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Rsf Is A Continously Forward Moving Mesmerizing Electronic/technoid Trip Through Space And Time. It Is Truely The Most Fascinating Piece Of 1970's/1980's Inspired Music For Decades. A New Favorite Album For Fans Of Italo Disco, 1980's Synth Pop, Berlin School, Krautrock, Techno,... Released By Berlin's Private Records Label Which Is Spinning It's Circles Already With A Lot In Demand Musical Pieces Like Black Devil Disco Club, Italo Disco Legacy, Sex Fever, Captain Future, Starcluster & Marc Almond,... The Musician Behind Rsf Is Roland Sebastian Faber. Professional Artist From London And Producer Of Boy George, George Michael, Marc Almond (soft Cell) And A Lot More Dope Stuff. Album Artwork By Emil Schult (former Member Of German Cult Electronic Band Kraftwerk). He Was Not Only Working As Musican With The Band But Is Also Responsible For Some Of The Most Iconic Artworks In History Of Music As For Example Autobahn, Ralf&florian, Radio-aktivitt, Trans Europa Express,...

20th anniversary reissue of Massive Attack's double platinum (UK) album featuring the original album re-mastered + an album of previously unreleased dub remixes by the Mad Professor (2CD and 3LP super deluxe only).

Widely hailed as their masterpiece, and voted 15 in Q Magazine's 100 Greatest British Albums Ever (2000), Mezzanine saw the band move away from the 'trip-hop' sound they had helped define to embrace rock and electronica. Mezzanine was remastered by Tim Young at Metropolis who has worked with the band for over twenty years.

The Mad Professor remixes were originally intended to be released on a Mad Professor Mezzanine remix album - as the band had done with previous album Protection (No Protection) - yet in the end only a number of his remixes were issued as single b-sides.

All 8 of the Mad Professor remixes included here are previously unreleased and include his dub mixes of 2 tracks not originally featured on Mezzanine but from the same period - Metal Banshee - a dub version of Superpredators which was a cover of Siouxie and the Banshee's Metal Postcard - and Wire, a track they recorded for the soundtrack of the film Welcome to Sarajevo.

As per the original release, the artwork is by Hingston studios who have worked with Robert Del Naja from the band - the 3LP super-deluxe takes the form of a 48pp hardback book featuring photos from Nick Knight that show the development of the striking cover imagery + an additional 32pp booklet which is a new edition of the art-book Fitting In which Del Naja originally issued in 2000 (only 50 of which were ever available to buy).

Beverly Glenn-Copeland is already known amongst collectors and music heads for two sought after albums of folky jazz in the key of Joni.It was this album, originally self-released on cassette in 1986 that caught the label's attention. The album, entirely recorded on DX-7 and TR-707, lies somewhere between digital new-age and (accidentally) early Detroit techno experiments. The inimitable style of BGC here is both peaceful and meditative while simultaneously rhythmic and bass heavy. The album was recorded in the northern Canadian town of Huntsville where BGC was living at the time and is a beautiful fusion of personal vision, technology and place. Issued here for the first time on vinyl, with a full restoration and re-master.

More smart edits: Can's "Vitamin C" blends eerie pop hooks w/some psych vox + epic drum breaks. Silver Apples' "Lovefingers" f/ their famous homemade synth + stripped down drums & psych-era vox

(LP+CD


"I use music as a medium to talk to other people", Sun Ra once revealed. The Düsseldorfer Stefan Schwander would agree with this statement by the avant-garde jazz great, though he would not necessarily sign his name to it. He also speaks to people through music. Yet he also likes to let music talk to music. Since 2008, as Harmonious Thelonious, on numerous EPs and two albums, he blends the reduced patterns and structures of American minimalist music with African, Latin American and Caribbean rhythms. For his new work "Santos", which he sees as an LP with a unified concept, he embarked on a mental journey to the north of the African continent and became entranced by Moroccan trance music. The resulting pieces are light, with traces of pop, interweaving the atmospheres of the Master Musicians Of Joujouka and Gnawa music with the driving force of techno. This time Schwander invited a handful of guest musicians to serve as sound sources. The Berliner Ghazi Barakat, former bass player of Stereo Total and man behind the psychedelic experimental project Pharoah Chromium, contributed modified sounds from his Moroccan flute. A second guest musician is the Cologne-based composer Volker Zander, who has long played double bass and electric bass with Calexico. For songs like "Mountains" or "Belloumi" he played a melody on the Turkish Tambur, lending an oriental flair to the vital rhythms of the tracks. The intricate rhythmic patterns also incorporate instruments such as banjo, mandolin and Afro-Cuban drums, played by the percussionist Stefan Suhr, who studied Afro-Cuban ritual drumming in Cuba. Schwander's electronic sequencing blurs these organic sources and brings them into a fluid dialogue with his electronic ideas. For a piece like "Rendez-vous of the Dead", for example, Harmonious Thelonious projected himself out of the studio onto the Djemaa el Fna square in Marrakech. Here, every evening after sunset, local musicians meet and play themselves into a frenzy on distorted mandolins. Harmonious Thelonious translates this dream into a quaking dance monster whose home might be a techno club with an experimental sonic approach. Of course, most of the pieces of "Santos" are heavily danceable, although this time Harmonious Thelonious' tracks roll a little slower than previously. Their rugged beauty has also given way to a very smooth sound. His music, however, has lost none of its complexity. The many voices speak together, propelling each other toward something that traverses traditional genre boundaries, creating a playful trance. The cover of "Santos" underscores this: It is a collage designed by the artist himself, depicting his notion of an all-star band. Everyone must decipher for themselves exactly who is to be found there. Here, once again, the pictures are not direct portrayals, but veiled references to an emotional state hidden far beyond the visual realm. Just like the music of Thelonious Harmonious, which uses various layers tell countless stories.

First time on vinyl reissue (previously CD only) of Mark Van Hoen's 1998 masterpiece presented on a deluxe 2LP. Playing With Time perfectly showcases the lush and deep environments that can only arise from Van Hoen (Locust, Scala, Seefeel). Melody Maker called it "A Mesh Of Loveliness". The Sunday Telegraph described it as "The perfect, spacey chill-out album", and The Sunday Times had this to say: "A sound that at it's best has a positively spiritual quality about it". Other accolades include Sleazenation - "At the cutting Edge" Computer Music "A melange of jerky, cut-up sounds, stretched out ambience... that owes more to Far-Eastern music than to Steve Reich". And lastly, HiFi World felt "The sound scape is so deep and diverse that it's accessible to anybody into laidback beats and soothing, beautiful noise". Contains a side long bonus track best described as a modal Eno-style classical ambient piece that was originally intended as a 'hidden' track at the end of the original 1999 CD release.

6th opus of the label. A super eclectic record, exploring diverses styles of electronic music spectrum such as IDM, Downtempo, Ambient, Synth Pop ... Cosmic release limited to 250 copies.

This record includes works from artists discovered around the globe. Old & unknown latvian project & y e a eke, Andy Rantzen & David Sudmalis from Australia, Isak Anderssen from Norway. But also Art Teachers, Oberst Gregor ... A reissue of cosmic lost sound from California, an electric guitars orgy from Science Patrol (M. Bracewell) + an all new french act Pascal De Nuit.

Rickard Javerling, Born And Raised In Borlange, Sweden, And Now Living And Working In Stockholm Is A Wayward And Productive Musician. Besides Releasing Material Under His Own Name, Javerling Is/has Been Part Of Constellations Such As Dodens Dal, Liljor And Javerling Von Euler. Album 3, Released On Hoga Nord Rekords Is His Third Solo Album.

Album 3 Breathes Psychedelia, Dub, Swedish Folk, 'progg' And Continental Vintage Electronic Music. The Songs On This Album Are In A Way Like A Compilation Of Short Stories Rather Than Chapters In A Novel. The Common Factor In This Album Is Javerlings' Exquisitely Worked Out Melodies And The Warm, Round Production But The Songs Can, Due To The Rich Storytelling Qualities Of Each One Of Them, Almost Be Regarded As Small Albums Of Their Own!

The Music Made By Richard Javerling Is An Embrace, A Relative With A House By The Swedish West Coast Or A Day Off, Midweek In April. This Album Is Inviting And Calming But Also As Solid And Mighty As A Dalecarlian Beech Tree.

Keshavara debuts on FILM.

Taking it's influence from downtempo Alt-Pop and Hip Hop, but with nods to blissed out Dub and World Music - the Indian producer arrives on the Berlin based label with Creators of The Rain. Danny Wolfers takes control on the flip - turning in a gorgeous, transcendental remix under his Legowelt alias.

Live instrumentation provides the backbone of the work - dusty drums drive the music forward, complemented by shifting dub-guitar leads, off kilter bassline licks and delayed drum machine breaks. Singer Gio's vocals sit com-fortably at the back of the mix, soft but inviting - present but realised with a distinctly otherworldly energy. There's a fine, organic feel to the recording - ambient surface noise shifts and warps between elements, and live FX pop and duck in and amongst instrument strikes giving the work a rolling, hypnotic feel. It's a deep and fully realised piece of music - wonderfully three dimensional in it's execution, and a striking homage to the artist's wide frame of refer-ence.

On his remix, legendary synthesiser enthusiast Legowelt draws for a characteristically Sci-Fi finish, in keeping with the best of celebrated output for Clone, L.I.E.S., Creme Organisation and more. Maintaining the tempo of the origi-nal piece, but augmenting the work with a growling Reece bassline and hazy lead synths, the Dutch producer care-fully shifts Keshvara's recording up a gear. Where Creators of The Rain began life as a grooving, Hip Hop indebted piece of World Music - immediate but markedly laid-back in it's execution - Danny Wolfers injects a more anthemic, uplifting sentiment, highlighting the dub elements with a delayed drum machine line and pushing the vocals back with a touch of reverb to give his glorious synth-work space to breathe. It's a wonderful take on an already accom-plished piece of music; respectful but inspired - and no doubt some of the Hardware Occultist's finest work.

IDM excursions into the tuareg land: gem alert!

2x12"

It's the return of the sexual vigilante Sex Judas and his trusted sidekick Ricky. This time in full album mode. Norwegian producer Tore Gjedrem of Ost & Kjex fame, channels his love of comix, bohemia and fascination with human vice, the unspoken, the Red Light districts, the alleys of the mind into his alter ego.

Sex Judas is no bad character but certainly says what it's author cannot.

'I wanted to create a world where any musical idea is possible, wound together by the world and word of Judas, the ultimate sinner, reborn as a child of Venus.'

Inspiration ranges from Africa to 80's NYC, from Bohannon to Quasimoto, from Norwegian New Wave to Acid House. With contributions by friends in the Oslo scene as hometown legend Dj Pål Strangefruit Nyhus, composer Ole-Henrik Moe, jazzpianist Bugge Wesseltoft, Sidiki Camara from Mali playing that beautiful Ngoni, and multi instrumentalist Ivar Snuten Winther, the album touches anything from blues, funk, disco and post-punk to IDM, acid house and electronic explorer music.

What Am I Doing Here Am I Communicating Am I Promoting

I Just Want To Tell You Something.

There Should Be Something I Could Tell You, There Should Be Something I Could Do To Reach You Directly, But There Is Nothing Useful In The Way We Define you', Or me'. There Should Be Something I Could Tell You, There Should Be Something I Could Say Directly Without Lyrics And Melody.

