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Mid last century. Commercial Music is a machine that generates dances that run each other over in the urge to reach the audiences and mark their place in time and history.

A never-ending list of choreographies co-habit: hully gully, madison, rock, limbo, twist and a long etcetera, until a new dance, bossa nova takes over the dance floors. Joao Gilberto, Tom Jobim or Vinicius de Moraes reach stardom in Brazil with this mix of samba and jazz, but the genre doesn't explode internationally until a few American jazzmen decide to import it. From there it reaches Europe, via France, thanks to Sacha Distel, the first on the continent to record an EP completely dedicated to this phenomenon.

It is 1962.

Shortly after in Spain, the number of artists including original or adapted tracks in their albums, escalate: Tony Vilaplana, Mina, Duo Dinámico, Latin Combo, Los 4 Brujos, Gina Baró, Grau Carol, Salomé or Marisol, who popularizes the new trend by recording 'Marisol rumbo a Río', a blockbuster film partially filmed in Brazil. The maestro Augusto Algueró writes the films soundtrack.

For this compilation we have consciously dug into the archives of three Barcelona based labels like Belter, Discophon and Olympo to serve Spanish sung bossa nova songs that have never, inexplicably, been released on vinyl, all songs are recorded during those two (musically speaking) prodigious decades: the twentieth centuries sixties and seventies.

AE Productions in association with In Effect Recordings are proud to present the next installment from Philadelphia legend Phill Most Chill, this time with beats provided by Nova Scotia based DJ/Producer Jorun Bombay, under the guise of Jorun PMC - with a tip of the hat to Hip Hop legends Run DMC. If you've heard either of Jorun's incredible Rock The Discotek mixes you may have heard one or two tracks from this 12' in their early form as parts of those mixes. Here at AE Productions we thought it was a shame that they weren't available as songs in their own right on vinyl so here they are with an extra track for good measure and with more of Phill Most Chill's trademark artwork making the sleeve look incredible!
The EP opens with Can't Stop Won't Stop and gets straight down to business. Phill Most Chill starts on the first beat of the first bar almost as if he can't wait to rock the spot. This is pure party Hip Hop fueled by uptempo Disco Breaks, but don't be fooled by that statement - this is no crossover rap music, we mean the type of party that could be found in parks in New York in the early days of Hip Hop. Listen for a whirlwind of extended turntable action from Jorun who slices like a food processor throughout.
Magic Disco Machine stays with the classic Disco Break sound with various nods to Block Party Classics which create a great club friendly track. Again with some serious turntable skills from Jorun to complement Phill's hype rhymes, this is the brand new exclusive track for this release and has all the credentials of a summer party classic.
The final track here The Champ stays with the classic block party theme but this time utilising a raw Funk groove that will be a surefire hit with B-Boys and B-Girls worldwide and shouldn't fail to get any Hip Hop party moving. This could be considered the most underground sounding of the three tracks assembled here.

Confused Machines' are excited to release an E.P by the composer and producer Ishai Adar (aka Oosh). Adar started his musical journey in the mid 80's as the keyboard player of the legendary Israeli post-punk band 'Nosei Hamigbaat', together with his high school friend Ohad Fishof.After his withdrawal from the band, he released 'Her': An innovative, experimental, electronic dance album, rare in the Israeli music scene of the late 90's. In this album, he fused 80's synth-pop influences ('Depeche Mode', etc.) with a cutting edge techno sound, which still sounds up to date. This album influenced the local underground electronic music scene of the late 90's.Following the album 'Her', Adar became a prominent composer and created soundtracks for motion pictures such as: 'Year Zero' (2004), Oscar-nominated 'Beaufort' (2007), 'A Film Unfinished' (2010), 'Bethlehem' (2013) and 'Mr. Gaga' (2015).In his current project '12', Adar revisits the synth-pop sounds which shaped his musical taste. He infuses profoundness and character to musical genres such as new-wave, Italo-disco, Euro-pop and contemporary dance music forming - multi-layered, euphoric and romantic melodies. A killer acid-techno remix of the track 12 by the legendary Rude 66 is included in the E.P.

The Disco music fever was also present in the Rumba and Flamenco scene of Spain in the late '70s / early '80s. Producers, sound engineers and studio musicians, collaborated closely with flamenco / rumba singers and bands, highlighting the productions that genius Josep Llobell did for the Belter label in Barcelona. Here you got 12 disco-rumba-flamenco bombs, a time machine to the boites and discotheques of the late 70s and the perfect soundtrack to an imaginary Kinki' cinema soundtrack.

Featuring Sangre Gitana, Rumba 3, Tobago, Los Gachós, La Marelu, El Turronero...

Insert with liner notes by Txarly Brown and photos.

For the newest L/F/D/M drop and his first for Beat Concern, Richard Smith serves up a plate full of his deepest, sizzling cuts that bring dance floor heavy workouts and run the field between acerbic Electro, off-kilter dark room EBM and woozy bass workouts.

After muscular releases on Optimo, Clandestine Traxx and Ecstatic plus regular collabs with Dom from Factory Floor as Green Gums / Bronze Teeth on Diagonal and Opal Tapes, 'Tea Ceremony' opener 'Fang' moves the L/F/D/M project forward by throwing the listener straight into the eerie fairground feels, laid over metallic acid baselines, microscopic hats and pounding kicks that seek to overwhelm as well as inform. The giddy aggression of 'Gold Foil' folds crunching distortion into 120 bpm jacking Chicago territory before closing Side A with the tight ethno-percussive jammer of 'Cylinders Vari II'.

The second side carves a path that starts at the minimal bouncing bass and hardcore of 'Ox' via heavy acid euphoria of 'Skin Slips' that needs to find itself in the golden 3-4am slot on a sticky dance floor this summer, before winding down into the Industrial machine funk of 'STR8 Thick' that clips and clangs all the way.

