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Recorded already in 1983/84, these soulful songs still show a relation to 1970s soul pop with lush
arrangements that work with real instruments and have a vibrant atmosphere. An all in all memorable songwriting
and the incredible vocals of Mavis Staples from The Staple Singers make the album stand the test of time, even 35
years after the initial recording sessions and 25 years past its first CD/MC release. Licensed by legendary BRIAN
HOLLAND and for the first time on vinyl now by EVERLAND!

Mavis Staples has come to fame and fortune as member of the family vocal group THE STAPLES
SINGERS from the late 50s onward to the mid 80s and she has released a fair amount of solo albums as well,
many of them in recent years. - Love gone bad' is a solo effort from 1993, originally titled - Mavis Staples' and only
released on CD and cassette back in the days. So EVERLAND have now done the right thing and put out the first
ever vinyl of this gem. And a real gem can be found here. Soul music in a down tempo with a slick production and
lush arrangements that still have this vivid expression making it real music by real musicians. The songs contained
on this album all date back to the early 80s, from a session not released until 1993. The melodies and the way the
compositions flow go back to a mid to late 70s soul pop style that incorporates elements of funk and dance music
but in a moderate pace. You can easily float upon the dancefloor and drift away in silky dreams. Some tunes have
a synthesized beat with a typical 80s sound, but these are compositions that stand the test of time and 25 years
after their initial release and 35 years after these recording sessions they shine on as diamonds of black soul pop
and R'n'B music (not to be confused with Rhythm & Blues). Mavis sings like a grand lady of soul with a timeless
quality that makes her stand out from the crowd of similar crooners. Even in the most gentle moments here the
tunes have an irresistible groove that moves the listener. But you can also sit and listen and explore piece by piece
digging deeper into the arrangements to unearth great bass and guitar lines. You will sing these vocal melodies
over and over again in the days to come until you throw this onto your turntable once again. I wonder why this did
not see a regular release back in the 80s as it would have led Mavis Staples to the top positions of the charts, Pop,
Black Music and Billboard. She was meant to make an impact and although she was already in her mid 40s when
she recorded this collection of soul nuggets, she brought a lightfooted youthful spirit in, which gives so much life to
her songs. A must have for all aficionados of female fronted soul pop.

Emotional Rescue returns to the music of Takenoko, the Bordeaux based synth-pop project from 1982-1988, to follow their LP collection L'Amour Est Mon Arme (ERC062), with an EP of remixes from Dresden's cult-like producer, Sneaker DJ.
The meeting of Takenoko and Sneaker offers a perfect marriage of left field cold wave tones, inventive drum programming and pop lyrics, with a master-mixer, programmer and DJ of today.
Following releases on cult labels like Uncanny Valley, Rat Life and Frigio as Sneaker and numerous labels such as Macadam Mambo, Bordello A Parigi and Bahnsteig 23 under several pseudonyms, Sneaker first contacted the label after his trance-inducing, drum heavy remix of C Cat Trance , with the suggestion to research an idea to create a reissue / remix project out of a band he had discovered, Takenoko.This was soon expanded to become a stand-alone album and remixes EP after the discovery in the vaults of a cache of unreleased songs. The breadth of styles found on L'Amour Est Mon Arme is matched with these "Mixes", as Sneaker takes 3 of their singles and indelibly puts his marker on them.
Starting with his retake of their second single, Lee Harvey Oswald, he reworks their pop ode to the Kennedy tragedy and strips it groove back for a near 9 minute vocal-meets-discodub that lets the lyrical structure remain, before stretching it out and letting the instrumental interplay between keys, guitar and rhythm machines glide before bringing it all back for finale.
Next, their 1988 single Trans Amor Express is given what is becoming a trademark Sneaker treatment. In a similar vain to his remix of C Cat Trance, here he rips the original apart to extend a single vocal refrain with the raw percussion elements for mind-inducing results.
Finally, his mix of the anthemic John Wayne is almost gentle in comparison, adding 909 overdubs but letting much of the original stay, showing again a modern mastery of mixing desk technique and craft.

