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Born in 1949 in Recife (Brazil), Roberto De Melo Santos, despite a very light discography, is among
the true icons of the Brazilian Soul music under his artist alias, Di Melo. He’s indeed only needed an
eponymous album, released in 1975 on Odeon, to assert himself as a star in his native country, but
also as a legend for all collectors and connoisseurs of the world. More than 40 years after its release,
this famous album sells for several hundred euros in its original version, and even for the few
reissues that were offered. Not very active since then, Di Melo however returned in 2016 with the
album O Imorrível, released on the Brazilian label Casona Produções.
It is then that a year later, came a meeting with the French group Cotonete, that Florian Pellissier,
founding member and keyboard within the band tells us about: “On tour in Brazil with Cotonete, we
had a few days off in Sao Paulo and I really hoped to make a collaboration with an important artist or
band from the Brazilian funk scene. We had thought of Marcos Valle, Meta Meta or Ed Motta... but
Rafaela Prestes our Brazilian "sound ingineer/genious" told me she’d worked with Di Melo for his
recent comeback and gave me his number. No sooner said than done, as I'm a huge fan of Di Melo.
The next day he arrived at our house with Jo, his wife, and Gabi, his daughter. He takes the guitar in
front of us and gives us a private show of 3 hours… we cried the tears of joy. He had 400 original
songs never recorded, a gold mine. On the same night, we started working the arrangements for 2
days, followed by a rehearsal and two small gigs in Sao Paulo. Immediately after, we recorded in the
magical Epsilon B studio. This album is the summary of this moment, of these 5 days of madness
spent together between “the best band in the world” and the legend Roberto Di Melo… Simple,
beautiful, Brazilian-French, human music…”
Today, Atemporal found its final version in collaboration with Favorite Recordings and is proudly
presented as what we believe will become the genuine long-awaited follow-up to the classic Di
Melo’s LP.

For its first release of 2019, Sol Power Sound is pleased to welcome back Nenor -- formally Obas Nenor-- to the label family. Since his now-classic Color Soul EP on Sol Power Sound back in 2015, Nenor has gone on to release a string of hugely successful EPs on Heist, Whiskey Disco, and on his own imprint, Nenorion Music.

With the Future Ancestor EP, Nenor revisits the African-inspired textures that made the Color Soul EP unforgettable, but ventures further into the subterranean reaches. On "Tike Ye Ya Kende", Nenor teams up with Congolese-born vocalist Natalie Wamba for a rousing dancefloor heat-rock, with pulsing marimbas and hazy synths.

"Nova Man" is a straight-up banger with huge chugging bass, dubby vocal samples, and thrilling atmospherics.

"Ibe" dives head-first into the deep with tripped-out arpeggios, complex, layered percussion, and more of those gritty signature Nenor synths.

"Knwo" speeds ahead on a bruk-n-bass trajectory as a frenetic stomper that will inspire late-night dancers to throw crazy shapes.

With early support from Simbad, Soul Clap, Jacques Renault and more, the Future Ancestor EP is sure to be another staple in ever-growing Nenor and Sol Power Sound catalogs and will keep dark rooms ablaze all summer long.

180gr vinyl. Recorded in 1987 and now released for the first time ever with artwork by Sarah Yu Zeebroek.In 1987 Gerry Vergult (Aroma Di Amore ) and Gerrit Valckenaers (Adult Fantasies) created an abstract universe where minimal post-punk basslines blend together with dub, tropical vibes, jazz, and dreamy electronica.
Most of the october nights in 1987 you could find Gerry Vergult (Aroma Di Amore / Fred A. / Adult Fantasies) and Gerrit Valckenaers (Adult Fantasies /The Colorist Orchestra / multi-instrumentalist) in a desolated Top studio in Gent. At that time and place they sneakily crafted and shaped this Nasca record while they were supposed to finish a new Fred A. record. They created an abstract universe where minimal post-punk basslines blend together with radio sounds in 'Nothing Toulouse', tropical tribal vibes oscillates between futuristic nostalgia and hunted dreams in 'Ketama' and 'Ritz', a sampled heartbeat slowly mutates in mesmerising midnight jazz and a drugged out dub groove of 'Kamayacha' transforms into the inner city blues of 'Josaphat'.