Maybe That's What I'm Trying Here. Something Else Than Lyrics Or Melody. It's Not The Words. It's Not In The Rhythm. It's Not In The Streaming. It's Not In The message'. It's Not In The Product. It's Not In The Algorithms. It's Not Something You Decided. It's Not Something They Decided For You.

I Want To Tell You Something. I Just Want To Say: Thank You. I Love You.

The Follow-up To Jenny Hval's Acclaimed 2016 Album Blood Bitch Is The Long Sleep, An Adventurous New Ep That Sees The Norwegian Multidisciplinary Artist Embracing An Instinctive, Even Subconscious, Approach To Creating Meaning. In Contrast To Hval's More Explicitly Conceptual Work, The Long Sleep Foregrounds The Act Of Composition Itself, Letting The Melodies And Structures Reveal The Other Elements Of The Songs. All Of The Songs On The Ep Recycle The Same Compositional Motives, But Manipulate Them Into Very Different Shapes That Take Them Further And Further Out Of Their Original, "life-like" Context.

Hval Recorded The Long Sleep With Longtime Collaborator Håvard Volden And Producer Lasse Marhaug, Along With An Ace New Supporting Cast Of Talented Players From The Jazz World — Kyrre Laastad On Percussion, Anja Lauvdal On Piano, Espen Reinertsen On Saxophone, And Eivind Lønning On Trumpet. Hval Calls Them Some Of Her Favorite Contemporary Musicians, And Their Musical Background Helps To Give The Songs On The Long Sleep Their Intuitive, Improvised Feel.

What am I doing here Am I communicating Am I promoting

I just want to tell you something.

There should be something I could tell you, there should be something I could do to reach you directly, but there is nothing useful in the way we define you', or me'. There should be something I could tell you, there should be something I could say directly without lyrics and melody.

Maybe that's what I'm trying here. Something else than lyrics or melody. It's not the words. It's not in the rhythm. It's not in the streaming. It's not in the message'. It's not in the product. It's not in the algorithms. It's not something you decided. It's not something they decided for you.

I want to tell you something. I just want to say: Thank you. I love you.

The follow-up to Jenny Hval's acclaimed 2016 album Blood Bitch is The Long Sleep, an adventurous new EP that sees the Norwegian multidisciplinary artist embracing an instinctive, even subconscious, approach to creating meaning. In contrast to Hval's more explicitly conceptual work, The Long Sleep foregrounds the act of composition itself, letting the melodies and structures reveal the other elements of the songs. All of the songs on the EP recycle the same compositional motives, but manipulate them into very different shapes that take them further and further out of their original, "life-like" context.

Hval recorded The Long Sleep with longtime collaborator Håvard Volden and producer Lasse Marhaug, along with an ace new supporting cast of talented players from the jazz world — Kyrre Laastad on percussion, Anja Lauvdal on piano, Espen Reinertsen on saxophone, and Eivind Lønning on trumpet. Hval calls them some of her favorite contemporary musicians, and their musical background helps to give the songs on The Long Sleep their intuitive, improvised feel.

Lena Willikens is the kind of artist who's only capable of following one path - her own. In many ways, she's the archetypal selector, an unpredictable DJ who often eschews all notions of genre in favor of what she describes as different temperatures, different time zones, different moods and a healthy portion of chaos.' Although her methods have certainly proven effective on the dancefloor, Willikens also refuses to be bound by its traditional limitations.
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That willingness to buck convention also extends to this compilation, as the German DJ and celebrated Salon des Amateurs resident has elected to stock her contribution to the Selectors series with a surprising number of previously unreleased tracks. I've been playing most of these songs for a while now,' she explains. I benefit from my friends and colleagues who constantly send me their unreleased music. Now I want to give something back by sharing these tracks with everybody.'

Nevertheless, those looking for vintage gems won't be disappointed, as Willikens has also included a handful of oddball favorites from her record bag. At the same time, she's made a point to avoid notably rare and expensive tunes. There are already enough passionate people out there doing a great job digging and reissuing,' she says. Instead, her curatorial instincts have taken her in a much more conceptual direction, which she describes as a little trip through the dunes.' She adds, It might be challenging to walk or dance on the sand, so perhaps it's more comfortable to lay down and glide along without having a certain destination in mind.'

Niemoc is a young trio from Zielona Góra on western border of Poland. Their debut EP came out on a Polish boutique vinyl label Father And Son Records And Tapes in 2016. A two-tracker Mikrofale (eng. microwaves) blends influences from wave and shoegaze with dancefloor oriented disco-not-disco.

The material has been first released digitally in May 2017 via another Polish imprint - Brennnessel and now is available on vinyl as a collabo release with MOST Records. For the physical release, the EP gained two versions prepared by MOST associated artists Eltron & Hatti Vatti. Eltron's 'Dysko-Miks' of Trynidad, Tobago is a straight-to-the-dancefloor approach with strengthen drum break and funky arpeggio. For Wyspy Chlodne, Eltron worked together with Hatti Vatti which resulted with a dubby hybrid.

Since the release is an unusual cooperation of two Warsaw-based labels and multiple artists, it's scheduled to hit the stores around Record Store Day.

* Rockwell's 'User' EP is a perfect example of a genre striding artist in their prime.
'Easy' is a combination uppercut of two generational disruptors. Not the most obvious of partnerships, they connect to pop off some shots at anyone sleeping.
'09 Track' is another nod to the roots of our scene and offers a sample blessed banger.
Rockwell's no stranger to coaxing the best out of vocalists and 'Inventor' utilises an absolutely killer instrumental and Flowdan's heavyweight character on the track.
'User' is a ballad fit for 2018 and with extensive support from the likes of Zane Lowe, Rene La Vice, Mistajam, Annie Mac, UKF, Mixmag and many more, Rockwell continues with his take on modern day drum & bass.

* In his first release for Milan's Haunter Record, Berlin-based producer Broshuda generates simple yet complex emotional vignettes. Evading all definitions, he makes use of an an array of tools and techniques akin to those of classic dub and contemporary sound design on obscure/ random equipment, drawing from a limited pool of sound sources while paying a lot of attention to detail in the construction of sound. His post-rave power ambient poems, coalescing with a pronounced melodic element, give the release a profoundly introspective and earthy character. Blurring and masquerading different layers of sound into new forms and shapes.

Here To Hell is an Australian label project conceived by The Presets' Kim Moyes, and Revolver resident DJ Mike Callander.
Inspired by a Johnny Cash song, by the record industry' in general, and by the spirit of commercial suicide, Here To Hell celebrates the pointlessness of everything: It's the perfect reason to do only what feels good.
Together Kim and Mike also record and remix as Zero Percent, and along for the ride they've invited Aussie musicians and remixers from all over to celebrate techno, electro, Aussie rock, ambient and whatever they think sounds good on repeat in your headphones.
The label's first release sees legendary Aussie band The Drones being remixed for the first time. Their song Boredom' from the album Feelin' Kinda Free' has been twisted into two dancefloor interpretations (plus a dub of each): Side A is by K.I.M, who takes the original's Aussie Rock to the disco, and Side B is by HTH label bosses Zero Percent, it's their first official published work and explores the darkness of the original instrumentation that underpins Gareth Liddiard's exceptional vocals.

Les Adventures de President Bongo is a unique work that will reveal itself over the next seven years, give or take, in the form of 24 LP's.
What is a groove It is something that goes on and on, not changing much seemingly, like the growth rings exposed when you cut and fell a tree. It is no coincidence that tree rings resemble the spiral track of a record: they're both grooves of a sort.

A groove is a routine, a life lived. It may not always seem like much - a cup of bitter coffee, another day spent under the flickering fluorescent lights of an office, an overly long queue at the check-out of a suffocating supermarket. But it is also the scent of slightly burnt meat and birch by a gently flowing stream under a pink sunset, a silver fog clearing without notice to expose a starry sky and its familiar twinkling constellations, an impenetrable smile on a crowded morning train. It is the pattern exposed on the tree stump. A proper groove has ups and downs, it has drama. A good groove is a good story, a transmission into the future.

Zola Jesus' Okovi: Additions lp offers a new angle on her 2017 album, Okovi. The collection pairs four previously unreleased songs from the Okovi sessions with four remixes by a diverse cast of artists.

Johnny Jewel turns Ash to Bone' into a late-night cinematic torch song, Tri Angle Records composer Katie Gately's Siphon' is a dark choir of warping angels, black metal band Wolves in the Throne Room's take on Exhumed' makes the pounding industrial anthem even denser and heavier, and Toronto producer Joanne Pollock (formerly one half of Poemss with Venetian Snares' Aaron Funk) makes Soak' feel like an aching classical standard— until it starts warping in on itself and goes somewhere else entirely.

The songs on Additions traverse a vast amount of sonic ground, but taken together, they cohere remarkably well as an album, all while serving to enrich the experience of Okovi.

Crown Of Brahma are Charles Stella, Nicole Willis & Daniel Wyatt. The songs An Angel On My Shoulder & And I'll Be Free As A Bird were recorded in the period between 1995-1997, originally set for release on an LP on Rawkus Records in 1997. This album would have followed the release of the group, Repercussions, album Charmed Life (Pony Canyon, 1997).

Nicole Willis was the lead singer / songwriter of this group. Charles Stella & Daniel Wyatt worked together at Temple Of Soul in New York City, where some of Charmed Life was also recorded. These two vocal tracks have never been commercially released, however were heard by Tommi Grönlund of Sähkö Recordings and Leftfield, who requested to work with Ms Willis in result.

The two tracks have been remastered in 2017 by Charles Stella.

After a first EP of the year from STL, the Solar Phenomena label now welcomes Romania's Romansoff. The Raw Tools label boss hails from Bucharest and has also released his gritty, stripped back house and techno on Creme Organization and Sportiv. Here he offers four new tracks, with one remix from Timedance man Ploy completing the package.

'Halo' epitomises Romansoff's style with its slow, heavy drums and sparse, scattered perc sounds. A lo-fi melody adds colour, while 'Coach Jacket' ups the ante with busier claps and crashing hits laid over a turbulent, unsettled bassline. Increasing the pressure further, 'Graded' grows manic with punchy drums, layers of fuzzy synths and bass and distant cries that are dark and unsettling. Ploy flips this one into a prickly and atmospheric drum track that keeps you on edge and Romansoff's digital exclusive 'Michigan Lake Tapes' is a slow motion workout with unsettling synths and tortured pads that grows ever more unhinged. It rounds out a leftfield house EP in style.

Paper Recordings' Ben Davis takes off his Flash Atkins cape and mask to launch a new project exploring things left of centre and balearic.

In these disposable times, Stubb will celebrate community and DIY with a limited run of 300 vinyl screen-printed kraft card sleeves of commissioned illustrations by artist Rachel Johns plus hand-drawn labels by Hebden Bridge's The Egg Factory.

We Are Launching is a journey in to psychedelic balearia with one of the most exciting artists of recent years, Jane Weaver
Her Mercury Music Prize long-listed album 'Modern Kosmology' was described by The Guardian as "a lean and thrillingly addictive slice of unearthly pop".
The Stubb collaboration is a sublime head trip to the deep reaches of space and electronica with hallucinatory guitars, burbling synths and arpeggiators that are beautifully set off by Jane's ethereal vocals.

Mike Lindsay is founder and producer of folktronica pioneers Tunng and his distinctive tones sing the praises of doing nothing on Boring Days, which is psychedelic leftfield pop at its finest.
The track is locked down by a nagging fifth bass with vocal pops, hand claps, muted afro guitar, washed synths and arps that build before the choruses hit in a wave of analogue keyboards and fuzz guitar.
After that, a gloriously stretched outro takes you straight to the mediterranean. There's also an edited instrumental that brings out the sunshine...