Die Zeiten, In Denen Herausfordernde Musik Die Charts Stören Könnte, Sind Längst Vorbei, Aber Es Wird Immer Leute Geben, Die In Musik Mehr Als Nur Hintergrundgeräusche Sehen. Es Wird Auch Immer Leute Geben, Die Musik Spielen, Die Man Hören Sollte.
Blackberries Nehmen Diese Herausforderung Seit Geraumer Zeit An, Und Während Sie In Der Deutschen Psycho- Und Kraut-szene Eine Art Geheimtipp Bleibt, Wird Die Welt Langsam Aufmerksam.
Ihre Energetischen Und Intensiven Live-shows Brachten Ihnen Einen Schnell Wachsenden Ruf Als Einen Der Interessantesten Acts Derzeit Ein. Große Festivals In Amerika, Kanada Und Sogar China Erhielten Die Nachricht Und Luden Die Band Ein, Ihre Eigene Farbe In Den Mix Einzufügen.
Während Ihr Letztes Album "greenwhich Mean Time" In Magazinen Wie Rolling Stone Gelobt Wurde Und Eine Ihrer Amerikanischen Shows In Shindig! Eine Begeisterte Kritik Bekam, Haben Blackberries Keine Zeit Verschwendet, Um Ihr Drittes Album "disturbia" Aufzunehmen, Das Im November 2018 Auf Unique Records Erscheinen Wird.
Ihr Letztes Album War Ein Neuanfang, "disturbia" Ist Eine Natürliche Entwicklung. Die Erfahrung Von Hunderten Von Live-shows Ist All Diesen Neun Brillanten Neuen Songs Zu
Verdanken, Die Immer Noch Auf Ihren Kraut- Und Psych-wurzeln Basieren, Aber Auch Eine Frische Und Moderne Dringlichkeit Haben. Während Die Melodische Stärke Immer Noch Als Eines Der Schlüsselelemente Hell Leuchtet, Sind Die Themen Dieser Neuen Stücke Deutlich Dunkler Geworden.
Die Band Ist Sich Der Gefährlichen Veränderung Des Politischen Klimas Bewusst. Die Aufzeichnung Reflektiert Diese Beobachtungen In Düsteren Songs Über Gewalt, Ignoranz Und
Einsamkeit, Ohne Die Uralte, Aber Immer Noch Relevante Botschaft Zu Vergessen, Sich Gegenseitig Zu Verstehen Und Das "wir" In All Dem "ich Mir Mich" Zu Finden.
Alle, Die Musik Mögen, Die Einen Aufrütteln Und Mitnehmen Kann, Sollten Definitiv Diese Vier Jungen Männer Im Auge Behalten, Die Sich Blackberries Nennen.

Composer, Synthesist And Producer Matt Robertson Is Set To Release His New Album 'entology' Via Tape Club Records On 16th November 2018. It Follows His Warmly Received 2016 Album 'in Echelon', Described By Mojo As "nils Frahm's Modern Classical Meets Jon Hopkins' Grainy Techno", "an Album Of Symphonic Electronica And Leftfield Techno Thats Cinematic In Scale" In Mixmag And "magnificent Wild Sound" By The Line Of Best Fit.

As Musical Director For Björk, Cinematic Orchestra And Anohni As Well As Working With Lamb, Emiliana Torrini And Bat For Lashes, Matt Has A Wealth Of Experience Collaborating With Some Of The Most Exciting Artists In The World. Working With A Collection Of Vintage, Modern And Diy Synths, And Combining Electronic Music Production With Classical Composition And Cinematic Soundscapes - Artists, Producers And Film Composers Alike Seek His Enveloping And Distinct Sound.

"i Love The Idea That Not So Very Long Ago, The Idea That A Species Could Become Extinct At All Was Laughed At. In The 17th Century, Fossils Were Believed To Be From Mythical Creatures Like Dragons. In 1796, George Cuvier Presented The Idea That A Species Could Have Existed And Now No Longer Existed, And He Was Laughed At By Scientists. Darwin Then Suggested That Evolution Did Not Need Catastrophic Events To Explain Extinction - More That It Was Due To Perpetual Competition In An Overcrowded World.

I'm Adopting The Word "entology" To Be An Awareness Of Our Current Period Of Geological Time Being An Extinction Period, Where An Extinction Period Is Defined As A Time When A Significant Proportion Of Species Die In A Geologically Insignificant Amount Of Time. I Was Trying To Imagine The Obvious Desolate Spaces Of A Post Apocalyptic World, But Also The Slightly More Opaque Vision Of The Fact That So Many Things Are Becoming Extinct Around Us Without Us Noticing, Or Even Being Aware Of Their Existence In The First Place.

The Idea Is Of Desolation But, Because Of The Awareness, Also Of Hope."

- Matt Robertson

Franck Roger is back on his imprint Home Ivasion label for a new season with some dope upcoming House stuff and a brand new record design aswell

Do what you gotta do:

Franck and Mandel team back together for this Chicagoan Dub track wich provides vocal hooks and stabs wich also reminds us some old Prescription Records or Derrick Carter stuff..

The Deep:

The Deep bring us back to the good old days of the French Deep House scene wich was run back in the days by The Deep aka Dj Deep and Julien Jabre and a little Playing 4 the City vibe aswell in a modern way of editing and sounds.. The Deep got this hypnotic groove driving thru vocals hooks, piano stab and a massive bassline...Free ur mind, free ur soul.