All tracks composed, arranged and performed by Gerry Vergult & Gerrit Valckenaers

Gerrit Valckenaers: piano, saxophone, clarinet, synths, samples, electronics

Gerry Vergult: guitar, bass, synths, samples, electronics

Produced by Koen Van Regenmortel

For people who like Jah Wobble, Jon Hassell, Brian Eno & David Byrne, dub, world, jazz, and dreamy electronica

Recorded in 1987 and now released for the first time ever with artwork by Sarah Yu Zeebroek.

Sound design masters Benjamin Brunn and Dave Wheels of the Workshop fame team up with the iconic Berlin based Sushitech for a beautiful double 12" LP release.

"2000" is an electronic masterpiece, lush melodies, dubby rhythms and some mesmerising synth lines that we can all recognise from previous milestone Benjamin Brunn releases such as Song From The Beehive that was already released a decade ago together with Move D.

This 2x12" with 8 full length tracks packed in a gatefold sleeve makes a beautiful pack that is a simply must have for any serious vinyl collector - BIG!

Summer is coming sooner this year, and you can tell from the heat of the two latest releases from Slow Motion: yes ladies and gents, Italian Dance Wave Compilations are back! The first of the two, “Italian Dance Wave Disco Sette”, is here to delight you: starting from a half Italo and half Asian influenced Altieri track, killing it with a dancefloor belter that will make you sweat the night away, raving sensations guaranteed. Lukebox (Fabrizio Mammarella and Umberto Saba from the duo Loudtone) will serve you a slightly more downtempo, modular, weirdo beast that will make your head bang without you even notice: banger. Back on your turntables, is also Robotalco who is providing some proto-house extravaganza and adding some charme to the dirty, chunky beats of the compilation. Last but not least, José Manuel, delivering a touch of biting deep house and electro tribal feels to close the gap, and make us scream “hell yes”.

“Last night I turned into a cat. Just like that.” A Colourful Storm presents an album by Brunnen aka Freek Kinkelaar, one of the everlasting beacons of the Dutch underground. One half of fabled group Beequeen (1988-2015) with Frans de Waard and collaborator with the likes of Nurse With Wound, Paul Panhuysen, The Residents, Merzbow and Edward Ka-Spel, Kinkelaar presents The Garden of Perpetual Dreams as a newly visioned recording of a cassette from 1989. Produced with Raymond Steeg of The Legendary Pink Dots and mastered by Steeg and Peter Van Vliet (Mekanik Kommando, De Fabriek, The Use Of Ashes).

“Style” can be defined as that special ability to watermark every track with an instantly-recognizable identity. Local Suicide, aka Munich’s Brax Moody and Greek-born Vamparela, has it in spades. And following releases on labels such as Bordello, My Favorite Robot, Multi Culti, Roam, Duro and OMBRA, it only made sense that the duo would eventually find its way to Lumière Noire. After all, “black light” (as per the meaning of Chloé’s label’s name) could describe the way Local Suicide’s music flirts with the more troubling zones of the listener’s psyche, where danger roams and aural comfort is no longer a guarantee. The EP’s two tracks set a dark, shifty sonic tableau, in which German-American multidisciplinary artist - and a unique personality of the Berlin underground - Nicki Fehr comes to blend his voice with Vamparela’s. With its swerving bass slithering over a slow tempo, Leopard Gum is the perfect slow burner, a slice of comatose disco that will find its way to the darkest corners of nightlife - and haunt its DJ sets. The synths that come crashing across the track’s Smagghe & Cross remix add their saturated signature that provide a different kind of hook through its breathless nine-minute run. The same measured tempo is found once more on the more ethereal Already There, where Local Suicide affirm their adherence to the more captivating signatures of new wave and post disco. Permanent Vacation stalwarth Lauer adds a surprizing electro pop shimmer to the track. With Leopard Gum’s opaque and impenetrable atmosphere, Local Suicide have released one of their strongest efforts to date.

Yotam Avni has been a long fixture of the Tel-Aviv nightlife scene, well known internationally thanks to releases on Ovum, Innervisions and Hotflush. We welcome him to our SPEICHER series with three unlikely cuts that you would expect from him (or us).