Luciano e Valerio, Giacomo e Michele: Odeon are the union of two couples of Roman brothers who are not easily defined. Take the mellow melodies of Talk Talk and the celestial guitar riffs of Cocteau Twins bound together with some heavy Goblin-inspired bassline and you'll be close to picturing Odeon's signature sound. Drawing from '70 Italian B-Movies' soundtracks, psychedelic rock and early 80s new wave, and combining analog synths, dreamy guitars, melancholy vocoder and drum machine-driven percussion, Odeon put together a debut album that sounds fresh and classic at the same time. Ethereal and mesmerizing, Galaxies is the perfect soundtrack for a sonic journey through dying stars and forbidden planets.

*The No Man Is An Island EP is a single cut from the debut album of the same name by Aalko, a new project by Kebko Music founder Akiko Kiyama. Renowned for her minimal techno track featured in Richie Hawtin's seminal DE9 Transitions album, the Japanese producer reveals her another side under this new alias. The project has already created a stir as Aalko has garnered support from Gilles Peterson on his BBC 6 Music radio show and premiered a live performance at MUTEK's Tokyo launch, where she drew the audience into an inspiring frenzy.

Aalko is a culmination of Kiyama's recent practices in a wider musical spectrum that go beyond the confines of her minimalistic techno characteristics. It conjures her distinctive soundscape where a variety of styles coexists: she demonstrates her knack for breaks, ambient and irregular time signatures, her acute ears for unadulterated tone and texture of sounds standing out in sharp relief.

Taking a floor-oriented side out of the No Man Is An Island cassette album, this single cut features three tracks that work wonders in a DJ context. "Body & Soul" is an erratic rhythm experiment jumping between several beat styles. "Mixture" offers Kiyama's unique interpretation on syncopated dynamics of breaks. Wrapping up the EP is 'B.I.C', a long-awaited exclusive track that ranked among Gilles Peterson's top 20 tracks of 2017. Its dubby functionality makes it a powerful tool that can work at various stages of the night.

These tracks give the nod to Kiyama's peculiar self full of sonic idiosyncrasies, showing no fear of breaking accepted conventions.

This record, and the full 2XLP that will follow it, are dedicated to and inspired by events in 2015 & 2016, which saw the spectre of global crisis come knocking at Europe's doorstep.

During this time, more than a million migrants and refugees fled their homes in the Middle East, Northern Africa, sub-Saharan Africa and other conflict ravaged areas in search of a better life. For many, hopes of a future for themselves and their families lay in continental Europe.

While the reasons for such displacement, on a scale unseen in almost a century, are many, so are the reasons for Europe being seen as the ideal destination. The relative peace and calm of the continent and the prospect of building prosperous lives in Western Europe was enough to mobilize multitudes to embark on the treacherous journey to Europe.

One of the most well-trodden paths on this journey was the Balkan route, a trail leading through Turkey, Greece, and the former Yugoslavia. This route was not without its dangers, and the dreams of many were dashed by impassible security fences and discordant EU politics, as one by one they were turned away at borders, or worse, forcibly returned to their countries of origin.

Europa is the first single that represents the seed of discontent, from which the 2XLP grew. It was recorded during long jam sessions in Belgrade as the media spotlight started to dim. The city became the purgatorial destination for a large number of migrants, whose journeys had been cut short and this record reflects the atmosphere of disillusionment and uncertainty about the future, which descended on the Serbian capital.

Repress!

Redolent with the spirit of such high priests of effects and delay as Loop, Spaceman 3, and My Bloody Valentine, not to mention a fair dollop of the Jesus and Mary Chain . Methodrone clearly is the sum of its influences. Thankfully BJM does a very solid job with them throughout the album's course of over 70 minutes.

Sequoyah Tiger is the brainchild of Leila Gharib, songwriter and singer with a constantly shapeshifting voice from Verona, Italy. Following last year's Ta-Ta-Ta-Time EP, Sequoyah Tiger's debut album Parabolabandit expands Leila's distinct musical language, dragging us deep into her dark, twisted and sparkling fantasy. While exploring the limits and hubs of pop traditions, weird sound studies and vocal experiments, she comes up with bewilderingly beautiful songs in which vintage rock 'n' roll and present-day avant pop happily clash with electronic and acoustic elements, jagged beats and subtle rhythms, otherworldly shouts and confessional words.

Matching the customized vibe of her music, Leila likes to create compelling word combinations as shown by those of her alias and release titles. - Parabolabandit is a graft between two words that emerged during the writing process of the songs , she explains. - Inside this imaginary word I found roots, trunk and leaves of the entire album. The concepts triggered by this neologism inspired not only new music, but also videos, artworks and future live performances, for which Leila will share the stage with dancer Sonia Brunelli. A - parabola can mean a dynamic, geometric shape, but also refers to a storytelling technique. A - bandit on the other hand represents something mysterious, an uncanny figure. You can easily spot all those contexts in Sequoyah Tiger's music.

Since Leila has always been involved with collaborative projects like the performance art duo Barokthegreat or the indie rock outfit Bikini The Cat, this album presented a chance to handle the whole process on her own, from writing to mixing. The album was recorded in Leila's basement studio - Vampa Club , where she follows a kind of trial-and-error approach, discovering new possibilities by solving problems. Every input is welcome: acoustic drums mixed with drum machines, processed guitars and synthesizers, field recordings and animal calls. But - singing is the main point and the cause for this project , Leila stresses. From the intimate crooning of album opener - Another World Around Me to the Chipmunk outro of - Brilliant One , Leila passes through a wide array of vocal effects, tuning her voice to the mood of the songs. Although she shut out external influences, you can still hear echoing Joe Meek. The harmonies of The Everly Brothers shine through in songs like - Sissi , and - Where Am I has the sentimental air of a Ronettes classic. Still, you get dragged into the present again and again: The synth arpeggios of - Punta Otok confirm that Leila shares the DIY-pop attitude of Visions-era Grimes, while - Brother Brother inhabits the same weird world as Panda Bear. From beginning to end, Parabolabandit is a unique and sincere sketch of modern pop music, full of enthusiasm and inventiveness.

First release on Polytechnic Youth for 2018, (after a jaw dropping 21 releases last year!) sees a first larger scale, vinyl release for the mighty Heartwood Institute. Preceded by a pair of wonderful, yet small run cassette and CDR releases, Jonathan Sharp's esteemed HI project deservedly receives a wider scale outing here....

Entitled Secret Rites', imagine if you can, an unholy collision of TG style proto industrial, Kosmische / kraut grooves and 70's folk horror soundtracks. Secret Rites' delves deep into a series of forgotten occult documentaries from the late sixties and early seventies, The Power Of The Witch', Witchcraft '70' and The Legend Of The Witches. Focusing on the superstars of the period: Alex & Maxine Sanders, self appointed King and Queen of the Witches. A hauntological dive into a time when the occult was making inroads into mainstream media, truly the Age of Aquarius.......

A wonderfully free-flowing, evolving record that grows with each listen and a fine start to the New Year for both artist and label. A one off pressing of 300 vinyl LPs.

What works is Heartwood's flair for isolating the listener from the outside world and dropping you deep into a well of senses cheating trickery, the sounds cold and detached disfigure and shape shifting to cast looming shadows of disturbia and paranoia, a portal to an underworld where legends, ghost stories and folklore are very much a reality.'
- The Sunday Experience.

For her third outing on the German label Jahmoni, Marcelle is as inventive and unpredictable as ever. The four tracks on the wittily titled 'PSALM TREE' EP go from wild techno to abstract dub, and all bear that undefinable 'Marcelle' touch of freedom and imagination, which sets the DJ/producer so apart from almost all of her younger peers. The ever-travelling Dutch lady, who was one of the highlights of this year's 'Nyege Nyege Music Festival' in Uganda, toys with musical styles and expectations, both live and in the studio, she has always deejayed more or less like a musician. This was amongst others recognised by Faust founder member Hans-Joachim Irmler, who between 2008 and 2014 released 4 Marcelle albums on his Klangbad label.

Opener 'TO EVACUATE IS DIFFICULT AND INFREQUENT' is a deranged techno stomper, bristling with crazy, desperate sounds. Only halfway during the track these voices make 'sense': the track deals with the problem of constipation, and offers near the end a possible solution. As a dubplate this track is heavily tested on the dancefloor and, eh, 'dropped' very well.

'TO REVEAL THE SECRET', an abstract dub work-out with an eerie feeling, samples the voice of one of her favourite actors, the late Philip Seymour Hoffman.

'WALKING AROUND AIMLESSLY', the longest track on the EP, is just as swinging as it is weird. The relaxed whistling over the treated sounds that drop in and out, make for a both happy and strange stroll into unknown territory.

'TO SING ALONG' combines heavy bass with an addictive synth melody and is a short, energetic closer of the EP, which once again shows Marcelle's instinct for both the dancefloor and the avant garde.

The record's curious title 'PSALM TREE' hints at Marcelle's love for palm trees, hot weather and reading books (although not necessarily religious texts, contradictions and odd combinations are never far away in Marcelle's work!) The artwork of the record is as colourful as on all her releases. On stage and on her records Marcelle transcends a sense of openness and a feeling of freedom, which has her described as 'totally enriching', 'a true ear opener', a real 'pioneer'.

Lyrics and vocals by artist and poet Leslie Winer, production by Bokeh Versions staple Jay Glass Dubs.

FEATURING THE COMPLETE GO BANG PART 1' AND GO BANG PART 2' No one pushed the boundaries of Dance music quiet like the late Arthur Russell. On Go Bang,' in his Dinosaur L persona, Russell's unique falsetto-esque vocals are layered over a pulsing disco thump with a flourish of Fender Rhodes keys establishing the downtown feel of this solid groove. Get On Down is proud to present this classic single, featuring the complete Go Bang Part 1' and Go Bang Part 2'.

FEATURING THE COMPLETE IN THE CORN BELT PART 1' AND IN THE CORN BELT PART 2' No one pushed the boundaries of Dance music quiet like the late Arthur Russell. Perhaps no track does so to such an extreme as In The Corn Belt'. Working in his Dinosaur L persona the mix on Corn Belt' is by another giant of the genre, Larry Levan of Paradise Garage fame. The groove is intensified by layers of shredding guitar, percussion and some instrumentation that sounds otherworldly. Get On Down is proud to present this classic single, featuring the complete In The Corn Belt Part 1' and In The Corn Belt Part 2'.

This is a THIRTEEN MINUTE track split over two sides and as such will be our VERY FIRST 10" SINGLE and the first time we have deviated from our 7" single format.

Jean-Louis Huhta and Joachim Nordwall are HIGH BOYS. Together they share a deep interest in old school techno acid, aswell as electronic experimentalism and insane electro-acoustics . They want to make music that will mess with your mind, and make you move while your skull is melting. Together they have served in the ritual rock group The Skull Defekts for over a decade but this is their first own project together. Huhta also does is killer project Dungeon Acid amongst other important things, and Nordwall runs his iDEAL label since '98 and makes electronic music alone and with other heads. HIGH BOYS will not change the musical or political climate but they will make you feel... different.

Seahawks chart a course for the outer realms of consciousness where sea meets sky and sky meets space.

Two tracks new to vinyl from their esteemed 'Escape Hatch' album and three inspired remixes, 37 minutes of overlapping dream states and mantric resonance.

