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Pailhead was a collaboration of vocalist Ian MacKaye (Minor Threat, Fugazi), Ministry’s Al Jourgensen and Paul Barker, and drummer Eric Spicer (Naked Raygun).

In 1986, MacKaye was just a few years away from his genre-defining work in Minor Threat and on the cusp of starting an even more influential band, Fugazi. Al Jourgensen was also undergoing a transition with his band Ministry after the release of “Twitch”. He wasn’t the guy who would release the game-changing “The Land Of Rape And Honey” a couple of years later, but he was well on his way.

Alain met Ian when he was living in London. Both found common ground musically and politically and decided to collaborate on a project that would fuse elements of industrial music with hardcore punk. The result was a bunch of unique and unrepeatable hymns.

Pailhead released one first single “I Will Refuse” / “No Bunny” in 1987 and next year the 4-song EP “Trait”, both on the legendary Wax Trax! Records.

Limited edition of 500 copies on grey vinyl with deluxe sleeve with soft touch lamination and sticker with classic band logo.

Regis is the founder of one of techno’s most influential and
uncompromising labels, Downwards Records. His inimitable hard
techno sound, and collaborations with Surgeon as British Murder Boys,
have cemented his legacy as the definition of the Birmingham techno.
Luke Lund is one of the Finland’s fastest rising young composers, with
the ability to move seamlessly between the marshes of dark hop to the
silkiness of deep techno. His own Terranean Recordings label has
been fearlessly documenting the Finnish underground and beyond
since 2010. King Pin Frankie is treasure untold – a live Regis recording
from New Year’s Eve 1997 in Chicago. Pounding classic minimal TR
909 with an accelerating/decelerating arppegiator make this A side a
serious find, with distorted synth moving platforms occurring as the
track winds out. TIP! Luke’s Scourge is an electronic composition
masterpiece – pinning a straight kick underneath a shifting snare,
leaving the question open – is it techno? Is it dark hop? Whatever it
may be, the bass underneath tells it big and fills up a subwoofer.
Limited Edition Print by nem0

Recorded on 27th May 1965 at the Van Gelder Studio, Englewood Cliffs, New Jersey.Recorded right in the middle of Dexter’s golden Blue Note period. Featuring an all-star band of Freddie Hubbard (trumpet), Barry Harris (piano), Bob Cranshaw (bass) and Billy Higgins (drums). Dexter’s take on the famous ballad ‘I’m A Fool To Want You’ has become one of his trademark pieces. Elsewhere, the album features three fine Dexter originals (‘Hanky Panky’, ‘Jodi’ and the title track) plus ‘Devilette’ and ‘Lady Iris B’.

The Soulpop Continuum – by Arno Raffeiner
Six songs, one sound signature, one vision. Supreme Beats Series by Drei Farben House is an album
that firmly stands in the tradition of the big records of the disco era: a vinyl disc full of kicks and licks,
just as much as two sides in amazing sound quality can hold.
The album is the latest work of Michael Siegle, the Berlin-based producer and owner of Tenderpark
Records. 13 years after Drei Farben House's first full-length on the acclaimed Force Tracks label, it
features contributions by singer and songwriter Mavin and none other than Robert Owens who's voice
shaped house music forever. The trademark sonic elegance of Drei Farben House blends perfectly
with the timbre of the man behind Fingers Inc.'s Mysteries Of Love. Siegle's work as a producer is not
so much about turning this rich heritage upside down, but about refining it and creating a space within
that realm that's very much his own.
The title of the opening song with Owens states it: I’m Remaining Here. And Supreme Beats Series
invites you to come over and stay there, too, in a refuge of class and funkiness. The record offers
dense layers of rhythm, vintage keyboard sounds, chucking guitar, and vocal samples that indulge in a
many-voiced conversation. Not to forget the prominent, singing rather than walking bass lines
performed by the hands of Michael Siegle himself with his bass guitar.

New Release Information
You could think of Supreme Beats Series as a cross-section in time and space. It allows you to take a
closer look at the here and now of a much bigger picture, both aesthetically and socially. Siegle uses
the vocabulary of house music in a way that transcends its conception as merely a genre and speaks
of the historic evolution and the profound roots of this music as a movement. His record takes
inspiration from 60s Motown hits as well as the blue eyed soul of the 80s, you can discover influences
ranging from Philly's pre-disco craze to new jack swing and on to the heyday when house-pop divas
stormed the charts. By drawing these lines, Siegle deliberately opens up the space of a visionary
Soulpop Continuum.
In the 1950s, the American issue of Vogue magazine had their say about Coco Chanel's work and its
ever-lasting impression on fashion and design. They claimed it was all about “infinite variety within
narrow limits,“ and meant that as a compliment, of course. Michael Siegle likes to think about Drei
Farben House in a similar way. And you should, too.
Info about the artwork:
As far as the cover artwork of 'Supreme Beats Series‘ is concerned, the release of Drei Farben
House’s new album shows the second part of an image series which has been started with TDPR
release # 021 and which revolves around architectural photos taken by Achim Valbracht. Tenderpark
art director Till Sperrle and photographer Achim Valbracht like these pictures of various commercial
buildings erected in Berlin in the 1990s to be seen as a critique of investor-driven architecture which
has been dominating Berlin for several decades now.
The fascination of these pictures lies in their ambivalence of staging a normalised and globally
standardised kind of beauty, but at the same time revealing a strong sense of isolation - noticeable not
only but also in the absence of human beings. This new series of images is to some extent a
continuation of art director Till Sperrle's and label manager Michael Siegle’s interest in architectural
photography. However, at the same time the photo series also embodies a new angle on the subject
since all previous picture series on Tenderpark had been an affirmation of socially progressive
architecture which expressed a longing for socio-cultural utopia.

The Black Keys’ long-awaited ninth studio album, “Let’s Rock”, their first in five years, is a return to the straightforward rock of the singer/guitarist Dan Auerbach and drummer Patrick Carney’s early days as a band. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” The album includes the hit single ‘Lo/Hi’. The Black Keys’ touring begins in North America in September, with further international dates to be announced soon.



“Let’s Rock” was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like a homage to electric guitar,” says Carney. “We took a simple approach and trimmed all the fat like we used to.”



