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• Freda Payne’s Band Of Gold is the debut album for Invictus Record's’ first lady of soul
• Features a slew of hits including; ‘Band Of Gold’ (UK no.1 for 6 weeks), ‘Unhooked
Generation’ and ‘The Easiest Way to Fall’
• Soul masterpiece reissued on 180gm heavyweight classic black vinyl with printed inner sleeve
• Recorded for Holland-Dozier-Holland’s Invictus Record label, under former Motown
powerhouse writers and producers

Danish drummer Terkel Nørgaard presents his trio consisting of some of the key players in the Copenhagen scene and adding ECM-recording American star trumpeter Ralph Alessi on the lineup. Not merely a "feature", Alessi and the Danes form a coherent band unit capable of producing memorable and highly inspired contemporary jazz which links to the Nordic tradition of dynamic sound ranging from delicate minimalism to powerful avantgarde eruptions. The album Terkel Nørgaard "With Ralph Alessi" will be out via Helsinki's We Jazz Records on May 17.

On the new album, the Danish trio plus Alessi achieve something that can always be regarded a remarkable feat. They deliver a highly inspired set of music which links the album onto the ever-evolving lineage of jazz music, and at the same time introduce a new band capable of stunning the listener in the here and now. Terkel Nørgaard "With Ralph Alessi" will be released on vinyl (black / mint colored), CD and digital formats.

Cochemea Gastelum is coming home to connect with his roots. After nearly 15 years of touring the world with Sharon Jones and The Dap-Kings, the saxophonist offers a deeply personal album of jazz and indigenous-influenced rhythms. All My Relations¸ out February 22 on Daptone Records, is 10 tracks of mesmerizing and spiritually ascendant instrumentation. The first single 'All My Relations' is available now.

'All My Relations is a way for me to explore my roots through music. Some of it is a memory that is imagined from a time and place I've never been ('Sonora') or a musical impression of ritual ('Mitote'),' Cochemea says. 'I felt compelled to add the way I feel when I go to ceremony, when I feel connected with my ancestors, to the musical narrative.'

A California native with Yaqui and Mescalero Apache Indian ancestry, Cochemea grew up surrounded by music but without knowing much about his heritage. Both his parents were musicians, and they gave their son a heavy name meaning 'they were all killed asleep.' Cochemea has spent much of his diverse musical career - as a soloist, musical director, composer and ensemble player - exploring and iterating on roots music, and All My Relations is a capstone meditation on his own ancestry.

Originally conceived during Sharon Jones and The Dap-Kings' final year of touring, Cochemea and Daptone's Gabe Roth cast a varied but familial set of New York musicians to bring All My Relations to life. A large portion of the album was created through improvisation and collective writing, where its 10 musicians created a melodic, percussive conversation. 'It was a beautiful experience - people would start playing and we'd work up these arrangements on the spot, then record it.'

'In a sense, this record is a prayer for unity, love and the recognition that we are all part of a web, and everything we do effects everything else,' Cochemea says. 'These days there's so many lines being drawn, I wanted to focus on what unites us.'

Cochemea has a long history of uniting multiple genres with his powerful polyrhythmic sensibilities. His roots in jazz, Latin, funk and rock led to multiple tours with funk-jazz organist Robert Walter's 20th Congress, and connected him with Sharon Jones & the Dap-Kings for their 2005 Naturally tour. Cochemea also played tenor sax with The Budos Band and Antibalas, and Baritone sax on the Amy Winehouse sessions, before becoming a full-time Dap-King in 2009.

In between marathon tours, Cochemea recorded a critically acclaimed solo album of soul, funk, and afro-Latin jazz, The Electric Sound of Johnny Arrow, all while doing session work for the likes of Mark Ronson, Rick Rubin and Quincy Jones. He's performed alongside Archie Shepp, Beck, David Byrne, Public Enemy and The Roots. Cochemea was also a featured soloist in the award-winning Broadway play Fela!, which led to historic performances in Lagos, Nigeria.

Following the release of their short film 'The Awakening' and its accompanying single, Lost Souls Of Saturn share the first remix in 9 years by revered musician James Holden. Over thirteen minutes of crisp, stratospheric elegance, Holden’s rework is both slightly mad and simultaneously blissful – like a trance-state reached through frenzied, spiritual ritual.

“I believe in serendipity: if the universe presents you with something that seems right, you should go with it”, says Holden. “When this record hit my desk was one of those moments. Recently I'd been thinking a lot about rave utopias, the pan-global fantasy painted by the early days of Future Sound Of London etc, and listening to LSOS's Jodorowskian ceremonials I felt like they'd caught the same winds. And so, although I thought I'd finished doing remixes for this lifetime, here it is; some kind of dream of a memory of a rave, the spookiness of the original slightly eclipsed by my warm feelings about Seth's good energy!”

The original version of ‘The Awakening’ begins as a serene ambient spacecast, before an ancient alien rite of tribal frenzy starts to emerge through the phosphorescent stardust – sonically somewhere between Demdike Stare and classic Orb, by way of Don Cherry.
Primarily LSOS are Seth Troxler and Phil Moffa, plus further opaque participants congregating to combine music, imagery and storytelling into an inextricably linked whole, all wrapped-up in a philosophy of their own making.
Attempting something creatively that’s above-and-beyond, LSOS explore new ways to open doors of perception and challenge the reality vs. simulation paradigm, whilst capturing the spirit of Philip K. Dick, Sun Ra and the KLF within their music, live experiences and 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 have been sent synchronistic signs from a metaphysical plane. We are the glitch-seekers, exposing the Holes In The Holoverse. We are Lost Souls Of Saturn.”

