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Principal is the new solo project by producer and musician Rasmus Allin, who’s first album Treacherous Dub will be released on the Copenhagen-based label StereoRoyal in July 2020.

Best described as an homage to old-school Jamaican dub, Principal’s music features live recorded drums and other instruments. Fused with electronic elements, it celebrates the sound of the original dub pioneers.

Born in 1970, Rasmus Allin has been working as a producer, musician, and songwriter since the mid-nineties, primarily within the realm of electronic music. Inspired by the British trip hop and drum ‘n’ bass scene, he soon gravitated towards Jamaican dub, rocksteady, and reggae. "I found my inspiration in the old Jamaican dub masters like Lee Scratch Perry, King Tubby, Augustus Pablo, and Scientist. I’ve spent endless hours in the studio trying to replicate their sound, using old tape delays, filter boxes, and modulation effects,” he says.

In 2002, Allin formed the band Junkyard Productions, playing major venues and festivals like Elysee Montmartre, Le Triptyque, Télérama Dub Festival, and Roskilde Festival while touring through Denmark, Germany, Switzerland, and France. Alongside this, he continued to hone his skills in producing, co-writing, and remixing music, working with top Danish pop and reggae acts the likes of Natasja, Pharfar, Wafande, Shaka Loveless, and the British girl band All Saints.

Treacherous Dub will be released on vinyl and all major streaming platforms, and will be Allin’s first album of pure instrumental dub tracks —an ambition he’s been wanting to fulfil for years. Marking his debut as a solo artist, the album also marks his premiere as a visual artist, with the album cover lithograph made by Allin himself. For Rasmus Allin, the collaboration with StereoRoyal offered “the perfect opportunity to give the tracks the finishing touches.”

StereoRoyal is a Danish library music label founded in 2010 by and specializes in off-kilter music for film and TV. Originally, the label focused on electronic genres, but over the years has grown to include a broader variety of music produced by some of the most talented composers in Scandinavia.

Full Pupp is 15 years old and we’re marking the occasion by inviting old and new friends to contribute a track each. Doc L Junior from Tromsø returns to our shores with a track that took us 15 years to get our hands on. Blackbelt Andersen made this fun little track for him to play out, now you can too. Bjørn was the first person I asked for music when I started the Full Pupp’s precursor label “Tamburin". It’s a true pleasure to finally have him on board. it only took 18 years. Dj Fett Burger as Dj Fett Birger rehashes an old remix he did of Prins Thomas.

According to the feudal system which was introduced into England by William of Normandy, the king was an absolute monarch, so he could do whatever he liked.
(from Origins of the Magna Charta).

In a cardboard media background, where cliche is law, where the digital essence of the personal data is more meaningful than the person itself, the Bait e Borghi project arises. The natural environment beyond anthropization, the technic and technologic strained clutch inside the places that inspired the album. The traveller meant as the one that makes the trip his own life, and that inevitably moves so far away from common archetypes that defeats every possible storytelling but the sound evocation. A sound that becomes the last unreal notebook like the matter which dreams and memories are made of. An unlikely but possible distopia where our last Thule remains the passage between body and machine, cyberpunk myth yet beautifully imagined and illustrated during the eighties. Not by chance Bait e Borghi share the same starting point, the same region that assumes twisted features if observed from the mid Adriatic offshore oil platforms point of view. Squalo, Giovanna, Ombrina are the point at issue, monumental media short-circuits, disclosed and hidden truths at the same time

Re-release of the record originally released on 2016-02-05!

Remastered and cut by Rashad Becker at D&M Berlin and presented in an exact replica sleeve of the original 1966 release by Stephen O'Malley.

sales information: Black Truffle is honoured to present the first vinyl reissue of the classic debut album from AMM, AMMMusic. Coinciding with the 50th anniversary of its recording in 1966, this reissue makes one of the cornerstones of the experimental music tradition available again in its original form, replete with Keith Rowe's beautiful pop art cover and the terse aphorisms by the group that served as its original liner notes. A testament to the interaction between the experimental avant-garde and the countercultural underground, the album was originally released on Elektra, recorded by Jac Holzman (the label's founder, responsible for signing The Doors, Love, and The Stooges) and produced by DNA, a group that included Pink Floyd's first manager Peter Jenner. (Pink Floyd paid tribute to AMM's influence on their improvisational sensibility with the track 'Flaming' on their debut album, named after the piece that occupies AMMMusic's first side, 'Later During a Flaming Riviera Sunset').

Formed in 1965 by three players from the emerging British jazz avant-garde - Keith Rowe and Lou Gare had played with the great progressive big band leader Mike Westbrook and Eddie Prévost played in a post-bop group with Gare - AMM quickly evolved from a free jazz group into something decidedly more difficult to categorise. By the time these recordings were made, two more members had joined the group: another Westbrook associate, Lawrence Sheaf, and the radical composer Cornelius Cardew. Then at work on his masterpiece of graphic notation Treatise, Cardew brought with him extensive experience of the post-serialist and Cageian currents in contemporary composition. Using a combination of conventional instruments and unconventional methods of sound production (most famously Keith Rowe's prepared tabletop guitar, but also prepared piano and transistor radio), the group performed improvised pieces often running for over two hours and ranging from extended periods of silence to terrifying cacophonies.

Evan Parker famously described the improvisational logic of AMM's music as 'laminal', in contrast to the 'atomistic' approach more common among the generation of British improvisers (Bailey, Rutherford, Stevens and co.) to which he himself belonged. AMM improvised in layers: layers of sound subtly rising and falling or abruptly starting and stopping without being propelled by the implied pulse of free jazz improvisation. Rather than a pulse, AMM's music began with the sound of the room in which it was played, the Cageian anarchy of silence. By embracing the non-synchronous simultaneity of layered sound, AMM was able to create a musical container into which nearly anything could be incorporated at any moment: on AMMMusic, long tones sit next to abrasive thuds, the howl of uncontrolled feedback accompanies Cardew's purposeful piano chords, radios beam in snatches of orchestral music (and, on the LP's second side, an extended fragment of 'Mockingbird').