LMYE first came to light in 2016 on Funkineven's Apron imprint with the LMYE EP, which quickly became a regular fixture at the London label's infamous parties and bbqs as well as with house DJs worldwide. Since then the pair have been relatively quiet, only appearing once on record, with a release for Bristol's Idle Hands in 2016.

The paucity of their output though belies a busy production schedule behind the scenes. Tracks from those sessions have surfaced occasionally in the sets of DJs like Shanti Celeste and Ben UFO but they have never seen the light of day on a full release until now.

As you would expect from their first releases, the self-titled LP treads a line between classic house and UK garage with a nod here and there to boogie and Latin freestyle, genres which have inspired their production techniques.

From barnstorming new jack house cut 'The Gift' to the classic UK funky sound of 'Hypnotized', LMYE have selected only the most weighty numbers at their disposal, with the aim of offering an LP that will catch the ear of those at every end of the house spectrum.

That's not to say that this is an LP of dancefloor-only cuts though. 'Long Island at Night', which features Bristol's Typesun and Adam Davies live in session, shows the softer, more musical side of LMYE's output. Meanwhile 'XTC Rising' is a uk garage cut with a classic edge which nevertheless still feels modern and up to date in its outlook.

In short, 'LMYE' collects the highlights of a number of years' work, with the aim of finding a home in the boxes of the most discerning and listeners for years to come.

Los Angeles - September 7, 2018 - Billy Idol's 1980's remix collection, Vital Idol, is getting a modern-day upgrade with Vital Idol: Revitalized, set for release on CD and digital by Capitol/UMe on September 28. A 2LP 180-gram black vinyl in addition to a limited edition, color variant will follow on November 16.
More than 30 years after his groundbreaking Vital Idol compilation cemented the vibrancy of the dance-rock remix genre in the second half of the 1980's, Idol's Revitalized collection features 11 brand-new remixes of his most classic and enduring hits. Lending their hands to the Revitalized proceedings are electronic dance luminaries Moby, The Crystal Method and Paul Oakenfold as well as current innovators including Tropkillaz, Shiba San, Juan Maclean, CRAY and RAC, who's remix of 'Dancing With Myself' debuts today.
Vital Idol, initially released in Britain in 1985 and subsequently issued in the United States in 1987, was the first remix record released by a rock superstar. Besides being certified platinum, Vital Idol was accompanied by a version of 'Mony Mony' that reached No. 1 on the Billboard Hot 100 Singles chart, as well as hitting the Top 10 on the U.K. Singles chart.
Highlights found within the grooves of Revitalized include The Crystal Method's percussive, explosive stab at 'Rebel Yell,' CRAY's bass-and-keyboard-blessed 'White Wedding,' Tropkillaz's trop-house framing of 'Eyes Without A Face,' St. Francis Hotel's shimmering stop/start caress of 'Flesh For Fantasy,' and RAC's retro-harmonic, fist-pumping 'Dancing With Myself.'
Meanwhile, the digital version of Revitalized features four additional exclusive remixes, namely the brand new Billy Idol/Steve Stevens Remix of 'Mony Mony,' Paul Oakenfold's Extended Remix of 'One Breath Away,' Moby's 'Half Time Version' of his take on '(Do Not) Stand In The Shadows' and 'Save Me Now (Lost Dog Remix),' reworked by Billy Idol's son, Willem Wolfe with Brandon Rauch and Ed Bedrosian.

The Quiet Master Breaks His Silence! Deason's "life" E.p. Is An Homage To The Classic Detroit Sound By One Of Its Most Respected Artists. "life" Takes Familiar Detroit Techno Elements And Delivers A Fresh 4 Track E.p. Of Dancefloor Pounding Peak-hour Modern Classics. Limited Edition Clear Vinyl.

North East duo Forriner are back with their third and final instalment in the samurai trilogy on their eponymous 'Forriner Music' imprint. Following a couple of impressive showings with previous EP's 'Condor' and 'In the B' they return for their hattrick with '17:17 Neon'. A four tracker of experimental club music for powerful dance floor experiences that offers two originals as well as a banger from Bird Of Paradise and a mouthful of mathematics from Legget and Suade for the remixes.

First up, 'The Jungle Is Deep' which immediately sets off at a rate of knots! Its sharp pace is tempered by the sound of the drums: dull kick, wooly clap, rattling hi-hats while its bassline bleeds in slowly as a dark repeating tone and subtle chord swell and a haunting, cautious vocal reminds you that 'The jungle is dark and deep'. The second half of the track balances its steamrolling kick with an intricate, hypnotic lead as a growling synth line shuffles and recombines over its rumpled techno groove. It's feeling is transportive, the kind of music that makes you close your eyes on the dance floor.