The “Let’s Rock” Tour will hit cities including Chicago, Nashville, New York, Los Angeles, and Austin. Special guests Modest Mouse will provide support on all dates, and Shannon & The Clams, Jimmy “Duck” Holmes, *repeat repeat, and Jessy Wilson will each open select shows on the tour. The band also headlines 2019’s Life Is Beautiful festival in Las Vegas on September 21.



Rolling Stone named ‘Lo/Hi’ a “Song You Need to Know” and said, ‘the Keys have officially returned, louder than ever’ and the New York Times calls the song ‘the kind of garage-boogie stomp that the band never left behind.’ In the words of the NME, ‘It’s the soundtrack to the type of party that doesn’t exist anymore, but one you still wish you were cool enough to get the invite to.’



Formed in Akron, Ohio in 2001, The Black Keys have released eight studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), and, most recently, Turn Blue (2014). The band has won six Grammy Awards and headlined festivals including Coachella, Lollapalooza, and Governors Ball.



Since their last album together, both Auerbach and Carney have been creative forces behind a number of wide-ranging artists:



Dan Auerbach formed the Easy Eye Sound record label, named after his Nashville studio, in 2017, with the release of his second solo album, Waiting on a Song. Since its launch, Easy Eye Sound has become home to a wide range of artists including Yola, Shannon & The Clams, Dee White, Shannon Shaw, Sonny Smith, Robert Finley, and The Gibson Brothers; it also has released the posthumous album by Leo Bud Welch as well as previously unreleased material by Link Wray.



Patrick Carney has produced and recorded new music with artists such as Calvin Johnson, Michelle Branch, Damns of the West, Tobias Jesso, Jr., Jessy Wilson, Tennis, *repeat repeat, Wild Belle, Sad Planets, Turbo Fruits, and more. He also created the theme music for the Netflix TV show BoJack Horseman with his late uncle, Ralph Carney.

Leipzig’s Dj Balduin has been a staff favourite for some time as we are avid fans of his GLYK imprint, and in particular his debut EP “Vvigmara”. Dj Balduin proclaims to enjoy producing music that creates “states of hypnosis with an occasional, gentle “hands-up-face-slap” every now and then” which perfectly sums up “Lost Cat” - his first release for KOMPAKT.

“E.W.B.A” came to Dj Balduin while having a shower, so chances are high we have this summer’s rain dance anthem on our hands as it has all the right elements - a classic rave synth meets an infectious open snare to break through the beat.

The kick drum thud of “Sheee” seems to be all too menacing at first, but surprisingly learns how to open itself into a gorgeously seductive uplifting house tune.

This story ends with the perfect set closer; “Lost Cat And An Untied Shoe” brings that beat back with soaring synths and a playful natural bass line that adds just the slightest edge of funk to carry the crowd home at the end of the night.
Leipzigs DJ Balduin und besonders seine Debüt-EP „Vvigmara“ trendet, seitdem wir sein GLYK-Label kennen, unter den Mitarbeitern von Kompakt. Laut eigenen Angaben genieße es DJ Balduin, Musik zu produzieren, die seine Zuhörer in den „Zustand der Hypnose versetzt und gleichzeitig mit gelegentlichen zarten Schlägen ins Gesicht wachhält“, was auf „Lost Cat“ – sein erstes Release auf Kompakt – auch geschieht.

„E.W.B.A“ kam DJ Balduin unter der Dusche, die Chancen stehen also hoch, dass wir hier eine Hymne für diejenigen Raves haben, die unter kräftigen Sommergewittern stattfinden werden – die richtigen Zutaten sind alle da: klassische Rave-Hooks, ansteckende Snaredrums, die hervorbrechen aus dem Bass.

Der Schlag der Bassdrum von „Sheee“ scheint zunächst bedrohlich, lernt aber überraschender Weise sich selbst zu wandeln hin zu einem prachtvoll verführerischen House-Stück. Die Geschichte endet mit dem aller besten letzten Stück: „Lost Cat And An Untied Show“ bringt den Beat zurück zusammen mit aufsteigenden Synths und einer verspielten, natürlichen Bassline, die einen Funken Funk hinzufügt, um die Dancer nach Hause zu begleiten in der Nacht.

repressed !

SNTS presents the last part of his double trilogy, this time called SCENE III. SNTS wanted to obtain a different view of one of the tracks of this release, and, in order to achieve that, he introduced a big star of the techno scene to this story, that artist is SHIFTED. Anonymity remains the centerpiece of SNTS. To convey feelings and sensations without a face reference or a name is the key point of this mysterious artist. This time the titles of the tracks refer to dates. You may never discover what events those dates belong to, but perhaps we can decipher something through sounds and their path. 20.01.1944 It reminds us of a battle in an eerie and desolate terrain in which each sound makes you move, observing what is happening around you. 20.01.1944 The version from SHIFTED is the story told from the outside of the bipolar world where is SNTS. 07.09.1981 It is a step in the course of a life that accompanies an atmosphere that breathes, but is not noticeable by other senses. 15.04.1946 Destruction, desolation and despair is reflected in this track. It definitely meets all the conditions to describe SNTS' sound.

Played & Supported by:
Planetary Assault Systems, Paula Temple, Svreca, Takaaki Itoh, James Ruskin, Tommy Four Seven, Ryuj Takeuchi, Giorgio Gligli, Speedy J, Ancient Methods, Terence Fixmer, Cio D'or , Eomac, Milton Bradley, Samuli Kemppi, Dj Emerson, Chris Liebing, Par Grindvik, Ø Phase, Kr!z Token, Zadig, Marcel Dettmann, Answer Code Request, Slam, Norman Nodge, Dave Miller, Deepbass, Nihad Tule, Truncate, Dj Hyperactive, Angel Molina, Ben Gibson, Juho Kusti, Claudio PRC, Bas Mooy, J. Tijn, Manni Dee, Donor, Rebekah, Go Hiyama, Francois X, Adriana Lopez, Electric Indigo, Bleak, Inigo Kennedy, Pfirter, Alex.Do, Eric Cloutier.

Greek producer ITPDWIP (Lobster Theremin / brokntoys) is in charge of the third release of NNY Records, a mini LP comprised of seven magnificent songs with an unpredictable analog sound that oscillates between electro and techno. A collection of tracks full of memorable melodies and a punk and aggressive touch that will delight all Dutch West Coast Sound fans as well as more risky techno followers.