Mateis e. aqir is an artist currently based in Catalonia, living by the sea. Shortly after releasing his debut 12" he's back to share a 10-track LP recorded sometime during 2017. Psychedelic cuts from different moments and places, precisely reflecting his state of mind and inquisitive nature. Mateis develops an original technique based on the usage of subtle synthesis, drum-machines, field recordings and acoustic instruments, including his own percussion and bass guitar. Hope you enjoy : )

Fernando Sanz has been steadfastly dedicated to the craft of beats and breaks since he was a young sprout of 14 years in the sun baked southern Spanish port city of Algeciras. Under the imprint Orbe Records, Sanz has cultivated his own thriving techno community as artist and label head. Since 2014 Orbe Records has been lashing the block rocking techno of Sanz's comrades Eduardo De La Calle and Steve Stoll, but mostly of Sanz's own prolific moniker, Orbe. As DJ and producer Orbe keeps the mood surreal and dreamy while deploying understated drum machine patterns to hammer the platonic solids that keep his beloved community in tact.

His forthcoming 3-track 'Hohenheim' EP for the Barcelona label, Lone Romantic, keeps the Orbe buzz rolling. 'Hohenheim' kicks the record into motion with the resounding thuds of a multilayered big-room kick while bright synths and sharp edged sci-fi machinery climb the walls in obscure and narcotic patterns. 'Shimano's Tribute' is a study in the fundaments of techno that lull the listener with an extended 4X4 intro into a state of high mental absorption, just in time to drop the centre piece of the track, an eloquently ovular stutter sliced percussion sample. 'Edelweiss' sets the record on a outward course for somewhere between the hypnotic dance floor bliss of a pre-dawn Sunday morning and the impending angst beholden to glimpsing the dystopian sprawl of civilisation when flying out Monday morning.

Halleluja Mystic Garden contains two long sides of blissed out, super tight AMT jams that somehow stretch into the future while staying strongly rooted in the group's celebrated psychedelic history. Hallelujah!, another essential AMT classic including vocals from Cotton Casino ! First pressing of 500 copies. Packaged in a heavy duty single pocket sleeve with silver metallic inks. Part 2 will be released later this year on Important Records.Cotton Casino : voice, astral mama
Kawabata Makoto : guitar, fretless bass, bouzouki, organ, rhythm machine, electronics, tapes, speed guru Higashi Hiroshi : synthesizer, noodle king Mitsuko Tabata : guitar, guitar-synthesizer, voice, kisses & hugs Satoshima Nani : drums, another dimension S/T "Wolf" : bass, tapes, space & time recorded at Acid Mothers Temple, Jun. 2016 - Mar. 2017 produced and mixed by Kawabata Makoto

Earthboogie's debut album, Human Call, rightly earned praise on its release earlier in the year, with listeners responding positively to its sticky and humid dancefoor fusions of African and South American rhythms, chunky dub disco, retro-futurist house,
spacey analogue electronics and sun-kissed Balearica. Hot on the heels of that release, Leng Records has sourced new remixes of two album highlights - 'High Minded Man' and 'Silken Moon' - from Running Back label boss Gerd Janson and synthesizer-wielding Balearic boogie stalwart Pete Herbert.
It's Janson who steps up frst, offering up two total overhauls of 'High Minded Man' that re-cast the undulating, Afro-fred original as a dreamy, drum machine-driven chunks of vintage deep house goodness. Where Earthboogie's album version bobbed
and weaved around horns and live bass, Janson's Deep House Mix places the duo's original chanted vocals above a bouncy, polyrhythmic rhythm track, Larry Heard style chords, Kwaito-esque electronic bleeps and a smooth, soul-stroking bassline. Janson's
Deep House Dub, which strips out the vocal for a more sparse and ethereal listening experience, is also included on the EP.
The EP's other remix comes from sometime Reverso 68 member Pete Herbert, who gets his mitts on previous single 'Silken Moon'. While he retains some key elements from Earthboogie's original - specifcally the vocals, Afro guitars and house stabs - he
naturally adds a little of his own rubbery electronic disco favour via spacey synthesizer fourishes and a massive electronic bassline that brilliantly tracks the rising and falling
movement of the main melody. It has the feel of a terrace anthem in the making.

This four-track EP named 'Curiosity' from techno duo, Abstract Man marks the beginning of the new On the 5th Day imprint, the latest branch to extend from the heart of the London-based underground techno project. The final outputs of a year-long creative journey in the studio with a focus on analogue machines, 'Curiosity' (including Mike Parker remix) represents a chapter of exploration into sound design and manipulation, and the unity and evolution of two separate musical identities through the collaborative process.

The debut release from Abstract Man begins with 'Curiosity' itself, portraying the first stages of the pair's collaboration and inspired by a shared appreciation for driving, hypnotic techno. Mesmerizingly linear and highly textured, the components forming Curiosity's foundations each command their own space, separately evolving with clear purpose whilst interacting in a compelling, ritualistic dance to lock in the listener. Its overall progression, including an emerging chant-like drone, signifies the manifestation of a new artistic voice, all together making this a symbolic achievement for Abstract Man, as well as a compelling and highly effective tool for the dance floor. The subsequent Mike Parker remix of the same track is another striking portrayal of his distinguishable sound and style, whilst developing to present something surprising and perhaps unexpected from the techno veteran, making this a must for collectors of his work.

Then follows 'Proposition', exploring the powerful possibilities through simplicity and symbolising the 'less is more' approach which fuelled much of the first chapter of Abstract Man's time in the studio. The joining of its elements creates a dark, seductive and unwavering tension, making it the ultimate tester for any venue's sound system!

Finally, 'Exploration' steps in a with an uplifting vigour and propulsive, rhythmic magnetism, rounding off the EP nicely with its feeling of freedom and completeness, leaving a sense of intrigue in readiness for their next instalment.

A warm human hand sculpts the icy machine-like sounds into a meticulous harmony over undulating bass and entrancing snares, clasps and industrial heartbeats. This continuous circulation of sound and its ever beating rumbling-flexed sub bass found in Rebecca Goldberg's newest batch of acid-techno arrangements effectively replicate the natural functions of omega 3, or -3, fatty acids albeit in musical-form. Whereas ingesting the special carboxylic acids found in plant and marine oils woll fortify your vascular system into a well-oiled machine, Goldberg is using a table of various analog machines to manifest a similar, yet uniquely propulsive flow of energy through a composite of frenetic hi-hats and trudling kick drums, looping under spacey Rolands waving out reverb splashed frequencies coiling synthetic intonations.

