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Munich quintet Fazer are set to release their second album 'Nadi' on 12th April 2019. 'Nadi' follows the underground success of their self-released debut 'Mara', which quickly sold out on vinyl and became one of the most streamed jazz records of the year. Moving freely between composition and improvisation, the band's spacious, organic sound pitches lyrical melodies from guitar and trumpet over double-drummer polyrhythmic grooves and dub-like basslines. The album title 'Nadi' references a term rooted in traditional Indian medicine. Nadis are channels that connect points of intensity within the body. This reflects the band's feeling while playing of moving as one body. Contrary to the creation of the group's debut album 'Mara', both the writing and recording sessions for 'Nadi' were completed in relatively short periods of time.

Considering He Was A Self Taught Pianist, Brian Auger's Progress Into The Heart Of The British Modern Jazz Scene Of The Late 1950's And Early 60's Was Particularly Impressive. He Gained Invaluable Experience The Hard Way, Paying His Dues At The Cottage Club, And The Original Ronnie Scotts On Gerrard Street, Working With Renowned Saxophonists Tommy Whittle, Dick Morrisey And Jimmy Skidmore - And Sessions In Smoky East End Pubs With His Friend, Arguably Britain's Greatest Jazz Saxophonist Tubby Hayes.

The Inclusion Of Several Of His Rare, Early 60's Piano Trio Tracks On Both Volumes Of 'back To The Beginning - The Brian Auger Anthology' Brought Long Overdue Attention To Brian's Early Jazz Career, Which Many Were Simply Unaware Of Prior To Their Release. The Enthusiastic Reaction To Those Tracks That Stuck In Brian's Mind, And Later, Fate Intervened, As He Himself Explains, "a Couple Of Years Later, Ken Greene, The Music Director Of Bogie's, Called And Told Me That He Was Starting A Project, To Whit, A Week At Bogie's With A Different Jazz Piano Trio Each Night".

The Material Brian Decided To Play Features Tracks From A Selection Of His Musical Influences, Heroes And Friends Including 'chelsea Bridge' By One Of His Favourite Composers, The Great Billy Strayhorn, Freddie Hubbard's Ever Green 'little Sunflower', The Much Loved Standard 'there Is No Greater Love' Which Brian Used To Play In His Original Early 60's Piano Trio, And His Own Composition Victor's Delight He Wrote A Tribute To The Great English Jazz Musician Victor Feldman Who He First Discovered Via His Tenure With The Cannonball Adderley Quintet.

Surprisingly, This Is Brian's Very First Jazz Piano Album Of His Illustrious And Award Winning Career, And Marks A Return To The Instrument And The Music That First Entranced And Enthralled Him As A Young Boy. His Musical Journey, Which Began In Austere Post War London, And On Which He Absorbed So Many Varied Styles Of Music, And Literally Took Him Around The World, Enrapturing Audiences Worldwide, Has Indeed Come Full Circle.

What kind of band would choose a double vinyl, gatefold LP for their first release The Hare and Hoofe. Their eponymous first release consists of two discs. Disc One rounds up their 'hits' so far - 2018's smash hit White Blindness, the space gregorian
chant that is Voyager, and the pastoral tale of Appledore Fayre. The second consists of their rock opera, The Terror of Melton. Time-travelling scientists. Giant laser-eyed robots. A rock opera to end all rock operas...

Pitched somewhere between The Who, The Stooges, ELO, Sparks, Pink Floyd, Voivod, Pete Townshend, Brainiac, Bowie and Judas Priest, The Terror of Melton is a headspinning,
ambitious journey. In turns stomping, tear-jerking, full-on rocking and dreamlike, it will transport you. Prog Magazine's Dom Lawson described it as 'absurdly entertaining and deliciously weird... An unmissable trip for fans of the fuzzy and farout'.
2018 saw the band recording a BBC6Music Marc Riley session before even releasing a physical record. In addition, they've had plays on Stuart Maconie's Freak Zone. The band have also gained a monstrously good live reputation, playing an instantly
legendary set at Hastings' Beatwave festival, as well as headlining Tannerfest, Pitch Fest, playing with Focus and The Fierce and The Dead, and the John Snow Society's annual celebration of the eminent epidemiologist.
Some describe them as 'educational psych', others prefer 'polytechnic beat', still more as 'a seventies garage band'. There's certainly primeval drums, fuzz bass, lashings of guitar and synth noises from another planet.
Formed from a gang of friends from Folkestone, Hoofe members have played in groups including The Heliocentrics, The Priscillas, Ye Nuns, Jail Cell Recipes, The Frank Sidebottom Oh Blimey Big Band, Chalet and Hyperglo.

First vinyl reissue ever of this legendary soundtrack composed for the Alberto De Martino cult thriller by the Maestro Ennio Morricone and his longtime collaborator Bruno Nicolai. Original 7-inch replica. Numbered and strictly limited edition for RECORD STORE DAY 2019.

- 7-INCH SUPER LIMITED EDITION OF 500 NUMBERED COPIES
- FIRST REISSUE EVER

doctor umezu diva is a japanese sax player kazutoki umezu's one off project which he invited two female artists, one is a legendary marimba player midori takada and one more is a vocalist&pianist and half of japanese newwave band colored music in the end of 80's.

this album was one of the best kept secret jazz album from japan. dubby from ondas tokyo(he compiled 'va/midnight in tokyo vol.2' on studio mule) brought me this record. it was really hard to find as the amount of copies has been very limited.

this album is a unique mixture of modern classical sound and avant-garde jazz which is kind of similar with strata east or nimbus.

This release is LP and it's individually 300 hand-numbered limited edition. The first 100 copies are pressed on WHITE & BLUE MARBLED vinyls (AR015).
It's dedicated to the 1979 New Age / Electronic masterpiece by the Italian contemporary multi instrumentalist Pepe Maina.

Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of mostly Italian music but also all over the world of the 70s, 80s and 90s.
All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.
All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls.

Info We Release Jazz is ecstatic to present its fifth release (following Ryo Fukui's Scenery and Mellow Dream, Le Cercle Rouge's soundtrack by Eric Demarsan and Stuff Combe 5 + Percussion), the first ever live performance and recording by Marc Moulin's sought-after jazz-funk band Placebo, captured at Casino Kursaal during the Montreux Jazz Festival in 1971 and never released before. Placebo's Live 1971 is available in a limited edition 180g vinyl mastered at half speed, housed in a 350gsm sleeve with UV coating and an obi strip. June 17th, 1971, the Montreux Riviera, its delightful microclimate and postcard scenery, its fabled music history and the luscious wines of the region. A dream setting for Marc Moulin to lead his ensemble on a 26 minutes+ jazz adventure - Nick Kletchkovsky on bass, Freddy Rottier on drums, Johnny Dover on bass clarinet, Alex Scorier on soprano saxophone, and Richard Rousselet on flugelhorn. The magic of that night is dripping through Placebo's sumptuous 'Showbiz Suite", a soulful piece in two parts in which every instrument gets enough room to shine, smoothly navigating between cozy cognac-by-the-fireplace funk and heartfelt grittiness, served with a pinch of Soft Machine vibes. It's the night Placebo was born, when foundations were laid for three classic albums: Ball of Eyes (on which you can hear a shorter studio version of 'Showbiz Suite"), 1973, and their final self-titled album. Born in 1942 in Ixell

For the 5th time now, Nemoy managed to convince actual
musicians to release something on his largely unsuccessful
label. And oh boy, are those some actual musicians this time!
Marlow and his partner in crime Rainer Trüby came up with a
lush, deep house stomper featuring a little vocal shred we all
think we know - but we really don't! They are not so much into
the obvious sample digs... Combined with some crazy hi hat
work and all the minor 9th chords you can possibly handle, - U
Know How I Feel' makes you feel like they really do know, how
you feel. Azaxx took all this and turned it into something
completely different. To be honest, he might just have created
an entirely new genre of soulful electronic dance music.
Outstanding drum programming and the exact right amount of
- when is that beat coming back again!' make his remix a very
unique ride. Nemoy made a version too. He challenged himself
to use the cheapest, most unintuitive and terrible synth you can
imagine for this. And he made it sound like a Million Dollar.
The shue on this one is a very weird animal - but also a very
uffy one. Go get it, before the others do! There are only 200
copies around!

The material featured on this EP was recorded in Berlin over the course of a legendary week-long exploit, the kind you read about at the movies. The music is a marriage of dark synth hooks and atmospheric sound design resulting from extensive Berghain-monitored brain damage. It is very fortunate that both artists were wearing their Twin Turbo friendship bracelets at the time or they may have never even gotten past the door. In terms of raw intelligence, the top one percent of those reading of this will have picked up on the cues that these tracks are techno. The rest have nothing to feel bad about. Our hope is that both communities can work out their cognitive differences on the dance floor every night for the rest of their lives. Our business model depends on it.

Born out of a chance encounter in 2012 that led to a lasting friendship, Rhythm Section Int'l & producer, DJ, label boss, radio host, and record store owner Ruf Dug join forces to present 'The Committee'. Sitting somewhere between fictional band and studio collaboration, the record is the first fully in-house production for Rhythm Section, recorded start to finish at their own South East London studio and featuring vocals from label founder Bradley Zero and label mate FYI Chris's Chris Watson.

Right from the studio's initial creation, Ruf Dug felt inspired by the space's unique musical identity, jumping at the opportunity to create a collaborative record there over a two week studio residency. And between his DJ residencies at Pikes, Gottwood and NTS radio the Manchester-via-Ibiza computer game freak and renowned vinyl digger found the time to meld his wide range of influences. Having been a key driving force behind Be With's Holy Grail reissue of Bô'vel's - Check 4 U , Ruffy has more than earned his stripes as a boss level Street Soul collector, pre-empting the resurgent interest in the genre, which began in the mid 80s and is still a popular sound in Manchester today. This new release draws parallels between the DIY attitude of Street Soul labels like TSR, Intrigue, Jam Today & Elite and the modus operandi of the RS studio.

A wholly synergetic work, the project's title 'The Committee' reflects the collaborative nature of this release, as Ruf Dug states: 'Authorship is a strange concept at the best of times but this genuinely is a group effort and I very much enjoyed feeling like just one piece of a larger entity - the complete opposite to my usual production experience of being all alone in my room for days at a time.' The EP also features additional production from Rhythm Section's own Mali Baden-Powell, who DJ's and produces as Z Lovecraft and comes from a background in Street Soul music, his father was also in legendary UK acid jazz collective D'Influence. In addition, the record features a dynamic range of vocalists: sultry deliveries from Natalie Wildgoose and Sienna Mustafa, a rap from her sister Nadina, and the vocal debuts of FYI Chris's Chris Watson and Bradley Zero. 'I had been joking with Bradley that he needed to be on the record somehow and he did appear, playing an egg shaker at one point, but his singing wasn't in the least bit planned... I got back from lunch, and the next thing you know he just starts singing...So I dragged him reluctantly down the corridor to the studio and that's it- now he's a pop star!'

Also playfully melding digidub, soul, chicago house and acid jazz, the release not only marks a new chapter in the development of the Rhythm Section sound, but also catalogues a crucial turning Point in Ruf Dug's musical development. Still oozing with the cheeky DIY approach that won his own label, RUF KUTZ an army of fans, this latest Collab steps things up and opens a whole new realm of possibilities for one of Manchester's favourite sons.

Marco Bailey returns to his imprint MATERIA with a gorgeously multi-colored EP titled "Never Rust".

From melodic breakbeat electronica to deep yet driving techno to an absolute electrifying banger, the main man presents his whole intelligence through 2 awe-inspiring original tracks, Joachim Spieth's remix on the title track and of course the legendary-to-be modular takeover by the one and only Colin Benders on his recent release - Burn

Not a package that you should miss.

