Buscar:mar c

The second of March's PY LPs is one the label has been eager to unleash for what seems an age. The killer new full length from ace experimental electronic musician Bernard Grancher. Coming to the attention of the label via his last record on ERR.REC; PY is mining much of this current wave of incredible French electronic music (as previous releases by Dialectric, Alexandre Bazin, (Arc en) Ogive and the mighty Cite Lumiere attest to) and is in hindsight, somewhat an extension of label head Dom's own record buying and digging habits just now (70s French synth LPs featuring heavily in his Utrecht fair baggage twice yearly!)

Grancher himself began his 'career' as a somewhat under the radar, host / director of 'mostly forbidden' radio programmes, where in Bernard's own words, he created 'incongruous sound collages, that gradually slip towards noisy or disturbing sounds intended to replace the music of others', within its broadcasts'. Then, armed with a large accumulation of 'machines I found at low prices, with an unknowing of quite how they function' he sought the help of friends Yan Hart-Lemonnier and Eric Lumbleau (from the hugely respected 'Mutant Sounds' blog, and his project Vas Deferens Organazation).

Then, having released what he describes as two 'rather talkative' LPs by taking again 'the concept of it's emissions: Hallucinatory slogans and Electro punk', Grancher, then released with ERR.REC, leading in turn to the PY full length here.

A fabulous LP hugely recommended to all kraut heads, experimental electronic sound collages, motorik grooves and minimal synth all figure strongly. To use one final quote from Grancher; 'Abandon any idea of listening comfort; this record leads you into a dangerous race that will be impossible to jump on'.

300 copies on vinyl only, released 2nd week of March.

After selling out with the Rick Wade's huge release , RYMD London's
label comes up now with their third limited edition output, 'Along
The Way'.

A Coloured Vinyl Compilation Release made up by a team of talented
artists exploring different shades of Deep House and Dance music :
Club, Funky , Cosmic , Jazzy , Balearic , Disco-ish and Garage.

Chicago-based Matt Warren has been a DJ for forty years and has been a producer since 1984, when he released his debut single Rock The Nation. This inspired Matt to cofound Sunset Records in 1985, which released several house classics. However, in 1987, Matt resigned from Sunset Records and founded AKA Dance Music.

The first single that AKA Dance Music released was Bang The Box, which sold over 50,000 copies in America and nowadays, is regarded as the first hard house track. Bang The Box was the first of seven singles that AKA Dance Music released between 1987 and 1988. By then, Matt's second label was part the history of house music.

After the demise of AKA Dance Music, Matt Warren continued to travel the world DJ in some of the top clubs. Meanwhile, Matt continued to produce new music, remix tracks by some of the biggest names in music.

By the nineties, Matt was also writing, arranging, mixing, and producing a wide variety of artists and bands. He sometimes was asked to play on a number of albums. However, he still loved house music, and worked on several releases.

As the new millennia dawned, Matt continued to work in a variety of roles in the ever-changing music industry, and occasionally released some new music. Over the next few years, Matt has been working as a producer, engineer and remixer, which meant he had to put his own career on hold, until he began working with a familiar face.

In 2016, Matt was reunited with house diva Pepper Gomez, who was now running her own label Wake Up! Music. By then, Pepper Gomez had dawned the MyMy Lady G moniker and embarked upon a career as producer. She had travelled to Chicago, to record Elena Andujar's genre-meting album Flamenco In Time at Matt's Sound Studio Recording. Matt took charge of engineering, programming, mixing and production on Flamenco In Time while MyMy Lady G added backing vocals and assumed the role of executive producer on this groundbreaking project. After the completion of Flamenco In Time, MyMy Lady G asked Matt Warren if he would like to record an album

It didn't take long for Matt to answer in the affirmative, and in early 2018, he hit the comeback trail. He was accompanied by a group of talented musicians and vocalists including gospel singer and soulful diva Jan McGhee, Elena Andujar and legendary house diva Pepper Gomez who plays a starring role on the album. That album was recorded over the course of several months, and eventually became Music Is My Life which marks the comeback of Mark Warren.

Matt Warren has been away to long, now one of the pioneers of Chicago House makes a welcome return with a groundbreaking new album. This is Music Is My Life, the first ever Nu House album, which is guaranteed to transform Matt Warren's career and become part of dance music history.

For those who like pop music and French music it is getting hard not to know about Olivier Marguerit aka 'Ô'. He played he countless acts from the new French pop scene, from Syd Matters to Mina Tindle, Thousand and Chelvarex. He's also highly praised by his peers and iconic French singers such as Etienne Daho and his first album 'Un Torrent La Boue' has been critically acclaimed by press, radio and web journalists upon its release. With this new album, in which is imagine himself falling down only to bounce back stronger, Olivier Marguerit's once again demonstrates his talent to craft exhilarating pop melodies, confirming his status as one the keystones of the rising scene of the genre in France.

Imagine if you could put together a dream line-up of MCs and producers from all four corners of the rap world
That's what artist and illustrator Gangster Doodles set out to do when he put together a stellar collection of tracks by the rappers and talent that inspire his work.

The all-star line-up features everyone from hotly-tipped emerging producers like Eets, Caleb Stone, Maze Mountain and LoVibe next to underground perennials like Onra, Mndsgn and Jon Wayne all the way up to top flight producer Kaytranada and established rap vets like Madlib, Oh No, Blu and Defari.

This second collaboration between All City Records and Gangster Doodles is a jam-packed sonic adventure featuring 27 killer tracks from some of the finest creators out there. Doodles had the idea for a comp two years ago. Hyped after partnering with All City for Knxwledge's "Wraptaypes" project back in 2015, they initially set out to put together an EP but as the tracks kept coming in it exploded into the sprawling double LP of low-slung grooves and bangers from the best in the business.

With everyone on the record being a friend or friend of a friend, the comp just kept growing as GD went to work with the hustle he has learned from penning his post-it sketches day in day out for the last decade.
Word spread fast and soon he was being sent beats from all over, even reaching behind the prison walls of Bergen County Jail, New Jersey and securing a track from former Dipset affiliate Max B.

The last few years have been busy for Marlon "Gangster Doodles" Sassy. He released his acclaimed Gangster Doodles (The Book) alongside an ever-expanding array of prints, original works, apparel and exhibitions across the globe. Topping that off with animation projects, a graphic novel in the works and now, with this LP titled " Gang$ter Music Vol 1", he is about to debut his first ever music compilation.
He says himself: 'Every time a new track came in it was like running down the stairs on Christmas morning to open a present. What started as a slow trickle of work coming in soon turned into a tsunami with some of my heroes like Onra, House Shoes, Blu, Jeremiah Jae joining up with young guns Kojaque, Kean Kavanagh, Dream Panther and others to beef up the record'

'When an email pinged through with a track from brothers Oh No and Madlib it felt like the final gift and Gang$ter Music Vol. 1 was complete.'

A different transmission from LDDLM

When the strange and different has become the new normal, a certain normality, well... becomes our first straight techno 12'.

Danny Passarella needs no introduction, his death squad of shoegaze warehouse ghost being of non-fading memory. D'Marc Cantu (following Perc and Oliver Ho in a serie of collabs) does not either, hero of Nation and fine purveyor of American acid.

This is pure machine music straying from the eternal revival of everything vintage. It looks forward not...

As they say it themselves:

'The Future has A Silver Lining' title comes from the advertising for a high-end utopia promised in RoboCop's 'Delta City'. The track titles inspired by ASCII codes, represent the key elements that lay ahead in the film, or in today's society.

080 = P = Privatization
067 = C = Corruption
065 = A = Authoritarianism
068 = D = Dystopia

Angel-Ho is known as one of the founders of Non Worldwide, alongside Chino Amobi and Nkisi. Highly regarded as a DJ and electronic music producer, on 'Death Becomes Her' she shifts things up to another level.
Pulling on inspiration from her flamboyant favourites from Lady Gaga, Missy Elliot, and Bjork through to Kanye West, this ambitious, artful and sometimes radical album of neo-pop pushes the pop framework even further, often teetering on the brink of vertiginous chaos and dissonance, whilst slowly revealing its depth and grandeur once you settle into its sound world.

Alongside a cast of collaborators that include French producer Nunu, South African producer Baby Caramel, Asmara Maroof from Nguzunguzu, Bon and Gaika, Angel re-orientates the usual trans-atlantic pop sound to encompass a brace of experimental, diasporic producers to create beats that alternate between angular, propulsive, murky, loose, abrasive and breezy.

On top of these often advanced rhythms, she also raps and sings for the first time with lyrics about love, sex, glamour and struggle, universal fantasies, treated with an ambiguity that restructures the narrative within a trans-identity. Her choice of guest MCs also reflects this energetic queering with K-$ and Qweezy from Cape Town, plus underground Asian American rapper K-Rizz laying down assertive bars.
On 'Death Becomes Her', Angel-Ho carves out a new space with her unique take on contemporary pop. Overflowing with charisma, sometimes reminiscent of Grace Jones, this album is fiercely sassy and celebratory. It feels like the start of something very exciting.

Classic Brazilian album from master drummer, Ronald Mesquita, originally released in 1972. Featuring songs by Jorge Ben, Antonio Carlos-Jobim, Gilberto Gil, Edu Lobo and others.
Mesquita is probably most well-known for playing with Luis Carlos Vinhas and his 'Bossa Tres' outfit, along with his own group, 'Ronie E A Central Do Brasil', that he formed after his return from the US in the early 1970s. He also played on several songs on Tenorio Jr.'s 'Embalo' album that Mr Bongo recently reissued.
The killer track 'Balanca Pema' was very big in the Jazz Dance scene in the 90s and also featured on the Mojo compilation 'Dancefloor Jazz Volume Four'.
Madlib sampled 'Balanca Pema' on his Medicine Show Number 2 'Flight to Brazil'.

Official Mr Bongo reissue. Licensed courtesy of Universal Music Group Limited.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.


The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.


The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

It is time for the fifth release of Discos Nutabe, the creator of the three tracks that make up "Niebla" is Lunate, a Bogota born and raised, who in this decade has been the emerging producers that the city has given moving in artistic circles where it reigns self-management.

Discos Nutabe returns to the House with Lunate, this is how he feels Bogotá, where he dedicates this complete EP to his city.

"A La Sombra de los Cerros" is the first track, composed with a jam of synthesizers and rhythm machines where Lunate evokes certain nuances of the past, as a tribute to his life as an artist in the great city of Colombia.

"Bogotá Adentro" is based on the narrative of the book "Toño Ciruelo" by Evelio Rosero, who describes the diverse reality of a city like Bogotá, city of brutal contrasts. Lunate describes this track as an ocean of sensations, a markedly atmospheric and serene track, a mental interlude for the dance floor.

"Luz de Domingo" marks acid and atmospheric textures where Lunate wants to reflect the calm of Sunday in the big city. A breath, a recharge, a change of reality, a truce agreed by the city and the calendar before the incessant evolution of the frantic days that follow.

April 2017, Osaka, Sakura, the beautiful time of the cherry blossom. We quickly get a warm coffee from the drinks vendor down the street, then off to Kabamix' LMD studio downtown. Time is short, the off-days are counted on tour. As the year before at the SVS label camp in Budapest, we stick to the plan: one track a day. This time we have guests! Marimari, Arihirua and Ryoko epitomize the perfect antipodes to the lonesome samurai on his white horse (Shiroi Uma) we had in mind on our first EP (SVS010). Everything flows, everything is improvised, the music itself is the place where we meet, no much talking about what´s happening, we just carry on doing the thing. The studio of Kabamix, longtime soundengineer of Haruomi Hosono, has built up over many years, it´s a hoard of like-minded people. Gekko No Odoriko translates to 'Moonshine Dancer'. The rhythm, as usual a driving force in our music, is converting every listener unwillingly into a squirrelly moving dancer. Heavy, yes, bassy, yes, yet never isolated drums build the foundation of the beatgrid as well as the arrangement. With an ascending condensation of musical events, the track enfolds it´s physical energy vertically and horizontally. And just as the spacey synth enters the track, Mari Mari has entered the studio, a Korg Prophecy under her arm, straight into the recording cabin, recording 'it'. Vocals by Ryoko aka Mt.Chills and us happy bunch. Holy Water: Visiting the holy mountain near Nara national park, the impossible seemed so simple: capturing water. An old man mumbling on the floor next to the entrance, little volvic bottles making their rounds to this special zone, bamboo growing high all over the place, deers walking close by as if there was no distinction between us living beings.