Setting sail with the wondrous 'Valparaiso', the siren like voice of Ed Macfarlane (Friendly Fires) calls the dancers to the beach, it's silken glide so smooth some have asked if it's Sade!

Nick Mackrory creates an alternative cosmos that is even more blissed, like a lost Lucio Battisti gem sparkling in the sun. (Nick was responsible for the lush 'Elle Dit' released on the Music For Dreams label not so long ago).

Picking up the pace disco viking Marius Circus enters the arena to create a woozy acid fever dream that throbs and pulses in a most heavenly way. Perfect for full moon beach jams and horizontal home hangs alike.

On the flip 'Starways' is without a doubt one of Seahawks finest creations, over 12 minutes of tropical kosmische odyssey that resolves into a glistening pool of crystal electronics, aquatic horns and celestial strings. A tonic for the mind and the body.

At the close of day Len Leise blesses us with a hazed subtropical jam where vapour tones float on an ancient ocean of bliss as organic beats massage the stress away.

An antidote to all that is dark and dismal in these fractured times.

Artwork is a specially commissioned airbrush work by Mervyn Beaver.

Bonobos "One Offs Remixes & B-Sides" Album enthält ab sofort nicht mehr den Amon Tobin Remix.

Double LP compilation of Dutch electronic artist Michel Banabila focusing on his incursions into otherworldly and imagined realms. LP1 is a compilation of works spanning over 20 years that acts as a bridge between his earliest work and his contemporary practice. LP2 is a reissue of his early masterpiece Marilli, a highly sough-after album that acts as both an LSD inspired DIY tribute to Byrne and Eno's Ghosts and a youthful exploration of Banabila's personal background and his experience as a squatter in Amsterdam in the early 80s. Gatefold LP with archival pics, essay and artwork by Alan Briand.

That cyberpunk chameleon of styles, Manchester's pride and dancefloor master Ruf Dug is back on wax on Copenhagen's Music For Dreams. Following up the first 12' of remixes that came out last year, we once again re-visit the island life of monsieur Ruffy and his debut full length album Island' (recorded during a sojourn on Guadeloupe).
First up we have Italians on the mix. Hi-jacking Ruffy's tribute to Wally Badarou, Leo Mas and Fabrice opt to do their own thing: which is churning out a bouncing house belter of their own that bears little resemblance to the original lo-fi synth reverie.
Closer to the original then, is fellow Mancunian Andi Hanley's take on the same track. Adding sparse percussion and and a simple but effective drum beat, this take seems to simply be an uncovered second half of the original, where it finally takes off for the dancefloor.
Mangrove Dub' is reworked by fresh-on-the-scene Aussie producer Tropical Hi-Fi who creates a brilliant version full of moist ambient textures and reverb-heavy dub treatments.
At last but definitely not least, Seahawks turns the whimsical hippie folk ballad Le Rayon Vert' into a more intense and neatly dressed affair, focusing on the instrumental parts and lifting aside vocalist Nev Cotte's contribution to the original. Still with a mindful of tropical dreams and the ocean shore close at hand, but in a more introvert Vini Reilly kind of way.
Essential package.

Repress in limited coloured vinyl of 2013 RSD release DOES NOT include Festival Programme, Postcard Certificate or DL
Paean to Wilson is arguably Vini Reilly and the Durutti Columns most important and consistent piece of work since the demise of the original and seminal Factory Records in the early 1990's. It was commissioned MIF (Manchester International Festival of Music), July 2009. Vini had already composed pieces for Tony to listen to whilst he was ill in hospital and it was from here that the project developed. The opening night of the three sell-out festival shows formed part of the BBC2 'Culture Show' coverage on the event.Dave Simpson - MIF Review - The Guardian 20/7/09 4 out of 5 ' Near the beginning of the final night of the Durutti Column's 70-minute international festival tribute to Tony Wilson, A Paean to Wilson, guitarist Vini Reilly announced that he wouldn't be singing: "So you won't have to put up with my awful voice and schoolboy lyrics." If Wilson was with us, he would have chuckled. The Granada presenter-turned-Factory Records boss spent years urging his first signing to stop singing, and concentrate on the virtuosity that led Red Hot Chili Pepper John Frusciante to call Reilly "the greatest guitarist in the world". Two years after his death, Wilson got his way, one of many lovely touches in a very personal, emotional and often warmly funny musical tribute. Wilson signed Joy Division and Happy Mondays, yet never gave up on this cult band he adored, working with them even after his legendary label went bankrupt.

* Walton drops his third instalment on Tectonic in fine style, calling upon Japanese influences to create a truly unique sonic across both tracks in the release. Asian instrumentation meets directly head to head with the cutting edge sounds of a UK grime-techno axis to great effect.

* 'Praying Mantis' captures all the charm of a fine Japanese watercolour painting by means of some spectacular midi-harp programming. Hi-hats and detailed percussion set a shuffling pace, building the mood up before a beautiful harp section unfolds and takes over, expertly programmed by Walton to sound as if a master harpist had stepped into the room! As drums and bass join the party we have all the makings of a low-slung grimey masterpiece, both soothing and energising in a perfect zen balance.

* Flip then for 'Koto Riddim' which again brings Japanese influences to the forefront of the track. Walton programs classic sounding Japanese percussion sounds along with grunting vocal cuts and a charming flute-based melody. As the track drops, it switches into a more familiar, grime-based palette of sounds, deftly arranged for most dangerous impact.

Having carefully honed an inimitable sound that caresses the left-facing corners of techno
and house, this release marks a special milestone for a true music lover and producer
wizard from Austria, who is in the game for more than a decade. After release
contributions to Various Artists EP's on comfortzone, One step back ahead and sama
recordings (sama001, samadigi001) Laminat aka Kobermann steps up with his first ever
solo EP showcasing his unique desire to fuse body and soul into its preternatural
harmony, layer after layer after layer.
A1 Grand Central
The opener of Laminat's first ever artist EP seduces with delicate athmospheres, etheral
pad sounds and crispy drums, which were recorded seperatly on a 4 track Tascam
tapedeck. All field recordings for this track were done in New York - at Grand Central
Station, on the way to Conny Island and directly at the seashore at Conny Island.
A2 Windy Backyard
As the horizon darkens, human souls realize that they are not only dominated by
machines, but also by nature. In this tape-saturated, organic live jam every element is
carefully mixed and harmonically balanced: MFB 522 Drums, Microkorg XL and selected
samples are accompanied by field-recordings of hurricane sirens in Chicago.
A3 Eaves Gutter Drip
This moody little ambient piece with beautiful string sounds is based on vocals which
were recorded by the artist itself on a drive from Brooklyn to the airport. It marks the
transition to the B side by Laminat's second alter ego 'Kobermann'.
B1 Emphasis Chorus
With slighly distorted kick drums and gently arranged claps laid down on a mysterious
synth tapestry, Korg's ER 1 Drummachine is dominating this edgy track. A palette of
strange NASA sounds is giving this track its special deep space vibe. Surely you have
recognized the heavily treated voice samples of somebody speaking about her TV set.
B2 Blood Red Sunrise Behind My Back
Once again the ER-1 drum machine is in the focus of this laid back afterhours jam
session recorded directly on tape. The deconstructed vocal samples, where a well
respected american composer and theorist talks about his personal approach to sound
and space, award this track a certain psychedelic feeling. One for the deep moments.
B3 Cubbyhole
A table lamp was connected to the same circuit as the audio equipment. Consequenting
background noises enrich this outro piece with a dark and haunting atmosphere.
Feedback:
Dynamodyse (One step back ahead, GER)
'Drowning! Very grown up and adult tracks. Timeless classics from now on.
Windy Backyard + Grand Central are my faves. Respect. 5/5'
Oliver Haferbauer (Live At Robert Johnson, GER)
'Platte ist top. Finde Grand Central und Emphasis Chorus sind super.'
Lt.Dan (freaktion, Tel Aviv)
'wow - very experimental shit. the spirit of helena hauff is all around the record. very
good stuff man. my favorites are grand central, windy backyard & emphasis chorus.
love the drums, the drama & the claps. so uplifting, will play for sure all three!
grand central is like the viennese willie burns made it - love it! machines with emotions -
so good.'
Dan Lodig (Pomelo, Vienna)
'Ich mag Windy Backyard und Blood Red Sunrise Behind My Back sehr.'

Strut present a new reissue of Walter Gibbons' 'Jungle Music' compilation LP, the definitive collection of Gibbons' groundbreaking remixes during the heyday of New York's disco era.Starting out as a DJ and known for his skilful manipulation of percussive disco breaks at his Galaxy 21 residency in Manhattan, Gibbons brought this ethic to his remixes from the start with his first outing for Salsoul, a re-work of Double Exposure's 'Ten Percent' which completely disassembled the track for the dancefloor. He developed a knack for drawing the rhythmic essence out of both the brilliant and the mediocre as tracks like Jakki's 'Sun... Sun... Sun' were transformed into unique abstract dancefloor beat edits.The tracks spawned a series of groundbreaking remixes, with many versions only appearing on acetate for his own personal use as a DJ including Gladys Knight's 'It's A Better Than Good Time'. He continued to work with Salsoul (Loleatta Holloway) and West End Records (Bettye Lavette) before branching out to include more leftfield material in his work - collaborations with Loose Joints' Steve D'Acquisto (Sandy Mercer), Steve Standard (Strafe) and Arthur Russell would all follow, a natural fit for Gibbons' uncompromising remix style.

After a short time based in Seattle during the late '70s, where he played at the Sanctuary nightclub, he returned to New York and, in his later years, he discovered God and refused to play records with a negative message. Tragically, he died of an AIDS related illness during the '90s, a largely forgotten figure.

Now revered as a true pioneer of the art of the remix, Gibbons' key releases are brought together on this essential celebration. Package includes sleeve notes by Tim Lawrence, author of the acclaimed 'Love Saves The Day', along with rare photos from across Gibbons' career as a DJ and producer.






[F] C2 | Arts & Craft I've Been Searching (Walter Gibbons 12" Mix)

Ninja Tune veröffentlicht eine 12" mit Remixen von Nathan Fakes diesjährigem Album und einem neuen Track! Anfang des Jahres veröffentlichte Nathan Fake sein mit Spannung erwartetes viertes Album "Providence", das die gewünschten Lobeshymnen einfuhr. FACT feierte es als "karrieredefinierend ... eines der besten Alben im Bereich der elektronischen Musik 2017", und das DJ Mag kürte es zum "Album des Monats". Auf der dieser Folge-EP präsentiert Fake den brandneuen Track "Bosky": "ein dorniger, aber warmer und roher Studiojam ist das geworden, beeinflusst von und mit Synth-Autoharphen-Improvisation." Außerdem rief er Tessela und Truss (XL, R&S, Perc Trax, Poly Kicks) aka Overmono sowie Huerco S. (Proibito, Software) und bat sie, das Album-Highlight "DEGREELESSNESS" (feat. Prurient) zu überarbeiten. Zudem führt er das großartige Talent der polnischen Komponistin und Multiinstrumentalistin Olga Wojciechowska ein, die auf dieser EP eine atemberaubende, postklassische Interpretation von "HoursDaysMonthsSeasons" beisteuert.

- weißes 12" Vinyl mit schwarzer Innenhülle in bedruckter Hülle mit Artwork von Matt Bateman (Flat-e)

Torn Hawk debuts on UTTU with a 4 tracker of oddball machine funk, guitar-laden techno & general leftfield dancefloor madness!