Honey...rich And Flavorful, Hitting The Deepest Sweet Spot.

Drivetrain (detroit, Usa) - Inside You
Label Founder, Derrick Thompson Sets It Off With A Primetime Floor Filler.
The Gravitational Pull Of The Bass Riff Encapsulates The Vocal Hook As The Keyboard Refrain Perfectly Aligns With An Aggressive Percussion Track.

Rennie Foster (vancouver, Canada) - Detroit City
Demonstrating A Much Deeper Persona, The Sultry Piano Sets A Moody Atmosphere. Luxuriant Strings And Expressive Bell Tones Conjugate As The Vocal Signature Pays Homage To The City Of Inspiration.

Melodymann (ghent, Belgium) - Nobody Else
Explicitly Designed For Maximum Body Movement, A Solid Percussion Theme Is Immediately Established. Soon An Animated Chord Progression Is Introduced,
Then Showered With Kinetic Vocal Samples For Amalgamated Electricity.

Mark Ryal (sitges, Spain) - Imperfect Perfection
This Elegantly Fluid Soiree Debut Parades A Sphere Of Warm Pads Throughout.
Articulated Harmonies, Elastically Weave A Blissful Sonic Terrain Atop An Unyielding Groove Framework.

In the early eighties Level 42 started out as a jazz-funk fusion band in the United Kingdom, formed by Mark King and the Gould brothers (Phil and Rowland). During the Brit Funk era, they met up with Mike Lindup and Wally Badarou (who would become a fifth member in all but name) and recorded their first single Love Meeting Love'. Their follow-up Love Games' cracked the UK Top 40 and had success in Europe. What followed was a string of minor hits with The Sun Goes Down (Living It Up), Hot Water' but the big breakthrough was with Something About You' in 1985. The single was Level 42's first American hit, and would do well on both sides of the Ocean. The band carried on delivering hits through their funky, jazzy songs with finger popping good grooves and infectious rhythms. During the following years up until today, Level
42 are recording records and continue to tour the world, although in a slightly different line-up.
The Collected double vinyl album contains a selection of their songs from the earlier years of Starchild' up until Tracie' and Take A Look'. These tracks, specially remastered for vinyl, are exciting, standing the test of time, delivered by a timeless band.

Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018
Digital transfer: Jonathan Fitoussi & Diego Losa

Translations: Valérie Vivancos
Layout: Stephen O'Malley
Photos: Jacques Brissot, ARR

Coordination GRM: François Bonnet
Executive Production: Peter Rehberg
Remerciements: Brunhild Ferrari

SIDE A
Music Promenade (1964-1969), 20'29

Electroacoustic Music
World premiere for the Théâtre de la musique, March 16, 1970
" Hétéro-Concert ""

Permanent version for four stand-alone tape recorders. A series of colliding realistic sounds and sonic images. Whilst walking, a man is struck by the violence of his surroundings. Nature has disappeared in a whirlwind of warfare and industry in the midst of which he encounters a dying folklore and a lost young girl.
The "Installation" version is used to sonify a place in which walkers are free to choose their musical itinerary.

SIDE B
Unheimlich Schön (1971), 15'40

Musique concrète made in 1971 in the studios of the Südwestfunk in Baden-Baden.
Voice: Ilse Mengel.

"How does a young woman breathe when thinking about something else "
To be listened to at a low volume.

In January 1985 The Beloved emerged via a John Peel session (Produced by a very young Mark Radcliffe). They had a second session broadcast in October and didn't release their first single, A Hundred Words, until early 1986.
On the independent Flim Flam label they released a further 3 singles/eps , later compiled as an album, Where It Is.
By autumn 1987 they had slimmed down from 4-piece to the original founding duo of Jon Marsh & Steve Waddington.
Jon went to NY to pursue some label interest, meet some heroes - Mantronik, Latin Rascals.
& came back with a record box full of early house cuts. Within weeks he was tipped off by a friend about a semi-secret party in a gymnasium in Bermondsey. He went searching and found Shoom.
Having already shared the record box with Steve he took him to the club within a few weeks, knowing full well he would be equally enthused/entranced!
Having just been signed to WEA , notionally as a poster-fodder pop group, the band experienced a seismic shift in direction. Their first attempt , Acid Love, was on promo 12' within months. Their second house track was Your Love Takes Me Higher, first released in early 1989 with great club support but zero radio play.
The third was Sun Rising, late summer that year which became their first hit single.
The album, Happiness, a distillation of the fun & optimism & energy of the 88/89 (acid) house scene was released in 1990 to great acclaim and YLTMH even got a second release and just scraped into the top 40 at #39!
A remix album, Blissed Out, was released In autumn 1990, with a new recording It's Alright Now as a single.
Awoke is the most complete track from their last collaborative sessions.
Jon continued recording as The Beloved with his wife Helena as co-writer/co-producer.
Their first release in early 1993 was the single Sweet Harmony which was a major hit record worldwide.
Both single and the accompanying album Conscience were their biggest selling releases.
A further album X, with the single Satellite arrived in 1996.
A re-released Sun Rising and a best-of, Single File in 1997.
Then silence.
Remixes as The Beloved, several releases under different names (on Junior Boys Own, & NRK), and a full time dj career until 2005/6.
Still silence.
'I can't split up with myself so i think of it as hibernation' says Jon.
Until now. Music that is both old & new.

Jens is the boss behind the Swedish House/Techno label Jens Records and aswell behind the alias Enmetertre. This house trip represent the past the present & the future. Raw powerful, hi energy house at the very best. 1st pressing, 300x

Jaka Forma completes the Seltron 400 trilogy on Warsaw's MOST. The quirky sounds of their previous two releases - Zabawa Trwa and Trans i Bas - have garnered support from music lovers and heavyweight selectors alike (with Helena Hauff, Veronica Vasicka and Marco Passarani among them).

The duo continue to weave their sonic story upping the tempo on the breakbeat-driven roller Kiepska Forma. The track comes with a more contained techno mix as well, entitled Forma Swietna. The b-side carries Jakze Srogo - a firm crowd favorite from the Seltron live show, and a nod of sorts to the sound and times of electroclash, even though we won't argue that the tune is anything but pure Seltron 400.

To happiness through simplicity. Rendering a very personal tribute to well understood minimalism, the same that is based on simplicity and conceptual refinement and that is adapted to the creation and musical production -respecting that electronic maximum canonical of "less is more" - in terms of its compositional process, instrumentation, mixing, effects, etc. 'Simple Things' can be danced throughout the night. It is a collection of tracks with punch, made from the clarity and personality that characterize Nacho Marco, susceptible to being played at very different times and places. Exhale, from beginning to end, a natural love towards the dancefloor. From the simplicity of the search for this objective, its author -in his Warm Studio in Valencia- has used different rhythm boxes -programmed internally- for each track in order to, also based on a raw mix - especially in percussion and basses - to provide the tracklist with a varied air -between digital and analogue- through which to enjoy traveling through deep-house, nu-disco, acid, etc. and, therefore, in funk, soul, jazz, etc. From Chicago to Valencia, passing through N.Y. and Detroit. And all this avoiding arguments and essays of style. From a maximum freedom of creation and enjoyment. Yes, we are facing a "100% Nacho Marco" job.

Global pop star and 3-time Grammy winner Angélique Kidjo has partnered with 2015 Grammy producer of the year Jeff Bhasker (Kanye West, The Rolling Stones, Beyonce) for a full circle re-imagining of Talking Heads' 1980 landmark album Remain in Light. The album features appearances by Alicia Keys, Questlove of The Roots, Ezra Koenig of Vampire Weekend, Blood Orange, Tony Allen, Angelique's longtime guitarist Dominic James, and Magatte Sow (percussionist for the 'Black Panther' film score). Visual artist Kerry James Marshall collaborated on the album artwork.

BT33 drags back Marco Bernardi for his 3rd solo EP on brokntoys.Plat + Form P.F. finds Marco run ragged through time, revisiting his sleeper-project Octogen's lost 3rd (!) album alongside his latest productions Cruising the dystopia, the EP moves through unnerving melodies hung against stuttering rhythms.
Handstamped and with screenprinted sleeve.

Mysterious talent Clouds Of Kouros returns to their self-titled imprint to deliver the second EP on the
label this March, with three fresh cuts making up their 'Houghton Time' EP.

The enigmatic Clouds Of Kouros guise first surfaced in November of 2018, with the debut 'Reason's Why' EP picking up a slew of support from Secretsundaze through to Laurent Garnier and more.

Heavily influenced by the early UK rave scene, the project looks set to highlight key early inspirations from within the electronic sphere whilst keeping the focus solely on the music and not the artist behind the project across with each release on the imprint. The latest installment, the 'Houghton Time' EP, was written out of frustration after missing last year's edition of the festival through a last-minute transportation cancellation and in-turn returning to the studio to channel this frustration into a handful new productions. The result is an impressive fresh three tracker that takes cues from breaks through to deep house and beyond set for release on vinyl only this March.

Title cut 'Houghton Time' opens the package with authority as slick breakbeat arrangements combine with menacing basslines and infectious vocal hooks, before 'Diego's Groove' takes things deeper as dubby chords and bright melodies work in tandem. Last up, 'Hide2' completes the EP in style as the focus shifted towards punchy drum licks, resonant stabs and eerie melodies throughout.

The sensitive mountain » (la montagne sensible) is the nickname Alain Bashung came up with for Arnaud Rebotini. At the height of his fame, after the success of Fantaisie Militaire in 1998, Bashung readily agreed to create an album with Rebotini. The two men didn’t know each other; their record label had introduced them. Bashung brought in “Mortel Battement” and “Nocturne,” two poems by Jean Tardieu, which he recited in a voice simultaneously warm and flat, and Arnaud produced an impressionist soundscape that ended with an apocalypse of metal. Bashung was so proud of their collaboration that he offered to give several interviews to promote the record. Today, listening back to this moving Léo Ferré influenced "talking singing" exercise, it’s hard not to hear the template for L'Imprudence, the album that Bashung went on to record with Rebotini two years later. In a similar way, the album Organique sparked a productive partnership between Rebotini and filmmaker Robin Campillo, which resulted in their being awarded a César for Best Original Music in 2018. The director, who trusted Rebotini to create the soundtracks for his films Eastern Boys and 120 Beats per Minute, never kept his love for the 2000 record a secret.

Yet it’s an understatement to say that when it was released, Organique was not in the spirit of times. That year was all about the French touch. The funky samples of Modjo’s “Lady” and Superfunk’s “Lucky Star” ruled the sweaty dancefloors. Although Rebotini was familiar with the electronic scene, he had something else in mind when he set about creating Organique. Under his own name or under the pseudonyms Aleph, Avalanche, Black Strobe, Maison Laffitte, and of course Zend Avesta, he had already released several quite bizarre and experimental techno, house, or jungle maxi singles on pioneering labels like P.O.F., Source, and Artefact, run by his friend Jérôme Mestre’s, whom he had met back when both were working as record salesmen at Rough Trade’s ephemeral Parisian store. It was at Artefact, still financed at the time by Barclay and Universal, that he naturally proposed this record project, which was a bit "different." It was his first real album.

Arnaud Rebotini has never hidden his love-hate relationship with the electronic scene. He’s a fan of rave music, Rex, and later Pulp, but he listens mostly to metal and contemporary music, mainly American minimalists such as Terry Riley, Philip Glass, Steve Reich. He wanted to mix this genre with a more French aesthetic inspired by Debussy, whose unconventionality fascinates him. From the first suspended guitar note of Organique, you can pick up another influence, possibly poppier. In the style of Mark Hollis, the erratic leader of Talk Talk, whose only solo album’s silences and dissonances left their mark two years earlier, we hear the fingers touching the keys of the clarinet on “Ondine.” The instruments have presence, character. Nothing is smooth. Everything is organic.