This EP contains many memories from many nights and after hours spent in Ibiza Underground! A mix of minimal flavour, ranging from the culture of United Kingdom, Romania, Spain, Italy, Holland, and Germany.

Rain&Shine proudly present Steve Elliott's first album -True Image (1981). After failing to find musicians with the same direction and devotion to music he had acquired, Steve taught himself to play eleven different instruments and move from hometown of Pasadena, California to Denver Colorado.

Eager to express his musical ability, Steve became a DJ on KDKO radio, and would then go on to compose, arrange and perform True Image on September 20th 1981 with a collection of drum machines, synthesizers, and contributing musicians on rhodes, flute, guitar and vocals.

Mr. Elliott's philosophy is 'You hold in your hand a dream, a dream come true by a man whose only objective was to express the love he contains, the love we all contain within through music.'

On many collectors want lists, passing for a median price of $450 online.

Pontchartrain's second release on home label Lovedancing dives deep into his Detroit roots with two big house tunes that nod to his motor city influences.

1515 Broadway Revisited is a sparkling, chord-heavy track featuring local vocalist Larry Love, made for peak-time play.

Javonntte is up on remix duties with a dark groaning version for the true afterhours feel. On the flipside, 'Head Up' pays tribute to the late queen of soul with a classic house vibe that feels right at any time, but an ending that'll keep you saving it for just the right moment.

Danish drummer Terkel Nørgaard presents his trio consisting of some of the key players in the Copenhagen scene and adding ECM-recording American star trumpeter Ralph Alessi on the lineup. Not merely a "feature", Alessi and the Danes form a coherent band unit capable of producing memorable and highly inspired contemporary jazz which links to the Nordic tradition of dynamic sound ranging from delicate minimalism to powerful avantgarde eruptions. The album Terkel Nørgaard "With Ralph Alessi" will be out via Helsinki's We Jazz Records on May 17.

On the new album, the Danish trio plus Alessi achieve something that can always be regarded a remarkable feat. They deliver a highly inspired set of music which links the album onto the ever-evolving lineage of jazz music, and at the same time introduce a new band capable of stunning the listener in the here and now. Terkel Nørgaard "With Ralph Alessi" will be released on vinyl (black / mint colored), CD and digital formats.

2023 Repress

A heaven-made match is now complete with Gerry Read's debut EP for Pampa Records. The British producer's distinctively twisted, lo-fi sound, combined with Pampa's deep-vein instinct for quality quirks, ushers in a new phase for two of house music's most celebrated names. The opening bars of 'It'll All Be Over' are immediately evocative, hinting at the patchwork style to come. Twangy banjo strings and a foot-stomp beat seem to herald a folksy arrangement, but that isn't to be. Soft floaty pads rise up to form an unlikely partnership, softening sharp edges and adding sophisticated melodic expression. Once a compressed vocal sample is introduced, the entire structure reveals itself and begins to spin and loop in the style of iconic French house productions. Propelled further along by the endearing drama of flooded bass drum kicks, falsetto voices and xylophone pings, 'It'll All Be Over' is immediately memorable and expertly architectured. Read's second cut, 'Satyricon,' is woven in the spirit of micro-house. Sharp waveform cuts, timely pauses, loops of noodling keys and hints of percussion shakers combine for a low-slung psychedelic effect. With the sunniness of a vintage folk-pop sample and sultry snatches of Spanish dialogue added atop a deep mid-tempo shuffle, Read secures his place alongside the Bradocks and Leclairs who came before him. On the flipside, Pampa's figurehead takes an expert turn at the controls of 'It'll All Be Over (DJ Koze remix).' The original's jagged edges are buffed out, and shined up into a gleaming disco house anthem. With its artfully timed strumming breakdowns and cowbell accents, it is an appetising teaser of the forthcoming summer.

Benjamin Fröhlich has struck many chords in the arena of electronic music: as a party organizer and record shop owner in his early days, and now as a label owner, DJ and producer. He is the co-founder of Permanent Vacation Records together with Tom Bioly, which has been up and running since the tropical summer of 2006. Emerging from the vibrant Cosmic Disco and Balearic scene, Permanent Vacation has been going strong over the past decade with genre-defining hits, albums and compilations. Fröhlich and Bioly have worked together with the household names of the international electronic dance scene. They have scouted artists like John Talabot, Todd Terje, Tensnake and Mano Le Tough early in their careers and released their breakthrough records. On top of his dedication to explore and feature rising as well as accomplished artists, Benjamin Fröhlich himself has emerged as a producer of vibrant tracks that are testament to his versatile and compelling approach to club music. His 12 inches, which were well received by DJs and clubbers alike, are accompanied by acclaimed remixes including his Tuff City Kids rework, which made it on Roman Flügel's Fabric Mix Now his first album is ready to go! Amiata is a conglomerate of Benjamin Fröhlich's longstanding experience. Just like his DJ sets and work for PV, each of the album's tracks expresses a different facet of his musical preferences. While keeping it under the roof of Benjamin's specific sound, the tracks range from Dub hybrids to Italo, Disco and Boogie inspired tracks, 90's spacy breakbeats and Electro to classic house ( 'Last Night' features rising U.S. artist Dreamcast).

Dark Star Safari, a newly formed group featuring Samuel Rohrer, Jan Bang, Erik Honoré and Eivind Aarset, present its eponymous recording debut, an evocative song-driven album. These songs conjure shadows of memory, clouds of dreaming and silhouettes of foreboding through the album’s layered, many-textured fabrics and Jan Bang's silken delivery of Erik Honoré's acute lyrics. Dark Star Safari is the work of four kindred spirits, their open modus operandi, and a remarkably interconnected creative nerve system. Key to their collaboration is an organic freedom that enables the music “to fill itself in", to be self-actualizing via the musicians as medium. The music of the 10 songs resulted from a two-stage process: an initial phase of free flowing open improvi- sation, and a subsequent exploratory phase where hidden potenti- als were discovered and nurtured. The groundwork of the album’s music originates from a session initiated by Samuel Rohrer, who invited Jan Bang and Eivind Aarset to the renowned Candy Bomber studio in Berlin. The ses- sion was run under the imaginative craftsmanship of sound engi- neer Ingo Krauss, who worked in the famous Conny Plank stu- dio, and its recording and mixing employed sophisticated use of vintage analogue equipment alongside cutting edge digital pro- cesses. This meeting opened the door for something larger to emerge. The group did not settle for just the outcome of the initi- al open improvisation. They were driven to dig deeper, to atten- tively examine and manipulate the material, in order to discover what it had to offer. This caused a creational chain reaction, forcefully spreading across the group. During this second phase, Jan Bang, while meditating upon the possibilities and reach of the improvised material, felt a strong urge to give additional shape and colour to it by singing. Thus, he organically stepped into the role of vocalist, a role he had not pursued since the early days of his musical career. He sent the results to Erik Honoré, who immediately was inspired by its po- tential, quickly penning lyrics and providing the project with its name. Honoré composed two additional songs, Mordechai and Fault Line, and thus rounded the project out towards a fully reali- zed opus. The group continued this back and forth process, with Samuel Rohrer and Eivind Aarset bringing in fine-tuning and e nrichment to the song structures and textures.

A new addition to the label’s extended family, Tracey arrives on Dial with his debut LP, Biostar. Following previous releases on Aus Music, Voyage Direct and Intergraded, ‘Biostar’ pushes the technical and emotional craft of this vital young producer in exciting new directions, submerging listeners in thirteen tracks of sublime electro, ambient experimentation and warm, tonal techno. Based in the Netherlands, Tracey’s music is undoubtedly indebted to a legacy of emotive electronic music, the sort whose stark futurist vision cannot be equalled. Instead he strives and succeeds to create something personal and charismatic from a perhaps familiar palette of sounds. Somewhere between experimentation and understated songwriting, ‘Biostar’ is a worthy edition to Dial’s legacy of unique, artist-led albums. In the tradition of established Dial artists such as Lawrence, Roman Flugel and Efdemin, Tracey’s immediately apparent strength is an almost supernatural ability to conjure affecting and memorable melodies with minimalist intent, often just utilising the raw textures of his machines. From album-opener ‘THRRVL’, Tracey tracks the initially gentle undulations of his studio seemingly waking to life, plotting a neat melodic shuffle on ‘TRR’ and then, by, ‘CCLRT’, something dense, trippy and yearning. From hereon in, ‘Biostar’ plots an intriguing course through hypnotic, clockwork crunch (‘THWRD’), to Drexciyan submersion (‘HDRCSTCS’) and rhythmic experimentation on ‘PHTCPHRK’. Some of the more affecting moments on ‘Biostar’ emerge from it’s more obtuse sections; ‘DTFNK’ deciphers a surprisingly catchy melody among waves of scrambled signals, while the initially skittish ‘DRMRBT’ blossoms into an electro lullaby at 126bpm. By the arrival of wistful closing track ‘CLSTLBNG’, listeners are likely to emerge content from the deepest exploration yet of Tracey’s unique analogue ecosystem.

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.

Day turns to night as Mark de Clive-Lowe's Heritage II takes us from the meditative zen of Heritage into a world of jazz and Japanese roots culture fused with hip hop, drum'n'bass and broken-beat.

On Heritage II, de Clive-Lowe is joined by a cast of world-class musicians: Josh Johnson (Leon Bridges/Esperanza Spalding), Teodross Avery (Talib Kweli/Mos Def), Brandon Eugene Owens (Terrace Martin/Robert Glasper), Brandon Combs (Moses Sumney/Iman Omari), Carlos Nin~o (Build An Ark/Lifeforce Trio) and Tylana Enomoto (Kamasi Washington/Bonobo) - who all contribute stellar performances in support of de Clive-Lowe's music.

Sometimes, - despite today's high-octane, fast-track and hyper-hysteric music business - you come across things that seem so pure, perfect and poetic that it almost hurts. "Socialo Blanco" is one of these objects.

It appears understated at a first listen, startling at the second and totally enamouring by the third run. To lay it all out on the table: it sounds like a Music from Memory re-issue, looks like a Growing Bins Records discovery and feels like a flea-market-hippie-uncle-record-collection find.

Based on the language (coincidences and misbehaviour included) and direction of the classic EMS Synthi AKS and recorded by hand and directly to tape (no midi, no sync, no computer), it is at once out of time and out of touch with current sound aesthetics, but that only makes it even more contemporary (vintage) - like a great piece of furniture.

Unsurprising, if you know that Feater is helmed by Daniel Meuzard. Hailing from Vienna and having made a name for himself as a trustworthy and skilled studio equipment dealer and working closely with producer and studio engineer Sam Irl, the man has a knack for turning yesterday into today.

Already is his project's second album, "Socialo Blanco" is the result of all of this and some magical and effortless sessions. The voice of Vilja Larjosto from Finland and Ghana's Eric Owusu (Pat Thomas, Ebo Taylor) on percussion, spontaneously invited to the recording sessions by fellow Viennese Giuseppe Leonardi, are the icing on the cake. All of that and especially the non-conformist pop song "Time Million" symbolizes the heart and soul of an album that deserves to be billed as such. And that is no mean feat.

In the lead up to part two of the highly anticipated Outro Tempo compilation, MFM drops this teaser EP with the never before heard cassette madness of São Paulo's Bruhahá Babélico and Individual Industry's ethereal electro pop on the flip.

Music From Memory announces a series of Brazilian releases for this Spring that pick up where their 2017 Outro Tempo compilation left off. Circling around the musical projects that emerged out of the art world in Brazilian cities during the late 1980s and 1990s, 'Outro Tempo II: Electronic and Contemporary Music from Brazil, 1984-1996' takes anotherdive into the depths of the Brazilian underworld, exploring the rhythms that lurk beneath the Ipanema sunset. It shines light on more illustrious unknowns and on the genre-defying music that maintained asymbiotic, yet uneasy, relationship with mainstream popular culture.

Eagerly awaited debut album from oft-cited UK's most out-there band, features in the works with The Quietus and Wire already.

180GM PRESSING - 500 COPIES ONLY.

Difficult times required difficult music, my Yarns, that's why we had Guttersnipe; with its own sort of energy-kind there then.Reiner: A singular yield, a singular yield now.Barns: A whot
Reiner: A singular yield mate! Rich guitar strang, flow motive pounding underneath.Vox like Death come winding through the fields. Barns:  Hell of a way to describe a vocal style.
Me: Nah but for real my Donny, Have you read a presser 1 sheet lately It's the most

They say the PR era, circa late 80's killed the golden age of music journalism:
They say Guttersnipe have continuously melted all the forms that they come up against. They are right.  Because Guttersnipe is not part of a tradition we know well. You will identify the departure from it though, immediately, upon hearing My Mother The Vent. This LP, the promotional version of which, likely sits in your hands (disk, whatever). The innovation here is a FIRM commitment to the flowmotive polyrhythm underwriting the seared, nay fried, tonal rainbow and de-reasoned vox.

Not Nate Nelson, nor John the masseuse dude from Sightings but TIPULA CONFUSA.  Don't want to put the captain obvious pants on so tight I can't jump around the yard because why waste a good yard hang. I'll put on my blighty nighty instead. UROCERAS GIGAS has bridged so many gaps, finally unlocked the AxeWeld CODE and is really playing the thing. Not to mention bringing forth a world-view so utterly unique.  Good luck finding anything like it.

Finally some REAL disjunction in the music; clear and intended. In an age when most computer music composers use stochastic systems and still manage to drop some linear pathground shit, the brawler drums and slanky guitar constructions on My Mother The Vent are a genuine treat.  I've spent too much of my adult life so far hearing too much of this shit to not recognize REAL GAME. And here it crawls out of the grey shadows of ol' BLIGHTY.

Our post-music age: after the fine human endeavour known as music, the result of letting the cybernetic run ITS horrible game on us. I'm not waxing confusingly in a rarefied tone here. Nor running the boring sci-fi script. I really think that is were we is.  We left the human-music-on-a-human-scale behind and much to our detriment. Here we sit in our crumbling reality. But Guttersnipe come paleo, like the rhapsodes with long ass memories rattling off Homeric verse well into the age of manuscript culture, but here, with future tones.  Luckily. Otherwise, me and the record label here wouldn't be wasting our time and yours with a 1 sheet for My Mother The Vent.

So a proper first time on wax for these amazing creatures is a welcome addition to the world of things.  These drums and these guit-lines are so cranké, as they say here in my odd neighborhood.  These voices are so utterly expressive without even the damn language at hand ; like the great horns. We'll rinse this record out, I'll put on my old blighty nighty and go dance in the street.  Alex Moskos, Montreal, August 2018Guttersnipe is:UROCERAS GIGAS - Guitar, Analog Synth, VoxTIPULA CONFUSA - Drums, Drum Synth, Vox

The Naturals' debut album is more than just an rediscovery of one of the great lost albums of the last decade, but of how things were always intended. When Eddie Ruscha (Secret Circuit) and Thomas Bullock (Rub'n'Tug/STD) appeared as The Laughing Light of Plenty, their journey offered untold troves. Now at last the pulse is set for outer orbit and all are welcome to join.

After a mind-melting debut EP sold again and again, an album expanding their unique psychebalearicfolk imaginings was prepared and even pressed before being lost somewhere between a lock up in New York and limited quantities reaching Asian shores and dealers
trading at dizzying Yen.

Lost, but never forgotten, years passed until a nagging memory that an earlier, rawer mix had always been superior. A return to the original band name seemed The Natural(s) choice and so a project idea started to be (re)born.

A sunny Spring afternoon in a grand English garden, pots of tea, talk of life's travails, deep yogani, love affairs, kids growing up, the power of now and music, always music led to two labels coming together to dust down the desk and not just resurrect, but seek and offer the original intentions.
Here at last is the double album as intended. Of two great friends jamming their deepest vibes and flowing with love to offer tales of higher consciousness. Travel inward, beyond meer chakras. Aim for the stars. The devil is in the details so see the trails and follow to some avail.

Begin your own journey.

Another Van, the label head of Ran Music’s sub-label Ran Groove, is releasing his debut EP “ The Night Is Yours” (RGV010-12) on his own label which includes 6 tracks rang-ing from Acid House to Minimal that he created between 2015-2017 in Beijing and Shanghai, performed and recorded all at once using his hardware live set-up. The immortal acid sound and minimalist groove are his forever loves. In 3 years the time, locations, and people kept changing, and all the memories of his life experiences are being mixed and melted into these 6 musical stories.

The EP name “The Night Is Yours” is inspired by a billboard which says “The World Is Yours” in the movie “Scarface”. Another Van believes that the night never belongs to anyone, the night is itself an eternal DJ, and this EP is full of tracks that touch you the most before sunrise.

mule musiq's sub label studio mule has formed a group of shifting members and are now releasing a debut album with 8 tracks of reworked obscure japanese gems.

the album contains the three singles the group released so far, featuring miyako koda of the ex-perimental pop band dip in the pool -- whose "on retinae" was reissued by music from memory to great acclaim -- on vocals and mule musiq staple kuniyuki on production with direction by label head toshiya kawasaki.

one of them, "carnaval," is a cover of the japanese dance classic by taeko ohnuki, produced by ymo. "shinzo no tobira" is a remake of the track by mariah, a band led by sax player yasuaki shi-mizu, from their album utakata no hibi -- which was one of the reissues that sparked the global interest in obscure japanese music in the last few years. studio mule's version features japanese lyrics rewritten by miyako koda. "face to face" is a cover of the ambient pop gem from the ultra rare album desire by yumi murata of mariah -- an album visible cloaks is a fan of.

also included is a rework of "kagami no naka no jugatsu," a song by tamao koike produced by ymo, turned into a dubby balearic pop track -- dubbier than the version included on the yen label compi-lation -- sang by nanako sato, one of the artists enjoying some newfound success following a string of reissues stemming from the "city pop" revival craze. the oriental ambient pop "yugao" by singer songwriter mioko yamaguchi is covered by vocalist saho terao, whom some describe as this gen-eration's taeko ohnuki.

"the april fools" is a rework of yukihiro takahashi's track, which itself was also a cover of the origi-nal song by burt bacharach. this new version boasts a more experimental arrangement with nanako sato handling the vocals. ymo's "ballet," originally with vocals by yukihiro takahashi, was reconstructed into a dance floor-ready instrumental by kuniyuki. many say yoshiyuki ohsawa's "soshite bokuwa toho ni kureru" is one of the greatest songs of the '80s. the 12" dance version is reshaped here into a melancholic balearic house track.

the album cover is by the increasingly popular hotshot photographer kota shouji.

Consisting Neither Of One Lone Woman, Nor Hailing From Either The Eurasian Country Or The North American State, This Georgia Is In Fact Comprised Of Two Human Males Working Out Of China Town, N.y.c., Namely Brian Close And Justin Tripp. Together They Form A Creative Partnership Responsible For Not Just A Slew Of Output Upon Such Highly Regarded Imprints As Meakusma, Palto Flats And Emotional Response, But Also For A Kaleidoscopic Variety Of Multimedia Work With A Whole Host Of Clients, From The Corporate To The Counter Cultural. With An All Embracing, Freeform And In Some Ways Contradictory Approach To Production, Their Sound Is At Turns Stimulating, Terrifying, Comforting And Confounding. Separated From Any Visual Representation, The Audio On Its Own Becomes A Soundtrack For The Listeners' Own Intense Internal Projection Screen.

With 'time', Georgia's Vision Is Especially Well Realised As Here, In Collaboration With Fellow Intuitionists Firecracker Recordings, They Release Into This World An Album Which, With Any Luck, Shall Help You Unlock Your Inner Portals - Should They Need Assistance In That Regard Anyway. Unquantisable Polyrhythms Knock Against One Another In An Uncannily Externalised, Conflicting Collage Of Half Remembered Dance Ritual Memories. Fragmented Melodies, Disembodied Vocal Snippets, A Hint Of Ethnomusicality In Places All Give Deep Nods Simultaneously To Ancient Experience And To Post Human Intelligence, Condensing Past Present And Future Into One Eternal Instant.

'time' The Album Asks Us: What Happens When One Removes Ones Expectations Of Where In Time A Piece Of Music Or Art Must Sit And What Of Time Itself As A Construct, Now That We Have Myriad Ways Of Measuring It, Even At The Atomic Level; But Still Its Passing Is Completely Relative According To The Observer, And Indeed May All Be In Our Minds Anyway Equally, You Can Always Just Put It On - Again, And Again - Empty Your Mind Of Such Thoughts Completely, And Allow All Of Your Particles To Move Around Freely To This Joyful Noise... After All, That's The Point, Isn't It We're Gonna Have To Stop Asking Questions Eventually.

Has there ever been a better time to fuck off to the stars? Is a prison breakout ‘escapism’? Crisis carve some wound-space to let the dreams back in. In nights we turn to fire, in flight we burst into stone, where are the exits in this theatre of the damned? Strict luggage allocations – guitar (D. Knight), saxophone (S. Thrower) – and all the electronics your thoughts can carry. Headspin echoes, round and around, tilt wind-sails at a dark horizon, cut a stutter through the distance barrier. In to be out through the structure of the eye, encrusted with rotor-slime, pushing on through border erosions as everything melts into smoke, burning objects may be closer than they appear. Nebulae dazzle the shadows, tunnel through memories and the pulp-mass of neurons, forwards heading backwards, end of tether snapped, slide into the earth like ancient worms and breathe.

UnicaZürn’s core instrumentation blends analogue synthesiser, mellotron and electric piano with electric guitar and saxophone. Knight is reknowned for his pioneering multi-textured fretwork with Danielle Dax and Shock-Headed Peters, and his ambient guitar settings for Lydia Lunch, while Thrower’s reed playing provided rage and melancholy in Coil and turns to electro-acoustic texture in Cyclobe.

The Italian Duo Club Paradiso coming from diverse and ever-evolving music backgrounds, they started their collaborative project in 2016. Romagna, Adriatic Riviera, is what they call home and also the primal inspiration behind Club Paradiso. Their first album “Esotica Erotica Psicotica” is out on april 26th on Mondo Groove with Kompakt distribution, follow up to the acclaimed 2017 single Panoramica, and is a wonderful patchwork of colours. Opener Romagna Tropicale transports Riviera to a tropical island, Tuco mixes arpeggiating lines with a western harmonica and a distant spoken, Solo tu with the voice of Francesca Amati is a sensual, slo-mo synth-pop beauty, and Echoes a throbbing deep house number. The B-side opens with Flauto Cosmico, a killer Afro/Cosmic track with a folky flute, Okinawa has the voice of Niconote aka the legendary Nicoletta Magalotti of Violet Eves fame and it’s simply a memorable song with an eastern vibe in the music, La Rabbia Saudita, with a special Daniele Baldelli & Marco Dionigi featuring, is half part Arabic and half part funky, and the closing track, Mirage, is, yes, like a mirage. You can’t miss this.

After several releases on the Shewey Trax label, Delicate Instruments takes on a more psychedelic approach into the thoughts about escaping the fractured American world view. This is record one from the forthcoming full length LP "MEMORY-0". Memory-1 "MEM-1" available first as a single 180gram vinyl limited edition and will also be included with the album followup release towards the end of year. Part 1's theme: "Withdraw from the world around you, into your own innerworld..."

Label established 1994 - past vinyl releases include: Delicate Instruments (several 12" EP singles 2013-present), Live Better Electrically (1990s to present). Various 12” remixes on Sheweytrax label include: Bassbin Twins (aka Peter Tall), Oricom Technologies (West Coast 90's), Octo Octa remix (2017).

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

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

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

Switzerland's Alma Negra are known for their deft, tasteful explorations of world roots, anchored in digging, sampling and sharing. On this brand new remix collection, Alma Negra invite a trio of equally curious producers to remix some three of their best-received musical endeavours. French producer and DJ Bambounou capitalises on the quick tempo and raw-energy at the heart of the Maloya sound as the basis for his raw and hypnotic reimagining of 'Kabare', originally sourced from Christine Cabare, one of the most notable stars of the contemporary Maloya scene. Glenn Astro, meanwhile takes on another release, 'Haleto lale lalô'. Originally influenced by the Saho sound, the origins of which lie in the musical history and landscape of Eritrea, the Money $ex Records owner fashions two distinctive reworks out of the already adapted original material. After applying the soft pressure of his weightless, smooth funk for an initial, blissed-out remix, he switches up to a warm, percussive jack session on his 'Rhythm Trax' remix, available here as a digital bonus. Finally, cult producer and musician Michal Turtle, best known for his sensational LPs and compilations on Music From Memory, delivers only his second ever remix in a forty year career, conjuring a magical slice of dreamy, percussive pop from 'Tany Be', awash in signature brass.

After his debut last year, The Eskapist re-appears from the shadows for another double-episode of the story...

After his debut last year, The Eskapist re-appears from the shadows for another double-episode of the story...

- Utopia Music are extremely proud to present UM022, Hydro's debut album 'Lateral Thinking'. - Spread over 3 plates (4 including the sampler), Hydro manages to really showcase the variety and musicality that he's known for. With over 20 years of experience, he manages to comfortably wear his many influences whilst offering something both fresh and new at the same time. The palette covers light and dark, warm & cold, ambience, jungle, funk, soulful, techy, rolling, half time, 130 & 140 bpm, hip hop, jazz, tribal, and even meditative vibes. Inspired by a lifetime of music, travel and memories the aim was to deliver an eclectic album that could satisfy both the DJs and the headz whilst also being able to transport the listener elsewhere on an emotional and cerebral level. Dance music that can work beyond the dance floor.

- Hydro has been releasing incredible music since 2003 on almost all of the big labels. Since his production beginnings collaborating with Break, he has continued to work on many different styles and with many other different producers. He's become known for his musical diversity and his name is synonymous with quality & finesse. It's an absolute honour to be able to introduce his debut album to you. This project also features War, who again establishes himself as one of the best engineers in the game. Since first collaborating in 2011, Hydro & War have proven to be a formidable team, known for consistently delivering essential releases, including for Utopia. The only other artist featured on the album is Mateba, who joins in for two of the more uplifting tracks. A talented French producer and a long time collaborator of both Hydro & War.

Sublunar Records, the label run by Sciahri and Dagdrom, starts 2019 with his tenth re- lease.

'Corpora' is a new trilogy project whose elements will see the light throughout the year.

Part I involves Nuel, known for his collaboration with Donato Dozzy on the Aquaplano project and author of for two genre defining album on Further Records.
His contribution 'Intarsia' is a polyrhythmic mixture of ascending synth spirals where every element is tuned for maximum clarity and impact.
Then Sam KDC, an integral part of ASC's cutting edge Auxiliary label and regular on Geoff Presha's Samurai and Samurai Horo, comes in with 'Skirmish', a ritualistic experience where a memorable melodic figure is surrounded by delicate drum patterns. On the B side co-founder Sciahri releases all the tension with 'Linfa', pushing his signature sound into heavy atmospheric disturbances where distorted grooves bounce among skittering bits of percussion.

Next up on First Word Records, we welcome the return of Don Leisure, with an EP of beats that see his two alter-egos go head-to-head, 'Shaboo vs Halal Cool J'.

Probably best known as 50% of Darkhouse Family, along with Melange label boss Earl Jeffers, they released their acclaimed debut album 'The Offering' in 2017 and subsequent remix project last year, featuring DJ Spinna, Kaidi Tatham and more. The duo are coolly establishing themselves as Cardiff's very own Mizell Brothers, recently producing Kamaal William's latest work, featuring on Kutmah's recent Izwid compilation, and collaborating on the Chicago x London project 'Where We Come From', featuring Makaya McCraven, Joe Armon-Jones, Nubiya Garcia, Theon Cross and First Word label-mate Quiet Dawn, amongst others.

'Halal Cool J' appeared originally in early 2017 with 'An Ottoman Excursion' on our sister-label, Excursions. A series of edits born out of a decade-long love of Turkish music, and some record-digging expeditions in Istanbul, something Don Leisure did the very day after 'The Offering' release party, prompting another series of beats. Ahead of an all-new full-length Halal Cool J album, here we have two tracks to give you a taste, 'Kazakh Honey' and 'Kaymak'.

'Shaboo Strikes Back' on the flip-side, with a track of the same name, and 'Mango Season'. 'Shaboo' was the name of a beat album that came out on First Word in 2017, inspired largely by Don's Bollywood actor Uncle, Nasser 'Shaboo' Bharwani, and by memories of journey's with headphones hurling out Hip Hop, fused with the sonics of his Mum's interruptions, and her favourite Asian radio station. 'Shaboo' featured in several end-of-year album lists, with Piccadilly Records calling it "the best album of it's kind since Dilla's 'Donuts'. Unmissable."

Both prior projects got love from DJs and selectors far & wide, including Tom Ravenscroft, Lefto, Huey Morgan, Rob Da Bank, Om Unit, Simbad & Mr Thing. A truly global affair, the beat battle of 'Shaboo vs Halal Cool J' takes us on several short, sweet hikes across a variety of Eastern climes.

Join in the journey once again on 7" vinyl and digital on April 5th.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lavascar is a sound and music project by creative instigator and provocateur Michèle Lamy, multi-disciplinary artist Nico Vascellari and Lamy's daughter, the artist Scarlett Rouge.

Following the release of their debut album A Dream Deferred in 2017 - which was inspired by Langston Hughes' poem Montage Of A Dream Deferred, the trio will release new album Garden Of Memory through The Vinyl Factory label.

Drawing on the work of Lebanese-American poet, journalist and artist Etel Adnan, Garden Of Memory explores the tension between the organic and industrial, layering both Rouge and Lamy's idiosyncratic delivery over Vascellari's ambient and EBM-influenced electronics. After Vascellari described the debut LP as 'an evocation of Michèle Lamy sitting in a cave, surrounded by wild beasts ready to devour her', Lamy says the new record has loftier concerns: 'So far it seems like we are more in the cosmos... We are coming out of the hole!' Lamy continues: 'I like poetry, I don't like when there is sentence that tells you everything, I like suggestion.' It was for this reason that Lamy was drawn to the 93-year-old Adnan - 'a woman explaining what's going on in life. We can say everything is political, this is especially important.' It's a sentiment that Scarlett Rouge echoes: 'She wrote political poetry, and she is a journalist, so that's why I think when Michèle discovered her there was an immediate sense that this is now what needs to be felt and said.'

"I Remember When" is the sixth album from Tokyo based nostalgic ambient soloist Ex Confusion.
The album finds Atsuhito Omori bringing Ex Confusion back to n5MD after a release each with Plancha and Orchid Tapes. 'I Remember When' finds Omori carefully carving music out of hazy memories. Emotive, abstracted, and overcast (as the cover art itself alludes to). Omori excels at his brand of heart to hands clouded ambient by utilizing faded repetition with ghostly percolating guitars printed to old formats. Omori has been doing this type of minimalist modern compositional ambient for nearly a decade but never has it sounded so focused in its conception.
As a bonus to an album of such understated beauty Omori includes a recent collaboration with Thomas Meluch's Benoit Pioulard pseudonym which further adds to the faded photograph characteristics of "I Remember When."

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

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

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

The man, the myth, the legend that is Aldo Vanucci is back with a small black disc of wax for the ages. Yes, it's the very same individual who supplies samples to Fatboy Slim, who was voted Plymouths 14th best DJ and who has undertaken marathon 36 hour DJ sets for charity. Exactly. Yes it's that Aldo Vanucci...

With a vast back catalogue of releases already to his name on respected indie labels including Tru Thoughts, Catskills, Good Groove and his own Good Living Records he has established himself as one of the producers you can trust when it comes to quality.

And this release ahead of his forthcoming album on Jalapeno Records is no exception. The soulful strutter - 'Ponderosa' could have been extracted from a Tarantino movie taking a Morricone-esque score sample and flipping it into a modern slice of driving pop. The powerful top line from Dena Deadly adds some colourful imagery to enhancing the already cinematic sounds.

Flipside 'Knew You Were Coming' fuses an 80's disco boogie groove with a memorable top line that really shows off Mr. Vanucci's DJ credentials. It's a club bomb with enough power to detonate any dancefloor.

Koehler was hurled headlong flaming from the ethereal sky. This is his first offering for the ESP Institute. Side A recalls the hazy memory of an ear-worm chant heard over a decade ago on the streets of Thailand, a melody that since haunted the artist and has finally been exorcised by his own hand in the shape of 'Melencolia V'. Somewhere between an enchanted bashment and a sailor's watering hole, Koehler found a gargantuan kick drum that lands solely on the 4, slammed it together with a wide pulsing bassline and brutalized Dancehall snare, then laced it all up with his elusive synth melody. Add to this a generous sprinkle of finely-ground cosmic dust and we're all tripping the light fantastic. On the flip side, the artist buckles up for a rough and rapid-paced journey with 'Invidiosa' — a relentless snare scrapes, gouges and corrodes over 7 minutes, coupling with a simplistic bass loop and swiftly marauding through a demented assembly line, accumulating various nuts and bolts of instrumentation along the way — an undeniable dancefloor exciter for those hours when the club becomes unhinged, dancing becomes raving, and slightly more audacious folk can channel their inner truth. These two songs will have you question your existence.

Johnny's disk record is an independent jazz label run by the owner of jazz cafe kaiunbashi no johnny located in rikuzentakata city in iwate prefecture, japan.

the legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz, avant-garde jazz to left-field pop. albums such as 'farewell my johnny / left alone' and 'aya's samba' has reached cult status among fans as some of the best works to come out of the japanese jazz scene.

following a cult classic jazz fusion album on bourbon records, king kong paradise delivered an album of alternative, left-field balearic rock that was way ahead of its time.

an anomaly that sticks out in johnny's disk's catalogue, the rare record may appeal more to new wave, reggae and rock fans than jazz heads—in fact, i wouldn't be surprised if people like dj harvey or theo parrish dropped this oddity in their sets.

if you dig the kind of weirdness that's being reissued by music from memory, you might find this record intriguing.

Black Friday LP now made a regular catalogue item. When it comes to authentic, ride-or-die hip-hop, few crews have as much resonance as Mobb Deep. Featuring two double-threat MCs who also produced - Havoc and the sadly-departed Prodigy - the crew changed the hardcore rap game in 1995 with their sophomore classic The Infamous, and went on to rule the dark corners of hip-hop for the second half of the 90s and well into the 2000s. After multiple Mobb Deep platters in the '90s, Prodigy entered the 2000s as a solo artist with force, rolling over a stomping, piano-freaked backdrop laced by producer The Alchemist, with Keep It Thoro.' It has held up over time, proving itself as an anthemic classic that the streets and clubs still respect. Flaunting a smooth-but-menacing flow, Prodigy's no-nonsense lyricism on Keep It Thoro' is prototypical modern age brag rap. Countless MCs have followed his flow, from Fabolous to Joey Bada$$. The song is short and sweet, clocking in at just over 3 minutes. There are no wasted verses, just hardcore rhymes that stay with you. But Thoro' was the tip of the iceberg on what proved to be one of the more coveted rap full-lengths of the era. The album boasted other charting singles, including Rock Dat Shit' and Y.B.E.' (featuring B.G.), but it can be argued that the album's real gems are buried deeper. Genesis,' What U Rep' (featuring Noreaga) and Three' are all sinister yet pensive. Wanna Be Thugs' and Delt With The Bullshit' are strong and evocative Mobb Deep cuts, featuring production and vocals by Havoc. And alongside other standouts, perhaps the deepest cut of all - especially in light of Prodigy's way-too-soon passing due to complications from Sickle Cell Anemia - is You Can Never Feel My Pain,' which details the health issues and challenges this talented MC and producer had been facing his whole life. H.N.I.C. was Prodigy's first solo album, but it is perhaps his best. Among fans he will never be forgotten, for his skills, his storytelling and his no-B.S. approach to the art of MCing.

Developer is back on Juxta Position's Failsafe imprint once more with 4 fresh cuts of techno, displaying a deeper side to his unique take on the style. 'Get this' is most reminiscent of the sound he is most known and loved for, with it's booming drums and strange wavetable voices, but 'Ethnic Identity' breaks away from more his usual template with it's organic sounding loops and dramatic strings. Likewise, mood setter 'Over Nepal', lays down an intense vibe whilst ep closer 'Zebra' pairs up a memorable melodic pattern with his more usual driving percussion. Developer once again displays his broad influences and unique production style, whilst pushing the sound of contemporary techno forward. PLAY LOUD!