19 year-old Glaswegian, Teddy Lambert (aka Rapture 4D) turns in his official debut in the form of the 'Lambert & Yoker' EP for Astral Black. Across 6 instrumentals, Rapture 4D shows a maturity beyond his years, delivering a progressive debut that demonstrates why this young producer is heralded as the leader of Glasgow's new-wave described by FACT magazine's John Twells as blending 'post-TNGHT instrumental trap business with Bloom-ish pneumatic grime'.Without an official release to his name, Rapture 4D has created a name for himself amongst the grime scene over the past 18 months. The past few months alone have seen R4D taking up residence in Red Bull Studios, collaborating with grime scene OG's and contemporary peers such as P Money, Plastician, Flirta D, YGG, Lady Chann, Spooky and Capo Lee to name a few. This January R4D earned his stripes holding down an hours self produced set alongside his partner in Grime, Polonis, with the original grime kid Wiley handled mic duties to a frenzied Sub Club. Rapture 4D also currently holds the title of UK Beat Boss champ (as voted for by Jammz, Grandmixxer & Flirta D) with his remixes for the likes of AJ Tracey & Rude Kid finding their way in to top 5 charts for 1xtra.
'Lambert & Yoker' has already received support from DJ heroes Slimzee, Sir Spyro & the Boxed crew on their radio shows for London's Rinse FM, NTS & Radar Radio. 'Black Ice VIP' is set to be premiered by Complex Magazine, with support elsewhere from Mixmag & FACT Magazine.
It's undoubtably a press release cliche, but the talent and work ethic demonstrated by Rapture 4D proves he is one of the most exciting producers currently operating in the UK and this debut release is just the first milestone for this talented young producer.

Basil Kirchin was a pioneering British composer who blurred the lines between musical genres. While his career began in the '40s as a professional jazz drummer, in the '60s he started to make field-recordings, painstakingly splicing tapes and slowing-down sounds until the source material would be virtually unrecognizable.Originally released on Island Records in 1974, Worlds Within Worlds juxtaposes Kirchin's various tape manipulations - amplified insects, animals, engines, glossolalia of children - with traditional musical instruments to form an organic totality that has the overall effect of otherworldly, ambient soundscapes.As Brian Eno writes in the liner notes on the original release, "Within the first couple of minutes it became obvious to me that Basil had not only discovered a whole new area of sound, but had exploited it with extreme skill and sensitivity, producing beautiful and evocative music as well.... So Basil Kirchin has made a double contribution: he has not only built the instrument, but has written and played the first successful works for it."

Worlds Within Worlds remains a lost classic in sonic abstraction. This first-time reissue is recommended for fans of Broadcast, Aphex Twin and Nurse With Wound.

After the long overdue release of Drew McDowall's debut solo album Collapse' in 2015, the experimental music underground saw McDowall as an arrival of an artist that was always here, hiding in plain sight. He was quietly in the background, pulling the levers on some of the most influential recordings in electronic music and with shifting his focus from the role as band member of such legendary acts as Coil & Psychic TV along with his recent collaborative efforts alongside Tres Warren (of Psychic Ills) in Compound Eye, McDowall came to finally identity as a singular artist and figurehead to a movement that has vitally required his presence.

His second full length endeavor for Dais Records is aptly titled Unnatural Channel,' allowing McDowall to allocate offerings to the ghosts of his past using methods not fully understood. Moving forward from the impact left with his first album, Unnatural Channel' moves McDowall into more uncharted territory. From the opening mark, Drew's distinct fingerprint is evident on the track Tell Me the Name', his signature ambient ebb and flow to pulsing electronics painted over reverberated percussions that have been pulled apart and spun around the spectrum.

Once the introduction has been made, the album moves forward into more rhythmic territory using classic industrial structures found on his previous work but fused with tumbling aural friction complimented by more techno-based cadence. Views into McDowall's unconscious are ever- present in This Is What It's Like', a reflective decent into madness brought on by the anxiety of sleep deprivation. Looping the title mantra, the listener gets caught into the author's own delusion and lost within the auditory hallucination.

The two part suite of Unnatural Channel' subjects us to a torrent of fluttering and panic-stricken electronics, subtle in its dispatch but powerful in its impact. Field recordings of the most personal, hypnogogic dream-state, lost within itself until McDowall unveils his unbalanced, sequential patterns of fibrous, metallic waveforms and subsonic bass kicks that hit the air with such strength and coercive force that it is impossible not to be converted.

Ending with the statement of Unshielded', the album ties off with the primal voice talents of artist Roxy Farman of the Brooklyn avant-techno duo Wetware. Roxy's confused phrasing seemingly crashes head-on with McDowall's cathartic finale, using every method of sonic hypnosis at his disposal to finish with a bold yet disconcerting assurance.

Union Cafe turned out to be the last collection of new material the original PCO recorded, originally released 1993.
This album retains the intimacy and charm of all previous works, featuring a recording of the electric Aeolian harp on Cadbury Hill, Somerset, and a piece dedicated to the memory of John Cage recorded at the Real World recording week in 1992.
Union Cafe is a vigorous re-statement of traditional Penguin musical values. The African inheritance was again rearranged in Kora Kora, Venezuelan cuatro strums infused Lifeboat, the sound of the deep South of America was subtly hinted at in Nothing Really Blue.

PICTUREDISC

San Francisco based DJ Al Lover's list of collaborations contain names like The Brian Jonestown Massacre, Goat and White Fence, and he has remixed bands like The Night Beats and Thee Oh Sees. Except from producing mind-altering music, Al Lover is also the official DJ of Levitation and tours Europe extensively.
Al Lover's double album release 'Zodiak versions' on Hoga Nord Rekords (2015) opened up for a beautiful cooperation between the label and the artist and now the two parts are taking it to the next level with the release of The Nymphaea Caerulea EP. On this picture disc EP, a third player flavors the music and that is Cairo Liberation Front (CLF). Residing in Amsterdam this collective represents the future of European club music lends equally from House, punk and psychedelia, filtered through generations of hedonistic groove.
The six tracks on this picture disc EP holds the essence of what psychedelic dance music is about - escapism. Where to escape Well, due their sound, CLF could just as well be from where their name implies because this record oozes more of northern Africa than of northern Europe. It puts the listener outside of time somewhere on the banks of the Nile, just before dawn.
The combination of Al Lover's use of samples, drum machines, live instrumentation and analog synthesizers, clashes beautifully with the fierce energy of the CLF's sound of cracked software, American hip-hop, Euro house and Arabic rhythms. This is the score to the next Arabic spring.

One off German studio project with spoken word and electronics. More info to follow!

This is the first 12 inch from Luke Jenner's first solo project since his infamous New York band The Rapture split up. Very often first releases are like a statement.
.
Both sides of this 12 represent a side of what Meditation Tunnel is about : epic and melodic on Dreamsequence, psychedelic and hypnotic on Sunrise. Mixed by Joakim, whom Luke shares a studio with in Brooklyn.

Special remarks: The record sleeve and inner sleeve were designed by Wolfgang Tillmans. Videos directed by Tillmans will be released for Device Control and Make It Up As You Go Along - Salem Remix.

ltd to 300 copies.

Jay Glass Dubs remixes Guerilla Toss, more details to be announced soon.

We begin our history with the first full-length Dada Ques release, written and produced by the founder of the label, Flaty.

Called '1' ('One' or 'Album One'), the release is timed with the launch of ANWO / AMONARI-NO-WORD which has been conceived and designed as a creative platform for own musical projects and various other art initiatives.

'Album One' presents a wide array of styles grinded and melted into one solid and breathing soundscape, it's electronic romanticism with advanced detail.

ASTRO TAPES & STAR CREATURE team up with the GREAT LAKES ACCELERATED TRANSIT ALLIANCE to create a soundtrack of original music produced by DJ MOPPY (BOOGIE MUNSTERS CREW) representing the underground electronic dance sounds of both Chicago and Detroit.

* Following his 'Chubby Cheeks' album for Nosaj Thing's Timetable Records, Gerry is back with his new album, 'New Junk City' for RAMP Recordings.

* Musically, the Suffolk based outsider-house poster boy has withdrawn from the Ghetto-influenced sound of 'Chubby Cheeks', to more musical territory, sounding like the next step from his debut album 'Jummy', keeping the jazzy samples, and adding layers of dusty synths and rolling drums.

Features confirmed: Resident Advisor feature, Resident Advisor premiere, Clash premiere

Radio confirmed: Nemone (BBC 6 Music), Gilles Peterson (BBC 6 Music), BBC Suffolk Introducing

There are many ways for a band or an artist to compile an album: some make it in a week and some let the process go on longer. The latter approach does often mean that that the record will not be better than had it been recorded and mixed within a short amount of time, rather the contrary. However, there are those albums that just could not be made within in a week or a month, those compilation of songs that needed the time to melt together to form an album. Fontans third album titled 'Fontan', released on Hoga Nord Rekords is that kind of an album. Put the opening track 'Mangsebung' on, then stay with the record until the closer 'Shadows' rings out and you will go clear, sharp, and mildly messed up by the listening experience because this is an extremely well directed trip in mind-altering music! This album needed time to reach such heights.
The width of range in influences has become somewhat of a trademark for Fontan. Magma, Pink Floyd, Bhutanese and Nordic folk music, Manuel Gottsching and Ashra, Robert Fripp and King Crimson, Steve Reich, Philip Glass, Talking Heads, DJ Shadow, Brian Eno, Boards of Canada, are some of the music that has made a mark on the psychedelic duo. One of the main differences though between Fontan and other bands with a similar setup of names to drop is that many cannot transform those musical traditions into timeless and boundless songs like those in Fontans catalogue. With Johan Melin's and Jesper Jarold's love for music and non-sentimental creative approach, this album proves that the band never gets hung up on trying to sound like the past masters, but to develop what they once started.
2017 will be the year when Fontan once again challenges the framework for genre bending music. 'Fontan' captures the inspired and unafraid feeling from their releases in 2016 but is managed and even more refined on this album.
This is Fontans evolution.

File the Fontan album under: psychedelic rock, electronic, leftfield

Repress!

For those who know, Bambooman is one of the most sought-after, probing, and distinctive voices in UK electronic music right now.

The Yorkshire-born producer's catalogue builds into an aural mosaic, comprising everything from scrunched up hip-hop to techno deviance, all delivered with an impish sense of individuality.
'Whispers' certainly resonates. It's a lengthy, bucolic work, an album of great breadth but also one of sustained mood – think those hazy summer evenings when shadows stretch out across the road, and autumn lingers around the corner.

This new album has a dusty, organic, and decidedly personal feel, much more at home with Jon Hassel's 'fourth world' aesthetic than the club.

The results are also imbued with an incredible sense of mystery, with Bambooman's productions frequently being shot through with a hallucinatory sense of the uncanny. Entirely self-composed, 'Whispers' utilises "lots of field recordings that I've collected over the last few years, while within the tracks you can find lots of the instruments, percussion, bells and whistles that have been gathered throughout my life."

In certain ways 'Whispers' is entirely autobiographical: Bambooman reaches back to his varied alter egos, to the ambient releases, art commissions, and soundtrack projects that litter his discography. The cover art was even pieced together by Oliver Pitt – of Glasgow group Golden Teacher – who was an early ally in the producer's sonic quest.

Stylistically 'Whispers' veers from avant hip-hop of Flying Lotus to the theoried composition of Terry Riley, from the future-forward percussive energy of Battles to the ever-evolving electronics of Mark Pritchard. It's a record marks by a fiercely independent spirit, but also by a close-knit cast of collaborators.

