of both ancient and imagined China, 'Asiatisch' is a rare album that is both icily beautiful and conceptually layered.