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Sylvia Fagan aka Guardian Angel is the oldest sister of Bevin Fagan which is Matumbi's lead singer. Matumbi was the top british Reggae band from the 70's and early 80's. Bevin Fagan and Euton Jones (drummer and founder member of Matumbi) produced Woman At The Well, the only LP by Guardian Angel in 1980 with a blend of disco, boogie funk, lovers rock and roots reggae. Recorded at Gooseberry and T.M.C. studios (London, UK) in 1980. Produced by Euton Jones & Bevin Fagan. Analog 1/4inch tape transfered at FX Copyroom by Euton 'Matumbi' Jones & Engineer Harvey Birrell on a Studer A810. Mastered and lacquer cutting by François Terrazzoni at Parelies Audio
Visuel. Special thanks to all musicians who made it possible, Dennis and Andy Robinson, Jason and Valerie Fagan, Euton Jones and his daughter Shana Jones, Winston Francis and Dennis Bovell.

new quartet by Samuel Rohrer, Max Loderbauer, Stian Westerhus & Tobias Freund In the present era of media saturation, the artist's dilemma has shifted away from the question whether to fuse disparate stylistic elements, towards the decision of which energies to draw upon: a situation most rewarding for those who listen to musicians navigating this limitless terrain. One such journey, the captivating full-length release from Samuel Rohrer's new Kave quartet coming out this May, is bringing together players who are equally well-versed in the quick-thinking mechanics of free group improvisation and the compositional strategies of contemplative / ‘ambient’ electronic music. With Rohrer acting as creative director and most of the quartet sharing synthesizer duties, there’s a strong sense of unified purpose to this set, and a narrative flow that never causes the listener to focus on one constituent part at the expense of the whole. At the same time, the players know all well that cohesion counts for little without those constituent parts being compelling in their own right. Rohrer and Loderbauer, for example, have previously crafted a unique techno-organic approach with the Ambiq trio, and the lessons learned from that partnership are put to inspired use within this new configuration. Stian Westerhus’ contributions on guitar and vocals, along with Tobias Freund’s electronic reinforcements - Freund also has worked since many years with Max Loderbauer as NSI - all conspire to make something that Rohrer aptly compares as “forest”-like. It’s a descriptor that will have vastly different meanings for each listener. For Rohrer, it refers to music that is confident in the “deep-rootedness” of its foundations and defined by a density and mystery easily confused with darkness, while nevertheless proving its bright vitRight away, on the introductory odyssey 'Cambium' the quartet sets out to make good on this metaphor, creating a hypnotic foundation for what is about to unfold during the next 42 minutes, with brooding, slow, 'searchlight in a fog,' synth washes and percussive stridulation. The twin 'Hibernation' tracks show all the unique elements beginning to coalesce: the emotional tenor is one of vulnerability that melts into the determination of 'staring into the void', a temperamental state challenging to represent authentically in music. The atmosphere of psychic challenge effort lessly gives way to the faintly nostalgic glimmers of 'Giant Peach' - a literary reference to the macabre whimsy of Roald Dahl.
The ultimate dissolution of barriers between organicism and synthesis is accomplished on the majestic 'Divided We Fall', a title referring to Westerhus’ smoky vocalization that winds into a double helix formed from electronic surges.
Again, the ease with which it all comes together is mesmerizing, and while there’s an aura of risk accompanying this walk through the woods, there’s a much more enduring impression of carefully orchestrated growth and change.

2x12"

It’s taken Yotam Avni a little while to get to his debut album; almost a decade, really, since his debut 12”, “That’s What The World Needs”, on California’s Seasons Limited imprint. During that time, the Tel-Aviv based producer has refined his productions, tightening the groove and paring everything back to bare essentials; the power in an Avni cut is its combination of piston-pulse propulsion and a deep, but gently applied, musicality. This combination gives his techno productions added heft on the dance floor, but also a lyrical sensibility that places him squarely in a tradition of techno legends who somehow manage to make the four-to-the-floor a space of poetic intensity, of rigorous joy.

Avni’s been on Kompakt’s radar for a while, first appearing on the label last year, with his Speicher contribution, “Mañana Mañana”. (“Track For Agoria”, from that EP, also appeared on Total 19.) The connection immediately made sense – dance music that managed to feel both lush and streamlined across the same great gasp of late-night energy. But with Yotam Avni Was Here, he’s taken a huge leap. After a brief intro, Avni sets his stall with “Beyond The Dance”, which features slow-moving vocal melisma over sculptural, melting tonalities, a tintinnabulating, harpsichord-like two-note phrase pacing out the track. Then “It Was What It Was” comes into view, its strip-light textures suddenly placed into sharp relief by a muted trumpet figure that hangs in the air, melancholy and pensive.

It’s no surprise, at this point, to discover that Avni’s inspirations for Was Here took in the histories of both techno and jazz. “I wanted to try something more around Detroit Techno meets ECM,” he reflects, when explaining the motivating forces behind the album. “Carl Craig’s Just Another Day EP and Kenny Larkin’s Keys, Strings, Tambourines came out during my high school years and had huge impact on me.” Avni’s also appeared on Transmat compilations, and remixed artists like the Midwest’s Titonton Duvanté, and Orlando Voorn – the latter particularly important for the way he connected the Detroit and Amsterdam techno scenes – his career path is marked by ongoing connections, direct and indirect, to Detroit’s storied history.

“I always wanted to go back to those hi-tek soul roots on a full album,” he continues, and he’s definitely exploring that terrain here, with the sky-strafing brass on “Free Darius Now”, morse-code keys on “Vortex” and glitchy, microhouse tickles of “Know Hope” all contributing to an oblique narrative that seems to arc across Was Here – one fleshed out by guest musicians, who include dop and Gerog Levin on vocals, and trumpets by Greg Paulus (of Beirut and No Regular Play). The cover art makes the jazz connection explicit, riffing on the text-based, minimal design of The Modern Jazz Quartet’s 1955 album for Prestige, Concorde. But the way Avni has gathered around him both inspiring musicians and intriguing reference points makes me think of his broader career as well, the collectivism behind his AVADON nights in Tel-Aviv, his many and wide-ranging releases on labels like Innervisions, Hotflush and Stroboscopic Artefacts, and the openness of his productions, which seem to be all about the multiple, the possibilities of cross-pollination, of fusing this with that, of adding and subtracting, all under the pulsating thumbprint of techno.

Good things, after all, are worth waiting for.

"ATA Records" is pleased to announce the release of Early Works: Funk, Soul & Afro Rarities From The Archive, a compilation of tracks that were recorded at the very outset of the label and haven't been available since the initial limited run (Released as Funk, Soul & Afro Rarities: An Introduction To ATA Records on Here and Now Recordings) sold out 5 years ago.

Since 2013 label founders and musicians Neil Innes & Pete Williams have been tirelessly fulfilling their shared dream of making the records they weren't hearing. Having spent years working in various bands both players felt the desire to break free of the constraints of working within another band and started on the slow path to creative autonomy by starting to work on the 12 tracks presented on this compilation.While deliberating their next steps they were approached by Here & Now records who licensed the 12 tracks and released them under the titleFunk, Soul & Afro Rarities: An Introduction To ATA Recordsin 2014 as a limited run of 300 copies that sold out within weeks of release.