WRWTFWW Records is immensely happy to announce the reissue of impossible-to-find cult album Lady Maid by Japanese outfit Normal Brain, available on vinyl, digipack CD (for the first time ever), cassette, and digital, with liner notes by acclaimed sound artist and mastermind behind the project, Yukio Fujimoto.

Originally released in 1981 as a limited vinyl pressing of 300 copies on Agi Yuzurus fabled experimental label Vanity Records (R.N.A. Organism, Dada, Sympathy Nervous, Tolerance), Lady Maid is a testament to the creativity of the early 80s Japanese electronic and experimental scene, encapsulating a prolific era when audio gear became affordable for musicians to explore sounds in the comfort of their home, free from studio time pressure and major label rules.

Entirely imagined and brought to life by an inspired Yukio Fujimoto, the 6-track opus was conceived with a Korg MS-20, a Korg SQ-10, a Boss Dr. Rhythm DR-55, anda Texas Instruments Speak & Spell! Its elegantly minimalist, honest and witty, very playful, cleverly pop, and downright fascinating. The a-side captures the fun side of avant-garde electronica, lo-fi wave, proto-glitch, and IDM, a joyful ride beautifully interrupted by the cinematic mood switch of the b-side - a 20 minute ambient piece flirting with sci-fi, melancholy, and hints of metallic darkness. Unclassifiable and marvelous!

Planet E present the Michele Chiavarini and DJ Steve Crawford remixes of 'Just Like Muzik' and 'The Sabath' taken from Terrence Parker's 2017 album 'GOD Loves Detroit'. The three-track remix EP is due for release March 8th. Handpicked by Terrence Parker himself, both remixers offer fresh takes on two of the standout tracks of the original LP. For the first and last track of the EP Michele Chiavarini reworks 'Just Like Muzik', with a bass lick which dances in and out of shuffling hats, channelling the high energy of the original house patterns and stabs into something different. Soulful pad progressions merge with Merachka's original vocal, before energetic strings and vibraphone solo take over, carrying the listener along. DJ Steve Crawford's remix of 'The Sabath' sees him transpose the arpeggiated synth rhythm and pads of the original into a fresh grooving 4/4 affair. Congas and punching kicks meet with harmonious string melody and slapped bass, creating a head-nodding reimagining of the master.

Optimo Music is thrilled to present 'Weaponise Your Sound', which has been curated, conceived and designed by Kristina McCormick (Diet Clinic). Diet Clinic is an NTS radio show showcasing female DJs/artists.

It is the first vinyl release on Diet Clinic's newly-formed sub label of Optimo Music marking International Women's Day 2019 and featuring brand new tracks from artists C.A.R, Cucina Povera, Fantastic Twins, Human Jones, Maral, Marika Underspreche, Odete, Penelope Trappes, Slime, Sue Zuki and Zoe McPherson.

They may be scattered across the globe but their love, strength and support for their art and counterparts continue to inspire on a daily basis.

All proceeds go London based charity, Focus E15 which demands social housing, not social cleansing!

53 Degrees North marks SK_eleven s seventh release, as Setaoc Mass continues to add to his flourishing imprint; this time with a two-part EP release. 53 Degrees North Part One focuses its efforts on four-to-the-floor club-centric music the label head is renowned for. All four tracks are emblazoned with his signature, disparate pairing of light and dark sound palettes glued beneath rich, atmospheric textures and hypnotism - all the while keeping its muscular club chassis gleaming beneath. Part Two of the double release sees Coates revealing more of his experimental side. The second cut pays homage to past influences of the producer as he floats between ambient, IDM and electro cuts with ease, all rife with emotion and passion.

Keys are Benedikt Frey and Chris Cox, the front and rear covers of a lucid
narrative of an incomprehensible nature. Substance induced Hara-kiri, a human
consciousness leaving it's temporary and insignificant vessel, a motorcycle ride
through the sands of a desolate Martian desert or a twisted eternity dissolved
inside Pandora's Box. These are just a few of the scenes effortlessly evoked by
the epic yet somehow erotic omnibus of slow-motion electronica that is Voltage.
In a time dominated by robotic beat and melody, this 8 part expedition away from
the dancefloor may surprise, disorientate and hypnotise. Allow Keys to seal you
in their infinite vacuum of flirtatious melancholia.

Emotional Rescue is delighted to present the first of two EPs from British '80s band Furniture, starting with their much sought-after, six-song "mini-album" - as they were known then - which has recently been rediscovered by a new generation of DJs and collectors. "Transatlantic Cable" compares the cliches of a certain type of American romance - Bogart, Sinatra, Dean - to the reality of life in West London. "They're On Me" is probably one of very few pop songs to feature double bass and the word "newsagent", while "Robert Nightman's Story" is powered by a riff on marimba and abrasive rhythm guitar.
"I Miss You", a torch song so good you'd think Julie London might have cut it. A highlight for many is "Why Are We In Love". This track is a key reason for the revival of interest in the band, with pattering rhythm part and the sweet clarinet melody, creating an atmosphere that has attracted a following among discerning DJs. "A Letter To Myself" introduced the band's new, expanded line-up adding Sally Still (bass, vocals) and Maya Gilder (keyboards), which would endure until the band stopped in 1990.

The Conspiracy Hailed From Mount Pleasant, A College Town In The Center Of Michigan. Originally Formed As The Allusions, They Became Nino & The Nomads Before Changing Their Name To The Conspiracy In 1966. For The Next Few Years The Group Stayed Busy On The Live Circuit. "we Were Booked All Over The State," Remembers Singer Aquilino Soriano. "every Weekend We'd Be Somewhere. We Were About Two And A Half Hours From Detroit, So We'd Go Down South, We'd Go Up North, We'd Go Everywhere. There Was This Network Of Teen Clubs Where Kids Didn't Have To Be 21 And Everybody Could Go. It Was Fantastic." In 1967 The Group Had What Aquilino Describes As "probably Our Apex Moment". Kustom Amplifiers Sponsored A Statewide Battle Of The Bands Tournament, And The Conspiracy Battled Through Several Rounds Of Competition To Make It All The Way To The Finals In Saginaw. "it Was A Statewide Thing That Culminated There," Remembers Aquilino. "question Mark & The Mysterians And A Couple Of Others That Were Notables Were Also In It - And We Won It! We Got Our Award From Bob Seger." The Prize Was Thousands Of Dollars Worth Of Gigs And A Tuck And Roll Kustom Pa System, Which The Band Put To Use As They Moved Forward Into 1968, Brimming With Confidence. A Roving Capitol A&r Man Caught Their Show In Cadillac, Michigan, And Encouraged Them To Write Some Original Songs And Go Into The Studio. So In 1968 That's What They Did. `dream World' And `with You' Were Recorded At A Studio In Grand Rapids And The Session Turned Out Exceptionally Well. "it Just Floored Me That We Didn't Sit Down And Write Some More Songs," Says Aquilino, "because I Thought We Did A Pretty Good Job." `dream World' Is Particularly Great With A Soulful Lead Vocal, An Insistent Fuzz Guitar Line, Waves Of Hammond Organ, A Catchy, Harmonized Chorus And An Insistent Dance Groove. Shades Of The Doors, The Young Rascals, The Blues Magoos And Src. A Mixdown Of The Tape Was Forwarded To Their Contact At Capitol Records, But Ultimately No Deal Was Signed. "we Were Just Starting To Separate From High School," Remembers Aquilino. "it Was The Start Of That Transition. I Was Class Of '67, They Were Class Of `68. There Was The War In Vietnam. You Could Go To College To Avoid The Draft. It Was A Lot Of Decisions And I Guess What Happened Is Nothing Really Happened From Us Recording. I Mean They Liked It, They Made Us An Offer, But I Think That The Parents Weren't Really Happy With That. I Think That There Was Some Dissent In The Band Too." The Conspiracy Broke Up In Early 1969 And The Tape Of The Only Original Songs They Ever Played Remained Unreleased And Unheard Until 2018, When Soriano Brought The Original 1" 8-track Session Tape Into Earthling Studios In El Cajon, California, Where It Was Mixed And Mastered By Mike Kamoo For This Release. "getting This Out On Vinyl - It's What We Dreamed Of!" Aquilino Grins. "even If It Took Fifty Years To Happen!" Mike Stax

This album is the result of some musings on what drives us in life and how we come to terms with our place in the world. I wrote it around the time I was finishing my philosophy degree. I had also come to a point where I wanted to make music that was more personal, emotional and conceptual than before.

We are deficient creatures. Powerless and ignorant of reality as a whole, and unfortunately our characteristic existence makes us painfully aware of that. Reality is fundamentally hostile (or indifferent rather) and we are not well 'fit' to live in it. We try to deal with this through emotional means. We seek comfort for our deficiencies, a sense of purpose and belonging...

So Here We Go, Album Number Three By Till Von Sein. Attentive
Observers Of Tilly's Record History Might Notice, Something
Different Is Going On With This Cycle Of Tunes. Other Than The
Constitution Of His Previous Two Full Lengths, ocean' Tends To
Elaborate An Idea, A Pallet Of Sounds, An Overall Aesthetic, That
Come From Just One Place. Appropriate To The Release On Von
Sein's Own Label Imprint Tilly Jam, These Cuts Indeed Feel Like
Proper Jams. Deriving From A Certain Mindset, Building Up A
¢ow, Drifting Into Various Spheres, Delving Into Moods, And
Meanwhile, Forgetting About Time And Principles Of Structure,
Most Of His Previous Efforts Complied With. Surprisingly, No Vox
On Here. But Evidently, The Arrangements, Textures And Sonic
Nuances On ocean' Create A Narrative On Their Own. It Is An
Album That Puts Musicality Over Functionality. An Album To
Immerse Into, A Piece Of Music That Claims Attention And
Rewards With An Embracing Listening Pleasure. aloha', As The
Introducing Track, Sets The Tone Of Ever Reoccurring Leanings
Towards Balearic- And Mellowed Down House- And Funk
In¢uences. neptune' Directly Picks Up, Leading The ¢ow Of
Soothing Harmonies Into Slightly More Dancey Vibes. It's
Meeting The Relaxed Tempo Of cruise Control', Introducing Its
Catchy Synthbass And That Heart Melting Piano Hook. We Couldgo On, How The Funk Bass, The Spaced Out Break, The Tender
Chimes And The Harmonica Solo Of mission Muizenberg' Kind
Of Form The Centre Piece Of This Record, How junjung' Refers To
The Inciting Verve Of A Marching Band And At The Same Time
Grounds The Tune On Warm And Longing Melodies. How la
Boum' Is Bringing A Saturated Kickdrum Into Its Organic ¢ow,
How level 61' Merges G-funk Hints With A Neo-disco Attitude
Or How ocean' Lands This Record On A Dreamlike Loop. Yet, It
Wouldn't Paint The Picture Colourful And Bright Enough. Only
ocean' Itself Can Do. Album (release 22.02.19):

Alt. folker Will Oldham - better known as Bonnie 'Prince' Billy - is set to drop a joint record with gently psychedelic crew Trembling Bells

Just four years after their debut album Carbeth, Trembling Bells are amassing a formidable body of work at a startling velocity. Just twelve months after the release of their critically acclaimed third album The Constant Pageant, the Glasgow quartet return to share the billing with a similarly restless creative spirit. A few thousand miles separate Will Oldham and Trembling Bells' drummer and principal songwriter Alex Neilson, but their stories intersect as far back as 2005, when the young Leeds-raised Neilson found himself playing drums on Alasdair Roberts' No Earthly Man, with Oldham producing. In time, a friendship between mentor and student became one between two kindred musicians. Neilson augmented his work with free-psych-drone practitioners Directing Hand by playing with the Bonnie 'Prince' Billy band. The drummer's eagerness to experience new epiphanies yielded unforgettable memories. In Big Sur, he recalls, 'we took mushrooms at midnight, then visited a natural hot spring built into the dramatic cliffs overlooking the Pacific Ocean. The stars were as vivid as frozen fireworks.' All of which is worth dwelling on, because without that background of mutual openness and empathy, it's hard to imagine The Marble Downs existing.