“Mañana Mañana” swells with a mid-90’s prowess that echo the earliest of Kompakt’s days in the best of ways. “Track For Agoria” thrives from the method of true minimal techno but abstractedly brought into harmony with bells and tweaking synths. Finally, “Heavy Lifting” is righteously led by a soaring synth that envelops itself into snap dragon snares and washed out hi-hats. He saves the best for last as the track opens into classic rave synths - guaranteed to open dance floors to all of eternity.

Two years ago, Ferdi Schuster was a young multi-instrumentalist and producer
daydreaming of releasing his music on Claremont 56, one of his favourite labels.
Now he’s set to release his stunning debut album, “All One”, on Paul Murphy’s
long-running imprint.
It’s been a long time between drinks for the German producer, who last graced
C56 with his superb double A-side single, “Little River/Befreit”, in the autumn of
2017. Fittingly, it’s “Little River” – a babbling brook of audio bliss rich in samba
influenced drums, soothing acoustic guitars and spacey synthesizer licks – that
kicks off “All One”, a seductive set in which every drumbeat, piano note, guitar
riff, synthesizer flourish and freside-warm bassline was played by the man
himself.
Throughout, it’s easy to see why Murphy decided to snap up Schuster and
push the producer to record a debut album. Check, for example, the dubbed
out shuffle of “Thinking of You”, where ghostly chords, soft-focus guitar solos
and ethereal vocals drift across the soundscape, and the slowly unfurling bliss
of “The Good Fight”, an effortlessly Balearic workout rich in sun-kissed guitars,
bubbly synth lines and chords so snugly they could probably be used as a
comfort blanket.
Schuster’s greatest strength is undoubtedly the evocative and enveloping nature
of his instrumental music, which draws on a variety of complimentary influences
but never sounds anything less than original and fresh. Some listeners may be
enchanted by the loose and languid pulse of “Fading Away” or the lo-f reggae
jazz of dusty closing cut “Night Talk”, though others may prefer the stoned funk
shuffle of “Interaction” or the spacey vibrations of “Pulsa”, where intergalactic
synthesizer lines wind their way around heady bass guitar and sparse, off-kilter
deep electro drums.
“All One” is that kind of set; an atmospheric and musically accomplished
collection of cuts capable of muting the mundane and distracting from the stress
of 21st century life. As debut albums go, it’s something of a stunner

Moonshoe Records has bowled over first listeners by presenting this new side of their sphere - Air Space Ark’s debut, “All Rivers Lead” charts the course of divergent streams of contemporary ambient music, downtempo rhythms, and electroacoustic experimentation, arriving at a calming confluence of these sources. Across the 6 songs on these two sides, they evoke a calming and contemplative headspace

333 is an exquisite study in balance - the intermingling of bird song water sounds that could equally be field recordings or synthesized foley - the ambiguity adding a delightful trompe l'oreille effect - and crystalline keys ; these airy sounds weighted by washes of subbass.

BLANK PAGE is almost like a version of the previous track, retaining the nimble birdsongs and heavy sub, but foregrounding a lolling, stumbling hip-hop beat and placing more emphasis on the effects wizardry as abstract sounds careen across the track in wipes and wisps, before stripping down to a beautiful coda of birdsong, piano plinks and a textured backdrop.

The celestial keys, flute-like thrums and gentle chimes of WORDS BETWEEN SELF evoke the golden age of spiritual jazz, but the hazy ambiance and shuffling beats transmute the other elements around them into something more introspective and personal than jubilant praise. Lyrics aside, the subtle funk coupled with the pensive, meditative air channels the spirit of Stanley Cowell’s classic TRAVELLIN’ MAN.

LOFT IN 7 Is the most “out” moment here. It has echoes, literally, of jazz. Like decaying tape reels disintegrating in real time, we feel the tape buckling and warping under the weight of time as the sounds of a synthetic band warp and shift against electronic impulses and glitches, eventually leaving just a lingering, ghostly imprint. .

DUST SONG veers the closest towards a straightforward instrumental hip hop cut - a submerged sounding breakbeat coupled with a tender piano melody - but is buoyed by drifting pads and a dense, hallucinatory bed of effects.