Fellow Northeast alumni take up the remix for 'The Jungle Is Deep'. Steve 'Four Hands' Legget and Suade Adapted hammer a hefty slice of future dub techno from the skeletal remains of the original! Its chunking, discordant drums and manic echo chamber combine with a lilting bassline making sure you know that this is tough music but that it also has a tender heart. Clipped vocals squelch and flutter throughout but these are more textural than melodic, adding extra depth to the track. This trip is all about striking, psychoactive grooves, pushing the swing settings to extremes. Equal parts sinister as it is are playful. Fitting the typical tradition of winsome, weird dance music.

Over on the flip is the title track '17:17 Neon' featuring vocalist Louis Adams and violinist Late Girl (Laura Stutter Garcia) Breathy melancholic vocals and pitched down, endorphin flooded electronica. This is techno in a state of dewey eyed delirium. The neon of the title is very much instructive here, with the vocal being the scattered, shining light that the track playfully hangs itself from.

Jo Howard aka Bird of Paradise takes the reins for the final remix delivering a charging peak-time club tool with relentless batteries of percussion setting the stage for a trippy soundscape. Other than their Northern roots, what these producers have in common is a distinctive approach to rhythm. The restlessness of the sharp stabs of static perfectly guiding the darkly pulsing mood.

Freedom To Spend's first catalog wide deep dive into an artist's career focuses on four albums from Rimarimba, beginning with 1983's Below The Horizon, followed by 1984's On Dry Land, 1985's In The Woods, and finally, the once-imagined, now-realized assembly of 1988's Light Metabolism Number Prague.

Somewhere out there around the turn of the 1980s, to the left of the post-punk crew, to the right of the minimalists, and surfacing with a friendlier face than the dour industrialists of the time - there existed, seemingly unbidden, an entire, networked, tape-trading community; a community that crossed continents and oceans, that relied on the postal service to do its bidding; a community full of humble visionaries and lost, misunderstood, or just plain ignored home steeped genius.

Exploring that thicket of weirdness in the UK wild, you'd likely stumble across labels like Cordelia, Hamster, and Unlikely; compilations like the should-be-legendary Obscure Independent Classics series, or the Real Time cassettes; and inexplicable one-offs like The Deep Freeze Mice, Jody & The Creams, R. Stevie Moore, Leven Signs, Jung Analysts, and Rimarimba.

Rimarimba was the project of Robert Cox, based in Felixstowe, on the seaside in Suffolk, UK. Rimarimba was not Cox's first entry into the world of recorded music, but was the first time he explored, most perceptively, the parameters of a particular musical mode: one where minimalism is removed from its 'high-art' mantle, Cox inveigling its practices in amongst the doit-yourself creativity of a burgeoning and beguiling underground, letting the music breathe - and most importantly, letting it play, gifting it with imagination.

The first in the Rimarimba series, 1983's Below The Horizon, feature Cox in exploratory mode, figuring out exactly how to make his music. There's a pleasure in hearing how he feels out the parameters of his aesthetic, here - there's a boxy minimalism, slightly clunky and charming with it, that reflects the home-spun, improvisatory tenor of the compositions. It's ambitious music, though, wanting to do the most and the best it can with its limited resources. Cox himself admits to not being 'pre-wired' to making this music, but that only makes it more compelling: 'Were I to be properly musical, it wouldn't actually work as well in some ways; it'd be just another album of contemporary clattery music.'

On October 5, Freedom To Spend will offer Below the Horizon in a one-time edition of 750 copies, followed On Dry Land and In The Woods on January 8, 2019 and February 22, respectively. Each album features artwork reinterpreted from its original edition by Will Work For Good, and accompanying abstracts by Jon Dale.

30 Years Ago This Month (nov 1988) Humanoid - Stakker Humanoid Was The Uks No.1 Song In The Dance Charts - It Would Stay No.1 For 5 Weeks Also Charting In The Uk Top 20 At No.17.

Now Regarded As An Acid House Classic Anthem And Hailed As The First Real Uk Acid House Track To Break The Uk Top 20.

Humanoid Music From 1988 Was Also Used In Stakker Eurotechno - Now Housed In The Museum Of Modern Art (new York) And Sighted As A Major Influence On Early Aphex Twin Music / Reflex

To Celebrate Humanoid (brian Dougans Fsol) Has Reworked The Original Into A 2018 Breaks Monster With Two Equally Killer Tracks On The B Side Skatter And Blunt 

Original Futuristic Uk Acid House Music Circa 1988 :) 

With Not A Single Cry Of 'acieeeeed!' One Record, Humanoid's Stakker Humanoid, Has
Blown Apart The Uk House Music Scene. It's The Most Uncompromisingly Acid Track To Be
Produced So Far In This Country.

