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“On this, their second LP, P16.D4 solicited tapes from several artists from Europe, England, the U.S., Canada, and Japan, and mixed that with their own material. Though in the current digital age collaborations from artists thousands of miles apart is quite normal, this was a quite radical approach back in 1982, when work on this LP began – an interesting concept that actually works quite well, since these artists, which include Bladder Flask, DDAA, the Haters, Merzbow, Nocturnal Emissions, Nurse With Wound, and several others – work in a similar free-ranging experimentalism as P16.D4, and their particular elements, usually just vocals or one instrument or noise implement, blend well without diluting P16.D4’s own peculiar brand of avant-garde post-industrialism, but merely give it another facet. One of the best tracks, “Aufmarsch, Heimlich,” consists of a choir submitted anonymously from Eastern Europe phasing in and out of static while a skronky alto sax bleats away. Most of the pieces exist somewhere just beyond the borders of free jazz, industrial, and even classical avant-garde, full of jarring noises and strange transitions and with a heavy overlay of electronics. What started out as an experiment yielded one of P16.D4’s best albums.” - Rolf Semprebon / AMG

“Distruct is organized around sounds provided by the cream of experimental musicians of the early ’80s, from Nurse With Wound to Nocturnal Emissions, via De Fabriek, Die Todliche Doris, The Haters, Merzbow, and others. Obviously, there is no question of remixing here, and at no time do P16.D4 seek to hide its sources, clearly identifying the contribution of each artist in the liner notes. It would be futile to try to find the paw of each artist, the trio operating vis-à-vis its collaborators the same methods as in their own work. Reworked, distorted by various effects, cut, edited, aggregated with other sounds, produced by P16.D4 themselves, reprocessed. Exchange, communication, two other data that will constantly recur in the work of P16.D4, rich in external contributions and encounters of all kinds. Musically, and despite the diversity of sources treated, Distruct escapes the heterogeneous character, which often marks this type of collaboration, to offer a coherent whole: fragments of opera, Soviet speeches, out-of-tune guitar, saxophone, tattered violins, overdriven and metallic noisy attacks, jackhammers, field recordings, battered choirs, and many other less identifiable sounds. In addition to the desired dialogue between the artists, Distruct also offers a real reflection on listening, and on the expectations of the listener.” - Dissolve

P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW.

Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design.

The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete.

“This music is staggeringly original and innovative, and while it’s possible to locate it in a chain of circumstance that links it to ‘Industrial’ music, P16.D4 indulged in none of the empty cliches associated with the genre, worked incredibly hard, and seem to have been aiming at a form of sound art that was much more profound, varied, subversive, and potentially dangerous. Kuhe In 1/2 Trauer’s accompanying credits indicate their radical approach to making music: lots of improvisation, lots of live electronics, extensive use of tape-loops, some conventional instrumentation, and much that isn’t – like the milk churn on ‘Paris, Morgue’ or the use of baking tray and washing machine elsewhere. Even when guitars, drums or keyboards are used, they’re played very weirdly. It’s not even made clear who was doing what; the main credit is ‘Concept,’ which I assume means that one of the three devised the framework in which the noise would operate itself, and while RLW gets the lion’s share of these credits, a lot of the cuts are evenly divided among the team and I have no doubt that the group operated in a very democratic or libertarian manner. None of this prepares you for the insane and troubling sounds that reach your ears, composed with scant regard for conventional logic and following an exciting, absurdist path, especially in the matter of tape edits and juxtapositions of recordings.” - Ed Pinsent, The Sound Projector.

“Though this German group started out as a the new wave band P.D., by the time of Kuhe in 1/2 Trauer, their first LP under the P16.D4 name from 1984, they had developed far beyond into extremely experimental music similar to other post-industrial artists working with abstract avant-garde soundscapes. There’s a bleak industrial feel to the gritty, lo-fi electronics and tape loops, while the group throws in enough curve balls to keep it interesting. On some pieces, strange, looped choirs bubble out of throbbing pulses and drones of feedback, while others have clanging and clattering, and elements of musique concrète and improvisation blur the boundaries even further. The opening track, “Default Value,” is one of those disorienting pieces with noises flying everywhere, while “Paris Morgue” takes excerpts from one of their old P.D. tracks and messes it up with additional instruments, while the ungainly titled fourth track throws in a heavy texture of percussive noises to create an edgy ambience about to teeter off the edge, and the even darker and more ambient title track takes the tension even further. Arrhythmic and amorphous and capable at moments of becoming quite noisy and abrasive, while at others far more somber and quiet, Kuhe in 1/2 Trauer is quite a fascinating release.” - Rolf Semprebon / AMG

P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW.

Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design.

The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete.

140-Gram, “Limeade” colour vinyl variant, direct to board Jacket. Features the original album track list using the (2020) 50th Anniversary remastered audio.



In 1970, the Grateful Dead pulled off a feat that that few bands ever achieve, and incredibly, they did it twice. After June 1970's release of Workingman's Dead, the Dead had arrived. An album that would remain in the upper echelon of Rolling Stone’s "best albums of all-time" lists for the next 50 years, the world now knew about the Dead. And remarkably, the Dead not only did it again less than six months later, by many accounts they outdid themselves with the follow-up release in November 1970 of American Beauty.



The album's 10 tracks include many of the Dead's best-known, most-loved, and most popular songs both on record and in concert for the next 25 years. An album that includes Box Of Rain, Friend Of The Devil, Sugar Magnolia, Candyman, Ripple, Brokedown Palace, Attics Of My Life, and Truckin' looks more like a greatest-hits compilation than a second album of 1970, and yet American Beauty demonstrates a band unable to slow down in terms of the quality of its writing, recording, and performing.

Bislang gab Blue-Note-Schlagzeuger Kendrick Scott in seiner Band Oracle den Ton an. Jetzt hat er sie zu einem schlagkräftigen Trio geschrumpft!

“Kendrick Scott ist zum Art Blakey, Elvin Jones und Tony Williams seiner Generation geworden”, hat Trompeter Terence Blanchard einmal gesagt, in dessen Band der Schlagzeuger lange spielte. “Er ist ein brillanter Kopf, der nicht nur die Musik erneuert, sondern in seiner Band auch jungen Talenten Gelegenheit gibt, sich zu entwickeln und zu wachsen.”

Mit der Band Oracle hat Kendrick Scott bislang zwei Blue-Note-Alben eingespielt, “We Are The Drum” (2015) und “A Wall Becomes A Bridge” (2019).
Mit dem dritten Werk “Corridors“ geht der in Houston
geborene Schlagzeuger und Komponist einen neuen Weg, indem er erstmals auf die beiden melodieprägenden Instrumente Piano und Gitarre verzichtet und allein auf ein Trio mit Saxofonist Walter Smith III und Bassist Reuben Rogers setzt.

As Deutsche Grammophon celebrates its 125th birthday this year 2023, the Yellow Label marks the occasion by releasing a selection of vinyl LPs for the first time ever.
“Beauty will save the world,” wrote Dostoyevsky, which is the claim that Camille Thomas makes throughout this record. Not beauty for the sake of hedonism, but a beauty that believes there is a burning line to be drawn between pain and hope. Camille Thomas' new album illustrates this, structured like an archipelago surrounding the Cello Concerto composed by Fazil Say. Camille Thomas gave its premiere in 2018, and her album spanning the work of ten composers, allows us to travel the path from pain to hope. On the threshold, we meet three pieces: the heart-rending melody of the Kaddisch by Ravel, a sublimation of the Jewish prayer for the dead; the lamentation from Purcell’s Dido, quasi a lullaby from the queen who awaits her death, in a nakedness without pathos; and between those two works, the tender Dance of the Blessed Spirits from Gluck’s Orfeo, in which we hear the first signals of hope. The album is available today for pre-order and is accompanied by the pre-release track of Gluck’s Dance of the Blessed Spirits from his opera Orfeo ed Euridice.