The beats reach the feet, the bass unlocks the hips and the synths pull and twist the shoulders, staving off stagnation or decimating a collective clotting - we are loosened in restorative ways to the sleek assemblages of one of Detroit's leading DJs/composers on the electronic music scene. Goldberg's 25-minute odyssey is unceasing in its sinuous stream of mesmeric techno music, as if powered on by relentless agents found in the healthful acids for which this EP gets its title.

Goldberg has distinguished herself by cultivating the seeds of techno into something that designedly meditates on the enduring vitality of the organic and the holistic in our lives--even as our socialization, and maybe even our dance floors, are predominantly digital in character and operation. -3 continues to stimulate our brains in two ways, just like 2017's 313 Acid Queen. Her previous record used field recordings and found sounds from the shores of Detroit's Belle Isle and other neighborhood sidestreets to thread the simple majesty of the flora and fauna that sustains even if at the corners of a concrete metropolis. -3 is bringing you from the outdoors into the inner workings of your body--particularly the blood cells that act as fuel for your limbs, your lungs and your brain. It's the -3 fatty acids that keep your system strong and smooth. It's Rebecca Goldberg's latest acid techno fever dream that keeps you perceiving that (and other things) even as you dance...

(180 gram pressing, blue coloured vinyl) Musique Pour La Danse presents CRON aka TODD SINES 'Scalable Architectures', the classic 1995 EP remastered. For fans of Dopplereffekt, Drexciya, Keith Tucker, Mid-West Electro A highly sought after EP equally blowing your mind and the floor. Cron is a project where Todd Sines focused on his long-running passion for electro music by exploring a specific set of machines composed of a Synton Vocoder SPX216, a Yamaha DX 100 and an Arp Avatar in a vibe completely different from his .xtrak alias or productions released under his own name. The record visual presentation was equally important as it features 3-D objects created Todd Sines through intentional misuse of mathematical functions, creating unique forms and 'scalable architectures'. Please find the complete 1995 liner notes below for more informations. Comprising of an intro + five highly danceable futuristic electro tracks of deep, sharp-edged electric grooves and hypnotic warm cuts that are each an exploration of a 'less is more' approach to production.

Taking a turn to some of its roots, Emotional Rescue offers a reissue of Ramjac Corporation's UK house/breaks anthem Cameroon Massif!. First released on the increasingly cult-status Irdial Discs in 1990, this was very much the sound of the big bang explosion of Acid House morphing and splintering, as subsequent multi-genres developed, formed, imploded and reformed in new ways that still subsists today.

Within the melting pot of anything goes, chemically-enhanced optimism that spread across the UK during that return to the summers of love from 1987 onwards, the nascent sounds coming from Chicago and Detroit were mixed with a hybrid of 80s British influences, taking in European synth pop, US electro, new beat, hip hop and reggae. Out of this appeared a new sound, mixing that love of techno and house with dub bass and break beats into a proto-jungle swirl.

Like many growing up through the ever-evolving 60, 70s & 80s British music scene, Paul Chivers' early years of learning piano and guitar, moved from Beatles era pop to take in punk, jazz and anything an eager musical mind could explore. Developing a long-term interest and study of Cuban and Afro-drumming, his acquisition of an Atari and sampler soon moved to programming of both drum machines and TB303 and with that, Ramjac Corporation was born.

Playing live at some of the earliest raves in 1988, as often through luck and "right time, right place", including the infamous Back To The Future and Energy parties, Ramjac went from playing from 50 to 10,000 ravers in a matter of months, as the nation was gripped, depending on your cultural standing, by either a mixture of drug apocalypse paranoia or ecstatic celebration.

It was a meeting with Akin Fernandez, founder of Irdial Discs, that led some of the first studio experiments and creation of Cameroon Massif!. Utlising Akin's in-house studio and production skills, alongside Chivers' jazz influenced outlook of improvisation over arrangement, the track took shape, mixing the live programmed percussion, heavy doses of phase, delay and reverb and Sun Ra inspired keys that resulted in a number of mixes of Massif!.

Collected here are the original 12" "Massive" and "Massing" mixes, plus a special live version taken from the "Live At The Brain" reunion gig of 2009. The sought after 1990 versions and original Live mix are taken a step further with this 13 mins + mix, in essence a resampling and remixing reversion with didgeridoo and live on mic MCing, that gives a real glimpse of those early live sets. With more Ramjac Corporation material upcoming and a live reel-to-reel show appearing soon, the return of Cameroon Massif! is now.

Producer Okzharp and vocalist-artist-dancer Manthe Ribane both hail from South Africa, where Manthe still resides, while Okzharp lives in the London where he is a DJ and producer, initially cutting his teeth in LV, who in 2007 were one of the very first acts signed to Hyperdub. Manthe has been at the forefront of South Africa's cutting edge fashion, art and dance worlds for over a decade. After leaving LV, Okzharp and Manthe started collaborating, going on to release two well-received EPs on Hyperdub, 'Dumella 113' and 'Tell Your Vision', recorded in Joburg and London respectively. The recording of 'Closer Apart' reflects the title. Okzharp says 'Most of the music came out of headphone moments in hotel rooms, planes and airports in the brief periods of time that we spent together.' Describing Manthe as a co -producer, he continues 'She selected instrumental sketches and we developed them together, sometimes just keeping the bare bones or a melody or rhythm, or trying different elements or sounds.' Even though the album was built long distance, the short periods they spent together were the ground zero for creativity. Okzharp recalls 'One particular moment in Milan last year, we had a whole free day before our flight so we visited the Salone di Mobile design show. We were so inspired by an installation there just walking around, listening to the amazing soundtrack. That evening our flight was delayed, so we sat on the floor of the airport terminal putting musical ideas down for 'Time Machine' on the laptop speakers and writing the lyrics. "Tic Toc time, we'll be fine / Airport queues, cerulean blues / Viper trails cross the skies / Lights reflect in your eyes...' ' 'Closer Apart' has a softness and openness that contrasts the tougher sound of the EPs. Manthe explains, 'The new music is a 360 turn, an expression of my 'Lady' side. I grew up listening to Jazz, Classic and Gospel, I am a very soft spoken person, and it resonates with being confident with that. It's been crazy finding balance and finding a smart way to strengthen my weaknesses, I had to trust the process.'