Freamon is a denizen of the modern world, allegedly hailing from NY, according to some, not relevant, says he. What matters is the music - finely honed and carefully crafted dancefloor gems, served up with love the way they used to be, the way they ought to be.

The Hot Damn! EP is his second release on the mysterious Turbocapitalism label, after 2016's Black Grid EP. This time, he has decided to shine a spine-tingling light on our souls. He wants you to raise your hands and put them together in an overdose of holy joy on this unashamedly celebratory slab of sweet gospel grooving. Can you feel the spirit One listen to 'No More Crying' will settle any doubts on the subject. It's gospel-funk. Or gospel-not-gospel, which is like a million samples taken from every soul record you never heard, seamlessly stitched together as if created fresh today, with one idea - to meld together into one big explosion of spine-tingling dance floor joy!

The title track takes things down a notch with a heavy kick drum shuffle - stripped back analogue house, making for an intoxicating, dense brew of sounds, feelings and ideas. Fierce, pulsating free jazz sounds, snaking around that deliciously tense, bustling bottom end, creating an infectious groove that is fresh, different and most of all, impossible to resist.

Meanwhile, Madrid's DJF and Damian Schwartz do what they do best: they take that thing straight to the centre of Detroit, let it adjust to the new environment and then freely cruise the boulevards at night.

DFA release Crooked Man's new album, 'Crooked House'.
Speaking about the album's lead track, 'Take It All Away',
Crooked Man says: 'It's about not being suffocated under the
mountains of useless crap that Mammon shits into every
crevice of modern life... quite possibly the world's only anti
consumerist disco song.'
The elusive Crooked Man returns to DFA with 'Crooked House'
LP, a maximalist take on electronic and house music that picks
up where 2016's self-titled album left off. Teaming up again
with Michael Somerset Ward (Clock DVA) and David Lewin
(Bleep & Booster) in the studio, Richard Barratt crafts a
comprehensive journey of hi-fi house belters with more sinister
electro-pop mixed in for good measure.
The album is influenced by two historic epicentres of electronic
music: Sheffield UK, where Richard has had an illustrious
career in a mix of legendary groups like Funky Worm, Sweet
Exorcist and The All Seeing I; and the NYC Loft-era disco
sound, where extended grooves were layered with peaktime
choruses.
Richard's diverse collaborations and intensely prolific
discography have now led him to records as lush and
sophisticated as 'Crooked House'. Considering the rarity of a
live Crooked Man performance or DJ set, it's a testament to his
hyper-creativity that these tracks are able to reach new heights
in a club setting. With support from disco historian Bill Brewster
and NTS resident Ross Allen, it's clear that 'Crooked House'
brings a timeless vitality to the current landscape of dance
music and continues an exciting new chapter in Crooked Man's
career.
LP format includes digital download code.

The artwork recreates the cover of the band's 1977 debut album with modern fashion icons Duckie Thot and Jazzelle Zanaughtti

'I've had the great privilege of producing some of the greatest artists in the world so when it came time to collaborating for my own record the barometer was shall we say pretty high' explains Nile. 'Nao, Mura Masa and Cosha were important to me and to be able to debut the songs we wrote live with them on Later . . . With Jools before we've even put out recorded versions makes it even more special.'

Nao shares: 'We all grew up on CHIC! No matter who you are or where you're from, they're one of those bands that have sound tracked at least one part of your life. So to now be part of that story and playing in the band - albeit temporarily - is just wild. We've had such great fun making records and playing together, it's been a joy. I'm so glad they're back, the world - especially right now - needs more CHIC!'

'BOOGIE ALL NIGHT' ft Nao is lifted from the long anticipated 10th studio album 'It's About Time'.
Coming this September though Virgin EMI, it's the group's first album in 25 years!!

Inspired by talent, multiple Grammy-winning composer, producer, arranger and guitarist Nile Rodgers is always collaborating, working with musical superstars and breaking artists alike. He amplifies his legacy by constantly traversing new musical terrain and successfully expanding the boundaries of popular music. The new record sees the UK's Nao, Mura Masa, Stefflon Don, Cosha and Craig David share in the journey alongside the likes of California's Anderson .Paak and Chicagoan Vic Mensa, with many more exciting collaborations to be announced.

The album's cover revisits a strong sense of conceptual aesthetics that have run through the bands career since the very start. The artwork of their debut self-titled album (inspired partly by Roxy Music album covers such as 'Stranded' and 'Country Life') featured Valentine Monnier and Alva Chinn, and personified the band's unique style and intent. The 'It's About Time' cover features models Duckie Thot and Jazzelle Zanaughtti. Shot by Britt Lloyd and directed by Greg Foley, co-founder of V Magazine, Duckie and Jazzelle are not only modern fashion icons, but also activists making huge strides for women of colour in fashion.