Dixon Avenue Basement Jams are proud to present "Rainbow Body" by Nightwave on their new sub-label Neutralizer Records.

New music from Nightwave is what life is all about.

Check out her new fantastic release for Dixon Avenue Basement Jams’ Neutralizer sub-label if you’re in any doubt. Rainbow Body EP is 4 tracks of Detroit influenced dance floor damage, taking in and breathing out lush melodic techno, driving ghetto beats, steppin’ authentic electro and bold yet synthy house music. It’s a release that does it all and with such style and confidence. You’d be a fool to miss out.

Limited Hand Stamped Vinyl and crazy story inlay included

Nasty Electro-Acid and Techno from the lost mind of Shinoby including an repetitive & paranoid, spiritual yet sexy psychedelic techno funk remix by Unit Moebius

“The year is 1982. Rita Mitsouko has not yet recorded its eponymous debut album. The pile of ashes that once was Disco is still smoking on the field of Comiskey Park. New Wave is a phrase, Post-Punk Rock a thing. In France, young musicians dream of New York City – some with more devotion than others. Lapassenkoff are to early 1980’s downtown New-York what seminal New Wave act Marie Et Les Garçons (who met John Cale on their way to CBGB) are to the city’s musical scene in the late 1970’s: an unexpected cousin from Lyon.

Indeed, going through Shing ‘n’ Tsé! sometimes feel like an impromptu meeting between John Lurie and Tom Tom Club in the basement of some French record store. If we press pause for a minute, a question comes to mind: how on earth such a unique blend of funk, post-punk, jazz fusion & hip hop (!) – more easily associated with, say, The Mudd Club, than with Les pentes de la Croix-Rousse – made its way to the brains of three French musicians?

The answer probably lies in a Swiss chalet, some 40 kilometers away from Zurich. Sent there by the wise people from Mosquito (the label which also gave Ramuntcho Matta and Carte de Séjour the opportunity to record their first album), the band experiences Alpine ennui and mysterious neighbours (a certain Carlos Peron, for instance). That is probably during this stay in Swiss meadows that they opened a Pandora’s box called experimental music, leading them into recording the mind-blowing sample-based – and accidentally proto-everything – M Le Maudit,, that would later grace Belgian airwaves via the famous Liaisons Dangereuses radio show.

But if we’re looking for a bigger picture, M Le Maudit is just an example of how inventive their approach to music was. This compilation is a testimony of a decade-long feverish flirt between the Lyon trio and dance music. From the infectious electric boogie cuts Shing A Ling and Roadie to the somehow euro-house-fuelled Ma Poubelle Angelina, via many unclassifiable yet iconic songs like Bossi Le Bosseman or Fièvres, Frissons, the compilation demonstrates one thing: Lapassenkoff took the road less traveled by and contributed to a different history of French Pop music.”

Pierre-Arthur Michau.

Isolated percussion and gravely atmospherics blended in this new deep hypnotic sampler of Koslif. Where its minimal elegance, rich textures and dystopian soundscapes are taking you to the next level.

7am. Tilburg. Black room. Strobe light. Dutch Soundsystem Wirwar. "Party Like It's '96" celebrates 23 years of musical debauchery, rinsing BPMs and battering bodies in forests, squats or wherever a PA system could be plugged in. Five tracks from five different aliases make up this descent into drum beat battery. Noses are up against sweat drenched wall from the needle drop, the thundering pace of Trippy D's maniacal offering being elbowed in the ribs by Bart Bral's nosebleed inducing "No Shit, Sherlock!" Distortion slices into squalid acid lines in the blazing "Water On Mars" by RAF before broken beats are blended and blitzed by Just So Nah. The night, or morning, comes to an end in Roel's nightmarish fairground ride. "Wurlitzer Express" minces chiptune cuteness with splintered snares, cracked kicks and mutated percussion to leave hearts, minds and souls thoroughly stained.

Fast-rising Irish techno star Doug Cooney joins Bastardo Electrico with a killer 4 track EP of expertly crafted and powerful techno grooves. The release opens up with “Pansperman” which hypnotises with its cyclical synth riff that rises & falls over a pounding low end. Next up German producer Krenzlin gives “Pansperman” the remix treatment keeping the hypnotic vibe of the original whilst bringing things in a deeper direction and upping the funk levels.
On the flip are two dancefloor/festival arena destroyers with “Higher Self” and “Parralel Reality” both going straight for the jugular.

Georgian artist Sophia Saze releases her debut two-part album 'Self' on Francis Harris' Kingdoms imprint, with part one dropping on cassette this June. "The record embodies my story of duality within the context of identity, insomuch as the idea that every person has a deeper layer we don't show on the surface."
Born in Tbilisi, Sophia Saze is the daughter of political refugees who's spent her life living in numerous different countries before eventually finding home in Brooklyn. Finding it difficult to find her own identity due to living a nomadic lifestyle, the classically trained musician became entangled with electronic music before becoming a key player within New York's nightlife scene and launching her Dusk & Haze imprint in 2017.
A reflection of her struggles throughout life, 'Self' is very much a memoir of the many different places she's lived during her journey, including Georgia, Russia, USA, France and Canada. Contrasting to her recent productions, which are geared more towards the dancefloor, her debut longplayer is downtempo and features a medley of musical influences - mixed in two parts and released as a concept album on cassette. Maintaining a sonically raw feel throughout, 'Self' draws the analogy of analog to modern day digital culture whilst also taking a stance against perfection, whether integrating the distance crackle of her machines or intentional off-beat piano notes in minor. Part One was conceived, for the most part, during a sleepless yet inspired 48-hour studio session. Processed field recordings accompany samples from her childhood, such as soviet cartoons and intimate VHS recordings of her family. The result is a well-seasoned and personal story portrayed in fourteen tracks mixed together.
"I feel the element of patience is somewhat of a lost commodity in our generation, particularly for albums. We're consumed by track to track interpretations and constantly searching for the next instant stimulation. With this record, I wanted to reiterate the idea that if you don't have the willingness to sit through the whole thing, then you're not stepping into it with the right mindset to begin with."
Every artist who collaborated on the record is handpicked, such as vocalist Ricardo Rivera. The final production was also mixed by Francis Harris himself. All of their involvement means they share a fragment of the concept.

Spearheaded by James Dean Brown (also known from Perlon's Narcotic Syntax) and Victor Sol, and featuring other rotating members, Hypnobeat is a true product of the open-ended spirit of DIY music that proliferated in the 1980s. The prescient project championed deft, machine-powered rhythm programming as its modus operandi long before the practice would become a dominant global cultural form. Since Hypnobeat was revived in 2012 with Helena Hauff joining JDB on stage for improvised live performances based on one 707 and three 808s, there have been a string of archival releases shining a light on the early and more recently recorded works of this forward-thinking venture.

This latest collection for Artificial Dance comprises three freshly unearthed iterations. Long-form A-side track 'Polychrome Desert' is a pure percussive exercise, programmed and recorded by JDB in 1986 with a chain of three 808s filling out a stereo panorama. The intention was to create a pure, meditative rhythm drawing on African influences and reinterpreted through what was then the music technology of the future. 'Spies In Malaysia' is a live recording from a concert Hypnobeat performed in 1985. Its lurid melodic passages and crunchy percussive blasts formed the closing track of the set, which was met with rapturous response. Recorded in the same year, 'Sumatra Railway' was the product of an impromptu session between JDB and Victor Sol. The song finds the pair exploring a more shadowy, surf-inspired sound, laden with echo and freewheeling through seven minutes of sun-kissed, subtly tropical subversion.

With each successive release, the plot surrounding Hypnobeat thickens in a tangle of 1/4' jack cables and ancient effect pedals. From its shifting line-up to the diverse sonic repertoire, it remains one of the wondrous plants of German electronic music in the pre-techno era.

Borneo’s eighth release brings a sweet little five track compilation of eccentric and exotic electronica. All music is lovingly composed and constructed by the label’s family and close friends.

Ultrastation is the lovechild project of Cosmic Force and Nuno Dos Santos. Their Eau De Voodoo kicks this EP off with a fire starter made out of driving afro rhythms combined with mesmerizing vocal samples.

Phones On Fail Jah by Fader sees a quirky digital take on digidub. Centered around filtered chords, a deftly curated selection of melody and percussion is put through its paces.

The enigmatic Fizzy Veins poured his hart out on the song Handbrake. Guitar play over a subtle synth line, all sprinkled with fragile vocals that are almost drowning in the sea of echoes that lies underneath.

Rotterdam’s Nous’Klaer mainstay Mattheis has contributed V21. A stealthy weapon with synth driven melodies and electronic rhythms that are slowly morphing in and out of each other. This will hypnotize any dance floor.

Samo DJ closes the excursion with a remix. He handpicked OVFiets from the Borneo vaults, an unreleased techno work out by party crew Marck. Samo’s version brings the original in a more airy, wholesome and percussive state of mind.

Dark Entries continues celebrating our 10 year anniversary with ‘Preservation Bias’, a compilation of lost songs and rarities from Linea Aspera out June 28th. The group formed in London in November 2011 by Ryan Ambridge (Synths/Programming) and Alison Lewis (Vocals/Synths). Within the duo, Alison writes and performs all vocal elements, while Ryan is responsible for producing, recording and mixing the electronics. We released their debut self titled album in June 2012 that was followed by a posthumous vinyl reissue of their tour cassette “II” on Weyrd Son Records in 2013. For all recordings Ryan utilizes an analog synthesizer set up: Roland SH-09, Roland Juno 6, Vermona DRM MKiii, Korg Poly 800 and Analogue Solutions Semblance. Linea Aspera's sound includes clear influences from 1980s electronic body music, synth-pop, industrial and noise. Lyrically the band incorporates the sciences of osteology, neuroscience, and anthropology weaving a new medical language around themes of desire, despair and renewal. Linea Aspera is the muscle attachment on the back of the femur and translates to 'rough line' in Latin. ‘Preservation Bias’ features all three songs from the limited ‘II’ tour cassette EP, four songs from the 2012 self-titled limited cassette EP and one song from the Desire Records 2013 compilation ‘And You Will Find Them In The Basement’. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each LP is housed in jacket designed by Niall Greaves and includes a double-sided insert with lyrics.

Bold, inventive, daring and electrifying, 'Vision Electrified' is Xhin's most personal work to date. An alchemy of IDM, jazz, techno and live instrumentation, the artist's latest polarizing EP breaks through the barriers, further carving his highly unique space out in the sonic universe.Full printed sleeve with coloured artwork on cardboardcreditsreleases June 14, 2019

Full printed sleeve with coloured artwork on cardboard. His last release was in 2017.

Synths, programming and guitars by Xhin
All tracks written and produced by Xhin
Recorded and mixed in Singapore
Vinyl mastering by Simon Davey at The Exchange, London
Artwork by Xhin

At the end of last year we quite enjoyed the little spat when Simon Cowell's chosen one, Joe... Something or other had his Christmas number one spot whipped away from under his nose by Rage Against The Machine. Still whilst we enjoyed the sight of the X Factor being given a bloody nose as much as anyone else, there was also an undercurrent of the ridiculous prejudice that ROCK = GOOD & MEANINGFULL whilst POP = CRAP & DISPOSABLE to the whole thing that we found less agreeable.

Here at Hot Pockets we have no truck with such orthodoxy, no, what we need is suite simply better pop music, made with all the passion and spirit of your finest indie troubadour but filtered through the prism of a 3 minute teenage symphony. Listen back to the likes of Roxy Music or Pet Shop Boys and you have music that is as equally up to the task of inspiring as it is of soundtracking a quick fumble on the dancefloor, that is the beauty of great pop music.

Thankfully for those of us that do like smart, clever pop that doesn't come hurtling off a production line but instead is crafted with much love and precision :Kinema: have arrived with their debut release a classic double A-side of pop perfection, Recreation/My Girls.

First up we have Recreation, a slow burning slice of South coast electro-soul inspired by an insatiable thirst for fun and those who would pass judgement on our basic human need for intoxication and ecstatic night time rituals. All in all a bonafide late night disco classic. Flip the virtual release over and you'll find the band's stunning cover version of Animal Collective's My Girls, a live favourite the track has already been the subject of a blogging frenzy when a demo leaked back in December. Finally available the whole world can now enjoy this smooth, autotuned refix of the indie classic.

The new pop revolution starts here

The mysterious Teisco LP is perhaps the most bizarre artefact to emerge from the phenomenal world of Italian Library music. Originally scored for a 1978 RAI television documentary, the album titled Tuscan Castle and Country Seat conforms to nothing you know or understand about library music. Studying composition under maestro A.R Luciani, the young Teisco composed innovative home studio recordings that parallel the outsider technique of French soundtrack composer Francois De Roubaix. With little resemblance to the standard cues usually found on library music LPs, this is stoned underground psychedelic music of the most eccentric kind. Imagine lyrical Moog oscillations drifting loosely over baroque and hallucinogenic atmospheres, or alternatively, think the DIY guitar jamming of the Velvet Underground and Dream Syndicate mixed with the electronics of some lesser-known Krautrock band. Wherever this recording sits among the dusty shelves of forgotten stock music, it is highly personal, deeply rewarding and without a doubt the most mind-blowing library record you will hear this year. This record is soon to be an outsider classic.

Any historians keen on the subject of "French youth in the 1980s" are holding a treasure in their hands. As a true archaeologist of this decade dedicated to disposable culture, digger-in-chief Vidal Benjamin with his newest compilation, 'Pop Sympathie', offers them a unique journey in the heart of the cyclone of emotions that struck all teenagers during the first seven years of François Mitterrand's mandate. Fifteen musical nuggets, exhumed from the dungeons of history, each and every one of them teaching us about what really obsessed the youngsters at that exact moment, i.e. what happens when the city lights come on at dusk, when irrepressible urges that stir them to get lost even more appear until the end of the night.

The artists gathered here did not have the honour of breaking into the local charts, but they all individually reached for the sky. Each song of 'Pop Sympathie' tells more or less the same story: that of a girl who throws herself into the night like one immerses one's self into the void, who rushes into a one-night adventure to become a star. And too bad if in the early morning she finds herself back at square one. In all these miniature odysseys there is neon lights, lasers, smoke machines, broken glass on checkered tiles, strangers on leather benches, celebrities in the bathrooms, stolen kisses, alcohol, drugs and cigarettes, Polaroids, venetian blinds and radioactive tubes.

If the first opus of Vidal Benjamin, 'Disco Sympathie', focused on the funky mood of songs that could have been played at Le Palace, then 'Pop Sympathie' develops itself as the imaginary soundtrack of another nightclub, Les Bains-Douches, the capital’s epicenter of nocturnal drifts. So what do we listen to, blasé, at Bains-Douches? Mainly synthesizers. The child of punk and post punk, French New Wave celebrates the matrimony of machines and lolitas under the auspices of a retro trend that revisits the atomic age. Trying to surf on that wave and hit the charts, a bunch of producers (Stéphane Berlow, Laurent Stopnicki, Bernard "Black Devil" Fèvre, Johny Rech, Jean-Yves Joanny ...) will spot their talents amongst friends, in a travel agency or at the local bar. These virtual stars are called Cecilia, Laurent, Sonia, Janou, Fabienne, Anne, Arielle or Ronan, not even 20 years old, and often leaving just an overexposed photo and their first name on a single as the only memories of their swift passage in this particular musical story. It took all the love and sweet madness of Vidal Benjamin to bring them back in the light of day.

Clovis Goux

• Debut album by production whiz-kid Mantronix, one of the most important acts in the mid-80s hip-hop. Pioneers of drum machine, sample technology and art of the remix.
• Features NYC club anthems ‘Needle to the Groove’, Fresh Is The World’ and ‘Bassline’ (UK top 40 hit).
• This is raw hip-hop and electronic music of the highest calibre.
• Cult classic proudly reissued by Demon Records on 180gm heavyweight black vinyl with
printed inner sleeve.

Celebrating the photography of Robert Doisneau, 25 years after his death. Discover the new Esprit Robert Doisneau Collection, associating songs with his famous images of Paris.

Famous all over the world, the photographer’s work accurately represents the soul of Paris. This collection of ten LPs are all pressed on 180g coloured vinyl.

Soul Jazz Records are releasing this stunning new collection, The World of Keith Haring, featuring
music influential to the artist Keith Haring.
The art of Keith Haring is today one of the most recognisable of any visual artists of his generation,
defining 1980s New York during an intense period when downtown artists and musicians collaborated
like never before. Haring’s musical inspiration took in the punk/dance downtown sounds of clubs like
The Mudd Club, underground disco at Larry Levan’s Paradise Garage, as well the early days of hip-hop
and electro.
The album is released to coincide with the opening of the first major exhibition in the UK of Keith
Haring’s work at Tate Liverpool and which runs for the next six months.
Haring’s many friends included Jean-Michel Basquiat, Andy Warhol, Madonna, Fab Five Freddy,
William Burroughs, Jenny Holzer, Yoko Ono, Grace Jones, Larry Levan, Futura 2000.
If you were looking for a person to guide you through the wide variety of nightclub scenes of
downtown New York in the 1980s, then Keith Haring would have been your man.
This album comes in deluxe artwork and three formats – Double CD + 48-page book, a deluxe 3xLP +
bonus 7” + download code vinyl version, and a standard 3xLP + download standard vinyl version. All
formats of the album feature stunning photography, extensive sleevenotes and interviews.
The music here includes the work of a number of Haring’s close friends, including Jean-Michel
Basquiat, Yoko Ono, Larry Levan, John Sex and George Condo (The Girls), as well as healthy dose of
rare disco, early electro and New York punk/dance tracks.

Formerly clandestine, today manifest, both sacred but also profane, sometimes meditated, very often improvised, the Kabar transpires in the daily Reunion, getting rid with insolence of any label that dares to impose. The Kabar is a fleeting but bubbling manifestation of an identity and a local culture that is still difficult to define. A moment of life and sharing where handcrafted instruments, neighborhood meetings, ritual dances and lyrical demands are mixed. A meeting.

Born from the musical union of maloya and electronic music, Digital Kabar is a compilation at the crossroads of cultures, porous to all sound experiences. It's also the result of a friendship that drives InFiné at Les Electropicales festival, from the fascination of a small team dedicated to the independent musical cause for a musical scene and its diversity.

Digital Kabar features tracks & reworks from Jako Maron, InFiné affiliate Labelle, Alex Barck, Christine Salem, Boogzbrown, Loya, Sheitan Brothers,Ti Fock, Force Indigène, Agnesca, Zong, Psychorigid, J-ZeuS, and Kwalud.

All of the music featured here on this new Soul Jazz Records collection was created by Brazilian
artists in the USA in the 1970s.
In the early 1970s North American jazz musicians were eager to work with upcoming Brazilian
musicians. Miles Davis invited Airto Moreira to join his new ‘electric’ band, Dom Um Romao (part of
Sérgio Mendes’ legen
dary Brazil ‘66 in the 1960s) joined the fusion group Weather Report, Flora
Purim and Airto both became a part of Chick Corea’s new project Light As A Feather, Wayne Shorter
collaborated with Milton Nascimento, George Duke recorded Brazilian Love Affair, and so on.
With all the attention placed on them from these important jazz artists, North America became the
new musical playground for a large number of these Brazilian artists – Airto Moreira, Flora Purim,
Sérgio Mendes, Luiz Bonfá, Eumir Deodato, João Donato and many others.
Most of these musicians had already experienced success through the earlier popularity of bossa
nova in the 1960s, either at home in Brazil or in the USA. But by the end of the 1960s many
Brazilian artists had left their own country, as the military dictatorship became progressively more
authoritarian and repressive. In the USA, through their critically acclaimed work for Miles Davis,
Weather Report, Lightj As A Feather etc., all of these artists were now given reign to explore new
musical terrains away from the restrictions of both a musical genre and a state censor back in Brazil.
This collection brings together some of these finest works and comes complete with extensive notes
that explains the path these musicians took from Brazil to the USA and shows the political and
musical links between Brazil and the USA that created the conditions for this unique fusion of these
two distinct cultures, North American Jazz and Brazilian music, that occurred in the 1970s.
The album comes as a deluxe gatefold double vinyl LP, complete with download code, full sleeve
notes, exclusive photography, double inner sleeves.

Mule Driver presents: Rainshadow

Imagine yourself on a deserted bank of the dead sea, a day after the end of days, taking part in the RainShadow tribe’s ceremony, chanting and thanking the spirits.

On this new EP, Mule driver delivers four post apocalyptic tribal tracks with a dystopian feel, fusing obscure techno with dark spiritual rhythms, driven with crushing beats with a hint of disco.

Tel Aviv based Mule Driver / Harel Schreiber has been highly active in the underground techno / electronic scene of Jerusalem and Tel Aviv for almost 2 decades with releases on his Los Jubilee & Confused Machines imprints, Parallax records and many more.

His full analog live shows are constantly evolving and are not to be missed.

Rainshadow is Mule driver’s ultimate treat to date and it was worth waiting for.

Kate Tempest returns with her third studio album, The Book of Traps and Lessons.

The highly anticipated album was crafted with Rick Rubin and Dan Carey over the course of the past five years. It follows Tempest’s previous releases, 2014’s Everybody Down and 2017’s Let Them Eat Chaos, both of which were shortlisted for Mercury Prize in 2014 and 2017, respectively. Last year, Kate Tempest was nominated at The BRIT Awards for Best Female Solo Performer.

A handful of words often tell you everything you need to know. When asked, who is Kate Tempest? She gives a brief, albeit telling answer. “Kate Tempest is the words,” she responds. You haven’t ever seen, heard, or experienced anyone quite like her. Tempest uncovers the missing link between the Golden Ages of literature and hip-hop. The London-born BRIT Award-nominated spoken word artist, rapper, poet, novelist, and playwright rhymes with a century-turning fury. Since her emergence in 2011, she has redefined what it means to be a wordsmith in the Modern Age. To date, she has published three poetry collections, staged three plays, and released two studio albums. Along the way, she entranced audiences on The Tonight Show Starring Jimmy Fallon, NPR’s “Tiny Desk,” and more. Not to mention, she garnered widespread critical acclaim from The New York Times, The New Yorker, Forbes, and more, to name a few. In the midst of this whirlwind journey, she performed a passage of her popular 75-minute narrative poem, Brand New Ancients, on Charlie Rose. Legendary producer and American Recordings Founder Rick Rubin caught the show, tracked down her phone number, and made a call. This set a series of events in motion that led to her 2019 debut album for American Recordings, The Book of Traps and Lessons, set for release on June 14th.

Aggelos Baltas is a veteran of the global electronic music scene, responsible for a handful of celebrated EBM 12”s as Dream Weapons, and a particularly heady and open-ended brand of krautrock as Fantastikoi Hxoi. His newest project, Anatolian Weapons, was conceived as a way to bring together these two seemingly mismatched concepts, with the polyrhythmic percussion and wailing tones of Greek folk music serving as their unlikely bonding agent. His output garners praise particularly around the Golden Pudel scene, such as Vladimir Ivkovic, and Phuong Dan. Lena Willikens, from the same circle, included Baltas’ track “Disillusioned” on her Dekmantel Selectors compilation in 2018.

But where much of what Baltas has released as Anatolian Weapons is instantly recognizable as dance music, To The Mother Of Gods—Baltas’ debut album for Beats In Space—is something else entirely. Created in tandem with Greek folk musician Seirios Savvaidis, it is a work of simultaneous collaboration and subtraction whose meticulous construction becomes more apparent with every listen. An album-length exploration of what happens when the principles of dance music are applied to pre-digital musical modalities. It is a record of psychedelic folk music that has more in common with Kikagaku Moyo, Minami Deutsch, and the Habibi Funk label than it does with anything else Baltas has produced under any alias. It’s difficult to imagine this music in any kind of club setting.

And yet, it’s very much the work of a DJ. Baltas initially heard Savvaidis’ music through a friend, and was absolutely amazed. “It was his very esoteric, pagan [music and] beautiful lyrics that grabbed me,” he writes. Seirios is a composer and performer of traditional Greek folk music with a growing discography of regional psych-rock gems. Baltas reached out to collaborate and the seeds of To The Mother Of Gods were sown.

Savvidis contributed stems of ten songs, which Baltas deconstructs and rearranges with appreciation of the ancestry of their lineage and of the deceptively ancient eerie, droning qualities inherent in the style. Occasionally augmenting Savvaidis’ recordings with his own, Baltas treats these elements as if raw materials for an architectural process.

To The Mother Of Gods showcases Baltas’ arrangement skills. He treats Savvaidis’ songs as landscapes, filling them with slanted, droning light and setting the singer’s vocals in dead center. His years behind the decks have given him an intuitive understanding of dynamics—drums crest and recede like tides, snippets of bassline repeat and swirl. He knows how to entrance, and when to push the music from the head to the body. Opener “Taratchi Katarratchi” (“Stormy Cataract”) is sung as a spell to ward off the fear of death, but Baltas’ orchestration demonstrates that dancing is an equally effective way of dispelling the darkness. The beat he assembles from Savvaidis’ playing recalls the late-night ecstasies of Primal Scream circa Screamadelica.

To The Mother Of Gods is a reminder that folk music and dance music are both powered by their audience as much as the musicians themselves. Savvaidis’ lyrics echo pagan Greek themes, touching on what Baltas calls “the magic of nature.” At times, as on “Kalesma” (“Invitation”), this can feel incantatory. Savvaidis chisels his vocal melodies into hard, clipped syllables, their cadence recalling Gregorian chant, and yet Baltas cloaks these details in washes of distortion. “Ston Stavraito” (“In Stavraithos”) is delivered with a lamentive tenderness that Baltas swells into a prideful stomp, immersing Savvaidis in marching drums and distant vocals that form a resilient protest-song. To The Mother Of Gods is a testament to the ongoing and innate truth that music can take us beyond ourselves. That repetition and drone can shepherd us to a liminal space beyond thought and rationality, where the wall between perception and reality does not exist. Call it spirit, if you want, and watch as it courses its way through modern-day dance music, mid-century psych, and the ancient sounds of the anatol.

Anatolian Weapons’ To The Mother Of Gods will be available from Beats In Space on June 14, 2019 in limited vinyl and unlimited digital forms.

Artist Highlights
• Aggelos Baltas is an Athenian music producer creating and Djing under the monikers of Anatolian Weapons, Fantastikoi Hxoi, and Dream Weapons.
• The Anatolian Weapons moniker is an outlet for Baltas to explore global music—from African to Anatolian and Middle Eastern, while also incorporating sounds from his home country of Greece.

Nach der umfangreichen und limitierten Boxset-Retrospektive "Michael Rother - Solo (Remastered)" des wohl einflussreichsten E-Gitarristen aus Deutschland und Mitglieds der Bandprojekte NEU! und Harmonia, erscheinen nun seine vier ersten Solowerke erstmals einzeln, digital remastered von den Original-Tapes: "Flammende Herzen" (1977), "Sterntaler" (1978), "Katzenmusik" (1979) und "Fernwärme" (1982). Insbesondere die LPs waren - mit Ausnahme einer US-Pressung von "Flammende Herzen" in 2010 - seit Mitte der 1980er Jahre nicht mehr erhältlich.

GILA ist ein Electro-Produzent aus Denver, Colorado. Auf seiner neuen EP "Trench Tones" stellt er seinen vielschichtigen Sound unter Beweis. Seine Ursprünge hat Kyle Reid, wie GILA mit bürgerlichem Namen heißt, im Jazz, wo er zuerst als Schlagzeuger tätig war. Durch eine Verletzung musste er die Sticks jedoch bei Seite legen und begann ab da Musik auf seinem Laptop zu produzieren. Erste Aufmerksamkeit erlange GILA 2012 mit dem Rap-Duo Gorgeous Children; es folgten Solotracks und ein Beitrag auf XL Recordings' "Chapter VI"-Compilation.

Am 21.Juni 2019 veröffentlichen Hot Chip ihr siebtes Studioalbum „A Bath Full Of Ecstasy“

A Bath Full of Ecstasy vereint den Sound, für den die Band berühmt geworden ist - Euphorie und Melancholie verschmelzen mit bunten Melodien, eigenwilligen Gesangslinien und pumpenden elektronischen Pop-Rhythmen. Für die Produktion holten sie Philippe Zdar, den französische Maestro, der die Magie von Cassius und Phoenix geprägt hat, und Rodaidh McDonald, der mit The XX, David Byrne, Sampha, u.a. zusammen-gearbeitet hat, ins Boot. Es geht zurück auf das, was Taylor als Inbegriff von Hot Chip versteht: "Eine musikalische Formulierung dessen, was gesagt werden muss, oft aber nicht ausgesprochen werden kann".

Low Distance is Deaf Center´s third full-length studio album and perhaps the most focused effort by the Norwegian duo to date. After their last record Owl Splinters (2011) was quite an eclectic endeavor, Erik K Skodvin & Otto A Totland draw their sound back into something more quiet and minimal.

The record starts with a piece of sweeping analougue electronics. It´s a spacious, yet dynamic opener that leads directly into the static tones and piano motivs of Entity Voice, which balances a new sense of abstractation with the classic Deaf Center sound. It´s warm and close while sounding like it´s set in the outer horizon. Overall Low Distance feels both alien and familiar with its atonal synths, close pianos and drowned out noises.

After meeting in studio for the first time since 2011, the recordings came out of a 3 day session in 2017. It was then mixed at both EMS Stockholm and at Erik´s home studio over a longer period to create a blend of deeply layered as well as stripped down pieces. Both Erik & Otto have been active individually since their last meeting as Deaf Center: Otto released 2 solo piano albums, while Erik has furthered his descent into musical abstractation both under his own name and as Svarte Greiner. It´s long overdue to hear them connect their personalities into something new. Low Distance is a welcome return replete with beauty, mystery and uncertainty.

Over the last decade, we’ve come accustomed to Jason Letkiewicz releasing material under a dizzying array of aliases, each utilized to explore a different side of his multi-faceted musical persona. Now, some 14 years after he made his recording debut alongside Ari Goldman as Manhunter, Letkiewicz has joined forces with Into The Light Records to release his first album under his real name.

The Reflecting Pool sees Letkiewicz exploring the uncomplicated and uncluttered in the pursuit of pure aural beauty. While his recent album as Opposing Currents was dense, dark, urban and industrial, The Reflecting Pool is stripped back, quiet and melodious. The contrast between the two projects is marked, with The Reflecting Pool drawing more on Letkiewicz’s love of crystalline ambient, slow burn synthesizer soundscapes, early ’80s library music and the kind of obscure electronic new age music that has been a hallmark of Into The Light’s releases to date.