Now in 2020, celebrating their 5th year of running successfully as a label in their own right, ATA are re-releasing these 12 tracks on a new vinyl pressing under the titleEarly Works: Funk, Soul & Afro Rarities From The Archivewith new artwork and liner notes that detail the labels birth.

The compilation features 12 tracks that include the very first 3 tracks from The Sorcerers that led to their self-titled debut LP & the first proper release on ATA, as well as the first recordings by The Mandatory Eight and The Yorkshire Film and Television Orchestra.

If Galaxy Lane’s first EP didn’t send the portals of time and space upside down, then the second EP will throw you down a vortex of hypnotic grooves juxtaposed with eerily erratic rhythms built in outer space.
The first of two EP’s to be trusted in the hands of Lone Romantic, ‘Night’ and ‘Later That Night’ will explore the concept of capturing moments in time.
Maybe Galaxy Lane can best summarise…

“I want people to really feel the mistakes in this music, the dirt, the rough and raw approach, the ‘sitting on the floor surrounded by wires at 3am messing with synths’ approach. That to me is the magic of this music, the interaction of man and machine, to hear the nuances, the tweaking of knobs and pushes of faders. I think we have lost that somewhat with digital technology, and have lost a lot of feeling in the process”

‘Night’ will propel the listener into ethereal textures layered over rough and raw beats, as outlined on opening track ‘Deep Space Nine’. If that sets you up for thinking this will be a dreamy ride, ‘Communication’ hits hard at the rear of the spaceship, coming at you with intergalactic bleeps, zaps and back cracking rhythms made for getting down.

Side 2 sets off on an exploration of wild eyed boundary flexing in the shape of ‘Enter The Light’. Pushing the machines to near breaking point whilst just hanging on, it’s a track that shows what can be done when the spaceship is left to drive itself, you can do nothing more than go with it and and see what happens.
‘Snow Day’ is perhaps the perfect way to round us back in. A more calmer, smoother ride, it’s unmistakable polyrhythms soothing the soul and setting us up for the next chapter…

If Galaxy Lane’s first EP didn’t send the portals of time and space upside down, then the second EP will throw you down a vortex of hypnotic grooves juxtaposed with eerily erratic rhythms built in outer space.
The first of two EP’s to be trusted in the hands of Lone Romantic, ‘Night’ and ‘Later That Night’ will explore the concept of capturing moments in time.
Maybe Galaxy Lane can best summarise…

“I want people to really feel the mistakes in this music, the dirt, the rough and raw approach, the ‘sitting on the floor surrounded by wires at 3am messing with synths’ approach. That to me is the magic of this music, the interaction of man and machine, to hear the nuances, the tweaking of knobs and pushes of faders. I think we have lost that somewhat with digital technology, and have lost a lot of feeling in the process”

‘Night’ will propel the listener into ethereal textures layered over rough and raw beats, as outlined on opening track ‘Deep Space Nine’. If that sets you up for thinking this will be a dreamy ride, ‘Communication’ hits hard at the rear of the spaceship, coming at you with intergalactic bleeps, zaps and back cracking rhythms made for getting down.

Side 2 sets off on an exploration of wild eyed boundary flexing in the shape of ‘Enter The Light’. Pushing the machines to near breaking point whilst just hanging on, it’s a track that shows what can be done when the spaceship is left to drive itself, you can do nothing more than go with it and and see what happens.
‘Snow Day’ is perhaps the perfect way to round us back in. A more calmer, smoother ride, it’s unmistakable polyrhythms soothing the soul and setting us up for the next chapter…

Volker.live ’s debut and final release
“My Love Will Set You Free” Final release? We see the question mark popping up over your head. Well yes, these four tracks are a time capsule, a historic cache which takes you back to one hot summer of 2019. When this care-free boy band formed and made it their goal to climb up the world’s stages to play an all-hardware live set & have f.u.n. while doing so. This endeavor went swimmingly. Festival gigs were pocketed and crowds intrigued. The stand-out track of their gigs was always “My Love Will Set You Free”, an acid-house stomper with uplifting, yet melancholic vocals from their friend ÆN.
Friends and neighbors were quick to re-interpret the song and the idea of a record took shape.
Lehult’s Lucky Charmz propels the listener into the void by upping the acidity. Closing in on a playtime of 10 minutes, we’re readily giving up our sense for time and space. Whirring drum hits meet feedbacking tape delay while riding the rock solid bass line.
Erobique liked the song so much, he quickly drew up two versions of his own. His “Disko Mix” oozes that saccharine, danceable magic mélange of days past. Warm keys, hand claps, and Aen’s intimate voice are stirred into an exquisite cocktail. You know that Carsten Meyer would never forget the umbrella on top. He’ll keep the cherry though.
The “Black Velvet Mix” closes the curtains for a slow dance. This is personal, it’s just between you and the song. Sub rosa.
In the meantime, Volker.live decided to follow separate paths of their adventure, but everyone agreed to release these songs into the world. May they serve as a reminder of what can be created out of care-free energy that’s driven by a deep connection to music. Please check out their other musical undertakings as Echoel and Goodmemory.live .

S&W and Gustaaf make up three fifths of Prongof108 which started out as a radio show on Berlin based Cashmere Radio in 2015 and turned into a record label a few years down the road. After some solo records and the release of a split EP on Turnland Records, they are now teaming up for their upcoming “It’s More Fun to Commute” EP on Prongof108. Combining the forces of three guys seems like a natural fit, or to put it differently: it just happened. They’ve been DJing together and sharing a mutual passion for UFOs and palm trees since quite a while. Expect a mix of 80s boogie and proto house vibes sending kisses to tropical and pacific sounds and taking you on a journey from proper house club crowd bouncing to teenage heartache downtempo electronica - always smart and with a smirk, definitely never too intelligent to dance to.

After releasing their critically acclaimed debut LP “NOW” just last September, The people at Malka Tuti felt it was the time to continue pushing the name SHARI VARI to new realms & territories... A Remix Pack was born. For the remix pack, Malka Tuti chose a few close friends of the family to give new life and new interpre- tations to the now “instant classic” songs by the Hamburg duo.... The Ep begins with Fantastic Twins’s mid tempo, Coil inspired, break-beat groove, slowly building up in emotion with warm pads and 90’s vibe acid lines to- wards an epic catharsis. Benedikt Frey takes it from there, remixing a personal favourite - New York City, turning it into a dark trip- hop inspired journey, cleaning those distinct vocals, echoing Beth Gibbons’s smokey high tones.... On the B-side we find Black Merlin’s 11 minute trippy mid tempo dance floor banger. Cuts and slices from the original vocals of the song Dance Alone, laid carefully on top of a repetitive modular bass line, and sprinkled on top - those out-worldly sounds and FX that makes the track simply HUGE. Last but not least, Düsseldorf’s very own Lucas Croon’s Dub Version, released digitally last year, final- ly sees its day on wax. 90’s Break beat beats, gated vocals and everything else that takes to make a dance floor hit the roof.