'When I first came up with the concept for the first CHIC album cover more than 40 years ago it was a deliberate statement that we could all be abundant, we could all be with the beautiful people, we could all be included, we could all have good times. Looking at the world today for the release of 'It's About Time' I felt that it was important to make those statements again for a new generation' Nile explains.

As the co-founder of CHIC, Rodgers pioneered a new musical language with chart-topping hits like 'Le Freak,' (the biggest selling single in the history of Atlantic Records!) and 'Everybody Dance', even sparking the advent of hip-hop with 'Good Times'.

His work in CHIC and his production work for artists like David Bowie, Diana Ross, and Madonna have sold over 500 million albums and 75 million singles worldwide while his innovative, trendsetting collaborations with Daft Punk, Avicii, Sigala, Disclosure, and Sam Smith have kept him in the vanguard of contemporary music.

Nile Rodgers & CHIC have already confirmed several festival performances across the UK this summer, including Isle of Wight and Wilderness, full list of dates below.

Rodgers transcends all styles of music with a catalogue of work that's garnered him plaudits from the Rock & Roll Hall of Fame (2017) and the Songwriters Hall of Fame (2016). More recently, he was appointed as the first ever Chief Creative Advisor for Abbey Road Studios to cap off a year that included 'festival best' performances at both Glastonbury and Coachella and a BBC Music Awards nomination as 'Best Live Performance Of 2017'.

Adam X returns to his imprint Sonic Groove with his first album in four years, a 56 minute excursion into EBM and Cyberdelic Industrial Techno titled RECON MISSION. The mission begins with beat driven hypnotic electronics that invoke paranormal illusions of Easter island mythology and Bermuda Triangle disappearances. Climbing forward the album crosses the line into harder industrial territories, conjuring visions of New York City's dystopian past and CIA shadow government experiments.

Adam's own voice adorns tracks such as "Never Ending Quest", "Modular Bodies" and the title track "Recon Mission", while manipulated dialogue samples take the stage on "Tales Of Mystery', 'Search & Retrieval' & 'Delusions Of Paranoia'. Subtle, whispered statements creep in and infect the listener's ear, guiding them deeper into mental oppression. This album is not for the faint of heart, and its meticulously detailed production stands as a testament to Adam X's enduring career in techno. Adam has survived the ups and downs of the industry while continually raising the bar for production value and sound design. RECON MISSION is a triumph, ahead of the curve of modern industrial techno. This is not a throwback, this is Future EBM.

Georgia Anne Muldrow returns with a modern soul classic in the
making - 'Overload', via Flying Lotus's Brainfeeder record label.
An incredibly talented vocalist, songwriter and producer,
Georgia Anne Muldrow effortlessly spans jazz, soul and hip hop
and, during her 12 year career, has collaborated with Madlib,
Erykah Badu, Dev Hynes aka Blood Orange, Bilal and Robert
Glasper.
'Overload' was executively produced by Flying Lotus, Aloe Blacc
and Dudley Perkins.
For fans of NxWorries, Erykah Badu, The Internet, Madlib.
Notable collaborations on 'Overload' include Dudley Perkins,
Shana Jenson, Moods, Lustbass and Mike & Keys (50 Cent,
Nipsey Hussle, Snoop Dogg, G-Eazy), who contribute
production to four tracks including the sleek, anthemic title
track alongside Khalil (Dr Dre).
CD digipack. LP pressed on 180g heavyweight black vinyl in an
artworked innersleeve housed in a 3mm spined outer sleeve
with digital download card included.
Artwork by Martin Norwood (Nice Dreams Studio). Layout by
Adam Stover.
'No one sings a heavy love song like Georgia Anne Muldrow' -
Pitchfork Best New Track
'Beautifully poised between classic 90s R&B and something
strange, disorientating and psychedelic.' - The Guardian

Symphonical Records has the peasure to announce it's 5th release & first time working with a contemporary group to promote the new 'Modern Soul' movement. E Da Boss (Myron & E/Pendletons) & Ishtar team up as 'Lucid Paradise' for their second release, produced by non other than Russia's finest, 'The Soul Surfers'. 'Tonight' us the accunzkatuib of two Bay Area sizk aficianados coming together to create a smooth & crisp, timeless yet modern cut. Written alongside UK's pioneering soul singer Gizelle Smith, 'tonight' epitomises the talent of contemporary soul acts worldwide. Following on from their fist release in 2015, a 4-track boogie EP with London producer 'The Whole Truth', 'Lucid Paradise' return to formly set their standing as a duo to watch out for.

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.

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.

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.

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.

Sarah Davachi presents her masterpiece, Gave In Rest. Her most fully studio-recorded album ever, she collaborates with Montreal heavyweights to create an album that uses both modern minimalism and early church music as departure points.

