quête:mo do

Following on from the three highly-acclaimed CoOp Presents 'Selectors Assemble' compilation EPs from the past year, it's now time to focus on some of the individual talents from the ever-evolving movement. As the international foundation grows, we invite aboard the extremely talented Neue Grafik into the fold.

French producer, instrumentalist and DJ, Neue Grafik, has been building a strong rep for himself over the past few years, releasing records previously on labels such as Rhythm Section, 22a and Wolf Music. His sound is a hybrid of jazz, house, broken beat and hip hop, all with his unique geographical flavours of African ethnicity, Parisian roots and a love for London thrown into the mix.

So to the music - two brand new tracks, 'I Miss Something' and 'Bed Stuy's Mood', complete with remixes from EVM128, Danvers, Xtra Bruk and NameBrandSound (aka label bosses IG Culture & Alex Phountzi) respectively, making this one essential package for the bruk soldiers and beyond.

In Neue Grafik's words...

"I remember the first time I was at a CoOp party and met IG - I just said something like "unbelievable party, well done! Thank you, man". I didn't expect to be a part of this brilliant family a few months after that; it's totally insane to think about it now.

I began to hang properly with the CoOp fam during a DJ session at The Flex in East London. I was so happy to live in this moment; surrounded by these talented performers, artists and producers, excitedly talking about unreleased music on everyone's USB sticks.

This EP is a personal vision of the broken beat scene and my love for that. A meeting with artists who build my own taste, with friends keeping the same vibrancy and desire for this music. 'I Miss Something' and 'Bed Stuy's Mood' are two tracks dedicated to Porte Des Lilas (Paris), and Bedford-Stuyvesant (New York). One was made in my house, the other on holiday. These two tracks, as well as the remixes from the Selectors Assemble crew, represent a real and deep friendship."

More essential music from the CoOp Presents camp, available on limited vinyl and all digital services. Don't sleep.

A collabo you couldn't make up. Ice-T & Charlie Funk team up with Hamburg's Mighty Mocambos for a funked up version of their single "Bounce That Ass", blending old school west coast vibes with raw funk recorded live to tape, guaranteed to get every dancefloor busy.

Ice-T & Afrika Islam aka Charlie Funk wrote history together. They made countless platinum LPs, won grammys and oscars and shaped rap music as we know it today with albums like "Rhyme Pays" and "Power". Here they reunite for the fun(k) of it, celebrating the motion of hips like only they could and the Mighty Mocambos once again leave no doubt about their status as absolute funk heavyweights and 45 champions.

Exclusive release on vinyl.

After a break of 6 years, Atlanta based electronic musician, producer and sound designer Richard Devine returns with a new album 'SortLave' on Venetian Snares' Timesig imprint. Recorded between 2016 and 2017 using Richard's custom built Eurorack modular system and two Nord G2 Modular units, SortLave features 12 tracks of intricate electronica that ranges from abrasive percussive experiments such as 'Revsic' to 'Astra's dazzling juxtaposition of sounds and onto the radiant ambience of the album's closer 'Takara'.

Talking about the album's genesis Devine explains 'I've been using modular synthesizers since I was 17, but have never written complete tracks using these newer systems. This was my first experiment to see if it would be possible and I probably spent about 5 years building up the systems that I used on this album.' 'I wanted the record to sound very different to my previous works which had been more cold, digital, clinical even, and had all been made using computers. The aim here was the complete opposite, to create something that felt very organic, detailed, spacious, big and warm and just as importantly, a record that you could put on and play all the way through that flowed in a seamless way.' This new approach was to prove fruitful and enabled Devine to create music in an entirely new way. 'I really wanted to break free from timeline-based music creation and do things with my hands on the fly,' he explains. 'So the tracks are more like captured snapshot performances where I could experiment and play around with the idea of probability-based sequencing for every patch, string multiple sequencers together that would feed other sequencers to come up with interesting rhythms and melodies. It was really fun coming up with new sounds this way too, I felt like I created several I haven't heard before with this album. Some of the tracks on the album were complete accidents and evolved from something that happened spontaneously. In the end I feel this is one of the best records I have released to date, so I'm very excited to share it with the world.'

Making his debut in 1995, Devine's releases for labels including Schematic, Warp Records and Detroit Underground have established him as one of the leading figures within the electronica community. In addition to his musical productions, Devine has enjoyed a lengthy and successful career in sound design, developing patches for many of the world's leading music technology businesses and working with companies such as Google and Nike.

This 12' is a document of modern contemporary music, containing future artifacts made by a selection of old friends and new faces. All of them deviate from what's obvious, possessing the ability to be serene and mental at the same time. Their coming together here is a great opportunity to appreciate this kinship, while at the same time acknowledging what distinguishes them from each other in terms of sound and representation.

In the expansive sleeve notes accompanying this superb triple-album, Analog Africa founder Samy Ben Redjeb accounts, in great detail, the epic tale of Dur-Dur Band, a Mogadishu-based deep funk outfit that took Somalian radio by storm during the early 1980s. It's a remarkable story, all told, but nowhere near as remarkable as the music contained on this essential retrospective. Redjeb has managed to license both of their previously cassette-only albums, stretching them across three slabs of wax. Brilliantly played and performed, the songs mix killer American and African style funk grooves with hooky Somalian vocals, spacey synths and occasional nods towards other styles (most notably reggae on later period cut "Diinleeya" and Juju on "Salkuu Dhigey"). Simply essential.

In just a year of existence, Chloé's Lumière Noire has brought emerging artists and promising newcomers together - and this first compilation of 13 brand new tracks expands the roster, exposing the label's eclectic vision in full daylight. When Chloé talks about her label, she puts forward the fundamental values that informed her own musical journey, her trust in her own musical taste - and, of course, the predominance of human relationships: 'I followed
my bliss and only commissioned tracks from artists that I respect and whose music I love. That to me is Lumière Noire's musical palette.' With this 13- track, unmixed compilation, Chloé makes a case for a label aesthetic that is based in open-mindedness. Familiar, elemental Lumière Noire artists are represented, as are new faces, producing a kind of group photo presaging what's next for the fledgling label. Lyon's Markus Gibb leads the track listing with Kuru with a deep chiaroscuro matching the label's ethos, followed by other mainstays Il Est Vilaine's Farenheit 451, which evokes Ray Bradbury's retro-dystopic angst with the
band's usual electro-pop elegance. Sutja Gutierrez, who released in debut EP, The Legend of Time on Lumière Noire in April, pursues his electro Shamanism with the ceremonial Allodoxaphobia, while Iñigo Vontier (whose EP Aluxes came out on the label in late 2017) brings his C O N T R A project
online with track Taurus, a further development in voodoo house. Elsewhere, Suuns lead singer Ben Shemie, who lent his fascinating art-rock croon to Recall, a single from Chloé's Endless Revisions LP, contributes A Million Kinds, a synthy, psych-pop debut that is as brilliant as it is surprising. On to the freshman class: Dutch producer Drvg Cvltvre (who gets personal kudos
from Chloé with each new 12') brings the uncompromising dark electro of his hypnotic and claustrophobic Last Rites. Jonathan Fitoussi's airy, minimalistic Cercles Polaires brings the respite of his recent Versatile Espaces Timbrés LP (a collaboration with Clemens Hourrières): 'I met him at Xavier Veilhan's
Studio Venezia at the Venice Biennale. He's a great guy, and his universe is unique,' says Chloé. Benedikt Frey's deep techno track Iaon, is on par with his smash 2017 album, Artificial, out on ESP Institute. First-timers are also part of the recruits: Bajram Bili with the ten cerebral minutes of Restart, Théo Muller with the ultra-deep Douce Transe, and Lumi, a Basque band that fuses
electronic sounds with acoustic instruments, brings the ompilation to a close with a track commissioned by Chloé. These audacious choices are anchored down with the likes of Permanent Vacation pioneer Lauer's hooky, 80s-infused Pythor ('Just like him, I was a resident of the Robert Johnson, and he was a guest of mine at one of my Lumière Noire nights at the Rex. He is one of these people whose music I highly appreciate'); Aergeworc & Franck Agrario, half of English duo Swayzak David Brown's project, weaves an ethno* mood into Grace's techno. Bringing together different generations, genres, and styles That may not necessarily be Chloé's MO. She invokes a more arbitrary, personal logic: 'I like to mix of-the-moment tracks and more timeless one, but the rule is above all 'do I love this or not'. That was my ethos when I started Lumière Noire.' In that way, the label is definitely in keeping with its time

'Breathe The Machine' is the first installment of Dojostudio and presents a musical world rich in harmonics, low frequency and melodic impact, yet with enough space in between to allow that perfect breathing room essential for powerful dance cuts. 'Breathe The Machine' portrays a world that initially feels robotic, yet instills an organic fluidity known only to come from humanoid beings, breathing life into a system littered with code and coldness. Billy Dalessandro presents 3 original cuts, plus a rendition of the title track by Mike Shannon.

Both for 'Breathe The Machine' and 'Tractor Beam' the Waldorf Microwave XT 2 and the Jomox 888 were the primary sound sources. For 'Breathe The Machine' the 888 was processed through a Jomox T-Resonator, which added harmonic distortion, and also spread the stereo spectrum out a bit offering the drums a more washed-out feel. The XT was layered track by track by performing patterns live into an editor until the desired ideas were properly recorded. Mike Shannon was brought on board to offer a contrasting expression of 'Breathe The Machine' and when asked how the process went he stated:

"I took the source sounds, edited them and processed them to work with a groove I had written for this remix. I mainly used the pad, lead synth and synth effects from the original. The rest of the gold I engineered."

On 'Tractor Beam', subtle use shows that ample space in between ideas make things seem larger than life. By allowing a more minimal approach in the production process the sounds can easily co-exist, allowing for that 'big room' sound without overwhelming the overall experience.

The digital exclusive 'Deliverance' was created using NI's Maschine for the drums, and FM8 and Reaktor were the sources of the synths. Drum patterns were created in Maschine and then recorded in realtime back into the DAW as it played, with real-time tweaking of the hi-hat to create the desired impact, especially at the break. The synth and pad patterns were recorded as MIDI into the editor, and then automation of the synths' VCF rounded out the expression needed to complete the emotional process.

All in all, DOJ001 is mostly an all-hardware showdown, with 'Deliverance' being the only 'virtual' attempt. Life is in nature, not in machines, yet the culmination of the two worlds can be beautiful, if only properly tamed and understood. Lest we beware! Stay tuned... and thanks for listening!

Emotional Rescue returns to the music of Elaine Kibaro with a special 7" single to accompany the Pour L'Amour album collection (ERC066). Here then are two bonus versions of songs from the LP with a unique Arabic recording of her "hit" Aurore and also, the previously unreleased on vinyl instrumental version of her balearic / boogie jam, Ne Doute Pas.

Having moved from Tunisia to France at the age of 13, Kibaro's duel sensibility has long been apparent in her music and performance. The early success of her debut 7" De L'autre Cote Du Miroir in 1977, was soon followed by her most 'successful' song in Aurore, first released as a 7" in 1978, before appearing again as 9 minute extended version on the 1979 Miroirs LP.

In the same year she recorded a special 7" single on the little known World Music label. Singing the lyrics in Arabic - renamed here to its true translation - much else remained the same. The music of the original, the spoken intro soon gives way to what is essentially a leftfield disco groove, with building strings, funky bass and some late archetypal 70s Euro drumming. Atop this the vocals are delivered in Kibaro's ubiquitous chanson delivery, her heartfelt singing, the congos breakdown and then chorus, as the songs builds, all lead to head-nodding smiles all round.

With this is Ne Doute Pas. A stand out from Pour L'Amour, the vocal version appeared in 1989 as a single and on the now sought after, Kiroel album. This instrumental simply let's the music shine. A Linn rise and fall bassline, soft, layered keys and mode horns are run and rerun in a catchy, incessant flow like a PWL demo. The 10 years between the 2 tracks is apparent in the instrumentation but the link between the two - Kibaro herself - is clear and worth enjoying for that.

Corduroy's third album 'Out Of Here' updated their sound, taking in
1970s influences that would later be defined at yacht rock. The
Iconic cover with the band about to take off in a bubble-fronted
helicopter the album shows the band at the height of their powers.
The track features the Top 75 hit 'Mini', the anthemic tribute to
Japanese jazz star Monday Michiru 'Don't Wait For Monday' and their
reverent cover of 'Motorhead'.
Available on LP for the first time in two decades, it comes pressed on
shiny blue vinyl, re-mastered from the original tapes.
The perfect companions to the comeback album 'Return Of The
Fabric Four', which was released earlier this year.