Although it’s sometimes labeled as electronica because of Rebotini’s career, there’s nothing digital about Organique. No "pro tools" editing or samples, only programmed drums and some synth layering. And his guest vocalists. Playing the role of electro producer, he invited Bashung, of course, to join him on the album, but also Roya Arab, who Rebotini first spotted while she was playing in Archive, and her sister Leila, Gus Gus alum Hafdis Huld, Kat Onoma’s Philippe Poirier on the “Samuel Hall” inspired track “Qu’est ce qui m’a pris,” and former KaS Product member Mona Soyoc.

The frustration of a tour where he had "little to do on stage," the desire to sing himself, and the creation of the Black Strobe project, a haunting mix of blues and rock, stopped Zend Avesta from putting out another album. Eighteen years later, the Organique we rediscover today has lost nothing of its strangeness, nor beauty. When it came out, Bashung said, "What is interesting for a musician is to feel that you have a piece of wasteland in front of you, something to clear.” That remains true today.

After the praise for Morning Worship, released back in 2015 on Royal Oak, Portuguese duo Sabre returns to releases with the EP "Fora de Turf", pointing directly towards the dance floor. There is in "Fora de Turf" a certain idea of transient existence as a series of car journeys cruising the night with no clear sense of direction, recalling the gradual disappearance of public space and loss of community. The weight of Kraut references such as Kraftwerk's Autobahn or Stratosfear by Tangerine Dream is somehow clear in its alignment with a 1995 Carl Craig who had just released Landcruising

On the A side, 'Condor Sense' and 'Sem Terra'. The first one is a banger built around broken beats and repetitive synth chords that guide us through the drone landscapes on the background, very clearly marked by the 808's rhythms. The second one is anchored in a broken kick and on a growing acid line, punctuated by warm chords and some sliced pads that reminds us of the pulsating heart of the city of Detroit.

On the B side, "Condor Senses" and "Driving Bruno" got some sort of a gliding character. "Condor Senses" is the only track on the EP to accept the classic four-on-the-floor to guide some dubby chords along a quieter landscape where organic and natural sounds lurk. Is it dawn arriving No. On the last track of the album, "Driving Bruno," Sabre get in the car and step on the throttle, full speed, on a bassline that could resemble some synthwave releases if synthwave had been lucky enough to be born a decade earlier and in the center of the state of Michigan.

"The New Sicilian Sound"

Hailing from Palermo, Smuggler Brothers deliver a unique sound, deeply rooted in the diverse and rich heritage of their island - Funk-prog flavoured Mediterranean library music with Arab and North Afrika influences. Produced by Massimo Martellotta (Calibro 35). This 45rpm anticipates the band's full-length album with two non-LP new tracks, exclusive to this release!

An exploration of traditional Chadian music with an electronic twist...

Chad is in many ways a blind spot on the map of today's global musical conversation. Overlooked, misunderstood and misrepresented, outside observers rarely concede the country an autonomous voice over its past, present and future. N'Djamena, the dusty capital of Chad with its well-kept stories of boundary-breaking musical collaborations and thirst for experimentation is a city that reflects the country's diversity: the arid North, bordering the Sahara, where nomadic tribes revere the endless desert with their handcrafted instruments. The lush tropical South, where the frenetic drumming of local initiation ceremonies blends with sounds of neighboring Congo and Cameroon. Right in the middle: N'Djamena, a forgotten melting pot of cultures and peoples bursting with unrecorded stories of life at the margins of the world's attention.

Tackling this view is precisely one of the aims of Pulo NDJ. In May 2018, Nickodemus accepted an invitation from Hape Collective to travel to N'Djamena to teach a group of young adults DJ'ing and electronic music production, which resulted in the encounter between and a group of talented artists from Cameroon, Chad, Congo and Togo. After a weeklong series of listening to original songs & demos, the recordings continued in a pop-up studio created by DJ Buosis & Nickodemus which culimated in Desert To Douala, an album featuring 11 songs, all originally written and recorded in N'Djamena.

The project found its inspiration in the city's un-narrated diversity and seeks to explore the possibilities offered by technology to demonstrate how the country's rich heritage connects with existing musical conversations. It strives to create bridges in a world of walls. It has been a yearlong creative process that built friendships and fostered understanding among people united by a passion for music and creation.

Unshrouded in mystery: what once started as an anonymous underground project with stamped white labels and a clever take on sampling, has since then unfolded to be one of the longest-running and most successful teams in current dance music. Nurtured by the sounds of the past and blessed with the techniques of today, the music of Tiger & Woods always kept evolving in and around the tropes of disco, house and boogie. Classic dance music, if you will.

Celebrating the 10th anniversary this year, Marco Passarani and Valerio Delphi managed to arrive at album number three. A.O.D. is a pun on A.O.R. (adult oriented rock) and a play on their own sound. Defying the restricting rules electronic music record shop crates, it's a departure and an arrival at the same time. Inspired by the faded buildings and images of discotheques on the Italian countryside, the romantic start and bittersweet endings of summer, beach life and the excitement of travelling through the landscape to get to aforementioned temples of dance and subsequently the morning after.

Except for the 100% sample-free 1:00 am, everything on A.O.D. is based on a quiver of cleared samples from the Roman institution that is Claudio Donato and his Full Time and Goodymusic emporium. In Tiger & Woods hometown Rome, the often very electronic and futuristic sound of Italo Disco had a different twist. Much more boogie-based and influenced by the song-writing styles of New York City's dance scene, it played in a league of its own. Tiger & Woods use these materials to take them apart, out of context and into contrasting areas. Molding something completely new, one gets fooled to recognize Sade songs that aren't, pop music instrumentals and a reprise of memories that never existed. A ride through ones brain in a convertible with an Italian FM radio station playing in the background. Or to use less stiff poetry: a chill out album you can dance to or a dance album you can chill out to. Adult Oriented Dance.

This outstanding UK film score by Mr Roy Budd has been a treasure amongst music collectors for as long as I've known. Now, for the first time, Dynamite Cuts is making a 2x7' 45 collection of the musical gems form the 'Get Carter' Film using the original first pressing sleeve which was Japan only mega rare. His masterful chords and textures are a joy to listen to alongside killer bass and drum grooves that make for a cinematic musical heaven. Amongst my personal favourite Roy Budd compositions, 'Getting nowhere in a hurry,' is an easy listening gem with killer harpsichord lead lines and 'Hallucinations' (I love the deep groove in this song!) features his trade mark lush vocal production. Both cuts are sure to become favourites of yours too!

The music was play by the same following member of Roy's trusted crew.

GET CARTER Musicians

Roy Budd - Harpsichord, Piano, EMS AKS

Jeff Clyne - Electric Bass & Double bass

Chris Karan - Drums, percussion and Tabla

Brain Daly & Judd Proctor - Guitar

Lesley Cline, Johnny Turnbull & Mickey Gallagher Vocals on

'Hallucinations' & 'Getting nowhere in a hurry'

Lesley Cline - Lead Vocal on 'Love is a four letter word'

Recorded at the Olympic studios

Jack fishman - Producer

Roy Budd - Arranger

Keith Grant - Engineered

Headz up! Guti's current club cutter 'Red Eye' continues to wriggle and writhe its way hypnotically into our sets and psyches with these two crucial versions from one of house and techno's most respected gentlemen... The one and only Kenny Larkin.

Weighing in at a combined length of 20+ minutes, both remixes capture the Detroit legend at his deepest and most cosmic with his hands glued to the dials. Not just part of the biggest single from Guti's 'Year Of The Conga' album so far, they also tell a unique tale of their own...

These mixes were originally meant for the full release earlier this year, alongside killer mixes from Loco Dice and Priku. But when Larkin received a shiny new Moog One he rang Guti and label bosses the Martinez Brother and told them that they'd have to wait... He was about go back in with a whole new modular perspective.

You can feel it, too; that deep throb on the subs and trippy psychedelic swirls of his 'Black Eye' mix and that wobbling voluptuous bassline in his 'Pink Eye' mix are just two examples of Kenny's attention to sonic detail and pure analogweight on these two immersive, alluring remixes.

Well worth the wait, and another precision chapter to the beautiful back-to-roots adventure that is Guti's third artist album 'Year Of The Conga', don't sleep on these... They're going out strictly as Record Store Day specials. Vinyl crew, this one's for you.

Mark Is Releasing A New Ep Called Integriert Euch Nicht. It Features Two Tracks Taken From His Berghain Debut And A Freshly-composed Drum & Bass Missile. 'fucking Sick Of Myself Since Day One (hot Desk Mix)' And 'hats Off To Herr. F' Were First Performed At Mark's 2018 Berghain Live Set During Ostgut Ton Nacht. The Former Is A Breakcore-adjacent Call To Arms For The Self-loathing, The Latter An Antarctic Shiver Of Predator- Mode Idm-illektro. 'integriert Euch Nicht (commercial Jump Up Mix)' Features Singing From Blackest Ever Black Alum Silvia Kastel. Mark Wrote The Vocal Parts With Sine Waves Before Kastel Recorded Each Tone Individually, Creating Microtonal Clusters In The Vein Of Luigi Nono. The Sax-like Sounds Are Wilted Woman Playing The Aerophone, An Electronic Woodwind Instrument. Otherwise, It's Mark's Most Deliberately Straight Ahead Drum & Bass Track To Date, Trading The Beat Science Of Former Releases For A Stubbornly Boneheaded Approach In Line With The Title's Message. Integriert Euch Nicht Is Something Of A Spiritual Successor To Last Year's Tech/gentrification/real- Estate-investment Themed Integrier Dich Du Yuppie And A Ruffer, More Floor-focussed Elaboration Of The Techniques Tested On His Unterton Debut The Least Likely Event Will Occur In The Long Run. Under His Klon Dump Alias, Mark Has Also Previously Released A Psych-mnml Double Ep Called Klon Dump Vs. The Open Air On A Colourful Storm And Two Rooms, A Tape Of Sound Art Improv And Knackered Pop-strumentals On Bristol-based Imprint Nocorner. When Not Playing Solo, Mark Also Accompanies Blackest Ever Black's Carla Dal Forno On Live Electronics.

We are not alone. Through the centuries we have created theories, heard stories, made films, and of course, music that is deeply inspired by the idea of the unknown, and the cosmos. We went far and deep into this cosmic void to gather 4 visionairs to help us present a new series on the label. "Visitations - Chapter 1", touches down through sonic dimensions with Damon Wild, Ben Sims, Steve Bicknell and Tadeo. These artists are amongst the few key figures who established the foundations of Techno music and continue to do so decades later.... Their influences are also undeniable to the aesthetics and sound of "Chronicle" and so we are more then honored to present each one of them on our new series. Their contribution to this compilation is of extraordinary measure, connected both in vision and purpose they provide us with extraterrestrial sounds that challenges the listener both intellectually and emotionally with each track standing strongly on its own while functioning in a cohesive way bringing the vision of Chronicle Records into focus.

The fourth AF Trax release is a three-track EP from our long time ally The Fantastic Twins, who has the following to say about her EP:

This EP is a small collection of works I crafted over the past couple of years in the process of working on my live show. I have been performing versions of these tracks countless times and yet never played them twice the same way. To me, they have been material in constant motion, so shaping them into a 'finished' form was a risky challenge. Something I was also wary of - would it mean they would become set in stone Would it mean I'd have to somehow 'rationalise" the music - via the mind - as opposed to letting it run into the wildness of its physical live experiences

Whilst editing these tracks into a format that could be released, I realised that instead of shaping them into the mould my mind first intended to give them, I could in fact use the power they revealed each time I performed them to an audience and inject some of that energy - as much as it is possible to capture and recreate it in the studio - back into this EP. Then of course, it meant letting go on things I usually like to control more, and better.