Tyyni is the third album by Finnish-born sound artist and musician Cucina Povera aka Maria Rossi. The second album recorded using a more studio-based scenario – as opposed to last year’s Zoom, a collection of in-situ, spontaneous recordings – Tyyni feels like a slowly unfurling mediation on the clash between nature and mechanical living, a rumination on the complexities of modern life that begin to unveil more about the inner landscape of the artist as it progresses. A Finnish word referring to still, serene weather, the title belies a new note of turmoil in Cucina Povera’s soundworld. Tyyni represents a more detailed focus on the sculpting of sounds that curl around Rossi’s hymnal vocal performances. It’s a more adventurous work than Rossi’s previous output that goes further into noise elements and vocal abstraction while maintaining the balance and ecclesiastical ecstasy of her debut Hilja.

While tension at the core of Cucina Povera is always prevalent, previously it was organic sounds that were used to counterpoint Rossi’s singing but on Tyyni these are often replaced with aggressive synths and distortion, profane clashes with the seemingly sacred hymns. Whether close mic’d and intoning in a loop or in full flight, Maria Rossi’s voice remains in the foreground, set here against a more synthetic backdrop. This development builds new worlds for Cucina Povera, a digital environment which brings in a sense of the alien for Rossi’s vocal to duel. The effect is often dazzling. On Salvia Salvatrix, an ode to the medicinal plant used to ward off evil spirits, Rossi’s invocation is encircled by a distorted synth sound tearing at the fabric of the composition. It’s an inspired juxtaposition, leaving the listener to appreciate both sounds as separate and as a duet. Anarkian kuvajainen embraces a sense of chaos, an accidental transmitting mobile phone’s pulse is swept up gently with looped synth swells as Rossi’s prayer-like vocal rhythmically teases the composition into loops that embrace and then drift apart. Teerenpeli flirts with a minimal beat rendered by sampler and processed, layered field recordings of capercaillies, while Side A ends with one of Rossi’s most beautiful, simple tracks yet recorded. Varjokuvatanssi is an a cappela recording built on top of a wordless glossolalia, a shadowy interplay which foregrounds the solo vocal.

Pölytön nurkka is the most melodic song yet recorded by Cucina Povera. While it still maintains an off-the-cuff performance style, the synthesized chimes and 4/4 beat are smothered by a distorted synthesizer which almost replicates the bravado of an electric guitar feedbacking into the night. Rossi’s subject matter talks of trying to start anew, getting rid of extraneous material, perhaps still feeling powerless to affect positive change. On Haaksirikkoutunut, the protagonist vocal is lost, a vessel rudderless on the ocean, buffeted by waves metaphorical or real, digital, atonal chords gurgling and splashing against the bow, a storm forever brewing on the horizon. Saniaiset recalls Coil in its eldritch, nocturnal tone and digital-bell like synth, Rossi’s half-spoken/half-sung voice attaining a creepy tone before flipping into flight. Album closer Jolkottelureitti uses an escalating, sequenced synth that splinters into both abrasive tones and harmonising chords creating a kosmische effect, reminding the listener of Kluster or synth-era Popol Vuh, all the while elevated by Rossi’s searching vocalising.

For an artist with such a singularly unique musical language, Cucina Povera is continually teasing new strands and emotive tones from an evolving palette. Most importantly, Tyyni appears to be pulling back the veil to uncover an artist finding a synergy between her own emotional inner world and practice. As such, on her third album, Maria Rossi has found a third way between abstraction and extraneous emotion, personal experience turned inside out to reveal more about the listener.

hree years on from their debut collaborative album “Passive Aggressive“, Jonny Nash and Suzanne Kraft return with "Knife", the lead single from their forthcoming album, “A Heart So White”.

The single comes with an exclusive bonus digital track, "Processing The Negative", which will not appear on the full album.

“A Heart So White” represents a continuation of the working philosophy adopted during the recording of their debut; immersion in an unfamiliar recording environment with a limited set of tools and the goal of exploring the possibilities that lie within these limitations.

The album was written and recorded in the Willem Twee Concertzaal, a converted synagogue in Den Bosch, Holland. Whilst “Passive Agressive” explored virtual instruments and environments, “A Heart So White” shifts the focus to acoustic instrumentation, breath, air and physical space. Using the hall’s mechanical drawer organ and Steinway piano, the pair craft a delicately balanced suite of compositions, stripping things back to reveal the bare essence of their shared musical language.

Repress!

Cutting edge innovators Rashad Becker and Mark Fell re-work material from Sote’s extraordinary ‘Parallel Persia’ album alongside a killer non-album track by Ata Ebtekar aka Sote himself. Highly recommended if yr into the complex tunings and arrhythmic geometry of Dariush Dolat-Shahi, Autechre, Xenakis...
Last year’s ‘Paralell Persia’ album took the trajectory of his preceding ‘Hardcore Sounds From Tehran’ (2016) and ‘Sacred Horror In Design’ (2017) to thrilling new heights for Diagonal. Turning traditional instrumental music inside-out with computers and modular synths, he arrived at a thrilling mix of sound that stood out as one of the year’s most original and striking releases.
Wrapped around the incendiary core of ‘Artificial Neutrality’ which features Pouya Damadi’s Tar and Arash Bolouri’s Santour sculpted into fiery folk futurism by Sote, the remixes by celebrated mastering engineer and improvising composer Rashad Becker and minimalist rhythmatist Mark Fell exert incredible new spins on Sote’s originals that remain faithful to the material in their inimitable styles.
Rashad Becker’s Dramatic Reenactment of ‘Pseudo Scholastic’ combs and curdles the original into 7 segmented minutes of squirming tones and melted rhythms that, through twists and turns, come to recall Korean classical court music and Florian Hecker as much as they recall the original.
Mark Fell, meanwhile, impresses with his quadruply extended 20 minute Parallel Yorkshire mutation of ‘Modality Transporter’, where he unravels its syncopated flex in endless permutations of laser-guided pulse drops, puckered strings and choral stabs that come to sound like Autechre letting off fireworks at a Dariush Dolat-Shahi show.

a 1. Pseudo Scholastic Dramatic Reenactment - Rashad Becker (06:59)

Parallel Yorkshire - Mark Fell (19:50)

Repress

Leading lights of the neo ambient rhizome alongside Huerco S’ West Mineral label, Experiences Ltd has already amassed a cult following after just one release - ULLA’s ‘Tumbling Towards A Wall’, now returning to relay a sublime, probing debut of crackling, cross-continental communications from mdo, Ultrafog, and Nikolay Kozlov, aka Folder.
Weft from dematerialised ambient tropes spooled between their respective bases in Kansas City, Tokyo, and Samara in Russia, ‘New Path’ slots fuzzily into an expanding prism of contemporary ambient music which echoes the purpose and effect of the original thing via traces of ‘90s/‘00s experimental techno and minimalist rhythms. Their sound effectively recalls K. Leimer’s systems music as much as the Pole’s eerie dub malfunctions; running a lushly frayed and decentralised style that embraces a gently psychedelic sort of chaos and lysergic, hallucinatory vision in an up-to-the-moment way shared by the likes of Huerco. S and uon.
If original ambient was analogous to THC and LSD, and in the ‘90s MDMA, then the effect of Folder’s music, and that of their peers, adds the putative, lushly dissociative effect and non-linearity of Ketamine and psilocybin to that formula. As such ‘New Path’ attempts to follow new routes through your neurons, sparking at new junctures of style and form that better reflect and counter a current psychic state of stasis and anxious anticipation.
Coming from the label behind those cult ‘bblisss’ volumes of 2016-2018, listeners can trust their needs for relaxation and otherworldly curiosity will be sated by ’New Path’, as it courses from iridescent ambient noise in the titular opener, to the laminal diffractions of ‘Plasma’, and soothing textural abstraction of ‘Reset’, shoring up in ‘Node’ as though oceanic ambient currents have individually lead them to this bobbing buoy inthe middle of a noumenal ocean.