Neilson recalls a conversation about a 'collaboration' in the summer of 2010, though stresses that it 'was nothing too formal at first'. By the end of that year, a limited-edition seven-inch New Year's Eve Is The Loneliest Night of the Year showed what an inspired match the vocals of Trembling Bells singer Lavinia Blackwall and Will Oldham made. The cut-glass precision of the classically-trained student of medieval music and the worldly, careworn tones of Oldham created an unlikely chemistry. It must have seemed that way to Neilson too. He set about assembling a cache of songs with the purpose of further harnessing that chemistry. The result is an album that has, once again, redrafted the boundaries of what Trembling Bells can achieve together. Indeed, genre-lines aren't terribly helpful this time around. Yes, Trembling Bells' love affair with traditional music remains a constant — most emphatically so on the unaccompanied Blackwall/Oldham two-hander, My Husband's Got No Courage In Him. Then there is Blackwall's musical setting of Dorothy Parker's poem Excursion Into Assonance — and the thorough-going new-found classicism of Neilson's increasingly assured songwriting. Albeit delivered with Trembling Bells' rain-lashed sense of abandon, Love Is A Velvet Noose sounds like a standard of sorts — a warped consequence of Neilson's increasing fascination with the songbooks of Cole Porter and Hoagy Carmichael. 'I'm not saying I stand any chance of emulating them,' he adds, 'but the appreciation is definitely there.'

The knowledge that Oldham and Blackwall would be sharing centre-stage on The Marble Downs gave Neilson extra impetus to flex his songwriting muscles. I Can Tell You're Leaving finds both vocalists on irresistible form, dissecting their dying relationship with no heed to the other's feelings. 'You treat me like a child,' sings Oldham. 'I need a man,' she responds, barely catching breath. 'Now like Merle Haggard, you'll see the fighting side of me,' he later promises. 'I guess that's one of the lighter moments on the album,' ponders Neilson, 'I was trying to get a Planet Waves-era Bob Dylan feel there, with the piano and walking bassline.'

Here and elsewhere, the band — Blackwall, Neilson, bassist Simon Shaw and guitarist Mike Hastings — has never sounded more psychically attuned to one-other. On the slow-reveal sonic establishing shot of I Made A Date (With An Open Vein), two minutes of manic modal chaos elapses before Oldham takes the narrative reins of a majestic call-and-response folk-rock epic. The electrifying free-folk portent of Riding — a revival of the Palace Brothers classic — is no less compelling, calling to mind the words of broadcaster Stuart Maconie when he praised Trembling Bells for their ability to invoke simultaneously 'the charm of folk music and the power of rock.' Ditto Ain't Nothing Wrong With A Little Longing, in which Neilson slams down a four-to-the-floor beat over a synergy of demonic krautrock keys and a dialogue between Oldham and Blackwall that scales Nancy & Lee levels of romantic intrigue.

With nine songs gone and one remaining, the album's sonic undulations find an arresting denouement in the form of an inspired cover. Adapted from Robin Gibb's 1970 solo masterpiece Robin's Reign, Lord Bless All sees Trembling Bells tease out the hymnal qualities of Gibb's original with a slow volcanic upswell which — on four minutes — explodes into heavy psychedelic technicolour. What pleases Alex Neilson when he listens back is 'a sense of a common vocabulary and identity being forged.' If, by that, he means that there isn't another band on the planet that quite sounds like Trembling Bells, it would be hard to disagree. The evidence is right here.

'I didn't know anything about Trembling Bells. I just heard them and was knocked out. I instantly became a fan.' Paul Weller

'Trembling Bells are my kind of band.' Joe Boyd

"Jesus fucking shit! These jamz claw so hard at the tatties below methinks the Lord misnamed them, having intended to say Trembling BALLS." Will Oldham

'A poetic incantation of British identity far brighter than Michael Gove's GCSE syllabus.' Stewart Lee

'This time, I'm attempting to reclaim the art of songwriting from the charity shop bargain bin.' Alex Neilson

* Five years have passed since the first release of Nowadays Records.Launched with Fakear's signature (seen on Ninja Tune), the label founded by oOgo and Chomsky from La Fine Equipe has seen the growth of many projects such as Clément Bazin, Everydayz, Phazz (who produced for Travis Porter, did remixes for Soulection, Interscope and Mad Decent), Leska, Jumo and many others, all of them carried by the irreplaceable quartet of La Fine Equipe.

Five years during which Nowadays Records released 75 EPs and LPs, toured in and outside of France, and generated several hundred millions stream plays.With its heart in the right place, its eyes on the emerging scene and its ears open on the world, Nowadays built itself a singular and racy identity through the time. Fed by inspirations like Stone Throw, Ninja Tune or Warp, the label places itself as an ambassador of a fast growing scene, defending it through its shows, releases, and events like the two Boiler Room shows in Paris and London.Without sticking itself to a musical gender, Nowadays keeps on widening its horizons by working with foreign artists and mixing the inspirations through its releases, driven by its sound and visual trademarks and aesthetics.

In order to celebrate those five years spent defending as many projects as musical crushes they had, and to thank its community made of more than 150 000 followers around the world, Nowadays unveils the 'Nowadays V', double album with a digital and physical release on November 30th.Through this compilation, Nowadays gathers on one side the tracks that marked its history and, on the other side, unreleased tracks that sometimes lead to collaborations such as the one between Clément Bazin and Leska, or the one between Fakear and La Fine Equipe.

t's been a year since the last album of the French duo Zombie Zombie « Livity » came out on their historic label Versatile Records, since they explored other territories by producing two movie soundtracks : one for « Loubia Hamra » by Narimane Mari and « Irreprochable » by Sébastien Marnier as well as the music of a contemporary circus show « Slow Futur » by Martin Palisse and Elsa Guérin.

It was during their last tour that they composed and produced the new soundtrack for Sébastien Marnier's new feature film « L'heure de la Sortie ».

This is a second collaboration between the group and this director. This electronica soundtrack will delight Zombie Zombie fans with his oppressive yet surrealistic atmosphere, and without revealing so much the shadow of Patti Smith is not far this time and will surprise more than one.

Brand new 7' EP from Glasgow's Vital Idles, following on from the band's well-received debut LP and a rigorous Marc Riley BBC 6 Music session from last year. Vital Idles are touring Europe in support of the EP, finishing up in the UK playing a series of UTR showcase parties in celebration of the label's 15 year history.


If there isn't yet a tradition of following a magnificent debut album with a, shoelaces-tightened, excellent mission statement of an EP (one would be forgiven to think that the debut long player was the mission statement already, breaking in on the scene/ry with such unmissable and rarely seen sensory delight, but then upon hearing the subsequently released EP one is tempted to think: "Wow! That debut was truly astonishing but now they are REALLY on a mission!"), well, if this tradition doesn't already exist - and thinking about Young Marble Giants' scene-defining "Final Day" 7", Pylon's absolutely essential "!!" 10" and Carla Dal Forno's recent-yet-already-classic "The Garden" 12" one might argue that this tradition is undoubtedly fully existent (more so: alive and well) — then this self-titled extended play from much beloved Glasgow quartet Vital Idles would surely be a striking argument for the genesis of such a tradition.

On the other hand, when taking sides with the many seasoned critics arguing that this tradition has indeed long been established, one might confidently list this effort as a bona fide example of such practice, sharing with the aforementioned not only an astute and accomplished artistic ability but also a sense of minimalist psychedelia that transcends restrictions set by redundant referencialism and grateless genre parameters such as "Post Punk" or "Minimal Pop" (on which the same critics, of course, often disagree).
That being said, ping-ponging from gritty post punk smashes to minimal pop moments and vice versa, Vital Idles' sphere of stripped-down efficiency and sharp personal observation also brings to mind crucially overseen half-chord-wonders Glorious Din as well as antipodean contemporaries like Constant Mongrel (who also had their latest release mastered by the fantastic M. Young), Primo! (who also had their latest release mastered by the fantastic M. Young) and Terry (who also had their latest release mastered by the fantastic M. Young).

The EP reveals itself as a steady, hypotenusal rise of intensity and momentum, starting with the hallucinogenic restrain of opener "Break A", building tension throughout the gothic-noise flourishes of "Seconds" and "Rustle Rustle" and culminating in "Careful Extracts", a 2 minute burst of carefree introspection that might as well be the unintentional answer to early career highlight "My Sentiments": "just me and my/ tired ire/ a a a a a a a a a a"

In conclusion: Vital Idles' debut was truly astonishing but - wow! - now they are truly on a mission.

Dutch producer Tripeo returns to his self-titled imprint this March to release four ethereal cuts entitled 'We Have Power In Numbers'.

With a discography of over thirty releases across nearly two decades, Darko Esser aka Tripeo has truly established himself as a key figure within the techno world. His open-minded and forward-thinking approach to music allows his ideas to continually develop and transform, which reflects through his vast material on his Wolfskuil Records imprint. The label recently hosted an exciting new wave of techno artists such as Shlømo, Rumah, PTA (Ambivalent & Physical Therapy) and Cadans, who collaborated with Tripeo on a Rekids release at the end of 2018.

'We Have Power In Numbers' kicks off with sparkling, acid arpeggios, encapsulating pads and weaving modulations before 'Hoax' delivers shuffling percussion, shimmering synth lines and stabbing, bass grooves.

'Pandora's Box' follows on the flip with haunting oscillations, growling resonations and an off-beat 909 clap throwing you right in the groove until 'Pay It Forwards' finishes things off with electro-tinged flavours, tantalising pads and stirring melodies.

Musique Pour La Danse is thrilled to present its latest "Collected" anthology, the label's most ambitious release since it released an extensive anthology of music produced by New Beat pioneer Ro Maron back in 2015. Side A is a reissue of the highly sought after Disdain EP from 1988 by White House White. Side B contains three previously unreleased tracks in a similar spirit to WHW's sound with a dark and sleazy atmosphere.

Soundway are excited to announce one of their flagship contemporary releases for 2019 - the next album from LA-based artist Dexter Story, called "Bahir".

Following his previous Soundway releases "Wondem" and the successful single "Wejene Aola (feat. Kamasi Washington)", this new album is an incredible masterpiece featuring guest artists such as Sudan Archives, Miguel Atwood-Ferguson, Josef Leimberg, Marie Daulne (Zap Mama) and more.

We have engaged PR agencies in UK/Europe and the US, and will be announcing the album this Friday 1 February, along with Afropunk premiering the lead single "Shuruba Song (feat Hamelmal Abate)".

The second single, "Gold (feat Sudan Archives)" will be released on 15 February.

Please note there is an additional track on the digital release, called "Chemin De Fer", which does not appear on the vinyl due to running time constraints.

Important note: Track A1 and A2 merge into each other on the vinyl

Resilience is an album that calls on the classic rave sounds of Chrissy's Midwestern youth to explore themes of love, positivity, perserverence, acceptance, and the fight against cynicism. Get ready for big piano melodies, chopped breakbeats, heavy bass, and jacking Chicago drum programming, plus guest appearances from some of Chrissy's friends: vocalist Carrie Wilds, Portuguese DJ/producer/singer Maria Amor, and Berlin-based techno artist Dean Grenier. RAWAX will present it on three ep's!


Chrissy is a genre-bending DJ/producer with releases on Classic, Freerange, Razor N Tape, Hypercolour, and Planet Mu, and a 20-year DJ career spanning Chicago house, disco, rave, jungle, footwork, and more. He ran the influential 'My Year of Mixtapes' blog, and currently runs two record labels: The Nite Owl Diner and Cool Ranch.

'Chrissy is one of the best DJs to ever walk the earth and I am just going to keep saying it until everyone agrees with me.' — The Black Madonna.

R&S Records present the first key transmission from the Lost Souls Of Saturn's multidisciplinary conceptual project. The title track of the LSOS debut EP is revealed immediately, with the full 'Holes In The Holoverse' EP to follow on the 1st March.

Primarily LSOS are Seth Troxler and Phil Moffa, with opaque additional participants congregating to combine music, imagery, storytelling and communion into an inextricably linked whole, all wrapped-up in a philosophy of their own making.

Check the launch visual for 'Holes In The Holoverse' here:

The EP follows their performance debut as part of the 'GaiaMotherTree' installation with artist Ernesto Neto at Zurich Main Train Station, and a second show at Houghton Festival. Following these site-specific ambient renditions, the full LSOS live experience will be unveiled at the Village Undergound in London on the 18th April 2019, with further live performances to follow (including Field Day) and to be announced.

The classic-R&S-style groover 'Holes In The Holoverse' propels ever starwards, whilst the acid techno of 'World of the Wars' evokes a probe motoring through the cosmos. Further solar system surfing comes from world-renowned, Turner prize winning artist and photographer Wolfgang Tillmans. For his first ever remix, Tillmans tweaks the frequencies, adds extra percussion and his own 'va va voom' vocals.

Attempting something creatively that's above-and-beyond, LSOS explore new ways to open doors of perception and challenge the presumed reality, whilst capturing the spirit of Alejandro Jodorowsky, HG Wells, Sun Ra and the KLF within their music, live experiences and forthcoming films.

These spiritual, psychoactive aural vibrations resonate for a long distance, all the way back to something deeper and more enchanting than the prosaicism of modern life:

'We're searching for signs from another dimension and channelling a higher consciousness. We want to explore the concepts of reality vs simulation/hologram, ancient knowledge and ritualistic experiences. We're inspired by art, film, literature, astrology, mysticism, cults, rituals, paganism, synchronicity, conspiracy, altered reality, virtual states, spiritualism, chaos, cosmology and science. Both sci-fi and real science especially interest us - from Philip K. Dick books, to NASA articles, to the hexagonal storm at Saturn's North Pole.'

Lost Souls Of Saturn are preparing their debut album for release in June 2019.

Apollo welcome Metalheadz veterans Om Unit AKA Jim Coles and Kid Drama / Jon Convex AKA Damon Kirkham for a 4 track EP of blissed out autonomic dnb.

The duo originally met on the DJ circuit, Coles had been a longtime fan of instra:mental, Kirkham's pioneering project with Alex Green AKA Boddika
"I had their fabriclive CD with dBridge in my car on repeat," Coles enthuses. "What those guys were up to felt like a new start for my appreciation of modern drum n bass music. It was like a new form of architecture."

Kirkham picks up the narrative; "Yeah it would have been during my Convex period, I was bouncing back and forward between London and Sydney and playing with people like Machinedrum and Mark Pritchard. I'd heard some of Jims stuff and we had a long chat and in 2013 we did a collab on Exit with my Kid drama alias.

Immediately hitting it off over a shared affinity for cold architectural aesthetics, a friendship blossomed; "Getting to hang out with Damon here and there over the years has always been insightful, we both think about stuff deeply, we come from a fairly broad appreciation of music in general, rooted in rave stuff but loving loads of types of music."

The pair continued to send tracks and ideas back and forth for subsequent years but nothing was finished, until recently when something shifted and progress began to come quickly and the four tracks of 'The Untitled Works EP' began to form. The release sees the duo explore their affinity for widescreen synth pads and hypnotic rhythms with a rich seam of jungle influences shooting through the gossamer ambiance. While well suited for headphones, in the right hands a couple of the tracks will cause dancefloor damage.

Johnny Clarke & King Tubby & Dillinger & Prince Jazzbo feat. Tommy McCook & The legendary Aggrovators & The Mighty Diamonds - Soul Jazz Records presents Bunny Lee: Dreads Enter the Gates with Praise - The Mighty Striker Shoots the Hits!

Soul Jazz Records presents this new collection featuring the heavy 70s roots reggae of Bunny
Lee - a living legend, one of the last of the great Jamaican record producers who helped shape
and define reggae music in the 1970s from a small island sound into an internationally
successful musical genre.
From teenage fan to young record plugger for Duke Reid, Sir Coxsone and other early
pioneering Jamaican musical entrepreneurs, Lee has spent his whole professional life inside the
Kingston music industry. In the 1970s he rose up to become one of the major record producers
in Jamaica alongside Lee 'Scratch' Perry and the other 'small axe' producers who broke the
dominance of the 'big tree' producers that had ruled Jamaican music in the 1960s.
Featuring some of the heaviest Jamaican artists, including Johnny Clarke, King Tubby, Dillinger,
Prince Jazzbo, Tommy McCook, The legendary Aggrovators (featuring Sly and Robbie), The
Mighty Diamonds and more, the album is a rollercoaster ride of rare, deep and classic 1970s
roots, dub and DJ sounds.
During this era, 'flying cymbals', crashing reverbs, dark echoing thunderclap gunshots and
other 'implements of sound' filled his record productions as Bunny Lee explored the outer limits
of dub with his friend King Tubby in the mix on wild versions that accompanied any 45. A
Bunny Lee record provides a creative and mysterious hidden guide to reggae music itself, a
double-sided three-minute intangible history lesson etched in wax.
Bunny Lee was one of the first Jamaican producers to travel to England in the late 1960s, at
the beginning of the nascent British reggae music industry as record companies such as
Trojan, Pama and others began licensing Jamaican music in the UK to supply the expanding
West Indian communities living up and down England. Lee encouraged other Jamaican
producers to do the same, including Lee Perry, Harry J and Niney The Observer and also
became a conduit between the British music industry and numerous younger Island-based
producers - a frequent flyer reggae ambassador, a musical courier exchanging tapes for
royalties.
Bunny Lee's first recordings in the late 1960s were mainly rock steady but as the 70s
approached the music soon began to mutate and slow down into 'reggae' as the sound became
heavier, more rootsy and the sound itself began to change with the explosion of dub.
Lee was at the forefront to this dramatic musical shift into roots reggae and by this time had
become a major producer, capable of working with whoever he chose as world-famous singers,
DJs and musicians lined up to work with the charismatic man. Lee also employed a fluid but
stable set of crack session musicians who he named The Aggrovators.
Most of the recordings featured here come from the mid 70s, a time when Bunny Lee was
definitely in the zone, releasing heavyweight singles at an almost unstoppable rate. Bunny
Lee's career stretches over five decades and he has upwards of 2,000 production credits on
vinyl.
This album comes with extensive sleevenotes, an interview with Bunny Lee and exclusive
photography. The album is available as a CD pack with 24-page booklet, massive triple LP vinyl
with digital download code, house inner and full notes, as well as digital album.

Following on from last year's releases by Neue Grafik and Selectors Assemble, CoOp Presents step into 2019 with a new 4-track EP courtesy of Oliver Night; a DJ, producer & singer born and raised in North London.

In addition to joining the Selectors Assemble family recently, Oliver is a member and producer of Roots Manuva's Banana Klan. He established himself as a DJ some 15 years ago, and has since played across the capital, from the Tate Modern to Boiler Room. His music has been supported in the past by the likes of Tony Humphries, Kerri Chandler & Seth Troxler,

This four-tracker illustrates Oliver's diverse range of influences, from the initial inspiration of his Jamaican uncle, musician Hughie Izachaar (who worked with Lee Scratch Perry & others), through to his passion for London's broken beat movement. Oliver's sound epitomises tru-skool UK sound-system ethics; grounded in reggae and dub production sensibilities, whilst built solidly for the bruk and house music dances of today.

The set kicks off with title track, 'Make Believe', featuring the powerhouse vocals of BB.JAMES aka Bethany Barnett Bywater, who's had previous releases with EVM128, Spoek Mathambo and Waze & Odyssey. London-based singer BB is a talent to watch in her own right, as proven on this monster of a track, which has all the ingredients to crossover & damage dancefloors underground and over. Sassy soulful vocals ride a woofer-shattering b-line and synth stabs with devastating effect - a sureshot future anthem.

Next up is 'Swing For Life', an instrumental jazz-house affair, which features the talents of Vancouver-born trumpeter, Jay Phelps - a highly-prolific, highly-acclaimed musician in the jazz world, who found his base in the capital over a decade ago and has since worked with a veritable who's who of international jazz artists, including Courtney Pine, Wynton Marsalis, Amy Winehouse, Hugh Masakela & George Benson, to name a few.

Finally, the flipside brings with it two versions of the cut 'U Got To', remixed by Selectors Assemble family, Cengiz, and label founders IG Culture (fresh from receiving a 'Lifetime Achievement Award' at the 2019 Worldwide Awards) and Alex Phountzi (formerly of Bugz In The Attic) aka NameBrandSound, delivering more of their signature bassweight business. Oliver unleashes his own vocal talents on this track, deftly demonstrating a rich, soulful Omar-esque quality to his voice, and completing a truly heavyweight debut for the label.

This record is huge. Essential business, no BS. A truly firing start to the new year for CoOp Presents.

Limited vinyl & digital available on ********

First Word Records are thrilled to announce a brand new addition to the label - LA beatmaker and producer 14KT.

Known for his deft, soulful hip hop production, KT has broadened his palate for his FW debut to create 'For My Sanity', the first offering from his jazz-influenced project IAMABEENIE.

The album will be released in early 2019, but we couldn't wait that long to share this taster of what 14KT created as a form of escaping from his "normal" ways of making music. Case in point: the first single taken from the project - 'The Power of Same' feat. Muhsinah.

Strongly rooted in KT's spiritual practice, 'The Power of Same' is a bass and synth-heavy ode to consistency and unconditional love, laced nicely together by his signature drum lines, harmonious guitar riffs (played on the track by Stro Elliot) and the unmistakable sound of James Poyser (The Roots). Vocal powerhouse Muhsinah adds layers of emotion via her endearing delivery of the core message, and, deep in the background you can hear KT sharing a very personal routine with us all - giving thanks to God.

How much of a personal project this is, in 14KT's words "This was inspired by a bible study plan I was reading called The Power of Same. It spoke about the power of being consistent in our lives. I thought about how consistently God's love and my family's love have gotten me through my journey of life. Once I made a "skeleton" of the song, I reached out to the brother James Poyser who I was extremely blessed to work with. My brother Stro Elliot was living right down the street from me at the time. One night he walked over to my house, I played the record for him, he picked up my electric guitar and played the first thing that came to mind - which was perfect. I played the record for my brother Tall Black Guy, who suggested I reach out to Muhsinah to add vocals. I sent the record to her and two days later she sent me exactly what you hear. Amazing. That was definitely the spirit of God working. Huge shout out to my Playlist family. Love y'all."

To date, 14KT has released seven solo albums, as well as his collaborative hip hop album, 'Takin' Ls' with emcee Ozay Moore, R&B/soul album, 'Saturn Return' with singer/songwriter AB, and 'The Big Knock', together with Mayer Hawthorne as Jaded Incorporated.

Last year saw another duo collaboration album with Michigan rapper Ro Spit, entitled 'RSXGLD', a project held in high regard by the global hip hop community.14KT is also part of Jazzy Jeff's Playlist Retreat, alongside our very own Eric Lau, Tall Black Guy and Kaidi Tatham, who also turns out an unmistakably dope remix on this 7" single.

A very warm welcome to the family, KT!

'The Power Of Same' is available on 7" and all digital platforms on March 1st 2019.

Matt Edwards' R-Time Records welcomes back Sir Lord Commix with five silky cuts for the fourth 'Retroactive' release.

Amoon Andrews' outfit Sir Lord Commix returns with the fourth instalment of re-released gems that have been in high demand on the vinyl market. Born out of Rekids, R-Time Records has previously released twelve of Commix's cuts, yet his treasure trove discography keeps on giving, spanning two decades.

Released on Ugly Music in '96, 'World Of Groove' is a smooth house cuts with an abundance of soulful stabs and driving percussion whilst hypnotic melodies and sweeping cosmic strings envelope 'Life Cycle', which first appeared on Cynic in '05. 'Cosmic Jive' - from the highly sought after 'Evidence' vinyl of '97 - pumps a reverberated kick amongst shimming chords and rising bleeps.

Appearing on an extremely rare release on Hard Up, 'Under Seige' has an off-kilter rhythm and erratic yet funky slapping bass melody. Finally, the release concludes with an ethereal cut titled 'Beyond Reach' complete with liquid breaks, floating arps and shining melody (originally from a Talahachi VA in 2014).

Both Stephen Vitiello and Taylor Deupree are seasoned collaborators. Each new collaboration is a new context, a new conversation and a unique opportunity to learn. Vitiello has worked with musicians such as Scanner, Steve Roden, Ryuichi Sakamoto and Machinefabriek. As an artist often
represented in galleries and large scale sound installations he has also had the frequent opportunity to work with visual artists from the likes of Tony Oursler to Julie Mehretu and Joan Jonas. Deupree has a long history of collaboration including early works with Christopher Willits and Richard Chartier as well as Marcus Fischer, Ryuichi Sakamoto, and Bon Iver's S. Carey. Fridman Variations is Vitiello and Deupree's third release
together and continues their tradition of exploring their unique form of experimental improvisation.
Stemming from a live performance at NYC's Fridman Gallery, Fridman Variations was co-produced by the gallery and will remain as part of the gallery's publications. Fridman Gallery is a visual exhibition space that also boasts a unique dedication to experimental music through their annual New Ear Festival, at which Vitiello and Deupree performed and recorded the main piece for this album.
Side A of Fridman Variations is the live recording, edited for vinyl while side B contains two pieces made with some of the same source material as the live performance and intended to be related, but entirely new, works. Guitar, modular synthesizer and a small tape synthesizer are at the heart of these songs. The improved layers draw on buried melodies and hint of feld recordings and found textures. Not overly melodic, not
overly noisy, Vitiello and Deupree like to fnd the edge between the pretty and the obscure, often suggesting more than laying their intentions bare. This type of sound is one that the duo often explores as an opportunity for Deupree to adventure beyond his melodic comfort zone and for Vitiello to work and experiment with new instruments and how they interact with his signature guitar.
One of the biggest inspirations to the artists for this work was the hushed and dreamy state of the audience during the performance. The late-night ambience added to the immersive quality of the surround speakers and helped to channel creativity and a sense of sharing
Both artists feel that recording live performances is an opportunity to capture a unique moment that simply won't happen again. Despite a performance's faws or imperfections the energy and interaction is a special moment in time for the performers and audience. The opportunity to not only document it for the listeners who were present but also to be able to share the moment with those who weren't there is a positive one.
To further be able to expand on the ideas in the controlled studio environment serves to enrich the experience and further the communication.

One year on from the passing of label co-founder and artist Alex Smith, Flash as a Rat returns with its 6th instalment.


Digby, co-founder and brother to Alex, continues the siblings' form for emotionally intelligent and sound focussed minimal.


'Briefmacken' bumps through waves of kicks and glitches to arrive at moments of peaceful clarity, whilst 'Constantly' swings with off kilter hisses and pops around a metallic organ sequence, making it's claustrophobic way towards a beautifully layered string section at the crescendo.


The typically pared back artwork this time inverts the colour scheme from the brothers' first ever release on their own label, marking the record simultaneously the ending of one chapter and the beginning of the next.

This March, the New York City-based imprint Absence Seizure will see its joint founders Abe Duque and Matuss join forces once more to deliver 'Seizure No. 11', following up on their recent collaborative effort 'Seizure No. 10' with another four tracks of soulful, stripped-down techno.

The EP begins in quintessential Duque fashion, running quirky and soulful melodies over a throbbing bassline and emotionally charged synths, whilst tying in the acid sounds that have been a staple of his music since his very earliest releases all the way back in 1993 as a regular in the New York wave of acid house and underground techno. '22 October' presents us with a progressive and skilfully executed cut, toning down some of the more muscular techno he sometimes produces in favour of a more freeform and chilled out vibe that layers funky synth melodies over bouncy rhythms and drawn-out sonic ambient textures.

The baton is then passed to Matuss for the remainder of the EP, beginning the journey straight off the bat with 'Between 4AM and Basement', beginning as an altogether more threatening number than the release's opener. The minimalism of the stripped-back beats instantly builds a dark atmosphere, creating a compelling flow through the track that opens up into a shuffling house-tinged beat and dreamy background soundscapes that carry you gently along for the ride.
The muted rhythms of 'Meet You at the Back Door' morph and skip around from one beat to the next to forge a jumpy and infectious musical trip that will instantly catch you up in its driven grooves. The EP's finale 'Moon Guardian' then opts for a different tack entirely, starting out with a confident, breaky beat and adding layer upon layer until the track reaches an exhilaratingly multifaceted climax. Unsettling cosmic ambience, distorted vocal samples, crescendos of noise and the ongoing and constantly evolving beats are brought to a perfect balance in this track, bringing the EP to a mysterious and gripping conclusion.

- Daniel O'Donnell's recording career has now spanned almost 35 years and he continues to delight fans around the world by his
recording and touring activities.
- Daniel is the UK chart's most prolific and one of the most successful recording Artists. In 2018, he broke his own world record, by
becoming the first recording artist to chart at least one new album every year in the Artist Albums Chart for 31 consecutive years.
- During his career, in the United Kingdom Daniel has amassed thirty-seven Top 40 albums, including sixteen Top 10 albums, with
fourteen of them this Century, a feat not achieved by any other recording Artist.
- 'The Gold Collection' is a heavyweight 180g Gold-colour vinyl LP, featuring duets with his long-term singing partner Mary Duff his best
known hits, including twelve Top 40 hits, in this 16-track set.

For the third and (for the time being) final part of our remix series
we've got the two and only TUFF CITY KIDS working their magic with their extremely smooth "Eau De Remix" for Sunrom, which goes down like Kölnisch Wasser. We've got MARBOD shaving Rhytch's head in a very big and dark beauty parlor. We've got ZILLAS ON ACID living up to their name with their "Ultramodern heartbreaker mix". We've got DJ GROUND doing his very unique DJ Ground thing with his "Kofun" Remix, which translates to "ancient grave", if you were wondering. We've got happy faces. We've got pleased ears.How about you

'Best electronic live set i've seen in two years!' CHRIS CUSACK (BOOKER, BLOC GLASGOW)

Fresh and heady slice of cerebral techno and out-there electro flavours.

EXTERIOR is the artist moniker of Edinburgh producer Doug MacDonald. Exterior represents his transition to electronic music and an embrace of the dancefloor. Doug played hardcore and noise-rock for a long time before eventually abandoning collaboration, nostalgia and formulaic rebellion in favour of synthesis. What he gained on the way was an understanding of the power of live drumming and years of finely honed performance-skills, something of an aberration in dance music.

Exterior thus represents a convergence of disparate personal and musical pleasures. Accordingly Exterior draws on rhythmic mavericks as divergent as Fugazi//Battles//Swans as well as DJ Spoko//Clark//Hieroglyphic Being. In addition, there is a deep undercurrent of melody and texture, drawing on the likes of Burial//Miles Davis//Bjork. Eschewing the modern home computer in favour of an exclusively hardware based approach, Exterior espouses a physical relationship to what is at heart an abstract practice, composing electronic dance music.

Perhaps it's unsurprising, then, that one of the things which really sets Exterior apart is his intoxicating live show. He gets the crowd going every single time he performs, so infectious is his energy, as he throws shapes and struts his stuff behind the gear, clearly 100% in the moment and his element.

His debut EP 'Public Transport' was released on London/Barcelona-based Land Recordings earlier in 2018. Having made his international headlining debut in Berlin in September, more continental sorties are currently being arranged (see below).

This record represents a significant move forward in sophistication and club-readiness.

On remix duties, anonymous analogue techno lover DALI returns on the back of four slices of extended club gear released via two Hobbes Music 12"s (2017-18), boasting colour-themed, screen-printed sleeves and an uber-simple design for that evergreen minimal aesthetic with a hint of mystique. These gained excited support/plays from the likes of Ben UFO, Nina Kraviz, Daniel Avery, DJ Deep, Laurent Garnier, Avalon Emerson, Twitch, XDB, Bill Brewster, Bawrut, Tom Findlay (Groove Armada) and many more... Clocking in (again) at just over 9 minutes, her 'Collapsing Star' remix is another marathon-length effort and does exactly what it says on the tin. Setting the beats to classic electro, everything's pushed hard until it all seems ready to fall rapidly apart (and it very nearly does), before dissolving in a fiery sizzle: a more visceral, dance floor accompaniment to Exterior's heady affair.

In a career spanning 45 years, Leo Sayer has sold more than 80 MILLION records worldwide.
To coincide with Leo's forthcoming return to the UK for his 22-date 'Just A Boy At 70' tour, 'The Hollywood Years
1976-1978' is the second of a series of three Vinyl LP box sets.
'The Hollywood Years 1976-1978' comprises Leo's three studio albums. 'Endless Flight' (released 1976/UK
#4) 'Thunder In My Heart' (released 1977/UK #8) and 'Another Year' (released 1978/UK #15) and marked a
clear departure from his early albums.
Leo recorded these three albums with legendary producer Richard Perry, who brought in a variety of songwriters
and collaborators to work on the projects with Leo; it was a venerable Who's Who of the record industry.
Each vinyl LP Box set in this Limited Edition release, will be pressed on heavyweight 180g clear vinyl and contain
a signed 12'x12' print.
This project has been overseen by Leo Sayer, who remains one of the UK's great singer/songwriters of all time.

Label boss Perc returns to Perc Trax for his first full release since his career defining "Bitter Music" LP in May 2017, an album which featured the infamous "Look What Your Love Has Done To Me", one of the most played techno tracks of the year and Perc Trax's best selling track to date.

Conceived as a response to the endless stream of rip-off's, rehashes and re-edits that track spawned "Three Tracks To Send To Your Ghost Producer" strips back the vocals and melodic elements that characterised Bitter Music to present a raw, rolling, heavily percussive sound. Kick, toms and hi-hat rhythms play off each other whilst interlocking with the solid kicks that propel each track forwards.

From the spitting acid stabs of "Toxic NRG" to the brutal drop in "Driller" the three tracks are overflowing with the kind of in-yerface attitude that marks out the best of Perc's productions. Together they form an EP which once again highlights him as one of the UK's most forward thinking techno practitioners.

Als in den Neunzigern Punk durch Bands wie Green Day und The Offspring sein großes melodisches Revival
erlebte, bedeutete das auch den endgültigen Durchbruch für NOFX. Das kalifornische Trio hatte sich schon
1983 gegründet, schuf 1994 mit "Punk In Drublic" einen bis heute unvergesslichen Skatepunk-Klassiker und
avancierte spätestens mit seinem siebten Studioalbum, "So Long And Thanks For All The Shoes", zum
Punkrock-Schwergewicht. Im Gegensatz zu vielen anderen Formationen weigerten sich NOFX jedoch
resolut, Kapital aus dem wieder erwachten Interesse an Punk zu schlagen. Angebote von Majorlabels wurden
daher konsequent ausgeschlagen. Bis "Pump Up The Valuum" im Jahr 2000 auf den Markt kam, standen
NOFX bei Epitaph unter Vertrag, dann wechselten die Kalifornier zu Fat Wreck Chords, dem Label von
Bassist und Sänger Fat Mike. Zum Ausstand veröffentlichte Epitaph 2004 die Kompilation "The Greatest
Songs Ever Written (By Us)". Die Zusammenstellung enthielt Evergreens wie "Linoleum", "Reeko", "All Outta
Angst", "Bob", "Leave It Alone", "180 Degrees", "Kill All The White Man" oder "The Longest Line" in neu
gemasterten Fassungen. Epitaph bringt die Sammlung nun erstmals auf Vinyl heraus.

David Marston is a producer, DJ, musician, and guitarist hailing from the vibrant Caribbean island of Jamaica. He takes a multifaceted approach to his music, and has worked to achieve a sound that is a fusion of multiple genres, including, but not limited to, house, hip-hop, disco, jazz, as well as reggae. During a six-month stint in Jamaica in 2016, Marston reconnected with a close friend and fellow musician, Craig Williamson, and the pair began writing music that would become the basis of Marston's first full length album. With the album set to be released in early 2019, Marston has endeavored to put together a special 12" to showcase the club-friendly side of his music with a selection of the album's dance cuts.

The A-side of the vinyl kicks off with the title track, "Feeling You", which features Williamson's crooning voice over a hypnotic instrumental characterized by a swirling arpeggiated synth, punchy bass hits, and stomping drums. To round off the A-side, Italian DJ and production duo, Lowheads, give the aforementioned track a fresh makeover with their lively classic house remix and dub version. The flip side of the record consists of two instrumental tracks. The first, "Ragamuffin", is a mesmerizing four to the floor tune constructed around an Indian raga sample. The final number, "On My Mind" is an off-kilter house groove with rolling keys, garage style drums, and a soaring lead. Taken together, the 12" album 'sampler' is a robust yet tantalising collection of club-ready tunes.

The first edition of a two part series, Heritage finds Mark de Clive-Lowe in the process of grand introspection about his Japanese heritage, with specific tracks as memories from the past illustrating the right history of Japan. The albums have a sweeping, almost majestic feel with signature electronic soundscapes throughout.

For The Best Part Of Two Decades Now, South London Afro-dub Dons Soothsayers Have Been Preaching Their Politically Charged Good Vibrations To A Growing And Loyal Fan Base. Their Live Shows Are Legendary And Vary From Off-the-cuff Community Friendly Gigs In Brixton, To Festival Headline Slots And Tours Across Europe And Beyond. Having Recently Filled London's Jazz Caf To Much Acclaim, And In Anticipation Of Their New Album, Tradition, Out On Wah Wah 45s In June, Soothsayers Unleash The Second Single To Be Taken From It. It's A Double Header Of Sorts That Shows The Band's Knack Of Reinterpreting A Cover Version Or Two For The Dance Floor.

Sleepwalking Is A Take On Fela Kuti's 1971 Classic Black Man's Cry. It's A Chant Of Frustration Aimed At Disenfranchisement From The Process And Features Afrobeat Ambassador Dele Sosimi On Guest Vocal Duties.

It Questions If We Are Sleepwalking Into The Abyss, And Is A Revolutionary Song About Taking Power Back Into Our Own Hands! Although It's Challenging To Do Justice To A Bob Marley Cover, On Natural Mystic Soothsayers Cradle The Spirit Of The Originator And Turn It Upside Down, Transforming The Familiar Into A Journey Back To Africa Via Their Trademark Groove.

Spiritual Jazz Flutes And Percussion Combine With The Floating Vocals Of The Mighty Cornel Campbell, While The Song's Main Melody Is Emphatically Reproduced By Soothsayers Horn Section To Stunning Effect.

On People of the Sun, Strickland blazes down that trail fully at the helm of his music—performing, writing, and producing with his outrageously able Twi-Life band on deck—even as he sonically and socially traces the African diaspora from present to past in an effort to unpack his identity. "I'm thinking about where we came from," says Strickland, "and how that clashes and goes hand in hand with what we've created here as Black Americans." The result is an album that's busy and beautiful, inventive and contemplative, an amalgam of influences from West Africa (griot culture, Afrobeat, percussion) and America (post-bop, funk-soul, beat music) performed in the key of revelation. Another facet that sets the album part is Strickland's lesser-known woodwind obsession with the bass clarinet, which adds its noirish hues to so many of these songs.

Andrew Wasylyk is the alias of Scottish writer, producer and multi-instrumentalist, Andrew Mitchell.

In 2018, Andrew was extended a residency invite from arts centre and historic house, Hospitalfield, Arbroath, Scotland to create new music for their restored, 19th century, Erard Grecian harp.
During Wasylyk's five-month sojourn he created melodies and progressions echoing the building's unique relationship with the looming North Sea horizon. Using not only the harp, but the house's original grand piano, Andrew explored the Angus landscape and beyond, gathering field recordings on trips to neighbouring Seaton Cliffs and Bell Rock Lighthouse (the world's oldest surviving sea-washed lighthouse).
Winter slipped into spring, and harp-led compositions gave way to an ambitious third, full-length album, exploring a range of themes utilising a broad palette of instrumentation, including flugelhorn, euphonium, oboe, string trio, vintage synthesisers, drones and upright piano.

From the wandering, Bob James-esque, Fender Rhodes and shimmering strings in the study of coastal light, "(Welter) In The Haar", to the plaintive brass and farewell transmission blowing through, "Adrift Below A Constellation", punctuated by the fragility of Wasylyk's sole lead vocal of this collection - "The Paralian" (a dweller by the sea), is a conclusion embued with blue and golden melodies that land in a territory akin to experimentalists such as Robert Wyatt and Brian Eno. Through which, Wasylyk weaves the listener along a Modern-classical, Ambient and Jazz dream of Scotland's east coast.

Athens Of The North team were stunned by the luminous beauty and creativity at play in this work. Falling between genres and time, it stands next to 60s British Jazz, effortlessly blending notes of Library and soundtracks with dashes of British Folk.

1967 Electro-Psych Opus! An electronic rock band wasn't even an idea when Fifty Foot Hose released their landmark debut album at the end of 1967. Their fusion of psychedelia and electronics resulted in a truly trailblazing sound. Cauldron stands as a signal achievement that laid the groundwork for genres that didn't even exist when it was released. Pressed on colored vinyl and featuring a zine-style insert with liners by FFH electronics mastermind Cork Marcheschi!

After 'Cobraxine', 'Boogie Throb', and the Ana Ott released 'Molochville', Brecht Ameel (Razen/Ameel Brecht) gives us his new album under the Br'lâaB moniker 'Other People's Crimes'; a high-on-paranoia, pre-crime-surveillance narrative, constructed after hours in the studio from a combination of Ameel's own recordings on a widely varied set of instruments, library music, flea-market broken vinyls and old cassettes. Part blind-overdub palimpsest-collage, part straightforward composition, the 10' contains both Br'lâaB's loop constructions and tracks performed by the found audio phantom band called the Acid Boogie Quartet. Bearing more gritty layers of both sound and subtext than ever, the 'Other People's Crimes' EP stands as an artefact of wild paranoia and spy-thriller sonics, weaving vignettes of surveillance gone wrong, doublethink and confessional echolalia.

Police and thieves are in the streets, running wild with nosebleeds and ill will ids. Dial v for victim as the night horizon broods a neon luminol glow. Howling at the vortex, buried under blindfolds, vigilantes take to crime with fear and ketamines.

*Starting the year we present our eighth release on 7' format, another great collaboration between Ojah and Nikolaj Torp Larsen 'Nik Torp', keyboard player from The Specials.

The A side contains the track 'What Goes Around Comes Around', a Hammond and melodica version (both played by Nik Torp) of Ojah's 'Packy' riddim, that was recorded at Nik's studio back in 2015 and is finally seeing the light. It also features new guitars by Puppa Shan and Javier Martin Boix. Next up on Alchemy Dubs will be a 12' featuring a legendary trombone player on this riddim and another one, so these are the complementary versions of side B.
On the B side we find of course a dub version, mixed live in analog by Ojah in classic style. It was difficult to pick just one but we think this one is very special...

Limited edition of 500 copies, hand-stamped and hand-numbered, served in a thick custom reversed kraftliner sleeve.
Produced by Ojah, recorded at Alchemy Dubs Studio, London.
Hammond & melodica by Nikolaj Torp Larsen 'Nik Torp', recorded by Nik Torp at Squat Sound Studio, London, UK, 2015.
Guitars by Javier Martin Boix (lead) and Santi Mijarra 'Puppa Shan' (rhythm) recorded by Puppa Shan at Discoinferno, Madrid, Spain, 2018.
Mixed & mastered by Oscar Pablos 'Ojah" at Alchemy Dubs Studio, London, 2018.
Graphic design by Victor Castro.

Long time unsung UK techno artist Aubrey is to release Gravitational Lensing, a first artist album since 2001 and his third in all. It lands in early 2019 on Out-ER and across 12 tracks it finds him getting more personal and instinctive than ever before with jazz, techno, broken beat and house all colouring this most coherent of musical adventures.
Aubrey s discography dates back to the early nineties, when he was a key part of the UK scene on labels like Solid Groove, Textures and Mosaic. Up there with the greats from Chicago and Detroit, he has turned out a steady stream of music that marries perfect dance floor functionality with real musical invention. Always inspired by anything deep with a good groove, everything from synth band Japan to funk king George Clinton, electro break beats to Jean Michel Jarre all inform his work.

As a DJ, he cut his teeth playing the biggest raves in the UK with names like Carl Cox and Eddie C having been swept up by the acid house records that hit English stores when he was just 15. Add in a love of jazz, ambient and US house, and you have all the eclectic influences that this criminally under-the-radar artist has drawn on for his latest album.

It is one that finds him really put his personal stamp on his sound. It s a chance to be more who you are and what you feel without pressure to conform to a particular sound, it s a chance to be free, says the artist of the album process. It was partially produced at Out-ER s studio in Nard , Lecce over the course of a year s worth of studio jam sessions, and is his finest and most cinematic work to date.

Things kick off with the ambient synth modulations of Aerglo Visible before exquisitely loose jazz drums and sci-fi pads suspend you in the cosmos on Floating to Rigel. There is an experimental feel to the off grid drums, rippling chords and drunken keys of Doctor Portia that keeps you brilliantly off balance, and the first deep techno trip is Journey To the Blue Planet , which has gorgeous ambience swirling over rolling, dubby kicks and soulful Detroit synth work. Carrying on through more lush, musical synth work and inventive drums, there are moments of heads down dance floor power and hi-tech soul, serene techno landscaping and chord-laced deep house that is superbly cerebral throughout the album.

In all, it makes for a complete and storytelling record that draws on a rich variety of genres and reworks them into something deep, multi-layered and hugely emotional that works as well in headphones, at home, as it will in the club.

Schmer has tried to stop, we've all gone into therapy, but there's no hope, short of setting the world ablaze: we can't stop smoking! 2019 see's Schmer pressing TECHNO records in the EU and PRICED in Europe as a domestic release. As if the continent didn't already have enough problems, here we come with our latest COMPILATION!

First to drop a match is Amber Shoshona aka Bastet. She is a live electronic music performer and DJ based in Baltimore, MD USA. Her live set is coarse-grained and atmospheric, developing a slow-burning, hypnotic groove. In the studio she creates genre bending electronic experiments. For Schmer she made 'Torn', which sneaks right up to you and lights you up.

Delivering oil to the blaze from deep in the Russian arctic is Maxim Makarenko aka 777minus111. The unknown hero from the Russian Techno label he remains in the shade and keeps it real! He runs underground parties in Moscow and is a member of Vinyl Ambulance project in India. He keeps our compilation 'Getting Dirty Quick' with his Dan Bell inspired MINIMALISM.

On the flip the fires start with Vague Audio Tapes label head Dominic Martin aka Hero/Victim. Hero/Victim is a sonic attempt at translating unanswered and unheard emotions. Visceral and physical; so as to both, engage and purge the evolving dissonance. Never content. With sound as a context-sensitive metaphor, stories are heard. He also makes weird electronic music and then Schmers all over us with a 'New Stress'.

Schmerhead BPMF hides a track from another release in this inferno. Its super short as in it goes on FOREVER with a LOCKED GROOVE at the end. If you're gonna be an emcee, do it in a Wormhole on a LOCKED GROOVE so that the rock will never stop.

Liza Weinstein, Zach Vietze and Jason Szostek were Jack Move. In 1994 they may have made two tracks together, but this is the only one we found lying around in the basement floor. Long before the skinny jean hipsters were rocking beats deliberately designed to confuse the dance floor with their lack of flow, The Jack Movers were experimenting with cryptic funk... It was a Jack Move on their part and they immediately ran out of town to escape retribution, leaving behind their 'Krippy Shit'.

We Can't Stop Smoking so you'll always be able to find us because where there's smoke, there's fire... and where there's TECHNO there's SCHMER!

It's been a minute since we heard last from Montreal's CLARIAN on KOMPAKT (KOM 356 - ANKH EP ) but by no means has his universe stopped expanding as he released the 2017 full length SYNTH WAVE (BALANCED) and collaborated with TIGA on STAY CLOSE and THEY JUST WANT 2 B U (w/ JAMIE PRINCIPE and FELIX DA HOUSECAT) singles. We welcome back CLARIAN with TIME SAFARI. The majority of the EP was a 2 year long process from recordings made in South Africa as a team effort ofRICHARD MARSHALL, BLANE VENTER and of course CLARIAN (along with many locals along the way) with the 'ambient aspect' of the EP finished in India in summer 2018. By no means is this EP to be perceived as experimental recordings as each club track has a theme that is loyal to the dance floor with a goal of incorporated ambient recordings to create an immersive environment. The aim CLARIAN has with TIME SAFARI is to attempt to empower the idea that club music can go beyond simply being labeled as a genre and club motif but can also explore alternative, creative and most of all be a conduit to bring unity through all variations of art mediums into the night life scene. The ambient aspect of TIME SAFARI is CLARIAN's homage to his heroes. Think if TUXEDOMOON collaborated with CARL SAGAN to create a weirdo version of COSMOS. In the case of this EP - a mega brief journey of human evolution through South Africa.

Lebanon Hanover's bassist William Maybelline is back with his solo project. After the debut album Sable from 2015, Qual strikes back with a three-track 12' maxi-single. Each one of these new songs explore a different dimension of Maybelline's approach to Body/Wave electronics.

The title-track Cupio Dissolvi is what we may already call classic Qual: gloomy and throbbing, synth-driven and labyrinthine. A Bloody Blob explores new martial slants, with war-like timpani and a marching robot gait. Rape Me in the Parthenon is a 8 minute long dancefloor mayhem anthem scanned by some pounding techno drumbeat and EBM snare and pads. The most alert of you already checked this in some Ancient Methods DJset. By far the most extreme track Qual recorded so far.

'Buried in flowers with hands of gold / Buried together we'll never mold' shall be thy epitaph here, as well as your message engraved on virgin vinyl.

New edition of 300 on clear wax!

This Iconic Vinyl Ep From Lcd Soundsystem Has Not Been Back In Print And For Sale Since 2012. Originally Released In 2007, The Ep Contains 2 Non-lp Tracks, Including The 12 1/2 Minute Slo-mo Disco Workout Freak Out / Starry Eyes, And The Instrumental Burner "hippie Priest Bum Out" (made Popular On Fabric Live 36: Murphy And Mahoney). There Is Also A Devilishly Acidic Rework Of North American Scum By James Murphy Himself. Beautiful Cover Art Design By Mike Vadino.

1982, Brussels: Living on busking wages and next door to Tuxedo Moon, Antena manage to make a contemporary bossa nova record that provides the missing link between Antonio Carlos Jobim and Kraftwerk. The original Camino Del Sol has been given back its spacious mini-LP quarters, recasting this short-lived combo's forwardthinking mile marker as a modern-day masterstroke

Two sun shine soaked, Latin infused Eddie Palmieri joints from the 1978 album Lucumi, Macumba, Voodoo get the official, remastered reissue treatment - with original copies of the 7' trading hands for upwards of £60.

Born in New York to Puerto Rican parents, multi Grammy award winner Palmieri is a stratospheric salsa master. And for the Lucumi, Macumba, Voodoo LP he assembled a powerhouse, 30 strong jazz orchestra, featuring the likes of Dom um Romao, Steve Khan, Lew Soloff, Jon Faddis, Hiram Bullock and Palmieri's brother Charlie.

In an era dominated by disco, 'Spirit Of Love' took to the dancefloor, drawing on the glamour and magnetism of the late '70s. Palmieri's distinctive style still weaves its way through though, melding Afro-Caribbean rhythms with modern jazz. 'Spirit Of Love' is full to the brim with striking vocals, cow bells and big horn sections, blended with psychedelic guitars that riff off against clavinet touches and expressive Montunos melodies. Spirit of the salsa, for the disco dancer!

On the flip 'Lucumi, Macumba, Voodoo' is a masterpiece of Latin fusion, with Palmieri's unique arrangements squeezing that Puerto Rican flavour out of every added instrument. Trumpet blasts and sax solos marry with woops and whistles and Latin chants. Couple that with sensuous piano melodies and irresistible percussive elements and it's a recipe of Caribbean spice that'll liven up any record collection.

Bei Flatpocket Dreht Sich Alles Um Die Scheine Oder - Um Es Genau Zu Nehmen - Um Das Nicht Vorhanden Sein. Das Erste Album Von Flatpocket Hieß "geldfundphantasyen" Und Erschien Im Jahr 2012. Sechs Jahre Später Sind Twit One Und Lazy Jones - Die Beat-genies Hinter Dem Projekt - Immer Noch Pleite Genug, Um Ein Ganzes Album Darüber Zu Machen: "dispo Ii Dispo". Obwohl Flatpocket Durch Samples Und Dialoge Die Ganze Zeit Über Geld Spricht, Ist Der Subtext Eigentlich Die Ablehnung Des Materialismus Aus Einer Künstlerrischen Perspektive. Klanglich Ist Es Ein Halbes Beat-tape, Ein Halbes Hörspiel Und Ständig Dope. Inklusive Features Von Hulk Hodn, C.tappin Und Bob Marley.

The Seeds of Fulfillment by David Drazin (November 2018)

Andrew Venson founded Seeds of Fulfillment (SOF) in early 1978. In the 1960s he had played electric bass with Arthur Conley, and later the original Peaches and Herb. On the same bill with Big Brother and the Holding Company, he hung out backstage with Janis Joplin. Yes! Vince was hoping SOF would get all of us to the top. He composed three tunes for the band, and we always had a ball playing them.

Roger Myers is a marvelous drummer. We co-composed Namaste. Roger would settle on a drum pattern of four measures at a time that he wanted to keep, and I'd put chords and melody right on top of his pattern. When he layered a second drum pattern on top of the first one, we'd get two melodies at the same time. We thought we were going to collaborate on more songs this way, but it didn't happen.

Lee Savory is a very inventive jazz man. He's musically literate, and wrote excellent transpositions. I remember Lee's asking for my input while he was composing Tight Squeeze, but it was clear he had it down. Once when I was visiting a DJ who played the album in a local radio station, the total of checks next to Tight Squeeze for number of plays was by far the highest!

Randy Mather's sax playing always knocked me out. I could hardly wait to hear him solo. When he left SOF to go with Woody Herman's orchestra it was amazing, but true.

Jeanette Williams had recorded 45s for the Duke and Peacock label when she was 17 years old. Her powerful singing was incredible to me. When we needed an original for Jeanette, Vince composed it, and Roger's wife Linda wrote the lyrics.

In 1978 I was in my senior year at Ohio State University when I met Vince. He came into a bar called My Brother's Place where I was playing with a trumpet player named Bobby Alston. When I was a freshman at OSU I'd played in an off campus band called Akadama. Before that I played in my home town of Cleveland, Ohio in the Brush High School Stage Band and a jobbing band called The Midnight Combo.

Everyone in the band contributed something to Egg Cartons in a composition jam session. We rehearsed in Vince's basement, and he had covered the walls with egg cartons to make the room sound more like a recording studio. The Provider was inspired by Country Preacher by Joe Zawinul. In those days I especially admired the way Zawinul would get his soulful feelings across, but also loved Herbie Hancock and to a lesser degree Chick Corea too. It took two years (with a break of several months) for the band to conquer Self-Fulfilling Prophecy. It shows you what consideration and dedication is, that ultimately they felt it was worth learning.

We recorded at Fifth Floor Studios in Cincinnati, Ohio. While we were there I got to shake hands with Bootsy Collins, who was recording in the rooms downstairs at the same time. Years later, Fifth Floor burned down and all the master tapes were destroyed.

Eric Maltz Had A Busy 2018 With The Release Of The First Two Records On His Label Flower Myth, The Frenetic Pathway Ep And The Dub-techno Informed Estuaries Ep. The Smashing Vocal Single Naked Broken Followed On Possible Futures As Well As A Remix For Marlon Hoffstadt, A Debut Performance At Berlin's Atonal Festival And To Close The Year, A Live Set At Tresor With Close Friend Levon Vincent Whose Novel Sound Label Released Eric's 2017 Double Ep Ns-17.

2019 Is Gearing Up To Be Just As Busy And Kicks Off With 'dream Journal', Two Long Form Cuts For Deep Dancefloors.

A Side 'dream Journal' Is One For The Rem Cycles. A Development Of Maltz' Signature Psychedelic Deep House Sound, Dub Sound Effects Jump In And Out Of Focus, Swirling Arpeggios Pan Across The Stereo Field And A Playful Piano Solo Take Turns At The Center Of The Stage As A Deep Bass Line And Funk-ready Drum Machine Hold The Fort.

On The Flip, 'subliminal Virgo' Is Exactly That, Hitting With A Loose Breakbeat And Echoes Of "dream Journal" Before Settling Into An Unstoppably Subby 4x4 Throb. A Synth Solo Hides Deep Under The Layers As Maltz Adventures Into The Dark Chasms Of Thought Gaps

The Polyversal Souls are back with another collaboration with Ethopia's No. 1 soul singer Alemayehu Eshete. As they did on their first mutual release Alteleyeshegnem (PH45011), one more time the band presents a new interpretation of one of Alemayehu's classic songs.

Feqer Feqer Nèw is heavy soul at his best, completed by Alemayehu's trade mark vocal style. On Portrait of Alemayehu (Daytime), the Polyversal Souls are admiringly painting a picture of the master's gentle aura which surrounded him during the session.

Special remarks : 12' Vinyl +Downloadcode Tracklist 12: A1 Take A Moment A2 Action And Reaction B1 Eye Contact Info text: Dub and acid are the words as Marlon Hoffstadt goes deep on 'Simple Communication' the sixth EP in his Midnight Themes series. The Berlin producer has maintained a busy release schedule in 2018 and is intent on carrying through into 2019, starting with three tracks that fly the flag for his current sound: deep, dubby and subtly euphoric. Opener 'Take A Moment' is a finely tuned piece of weighty dubbed out techno with whiffs of vintage pool parties and a lonely acid line creepin'n'bleepin on the horizon. 'Action and Reaction' harks back to the 90s, rolling out waves of pads and melodies that ascend and descend while a mean old bassline keeps proceedings on track. Clocking in at 11 minutes, the two act play of 'Eye Contact' closes the EP on a blissed out note.

A holy grail of European electronic dance music, and a classic at the Italian disco scene and Hamburg's Front club alike (you might have heard it on their recent Mastermix), is finally available again. Produced in 1984 by two mysterious friends during a hazy studio session in the small town of Aschaffenburg, Germany, it is best described by Discogs member goulashdj as 'a funny version of some Imam praying on top of an electronic Groove', .'Kairo' is all you want from an oddball record: fun and funky, weird and wonderful. Featuring original vocals by one of the two friends, it seems to be offensive to religious fanatics and devout Muslims (you better watch, where you play out the original). Therefore, a philosophical advisory or religious warning: 'No religion, god or believer was harmed during the creation of this record. We believe in the right to believe or disbelief in anything and everything that isn't inhuman.' For safety reasons, it includes a persecution-proof instrumental version by Boris Dlugosch as well as the original B-side and completely atheistic 'Kosak 2000'. And to close with Mark Twain: Man was made at the end of the week's work, when God was tired.

After a successfull first record Underground Town is back for their 2nd release just in time for the kick-off of their 4th Season of events in the top of the Swiss Alps.

Mysterious Artist delivers a serious bomb for the first track of this record. A track that makes you travel in space with groove and a fine shower of synths. Lost.act makes his first appearance in the label with a powerful minimalistic and deep trip.

Label head Giorgio Maulini comes back with some break beats & crazy synths changing the dynamic and giving this record a clever complexity with various styles. Last but not least another delicious piece by Cesar Martinez full of groove and swinging hats.

Stay tuned because the next delivery in on the way!

Tarawangsawelas are a musical duo from Bandung, mainly performing a contemporary version of Tarawangsa, the sacred music from Sundanese West Java. Here they are joined by their teacher and maestro, Pak Pupung Supena, together with, Pak Jaja, on Sekalipon. Wanci is a minimalist, cosmic album composed with a careful modern interpretation of one of the most mystical and spiritual genres in Indonesia. A gorgeous and infectious six track album. TIP!
.
Producer Rabih Beaini says "Last year, Europalia Festival commissioned me to work on a musical project with local musicians from Indonesia and develop a performance to tour during Europalia 2017. I chose to work with Tarawangsa, the sacred music from Sundanese West Java. Tarawangsa is played on two string instruments: a rababa-like two-stringed bowed instrument itself called Tarawangsa, and the Jentreng, a seven-stringed kecapi-like instrument. Typically from Rancakalong village in Sumedang, West Java, Tarawangsa is played as part of a ritual consisting of almost eight hours of music and dance, complete with offerings and prayers. During a performance, a selection from the forty two known Tarawangsa pieces slowly build up from a cosmic slow groove to more repetitive and hypnotic rhythms, inevitably bringing the listener and dancer to a trance state. During the residency I had the great honor to be able to develop new structures and pieces together with Tarawangsawelas, recording them in Bandung, and ultimately having them joined by their teacher and Tarawangsa maestro Pak Pupung Supena together with Pak Jaja on jentreng. This album is a modern description for one of the local Indonesian music scene, but mainly it is an offering for the Tarawangsa ritual, like the food and incense and the prayers, and the messages of the ancestors to the people of Rancakalong."

Composed and performed by Teguh Permana, Wisnu Ridwana and Rabih Beaini, except Sekalipun (traditional) performed by Pupung Supena, Jaja Rohmat, Teguh Permana & Wisnu Ridwana.
Recorded in Bandung, march 2017
Produced, mixed and arranged by Rabih Beaini.
Mastered by Neel at Enisslab.
Cover design by George Sowden, curated by M-L-XL,

Debut EP by Serbian producers and record label Chorbika, taking in a crossover of electro and organic dance music over it's 5 tracks.

The songs are a fusion of Marko's taste in electro style and Jelena's roots in rock music and the material they produce is home-made, a product of their everyday life experimenting with sound.

NCZ007, 'In Memory Of,' brings together Stanislav Tolkachev, VSK, JoeFarr and ONTHEGROUND for a 4 track compilation. Each artist has contributed a track to the general theme of 'broken techno,' with outstanding, stylistically diverse results.

'Ant Parade' by Stanislav Tolkachev opens the record with a hypnotic march. Over a gently lulling rhythm, a bright melody repeats over an eerie and disorientating soundscape. VSK's 'Blue Snake' ratchets up the energy, with skittering percussion and tense, murky bleeps propelling the track frantically onwards.

Nicz records owner Myztical teams up again with Diagnetic Origin as ONTHEGROUND on 'Interstellar Gardening.' A sonorous melody emerges from rattling beats, serving up a heady communion of intangible, elusive euphoria and melancholy. JoeFarr concludes the record with 'I am a Visitor.' Staccato kicks and fuzzed out synths stretch and twist, while a dislocated, brash voice announces itself to the listener.

We are proud to present our first release of 2019, Kaleidoscope vol. II, featuring two new roster additions (Dalek One and Phossa) alongside label residents Clearlight and Bisweed.

01 - Dalek One - Frequency Shock

American talent Dalek One shows why he's quickly rising in the 140 scene with this debut release on Subaltern. And what a debut it is - 'Frequency Shock' with its ecstatic bass and synth lines gets everything right in all the right places, and we are honoured to press it to wax.

02 - Clearlight - Stuck Inside

Diving into deeper realms is Subaltern resident and psychedelic wizard Clearlight. 'Stuck Inside' lures the listener into a seductive maze of towering resonating frequencies. Once this pill has been swallowed there's no easy way out - this track is sure to be stuck inside your head for a while.

03 - Phossa - Vacant

Another young talent - UK based Phossa - makes his first mark on the Subaltern roster with an intricate piece of sub science. Carried by distinctive bells and spooky vocals, the young Bristolian shows off his extraordinary production style.

04 - Bisweed - Profound

Rounding off this showcase of fresh sounds from the Subaltern universe is everyone's favourite Estonian - Bisweed! Following on from the acclaimed Subalt014 EP, this track oozes his trademark confidence in composition and sound design. Percussive fireworks, heavy subs and menacing synths combine to create an enthralling piece of music.

Demon Music presents a narrated full-cast TV soundtrack adventure starring William Hartnell as
the Doctor, in an epic quest to defeat his arch-adversaries, the Daleks.
In this classic 12 part 'lost' adventure, first shown on BBC TV from October 1965 to January 1966,
the Daleks threaten to destroy the fabric of time itself. In their quest to control the Solar System,
they have taken possession of the devastating Time Destructor. Determined to stop them, the
Doctor (William Hartnell) steals the core of the weapon. He and his friends are thus pursued
across Time and Space by their ruthless, powerful nemeses...
Presented across 7 x Heavyweight 180g Blue translucent pieces of vinyl, this narrated TV
soundtrack evokes a classic Doctor Who adventure in all its aural magnificence. From the eerie
sonics of Ron Grainer & Delia Derbyshire's theme tune, and the familiar 'wheezing, groaning' of
the TARDIS, through screaming jungle worlds and an array of spacecraft, the story is alive with
weird and wonderful sound.
Written by Terry Nation and Dennis Spooner, this is the longest single Doctor Who adventure ever
made for television. Linking narration is provided by Peter Purves (Steven) and the cast includes
Kevin Stoney as Mavic Chen, Nicholas Courtney as Bret Vyon, Jean Marsh as Sara Kingdom and
Peter Butterworth as the Meddling Monk. The film recordings of all but three episodes of this
story are lost from the BBC archives.
The prelude episode Mission to the Unknown is presented on its own single-sided disc with a
unique Dalek (standard edition) or TARDIS (exclusive edition) etched reverse.

Mystery man MW Parsons takes care of the A side with Altvornorge, a melodic somewhat melancholy journey. Followed by Kusanagi, a mean and quirky slow burner.

On the B side Gluten Vrij and Sushi Delight by party crew Marck bring a more straight forward, percussive and groove orientated approach to the table.

Two sizzling South African boogie tracks from Kabasa's Tata Sibeko. A killer producer, arranger and bass wizard, Tata channels the gloomy current affairs landscape of 1985 into a glimmering Afro-synth nugget. As South African pop embraced 1980s synth sounds, Maxi Singles on 12-inch vinyl became a new canvas of expression with wider grooves for fat beats and extended mixes that suited dancefloors.
.
The supergroups of the 1970s fragmented into solo recording artists with the likes of Harari's Sipho 'Hotstix' Mabuse releasing his seminal 'Burnout' single in 1984. Former Kabasa frontman Tata Sibeko dropped 'It's A Mess' in 1985, addressing the world's Cold War climate with an appeal to 'learn to love each other' and 'save ourselves from catastrophe.' The B-side 'Afro Breakdance' marked the evolution of Tata's Afro-global sensibilities from 'Afro Funkin'' that had appeared five years earlier on Kabasa's self-titled debut in 1980. Tata Sibeko (RIP) passed away in 2017 after approving the restoration and reissue of this single. This release is dedicated to his kindness, charm and creative zeal.

Nachdem Fuzati Vom Französischen Klub Des Loosers Und Das Pariser Label Modulor Les Tres Jazz Club Mit Obskuren Japanischen Jazz Reissues Ins Leben Gerufen Hatten, Folgt Nun Mit Le Tres Groove Club Ein Neues Label Für Grooveorientierte Reissues. Auch Auf Der Zweiten Lp Honorieren Sie Jack Giordanos Arbeit, Der Sich Mit "boucles Rhytmiques" Unter Dem Pseudonym Jose Pharos Dem Disco Sound Mit Einem Melancholischen Lo-fi-touch Widmet.

Three 1982 disco classics from boogie trio Plush formed under the guidance of Angela Winbush, René Moore and Bobby Watson get the official, remastered reissue treatment from the original tapes.

Opening up the EP, an Angela & Rene original 'Free & Easy' is taken on by the Plush troupe, with the legendary Tee Scott providing a trademark extended mix. It kicks off with cosmic synths that dissipate into heavy funk, electric bass riffs, whilst scorching top lines and choice guitar licks trade off over the top. Scott's magic is clear to see in the composition of this extended mix. A man who clearly knew how to work a dancefloor, his use of breakdowns especially, extending the anticipation and power the track commands on its dancers. From the bass breaks that weave in modulated synths, to those that utilise the glorious sustained piano chords, cutting to just vocals and percussion before everything is added back in for ultimate dancefloor elation.

First up on the B side, 'We Got The Love', a more soulful, slowed down tip where staccato guitar plucks and chunky slap bass marries with warm Rhodes chords, and lush vocal harmonies blend with the power of Siedah Garrett commanding the lead vocals. A passion ingrained in their voices that cannot be taught, hanging in the air, as they hang onto their phrases.

Lastly, 'Livin For Your Love' a boogie-based serenade written by Herman Chainey and Tony L. Phillips, intertwines Phillips' deep dulcet tones with Plush's backing. Add in a dose of pure '80s bass synth, twanging funk flashes and juicy bass guitar ripples and you've got a recipe sure to woo any wandering hearts out there.

Payfone bring a double header of NYC styled heat for the inaugural release on their newly launched Otis Recordings. Marrying modern boogie and classic R&B, with cosmic leanings and Balearic touches, Payfone manage to keep all the essence of the early days whilst bringing a contemporary swagger to the floor.

Each element in 'I Was In New York' gets the space it deserves. Palm muted guitars and sashaying synth echoes flutter over the top of a strutting slap bass courtesy of Giulio Granchelli. A simplicity that sings - simultaneously giving your mind the space it needs to drift off into a daydream of sunsets over cityscapes. Introspective, meditative and innocent, Dayna Talley's spoken word vocals lull listeners into memories of tranquil times. Set to be one of 2019's standout songs, its refreshingly original and sure to cut through the noise.

The B side, 'A Prayer For Maya Angelou' takes a Balearic boat out across calming seas. Gravitating around a metallic, pulsating synth, modulated to bounce at points and brood at others, mystic flurries drift in the distance, as pads wash across the horizon. Len Xiang's melancholic tale reverberates throughout, with those sweet sax sounds from Billy Brooks Paul and a spring reverbed guitar riffing off into the ocean - elevating this into pure paradise.

Easily one of the greatest roots reggae albums of all time, Soul Rebels resulted from the intensive partnership brokered by the group and maverick producer, Lee 'Scratch' Perry. It was the first Wailers 'concept' album, conceived as a long-player based on a rebellious theme, rather than a collection of isolated singles, and the presence of the Barrett Brothers in the rhythm section pointed the way for greater glories to come. The Wailers first formed as an unruly 5-piece in 1963, with Junior Braithwaite as lead singer and Beverley Kelso an early member, sometimes replaced by Cherry Green. During their long tenure at Studio One, Bob Marley gradually shifted to the lead vocal role and the robust core of Marley, Peter Tosh and Neville Livingston, aka Bunny Wailer, soon emerged as the mainstays of the group. Perry was involved with the Wailers at Studio One, using their talents for backing vocals on some of his solo work, but the partnership that yielded Soul Rebels was in an entirely different league. The title track, Tosh's anguished '400 Years and 'Corner Stone' are legendary for their intense power; 'It's Alright' set the template for the later 'Night Shift,' 'My Cup' was an individual barebones reading of James Brown's 'I Guess I'll Have To Cry Cry Cry,' while the playful 'Try Me' and 'No Water' are suggestive odes. Tosh's dejected 'No Sympathy' and the spirited 'Soul Almighty' are other winners and the 'Cloud 9' revamp 'Rebel's Hop' is another joy. All killer, no filler!

'Bobbie Gentry's The Delta Sweete Revisited' is
Mercury Rev's committed and affectionate
resurrection of an album that anticipated by three
decades their own pivotal expedition through
transcendental America, 1998's 'Deserter's Songs'.
From their recording lair in New York's Catskill
Mountains, the founding core of Jonathan
Donahue and Grasshopper with Jesse Chandler
(previously in the Texas group Midlake) honour
Gentry's foresight and creative triumph with
spacious invention and hallucinatory flair.
Gentry's stories and original resolve are brought to
new vocal life and empowerment by a vocal cast
from across modern rock and its alternative paths:
among them, Mazzy Star's Hope Sandoval; Laetitia
Sadier, formerly of Stereolab; Marissa Nadler;
Margo Price, the fiery new country star with a
punk rock heart; and Norway's Susanne Sundfør,
who cuts through 'Tobacco Road' with arctic-Nico
poise. Phoebe Bridgers, whose first record was a
softly stunning 2015 single for Ryan Adams' PAX
AM label, hovers through the acid-western
suspense of Gentry's 'Jessye Lisabeth' with floating
calm, like a comforting angel.