But isn't it the power of music to let it take you where you didn't plan to go And how incomplete would the music be if our inspiration didn't feed off the collective experience of dancing to music together I've lost myself (and my twins) many times throughout the process - not only on German soil - I have sometimes landed in the wrong place, but I may have found one answer yet in the form of another question. Why are we here if we can't dance

That reminds me of the words of Pina Bausch 'Dance, dance or we are lost'. Lost in our internal struggles as individuals (or imaginary twins). Lost in a society where our relation to the other is often marked by fear, power or violence. We feel the need to resist. Yet nowadays, taking a political stance as an artist is too often being instrumentalised as another tactics or accessory to gather more popularity, reducing the political message to nothing else but a branding attempt. Isn't it anyway the power of capitalism to assimilate everything, even contradictory or once-upon-a-time subversive voices All to end up on a 'Rave' or 'Feminist' H&M t-shirt. Slogans that have been emptied of their initial force and substance, now replaced by their commercial value. I strongly doubt that more empty words poured in vain on social media will help us much. But, like Pina Bausch, like JD Twitch, I have always firmly believed in dancing as a physical, social and fundamental act that leads us to share a common space with others and embrace otherness. Standing together, dancing together when everything else forces us to divide.

Second Lp From French Electronic Talent Thylacine
Regardless Of Whether Or Not The Thylacine, A Species Of Marsupial With A Tiger-striped Back, Still Lives
In Tasmania Or Not, It Is In Argentina That This Young Star Of The French Electro Scene Decided To
Record His Second Album. To Create A Follow Up To Transsiberian, His Brilliant First Album That He
Recorded In 2015 Aboard The Train That Links Moscow To Vladivostok, William Rezé, Aka Thylacine,
Bought A 1972 Trailer, One Of The Famous All-aluminum Airstreams.
After Painstakingly Transforming The Trailer Into A Recording Studio, He Put His Beautiful American On
A Freighter Across The Atlantic And Got It Back A Month Later In Buenos Aires.
He Was Drawn To South America By The Pull Of The Unknown, The Absolute Absence Of Reference. He
Wanted To Immerse Himself In Desert And Lunar Landscapes, Explore Multicolored Canyons, Sand
Dunes, Giant Cacti Forests, Snow-capped Peaks... And Write, Alone, In The Intimacy Of His Nomadic
Studio.
After Making Stops In The Middle Of Nowhere, He Returned With Ten Tracks That Marvelously Combine
Moderat's Aerial Melodies, The Solar Touch Of Nicola Cruz, And The Techno Power Of Paul Kalkbrenner.
His Electronica Is Often Laden With Saxophonehis Instrument Of Choice, Which He Started Playing At
The Age Of 6 At A Conservatoryand Features Vocals From Julia Minkin (of Kid Francescoli), Clara
Trucco (a Member Of The Trio Femina), And Juana Molina, "considered The Argentinian Björk," Says
Thylacine.
Mission Accomplished: The Young Angevin's Vaporous Layers Are Tinged With Charango, A Local
Instrument, And Melodies Inspired By Traditional Argentinian Songs. "i Wanted To Go Back To A Music
With A More Acoustic Sound."
And The Tracks Follow One Another, Telling The Story Of His Extraordinary Odyssey: The Hypnotizing the
Road Expresses The Miles Of Road Traveled; The Captivating Tale Of santa Barbara Evokes The Close
Ties Between Inhabitants Of A Tiny Village In The Andes; And The Rhythm Of 4500 M, Cut By The Flow Of
The American Rapper J. Medeiros, Recalls The High Desert Where Thylacine Once Had To Sleep, Forced To
Stop For The Night By Storms Of A Rare Intensity.
Three Months And Ten Thousand Kilometers Later, This "concept Album" Is Ready; It's Called Roads Vol.
1, And Its The First Installment Of A Collection That The 26-year-old Thylacine Expects To Add To As He
Continues His Travels. His Itinerant Studio, Ingeniously Equipped With Solar Panels, Will Take Him,
Hopefully, Very Far.

Compilation of work from the group, spanning 1986 to 1991.. Dub infused experimental tunes here!

Politico dub-collage practitioners Guerilla Welfare came from Edmonton, Alberta, coincidentally the birthplace of prophetic media sage Marshall McLuhan. Armed with vanguard ideas taken from Steve Reich, Fela Kuti, Robert Fripp and Material, the duo of Curtis Ruptash and Brian Schultze adopted the 'studio as instrument' mindset of Eno and King Tubby creating complex textural and polyrhythmic sonic insurgencies. They overdubbed drum computers, guitar, bass, noise-makers, mallet percussion, sitars, often accompanied by sampled vocals and found sound taken from TV. Their pan-global, multi-media palette supported zeitgeist commentary — often, with a healthy dose of gallows humour — on gender, power structures, and sexual and geopolitical tensions in the late 80s. Their DIY bunker studio experimentations align them with genre defying dub-infused outfits like African Head Charge, Dome, Lifetones, Naffi, Woo, Negativland and The Residents. The Nature of Human Nature captures Guerilla Welfare's most formidable output, compiling tracks selected from their entire discography (two LPs and a cassette collaboration with poet Mary Howes), all originally self-released from 1986 to 1991. Remastered from the original tapes.

Wehbba collaborates with ghetto tech legend DJ Deeon, to deliver another superlative EP on Drumcode.

Since his debut on Drumcode in 2017, Brazil's Wehbba has become one of the most dependable and impressive artists on the roster. Last year saw two standout EP's 'Eclipse' and 'Catarse' drop on the imprint, alongside 'Just', his strong contribution to A-Sides Vol.7. He also made his mark playing Drumcode events at OFF Week, Resistance Ibiza and the much talked about double header in Manchester and Bristol when DC took over Warehouse Project and Motion respectively.

A true master craftsman in the studio, his first contribution for 2019 is typically impressive. A huge inspiration to Wehbba since his nascent raver days, ghetto tech icon DJ Deeon contributes a fierce vocal to 'We Have Bass', after a serendipitous hook up in São Paulo. A peak career moment collaborating with one of his original heroes and the artist responsible for the classic 'Freak Like Me', the resulting percussive-heavy cut kicks like a rodeo bull. 'Third Wave' is coffee geek Wehbba's homage to his favourite brew, constructing the production to mirror the experience of a caffeine fix, as a loopy trance-inducing groove leads to powerful synth stabs that are heavy on impact. 'Steamroller' is a stripped back slice of techno driven by the Brazilian's Korg MS-20 and found form after it initially begun as a studio jam inspired by Richie Hawtin's 'Minus Orange'.

A Jean-Michel Jarre fan stretching back to his childhood, 'Another Mistake' was conceived after Wehbba saw the French legend in concert last year and was subsequently able to meet him backstage through a mutual friend. While creating the track, the producer imagined Jarre playing the main layers of the hook on his famous Laser-harp, eliciting an almost celestial quality with the melody. This is a stirring slice of techno fit for stadiums. The EP ends with 'Purge', the artist's stream-of-consciousness expression recorded in one-take and a beautiful beat-less way to conclude the work.

Critically acclaimed jazz reissue on the Disques Vogue label. Red vinyl with white splatters. Specialist marketing.

Véronique Sanson is one of the most famous French pop oriented female
singer, songwriter, and composer of the 80s. She began her career in the 70s,
and was the girlfriend of genius composer Michel Berger. Her world turnt
upside down when she met Stephen Stills of Crossby Stills & Nash. One Day,
during a recording session in Paris, she left the studio pretending to go buy
cigarettes, but never came back... She flew overnight to the USA, where she
married Stephen Stills. In LA, she records new music with superstar
composers such as Ray Parker JR and Harvey Mason. "On m'attend là-bas",
produced in 1974, was one of the single of the album Le Maudit.
Funky French League is an intergenerational collective (based in Paris)
formed by Young Pulse (Gamm) , Dabeull (Roche Musique), Arthur Chaps,
Woody Braun (Malka Family), Mr Willy, DJ Asko et Uncle T (Groove
Deluxe). All coming from different universe from hip-hop, to electronic music,
but united by their love for the groove and the funk.

Born from Music of Life archive tapes (previously believed lost) which were uncovered by Robin Allinson in a Publishers warehouse in 2012.

The source material for this special record is" 1989 Hustlers Convention Live" (SPOCK1) ".

A Live Hip Hop Album, famously sampled by The Prodigy for the 'Everybody In The Place' vocal. The tapes of the night were multi tracks with 6 channels of audio recorded, Decks (Mono), 2 Mics (Mono) and the Room (Stereo). Being so old the tapes were first 'baked' and then transferred from a Studer machine in to Pro Tools via Prism Sound A/D converters at FX Rentals / FX Copyroom, Acton, London.

Notable performances by Artists on the Night came from MC Duke & Merlin; Mark The 45 King; Demon Boyz; Daddy Freddy. DJ's on the night were Westwood and Cut master Swift. Sections of their sets between Artists was captured. What did not make the Album was the Battle instigated by Overlord X coming on stage and stopping proceedings to battle MC Duke. As Duke once told me "X stuttered on the Mic".

Listening back, it's gold and puts Queen Latifa popping up in context. While restoring the Album as a multi track mixdown Robin started a series of new music projects plundering the MOL tapes and formed Stay On Target records to release them. Recordings were sent to: Sonars Ghost (SOT000), Stormski, 6Blocc, Bay B Kane and the last instalment was by Robbee Darkhalf.

New York's indie disco freaks Phenomenal Handclap Band is back with a second single on Toy Tonics: Jail. With remixes by Detroit's Waajeed and Marcel Vogel of Lumberjacks in Hell. Including a club edit by Toy Tonics head honcho Kapote. The band was responsible for one of Toy Tonics' biggest tracks in 2018: Judge Not: The Ray Mang version became a hit on open minded dancefloors around the globe: with support from DJ's like DJ Harvey, Cassius and Gilles Peterson (who put it int his - best track of the year' list) but also more house DJ's like Berlin's Keine Musik Crew, Soundstream or Superpitcher. The band's members are kind of heroes to many connoisseurs of the funk/ disco scene. The band leader Daniel Collas was playing keys in Amy Winehouse legendary backing band. Other members are connected to Mark Ronson's crew or San Francisco's Stones Throw universe.. just to give u the bigger picture. With The Phenomenal Handclap Band they blend the unique vibe of 1970ies Power-Soul in the traditon of Charles Stepney and Rotary Connection with today's new disco vibe. Parcels, Toro Y Moi, Roosevelt are not that far. Important fact: All played live, no samples. Mixed by the champs at DFA. The band is part of Toy Tonics's masterplan to expand their dancevibes into more live played scenarios.. stepping out of the strict DJ context. Fun fact Paul McCartney wrote the band a letter saying how much he loved their music when he first heard the band on BBC Radio 1.

Salour is a German artist who runs his own esteemed events in Hamburg and has played all over Europe from Watergate in Berlin to Culture Box in Copenhagen. His dub infused style is utterly distinctive and these new cuts prove that once more.

North Scapes opens up with a molten, acid tinged bassline. As it grows more wild there are icy hi hat loops layered in with some big piano chords to finish it in style and mean the floor will really go wild. Liquid Lava is more direct, with hard hitting techno kicks and deft synth sounds colouring in the grooves. Then comes the excellent Urban Signals, a dramatic, dubbier cut with cavernous bottom ends and subtle, supple synths layering in warmth and atmosphere. Last of all, Peter Schumann's LSD25 Restyle of North Scapes pairs it back to a warm, bubbly warm up house tune that will get you moving with its sonar blips and nice, deep cut and churning drums.

All four of these tracks are fresh and classy efforts sure to make their mark.