Bonzai Records - The Mixtapes Volume 1 - The Sound of TGV (Bonzai Classics) (2 x CASS)

From the success of our very first release on cassette tape in 2019, we’re excited to present the next offering in the classic format. For Record Store Day 2020 we’ve got an exclusive 2 x 45-minute cassette pack from one of our legendary, original DJ, producers – Bountyhunter. The Mixtapes Volume 1 – The Sound Of TGV is truly authentic, packaged in a vintage slipcase, it will be just as if you purchased the tape at your favourite club back in the day. Prolific artist Stefan Melis aka Bountyhunter started his career in 1990 in a very small after club called TGV. During this time, he recorded his first record with a sample from the Star Wars movie and Bountyhunter was born. Released on the brand new up and coming label Bonzai Records in 1992, this single would go on to be a huge success and help in shaping the sound we all know and love today. Many more releases would follow including Woops, Demilitarized Zone and The Return to name a few. These releases would make a big mark on the Bonzai imprint and propel him into the big time and ensure that when people speak of Bonzai, then the name Bountyhunter is always mentioned.

The debut original album from Australian left-field instrumental funk outfit Karate Boogaloo. Combining shades of library music, deep funk and a reverse-engineered hip hop headspace with an off-kilter sense of humour, Karate Boogaloo will appeal to fans of El Michels Affair and Badbadnotgood.

Named for the catch-cry of devoted Karate Boogaloo fans, 'Carn The Boogers' was self-recorded and produced; tracked live to tape in the band's DIY attic studio in Melbourne, Australia. Their debut LP follows their popular 'KBs Mixtape' series.

Karate Boogaloo have seen support from NTS and Worldwide FM, and are billed to perform at Gilles Peterson's We Out Here festival in August 2020.

Known for releases on Apron, Misterio and Stillove4Music, Devin Dare join RNT with a 4-tracker of straight dance floor heat. The production alias of NYC’s Duane Harriott and Shawn Marquand, Devin Dare produce disco edits with a driving, almost techno-like sensibility & this 12” showcases their ability to coax every last drop of energy from a chopped and looped sample.

From the rolling thump of ‘Clash and Burn,’ to the percussive- and bass-driven ‘Stop,’ the low-slung gospel organ groove of ‘Dust,’ to the explosive & exuberant ‘KOHO2’ this record pretty much defines what a rework can, and should be. In a word, PROPER!

On his third solo album, following the success of "Éternel été", the founder of the electro duo Nôze is exploring, through piano and synths, the encounter between poetry and song. In this new work he has set to music verses by William Shakespeare, Victor Hugo, Pablo Neruda and on three songs, those of the poet Marceline Desbordes-Valmore, a pioneer of romanticism who notably influenced Verlaine and Baudelaire.

But what does this Oh !, giving its title to Ezéchiel Pailhès' third solo album, stand for? Is it an Oh ! of surprise, admiration or pain? "It is rather the Oh ! found in romantic poetry" says the French composer and singer with his deep and sweet voice. "An interjection that refers to a form of lament", even though it can convey other emotions such as complaint, nostalgia, a sad delight or a longed-for solace.

In Tout va bien, his previous album released in 2017, Ezéchiel Pailhès had set two Shakespeare sonnets to music. One of them, "Eternal été" has become a great success, thanks to its lines tinged with spleen and bliss. "Poetry, and its musicality, have always been part of my universe. For this new album, I therefore wanted to explore further the adaptation of poems into songs. "Bien Certain" is, once again, taken from William Shakespeare. "Tu te rappelleras" comes from Pablo Neruda's collection La centaine d'amour. "Oh ! Pourquoi te cacher ?" is from Victor Hugo. As for "Sans l'oublier", "La sincère" and "J'avais froid", they were all written by Marceline Desbordes-Valmore, a 19th century French poetess, still fairly unknown".

With Oh !, Ezechiel Pailhès has become more of a singer than ever before, through seven songs and four instrumental compositions, with intimate and warm modulations, carried by hypnotic piano melodies, instruments with unusual timbre and a subtle electronic production that recalls his past productions with his former duo Nôze.

"I wanted to expand my music further into songs" Ezéchiel adds, "to work more with my voice as a solo instrument and to limit the overlapping of voices and choirs found in my previous records". Produced in his Montreuil home studio, Oh ! is nevertheless imbued with an emotion found in his previous albums, close to 'saudade' or a slight melancholy, sometimes enhanced by chosen texts that evoke the disappointment of love, the longing, the distance between two people, or even men's weakness. "These poems evoke themes that may seem far from the concerns of our times. Yet, they are timeless and eternal; they manage to convey emotions that can often be difficult to say or write."

Among the texts chosen for this new album, the verses of the poet Marceline Desbordes-Valmore (1786-1859) are on a par with William Shakespeare's sonnets or Pablo Neruda's poem found on the same record:

" Sans l'oublier, on peut fuir ce qu'on aime.
On peut bannir son nom de ses discours,
Et, de l'absence implorant le secours,
Se dérober à ce maître suprême,
Sans l'oublier ! "
(…)
" Sans oublier une voix triste et tendre,
Oh ! que de jours j'ai vus naître et finir !
Je la redoute encore dans l'avenir :
C'est une voix que l'on cesse d'entendre,
Sans l'oublier ! "
"Without forgetting, we can run away from what we love.
Banish their name from our conversations,
And, begging the absence for consolation,
Escape the grip of this supreme master,
Without forgetting! "
(…)
"Without forgetting a sad and gentle voice,
Oh, how many days have I seen rise and fall!
And still I fear from the future:
A voice that can no longer be heard,
Without forgetting! "

Although less known today than her male counterparts, Marceline Desbordes-Valmore marked her times and the Romantic movement through the quality of her texts and her formal inventions, which Balzac admired, and whose influence seems to have been decisive on Verlaine and Baudelaire.

"Marceline Desbordes-Valmore's poetry is highly musical," says Ezéchiel with admiration. "Her artistry with rhythm and repetition sounds very good and takes on a new dimension when set to music. She even meant for some of her texts to become songs"

Pacific Shore makes modern melancholy hip-hop-soul-jazz with love. The duo’s "road music” evokes a dreamlike and cinematic musical journey. In the studio and on stage, the duo shows that machines, live instruments, and vocals can make electronic music organic, warm, and alive.


Immersed in the studio for a while, the duo are back with the album "Two Kingdoms", their biggest project so far. Without complex, these 17 tracks transport us between vaporous pop/funk groove and hybrid experimentations. A lively, moving and poetic work in search of a certain sense of life on Earth.