Sarah Davachi has quickly risen in prominence since her first release five years ago, and Gave In Rest represents her highest artistic achievement. By infusing her compositional style within a predilection for medieval and Renaissance music, Davachi unearths a new realm of musical reverence, creating works both contemplative and beatific, eerie yet essentially human. Gave In Rest is a modern reading of early music, reforming sacred and secular sentiments to fit her purview and provide an exciting new way to hear the sounds that exist around us.

Between January and September of 2017, Sarah Davachi lived in flux; storing her belongings in Vancouver, she spent the summer in Europe, occasionally performing in churches and lapidariums and seeking respite from her transitional state while surrounded by such storied history. This latest album echoes that emotional state of solitude and ephemerality, reaching towards familiar musical landscapes but from oblique perspectives.

'I named each track after a particular time of day as a way of expressing my experiencing different moments of quietude, how morning and night are both independent and interconnected entities in this regard,' she says. Her titles evoke canonical phrases referring to morning or evening prayers, as well as Latin and German phrasings for metaphors about the time of day. 'From my perspective, there is a lot of loneliness on this record, and I think it is as much about beginnings as endings,' she continues. 'In a way, it's about the prospect of the unknown as it manifests alongside a very inward form of grieving—really the essence of what constitutes a period of transition.

Davachi has mined a bottomless landscape where listeners can witness music's participation in their solitudes. Gave In Rest lends a voice to her personal exploration with a firm, intuitive stance.

Tracklisting

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.

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.

Beautiful contemporary African music. Deep percussion with great guitar playing and vocal chants on top. Driving basslines all over the album. Spiritual feel! Tip
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Son of the legendary Dr Philip Nchipi Tabane and heir to the malombo sound that he originated and pioneered in the early 1960s, Thabang Tabane has been touring the world playing with his father's band and other South African luminaries (such as Thandiswa Mazwai, Madala Kunene and Mabi Thobejane) since he was 8 years old.

Emerging into his own with his debut solo album, Matjale, this energetic percussionist carves a driving, joyous and worldly version of the malombo genre that takes in his continental travels. The album brims with ambition and an appetite for life. Employing brisk tempos, nimble basslines and intersecting polyrhythms, Thabang crafts songs cognisant of the hardships of life, but chooses to deliver them with an irrepressible optimism.

Expanding parameters of what is essentially an artform patented by his father, Thabang and his cohorts seem unburdened by pedigree, infusing the sound with a modern sensibility. His reverence for the vibrational resonance and drive of the bass guitar, not to mention his explosive bursts of hand drumming, gives the album an undeniable, cathartic exuberance.

Musikalisch Besonderer Fund Mit Feinstem Sinfonischem Jazz Aus Dem Berlin Der Nachkriegszeit. Unbekannte Aufnahmen Des Orchesters Unter Der Leitung Von Werner Müller, Produziert April 1960 Und September 1961. Exzellenter Crossover Von Westcoast, Hard Bop, Moderner Klassik Und Blues, Mit Exklusiven Auftragswerken: blues In Studio 7' (helmut Brandt), ouverture In Jazz' (klaus Wüsthoff) Und feuilleton In Jazz' (peter Sandloff), Dazu Jazz Versionen Von pavane' Und sakura, Sakura', Gesungen Von Caterina Valente. Neues Aufregendes Kapitel Des Progressiven Jazz In Deutschland. Exklusive 10inch Vinyl-lp & Digital Mit Müllers Avanciertesten Produktionen.

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.

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.

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.

Kalita Records and CC:EDITIONS (a new venture by
Australia's CC:DISCO) jointly announce a 12' EP
comprised of four of Nana Tuffour's greatest electronic
burger highlife tracks, accompanied by interview-based liner
notes. Here, in partnership with Nana, we select two highly
sought-after songs from his 1993 release 'Genesis', namely
'Sikyi Medley' and 'M'Anu Me Ho', and pair them his with two
lesser known yet equally deserving tracks 'Asamando' and
'Jesus' from his 1997 CD-only release 'Highlife Tropicana'.
Hailing from Kumasi, the capital of the Ashanti region in Ghana,
Nana Tuffour is by far one of the most important exponents of
modern highlife music. He studied piano at college and cut his
teeth in the '70s as an organist and vocalist for the incomparable
Kyeremanteng Atwede and Dr. K Gyasi's Noble Kings Band.
Fast forward to 1981 and Ghana was at the apex of its golden age
of music. This era was brought to an abrupt end by political
upheaval when the military took over the government and as a
result a restrictive dusk to dawn curfew was imposed between
1982 and 1984. This resulted in a total obliteration of the country's
night life, and Nana just like many other prominent musicians
including Pat Thomas and George Darko left Ghana for greener
pastures, the most popular destinations being Nigeria and
Germany. The Rheinklang Studio in Düsseldorf run by a young
inimitable German sound engineer Bodo Staiger and another
'exiled' Ghanaian musician Charles Amoah played a crucial role
for those musicians who had chosen Germany. This studio
became the focal point for Ghanaian musicians and the birthplace
of a new sound, now known as 'Burger highlife' - traditional
Ghanaian highlife infused with the more up to date electronic and
disco sounds of the West. It is arguable that Nana has played a
crucial role in Burger highlife and developing the sound of
traditional Ghanaian highlife more widely to what it is today, with
his innovative use of electronic accompaniment pushing its
boundaries to its creative extremes.
It is Burger highlife's transcendence of traditional musical
boundaries that helps make it so accessible to listeners,
appealing not only to Ghanaians back home but now highly
regarded and sought-after by those in the West interested in
more occidental disco and electronic sounds. We hope that you
enjoy the four songs offered here, each chosen to demonstrate
Nana's singular influence on the development of Burger highlife.