After a long time silent, La Luna is back with a 6 track VA featuring artists, Exit 47, Maricopa, Olywok, Mr. Projectile, Inmost and Senoy & Joce. The dreamy artwork was done by Berlin based artist, Heather Marie and will be pressed on 180 gram with a beautiful high quality outer sleeve. We hope you enjoy the sounds ranging from ambient, deep house, IDM and all types of downtempo electronica. Secure your copy and stay tuned for news on LALUNA003

moogmemory is the latest album from multi-award winning pianist and composer Matthew Bourne, who has turned his considerable talents to the world of analogue synthesizers.

Very much in demand as a collaborator and co-conspirator, Bourne has his fingerprints on a huge number of projects, having worked with artists as diverse as John Zorn, Annette Peacock, Nils Frahm, Nostalgia 77, Amon Tobin and Broadway Project.

Growing from spontaneous improvised live performances, the album took shape in the studio as Bourne explored and moulded the vast sonic possibilities of voltage-controlled oscillators, creating beautiful, brooding landscapes of thick impasto and translucent sunbursts.

The seed for this project was planted when Bourne acquired an uncooperative 1982 Memorymoog, having it painstakingly modified and upgraded by Rudi Linhard in Germany .

Created without the use of computers or sequencers,Moogmemory is the first album to be recorded using only the Lintronics Advanced Memorymoog.

Bourne will tour moogmemory in collaboration with brilliant visual artist Michael England, who has worked with Autechre, Bola, Leila, Demdike Stare and many more.

The album will be available on CD and as a limited edition LP (with CD) in an intricate embossed sleeve designed by England.

Album press release written by Bourne fan Graham Massey (808 State).

The album follows the critical success of Radioland: Radio-Activity Revisited, a visceral live audio/visual experience created to mark the 40th anniversary of Kraftwerk's seminal album, with Franck Vigroux and video artist Antoine Schmitt.

Bourne's first solo studio album, Montauk Variations (The Sunday Times' Leftfield Album of the Year in 2012), was celebrated for its sense of stillness and serenity, marking an important musical turning point in his career and the beginning of a new creative direction.

Tracks from Montauk Variations have appeared on compilations by Bonobo and Needwant.

Wex 003. A special double LP that that depicts the mind of the Dutch producer, Eversines. This album is his first release and explores much of the vast world of electronica. From ambient to techno and much in between this is a special album for both the dance floor and your home listening. For the rest we will let the music speak as let you explore the sounds. Be sure to grab this while you can as it will be a limited double LP press on 180 gram. Photography from label head, Marco Malpeso. Stay tuned with much more to come in 2019 and thank you to all who have supported us thus far.

Out of the ashes of Joy Division, the remaining members decided to carry on recording under the name of New Order. The band's debut album Movement recorded between 24th April to the 4th May 1981 at Strawberry in Stockport and featuring all new material, produced by Martin Hannett was released in 11th November 1981 on Factory Records.

The Movement boxed set will include the vinyl LP with its original iconic sleeve designed by Peter Saville, original album CD in replica mini album sleeve, a bonus CD of previously unreleased tracks, DVD of live shows and TV appearances plus hard backed book all housed in a lift off lid box.

The vinyl LP of the original album is cut on 180g and features the 2015 remastered audio, presented in a replica of the original sleeve.

The second CD includes 18 completely unreleased tracks made from Demos, Sessions, Rehearsal Recordings and an Alternative 7' version of Temptation.

Accompanying the set is a 48page hard back book which features photos and an essay.

A world premiere of AI-generated symphonic music!

All three audio files are compiled from two live recordings with different microphone settings. The cover image is generated by algorithms trained with the following image searches: migration, mediterranean, boat, Libyan coast, EU. Different search engines were used. »Land der Musik« celebrated its world premiere on 7 October 2018 at steirischer herbst '18 - volksfronten in Graz, Austria. Commissioned and produced by steirischer herbst in cooperation with ORF Musikprotokoll.

A1. soundalikeStrauss (an audio reverse-engineering tool is used after the initial cross-fade) A2. AIstrauss (algorithms are trained with midi-files of Johann Strauss waltzes) B1. AImahler (algorithms trained with midi-files of Gustav Mahler symphonies) B2. (untitled)

A new standard of beauty. Artificial intelligence (AI) algorithms can now group photo pixels or audio waves into meaningful categories. This is similar to how our brain operates, yet the outcome seems distinctively non-human. At the same time it appears that the sphere of our appreciation and imagination may just have expanded. The question of whether we are still able to see and hear the difference between automated and so-called autonomous artifacts should be left to historians. On the other hand, producing this analog audio record with this image on the front cover really is an antagonism. A more appropriate medium might be a tracking chip of your online and offline activities generating customized results in real time—be it images, music, or whatever.

If AI is communist (to quote the libertarian Silicon Valley entrepreneur Peter Thiel), then this statistics-based technology might actually reinforce centralized monopoly capitalism and the coming crisis of inequality, just as it might accelerate into Deleuze's notion of the Society of Control. But it might also be seen and heard as a demo, a new standard of beauty, for the redistribution of wealth and for solidarity; in short as a utopia freed from exploitation, nationalism, and racism, liberating us from our own perception of this world. »Land der musik - The Graz AI Score« demonstrates how machine learning might help us to finally create the perfect Austrian national music identity. Yet in doing so, our ultimate aim is to get rid of the construction of national identities all together.

»God created man because he dreamed him. / But man forgot God and created the machine because he dreamed it. / At the end of the twentieth century, however, the machine has forgotten man. / Who could predict who or what she dreams of« (Friedrich Kittler)

Connaisseur posthumously releases Daso's self-titled long player to create a final memento for his musical legacy.

We first came in touch with Daso when we saw him performing live at the
Dachkantine in Zurich around 2006. He really had this stage talent which
fascinated us straight from the beginning. At this party we agreed on the first release on Connaisseur, the "Adventure EP" including the strong "Sam n Max", which was a great presentiment of the many releases to come.
Daso was a unique character with a lovely sense of humour, and surprising quirks which could be like marvels to us. One moment, we would be worried just seeing him crossing a busy street and in the next, he would be rocking the stage with major self-confdence and the attitude of a real rock star.
In our history of Connaisseur, he defnitely was one of our most important
artists, and some of his best music was released with us. He played many label nights, and together we enjoyed uncountable laughs, discovered cities and countries while touring and collected invaluable memories.
It is the way of the world that we as a label eventually focussed on new artists, and Daso, too, embarked in new directions. We still stayed in touch, even though the gaps between our contacts became bigger with time. The frst time we realized that Daso was ill was in the frst quarter of 2016. We had invited him to our 10th anniversary party in Berlin, but he didn't feel well enough to be able to come. Shortly after this, he went to the doctor and was diagnosed with cancer. We were shocked. Daso was always such a positive person, it simply didn't add up for us that someone like him could get sick.
Obviously an irrational and unjust thought, but it just felt so unfair.
When he started chemo therapy I spoke to him on the phone, and my label partner Martin, who lives in Berlin, gave him a frst hospital visit early in summer of that year. A bit later we visited him together, and yes, he was optimistic, still full of humour and also motivated to pick up his career again as soon as possible. This impression was of course only from a distance, but I was delighted to see how confdently he presented himself on socials after all his treatments, and how after recovery he started playing gigs again.
At some point I realized Daso hadn't been active on his socials for a while, which concerned me. This was in the frst quarter of 2018. His last post on Facebook had been made on November 30th and I knew this couldn't bode well. After contacting some common friends I was told his prospects were not good. I was about to go on an Easter holiday but planned to visit him on my next monthly trip to Berlin. I didn't have the chance. On Easter Monday, April the 2nd, 2018 Daso passed away.
At Daso's funeral, which was on a wonderfully sunny day in late spring, his father came up to me and asked if I might be interested in releasing this album, which Daso had been able to fnalise in the last months and weeks of his life. We didn't decide on doing so lightly, knowing that the release of a post-mortem album can bring up certain issues. However, in the end, we agreed to do it, as we sincerely strive to create a fnal memento for Daso's musical legacy.

The self-titled album Daso will be released on April 5th, three days after the first anniversary of Daso's obit.

Profit Prison is the solo work of Seattle-based Parker Lautenschlager, previously in the hardcore band Marrow, power electronics act Anteinferno, and black metal cult Bhereg. Conceived in 2016, Profit Prison explores lyrical themes of isolation, estrangement, deprivation and paranoia against an aural backdrop of synthpop, post-punk and abstract industrial music. Inspired by Franz Kafka as much as Kraftwerk, Profit Prison achieves a cold minimalism that speaks to the nightmarish dystopia in which it was created. The debut Myra was released on cassette by Dominick Fernow's Hospital Productions in 2017.

On March 29 Avant! will release the 12' vinyl debut Six Strange Passions. Six tracks where Hi-NRG disco beats and 70's throbbing synths melt with trembling, reverberated vocals and dark dungeon synth passages.

Limited edition of 300.

Artwork by Italian Noise legend Matteo Castro (Lettera 22, Kam Hassah, Second Sleep label)

SDH (Semiotics Department of Heteronyms) is the new project of two key figures of the synth-wave/industrial scene of Barcelona. Andrea P. Latorre and Sergi Algiz, founders of the Cønjuntø Vacíø label and also in the post-punk band Wind Atlas, unveil a new act more oriented towards pop music. SDH is change, alteration, distortion, metamorphosis. Their synth-pop songs, sprinkled with EBM and techno, are mysterious, obtuse and suggestive. The project seems to revolve around the idea of fiction. What is the language of feigned personalities What is fiction An individual is one and another, is liquid. It is physical. Incarnating someone is doing it in a corporeal way: making it flesh. Conceive: everything is real: reality does not exist. How is a fiction embodied They have already supported artists such as Marie Davidson and Merchandise and performed at the Swedish festival Kalabalik På Tyrolen, one of the reference festivals of the darkwave scene.

serenitatem, the fifteenth installment of FRKWYS, RVNG Intl.'s collaboration series pairing intergenerational artists in creative conversation, joins Visible Cloaks with Yoshio Ojima and Satsuki Shibano, two trailblazers of the Japanese avantgarde music and visual arts scenes of the 1980s and 90s.

Yoshio Ojima began his career as a composer of environmental and ambient music, with a particular interest, and optimism, in the possibilities of generative software. His compositional pursuit of human synthesis with computerized forms was realized in its fullest potential alongside Satsuki Shibano, a pianist renowned for her interpretations of Erik Satie and Claude Debussy. Together, they were among a handful of influential Japanese artists whose innovations still resonate, if not more vibrantly than ever, well beyond the tightly-knit scene's original core. In the early 90s, Ojima was among the programmers of the influential satellite radio experiment St. Giga, a constantly-evolving sonic landscape that combined field recordings and sound collage with occasional readings of Japanese poetry. Satsuki was a regular reader for the station. This musical terrarium bloomed out of sight in a small Tokyo studio, a greenhouse of sound with no set start or finish time that audiences could tune into, absorb, and immerse.

The perpetual flow state of St. Giga — recordings of which Ojima shared with Visible Cloaks — would be highly influential to serenitatem's constitution. As Visible Cloaks, the Portland, Oregon duo of Spencer Doran and Ryan Carlile have developed their own set of creative strategies that form an aesthetic fuse point between human intention, aleatoric composition, and improvisation.

These are notions most recently reflected in 2017's Reassemblage and Lex, a respective album and EP in which the duo combined generative software and virtual representations of global instruments into lacy, interlocking patterns. Long time admirers of Ojima's work on albums like 1988's Une Collection Des Chainons, Doran and Carlile discovered after an online introduction that they shared with Yoshio and Satsuki an abiding interest in pre-classical composers, the Lovely Music, Ltd. label, and the British avant-garde, as well as a mutual respect for one another's techniques and processes.