Multi-RIAA Platinum and Gold certified singer/songwriter and producer Cavetown, also known as Robin Skinner, announces a highly anticipated new album ‘worm food’ today to be released November 4th / Limited Green Vinyl released March 3rd 2023

The first full length since 2020’s Sleepyhead, ‘worm food’ finds Cavetown unpacking the inner workings of his mind and delivers some of his most intricate lyricism to date. The announcement is a long time coming for fans of Cavetown, who have been patiently awaiting news of a new album for over two years. In that time, the popularity of Cavetown songs has continued to snowball, with an ardent community of fans proliferating around the world.

Since the age of 14, Robin (he/they) has created self-produced songs both intensely diaristic and touched with offbeat imagination. Now 23, the Cambridge, UK-based artist has emerged as one of the preeminent voices in the DIY bedroom pop scene, with more than 1 billion global streams to date, including nearly 7.6 million monthly listeners and 2.5 million streams a day on Spotify alone. With over 2 million YouTube subscribers and 1 million Instagram followers, he kicked off 2022 with the release of “Fall In Love With A Girl” with beabadoobee, which was featured in Billboard’s “The 25 Best Pride Songs of 2022 (So Far)” and followed it with “Grocery Store” in July, a reimagination of his collaboration “Trying Not To Cry” with Kina Beats that received praise from PAPER and V Magazine. Robin has also co-written and produced for artists such as mxmtoon, Chloe Moriondo, Addison Grace, and more.

Cavetown opened for Bleachers this summer at the Kia Forum in Los Angeles, CA, following US Tour that wrapped up in May. With over 50,000 tickets sold, Robin sold out venues across the country including the Hollywood Palladium in Los Angeles and Terminal 5 in New York City. He will embark on an EU/UK tour this Fall with sold-out shows in Paris, Berlin, London, and more.

Live At Melkweg' wurde 2001 auf Tournee zum 'Dog In The Sand'-Album aufgenommen und fängt Frank Black And The Catholics auf dem Höhepunkt ihres Schaffens ein, während sich die Band durch eine umfangreiche Setlist spielt, die jedes Terrain von Frank Blacks riesigem Katalog streift. "Live At Melkweg" ist eine unverzichtbare Veröffentlichung für Frank Black-Fans und markiert die erste offizielle Veröffentlichung einer kompletten Catholics-Show. Diese neu erweiterte Ausgabe enthält den vollen 38-Song-Gig einschließlich 18 bisher unveröffentlichter Tracks.
Zu den Highlights gehören eine eindringliche Version von Pixies "Gouge Away", Frank Blacks Klassiker "Headache" und eine Auswahl aus dem Catholics-Repertoire, darunter "I Will Run After You" und "21 Reasons".
Neu gemastert von Thaddeus Moore bei Liquid Mastering, auf drei schwarzen 140 Gr. LPs gepresst, und in einem dreifachen Deluxe-Gatefold-Sleeve mit Spot-UV-Details untergebracht. Dazu gibt es bedruckte Inner Sleeves.

Following two standout releases from Rudi Creswick & Jamie Leeming, Alfa Mist’s Sekito Records imprint prepares to unveil their third LP project. Continuing their showcase of some of the most impressive up & coming Jazz players the UK has to offer, they are proud to present JSPHYNX’s debut LP ‘REFLEX’. Hailing from the coastal town of Broadstairs (Kent), JSPHYNX (AKA Johnny Woodham) is a talented trumpeter, who cut his teeth performing alongside the likes of Barney Artist, Mr Jukes, Corto Alto, Ego Ella May, Tom Misch, Loyle Carner, Ashley Henry, Jordan Rakei, Tertia May, Subculture & Maisha. Finding inspiration during lockdown, JSPHYNX began crafting loops at home before bringing them to his bandmates to help add some meat to the bones of the tracks. With an impressive roster of musicians on board (including Rudi Creswick on Bass duties, and Richard Spaven on drums) label boss Alfa Mist adopting the role of executive producer, ‘REFLEX’ is positioned at the sonic intersection of UK Jazz & Bass music.