On Video Age's forthcoming album Pop Therapy, out June 22nd via Inflated Records, longtime friends and songwriting partners Ross Farbe and Ray Micarelli conjure up a thrilling assortment of experimental pop songs. Using a palette of vintage synthesizers and the propulsion of a Sequential Circuits Drumtraks drum machine, the New Orleans-based group's buoyant synth-pop echoes from some imagined vision of the past, leaning on an invented nostalgia to soundtrack an ideal future that never arrived. Video Age brings that future fully to life on Pop Therapy. Emerging from New Orleans' DIY scene and label collectives, Farbe and Micarelli were intrigued by each other's songwriting among several curiously satisfying guitar pop bands. As a producer and prolific engineer, Farbe has helmed some of the most exciting releases from genre-pushing New Orleans artists, whose singular visions are made possible with his gifted ear and love of tape recording. Micarelli's talent for crafting simple, tangible melodies complements Farbe's studio world-building, letting ideas drift until they emerge into impressive arrangements. The pair's seemingly effortless gift for crafting earworm hooks was glimpsed on their 2016 debut Living Alone, a gorgeous collection of guitar-driven melancholy. On Pop Therapy, they're joined by Duncan Troast, Nick Corson and Jordan Odom, taking inspiration from the limitless possibility on sonic canvases of the late 1970s and early 1980s (Yellow Magic Orchestra, McCartney II, Donald Fagen's The Nightfly). Where Living Alone catalogued the solitude of reflecting on what was and could have been, the sentimental love songs on Pop Therapy gaze longingly at the likeliness of a brighter tomorrow.

To Follow A Long Awaited Single From The Legendary D'arcangelo Brothers, Happy Skull Has Turned To A Friend Of The Family And Former Bristol Scene Stalwart, Bass Clef.

The Long-serving Producer First Rose To Prominence Via A Series Of Inspired, Genre-mangling Albums And Singles On Blank Tapes, He Has Since Gone On To Deliver Hard-to-pigeonhole Material On Fellow Bristol Labels Punch Drunk And Idle Hands, As Well As Pan And The Trilogy Tapes Amongst Others.

Those Versed In His Bulging Back Catalogue Will Notice Familiar Stylistic Traits Throughout - Think An Endearing Looseness Built On Hardware Manipulation And A Playfulness Rarely Seen In Modern Dance Music. For His Happy Skull Debut He Takes On Acid House, To Great Effect. This Is Most Evident On Flipside "acid Hearse", A Constantly-rising Roller Built Around A Nagging, Tb-303 Style Riff And A Swinging, Off-kilter Drum Machine Rhythm.

Echoes Of Acid Can Also Be Heard In The Sparser A-side, "charnel House", Where Sharp, Psychedelic Lead Lines And Mind-bending Electronic Motifs Weave In An Out Of A Crunchy Rhythm Track To Create A Track That Is As Fun As It Is Weighty.

GMT (Phil Moffa, Guy Gerber and Seth Troxler) heads of the A side with a bang. The haunting strings of the original wind their way through drums reminiscent of jacking 90's house before the
drop of the classic Decompression bassline, chopped and spliced sure to make your mid section feel nice.
Mike Shannon touches down with a modular synth rework that takes the original and twists it into a modern acid trip and groove signature of his programming style. Like surfing a spaceship through a technicolor wormhole to planet funk.
Deadbeat shows his strength with a spaced out dub version. A master of his craft he delivers a reverb drenched, morphing grove that will transport your head to an indica haze.
Natalia Escobar stretches the pulls the track into an intense ambient time machine. This escape into the 5th dimension will induce shivers down your spine and make your 3rd eye burst into flames.
We hope you enjoy the work of these talented navigators! Safe travels :
Volume 3 is still to come and will feature DJ Rush, DJ Sodeyama, Quenum and S Katz (a.k.a.Katsuhiko).

Here it is !

The long-awaited new LP from former Dubtribe Soundsystem shaman Sunshine Jones

Far from basking in Bay Area bliss, Sunshine has been busy redefining his organic approach to music making and sound synthesis into a rich and textured fresh take on the House blueprint - best realised in his elaborate & ever-evolving live shows.

Assembling these improvised pieces into a cohesive whole, that might well just be the best vinyl based representation off a full night out you're likely to hear this year.
From the emotive opener to last year's anthemic 'Fall In Love, Not In Line' closer, Home represents the fluid but refined garden of sound that's grown from Dubtribe's rich 90's foundation.

The artwork on this splendidly presented gatefold LP is a photograph of Sunshine performing live at the Garden Party in San Francisco by The Holy Mountain, the collage is done by Sunshine and the design is by Fernando_Graphicos. Accompanied by detailed track notes, with all equipment used to make the record alongside sonic schematic. Man and machine aligned for total transcendence !


SINGLE GATEFOLD LP

2017 saw the arrival of Pin Up Club here at the Bordello with a superb three tracker, Friends of the Vortex. Now the Dutch partnership are back. This time a quartet of tracks has been selected to produce The Forever Machine. The bold bars of Friends of the Vortex, the romantic rushes and soundtrack silhouettes are all present with new elements being introduced to further develop a truly unique style. Breathy vocals and melancholy are countered by warm synthlines in the brooding 'Valis' before the lonesome 'Is There Anybody Out There' blooms into a daringly bright work of disco dimensions. Opening the flip is the title piece. Smouldering, 'The Forever Machine' burns with quivering chords that rise ever skyward on a column of tight rhythms as lyrics spiral ever upward. 'A Deepness In The Sky' is a perfect illustration of Pin Up Club's ability to transform burgeoning sombre sounds into tempered elation, rumbling strings and fragile percussion intermingling for a heady finale. Welcome back to Bordello A Parigi guys, welcome back to Pin Up Club.

Lloyd Miller, Jahrgang 1938, ist ein US-amerikanischer Musikethnologe, Arrangeur, Komponist und Multiinstrumentalist. Millers Karriere begann in den 1950ern mit Dixieland. Aufenthalte im Nahen und Mittleren Osten weckten sein Interesse an orientalischer und speziell persischer Musik. Das machte aus Miller einen Pionier des Oriental-Jazz. Während der Siebziger hatte er als Kurosh Ali Khan sogar eine eigene Fernsehshow im Iran. Die Sendung lief sieben Jahre und brachte dem Musiker eine große Popularität ein Neben diversen erkussionsinstrumenten spielt Miller Bass, Flöten, Kamantsche, Klarinette, Oud, Piano, Santur, Sehtar, Tabla und Zarb. 2010 veröffentlichte Miller mit der britischen, vom Afrofuturismus angehauchten Spiritual-Jazz-Band The Heliocentrics ein gemeinsames Album, das Strut nun in einer limitierten Auflage von 1000 Exemplaren als Doppel-LP neu auflegt. Hier beweist das Londoner Musikerkollektiv, das im Jahr zuvor (2009) mit Mulatu Astatke, dem großen Ethio-Jazz-Veteran aus Äthiopien, ein viel beachtetes Werk in Umlauf gebracht hatte, einmal mehr seine musikalische und instrumentale Vielseitigkeit

In 2017, Benedikt Frey released his breathtaking debut album with the ESP Institute, Artificial, and now as we finally come up for air, we're more than proud to offer an eclectic collection of remixes that's nothing short of essential. Side A leads with H For Hysteria remixed by a beloved hero, Nicolas Chaix a.k.a. I:Cube, one of the most prolific and respected electronic artists Paris has to offer. His touch is considered and elegant, imbuing the track with a tasteful 303+808 backbone to support an array of patiently floating melodies and angelic vocal samples. Following this, Tolouse Low Trax of Du¨sseldorf's infamous Salon Des Amateurs remixes the same track, stripping instrumentation down to a skeletal palette of bass guitar and stabbing percussive punctuations, chopped up inna minimalist stylee that has become his beat-making signature. Side B leads with a remix by another Du¨sseldorfer, DJ Normal 4, whose re-imagination of Private Crimes takes us for an even more menacing ride, half-timing the tempo and skillfully rolling out a barrage of jungle snares from rave days of yore. Closing the release is the most aggressive remix of them all, a bonafide techno beatdown of the same track by DALO, the co-producing artist to whose haunting vocals lace the original version. Her dark vision opens with sparse industrial drums that blossom into a driving assault of raw machinery, definitely not for the faint-of-heart. An all-around solid release here, fun for all the family... more than just the tip!

'syncho Sound System & Power' Features The Music Of Nigeria Fuji Machine,
Which Includes Some Of The Country's Finest 'fuji' Master Drummers And Singers, And Is Newly Recorded By Soul Jazz Records In Lagos, Nigeria. Fuji Is The Heavily Percussive And Improvisational Style Of Nigerian Popular Music, At Once Modern And Yet Deeply Rooted In The Traditional Islamic Yoruba Culture Of Nigeria.
Here On This Album Nigeria Fuji Machine's Striking And Powerful Lead Vocalist Taofik Yemi Fagbenro Soars Above A Wild And Energetic Backdrop Of Polyrhythms Played On Traditional Talking Drums, Trap Drums, Electronic And Street Percussion To Create A Powerful Wall Of Intense Sound. Fuji Is A Hi-energy Street Music, Heavily Percussive Which Evolved Out Of The Islamic Celebration Of Ramadan, Which Became A Major Event In Mid-20th Century Lagos. Groups Of Young Men Walked Through Muslim Neighbourhoods At Night Singing Improvised 'wéré' Music To The Accompaniment Of Pots, Pans, Drums, Bells
And Anything Else Available, Waking Believers For The Early Morning Prayer. By The Early 1970s This Music Had Crossed-over Into Popular Nigerian Culture Where It Came To Be Known As Fuji, First Made Popular By The Artist Alhaji Sikiru Ayinde Barrister, As The Music Began To Be Performed Commonly At Parties And Social Events. In The 1970s And 1980s Three Nigerian Artists - King Sunny Adé, Chief Ebonezer Obey And Fela Kuti - All Secured International Major Record Deals Bringing Popularity To The Nigerian Musical Styles Of Juju (adé And Obey) And Afro-beat (fela Kuti's Unique Mixture Of Highlife, Funk And Jazz) Abroad, But In The Process Ignoring Much Of Nigeria's Rich Musical Landscape. Fuji Is, Alongside Highlife, Juju, Afro-beat, Sakara, Afro-reggae, Waka, Igbo Rap, Apala And Numerous Others - One Of These Central Styles Of Nigerian Music. The Singer Barrister Described The Music As Follows: 'fuji Music Is A Combination Of Music Consisting Of Sakara, Apala, Juju, Aro, Afro, Gudugudu, And Possibly Highlife.' Juju Performer King Sunny Adé Described The Difference Between The Two
Styles Of Fuji And Juju Somewhat Competitively Thus: 'fuji Music Is More Or Less Like My Music Without Guitars. It's Like I'm Singing In A Major Key And They Are Singing In A Minor. The Music Itself Is The Music Of Juju Music.' Today Fuji Remains A Powerful Popular Music With Deep And Powerful Islamic Roots
Which Continues To Modernise And Attract New Generations Of Young Nigerians And Nigeria Fuji Machine's 'syncho Sound System & Power' Is A Powerful And Intense Musical Experience. This Album Is Released As A Limited-edition Heavyweight Vinyl Edition (+free Download Code), Deluxe Cd And Digital Format.

New Zealand based EBM auteur Body Beat Ritual makes his debut on Bergerac with an incendiary EP of full throttle intense dark wave bangers. Growing up in North West England immersed in hardcore punk and rave culture led to musical experiments and Body Beat Ritual is his unique splicing of both aesthetics.
Using a combination of hardware, audio samples and midi sequencing, Body Beat Ritual reclaims the moment when underground musicians in Manchester, Chicago and Ghent put down their guitars and picked up drum machines and sequencers bringing the intensity, rawness and aggression of the band environment to the dancefloor. Mortal Sin is a certified smasher. Absolute dancefloor decimation whenever it's played out. No more description necessary. No Mercy evokes the Lost Boys vibe with an equally high octane raw workout. Trent Reznor meets Jeff Mills at a DAF gig on a flatliner. The EP closes with Body Politics which lowers the tempo to a chuggier zone, with an ode to female empowerment which keeps up that Body Beat pressure and intensity.

Crosstown Rebels deliver their next album in the form of a masterful offering from Chic Miniature. The cosmic duo, Ernesto Ferreyra and Guillaume Coutu Dumont make a welcome return to the label with eight tracks of melodic bliss.Fourteen years in the making, a thread of mystery weaves its way through the tapestry of this melancholic LP. It's a true journey through a sublime sonic soundscape. Opening track Adormecido is shrouded in mystery, closely followed by Miso Drunky with its tribal drums and dramatic synth stabs. Kaléidoscope bubbles up next, swiftly followed by Tilt with its genteel cowbell. Then comes Año Uno the first track created back in 2004 with its impressive church-like bells. Suki Ni is twinkling and sublime that flows into the delicate groove of Let It Slide, which samples an ambient rain storm. The album closes on La Sandunga gracefully littered with plentiful percussion.Of the album, the pair explain how they were 'raised on old technology and integrated the newer technology in our everyday lives as it was developing' a fact that is clearly apparent upon listening to the album. They give a sonic hat tip to their 'love of melancholic melodies....almost always rooted in the past, but to us, no time is attached. Are the new machines dreaming about the past, or are the new ones contemplating the future that lays ahead'. The album proves their ability to fuse the new with the old to create an album bursting with timeless tracks.Ernesto Ferreyra and Guillaume Coutu Dumont's partnership is a true meeting of musical minds. Their first release was gifted to us way back in 2005- the Conexio´n Califa EP released on German imprint Raum Musik. Since then they've released on Musique Risque´e as well as a previous EP on Crosstown Rebels. Individually, they've released a plethora of music with Ferreyra also heading up his own label Loosen Up Records and Guillaume signing music to Musique Risquée amongst others.

Das vierte Studioalbum von Florence + The Machine, - High As Hope', führt Florence Welch musikalisch auf neues Gebiet, aber ebenso zu den Wurzeln zurück. Sie schrieb das Album in ihrer Heimatstadt London, wo sie ihr neustes Werk auch aufnahm. Sie nahm die Songs mit nach Los Angeles zu ihrem Freund Emile Haynie, mit dem Florence das Album erstmals co-produzierte. Danach mischte sie das Album in New York ab, wo die Aussicht auf die legendäre Skyline - oft im Kontrast zum Chaos in der Welt zum Albumtitel - High As Hope' inspirierte. Das Ergebnis ist der Sound einer Künstlerin, die sich ihrer sicherer und bewusster erscheint als je zuvor

Side A Tracks 1-4 1977 Spirit Of The Age Tour. De Montfort Hall, Leicester Band Line-up: Bob Calvert (vocals) Dave Brock (guitar, Vocals) Simon King (drums) Simon House (keyboards, Violin).

Side B Tracks 1-2 1979 Unknown Venue: Band Line-up: Dave Brock (guitar, Vocals) Huw Lloyd Langton (guitar) Simon King (drums) Tim Blake (keyboards) Harvey Bainbridge (bass Guitar). Side B Track 3 1982 Autumn Choose Your

Masques U.k. Tour Hammersmith Odeon, London. Band Line-up: Bob Calvert (vocals, Generator) Dave Brock (guitar, Keyboards, Vocals) Martin Griffin (drums) Steve Swindells (keyboards) Harvey Bainbridge (bass Guitar,

Keyboards) Huw Lloyd Langton (guitar) Nik Turner (saxophone, Flute). Side B Track 4 1978 Unknown Venue. Band Line-up: Bob Calvert (vocals, Generator) Dave Brock (guitar, Vocals) Martin Griffin (drums) Steve Swindells (keyboards)

Harvey Bainbridge (bass Guitar) Advertising In Record Collector, Shindig, Vive Le Rock

(180 gram pressing, black vinyl) Musique Pour La Danse presents CRON aka TODD SINES 'Scalable Architectures', the classic 1995 EP remastered. For fans of Dopplereffekt, Drexciya, Keith Tucker, Mid-West Electro A highly sought after EP equally blowing your mind and the floor. Cron is a project where Todd Sines focused on his long-running passion for electro music by exploring a specific set of machines composed of a Synton Vocoder SPX216, a Yamaha DX 100 and an Arp Avatar in a vibe completely different from his .xtrak alias or productions released under his own name.

The record visual presentation was equally important as it features 3-D objects created Todd Sines through intentional misuse of mathematical functions, creating unique forms and 'scalable architectures'.

Please find the complete 1995 liner notes below for more informations. Comprising of an intro + five highly danceable futuristic electro tracks of deep, sharp-edged electric grooves and hypnotic warm cuts that are each an exploration of a 'less is more' approach to production.

Drumphilia volume 1 is a rhythmic experiment that sits on the fault line between traditional instrumentation and analogue electronics. The project is a response to many years spent working with, learning about and listening to African and Caribbean percussion. Traditional rhythmic influences are combined with analogue drum machines and drum synths to create a hybrid sound that continues in the tradition of artists like Francis Bebey

Wolves Bay is a state of mind. An inspiration. A fantasy. Frequencies & sound waves bringing us back to the core of our art form. Music for the sake of it, without compromise, feeding the trance. The man & the machines speaking free & creating their own dimension. Who, where & how all this was made is irrelevant. It is all about love & self-expression. Going back to the basement. To the sweat. To the sound.

Chicago's Justin Aulis Long And Ken Zawacki Return To L.i.e.s. With Their Second Ep Under Their Circling Vultures Moniker. On This Offering We Get Four Tracks Of Tough Yet Psychedelic Machine Music. From Slow Bpm Beaters To Metal On Metal Floor Cuts, These Are Executed With Precision To Do Maximum Damage Whenever Played. Sinking Their Teeth In And Never Letting Go, Looming Over And Waiting For The Right Moment To Strike...tense Music For The End Times! Another Killer From These Seasoned Club Vets.