King Kashmere takes a starring turn, following the pair's collision on the recent 'SUPERGOD' EP.

Each vocal is recorded, chopped up and then spliced across the album, with Elsa Hewitt also making a number of appearances and re-appearances.
credits

Another amazing exercise by Thee J Johanz! In R U There In R U There he's exploring the capabilities of the Russian/DDR Vermona synth for a massive brutal lead on a rocking 808 beat, with driving italoesque arpeggio's from the Jupiter 6. Having it's special moment in an unanswered synthesized ring tone, enhancing the haunting suspense. In K Clap West he lets the Moog modular sing like Kanye West, supported by the ancient Roland CR 8000 drummachine. Sleazy analogue goodness, slapping asses with the nasty clap. Sex with machines. More Cowbell! is just what the title promises. An orgy of live tuned cowbells, recorded in one take with his beloved modded CR 8000, it's a perfect atonal mixtool to add some uplifting madness and excitement. Sleeve art by David Homan and Thee J Johanz himself.

Early support from DJ Hell, Prins Thomas, Simeon Mobile Disco, Audio Soul Project, Severino Panzetta, Tensnake and more...

In the dozen or so years of the Artyard's checkered career, the label has taken on the largest official reissue program of the works of Sun Ra, with earth shattering spin-offs like the incredible Egyptian Jazz album by Salah Ragab, and the essential tome for anyone's home, Hartmut Geerken and Chris Trent's book: Omniverse Sun Ra (last few in stock, by the way).

The label also ventures into the murky waters of electronic music. In 2009 it released Berliner Ring's "Orbital" abum, and now follows with the foggy electronic dub meditations of Al Chem.

This is Mr Chem's first album, after a release on Tim Lee's Tummy Touch label.

No Hopper is a reworking of a Ras Michael tune No Hoppers, from Rastafari Dub, Chem's version merging electronic percussion with organic, almost Moondog-like rhythms and misty atmospherics. The Prophet pinpoints Chem's GPS firmly in Berlin, just as The Red Tower blurs that kick drum border between reggae and house music. Baudelaire randomly sputters digital delay, building up the pressure, Ladder of Perfection rounds off the set with a drone, creaking with squashed fills.

Darkness, mystery and percussive electronic dub, the alchemy of Al Chem

Mogwai return with their 9th studio album which was recorded with renowned producer Dave Fridmann (Mercury Rev, The Flaming Lip's, Mogwai's Come On Die Young and ROCK ACTION) at his Tarbox Road Studios in New York State.

Every Country's Sun named after a friends lack of knowledge in how the universe works, takes two decades of Mogwai's signature, contrasting sounds and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. It will definitely appeal to fans of the band and will gain many new ones along the way.

***Boxset includes: White vinyl double LP, 12" black vinyl (containing 6 tracks of album demos), CD, plus a set of Tarbox Road photographic prints - Includes download card redeemable from the label.***

Lost LP from 1977, rebuilt from original tapes, by the creator of BLACK DEVIL DISCO CLUB. The french electronic music pioneer behind Black Devil Disco Club, released three seminal library albums in the seventies: Suspense (1975), Cosmos 2043 (1977) and The Strange World of Bernard Fevre (1977). A fourth album called Orbit Ceremony, produced just a few months after remained in his home studio and never saw the light, sentenced to almost 40 years in the devil's vault. By chance, while working on the re-issues, Bernard Fevre recently found the original lost tapes of Orbit Ceremony, including the multi-tracks which he remastered himself. Spacy moogs, weird clavinet, and cosmic analog drum machines: it's all here. The quirky, cosmic library music found on this long-deleted 70s science-fiction-themed album is full of burbling synths and off-kilter melodies. There's only one man on this planet able to produce such a crazy sound. As soon as you press play you know you've embarked on a special and unique 'back to the future' trip. Don't worry, fasten your seat belt and relax. Captain Fevre is taking care of everything.

Cathy Berberian turned toward this repertory, critically, but with love. And even if she maintained a certain dose of ironical distance, she never stooped to parody. It would be a mistake to think she had any similarity to Paolo Poli in La Nemica. She had a repertory to explore according to the instructions of Proust, and she explored it with the same devotion that she had applied to the music of Berio or Bussotti. In this recital she explores the most varied vocal territories: from traditional songs to Berio and to... the Beatles. In this labyrinthine voice is a release for all vocals lovers.

clear vinyl in printe PVC sleeve, ltd. to 350 copies, incl. mp3

For The Modern Institute's self-titled first vinyl document, the practices of audio technicians Richard McMaster, Laurie Pitt and James Stephen Wright are brought into sharp focus, the initial analyses of a project which examines the rituals of performance, the signifiers of bourgeois culture and the absurdities inherent in the middle class art gaze. While undoubtedly disturbing in execution, it's a succinct reminder of the tension between lazy, electronic music tropes and the essential, quizzical attitude frequently lacking in the technoid culture, yet abundant in Glasgow's agent provocateurs.
Seen through the frame of primary music generators McMaster and Pitt's previous music projects - Golden Teacher, General Ludd - The Modern Institute's recorded output is an oblique, strategic examination of rhythm and the spaces between.

Rhythm is often re-defined and re-formed through out The Modern Institute, with the easy 4/4, communally cohesive beats of the Teacher and the Ludd some way off. Opener Black Blood is a case in point, with a elusive pattern providing a warped, skeletal framework for Wright to smother. The atmosphere is austere, aggressive, clinical as a gallery wall after the exhibition has failed. The yawning, sub-bass of False Beards and Diamond Hooves hacks at the exhibition floor opening up punishingly alien chasms. The narrator's deadpan poesy, battling against the brutalist backdrop, reminds the listener of early industrial pioneers Cabaret Voltaire, not least in the unmistakably northern accent. Side A closes out on the first attempt by The Modern Institute to break into a recognizable pattern, though rendered on Destroy Logic as a dry destruction of a Bashment rhythm. Arabic Eight is nightmarish, a Normal deconstruction of art music. A nonsensical, Dadaist mutation of electronic dance music, Intelligent Dance Music with no intelligence, dance or Music. Wright intones when I was younger you used to say you weren't in it for the money,' taking down conceptions of artistic integrity, inspiration and muse. On Springloaded, we're still deep in an alien lifeform's insides, viewing the tropes the art industry uses to sell itself, splashes of digital distortion and burps crossfiring across the stereo field. Shiver And Quiver ends The Modern Institute, sounding like all the cities' alarms simultaneously set off to the beat of the LPs only 4/4 beat, here juddering and unnaturally fast. Ask questions, just don't ask for answers.

hand numbered, limited to 1000 copies






























Homicide dub)

- Album premiere on The FADER & press includes Afropop, Sounds & Colours, Time Out, Remezcla, Univision, WFMU
- First edition vinyl limited to 500 copies worldwide
- Band members also part of M.A.K.U Soundsystem, Bulla en el Barrio & Names You Can Trust releases
- Artwork & videos by Colombian artists Goske Rojo & Hugo Oro
- Numerous shows & residencies around NYC
- No Regreso' mixed by Beyoncé engineer Stuart White

Rooted in Colombia and based in New York, Combo Chimbita lives in the future. Powerhouse vocalist Carolina Oliveros, synth and bassist Prince of Queens, guitarist Niño Lento, and drummer Dilemastronauta began experimenting with different traditional musical styles during late-night residencies at Barbès in Brooklyn. Exploring Afro-Caribbean styles through improvisational long-form trips, Combo Chimbita came together as a four-piece band after they started encouraging more vocals byOliveros, who tightens the rhythm with her guacharaca. Her voice is so powerful that it leads us in that direction,' says Prince of Queens.
The band draws on traditional music from everywhere: Panama,
Caribbean, Colombia, tamboritos, '70s funaná from Cape Verde,
kompa from Haiti, cumbia, dub and reggae from Jamaica. We try to incorporate it in a way that if feels ours, so you hear these influences there but they come from our background, and our background is heavy rock, psychedelic funk and soul,' says guitarist Niño Lento. As Prince of Queens puts it: Combo Chimbita is like a comeback to that raw punk energy, back to where it all started for me. But then obviously with the elements that we've grown to love and appreciate: the African diaspora
and Caribbean and South America.'

Little is known about this south pacific recluse. Far from his australian hometown, he now evolves close to trees, birds and spirits of Meganesia's remote Coral Sea. Abstract, Electronica, Dub, Lo-Fi, Ambient, Downtempo, Ethnic field Musics or experimental hip-hop... qualify the analog music of this
australian musician is a difficult exercise. Oceania, his last album under the alias of Tropical Hi-Fi, will be soon available on vinyl on UK imprint Emotional.
Cover painting by Tokio aoyama

Little is known about this south pacific recluse. Far from his australian hometown, he now evolves close to trees, birds and spirits of Meganesia's remote Coral Sea. Abstract, Electronica, Dub, Lo-Fi, Ambient, Downtempo, Ethnic field Musics or experimental hip-hop... qualify the analog music of this
australian musician is a difficult exercise. Oceania, his last album under the alias of Tropical Hi-Fi, will be soon available on vinyl on UK imprint Emotional.
Cover painting by Tokio aoyama

Harry Miller aka Glow In The Dark is neither to be found on any social media channel nor can you google anything about him, let alone does he maintain a website. The man hides completely behind his music and quite obviously in his studio. After his debut in February earlier this year, now already a few months later, his second album drops, Into Existence.'
Like his first album Future Bliss' (SK336LP) the 8-track LP shines in a stylistic richness encompassing musical landmarks like Nu Funk, Chill wave or Leftfield electro pop. But still the eight songs, played in the right order, result in a coherent overall picture. Apparently Miller's studio must be quite lugubrious. Or should one understand the dedication on the back of the cover ( Dedicated to all the lovers that exist in the dark') even as reflection of his emotional perception Listening to the music you tend for the latter. Hideaway' und Sultry Creatures' both base on a vocoder voice which at the same time sounds enraptured and also entranced. On The Key', though, you hear Miller's voice after all (almost) unalienated. got HYPE' is deceleration medicine in a dangerous dose. As well as Arise', which seems not to originate from this world. By now, Glow In The Dark lives probably in his very own universe and that's the reason why you can't find out anything about him at all. Only too well did he send us this postcard in form of Into Existence', this in every moment very impressive, very intimate album. Thanks.

Parallels is the fourth full album released under Jason Chung's distinctive moniker, Nosaj Thing. Masterfully dimensional, Parallels represents the acclaimed Los Angeles-based electronic producer/composer/performer's most diverse, vital work yet. As such, Chung sees Parallels represents a kind of redemptive rebirth. The album's compellingly elusive, uncategorizable sonics developed out of what he terms a personal & musical identity crisis.' According to Chung, working with a group of collaborators on Parallels that combined both longtime friends and new creative partners added new energy which pushed me not to limit
myself. Everything felt fresh and alive.'
Chung is known specifically for his innovative, unexpected musical pairings: Kid Cudi hit up on Nosaj Thing via his MySpace page in 2006, resulting in Chung producing Cudi's autobiographical classic The Man on the Moon.' Kendrick Lamar flowed over Nosaj's ethereal boom bap to create the YouTube gem Cloud 10', Chance the Rapper, meanwhile, freaked a Nosaj beat for his 2013 breakout masterpiece Paranoia' and appeared on Nosaj Thing's previous LP, 2015's Fated. Chung and Blonde Redhead vocalist Kazu Makino are also longtime creative partners on each other's work, her voice appears on Parallels as an otherworldly spirit animating the icily '80s-synthetic How We Do.'