AMM's clearest break with jazz-based improvisation concerned the idea of individuality. Where improvised music has tended to foster the development of idiosyncratic stylists who move freely from one group to another, AMM, initially through an engagement with eastern philosophy and mysticism and later though a politicized communitarianism, sought to develop a collective sonic identity in which individual contributions could barely be discerned. In the performances captured on AMMMusic

the use of numerous auxiliary instruments and devices, including radios played by three members of the group, contribute to the sensation that the music is composed as a single monolithic object with multiple facets, rather than as an interaction between five distinct voices.

- Francis Plagne

THE ONLY DIFFERENCE BETWEEN ONE AND NONE IS N TRANS HUMAN OBJECT (THO) //////////////////////////////////////////////////////////////////// THE SUPERIOR FUNCTION ************************************************ X1N SAYS: //////////////////////////////////////////////////////////////////// IN THE VAST SURFACE OF ALL MATHEMATICAL EQUATIONS, ONE CAN SENSE EVENTS WHICH SEEM TO COME FROM OTHER DIMENSIONS - RIPPLES AND PATTERNS. THE ZERO POINT NINE INFINITE NUMBER LINE NEVER REACHES ONE, YET IS ONE, NONETHELESS. 0.9999... READ THAT SEQUENCE LIKE A MANTRA. A MANTRA OF DEATH. //////////////////////////////////////////////////////////////////// “I TALK IN ALPHA NUMERALS” ************************************************ ### denotes “end”. No more messages to follow.

"AVALPBOX4", Limited Edition- 1.000 Copies' 28-Page Hardback-Book: 10" Vinyl, Hand signed Programme, Tour Poster & DVD.

By the time The Beatles travelled to Blackpool for the first time,
they had toured with the legendary American singer, songwriter, Roy Orbison; recorded several BBC radio shows, including Saturday Club, Easy Beat and Pop Go The Beatles; appeared on many, highly popular television programmes; released their debut album, Please Please Me and issued their first three EMI singles, ‘Love Me Do’, ‘Please Please Me’ and ‘From Me To You’.

Their fourth, ‘She Loves You’ had just been recorded and mixed ready for release. It was an exciting time for the band so, when they reached the popular, seaside resort for the first time, on 7th July 1963, optimism was filling the air. This stunning AVA Editions collectors pack contains a 10" Record feat. two appearances made by the Beatles on the ABC television show, Blackpool Night Out; an impressive 28-page book, crammed full of previously unseen colour images of the group and a high-quality reproduction of an original, 1963 concert programme signed by Skiffle legend, Chas McDevitt, who supported the Beatles on several occasions.

Also included is a full colour A3 poster and an exclusive DVD feat. a new, 30-minute interview with him, alongside his previously unseen, candid, colour footage of the group backstage, and in performance at the ABC Theatre in August 1963.

So too is a unique, fully colorized version of their 17-Mins. appearance before the cameras for Blackpool Night Out in August 1965. For Beatles and music fans alike, this pack serves as a wonderful opportunity to own a unique slice of music history.


*** Side A: Recording 19th of July, 1964
*** Side B: Recording 1st August, 1965

Time for some magic as longtime friends Guti and Djebali present their debut collaborative LP ‘Almost Finished’. The two artists decided to get together in Djebali’s Paris studio when Guti was in the French capital in April. With no real plan besides the chance to have a jam together they ended up locked into a four-day session, producing six tracks. In the months that followed, both men roadtested the music around the world, receiving positive feedback everywhere they played. Feeling they’d created something special, the decision was made to arrange a second session at the end of the summer.They found themselves fully immersed in another intensive recording session, where the idea was to make more music based on the existing tracks to create a cohesive body of work that would form an album. Guti and Djebali composed an intro, an outro, interludes and new tracks that complemented those they’d made earlier in the year. Artwork has been specially commissioned from Mister Piro, a protégé of world-famous Madrid-based artist Okuda. The result is a dancefloor-focused collection of 8 tracks (plus a digital bonus) and stunning artwork, which comprise the ‘Almost’ Finished LP

ANNA HOMLER & ALESSIO CAPOVILLA - VASI COMUNICANTI

Vasi Comunicanti is the oneiric record born from the collaboration between L.A. performer and avant-garde artist Anna Homler and Alessio Capovilla, co-founder of Gang of Ducks.

Alessio Capovilla (1985, Turin, Italy ) is an Italian composer interested in sound modelling.
Imperfect sounds, unpunctual distortion and unsuitable atmospheres are constantly researched by Alessio.
A dialogue between ancient tools and new technologies through synthesis, computer music and field recording, crossing beats and genres towards something not easily definable.
Co-founder of the collective Gang Of Ducks, on which he's published two releases ("NO" and "Eocity") under the moniker of XIII, alter-ego through which he mainly examines the most tactile and digital part of his sound.


Anna Homler is a multy-disciplinary artist working on a blurred line between music, performance, spiritual and visual arts and giving birth to several different projects.
In 1985 she released, in collaboration with composer Steve Moshier, the seminal album "Breadwoman & Other Tales", shamanic and meditative songs brought to life with astonishing live performances.
The record was then re-released in 2016 by NYC label RVNG Intl, bridging the gap with a new generation of listeners, discovering the universal and unique world of Homler.
Capovilla, who was born in the same year of the original release, is one of them. His work focuses on imaginary landscapes and oneiric feelings. He has released two records on Gang of Ducks with his XIII moniker, dedicated to his digital and more computer-oriented sound.
The two of them met for the first time for an improvised live performance in Torino in 2017, after which they decided to spend studio time together exploring where this connection could lead.

The record flows along 5 tracks, with Capovilla taking care of synths, drums programming and audio engineering, and Homler singing in her melodic phonetic language, mixing unique voice and sound effects .

"De'la cocce" moves around on a slow quasi-dub rhythm accompanied by whistle and vocal interventions. In "Ricordo" Anna's voice is more prominent, travelling through a digital dimension made of flutes, Buchla Music Easel sequences and rainsticks.
The B side starts with "Bread Dance", where different layers of vocals and drums repeat themselves in an obsessive and haunting atmosphere.
"Be'ya Sa'di" is an ambient and cinematic piece, which quietly introduces "Mem", the most emotionally and intense song of the collection, transporting the listener into a different dimension.

The whole record creates a world with no geographical coordinates, where humans meet their primary feelings in a suspended time, escaping the present and the intelligible world.

Names You Can Trust is proud to present a special collaboration with Barbès Records and the legendary godfathers of cumbia amazónica, Los Wembler's de Iquitos. Featuring two songs mixed expressly for 7-inch directly from the reels of their 2019 album, VISIÓN DEL AYAHUASCA, it's the latest entry in the group's historic canon of a particular brand of bonafide psychedelia, a worthy addition to a catalog of recordings that have made their way around the world to fans, DJs and sound systems since the group's beginnings in the late '60s.

The band's 50 year-old origin story begins when electric instruments started showing up at the port city of Iquitos, Peru. This seminal moment of international trade at the gateway to the Amazon inspired a shoemaker named Solomon Sanchez to start a band with his five sons. Los Wembler's were the first band in the capital of the Peruvian Amazon to play popular local rhythms with electric guitars. Their revolutionary sound, fuzzy lysergic guitar helixes wrapped around melancholic melodies, would go on to have an enormous impact on the whole of South American popular music, echoing throughout the continent and further, into the States and eventually across the world.

The past few years have seen a new wave of interest in the band's music. Los Wembler's, the sons, now fathers and grandfathers themselves, have brought their trademark sound on recent tours to Mexico, Europe and North America, where it has been embraced by a new generation of musicians and listeners.

As Los Wembler's prepared for a lengthy tour in 2020 to coincide with this new 7-inch issue, the world abruptly changed course. The COVID-19 outbreak has had particularly devastating consequences in the Peruvian Amazon. With an urban density of around a million people, Iquitos is the largest isolated city in the world, reachable only by boat or plane and surrounded by the vastness of the rainforest. A buzzing multicultural city, Iquitos was catapulted into modernity during the late 19th century's rubber fever. It is home to not only the members of Los Wembler's, but several legendary and influential musicians who helped lay the groundwork for the roots of chicha, the distinctively Peruvian brand of cumbia.

What is Randolph & Mortimer? A folk duo, a pair of accountants, a techno act…a law firm? What started off as an ‘art project’, influenced by 80s Industrial, 90s rave music and inspired by the documentaries of Adam Curtis, has morphed into a full on New Beat / Body Music dance-floor moving machine. Their studio releases have gained support from some of the biggest underground DJ’s in the world like Ancient Methods and gone on to top various genre sales charts on Bandcamp. Whilst the R&M live shows have seen them share bills with Godflesh, Youth Code, PIG and 3Teeth.

In 2019 it was time for R&M to throw a marker down and so came “Manifesto For A Modern World”, the debut album comprised of tracks from the “$ocial £utures”, “Hope Tragedy Myths” and “Citizens” EP’s plus some additional songs. This album is basically a greatest hits of Randolph & Mortimer. A statement of intent. All killer and no filler. The original limited edition CDs and tapes sold out and it had some incredible reviews. A Model Of Control called it “An absolutely outstanding release” and super cool New York DJ Andi Harriman (Synthicide) made it one her of top 10 albums of 2019 on Post-Punk

So here we are in 2020 and the Randolph & Mortimer story has seriously stepped up a gear with this double vinyl version of the album featuring all Manifesto tracks plus the acid styled dance-floor favourite “Apply Yourself” and four brand new tracks (“Crystal Peaks”, “Stateless”, “What Are You?”, “Fantasy Land”) which make up a whole new EP.

Limited edition of 400 copies with folded poster/insert and sticker.

Driving anywhere in Texas can cost you half a day, easy. For example, it'll take you over four hours just to get from R&B singer Leon Bridges' hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you're in. And it's all baking under the Texas Sun that lends its name to Bridges and Khruangbin's new collaborative EP. "Big sky country, that's what they call Texas," Khruangbin bassist Laura Lee says. "The horizon line goes all the way from one side to another without interruption. There's something really comforting about that." On Texas Sun, these two members of the state's musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas' past, present, and future-a dreamy badlands where genres blur as seamlessly as the terrain. It calls equally to the cowboys boot-scooting at Billy Bob's in Fort Worth, the chopped-and-screwed hip-hop fans rattling slabs on the southside of Houston, the art-school kids dropping acid in Austin, the cross-cultural progeny who grew up on listening to both mariachi and post-hardcore out on the Mexican borders of El Paso. All of these things, overlapping in a multicolored melange, purple hues as vivid and unpredictable as one of the state's rightfully celebrated sunsets. A journey through homesick reminiscences, backseat romances, and late-night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you. Like the highways that inspired it, Texas Sun is guaranteed to get you where you're going-especially if you're in no particular hurry to get there.

During the 1970s George Jackson made a series of sublime southern soul recordings at Sounds Of Memphis studios. This LP gathers together rare singles and tracks that were unreleased at the time to showcase this golden period in the soul singer-songwriter’s career.

Recorded using many of the players from the Hi house band, who were at the time being featured on the recordings of Al Green and Ann Peebles.

Four tracks are making their first appearance on vinyl, whilst the compilation features both sides of his rare 1975 Chess single ‘Macking On You’ b/w ‘Things Are Getting’ Better’ and his ER single ‘Talking About The Love I Have For You’, which regularly sells for over $1000 on auction.

Jackson had a long career that saw him write hit singles for artists such as Candi Staton, Clarence Carter, the Osmonds and Bob Seeger, whilst covers of his songs have been UK hits for both Yazz and Joss Stone. However, his success as a writer somewhat obscured his talent as a performer, something that our series of releases focused on him has sought to rectify.

In terms of "legendary" House records, it doesn't get any better than LNR's "Can't stop the house".
Originally released in the golden year of 1987 the Chicago duo of Larry Thompson and Rick Lenoir (with a helpful production assist from the mighty Adonis and a dope remix from Steve "Silk" Hurley) crafted this anthemic slab of chunky, funked out jacking House. "Can't stop the house" is a straightforward, stripped back club track, no special FX - just straight up party music for sweaty dancefloors. This official 2016 reissue contains 4 mixes of this stone cold classic - The vocal mix, basement mix, house of trix mix and the rapid edit, all culled from the numerous pressings that came out in 1987 - 1989. In a sense, this is "the complete" collection of this cornerstone of Chicago House. The full set. All audio has been lifted from Rick Lenoir's private collection of reel to reel tapes from his basement and remastered accordingly. This reissue has been realised with the full involvement of Thompson & Lenoir and is 100% legit! Don't snooze, this one deserves a spot in any self respecting House heads record bag or DJ set, classic material made available again for 2016 - You can't stop it!

As a long-time admirer of his work, R&S/Apollo boss Renaat has signed up Italian craftsman Nuel for a stunning concept album that finds the artist becoming "my own imaginary band" after ten years of personal growth and exploration. Nuel has been revered in underground techno circles for many years. He is a meticulous sonic sculptor who has made some of the most meditative and hypnotic electronic grooves of the last decade on labels like Semantica, Kontra-Musik and Sublunar. He also put out cult classic and highly sought after album 'Trance Mutation', which found him playing all the sounds himself on a wide array of instruments. 'Fantasia' is physical, dance-able music but crafted from unfamiliar sound sources that make it as suited to a campfire gathering as an experimental club setting. It's expertly assembled and utterly unique.

Friends, it is time for a finish. Here's the seventh and last chapter of the festivities that we put together for our 50th catalogue number. Once again, the mighty graphics wizards Doppeldenk from Leipzig provided us with a delightfull artwork. And once again, you'll get a record that sports a kaleidoscope of sophisticated dance music from Uncanny Valley veterans and newcomers. This time with the emphasis on bright and positive timbres which can be associated with the colour yellow. Cuthead starts things with a bang and his PARTY CHORDS set the tone perfectly (including neck pain after nodding your head to the beat like there's no tomorrow). If chords could be president this would get a lot of votes. Massimiliano Pagliara shifts down a gear with the acoustic road trip SUNSET FUNK, a masterfully arranged track, made up for driving around on your bike, skateboard or whatever vehicle you are using to get from A to B. The slow and sexy IWESU YEWISU from the soul brothers of Duererstuben is a longtime favorite in the Uncanny Valley headquarters. We are super happy that this groover will finally see the light of day. Panthera Krause provides the subtle but euphoric THE NAKED NOW, a House music lesson that's bubbling under the surface. And finally, Uncanny Valley first-timer Daniela Da Luz closes the record with WHEN YOU GO ALL IN AND WAIT, a drum heavy but also embracing excursion into your own neural circuit

"On this seven track album we hear MinaeMinae (alias Bastian Epple) playfully scurry through his dense soundscapes on a tightrope. The sounds lying somewhere on the crossroads of psychedelic trance, exotica, ambient and melodic dance music – veering further off orbit with nontypical rhythms and dystopian percussive patterns.

MinaeMinae understands musical material similar to documentary footage which he would cut up, repitch, and rearrange freely. Most of his tracks are a mix of analog, synthetic sounds and recordings of ethnic percussion and guitar. Recently Bastian began experimenting with modular synthesis and self made tape echoes - seeking a more reduced and minimal composition style compared to his earlier quite whimsical tunes.

Growing up in a small village in southern Germany, Bastian was never interested in kitschy folk sounds that everyone would mindlessly clap and sing along to, rather he took solace in the time he would spend delving into patterns and repetitions that pleased him. His guitar strumming and what sounded to his mother like a young Philip Glass on a cheap Casio keyboard encouraged little Epple to continue on this self-taught path of developing his musical language. He then started to experiment with a tape recorder and layering sounds with non-musical samples, which his former village friends found too weird – then to eventually working with a small freeware DAW. Bastian went on to study Media Art at the Center for Art and Media (ZKM) in Karlsruhe – initially enrolled in music but the frustration and doubt of not being able to produce the music he wanted led him into film and documentary media. During his studies, Bastian was living with Florian Meyers (Don’t DJ) for several years where they would philosophize life and music into the wee hours – he encouraged Bastian to start sharing what he’s been quietly working on all these years and slowly emerge from this anonymity which eventually led to his first release on Human Pitch last fall.

Disproportionate forms, color changes, backdrops weaved into the foreground, all lay the dense earth for Gestrüpp through Benjamin Kilchhofer’s artwork."

Limited edition 180gram premium vinyl pressing and 3 bonus tracks. Released in June 1958, this album (originally issued under the title Little Girl Blue on Bethlehem BCP-6028) was Nina Simone’s first studio recording ever.