As Ying and Yang the album is a combination of two interdependent chapters, we find the voice of their faithful friend and collaborator Sarah Linhares on the tracks Overboard, Knees Wet, Borders among others. As well as the very intriguing Majin Blobfish on Light & Shade and the appearance of a new voice from Pacific Shore on several titles: Two Kingdoms, Home, A Part of Me...

Onda Records comes back with a solo ep by Roberto Calamia & Cristiano Bencini aka GIM PRODUCTIONS , a great interpretation of all the shades of house , with deep atmospheres , vocal sampling and a long island mix from maestro Vincent Floyd. Absolutely a record you can't miss in your collection !

**LP FORMAT IS VERY LIMITED - PLEASE BE AWARE THAT UNFORTUNATELY THERE MAY BE CUTS TO ORDERS**

For Los Angeles' The Black Queen, the depths of isolation and loss have always functioned as a gateway to being born anew. Much has transpired since the band released their cold, cutting debut album Fever Daydream (a record that Revolver described as 'a haunting exploration of the darker side of pop music'). But throughout it all, the trio of Greg Puciato (former frontman of the now-defunct The Dillinger Escape Plan), Joshua Eustis (of Telefon Tel Aviv, Puscifer, and Nine Inch Nails), and Steven Alexander (a tech member for Nine Inch Nails, Ke$ha, and A Perfect Circle) have emerged as triumphant and intense as ever, documenting their journey via the synth-streaked industrial anthems of their sophomore release, Infinite Games.Formed in 2011 after a chance meeting between Puciato and Eustis backstage at a Dillinger show in which they both realized they were huge fansof each other's work, The Black Queen became a labor of love for its members to explore sounds and emotions that they couldn't quite fit into their full-time projects. Injecting a pained, twilit edge into slick new-wave tracks as fit for the dance floor as they are for some imagined dystopian skyline, the trio have managed to channel their scattered, eclectic influences into a surprisingly cohesive vision. 'We've got a pretty weird cross section,' Puciato says of the band's musical chemistry. 'We can go out for food and listen to Power Trip on the way there, then Baltimore club music on the way back, and then talk about how killer Maxwell's Embrya album was, and then get sidetracked and talk about the Celeste video game soundtrack, then all have to be quiet so that we can grab a voice recording of some weird sounding radio interference. It's all over the place and unusually far reaching,and there's a lot of passion for discovery.'After releasing their 2016 debut album Fever Daydream to critical acclaim however, the trio underwent several major upheavals that cast the project in a completely new light. Puciato's main project The Dillinger Escape Plan disbanded. Chris Cornell of Soundgarden killed himself while Puciato was on tour with him. Eustis put out music under his beloved Telefon Tel Aviv monikerfor the first time since his former bandmate Charles Cooper died in 2009. Thetrio's storage space was robbed. Puciato suffered a relapse into crippling anxiety and paranoia. Once again, in the face of tragedy, The Black Queen had to rebuild everything from the ground up.The first step was acquiring a new studio space, which immensely helped the band get back into the rhythm of freely collaborating with one another, and experimenting with sounds for as long (and as loud) as they wanted. The resulting album, Infinite Games, marks a massive leap forward for The Black Queen. Not only are the band's icy R&B instincts more sharply pronounced; they've also rendered their morbid electronics in more lush detail than ever before, filling out the corners of their songs with chilling ambient passages
that create a wide-screen backdrop for Puciato's eerie, tortured vocals. 'I think this album is actually hookier, but more insidious in that it reveals itself over time,' Puciato says about Infinite Games. His choice of words says something about the album's creeping, pitch-black approach to pop music.With this release, the group have also announced a new undertaking in the form of their new label, Federal Prisoner. Resisting the more marketing-centricapproach that feels standard at this point for the record label game, the goal of Federal Prisoner is to provide an outlet for projects that emerge naturally from The Black Queen's own creative endeavors and collaborations with otherartists. In a way, Federal Prisoner solidifies TBQ's commitment to creating music on their own terms, following the same organic sense of inspiration that led them to forming in the first place. As Puciato puts it, 'It's just an expression of passion and individualism in a way that opens more doors for us to create and to own what we create with minimal compromise. It's as much an act of refusal as it is a statement of intent.'Infinite Games, the second album from experimental Los Angeles synth-pop trio The Black Queen, comes out on September 28th

Thatmanmonkz returns after his critically acclaimed and just damn good 2nd LP 'Non Zero Sum Game' with a heavyweight remix package !!

Favourite LP cut 'Them Thangs' anchors the EP, with Detroit superhero Waajeed laying down a typically high class interpretation, trademark Dirt Tech vibes abound, with equal parts motor city machine soul and tough rhythms taking the original straight to the floor.
Talking of which, the OG Dubstramental concentrates the irresistible groove into an effortlessly fierce afro-centric House jam.

After the PPF crew submitted their tearaway rewire of one of the LP's tougher moments 'Freaks 'N Prophets' its place on this 12 was assured.
A Chicago style slammer that extends and leans into the powerhouse groove with a nod to the forefathers.
Finally, a previous digital release highlight (which got a lot of love) finishes off the EP, a flute-laden romp for dancin' close.

Following her 2019 debut Womanhood, Klein Zage makes a triumphant return with new EP Tip Me Baby One More Time. With plaudits and endorsements from Pitchfork, Resident Advisor, Bradley Zero, DJ Python, Mr. Mitch, Femme Culture and more in tow, she presents a record inspired by her beloved service industry. Her cut-throat lyrics, razor-sharp beats and wry humor carry through from the housey menstruations of Womanhood to Tip Me Baby's anthemic exposé of the server/guest dynamic.

Zage sees the restaurant as club, the service floor as a dance floor - a place for performance one in the same. If the A-side presents Zage 'clocked in', on the B-side, she's 'clocked out' - transporting the listener to the inner workings of her mind with the help of Joey G ii on 'I'm (Almost Certain That I'm) Here’ -- hailed by Tip Me Baby remixer Facta as 'one of my favorite songs this year'.

In light of the impact that the Covid-19 crisis is having on the restaurant industry, all profit from this release will benefit Restaurant Worker's Community Foundation Covid-19 Emergency Relief Fund as well as New York's 'Service Worker's Coalition'. Now more than ever this industry needs you to 'Tip! Baby One More Time'.

Mannequin Records is delighted to present their fourth full length of Polices des moeurs, the Canadian minimal synth duo formed by Francis Dugas and Manuelle Gauthier. With PÉRIL, Police des moeurs expands its sound and ventures into mysterious, bewitching and enigmatic landscapes. The foundation is still synthetic, minimal and punchy, relying on mechanical rhythm, powerful bass and catchy melodies, but it's now combined with more elaborate arrangements, punctuated by delicate textures and depthful laments with uncertain but sincere meanings.

Formed in 2010 in Montreal, Police des moeurs got noticed right from the start with its infectious and direct synth pop. The band has released several recordings, including Péril, their fourth full lenght album on Berlin's Mannequin Records. The Canadian group has performed in Mexico, the United States, as well as in ten European countries, and has share the stage with The Damned, ADULT., TR / ST, Xeno & Oaklander, Automelodi, Essaie Pas, Xarah Dion, Duchess Says, to name a few.