The four musicians met in Tokyo, Japan at Sounduno Studios in December 2017, at the tail end of Visible Cloaks' first Japanese tour, to commence work on serenitatem. Leading up to the studio sessions, Doran and Carlile sent Ojima processed sound sketches recorded while on a European tour, which Yoshio would add to and return. Visible Cloaks would then fold Yoshio's edits back into the original compositions, which Doran and Carlile brought to the exploratory recording session. During that week together in Tokyo, the quartet made use of a number of creative strategies — 'echoing sound together,' as Yoshio puts it. Among the strategies, MIDI randomization gave the quartet melodic lines and what Doran calls 'randomized clouds,' or 'tightly grouped notes that become smeared tonal clusters functioning more like chords in themselves.' Carlile would also feed Ojima and Satsuki's text into Wotja, a generative music software which produced a MIDI language around which the quartet expanded their compositions.

'The aim,' Doran says of serenitatem, 'was to make a work that was not specifically ambient (or environmental), but something more multi-hued, weaving these deconstructive concepts into an album that has a deeper architecture underpinning it.' Accordingly, serenitatem is a marvelously sharp record, its sutures between human and machine virtually impossible to find but suggested everywhere you turn. The collaboration among Ojima, Satsuki, and Visible Cloaks is both musically and conceptually inseparable from the technology that made it possible. Throughout the album, Shibano's playing resonates like Satie's, her rhythms cascading like drops from leaves an hour after the rain. Overtones are stretched and warped like modeling clay, then spun around and shown off from multiple angles.

A single soaring note might seem to be suddenly plunged underwater, its richness of sound made shallow and its sharp edges blunted. Pittering chimes and rapidly warping vocal samples hang in the luxuriously glossy space, water trickles from ear-toear, familiar melodies rise from nothing and dissolve before they can be traced. With the depth of its emotional charge, serenitatem burns away the easy cynicism of the day, presenting itself as the kind of delocalized work of art the internet promised us decades ago — a synthesis of artistic visions, technological sophistication, futurist ambition, and, occasionally, ancient polyphony. Listening to it can feel a bit like tuning in to a 21st Century version of St. Giga: It's a place where the future still grows.

Visible Cloaks, Yoshio Ojima, and Satsuki Shibano's serenitatem, FRKWYS Vol. 15, will be available across LP, CD, and digital formats on April 5, 2019. The quartet will perform select live shows throughout 2019.

Billie Eilish's meteoric rise to global stardom has been nothing short of phenomenal and arguably unparalleled to date. Since her 'ocean eyes' debut, Billie has quietly, yet unapologetically infiltrated the forefront of pop. Thanks to a growing legion of loyal followers across the globe, an EP that has sat in the Billboard Top 200 for more than 18 months now, on the cusp of going Gold in the UK and more than 5 billion combined streams globally, her tours have sold out consecutively around the world, and this week, the teenage marvel has confirmed she will be releasing her highly anticipated debut album 'WHEN WE ALL FALL ASLEEP, WHERE DO WE GO' on March 29 on Polydor.   'When we made 'bury a friend,' the whole album clicked in my head,' Billie explains. 'I immediately knew what it was going to be about, what the visuals were going to be, and everything in terms of how I wanted it to be perceived. It inspired what the album is about. 'bury a friend' is literally from the perspective of the monster under my bed. If you put yourself in that mindset, what is this creature doing or feeling' She continues. 'I also confess that I'm this monster, because I'm my own worst enemy. I might be the monster under your bed too.' 'WHEN WE ALL FALL ASLEEP, WHERE DO WE GO' was written, produced and recorded entirely by 17-year-old Billie Eilish and brother Finneas in their childhood home of Highland Park, Los Angeles. Recorded in Finneas' bedroom opposite Billie's, the pair spent most of 2018 writing songs on the road, then spending many days and nights when off the road, at home, recording the album. The first to be revealed since the album announcement is 'bury a friend,' a driving tour-de-force of a song, trailblazing its way into the world and sounding quite unlike anything else that's out right now. Reaffirming Billie Eilish's place, always ahead of the curve, never compromising her sound or vision.  More exciting news to come from Billie Eilish very soon. 

Krewcial Is Back On Wph After Some Seriously Funky Adventures On Marcel Vogel's Fine Lumberjacks In Hell Label. We Wanted To Finish Our 10' Series In Style And It's Safe To Say That Krewcial Provided The Goods. On The A-side 'plaster' Brings Us Raw Vocal Piano House Of The Highest Order And A Sure-fire Hands In The Air Moment On Any Discerning Dance Floor.

On The Flip 'proto' Is What Proto Says: Raw House Business For More Theo Parrish Or Ron Hardy Styled Slam Dancing Damage. Since His House Debut On Wph Krewcial Has Been Going From Strength To Strength And With This E.p. He Shows No Signs Of Slowing Down.

Hardcore pityliess uptempo or speedcore, depending on your culture... the exact inbetween maybe

I cannot exactly remember when the idea of this album was born in my mind. What I am sure of is that I always wanted to complete such a project, which was to realize the dream of a vibraphone and marimba tribute to the music of my favorite musician composer, Frank Zappa. I met Marco Pacassoni about six years ago. I called him because we were looking for a vibraphonist for a tour with the artist Bungaro. We immediately developed a real friendship and when I told him about my idea and my fascination with Ruth Underwood, explaining that for me the best Zappa albums were the ones on which she played, he admitted that he knew only a part of that music, but that he would love to learn more. So I began to feed him tunes to listen to, sharing with him an imaginary track list. When Marco decided to really go for it (about two years ago), his first statement was that it was impossible not to include Peaches en Regalia and The Black Page on the album. That made me very happy because those are two of my favorites, and there was no better way to acknowledge the technical challenges behind this adventure. Marco studied Ionisation by Edgard Varese when he was in Conservatorio Rossini of Pesaro, even before he graduated in percussion at Berklee. It was strange for me that he could know more about Varese than about Zappa! I liked his idea of playing The Black Page alone at the marimba, just adding the beat, as if hearing the footsteps of an imaginary listener turning around. Who could it be My very first wish was to include Pink Napkins with Zappa's guitar solo played at the vibraphone.

Bobby Sparks II ist vielen ein Begriff. Sei es als Keyboarder bei Snarky Puppy, Marcus Miller, Prince oder Liz Wright, Bobby hat überall markante musikalische Spuren hinterlassen. Und nun ist es endlich soweit: Mit "Schizophrenia - The Yang Project" steht Bobby Sparks Debutalbum (2CD Set) zur Veröffentlichung bei LEOPARD an. Es hat gedauert, um diese außergewöhnliche Sammlung unterschiedlichster Songs zu produziern. Aber es hat sich mehr als gelohnt: zeigt sich darin doch das breite musikalische Vokabular und der schier unerschöpfliche Schaffensdrang des Keyboarders. Vom slammenden Funk bis zu langsamen, groovigen Soul-Balladen und Streifzügen in die Genres Straight-ahead-Jazz, Fusion, Orchester- und Weltmusik: das sehr passend betitelte Album "Schizophrenia - The Yang Project" vereinigt eine Vielzahl verschiedener Musikstile in sich, ohne dabei das Gesamtbild aus den Augen zu lassen. Mit an Bord auf dieser außergewöhnlichen musikalischen Reise sind eine Reihe seiner alten Freunde aus Dallas, sowie viele Stars des Genres - etwa die Bassisten Marcus Miller, Pino Palladino, MonoNeon und Hadrien Feraud, der Trompeter Roy Hargrove, die Sänger Frank McComb und James - J. Rob' Robinson, Snarky Puppys Michael League und Jason - JT' Thomas, die Gitarristen Lucky Peterson und Eric Gales sowie die Drummer Mark Simmons, Brannen Temple und John - Li'l John' Roberts.

You're The Man is the first-ever planned 'lost' Tamla/Motown album from Marvin Gaye. Fifteen (15) of the album's 17 tracks are on vinyl for the first time and three tracks are newly mixed by SaLaAM ReMi. The album also includes the rare long LP version of Marvin Gaye's cancelled Christmas single from '72, as well as an unreleased vault mix of its instrumental B-side, and new essay by Marvin's biographer, David Ritz. The release will coincide with the 60th anniversary of Motown as a label and also Marvin Gaye's 80th Birthday (April 2).

While the tracks have been issued on various collections and deluxe editions, this is the first time they have been placed in their proper context. In addition to context, You're The Man was the album that was proposed to follow-up the monumental What's Going On, and it contains all of Marvin's solo and non-soundtrack recordings from 1972 (his next two albums in quick succession: Trouble Man and Let's Get It On).

Life is all about rhythms. We don't know what we're dancing to until we're in so deep we can no longer control ourselves. The rhythm controls us.

Right now both Guti and the Martinez Brothers are dancing to the conga rhythm. Guti's third album, they've been dancing to it since the summer, teasing us with a whole slew of percussive new... And they'll continue throughout 2019. Chance are you will, too. Eventually the rhythm will control all of us. It's too infectious not to.

Here's the 411: 'The Year Of The Conga' is Guti's third and most rooted album to date. It came about through a personal request from brothers Chris & Steve Martinez. Both unapologetic Guti fans they wanted the very first album on their Cuttin' Headz label to be his. The result is a total reconnection back to his Argentinian foundations, his club roots and everything that first lured him to the dancefloor...

'I'm back to my roots and found my Latino groove again,' says Guti who wrote the album throughout 2018, starting it whilst bulleting through Japan by train, the majority crafted in the jungle of Dominican Republic, having collected and sampled native percussion instruments, and then finally mixing down on his return to Europe. 'Every song is full of rhythm and created to make you dance...'

He's not messing around; from the writhing snakelike percussion and rousing calls and cries of opener 'Aee' right through to the final mesmerising waves and farewell struts of finale 'Voladora' this an album is born both for and from the dancefloor. No overthinking, no purism, no exclusion; just unabashed physical hypnosis, fuelled for the floor, guided with gut instinct and years of groovecraft. It's the sound of an artist who's disconnected, explored and reconnected. He's older, he's wider and more in tune with his own pace and palette. One of the most diverse and explorative artists to come from Loco Dice's Desolat stable, this is Guti simplifying his passions down to an essence of everything that's magic about his roots and our shared dancefloor culture.

The highlights are in abundance; those hazy-but-persistent New Jersey organs on 'Telling The Truth', that wobbly sub on 'Red Eye', that shimmering sinewy acid line on 'Se Baila', the spicy pianos and wet horns of 'La Orchestra Fantasma', the list goes on. Each cut designed for deep mix pleasure, each cut rolling with a strong organic flavour and alluring percussive dynamics, each cut showing Guti at his most inspired, warmest, playful and ready to wrap you up so deep in a conga you'll soon lose yourself.

Cuttin Headz, cuttin straight to the chase but never cutting it fine... Let us be the first to wish you happy new year with the first ever album on the currently unstoppable label. We'll wish you a happy new conga, too. 2019's going to be a vintage and Guti and the Martinez Brothers are leading the charge.

The Wailers cover Marley songs, recorded with the guitarist Lloyd « Guitsy » Willis at the Harry J Studio in Kingston, Jamaïca in 1976.

German duo Avidus bring their spellbinding style to Crosstown this March. The pair have conceived a four track EP that serves to showcase their unique sound.

Avidus have produced a mesmerising EP that submerges the listener in an intriguing sonic soundscape. On title track XII prominent drums arise alongside dramatic strings that create a track full of suspense. Psalm 23 opens with an ethereal vocal sample that bleeds into a high-octane beat that's pacing and intense. On the flip, Lux is a dreamy and emotive number, calmer than its predecessors with a breathtaking breakdown, whilst last year's Revenge Of The Whales gets a rework for Crosstown.