Made when she was 25-years old, the album was a huge success and led to a tremendous career that would yield over 80 studio sessions. It was originally issued on the Bethlehem label and features the singer/pianist backed by bassist Jimmy Bond (who had been a member of the Chet Baker Quartet among other groups) and drummer Albert “Tootie” Heath (one of the celebrated Heath brothers, along with saxophonist Jimmy Heath, and bassist Percy Heath). Many of the tracks from this LP would become true classics, among them her perennial versions of “My Baby Just Cares for Me” and “I Loves You, Porgy”. Simone’s piano is well featured throughout the LP, but “Central Park Blues” and “Good Bait” are the only purely instrumental tracks.

Tetrode Music head honcho and Sound Signature affiliate, Specter, lines up the next Second Hand Records NYC release and it’s that deep, soulful goodness you need in your life.

'Peace of Mind' hits right from the needle drop. Made for the dancers! Listen to this on a real sound system for that enhanced feeling.

'Front & Center' keeps the energy flowing, mixing deep chords over dark warehouse bass lines. Big leagues tune!

'Cold Sweat' would fit snuggly against any Larry Heard record, or maybe its just that Chi-town flavor soul music we love! Byron The Aquarius adds another layer of flavor to this already killer cut. Deeeeeeep!

DJ Support:
DJ Spinna, Kai Alce, Ash Lauren, Byron The Aquarius, Stefan Ringer, Hugo LX

Luar Domatrix (Rudi Brito) is perhaps more recognizable as half of the artsy-duo Yong Yong that emerged in 2012. After a long season spent in Glasgow, and with editions by Naivety (Naive’s sublabel of Inês Coutinho aka Violet) , Sucata Tapes (Discrepant) and with a track inserted in a VA from 12th Isle, comes back to Lisbon (his hometown) clearly soaked by the sounds of the Scottish industrial center.

“Baía Stamina”, produced in Glasgow, is strongly inspired by the local club scene and evokes the utopia of a heavenly bay somewhere in Italy. Although always looking to bend the barriers of that “squarish” side of dance music, “Baía Stamina” is a dance record. It starts with “Bo Teias”, a track full of percussive elements and unusual sound effects that presents itself as a hymn of the “Baía Stamina” - pure boilling energy. “Take” is the least functional theme on the record. Metal percussion layers are overlapped over a string, creating a certain unrest and discomfort. A vocal incites consumption ("Take, Take, Take") to the point that a pad clears the way for liberation creating a more relaxing and dreamy ambience.

Closing the A side “Bo Teias” gets a remix from the Glasgow duo General Ludd, with whom Rudi used to live. In this version, and as the name implies, “Bo Teias (Gen Ludd Disco Problem Remix)” moves the focus away from the dance floor, ands transforms itself into a rhythmic exploration over the void, punctuated by some recognizable elements. “Outra Face” is a track made to blow up soundsystems! Anchored in distortion and in a broken beat led by the kick of the infamous TR-808 there is an almost epic vibe to it, that shows the confidence that Rudi Brito has acquired in his relaxed production style. “Heavven” closes the record in a completely British tone. The soulful vocal reminiscent of some garage tracks, echoes Bristol production and a time when dubstep producers decided to lower their bpms to something closer to the house. Without ever rushing the theme moves through different sonic landscapes and electronic glitches until a Portuguese voice announces “Acabou-se a brincadeira” (“Playtime is over”). This is peaktime; it's time to go dancing.

Milton Wright's perfect deep Soul classic "Keep It Up" has always been a top shelf record, everything about it is almost flawless! Whether it's Milton's silky vocal delivery, the incessant guitar driven back beat or the total space Funk vibe of his omnipresent ARP-2600 synthesizer this record has it all. Originally released on TK Disco's more Soul and Funk orientated Alston label which was home to many legendary artists and records, this 1975 sunshine classic never fails to make people move. A classic rare groove indeed. "The Silence That You Keep" takes up side-B, a jazzy, flute driven love song that again features Milton's perfect voice and some fantastic arrangement. A real gem of a record, with the original 45 changing hands for over £100 a time in used condition.

This is the first time "Keep It Up" has been re-issued in it's original 45 rpm format with the original Alston label artwork. It's been re-mastered, re-pressed and made available again with the permission of TK Disco / Alston Records, Miami Florida, USA.

The Humans were Toyah, her musical director Chris Wong and multi-instrumentalist the late Bill Rieflin (drummer for King Crimson and latter-day REM, as well as Ministry, the Revolting Cocks, Lard, KMFDM, Pigface, Swans, Chris Connelly, and Nine Inch Nails).
Recorded in 2010 at London’s Scala theatre, and issued in its entirety for the first time, the concert features Guest Human throughout, Robert Fripp. The set list includes Humans favourites “Labyrinth”, “Sugar Rush” and “Demigod”, as well the two encore tunes, covers
of Nancy Sinatra’s “These Boots Are Made For Walkin’” and Jimi Hendrix’s “Purple Haze”.

Demon Records presents The Final Tour from legendary guitar band The Shadows performing their greatest hits live on this 2LP set made available for the first time. Hank Marvin, Bruce Welch and Brian Bennett together on-stage June 5th 2004 at Cardiff Arena.
It was during a hot summer day in June 1960 that The Shadows entered Abbey Road's Studio 2 to record Apache, the track that was to become the instrumental hit of the decade. It shot to No.1, became an instant classic and saw the start of a string of over thirty hits that included another four No.1’s - Wonderful Land, Kon-Tiki, Dance On! and Foot Tapper.

31 tracks including four No1's are featured on this double LP pressed on red vinyl with printed inner sleeves

The #1 Best Selling Track for 2019 in Electronica / Downtempo genre on Beatport, Namito - 'Stone Flower' sees a new vinyl release featuring a previously unreleased, and vinyl only, remix by Satori. It also serves as a teaser for Satori's upcoming full length album on Sol Selectas Records.

Iranian artist Namito, who has made quite a name for himself over the years in the Techno scene of Berlin, diverges from this tip for 'Stone Flower', putting a new twist on a Persian classic. Creating a hypnotic deep house groove, with ethereal uplifting lyrics, listeners and dancers alike are taken on a journey to a time when Persian culture was at its peak of creativity and freedom.

Namito heard this traditional song at a family gathering in Iran, sung by his 2 sisters Mojgan and Marjan, and was instantly moved by its beauty. He invited his sisters into the studio the very next day to record their vocals, and the result is 'Stone Flower', which pays homage to the Persian tradition, while embracing the modern edge of electronic music at the same time.

For this special vinyl only remix, Satori winds his way deeper down into the electronic abyss, with a reinterpretation that maintains the original Persian vocals, but also blends in elements of an old Afghan interpretation of the same classic song, creating a tougher, club-leaning version.

The artwork by Helia Jamali, also of Persian decent, takes us into the mystical world of ancient scared geometry and displays the beauty of her home country Iran.

Multidisciplinary NYC artist Gavilán Rayna Russom launches her own label Voluminous Arts, dedicated to highlight electronic and experimental artists whose work challenges fixed categories of genre and categorization. Her aim is to create a platform for multidisciplinary work and events. The inaugural release being her second solo album as Gavilán Rayna Russom 'Secret Passage', following up last years 'The Envoy, an homage to the East Side Rail Tunnel in Providence, Rhode Island, and the friendships she made there.

In Rayna’s words:
“I grew up in Providence, Rhode Island in the 1970’s and 80’s. The booming jewelry and textile industries of the previous decades had pulled out by that point. The Italian mob ran most details of the day to day operations of the city. As kids coming up in that environment, before the internet, me and the people I hung out with didn’t know anything else and we worked with what we had to entertain ourselves. We found places that had been forgotten by market interests and made them spaces of creative community building. One of the most special of these places was the East Side Rail Tunnel. Running for almost exactly one mile beneath the city’s streets, the tunnel and nearby Crook Point Bridge were unsupervised autonomous zones where I tasted the possibilities of a world without surveilance. The tunnel was particularly important in my creative development because not only was it a marginal zone apart from monetized spaces of creative consumption, but it also had specific experiential properties. It had a bend in it which meant that when you got to the middle of it you were in complete darkness, and I learned quickly that when you spend enough time in complete darkness you start to hallucinate, which I liked. The acoustics were also remarkable; long natural delays and harmonic-reinforcing reverberances. Making any sound in there added layers of acoustic effects which made noises physical and fluid and, combined with the complete darkness, absolutely dissolved boundaries between internal and external experience. I started hanging out there when I was 14 and continued to return there regularly until development, gentrification and policing eventually made it inaccessible. By the mid ‘90s it was sealed off with progressively more impenetrable barriers. Nowadays it looks very different. This music is about some of the significant experiences I had in this beautifully neglected place and the people I had them with.”

Siegmar Fricke has made a name for himself in the tape culture since 1981 - with a mixture of Musique-Concrète and Post-Industrial. As a former label owner of "Bestattungsinstitut" he released numerous works that went beyond EBM, Electro, Techno and Ambient. In the heyday of the netlabels he focused mainly on his own productions, which he then made available as free downloads. Since 2002 Siegmar has been active with clinical sound experiments under the pseudonym "Pharmakustik". In 2005 he started his collaboration with Maurizio Bianchi from Milan, who has dedicated himself to "industrial decomposition" since 1979. For his Time Compression EP on Infoline, Siegmar Fricke has unearthed compositions from the period 1992-1994 and curated them anew. A phase in which he listened to the radio day and night and connected his sampler to the stereo to record material around the clock. He listened to many radio shows from England or Holland, which often broadcasted techno, trance and acid. At that time those sounds were new territory for him. He recorded inspiring sequences at first go, edited them and then let them flow into his own productions. The result was "future-pop collages mixed with sequencer-controlled trance and sampled voices", to put it in the words of Siegmar Fricke.

Ambient and environmental Japanese scene has flourished stronger than ever in the last years. The pioneers of this sound and the creators of an innovative way of making and understanding ambient music, such as Hiroshi Yoshimura, Yoshio Ojima, Toshifumi Hinata or Takashi Kokubo have been championed and their works have been successfully unearthed by reissue labels.

Continuing in this endless path, Glossy Mistakes adds Takashi Kokubo’s brilliant “Volk Von Bauhaus” to its catalogue, with the Japanese masterpiece as the third official release of the Spanish label.

As most of 80’s Japanese ambient and environmental music, “Volk Von Bauhaus” is an audio impression designed to give a multi-sensory experience to the listener. An effort to make things audible, an exercise of understanding and soundtracking objects or situations. The main objective of this sound is to create an iconic musical landscape to accompany a specific place.

Though his name might be unfamiliar to many, Kokubo has crafted music that has impacted virtually all of Japan, from national mobile phone earthquake alerts to contactless card payment jingles. He was one of the first artists to create ambient music strictly through loops. As he mentioned when release this album, "this recording used no keyboard players, no multitrack tape recording techniques, no analog sounds”. A shift on the process of imagining sound.

“Volk Von Haus” is and ode to this ambient, new age and environmental music created in Japan throughout the 80’s. Throughout 9 cuts, Kokubo handcrafts his own sound and immerses the listener in a peaceful yet challenging adventure. The record is the first piece of his Digital Soundology series, and arguably his most interesting work due to the groundbreaking techniques he used.

"A revolutionary musical expression that shatters the old values”, explains Kokubo about this piece. And its just what we can hear when we play “Volk Von Haus”.

The album includes an unheard exclusive track by Takashi Kokubo an insert with an interview made by Takashi Kokubo. A true gem that must land in every ambient head’s musical library.

Remastered from master tapes by Frederic Stader.

Marion formed in Manchester in 1994, releasing their debut single on Rough Trade. Signed to London Records, the band found themselves bundled in with the ‘Britpop’ scene, and made their national TV debut
by performing ‘Sleep’ on Channel 4’s cult TV show ‘The Word’ in February 1995. The band gigged throughout 1995, building up a fan base, and supported Morrissey on his ‘Boxers’ tour. This World And Body was released in February 1996 and entered the top ten of the UK album chart. Demon Records is proud to present a new edition of This World And Body, pressed on 180g heavyweight translucent gold vinyl. This exclusive version includes a print of the album artwork, hand signed by Jaime Harding and is strictly limited to 500 copies worldwide.

The Berlin based label Sonar Kollektiv has been waiting for it anxiously: Key Elements' debut album leads Jazz music into the new decade down-the-line. The music Key Elements create is fresh, merciless and ruthless and has always the finger on the pulse of the time. The album's eight tracks are all far away from Broken Beat nostalgia or Beatmaking nedism, they breathe inspiration from the young, thriving British jazz scene. Key Element's initiator, DJ and producer Marian Tone, built up a reputation in the Berlin hiphop, soul and jazz scene over the years (also as a co-founder of Beatkollektiv). With all of his compositions you always feel this heritage and his love and passion for hiphop. But the other two allys within ëKey Elementsû, drummer Waldi and the keyboard or bass player Jim Dunloop made their contribution with compositions and ideas as well. An album which was initially designed to be a mere solo project became an effort of a trio over the years being inherently consistent.

May 1990 The Brand New Heavies released ‘that blue album’ and with it came a winning formula which would go on to earn them 16 top 40 hits and three million worldwide album sales not to mention two UK Platinum albums. Emerging at the heart of the Acid Jazz scene, their self-titled 1990 debut made an instant impact with audiences on both sides of the Atlantic and over the last three decades the band have not let up releasing enduring classics such as You Are The Universe, Midnight At The Oasis & Dream Come True to name but a few. To celebrate these thirty years we’re releasing a limited edition 7-inch vinyl, the first 7-inch release since Stay This Way came out in 1992. The 7-inch will contain the vocal performances of both Beverley Knight and N’Dea Davenport on Beautiful and Getaway respectively.

Kenny Dorham’s 1964 album Trompeta Toccata would be the final album that the great underrated trumpeter and composer would record as a leader, and it stands as a fitting testament to his prodigious talent. The album featured a stellar quintet with Dorham and his frequent collaborator Joe Henderson on tenor saxophone along with pianist Tommy Flanagan, bassist Richard Davis, and drummer Albert “Tootie” Heath. The brilliant album cover design by Reid Miles featured the bold typography that made his style so influential. This Blue Note 80 Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Mooring the 'Train Of Thought' at Hamburger Hafen, Latvia's R_R_ delivers aquatic ambience, buoyant electronics and tidal rhythms on the Growing Bin. Hold this shell(ac) to your ears and you’ll hear the sea…

As we hasten towards the inevitable Waterworld of the next century, Latvian composer, sound artist and lecturer Reinis Semēvics charts our safe passage to dry land with his debut album 'Train Of Thought'. Inspired by the rhythmic movement of water and how its rippled reflections bend our perception, Reinis sculpts an immersive sound collage - a precise mixture of field recordings and self-made sounds which swell and swirl as we bathe in their beauty.

Bookended by the Baltic's roar at the Bay of Rīga, 'Train Of Thought' drifts from the harbour to the open sea, conveying the restful calm and frenetic power of a body of water throughout. Misty pads and delicate piano conjure lapping waves and blue skies, bubbling sequences ripple up from the deep and cascading melodies fall around hypnotic rhythms, each distinct droplet offering a different feeling and mood. One moment flows into the next, nine rivers pouring into a single ocean of sonic bliss.
The alias R_R_ is a tribute to his grandfather, the composer Ģederts Ramans, whose influence helped set Reinis' sonic journey in motion. We're very happy he's decided to stop off in the Growing Bin, and we're sure you will be too.
Patrick Ryder

After years of searching for the elusive sensation of heart-rending beauty, Avondlicht releases his debut album on 3 April, 2020 on all digital platforms. The LP will be out on 8/4.

Hyperromance is the culmination of an emotional and geographical journey, as Belgian producer Matthias Dziwak sought to find and examine idealised moments of true romance within the less-than-romantic reality of existence.

Having already achieved a great deal with his initial run of EPs for labels like PIAS, Fog Mountain and Unit Delta Plus, Antwerp-based Dziwak became obsessed with the concept of Hyperromance – “a moment or idea so heavily romanticised that it seems impossible to be really experienced.” The melancholic feeling it sparked in his heart set him off on a journey through Argentina, Chile and Uruguay, via a month-long stay in Amsterdam and finally to settling for six months in Portugal. Throughout this time he made field recordings and began writing pieces that would feed into the finished album. Along the way he found a full spectrum of moments that allowed him to view the world in a truly romantic way, from the majesty of the Andean mountains and the snow falling on the Amsterdamse Grachten to encountering love in Lisbon. At other times he found himself lost, adrift and heartbroken, pulled back to Earth, as is the cyclical nature of the human experience.

Musically, Hyperromance’s grapple with day-to-day reality and rose-tinted fantasy is embodied through the contrast between organic instrumentation and high-definition electronics. Dziwak began writing his songs as simple piano pieces, which then transferred to a staple of synths and sound processing as they became more wholly defined. Sonically, the sound sweeps from modern classical and bombastic electronica to evocative ambient, even touching on jungle and techno along the way. Rather than being defined by genre associations though, Hyperromance is shaped by the swooning beauty of its composition, as the music pulls you in and out of richly rendered moments of joy and pain following Dziwak on his personal journey of truth and beauty. With visceral life experiences woven into the fabric of the record, Hyperromance is expressive on the most intimate level. It’s a record that dazzles with searing bright wonderment and casts creeping shadows as the time passes – a journey as nuanced as life itself, elevated by romance and grounded by reality, beautifully told by Avondlicht.

Apron new signing “Quaid”
From South London to Outer Space.

~ Dreem Static: residual signal from machines in standby mode ~

Having conjured up a virtual paradise in his last release ‘The Technological Afterlife’ Quaid’s third long player ‘Dreem Static’ takes us on a machine-funk odyssey to inner space:

“Every good story has a dream sequence. Where the narrative gets deep & surreal. This is mine. I made all the music through this lens. I wanted the tracks to be connected thematically in mood - so there’s a thread if you listen all the way through. Hope u feel it. Sweet dreems.”

• Quaid 2020

Recorded & Produced by J.Quaid at ‘The Odyssey’ London / Metropolis. Additional synths from Alex M. Mastered by Jason at Transition.

Harlem River Drive is a group that launched the careers of Eddie and Charlie Palmieri, two giants in the field of Latin fuelled jazz fusion. Comparisons have been made with the work of groups they inspired including War and Funkadelic from first recording and performing in the early 70s. Both idle Hands' and Seeds of Life' come from the group's self titled debut album released by Roulette in 1971. Drums are by one of the most prolific players of the day Bernard Purdie (Gil Scott-Heron, Aretha Franklin, Roy Ayers among many more), another high profile musician Cornell Brown on guitar with Randy Brecker on trumpet for Seeds Of Life'. Both tracks have been released before on 7' vinyl, now extremely rare, Seeds Of Life' appearing here on 7' for the first time in full length version

"Following 2017’s Rotlicht EP (PEACH003), Shanti Celeste & Gramrcy are very happy to welcome back Chekov for the first Peach release of 2020. The Aerated EP (PEACH009) collects four tracks built from the heart, made for the head and body."

Chris Korda's new album "Polymeter" is unique as entirely composed in complex polymeter sequences, a unique way to compose music with a new generation of algorithm, inside which Chris injects DNA of neo classical, ambient and jazz music.

This refreshing album will please both those who are into complex musical composition, conceptual music and who are just seeking for a beautiful, emotional and accessible, unique, musical moment.

This is a "In your hearts not the charts" album, as Irdial Discs once said.

Chris Korda is a transgender, vegan and relentless critic of consumerism, leader of The Church of Euthanasia (willing to halt the overpopulation through suicide, sodomy, abortion and cannibalism) and composer/performer of electronic dance music. She has previously released albums on Kevorkian, International Deejay Gigolo Records and Perlon.


Please read below Chris Korda's introduction to his new album "Polymeter":

Polymeter is an album of virtual solo instrumental performances. They're mostly piano pieces, along with a couple of guitar pieces. They sound uncannily similar to human performances, but they aren't. On the contrary, they are algorithmic music, pure applied mathematics.


The compositions are generated by elaborate networks of polymeter modulation. This sounds complicated and will need some explaining. But the most important point is that these are compositions I didn't write in any usual sense of the word. I created systems of rules, and the compositions emerged from those rules. The rules that generated these pieces can be conceptualized as kinetic sculptures that produce intricate non-random patterns of musical interference. The resulting patterns repeat themselves over long periods, measured in hours, days, or in some cases years.


In order to create this album, I had to write my own MIDI sequencer from scratch, because commercial MIDI sequencers lack the necessary degrees of freedom. My sequencer is also called Polymeter, and I started writing it in 1994. I used a relatively primitive version of it to create my earlier techno and electro releases, but the rapid evolution of computer technology made my original so ware hopelessly obsolete by the 21st century. Like its immediate predecessor "Akoko Ajeji" (Perlon) this album was created using a much more sophisticated version of my sequencer. It took me many years to learn the programming skills I needed to modernize my sequencer, which is one reason why such a long hiatus occurred between my older and newer releases.


Chris Korda

Following up on the waves made by his latest Diaphragm EP, Cri Du Coeur injects his signature high-octane sound into another techno venture. This one comes in the form of the electrifying 4-track EP Warning on the Belgian producer’s fledgling-but- headstrong label Arkham Audio. Featuring three remixes interweaving threatening cosmic soundscapes with pounding industrial beats, this latest EP pulls no punches in delivering a menacing wall of sound. The A-side opens with Cri’s original mix for Warning, showing off his signature style of making jumpy, liquid 303 basslines bounce around a consistent dark pad sound. The combination emanates a lingering sense of dread intensified by warped delayed vocal samples and high-voltage buzzing underpinning the whole experience. Following up is a remix from American producer Dustin Zahn, who delivers a pulsa- ting battleground of modular noise. The essence of the track is the controlled chaos of the abstract mechanical whirring and wailing born from Zahn’s extensive synthesis experience, having worked as a remixer for Adam Beyer, Chris Liebing, Dubfire and many other high-profile acts. UK producer Mark Broom dedicates two remixes for the B-side of the EP. The first is a dark, atmospheric groove with expert attention to detail paid to the percussive effects and the controlled movement of the synth parts, creating a powerful ebb and flow of soundscapes and textures and a set of unique builds and drops. Closing off the EP, Mark Broom’s second track is a track more faithful to Cri’s original, opting to beef up the kick and switch up the pattern for an original clap intonation and, naturally, Broom’s own signature offer of complex intertwined synth effects. The result is an anthemic warehouse filler that feels saturated with organic layers of electronic foliage.

Noor1 is a duo consisting of Zevla and ANFS, which made its debut appearance on the first Vanila compilation from 2019, "ear". Their return here is in the form of an album, hosted by the LP series of Athens' Modal Analysis (MALP02). A.Psi.Mi includes 4 long recordings of Zevla's and ANFS impressions of industrial/noise soundscapes meeting the aesthetics of ambient/experimental.