After much anticipation, our Belgian disco diamonds Rheinzand present their debut full-length album. On their self-titled record, The Belgian trio wraps the human heart in synthetic threads of modular electronic disco. 9 songs writhing on timeless dancefloors, morphing in and out of shapes of luxuriant melody and vivid instrumentation.

The album is full of classic disco and electro sounds, wielded with imposing prowess by multi-instrumentalist Reinhard Vanbergen. It’s both an exploration ofdance music’s electronic genealogy and the vintage cool that has defined its different eras. Still, an organic atmosphere pervades as the blend of real instrumentation fixes a sort of retro-futurism, imagining an alternative timeline that’s a bit more exciting, more sensuous and libidinal, maybe more human, too, than our current outlook.

We start the engines with Break of Dawn, a compelling beat rises from the basement and soon we’re submerged by the pulsing bassline. Dark sunglasses on, we cruise through the night, letting flashing city lights flow into unbroken torrents of color. Blind awakens us, a splash of handclaps in the face, vivid strings and Charlotte’s trademark slick vocals enter the stage. Tantalizing sunbeams power up circuits of electronic synths blipping and beeping away.

Later down the road, we hit the Latin part of town. Porque fits enchanting vocal spells in beautiful Spanish on playful flamenco rhythms. Fourteen Again is a throwback to early electro, playing around with knobs and buttons. An oscillating synth imagines new worlds of plastic emotion. Still disco and still very cool, though. A constant velocity is sustained throughout the album bythis recurring locomotive synth, trudging away beneath the action. Once in a while, we hear the deep, mighty, trembling voice of Mr. Rheinzand speaking to us in incantations. Someone’s pulling the strings here.

On Slippery People, the trio cover the Talking Heads classic in a characteristic procedure of bouncy funk. We’re swirled around by the delirious glasswork of You Don’t Know Me into the hypnagogic funk noir of Strange World. Drifting through the house of mirrors after the fourth mojito.

Obey collects all these threads in a full-bodied future classic disco anthem, before Queen of The Dawn wraps up the show with a sky-bound epic of operatic choirs and ceremonious drums that lands somewhere between Kate Bush’s Aerial and Peter Gabriel’s most bombastic.

TRACKLIST A1. Reciclo A2. Se Proteja A3. Redescobrir A4. Rastros Raros A5. Pelo Sim, Pelo N–o B1. Cinzento B2. Nada Existe B3. Posto 9 B4. Só Penso Em Jazz B5. Lugares Distantes INFO Marcos Valle launches in LP the new album "Cinzento" (Deck). The record, due to its minimalist design, with little instrumentation and different grooves, refers to his 1973 "Previs–o do Tempo". "Cinzento" comes with new partnerships such as Moreno Veloso (on the track "Redescobrir"), Bem Gil ("Se Proteja"), Kassin ("Lugares Distantes"), Zélia Duncan ("Rastros Raros") and Domênico Lancelotti ("Pelo Sim, Pelo N–o"), among others. Renowned rapper Emicida collaborates on two songs, sharing vocals with Valle. The partnership between the musicians came about through a suggestion by journalist Marcus Preto. Once the connection was set, Valle went to know better the S–o Paulo-born musician work and sent him a melody. Hence the two prospered the collaboration that culminated, even, with the title track. Produced and arranged by Marcos Valle himself, "Cinzento" was recorded at the Tambor studio (Rio de Janeiro) and hits shelves on vinyl as a Polysom release.

Lonnie’s 1975 jazz-funk masterpiece is released on 180g black vinyl in a nice thick card gatefold sleeve. Former Miles Davis and Pharoah Sanders keyboardist Lonnie Liston Smith saw all his musical ideas coming together for this, his third album. The title track is one of the best-known jazz funk classics; its influence on several generations of clubbers cannot be underestimated. It is a glorious amalgamation of jazz players and the tenor voice of Lonnie’s brother Donald. However, the track’s success has resulted in the album becoming rather overlooked and its other six pieces underappreciated. ‘Desert Nights’ and ‘Voodoo Woman’ give vent to Lonnie’s improvisational skills over a modal base. ‘Summer Days’ and ‘My Love’ are based around Latin rhythms, with the latter proving another great vehicle for Donald Smith’s voice. Donald is also the singer on an inspired take on Horace Silver’s ‘Peace’. “One of dance music’s most significant records” – Gilles Peterson.

2x12"

Having made initial waves on Cold Recordings and Osiris, Eric Baldwin returns now to Tectonic to release his eponymous album ’Cocktail Party Effect’, bringing his South London roots to Berlin for an all-weekender, under strobe lights.

Drawn by his appetite for powerful rhythmical forms and inspired by the likes of Daphne Oram, The Residents and Captain Beefheart - Eric takes uses background in sound design, knowledge of hacking VST software and adapted spring reverbs and other hardware, to create a truly unique vision of contemporary electronic music. It sits somewhere between Jeff Mills, Aphex Twin & Squarepusher - held together by a connective UK Bass Music spinal chord. A weird but intriguing beast.

We open the track with Japanese cocktail recipes, before moving into the only vocal track of the album, ‘Talking To Bricks’ featuring Bristol vocalist Redders on fine form - charged with disjointed energy and run ragged across a technologically charged dancehall style beat. The LP progresses through the rolling breaks and bleeps of ‘For The Memory Exchange’, into an IDM side-step in the shape of ‘Brutalism’, moving into the gentle, beautiful flickering glitches of ‘PDA’, before we get to the hyperactive twitching alien charge of ‘War On Codex’.

Taking a leap in another direction, we reach ‘Cause For Bad Shelving’, which sounds a bit like Squarepusher when he was on late 90s, immaculate form - taking the tempo up a few notches, while building melancholy. ‘Lack Of Wrong Format’ then gives us a moment to breathe, before diving into ‘Deerhorn’ which brings us right back to the dancefloor. Things are then turned inside out with the jittery wonder of ‘I Get It (Lost Banknote)’, redirected via the industrial clangs of ‘Low_Rise’, before rounding off our sonic adventure with the ponderous tones of ‘Loner’ - which leave you glowing and drifting off into space.

A bold album that’s just brim with a strong sense of originality, direction and grand narrative. From international dancefloors to post-clubbing ear-worms, Cocktail Party Effect is just getting started and you’ll be hearing his name more and more now.

On Miniatures, Swiss composer and producer Samuel Reinhard looks to indeterminate techniques of mid-century experimental composers to produce a sonic path forward that’s as refined as it is evocative. While Miniatures is built from recordings of short piano gestures decaying towards silence, amid the four movements that comprise the suite, something else grows. Notes cycle, collide, and wash away within boundaries the artist has set, but in their wake new processual textures develop. A hiss blankets the harmonic material, and clicks that once marked sharp cuts between repetitions become a percussive undercurrent.

Working with digital tools, Reinhard conjures the interior of an animate environment and extends an invitation to notice the small stuff that swells when we settle in with duration.

Ital Tek (a.k.a. Alan Myson) returns to Planet Mu with his sixth album ‘Outland‘. The album was written during a period of new beginnings following a move out of the city to a quieter space and the birth of his first child. During this time of self-imposed isolation Alan recorded a huge amount of source material and spent weeks and months sitting up at night with his newborn, listening back and making notes on how the new record should take form, focusing and developing ideas to shape this lean ten-track album.

Alan talks of the record being a collaboration between two parts of himself, something that definitely comes across as the album unfolds. Textures are something Alan excels at and on his last album, the largely beatless ‘Bodied’, it felt as if he was building a new sound-world. On ‘Outland’ he expands upon this. The album brings together the extremes of Alan's sound, contrasting roughened bass and beats with starker more detailed atmospheres and emotions.

The most beat-driven song here is ‘Deadhead’, with its gnarled bouncing bass, angular distorted melodies and cavernous textures. On tracks like ‘Bladed Terrain’ the contrasts are even more defined with buzzing drones and razor sharp drums plunging into a grainy fog, giving the track a dramatic 3D feel.

Then there are the stop-start pauses of ‘Leaving The Grid’, where the song evaporates into space before reemerging with shuddering rhythms and ghostly textures. Melodies crawl around these tracks as if they’re just waking up, as heard on the atmospheric ‘Angel In Ruin’.

The sleep-deprived fraying of the senses became Alan’s routine and one which he says gave him a renewed creative energy; half-asleep, working through the night, and then into the daytime super-focused but exhausted. Prone to audio hallucinations whilst writing the album, he aimed to capture these distortions in his perception of pitch and time, and you can hear these effects interpreted on tracks like ‘Endless’ and ‘Open Heart’ as melodies phase and slip out of time like an emotional Doppler effect.

This is also true of the soaring atonal synths at the peak of ‘Diamond Child’, which feel like the aural equivalent of eye floaters. These intuitive feelings and functions are a difficult thing to capture in sound, but Alan manages it beautifully and always makes the result feel warm and adventurous, heartfelt and epic.

A1 - Bitch - Late Nite 'DUB' Addict (Original Mix)
Is a Deep / Jackin House track with driving drum parts, deep old skool organ stabs, with lots of MPC style swing. The track is an energetic groover that could well be another hit for the (Late Nite 'DUB' Addict) who owns / runs (Digital Label) (DEEP 'N' DOPE RECORDS (UK).
If you like artists / DJ's such as (DJ Sneak / Phil Weeks / Black Loops / Dub Striker / Dumuir / Demuja / Kerri Chandler /Todd Terry / Kenny 'Dope' Gonzalez / Justin Martin / Scott Diaz / Sebb Junior + Filta Freqz) This track might be for you.


A2 - Fight For Your Rights - Late Nite 'DUB' Addict (Original Mix)
Fight for you right is most definately got the potential to become a future house anthem.
The track has allready recieved support and airplay from (London's Own) FANTASY FM
+ Groove City Radio (Scotland / Glasgow). This can only be described as deep / classic (U.S) style Garage / House / Banger, This Deep Underground but classic house track carries an abundance of energy, the track contains spoken vocals from a influential but controversial leader which gives the track an edge which just help build atmosphere and builds tension in the track - But definately in a good way. This track is a stand out groover that screams Anthem.
If you like DJ's like (Kerri Chandler / Mr V, Karrizma / Phil Weeks / Black Loops, Art Of Tones / Sebb Junior / Louis Vega, Mood II Swing / Dub Striker / DJ Pierre / Andres /Dan Shake then this energetic / warm (90's) style classic house number will be right up your street


B1 - Confessions Of A 'DUB' Addict - Late Nite 'DUB' Addict (Original Mix)
This track is a minimal style (Deep House) track that has been influenced by the early (Rave) era and early (Chicago + Detroit) House + Techno scenes. The track has a slightly darker edge but still remains jumpy and is definately made for the danecfloor in the early hours of the morning, and has a certain wharehouse 'Feel' to it. The track contains bleeps, stabs, and 808 + 909 compressed drums. The track contains poly rythums and drums which evolve and give alot of movement within the track. This is another "Big Track" from the (Late Nite 'DUB' Addict) that has also recieved support from the (legendary) FANTASY FM.


B2 - Heroes In Our Own Home - Late Nite 'DUB' Addict (Original Mix)
The (Late Nite 'DUB' Addict) states it is no secret that his productions are heavily influenced by the (U.S) Garage / House scene of (New York) in the early (90's).
An era that he said was huge in the way the house scene defined the (Deep House + Classic House) scene that is still massively current today. The DJ / Artis's that has influenced him the most from this era is (Todd Terry / Kenny Dope / Dennis Ferrer /
DJ Sneak / Mood II Swing + MK + Kevin Saunderson. This Hip / House track is the
(Late Nite 'DUB' Addicts) take on the Garage House scene / Hip House scene of
this special era!!!

You have reached the Infolines. Tonight, you will be given links to preview a reverence to the venues that helped shape an industry and generations of musical technological wizardry. ‘Packard’ features a compilation of cuts fitting to the experiences by those who once frequented the halls of Detroit’s urban decay.
Bendersnatch, kicks things off with a ‘Homage’ fitting of the mainstay venue paying reverence to the classic Detroit Techno sound. ADMN’s Machine 8 shows a lust for a bass grind synonymous with the engines machined in the halls of its urban decay. Remote Viewing Party’s minimal break ‘fuxwiddit’ whistles echo to us through the warehouse former machine shops. Maxlow makes sure you ‘heard’ what they must say pushing air from the subs ensuring you feel the room.
Keep an eye on this space and be sure to call in for the waypoint to the party.

Unglued’s reputation for producing serious bassweight across the D+B spectrum continues in 2020 with his ‘Zen’ EP. He spans through silky smooth sounds on ‘Zen’ ft. Cimone, bouncy funk on ‘Mic Strangler’ with the legendary MC GQ, sharp-edged grizzle on GLXY collaboration ‘Algorithm’, and tearout heat on the soundsystem slayer ‘Datafile’. Setting things in motion is the lyrical weapon ‘Mic Strangler’, with OG host and MC extraordinaire GQ, who’s spent three decades leading the game. Unglued deals out damage on the beat with MC GQ’s playful twists, wrapped up in a big bruiser of a bassline.

Title track ‘Zen’ is a mesmeric stream of atmospherics, rolled out in perfect tandem with the angelic vocals of rising singer/songwriter, Cimone. GLXY joins the fold for ‘Algorithm’ - a techy rattler that’s stripped back in design but packs a punch. Rounding off the EP is the darkest addition, ‘Datafile’, Unglued takes no prisoners as he unleashes this lethal stepper. Unglued has had a steep and steady rise in drum & bass after signing to Hospital Records and releasing his sought after solo material, as well as his iconic remix of High Contrast’s anthem ‘If We Ever’.

This infamous rewiring caught the attention of major players, from Andy C to Annie Mac - who also selected his track ‘Born In ‘94’ as her Hottest Record in 2019 on BBC Radio 1. Unglued’s jungle knowledge has him in regular international demand, in 2019 alone he tore up sets at Glastonbury, Rampage, Boomtown, Let It Roll, ADE and on Med School’s final tour across Australia and New Zealand. He’s showing no signs of slowing down in 2020 with back-to-back bookings, including support at Wilkinson’s London headline show, Kings Of The Rollers’ Printworks Royal Rumble showdown and Hospitality On The Beach 2020.

The sickest French band, a trio called France, drums, bass and amplified hurdy-gurdy. They only performs live, in the middle of the audience - turned in to face each other - full on smoke machines and strobes. And they play only one ‘song’ for the duration of their hour-long set. And it’s the most transfixing live experience of intense physical and mental focus, and there is something of early rave too, the togetherness, the energy, the euphory. The distorted hurdy gurdy plugs France’s sound into the country’s history of folk music and popular festivities, of communal trance and immersive pleasure. The rhythmic basis is pretty much the same throughout the whole live. One doesn’t need to actually be tripping balls for the auditory illusions to start coming thick and fast. Those who’ve stayed for the whole duration of their performances know they’ve shared something. However disparate the phantom forms each might have discerned in the midst of the howls and groans. Gigs like this you leave feeling you’re not quite the same person who went in, even though you’d be hard-pressed to pinpoint precisely what has changed. Far Out Far West was the band’s first gig outside of their usual comfortable friendly circle and thus was perceived as a somewhat hostile environment. This was where they met the fellows of Les Potagers Nature who will later release France’s debut untitled album. One certainty remains at least, that there is still a France we can believe in. David McKenna (The Quietus). Sales Points: - New album from trio France - All previous releases now sold out and sought after - For fans of drone, rural trance, stoner, psychedelic - 131st release on Mental Groove Music, home of WRWTFWW

This release represents the first original Zion Train album in 5 years and features 9 vocalists alongside the extremely talented musicians. Vocalists include Cara, Michel Grena Prince Jamo and Rider Shafique whilst amongst the musicians are such luminaries as
Paolo Baldini, Don Fe and Gianni Denitto.

Zion Train are working alongside the Stop Ecocide and Extinction Rebellion campaigns with the release of this music to help attempts to build a brighter future for our planet - to this end they are reprinting the Leap Manifesto authored by Naomi Klein and friends with this release.

Red Vinyl

Directly influenced by the film noir tradition and the hardboiled detective novels of yesteryear, Aging craft gloom heavy mood music that aspires to create a cinema without image. ‘Sentenced To Love’ is the pinnacle of the band's work.

Led by David McLean, Aging’s fourth album is a direct continuation of the music he was commissioned to make during his 2017 Samarbeta Residency with The Crime Scene Ensemble, a 15 piece band of actors and jazz musicians formed to live soundtrack the short stories of pulp fiction writer and collage artist Phil Carney. Chronicling tales full of obsession, longing, double crosses and murder, the same thematic and melodic gravitas is present in ‘Sentenced To Love’, largely due to a handpicked selection of musicians from Manchester’s avant-garde and experimental music scenes being involved in both.
 Whereas previous records by the band have largely been improvised, the six brooding scenes that complete ‘Sentenced To Love’ reveal a new compositional rigour and emotional weight, whilst still retaining pockets of nocturnal improvisation, each carefully crafted to create their own distinct and filmic sound world. From the low lit, dive bar blues of ‘Nights In Amber’ to the gun out chase theme of ‘The Trapped Man’, the nameless cowboy ghost story ‘A Shadow On My Name’ and the redemptive odyssey of ‘Cursed With The Thirst’, Aging’s detailed mise-en-scene full of brass, double bass, simmering drums and reverb drenched guitars conjures the pantheon of noir cinema. This is no truer than on the album’s title track, a vampiric torch song whose crescendo soars with Ali Bell’s lamenting, tremulous vocals, which act as a midnight confession of a doomed romance.

In an age where most musicians are attempting to free themselves from limitations, Aging’s ‘Sentenced To Love’ stands proudly as a genre record, one evoking the tradition of the jazz ballad, designed to swallow the listener into the dark cascade of its drama.

Nils Frahm, born in 1982, had an early introduction to music. During his childhood he was taught to play piano by Nahum Brodski a student of the last scholar of Tschaikowski. It was through this that Nils began to immerse himself in the styles of the classical pianists before him as well as contemporary composers. Today Nils Frahm works as an accomplished composer and producer in Berlin. In early 2008 he founded Durton Studio, where he has worked with Peter Broderick and Dustin O' Halloran amongst other fellow musicians.

The three instrumentals, which make up his debut release 'Wintermusik' are piano led pieces, coloured with occasional celeste and reed organ parts. The record's equal measures of sorrowful refrains and uplifting passages, combined with a real intimacy that makes for an album you'll want to return to again and again.

The songs were originally intended as a Christmas present for friends and family, hence its winter release via London-based cinematic music label Erased Tapes. As the curator of the Swedish boutique label Kning Disk's Piano Series, Peter Broderick invited Nils to record a new Nils Frahm, born in 1982, had an early introduction to music.

During his childhood he was taught to play piano by Nahum Brodski a student of the last scholar of Tschaikowski. It was through this that Nils began to immerse himself in the styles of the classical pianists before him as well as contemporary composers. Today Nils Frahm works as an accomplished composer and producer in Berlin. In early 2008 he founded Durton Studio, where he has worked with Peter Broderick and Dustin O' Halloran amongst other fellow musicians.

The three instrumentals, which make up his debut release 'Wintermusik' are piano led pieces, coloured with occasional celeste and reed organ parts. The record's equal measures of sorrowful refrains and uplifting passages, combined with a real intimacy that makes for an album you'll want to return to again and again. The songs were originally intended as a Christmas present for friends and family, hence its winter release via London-based cinematic music label Erased Tapes.

As the curator of the Swedish boutique label Kning Disk's Piano Series, Peter Broderick invited Nils to record a new album of piano improvisations the result is 'The Bells', which will now be released on Erased Tapes in the UK, Ireland and North America. Perhaps the most stunning aspect of what on the surface appears to be an entirely pre-planned and composed body of work comes with the discovery that these pieces were in fact improvised.

These two friends share a common affinity in that they both possess an absolute mastery of melody, composition and performance able to deliver with devastating effect. The modest Mr. Broderick states 'I remember thinking to myself as I lay there stunned, that I could spend ten years trying to write an amazing piece of piano music, and still it would never be half as good as these improvisations!'

Recorded in a rented, beautiful old church in the heart of Berlin over two nights, Nils 'just played' with the occasional instruction from Peter 'I spouted "Make a song using only the notes C, E, and G", or "Make a song that you could imagine me rapping over the top of" (Track 8 'My Things'). At one point I was even inside the piano, laying on the strings, asking him to make a song called 'Peter Is Dead In The Piano'. The resultant work 'The Bells' shares the same excitement and air of playfulness.

For a musician this early in his career, Frahm displays an incredibly developed sense of control and restraint in his work. As the recognition continues to grow for both, 'Wintermusik' and 'The Bells', we are pleased to announce that 2010 will also see his next album release on Erased Tapes.

Columbia Records release the eagerly anticipated new album (first in seven years) from US indie/rockers. This is the band's sixth studio album and was recorded at Shangri-La studios in Malibu (produced by Rick Rubin). A 9 track album, which includes the singles "At The Door", "Bad Decisions" and more. Released on vinyl and CD.

Recent UK promo trip and live date. Ads, features, interviews and reviews across all press. Video plays at MTV/Vevo. Radio support across R1, R2, 6Music, Radio X, Beats 1, Absolute, Virgin, ILR. Radio ad campaign. Online/social media activity. Poster campaign and database mailout.