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 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.

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 :

Repress

Produced by Jenn Wasner of Wye Oak. LP is on coloured coke bottle green vinyl + inclues download code and 12x12' lyric sheet/ liner note insert.

Madeline will be on tour throughout the UK and Europe this Autumn.

'Building from understated beauty to dense guitar theatrics. It reminds me of Chicago circa '93 as remembered in a dream — a little bit of Liz Phair 'Exile In Guyville' - rendered in soft-focus with the graceful confidence of a young master. ' STEREOGUM

In January of 2018, five months after the release of her debut album Night Night at the First Landing, Madeline Kenney traveled from Oakland, California to the woods outside of Durham, North Carolina to record her sophomore album with a new collaborator, Wye Oak's Jenn Wasner.

The choice was a conscious decision to explore new methodology in writing, recording, production and even genre. Perfect Shapes sees Kenney leaping headfirst into fresh and adventurous territory, largely eschewing conventional rock structures in favor of theme and melody. Its ten songs are full of surprises big and small - from vibrant synth lines to taut bass figures and subtly modulated vocals - that instead of feeling fussed over, reveal Kenney's penchant for elegant and abstract composition.

Kenney's 2017 debut, Night Night at the First Landing, was a guitar-centric rock album, produced by friend and collaborator Chaz Bear of Toro Y Moi, Perfect Shapes leans on the foundational pieces of Night Night - fuzzed-out guitar tones, coy wordplay and Kenney's notably strong voice - but with an unconventional approach that allows them to bloom, reincarnated. Perfect Shapes marks Wasner's first foray into producing another artist's work and is permeated by the pair's collaborative spirit. Both Wasner and Kenney play multiple instruments on the record, and engineered the session alongside Kenney's touring percussionist, Camille Lewis.

An eagerness to explore and experiment is apparent from start to finish, as Kenney and Wasner weave endless sonic curve balls into the arrangements. From the delightfully warped percussion on opening track 'Overhead' to the burbling synths on the R&B-tinted 'The Flavor of the Fruit Tree' and the left-field trumpet solo in 'Your Art,' these rich and inventive ideas echo Yo La Tengo's everything-but-the-kitchen-sink mentality, as well as the surging soundscapes of Tame Impala and Wye Oak at their most impressionistic. Lead single "Cut Me Off" is a surprise of its own - the most pop-forward song Kenney has written yet. 'Bad Idea,' finds her balancing fragility as foil; later, 'I Went Home' manages to evoke both frustration and affection in a single breath.

The complex and open-ended questions that lay at the core of Perfect Shapes mark Kenney's arrival into a hard-hitting reflective space: How do you love another when it hurts to do so What is the physical limit to which one can carry the emotions of others How does a modern female artist reckon with the expectations demanded of her femininity Yet for all the notes of doubt and fear that Kenney raises, she delivers each song with confidence and poise, grounded by the pointedly laid and surging soundscape.

Kenney has always had a penchant for curiosity and experimentation. Raised in the Pacific Northwest, she began studying classical piano and dance in kindergarten, and grew to believe her future lay in modern dance choreography. Not one to be tied to a singular pursuit, however, Kenney took a hard left in college, studying Interpersonal Neurobiology and supporting herself with a career in baking. Music remained a constant however, and after moving to the Bay Area in 2013, Kenney quickly found footing in the supportive arts community in Oakland. There, she met and began collaborating with Chaz Bear (Toro Y Moi), which led to the production of her Signals EP and later her debut album, Night Night at the First Landing. Both releases were received with great critical acclaim, and saw Kenney exploring the sounds within her self-proclaimed twang-haze genre, defined by cathartic fuzz breakdowns and lyrical sensitivity.

Hosono's solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO), who made their debut in 1978. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.
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The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer.

Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom.