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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 .

Kristian Craig Robinson, aka Capitol K, is a multi-instrumentalist and record producer with a long history in London’s most interesting under-the-radar music places and spaces. With a musical story like his, you can expect side streams. New record ‘Birdtrapper’ is “the sound of an initiation rave in a utopian hidden village”, and his latest exploration of Mediterranean audio mythos following from ’Goatherder’ (2018). The six track mini-album was similarly formed from ritualistic improvisations performed in Malta (where Capitol K was born), using home-made flutes, reed pipe, bamboo percussion, drum machine, bass guitar, but this time features a wider use of synthesizers, with the alternative dance floor in mind. Where ‘Goatherder’ was an awakening of genetic primitivism, ‘Birdtrapper’ is an evocation of sonic bird callers, proto-rave abandon, ambient resonance and an ecstatic captive state, along with the previous work's visions of hunters, temples and scrub land music
‘Goatherder’ caused a quiet kind of quake and was beloved by The Quietus, BBCR3 and 6Music. Vinyl Factory described it as “like a series of manipulated field recordings that have an ancient, ritualistic quality … Goatherder shimmers with Balearic strangeness, rooted in an earthy outer-national dance music tradition”. For the last seven years K has been behind the consoles at the heavily influential Total Refreshment Centre, recording and mixing records with the likes of Trash Kit, The Comet Is Coming, Rozi Plain, Alabaster DePlume, Dry Cleaning, Flamingods Cykada, Ibibio Sound Machine, BAS JAN and John Johanna. It’s not just recording. He’s also become an influential if understated mentor to a new wave of producers and bands. His experience in studio environments is long and storied, including stints at Studio Plateaux on an island in the middle of the Thames and in the Royal Symphonia’s squatted rehearsal rooms. Capitol K has released seven albums and the 'Birdtapper EP' follows a legacy of influential releases on early 2000s electronica labels including Planet Mu and XL. Aside this he also runs the record label Faith & Industry. It’s a friends and family, love not money affair and he has released music by Champagne Dub, John Johanna, Super Best Friends Club, Blue House & Clémentine March.

‘Garlands’ was the Cocteau Twins’ debut album, released in the early autumn of 1982. It was the only album they made with original bassist Will Heggie. Describing it as “haunting,” “spellbound,” “diaphanous” and discerning a “frosting of sweetness,” the critics wore out their adjectives; this was rock music - just - but it was conjured in the unlikeliest environment from the strangest of material.

This is ‘Garlands’ first vinyl pressing in over ten years, remastered from the original analogue tapes, pressed on 140g black vinyl and includes a digital download code. ‘Victorialand’, Cocteau Twins’
fourth album, was released in spring 1986. The largely acoustic, nonpercussive album was made with Elizabeth and Robin, while Simon was working on This Mortal Coil’s second album.

Dif Juz labelmate Richard Thomas guested on tabla and saxophone. The Guardian said “It’s not quite ambient, but it’s definitely not rock’n’roll even by the Cocteaus’ standards, building on the moments of guitar shimmer from the previous years’ EPs, while also stripping back at points to where it’s nothing but a Guthrie guitar line and Fraser’s voice.

‘Victorialand’ is remastered from the original analogue tapes,
pressed on 140g black vinyl and includes a download code.

Killer 13-track compilation of 70's music from Mauritius that evolved from the original sega genre - the music of the slaves as well as their descendants, sung to protest against injustices in Mauritian society.

Created at the crossroads of Afro-Malagasy, the 70s strain fused Western and Indian cultures, pop, soul and funk arrangements, syncopated polyrhythms, saturated guitars, psychedelic organs and Creole vocals. Although the exact origins of sega remain unknown, it contains vocal and percussive practices that originated from Madagascar, Mozambique and East Africa. A social escape and a space for improvisation, satire and verbal jousting, it transcended everyday life and made room for the expression of conflicts and the transgression of taboos.

The main instrument of sega is the ravanne, a large tambourine-like drum made of a large wooden frame and goat skin. It is accompanied by the maravanne, a rectangular rattle filled with seeds, and other homemade forms of percussion. Eric Nelson a solo guitarist and arranger, set up the band Features Of Life which, in the mid 70’s, gave birth to a new sound. Fuzzy distorted guitars and funky beats invite each other to play over the unbridled beats created by fabulous drummer Raoul Lacariate.

The band accompanied a new wave of singers, including the atypical Joseph Roland Fatime aka Ti L’Afrique, a hyperbolic and hyperactive character, a fan of blues and James Brown who launched an explosive raw, and funky style of sega.

DJ Woody teams up with the incredible champion beatboxer Ball-Zee to drop one of the most original and useful new scratch records on the market! Box Cutter is made up of 100% original recordings with Woody utilising the phenomenal vocal dexterity of the UK’s Ball-Zee to create an arsenal of incredible new scratch sounds.

Side A (the ‘Scratch Side’) concentrates on vocal phrases, noises, sound effects and tones with 16 skip proof loops programmed at 133 bpm and 100 bpm and ends with a lock groove bass tone phrase. Side B (the ‘Drum Side’) contains a remarkable array of drum rhythms and sounds perfect for all manner of scratch drumming, beat juggling and production!

It features 11 skip-proof grooves and phrases at 66.66 bpm, 133.33 bpm, 100 bpm and 83.33 bpm as well as 3 ridiculous freestyle tracks for more intricate juggle routines. 2 copies are a must for all jugglers!

• 100% original sounds and phrases
• Perfect for scratch jams, drumming, beat juggling and production
• 27 skip-proof loops, 2 lock grooves and 3 freestyles
• Super loud and deep pressing on black vinyl

“When I was asked to put my hands on the original tracks of Blancmange I was instantly excited. They were one of my favourite Bands when I grew up as a teenager in the 80’s. Listening to their music walking around with my Walkman back then was adventurous. Mainly because I was already in love with the aesthetics of synthesisers and drum machines. But also because it was unusual pop music with an extraordinary energy that made it in the charts. Remixing a favorite Band is challenging but I’ve tried to keep the free spirits and playfulness in my mix that makes Blancmange still so special after all these years” – Roman Flügel

Roman Flügel remixes the cult 1980s classic that is ‘Living On The Ceiling’, and the result is a killer, off-kilter slice of club-focussed machine funk that contains the same wonderfully bizarre cocktail of traits, that Blancmange always boasted in spades. Eerie and schizophrenic but also both bright and triumphant. Also features the original and sought after extended mix.

The first in a new series of ‘London Records Remixed’ releases on 12” and digital. Now at its new home as part of the Because Music Group the London Records catalogue is being revisited by pioneering, contemporary electronic producers.

New York’s indie disco funk crew is back with a new album. And it’s the right moment: With new acts like Toro Y Moi, Sault, Parcels, The Internet around… the funky, disco, old school vibe is big in 2020. And The Phenomenal Handclap Band fits perfectly. Probably all these new artists are fans of the Phenomenals. Because The PHB popped up for the first time 10 years ago. Some top knotch musicians from NYC’s funk scene playing dirty discofunk. Some of the bandmembers played in Mark Ronson’s projects and in Amy Winehouse’s backing band. Head of the band: Daniel Collás. Their self-titled debut album on Gomma records 2010 made them many fans in the music scene. A nasty fusion of forward-thinking disco, psychedelic prog rock, and classic soul with a splash of yacht rock. Back then the band took the road, supporting Bryan Ferry and Franz Ferdinand, playing shows at Glastonbury, Wireless, and Latitude… as well as getting praise from Sir Paul McCartney about their album! After the album Collás began to produce other artists in Brooklyn. The band paused. Now they are back. With Daniel Collás in the centre, along with new members multi-instrumentalist Juliet Swango, and vocalist and synthesizer wizard Monika Heidemann. Their sound is still essentially analog dance music, with an emphasis on raw soul, vocal harmonies, African percussion, fuzzy guitars and analog synthesizers.

Tobias., Neel and Sebastian Muellaert as Wa Wu We collaborate with the Konstrukt label for their 12th release. Each producer with a unique and refreshing approach towards electronic music.

Tobias. is up first with a beautiful track that balances on the border of rationality and emotion. His abstract sonic narrative discloses through tightly organized rhythms and noisy percussion. Neel follows up with a cinematic composition that submerges us into otherworldly oddities that guides us slowly through his composition. WaWuWe's formally known as Sebastian Mullaert relieves the tension. The Swedish composer made a 13-minute long stirring and relaxing B-side track, blessing us with soothing energy for the mind, body and soul.

Deep mining the crates for another super strong 4 track pass - The HOT PEAS 'N BUTTER crew deliver each and every time !!

No.6 brings another selection of certified diverse and dynamite floor-filling jams from the extended family.

Time machine tear-ups from the golden era, as likely to be heard on Mom & Pops' turntable as they were rattling the cones on the home-made block party stacks or basement sound systems.

100% DJ material - and available in VERY short supply...you snooze, you lose !

Hand stamped vinyl only 12" series

BERZERKER LEGION was founded in 2016 by guitarists Tomas Elofsson (Hypocrisy) and Alwin Zuur (Asphyx) with a vision to create death metal of the most belligerent quality, they recruited a line-up of solid well-known musicians consisting of James Stewart (Vader) on drums, Jonny Pettersson (Wombbath) on vocals and Fredrik Isaksson (Dark Funeral) on bass to complete the Legion. Alwin Zuur (guitars/songwriter) comments: « During the recent years Tomas and I met each other at shows and festivals regularly. Much of our conversations were about music and styles. During these meetings we found out that we really had a lot of common musical interests . Music wise ‘Obliterate the Weak’ displays the perfect balance between brutality, melody and harmony. Being a fan of the early 90’s Swedish Gothenburg style, with bands like At The Gates, Eucharist, a Canorous Quintet, as well as being a die-hard fan of brutal old school death metal style with bands like Bolt Thrower, Obituary, I have always wanted to write songs showing a mix of such different death metal genres. The great musical cooperation between Tomas and me has made ‘Obliterate The Weak’ a variously solid diverse album where you can expect 11 songs of violent pounding riffing in a massive wall of sound mixed with immense melodies and thrilling harmonies.» Vocalist Jonny Pettersson explains the lyrical theme of ‘Obliterate the Weak’: « The lyrical concept is based around how religion is poisoning the world, and even after so many years of evolution, development , we still have huge parts of the world that believes in a fairytale, people who believe that this fairytale is worth going to war over, worth killing for and uses as an excuse for truly malevolent acts. These are weak minded sheep that will do anything in the name of whatever god they believe in. 'Obliterate the Weak' draws from the will to eradicate all forms of religion and tells a story of atrocities made in the name of a fiction. » Saying the album songs transpire massively produced invigorating heavy death metal is an understatement. BERZERKER LEGION knock out with warlike triumphant, powerfully addictive harmonies that will turn them into an unstoppable beast in a live situation and on record.

'Objet Melodie' is a combination of real instruments, synthesizers, drum machines and samples, involving genres from different countries of the world.

It's like being on a surreal oasis, where music is eclectic but also meditative or just for a dance. Interconnecting with the whole planet, imagining or living in different countries and trying to relate with diverse cultures and experimentation.

Lorenzo-Giulio Morresi, 'Objet melodie' producer, combined real instruments like Roland TR-707, Roland JUNO-60, a Gibson Memphis guitar, marimbas and steel drums with percussions samples taken from his personal record collection.

The other musicians involved are Stefano Ubaldini who plays the intro in 'Rituel' with an amazing hand-made guitar called 'Slitar', inspired from an Indian Sitar made with a broken metal window he picked up in a London backyard.

Fabio Mina is playing flutes on several tracks, like the Hulusi from China and the Nose Flute from Hawaiian islands. Giuseppe Diamanti plays tenor sax outros.

'Objet melodie' is inspired by sounds, technologies and traditions from planet earth, with the hope of staying interconnected as much as we can.

In 1981, Nick Robson wrote Stars. The song can pretty much be described as a slow, cosmic disco song. It has an unusual feel, and it comes as Oslo-based Neppås third release. This 12" holds the 12" mix, the 7" mix, and the original B-side Eye To Eye. The original 12" is as rare as they come, and here you get the original material, fully licenced, and remastered. The process of recording the material back in 1981 was not an easy one, as Nick Robson recalls:

"Fame by David Bowie is one of my favourite songs, period. I was 18 when i wrote Stars and i wanted to write something that was my version of Fame and quite honestly, as a tribute to the song. If you listen to the bass lines, there is a hint of similarity in the two. Even the lyric of Stars has a passing reference to Fame.
Stars was one of four songs recorded at Gary's Rock City studio to supply the first two singles and form the basis of the first album. The other three tracks were Eye To Eye, Boys and She'a Like Ice. Although all four tracks were finished, for one reason or another, Boys never made it to pressing and i walked away from the business to pursue a career in film.
Stars itself, was the most ardous and problematic track that i've ever recorded. It took around 14 days to finally get an agreed mix when the budget probably only ran to three days. Part of the reason for this is the enormous quantity of music tracks recorded in the song. In those days, we only had 24 recordable tracks available on the Otari, so once you had recorded 23 or less actually, you had to bounce down sub-mixes to a single track to free up another batch of tracks. I think that there are around 46 tracks of instruments alone on Stars so although that kind of track usage is not uncommon now, back then it was rare. It remains the single most expensive song i ever recorded. The B-side Eye To Eye, on the other hand, was written, recorded and mixed in one day."

This 3 track EP comes out of Ibiza Record's vault called Archives Vol 6. Each of these tracks represents hardcore and the merging of jungle breaks in the early developments of Jungle musik from the early 90s.

A.DOWN WITH YOU - This track produced by Two On A Tip was made back in 1993-94 and was never released on Ibiza Records back then. The sic intro with the RnB n Ragga samples with stretched vocals alongside synthesized piano stabs merged with some wicked Jungle patterns giving a groovy feel.

AA. WALK ON BY - This unreleased track made in 1993-94 produced by 2 On A Tip on the label has a sic synthesized piano stabs intro n rolls into a wicked set of rolling drum n Jungle patterns. Wicked instrumental showcasing how versatile Jungle musik was becoming way back then.

AAA. KEEP SKANKING - This track produced in 1993-94 by 2 On a Tip has a classic reggae sample n stretched vocals sitting over the drum n jungle patterns with rhythmic high hats stabbing through.
Giving that jungle essence with the heavyweight basslines that connect straight to the core.

Golden Days is the late completion of Ethimm’s EP trilogy on Light of Other Days and it continues exactly where the group left off 4 years ago. What started as the groups signature „tension music“, oscillating between dark repetition and moody improvisations is slowly morphing into a production style that features a heavy pop sensibility infused with conciliatory optimism.

The opener and title track of the EP recounts the meeting of a new lover in an autumn sunset. Starting with dreamy piano chords, a rhythmic bass and handclaps, it provides a beautiful musical backdrop for Tizi’s longing voice. During the course of the track, modulating synths and plucked guitars join her vocals as she sings about the „Golden Days“ spent with her lover.

Over & Out starts off in typical Ethimm fashion. Dubbed guitars, minimal beats and a sparse piano melody sets the tone for Elisabeth Thimm’s fragile vocal. In Over & Out Elisabeth negotiates her wish for freedom and how she breaks with her daily constraints. Albeit initially being drained in melancholy, the track ends on a musically hopeful note when a beautiful chord progression suddenly appears, colliding with an extended synth solo from outer space.
On Echoes in the Distance, glorious arpeggios accompany a sophisticated 303-style bass line and haunting vocals. The track follows one of Elisabeth’s dreams into a frantic, nondescript, deserted backdrop and slowly morphes into the most ecstatic piece of the EP. The multi-layered arrangement combined with Ethimm’s yearning voice on top, sound like about 3 tracks seamlessly sticked together. The track ends in pure ecstasy and the listener is left with the exciting feeling of wanting more.

The EPs finale is made up of the hopeful and minimalistic Day by Day, a track reminiscent of the balearic pop from the 1980ies. Gracefully and drained in beachside sunshine, Ethimm reminds us not to waste our days with unnecessary actions and focus on the beautiful small things in life.

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.

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!!!

Repress

A triumphant return to old form after classic bangers like PROTOTYPE (KOMPAKT 92), FREQUENCY (KOMPAKT 102) or MAXIMIZE (KOMPAKT 145), but also a bold step in a new sonic direction: Kompakt ally REX THE DOG presents his latest offering SICKO - a brand new 12" packed with two incorruptible rabble-rousers that hit the floor right behind the ears, employing sharply focussed thrust and dramatic sweeps to stunning effect.

Having started out with just one synth in 2004 -

the same vintage Korg 700S that was used by Mute Records founder Daniel Miller for his legendary "Warm Leatherette" outing -, REX THE DOG knows perfectly well how to squeeze the most out of a limited set of sounds. A growing intimacy with analog gear finally lead the producer to design and build his very own array of modular synthesizer components, including a sampler fittingly called RTD-001.

Armed with this barn-storming DIY attitude, and using gear he made with his own hands, Rex pulls two strikingly muscular rabbits out of his hat: the A-side's title cut SICKO is a raw, pounding cut-up fest that builds a scary amount of tension just with a few distinct elements, while the flipside's KORGASMOTRON loads up its bleep-ridden

chassis with a succulent, sweeping vocal and some well-placed acid drops. Both tracks showcase a leaner, cleaner, but also meaner approach to dance music, making this a particularly thrilling entry in REX THE DOG's oeuvre.

yellow & red mixed vinyl

Mike Redman's Deformer project has achieved cult status throughout the years. Known for its extreme, horror infused electronic music and surprising collaborations with groundbreaking musicians, visual artists and film studios, Deformer keeps reinventing its sound while keeping its signature aesthetics. Consistent in being outrageous... with the new record "Inner-Outcast" musical boundaries are being crushed, again with a little help from some heavyweight invitees. On four of six tracks Deformer's fierce breakbeats enter into a deadly duel with the live drums of legendary ex-Suffocation drummer and blastbeat pioneer Mike Smith. Vernon Reid of Living Colour lays down some menacing guitar solos, Body Count's Ice-T provides some threatening words and many more legends are making "Inner-Outcast" an original, intense and above all, an unpolished release. A special appearance is made by iconic Hollywood actor Tony Todd, providing a haunting vocal performance as horror villain Candyman. Oh, and the cherry on top is definitely the amazing cover art by visual artist Ed Repka, known for his classic artwork for legendary bands like Death and Megadeth. With "Inner-Outcast", music journalists may have to come up with a new term for yet another genre, because Deformer's ever evolving sound is more unorthodox than ever...

blue & purple mixed vinyl

Mike Redman's Deformer project has achieved cult status throughout the years. Known for its extreme, horror infused electronic music and surprising collaborations with groundbreaking musicians, visual artists and film studios, Deformer keeps reinventing its sound while keeping its signature aesthetics. Consistent in being outrageous... with the new record "Inner-Outcast" musical boundaries are being crushed, again with a little help from some heavyweight invitees. On four of six tracks Deformer's fierce breakbeats enter into a deadly duel with the live drums of legendary ex-Suffocation drummer and blastbeat pioneer Mike Smith. Vernon Reid of Living Colour lays down some menacing guitar solos, Body Count's Ice-T provides some threatening words and many more legends are making "Inner-Outcast" an original, intense and above all, an unpolished release. A special appearance is made by iconic Hollywood actor Tony Todd, providing a haunting vocal performance as horror villain Candyman. Oh, and the cherry on top is definitely the amazing cover art by visual artist Ed Repka, known for his classic artwork for legendary bands like Death and Megadeth. With "Inner-Outcast", music journalists may have to come up with a new term for yet another genre, because Deformer's ever evolving sound is more unorthodox than ever...

In 2015 US soul, boogie and disco legend Jay W. McGee teamed up with Hamburg producer, multi-talented musician and DJ Julian "Mzuzu" Romeike to record McGee's comeback album "Good Feeling". Even though both artists are from two totally different generations, they got on so well with each other after the official re-release of Jay W. McGee's classic 12inch "Turn Me On" on Légère Recordings two years before that they started to write and record together. After all, it was Julian "Mzuzu" Romeike himself who made Jay W. McGee return to the music business after nearly 15 years of silence.

The creative process did not stop with "Good Feeling": "We now have a brilliant combination of fresh songs. Many different accurate beats and of course Jay's incredible writing and singing skills," says Romeike. "I feel that it's a great combination of dedication, skills and talent which made this album possible. I work on some grooves and hooks for Jay, he picks the ones he likes and returns a proper song with vocals and arrangement. My production team, The Unbelievable Two, then work on the final mix."

"Smooth Crusing" hints towards McGee's classic late seventies sought after sounds like "When We Party" with the first "Uptwon, Downtown". The album also includes some reggae touches and smooth soul excursions. "It is such a big pleasure to work with these guys as everything works perfectly together," comments a happy Jay W. McGee. "It has all the ingredients for a classic album. It's funky and soulful, recorded in a unique modern style. We have a tribute to the good old funky music with 'Old School Love'. A lover's rock orientated tune with 'Chance I Have To Take' and some kind of up to date Afro-Disco-Soul with 'Bounce Back To Me'. And of course, 'Smooth Cruising' is full of funk!"

► One half of duo Lumisokea and persistent sonic explorer ANDREA TAEGGI (Opal Tapes, SM-LL, Type, Präsens Editionen) debuts on OOH-sounds with a new solo album under-the-influence of mushrooms.

► Recorded at Willem-Twee synthesis studios in Holland, Mycorrhiza is a lucid excursion into a new form of 'ritual-computer-music' — gamelan from the future.

►Master + Cut by Helmut Erler, D&M Berlin. Limited Edition of 200, 12" black vinyl housed in gold cardboard sleeve with 'ad-hoc' fluo sticker.

Of course this is not the first album born under-the-influence of mushrooms, but apparentlyTaeggi doesn't take them here as he rather observes the cognitive and intelligent behavior of mycorrhizal fungal roots—one of the great mysteries inhabiting the forest soil, and from which a network of beneficial underground relationships with plants sprouts. Known as Mycelium, this fascinating wood-wide-web very much resembles the intricacy of the human neural system—transporting carbon, water and nutrients from one tree to another. A mutualistic symbiosis that Taeggi similarly establishes with the rather rare arsenal of sound machineries he had access to at Willem-Twee synthesis studios in Holland—a center for experimentation inspired by Berio and Maderna's Studio di Fonologia RAI in 1950s Milan.

In the process of tweaking and feeding electric impulses and sound signals into instruments of the likes of the iconic ARP 2500/2600 and a number of testing/measuring units from the 50/60s—originallynot conceived as musical instruments—Taeggi engages into an exchange of nutrients and information, while abruptly sabotaging un-welcome elements, hence accelerating the sound superhighway towards spectral psychedelic tension—a process he seems to be extremely in control of. Taking a step aside from his usual minimal approach to address more complex structures and augmented mind-sets, Mycorrhiza sounds at times like gamelan from the future: a lucid excursion into a form of "ritual-computer-music" with a conspicuous penchant for detail,alluding to a continuitybetween pseudo-cerimonial and laboratory-like computer music, steering clear from any reference to a specific creed or religion—imagine Stockhausen drinking the Amazonian sacred brew Ayahuasca..

The swarming micro-movements of "Cuttleburrs" multiply in a series of crescendos marked by sudden falls, saturated drums incursions and tense sonic clusters, introducing the more explicit gamelan percussive tones and compositional forms of "Kodama" and "Icaro". Recorded on the ARP 2500, "Mycorrhiza" uses white noise generators, resonant bass and spring reverb to conjure up a magical fungal diorama, which expands into the spooky shadows of skeletons and demons of "Phantasmagoria" and the spectral mystics of "Oculus Cordis"—the Eye of the Spirit — in which Taeggi grapples with the same sine-wave generators that Stockhausen used in his seminal "Studie I" and "Studie II".

The life recordings on this tape are raw, unedited transfers from Dungeness by Simon Fisher Turner made with a Sony Walkman Professional WM-D6. With the voice of Derek Jarman recorded on 20 June 1992 in his cottage as he begins to write "Chroma", and sounds from around the nuclear power station in the fifth corner at the end of the globe.

UPSIDE DOWN SMILE WAS RECORDED AND PRODUCED BY EWA JUSTKA AND BY SELF-DESIGNED, SELF-MADE, SELFSELFSELF, ODD LOOKING SLIGHTLY DYSFUNCTIONAL SYNTHESISERS AND BY A TRANCE PURPLE KILLER ROLAND JP8080 AND BY HIS BROTHER VIRUS AND SOME OTHER ROLAND BROTHERS NO SISTERS INCLUDED DURING THE TIME WHEN EWA JUSTKA WHO CURRENTLY LIVES IN GLASGOW, GOVANHILL, ALLISON STREET, WHERE RECENTLY HER PASSPORT WAS STOLEN DUE TO THE BURGLARY, WHERE SHE LIVES IN JOY, ALTHOUGH SOMETIMES THE FLOOR GETS WET DUE TO THE LEAKING WINDOWS AND SOMETIMES ONE CAN FIND DEAD PIGEONS LAYING ON THE STAIRCASE BUT IT'S NICE AND COSY AND EWA JUSTKA HIGHLY INFLUENTIAL PERSON IN THE DEEP DARK TRANSISTOR LADDER CIRCUITS LIVES SINCE SHE IS STUDYING PHD AT EDINBURGH COLLEGE OF ART WHERE SHE THINKS A LOT ABOUT IMITATION IN SYNTHESISER DESIGN AND FILTERS AND VCOS AND FORMANTS AND ACID AND HARDCORE MUSIC AND TWIN T FILTERS AND OPERATIONAL AMPLIFIERS AND SHE TURNS KNOBS AND THINKS AND THE UPSIDE DOWN SMILE ALBUM WAS MADE IN THE DEPTH OF THOSE THOUGHTS QUITE OFTEN SAD THOUGHTS UPSIDE DOWN SMILE IS A BIT OF A CYNICAL SMILE BUT AN HONEST SMILE CYNICAL BUT HONEST UPSIDE DOWN SMILE IS A SMILE THROUGH TEARS BUT TEARS OF JOY SCOTTISH JOY UPSIDE DOWN SMILE IS UPSIDE DOWN ACID ONE COULD SAY UPSIDE DOWN SMILE COULD BE INTERPRETED AS A SAD SMILE BUT IT IS A SMILE IN THE END OF THE DAY

Faze Action return with the 3rd instalment of their 4 part series featuring Zeke Manyika. "Sununguka", sung in Zeke's native Shona, is literally translated to mean, "To unravel oneself and unlock yourself".

It's set over an infectious reggae, boogie rhythm, with an early proto house feel. Featuring backing vocals from Sharon Manyika and heavenly keyboard solos from Rob Lee, this EP is set to take us into summer and beyond.

The package comes with a stunning remix from Alan Dixon who has been lighting up dance floors with his releases on Running Back and more. Here he turns the original into an Italo/electronic Aend of night classics, managing to seamlessly Amerge Zeke's African vocals with a serious bass line, ahead of the curve, contempory production whilst placing the release firmly in the credible main room department.

On "A2" we have Rwendo where Zeke really stretches his songwriting skills as the whole track manages to fuse a variety of rhythms together to create a beautiful downtempo masterpiece.
Finishing off we have the "Special Extended Dub Mix" which strips back the original and turns it into a balearic house gem made for the summer ahead.

German veteran Marc Romboy is back on André Hommen’s ​These Eyes imprint with a stellar two track release entitled ​Elka, ​showcasing Marc’s effortless ability to portray alluring and emotive characteristics through music​. ​This offering follows up from ​Trapped In An Orbit​, which he released on the label in 2017 and remains a label highlight to this day.

The title track ​Elka provides a stirring and suspenseful journey that plays out as it’s melodies unfold over a bassline that pulses gently and impels the listener. ​Unreal Sun ​ups the energy with a groove thats ready to fall into and chords that lead the way, dictating the pace as their intensity undulates.

Marc Romboy has dedicated 30 years to the scene, with an impressive history of releases on labels like Innervisions and his own Systematic Recordings, collaborating with artists such as Stephan Bodzin. It is a point to be made that the A side to this release is one of Marc’s personal favourites to date and it is clear to see why.

Pilo returns to BNR in 2020 with the “A.R.E.A.” EP. Since his first release for the label in 2013 at a very young age, each subsequent record could be seen as a milestone of growth - the “A.R.E.A. EP” feels confident, produced with consummate skill, focusing on the LA-producers strongest themes and devices. This is not, however, the sort of “maturity” that sees things get boring, more restrained. Pilo’s drum is the beat of LA’s unhinged underground techno scene - they don’t do boring - and this drum is always banging.

A-side examples: “Acid by Mouth.” A stuttered kick and a gated, uncanny valley voice form the backbone for increasing layers of texture and percussion. It’s a rollercoaster, as viscerally satisfying on the way up as on the way down. Pilo’s production journey has been increasingly cinematic, and you can see the songs here - “Acid by Mouth” is suited for a Gaspar Noe nightclub scene, and you love to hear it as long as no one gets murdered. “Ruhig” is tribal, made for spaces with 4 story high ceilings and sparse but blinding flashes of light. You can hear steel beams buckling under pressure, a breath too close behind you. The workers of the factory in fit of madness started raving to the sounds of their own machines. They’ve been dancing, without pause, for years now.

The B-side opens with “Exit the Artificial.” Headbanging broken beat kick, aggressive Skinny Puppy snares, ghost voices in hallucinatory bursts too short to confirm to be real. The draw-distance of the stereo spread seems infinite - listen at the very edges and a whole other (ominous) world is taking place. The ghosts mock you in gated laughs by the end. “Adapt Tactics” leads you out - low tempo, hissy percussion, haunted again at the fringe. Things break down, reduced to grain - brain short-circuits, “will I feel like this forever?” It’s a warning - turn back, there’s nothing for you out there. You embrace the madness, and start Pilo’s “A.R.E.A.” EP again from the beginning.

Alex Figueira, the man behind Music With Soul, Fumaça Preta & Conjunto Papa Upa, has teamed up with Maxado, Brazil's leading rocksteady vocalist, to create another impossible crossover, connecting the dots of the vast tropical music map that have remained appart for far too long.

What if the now-legendary producer Lee Perry had recorded & produced the nascent Wailers trio of Neville Livingston, Bob Marley and Peter Tosh, not in Kingston, the scorching hot Jamaican capital, but instead in Belém, an even hotter city, at the heart of the Brazilian Amazon.

Whilst Kingston's airwaves and street parties were dominated by the locally produced rocksteady, ska and reggae, Belém was dancing to it's own beat of carimbó and siriá.

Alex Figueira and Maxado, two avid fans of both musical traditions, entered the Barracão Sound Studio, Amsterdam's famed vintage recording studio, determined to find an answer to that hypothetical question. The result is not only tangible and unprecedented, but incredibly emotive & hypnotic too.

The chorus of "Quando Será" is unnervingly apt for our times tool, "Quando será que eu vou te ver?", or "When will I see you?" the song asks. Well until we see each other, Music With Soul offers some musical relief in the form of this collaborative song.

The B side offers a beautiful touching instrumental version, led by the impeccable flute rendition of Brazilian multi-instrumentalist Gabriel Milliet, a prominent member of the Brazilian music scene in Amsterdam and Alex's long time collaborator having shared the stage countless times in the past 3 years. His delicate phrasing will give you goosebumps.

Alex Figueira is well known as the man behind experimental tropical rock-outfit, Fumaça Preta, and more recently the psychedelic tropical dance band, Conjunto Papa Upa. Meanwhile, he has become a staple of the Amsterdam scene, having either played with, recorded or produced everyone from Mauskovic Dance Band to Altin Gün. São Paulo-based musician & singer composer Maxado made his mark fronting Firebug, Brazil's leading, if not only, rocksteady band, also featuring influential musician, producer and mix engineer Victor Rice. The two musicians met during Alex's first trip to Brazil, when he was already a massive Firebug fan, and quickly formed a firm friendship. Finally over the course of Maxado's first visit to Amsterdam, the pair had a crack at writing & recording together, quickly discovering that their chemistry extended to the studio. Now you can hear the first fruits of their blossoming musical relationship.

We’ve worked with Ian Willson to reissue his insanely good, self-released West Coast classic “Straight From The Heart”. Privately pressed and originally released in 1985, this is the only album Ian ever put out. A magical blend of AOR/sophisticated funk/synth-boogie/spiritual jazz and modern soul, it’s a spellbinding record of many colours.

You might already know “Straight From The Heart” for the dubby-disco paranoid-balearic anthem “Four In The Morning”, and it’s easy to assume this is probably just another one of those one-track LPs. But trust us when we say it’s definitely not. This is an impressively slick record from start to finish, just ask those modern soul DJs and AOR collectors who’ve managed to find a rare copy in the last 35 years. It could’ve (should’ve?) been number 1 all over the world back in 1985.

Album opener “Think About It” is all sorts of right. It’s emotional. It’s tops-off. It’s funk in its purest form. And take the proto-modern-funk of the title track (half Dâm-Funk / half Dâd-Funk).

The shimmering, spiritual Bossa-Jazz of “If I Were You” serves as the album’s soaring centrepiece. A gorgeous suite of Cosmic vibes to get Gilles frothing, it sounds like nothing else on the record which makes sense given that it was recorded a couple of years earlier, and is the only track on the LP that wasn’t recorded in Ian’s own studio.

Side B opens with the propulsive ode to love that is “Two Is Better Than One”. Wonderfully sparse when it needs to be, it’s also richly percussive and that special kind of California-warm. Frenetic, speaker smashing synth and horn workout “Funk Invasion” dares you not to dance and “A Game Called Love” is heavily indebted to Prince with its lush, deep funk stylings. The sweeping sax-drenched instrumental “Song For Katelyn” is head-nod, beat-heavy AOR for that melancholic magic hour we spend our days longing for. It all adds up to the ultimate BBQ record.

Almost all of “Straight From The Heart” was recorded over a few months between 1983 and 1984 on Ian’s brand new Otari 8 track in the Oakland, California studio he built just the year before. Only “If I Were You” was recorded elsewhere, at Bay Sound in 1982.

A “full time poor musician” at the time (and he says he still is), Ian produced the album himself and played all of the instruments, except for guitar. That’s Peter Fujii you can hear, his good friend from growing up together.

Tower Of Power, Average White Band, Earth Wind & Fire and Stevie Wonder was the list of influences Ian gave us when we asked. No wonder the record’s just so easy on the ears.

And why did he put the record out himself? Simple, he had no idea how to go about getting a record deal.

When we first got in touch with Ian he had no idea that “Straight From The Heart” had become something of a cult record, let alone that there were those of us out there that thought the album deserved to be pressed again. The original tapes have long since been lost so this re-issue was only made possible by remastering Ian’s one and only pristine copy of the finished LP.

The end results have been worth the work, including reproducing the original’s unmistakeable sleeve. Ian Willson’s “Straight From The Heart” is yet another Be With release that will find an easy home on the shelves of those of you who up to now have only dreamt of finding a copy and also those of you who who never knew it even existed.

The Inhale/Exhale posse returns. For our 3 years anniversary and our 10th release we have prepared a super hot double 12 inch pack with shitloads of serious house cutz for your club, bar, living room and ears. With a bunch of love we like to present some common but also fresh faces to the Inhale/Exhale family and this compilation. Be prepared for endless nights full of dance pleasure. Including a wide range of House music from soulful to funky to bigroomesque.

Seb Wildblood readies his first new release of 2020, the ‘Hazy House’ EP. After a year that saw Wildblood releasing his landmark LP, ‘sketches of transition' – which received a glowing 8/10 review in DJ Mag and made it into Mixmag’s of Albums of 2019 round-up – his new two-tracker is set for release via his London / Los Angeles based label, all my thoughts, on April 17th. Along with his recently released edit of Rosalia’s ‘A Palé’ for charity, the EP marks the DJ/producer’s return to a more dancefloor-focused sound, having ventured further into the worlds of downtempo electronics, R&B and Balearic-imbued house on his introspective and accomplished debut album.

‘Hazy House’ is an encapsulation of what a Seb Wildblood DJ set sounds like in 2020, fusing tough house rhythms with electro’s futuristic atmosphere and an ear for emotive melodic hooks. With dreamy flourishes and subtle complexities, the EP retains much of the depth that ‘sketches’ emphasized, despite being his most club-ready work since 2018’s ‘Grab The Wheel’ EP. The resulting release is one that showcases Wildblood’s considered, painterly technique, and his capacity to create thoughtful soundscapes even when focused on mobility and energy.

‘Hazy House Vol. 1’ on the A-side is buoyant and lush, with a warm synth bed hovering on top of its bouncy beat before a soft, chiming arpeggio motif floats into the mix, tying everything together in a silky deep house bow.

‘Vol. 2’ is similarly inviting, if a little more robust. With a sharp beat, angelic choral synths, and a subtle vocoder, the track is one for the depth of the night, when the last push of energy carries you through, right into the warmth of the afterglow.

Inspired by moments experienced throughout his second world tour in 2019, which saw him playing DJ sets everywhere from Australia and Japan to the UK and across North America, the title ‘Hazy House’ is a tongue-in-cheek nod to the assumptions some may have about Wildblood’s sound. But as the EP highlights, there’s a subtle intricacy at play in the producer’s work that further establishes him as a distinct voice for both club-driven sounds, and for those more suited to headphones.

“Miss Honey” by Moi Rene was an underground New York anthem during the early 90’s. While the artist and the song never fully got the acclaim it deserved, it’s originality and authenticity was strong enough to sustain its reputation as a must have track for any DJ who wanted to inject some raw and real NYC underground vibes into their set.

Through a series of memorable releases, the production team known as SRVD has emerged as one of the worldwide DJ community’s most original and innovative talents. Consisting of renowned producer Radio Slave and Performance arsist Partrick Mason, SRVD has done a remix that retains the New York-in-the-90’s edge of the vocal, while adding a techno – laced rocket fueled beat and synth that have made the track an immediate favorite of headlining DJ’s worldwide. Entitled Moi Honey, the SRVD remix package consists of a vocal and instrumental version.

Throughout the ‘REFRACTIONS’ EP, Close Counters further signify their skills in blending house, soul, funk and broken beat and to create their own blend of insatiable and infectious grooves through a polished comb-i nation of electronic and organic instrumentation. The duo harness the spirit and energy of the Melbourne soul scene and raise it to new levels in the four polished, dance-floor-ready tunes in REFRACTIONS.