180 GRAM AUDIOPHILE VINYL
PVC PROTECTIVE SLEEVE
GATEFOLD SLEEVE WITH VELVET SPOT VARNISH ON THE OUTSIDE AND IMAGES OF ICONIC MOVIE POSTERS ON THE INSIDE
4-PAGE INSERT
A SELECTION OF DEFINING MORRICONE SONGS, FEATURED IN CLASSIC MOVIES AND SERIES “VERUSCHKA”, “SLALOM”, “ALIBI”, “VIOLENT CITY”, “MACHINE GUN MCCAIN”, AND MANY MORE
LINER NOTES BY CLAUDIO FUIANO
PART OF THE MORRICONE THEMES COLLECTION
THE SPINES OF THE FIVE TITLES FORM ONE IMAGE TOGETHER
MORE INFORMATION ABOUT THE SERIES ON MORRICONEONVINYL
BLACK VINYL

Lounge is the third in a series of five double vinyl releases that bring together some of Ennio Morricone’s greatest soundtrack music. Each collection centres on a different movie genre, together they allow the listener to rediscover the unmatched genius of the greatest movie composer of all time. The Maestro. This collection was announced before Ennio Morricone passed away on July 6, 2020. We’ll continue to release the series to honour this great composer.

The term Lounge Music is not one that Ennio Morricone would have heard at the time he was composing these pieces for the movies that they enhanced, but it is one has been retrospectively applied to a certain type of music, and it is a style that Morricone has contributed a great deal towards.

Lounge refers to a type of easy listening music that began to be popular in the 1950s and developed right through the 1960s and into the 1970s. This was sophisticated music for an adult audience. Lounge music combined its American influences with music that was popular outside the USA such as Latin, Hawaiian, Polynesian, French , and many others. This was an era that was inspired by new inventions. Lounge mimicked the space-age sound effects of the time and the advent of stereophonic technology allowed spatial audio techniques to be used to full effect.

This collection is not about a specific genre of music for film, it is a celebration of Lounge style pieces by Morricone that are capable of evoking in the listener thoughts of easy living, sophistication, romantic moods, and the excitement of a 1950s cocktail lounge or a 1960s nightclub.

Starting 70 years ago as an arranger for the piece Mamma Bianca, Ennio Morricone is the emperor of scores and soundtracks. Morricone has always been a huge influence for the likes of Hans Zimmer, Danger Mouse, Muse, Metallica and many more musicians. He was one of the most successful composers of all-time, selling over 70 million records and winning dozens of awards.

Lounge on black vinyl includes a 4-page insert with liner notes written by Claudio Fuiano. The gatefold sleeve contains a velvet spot varnish on the outside and images of iconic movie posters on the inside.

On her third album, Berlin-based Dutch-Italian composer and sound designer Aimée Portioli, aka Grand River, asks what guiding forces might be driving, enticing, and affecting us. “All Above” is rooted in her deeply personal philosophy as an artist, blurring the boundaries between electronic music and acoustic music and sculpting familiar ambient forms into personal themes painted with rich emotional colours. Written painstakingly over the last two years, the album is the most ambitious and divergent set of music Portioli has assembled so far, with a wide variety of instrumentation (including voices, strings, organs, guitars, and synthesisers) focused around the piano. She‘s keen to assure listeners that while that instrument isn‘t always heard, it‘s constantly at the forefront of the album, shepherding its emotions and anchoring its mood. It makes sense then that on the opening track ‘Quasicristallo’, the acoustic piano is the first element we hear, recorded closely, so its characteristic rattle and creak can speak as loudly as the familiar tones themselves. When the music blooms into abstraction and processed electronics, it‘s almost imperceptible: reverb mutates into ghostly vapour trails, and distortion forms the keys into another instrument entirely.

“All Above“ follows 2020‘s acclaimed “Blink A Few Times To Clear Your Eyes“ and 2018‘s “Pineapple” released on Donato Dozzy and Neel‘s Spazio Disponibile imprint. Having garnered praise from outlets like Resident Advisor, XLR8R, The Quietus, Inverted Audio, and The Verge, Portioli operates in a unique space within the electronic music scene, straddling the art world and the wider electronic music scene. She‘s developed sound art installations for Rome‘s La Galleria Nazionale and the Terraforma Festival-related Il Pianeta, and has appeared at Barbican, MUTEK, Le Guess Who?, Kraftwerk, and other internationally renowned venues and festivals, often collaborating with Marco Ciceri on A/V presentations. Ciceri also maintains the visual identity of Portioli‘s label One Instrument, a concept imprint that asks artists to create music only using a single device. All this experience is poured into “All Above”, a richly visual album that‘s far more than just an imaginary film score. While on ‘Human’, her piano punctuates a rhythmic synthesised bassline and smudged choirs that can‘t help but trace out the silver screen. The composer is keen to clarify that she doesn‘t think of her music (or sound in general) in visual terms.