CONCRETE closes proceedings. Charged with a crepuscular energy, it’s all-together as mercurial and magical as the transition from day to night. Different elements swirl and coalesce, honing in on dense, textural moments across a horizontal drift. The end effect is hypnotic yet captivating, so much so that when the track eventually blooms into silence at the end you’re struck by the brevity of the whole experience. Thankfully you can listen to it again!

Hand-stamped clear transparent vinyl. Limited to 200 copies.


The planet is a wasteland ruled by self-contained, country-sized megacities, each with their own culture and climate, separated by vast, barely-inhabitable spaces. Long reliant on cyberspace as their means of communication, humanity relies on cybernetics to survive in their new environment. Advanced AI competes or conspires with these enhanced beings for control of resources and economy. Within these many-layered Sprawls, ordered chaos reigns, inhabited by many, understood by factions, and controlled by the very few…

Bristol stalwarts October & Borai join forces once again for their second outing on Happy Skull. The pair join the dots between sleazy EBM and rugged, hardcore atmospherics.

Lead track 'Fatal Rumba' is a titanium plated slab of latin funk for freakier, late night dance floors. On the B-Side 'Swipe Left' drops the tempo but turns the pressure up to boiling point, a chugging drum machine workout complete with pulsating 303's and dub techno chords. To round things off, Conch bosses Bash & T give 'Swipe Left' the full UK treatment, flipping it to a mutant funky roller.

Following on from big recent releases from Neue Grafik & Oliver Night, CoOp Presents Sivey, with an all-new double-header of heat, 'Nobody Else' and 'Somebody Samebody'.

For those that don't know, Manchester-based Sivey became a player in the future beats scene a couple years back, releasing music with the LA-based collective Soulection, as a solo artist and via collaborations with Evil Needle, which came to fruition after a series of online beat battles, as well as releases and remixes with labels like Astral Black and Ninja Tune.

His last wave of output was greeted with enthusiasm by fans of soulful beats championed by artist collectives such as HW&W and Darker Than Wax, and saw Sivey subsequently spinning at events across the UK, and perform shows as far afield as Los Angeles and Tokyo.

Rooted in hip hop production, Sivey's largely instrumental tracks have brought together elements of millennial R&B, neo-soul, UK garage, jazz and 80s funk. In the few years since his previous releases, Sivey has continued to experiment with new ways of exploiting his diverse influences in his productions. As his listening habits became increasingly orientated around jazz and obscure 70s fusion records, his own productions began to reflect the shift.

The recent resurgence of the broken beat movement was something that also inspired him, admiring the balance between musicality and danceability of the genre. He made his first experiments with bruk in 2017 and found that it mixed perfectly with what he'd already been creating. Eager to share the results with the world, it made perfect sense for his first offerings of this ilk to find a home here with us at CoOp Presents.

These two tracks exemplify the ever-evolving progression of Sivey's sonics; the familiar deep keys and synth sounds of his previous productions are there, but nestled alongside more uptempo grooves, and the lush rhythmic complexity of bruk. Tied in with his love for jazz fusion, 'Somebody Samebody' sees Sivey reinterpret a late 70's track by Japanese guitarist, Kazumi Watanabe; this one also enlisting the help of Trian Kayhatu on keys. As well as the original tracks, prolific Selectors Assemble crew member Danvers adds in his own tasty heads-down version of 'Nobody Else', and label co-founder IG Culture (who recently received a Worldwide Award for 'lifetime achievement'!) provides a dope bruk-funk flip of 'Somebody Samebody' to close out the set.

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

Mainstay of the Manchester DJ scene, Yadava is perhaps best known as a founding member of now legendary club night, So Flute. With 2018's It Rains Here released on Church Records to critical acclaim, he makes a welcome return to Ad Hoc Records with his latest release, Velvet House On Sackville Street, continuing to win new fans through a mix of samba, house and jazz on this one-of-a-kind EP. Luxuriate in the effortless seduction of these choice cuts and transport yourself to a Latin paradise - it's time to groove. Tones of St Germain, Folamour and Gilles Peterson run through every sun-soaked beat of Yadava's music - watch this space and remember the name.

From the artist:

"pootek" - Paul (Solpara) and I laid down the majority of this track one November night in Berlin. We lived in the same dorm in university nearly 10 years ago and bonded over weird electronic music. We hadn't seen each other in a while and had never made music together. We got so rowdy making this my neighbour who I had never seen before came up to complain we were being too loud.