‘The songs were written over the last couple of years following our move from Hobart to Melbourne and was made possible with the help of a number of collaborators, including our live band members Elle Shimada, Lucky Pereira, Paul Bender (Hiatus Kaiyote) on bass, and featuring vocalists Laneous and Wallace.’ – Close Counters

Brooklyn-based cellist Clarice Jensen’s gorgeous
sophomore album and first for FatCat’s pioneering
130701 imprint, ‘The experience of repetition as death’
was recorded and mixed by Francesco Donadello at
Vox-Ton studios in Berlin in late 2018 and mastered by
Rafael Anton Irisarri.
 Following up her hugely impressive 2018 debut, ‘For
This From That Will Be Filled’, which included
collaborations with Jóhann Jóhannsson and Michael
Harrison, all of the material on this new album was
written and performed by Clarice alone and all of the
sounds on it were created with a cello through a
variety of effects and effects pedals.
 Clarice has recorded and performed for a host of
stellar artists including Jóhann Jóhannsson, Max
Richter, Björk, Arcade Fire, Nick Cave, Jónsi, Stars of
the Lid, Dustin O’Halloran, Joanna Newsom, Nico
Muhly, Dirty Projectors, Frightened Rabbit and Beirut.
 Receiving glowing critical acclaim, both her previous
releases made it into Pitchfork’s End Of Year charts.
 For fans of Jóhann Jóhannsson, Hildur Gudnadottir,
Stars of the Lid, Max Richter, Pauline Oliveros, Harold
Budd, A Winged Victory For The Sullen, Sarah
Davachi, Resina, Maria W Horn, Ellen Arkbro, Kali
Malone, Christina Vantzou, Abul Mogard, Galya
Bisengalieva, Richard Skelton, GAS, Steve Reich.

After a 10 year absence Horizontal is back. 3 songs that revolve around Dinky’s pure musical dogma, arpeggiated basses bounce with the beautiful and contorted voices that play within this psychedelic party. Bathing in blue skies and a deep warm acid glow, this is music to capture your body and soul, made with love whilst dreaming of a brave new world within these innocent melodies.

In 2017 Brooklyn's Bryce Hackford spent a week at the PRAH Foundation in Margate (UK) recording rhythmic foundations and the environment around him. After his residency, eleven musician friends contributed their performances to what would become Safe (Exits). All of these contributions, however, were made in isolation and the task of mixing them together became the crux of the production.

Bryce's records largely explore improvisation with electronics, using recording as the compositional medium, and feature the occasional contributing musician. Eleven make Safe (Exits) more of a chance ensemble record, with players in unlikely combinations, from disparate backgrounds both personal and musical, pushing a collage aesthetic beyond sampling. The poetics of these sounds is the focus of this album.

Safe (Exits) attempts to create a rare space where rhythms get propulsive enough to make one dance yet become subtle enough to make them nod into the serene vistas of distant, contemplative waves.

Safe (Exits) is Bryce's first album since 2015 and second release with Spring Theory.

Featuring: Gabi AsFOUR, Brian Close, Matt Evans, Adrian Knight, Kiki Kudo, David Lackner, Frank Lyon, Camilla Padgitt-Coles, Bernardo Risquez, Viktor Timofeev and Justin Tripp

"Small Worlds" (2004) a is 42-minute composition for improvising sextet by Austrian double bassist, composer and improviser Werner Dafeldecker. The score is written for any instrument and divides the players into two virtual trios whose constellations change every 3 minutes. No restrictions are made regarding material or playing techniques, the only specification is that in each 3-minute trio, one player has the role of the "dynamic leader" which means that no other player within the trio should play louder than the one on that leading position. Apart from that, the only other restriction concerns how pauses are to be made when two players interchange their positions within the trios.

According to Dafeldecker, the object of the piece is to provide a structure that doesn't curtail the qualities of the musicians, yet forces them to listen very closely to each other and make focused decisions about parameters that are often overlooked in completely free improvisation. Especially, the given structure avoids the emergence of certain clichés that are often present in Free Improvisation, while retaining a very high level of openness with regard to how the piece is performed.

The first published recording of "Small Worlds", by Australian ensemble Quiver, was released in 2017 on CDr by Tone List. This LP contains a recording made in 2004 at Taktlos Festival in Basel, Switzerland, that features the line-up that Dafeldecker originally had in mind when he wrote the piece: Burkhard Beins (percussion), Martin Brandlmayr (percussion), Werner Dafeldecker (double bass), Klaus Lang (organ), Michael Moser (cello), and John Tilbury (piano). Partly, this constellation later also played together in the long-running avant-garde group Polwechsel.

Edition of 300 in regular sleeve with three inserts: two featuring an extensive conversation between Werner Dafeldecker and Matthias Haenisch discussing "Small Worlds", Polwechsel and Free Improvisation in general (German and English), the third reproducing the score of the piece.

We instantly fell in love with Razen the first time we saw them live in September 2018. It was during a unique Sunday morning mass at the Friedenskirche (which translates literally to mean ‘the church of peace’), as part of the Meakusma Festival. Slightly sleep deprived and still euphorically intoxicated from the night before, their performance in front of a full mass of devotees had a biblical aura to it from the first note they played. They delivered a stunning set which was somehow, paradoxically, both relaxing and formidably tense.

Two years later and the group are now bringing their talent for restraint and slow tension-building to the fore on “Robot Brujo”. Each of the six improvisations on this double LP is made up of the barest of materials, with the three musicians relying on a limited combination of tones. They lay their focus on small variations in timbre, timing, articulation and vibration, which creates a narrowing of consciousness, and feels something a bit like staring meditatively at the minute changes of leaves blowing in the wind.

Recorded over two sessions, in what Razen themselves refer to as their detached playing style, "Robot Brujo" stands as an auditory magnifying glass of concentration, in all its uncanny and minimal glory.

It is yet another new step up from the deep listening ensemble from Brussels, after 10 years exploring music together.

Substance, the second album by producer Moisture, sets out to deliver an immersive tech-noir fantasy of emotional and physical deconstruction. Inspired in part by William S. Burroughs 1959 novel Naked Lunch, the conceptual narrative of the album follows a humanoid subject through an urban landscape and the exploration of its depravations.

Sampling and filtering sounds from other music, movies and own field recordings, the tapestry of Substance is a three-dimensional world of hard industrial spaces and fluid organic matter. While it's conception is rooted equally in literature and film as well as music, one can draw comparisons in particular to Barry Adamsons 1989 album Moss Side Story, in that it also works as a chronological narrative; the tracks aligning to make a world of its own.

And while Adamson was aiming to create an imaginary soundscape of his native Manchester, the geography of Substance is based on the city of Malmö. Using field recordings from it's city streets, the album paints a rain soaked, neon-clad portrait of the city's hedonistic nightlife.

On the opening "The Marketplace" we are teleported to Bergsgatan at night (the track title a subtle nod towards Eden Ahbez 1960 song of the same name).

This introduction is similar in line with the experience Burroughs once had in 1957 upon entering Malmö for the first and only time, which he details briefly in Naked Lunch: "averted eyes and the cemetery in the middle of town (every town in Sweden seems to be built around a cemetery), and nothing to do in the afternoon (...)"

This image of Malmö portrayed with dread and loathing holds a longstanding narrative tradition over the cultural geography of the town. Yet it is often paired with an image of great promise and bohemian splendor, seemingly a paradox but often perversely intertwined. This duality has always been a vital mindset in the underground music scene of the town and its illegal after hours clubs. Substance is a work steeped in the grayscale prism of techno and its post-industrial fetischism. Yet in picking it apart, one can find elements of everything from post-punk, drum & bass, trip hop and new age.

The theme of depravation that soaks through Burroughs Naked Lunch seems oddly befitting to this side of Malmö (one wonders what the author would have made of it had he stayed longer) Through rhythmic excursions and the exploration of repetition, the tracks of Substance are arranged to convey this self-destructive longing for depravity. Michel Foucault's ideas on limit experiences serves as context for this peculiar form of endeavour, as he puts it: "the point of life which lies as close as possible to the impossibility of living, which lies at the limit or the extreme."

F.S.Blumm enters Andi Otto's studio with a whole palette of strings and a mission to create quirky, peaceful soundscapes. The artists intertwine acoustic and electric guitars, harps, electric bass, psaltery and cello in eleven electronica compositions ranging from neo-classical gravity ("Entangleland") to spaced-out dub jams ("Active Fault Map"). "Yukiyama" evolves in multilayered patterns braided over warm tape-noise. "Kilani" reminds of Rabih Abou Khalil's ECM recordings, with its oriental scale and a beat that counts to seven. The tunes shine most when silence takes over, when the sounds find space to unfold and decay. Far from being trivial ambient lullabies, these compositions burst with detail: Bells rattle, a kalimba resonates, and vintage synths induce their voltage into the acoustic framework. Andi Otto and F.S.Blumm have been musical collaborators in the studio as well as on stages between Berlin and Tokyo for more than a decade now, the heyday being their previous duo album "The Bird And White Noise" in 2014. On "Entangleland", Andi Otto contributes the cello, harp and synth recordings and takes care of the mixing. Compared to his recent releases on Multi Culti or Shika Shika, these tracks are less dancefloor oriented. The calm of this album is a flourishing environment for Otto to pluck the acoustic cello which we usually hear in a more processed way in his solo works. F.S.Blumm contributes guitar and bass recordings as well as saturated percussion echoes from his self-made spiral box. Blumm is famous for his acoustic solo productions since his early outings on Morr Music or Tomlab. He has also appeared on Pingipung a few times, for example with his album "Up Up And Astray" or as a Lee 'Scratch' Perry collaborator with the "Quasi Dub Development" project. He recorded three duo albums together with Nils Frahm and is a member of the mighty "Jeff Özdemir & Friends" collective in Berlin. "Entangleland" sees the two artists weave together a mass of acoustic motifs, synthetic melodies, riddims and improv jams where the magic emerges from the sum of the parts. "It's not about accompanying a cello theme with the guitar or vice versa," Andi Otto says. "Entangling sound means letting go of hierarchies, that no one is first. Our studio is not a control room, it's a place of imagination where we take things apart and make things whole."

3 years after the release of his debut EP « Seize The Day », DJ, producer and founder of Roche Musique Cezaire is back with another evocatively named project : "Attraction".

Faithful to himself, he creates a sensual ambience made of warm and swaying tones, the sweet fruit of the melodic groove which always drives him. Once the eyes closed - the imagination becomes fertile and takes us back in a 90’s daydream accompanied by hypnotic synths. Regardless of the place, it’s all about lightness and smooth vibes.

Between G-Funk influences and francophone contemporary soul, the 5 titles EP unveils the producer’s taste for retro and voluptuous sounds, echoing to the universal theme of desire.

“This second EP is to me a logical follow-up which falls within my path. Of course, its central theme is attraction, but by that, I refer to one thing : making your dreams come true. ”

Los Afroins was the flagship salsa band of the obscure but beloved INS label from Colombia. Their 1975 LP "Goza La Salsa" is just as hard to find as their first record, and contains 10 bright and sassy salsa dura treasures that light up the dance floor with their incessant rhythms, syncopated trumpets and trombone and buoyant melodies. There are smoking covers of hits by Panama's Bush y sus Magníficos ('Salsa Al Pindin') and Bronx timbalero Orlando Marín and His Orchestra ('Está De Bala') as well as updated renditions of old Cuban chestnuts 'La Masacre' (written by Joseíto Fernández of 'Guantanamera' fame) and 'Matusa' (originally titled 'Macusa', composed by Francisco Repilado aka Compay Segundo).

The entire record makes for a very tasty and satisfying party platter filled with guaguancó, mozambique, pachanga, descarga and bolero that deserves to be more accessible and better known by today's fans of Colombian salsa who may have heard of The Latin Brothers or Sonora Carruseles, but have yet to discover the short-lived but highly sought after Los Afroins. "Goza La Salsa" is presented here in facsimile artwork and pressed on 180 gram vinyl.