Swinging Flavors is BACK! After releasing material from names such as Simon Off aka Sun People, Moresounds, DJ Madd, Ticklish, Sully, Addison Groove, Itoa and Lynch Kingsley our 7' vinyl series devoted to Bass Culture and dancefloor vibes is back again with the the Sixth One aka BMRSF006. After having a Japan vs USA Chicago Footwork sound clash with DJ Fulltono and DJ Earl's 'Tribal Dancer', now it's time for an atlantic connection - in the name of Bass Music obviously.
On the A Side you'll find Sinistarr's '55555': the Detroit bass producer - with a 10yrs experience in sound design and recently appeared with an astonishing work on legendary dBridge label Exit Records - gives us a pure example of his sonic craziness with a minimal-but-high-impact work, with chopped vocal samples, magic flutes and heavy basses.On the B Side '55555' gets a full treatment by Philip D. Kick: Cosmic Bridge honcho Jim Coles - well known in the worldwide bass scene as Om Unit - surprisingly comes back with his iconic footwork moniker giving to the original vibes a more accentuate rave touch, with hyper speed drum patterns, amen breaks and piano notes.

Bruno Pronsato hat schon länger erfolgreich Erwartungen in der Techno- und House-Szene untergraben. Im früheren Leben war er Schlagzeuger einer Speed-Metal-Band mit einer ernsthaften Leidenschaft für Zwölftonmusik. 2005 zog er nach Berlin und eroberte die Aufmerksamkeit der elektronischen Musikwelt mit seiner LP "Why Can't We Be Like Us". Pronsato kehrt nun mit seinem neuen Album zurück ins Rampenlicht. In Zusammenarbeit mit Yonatan Levi hat er "A Face Wasted On The Theatre" geschrieben und produziert. Diese Verbindung ist bereits bestens eingespielt: Seit 2014 arbeiten die beiden immer wieder zusammen. Das neue Album entstand in zwei verschiedenen Studios im Prenzlauer Berg, der Wahlheimat des Texaners Steven Ford, wie Pronsato bürgerlich heißt, - und zwar meist nachmittags und nicht etwa in tiefer Nacht. Auf sechs der acht Songs ist Levi alias L.A.Teen erneut am Bass zu hören, weitere Gäste sind der Komponist und Produzent Peter Gordon und der israelische Saxofonist Yonatan Yudkowitz. Auch Levi stammt aus Tel Aviv und ist klassisch ausgebildeter Gitarrist und Bassist. Er ging einst in die USA und machte sich in der New Yorker Jazz-Szene einen Namen.

Dilated Pupils is a collective group of likeminded friends home-based in the Netherlands. When forces are joined in one of their many studios each individual brings his own influences and styles to the table. Together they share a distinct flavor in productions and raw one-take jam sessions created with the use of analogue machines and often recorded on tape. Each of them have their own solo productions as well as other collaborations, but when united as Dilated Pupils they prefer to be known jointly as one entity with their own unique and distinguished sound. Since 2014 the group has developed an interesting and widespread discography with releases on labels such as Fear of Flying, Sol Asylum, Mode of Expression, Tabla, Music is Art, Dorcas, Make Sense and Mayak.

Following on from the release of FBA21 Collected Works 1996 -2017, which was released November 2017 Matthew Puffett decided to wrap up the project, with a handpicked selection of artists to remix key tracks from the compilation. Amongst these figures are some significant influences on Puffett`s early years The set includes Kirk Degiorgio, whose reworking of 'Cross Dissolve' reimagines the track in full machine mode, serving up a slab of driving techno for the main room. A fan since the early 90s, Kirk and Matt have been in contact over the years, culminating to this powerful re-creation. Steven Rutter (B12) has also reworked 'Cross Dissolve', but in contrast to Degiorgio, Rutter's mix brings out an almost abstracted, ambient mood, a characteristically expressive and textured piece from one of the leading figures in UK electronica. Hardway Bros, Sean Johnston (Andy Weatherall's partner in 'A Love From Outer Space) tackles 'Mourning', a piece of melancholic euphoria. In typical Johnston style, Sean slows it all down, bringing it to a mid-tempo Balearic vibe. A big influence on Matthew in the 1990s, Lee Grainge used to work at the infamous Fat Cat records. A renowned arbiter of sounds, Grainge turned Matt onto countless records from Detroit and beyond, which was crucial in shaping FBA's sound. Here, he remixes 'Diagram', in a manner reminiscent of classic dub techno, Basic Channel. Another influence on FBA's sound is former Eevo Lute Muzique boss from Eindhoven, Stefan Robbers. FBA recorded a mini album for EevoNext in 2009, and the pair team up again here to reinvent 'Machines Can Help'.

Three years after presenting an original idea of arranging his own music live by using a standard DJ setup and a drum machine, Strahil Velchev alias KiNK is ready to premiere the very first EP-outing of his new project entitled kirilik.

Created with obscure studio equipment and backed by an array of sonics out of his extensive line-up of machinery, Kirilik successfully transfers to the record that unique level of levity and immediacy that his live act has already become renowned for.

Loopy and thus infinite in nature, sometimes seemingly spiraling themselves out of control even, these tracks are as versatile as they are just fun to play around with! Fittingly enough, Infinity Is Not A Number comes complete with an added bonus of four additional endless loops, edged into the final grooves of each side...

Debütalbum des britisch-nigerianischen Electronic-Produzenten und Singer/Songwriters Tony Njoku, ein Globetrotter, aufgewachsen zwischen Lagos und London, dessen bewegende Klangbilder aus den kürzesten Popsongs epische Abenteuer machen. Vocal-Club-Beats für Ästhetiker. "Exciting blends of African percussion, falsetto croons and dark synths." - Fact. "Fusing abstract beats with his angelic tones." - Mojo. "Expansive electronics flirting with psych and soul." - Clash.

Bulkhead present their debut album - Aft Pressure - due June 1st on 2MR Records. In 2015, during the coldest Toronto winter on record, two old friends - Pop District and Patrik Benjamin - locked themselves away in the studio to experiment with a medley of hardware. Both solo artists in their own right, they had overseen their own projects prior, but had never considered how a collaboration might sound. Exploring the polarity of extreme cold and immersive warmth with a distinctly analogue feel, the duo carved themselves an aesthetic. And so Bulkhead was born. Using a raw, organic palette they repudiate formal structure and polish, opting instead for a freeform blend of unhindered mechanical techno and fuzzy ambience - slambient, if you will. Debuting in 2016, their 'Worker's Kampf' cassette album on LA imprint Far Away Tapes sold out quickly, warranting another release on 2MR featuring highlights of the cassette on 12' and digital. Continuing with the purveyance of abstract arrangements and machine wizardry, their forthcoming album - Aft Pressure - is a striking exploration of the intersection between frenzied techno and harmonic warmth.Fragments of techno and EBM mutate without strict guidance, rebuilding themselves into new forms with stunning physical qualities. Whilst many of the tracks might file under dance music, the DIY spirit of the album transcends a nightclub, occupying a peculiar space between the uncensored grit of the post-punk scene and some melancholic form of ambient minimalism. Angular percussion slices its way through dizzying synth leads whilst serene harmonies wander on their own accord. Darting melodies are made all the more powerful by their harsh timbre as drum-less excursions provide a cinematic backdrop. Aft Pressure is a statement of intent, blurring the parameters of dance music culture with equal doses of insanity and serenity. At the same time, it's also a hell of a lot of fun...

In ancient LDDLM times, BLDDLM even, Belgium could well have been the freaky house and ecstasy center of the world. If only we could remember all the lost hours... But after all, as the Brussel saying goes: 'it's Friday, tomorrow is Tuesday'.
At LDDLM, we try not to reminisce, that was just setting the mood.We are very happy to welcome ARTHUR JOHNSON in our non-fold, a young producer from Liege via Marseille and La Dame Noir. AJ is amongst those ever mutating artists, his u-turns slowly composing a real personality, and one fitting our contrarian attitude. In a way PERFECT STRANGER reminds us of a good 90's Farley/Heller remix, not so much camp Fire Island than almost sweaty late night trancer. We love those tracks that do not fit our ethos a priori but that we can't stop playing. COSMO VITELLI is a long time family friend and he beams up this stranger through the axis into some kind of romantic italo-german anthem.
BALLADA and SECRETARY DISCORDIA show a different side of AJ, a dub march echoing Dif Juz and a percussive machine funk number. We sincerely hope AJ keeps on straying for the best, his way being our way.

"Resist the categories that define and divide"

Uncanny Valley EP sonically explores the uneasy, obscure but familiar relationships between human and machine in contemporary life. This is the debut release on RESIST, the record label launched by experimental club/art hybrid event from Belfast, Northern Ireland. This debut release is by RESIST event and label founder, Koichi. Remix comes from electronic music innovator and Eotrax label owner, Eomac in an anxiety driven, frenzied remix of the title track.

Jagged and angular sonics, and warm organic artefacts are the defining sound of this release, which imitates the theme behind the music. Machines are being engineered to have a place in intimate and personal areas of human life. What does it mean to be human in this increasingly digital world Are we anything more than complicated robots made of flesh Where does humanity stop and the uncanny begin

Koichi returns with a new sound, signalling a departure away from his previous aesthetic and into a new direction breaking free from the boundaries and categories of restrictive genre definitions. His music continues to contain a heavy techno aspect, and also draws on raw industrial and experimental influences.

Koichi is an electronic musician, music researcher, and event curator who explores resisting exclusionary identities and disrupting discourses of power and prejudice through music and live digital art.

Following 2017's 'Path of Ruin', DJ Richard returns to Dial with his much-anticipated sophomore LP, 'Dies Iræ Xerox'. Undoubtedly one of the most distinctive and fully-formed electronic producers in recent memory, DJ Richard imprinted the sound of a bubbling US underground with his label, White Material, founded in 2012 alongside Young Male. His first solo LP for Dial, 2015's 'Grind', found DJ Richard delicately establishing a discipline between his East Coast noise heritage and a physical, emotive tradition of house music, mastered during an extended stay in Berlin. Now firmly settled once more in his hometown of Providence, 'Dies Iræ Xerox' is a personal and uncompromising journey that finds the Rhode Island native in reflective form, journeying without compromise into both his creative influences and personal psyche. In part adapting its title from the Latin hymn 'Dies irae', otherwise known as 'Day of Wrath', 'Dies Iræ Xerox' melds the physical and psychological aspects of DJ Richard's production ethos in sharper, more widescreen vision than before; the oceanic swells of ambience yet more powerful, and the rigid basslines sharper still. With the chaos of the Berlin club scene an increasingly distant memory, the album is enriched with a contemplative, even brittle tone, as informed by film soundtracks and literature as the pulse of city living. Still, this is new material from DJ Richard, a touring DJ as distinctive as any other to be found behind the decks at some of the world's finest clubs and festivals. On 'Dies Iræ Xerox', the artist finds the space to write 'the records I really want to play', and each suggests a template for genuine dancefloor transcendence, beginning with the electrifying 'Vanguard' . The sludgy yet sophisticated crawl of 'Tunnel Stalker' sets the tone for the menacing yet somehow melancholy EBM of 'In Broad Daylight', while the record draws to a breathless close with the affecting, drum machine lethargy of 'Gate of Roses'. Drawing little distinction between his more physically rousing material and searching soundscapes, 'Dies Iræ Xerox' instead finds a passage of catharsis throughout both. 'Dissolving World', the album's breathtaking centerpiece, is a choral feature hypnotically overwhelmed by walls of electronic feedback, forging a dramatic link between old ways and new. On the bold and near-beatless 'Ancestral Helm' and 'Final Mercy', DJ Richard seems to grant both music and raw emotion the ability to simply float in the air, brilliantly, poignantly unresolved. If 'Grind,' inspired by the weathered coastlines of Rhode Island, was a record concerning "the border between civilization and the ocean," then 'Dies Iræ Xerox' is an unapologetic follow-up concerning that between macabre obsessions and fear of death. Produced during a murky, transitional period, DJ Richard found himself particularly drawn to Medieval European art and mysticism, fascinated by depictions and philosophies of the antichrist and end-times. Greatly influencing the uncompromising, apocalyptic tone of the album, these investigations have created an engaging and personal vision of the 'Day of Wrath.'