Hailing from Kiel in North Germany Fritz Wagner and Marc Wolf, aka Avidus, have forged a strong partnership over the years. Fritz began producing music in the late 90s, making Hip Hop beats and pop music before moving on to house. During his early years, Marc produced backing tracks for hardcore bands before DJ'ing at illegal, outdoor raves. He started his own night ENDVR at Kiel's Luna Club, where he invited guest such as Âme, Roman Flügel, Barnt and Marcus Worgull. Their diverse musical tastes and influences are apparent in their music, which refuses to be confined to any one genre. The duo launched their own imprint Empore Music in 2014 that has charted releases from Johannes Albert amongst others.

Mancunian Hidden Spheres has showcased himself as one of the most innovative producers out there, releasing across the likes of Lobster Theremin, Rhythm Section International and his own imprint Fruit Merchant, all of which have been the perfect outlets for his inspiring blend of house and jazz. Church now features as the latest addition, who continue their stellar discography with 'Words Can't Explain', a collaborative EP which sees Hidden Spheres alongside singer-songwriter and guitarist, Oscar Jerome.

The collection begins with the original mix, lowering you into slick jazz guitar licks and echoing vocals, before Hidden Spheres provides a tight groove to lock around the melodies in fine form. The hybrid creation of jazz meets house binds perfectly as warm keys hang effortlessly in the air and popping guitar lines carry you onwards, supporting the sublime vocal from Oscar.

The dub version opens up room for the guitar licks and synth top lines to take centre stage, a real opportunity to marvel at the arrangement here.

On the flip is Yu Su's rework who ups the tempo and dims the lights for a punchier rework.. The half way point welcomes a percussive led break before the hats return and pick up the groove once again, closing the 'Words Can't Explain' EP in style.

Pantene was a live performance art-pop group that existed in Berlin, Germany in 2015. Its four core band members; Marijn Degenaar, Molly Dyson, Olle Holmberg, and Rahel Tierbach took a DIY approach to instrumentation and arrangement, where intergenerational low-fidelity samples collide with subversive and pithy lyrics. Using laptops, MIDI, samplers and effects units to deliver re-contextualised pieces of music, Pantene explored issues surrounding cultural constructions of power, identity and sexuality with effortless aplomb.

After a brief wander 'round the garden, Chilean-born Ricardo Tobar returns to the ESP Institute bearing earthly delights. With 2017's Liturgia, he introduced his creative point-of-view—instantly substantiating a sense of rhythm that was deliberately complex yet slightly rough around the edges, while touching upon his musical origins from the guitar-driven corners of psychedelia— however with his debut 2xLP Continuidad, he leaves us gobsmacked and seeking shelter as he leaps from dancefloor comforts and descends into absolute chaos (in more ways than one). Emotionally, the artist has crossed all previously self-imposed and subconscious thresholds, putting his true imagination on display and exposing an unwavering attraction to all things loud, orgasmic and transcendent. He's not subtly hinting at a fetish, but opening his arms wide with conviction, abandoning genre taboos and personally inviting everyone to join his enchanted caravan. Sonically, his appetite for intensity is clear throughout—epic chord changes, ascending peaks in arrangement, accumulating layers of grit that build into impenetrable blankets of distortion and feedback—a kind of aural hedonism that translates visually into the potent video abstractions our Mario Hugo has summoned for the album's packaging. This follow-up single surrounding the Continuidad album boasts the dirty little secret Bailemix of album track Recife—we wont go as far as uttering the 'T' word, but this is unbridled merciless tops-off festival gear for the massive. The flipside is another exclusive non-album cut Cuatro Meses De Verano, a rhythmic build-up that breaks into a low-slung funky stomper, Tobar's idea of a warm-up weapon.

Although Itta (Vocals, Harmonium) and Marqido (Analog Synthesizers) have been regular fixtures in Seoul's experimental music community for years, the vinyl release of Spiritual reflects the growing international recognition of their singular sound, described by The Wire as 'meditative synthesized vistas.' Spiritual certainly embodies the meditative element of their music, layering hypnotic modular synth with Indian harmonium drone and Itta's transcendental vocals. This is more than functional music for the metaphysically curious, however. Perhaps more than any of their previous releases, Spiritual offers an open accessibility, owing at least partly to the channeling of krautrock-influenced rhythms. Tracks like 'Luft' and 'Morgen Tempel' wouldn't sound out of place in any DJ set with kraut or psychedelic leanings, while 'Barabonda' and 'Dodeuri' dig deep into a more meditative place, serving as perfect expressions of the album's title and intent. Fans of Neu!, Kraftwerk, Laraaji or Klaus Schulze might find themselves in a comfortable yet unexplored place.

Spiritual was originally released in 2017 as a limited-edition cassette of 250 copies, produced in collaboration with Seendosi, an arts enterprise in Seoul Euljiro district, the city's heart of printing, packaging and electronics manufacturing. The cassette sold out within a year of its production, prompting Extra Noir, who had previously released Tengger's 'Breathe In, Breathe Out' on their Extra Noir Vol. 1 compilation, to propose reissuing Spiritual on vinyl. Working with Seendosi once again, the result is a beautifully produced piece of work. Closely attentive to the band's vision, the gatefold sleeve features rich landscape motifs that evoke Tengger's commitment to earthly travel and the less accessible places beyond. Pressed onto clear vinyl, the design of Spiritual has been carefully constructed to reflect the entirely unique music within: heavy ephemerality, dense transcendence and grounded wanderlust.

- 180 GRAM AUDIOPHILE VINYL
- LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON ORANGE COLOURED VINYL

The famous Jamaican record producer Duke Reid founded record label Treasure Isle in the 1960s. Some of his best production skills can be found on the compilation album Here Comes The Duke. Showcasing the talents of some of the giants of the rock steady era, the recordings, all issued during the latter half of '68, demonstrate just why the Duke is widely regarded as the king of the rock steady sound. The grooves are thoughtful and the brass section adds the right attitude to the different songs.

Here Comes The Duke is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

In support of their forthcoming documentary 'Subotnick - Portrait of an Electronic Music Pioneer', Waveshaper Media — the same team behind the wildly-popular, acclaimed modular synthesizer documentary 'I Dream Of Wires' — presents a special reissue: a deluxe, 50th-anniversary-edition vinyl LP of Morton Subotnick's landmark 1967 debut electronic release, "Silver Apples of the Moon." Here are some of the features that make this 50th-anniversary-edition vinyl LP special:

All-new, full-colour gatefold jacket.
Vinyl edition is strictly limited to 1,000 copies.

Audio has been REMASTERED from the original, pre-mastered digital tape transfers. Unlike previous reissues of this LP (both vinyl and CD), remastered for Wergo's 1994 CD edition and narrowing the recording's stereo field, our reissue has been remastered maintaining the full stereo field of the original recording.
Brand new liner notes by Morton Subotnick.

The original, iconic liquid-light cover artwork by Tony Martin has been re-scanned for full-resolution clarity.
Featuring rarely-seen, newly-scanned photos of Morton Subotnick in his Bleecker Street studio where "Silver Apples..." was recorded.

Also includes a scan of the LP's original Nonesuch-edition liner notes

With a celestial voice that's been streamed over 3 million times thanks to acclaimed features with The Kite String Tangle, Golden Vessel and label mate Sampology, Brisbane-based artist Tiana Khasi (Kah-see) shares her debut EP, 'MEGHALAYA', out 29 March via Soul Has No Tempo.

The Sampology-produced debut is a rich tapestry of styles and influence, with inspiration drawing from themes of self-empowerment, family and heritage, collaborating with contemporary musicians while studying jazz. ''Meghalaya' is both geographic and spiritual. It's a place I creatively resort to seeking affirmation of my identity and for true holistic inspiration. I wanted to create a body of work that honestly showed where I was at musically and personally. I felt the growing pains of being a young woman, mixed race/Australian born and studying jazz. I was neither here nor there.'

'Nuketown', the first single from the forthcoming release, is out now following global premieres with Complex UK & London's Worldwide FM. Upon hearing early mixes, Gilles Peterson handpicked the track to feature on his most recent compilation, Brownswood Bubblers Thirteen, via Brownswood Recordings. Touted by local tastemakers and HypeMachine blog Purple Sneakers as "the debut single we didn't know we needed", 'Nuketown' has found airplay with national stations triple j & Double J, placement in Spotify's Just Chill playlist, rotation with Sydney's FBi Radio, and enthusiastic support from community radio and online media around the country and beyond.

"A flawless example of the kind of music we can expect from Tiana going forward. [Nuketown] creates something completely original, drawing elements from jazz but never chasing a particular sound or vibe. Everything comes naturally, taking you on a journey with the instrumentation matching the ebbs and flows of Tiana Khasi's sweet vocals. It serves as an exemplary debut for the young artist, and can only mean better things are on the horizon." - Complex UK

A keystone artist in her hometown whose live reputation precedes her via her work fronting local jazz/hip-hop collective Astro Travellers, Tiana Khasi's voice has been praised as "elegant" (Life Without Andy), "most dope" (Audiosteez) and "as venomous as it is honey-sweet" (Happy). A trained jazz vocalist, Tiana's unique sound is heavily influenced by her Samoan and Indian heritage, and has seen her support Jamaican-American "TrapHouseJazz" sensation Masego, Swedish soul artist Fatima and acclaimed Australian collective 30/70.

Last year saw The Last Poets celebrate their 50-year anniversary with the righteous, politically-charged poetic record, "Understand What Black Is". Now to continue the party, Brighton production-maestro Prince Fatty has reworked the album with a fresh twist and blend of smooth, dub-delights. Set to land on the 29th March, the revolution marches on - this is "Understand What Dub Is".

After Prince Fatty's involvement in the production of the original project, he was the perfect person to help update the record with five decades of experience for a new audience to enjoy. The ten tracks of "Understand What Black Is" depict a relevant, historical philosophy of identity and race that has followed The Poets over the last 50 years. Since the origins of the civil rights movements back in the late 60's, Abiodun Oyewole and Umar Bin Hassan (two of the longest-standing group members) have provided social commentaries and a voice to African-American consciousness that has now been heard on a global scale.

Their raps, exploitations and insights quickly evolved into the origins of hip-hop in Harlem, New York back in 1968, and now in 2019 they continue to voice their dedication to the cause with the backing of slick rock-steady infused beats to keep things moving. Having had their work sampled by the likes of NWA, Dr Dre, Kanye West, Snoop Dogg and countless others is just a testament to the timeless sounds and prophecy they have created, and now Prince Fatty has stepped up to put his stamp on it.

Prince Fatty's ever-reliable work gives "Understand What Black Is" another lease of life as he maintains an undeniably slick groove throughout. Both therapeutic and warm, the soulful rhythms of "Understand What Dub Is" provide the perfect platform for The Last Poets to delve into everything from Trump's inauguration, nods to Biggie Smalls and respect to Prince. The calm, collective and downright thought-provoking words go hand-in-hand with the roots-driven reggae medleys with ease - this is dub in its rawest form.

Not only do these songs explore personal struggles and individual endeavours, they also represent a collective of deprived aspects of humanity and socialism, that perhaps now need to be pointed out more than ever. Although there is a variation of sound, the overlying topics remain a constant - it is time to "Understand What Black Is" once more.

PLEASURE ZONE presents MFDF aka Markus Fix & Dorian Paic!
The Frankfurt youngtimers teamed up for their first Pleasure Zone release called "Change of Lifgt". An superb sound demonstration between minimal, hypnotic and minimal Funk - worth to check!