Portioli studied as a linguist and used her art to develop an emotional language that‘s not bound by expected cultural constraints. When she adds a different instrument or process, it‘s not to reference a visual cue but to mark a journey through different states of being. Each element embodies a different emotion or mood: the electric guitar represents strength or violence, synthesisers shuttle us into the dream world, and the acoustic instruments highlight intimacy and warmth – even heart. Read like this, the tracks are like meditative poems rather than cinematic vignettes: ‘The World At Number XX’ is seemingly centred around a chugging synthesised arpeggio, but the cosmic, Klaus Schulze-esque pads, strangled guitar and evocative organ tones hint at the open-hearted, literate psychedelia of the 1970s; ‘In The Present As The Future’ meanwhile is breathy and windswept, juxtaposing urgent rhythmic phrases with light, flute-like gusts of harmony.

Dedicated to Editions Mego founder Peter Rehberg, who died suddenly last year, “All Above” demands engagement and refuses to evaporate into the background. The album asks listeners not just to absorb the album as a whole but notice the cracks in the structure and discern the tension they cause. That‘s never more evident than on the closing track ‘Cost What It May’, a piece of music almost jarring when Portioli chops into noisy waves of electric guitar. In the wrong hands, this might sound like a power move – some rock posturing to act as a finale. But Portioli‘s expression is different. She‘s forcing a level of engagement that perceives the negative space as just as necessary as the saturated positive, and what could be more haunting and emotionally resonant than that?

Composed, produced and mixed by Aimée Portioli.
Mastered by Stephan Mathieu.
Cut by Andreas Kauffelt at Schnittstelle, Berlin.
Photography by Federico Boccardi.
Design and layout by Riccardo Piovesan.

OTHR is the techno alias of KHIDI resident and Tbilisi native Ladouka Ninua releasing his first EP on BITE 'Scythe Of Vyse'. One of the most prominent musicians in the Georgian electronic music community, his involvement and support has left a legacy that has established him at the center of Tbilisi's club scene. 'Scythe Of Vyse' represents Ninua's accumulation of uncertainty and isolation from the past years in Tbilisi and cathartically releases it into a triumphant record with singular sound design of metallic samples of groove that sound of a bygone age yet from a cybernetic future. With releases on KHIDI's own label and collaborations with Ancient Methods already, this EP marks a new beginning for OTHR as he steps into new, uncharted territory in electronic music with his singular style.

Crackled radio-like transmissions from Norway's rural hinterland. Juni Habel's fragile finger-picked lullabies warm themselves by the open fire with her rich intimate voice atop twinkling arrangements and strange percussive instrumentation. Like glowing embers in the dark, these songs are odes to life and death, the beauty of belonging and human kinship with nature.
Push open the door of the old school house in the remote flatlands of Southern Norway that Juni Habel shares with her close-knit family and climb the stairs; you’ll find yourself in a former classroom – the home of her new album Carvings. A songbook of life’s lessons offering an expansive perspective as it navigates personal shadows between darkness and light.
“I knew I wanted to write from a larger perspective. I wanted to write about the course of nature, and the people in it - life and death, beauty and tragedy.” Juni says, “loss - the search for the dead - grasping to find the words, and liberation of giving that up. I also wanted to explore my own kinship with nature - a sense of belonging, and notice what is around with gratitude and zest for life.”
This unyielding spirit of family and nature is etched into Carvings’ unschooled approach. With beauty in mock-simplicity and radiating humanity like the music of Tia Blake, Julie Byrne or Myriam Gendron, Juni’s songwriting unfolds on her own terms, and is the sound of facing whatever mother nature decides will find its way to the top of the list.
Recorded between the classroom (‘big hall’), the hallway on the 2nd floor, and her bedroom with simple gear and vocals laid down in a single take. Co-producer, musician and singer Stian Skaaden, became her melodic confidant and experimental co-conspirator halving the burden by building the album’s layers through blowing a pipe, playing bow on the banjo, bottles or glockenspiel. “With this album I wanted to lean deeper into the process. The title Carvings illustrates thoroughness. It was a vulnerable project, to strive for creating something truly beautiful, to pour my soul into it,” she says.
Uninhibited by the possibility of ‘mistakes’ and jamming until she struck gold, Juni confidently discovered the truest expression of herself. “It takes courage to do things ‘wrong’ with uncertainty, record lyrics which are strange but feel right, on crappy mics, it can be good to fumble a bit,” Juni says before tellingly, “the joy of playing is quite fragile. I have to protect it. You can't use your head, you have to be inside the song.”

Following up his debut “Sycomore” EP signed in 2015 on Arboretum with a remix of Samuel Kerridge, the Italian born, Berlin based electronic music producer Mogano returns on Voidance Records with his new work “Terrarium!. By revisiting the initial approach of re-processing traditional eastern instruments such as the Egyptian Rebab into cinematic landscapes and sharp gritty textures, this work also consistently moves towards more Industrial, Techno, IDM and Drum&Bass territories. The Mediterranean cultural bridging got even more refined by the contribution of the Maltese producer Llimbs wich reveals a vibrant, ritualistic reinterpretation of the opening track “Terrarium”.

In this new chapter of Lab, the two minds behind the label collaborate on a record that represents the two souls of the label. The break-techno-ish dance-oriented Slak vision, and Datafive introspective sonic adventures. The ep has two tracks from each producer and one collaboration by them. On one side, we can see the evolution of the Slak sound where he evolves from a dubby and lightful identity from the first ep to a new darker and solid sound. Pressure and Under Control, two dark and groovy UK break-techno missiles. Dark atmosphere and powerful drums ready for the dancefloor. Flipping the record, we find two eclectic tracks by Datafive. Plenty of influences here: electronic, glitch, IDM, hip-hop, dubstep, to name a few. The first track of the side is Outsiders, a journey into the artist’s feelings. Mysterious pads, mid-tempo syncopated drums, warm basses, dreamy chopped vocals, and more. The Hive instead explores the territories of the classic UK-step heritage. Vibrant sub-bass, ethereal textures, and solid stepper beats. The last track is Patience, a collaboration between Datafive and Slak. Meditative, yet powerful cyber trip-hop. We have dark-dub pads and stabs with sharp broken beats which portray a desolating landscape of a lost future.

Light in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.

Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.

This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.

Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

Tracklist:

Naomi Akimoto - Bewitched (Are You Leaving Soon), Atsuko Nina - Tonkachi, Miho Fujiwara - Heartbeat, Miharu Koshi - Scandal Night, Chu Kosaka - Shirakechimauze, Teresa Noda - Tropical Love, Makoto Matsushita - Business Man Pt. 1, Susan - Ah! Soka, Yukako Hayase - Suiyoubi Madeni Shinitaino, Parachute - Kowloon Daily, Hiroyuki Namba - Tropical Exposition (Who Done It? Version), Pizzicato Five - Boy Meets Girl, Mari Iijima - Love Sick, 1986 Omega Tribe - Cosmic Love, Osamu Shoji - Pub Casablanca, Chiemi Manabe - Untotooku

Eddie Leader’s Northern PowerHOUSE imprint Hudd Traxx has, over its 17 year history, become synonymous as a home of quality underground sounds. As a label that has consistently kept the vibe alive through its unwavering insistence on quality over quantity, it has seen many masters of the craft feature on the Huddersfield-based label... Including Agnès, Chez Damier, Chris Carrier, Brett Johnson, JT Donaldson, Rick Wade and more.

As we kick-start ’23, Hudd Traxx announce an exciting new series of releases… Hudd Influence. A new run of vinyl offerings that see label boss Leader digging deep, licensing, remastering and pressing to vinyl a spicy selection of joints that have played their part, not only in his own musical journey, but also in influencing the foundation of the Hudd Traxx label.

Volume One brings us four choice cuts from House music royalty, kicking off with the Todd Terry’s 1992 classic ‘When You Hold Me’, taken from his debut ’The Unreleased Project’. Next up, the ‘Body N Soul’ Mix of ‘Get 2 U’ from long-time friend of the label, Jovonn, under his 1999 alias LYON. On the flip we’re treated to ’Touch Me’ (Dub Touch Me Mix), the ’94 production from Chicago’s Danell Dixon, alongside a huge Eddie Leader favourite in The Diggers 1996 jam, ‘Jazztaker’s Dub’.

Whether this is a first introduction or a reaffirmation of their greatness, Hudd Traxx are excited to provide a fresh platform for these true house classics.

Keep ‘em peeled for Vol. 2!

hift Imprint proudly presents Maurice Turner aka DJ MoReese!
After his stunning "Pulsar EP" on Terrence Parker's Intangible Records, this "Kepler EP"
is the first release for Maurice in 5 years!

The Earth is burning, covering all environments in ashes. Smoke comes to us from computers-from social networks accelerating the spread of burnt affects, damaging our ability to feel and respond to what the planet strives to express. We need to cool down. Thomas Köner's music can help change the pace of our perceptions: 1) In DAIKAN (2002) - a Japanese term meaning "the coldest" or "the coldest part of the year"-the ear stretches until touching the depth of time that persists in the ice; a sonic drama offers the slowness thanks to which the skin of perceptions can reconstitute themselves; icequakes awaken listeners to the frozen life without scaring them. 2) Banlieue du Vide, considered by many to be Thomas Köner's most iconic audiovisual work and best kept secret, has not been released previously. It is in the collection of a couple of art museums, e.g. the Centre Pompidou in Paris, and has been awarded the Golden Nica at Prix Ars Electronica in 2004, in the category Digital Musics. Banlieue du Vide is the result of months of time-lapse observations of empty streets in the Finnish Arctic Circle, shown in glacially slow slow-motion. Phase cancellation, on which all noise cancelling technology is based, here affects the perception of time, the sense of the flow of time extinguishing itself. At this stage the void is not yet empty, traces of past noise fill the listeners mind with their haunting presence. A remastered stereo version of the soundtrack is released as a special premiere as Bonus Track of the DAIKAN album. Listening to this album, an excess of heat turns into an empowering coldness-like the transient feeling of our terrestrial embodiment in the midst of entropy.

Contrived through a pure spawn of friendship and boundless exploration, Sin Limites began as a jam between Nap, Ex-Terrestrial & Roza Terenzi in Montreal 2018 with no intentions. After a reshape and polish from Priori it found its way back to demolish dancefloors, slipping into mixes over the years and standing the test of time; a micro reissue of sorts finding a home on Delicate Records with a pair of remixes from none other than Ambien Baby & D. Tiffany to keep things in the chosen family. The title track is simple yet bold in nature; daring hypnotic metallic sequence, original Spanish vocals laced throughout by Nap and rough ‘n’ rugged 606 drums; a master in exquisite nuance and tech-evolution. Dormant until 2021, the B side rose from the ashes via the remixes to anoint the record as a three part ode to No Limits; a timeless ethos shared and lived amongst all involved.

As part of the legendary Canadian label Unidisc's ongoing 40th anniversary celebrations, Lime's 1983 HI-NRG masterpiece is back with a super-fresh 2021 re-rub from the one and only Tiga.

Husband and wife duo Lime (aka Denis & Denyse LePage) notched up tons of hits with their own unique brand of fast paced electronic disco and Italo leaning dance-floor bombs. 'Angel Eyes' was one such hit, a driving vocoder heavy synth fest with whiplash electronic drums and serious attitude to boot that can turn any discotheque into throbbing sweaty hysteria! Who else could lend their own style and flavour to such a momentous track but the man Tiga, whose darker edged and chopped up poppy remix takes 'Angel Eyes' into altogether different territory! Absolutely essential repress, beautifully presented by your friends over at Unidisc.