“The aptly named Goza La Salsa (Enjoy Salsa) is the second album by Los Afroins, the flagship salsa band of the obscure but beloved INS label (Industria Nacional Del Sonido Ltda., Medellín, Colombia). The combo's repertoire focused mostly on cover versions hit tunes from New York, Cuba and Puerto Rico, both classic and contemporary, but for this record, their sophomore outing from 1975, their arrangements got tighter and there are more original compositions, which makes for a satisfying evolution in both style and content. Pianist Agustín "El Conde" Martínez, who would later work with Joe Arroyo and Juan Piña, led the group and did some arranging, with studio session production by INS artistic director Alfredo "Sabor" Linares. The vocals were handled by a pair of fresh-faced singers, Lucho Puerto Rico and Roy "Tayrona" Betancourt, who would later go on to fame in the 1980s, the former with his own Lucho Puerto Rico Y Su Conjunto Sonero and Conjunto Son Del Barrio (both in collaboration with Alfredo Linares), and the latter with Willie Salcedo, Reales Brass De Colombia, and Los Caribes. Additional arrangements were by Luis Felipe Basto of Los Black Stars and Luis E Mosquera, while the rest of the band was made up of INS related studio musicians. Goza La Salsa is just as hard to find as their first record and contains 10 bright and sassy salsa dura treasures that light up the dance floor with their incessant rhythms, syncopated trumpets and trombone and buoyant melodies. There are smoking covers of hits by Panama's Bush y sus Magníficos ('Salsa Al Pindin') and Bronx timbalero Orlando Marín and His Orchestra ('Está De Bala') as well as updated renditions of old Cuban chestnuts 'La Masacre' (written by Joseíto Fernández of 'Guantanamera' fame, and a hit for Cuarteto Caney) and 'Matusa' (originally titled 'Macusa', composed by Francisco Repilado aka Compay Segundo and made famous by Duo Los Compadres). This time around there are six excellent originals with the hottest pair being Lucho Puerto Rico's theme song 'Puerto Rico Power' and the percussion heavy final track, 'Alejada' sung and composed by Roy Betancourt. Just like the first album, the entire record makes for a very tasty and satisfying party platter filled with guaguancó, mozambique, pachanga, descarga and bolero that deserves to be more accessible and better known by today's fans of Colombian salsa who may have heard of The Latin Brothers or Sonora Carruseles, but have yet to discover the short-lived but highly sought after Los Afroins." Pablo E Yglesias DJ Bongohead of Peace & Rhythm

First 10" from the special series made for the U Know Me Records 10th Birthday.

Made only in 100 copies - hand numbered and stamped.

It's a vinyl version of Zura EP UKM 054 which was digitally (only) released on 31.01.17.

You can find extended version of the intro & Zura's remix of SONAR as a bonus track.

Zura aka DJ Papa Zura is a member of Soul Service Crew.

R&S welcome electronic composer Matthew Puffett AKA Future Beat Alliance with his killer single ’Never Forever’ a sublime slice of broken beat techno that originally had a limited release on his “Patience and Distance” album in 2009. It now comes backed with a first rate remix courtesy of R&S regular Afriqua.

A veteran of the UK electronic scene originally from Oxford but now located in Berlin, Puffett made his name in the late 90s with a string of sought after releases on Void Records under the aliases Mode-M and Soul Electrik before settling on the Future Beat Alliance handle. Notching up releases with the likes of Delsin, Rush Hour and Versatile as well as with the storied Tresor imprint, both as a DJ and an artist. In 2019 Matt started his new imprint Reward System to self release new creations.

Life long friend from Oxford, Mo’ Wax and Unkle maestro James Lavelle reached out in 2012, which led to a further creative chapter in Puffett`s story that culminated with him co-writing & programming on Unkle’s 5th studio album ’The Road Part 1’ as well as some singular work in film and television. “The moving image plays a key creative motive in my process,” Matthew explains. “Sound & picture married together is such a powerful combination that always inspires me every time to make my own version, 'Never Forever' is one of my many attempts to try and
capture that.”

Taking cues from modern cinema masters like Denis Villeneuve, Panos Cosmatos, Steven Soderberg and Jonathon Glazer and their respective composers, Puffett's widescreen sonic craftsmanship alongside his irresistible rhythmic sense are a key part of what makes Future Beat Alliance music so alluring; "I want my tracks to guide the listener on a exit route far from this world”

With their 2013 debut single "Vintage Voudou," Conjunto Papa Upa cemented themselves as the torchbearers of a rare breed of Afro-Caribbean psychedelic soul, a clear delineation from the wonderful world of Venezuelan poly rhythms. That original song, named after the short lived but heavily influential Amsterdam brick and mortar record shop that band leader Alex Figueira founded, was a perfect clue into the deep exploration that Papa Upa would begin to take on their musical journey.

Like the store itself, known for it's solid connection to the musical footprints put down in relatively undiscovered places like Suriname, Curacao, Cabo Verde, Portugal and of course Figueira's native Venezuela, Papa Upa has captured a sound that is entirely unique, a new concoction of influences that at once sound strange, yet totally familiar (...) Perhaps because Venezuela shared such a rich & diverse mix of sounds from the Atlantic, Caribbean & US, a kindred spirit to their neighboring country, Colombia, an equal in terms of their industry output from the 60's & 70's, yet not nearly as publicized and compiled in recent years. Like many places in the greater Afro-Caribbean nexus, they were musically ahead of their time.

This futuristic mélange of sounds is reflective of Papa Upa itself, made up of musicians from Venezuela, Uruguay, Cuba & The Netherlands, all living, practicing & recording at Figueira's
Amsterdam studio, Barracão Sound. With such a wide range of tropical influences, in a cosmopolitan and diverse city like Amsterdam, it's no wonder that Papa Upa's first extended project would find kinship in a collaboration with New York's Names You Can Trust.

New Jersey group’s debut album released on Brunswick Records, 1980 soul and disco classic. Includes the club classic ‘I Like What You’re Doing To Me’, which helped the band secure a contract with
Brunswick. When released the single reputedly sold over 250,000 in the US alone, yet never made the R&B or pop charts there. When released in the UK, charted to number 20 in Nov 1980. Reissued with original artwork, printed inner sleeve and pressed on 180g heavyweight vinyl

Limpio Records is a vinyl and digital record label, founded in 2019 and based in Frankfurt am Main. The releases mainly focus on downtempo, organic and slow techno music. The first label release „Seltene Erden“ is a various artists EP, produced by artists that create new ideas of slow electronic and danceable music between 100 and 108 BPM. Our aim is to bring people, nature, cities and music together in a slow and powerful way. All our releases tell a story and are made for the dance floor.

Shed Remix – This one is made for cardiovascular shit. Best used in dark basements, group gatherings, fire-dances (think Rothschild Surrealist shindigs), but can do wonders for your lower back and thighs, if surrounded with thugs and nasty guys.

Reformed Society Remix – This goes down the threaded path of classic Motor-city tech. That famed conveyer belt gave us the best combination of man and machine. And here it works quite well, might we add. Cruise-control on.

Two years after the drop of his latest solo effort, 'Strangers', Budapest cross-dimensional vibes trader Imre Kiss clocks in on Dalmata Daniel with the eagerly awaited followup to his widescreen, sci-fi ready sonic adventures. Here again, the Hungarian producer - who's made a name for himself through discerning blends of kosmische-infused nostalgia and uplifting emotional apexes, takes us off to a world of sense-awakening wonders and hidden alien treasures, well supported in his quest by Den Haag's legend Intergalactic Gary, up on the flip with a heat-seeking belter of a remix.

Written during a tour across Japan, the title-track 'Oimachi' breaks things in on a punchy yet immersively emotional note, flexing out the blunt Casio arpeggios and muscular bass leads for what results in a soul-whelming, wildly enjoyable trip away from the gridlocked 4/4 paradigm. The further jagged and wonky 'Whipromance' extrudes a weirdo-friendly piece of stretchin' electronics from its squelchy gangue of acid subs and straightforward drumwork, all set against a refreshingly contemplative dawn of pastel-brushed pads and ample beat-free sequences that shall leave weary dancers in a daze.

Flip sides and here comes 'Soft Obsession' - a fine-tuned assembly of organic envelopes, plurally sourced sample library and that idiosyncratic sense of otherworldliness the name of Imre Kiss has become synonymous with. Opening the sunroof onto a luxuriantly arranged and incredibly deep forest of rhythmic folds and textures, this is the very kind of track to send you off to the zone on a one-way trip. Rounding off the journey in true Moebius-esque fashion, Intergalactic Gary lets his unmatched jockey know-how do the talk through a mind-expanding finisher that'll be sure to please both the lovers of stadium-sized epics and all-night-long chock-a-block sweatbox action.
/Baptiste Girou/

A new sublabel of the longstanding Canadian electro imprint Suction Records, Ice Machine — focusing on old-school wave/post-punk sounds — launches on Valentines Day 2020 with two fresh Canadian synth-pop LPs on vinyl. Along side a reissue of Ceramic Hello’s cult 1981 minimal synth classic “The Absence Of A Canary,” comes this, the self-titled debut LP from a new Toronto-based duo, Analytica.

Analytica is comprised of David Lush, who’s released several killer solo tapes under the name Memorex, and Gabe Knox, who made a big splash last year with his awesome instrumental synth/kraut solo LP “ABC” on acclaimed UK label Polytechnic Youth.

Analytica make synth-pop the old-fashioned way: driving, verse/chorus pop songs utilizing hardware synthesizers and drum machines, vocals and bass guitar, and recorded to tape. The comparisons to early-Depeche Mode (there’s even a cover of “Reason Man” — an unreleased, Vince Clarke-penned, Depeche song that was part of their earliest live sets), and prime-era New Order (right down to the Oberheim DMX percussion and Peter Hook-style bass guitar) are inevitable, but rarely are these sounds executed with such style and conviction. According to the band, lyrically Analytica “explore facets of the dark age ahead — the propaganda, the nationalism, the environmental disaster in front of our faces - while attempting to offer something of a defence against a nihilistic response to these fears. It's at once a call to arms and a recognition that we're entirely fucked.”

The LP contains 11 songs, and is housed in a stunning reverse-board jacket, and is limited to 500 copies.

The outstanding 1971 debut by piano player and arranger Osmar Milito features his amazing cover of Herbie Hancock's Cantaloupe Island plus several classic Brazilian songs by Marcos Valle, Jorge Ben and Ivan Lins among others. Fierce samba jazz and bossa all the way through! The line-up of performing artists could hardly be more impressive: Quarteto Forma on vocals, Luis Ea, Marcos Valle, Pascoal Meirelles. This brilliant album is up there with the best work of Arthur Verocai and Marcos Valle. Presented in facsimile artwork and pressed on 180g vinyl

During the 90s, a walk around London’s Camden Market inevitably meant listening to the music with groove that the most popular DJs had made fashionable at the time: soul jazz instrumentals and Brazilian music targeting the club dancefloors. Among all those songs that ended up becoming classics of the scene was the amazing cover version of Herbie Hancock’s ‘Cantaloupe Island’ that Osmar Milito had recorded in 1971. This song was probably the main reason that made his LP for Som Livre one of the most sought after Brazilian records by collectors from all over the world. Now we finally have a new opportunity to enjoy this album, reissued on vinyl for the first time.

Along with the aforementioned version of Herbie Hancock’s song, this first album by piano player and arranger Osmar Milito is full of versions of Brazilian classics, from Marcos Valle to Jorge Ben or Ivan Lins. Fierce samba jazz and bossa all the way through! Note that Milito spent the first years of his career as a member of the backing band of big artists such as Elis Regina, Jorge Ben, Nara Leão... and after two years working with Sergio Mendes in the United States, he returned to Brazil and recorded his first LP.

The line-up of performing artists on this album could hardly be more impressive: Quarteto Forma on the vocals, Luis Eça, Marcos Valle, Pascoal Meirelles (what an amazing drummer he is!)... and both sides of the record hide a seamless sequence of solid tune after solid tune with similar doses of instrumental and vocal tracks. Just listen to the magnificent ‘Garra’, ‘Que bandeira’ or ‘Rita Jeep’, or the sweet samba that gives its name to the record, and you will see why this LP should be up there, next to the best works of Arthur Verocai and Marcos Valle.

We were first introduced to Marumo’s ‘Modish’ album via DJ Okapi's amazing resource the ‘Afrosynth’ blog, which archives South African bubblegum/disco from the 80s & early 90s. Aside from this blog, this music would otherwise remained unknown outside of South Africa, apart from the most hardcore of digger and record collector.
‘Modish’ was originally released on Spades Record in 1982 and was recorded by producer West Nkosi, who was a member of supergroup ‘Mahlathini & The Mahotella Queens’. He worked with the big hitters in South African music such as Ladysmith Black Mambazo, Teaspoon & The Waves, Patience Africa and many more. Marumo were made up of a group of musicians from the Athlone School for the blind in Bellville, close to Cape Town. The band members, John Mothopeng, Munich Sibiya, Simon Falatsi and Marks Mbuthuma, had previously played in the groups Batsumi, All Rounders and The Orations and came together to record this versatile album. It covers a wide number of genres from Sotho soul, Mbaqanga, disco-funk, gospel & spacey-synth slow jams.
Flash forward 30 or so years later and lost dead-stock copies of the album start to appear and Marumo’s music begins to be heard across the world in the DJ sets of Motor City Drum Ensemble, Invisible City Editions, Floating Points, DJ Okapi and others.
We included the afro-disco-funk beauty of 'Khomo Tsaka Deile Kae?’ on our Mr Bongo Record Club Volume Three compilation, but felt ‘Modish’ needed to be available and heard in it’s entirety. We hope you enjoy!

Following his last EP for the label, "Immaculata", VOITAX mainstay Makaton returns to form with his second solo EP - "Crime Wave". His meticulously crafted brand of techno spans over four dance-floor cuts, covering all the bases for the mind, body and soul.

Early support by A Made Up Sound, Aiken, Ancient Methods, Blue Hour, DVS1, Etapp Kyle, Eric Cloutier, Inigo Kennedy, James Ruskin, Mark Broom, Marcel Dettmann, P.E.A.R.L, Peder Mannerfelt, Phase Fatale, Pfirter, Psyk, Positive Centre, Rhyw, Scalameriya, Stephanie Sykes, SLAM, UVB, and Vincent Neumann

The first album African Head Charge made for OnU since 1993, this 2005 set was a triumphant return that saw longtime collaborators Bonjo Iyabinghi Noah and Adrian Sherwood reunited in the studio once more, the album title referring to the project’s original mission statement (nicked from Brian Eno!)

 This album is African Head Charge at their very
best, rich in varied percussion and spiritual chants,
set over hypnotic and transcendent layers of
African rhythms, trippy and bubbling dubbed-out
effects and trademark pounding bass.

 This is the first time the album has been released
on vinyl. Cut over 4 sides for maximum dynamics
by King Kevin Metcalfe.

 Includes double-sided poster insert featuring a
new interview with Bonjo, two bonus tracks and
digital download card for full contents.

Matt Karmil's fifth album is a meditative collection of woozy loops and soft focus house. STS371 is the follow-up to IDLE033, - - - -, ++++ and 2018's acclaimed Will. Matt Karmil is British born - growing up in the rural town of Salisbury, near Stonehenge. Suffering a prolonged illness as a child, he spent much time indoors whiling away the long hours by playing with a classical guitar. Eventually he was well enough to see the world that had almost left him behind, and he spent his early twenties as an international traveller, DJing, record collecting and working as a producer-engineer in London, Paris, Stockholm and Berlin. In 2012 he decided to settle on Cologne âÇ" a city famed for its excellent club scene and ultra-minimal take on techno via the collective of artists and producers around the Kompakt label. With a studio established in Cologne, Matt made his LP debut with the well received (but hard to Google) "----", combining dusty samples and elegant tape hiss with scuba-diving grooves and minimalist vibes. In the same year he released the jubilant club anthem 'So You Say' on Tim Sweeney's Beats In Space label and remixed John Talabot and Axel Boman's (Talaboman) single 'Sideral'. Recent years have seen a raft of new releases from Matt, remixing XPress 2 for Skint, the albums idle 033 and ++++, as well as 12"s for YumAc Records, Idle Hands, Endless Flight and Studio Barnhus, received with great reviews in publications from The Wire to Resident Advisor and beyond. 2016 also saw Matt much in demand for his skills in engineering, mixing and mastering, working extensively with Matias Aguayo for Crammed Discs, Kornel Kovacs for Studio Barnhus and Talaboman for R&S, among many others. At the invitation of artist Christine Sun Kim, Matt composed a sub-20Hz piece for Bounce House at Sound Live Tokyo 2015, while his video collaboration with Boston's MIT Media Lab, Time Moods, was premiered in late 2017.

The Prisoners are one of the most influential bands of the 1980s, an astounding live act whose records were the opposite of what pop radio demanded in that era. Raw where they were smooth and full of character where those records needed to be blandly conformist. They hardly sold a record and yet they can count the likes of Noel Gallagher and political journalist John Harris as their fans. Steve Lamacq devoted a whole chapter of his book to his love of them whilst Tim Burgess of The Charlatans once said that at that time he only checked for The Prisoners and New Order. At least two UK hits used their arrangement on Joe South’s ‘Hush’ as their basis.  ‘In From The Cold’ was the final shot at success by The Prisoners the only problem was they didn’t want it. Signed by Eddie Piller to his Stiff-backed subsidiary Countdown they were put in the studio with Troy Tate (Teardrop Explodes / The Smiths) and made this astounding album which they then disowned.  By 1986 they were an incredible live band and had released three albums of their distinctive 60s influenced garage rock. A four-piece featuring Johnny Symons on drums, future Acid Jazz hitmaker James Taylor on organ, Allan Crockford on bass and backing vocals and the compellingly soulful Graham Day on vocals. Graham also wrote fantastic songs. Ten years later and they would have been lauded as heroes in Brit Pop land but the mid-80s had no place in the mainstream for a band with their influences.  ‘In From The Cold’ is full of amazing songs from the hard edges of ‘All You Gotta Do Is Say’, ‘Ain’t No Telling’ and ‘The More That I Teach You’, to the mournful ‘Wish The Rain’ and ‘Be On Your Way’. It is no surprise that Mojo journalist Lois Wilson described this as her favourite album by the band.  This reissue on coloured vinyl is the first time the album has been issued in its original form since 1986 when, due to Stiff’s imminent demise, it was deleted very quickly.

The Hong Kong based Homesick team are back with their yearly release of quality reworks that has made the label sought after since their first release back in 2014.
For the 8th opus they're going back to their Disco roots and have worked with Cocktail D'Amore regular "Trent" for four edits that have been thoroughly tried on Asia's dance floors for the past two years.

Released on a shoestring by three musician friends in 1978 in Albuquerque, New Mexico, this 'desert soul' double-sider obscurity surfaced onto the collectors scene a decade ago thanks to DJ and label-owner Russell Paine (Super Disco Edits). A genuine rarity recorded "around one or two mics and a mostly-tuned piano" and still pulling heartstrings. Only 250 copies were originally made and given to family and friends with most long gone into the ether. Self-penned, produced and distributed locally by the artists over fourty years ago, this beautiful double-sider complete with Aka Shaic's hand-drawn 'dove design' is available to purchase again for record people everywhere via Backatcha Records.

'Slacking Off'... The sought-after 1973 Bahamas recorded percussion-led gem that landed on the scene thanks to Jared Boxx. Renowned DJ and proprietor of New York's Sound Library, Jared unleashed this elusive monster soul-funk jam onto wantslists worldwide via his 'Thanks For Waiting' mix in 2009 and it's remained unobtainable until now. Recorded at 'King' Eric Gibson's Elite Recording Studio in 1973, the track features Theo Coakley of T-Connection on keys, British engineer Allen Mottershaw aka MOTT on solo guitar and Nassauvians lead vocalist and guitarist Tommy Goodwin, who relocated to the Bahamas at least a decade earlier from the US. Featured b-side 'The Time Is Now' is a previously unreleased dreamy AOR island recording from the vaults of Elite Studios made the following year with his friend Don Lepage, sung together with Tommy on guitar and Don on harmonica. Both cuts now available on limited 7" from Backatcha Records for playback far and wide .

Spencer Clark is back with a futuristic eco-friendly record. It’s life on earth as you never heard it.

The story goes like this: Spencer wanted to do a soundtrack for the yet to be made “Avatar 2”. And if you know Spencer’s work, you’ll know that he engaged on this mission reading material that influenced the rich and crazy imaginary world of “Avatar”. If you think about it a little bit, something like “Avatar” could have really come out from the mind of Spencer Clark.

But it didn’t. So, he dwelled around the idea of that soundtrack, working on what is now known as “Avatar Blue”. The record we now release is a selection he made from the 2CD released last year on his own Pacific City Sound Visions.*

Like many of Spencer’s other alias or incarnations, Star Searchers introduces the listener to a new world. Besides making sounds/soundtracks for alternative realities he cares about making a world for his music to live in. It’s never superficial or dedicated just to the act of imagination, Spencer creates sounds that sustain the reality he imagined. That’s why they’re so rich and consequential in the realization of music as a medium.

“Avatar Blue” is music but also literature. And cinema. Star Searchers’ sound creates an absorbent sound about what’s happening in aquatic life. It goes beyond the perception of what we’ve seen or what we’ve known, it’s a neo-future aquatic life, with a world building structure and sounds and narratives that go along with it.

All done with a sound-aesthetics that could be described as slowed-down-trance, that fits 1980s synth nostalgia and dreams of sci-fi to come.
*Note: The 2CD version is available as a digital download with a purchase of the album on selected stores.

James Ruskin & Mark Broom are back as The Fear Ratio with their third album ‘They Can’t Be Saved’.

180G 2x12"

The duo, who are long-term collaborators have created their own signature style with abstract synths, heavy basslines and experimental soundscapes that fit somewhere in between IDM, electronica and ambient.

Their acclaimed debut album ‘Lightbox’ was initially released in 2011 on Ruskin’s Blueprint Records, featuring remixes from Warp aficionados Plaid and Deadhand. Soon after they formed a long-lasting relationship with cult Manchester based label Skam, with the follow-up album in 2015 ‘Refuge of a Twisted Soul’.

2018 saw a four track ‘Live EP’ release made up of exclusive versions of their Autechre supporting slot at the Great Northern Warehouse in Manchester, Several years and various solo productions later, The Fear Ratio return with an album that solidifies their reputation as experimental producers.

From the ethereal opening bars of ‘Sender’ slowly twisting into a brooding dub breakbeat, to the staccato, bugged out atmospherics of ‘Grey Code’, ghostly electronics of ‘Small World’, tripped out, schizophrenic hip hop haunting bass of ‘Game Plan’ and sun-dappled keys of ‘The Final Vision’ Broom & Ruskin flex their techno muscles ever further beyond the floor.

Three years after their critically acclaimed and sold out Abrada LP the great and joyful Japanese afro groovers Ajate are back with their much awaited brand new album Alo!

Ajate is a Japanese band who plays a unique blend of afro-groove dance music mixed with Japanese traditional festival music called "Ohayashi". Formed in 2011 by the band-leader John Imaeda, Ajate consists of 10 Japanese musicians.

Another unique feature of the band is the use of hand-made bamboo instruments as well as traditional Japanese percussion. The "Jahte" is a bamboo-made xylophone or balafon with a piezo pick-up mic attached to each key, connected to a pre-amplifier to obtain a loud sound and to add some touch of dirty distortion to its warm and natural acoustic sonority.

The "Piechiku" is also a bamboo-made string instrument inspired by the west-African "Ngoni" or Moroccan "Guembri" instruments. The Piechiku uses strings of the Japanese traditional "Shamisen". This instrument is also played through a pre-amplifier and John sometimes adds some wah-wah effect to it. All these bamboo instruments are designed, made and named by John Imaeda himself.

On Alo you will also be amazed by the exceptional sound of the Japanese Shinofue flute, which was not on the previous Abrada LP. Now, add to this unique sound some well-crafted Japanese female and male singing and you get a killer mix of Afro-Funk flavored grooves with traditional Japanese music!

Since the release in 2017 of their Abrada LP on the 180g label Ajate has toured Europe twice and has played a memorable concert at the world famous Trans Musicales festival in France in 2018, which has been followed by another great KEXP Live session.

Here is some music you will not be able to hear anywhere else, by one of the most joyful Japanese band to hear on record and to listen live!

It is hard to think of many 7” singles where both sides are as heavy as this one! "Change The World" & "Try, Try" were released in 1977 by 'Solat', a Dutch-based funk group made up of Surinamese and Dutch-Antillian musicians.

Formed after ex-band members of Reality/Tony And Reality; Eddy Veldman, Franky Douglas, Ivor Mitchell and Glenn Gaddum teamed up with singer Billy Jones, Solat went on to release two singles for Poker records. With it's crossover nature, it pleases disco, funk and modern-soul collectors and DJs alike, plus due to only been released in the Netherlands, the record has now become an extremely sought-after item with a high price tag to match.

Both amazing cuts are aimed straight for the dance-floor, but retain conscious and positive messages that are as relevant now as they were back then. 'Change TheWorld’ is an anthemic feelgood disco funk gem, whilst 'Try, Try ‘ is reminiscent of a Mizell Brothers golden-era production.

Mr Bongo present a replica edition with dinked centre- and original cover- and also label artwork, for all to enjoy!

After his last release on Dirt Crew in 2017 we are more than delighted to bring back the talented Harry Wolfman.
With impressive records on labels like Phonica, Omena, Outplay and Toy Tonics in the last years he has drawn up a fine new selection of music that spans across many genres and moods. This is also the first release for us in the new year after a lil break and it continues to explore the more eclectic approach we are following for a while now since the outings of artists like Dampé, S3A and Dan Only.

Harry presents an exciting opener for his new EP, together with vocalist Christian Crow he has made the blissful and breaks laden “poppy” good feel tune “A Way You Come Home to Me” that shines a bright light in these darker months. Followed by the deeper club tune “Step by Step”, building around yet another vocal recording. This time it’s Harry sampling his own voice and looping it into a repetitive piece of good feel House music.

We are getting deeper on the B side with “Speaking Raman”, one of these signature Harry tunes, a playful dusty lo-fi piece of music build around a piano theme and embedded in deep bass and driving beats, his sound trademark on all of these more floor orientated tracks on the EP. To close out the record we added two of his cinematic, ambient electronica works that we personally love so much. The haunting “Always 3” is a deep sphere that sucks you in a meditational and soothing womb of sounds. Ending with the electroid cut “Green Trees”, it’s broken and fragile and gives this indie-tronica track a warm and gentle touch.

We hope you enjoy these tunes and that they may be your soundtrack to the upcoming warmer months.

Like an ode to your Walkman and to those 90-minute tapes that you used to rewind with your pen, DA BREAK's first LP was all about Funk & Hip Hop 90's flavors. Like an ode to your Walkman and to those 90-minute tapes that you used to rewind with your pen, DA BREAK's first LP was all about Funk & Hip Hop 90's flavors. This was completely unexpected, a major learning experience, and above all a lot of fun and gave the Lyon-based gang a whole lot of ideas for the next stage in their musical journey, propelling them towards new musical horizons: infectious riddims with grooving keyboard & guitar licks as their bedrock and free association leading them into jazz, broken beat, soul or disco vibes … During the creation of Let It Shine, all doors were wide open and all musical genres potentially welcome. The production still has a « home made » feel to it, like the previous album, but with a modern, sonic twist when needed- a result of three years on the road together and new creative input from group members. Whether it be on a New York summertime roof-top, or settled in a Low-Rider with some G-Funk, or moving to some phat Jamaican style bass-lines or getting sensual on a tight breakbeat, lead singer Hawa knows how to shine her feminine and versatile brilliance on the project. She gives to the songs the final touch and the emotion needed to share with us her stories about human relationships - everyday tales sharing her real life-experience. This ever-expanding musical spectrum, Da Break play with it, explore it and also let it kick
completely free at times ! Song after song, they bring a magic glow to LET IT SHINE.

Taylor Swift, seven-time GRAMMY award winner, and the
youngest recipient in history of the music industry's highest
honor, the GRAMMY Award for Album of the Year. She is the
#1 digital music artist of all-time and is the first artist since the
Beatles (and the only female artist in history) to log six or more
weeks at #1 with three consecutive studio albums. Taylor has
an album on Rolling Stone's prestigious The 50 Greatest
Albums of All Time (by women) list, Time magazine has named
her one the of the100 Most Influential People in the world, and
she is Billboard's youngest-ever Woman of the Year. Taylor
has career record sales in excess of 30 million albums and 75
million song downloads worldwide, and has had singles top both
the pop and country radio charts around the globe.
LONDON, 18th August 2014 - Taylor Swift, announced her new
album 1989 and it is available immediately for pre-buy on
TaylorSwiftand iTunes. In addition, Taylor released Shake
It Off, the first single and video from her fifth studio album.
1989 is a touchstone - Taylor's songwriting and sonic evolution
surprises us more than ever before. Heavily keyboard and beat
driven, the pop sensibilities that have always been the hallmark
of Taylor's music now move front and centre on 1989. "I spent
two years making 1989. Two years gives you enough time to
grow and change and let things inspire you. I was listening to a
lot of late 80's pop music and how bold those songs were and
how that time period was a time of limitless possibilities. In
thinking about that, this album is a rebirth for me. This is my
very first documented, official pop album. 1989 is the most
sonically cohesive album I have ever made and my favourite
album I have ever made," said Taylor.

First time on vinyl. Recorded for DC's Black Fire Records in 1976, Theatre West's music never made record until now. Selected works taken from the master tapes of James "Plunky" Branch (Oneness of JuJu, Experience Unlimited etc). Hailing from Ohio and resident in DC, Theatre West was made up of musicians from Slave, Gil Scott Heron's Midnight Band, The Fabulous Originals, Malone & Barnes and others. Serious jazz-funk-soul selections via the vaults of Plunky and Black Fire Records.

Soma welcome the debut album from the ever-growing roster of youthful talent as Lewis Fautzi drops The Gare Album, named in homage to The Gare Club, Porto, where Lewis made his discovery of Techno. A bold 4 track single debut gave rise to the album process midway through 2013 and under the careful supervision of Soma, Lewis has provided a definitive peak in his sound cultivated on the back of years of studio work. A collection of deep, dark and twisted techno awaits.

A definite maturity in production shines through on this fantastic LP from Fautzi as he creates a cold and calculating output, clearly focused on the future. The Gare Album has allowed Fautzi to express himself fully through electronic music, a task that he has taken to whole-heartedly.
The Gare Album will be released on limited double LP.

Disco Segreta makes another dream for italo-disco hardcore true!

The first ever 12” officially licensed repress of this Yamaha DX-7 and Polysynth arpeggiated 1985 italo-disco masterpiece, previously released only as a b-side of a 45 on the tiny italian Discokkio label.

The 12” edition – made in collaboration with Metastasio himself – will feature the original version plus an alternate instrumental and vocal versions of “With You”, recovered from the original demo tape.

DSM009 will be strictly ltd. to 300 copies.

Culled from the vast 90s archives of Brooklyn DJ and producer Adam X, these four tracks demonstrate the early experimentations of the 90s NYC acid rave scene. Tracks tailor made by the djs for the ravers, pushing acid extremes and decimating minds. A document of a time when experimentation and freedom reigned the scene.

This record includes four tracks exclusive to this 12 inch and not on the LP. Remastered at Dadub Mastering. One time pressing limited to 300 copies.

Limited edition 180g 12″ record featuring 5 bangers. Comes with high-quality gloss sleeve featuring Gobsmacked skull artwork.

Taking influences from underground spaces and dark clubs, the GOBSMACKED! 12” series kicks off with a bang, dropping a five track vinyl from Diarmaid O Meara. The Irish producer describes himself as “trying to push the boundaries of electronic noise” and he couldn’t be more right. It’s just 30 minutes long and hugely pulsing, but packs more punch than a gym full of heavyweight boxers. “While working on new tracks in the studio, I’m always trying to create my own personal rave, and when I find myself in the middle of a dark and twisted sound, then I know I’m on to something,” he says of the creative process in his Berlin bunker studio.

The 12” includes a number of previously released digital singles by Diarmaid O Meara, which have been his chart topping and most widely played tracks, that have not yet made it onto black gold until this point. Featured as multiple Beatport number ones, peak time festival big room sounds, countless Boiler Room recordings, the 12” is a collection of club belters, tried and tested over countless sound systems and DJs.

At Diarmaid O Meara’s touch in the studio, the technotic sounds released from his control become alive, while dark vibes take a stormy ride through intense rhythms. Track titles like ‘Selfish Bass’ convey the vibe of music that chews up and spits out razor-sharp techno and rave fusions that race to tempos upwards of 140BPM. There are playful techno tracks like ‘In Your Head’ next to euphoric rave ups like ‘Live In The Night’ and bass contortions like ‘Ripcord’ that are masterfully concise but utterly devastating. Not to mention the ever hypnotic, chugging sounds meets massive crescendo of ‘Improbable Strip’.

“Whenever something crazy emerges through a rig, enough for you to you hear people screaming in ecstasy, and you know the production has delivered”, he says. And it is exactly this momentum that GOBSMACKED! wants to deliver – it sounds loud and obnoxious but also fun that draws on real appreciation for dancefloor destruction as well as countless hours of studio work. Therefore, it is no surprise that the artwork for the series also features the style of the well known Gobsmacked bunker parties run in Berlin venues like the infamous Griessmuehle, where said music has probably been overplayed to crowds with goldfish length memories. .

'CYAN’ is the third full length LP from San Francisco Bay Area-based band The Seshen. Taking its name from a colour that is both strong and soft, the LP unravels the progression that has been made since 2016’s ‘Flames and Figures’, both as a band and as individuals; “Since ‘Flames and Figures’, a lot has been taking place both internally and externally.” Lyricist and vocalist Lalin St. Juste recollects, “we were on tour for the last album during the 2016 US election. There was an intense heaviness, a familiar one, one that extends generations and it just sunk in even further.”

The battle to overcome this heaviness, felt as a result of political and social issues and through Lalin’s own experiences with combating depression, fuels ‘CYAN’. “I was at the edge of myself,” she confesses. “This album is about pulling back the layers of who I am in order to push through sadness and grab onto what’s underneath”. From the opening lines of the LP on “Take It All Away”, these ideas are displayed - “I think it’s been too long that I’ve been your puppet / Cut these strings, I don’t want any of it”, she sings. Led by exposed yet bold musical endeavours from bassist/producer Akiyoshi Ehara, the album sees The Seshen delve into uncharted eclectic realms; “I think that there’s a lot more rawness on this record” Aki muses.

Anchored by Lalin’s sly, silvery vocals (which draw frequent comparisons to Erykah Badu) and cerebral yet playful rhythms from producer- bassist Aki, The Seshen’s music pulls from a deep well of electronic influences, R&B, and indie rock. Drummer Chris Thalmann, keyboard/synth player Mahesh Rao, percussionist Mirza Kopelman and sequencer Kumar Butler make the music three-dimensional, blending live and digital instrumentation for a mercurial, transportive sound. Since 2012, the Seshen’s live show has earned them critical acclaim and a dedicated fanbase on multiple continents, as they’ve shared stages with the likes of Hiatus Kaiyote, Petite Noir, tUnE-yArDs, and Thundercat.

It would be fair to say that Leng co-founder Paul “Mudd” Murphy is a born collaborator. Since first donning the Mudd alias at the dawn of the century, Murphy has released numerous collaborative albums and singles with regular collaborators Ben Smith (as Smith & Mudd) and Kevin Pollard (Mudd & Pollard), as well as playing a key role in “super-groups” Paqua and Bison. “Susta”, which marks his first single on Leng since 2009, sees Murphy add some new names to his growing list of collaborators. It was made in cahoots with singer/songwriter David Harks, a regular Satin Jackets collaborator who also appeared on Jack Cutter’s superb “Serpent Strut” cut on Murphy’s Claremont 56 label.

“Susta” is a bubbly, evocative and ear-pleasing chunk of mid-tempo nu-disco pop featuring lead vocals from Jaanika Leino AKA JaneLy – a former X-Factor Finland contestant whose sultry and evocative voice simply soars above Murphy and Harks’ sparkling, life-affirming instrumentation. Rich in twinkling synth solos, rich Clavinet lines, chugging arpeggio lines and eyes-closed piano, “Susta” is a strong song that will squat inside your head and stay there for days.

Our advice is to welcome it in – it’s as joyous and life-affirming a track as Leng has ever released. It’s accompanied by a predictably strong remix by British electronic music veteran Andrew Meecham (Bizarre Inc, Chicken Lips etc.), who dons the now familiar Emperor Machine alias to deliver a dub for the ages. Combining his own analogue and modular electronics with snippets of Leino’s vocal and some of the warmest instrumentation from Murphy and Harks’ original mix (think Clavinet and Rhodes for starters), Meecham offers up an epic slice of electronic dub disco that bubbles away for ten mesmerizing minutes. It’s a superb interpretation of a high quality cut.

Madcliff recorded one album in 1977 from which come these two tracks for the first time on 7” single. Singer, Songwriter, Drummer, Bassist and Keyboardist Chris Hills wrote the songs and was integral to the group before joining Players Association. The killer cut is the funk bomb “You Can Make The Change” which was made popular by Keb Darge at his legendary deep funk nights and has been sought after ever since.

Cult label Groovepressure returns with its 17th release. A 4-track EP that is one of its best yet. A collaboration between label boss (and Memory Box head honcho) Robin Ball and regular Groovepressure cohorts A². Taking turns to remix each other’s tracks delivering a 4/4 and breakbeat track and remix each. This EP has all the Groovepressure trademarks. Mixing up techno, house, breakbeat and electro with a deep underground vibe. Music for your head and your feet.

First up A² “Delaycious” is an unreleased track from the vaults. A real gem made in the 90’s and thought lost until re-discovered recently on a dusty DAT. And on the flip side Robin’s stripped back teched up “Oh Yea”.

Originally released in 2011 as CD and digital exclusives on Ikebe Shakedown's debut self-titled album, "Asa-Sa" and the B-side "Pepper" are both horn-driven, heavy, Afro-influenced slices of funk best-served on the 7" format. 'Ikebe Shakedown' has kept their signature funk, tight horns and impeccable rhythm through several releases including their most recent album "Kings Left Behind" on Colemine Records which made it to #2 on Billboards Jazz chart.

Third time is a charm they say. But if the first 2 times were already so memorable, what more can you ask for?
Nebraska comes in with a bang for his third release on Heist after ‘Soften the Wireless’ EP in 2016 and ‘Metaphor to the floor’ in 2017. It’s hard to believe it has been 3 years since his last appearance on Heist, but with ‘Y’miss me baby?’, Nebraska takes back center stage with another releasefull of disco flavored electronics. Italian disco man-of-the-moment Giovanni Damico comes along for the ride and delivers a stunning 80’s flavoredremix.
It’s not to say that Nebraska (Alistair Gibbs) has been sitting still since 2017. He’s launched his own label ‘Friends & Relations’ where he explores his cut-and-paste style even more with some seriously cool disco dubs and other sonic adventures. Furthermore, he made a guest appearance on Aaron Dae and JKriv’s Razor ‘n tape Reserve. Apart from his regular musical explorations, he has also published a book (Surprise party every week) where we get a glimpse of how Gibbs sees the world.
His view is one of humor and positivity and one of creating new meaning through rearranging context. This is certainly true for his music and this new EP on Heist. The title track ‘Y’miss me baby?’ oozes funk with a clever combination of samples from different contexts put together to create something altogether new, yet familiar. The track has a real 80’s disco vibe to it and the vocoder adds even more to the ‘Zapp & Roger’ flavor of things. It’s a laidback track that feels like it was recorded on a gloomy Sunday evening with no pressure on anything and just room for fun.
The vibe takes a complete left-hand turn with ‘Dip and Flip’, a high energy house track that rattles, loops and bleeps into a full-on disco frenzy.
The b-side kicks off with Italian disco wizard Giovanni Damico remixing the title track. He’s had a great run recently with releases on Lumberjacks in Hell and more recently on Star Creature, where he’s found a home to explore his own view on modern day boogie. His ‘jam’ remix flips the track into a freeform arrangement where guitars, disco claps, delays and retro synth licks all work together for a great taste of Italian boogie.
The EP finishes off in true Nebraska style, with yet another curveball. ‘Xia long bao’ sounds like a lost Nick Holder track from the 90’s with its loopy island style Rhodes and lazy chanting. The choice of samples along with the catchy groove makes this a signature Nebraska track and a quality closer for this single.
We are super happy to have Nebraska back on Heist and with this amazing EP, you are certainly going to create smiles on your dancefloor of choice.
Yours Sincerely,
Lars & Maarten

On his third and album, Rainbow Doll, the New Jersey house mystic Joey Anderson speaks to us. Of course, like everything Anderson does, the message is encoded. On tracks like "Beside Me" and "Cindy," his voice rings out in dream incantations-on the latter, he repeats a Mark Hollis-like mantra over a perfect, minimalist house loop while the former sounds like the late, great Ron Hardy taking the razor-and-tape to Ike Yard.

It's his third record for the Berlin-based label Avenue 66, and graciously illuminates the dream logic introduced on his debut for the imprint, the 2013 leftfield classic "Above The Cherry Moon." While Rainbow Doll satisfies those outre impulses, the album's core comprises what are perhaps Anderson's most indelible dance tracks to date, like "Bounce With It," a jacking anthem which sees him at mission control, sending widescreen synth lines soaring through the atmosphere.

With the aforementioned vocals punctuating five of the eight tracks, Rainbow Doll is Anderson's most personal work to date. It's his first album in four years, but also his shortest, most concise full-length. Even with a more direct approach, the elusive, dreamlike quality which has made his work so intriguing remains intact. He speaks of dreams throughout the record, even as his uncanny methodology comes into focus. More than ever before, we understand the materials Anderson uses to construct his Escher-like tracks. We hear his fingers on the keys, the sturdy east coast house beats he learned to dance to. The dreams have become lucid. As he puts it deep in the album, they "seem so real."

Stap me! When you think you've heard it all, someone comes up with more earth shattering music, restoring your faith in humanity (well, almost). Back in the early 2000s, after locating those first Moondog 78s, and adding them to the mix at Honest Jons, assembling the compilation that became The Viking of Sixth Avenue, was a kind of musical cloud nine - a voyage of discovery, attempting to chart the worlds that Moondog had created. Now it's Spring again - as winter encroaches - and Mississippi expose us to some never before heard material. It's killer grade, recorded by yet another genius, Tony Schwartz, the pioneering Folkways field recordist, the first man to record Louis Hardin, aka Moondog, who in the 1950s also recorded a day in the life of a dog canine variety and a New York cab driver, among many others.

Behold! A survey of Moondog’s earliest recorded works - many of them unreleased until now - through a collaboration by Mississippi Records and Lucia Records. From 1954 - 1962 field recordist Tony Schwartz frequently checked in with Moondog, his favorite street musician. Tony Schwartz made recordings of Moondog’s earliest compositions as they were coming into focus. Sometimes these recordings were made right on the street as Moondog busked, sometimes they were made in Schwartz’s studio, and sometimes they were made on NYC rooftops. The resulting recordings, many of which had never been released, were deposited at the Library Of Congress as part of the Tony Schwartz Collection in 2006 when Schwartz passed away, and this record was culled straight from these original tapes.

Side one kicks off with an unreleased version of Moondog’s classic composition “Why Spend The Dark Night With You?” followed by the first ever complete recording of his “Nocturne Suite,” a beautiful piece of classical music performed with members of the Royal Philharmonic. The side ends with the complete “On The Streets Of New York” 7” EP, which was released on Mars records in 1955 and subsequently re-released by Honest Jon’s Records in 2004 on their excellent Moondog anthology. Side B features sketches of Moondog compositions never released, many with the man himself howling and chanting over his homemade percussion set.

Moondog’s music is as universal as it gets - part classical music, part Native American, part European folk, and part something completely unique. Moondog is one of the towering figures of 20th century music. This record comes with liner notes featuring never before released interviews with Moodog by Tony Schwartz and is housed in an old school “tip on” cover. All tracks fully licensed from the Library of Congress.

After contributing with a remix in 2018, made of concrete invite Johannes Volk for a full-length artist release. A scene veteran, Volk is known for his releases on Jeff Mills’ Axis Records, Patrice Scott’s Sistrum or Steffi’s Dolly imprint or for his live appearances in staple clubs Berghain, Tresor, Panorama Bar, Golden Pudel, or Corsica Studios to name a few.

Opener 'Soldered Minds' introduces a dense, energy-filled dynamic that’s both impactful and intriguing. Label chiefs Rebar give the track a 'Hum' remix treatment, adding layers of sizzle and flow that transform it into an afterhours-ready alternative. Undulating basslines stand at 'Magma In Slo-mo’s base, a track that offers a solid anchor and great tool for the dancefloor. The haunting, glitch-laden 'Asphalt Flowers' brings unpredictability with its jittery, uneasy atmosphere that, if played at the right time, is the perfect trigger for a descent into dance delirium.

It has been a LONG time since Bushwacka! released any music on his original label, Plank Records. Its apt that the label started 25 years ago, and now, for its 25th 12 inch release Bushwacka! has delivered a killer 4 track EP, pushing boundaries of time signatures and paying homage to his rave breakbeat days as well as turning up the heat with the electro cuts.

A1. All Night in Heaven actually started out as a rave house track, with the killer breakbeat drop in the middle, but Bushwacka! changed the arrangement specifically to play the track at the Return To Rage event at Heaven, where he first went raving every Thursday from 1988 to 1992. The track sounded so massive on the dance floor that he decided to keep the breakbeat vibe throughout the track and release it on his Plank Imprint.

A2. It’s The Five O is a piece of music that defies gravity. Its a fusion of percussive assault, tribal chanting frenzy, and a bassline from the depths of Hell… but the magic of the track is its 5/4 time signature. Incredibly challenging to mix in and out of, yet so unique in its rhythm that people bust shapes they didn’t know their bodies were capable of.

B1. Feng Shui is a piece of filthy Electro Breaks that pulls you inside out and upside down. Bushwacka! has his signature Plank sound all over this, with raw rhythms and deep melodies and twisted warped sounds.

B2. Whiplash was written three years ago in Bushwacka’s Ibiza Studio. Its a cross between Electro and 4/4 dance music, with a beat so powerful the floors feel like an earthquake has hit them. This is the most pure of the tracks in its direct line to the early 80s Electro sounds, yet sounds like it was made yesterday. It has been destroying the clubs in his sets since 2017 and now needs to be shared.

Plank Records has had a devoted cult following and second hand the tracks have been changing hands for big bucks, and many vinyl labels have been re releasing some of the cuts. It’s so exciting that the label is launching again for 2020, with a sound often imitated, yet never replicated.

Vermonische Melodien is a collection of compositions by DJ-producer M.RUX, made with old VERMONA machines from Eastern Germany. The nine Electronica tracks can’t conceal their influences from Exotica records of the 1960s as well as their fondness for vintage music technology. We hear voices singing lullabies (“Magische Time”), mumbling chopped up syllables (“Seelnatrax”) or reciting a Shakespeare quote (“Bakelit”) - are they real? Yes! But they are mostly generated by the world’s first speech synthesis hardware, the IBM 704 from 1954, and processed into off-key melodic beauty with vocoders. "I’ve always been curious about musical visions from the 1970s", says M.RUX about his inspiration for Vermonische Melodien. "Those nifty Vermona machines can today be seen as future machines from the 1970s. They seem almost mystical to me. Like relics from an epoch long ago… and I wanted to find out how music from that time could have sounded." On the album M.RUX uses, above all, equipment by Vermona, a brand from Eastern Germany manufacturing electronic musical instruments until 1990. The drum machine VERMONA ER-9 (1976) was the first instrument M.RUX ever possessed. It forms the rhythmical backbone of his studio on this record. The melodies on the other hand have mainly been played on a Vermona Formation-1, a suitcase synthesizer from 1980. Although these two machines are joined by countless other instruments and effect units, their particular soft sound is present in every single moment of this soothing album. "I also take a deep bow to the late Reinhard ‘Lacky’ Lakomy", M.RUX adds. "His releases were the first electronic instrumental records on the Amiga label which has been a huge influence for my work in general and this record in particular." M.RUX has appeared as a solo producer with his “In the Hold“ EP (2016) on his own YNFND imprint. Before that he had become famous for his edits which gently transform songs by Nina Simone, Townes Van Zandt, Tom Zé and many more into slow, dancefloor-ready gems. Pingipung is proud to present this first full-length album by M.RUX. He is not only a talented multiinstrumentalist and original producer but also a skillful remixer - as he has shown twice to the Pingipung audience in the last two years with his touches on Umeko Ando’s Ainu folklore songs

Red Vinyl

Iggy Azalea is a four time Grammy-nominated and multi-platinum Australian rapper who has become one of the most accomplished artists in history. Her 2014 debut album The New Classic, which debuted at #1 on the Billboard Rap Chart - a first for an international female artist, spawned a US chart topping trifecta of worldwide #1 multi-platinum smash hits: ”Fancy” (featuring Charli XCX, 5x-platinum); “Black Widow” (featuring Rita Ora, 4x platinum); “Problem” (collaboration with Ariana Grande, 6x-platinum). “Fancy” was the longest leading Hot 100 #1 hit by a female rapper in chart history, Billboard’s 2014 Song of the Summer, iTunes Best Song of 2014, the year’s most-streamed song on Spotify, and the most-watched music video on Vevo. While “Fancy” was still residing at #1 on the Hot 100, “Problem” – Iggy’s collab with Ariana Grande – peaked at #2. Iggy had made chart history again, this time as the first artist since the Beatles to rank at #1 and #2 simultaneously with their first two Hot 100 hits. Iggy Azalea’s videos have amassed over 2.5 Billion combined views to date. 

In 2018, Iggy released her EP, “Survive the Summer,” featuring the RIAA Certified Gold track “Kream” ft Tyga as she gears up for her sophomore album “In My Defense” in 2019.

Max D's latest LP is the first full length album on 1432 R. It's a milestone from the Future Times boss, who's been holding it down in his creative corner of electronic music for over a decade. The album opens fast and fierce with I Think Our Souls Are Other People, a storm of live percussion and widescreen drone. And then from track to track, it strips itself down, mellows itself out, and rides on hypnotic loops. Many Any Dolo Brush is something of a cameo from Max’s Dolo Percussion moniker, giving way to the first of three field recording miniatures that glue the album together and provide a sort of romantic center. Fly Around The Room is a true half-time float, with a melody that sits in your ear while drums zip past. Shoutout Seefeel, a 130 mind cleanser, is full of the namesake shoe gaze and thick hovering techno drums. Lullabiological features the keyboards of 1432 R's own Dawit Eklund, wandering off the deep end like some dream that can't be shaken. Cuz It's The Way rounds out the work with a groove made for the dance floor. Max D and 1432 R: we are always on some hopeful shit.

Bringing glitch aesthetic into the new decade, Aaron Spectre (aka Drumcorps) gives us Computorr, a look into digital dystopia through eyes of jungle, punk, noise, & rapid-fire sampling. This energetic EP features Aaron's signature cut-up yet concise beats, and unites several subcultures at their roots.

Artwork for this record was also made by Aaron, using analog video synthesizers & old CRT televisions, for the medium is the message. Vinyl is top quality and hits hard, its clear highs and powerful bass mastered and cut by Keith Tenniswood, and comes in several different color varieties.

Germany's JAHMONI are on release and distribution duties via Rubadub UK, hot on the tails of their diverse multi-genre releases by DJ Marcelle, BELP, and Summer of Delete.