In the sweltering North-Eastern Brazilian state of Pernambuco lies the coastal city of Recife, where Amaro Freitas is pioneering the new sound of Brazilian jazz. For the prodigious young pianist, the spirit of his hometown runs deep. From the Afro-Brazilian maracatu born on the sugar plantations of slavery, to the high intensity carnival rhythms of frevo and baião, Amaro's heavily percussive approach to jazz is as indebted to these Pernambuco traditions as it is to Coltrane, Parker and Monk.

As with many of the greats before him, Amaro began playing piano in church aged 12, under the instruction of his father, leader of the church band. As his natural talents became obvious, the young prodigy quickly outgrew his father's instruction. He won a place at the prestigious Conservatório Pernambucano de Música but had to drop out as his family could not spare the money for the bus fare. Undeterred, Amaro gigged in bands at weddings and worked in a call centre to fund his tuition. The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert, 'he completely blew my mind, I'd never seen anything like it but I knew that's what I wanted to do with a piano'.

Despite not actually owning a piano, Amaro devoted himself to studying day and night - he would practice on imaginary keys in his bedroom, until eventually striking a deal with a local restaurant to practice before opening hours. By the age of 22 Amaro was one of the most sought-after musicians in Recife and resident pianist at the legendary jazz bar Mingus. It was during this time he met and begun collaborating with bassist Jean Elton and the pair went in search of a drummer. 'We kept hearing about this crazy kid who was playing in 7/8 or 6/4, we knew we had to meet him'. Hugo Medeiros joined, and the Amaro Freitas Trio was born.

'I want to show the simplicity of music, to break the stigma that the piano is for a particular social class. Yes, it's a difficult instrument, which many people do not have access to, but with it you can express everything.'

Following his critically acclaimed debut album Sangue Negro (black blood), the title of his sophomore release Rasif is a colloquial spelling of Amaro's home town. A love letter to his native northeast, Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti and Moacir Santos.

Preferring to see the piano as a though it were a drum with 88 unique tones, Amaro's intelligence and emotion intertwine on every track, from album opener 'Dona Eni': a scorching reconstruction of the baião rhythmic structure, played in seven measures instead of two, to the serene homage to the coastal reef and its ecosystems on the title track 'Rasif'. 'Aurora' is a suite of three parts, representing the sun's journey from the light and soft of the rise, to the aggressive dissonance at its midday zenith and descending chromatic cadences as the sun sets.

Due for an Autumn release on Far Out Recordings, Rasif sees Amaro Freitas take a deserved step onto the world stage. Having already made a name for himself in Brazil, Amaro and his phenomenal band will embark on their first European tour later this year.

Amaro Freitas - Piano

Hugo Medeiros - Drums & Percussion

Jean Elton - Double Bass

Henrique Albino - Baritone Sax, Flutes & Clarinet

All compositions by Amaro Freitas

Produced by Amaro Freitas

Recorded by Bruno Giorgi @ Carranca Studio, Recife, Brazil

Mixed and mastered by Bruno Giorgi @ Quarto Studio, Rio de Janeiro, Brazil

Executive producer and management: Laercio Costa

Serbia's Soul Print Recordings returns after a year away, this time with Englishman Mark Hand at the helm. Four pieces of beautiful and emotive deep house from Mark, fresh from his Cobwebs EP on Uzuri earlier this year. The record kicks off with Midnight, a beautiful track with it's floaty pads and gently rippling bass tones, coupled with the great soulful voice of Greg Blackman. False Leads is a percussive number, drenched in machine soul, with on the flip, Sio's voice sits effortlessly above a downtempo beat, while Mark adds his late father's saxophone to the mix on the final jazz enfused Mountains. Complementing the wonderful music is the design, with the label art handled once again by the talented Bratislav Milenkovic, and vinyl coming in a beautiful light pink colour, making a Soul Print Recordings release both an aural and visual thing of beauty.

Fantastic 80s pop music with a soul and funk touch and an outstanding singer. A must have for fans
of Billy Ocean, Barry White and similar artists. Perfect playing, perfect production, perfect songwriting.

On the edge of the lightfooted disco movement there was sophisticated funk music and one of the often
overlooked protagonists oft he scene was Mr. Sterling Harrison, born in 1941, passed in 2005. His legacy contains
two solo albums from the early 80s and this, dear friends of funk music, is his second from 1981. Copies in good
shape fetch prices up to 800 Dollars so we should give this current reissue on EVERLAND warm welcomes. Is it all
worth the enthusiasm Oh, you can bet it is. Sterling Harrison had left behind the 70s and was ready for the 80s.
The sound is up to date, clear, clean and powerful. The music still shows the fire of the earlier funk records but the
synthesizer passages, the whole production proves that we are now entering a new age. 80s Synthie Pop is part of
the mix, despite the main ingredients are soul, funk and a bit of disco here and there. The vocals are overwhelming,
sung with great emotions and a feeling for the freaky edge of soul. The tunes here come as diverse as they can be,
each one with his very own face, but they all have the same spirit courtesy of Sterling Harrison. Each one should
have had a spot on the top ten pop charts in 1981 but in this case this album would probably be legendary in
another way. This music will drive every 80s black pop enthusiast wild. When after all these powerfully driving pop
and dance tunes, with a more relaxed reggae groover in between, your feet ask for a break, just go for a sweet soul
ballad in the best Barry White style. Smooth and slick, yet still performed with depth and spirit, such a song might
calm you down until the next dancefloor sweeper will hit your ears. The overall atmosphere of this record is truly
happy and enlightened. Good vibrations pour from every note, played here by a team of highest order musicians. A
perfect record for 80s black pop aficionados who admire Billy Ocean's 80s albums for example. This record is a
typical example of the contemporary pop music of its era, but this is what makes it even more charming. And the
songs will definitely stick to your mind after just a few spins without losing their fascination. A true gem for true
music lovers.

Violinist and refined studio engineer, music consultant and coordinator for a variety of recordings, concerts and venues. True Gentleman. Elliot Rosoff is simply a diamond in the music industry throughout the last four decades, playing a pivotal role in some of the hits of artists such as Deodato, Philipp Glass, Grover Washington Jr., Jan Akkerman, Jesse Green, Candi Staton, Peggy Lee, and so many others again. He has signed few of the early records in the stellar catalogue of West End, the most prominent label in the history of dance music, intimately connected to all the dancers and music lovers from the world over.

- Throughout her career, Lulu has worked with some of the best in the business. In the space of ten exciting years, straddling the
60s and the 70s, her recordings were produced by the stellar list of Mickie Most, Arif Mardin, Jerry Wexler, Tom Dowd, Wes Farrell
and David Bowie, with arrangements by the likes of John Paul Jones, Johnny Harris and Peter Knight.
- The hits featured include 'To Sir With Love' (a US # 1), 'The Boat That I Row', 'Love Loves To Love Love', 'I'm A Tiger' (written
by Ronnie Scott and Marty Wilde), 'Boom Bang-A-Bang', 'Oh Me Oh My (I'm A Fool For You Baby)', 'The Man With The Golden
Gun' (John Barry's theme for the Bond film), 'The Man Who Sold The World' and 'Watch That Man', and 'Take Your Mama For
A Ride'.
- The inner sleeve of this LP is lavishly illustrated with many archive photos.

I Started Making These Tracks Without Much Of A Plan Of How I Would Want Them To Turn Out, Other Than That I Desired Something To Sound Ethereal, Weightless But Also Palpable. After Looking For Hours Outside Of My Window, Watching The Subtle Movements Of The Elements In The Sky And Listening To The Sounds I Was Making And Letting Them Do Their Own Thing, Things Started To Shape In A Way That Felt Effortless And Natural. The Sounds I Had Created Were Moving On The Vertical And Horizontal Axis In A Micro And A Macro Level, But Also In And Out Of The Depth Axis. Beat Rhythms And Basslines Were Intertwined With A Web Of Never Resting Sound Modulations, Mixed With Sinusoidal Pads, Chimes And Hidden Bird Voices, Creating An Other-sound-wordliness, For An Otherworldly Club Space.

This Personal Attempt Of Simulating And Re-interpreting The Flow Of Nature's Phenomena, Produced The Two Tracks, "ektos" And "en", That Comprise Disk Capita's New Release.

Dj Dem
Berlin 2018

If you're going to call your band audiobooks, you'd
better have some good stories to tell. Stories that
should move you and stories to make you move.
Stories about real life and surreal life and all that
weirdness that you just glimpsed out of the corner
of your eye. Luckily, audiobooks really do.
The London-based duo have developed a unique
ability to conjure up magical aural snapshots that
wallop you like bong hits.
Each of their discombobulating observations comes
stretched out over a series of discomfiting
oscillations, like messages from the spirit world or
pulp fictions found in a box at the end of your road
or a crackling pop broadcast from a far-away
galaxy.
'One to definitely get under the skin... a thing of
exotic beauty' - DJ Mag (8/10)

A girl stands at an arcade machine, her eyes fixed on the glowing screen with her back turned on the world. She seems to be alone, somehow lost and yet at one with herself. The cover art (by Carmen Alt-Chaplin) for Peter Zirbs' debut album as a solo artist conveys escapism - being totally immersed in another reality, in the virtual world. His equally futuristic and retro-futuristic aesthetic is permeated with melancholy. What if we really don't exist

Peter Zirbs himself also knows how to escape: how to hunker down in the studio, hide from the outside and lose himself in the music. He emphasizes that such an escape is healing, leading to the world of the romantic. The Viennese musician and producer has always felt most comfortable straddling genres, whether techno and rock in previous band projects, or now as a solo artist combining post-minimalist dramatic synth/piano ("Firmament") with modern wave pop ("Are You Reality") and poignant ballad-kitsch ("Dreamescape"). Here there are subtle changes in emphasis gracing otherwise repetitive harmonies; there a true appreciation of pop. Ten songs - five with lyrics, five without - some threatening, some heartbreaking, all stirring. They project a world - sometimes concrete, sometimes abstract - in which can be found beauty and disquiet, love and fear, failure and perseverance. A world one is happy to get lost in while the cinema in one's head tells its own stories. (by Manuel Fronhofer)

As part of the Viennese rave and techno scene of the 1990s, multi-instrumentalist and electronic producer Peter Zirbs has released music under several pseudonyms, produced and remixed various artists, and scored a range of experimental films. He has broken down genre boundaries over the years with the variety of his output. The circle closes now. In 2018 Peter Zirbs finally steps into the spotlight as a solo artist.

"What If We Do not Exist" by Peter Zirbs is released on 19th October 2018 by Fabrique Records. Guest vocalists include Monika Heidemann (Heidemann, The Phenomenal Handclap Band, The Juan MacLean / DFA Records), Tom Walkden (Wolventrix) and Gerard McNeice.

* Packaged in re-sealable polybag with A4 artwork insert. Comes with EOC logo sticker and download code.

* Katsunori Sawa returns to his EOC (Enormous O'Clock) alias for Mirae Arts. Hailing from Kyoto (Japan), Katsunori Sawa is the co-founder of 10 Label with techno producer, Yuji Kondo. Currently producing and performing as a solo artist as well as in collaboration with Yuji Kondo (as Steven Porter), Anthone (as BOKEH), and Chafik Chennouf (founder of Leyla Records). EOC debuted on the legendary UK label Ai Records in 2008 with an album called Information Warfare. Katsunori Sawa has since then developed a catalogue of deep techno escapades for labels such as Weevil Neighbourhood, Opal Tapes, Leyla Records, and 10 Label.

* The Path of Untitled Memories is a project grounded in neon excess and delicate balance of modern conformity. Ceaseless wriggles beyond pleasures. Electro excursions for the curious minded.

* Logo and sticker design by Jason Smith (founder of Ai Records). Artwork by Elbert Choi (founder of Mirae Arts).

* Vinyl pressed at the highly reputable Gotta Groove Records, Cleveland, Ohio.

Yuri Méndez's 7th album is called W. W is a collection of finely crafted songs. The instruments are many and their intonations, variegated. W comes in the usual formats, only better, and full to the brim with sensitive lyrics for the man and woman of today.

On the other hand, presumably the left, Yuri's ageing well and intent all the while on writing more numbers in order to keep a steady flow of fresh material ready at any time.

These are good times in W land or, as the poet said, 'it hurts a bit, but the colours are admirable'.

Yuri Méndez is Pajaro Sunrise. Initially a duo, he's been working on his own ever since the release of the second album, 2008's Done/Undone. His previous albums received praise from such fine publications as Q, Uncut and Monocle, and his music can be heard in several international motion pictures and TV series such as The Missing Lynx, Castle, The Big C, Catalan hit series Cites and Benvinguts a la família, and ad campaigns by the likes of McDonalds and Vodafone.

Love Not Sex is the second Stubb 12" from Paper Recordings' Ben Davis.

The original is a melancholic slice of sunshine that draws inspiration from MOR and blue-eyed soul with a hefty dose of Balearica.
Acoustic guitars, Rhodes, live drums and strings plus Crazy P's Tim Davis on bass provide the perfect cinematic backdrop for the plaintive vocals of Huw Costin (Torn Sail) and Rachel Foster.

Japanese edit hero Mori Ra delivers his first ever remix and its a doozy. Keeping the bones of the original track, he takes it in to dark psychedelic waters with the help of former_airline's tripped out guitar.
A spoken vocal tips it in to full balearic wonkiness that will have the likes of DJ Harvey and Bjorn Torske getting hot under their disco beards.

Bergen's Leca employs his trademark stripped back crisp production for a warm, dreamy remix. Steel guitar, clicks, whirrs and a Nordic playfulness make for a cosmic journey in to the Northern Lights.
The 12's will be a limited run of 300, screen printed in West Yorkshire by The Egg Factory with artwork by artist Rachel Johns in a project that celebrates community and collectivism.

Keni Burke's signature hit 'Risin' To The Top' gets an official remastered, reissue alongside the 12 inch mix of his '81 killer jam 'You're The Best'.

'Risin' To The Top' quickly became a clear favourite of the soul crowd back in the '80s, with Keni's sensuous vocals, a timeless bassline of epic proportions and those dreamy, sunshine chords proving a winning combination. Since then countless producers, from the likes of Doug E Fresh and Slum Village, to LL Cool J and Mary J Blige, have utilised 'Risin' To The Top' as a choice sample for their own productions. A quick glance at this seemingly endless list, just goes to show how much of an impact this record ended up having.

On the flip, 'You're The Best', takes a more boogie paved path, filled with an undeniably groove laden bass synth, cosmic keys and Keni's infectiously soulful vocals. It's early eighties synth boogie at it's best, placing the electronic elements at the forefront whilst holding onto that unquestionable funk at its core.

Two Keni Burke classics for soul heads, sample spotters and anyone with a keen ear for a gem.

* The long running KFA series 'True Skool' returns to vinyl for the first time in years, with 4 amazing tunes. The True Skool EPs have always pushed the boundaries, and this one is no exception. True Skool resident Radiophonic Oddity comes in hard with a furiously edited breakbeat and hip hop collision, while Doughbiy switiches from his usual style to bring some proper jungle flavor. Label newcomers Innercore and Evolutionize flex their muscles with two heave breakbeat workouts, once again demonstrating that KFA is most comfortable meandering about where others fear to tread.

CLub / Dj Support
Billy Bunter, The Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-c, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder And Many Others

* Paul Bradley returns with another wicked EP, this time pushing further back to a more 1992 sound, along with his customary 1993-1995 tear ups. Each tune has been lovingly crafted to appear at first quite simple, and yet closer listens reveal hidden depths to every track, and a sly sense of humor that both elevates and enhances each piece. The 'Kin Cosmic EP gets the full colour sleeve treatment and deserves every bit of it....

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

* This EP is the debut release from Shoreman, but even a brief listen will make it clear that this artist is absolutely assured and confident with his sound. 4 Exceptional tracks, all of which are executed perfectly, bringing the original old skool sound and flavor yet retaining a high degree of originality. Shoreman was immediately signed for two more EPs after this one, and is likely to take his place as one of the classic Kniteforce artists

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Roman Flügel needs no introduction, so lets not hammer on about his lengthy history as a kingpin of contemporary German dance music, his essential contributions to the musical evolution of Darmstadt and Frankfurt, his achievements as a virtuosic multi-instrumentalist traversing genres with remarkable grace, his sense of dynamism and urgency in the construction of big-room anthems or the meticulously woven textures of melancholy found throughout his minimalist work, his ability to pay homage to pioneers of his musical heritage without diverting to pastiche, his fearless combination of familiar melody with synthesized aberration and imperfection, his approach to instrumentation as Haiku poetry where the ordinary is made profound through simple isolation, his rejection of stylistic pretense and acceptance of comforts found in the constructs of folk and pop, his contrast of cold efficiency with a warm naivete´, his yearning to return down previously-forged paths with a new accumulation of experience, the confidence to paint the room blue when it was meant to be black, his belief that a beautifully executed idea will always transcend the need for incessant polishing, the way in which he leads arrangements to the edge and only implies a resolve, his framing of musical narratives as sketches, outlines, or skeletons where the listener's perception compliments the whole, or his notion that sometimes stories might not need a clear articulation but might only come through in hints of mood, pace, and color, a language which doesn't rely on words to communicate but which paints for us in Themes. Yes, rather than hearing our attempt to elaborate on Roman's Flu¨gel's debut album with the ESP Institute, lets just simply listen.

Finally, Marlena Shaw's timeless cover of Diana Ross' 'Touch Me In The Morning' gets the official, remastered, reissue treatment alongside the downtempo, slow jam - 'Shaw Biz / Suddenly It's How I Like To Feel'.

'Touch Me In The Morning' is as iconic a track as you'll ever hear, becoming a huge anthem of discotheques the world over. A tale of lost love, capturing the emotions and exposed honesty of a separation, contrasted with those intrinsically uplifting string and horn sections. It is a truly epic embodiment of strength and courage that Shaw's vocals summon from your very soul.

Hunee melted hearts by dropping 'Touch Me In The Morning' to close out the main stage of Dekmantel 2017 - a spine-tingling moment of inclusion, hope and emotional outpouring, bringing a whole festival that little bit closer together. This is a 7-and-a-half-minute journey to completely lose yourself in and few have done it better than Marlena Shaw.

On the B side is 'Shaw Biz/Suddenly (Its How I Like To Feel)' - Marlena's cautionary account of the emptiness and loneliness that can come with success and material possessions, before finding true love just when it was needed. It's slow, sultry and passionate, much to do with Shaw's voice bringing a pure outpouring of the soul that she duly became famous for.

The Silver Rider serves up his first full EP for the Whiskey Disco/Lovedancing family and it's as smooth as you would expect.

Butter smooth filtered disco guitar licks, superbly low slung bass sitting snug alongside delayed vocals and chords, all wrapped in crisp drum machine beats.

Modern disco house with a touch of class you'd expect from The Silver Rider.

eedwant welcome Bristol born, Berlin based Geoff Wright aka Kemback (Omena/Futureboogie) to the label.

By day, Kemback teaches music production classes to students in Berlin, with such a musical background behind him, his latest EP Moving Through Clouds is every bit exquisite as you'd think. Opening with the luscious 'I Need You', hi-hat, bongos and sumptuous strings are just some of the elements that blend together seamlessly, a touch of modern jazz-house. The experimental combinations continue on 'Stepping Back', a heavy breaks track coupled with harps and saxophones. Whilst the hazy pads of 'Moving Through Clouds' goes down a more atmospheric route. The EP includes remixes from Soulphiction and Kim Brown (Needwant).

Over the past ten years the Needwant mantra has been to push the very best in new talent, hav-ing provided the platform for the likes of Kiwi, The Mekanism, Maxxi Soundsystem, The Revenge and many more.

'GOTH-TRAD formed new unit 'EARTAKER' with Diesuck(vocal) and Masayuki Imanishi(noise) in 2017. Their doomful & dissonant sound with Diesuck's low scream feels like music that can be heard from the gap between end of the world and the new world. It is hard to categorise to any genre. This is the unit's first LP.'

Making his first appearance on the label, Argy lays down a three-part heavyweight production for Crosstown Rebels this October. The Greek producer effortlessly showcases his unique style and ability to create music that is sure to create heat on the dance floor.

Title track Worthless opens up the EP with a bouncy groove and sensual, breathy male vocal. Next, La Vida introduces a more percussive-led beat, creating an industrial soundscape. Get Ready closes the EP with its darkly hypnotic beat, lending itself to a more tribal aesthetic.

The word 'diverse' is most definitely one that can be used to describe Argy. Having been in the game for more than a decade, he's released music on Poker Flat, Cocoon, Objektivity, Desolat and Cuttin' Headz. He's worked alongside a range of key figures in the industry including Kerri Chandler and Manuel Göttsching. Argy has proved his prowess as a DJ holding down residencies at Amnesia, Space, Destino and Pacha as well as regular appearances at Berlin's Panorama Bar.

The Afro National Band Was Formed In Freetown, Sierra Leone In 1972. Their Inspirational Leader, Sulay Abu Bakarr Accompanied By His Wife Patricia And Ayo Roy Macauley Split From The Sabanoh Jazz Band To Form Their New Group. They Skillfully Merged Highlife And Jazz Sounds With A Deep Knowledge Of West African Sounds. Growing To Become One Of The Premiere Bands To Emerge From Sierra Leone They Not Only Defined The Sound Of The Country For A Generation But Also Crafted Some Of The Country's Most Popular And Memorable Songs (for Example Sonjo Which Is Included On This Collection).

The Band Toured Extensively Throughout Africa And Europe In The 70s (working With The Giant Of Sierra Leone Music Akie Deen In The Process). Towards The End Of The 70s The Band Departed Sierra Leone, Sulay And His Wife Moving To Maryland In The Us And Other Members Moving To London.

Our Collection Focuses On Possibly Not The Best Known Songs Of The Band But The Tracks Which Have The Rhythms To Move The Dance Floor. We Open With The Foot Tapping "jokenge" And Its Driving Shuffle Beat, Swirling Organ And Percussive Guitar Lines. "push Am Forward" Takes A Afro-psychadelic Turn With Its Hypnotic Rhythms And Driving Distorted Guitar. "mr Who You Be" Is A Cover Of The Fela Kuti Track, Doing It Fine Justice. "gowa" Highlights The Vocal Prowess Of The Band, As Dose The Ever Popular "sonjo" (the Version Featured Here Is A Rare Alternate Recording).

"money Palava" Opens Up Side Two With Its Infectious Highlife Beat And Hooky Vocals. "money Nor Bataya" Highlights The Bands First Use Of Synthesizers. "mother In Law" Sweeps Up Back To Free Town 1973 With Its Clever Vocal. "set My Soul On Fire" Is A Bonus Track Which Brings In The International Flavour Of The Band.

The Afro National Band Continues In Various Guises To This Day, With Sulay And Patricia Acting As The Proud And Talismanic Figures For A Whole Generation Of Sierra Leonean Music.

Continually pushing the boundaries of jazz, funk, electronic music and disco, as expressed through their signature samba swing, the Brazilian mavericks have recreated the energy of those spellbinding seventies' sessions which would launch them into international recognition and confirm their status as one of Brazil's most successful bands. Since the passing of keyboard maestro Jose Roberto Bertrami in 2012, remaining members Ivan Conti and Alex Malheiros have worked tirelessly to keep the spirit of Azymuth alive, and to continue the legacy of Bertrami's genius. But Fênix also marks a new era as the Azymuth trio is complete once again, by special guest keyboardist Kiko Continentino. A hugely talented pianist, composer and arranger, Kiko has worked with the likes of Milton Nascimento, Gilberto Gil and Djavan, and the fresh energy and inspiration he has brought to the group is undeniable. The album also features Brazilian percussion legend Robertinho Silva, one of Brazil's most important and influential players.

From the disco-carnival title track to sunny jazz-funk head-nodder Orange Clouds, through to the deep-space samba Corumbá, Azymuth have drawn upon five decades of consummate craftsmanship - which coupled with their endless desire for experimentation and improvisation - has resulted in a 10-track journey encapsulating the full spectrum of Azymuth's brilliantly coloured expressionist fusion. With all the cosmic energy and masterful musicianship you'd expect from the three-man orchestra, Azymuth rise from the ashes!

Recorded in Rio De Janeiro in May 2016 with producers Daniel Maunick and Joe Davis the official release date is set for December 2016, on super-heavyweight vinyl.

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Four-and-a-half decades after the event, saxophonist Charles Lloyd's Love-In, recorded live at San Francisco's Fillmore Auditorium in 1967, the counterculture's West Coast music hub, endures as much as an archaeological artifact as a musical document. From sleeve designer Stanislaw Zagorski's treatment of Rolling Stone photographer Jim Marshall's cover shot, through the album title and some of the track titles ("Tribal Dance," "Temple Bells"), and the inclusion of John Lennon and Paul McCartney's "Here There and Everywhere," Love-In's semiology reeks of the acid-drenched zeitgeist of the mid 1960s, a time when creative music flourished, and rock fans were prepared to embrace jazz, provided the musicians did not come on like their parents: juicers dressed in sharp suits exuding cynicism.




It is likely that more joints were rolled on Love-In's cover than that of any other jazz LP of the era, with the possible exception of saxophonists John Coltrane's A Love Supreme (Impulse!, 1965) and Pharoah Sanders's Tauhid (Impulse!, 1967). Chet Helms, a key mover and shaker in the West Coast counterculture, spoke for many when he hailed the Lloyd quartet as "the first psychedelic jazz group."




It is to Lloyd's credit that, at least in the early stages of his adoption by the counterculture, he resisted dumbing down his music. The adoption stemmed from Lloyd's espoused attitude to society, his media savvy, his sartorial style and his sheer nerve in playing jazz in the temples of rock culture. He took the quartet into the Fillmore West three years before trumpeter Miles Davis took his into the Fillmore East—as documented on Live at the Fillmore East, March 6 1970: It's About That Time (Columbia)—by which time his pianist, Keith Jarrett, and drummer, Jack DeJohnette, were members of Davis' band (although Jarrett didn't appear at the 1970 gig).

Since 2010, Buyepongo has led a steadily growing Los Angeles underground movement that combines the vast influence of traditional tropical sounds with the streetwise edges of the Latin American diaspora. Much like their name implies (translation: to cause a ruckus), their hybrid style is focused on the celebration, an infectious, energetic vibe that is universally and rhythmically connected. It'll get your feet moving, and much like many of the records from the golden age of cumbia, these two offerings demonstrate an updated and adapted reverence for the roots that is truly distinct to their own unique place and time.

For the group's latest single, that place, the sprawling Latinx scene east of Los Angeles, met head on with the east coast hot pot of Brooklyn. Recorded and produced in collaboration with Names You Can Trust during the band's serendipitous 2017 trip to NYC, this new release takes two of Buyepongo's most fan-favored and party-tested original songs, two that had yet to be recorded, and combines them with the NYCT forty-five ethos: a stripped-down, warm analog recording that perfectly captures Buye's live, bring-the-ruckus style in the room as it happened. "Por La Vida" romps over the A-side, a modern-day classic in the making whose lyrics (how beautiful is life, always full of surprises...) compliment a sunny, easy-going house party vibe, while "Miri" on the flip evolves from a loping, almost reggae groove into a transcendent journey through Caribbean feel-good sounds.

Nick Klein is an artist making electronic music born in southern Florida and based in Brooklyn, New York since 2012. Upon moving to New York the concentration of his works output has been to mine and investigate the troped qualities in various forms of electronic music, and then to realize singular directions in how to communicate these ideas himself. Alongside Miguel Alvarin~o he runs the music imprint Primitive Languages.

His latest offering since the January 2018 EP "Lowered Flaming Coffin" (Alter) is a continuation of his burnt dance music explorations with "The Bathroom Wall" on Bank Records. As a totem to reflect onto with text, to rest ones eyes in blur, or to physically hold ones self up in the throes of intoxication, the bathroom wall takes and gives numerous gestures of use. Klein uses the symbology of the bathroom wall to construct five disparate wall scrawlings and hazed meditations into the compositional grounds for four meaner mid-tempo, rhythmic purges. Tracks "The Worst Band In The World" and "American Gut" take on the pulsing build of an intoxicated night out. The record divides in on and itself in tone with "Rather Be Your Enemy", an homage in title to the legendary Lee Hazelwood song, wherein the synthesizer convulses slowly conjuring the bleaker qualities of tinnitus taking the lead over your senses. Side B of the record throbs quickly with the blown bass drums and hissing rhythms of "Pushing Your Luck" and comes to a drawn conclusion with the ten minute come-down at sun rise burner of "Poor Me Another".

The record was recorded using a modular synthesizer to tape by Nick Klein and mastered by Josh Bonati. Design work taken on by visual provocateur Chris Norris (Steak Mountain).

15 Jahre nach seinem frühen Tod feiert - The 20th Century Records Albums (1973-1979)' Barry White als einen der größten Künstler / Songwriter / Produzenten der 70er Jahre. Er etablierte den neuen Klang der Orchesterseele, der über das Jahrzehnt und darüber hinaus zu einem Grundbestandteil wurde. Das Vinyl-Box-Set enthält alle 9 LP-Alben, die Barry White über das Label 20th Century Records veröffentlicht hat und werden hier zum ersten Mal zusammengestellt. Alle neun Alben wurden zum ersten Mal seit ihrer Veröffentlichung in den 70er Jahren von den originalen analogen Masterbändern remastert und werden hier mit ihrem originalen Sleeve und Label Art präsentiert. Die Alben wurden in den Abbey Road Studios in London auf hochwertigem 180g Vinyl geschnitten, um die höchstmögliche Audioqualität zu garantieren.





















































[ZZA] q4 | Oh Me, Oh My (I'm Such a Lucky Guy)
[ZZB] r1 | I Can't Leave You Alone
[ZZC] r2 | Call Me, Baby
[ZZD] r3 | How Did You Know It Was Me

Hybris is Evan Vischi. After years of being a studio recluse, Evan surfaced in the DC scene and released collaborations and solo projects under the name Robot Death Squad. He then moved to the Czech Republic to focus on advancing his own sound and began releasing under the name Hybris. Towards the end of 2009 his tunes were spotted and picked up by Kasra, and his debut single was released on Critical: Modulations (The Cleaner/ Raindance) in June of 2010. With several forthcoming releases on C.I.A., Blackout Music, and Critical, and DJ support from some of the scene's heaviest hitters, Evan is now committed to pushing heavy and precise dancefloor beats to the next level. For INVISIBLE, Hybris collaberates succesfully with the mighty NOISIA and drops 3 new solo tracks on this very special double pack vinyl. Great new sounds on the always evolving Invisible imprint.

Standard Edition, Mastered at half speed, 140g vinyl, Sticker We Release Jazz (WRWTFWW Records' new sister-label) is thrilled to present the official reissue of criminally overlooked Japanese jazz gem Mellow Dream (1977) by Hokkaido pianist wunderkind Ryo Fukui, released in conjunction with the its legendary predecessor Scenery, sourced from the original masters and mastered at half speed. Firmly standing on the foundation he laid down with Scenery, Ryo Fukui continues his exploration of modal, bop and cool jazz sounds with meticulous grace and absolute mastery. As its title suggests, Mellow Dream ventures into slightly mellower, more soulful, and sometimes more contemplative territories (the Bill Evans-reminiscent 'Mellow Dream' and 'My Foolish Heart") while still packing the commanding punch Fukui's work is loved for, as heard on the amazingly bombastic 'Baron Potato Blues' or the gigantic McCoy Tyner/John Coltrane-influenced 'Horizon' which sees each member of the trio (Satoshi Denpo is on bass and Yoshinori Fukui is on drums) demonstrating their virtuosity for 9 exhilarating minutes. With his sophomore album, Ryo Fukui swings from melancholy to vibrant joy with ease, reminding us that jazz is best served with a pinch of blues, and displays an immensely rare combination of pure talent, unique personal approach and focused discipline. The man undeniably deserves a spot in the pantheon of all-time great jazz pianists. After releasing the outstanding Scenery and Mellow Dream back to back, Ryo Fukui worked on developing his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui), and even releasing 2 live albums. He sadly passed away in March 2016, leaving behind a legacy of works that all jazz lovers should explore.

Fifteen track completion of deep biguines and Gwo Ka from the '60s French West Indies. The vinyl edition included a 4 page booklet + download code.

Biguine is a rhythmic style of music that originated in Guadeloupe and Martinique in the 19th century, which fuses 19th-century French ballroom

dance steps with African rhythms. Gwo Ka is found among all ethnic and religious groups of Guadeloupean society.

It combines responsorial singing in Guadeloupean Creole, rhythms played on the Ka drums and dancing. Gwo Ka is the musical and cultural product of the

region's African ancestry, forcibly brought to the Caribbean through slavery. Gwo Ka exists only in Guadeloupe, which is a very different island from much of

the Caribbean, in that it remains a 'department' of its original colonial master, France. Here the currency is the Euro and the baker sells croissants and café

au lait. This constant 'European-ising' of the island means that Gwo Ka plays a fundamental and important role in the defining of Guadeloupean identity.

'Antilles' Méchant Bateau', a low-tempo number with a bolero feel, indeed a pure case of the blues, and a terrific saxophone solo. What else would you

expect to set the tone for this selection, in which beguine regains its original colours, in the darkness of the Gwo Ka drums. This 45 by André Mahy, released

under the Aux Ondes sublabel, was recorded in the 1960s at Célini's, one of Guadeloupe's two main houses. Through its drum rolls and harrowing chant, it

recalled how, long before the mid-1960s, the Antilles' history was written in an ocean of teardrops - namely the Black Atlantic.

The first LP release for connected comes from Nandu and as with his previous EP releases the LP is a unique genre crossing palette containing elements from Deep House,House,AfroHouse,Electronic Techno and beyond brought together in Nandus' original style. Truly an LP that begs to be listened to from start to finish. In Nandus' own words: 'One mans high can truly be, another mans anxiety. In some parts of life this is very clear like having a baby, do drugs, to work, not to work, be an artist, be a banker and so it continues. Yin & Yang and the whole idea of duality is another way to describe this. When you go left you say goodbye to right - at least for the moment you choose left. What you choose is up to you. It wasn't always my dream to get up at 3pm to change diapers, but it was always my dream to have a family. And here the sacrifice is not even mentionable. It's more than worth it. But when you sometimes in life make a choice that you regret but which always will follow you, or when uncontrollable powers force you into another direction, it can easily switch the poles between high and low. In these cases you just have to look forward, but not without looking back. You need to learn, take it with you, and do better next time. This album is about how my highs also can be my anxieties."

Hailing From Nashville, Tennessee - A City Better Known For Being The Cradle Of Country Music, Jaundice And Dzee Form The Backbone To The Future Dz Duo, Which Has Way Less To Do With Johnny Cash Than With The Hague Sound, And Their Latest Offering For The Label They Help Co-run, Tram Planet Records, Although Tracing Rings Of Fire In Its Wake, Further Ratifies That Lineage.

A Shape-shifting Collection Of Post-apocalyptic Detroit Electro And Squelchy Acid Grooves Sieved Through Filthy Filters - Perfect To Play In Your Muscle Car While Speeding The Highway At Night, 'splint Mask' Finds The Duo At Their Most Epic And Unhindered. Premiering Today Through Our Channels, 'sawed Off' Is A High-octane 303 Fuelled Racer Blazing With A Hint Of Unit Moebius Weirdness And Off-the-cuff Rugged Hardware Spritz. If You Like Your Electro Scruffy, Grinding And Aggro Like We Do, Future Dz Have You Covered. Get In The Zone And Feel The Burn, You're In For A Treat.

In July 2014, Jungle released their self-titled debut album. Featuring the singles 'Platoon', 'Busy Earnin'', 'Time', 'The Heat' and 'Julia', neo-soul classics all, it was the aspirational sound of young London, a soundtrack of escapism, an unmistakable Jungle sound and a unique, vivid, visual Jungle world. The whole thing was dreamed up by Josh 'J' Lloyd-Watson and Tom 'T' McFarland, a production and multi-instrumentalist duo who never expected to leave their bedroom studios, far less become the core of a talent-filled seven-strong collective that morphed into a killer live outfit. Cue online word-of-mouth and IRL buzz, rave reviews, a Mercury Music Prize nomination, songs of the summer (two summers, even), viral videos, Noel Gallagher declaring the album 'fucking amazing', half a million sales, burgeoning DJ careers, a global tour that lasted two solid years. It all just happened.

Today, Jungle announce news of the follow-up to that defining debut record. The album is titled For Ever and will be released on 14th September via XL Recordings. If Jungle's first album was their imaginary soundtrack to the places they had never been, For Ever is inspired by real life experiences of the places they'd dreamed of for so long. Swapping Shepherds Bush for the Hollywood Hills, J and T set up camp in Los Angeles to write and record the album. Over time however, their romanticization of The Californian Dream clashed with the reality of actually living it, the feeling of being adrift on the West Coast compounded by the collapse of long-term relationships. Returning home to London, they teamed up with highly regarded young producer Inflo where they sought to create a "post-apocalyptic radio station playing break up songs', whittling down loads of ideas this concept spawned into the core 13 tracks you have before you. That station and those songs and that journey are the sound of Jungle's second album For Ever. They had to go away to come home. And what J and T lost in love, they gained in music. For Ever is for real, deeper and higher, more intimate and more expansive, feelgood and, just occasionally, feelbad. It is, then, a proper second album.

The following electronic soundscape features music from Eduardo De La Calle, Brendon Moeller, Tobias. and Mike Dehnert. All profits generated from this record will be donated to the Oceanic Preservation Society.

To put it simply, 'True Meanings', the fourteenth Paul Weller solo album, the twenty sixth studio album of his entire career, is a record unlike any he has ever made before.

'True Meanings', is released on September 14th and is an album characterised by grandiose-yet-delicate, lush orchestration: an aesthetic to which Paul's better-than-ever voice, singing some of his most nakedly honest words, is perfectly suited. A dreamy, peaceful, pastoral set of songs to get lost in, it is both an album that a lot of his faithful audience have been wanting him to make for a long time, and an album that many new people outside of that audience will relate to.

On the 25th May this year, Paul Weller turned 60: a milestone that has unquestionably had an impact on the feel, both lyrically and musically, of 'True Meanings' which comes across being the most singer-songwriter-style album he has ever made. However, it is also the most collaborative: with more guests than any record he's been involved in before.

As well as all the members of Weller's band, Rod Argent of the Zombies provides Hammond organ on 'The Soul Searchers' and piano and Mellotron on 'White Horses'; folk legends Martin Carthy and Danny Thompson add picked guitar and double bass respectively to 'Come Along'; Little Barrie plays lead guitar on 'Old Castles'; Lucy Rose sings backup on 'Books'; and 'Movin On' is the result of a 'scratchy demo'on Paul's phone that was sent to Tom Doyle of the White Label project. Even Noel Gallagher makes a sneaky appearance.

Perhaps most surprisingly of all, especially given how personal and introspective 'True Meanings' feels, lyrics for four of the fourteen songs here were written, to Weller's melodies, by others. Connor O'Brien from Villagers came up with the words to opener 'The Soul Searchers', while 'Bowie', 'Wishing Well' and the closing 'White Horses' are all the work, lyrically, of Erland Cooper from Erland & The Carnival.

'True Meanings' was produced by Paul Weller except 'The Soul Searchers', which was co-produced by Paul and Conor O'Brien and 'Movin On' which was co-produced by Weller and White Label. The album was engineered and recorded by Charles Rees and mixed by Jan Stan Kybert.

The album was recorded in just over 3 weeks at Paul's own Black Barn Studio, with the aforementioned, revolving cast of characters dropping in for a day here and there. The orchestration was added soon after, and that was that. It is always a good sign when the recording of an album is swift, and here you can just hear that the man at the centre of these songs is as focused and inspired - more inspired, even - than he has ever been.

Camisole Records welcomes you on board for this Business Class Library compilation. During your flight you will be listening to music by Serge Bulot, Alan Shearer, Gérard Gésina and Pascal Wathelet. All these 80's electronic library tracks have been curated by your captain Silver Fox to assure you a pleasant journey. 'To Thwart Soul' by Gérard Gésina will guarantee you an easy take-off while 'Ondulations' by Serge Bulot is perfect to calm down during turbulences. For hours of magnificient dreams try 'Mouvements' by Pascal Wathelet. Landing with'Hollywood' or 'Marathon Life' by Alan Shearer will prepare you for your busy day to come. We thank you for flying on Camisole Records and hope to see you again on our lines. This trip is limited to 500 copies.

Soundway Records delivers a beautifully remastered reissue
of Brazilian duo Grupo Controle Digital's only album, 'A Festa
É Nossa'. First released in 1988, the album is now housed in a
tip-on heavyweight sleeve and restored artwork.
With the title track 'A Festa É Nossa' having circulated the
last few years in the DJ sets of influential tastemakers, the
album has become highly sought after by electronic fans
and collectors alike. Lo-f synths and cruising bass lines
permeate the record, influenced by the group's Brazilian
contemporaries at the time such as Tim Maia, Cláudio Zoli,
Secos E Molhados, and rock outft Made In Brazil.
Band members Billy Jaguar and Gel Valiery regularly
performed in various groups in São Paulo throughout the
80s and 90s, but after Gel passed away, Grupo Controle
Digital was no more - the band and the album faded into
obscurity and Billy became a priest, working with gospel
music. It remained that way until Brazilian DJ Millos Kaiser
(from label Selva Discos, and one half of Brazilian street party
organisers Selvagem) tracked down the remaining member
of the group to be able to include one of their tracks on the
highly anticipated Soundway compilation 'Onda De Amor:
Synthesized Brazilian Hits That Never Were (1984-94)',
released in July 2018.
Audio restored by Neal Birnie and re-mastered by Frank
Merritt at The Carvery, London. Artwork restored by Lewis
Heriz.
FOR FANS OF:
Soundway 'Onda De Amor' compilation, Music From Memory
'Outro Tempo' Brazil compilation, Spacetalk compilations,
Sabor Do Brasil

David Holmes was drawn to DIE HEXEN by their 'magical sensibility that has both shades of dark and light, which is something that always appeals to me in music'. After featuring in his edition of the famed Late Night Tales compilation with a take on the original suicide song 'Gloomy Sunday', DIE HEXEN returns to expand upon their dark ambient journey towards transcendence with an eagerly awaited debut album.

DIE HEXEN's genre eschewing synth driven compositions draw inspiration from the disturbing beauty of Hieronymus Bosch's artwork and several brushes with death, evoking a spirit who traverses realms of the underworld to bring forth knowledge of an Ancient past and in doing so, to reveal the not so distant future.

The Garden of Unearthly Delights transports the listener through strange visions of darkness, beauty, creation, destruction, death & rebirth. An exorcism of body, gender, tribe towards a place of ultimate transcendence.

Somewhat of a polymath, DIE HEXEN has already shown their prowess with live performances part music/part performance art spectacle, as an avant-garde filmmaker and as an award-winning multi-instrumentalist, sound designer and film scorer.

DIE HEXEN's divergent interests from Japanese Butoh theatre to Wiccanism, Shamanism, celestial mysticism and time travel informs their method, as they explain themself; 'The compositions I write are not written, at least not by me. They appear to me as audio/visual hallucinations. I can hear, visualise, and feel the whole composition before me. My hands know instinctively what notes to play and like a stream of consciousness, voices emerge. Having suffered severe head trauma that resulted in a heightening of the senses, the theme of death is an increasingly present theme in my work. With this, my perception of death and what is beyond changes as I contort between this world and the next physically and mentally, musically and visually. Working with music or film, my vision is one. The calling to express these auditory hallucinations is inevitable'.

The elusive producer 'Nortasun' hasn't released a record since his debut 'One' through SAFT back in 2016. After two years, it's time for a follow up which is fittingly named 'Two'. The track titles also resume in a fashionable manner with the opening track being titled: 'Untitled 3'. On this track, Nortasun introduces a firm rhythm that is supported by the impossibly beautiful strings that serve as the tracks key element and appear throughout. Next up is the 'AntonZap' remix. AntonZap doesn't do the stereotypical remix take on the original. His version is dub laden, otherworldly, and only implements miniscule pieces from the original take. With just under 7 minutes, the remix version is a true sonic voyage.

On the B-Side, Nortasun takes a more dubbed out approach to modern day house music. 'Untitled 4' is a work of precision. The carefully crafted hats and dub elements sizzle throughout the entire track and help the track morph into a stunning piece of dance floor music around the four minute mark. Nortasun cleverly introduces a thumpientire ng bass that changes up the mood for the work.

Industrial badman Sei2ure back on PRSPCT release with a huge 2 track vinyl EP.

Some say industrial hardcore is dead. If that were the case then this one is for sure the one to bring it back to life!

On the A side we have Send You To Hell. A 175BPM monster containing almost everything both Sei2ure and PRSPCT stand for. Driving pounding kick drums, catchy hooks and that perfect dose of snare drum warfare making this the perfect track to kill it on both Hardcore & Drum & Bass events. Huge track!

On the flip we have Push The Prozac. A 190BPM beast tune pushing up the tempo a bit without losing the groove and that dark Industrial vibe we love to death and have been missing so much.

Again another release on PRSPCT that is All Killer, No Filler. Enjoy!

Matthew Dear is a shapeshifter, oscillating seamlessly between DJ, dance-music producer, and experimental pop auteur. He is a founding artist on both Ghostly International and its danceoor offshoot, Spectral Sound. He writes, produces, and mixes all of his work. He straddles multiple musical worlds and belongs to none, now nearly 20 years into his kaleidoscopic career, with ve albums and two dozen EPs plus millions of miles in the rearview of his biography.

Bunny is the name of Matthew Dear's fth album. His rst since 2012, it bounces into plain sight preceded by two slyly different singles in 2017: the moody, urgent "Modanil Blues' and the buoyant, blithe, Tegan and Sara-featuring 'Bad Ones.' Bunny follows both modes, among others, parading down a rabbit hole of unhinged phrasings, dreams, and interludes. It saunters in the shadows; it stands brightly in the moonlight. Bunny is a dual vision of avant-pop; an artistic reckoning from a 21st-century polymath; persona splintered, paradox paraphrased, a riddle rendered.

As a Frankfurt native, Oskar Offermann has of course been a longtime friend of the Robert Johnson club, first as a regular guest and later as a regular DJ. After spending 15 years in exile (Berlin, where else) and putting out music on his own (White and Rimini) as well as befriended labels (Mule Musiq, Aim and Hardworksoftdrink), the long-lost son has finally come back home (Offenbach, where else) and will debut on Live At Robert Johnson with three tracks that bring together Oskar's melodic approach and the bleepy sound of Frankfurt's new school.

Spectral Empire are George Thompson (aka Black Merlin / Karamika) and Kyle Martin (Vactrol Park / Land of Light). With the release of Iron Muscle they are celebrating 10 years since their debut ep Innerfearence saw the light of day in 2008 on the now defunct THISISNOTANEXIT record label. Legend tells all track were made around the same time (2008-2009), at what was back then Kyle's studio in Archway, London, however opinions remain divided over the validity of this info. What is remembered for a fact is that they'v used practically every home appliance and improvised noise they could find, record and harness, in order to create the feeling of what they describe as a ' Robot walking' for the title track Iron Muscle. Anything from kitchen drawers to DVD's and cutlery was sampled and then drenched in effects and manipulated in order to create what came out as a cinematic futuristic piece to dive into again and again, a soundtrack for an unwritten sci-fi movie, or just a dramatic soundtrack for your everyday lives.. With See the invisible, rules do not apply. An arpeggiated groove sitting on a steady half time 60bpm beat, its like the perfect soundtrack to the perfect car chase. Mediterranean riverbed guitars- not-guitars, sirens, and a heavy (dreamy) atmosphere fill the voids and keeps the track pushing forward throughout... The 4th track on the record is a never before seen the light of day epic remix by Die Wilde Jagd, that back then still included Ralf Beck (Unit 4) as an active member of the band (back when they were still known as Der Rau¨ber und Der Prinz). The release will be a vinyl only release, and is already getting massive support from the likes of Vladimir Ivkovic, Michael Mayer, John Talabot, Red Axes, Manfredas, Trevor Jackson, Lena Wilikkens, Man Power and many more...

Mantra makes an entry to Finnish ProForm Series with his raw and uncompromised four track acid EP called 'The Abyss'. After releases on Bunker Records, Polybius Trax, Solar One Music and Abstract Acid under the Mantra alias Craig Stainton delivers four tracks of jackin' pure acid techno madness in the veins of true underground. Starting with 'Next Culture' is a good introduction to pumping beats and a moaning 303 while 'Beat Methods' takes a rougher and tougher angle to acid. Just imagine yourself in a warehouse party in the morning jammin' to some acid. On the B-side 'The Abyss' leads us to the deep end of the 303 or even to the bottom of the acid sea. 'Singularity' ends this package with great 303 lines definitely burning up the house! A limited and numbered edition of 200, after that it's gone, no represses, no digital, so you know what to do!

Body Music (Bosq and The Rapture's Vito Roccoforte) return with another dose of 21st century mutant-disco and nocturnal New York swagger. Following up on their lauded Just One EP (Razor 'n Tape), the new two-track 12" delivers on the epic stomp and punch of that debut with two instant classics.

A-side 'Don't Think Twice' is a tightly modern and muscular re-imagining of some long-lost Paradise Garage-era gem, replete with head-snapping claps, an expansive sonic palette and full strut groove.

While, low-slung flip-side 'Give My Love a Try' rolls on a flirtatious arpeggiated bass-line and gasps of steamy synths that make it the perfect vibe to open or close a party. Lending soulful and sultry vocals across both cuts is Christian Holiday.

Holiday darts in an off the slick synth stabs and bouncy live-drums of Don't Think Twice and reaches a yearning falsetto that draws out the romantic swoon of Give My Love a Try, helping elevate the scope and craft of both tracks.

Hooky and virulent, it's a venerated sound that fits seamlessly into sets of Arthur Russell, ESG and Liquid Liquid classics with a crisp and deep production that remains infectiously of the moment.

At parties from Brooklyn to Ibiza, this 12" will no doubt be a go-to slice of wax coaxing dancers to move a little closer all summer long.

Auch Auf Seinem Dritten Album Nutzt Sebastian Kramer Aka Redshape Den Für Ihn Prägenden Sound Von 90er-jahre-techno Allgemein Und Speziell Aus Detroit Nicht Als Zitat, Sondern Erzeugt Mit Seinen Neuen Tracks Ein Sehr Spezielles, Eigenes Narrativ: Düster, Gespenstisch, Und Doch Entschieden Romantisch. In Gewisser Hinsicht Ist "a Sole Game" Sogar Die Erste Echte Redshape-lp Überhaupt, Die Nun Nichts Mehr Imitieren Will, Sondern Sich Durch Selbstbewusstsein, Selbstreflexion Und Souveränität Ausweist. Im Klassischer Redshape-manier Begeben Sich Die Acht Tracks Von "a Sole Game" Auf Eine Reise Durch Nächtliche Welten Und Düstere Industrielandschaften, Durchzogen Von Seltsamen Stimmen Und Geräuschen. Eines Der Wichtigsten Ziele Lag Unüberhörbar Darin, Ein Nahtlos Perfektes, Ganzheitliches Elektronisches Album Zu Produzieren, Das Ohne Interludes Oder Typisches Füllmaterial Funktioniert. Entsprechend Warm Und Analog Klingt Die Platte. Letztendlich Setzt Redshape Damit Klassisches Songwriting Mit Den Codes Von Techno Um Und Macht In Seiner Musikalischen Entwicklung Einen Großen Schritt Nach Vorne.

Leifur James will release his debut album in October through Late Night Tales' artist label Night Time Stories.
A Louder Silence is the London-based producer and multi-instrumentalist's first proper release; his two earlier singles feature on the record, after gaining support from Gilles Peterson's Worldwide FM with a live airing and interview in 2017, plus continued backing from XLR8R, Stamp the Wax, and BBC Radio 6 Music DJ's.
The album is both spacious and thought-provoking, energetic yet restrained, brimming with nuanced electronic instrumentals, dubby synths, and jazz breaks — creating an array of rich textures, complemented occasionally by James' own soulful vocals.
While James' early unreleased work was singularly electronic, A Louder Silence focuses on analog synths and warm acoustic instruments, all played by his own hand. It's the product of a two-year spell in James' home studio, with additional live drums recorded with Jim Macrae at London's Old Paradise Audio.
James' rich musical influences are laced through the release. Encouraged by his mother, a classically trained pianist, he learned to play the cello and developed adeep understanding of rhythm and melody that informs his approach to writing electronic music. James playsthe piano he grew up listening to in 'Mumma Don't Tell' and samples an indefinable percussive element to drive forward 'Suns Of Gold.' 'Night and Day' sees cello plucks and long melodic strokes interlink with a grooving synth line. He also field records the atmospheric Moroccan sea in 'Red Sea.' Inspiration stems from the experimentation of modern day electronic producers, fused with the Jazz, Classical, Blues, and Soul music that soundtracked his youth.
Central to the album is the idea of space. James recalls the early advice of his uncle, a jazz guitarist, who features on 'Uncle Blue': 'I remember him saying to me: "What goes in comes out' James says. 'Every detail should be a worthy detail; sometimes nothing is better than something.' Moments of blissful, structured intensity are juxtaposed with stillness and near silence — dark and light; loud and quiet. This also forms the foundation for the album title: A Louder Silence reflects the dichotomy of finding pockets of stillness in a noisy world.
The result is 10 distinct tracks delivered as one coherent and well-structured long-player debut, set for release on LP, CD, and digital, on 5th October 2018.
Live dates follow a debut live show earlier this year at the Jazz Café with Yazz Ahmed, including an album launch at London's Ghost Notes in October.

RTRN II JUNGLE , the forthcoming album from UK DnB heavyweight trio, Chase and Status, is a cultural movement - inspired by British music and fashion of the golden years of Jungle music from the mid-late 90's. The two opening singles speak volumes on the project's ethos - with the hard hitting 'Retreat' ft. Cutty Ranks echoing in your ears long after hearing and the euphoric 'Heater' taking on the role of a single that already has the makings of a classic - with additional vocal support from General Levy.



The sound, project and accompanying documentary and installation, will draw on Jungle music whilst also transporting it into the present day, and re-vamping the genre for the modern day music fan. 'We will be representing DnB at it's most soulful, raw, and uncut level' (Will Kennard)

The news comes with a brand new documentary from the trio, filmed in Jamaica earlier this year, which has just been premiered by Redbull.

The New York Downtown Producer/Composer Returns With His First New Album In 3 Years

EIGHTEEN: the year of release, 2018. EIGHTEEN: the age at which I first used a synthesizer.

In creating EIGHTEEN I worked independently in the studio, initially building up tracks with synthesizers and found sounds recorded in my daily comings and goings. After working with the tracks over a period of months,I shared them with a few musicians, who added their own instrumental layers. Though working independently, we all shared a similar working process: working in our personal recording spaces, as opposed to larger recording studios.

The musicians are: Gabe Gurnsey (drums) of Factory Floor, with whom I collaborated on the Beachcombing EP and performed live at London's ICA. I appear on Gabe's newly released album Physical;

Larry Saltzman (guitar) has played in my Love Of Life Orchestra since the 1970's. Well-known for his work with Arthur Russell ('Kiss Me Again', Flying Hearts), he is in high demand in NYC by acts such as Simon and Garfunkel;

Paul Nowinski, (bass) has played with LOLO since the 1980's. Paul has an impressive list of credits, including Les Paul, Keith Richards, Bernard Purdie and the Boston Pops; Matt Mottel, (electric piano), is the newest addition to the Love Of Life Orchestra. He is half the duo Talibam!, a leading act in the noise jazz scene; Lewin Barringer, (guitar), is a talented guitarist and producer in Philadelphia.

After mixing the final tracks, I brought the mixes to Berlin. There I worked with the brilliant mastering engineer Mike Grinser who helped to give the album a unified sound.

I think of this album as electronic music. It was created in my home studio, using analog and digital synthesizers, found sounds recorded on my phone, and instrumental parts contributed by friends. Finely crafted melodies and harmonies are set against subway noises, street construction, and distant foghorns. Sometimes there are sustained clusters, generated by my leaning against the keyboard. Deliberateness paired with randomness: this is what guided the artistic process.

This album is atypical for me as I am not playing saxophone. (I do play one reed instrument - a harmonica.) I grew up with the sax as my primary instrument. Yet my father was a radio journalist so the reel-to-reel tape recorder was a ubiquitous presence in the family home. From an early age,

I experimented with the tape machine: recording, overdubbing and splicing tape. I learned about Varese from Frank Zappa liner notes; I read John Cage's 'Silence.' Electronic music was on my radar.

My first exposure to an actual synthesizer came when I recorded my first single at the fabled Sound City Studio in Van Nuys, CA. The studio had a custom Neve board, but it also had a firstgeneration Moog modular synthesizer sitting unused in the maintenance room. I asked and they kindly let me experiment with it. Soon, I enrolled at the University of California - San Diego after I discovered they had separate studios for their Moog and Buchla systems. These large modular synthesizers were affordable then only by institutions and rock stars. But these would be soon eclipsed by smaller, cheaper synths in the 70's and early 80's. In the same way, recording studio technology became accessible in the 90's. . And thus the personal computer and digital audio allowed studio quality production in the home studio. Electronic music had become democratized.
Handmade music by way of digital technology: this is the music of EIGHTEEN

AUDREY CHEN's long-awaited new solo album "Runt Vigor" is an adventurous sonic exploration of the voice, cello and analog electronics.

AUDREY CHEN began her relationship with sound through the cello and voice over 30 years ago and since the past 15 years, her predominant focus has been her solo work, joining together the extended and inherent vocabularies of the cello, voice and analog electronics.

More recently, she has begun to shift back towards the exploration of the voice as a primary instrument, delving even more deeply into her own version of narrative and non-linear storytelling. She derives her sound material in continuous process, championing the "in-between" and overlooked. Regardless of instrument, CHEN's mode of experimentation touches both the abstractly beautiful and the aggressively unsettling, creating a kind of curiously imagined architecture, non-prosaic song or ritual that reaches beyond gravity or language.

Recent projects, aside from performing solo, includeher long running voices duo with PHIL MINTON, duos HISS & VISCERA with modular synth player RICHARD SCOTT, BEAM SPLITTER with Norwegian trombonist HENRIK MUNKEBY NØRSTEBØ, and the "romantic noise duo" AFTERBURNER with DORON SADJA (electronics/light projection). Past projects include work with German conceptual artist JOHN BOCK, a duo with NYC abstract turntablist MARIA CHAVEZ, and a quartet with NATE WOOLEY, C. SPENCER YEH and TODD CARTER that released a LP on MONOTYPE. Hernew projects include a double duo/quartet with BEAM SPLITTER and STREIFENJUNKO's, EIVIND LØNNING and ESPEN REINERTSEN and MOPCUT with LUKAS KÖNIG and JULIEN DESPREZ.

Marti Caine's infamous Point Of View is a groovy blend of slow-mo funk, dark disco and precise pop. Originally released on BBC Records in 1981, it has attracted a considerable cult following this century. The odd charity shop score aside, it has been impossible to find a copy for less than eye-watering sums (often selling for over £200) and, as such, it's an honour to present the first officially licensed vinyl reissue of this sublime record. Featuring expert liner notes written by Bill Brewster - perhaps the record's most notable champion - this lovingly curated release is limited to just 500 copies.

Marti Caine was a popular UK TV entertainer in the late 1970s onwards and Point Of View presented her with an opportunity to proceed in a hip direction by working with British R&B heavyweight Barry Blue. His legendary reputation was secured with a string of great records, among them the first three Heatwave albums, the Balearic hit "Afro Dizzi Act" by Cry Cisco and the cult smash "Breakin' In" by Javaroo. However, despite the array of talent working on the album, Point Of View sank without trace at the time. It's something that Blue attributes to the bizarre way BBC Records worked, and he entertainingly expands upon this within the liner notes.

Musically, the highlights are many and memorable. Its most notorious track is the sublime soul stepper "Love The Way You Love Me", the reason most people covet this album so profoundly. However, from the dark dubby disco of "Snowbird City" to the moody ballad "Love Is Running Through Me", the lesser heralded tracks are nothing short of exquisite. Indeed, the chugging elegance of sleazy disco opener "Can I Speak To The World Please" showcases a string-drenched strutting-funk that would've been enviable the world over. It's that good.

The outlandish artwork - presenting a striking, green-eyed Marti treating a tiger to a headlock - has been faithfully restored and is arguably worth the price of admission alone. With access to the original tape transfers, Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g. Sadly, Marti died of lymphatic cancer at the tragically early age of 50 in 1995, so is not here to experience what we hope will be a long overdue reappraisal of the hitherto underheard genius of Marti Caine, the singer

Warehouse Find!

Helsinki-based producer Saine makes his Delusions debut following amazing output on such revered labels as Voyage Recordings, Odd Socks, Omena and Fina. A producer who can flit from hazy instrumental hip hop through to raw, dusty house at the flick of a switch, Saine has built a solid following amongst lovers of left field leanings we've come to expect from the likes of Max Graef, Glenn Astro, Henry Wu and Leon Vynhall.

On lead track Act Natural we find Saine in perhaps his heaviest mood to date, delivering a crunchy uptempo house jam which retains his unique sound despite being aimed firmly at the dancefloor. A speaker wobbling eighth note bassline locks down the groove whilst familiar, much-loved frag- ments from the rave days punctuate the crackling beats. Add to this some simple syncopated chords and you have a winning formula for a timeless track which looks to the future whilst respectfully doffing it's cap to the past.

Jus Right continues in a deeper, more musical fashion with Saine getting busy on his synths, building up layers of warm pads and soloing Moog lines. A prominent vocal brings a soulful touch whilst the minimal, almost hihat-less groove adds an original and fresh feel to this blissful track.
Flipping over we have Low Key, a shuffling deep house number loaded with sliced Rhodes samples, echoing vocal hits, clipped percussion and sublime bass. As the atmosphere thickens, everything falls away to silence before rebuilding, creating some nice tension in the arrangement.

Finally we have Pontchartrain offering up an excellent remix of Jus Right. The Detroit native responsible for some mighty fine releases for the likes of Rocksteady Disco, Lovedancing, Soul Clap, Kolour LTD and Whiskey Disco takes things in a more straight-up house direction with heavier beats, 909 hats pushed to the fore and a distinctively old school feel to the mix.

Gifted Culture collective is ready to unleash the second jam session of the announced trilogy. GMI Jam Venice comes from the filth and the mug of the abandoned ex-industrial area in the outskirts of Venice. There, Autre and Two Thou invade Hawaiian Chips' top-notch studio, where all together ride 70's synthesizer rarities and try to domesticate the monstrous Yamaha CS 80. This jam, inspired by the post-industrial Venetian scenario, dives between the dreams of archetypal electronic music and reminiscences of psychedelic progressive bands, giving birth to two long journeys ready to gently carry the dance floor into the outer space.

DJ Support comes from Tensnake, Laurent Garnier, Tom Misch, Severino, Jazzanova, Felix da Housecat, TOCADISCO, Jacques Renault, Monki, Featurecast, Nick Catchdubs, Claude Von Stroke, Vanilla Ace, Kraak & Smaak, Dom Servini, DJ Gilla,

Studio One Freedom Sounds Is The New Collection From Soul Jazz/studio One Focussing On The Intense Period In The Second Half Of The 1960s When Studio One's Vast And Unbeatable Output Of Ska, Soul, Rock Steady And Reggae Made It Literally One Of The Hottest Musical Empires In The World.
During This Highly Successful Period, Clement 'sir Coxsone' Dodd Released Hundreds And Hundreds Of Superlative Singles Seemingly On An Almost Daily Basis, In The Process Making Huge Stars Out Of Jamaican Singers Such As Alton Ellis, Delroy Wilson, The Wailers, Slim Smith, Jackie Opel And Many More.
Powered By The Finest In-house Musicians Working In Jamaica, Whether It Was The Skatalites, Jackie Mittoo's Soul Brothers, The Sounds Dimension Or The Soul Vendors, Studio One Functioned As Hit Factory On The Scale Of Motown In The Usa, Shaping And Defining Reggae Music For Decades To Come.
Singlehandedly Studio One's Founder Clement Dodd Was Able To Create The Most Successful Vertically-integrated Record Company That Jamaica Had Ever Known With Pressing Plant, Printers, Studio, Shops, And Sound Systems All Running At Once, With Over 50 Employees And Hundreds Of Artists Working With Studio One During This Time.
Studio One Freedom Sounds Tells The Story Of Studio One In The 1960s With A Stunning Set Of Ska, Soul, Rock Steady And Reggae Killer Tunes As Well As Informative Sleevenotes And Track-by-track Info By Noel Hawks. The Album Is Released As Heavyweight Double Vinyl (+ Free Download Code), Deluxe Cd And Digital Album.

Fast-moving Times, In Which Popularity And Quality Are Often Equated Or Commonly Confused With One Another, Aids And Abets This Imitation Game Some Call Conformity, Others Professionalism. In The End, Both Paths Will End Up In Predictability. Here's Where Stathis Kalatzis, Aka Mr. Statik, Comes To Play. The Resident At Athens' Multi-purpose Cultural Space Six D.o.g.s Has Not Only Been One Of The Scene's Pivotal Figures, But Since He Started To Release His First Solo Releases In The Mid-00s, The Now Berlin-based Greek Dj Has Earned A Reputation For Being A Trend-ignoring, Unconventional Producer.

Whether His Output For Bpitch Control, Rotary Cocktail, Or Even Last Year's Debut Ep "rogue
Cherub" For Away - Mr. Statik Enjoys Thinking Outside The Box By Crossing His Diverse Pop-cultural Interests And Pulling In Expertise And Perspective From Beyond The Usual Functional Formulas. After A Decade Of Not Staying In One Comfort Zone Or Sticking To One Musical Direction, He Finds Himself More Comfortable In His Producer Shoes Presenting His Debut Album "metamorphose". Housing A Few Film References In This For Mr. Statik Typical Nebulous Fashion, The Ten Tracks Not Only Carrying The Narrative Potential Of An Imaginary Score, But Primarily Exploring A Versatile Array Of Influences, Themes, And Contradictions (which Mr. Statik As An Illustrator Also United On The Albums' Artwork). Ranging From The Sci-fi Infused Album Opener "insomnia", The First Non-dancefloor Piece He Ever Produced Around 7 Years Ago, Over "atastrophe", An Homage To Ancient Greek Theater, To Collaborate With Others Such As Beatrice Ballabile, Jan Niklas Jansen (locas In Love), And Rbma Alumnus Claude Speeed, Who Contributed Synth Work On "soulfur".

"metamorphose" Succeeds In Constantly Changing Its Tones, While Maintaining An Emotional
Frame, In Which Mr. Statik's Melancholic, Introvert, At Times Hopeful And Euphoric, Bottom End
Inclined Electronic Music Can Elaborate.

Mr. Statik On His Album Debut:

"i Have Always Tried To Approach Producing As Storytelling Exercises. This Allowed Me To
Experiment Finding Myself In Uncharted Territories, More Specifically In Music That Doesn't
Necessarily Fit To A Dance Floor - Unless It's A Very Adventurous One. 'metamorphose'' Is Loyal To That Mindset. I Usually Draw Inspiration From Cinema And Comic Books And Have Always Been Fascinated With Sci-fi, South Asian Culture, Surrealism And The Dreamworld. Initially The Album Was Supposed To Be A Collage Of The Various Influences That Had Shaped My Life, But Ended Up Being Something Very Different. During The Conceptualization And Recording Process A Lot Of Things Around Us Have Changed, Primarily For The Worse. I Became More And More Sensitive And Susceptible To Pessimism And Trendy Visions Of 'dystopian Futurism', So That The Lp Emerged Being An Exercise In Positivity: 'metamorphose' Is A Verb Describing The Act Of
Conversion, But In Greeklish It Is Describes The Urge Towards Others To Start Transforming Their
Environment, In This Case For The Better."

Sao Paulo's acclaimed 10-piece instrumental collective return for their 4th album. Urban Afro-Brazilian grooves, empowered horn-driven melodicism and massive dance floor inspiration. One of South America's

most exhilarating musical propositions. Available on CD or Double 180gr Heavyweight Vinyl that includes a digital download. Quebra Cabe a is a very memorable set of hummable earworms, from the title

cut that opens up the album and continuing, sinewy and cool and relentless, all the way to the final note of 'Portal.' Throughout though, the heartbeat of everything remains utterly African, refracted through the prism of the band's

home in the Bixiga neighbourhood of Sao Paulo. And Bixiga 70 has always been a reflection of the streets where they live. The result still captures the incendiary excitement of Bixiga 70 live, but the

freedom of the studio brings more shade and subtlety than before. The rhythms are more sinuous than ever, snaking through the funk in way that looks more to Ghana or Nigeria than Memphis or Muscle Shoals, while the horns strut in

powerful harmonies. It's music that forges connections and retraces history while sounding absolutely contemporary. But for Bixiga 70, African will always be the root, and Brazil its beautiful, vibrant flower.

In 1975, the prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues recorded an album based on the protagonist of one of their most celebrated TV series. Sporting a dodgy moustache and an equally troubling haircut, Carioca conman Paulo Maurício Azambuja (played by Anysio) would flog his own mother's leg if he could, and his ever-ridiculous scams are inevitably always destined to fail. This soundtrack/musical re-imagining of the series combines jazz-funk with samba soul and MPB, with the help of cult Brazilian trio Azymuth. Keyboard maestro Jose Roberto Bertrami, who arranged the album alongside renowned conductor and composer Jose Menezes, elevates the groovy odd-ball sound to another dimension, with his set up including Fender Rhodes, Arp Strings, Arp Omni, Clavinet and Hammond organ. Remaining Azymuth members Ivan Conti (drums) and Alex Malheiros (bass) provide the signature Azymuth foundation, and saxophone prodigy Victor Assis Brasil and legendary multi-instrumentalist producer Durval Ferreira also feature.As well as its distinctly comedic character, what makes the music so special is the coming together of traditional samba roots, and Azymuth's ahead-of-its-time psychedelic funk influence. Each side ends with a comedy monologue, complete with live audience laughter, but before that you get seven tracks of weird and wonderfully emotive Brazilian groove music.

The Stunning And Ground-breaking Album From The Composer And Saxophonist Chris Bowden.

'this Is The Album That Connected It All.' Gilles Peterson 2018

Chris Bowden's Debut Album Time Capsule Was First Released On Soul Jazz Records In 1992 To Universal And Widespread Critical Acclaim. Now 20 Years On A New Wave Of Current Jazz Artists Led By The Likes Of Kamasi Washington In The Usa And A Host Of British Artists - Shabaka Hutchings /sons Of Kemet, The Ezra Collective, Moses Boyd, Nubya Garcia, Fourtet, Yussef Kamaal, Tenderlonious, Binker & Moses - Have Brought This Original Ground-breaking Album Into The Limelight Once More As A Pivotal Starting Point, Sharing Many Of The Aesthetics Of These Current Artists At Work Today.

Musically All Are Inspired By The Spiritual Jazz Of John Coltrane, Alice Coltrane, Pharoah Sanders, Archie Shepp, Don Cherry Et Al Paired With A Modern Electronic Music Sensibility. Chris Bowden's Time Capsule Has Stood The Test Of Time Like Few Other Albums (as The Title Of The Album Suggested), And Remains A Pivotal, Wholly-successful And Original Experimental Musical Collage, A Radical Inspiration And Forebearer To Many Of The Best Progressive Jazz And Electronic Artists Working Today.

The Album Has Been Fully Hi-spec Re-mastered And Is Available As A Limited-edition Heavyweight Double-vinyl Release With Gatefold Sleeve (+ Free Download Code), Slipcase Cd And Digital Album.

1st ever vinyl reissue of The Wildhearts classic 2004 Live double LP 'The Wildhearts Strike Back' originally released
by Gut Records.
The Wildhearts, led by Ginger Wildheart himself, are one of the most enduring and entertaining British rock bands,
still performing today after over 25 years.
Recorded Live in London, Liverpool, Nottingham, Northampton, Leeds, Sheffield, Norwich and Edinburgh, with The
Wildhearts at the top of their game
Pressed on 2 x 180grm heavyweight vinyl, and presented in a replica of the original gatefold sleeve, with the addition
of printed inner bags with lyrics.
Includes material from the full career of the band up to this date, and featuring the hits 'I Wanna Go Where The People
Go', 'Caffeine Bomb', 'Vanilla Radio' and 'Suckerpunch.'

Moscow Is The City Full Of Posh Decorations. Like A Black Hole, It's Gorging Clouds Of Chaotic Ideas. Madly Fast, It's Flooded With Shallow Hippies, Jealous Dealers And Susceptible Artists. Everyone Desires To Have Its Own Piece Of Luck, Looking For The Shortest Way To Some Easy Life. Most Of The Nomads Arrive From The Capital Suburbs And Other Big Cities Of Immensely Corrupted Russia. Everyone Can Tell A Tale From Outskirt. Senseless Rivalry And Art Falsity Together Make The Special Demands: Your Tale Has To Amaze, To Inculcate, You Must Do Something Notable, Freaky One And Truthful. To Dare To Let It. There Are No Any Rules. Your Voice Has No Matter, The Only Important Is A Sales Skill. The Local Scene Is Tired Of Identical Copying Outside World's Standards. Thereby The More Your Approach Is Unacceptable, The More Valued Is It. But The More It's Valued, The Faster It Will Depreciate. The Glossy Shell With Cheap Content Is The Way To Survive In Such A Tight Plexus Of Cruel Love, Substance Abuse And Electronic Music.

'they've quietly found themselves elevated into the psych scenes premier league.' Drowned In Sound 
 
'when they go pedal-to-metal it rarely fails.' Mojo Magazine
 
'The Lucid Dream are rapidly becoming major players in an ever-increasingly crowded psych scene..utterly seductive.' The Quietus
  
'one of the most enthralling bands in the UK.' Far Out Magazine
 
 
The Lucid Dream return in October with the release of their 4th album, 'Actualisation'.
Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream.
 
'Actualisation' is soaked in the influence of acid house, amalgamated with dub and kosmische. It will again see them acknowledged for venturing into pastures new, setting themselves apart from 'genres', 'scenes' or what any other act are currently doing. 
 
The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove.
Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor.
 
 
Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz).
 
The confrontational techno-punk of 'Alone In Fear' opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is.
Recent single 'SX1000' (the first work from the album, unveiled via 12' vinyl in April this year) is the band's first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by 'Ardency', a track already praised by live critics when aired live for the first time earlier this year as 'even on first hearing, would've raised the roof of The Hacienda'.
 
The 2-part opus of 'Zenith' follows, commencing with a space-dub/house instrumental groove before building into a track that will go for your head as much as your hips. Only 'Breakdown' harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. 'No Sunlight Dub' closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum 'n' bass/jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.
 
 
The Lucid Dream formed in Carlisle, Cumbria, in 2008. A string of sold-out 7s was followed by the debut longer player, 'Songs Of Lies and Deceit', in August 2013. The initial vinyl pressing of the debut album (500 copies) sold out within 2 days, and was backed by a main stage slot at Kendal Calling, and supports to Death In Vegas and A Place To Bury Strangers (full UK tour).
 
The bands 2nd album ('The Lucid Dream') was released in March 2015 to further acclaim. This included 2 BBC 6 Music sessions and plays across most shows on the station, as well as plays from BBC Radio 1 (Huw Stephens) and BBC Radio 2. Further press followed from Uncut, The Skinny, Louder Than War, and Drowned In Sound, who named the album #7 UK album of 2015. Supports to Clinic and A Place To Bury Strangers also coincided.
 
 
3rd album, 'Compulsion Songs' was released in September 2016, on Holy Are You Recordings. The vinyl pressing of the album sold-out within a day, prompting an immediate 2nd press, with pre-sales of the album topping 1,000 before release. The album was backed by a headline UK tour, and a main slot at Liverpool International Festival of Psychedelia (for which they were singled out for major plaudits from The Quietus, The Skinny and Drowned In Sound). The album again received acclaim from the likes of Mojo, Uncut, Classic Rock Magazine, BBC Radio 2 (Huey Morgan) and across the board on BBC 6 Music (Lauren Laverne, Marc Riley, Tom Ravenscroft, Gideon Coe, Stuart Maconie).
 
 
 
'Actualisation' is released on 19th October 2018 (CD/download/ltd red vinyl/standard black vinyl), via Holy Are You Recordings.

'they've quietly found themselves elevated into the psych scenes premier league.' Drowned In Sound 
 
'when they go pedal-to-metal it rarely fails.' Mojo Magazine
 
'The Lucid Dream are rapidly becoming major players in an ever-increasingly crowded psych scene..utterly seductive.' The Quietus
  
'one of the most enthralling bands in the UK.' Far Out Magazine
 
 
The Lucid Dream return in October with the release of their 4th album, 'Actualisation'.
Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream.
 
'Actualisation' is soaked in the influence of acid house, amalgamated with dub and kosmische. It will again see them acknowledged for venturing into pastures new, setting themselves apart from 'genres', 'scenes' or what any other act are currently doing. 
 
The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove.
Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor.
 
 
Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz).
 
The confrontational techno-punk of 'Alone In Fear' opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is.
Recent single 'SX1000' (the first work from the album, unveiled via 12' vinyl in April this year) is the band's first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by 'Ardency', a track already praised by live critics when aired live for the first time earlier this year as 'even on first hearing, would've raised the roof of The Hacienda'.
 
The 2-part opus of 'Zenith' follows, commencing with a space-dub/house instrumental groove before building into a track that will go for your head as much as your hips. Only 'Breakdown' harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. 'No Sunlight Dub' closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum 'n' bass/jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.
 
 
The Lucid Dream formed in Carlisle, Cumbria, in 2008. A string of sold-out 7s was followed by the debut longer player, 'Songs Of Lies and Deceit', in August 2013. The initial vinyl pressing of the debut album (500 copies) sold out within 2 days, and was backed by a main stage slot at Kendal Calling, and supports to Death In Vegas and A Place To Bury Strangers (full UK tour).
 
The bands 2nd album ('The Lucid Dream') was released in March 2015 to further acclaim. This included 2 BBC 6 Music sessions and plays across most shows on the station, as well as plays from BBC Radio 1 (Huw Stephens) and BBC Radio 2. Further press followed from Uncut, The Skinny, Louder Than War, and Drowned In Sound, who named the album #7 UK album of 2015. Supports to Clinic and A Place To Bury Strangers also coincided.
 
 
3rd album, 'Compulsion Songs' was released in September 2016, on Holy Are You Recordings. The vinyl pressing of the album sold-out within a day, prompting an immediate 2nd press, with pre-sales of the album topping 1,000 before release. The album was backed by a headline UK tour, and a main slot at Liverpool International Festival of Psychedelia (for which they were singled out for major plaudits from The Quietus, The Skinny and Drowned In Sound). The album again received acclaim from the likes of Mojo, Uncut, Classic Rock Magazine, BBC Radio 2 (Huey Morgan) and across the board on BBC 6 Music (Lauren Laverne, Marc Riley, Tom Ravenscroft, Gideon Coe, Stuart Maconie).
 
 
 
'Actualisation' is released on 19th October 2018 (CD/download/ltd red vinyl/standard black vinyl), via Holy Are You Recordings.

Axe Gabba Murda Mob Releasing On Prspct's Rvlt Imprint For The First Time. What Does This Mean Well.. Bryan Furry & Hellfish With Their Signature Quality Uk Hardcore Sound But Jut That Little Bit More Broken Up. In Other Words: Brutal And Out Of The Box. Just The Way We Like It!

A Knight On A Horse,
Riding A Rocky Path,
His Dog Next To Him,
Meets Death On His Way,
In The Background A City.

Limited Edition. Triple Transparent Vinyl 180g Incl. Poster & Download Code. Box Will Be Opened For Shipping To Avoid Seam-split. Hinweis: Box Ist Verschweißt, Wird Aber Für Den Versand Geöffnet

On October 19th Kompakt presents a new LP and audiovisual venture by Danish producer Kasper Bjørke and close cohorts. Epic and in length but always captivating, 'The Fifty Eleven Project' is an entirely ambient concept album, that interprets and evokes the emotional rollercoaster Kasper experienced, from his cancer diagnosis and throughout the five years of regular check-ups. The week of album release marks his second anniversary of getting the all-clear.

The base of the album was composed on vintage analogue synthesizers, reverbs, echo and sequencers - using the computer solely as a recording device - by Kasper and synth wizard Claus Norreen, in the latter's Copenhagen studio.

The violins, violas and cellos are composed and played by the Italian composer Davide Rossi, who has also worked with Ennio Morricone, Jon Hopkins, Ro¨yksopp, The Verve and Goldfrapp.

The piano parts are composed and played by Danish musician Jakob Littauer (of Kompakt labelmates Jatoma) on an old upright piano in a studio, and on a Steinway Grand Piano in the concert hall at the Royal Danish Music Conservatorium. From Max Richter's 'SLEEP', Hannah Peel's 'Mary Casio: Journey To Cassiopeia', to much of Brian Eno's 'Music For Installations', 'The Fifty Eleven Project' continues in a rich vein of work by contemporary composers which explores a situation/condition, and is made with functionality and healing in mind.

The visual side of 'The Fifty Eleven Project' is made in collaboration with the culture laboratory Prxjects and acclaimed LA based artist/filmmaker/photographer Justin Tyler Close, who has created art films for each of the album's 11 tracks - plus one music video, including clips from all 11 films. The 11 films will be assimilated into a video exhibition at Klub in Copenhagen from 12th - 21st October. The ambition is that the installation will tour Europe and the US in 2019. Furnished in an exquisite fabric box, this 180 gram 3LP clear vinyl box is presented by cover art created by world-renowned artist Landon Metz, further cementing the release's multidisciplinary links to the art world.

Am 19. Oktober präsentiert Kompakt das neue Album und audiovisuelle Abenteuer von Kasper Bjørke und Freunden. - The Fifty Eleven Project' ist ein komplett ambientes Konzeptalbum, das die emotionale Achterbahn, die Kasper nach seiner Krebsdiagnose und während fünf Jahre regelmäßiger Untersuchungen erlebt hat, interpretiert und offenlegt. Die Woche der Veröffentlichung des Albums markiert den zweiten Jahrestag seit der Entwarnung.

Die Basis des Albums wurde von Kasper und synth wizard Claus Norreen in seinem Kopenhagener Studio auf analogen Vintage-Synthesizern, Reverbs, Echos und Sequencern komponiert - der Computer wurde ausschließlich als Aufnahmegerät gebraucht.

Die Geigen, Bratschen und Celli wurden vom italienischen Komponisten Davide Rossi komponiert und eingespielt, der auch mit Ennio Morricone, Jon Hopkins, Röyksopp, The Verve und Goldfrapp zusammengearbeitet hat.

Die Klavierparts wurden von dem dänischen Musiker Jakob Littauer (bekannt vom Kompakt-Projekt Jatoma) auf einem alten Klavier im Studio und auf einem Steinway-Flügel im Konzertsaal des Royal Danish Music Conservatorium komponiert und eingespielt.

Von Max Richters - SLEEP', Hannah Peels - Mary Casio: Journey To Cassiopeia' bis hin zu Brian Enos - Music For Installations' - - The Fifty Eleven Project' setzt die Arbeit zeitgenössischer Komponisten fort, die sich mit einer Situation/einem Zustand auseinandersetzten und die auf Funktionalität und Heilung ausgerichtet ist.

Die visuelle Seite von - The Fifty Eleven Project' entstand in Zusammenarbeit mit dem Kulturlabor Prxjects und dem renommierten Künstler/Filmemacher/Fotografen Justin Tyler Close aus LA, der für jeden der elf Tracks des Albums Kunstfilme erstellt hat - plus ein Musikvideo mit Clips von allen elf Filmen. Die elf Filme werden vom 12. bis 21. Oktober in einer Video-Ausstellung im Klub in Kopenhagen gezeigt. Ziel ist es, dass die Installation 2019 durch Europa und die USA tourt.

Verpackt in einer exquisiten Stoffbox, die vom weltberühmten Künstler Landon Metz entworfen ist, zementiert diese 180-Gramm schwere 3xLP-Klarsicht-Vinylbox seine multidisziplinäre Verbindung zur Kunstwelt.

Rhythmic Brutalism' is the title of this release, available as a two CD set or two separate LPs, the title is also a very apt description of the music itself. Romanian-born Alexandra Atnif was fascinated by the harsh, grey concrete beauty and minimally repetitive force of the brutalist post-war architecture of her homeland, and this fascination has given rise to the music here. Vol. 1 is an EM Records edition, compiled from an earlier self-released double CD featuring recordings from 2014-15. Vol. 2 consists of previously unreleased recordings from 2015 to 2017. Using elemental, inexpensive technology, Atnif' s music is heavy and harsh, stripped down to distressed skeletal frameworks, rhythmic noise, rusting metal and weathered concrete, a distorted DIY realization of her beautifully brutal vision. With a background in European modernist/avant-garde music, Atnif has been influenced by early rhythmic industrial music such as Throbbing Gristle, Esplendor Geometrico and Muslimgauze, as well as later practitioners of rhythm and noise including Pan Sonic, Autechre, Winterkälte, Prurient and Scorn. Across the relatively brief span of years contained within these two volumes, we hear the rhythmic structures begin to fracture and fray, and the outlines darken and become more obscure, with Antif's sensibility evident throughout.

At 83 Years Of Age, Lee Scratch Perry Is Proud To Present To The World His Next Full Length Solo Album (with Dub Versions) , Continuing His Inimitable Roots Reggae Legacy.

Lee's Brief For The Album, Was To Blend The Vintage And The Obscure, During The Sessions Lee Referred To The Sound And 'black' And Wanted Space, Light And Darkness In The Songs And Their Respective Dub Versions.

The Result Sees Lee Having Mixed Up An Analogue Concoction Of Ultra-rare Effects, Sonic Wizardry And Deep Heavy Roots Rhythms.

Over 2017 and 2018, Lee Scratch Perry re united with Producer and Mixer Daniel Boyle, to start work on their second Solo album project for Lee.

Picking up where their last efforts ''Back on the Controls'' left off. Lee wanted to continue the raw analogue sound they had cultivated together over multiple past releases, and take it to the next level with new effects devices to create another sonic signature.

They entered the studio in 2017, to begin to put together ideas for the tracks, which were then taken to RAK studios in London with their ever changing Rolling Lion All Stars session band; to lay down the rhythm versions.

Using strictly vintage analogue equipment, they employed Neuman valve and RCA Ribbon microphones, and RAK's early model vintage API desk to record, the 'sound' for the album was sculpted in these sessions. Vintage, but punchy, which was then blended with Lee's choice of super rare and custom analogue effects. Ursa Major Space Station and Stargate delays and reverbs, old choruses, Plate and spring reverbs, and tape delays were used to create a tight vintage feel but retaining the rawness of the 'Low Fi' roots sound Lee was aiming for.

With the music coming together, the vocal sessions were held in Abbey Road studio 3, again using vintage RCA ribbon mics, over driving their EMI TG console and Fairchild compressors to create a pleasantly distorted Lo Fi vocal sound.

Lee and Daniel then returned to Daniels Rolling Lion Studio, to mix and Dub the album, live, on the mixing console.

'Rolling Lion All Stars' Musicians: Vocals: Lee 'Scratch' Perry Drums: Ed West Bass & Guitar: Hughie Izachaar Keys: Robbie Lynn Additional Keys: Calvin Bennion Percussion: Daniel Boyle Kete Drum: Mathias Liengme Hurdy Gurdy: Brian McCoy Horn Section: Rory Sadler, Robert Landen Melodica: Puraman Backing Vocals :