The set’s 12 tracks gently ebb and flow, with Letkiewicz making great use of dusty old drum machines, effects units and a range of vintage analogue and digital synthesizers. It’s a set-up that results in a range of complimentary mood pieces and interludes, from the delay-laden military drums and lilting lead lines of “Out of Body Experiences”, to the drowsy, sunrise bliss of “Sunspot”, the bubbling Tangerine Dream style shuffle of “Mind Awake Body Asleep” and the outer-space atmosphere of “The Kill Fee”.

Throughout, Letkiewicz showcases his seemingly intrinsic grasp of mood, atmosphere and melody. It can be heard within the glacial guitar motifs, occasional beats and elongated chords of “The Reflecting Pool”, the rhythmic bustle of “Numb Drums”, the glassy-eyed melancholia of “Arhythmia” and the cinematic paranoia of “Burning Off The Morning Fog”. It’s also evident amongst the classically beat-less ambient of closing cut “Weightless”, whose alien electronics, effects-laden pulses and opaque chords recall established masters of the genre.

With The Reflecting Pool, Letkiewicz has provided us with a much-needed dose of stress-free musical escapism, at the same time offering hope that in these troubling times, love may still save the day.

Becoming Real ist ein britischer Elektronikproduzent aus Kopenhagen. Seine neue EP ist beeinflusst von Grime, Cyberpunk und Ambient Dream Music, kombiniert mit einem detaillierten und fesselnden Sounddesign, das fragmentierte Geisterbilder leere Städte der Zukunft heraufbeschwört. Für Fans con Arca, Burial, Four Tet, Varg, HKE und Murlo. Seit seiner ersten Veröffentlichung 2010 hat er mehrerer EPs und Alben auf Transgressive Records herausgebracht, was ihm Aufmerksamkeit von u.a. The Guardian - ‘New Band Of The Week’ und NME - ‘Radar’ einbrachte. Zudem hatter er Auftritte beim Great Escape, Leeds Festival und in der Royal Albert Hall und tourte in Europa/ UK mit SBTRKT, Salem, Grimes und Mount Kimbie.

Old time something come back again! Victor Axelrod at the controls, taking an early Daptone classic from the Lee Fields & Sugarman 3 repertoire into the world of 60s ska – featuring a new singer we think everyone will be talking about once they hear this simply because... this man is on FIRE! We present to you Leon Dinero. Some might recognize the flash of his gold tooth glimmering in the dark dances between Jamaica and Brooklyn and now we have him on record with more to come!

The vocal “Lover Like Me,” snake-charms you into what could easily fool some to be an unreleased Alton Ellis cut that was long lost in Prince Buster’s tapes. Leon gives nods to Lee’s original vocals while taking the vibes to another island. The flip “Conscience is Heavy,” has The Inversions capturing the powerful Blue Beat kick-drum punch and organ bubble that is sure to keep a dancefloor shuffling and the know-it-alls guessing.

Nocta Numerica is happy to present its 14th release by Betonkust. "Sent Items' is a 4-Track EP that mixes Electro, New Beat and Acid music. The EP will be out on June 17th and available in digital & vinyl on all the usual platforms, Limited edition of 300.

Dutch producers Mindmapper & Fre4knc team up to deliver the 'Martial Manners' EP in celebration of Translation Recordings' tenth vinyl release, which comes on a visually stunning piece of crystal & transparent white vinyl! Up first is 'Collessius,' whose heavy-rolling bassline rushes in with the
force of a tsunami, leaving a wake of dancefloor destruction in its path. 'Shutter Angel' is a futuristic track where tight, snappy breakbeats slingshot back and forth between an electrifying bassline that surges across the airwaves like a beam of focused energy. Mindmapper & Fre4knc
delve into darker territories on 'Fenryr,' whose gritty atmospherics and subterranean low
frequencies deliver a unique and immersive listening experience. They close the EP on a deep, meditative note with 'Mind of Steel' (digital only) where drum edits slice through growling bass riffs with blade-like precision. The 'Martial Manners' EP strikes the perfect balance between dancefloor and experimental to carry on Translation Recordings' ongoing mission to bridge audiences with quality music that can be enjoyed in all listening environments.
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Translation Recordings is proud to unveil its summer 2012 project capturing all moods sublime with the 'Universal Grooves LP'. A limited press on transparent blue vinyl, this special edition 12inch showcases a diverse sampling of Translation's full album that will not disappoint. The A-side brings the thunder showcasing the heavy hitting, rolling and dubby sounds of Loxy and Resound's 'Civil War' and Theory's calculated genius behind the ragga and amen tear-out, 'Final Confrontation.' Flip to a switch in vibe as DBR

Ready for an adventure running parallel to their lives in common units, the quartet boarded a starship
to set off on an astral expedition. The mission began perfectly, according to plan. From the very first
measures, the travellers were released from the Earth's gravity. Very quickly, their home planet
appeared tiny and distant, before disappearing completely. Comets and novae lit the way through the
fathomless depths of interstellar space. Their preliminary, in-depth studies of seventies jazz-funk
were a great source of inspiration. Very early on, they knew that this sonic esthetic would allow them
to travel even farther, navigating only with organic instruments and no digital backing or
enhancements.
Commander Virgile Raffaëlli's bass lines guided their journey, offering a calm, yet vibrant foundation
for the smoother phases and turning up the power to bring them through turbulence and meteor
showers safe and sound. Like a compass, the bass indicated the direction and traced a groove that
the loyal, valued crew could follow as their travels continued. Mathieu Edouard's drums solidly
locked down the rhythm to avoid any sudden jolts, working in tandem with Erwan Loeffel's jetpropelled percussion. On the keyboards, Florian Pellissier drew harmonies and riffs from the
synthesizers and electric pianos to oil the machinery and lighten the load when the ensemble needed
to rise a few feet. The crew's almost telepathic cohesion was key to their success, allowing them to
express interior emotions with just a few notes.
Here is the last transmission we received:
"We have landed on an unknown planet and are depressurizing the airlock with help from subtle
horns and ethereal choruses so we can discover the new horizon. It definitely meets our
expectations! The desert before us holds the promise of new life. The warm yet fresh air is easy to
breathe. A vague psychedelic scent floats through the atmosphere, as if ready to spring from the first
flower to bloom. Dreamlike, mysterious, enigmatic yet familiar, we will call it Aldorande."