"whendialupbecomeform" - I was thinking a lot about dial-up modems, especially after I heard a Lana Del Rey song that featured that sort of sound in the background, whether intentionally or not. I woke up in the middle of the night and laid down the main arrangement in a couple of hours. I later added some vocals, random sounds from freesound.org, and what might be described as "dreamy pads."

"dosheepdreamofandroidelectrics" - I don't think the song has much to do with Philip K. Dick. I wanted to make something that someone could introspectively zone out to, maybe under the influence of a plant, either at home or at the club.

Almost four decades since it’s domestic release, Karen Marks’ 1981 single Cold Café has finally reaped it’s deserved international credit to become one of Australia’s most recognised minimal wave recordings. Efficient Space now showcases the Melbourne artist’s brief but entire discography, including two previously unheard demos, all produced with experimental synthesist Ash Wednesday (The Metronomes, Modern Jazz, Thealonian Music). A rarity in the then male dominated industry, Marks found her footing in music, first through rock journalism and then in band management. Formally of Adelaide, newly arrived synth-punks JAB (Johnny Crash, Ash Wednesday and Bodhan X) approached her for representation, subsequently contributing tracks to seminal 1978 snapshot Lethal Weapons and playing the Crystal Ballroom’s opening night. Wednesday and Crash would soon dissolve JAB, enlisting Mark Ferry and Sean Kelly to create Models. Still under Mark’s management, Models became one of the fastest rising new bands of the punk movement, playing to full houses of dedicated and frenzied fans everywhere. Sadly, internal frictions forced Wednesday and Marks to leave after two years, with Crash following three months later. Her creative relationship with Wednesday fortified with the co-production of his 1980 machine-pop prank Love By Numbers, her swooning chorus uplifting his deadpan count to 100, before the two collaborated on Marks’ own recording persona. Immortalised by the icy Oz wave of Cold Café, her Astor issued 7″ also boasted the caffeinated flip Won’t Wear It For Long - a should be hit with guitar from future Icehouse member Robert Kretschmer.

Multi-instrumentalist/producer extraordinaire - Flevans has been on fire the last few months. With more plays across the BBC 6Music and Radio 2 than you can count on all your limbs combined, his recent singles have proved to be a huge success on the air-waves.

Following up this early enthusiasm with the stellar LP 'Part Time Millionaire' in March, the album was received very warmly by critics and fans alike.

With source material this good it was time to have some fun and at the end of March we released the undeniably brilliant Art of Tones Remix of Who's Got Me – featuring the brilliant Laura Vane on vocals. Deep delicious disco. That's how we'd describe it but don't take our word for it, listen to Todd Edwards, Bill Brewster, Kraak & Smaak, Hector Romero and Francois Kevorkian – all of whom are supporting it. Or listen to Diplo, Mistajam, Annie Nightingale, and Gilles Peterson who have all supported his past releases on the wireless..

Well good as that was, the fun doesn't stop there as the next instalment of remix magic has disco man of the moment Ray Mang giving the special treatment to It Just Goes (feat. Sarah Scott). He's always been a legend but his re-work of the phenomenal handclap band was THE remix of 2018 for the disco cognoscenti and he has turned in some of his very best work here.

Yes - we like to listen to music online and have the convenience of an endless collection always available but for the masochists who like to break their backs lugging heavy boxes of vinyl round to gigs – don't worry – we got your back (broke) by putting both of these killer remixes on one extremely desirable 12"





[a] A1. It Just Goes (Ray Mang Extended Remix) [feat. Sarah Scott]
[b] B1. Who's Got Me (Art Of Tones Extended Remix) [feat. Laura Vane]

[a] A1. It Just Goes (Ray Mang Extended Remix) [feat. Sarah Scott]
[b] B1. Who's Got Me (Art Of Tones Extended Remix) [feat. Laura Vane]

HATEAU: O you singer, solitary, singing by yourself—projecting me;
O solitary me, listening—nevermore shall I cease perpetuating you;
Never more shall I escape, never more the reverberations,
Never more the cries of unsatisfied love be absent from me,
Never again leave me to be the peaceful child I was before what there, in the night,
By the sea, under the yellow and sagging moon,
The messenger there arous’d—the fire, the sweet hell within,
The unknown want, the destiny of me. O give me the clew! (it lurks in the night here somewhere,) O if I am to have so much, let me have more!

Repress

Mr. G presents a record by one of his close allies; John Swing. Jazz Perceptions EP is a rhythm oriented record that showcases top notch productions, inventive sample selection and late night dance floor jams.

Groove Line Records series of officially licensed disco / funk 12' reissues continues in 2019 with two fabulous cuts of gospel disco from The New York Community Choir (NYCC), 'I'll Keep My Light In My Window' & 'Express Yourself'.

The New York Community Choir (NYCC) began in the early 1970s, a gospel ensemble which developed a style that also gave secular R&B, soul, and pop songs a spiritual dimension; bridging Saturday night and Sunday morning, as it were.

'I'll Keep My Light In My Window' is a slice of joyful uplifting gospel disco, which is as needed in these times as it was when it was released in 1978. This was a great favourite of David Mancuso and Larry Levan at the time, and has remained a much loved dancefloor track for the disco cognoscenti ever since.

This came from NYCC's second LP for RCA, Make Every Day Count, produced by Warren Schatz (who also produced The Brothers, which was Groove Line's first reissue 12' in 2014).

NYCC released a self-titled debut album, also produced by Schatz in 1977 included the dance hit "Express Yourself," the B-side of this release in its 11m45s David Todd & Warren Schatz Disco Mix version.

All Groove Line Records releases are fully licensed and taken from the original master tapes, this 12' has been remastered and cut at half-speed by Matt Colton at Alchemy Mastering (Mastering Engineer of the Year 2013 & 2018). All vinyl is heavy weight 180g manufactured Optimal Media in Germany, one of the world's finest pressing plants.

Groove Line Records cut no corners when making sure that each and every one of our releases has the highest quality performance possible.

Groove Line Records' deluxe reissue of 'I'll Keep My Light In My Window' & 'Express Yourself' is an essential purchase for any serious Disco, Gospel, Funk, or Soul vinyl collector who demands the very best in quality vinyl pressings. Find out more at

‘Verdigris’ the new EP from Japanese artist Atsushi Izumi, is a deep dive into the crevice of the mind. It is an exploration of where fearful emotions lie and confronting them. It is only through this conflict that light can shine through in the end.

The Osaka native has a background in music and sound design and as such found his sound going through a metamorphosis from Drum n Bass to a more experimental sound. His EP ‘Snow’ was released under the subtract imprint last year and saw the initial phase of this transformation. It was followed up by ‘Lansing / Mistrust’ via The Collection Artaud, which continued his growth of using slowed out heavy percussions surrounded by frantic synths and modulations.

Atsushi Izumi’s use of long drawn out hallow synths is like an ominous cemetery at night before these powerful percussions detonate in. He uses heavy spaced out bass drums, either as a single or double beat, which simmer as they echo and roll. They are surrounded by these chaotic, textured synths, which can sound like a cicada, hovering and distorted to give a mechanical effect. It feels like being thrown into the woods late at night, eerie yet calm in the beginning, before extreme panic sets in and you feel like you’re being chased.

Japan witnessed the end of the world up close and it is still reflected in their art and music: it delves into the sadistic and explores deep themes of melancholy and the apocalypse. This is juxtaposed against pure joy and serenity, showing that life is there to be enjoyed and struggles have an end, which is translated quite coherently to this piece.

As an extra bonus to all this, there is a scintillating remix from ANFS. The Greek adds a bit of pace to the track Zeit. He is an artist who enjoys frantic distorted techno and it shows in this cut. He takes the basic elements but whereas the original slowly introduces the percussions, ANFS bangs straight in. It’s structured yet frantic and a massive sound.

‘Verdigris’ is due for release on 17th May 2019 under the mysterious Swiss label Thrènes, that is known for eye-catching signature artwork and a deep and dark techno sound.