Lapalux veroeffentlicht sein drittes Album auf Flying Lotus' Label Brainfeeder!

Lapalux veröffentlicht Ende Juni sein drittes Album, - Ruinism , auf Flying Lotus' Label Brainfeeder. Sein letztes Album, - Lustmore , war z.T. inspiriert vom Konzept der Hypnagogie, dem auch - Wachdenken genannten Bewusstseinszustand, der beim Einschlafen und/oder Erwachen auftreten kann. Auf - Ruinism setzt der britische Produzent nun seine Entdeckungsreise fort und erforscht diesmal den sogar ominöseren Schwebezustand zwischen Leben und Tod. In diesem Bereich, wo sich das Endliche und das Unendliche vermischen, ist Lapalux zu Hause - auf - Ruinism mehr als zuvor. Auf seinem neuen Album benutzt er zum ersten Mal in seiner Karriere ausschließlich Hardware und echte Instrumente, er hat Synthesizer und Drum-Versatzstücke aufgenommen und erneut gesampled, gepitcht, verbogen und miteinander verschmolzen, - until it was ruined , bevor er die völlig entstellten Samples aus dem mittlerweile entstandenen Trümmerhaufen barg und erneut versuchte, diese in etwas Kohärentes zu verwandeln, wie er selbst beschreibt. Mit Marielle Tepper als Kreativdirektorin auf - Ruinism , wird die LP als hervorragende und streng limitierte Deluxe-Doppelvinyl-Ausgabe erscheinen, die in Zusammenarbeit mit dem Pariser Atelier - Impremerie du Marais entstand.

Greetings fellow lovers of abstract truth.
How's living in a dystopian now working out for you
Here's hoping a new birdscare release can help take the edge off...
It's by Zu Dobson. And who's Zu Dobson
I honestly wish I could tell you.
She approached me at an A.L.F.O.S. gathering of the faithful and gave me a CD of her work with nothing on it but a PO address written on it. After corresponding by letter for a while we agreed that "Apple Knife" and "Wisdom Of Rumi" would be the first release (of hopefullly many). I only met Ms. Dobson fleetingly and she has no on-line presence so her identity is vague even to me. So next time you're on the dancefloor that young woman dancing next to you could well be ZU DOBSON.
Fondant regards... Andrew Weatherall

3 Teens Kill 4 was born in the summer of 1980 in the East Village of New York City. They took their name from a New York Post headline. The group consisted of Doug Bressler, Brian Butterick, Julie Hair, Jesse Hultberg, David Wojnarowicz. There was a conscious decision not to have a front person or lead singer. David made cassette tapes with voices and sounds that he held up close to a microphone, fast-forwarding and rewinding. Julie tried different rhythms on a Korg rhythm machine. Brian played a Casio drum machine and Jesse was on bass. Doug joined the group in time to make the debut album. He was a music lover who understood how to avoid covering over the band's non-musicality.

Their debut 7-song mini-album No Motive' was recorded in Fall 1982 and self-released in 1983. Utilizing rhythm boxes, tapes of news reports, odd percussion tools, snatches of song, they chanted political narrative ideas about the modern mess at the time. The album is an amalgam of urban life, a twisted, anti-rhetorical approach to social issues. Songs weave together to create an intelligent, jarring sound. Razor sharp guitar licks and hauntingly ominous bass lines create a tense, oblique abstraction of pain and chaos. For this reissue we've added 3 previously unreleased bonus tracks. Doug says, These songs are very deliberately an experiment in Postmodernism. Sound bytes were stolen from the airwaves and recorded onto bargain cassette tapes. We were stripping the structure of the popular song to the bone. A sort of sonic Duchamp. And throughout it all, runs a childlike sense of play: the judicious use of toys, the schoolyard chants. All of this was happening during the dark and soul-numbing Age of Reagan, with the AIDS crisis looming on the horizon.'

All songs have been remastered for vinyl by George Horn at Fantasy Studios. The jacket features a replica of the original front cover with a black and white photo by Seiji Kakizaki and updated back cover featuring a never before seen collage by David Wojnarowicz. Each copy includes a 12-page booklet with liner notes from each band member, photos, lyrics and press clippings. We've also printed a special 12'x24' fold out diptych painting by David Wojnarowicz whom this reissue is dedicated to.

We were representative of our time and place. East village, New York City, 1980s. All-night, after-hour busboy jobs in trendy nightclubs, early morning breakfast at Veselka's diner. Drugs and no-drugs. Gay and not-gay. New York.' - Jesse Hultberg

Repress - Originally released in August 2011.
Strong and diverse single from DjRum, following a killer remix of LV and Message To Bears with a mixture of hi-Tech Rollers, Juke and emo Garage with detailed compositional flourishes. 'Undercoat' sets the tone with low-lit pads and vocals giving way to sleek stepping rhythms, finely balanced for club or home play. The centrepiece 'Mountains' shows a keener Technoid vocabulary, with Part 1 exhibiting flash, fluid Techno steppers programming with warm, jazz touches hitting the mark between Scuba and Shifted

"This is the first project they have worked on together for 25 years. And it sounds timeless."

25 YEARS LATER.
BEATE BARTEL and GUDRUN GUT do share history. They were both part of "the first german Punk Band" MANIA D. - John Peel's "Queens of Noises". 1981 Beate continued with LIAISONS DANGEREUSES and Gudrun with MALARIA! - Then experimented in sound and visual arts and released three albums with Matador along with Manon P. Duursma. Now the mature ladies got together again - kind of. Both did 5 tracks for Myra Davies spoken word album "Sirens" (moabit21)- independently as solo artists and producers. Moabit Musik releases a very special vinyl edition: the Instrumentals for Sirens.

They both did new extended mixed which differ from the original recordings.

Beate and Gudrun have gone in different musical ways for 25 years but on this album this does not count. It seems time does not matter. Both sides stand on their own right but also belong together somehow.

GUDRUN GUT is known for her activities in the Berlin music scene since the 80s, with MALARIA! and recent solo work as well as collaborations with AGF (GREIE GUT FRAKTION) and Hans-Joachim Irmler (GUT UND IRMLER). Latest work: "Gudrun Gut: Vogelmixe - Heimatlieder aus Deutschland remixed".

BEATE BARTEL was a part of the experimental impulse that made its way into today's art world and museums. Growing up in West- Berlin, Beate Bartel's interest in sounds and noise made her a sound engineer and she became a founding member of bands like MANIA D., EINSTÜRZENDE NEUBAUTEN, LIAISONS DANGEREUSES and MATADOR with Gut & Duursma.

MYRA DAVIES: Sirens
"Mischung', the German version of the visual art term "Mashup', describes this dynamic album of Word and Electronica. Myra Davies lyrics lean towards european culture through a lens of feminist authorship. But far from being an academic exercise, this is a Pandoras Box of biting Zeitgeist, past, present and future - propelled by beats, contrapuntal dynamics, broken rhymes, scraps from here and there, and fragments of great white deadmen. It is an acknowlegement, a connection and an affirmation of liberty to cut up any sacred cow. For Davies, clearly the personal is political and Art is even more so.

Davies & Gut have worked together since 1991 on several releases (DAVIES & GUT: MIASMA 1-3) and multi media performances. The last CD release was Myra Davies' CITIES & GIRLS, where BEATE BARTEL composed HANOI and was in parts performed together as part of "Paradiesisches Tor" at the Kulturbrauerei Berlin in 2011.

On SIRENS, Bartel and Gut have each contributed music for five tracks.

7"

Very Limited Trunk Website Only Release! (Until now)
Trunk Records caught everyone off guard way back in 2003 when they embarked on a series of reissues from the off-kilter musical world of Basil Kirchin, with his seriously scored orchestras, science fiction experiments, home-spun psychedelia and avant garde racket.

Now Trunk pulls out the trump card with an unknown Kirchin 1979 electronic floor-filler, in the shape of Silicon Chip. This nearly 40 year old tune contains all the analogue froth, cosmic thump and boogie down bass to get any party started.

Pressed on yellow wax, dead, dead limited, and brilliant. Backed with the stop/start helter-skelter arpeggio'd Silicon Sessions - works a treat when pitched down a little.

London 5-piece Hot Chip's debut album, celebrating it's 10th anniversary this year! There's a quite lovable oddball quality to this album, hints of Prince, the Beastie Boys, Beck.... a souled-up folk vision of chilled out pop music with a twist. 2005. A loungey, electropop sheen covers much of the music, but more than anything, Hot Chip displays an omnivorous approach to the entirety of alt, '60s pop and electronic music history. Their songs are infectious, silly and often weirdly beautiful. Wwith singer-songwriters Alexis Taylor and Joe Goddard at the core, Hot Chip's mixture of textured, smart, lo-fi groove with actual humor is incredibly rare, and great

DDD Records is a label and a store based in Paris.
Un Drame Musical Instantané is a collective of French composers led by Jean-Jacques Birgé. In 1984, they composed their own score to Dziga Vertov's groundbreaking 1929 film The Man With A Movie Camera.

This release features original 1984 copies of L'Homme A La Camera, as well as more recent material. In 2017, several producers were approached by DDD records to create new tracks or remixes using this rich and unusual recording as source material.

A1. Jorge Velez - Coquillage
The EP opens with Coquillage by US producer Jorge Velez. The word means sea shell in French, and this track is like putting one to your ear. Definitely on the more ambient side of things, Coquillage is full of eerie sounds, from the sea to marine wildlife and other unidentified sources which all create an unsettling atmosphere. Ever shifting and phasing, differently textured pads create a sense of wide open space and spiralling free fall through it.

A2. Un Drame Musical Instantané - L'Homme À La Caméra (Tuff Sherm remix)
Australian producer Tuff Sherm aka Dro Carey delivers a remix which plods along at 112 BPM with an infectious rhythm section thanks to terrific drum programming. Add a bunch of short samples, from metallic sounds to flute licks and many other instruments used in the original UDMI recording and the result is a stripped down remix that nonetheless remains full of surprises.

B1. Un Drame Musical Instantané - L'Homme À La Caméra (Eltron John remix)
Polish producer Eltron John's remix increases the BPM slightly. With the combination of flawless drum machine sequencing and a mellow bassline with a variety of UDMI samples, this is a tune where brass instruments, tubular instruments, lush pads, and other incidental sounds are used to great effect. There's an undoubtedly positive, uplifting vibe in this track which successfully uses UDMI's sounds in a house music context.

B2. Thurston Moore - 7-11
Closing the EP is this distinctive remix by Thurston Moore of Sonic Youth fame. You think you're in a for a purely musique concrète trip as the song begins with prepared piano, beeps and heavily treated noise. That's until an infectious drum loop evocative of music played in warehouses rather than concert halls appears. Said loop is cleverly treated and gets noisier and noisier as the track progresses. The contrast between the track's more experimental approach and the immediate pleasure procured by the drums makes it quite unforgettable.

The 2nd LP from Producer Steve Cobby and author Russ Litten, both natives of Kingston upon Hull following the critically acclaimed debut My People Come From The Sea.

The LP includes RIME, a four part musical narrative inspired by the Triple Trawler Tragedy of 1968 that saw 58 fishermen from Hull lose their lives in treacherous conditions in Arctic waters. The songs re-imagine a lost fishing industry in a modern setting, evoking ancient folk-lore, superstition and urban myths before repatriating the lost souls back to their home city. RIME was commissioned for John Grant's North Atlantic Flux Festival as part of the Hull  City of Culture celebrations of 2017.

Vinyl edition limited to 250 copies. RIYL: Clark, Colin Stetson, Pye Corner Audio, James Holden, Sarah Neufeld, Daniel Avery. 'We've All Been Swimming' marks something of a shift for Fieldhead. Previous releases have seen Elam take a detached view from the hillsides of West Yorkshire and Western Canada, but with his latest full length release the subject matter is closer and more immediate. Tensely wound synths lead throughout the album, shifting from the breathless momentum of the opening track through to pulses reminiscent of Colin Stetson on 'Ton'. The unique violin playing of Elaine Reynolds glides sparingly across the record, tempering the constantly shifting arpeggios and accentuating the human elements within the record's machine-like core. The haze found on previous releases still hangs, but now it's the haze of a crowded street or the last train home. 'We've All Been Swimming' is a concise and inspired attempt to reduce electronica down to the things that matter, with a narrative and sense of longing pervading the album reminiscent of Clark or Boards of Canada. It's the sort of work to be devoured in one sitting - that rarest of modern day beasts - where the tracks flow effortlessly into one another and finish leaving you wanting more. Paul Elam returns with a suite of immersive, pulsating, electronic reductions. Shifting arpeggios and minimal beats generate the forward motion, whilst the captivating violin playing of Elaine Reynolds helps to provide the narrative thrust.

Former half of the defunct Pitch & Hold duo under the banner of which he operated from 2006 to 2011, Simon Halsberghe steps up on Brussels' very own Vlek with his debut solo EP as Simon Hold.
First heard on Vlek's 2016 mix for Resident Advisor as they were appointed label of the month by the high­ranking platform last autumn, 'Maqam Bruxelloise' reflects the wide­angle beauty and compelling diversity of the Belgian capital and its throbbing heart, a city at the confluence of cultures and languages. Across a finely­layered interplay of synthetic modulations and intricate polyrhythms, Hold lays out a riveting kaleidoscope of pattern­welded textures and prismatic synth motifs played and arranged accordingly to a contemporary interpretation of the traditional Arabic maqam system of improvisation the track draws its title from. An ode to Brussels' all­embracing effervescence.
Translating as "soft drone" or "pleasant noise", the gritty 'Dhajij Doux' then welcomes you into a more disquieting, bipolar audio scenario that evokes the reality of living "in a sometimes difficult and hostile city". A curiously matching negative of the opener, in this that it taps into the same generous and plural matrix universe as main source of inspiration, but eventually opens on a more nuanced outcome, here Hold clearly shows a further abrasive facet of his work: harsh and vibrant, the track may be replete with a lead­heavy amalgam of sizzling bass and jagged drumwork thrown into the furnace, light and hope still manage threading their way through dark clouds and turbulence, slowly but surely turning this rough­hewn stone into a truly haunting gem.

Bill Laswell is one of the most prolifc, infuential and innovative musicians of the end of the last century: bass player, record producer, label owner, his carrier escapes every classifcation.
Starting from the enormous hit Rockit' by Herbie Hancock, Laswell boasts an outstanding artistic portfolio which includes, among the others, collaborations with Johnny Rotten, William Burroughs, Pharoah Sanders, Julian Schnabel, Sly Dunbar, Ryuichi Sakamoto, and Yoko Ono.
Baselines' is the artist's debut solo album, a jazz-funk experimental release that came out in 1983 via Celluloid Records, the legendary label that Bill Laswell contributed to making glorious. Audiophile edition 45rpm pressed on virgin vinyl 180gr.

New wave mezcalero, Thomas Bullock, has linked London based new artist Dave.I.D. to his STD label while Thomas himself is reaching for the outer spheres on his quest to release his new book steeped in authentic mezcal culture in Mexico and its production.

Dave.I.D's Gore LP is a haunting combination of industrial and soul stylings.
Let that take you where it must, there's no other way to put it.

If you know Thomas from the Rub-n-Tug days of yore, and the subsequent vibes from Whatever We Want and STD, then you know the compass goes in all directions way beyond North, South, East, West.

Pye Corner Audio return to Death Waltz Originals, with 6 brand new and exclusive tracks featuring his trademark sci-fi electronica. 'Do You Hear Them' pulses with a dance floor verve you've not yet heard from PCA bouncing along a killer 4/4 beat with a super melodic bass riff on top, 'The Spiral' begins with a riff on the classic Axel F bass synth and it's super hyped drums and refrain could be placed in any classic 80s action movie you already love. The other tracks are more contemplative and will sound familiar to anyone that owns any of the PCA Black Mill Tapes series.

Pye Corner Audio return to Death Waltz Originals, with 6 brand new and exclusive tracks featuring his trademark sci-fi electronica. 'Do You Hear Them' pulses with a dance floor verve you've not yet heard from PCA bouncing along a killer 4/4 beat with a super melodic bass riff on top, 'The Spiral' begins with a riff on the classic Axel F bass synth and it's super hyped drums and refrain could be placed in any classic 80s action movie you already love. The other tracks are more contemplative and will sound familiar to anyone that owns any of the PCA Black Mill Tapes series.

Lullabies For Insomniacs is pleased to present Yasuo Sugibayashi and The Mask Of The Imperial Family, a compilation of music from Mimic Records 1980-1982.
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Yasuo began his musical career playing guitar in a high school band, in 1980 after moving to Tokyo and immersing himself in various musical groups he founded Mimic Records. Inspired heavily by the art movements of the late 1970's, in particular the innovations of Brian Eno and David Cunningham he purchased a Roland System 100M. He was in search of a sound and the synthesizer had great potential. Simultaneously he had started experimenting with tape, playing with the tactility of the medium so he could understand how to best adapt it for his pieces.

Yasuo explored ancient ethnic music and wanted to combine his influences with daily experiences of city life. The short lived Mimic records was home to three of his solo releases, a self titled LP and two 7 inches, shortly after this period Yasuo went on to pursue other musical projects, in 1985 he was a founding member of the band Qujila which is still active today.

"Both profound and profoundly jaw dropping, the esoteric moves of this massively rare and insanely obscure 300 copy Japanese marvel have until now remained the sole preserve of a handful of heavyweight collectors. It's time to let the cat out of the bag on this one. The dankly cavernous and unsettling acid maneuvers of Dome circa their first three LP's (though absent vocals) are the nearest antecedent I can summon for the principal thrust of the sound here. So too, there's a ritualistic dimension to this stuff thats also a bit suggestive of something like Vasilisk or The Hybryds, though the arcane initiatory atmosphere here is far more penetrating than anything I've heard either of those two muster." - Mutant Sounds

Seahawks chart a course for the outer realms of consciousness where sea meets sky and sky meets space.

Two tracks new to vinyl from their esteemed 'Escape Hatch' album and three inspired remixes, 37 minutes of overlapping dream states and mantric resonance.

Setting sail with the wondrous 'Valparaiso', the siren like voice of Ed Macfarlane (Friendly Fires) calls the dancers to the beach, it's silken glide so smooth some have asked if it's Sade!

Nick Mackrory creates an alternative cosmos that is even more blissed, like a lost Lucio Battisti gem sparkling in the sun. (Nick was responsible for the lush 'Elle Dit' released on the Music For Dreams label not so long ago).

Picking up the pace disco viking Marius Circus enters the arena to create a woozy acid fever dream that throbs and pulses in a most heavenly way. Perfect for full moon beach jams and horizontal home hangs alike.

On the flip 'Starways' is without a doubt one of Seahawks finest creations, over 12 minutes of tropical kosmische odyssey that resolves into a glistening pool of crystal electronics, aquatic horns and celestial strings. A tonic for the mind and the body.

At the close of day Len Leise blesses us with a hazed subtropical jam where vapour tones float on an ancient ocean of bliss as organic beats massage the stress away.

An antidote to all that is dark and dismal in these fractured times.

Artwork is a specially commissioned airbrush work by Mervyn Beaver.

Brand new set of 3 x 7" on the Principe Discos Label out of Lisbon.

> Limited first pressing, individually hand-painted sleeves
> Debut showcase of this ground-breaking crew


Txiga means something like "come close" and that takes us right into the heart of the matter. Although especially apparent in the tarraxo style they are so connected to, the expression reveals unbounded enthusiasm for music, taken from the roots up, wherever the feeling projects it to. And so we felt this crew had to come across in a special way. Three seven inch records, one for each of the main producers (Wayne is kept as a reserve), represent three branches of the same tree.
The 4 tracks produced by K30 explore a more synthetic approach to the syncopated African sound of the streets, a sort
of avant-garde technoid expression of the batida identity. Sparse atmospheres, exotic percussion punches and something of a minimalist nature. "Melodias Do K30" bring in more drama but also a casual production method assumed as such - check the false ending. OK, DJ NinOo, with ondulating Oo's and that's exactly what it feels like when you get to the end of the spacey, romantic
"Ambientes Leves", an outstanding slow jam guaranteed to keep those rainy days happy. The extra heavy bassline pairs
up with circular synth waves for a sweet and sour atmosphere nothing else than unique. Then comes "Saudades Do Russel", a loving dedication in house tempo and sporting a complex, nostalgic keys workout. We chose two old cuts by Puto Anderson that might seem to limit the perspective regarding his production, but these actually push us back to the sort of raw ground zero where the whole batida substance has evolved from. Heavy, minimal, aggressive and happy in a way most os us can only try to grasp. The relentless, gritty groove on both tracks
comes from another era to fall flat on the centre of the dancefloor and keep things tight.

Ltd. to 300 copies, silk-screen printing on PVC sleeve.

LE CABANON presents its new Stand-alone series, beside its Couleurs EP series.

CLUSTER LIZARD are Dmytro Fedorenko (KOTRA) & Kateryna Zavoloka (ZAVOLOKA), Ukrainian musicians now based in Vienna and KVITNU label owners.

Edge of the Universe is a conceptual project that drives the listener into unique cinematic atmospheres, developing a sonic equilibrium between sensitivity and harshness, quietness and noisiness. A subtle alchemy which evolves progressively with loud layered rhythms, crystalline synths, crackling noises and unexpected breaks.

"Driven by cyberdelic rhythms across interstellar sonic scapes. Minimalist transmutation textures and pulsing dark matterfrequencies evolvewith superconsciousness bass vibrations. Sparkling high tech pads advance with tense raw analog buzz. Starburst trembling beats with psychedelic solar oscillations, that shine and burn mind into alchemical time drift."

Riccardo Sinigaglia, with Gabin Dabiré and Walter Maioli, made up one third of Futuro Antico - one of the most important collaborations to emerge from the 1970's and 80's Italian avant-garde. The project, whose name literally translates to ancient future, joined traditional sounds and instrumental from around world, with electronic music - the sonic past, present, and future as one. Recorded shortly after the collective's most prolific period and released in 1986, while more singular and more idiosyncratic, Sinigaglia's Riflessi caries these very concerns at its core. Built from field recording, collaged samples, synthesis, and instrumentation - shifting from hypnotic rhythm to radical and displacing structures, it establishes a remarkable link between ancient and non-western musics and efforts emerging from studios like Groupe de Recherches Musicales. A work of staggering rhythm, texture, beauty, Riflessi builds a world with almost no parallel - imbuing electronic music with touch, tactility, and humanity, while sacrificing none its challenges and intellectual heights. Rattling sonorous wonder, emerging for the first time on any format since its original pressing, before us is a historic moment - a lost piece of the puzzle of the wondrous Italian avant-garde.