In 1959 Michel Giacometti moved to Portugal and dedicated the following thirty years of his life recording traditional music all over the country. In the present decade Portuguese music has been thriving and finally travelling abroad, long gone are the days those hidden gems were kept in secret in this distant corner of Europe. The discovery of current Portuguese music sparked an interest to Portuguese music, past and present.
With both of those ideas in mind, Giacometti and the interest in Portuguese music, 'Antologia de Música Atípica Portuguesa' creates an anthology of current sounds to the future. You can see it as history being made or a broad catalog of sounds that live and breathe the experimental and electronic that is happening in Portugal. The first step happened two years ago with the releasing of the first volume on this anthology, 'O Trabalho' ('The Labour') and we now move onto Vol. 2, 'Regiões' ('Regions'), with each track connecting with a different province from Portugal.
Some names return to this volume, like Live Low with the beautifully haunting 'Montemor' or Gonzo (our own Gonçalo F. Cardoso), affirming his path in building detailed and processed field recordings music. More than a list of names, or songs, this second volume of 'Antologia de Música Atípica Portuguesa' recreates a passage throughout different landscapes of Portugal, constantly leaving a trail of past, present and future. The trail doesn't limit itself to the music, but to the traditions contained in the sounds and the stories spelled by the words.
The beautifully slowed haunting-waltz 'Por Riba', by Síria (Diana Combo), sets everything in motion and builds the way to Random Gods' upbeat march 'Gazulo à Estronca da Santosa'. 'Malta Inquieta' (Ondness) embraces the most modern/contemporary side of this volume, proving that 'Regiões' goes beyond the idea of catalog or even its own concept of 'anthology' and provides music that's hard to categorize or even judge by modern standards. We are not afraid to say it: 'Malta Inquieta' is an experimental jazz-electronic modern gem.
It's followed by the guitar of Rui Carvalho, aka Filho da Mãe, with 'Manta', closing the A side with one of his enchantments. B side strikes with the aforementioned 'Montemor', setting the tone for a different trip, building up on more abstract and freeform music by Banha da Cobra ('Asylo'), Fantama ('Lamento das Beiras') and the track by Gonzo. 'Regiões' finishes with the right tone, fields recordings worked by Luís Antero, that tie the connection between Giacometti and the now - with the now still happening and building up on the story of the future 'Antologia de Música Atípica Portuguesa'.

Any self-respecting scene can not do without a muse. Albeit a fragile one. Xen is a central figure in the (now not so) new Tel Aviv scene, having fluttered from projects to projects (with Red Axes, with Yovav Arzi or the soon to come Levantines), being herself kind of everywhere she goes, fragile yet strong, as if she was gaining gravity from both the little black hole inside of her and from the Garzen galaxy. These four tracks written and produced with Dori Sadovnik from Red Axes may be the epitaph to Xen are romantic underachiever, her chrysalis. Pere Adam has been a hit (whatever that means these days) with many luminaries such as Vladimir Ivkovic or Ivan Smagghe, pure angst in psychedelic dub. On Zel Meshugah, Xen & Dori amp the gothic, though more moon than beach, proving once more that all good songs are about heartbreaks. There is a certain sixties folk air to Ir Beton, some lofi sun shining through Xen's adolescent clouds. This new found positivity finds its expression in the flea market funk of Sugar & Wine, Xen shouting to the stars that life, even if bumpy, is now really worth living. -Words By Ivan Smagghe

One of Brazil's most prolific artists, Eumir Deodato has participated in the creation of over 450 albums, racked up 16 platinum records, won a Grammy (and received two more nominations), and sold over 250 million records in the USA alone. Over the course of his career, he has written for, arranged music by and played with artists including Frank Sinatra, Tom Jobim, Kool & The Gang, Earth, Wind & Fire, Marcos Valle, Aretha Franklin and Bjork, among others.

At the height of Deodato's productivity in the early 70s, Os Catedraticos 73 was recorded between Rio de Janeiro and New York, featuring a Brazilian rhythm section comprising Azymuth drummer Ivan 'Mamão' Conti, percussion master Orlandivo, and Sergio Barroso on bass, while the horn section features some of the big apple's top players from the CTI in-house brass.

A firm favourite with rare-groove enthusiasts and fans of Latin jazz alike, Deodato melds the musical sensibility of post-bossa nova Brazilian jazz with North American soul & funk, and the explosive Latin influences of '70s New York. Os Catedraticos 73 certainly swings harder than some of Deodato's earlier releases and opening track 'Arranha Ceu' (Skyscrapers) is a euphoric dance floor classic, which has been lighting up clubs for years.

With the blessing of Deodato himself, this official Far Out reissue has been remastered and pressed to 180g vinyl, with replica original artwork from the OG Equipe release.

Time Horizon's second episode enlists another team of dancefloor snipers delivering 5 brain-dancing tunes crafted appositively for late night use.
After his appearance on the first XCPT record, Andrea is back on the label with his unmistakable shuffling drums and a heavy square bassline followed by Anybody Anytime covering the uptempo-zone with a rotative junglistic tool dressed with celestial pads, closing the A side TANS reveals his new robot alias The Sympathizer' providing a neurotic electro progression fully based on his modular system.
Flipping the records you will find two XCPT homies bringing the audience straight into Matera landscapes: Farron gets a 909 unceasing toms orchestra surrounded by his atmospheric leads while Kreggo illustrates clearly his hypnotic mid-low vision of breakbeat locked by a mystic bass for the whole track.

ltd 250 hand-numbered units (12' + insert)
mastered by Marco Pellegrino at Analogcut Mastering Studio, Berlin

Recorded in Stockholm and produced by FAMILY_TIME and Maths Time Joy, who produced 'Best Friend', the mixtape follows the release of Ady's critically acclaimed debut album, 'Memories' in March 2018. Having worked on his debut album for some time, Ady wanted to release a collection of songs, ahead of writing and recording his second album.

A deft songwriter and a singer with soulful brilliance, Ady Suleiman has a rich era-spanning appreciation of music, and an innate need to turn life experiences into narrative. His timelessly classic yet fresh sound and lyrical distinctiveness has garnered him a broad range of influential fans from both sides of the Atlantic - from Chance the Rapper, Leon Bridges and Joey Bada$$ through to Labrinth, Michael Kiwanuka, Laura Mvula and Lianne Le Havas. Awarded 'Breakthrough Act of the Year' at Gilles Peterson's Worldwide Awards, Ady has been supported by the likes of The Fader, NME, Complex, The Line of Best Fit and Mahogany to The Independent and GQ (to name but a few).  

A collection of songs which originated as voice memos on his phone, Ady comments, 'I wanted to make a project that is a bit more free, I originally wanted to do an interludes or outtakes project, but over time it changed form. 'Thoughts & Moments Vol 1' is the result."

As part of their 20th Anniversary celebrations, Strut present the first new volume in their pioneering 'Nigeria 70' series for over 8 years, bringing together rare highlife, Afro-funk and juju from the '70s and early '80s. Compiled by collector and DJ Duncan Brooker, this new selection of tracks is receiving its first international release outside of Nigeria.

The compilation returns to a fertile heyday in Nigerian music when established styles like highlife and juju became infused with elements of Western jazz, soul and funk and musicians brought a proud new message post-independence. Brooker places the spotlight particularly on some of the incredible Ukwuani musicians from the Delta State region as guitarist Rogana Ottah and Steady Arobby's International Brothers Band forged their own fluid brand of highlife and soulman Don Bruce drew on the US R&B greats for a series of great albums and explosive stage shows at his residency at Hilton Hotel in Abuja.

Elsewhere, the album explores the close connection between Nigeria and Benin's music, most famously through Sir Victor Uwaifo, appearing here with a killer mid'80s ekassa jam, as well as highlife hitmaker Osayamore Joseph on 'Obonogbozu' (Joseph made headlines in Nigeria for very different reasons in 2017, surviving a one month kidnapping ordeal).

Other tracks include 'Sickness' a 1979 lament on how all countries share troubles by Prince Nico Mbarga, the Nigerian / Camerounian star behind the smash hit 'Sweet Mother'; reggae singer Felixson Ngasia switches to funk and disco for a heavy workout with potent lyrics around black identity; another major highlife great Etubom Rex Williams unleashes a punchy psych funk gem with 'Psychedelic Shoes' and Africa 70 member Pax Nicholas vocals a simmering Afrobeat groove from Jacob Lee's Saxon Lee & The Shadows International Band.

'Nigeria 70: No Wahala' iis released on 29th March 2019 on CD, 2LP and digital. All tracks have been restored by See Why Audio and mastered by The Carvery. The package features comprehensive sleeve notes including exclusive interviews with some of the original artists.

On March 29, Eric Copeland delivers Trogg Modal Vol. 2, the counterpart to last October's Vol. 1. The former Black Dice member's 'Freakbeat 4/4' agenda gets further refined here - Vol. 2 is more laid-back than the first, but still highly danceable. Self-described as 'late Night Flight proto tekno,' the tracks pulse with thick layers of percussion, melodic fever dreams, and riffs wrung through a taffy puller. Eric's textured, off-the-cuff approach to dance music adds a refreshing element of spontaneity and 'jamming' to a climate of uncanny smoothness and polish.

Where Vol. 1 was composed of 'rippers,' Vol. 2 travels at its own pace, continuing to showcase Eric's ability to recontextualize 4/4 tracks as psychedelic contortions, from the squelchy vibrations of 'BS Dropout' to the blithe, video arcade soundtrack 'High Score Zed.' Taken together, the two volumes of Trogg Modal showcase the versatility of one of the most continuously exciting experimental artists of the past twenty years - arriving in 2019 with his mischievous sense of adventure firmly intact.

hand-painted / signed / numbered / ltd. to 99 copies

Polyarrythmics is an EP by Mark Spn, a music producer and sound engineer who lives in London. While this is his debut EP under this moniker, he has recorded under various other aliases, one favourite being Holdie Gawn on Sylphe Records.

This release slows things down a notch from Mark's other output. He presents a densely layered work that conjures Herbie Hancock's sextant & Kirk Degiorgio's arps, J. Majik's mermaids & Underdog's attic tapes. It is cerebral and cohesive, made to be consumed as a sum of its parts: found sounds and urban field recordings, hushed Hammond grooves and modulated keys, muffled beats and unsyncopated rhythms, flickering electronics and hovering pianos.

Artist John Tsombikos has been commissioned to provide one-off artwork for the limited edition physical product, to be released in mid March. Hand painted, signed and numbered, limited edition of 99.

Fortsetzung Der Legendären On-u Sound Compilationreihe Mit Neuen Adrian Sherwood-produktionen, Einzigartigen Mixes Und Unveröffentlichten Tracks Von U.a. Roots Manuva, Lee "scratch" Perry, Coldcut, Gary Lucas (captain Beefheart's Magic Band), Mark Stewart Und Horace Andy. "pay It All Back" Startete 1984, Die Letzte Ausgabe Erschien 1996. Die Tracks Sind Wie Üblich Durch Spezielle Effekte Im Piratensender-style Miteinander Verknüpft. 15 Von 18 Tracks Sind Unveröffentlicht, Ein Track Befindet Sich Exklusiv Auf Den Physischen Formaten, Die Beide Zusätzlich Ein Umfangreiches Booklet Mit Detailierten Illustrationen Und Kommentaren Zum On U Sound-katalog Enthalten.

Marco Spaventi and MOS label head Aroy Dee link up for another of their intriguing collaborations. They have done so before on this label back in 2012, and their latest offers another vital mix of raw house and ambient. Opener 'The Way We Love' features typically rough, blistered drums and sci-fi synths, but this time with a heavenly vocal and uplifting chords up top that tug on your heart strings. An ambient reprise of the same track is a perfect excuse to kick back and get lost in your own thoughts. 'The Way We Move' then takes a long view, with far-gazing Detroit pads and mid tempo drums getting you deep into a dreamy groove that is wide open and expansive. Last of all, Marco remixes this one on his own and flips it into something that is even more melodic, with circling pads and a musical bassline all making for a beautiful piece of timeless house music.

Third studio album by American rock legends, originally released on Epic Records in November 1999. Grammy Award nominated and voted 'Best Album Of 1999' by both Rolling Stone and Time magazine. 12 track album pressed on standard black vinyl with download code insert. Marketing activity.