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One of the greatest enigmas of the music scene in mid to late 1970s Harare was The New Tutenkhamen, a band which played an eclectic brand of Zimbabwean township music combining
traditional rhythms and western influences. The band included some luminaries of Zimbabwean township music. Elisha Josamu was an alumnus of the fabulously-named Hallelujah Chicken Run Band (alongside Thomas Mapfumo), and Green Jangano’s long-running Harare Mambos, and would later form Two Plus Two with bassist Christopher “Chex” Tavengwa. Jethro Shasha played the drums, and would arguably become the New Tutenkhamen’s most famous export, making continental waves working with likes of Salif Keita. Paul Sekerani played the rhythm guitar, with Amos Chatyoka on the organ, while the enigmatic Maggie Mbuli provided vocals and F. Manda played the sax. The New Tutenkhamen recorded I Wish You Were Mine at Teal Records, produced by Crispen Matema, a talented jazz drummer in his own right who had played drums on the all-time classic Skokiaan, and had backed Louis Armstrong on his 1960 Rhodesia visit. Combining the
heavyweight producing talents of Matema and the writing chops of Josamu, The New Tutenkhamen band created an album howcasing various musical styles popular at the time. From the afro-jazz jam session aesthetics of “Tutenkhamen Theme”, “Big Brother alcom” and “Forever Together”, to the almost Van Morrison-sounding “Sunday Morning”; from the upbeat rock ballad “True Love”, to the funk-infused dance song “Togetherness”; from the bouncy jazz
exhortations to work hard in “Ane Nungo”, to the brassy, raunchy foot-stomper “Me & Dolly”. The title track “I Wish You Were Mine” is a ska-infused ballad that wouldn’t be out of place in post-war
Birmingham, while the star of the show is “Joburg Bound”, itself a fast-paced rock piece with Motown undertones and funky guitar lines. As a collective effort, I Wish You Were Mine provides a fascinating insight into a fraught time in Zimbabwe’s history, and the bands plying their trade through the turmoil, making music for young people, by young people.

Having returned from a 4-year break in August with its latest release from GW & Henry, A&R Edits follows up with a debut for Moplen.
With a recent remix of Frankie Knuckles ft. Jamie Principle and a Salsoul Reworks EP, Luca Moplen has been gaining new traction of late, so it felt fitting to release two of his evergreen edits on vinyl for the first time. Moplen’s edit of Tavares’ classic disco stomper ‘It Only Takes A Minute’ coupled with Greg Wilson’s edit of Moplen’s edit of Larry Levan’s mix of David Joseph’s ‘You Can’t Hide (Your Love From Me)’, if you can follow all that!

An all brother group hailing from Providence, Rhode Island, Tavares were a band that evolved with the disco sound, hitting their peak in 1976 when both ‘Heaven Must Be Missing An Angel’ and ‘Don’t Take Away The Music’ became huge club favourites. They scored their first R&B #1 in ‘1974 with a cover of Hall & Oates ‘She’s Gone’ and in 1975 they returned to the top of the R&B chart whilst going top 10 pop and scoring a #2 Disco hit with ‘It Only Takes A Minute’.

In 1992 a cover by boy band Take That would gift them their first top 10 entry, many people unaware that this track had first been recorded 17 years earlier. Rising to prominence in Brit-funk band Hi-Tension, David Joseph soon found his footing as a solo artist after they’d split, with his first release being ‘You Can’t Hide (Your Love From Me)’ in February 1983.

That same month, Greg Wilson appeared on The Tube, mixing between two copies of this very record – the first time mixing had been demonstrated on British TV. It would subsequently enter the UK chart, climbing into the top 20. The track would then be remixed by legendary Paradise Garage DJ Larry Levan, resulting in a #2 placing on the Billboard Dance chart.

Upon hearing Moplen’s extended dub edit, Greg worked further into it reintroducing the song – given his history with the track it was unthinkable that he’d play it without the vocal. The result is a unique version where Moplen’s dub sets the vibe during the first half of the edit before the song is finally introduced.

The third Sunday Breakfast Records release sees a debut from a SB resident. Barcelona based and Bern native James Mc Hale, arrives with two original tracks for his "Insomnia EP", which is accompanied by a stellar remix from scene regular Ion Ludwig.

"Aspect" is the first song from James, a light flowing minimal groover, held together by a subtle melody that teeters on the edge playfully, the second song titled "Somnia" keeps the easy, subtle vibes coming although it adds a moodier theme with an occasional punch tech lead that cuts through it for those after hour sessions.

On the flip side we then have the Ion Ludwig remix of "Aspect", the energy is amped up on this version, going for more intensity yet still keeping the subtle details to the original. This is the business side, direct and straight for those peak set moments.

Handnumbered and limited to 299 copies. Early feedback from Luke Slater, Dj Bone, Black Madonna, Ø Phase, Cassegrain, etc..

Indigo Aera is proud to present a new release by none other than Sterac. This two tracker consists of two timeless Detroit rooted techno masterclasses which are a perfect fit for the Indigo philosophy: classic melodic techno music aimed at dancefloors.

The avant-garde composer and conductor Pierre Boulez was a titan of post-War experimental classical music. Born in the small cheesemaking town of Montrbrison in central France in 1925, Boulez studied at the Paris Conservatoire with the composer and organist Charles Messiaen and received private tuition from pianist Andrée Vaurabourg; after moving to the Marais district in 1945, he briefly studied with Schoenberg disciple, René Leibowitz, and further influence came from immersion in Balinese gamelan, Japanese classical music and African drumming, among other sources. Earning money by playing an early electronic keyboard called the ondes Martenot on theatre productions, Boulez soon became music director of the Renaud-Barrault theatre company (led by actor/direction Jean-Louis Barrault and his actor wife, Madeleine Renaud), leading to tours of Belgium, Switzerland, Britain and both North and South America. American composer John Cage became an ally, though they subsequently clashed over Cage’s commitment to the role of chance in his compositions, paving the way for an intense and lasting friendship with the German composer, Karlheinz Stockhausen, who arrived in Paris in 1952 to study with Messiaen. In July of that year, the pair attended the International Summer Course for New Music in Darmstadt, leading to contact with Italian composer Luciano Berio and other noteworthy figures. Then, in 1954, with backing from Barrault and Renaud, Boulez began staging a series of concerts of experimental music at the Petit Marigny theatre, titled Le Domaine musical. The pieces collected on this album are all taken from performances staged for the 1957 Domaine musical season, beginning with Berio’s “Serenata I,” conducted by Boulez, which debuted in Paris in March of that year; arranged for flute and fourteen instruments, Berio said that the idea behind the piece was for the solo flute to be confronted by continuously interchanging elements, rather than mere accompaniments or oppositions. Boulez’s own “Sonatine,” composed in 1946 for flute and piano, is a 12-tone piece that evidences Messiaen’s influence, with shades of Asian classical music in places; then, Stockhausen’s monumental “Zeitmasze” or “Time Measures,” a serial composition for five woodwinds, played in different combinations of tempos and speed, was partly inspired by Webern’s principles of homogenous and harmonic textures. Finally, Messiaen’s 1949 work “Cantéyodjayâ,” delivered by pianist Yvonne Loriod, takes it shape from the classical Hindu rhythms of ancient India, as with much of the composer’s oeuvre.

4trk-028 the Oscillate EP is a collaborative effort from Francesco De Luca and Jason Patrick. The title track of the release, Oscillate springs into action with it’s tough modulating bassline and keeps the energy pumping throughout with spacey synths, heavily effected drums, crisp hi-hats, and more. The second track of the release, Oblivion, gets on with an otherworldly synth line that works away in tandem with another poly synth. Processed 909 percussions bits are laced throughout the track. Trumbull & Fort is an electro tune that pays homage to the genre’s roots with it’s title being the names of the cross streets in Detroit where the Metroplex post office is located. Deep atmospheric synth pads, bleeps and bloops, a polyrhymic synth, 808 drums snap

Detroit imprint My Baby returns with its third musical offering, a split release from two Motor City heavyweights, in the form of Rex Sepulveda and Acid Pimp.
This fledgling vinyl only label has got off to a superb start showcasing music from Detroit locals on its first two stellar Eps. With a focus on the underground sound of the city it resonates with global fans of quality house and techno and continues to do so here with four outstanding new tracks.
First up is Acid Pimp, a DJ & producer who has been an integral part of Detroit’s music scene since the early 90s. His distinct sound saw him release a string of classic twelves on the Cheshire imprint, whilst his DJing took him from the warehouse parties of the city to international clubs like Tresor. He founded the ‘Friction Detroit’ night in his home town, hosting the likes of Ben Sims, Regis and Chris Liebing, and he co-founded the M-Nus sub label D- Records with Richie Hawtin and two other friends. The first of his two offerings is the superb ‘Re-Ak-O-Pan’, seven minutes of intense, industrial tinged techno with taut drums working alongside panning synths and static machine noise to superb effect. This is complemented by the looped excellence of ‘Lupe 09’, a rolling groove that is sure to lock in any dancefloor.
The flipside sees another of Michigan’s sons in the shape of Rex Sepulveda. Rex has a musical history dating back to 90s, he was one of the aforementioned friends that launched D-Records with Acid Pimp and Richie Hawtin and has released original and remix material on a number of imprints. His first cut here is ‘Rex presents Dvda’ a deep, brooding affair populated by rubbery, acidic synths and razor-sharp percussion. This is a pure early-hours number that is sure to twist up the floor wherever it’s dropped. Closing the package we have ‘Rexie’s Orgasm’ a spacious, and understated track that perfectly captures the echoing sounds of a cavernous warehouse space.
This is a sterling package of quality underground sounds from the city that sparked the fire.

Second volume in VampiSoul's series focusing on Peruvian cumbia from the 60's and 70's. Beat and psychedelia mix with Andean and Amazonian folk to create pure tropical magic!

Mit ihrem sechsten Album kehren die Casady-Schwestern Bianca und Sierra zum bewährten Erfolgsrezept
ihrer früheren Releases zurück. Im Gegensatz zu den mehr psychedelisch-elektronischen Erkundungen der
beiden letzten Veröffentlichungen "Tales Of A Grass Widow" (2013) und "Grey Oceans" (2010), streift
"Heartache City" wieder durch staubig-poetische Gefühlswelten längst vergangener Tage. Ihren Anfang
nahmen die zehn Tracks von "Heartache City" wie gehabt im südfranzösischen Landgut der Casadys, wo
sich die beiden Geschwister ein lauschiges Studio eingerichtet haben. Dort sammelten sie Ideen und
schrieben Songs, die sie bei Gelegenheit mit minimalem Equipment, antiken Instrumenten und Vintage-
Spielzeug vertonten und ganz nostalgisch mit einem alten 4-Spurgerät aufnahmen, nur zu zweit, rein
akustisch und ohne digitalen Firlefanz. So entstanden relativ reduzierte Songs, die ihren Weg letztlich in
Argentinien in die Händen ihres Produzenten Nicolas Kalwillwith, und um eine Prise Buenos Aires
angereichert, ihren krönenden Abschluss fanden.

The larynx or voice box is a small organ located towards the top of the neck in humans and some other animals. Constructed largely of cartilage, it houses the vocal folds that allow for the manipulation of pitch and volume, which are essential for the phonation of spoken speech. It is also involved in bringing air to the lungs when we breathe and it protects the windpipe when we swallow. However, those unfortunate to experience the potentially fatal malignant tumours of laryngeal cancer will have their larynx removed, resulting in a traumatic loss of speech; thankfully, as this rare record issued by Smithsonian Folkways in 1964 demonstrates, removal of the larynx does not necessarily spell the end of speech for such blighted individuals. Instead, through developments in artificial voice creation, patients could learn to employ modes of vocal communication again. The album was recorded by physician Harm A. Drost at the Phonetic Laboratory of the Ear, Nose and Throat Dept of the University Hospital, Leiden, in the Netherlands, working under the direction of Professor H. A. E. van Dishoeck. As the advances were fairly new and surprisingly varied, Drost felt a phonograph album demonstrating the techniques would be useful for those in the field. The album thus features a narrator explaining aspects of several different techniques, followed by examples of patients employing them. Buccal speech (limited to certain consonants), parabuccal speech (collecting air in a space between the upper jaw and the cheek), glosso-pharyngeal speech (a method deemed obsolete where air is forced between the tongue and the palate), esophageal voice (made by reconditioning one’s esophagus via swallowing, suction or injection), various injection techniques and devices such as the larynxophone, pipa di tichioni and “western electric” are all explored here, along with other aspects of the larynx and its absence. Speech After The Removal Of The Larynx is definitely one of the strangest albums ever given a commercial release!

A testament to the growth of Adam Beyer’s scene-leading label, Drumcode annual A-Sides Vol.8 is the brand’s biggest yet.

The 25-track strong compilation, split across 7 EPs, features standout cuts Beyer has received over the last 12 months, but been unable to find room for in Drumcode’s regular release schedule, such is the volume and high standard of music that’s submitted.

Part 3 includes Will Clarke’s bass-drenched re-work of Adam Beyer & Bart Skils ‘Your Mind’, whilst Ramon Tapia unleashes the heavy hitting ‘Sonic Therapy’ and Nicole Moudaber drops her first DC release in 5 years with the mesmerizing ‘This Is Us’.

The highlight-rich compilation also includes Jamie Jones & Darius Syrossian’s buzzy Drumcode debut ‘The Grid’ and Joey Beltram’s first Drumcode release in 11 years with the retro-tinged ‘Can You Feel It’. The beloved Alan Fitzpatrick returns to the fold with the searing ‘Heiße Rakete’, while the exciting Hyperloop project links up with Upercent for the slinky loop-driven ‘Rouge’, alongside label mainstays Layton Giordani, who drops the stirring chord-driven ‘Chrome’ and Wehbba with ‘Mantra’, combining techno classicism with future-focused groove.

There’s a troupe of debutants donning the Drumcode jersey for the first time, including BEC, Shelley Johansson, Avision, Zimmz, Woo York, SAMA (in a terrific collaboration with Secret Cinema) and Ilija Djokovic, who delivers a shimmering highlight with ‘Aura’, a particular favourite of Beyer’s over the last year. Raxon also debuts on the label after a couple of quality additions to the Truesoul back catalogue.

Exciting young guns Weska and Juliet Fox bring heat to the compilation, while Veerus and Timmo follow up strong DC releases with a repeat dose. Elsewhere faithful contributors Jay Lumen, Luca Agnelli, Marco Bailey and Mark Reeve craft powerful dancefloor weapons.

Photonz is the alias of Marco Rodrigues a DJ, producer and driving force of Lisbon's underground scene. For little over a decade now, he's been crafting his own deeply personal style of Portuguese house and techno. As a DJ, Photonz grew a reputation for deep crates and intensely euphoric sets and in 2017, together with Violet (co-founder at his Radio Quantica) and Lisbon's own Rabbit Hole collective, he started the now infamous Mina parties - a monthly, sex-positive, queer and intersectional-feminist techno party aimed at using the dissociative potential of intense raving to create a temporary space of suspension away from patriarchal expectations. 'Nuit' is Photonz?s debut album and a simultaneous reference the Egyptian Goddess of the Stars or Night. Marco was really swept away by the concept of ?freedom of form under the night sky?, the accepting embrace of Nuit. Ancestral, but also socially advanced and utopian; a deification of the night time. These ideas manifest themselves as eleven songs spread across two LPs that wax and wane like the moon. Photonz channels early techno, Drexciyan rhythms, balearic & atmospheric house; layering sounds, creating moments. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a royal blue and neon yellow jacket with duality/birth symbolism and trance-hieroglyphs designed by Eloise Leigh. Each copy includes a glow-in-the-dark sticker and a postcard with notes

Captivity is the next highly anticipated extended EP by Kush Arora aka Only Now, following a triptych of self-released output in 2019. Continuing the project’s ever evolving engagement with themes of time and existence, Captivity encompasses versatile synthesis, mutant kuduro, widescreen sound design, turbulent cold fronts of power ambient and melodic undertones of black metal.

The product of a two-year period in which Arora was contending with transitional shifts in his personal life, Captivity is a culmination of what the project has explored both in a prolific run of recent material and as a whole, across several years of time dilating, mind altering music.
 
Although shaped by adversity and corresponding sentiments of angst and insignificance, Captivity is pitched at total transcendence. Adopting a meticulous approach to production, a methodology which opens up almost every element to transformation and deconstruction, Arora generates forms which possess a sense of pointillist precision, as well as a keen psychedelic potency.
 
Despite consistency with his earlier output as Only Now, Captivity is nevertheless an indication of Arora’s ability to challenge internal and external assumptions. The introduction of new hardware – namely, the Nord Drum 3P synthesizer – as well as the incorporation of far-flung atmospherics – closing track ‘Clock Lust’ features field recordings from a trip to Kyoto – delivers fresh enterprise and experimentation, contributing to the expansion of a sound signature which remains as unpredictable and compelling as ever.
 
With the eponymous opener, Arora combines fathomless underworlds and riotous breakbeats. On ‘Mutants’ a hyper-kinetic onslaught of percussion, low-end and stray cut-ups of noise break out, building to a panorama of thunderous industrial firmaments. ‘Perpetual Slaughter’ maintains momentum with icy, ricocheting FX and concussive, tribal drums, and then unexpectedly shifts into a poignant outro which brings to the fore the enduring influence of black metal on the project. ‘Bound 2’ is cut with relentless sub-bass and rapid syncopation, resembling an abstracted form of juke music, something that could feasibly have been masterminded by Autechre. With the LP’s finale, ‘Clock Lust’, Arora presents a finale of transfixing 3D ritualism, the lone toll of a bell ringing out into a mesmeric emptiness.
 
Together these form a complete statement from Arora, illustrating the fertile and open-ended territories the Only Now project has arrived at after promising outings on Infinite Machine and Discrepant imprint Sucata Tapes. With Captivity Arora delivers a substantial highpoint and a profound voyage into the world of Only Now.

Yes, dear customers, your favourite instrumental-experimental-tropical quintet Satanique Samba Trio, known for its iconoclastic research on Brazilian traditional rhythms, is pushing the envelope on the low fidelity field once again! Friday September 13th 2019 will be remembered in Music History for the release of their new 10" vinyl Mais Bad, a conceptual sequel of the 2015 release Mó Bad. Mais Bad is a new collection of low fidelity bagatelles, forged into existence by Satanique Samba Trio's thirst for aesthetical deconstruction. All instruments in this 10-track vinyl have been recorded with the same cheap cell phone from the early 2000’s. It is meant to sound desperate, harsh and absolutely surreal. A little over the top, maybe? Yeah, but hey: that’s just how a country in crisis should look and sound like. Right? Greetings from Brasília, Brazil!

The boys from Satanique Samba Trio: Munha da 7 (electric bass and regency), Gustavo “Don Chavez” Elias (acoustic guitar), Jota Dale (cavaco), Lucas “Sombrio” Muniz (bass clarinet) and Lupa Marques (drums).

Limited edition (200 copies of orange transparent and 100 of yellow vinyl records with postcards-photos from Ms. Gia's family album)

Lua Preta is an Angolan/Polish duo consisting of vocalist/MC Ms. Gia of Angolan descent and experienced Polish DJ and producer Mentalcut. Together they bring the frenetic mixture of modern electronic music and African genres characteristic not only to Ms. Gia's native Angola but also to the whole continent - including kuduro, afrohouse, gqom and more.

'Polaquinha Preta' is a brand new EP by Lua Preta. With the music produced by Polish producer Mentalcut and vocals from Angolan Ms. Gia the release tells the story about Gia's childhood in Poland of the 80s and 90s and how she was seen as a foreign both here and back in Angola.

There are interesting guests on the record:

B4mba – Paris-based artist with roots in Senegal and Spain who raps both in French and Spanish. He's an author of the 'Baile Punk' EP in which he blends Latin American music with avant-garde electronic sound.

Isilda Viegas – Ms. Gia's mother hailing from Sao Tome e Principe. On the 'Polaquinha Preta' EP she's featured on 'Noemia' where she sings in forro language – a creole language native to her homeland. During colonial times Portuguese banned people from using forro. Currently only around 70 000 people use it.

Rafael Aragon – French DJ, producer and musician who has become one of the key players on the European global bass scene throughout the past ten years. In his music he relates to all the continents but especially to South America and Africa where his ancestors come from.





d B2 Noemia (Rafael Aragon Remix) feat. Isilda Viegas

First full length album from rising UK jazz/soul/funk pianist. The follow up to his "Easter" EP which was brilliantly received across a broad range of music press, radio and tastemaker retailers. A 15 track album available on a 2LP black vinyl set and single CD. Collaborators include Keyon Harrold, Judi Jackson, Theo Croker, Ben Marc, Makaya McCraven, Luke Flowers and more. The album blends jazz/beats/funk with a hint of hip hop, grime and breaks.

***ULTRA RARE GERMAN BOOGIE-FUNK REISSUE***
Tyree Glenn Jr. is no new name in the Tramp family. He is featured on both "Can You Feel It" Modern Soul/Disco comps and not to forget the Tramp 45rpm single release of two LP-only tracks (check his James Brown cover of "Superbad"!).
"Jealous Love" and "Beautiful Woman" were originally released on a superrare german 33rpm single EP from 1984. The first 150 copies come with a picture sleeve, so those who purchase it quickly may be lucky and get one of those!

Schimmer Records first EP “Schimmer 001“ is a Various Artist compilation including four Tracks by Cirkle, David
Löhlein, Filip Xavi and Tøtal.
This mixture of great musicians from all over the world, combining the sound of electronic music, is making this Vinyl so
unique. With some dark, fast and groovy vibes there is also a touch of industrial sounds with it, perfectly fitting to dark
and sweaty raves.
A1 Tripwire - a trippy and groovy Track by Filip Xavi with a great look on details is giving this Vinyl the perfect start.
Some dark elements is making this Track interesting for every set. The second Track on the A-Side by Cirkle is
“Enceladus“, which is provided by a moving synth in all frequencies and a strong drop in the middle of the Track.
The B-Side is starting with David Löhlein`s “Nita“ - a powerful and energetic Sound with tight Hi-Hats and a strong build
up, perfectly fitting into every club in the middle of the night. Some industrial and harsh vibes are coming along with the
last Track “Lure“ by Tøtal from Armenia. A groovy beat and great synths are giving this Track a special note.
Just pure Techno on a Vinyl.

NO MORE don't need much of an introduction - the legendary Kiel-based (No)Wave / PostPunk band project took the worlds dancefloors by storm with the release of their seminal single "Suicide Commando" in 1981 which was later re-introduced to the Techno / Electro youth of the world, when Munich's DJ Hell famously reinterpreted the tune in 1998.

Still actively touring and releasing on a regular NO MORE are now making their debut on the freshly launched Intrauterin Recordings-offshoot EL CABALLO SEMENTAL..

The labels cat.no. 001 is a first time on vinyl release taken off NO MORE's "The Return Of The German Angst" digital mixtape and sees one of the bands hit tunes being reworked in a unique, highly captivating manner, pressed exclusively as a limited to 200 copies whitelabel edition on purple / violet vinyl.

"123456789 (baze.djunkiii + Herr Brandt Dream A Nudream Remix)" exceeds the bands natural musical realm by far and transfers the song into MoombahGoth / DubWave territories previously unheard of, not only for a classic band like NO MORE.. The rework picks up latest developments from the urban and bass music world whilst keeping the haunted vibe of the original songs chorus intact, slighty references NuBeat / PostPunk and Dub, adds lush, dreamy Cosmic guitar textures and even winks to the underground whistle and rave posse with a sweet as candy piano breakdown.

In their conjunctional remix work we see Intrauterin Recordings-founder baze.djunkiii, quality electronic music activist and prolific DJ for more than 20 years, and Herr Brandt, founding member of the classic German Wave / Indie / Alternative outfit The Convent as well as of the praised underground Synth Pop / Minimal Wave band Sonnenbrandt, effortlessly merge the best of two musical worlds to create something new and captivating, like they used to do on the decks with their former BETA-ZERFALL parties which were the main and initial reason the two of them and NO MORE came together in the first place.

a A- 123456789 BAZE.DJUNKIII + HERR BRANDT DREAM A NUDREAM REMIX

160 / 170 BPM Tribe, Old school kicks, full of Dancefloor tricks and breakbeats boosters. A very precise mastering and a thick plate, as usual. Limited. Enjoy !

Industrial Doom Hardcore, or maybe Hardtechno at some point but anyway not too speed, very fat, crunchy and defenitly Hardcore in the spirit.

Indigenous:
music; homegrown, unadulterated, absolute
Drivetrain (Detroit, USA) – Alice
Derrick Thompson delivers a dark and moody banger of minimal groundwork and amplified momentum, culminating in acidic intensity.
Detune (Ghent, BELGIUM) – Maple Fever
Autographed by an unshakably solid bass line, with an ornamented shower of sumptuous pads raining down over a panoramic 4/4 beat terrain.
G-Prod (Bordeaux, FRANCE) – Motif
The toxic rhythm is indisputable and the alluring chord progression is seductive in this energized elastic groove.
Jace Syntax (Glasgow, SCOTLAND) – Hologram World
Submersed in a sea of luxurious strings, a tribal explosion regulates a merciless bass riff, peppered with sweet melodic inflection.

War Jacques Greenes Debütalbum "Feel Infinite" (2017) der Soundtrack zum Vorglühen, so ist sein Nachfolger der Reflektionsmoment nach dem Rave, hochempfindsam, voller latenter Möglichkeiten. Gleichzeitig ist "Dawn Chorus" sein bislang kooperativstes Werk, an dem Filmkomponist Brian Reitzell ("Lost In Translation") und Cellist Oliver Coates teilnahmen, während Ambient-Künstlerin Julianna Barwick, Rapper Cadence Weapon und die kanadischen Sängerinnen Ebhoni und Rochelle Jordan Vocals beisteuerten. Statt Clubmusik macht Jacques Greene Musik über den Club, er remixt Radiohead, produziert Katy B und Tinashe und tourt mit The xx.

After 10 vinyl releases exploring the leftfield side of electronic music, No Suit Records enters a new era with a new serie of Split EPs. Two artists per EP, offering a wider color palette, stretching styles and genres.

Cabasa is back on No Suit Records after the launch of a successful live act and many appearances in festivals and high profile clubs around Europe. On this release Cabasa navigates between luscious atmosphere, broken beats and polyrythmic patterns.
Crystal Clear is made of soft melodies and tickling bass —it is a reminiscence of the 00’s downtempo apogee and an invitation to accept your inner melancholy. More Than a Second is a slow awakening, a groggy musical move, a muffled request for a brighter future. Catching Fire Slowly is a contemplating ode, a call to take a deep breath and prepare yourself for the upcoming run.

Lost souls or flowers of hope, lurking into light and darkness, no one knows who Scaarlet are. The only certitude is that they always play with boundaries and enact performances between syncopated melodies, cut up sounds, wavy basslines and deep atmospheric sounds. They are back on No Suit Records and continue to develop their own intricate style, merging Drum’n’Bass and Techno influences into a politically and socially engaged music.
My Man translates the raw energy of riots and rebellion, powering a fusion of Drum’n’Bass and Techno. The River resumes some of the Yakusa women tattoos symbolism into a romantic pulsating 170ish bpm vibe. Advertising is an open critic of the fast fashion world and the supremacy of commercial communication, mixing polyrythm with a straight DnB kickdrum.

All tracks mastered by Pole at Scape Mastering in Berlin.

Very few albums manage to unveil their roots so honestly and at the same time succeed in creating something utterly distinct. "Of All The Things" from Jazzanova is one of these albums.
Originally released in 2008 on Universal, it now gets a luxurious reissue on Sonar Kollektiv as a 3LP with pop-up gatefold cover including previously unreleased instrumentals.
This format corresponds perfectly with the elegant opulence of the music that shines even brighter eleven years after its initial release. At no time is it unclear that this album is a deep bow to soul from the 1960s and 70s as well as genres like jazz, brazil and pop music in the vein of the early Beatles.
Along these lines, "Of All The Things" is meant to be perceived as a tribute to the music that Jazzanova has been honoring affectionately in their DJ sets and which has always had a decisive influence on their own productions.
At the same time, the Jazzanova guys have been successful in casually creating elaborate musical pieces which convey a deeply contemporary vibe - not least because of the multifarious references to electronic productions.
The path to this sophomore long player, which features the contribution of over 50 studio musicians, had been laid out beginning with Jazzanova's first album "In Between" from 2002.

Music From Memory’s latest release is a reissue of the lost Art record ‘Marea/Tide’ from Italian Wave duo Alessandro Pizzin and Piergiuseppe Ciranna also know as ‘Ruins’.

Made to accompany and as a response to the works of painter ‘Luigi Viola’ the record was released limited to a run of 600 with original artworks by the painter included in the first 200 copies.

A number of special showcases were performed at various galleries by the duo alongside Viola’s work, with records being available solely at those events. Due to poor management and disagreements with the label who produced the record, 300 copies were held for many years in storage and then in fact later even destroyed, the record disappearing almost without a trace.

Finally now available again and with a bonus 7” including four beautiful unreleased tracks, the release is printed in colors true to the original work of Luigi Viola with insert.

Vinyl only!

The sought after LP from Zann ‘Strange Ways / Inside Jungle’ originally released as a private press in 1990 finally receives a full reissue.

Zann started life as a 7-member live band in 1982. Founder member Udo Winkler had been a part of New Wave & Post Punk band Konec touring extensively and releasing one LP on Polydor titled ‘Schrille Blitze’. Zann was an outlet for more experimental works heavily influenced by Brian Eno's collaborations with David Byrne and Jon Hassell, German bands like Embryo and Dissidenten, David Sylvian and middle & far eastern music.

In 1988 Udo and Hjalmer Karthaus built a small basement studio with a 4 track tape machine and musical experiments began in earnest. After the limitations of playing live it was an acoustic wonderland and they gave themselves no musical boundaries. The unlimited studio time meant they could pick up ideas and develop pieces gradually, friends would come to the studio to play and songs evolved from extensive jamming sessions. The resulting LP has Middle Eastern instrumentation at its core, particularly wind & string instruments such as the Tabla and Gong, and is a melting pot of influences incorporating elements of Ambient, Jazz and Folk with strong synth programming on a number of tracks. The band pressed up a handful of copies and sold them exclusively at record fairs in Germany and in the intervening years the LP has become highly sought after with copies changing hands for 150 Euros.

The LP has been fully remastered from the original DAT tapes with new full sleeve artwork from Bradley Pinkerton and is pressed on 180 Gram Vinyl.

Razor-N-Tape welcome hometown hero Danny Krivit into their stable of editors with a 2-track EP that sources a pair of vibes from the catalog of the ubiquitous "Q."Stuff" begins with a mysteriously looped and reverbed-out saxophone sample, building perfectly toward an eventual explosion of soulful horn stabs and vocals over a percolating rhythm section, in classic Q style. "The Story" tells a mellower yet mesmerizing tale, with its lush string arrangement and artful groove, perfect for those early warmups or late-night comedowns. A true living legend of NYC's rich DJ history, Danny dug deep into his personal cache of edit weapons for this very special record. Absolutely essential!

Crosstown Rebels welcome Tochno Techno label owner Yulia Niko to release her first full EP, Paradise, a captivating three track EP featuring jazz bossanova vocalist Sil Romero and Italian talent Cioz on remix duty. Opening track Caminando encapsulates Yulia’s inspiration from walking on the White Isle of Ibiza where she spent the last year living. The hypnotising deep house melody of swirly synth pads and Sil Romero’s beautiful dreamy vocals wash over skipping percussion in an emotive composition. Cioz puts his own melodic stamp on the remix, creating a progressive club piece with bright keys over a reshaped bass line. Paradise continues the warm, ethereal atmosphere of the EP, bongos dance on hats as lush, relaxing tones fade in and out. Russian-born DJ, producer and label owner, Yulia Niko learned her trade in the clubs of her hometown before moving to the US to work as a resident DJ at Verboten, Brooklyn and Heart in Miami. Now touring the world, she is based in Berlin and runs a vinyl only label, Tochno Techno. She has also released on other esteemed labels such as Get Physical Music, Nervous, Heisenberg, Natura Viva and Dee-P-erfect.

"In his solo work and as a member of Nine Inch Nails, Alessandro Cortini's music casts the listener into an intricately rendered vortex of emotive dynamics,where he expertly maximises the boundaries of contemporary electronic music. His new album, 'Volume Massimo,' combines his fondness for melody with the rigour of experimental practice. Follows on from 2017's universally acclaimed album ‘Avanti. 8 tracks of deftly arranged synthesizers saturated with sonic artefacts and luscious pop sensibilities.
+ Includes download code."

Casino Times? aka Nicholas Church and Joseph Spencer
from London have been betting against the house for
close to 10 years already, winning big with releases on
Wolf Music, Needwant, Omena and their own Casino
Edits label. The pair also hosts the radio Show “What’s
My Derivative?” on Bloop Radio.
Since Mireia Record’s big cheeses RSS Disco have been keen to gamble with the Time’s
music, routinely lighting up dancefloors with it, a loose connection and mutual admiration
formed over the years and eventually lead to this fine record here.
RUSH & KAWAI
Casino Times demonstrate their cunning yet natural and flowing sound with two originals:
“Rush” and “Kawai”. Both tracks are a proper trip of its own, psychedelic pinball machines
that’ll catapult you to the further edges of the known sphere.
An arpeggiated melody line leads the “Rush”, while a rock solid foundation of hard hitting
drums keep you steady. The melody filters into acidic fringes and a strange voice guides the
traveler to the core of this outer-body experience.
By intertwining a pulsating E-Bass with sharp percussions and a brazen guitar chords,
“Kawai” steers the travels even further out of world’s reach. A whole ensemble of sirens and
vocal fragments warn of imminent rapture. After this, it’ll be hard to return to the mundane.New Release Information
KAWAI (Conga Fever’s Belgian Fries Remix)
Leading the string of three remixes is Mireia’s Conga Fever. Known by now for impeccable
and inspired productions he might just have outdone himself again with this interpretation
of “Kawai”.
Taking cues from Belgian New Beat while sounding unconditionally modern at the same
time, Conga Fever has crafted a bona fide festival anthem. After confidently building up
tension and taking his time in the breakdown, the remix manages to release an incredible
amount of energy. We’ve seen people out of their minds and literally stage dive to this one.
KAWAI (Rigopolar Remix)
A new face and dream cast to the label: Rigopolar aka Menio Brown. The Brooklyn-based
producer and DJ has been on our radar for some years with a string of captivating releases
for Tom Tom Disco, Nazca Records and an upcoming EP on Duro. Especially “Sun Of
Lemuria’s” hypnotic brittleness turned our heads.
Adding a new high point to his repertoire, Rigopolar’s take on “Kawai” is an expansive, dark
journey into the void. Powerful lasers and strobe lights appear to lead the way, emergency
broadcast voices beckon the dancers to the floor. The clobbering bassline and twitching
melody help to reach previously unseen heights.
RUSH (Filburt Remix)
Working his signature slow-burn magic on his remix of “Rush” is Filburt. More than happy to
welcome him back to the label. The O*RS label head, DJ and producer is responsible for
some of our favorite material in the past and does not disappoint with this remix either.
Lush pad sounds oppose salient drumming, slowly tightening the atmosphere while a robotic
voice evokes a melancholic mood. The whole night’s rooted on this fervid bassline and it’ll
carry you into next Monday

Luc Kheradmand, under his “nom de plume” Voiski, has created a gem of a record for ara, named At e Speed Of Love His highly distinctive sound is distilled into 5 stunning tracks which feel both analog and futuristic. Diverse yet coherent, the record is a fantastic blend of positive energies, unfolding and revealing its different faces as it progresses ; ecstatic at times, and moving at others. is is music with enough depth to project your own meaning and emotions.

Limited 12” Vinyl : Numbered edition of 500 . Handmade with love in Berlin

Each vinyl sleeve is individually painted with highly-pigmented acrylic, using a single-movement brush technic, on grey cardboard sleeves, protected by a high grade transparent outer sleeve Since releasing physical records is increasingly becoming an irrational choice, each ARA record is irrationally produced as an hand-made work of art.

Editions are individually numbered, recognisable as a part of a whole, while being slightly different by nature.

2024 Repress
ODD OKODDO is a Kenyan/German duo consisting of Olith Ratego and Sven Kacirek.

The two artists met in Kenya, about a decade ago, when Sven Kacirek was recording his "Kenya Sessions", an album that put Kacirek on the map of outernational producers. It was reviewed as a "World Music 2.0" (de:bug magazine), whose "fascination endures" (The Wire). Olith Ratego also made an appearance on the "Kenya Sessions”, on the track "Too Good To Be True".

The duo formed the project ODD OKODDO in 2018, with the two musicians joining their various talents which dovetail in perfection. Ratego writes the lyrics and vocal melodies while Kacirek composes, records and produces the arrangements of all nine songs on AUMA. They create a colourful, dynamic sound which is defined by both Ratego’s enormous vocal compass and range of timbres as well as Kacirek’s outstanding skills as a sensitive percussionist.

Olith Ratego sings in a musical style called "dodo", which originates from the shores of Lake Victoria in Kenya, high in pitch and soulfully expressive. He refers to his music as "dodo blues". His lyrics touch upon the topics of politics, family and of course: love. As a skilled luthier, Ratego builds his instruments himself, like the five-stringed Okodo which lends its name to the project.

Sven Kacirek is a multi-instrumentalist who has been commuting between Germany and Kenya for many years now. In the past he has closely collaborated with various international musicians, among them Nils Frahm and Shabaka Hutchings. Kacirek’s sound builds upon a powerful bass marimba which is present throughout the album. It sometimes invokes the sound of a tuned 808 kick-drum. He works with Kenyan an arsenal of percussion instruments as well as household objects and found materials. Kacirek has now settled into a signature sound which has been described as "thrilling and dizzyingly inventive" by the Australian Cyclic Defrost magazine.

The LP comes with a printed inner sleeve with liner notes by Tabu Osusa from the Nairobi based label Ketebul as well as explanations about the song lyrics.

DJ Richard's first release of 2019 sees him drop four invigorating electro tracks on Flexxseal titled "Eraser".

Emerging from the Providence noise scene, DJ Richard forges a path of disciplined selectiveness as a producer and DJ with his idiosyncratic style allowing him to make impressive, self-assured connections between 80s EBM, new beat and Italo disco, electro, techno and "post-minimalist" house. DJ Richard's feral approach evolved from the roots of his White Material imprint which quickly achieved cult status after early releases from himself and co-founders Galcher Lustwerk and Young Male.

As a solo artist, DJ Richard continues to push the boundaries of his talent and influences reflected in his two utterly distinctive and bewitching albums released in alliance with influential German electronic label, Dial. "Eraser" sees him join up with fellow American Christopher Joseph and his Flexxseal imprint as DJ Richard masterfully maintains his skill in propagating ephemeral and raw sounds with his aptitude for electronic body control.

"Critical Damage" kicks things off with resilient oscillations fused beautifully with angelic leads and thudding percussion reflecting a post-punk aesthetic while "Eraser" delivers tough, acidic swirls undulating beneath sharp, broken grooves and growling undertones.

On the flip, a slow, chugging drum sequence balanced with haunting modulations and machine-like vibrations that echo throughout take the focus in "His Threshing Floor" before "Casca's Theme" concludes the EP with meandering, robotic synth flutters and distorted bass resonations driven by hypnotic rhythms and world-ending atmospheres in this powerful electro cut.

There Existed An Addiction To Blood" ist das insgesamt vierte Album von Clipping und ihr drittes für Sub Pop. Es ist der Nachfolger des von Kritikern und Publikum gleichermaßen gefeiertes Album ,Splendor And Misery" aus dem Jahr 2016. ,There Existed An Addiction To Blood" enthält die Singles ,Nothing Is Safe", ,Blood Of The Fang" und ,La Mala Ordina" (Feat. Benny The Butcher, Elcamino, The Rita), die von Clipping produziert, von Steve Kaplan gemischt und von Dave Cooley bei Elysium Masters in Los Angeles gemastert wurden. Das Album enthält auch Gastbeiträge von Ed Balloon, La Chat, Counterfeit Madison und Pedestrian Deposit. ,There Existed An Addiction To Blood" ist Clippings Interpretation eines neuen Rap-Splitter-Genres unter Zuhilfenahme ihrer einzigartigen Lupe. Clipping wenden sich auf dem neuen Werk intensiv dem Horrorcore zu, eines bewusst absurden und kreativ bedeutsamen Subgenres, das Mitte der 90er Jahre blühte. Einige der bemerkenswertesten Pioniere hießen Brotha Lynch Hung und Gravediggaz, aber es umfasst auch bahnbrechende Werke der Geto Boys, Bone Thugs-N-Harmony und die nahezu vollständigen Veröffentlichungen des klassischen ,Memphis cassette tape rap". Der wahrscheinlich subversivste und experimentellste Rap hat sich oft als ,Alternative" zu konventionellen Sounds präsentiert, aber Clipping verzerren das Ganze respektvoll in neue Konstellationen. ,There Existed An Addiction To Blood" absorbiert die hyper-gewaltigen Horror-Symboliken der Murder Dog-Ära, stellt sie aber in einem neuen Licht dar: immer noch dunkel getönt und düster, aber in einem seltsameren und lebendigeren Farbton. Wenn der traditionelle Horrorcore mit ,Blacula", dem populären Blaxploitationsfilm-Klassiker aus den frühen 70er Jahren, verwandt war, so ist das neue Output von Clipping analog zu ,Ganja & Hess", dem blutrünstigen Kultklassiker von 1973, der als unbesungenes Wahrzeichen des schwarzen Independent-Kinos gilt, dessen Score von Sam Waymon, Clipping als Inspiration zum Titel des Albums diente und auch Samples auf dem Track ,Blood Of The Fang" lieferte.ENG The science-fiction visionary Octavia Butler once declared that "there is nothing new under the sun, but there are new suns." The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite. Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past. Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is Clipping's transmutation of horrorcore, a purposefully absurdist sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap. The most subversive and experimental rap has often presented itself as an "alternative" to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. The album contains interludes with hissing recordings of demonic invasions, and guest appearances from Griselda Gang's Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with "Piano Burning," a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning. There Existed an Addiction to Blood fits neatly into the broader scope of the band's career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy (both for his acting/rapping work as Thomas Jefferson and Marquis de Lafayette in Hamilton), as well as co-written and starred in 2018's critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows. Clipping's last album, the 2016 afro-futurist dystopian space opus Splendor & Misery was recently named one of Pitchfork's Best Industrial Albums of All-Time. Commissioned for an episode of This American Life, their 2017 single "The Deep" became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But their latest masterwork embodies what the band had been building towards - a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It's horrorcore that soaks up past blood and replants it into a different organism, undead but dangerously alive. It is a new sun, blindingly bright and built to burn your retinas.

“This is my 1st solo rocket.
Tracks presented here were matured at the museum for few years and actually some of them came to
me at my very first attempt on solo music, being myself only involved with bands till then.
Everything was recorded at home exposed to machines i didn't know, using older and newer gear. At
some point midi samples were also used, taking advantage of my computer promises #anythingoes.
Turns out that cold meat lights no fire so attached to this music are ghosts of my life transcribing their
emotions into techno. First half of this rocket is more on a negative tip, the second half is more
positive, like we all should take it. Either way you should listen to both sides cause they complement
each other, so try to relax and enjoy the ride, or get off your ass and jam…"
Tiago’s (LUX/DFA) seminal solo album.

In the years before ​Hunter Lombard​ perfected the gentle art of juxtaposing mega breakbeats with lush synth hooks, the New Yorker was an active rock musician. Citing the afterglow of her guitar background as a big influence for her current melodies and timbre, Lombard inhabits a sparsely populated intersection in dance music. For ​Schloss’​ third release, Lombard connects the dots between sweet rave nostalgia and clublands latest wrinkle. She has previously released on Volvox and John Barera’s label Jack Dept, and can often be found behind the decks at Elsewhere, Good Room or Bossa Nova Civic Club.
Slow Foam​ is mixed and mastered by Matt Karmil.

Schwarze Schweiz is a compilation, split in two records, which gathers together Swiss active musicians working in those obscure territories that have been Lux Rec playground for so long. Trostlosigkeit, Elend und Isolation. Ärger, Schwermut und Dunkelheit. Their statement to this country. Part 1 includes a text insert by Bjørn Schaeffner (Bern).

O'Girl aka Ellinor Jackson is back once again on Borft! Her debut left me wanting for more. Like label boss Villa Abo said 'Sometimes you just feel right about it'. Although this 4-tracker is her second record out there the music is fully matured house goodness. Stabs and chords builds up a funky groove on a solid beat foundation in Corners Couch. Proper sunset/sundown dance music. Snap Happy dives right into filtered loopy loops and voice samples. It takes its time so you can get snug and cosy and then unleashes a percussion party right at the end so you'll be smile-dancing and sipping fizzy in no time. Shoddy Shoes is a straight up club joint. Dark wobbly techno bass moves dubby stabs forward while a mysterious mist floats on top. Some strong clap action keeps everything moving from side to side! The last track is a lush French Riviera happy moment. Warm pads, classic house piano and bass action all day long. Smiles everywhere and not a cloud in sight! - Sahpo Ripasso

Dj Brisk is a legendary old skool artist who has been a force in both the hardcore and the hard house scene for decades, and remains committed to his craft in a way that many artists have not.

These timely remixes of his classic anthem “Airhead” run the gauntlet is style and texture, with the superb work from all involved. Sanxion brings a proper birth of rave feel to his remix, while Fracus & Darwin take it right up to today’s sound. The Sunny & Deck Hussy remix is an amen workout worthy of any 1995 set, and Audio X throws down a bright d’n’b roller.

Club/DJ Support: Billy Bunter, the Fat Controller, Dj Brisk, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Liquid, Hyper On Experience, Ant To Be, Ponder, and ... many others.

7"

As we continue our project with the Foundation voce of UK Reggae - Sandra Cross - the next instalment is the electrifying 7"| Sound System weapon called 'Jah Love". This monster riddim has been shaking up speakers across the dub world all summer.

Sandra Cross needs no introduction, she is a true legend whose career begun at the age of 14 with a no.1 hit in the UK Reggae charts. Since then she has gone on to be one of THE defining female voices of British Reggae. Sandra’s award winning career has seen her hook up with the likes of Mad Professor and Sly & Robbie for a near endless round of hit singles & albums.
Vibronics, the future sound of dub, have been vibrating the world with bass since 1996. Their music is at the forefront of the UK Dub scene, proven by over 60 releases on their own legendary SCOOPS label as well as a host of albums, singles and remixes for a myriad of other labels such as Jarring Effects, Dubhead and Jah Tubbys. In the studio they have worked with Michael Prophet, Iration Steppas, Macka B, Aba Shanti, Brain Damage, High Tone, Big Youth, Gaudi and an almost endless list of dub & reggae luminaries.

Director Amanda Kramer’s prompts for composer Ben Babbitt’s soundtrack to her enigmatic film Paris Window read like magnetic fridge poetry – “warped ambient bumper muzak tension” – but the results skew closer to some hypnagogic contemporary noir: lulling, low-lit, and laced with lingering dread. Electronics, strings, and percussion swoon and seethe in heady mirages of dreams and delirium, romance and menace. The narrative it accompanies is equally opaque and out of time: two eccentric siblings psychologically unravel through divergent fixations, one obsessed with the hypnotic infomercials of a mysterious self-help institute while the other falls in love with an ambiguous doppelganger.
Babbitt’s background scoring experiential video games (Kentucky Route Zero) and collaborating with exploratory songwriters (Angel Olsen, Weyes Blood, Eartheater) is evident in his versatility and finesse, flowing fluidly between minimal and maximal modes. Like all dynamic film music, the pieces weave a story of their own. Serene synthetic swells decay into murmuring television static and eerie vocal fragments; close-mic’d drones turn acidic then claustrophobic, mirroring sleep paralysis transformed into panic. Babbitt builds a window into a surreal world, seen through shadows and smeared, street-lit glass.

The Force Dimension was formed in the late 80’s by René Van Dijck and Tycho de Groot. After some demos and appearances on compilations, the band signed a contract with the Belgian label KK Records. Their self-titled debut was released in 1989 curiously on two different versions, one produced by Luc Van Acker (Revolting Cocks) and the other co-produced by Dirk Ivens (Klinik, Dive). The duo continued developing a very unique sound mixing EBM, industrial and different electronic influences. In 1990 they finished what is considered their definitive work, “Deus Ex Machina”, followed by the mega club-hit “Algorythm”. The band released another single next year, “New Funk”, and after a couple of compilations stopped to work together in 1997. During the next years there were some failed attempts to reunite but it wasn’t until 2013 when The Force Dimension was resurrected by René Van Dijck.
“Deus Ex Machina” is being now re-released on an expanded edition with all original tracks plus some bonus including remixes of “Algorythm”, some rare tracks from old compilations and new versions of the unreleased songs “Fatal Erection” and “Scanners”. Limited edition of 500 copies on double vinyl and gatefold sleeve.

Die Acid-House-Pioniere 808 State melden sich mit ihrem ersten neuen Album seit 2002 zurück. 808 State gehörten zu den wegweisenden Acts der Manchester-Rave-Szene und feierten mit dem zeitlosen Klassiker "Pacific State" ihren grössten kommerziellen Erfolg. Auf "Transmission Suite" kombinieren sie ihren typischen Electro-House-Sound mit der Industrial-Vergangenheit ihrer Heimatstadt und Einflüssen aus klassischem Detroit Techno zu einer futuristischen Electro-Vision.

Like a phoenix from the ashes, the mighty Cécille Records is back, and return with their 2008 club smash, ‘Nesrib’ which launched the career of label mainstay SIS, and here is catapulted into the present day with a remix from Fuse hero Archie Hamilton.

Established in 2007 by Nick Curly and Marc Scholl, Cécille quickly became a trustworthy and steadfast purveyor of deep tech-influenced music. With its reputation for quality unsurpassed, Cécille attracted a
wealth of talent, none so much as SIS. German-born Burak Sur’s origin story is evergreen. Caught up in the rhythms of DJ Karotte at U60 club in Frankfurt one night, he decided that dance music was his life’s mission and began to plot his future. Already a proficient rock drummer, he learned to DJ and produce at the age of 21, releasing his first tracks in 2006.

‘Nesrib’ catapulted SIS on a furious 4-year musical journey which saw him win multiple awards for ‘Track of the Year’, ‘Producer of the Year’ and ‘Breakthrough Artist of the Year’ across the music press. Still
performing at clubs and festivals today, SIS has perfected his live/DJ hybrid show which continues to take him around the world.

For his remix, Archie Hamilton has dug deep into his roots to transform SIS’s original bumpy minimal techno vibe into a fully formed rolling tech monster. Aquatic FX and sparse percussion open the track before that huge growling bass shifts things into high gear. Carefully holding back on the vocal chops, Hamilton carves out a muscular groove before unleashing Williams’ diva lyrics.

PLAYED BY Marco Carola, Martinez Brothers, Luciano, Reboot, Nick Curly, Archie Hamilton

50 years ago, a young Panamanian singer by the name of Ralph Weeks, who a few years prior had cut his teeth in the US music landscape with the group Johnny & The Expressions, self-produced and independently released a record with an absolute monster of a soul ballad called "Something Deep Inside." It was a song that Weeks had come up with on the spot during one of many gigs in the heart of Brooklyn's Prospect Heights, at the time a cultural hub and community for many Panamanians living in the borough. Along with his group, The Telecasters, Weeks often played at a Panamanian-owned club in the neighborhood called 4 Star's (STA4R's) which would independently sponsor the release of the tune on a 7-inch single.

Fast forward to 2019, where a serendipitous meeting between Ralph Weeks and Names You Can Trust turned into a solid formation of musical synchronicity, bonded over a shared belief in musical fusion, a weaving of musical threads that was similarly the foundation of that earlier era in Panama. It's a fusion that has become a constant theme throughout the Names You Can Trust catalog in the last 10 years, connecting the dots from NY, the Caribbean and Latin America. An immediate plan was put into motion: return Weeks to a studio atmosphere that had eluded him in the preceding decades, a vibe and live musical presence that would be reminiscent of his time recording with The Telecasters and The Exciters in Panama.

In the ultimate tribute to Weeks and that foundation, NYCT label mates Combo Lulo unpacked the 50-year old original tune and refashioned it into a timeless rocksteady ballad. It was an opportunity for Weeks to acquaint himself with a new band and a new generation of musical talent. Ultimately, it was an unexpected chance for Weeks to reconnect to the music he wrote one fateful evening in a Brooklyn club. For Combo Lulo, Names You Can Trust, and now the rest of his musical admirers, it's a chance to hear how gracefully Weeks' voice has aged, still silky smooth with those beloved falsetto runs, sweet and rounded like a barrel-aged añejo rum. It's a testament to the timelessness of Weeks' original music, and certainly another reminder of how far and wide even the smallest of musical blips can spread.

Presented as a double-sided bilingual 45 single, both versions of Weeks' classic tune, "Algo Muy Profundo" and "Something Deep Inside," have been formatted in the traditional Jamaican style, skillfully cut live and mixed under the guidance of NYCT and Combo Lulo's talented musicians. It's a tribute to a brilliant record and an unsung architect of Latin American sweet soul, but also a love letter to a very particular NY-Caribbean fusion that theoretically could have happened 50 years ago, depending on the borough you resided in. After all, there was always something deep inside. Comes with NYCT / STA4R'S Company Sleeve & Liner Notes.

Dolly welcomes D_Roots! The Italian producer drops 4 beautifully produced, lush, atmospheric, funky baseline oriented Detroit electro tracks. This is what we like to hear on the dance floor early in the morning when shit gets serious!

Over the years Kid Loco has become a reference in the French electronic music landscape. Firstly, known for being an activist in the French underground music scene, he cofounded Bondage Records in 1982. With Bondage Records, he introduced several bands to the French alternative music scene like Bérurier Noir, Ludwig Von 88 or Washington Dead Cats. Alongside his activity of label manager, he composed and released under the name of Kid Bravo, an experimental music at the crossroads of rock and electronic. Astonished by the beginnings of the instrumental hip-hop of DJ Shadows, Jean-Yves Prieur aka Kid Loco experimented new ways of composing music with the sample technic in his own studio near Orly. This new musical adventure led to the birth of a mini album Blues Project released in 1996 on Yellow Productions.

Exploring further his own psychedelic universe, he released his first album A Grand Love Story in 1997 under the name of Kid Loco. Acclaimed both by the French and international music review, “A Grand Love Story” established itself as an iconic album of the trip-hop and electronic music scene. During the two years following its release, Kid Loco continued to invent his own musical universe nurtured by multiples influences. In 1999, he released Jesus Life For Children Under 12 Inches, an album featuring thirty remixes he composed for French and international artists (Pulp, Talvin Singh etc.) as well as his mixed compilation for the famous DJ KICKS collection released on the German electronic music label, !K7.

After a first European tour, Kid Loco returned to his studio, nicknamed “The Lafayette Velvet Basement” and composed his second album Kill Your Darlings released in 2001. Compared to his previous compositions, Kill Your Darlings features more tracks without sampled vocals. Eager to explore new musical horizons, Kid Loco produced in 2004 the original soundtrack of the American movie The Graffiti Artist directed by James Bolton (Narrative Feature Sound Award – Austin Film Festival 2003). Cruising to new musical galaxies, Kid Loco continued to compose and released the album Party Animals & Disco Biscuits in 2009 followed in 2011 by the album Confessions Of A Belladonna Eater. In addition of his albums, Kid Loco continued to experiment with the production of compilations celebrating the trip-hop music with “Trip-Hop Classics” released in 2010 followed by a second opus released in 2013 on Wagram Music.

2019 marks the return of Kid Loco with his track Here Comes The Munchies selected in the original soundtrack of the show Vernon Subutex (Canal +), the vinyl reedition of his cult album A Grand Love Story and for the first time the digital release of the album Confessions Of A Belladonna Eater with exclusive remixes.

Leifur James released his debut album A Louder Silence in October 2018 on Late Night Tales original artist label Night Time Stories; home to Texan trio Khruangbin and the iconic Late Night Tales series. The record attracted immediate support from Pitchfork, KEXP, XLR8R, Mixmag 8/10, Future Music UK 9/10, Electronic Sound 9/10. In April 2019 ‘Wurlitzer’ was the first piece of music he revealed from a new creative period after those sessions. The video was created by animator/director Balázs Simon, premiering on Boiler Room and was nominated for the BMVA Berlin Music Video Awards in the experimental music category, airing at the British Film Insitute BFI Southbank London.

Now in September 2019 he has prepared a remix EP 12" of the debut album A Louder Silence, featuring a slew of the finest musicians in electronic music today. Blueberry Records founder FaltyDL aka Drew Lustman comes first with a deep, skipping 2-stepping reversion of Mumma Don’t Tell. Bruce coming off the back of his hugely well received debut album for Hessle Audio has a “resymph” of Osho in typical mind-bending austere electronic style. Whities producer and Tirzah/Mica Levi collaborator Coby Sey reconstructs Suns of Gold with his sampler, and also accompanying it, is Leifur’s own remix of suns of Gold.

The Mancunian electronic music pioneers 808 State are about to return with Transmission Suite, their first new album since 2002.

Hailing from Modena, the Northern Italian motor city, Strata-Gemma produce a music of beautiful symmetry, intense craft and surprising angles. Born as a club night, the trio grew out of jam sessions where musicians would play over the records DJ/producer Billy Bogus spun. Their name came about due to the core members finding shared inspiration in records they considered "hidden gems" (gemma means gem in Italian) while paying homage to the Detroit Jazz label Strata Records. Thus from a love of jazz and soul, soundtracks and library music, Strata-Gemma were born.

Where Strata-Gemma's 2018 debut album had a lush, late-night ambience about it, Autunno 1 is more intense and agitated, a reaction to extreme political and weather conditions. As with all things Italian, Autunno 1 is both beautifully sculptured and filled with wild passion while serving as an intense soundtrack to our fractured world.

Strata-Gemma are Billy Bogus (beats), Andrea Moretti (double bass, strings) and Luca Cacciatore (brass, wind). For Autunno 1 they are joined by heavy friends on drums, synth and Hammond.

Inland is Vanessa Wagner’s continuation of the exploration of the minimalist composers register to complete the solo continuum of the Statea released in 2016 with the Mexican producer Murcof. Inland highlights a set of pieces, mostly rare or unavailable to date (Moondog, Nico Muhly, William Susman, Bryce Dessner, Gavin Bryars...) and some other well known (Philip Glass, Wim Mertens, Michael Nyman) that Vanessa Wagner performs with her classic pianist background and velvet sound.

Lucie Antunes is a French classically trained drummer and percussionist, inspired by the pioneers of minimalism. Her debut album SERGEÏ is a tour de force of eclectic music that leaves the listener amazed, almost hooked up in Lucie’s magnetic spiral of sounds. The eclecticism that pervades SERGEÏ is shown by Lucie ability to create labyrinths of sounds through the use of unconventional instruments such as marimba, vibraphones, celesta, tubular balls, glockenspiel and ondes Martenot.


Sergei is a statement of freedom. The same childish freedom that we run behind and that we desperately seek. Lucie, with SERGEÏ, achieves her freedom and builds on it, the artist that she is with no compromises but only with the determined ambition to break the boundaries, to shake genres and to make the eyes smile.

After a string of succesful singles, “Deixa Musica A Tocar”, “So Vejo Voce”, “E A Felicidade” and the Dj Harvey supported “ Te Faz Bem” and “Serei Seu”, The Danish / Brazilian quartet constellation Copenema (Copenhagen / Ipanema = Copenema) are ready to release their debut album “Deixa Musica a Tocar”.
The album mixes European electronica influences with Brazilian songwriting style. The sound becomes unique and some would say Balearic.The albums leading single “Te Faz Bem” a funky downtempo track with live saxophone, flute and rhythm guitars and a baseline to die for has become somewhat a national Ibiza balearic anthem over the past years and spread worldwide especially due to the massive support from Djs incl from Harvey to Dj Pippi to Pete Tong. “Serei Seu” the second single another Ibiza fave is a funky party track that sounds like a modern Jorge Ben. The single “So Vejo Voce” is Stan Getz meets the beach vibes, “Festa De Relaxamento” an Alfredo fave is jazzy Brazilian funk vibes with heavy live drums and a bass line that wants you to move.
“Lullaby For Impanema” is sunset material. The bands first recording the 12 min beautiful jazzy cosmic downtempo Pat Metheny influenced and Leo Mas supported “Some Di Some Day” is pure bliss and a sunset fave amongst the Balearic community.
The album has three added bonus tracks (Vinyl Only) - Can’t Sleep and Nada Mais both recorded in a Music For Dreams writers camp recently and the 12 minute journey of Serei Seu by Danilo Braca

Taking inspiration from a vast musical sphere, the Munich-Vienna pair Jorkes are widely recognised for their open-minded and passionate approach to electronic music which is translated through their Freeride Millenium imprint and own unique productions. ‘Cross The Line’ will be the duo’s first outing since 2016 seeing them join up with the Italian pair Hard Ton who are known for releases on Wonder Stories, Luv Shack Records, Toy Tonics and many more. Jorkes invite Live At Robert Johnson artist Massimiliano Pagliara and Philpot founder SoulPhiction aka Jackmate for remix duties which tops off this distinctive release highlighting the openness and sensibility of their musical philosophy.
‘Cross The Line’ begins the EP with alleviating pads balanced harmoniously with alluring, heart-warming vocals and gentle keys drifting throughout before Massimiliano Pagliara delivers an infectious remix focusing on hypnotic bass grooves, effervescent drums and undulating pads fluttering naturally with the stirring modulations.
‘Jackmate’s Dub Mix’ deploys low-riding resonations fused with muffled tones and thrilling, shuffling rhythms within whereas ‘Jackmate’s 90s Mix’ focuses heavily on organic percussion rolling throughout with robust musical elements and looping vocals. SoulPhiction’s ’Dub Mix’ completes the pack with a tranquil take on the original laying focus on funk-infused instrumentals and subdued jazz drums.

Empirical Magnetism is back with a remix series of BLENT's "Drawn 2 U" EP (EM02) released in August 2018. On the occasion of EM02(BIS), Empirical Magnetism and Electron Libre Music Group are glad to introduce Luca Cazal & SLF to you, and to welcome back DJ W!LD, OID & Anrilov, Bypass on board.

BLENT is a Moscow-based duet composed by Cedric K Gasaida aka Starving Yet Full (singer of former Canadian band Azari & III) and Victor Karzalov (half of Russian duo Bypass).

lack Truffle present In Real Life, the latest in a flurry of releases from Berlin-based guitarist and composer Julia Reidy. Having drawn acclaim for solo performances on 12-string acoustic guitar that bridge microtonality, ‘American primitive’ stylings and classic minimalism, Reidy’s recent releases have utilised an increasingly broad sonic palette, fleshing out guitar-based composition with electronics, field recordings, and – most strikingly – heavily auto-tuned vocals. On In Real Life, Reidy pushes one step further, crafting an epic LP-length suite that moves from abstracted song to lush electronics and explorations in contemporary musique concrète. Beginning with a passage of eerie electronics and creaking percussive interjections, Reidy’s heavily auto-tuned voice quickly takes centre stage. Surrounded by explosions of electric guitar and synthesised arpeggios, the auto-tuned voice delivers a melancholic ode, bringing together poetic images to reflect on the instability of experience and mutability of identity in a contemporary world saturated by digital technology. This concern with the unsettled relationship between the physical and digital is reflected musically by the constantly shifts in emphasis between Reidy’s physically demanding guitar-picking and the various forms of synthesis deployed. Similarly, the dynamic imagery of cutting, shattering, and ‘racing streams’ present in Reidy’s lyrics also serves to characterise the structure of In Real Life, which ceaselessly shifts between distinct episodes. The song-based opening, long sequences of frenetic 12-string guitar shadowed and eventually overtaken by synth tones, passages of delicate chiming harmonics, electro-acoustic cut-ups – each flows seamlessly into the next, often recurring throughout the record’s duration, which lingers over interstitial moments between these episodes.

Mixed and mastered by Joe Talia at Good Mixture, Tokyo. Vinyl cut at 45rpm for maximum fidelity by Rashad Becker at D&M, Berlin. Artwork by Suze Whaites. LP desgn by Lasse Marhaug.

UK duo Wayward continue to turn heads after a big 2018 and return with a fresh new EP that features a remix from cult minimal man, Voigtmann. 

 For their latest offering, they turn once more to Silver Bear Recordings as newly announced co managers of the label and in the process remind us of the depth and talent that remains a hallmark of their output.  Opener 'The Energy' is a driving cut with lush drum layers carrying you along as distant pads flesh out the groove. Soft female whispers add layers of soul and the whole thing will make close-knit floors go off. 'Space Marines' then gets more edgy, with techno-leaning drums and freaky samples that make for a pumping but classy groove, finished in style by some heavenly sounding, uplifting pads. Voigtmann is a long time underground figure, releasing on a range of vital labels and has a superbly reduced sound, showcased here on his druggy, infectious remix. Notable for its swirling pads and zoned out vibes, it rounds off another expert Wayward release.

Les Innocents’ ‘Post-Partum’ album originally released in 1996 is being for the very 1st time on vinyl with 4 rare and demo bonus tracks.
Tracklist includes the hits ‘Colore’ and ‘Un monde parfait’.

Elf Jahre nach ihrem letzten Kollaborationsalbum "Inlandish" veröffentlichten Hans-Joachim Roedelius, deutscher Experimental-Musiker und Krautrock-Legende (Cluster, Harmonia), und Tim Story, US-amerikanischer Neoklassik- und Ambient-Komponist, ihr neues Werk "Lunz3", angelehnt an ihr gleichnamiges Werk aus 2002. Das Ergebnis ist eine facettenreiche Exkursion im Spannungsfeld zwischen Electronica, Neoklassik, Ambient und Drone.

R&S present the eponymous, debut, full length album transmission from Lost Souls Of Saturn.
Epic in scope, time and space, this multidimensional mind trip is for fans of Mark Leckey's 'Fiorucci Made Me Hardcore', David Morales' Red Zone dubs, Don Cherry's 'Organic Music Society', The Orb's 'Ultraworld' and KLF's 'Space' and much more besides.
This ambient house masterpiece combines flavours gathered from across the galaxy, stewing them up into a delicious primordial soup. Old sci-fi soundtracks, acid, free jazz, avant garde, musique concrete, world music and more all whirl around an underground-dance-music axis.
Primarily LSOS are Seth Troxler and Phil Moffa, plus further opaque participants congregating to combine music, imagery, and storytelling into an inextricably linked whole, all wrapped-up in a philosophy of their own making.

To celebrate the 90th anniversary of Luc Ferrari's birth Transversales Disques is very glad to announce the release of Photophonie, unpublished archives, spanning 1973-1992, revelatory collection of commercial, commission and secret music by electroacoustic music
pioneer Luc Ferrari.

Totally bonkers German synth punk!
"JPGRR (JOHN, PAUL, GEORGE, RINGO & RICHARD) is nobody but East-Germany’s neo-punk squeaker RICALETTO of PISSE with his second solo-record EASY LISTENING carved into this vinyl’s side A. On the flip-side you'll find central-Israel’s VICTOR, a guy named GUY and his second little big musical statement after releasing an infamous cassette w/ Lumpy Records."

Dutch producer Philou Louzolo returns to Byrd Out for a secondouting, mining that seam between Afro, House and Electro, with his Sharingan EP. He’s been working in a darkened room for some months on his own label Wokoundou (remixing the likes of Amadou and Miriam), but has taken time out to produce two new tracks, Sharingan and Itachi, that make up the A side. And on the flip we’ve the married the originals with three wicked remixes, from Kenyan via Kampala talent Slikback, who gives Sharingan an industrial pulsing feel, Ariwo’s Pouya Eshaei, with a stripped back take on Itachi, and previous Byrd Out contributor Native Cruise with a lush Balearic tinged edit of Sharingan. Mastered by the Sound Mechanic, artwork by G.S-L Studio.

Kinway is short for “no fuckin way!“ And that is exactly what
we thought, when we stumbled upon this suite of lush detuned
chords, heavily filtered down drum machines and wobbly,
pumpin tape compression. „It’s raining here“ is a five track LoFi manifesto that just waited there to be pressed on wax. …So
now it is. And it’s all yours! “Shit’s gettin’ wiggly”

It seems KPM have long been fans of Smith and Mudd and, after being introduced to each other by mutual friend Andy Allday, the peerless Balearic maestros were invited to contribute to the library label’s digital-only “Album Shorts” project. The results are predictably wonderful.

With past projects under our belt working with everyone involved so far it made perfect sense for Be With to take on the vinyl release of this instant library classic. But why is it called “Tea With Holger”?

“Holger” is of course Holger Czukay and the whole LP is dedicated to Smith and Mudd’s time spent with him and Ursa Major at Can’s famous Inner Space Studio in Weilerswist, near Cologne.

When not recording it seems they spent a great deal of time sat around being entertained by Holger’s stories and drinking many cups of different sorts of tea from all over the world. These moments provide some their fondest memories of their visits:

“Looking back, it was pretty incredible that we spent part of our lives with Holger in one of the most magical places we’ve ever known, Inner Space Studio. We have our memories and, of course, the Bison album we made with him. But to honour the time we spent with him, we wanted to dedicate an album to him called ‘Tea With Holger’. The names of the tracks are about that time.”

The album was recorded over several years in London, Margate and Gorthleck, a small hamlet in the Scottish Highlands. Mike Piggott, who played with Bert Jansch, handled the strings and played violin whilst Sam Creer lent his virtuoso cello work to the proceedings. The sessions employed a key recording technique from their time with Holger: hit record and play. They wanted to capture magical improvisational moments live and not do the work later on in editing.

In their own words (and in classic library record sleeve style) these tracks are collectively described as “Balearic themes including breezy soul, sun-dappled melodies, warm pianos and sweeping strings”. You want to hear this, right?

The album is vintage Smith and Mudd. The gentle piano ushering in opening track “The Gardener” is soon joined by low, bubbling drums. When the time is just right, lush guitars glisten above a Welsh language vocal that floats like silk. Easy as a sea breeze. “Innerspace” is of course a nod to Can’s aforementioned studio. Dark, heavy piano meets rolling drums before warm chords and luscious strings take over, gliding over moody grooves to drive you home. Closing out side A, “Weilerswist” delivers more beautifully rolling piano and guitars over thumping cellos and building drums.

Side B opens with the full, string-enhanced version of “Away From Me”. This is Smith and Mudd’s prefered version and it’s only available here on this vinyl issue. For us it’s the standout on this all-highlight album. Tribal tones, piano and cello set a melodic staccato for violin to soar over while rolling piano lines and gospel organ chords descend into a drum drop that leads to a glorious vocal lead finale.

Distant synths introduce sun-drenched guitars and uplifting strings in “Kölner Street”, before a spacey Moog solo leads to a spellbinding, sci-fi drop. The sunshine returns before the track ends. The album closes with “Tea With Holger”. Airy vocal swells are punctuated by plucked cellos and picked guitars, all wonderfully warmed by a soulful piano.

Cut by Pete Norman and pressed in the Netherlands by Record Industry, “Tea With Holger” comes in a classic KPM green sleeve complete with track descriptions from Smith and Mudd themselves. The finishing visual touches come courtesy of Richard Robinson. We’ve given this record the same care and attention as we give to each our KPM re-issues, and it’s just as essential.

Microdosing is a series of compilation 12”s selected by Julienne Dessagne aka Fantastic Twins, and designed in collaboration with French visual artist Geff Pellet. Microdosing is a collective experiment aimed at helping you fighting back your modern obsession with happiness. You may deserve a nice day but the day does not need a nice you, nothing should be forced, everything is permitted. Microdosing will provide you with sonic healing weapons on regular basis and at irregular dosage. Those doses will favour psychedelic social techniques against self help tyranny, creation over soma, provoking over numbing, our outer-selves over our inner-selves. Microdosing refuses the fatality of the pleasure principle. Life is a struggle, time to embrace it. —— "My battery is low and it’s getting dark” We at Microdosing will make Opportunity’s famous last words fully ours. Some would see these as an epitaph on a black screen, we embrace them as a reclaimed fragility. Are we grains of sand wandering in space, hoping for a goal? No. We are the cosmos, the cosmos is us, unafraid of the end, unafraid of the void. Before the rise of the infinite silence, Microdosing brings you new guiding lights, white sun or black hole being a simple permutation of the kinetic rainbow. Oceanic’s “Parallel Lines Of Stripes” is a meandering mantra, an synthesised Moebius ring, a mission to your heart, that furthest star in the sky. Gilb’R’s “Cosmogonie” simply reminds us of the profound relation between spatial systems and the holy act of birth (cosmo, world and gon, conceive). The universe is a body, your body is your universe. Lucas Croon’s “Threshold Stimulus” is the soundtrack of a never ending voyage, the man is on a trip to the core sanctum. Imagine Space as a reverberation room cladded with bakelite. Losing yourself in delay repeats sometimes is the shortest way. Neuzeitliche Bodenbeläge & Sam Irl’s “Faeden” is another hymn to the umbilical chords joining us to the outer world, a black monolith of kraut acid, a pagan dance as portal to a destination only you can choose. Microdosing will be back soon with more enablers, helping to turn your petty struggles into a search for a meaning of life. The Quest lives on.

In celebration of 5 thrilling and inspiring years of work, we've gathered well-known artists, Goldmin regulars and emerging talents for a new compilation of Various Artists 12s". It was really important for us that the compilation express the elusive nature of the Goldmin sound. Over the past 5 years, we've had the chance to meet most of these artists in person, and follow their very own creative paths, as well as share thoughts and ideas. They've all had their own part to play in crafting the sound of the label. What it comes down to is a genre defining selection devoid of any specific standard or norm. The compilation reflects the unique sound which has grown throughout our whole catalogue, since the label's birth 5years ago. That's why, picking this selection of tracks, that we feel illustrate Goldmin Music's essential freedom was one of toughest things we've ever done. It was also important to pick only the most original and iconic tracks from each artist. In the end each track had to be their most Goldmin one and they've all been tried in all types of situations, in club at 1 and 5 AM, on the highway at night or even staring at the ceiling during a sleepless insomnia session, and they all fullfilled their duty!"

Zodiac, a new collaboration between Brendon Moeller and Monty Luke, present a heady brew of sci-fi dub and deep rhythms on a full-length album, ‘Serengeti By Night’.

With meditative roots music at the very heart of ‘Serengeti’, experimental ideas are excavated over ten tracks. Vivid atmospheres are conjured up, as tribal trance, voodoo dub and otherworldly electronics are deployed over rock steady rhythms.

With influences that lie in the musical endeavours of African Headcharge to Rhythm & Sound, Public Image Limited to Cybotron, Zodiac keep the flame burning for exploratory dub-leanings, and deliver an album from the space station above that administers sophisticated braindance sounds that will command repeat listens...

Comic book artist, graphic designer and free jazz improviser are only some of the many talents from Beirut born Mazen Kerbaj. After appearing as part of various ensembles on the label, Ariha Brass Quartet (CREP46) and Johnny Kafta Anti-Vegetarian Orchestra (CREP22), Kerbaj finally lands a solo outfit of his own onto the Discrepant dancefloor of insubordination.

14 years after his first (and only) solo album "Brt Vrt Zrt Krt" (Al Maslakh, 2005) Mazen returns with a series of subtle compositions of his own with not one but two(!) solo albums of prepared trumpet that further cement his international position as a serial trumpet botherer.

Whilst Vol. 2.1 showcases his (almost) (un)familiar arsenal of squawks, cackles, howls and squeals, Vol. 2.2 goes deep into the nether regions of waltzing drones and bell tweaks so deep that would make most cetaceans loose their concentration. The notion of being transported to a luring mutant underwater alien community is still present on these long(er) trips with the added meditative pieces being occasionally pierced by noise creepers, nothing is what you want or expect and that’s the way it should be.

If Vol. 2.1 is the classic follow up LP, this one is the beast from the deep, it comes surging and screeching from a deep oceanic sink hole, only to hypnotize you with perverted dance moves before diving back into the sinking, wettest and darkest cave in the world. Vol. 2.2 is a summons album; it shatters any bar there was with its intentional use of everything Vol. 2.1 was denied. It grabs you by wherever available way and it only releases you when you’re ready to listen to it again. Listen to both albums back to back, in no particular order and you’ll know that there’s nothing you can do but come back to it like a doped up seal stranded in a phantom island – appearing and disappearing as the music dictates it to.

Comic book artist, graphic designer and free jazz improviser are only some of the many talents from Beirut born Mazen Kerbaj. After appearing as part of various ensembles on the label, Ariha Brass Quartet (CREP46) and Johnny Kafta Anti-Vegetarian Orchestra (CREP22), Kerbaj finally lands a solo outfit of his own onto the Discrepant dancefloor of misdemeanour.
14 years after his first (and only) solo album "Brt Vrt Zrt Krt" (Al Maslakh, 2005) Mazen returns with a series of loud oozes (entirely) of his own with not one but two(!) solo albums of prepared trumpet that further cement his international position as a serial trumpet botherer.
Showcasing his very own and singular arsenal of squawks, cackles, howls and squeals the notion of being transported to a luring mutant underwater alien community is only occasionally dispelled with the sporadic passages of fluctuating tones and pulsations, like a restful humpback whale puffing on a hookah pipe at the ocean’s deep end. Mazen pulls out all the proverbial stops here, displaying a unique mastering of the instrument and its improbable add-ons creating various vignette like episodes rich in texture and variations - unlike anything else out there – not that you’d knew anyway.
Where Vol. 2.1 shows an astounding use of the instrument without recurring to cuts, overdubs or electronics, Vol. 2.2 raises (or shatters) the bar with its intentional use of everything Vol. 2.1 was denied. And Mazen is right about advising us, the sounds emitted on each record are beyond the limits of believable. Either he is using tricks or just prepared techniques the results go far beyond the reach of a normal or casual listener. Listen to the albums back to back and you’ll know what we mean.

The second edition of Dekmantel’s foray into the era-defining, trans-Atlantic, cult techno label that is Djax-Up-Beats, comes another re-issue of classic 90s cuts.

The label say "The Dutch label was responsible for releasing some of underground’s most foundational dance music, mixing together Chicago and European artists alike, and acting as the launchpad for some of today’s biggest producers. Featuring offerings from luminaries such as Felix Da Housecat, and Glenn Underground, alongside veterans such as Steve Poindexter, and DJ Skull, this second EP highlights the classic label’s old-school’s sound, while showcasing its diverse range, from dubbier, ambient moments, to wall-thumping, body crushing house force. Timeless music, repressed, and re-released for a new generation of DJs who covet the classic machine music.

The second re-issue EPs, offer a more introspective look at the label’s earlier releases. Leading Volume 2 is Terrace’s 'Bewitched', to which DJ Richard has described as being the defining track of the label’s beginnings with its "dreamy, Detroit-style techno mixed with the harder rave elements of Northern Europe”. Glenn Underground’s bass-roller 'Real Space' weaves together soulful passion and Chicago prime beats, while Felix Da Housecat’s Temptation — originally from 1993 — gets a well earned re-release, reminding us of the soulful, deep and lustful energy the producer once had. China White, whose name doesn’t get banded around as much as it should nowadays, see their ethereal hit 'Theme from the Underground' get another opportunity to bliss out the more upbeat rave community.

The energy turns darker with Frank de Groodt’s The Operator, breaking the outer-most barriers of electro-techno, with 'The Mind Strike'. Chicago and Dance Mania’s Steve Poindexter turns out rolling, dance-energy bomb 'Body Jam', while Mike Dearborn’s deliverance of unreal, dry techno in 'Deviant Behaviour' runs aplomb with classic drum-machine pulses, claps, and uncomfortable, yet punishing melodies. DJ Skull’s 'Don’t stop the beat' rides the EP with gushings of hand claps, and gentle, early 90s warm techno color, that transport you back to a time of more informed, and conscious electronic musings, a feeling that embodies Djax’s heyday.

Founded in Eindhoven at the turn of the 90s, Djax-Up-Beats quickly earned an international reputation for being a key source of Chicago house, acid techno, and floor-filling, heavy-hitting, straight up underground 12”s. It’s a sound that spawned the sonic aesthetics of today, and can be heard in the left field techno productions of the likes of Bjarki, Salon des Amateurs and other erstwhile analog junkies."

Hold Up ft Kendra Foster is the breakout first single on Lonely C’s (aka Charles Levine of Soul Clap) debut album, Charles & Tribulations. Foster, known as a multitalented force of singer/songwriter who's toured the world for over a decade with Parliament-Funkadelic, won a Grammy for her co-writing on D’Angelo & The Vanguard’s Black Messiah, most recently set forth as a solo act with her 2016 eponymous sophomore album.

This may be Kendra’s first foray into house music, but she’s no stranger to the groove. This is a dance-floor classic in the making, already receiving powerful response from crowds at Soul Clap’s DJ sets.

Lonely C’s original mix features vocal/songwriting super talent Kendra Foster’s cathartic tale of a love gone away. Mike Dunn’s remix is a guaranteed dance floor activity, Javonntte dub for the dancers.

Then last but no means least FSQ’s Funkadelic Touch mix of “True” featuring Billy Bass Nelson, GKoop, O-Man, & Kim Manning”

Upfront DJ Support:

Dixon, Seth Troxler, Gilles Peterson, Moxie, Francois K, Osunlade, Josh Wink, Jovonn, Kraak & Smaak, Tensnake, Horse Meat Disco, Crazy P, Leo Mas, Luke Solomun, Hot Chip, Nightmares on Wax, Honey Soundsystem, Danny Tenaglia, Red Rack’em, Soul Clap.

S-Type returns with his first full EP project in three years with the expansive “S-Type-Beat”: dedicated to the art of hip hop production for its own sake.

The sound of S-Type has been defined by producing massive, melodic instrumental hip hop played out in clubs as dance music - but this was always a side effect of growing up far away from the rappers he sought to collaborate with. His track ‘Billboard’, released alongside the first TNGHT and Baauer music was seminal in the genre that some American festivals mistakenly termed “trap”. But the reality has always been that S-Type’s primary inspiration is hip hop. For the online subculture of DIY producers dating back to early ‘00s Louis Den beat battles to his own releases to his co-writing, S-Type is a leader of the beat scene.

The recent term “type beat” refers to the scene of uploading your instrumentals replicating the sound of your favourite production on commercial releases, tagging the original artist in the title of the upload in the hope your track gets exposed to the fans of the original ie. “Drake-Type-Beat”. On this new S-Type ep he celebrates the booming scene of producers and affirms himself as one of the best doing it: your favourite producers favourite producer.

Deliquent Delivery’s third EP titled U​ comes from Dublin based label head Stephen Mahoney, who contributed two tracks to the label’s last split EP.

Mahoney’s vision for Delinquent Delivery is visible on this release, showcasing his talents which range beyond A&R and delving into production. ​U features five untitled tracks, contrasting thumping dancefloor driven techno with spacey atmospheric ambient tones. With over twenty years experience as a DJ, Mahoney’s ear for precise, engaging rhythms and melancholic tones can be heard throughout​ U.​

A1​ sets the tone of ​U.​ A thumping kick lays the foundation for the track, with gritty, cutting melodies juxtaposed with polished, pensive tones. Rhythmic structure is a large component of Mahoney’s signature sound, with cleverly placed hats and snares audible on ​A1​. A strong link to the sounds of Detroit sounds of the ’90s is audible here, synonymous with Zenker Brothers et. all.

A2 c​ontinues down the path previously set out, with another dance floor directed track. More subtle than previously heard, Mahoney drives the track with a glossy lead, only to break the track up and juxtapose it with a gritty, murky underlying melody. ​A2 ​also focuses heavily on rhythmic structure, with well-placed spacing allowing energy to be retracted and reintegrated with more tenacity.

A3​ takes ​U​ to a different space with an ambient excursion. Mahoney here showcases that he is capable of creating lush, captivating soundscapes which transport the listener to a place of tranquillity. Dark, harrowing undertones are balanced with ethereal swells, maintaining the aura of the record established.

B1 moves back to the dancefloor, with a thumping kick and jagged, piercing tones. Mahoney’s versatility as a producer is evident here, as ​B1​ moves in the same vein as the A-side of ​U​ but is completely different in style. Prime-time dance-floor material, this track drives forward with ferocity and grace, cleverly being broken up with sparkling synth tones only to hit back harder than before.

B2​ closes out ​U. ​A bouncy kick drum sets the tone, with atmospheric, dark swells creating an engaging sonic tapestry. Sparse, delicately placed lustrous tones take the lead, with airy swells contributing to form a wonderful balance of light and darkness. Mahoney’s focus on precision within rhythmic structure is again noticeable here, with rhythmic elements forming their own melodies throughout ​B2​.

U​ is Stephen Mahoney’s first full release on Delinquent Delivery and captivates the essence of his vision as a producer entirely. Versatile, engaging and polished, ​U​ contains five tracks which all compliment one another wonderfully. ​U​ is a record which is as useful in a DJ’s record bag as it is for home listening.

TThe melodically adventurous soul of Leon Ware continues its expression in his final opus Rainbow Deux, released on double vinyl on September 13th. The album features new songs recorded and performed by Leon before his health turned, leading to his transition on February 23rd 2017. Co-produced by Taylor Graves, it has stellar musical contributions from the likes of Kamasi Washington, Thundercat, Ronald Bruner Jr, Rob Bacon and Wayne Linsey.

Taylor Graves came into Leon’s musical family in 2002 when he, his brother Cameron and the Bruner brothers Ronald Jr and Stephen (Thundercat) were playing along with their schoolmate Kamasi at an L.A. jazz club. Taylor, Cameron, Ronald and Stephen became Leon’s band for his debut shows in Japan in 2002 and Taylor continued to work with Leon as his mentor and collaborator over the next 15 years.

“Leon was ALWAYS writing something or developing his musical palette” his wife Carol Ware tells us, so it’s impossible to pinpoint any single moment of Rainbow Deux’s genesis. Six of the songs go back to 2012/2013 and were released in 2014 as part of Sigh, a Japan-only CD collection heavy with Rob Bacon’s tasteful licks and Wayne Linsey’s piano vibes. The rest of the material comes from Leon’s sessions with Taylor.

Describing Leon’s and his process, here’s Taylor: “We’d start by having some great homemade food! Then a glass of wine ‘to slow down time’. After we’d have our fill and smoked our joints we’d go into his studio room to listen and create.”

The album was finished-up around August of 2016 in a back-and-forth between Leon and his go-to mastering engineer Toni Economides in the UK.

Leon worked on Rainbow Deux with life’s greatest challenge looming over him, yet it is one of his most focused and cohesive solo offerings since the 1980s. The entire record is a vibe: mellow, deep and smooth as silk. The lyrical themes are eternal, and the music is elegant, soulful and sensual.

The album opens with the hypnotic throb of “For The Rainbow”, coming on like a percussive, slow-mo house shuffle. Gilles Peterson is a fan. The exotic “Let Love In” follows, with its gradual-build Island Funk, intricate guitar picks and sassy female vocals. It explodes when it hits its stride. “Sigh” is the stylish slow jam close-out to side A. Serene guitars and polished drums create neck snapping funk, with a swaggering finger-snap strut.

Side B opens with the easy-burning broken-beaty “The Darkest Night”, the centrepiece of the album. Kamasi Washington’s lurking sax, restrained and beautiful, unfurls into the dank, sticky atmosphere of Thundercat’s signature creeping bass laid over his brother’s in-the-pocket drums. Leon’s vocals are perfect, a masterclass in seductive sax-soul.

“Surrender Now” conjures waves of vocals to swell and wash over the glossy piano, subtly bumping hip-hop drums and bubbling synth-bass stabs. It’s got the trademark Leon layers. “Summer Is Her Name” has Kamasi’s effortless, melancholic sunshine sax give way to rising tempos and propulsive rhythms.

“Are You Ready” is a total highlight (and we’ve been playing it out for ages). It’s a nimble groove of piano and synth rolling around Theo Croker’s sensual trumpet playing. Digi-soul at its finest. With lush G-Funk sensibilities “Streets (Keep Me Runnin’)” sounds like a lost Dam-Funk produced gem. All tough kicks and snares and street sounds. Leon’s hood pass will be forever intact.

“Samba Dreams” is the first of two tracks that bring a little Rio magic to Rainbow Deux. Leon created a whole body of work in partnership with Brazilian legend Marcos Valle that includes “Rockin’ You Eternally” - a hit for Leon - and “Estrelar” – a hit for Marcos. Leon channels his obvious love of Brazilian music here through more of Croker’s sumptuous trumpet, played over loose percussion. “Let’s Go Deep” is next up. A dreamy between-the-sheets quiet storm anthem and a real showcase for Leon’s vocals.

The dripping, honeyed harp-funk of “We Should Be Laughin’” marks the star turn of the brilliant Kimbra. Leon first met her on-stage to do an impromptu duet of “Inside My Love” during an open-air celebration of Minnie Riperton in July of 2014. Kimbra was working with Taylor on her music and he brought her to Leon’s house to do some writing. This was the result.

Warm synths radiate shuffling samba soul on “Wishful Thinking” as those Brazilian rhythms return to bring Rainbow Deux to a close.

During an apartment move Leon and Carol rediscovered some watercolours Leon had done years ago. One of these paintings had been dubbed “Deux Hearts” and Leon decided it should be on the cover of Rainbow Deux, getting as far as approving a draft concept for the artwork.

Carol has overseen developing that draft into the final gatefold sleeve. It brings together quotes, photographs and tributes in what is a reflection on the music, relationships and philosophy of the sensual minister.

Gerry “the gov” Brown, Leon’s long-time sound engineer, was by his side throughout the project, recording and mixing. The album was mastered by Toni Economides and Simon Francis’ additional sensitive work makes sure this double LP sounds like it should on vinyl.

Be With’s first ever release was Leon’s eponymous LP. Re-issuing that album planted the seed of a relationship that has grown to grant us the privilege of presenting his crowning achievement. We know that Leon’s fans all over the Earth will love Rainbow Deux. But we also hope that this album, the final entry in a phenomenal body of work, will reach new fans and find fresh conduits for the spirit of this oft-unsung hero of Soul.

Leon always said “they will get it when I'm gone.”

He also said that “the spirit never dies”…

A Colourful Storm presents a mini-album by Kallista Kult, the newest and most shadowy members to join the label's eclectic roster. Rumoured to be comprised of a core group of modern Oz improv and DIY luminaries with ties to Brandenburg and Black Rock, the sprawling, deeply evocative tracks draw comparisons with the Ghost Box axis, that Michael O'Shea record, Inga Copeland and, dare we say, those rare-as-hen's-teeth Threshold Houseboys Choir CDR's. Edition of 150 with printed lyric sheet and insert.

For our 4th "Exkursion" we welcome Lithuanian artists Hathor and Sotus into the camp.

"Lurker" and "Autonomous Parasite" see the pair conjure dark and sinister atmospheres alongside retro breakbeats and eerie percussion. Hathor makes a more dancefloor friendly solo effort in the form of "Primer" who's weighty bass line has been causing a storm in Soul Intents sets over the past 6 months.

More like a hidden vault of electronic treasures than your usual prolific label, ICON OF DESIRE suddenly resurfaces for a special limited 12″.
“Origin” features three tracks from the label’s founder Andrea ‘passEnger’ Di Maggio, showcasing abstract synthetic funk, lush electronic ballads and emotional, dystopic electro.
“Origin” was supposed to be the first record of the label, then somehow the plans changed until the label rescued the tracks for this release.
200 copies pressed with hand stamped and numbered sleeve.

Acclaimed by many as one of the greatest and rarest library LPs of all time, the album 'FEELINGS' by Jay Richford & Gary Stevan aka Stefan Torossi. With its iconic 'naked lady in the wild' cover, has been coveted for many years by collectors of all musical genres. This album showcases some outstanding compositions & arrangements that explore the exciting connections between rhythmic funk and orchestral jazz - and are now for the first time issued on 7" 45 vinyl double pack!

We open with the uplifting “Running Fast” - a driving, pulsating groove laden with Fender Rhodes and swept along by lush strings. If you're not feeling it - book an appointment to see your doctor! Next follows a B-Boy dancer filled with battle floor emotion - “Fearing Much” - this one packs a heavy bass and syncopated drum groove with dramatic, stirring strings. A must have 45 DJs fave! The opening drum break to “Feeling Tense” gives way to mellow vibes with a deep bass, silky strings and charged horns that deliver the perfect slick, down-tempo groove. Last one is another down-tempo vibe heavy on the bass and strings, “Walking in the dark”. 
All in all yet another MUST HAVE Dynamite Cuts 45!

3rd release for the Ravanelli Disco Club this time courtesy of Eben Rees (Haws). Freerange head honcho Jimpster & Tech Support on remix duties.

DJ Support:

Hotmood
Crazy P
Cody Currie
M.ono
Luvless

Vertigo Inc, the freeform house project of a veteran Canadian producer, returns to the Unfulfillment label with four tracks of kaleidoscopic psy-house, acrobatic acidic exotics, and modal boogie, coaxed from retro machines for a sophisticated, full-body buzz. Come to where the wild things are..

A DIY labour of love since its inception in 2014, Unfulfillment was founded in the US in 2013 to release dance music of an exploratory nature. Unfulfillment releases have been played and charted by Powder, Soft Rocks, Shireef Laffrey, Brian Not Brian, Jacques Renault, Mister Saturday Night, and Luke Solomon.