180g
In order to celebrate 5 thrilling and inspiring years, we gathered well-known artists, Goldmin regulars and emerging talents. It was really important for us to express the elusive nature of the Goldmin sound, in the form of a compilation tracklisting. Over the past 5 years, we had the chance to meet most of these guys in person, follow their very own creative path, share ideas, thoughts and there’s no doubt that they all had their part to play in crafting our sound. This intimate and stimulating kind of collaboration had to be expressed and there couldn’t be a better way to capture what we’ve been busily working for, than a serie of Various Artists 12″. What it comes down to is a quintessential, hard-to-follow Goldmin selection devoid of any specific standard or norm. And this whole compilation seems to reflect that non-septate artistic direction, this little something, which has grown throughout our whole catalogue, since the label’s birth.That’s why, picking these select few tracks, that could illustrate Goldmin Music’s essential freedom was probably our toughest work yet. It was also important to pick only the most original and iconic tracks from each artist. In the end each track had to be their most Goldmin one and they all have been tried in all types of situations, in club at 1 and 5 AM, on the highway at night or even staring at the ceiling during a sleepless insomnia session. They all fullfilled their duty.

French modern-classical quartet astrïd return on May 10th with the first part of a new release entitled A Porthole.

Conceptually the two records work in unison, focusing on portholes into the abyss, with part one delving into the depths of the deep sea. The tracks are named after various strains of seaweed, the artwork depicting dark waves and uncertainty. Part two will follow in a years time and will turn its attention to the night sky and constellations.

A Porthole continues astrïd’s signature style of billowing guitars, strings and woodwind. Each element intertwined with another, linked perfectly together through restrained jazz-tinged percussion. 2017’s highly-acclaimed release ‘Through the Sparkle’ with renowned pianist Rachel Grimes (of Rachels) set the bar extremely high for this release but astrïd have matched the depth, melody and quality of that record here.

Part one of this journey features some sublime compositions with Cyril Secq’s expressive and bold guitar playing carrying the pieces into chamber music territory, joined seamlessly by a variety of other instruments that swell and soar and fit perfectly into the story being told. Everything seems to have its place, nothing is overplayed or out of step here, there is an organic nature to the way this quartet plays and interacts with one another as melodies circle back and fade away in the same beautiful breath.

A Porthole is a deeply charming record, exercising glorious, nuanced refrain and offering a sort of hope rarely found in music these days.

• Aqua blue vinyl - limited to 300 copies w/ download code

• The album was mastered by Harris Newman (Godspeed You! Black Emperor, Tindersticks etc)

• The artwork is extracted from an original one of a kind monotype print by Gizeh overlord Richard Knox.

LumieresLaNuit (alias LLN) is glad to welcome on board another talented Russian producer, Gatilove, and his "Wave EP" for the 8th release of its OFF series.

Just as his predecessors Module One and Bypass, Gatilove shows an unbelievable dexterity in delivering soulful, sophisticated and rousing cuts. Whereas "Marini" unveils a breaky and sparkling aquatic atmosphere, "Wave" brings us back above sea level with minimal beats and daydreaming chords.

LLN's OFF regular, Russian duet Bypass offers a minimalist and charming version of "Marini" to the sound of Japanese-inspired strings. Lost.Act, as for him, restyled "Wave" in to a floating and techno journey at night.

After Moscow-based duet Bypass (LLNOFF001 and -006) and Module One (LLNOFF007), Gatilove is the fourth Russian artist to join LumieresLaNuit, and Lost.Act the fifth.

Heritage finds Mark de Clive-Lowe in the process of grand introspection about his Japanese heritage, with specific tracks as memories from the past illustrating the right history of Japan. The albums have a sweeping, almost majestic feel with signature electronic soundscapes throughout.

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

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

ZamZam 70 is our first team-up with the man of mystery known as Marcus Anbessa. An enigmatic figure whose identity must remain secret for the time being, his infrequent releases on labels such as Lion Charge, Tribe 12, and The Most High (as “Unknown Artist”) are eagerly awaited by those who know, charting an uncompromising vision down a path untrod by the weakheart or the follow-fashion. We love music that builds its own sound world with only passing reference to familiar genres or signposts, music that believes in itself utterly - for this reason we feel genuinely blessed to present these two sides.

“March of The Falasha” is pure roots music that, firmly planted in the soil of dub and sound system, reaches back even further into the mists of time through technological means. Downbeat steppers is the idiom, pure heartbeat is the pulse. Like an old soul young in years but full of wisdom, a distorted flute melody wanders ahead through the undergrowth of bass, light filtering through the ancient canopy above in the form of swung percussion and flickering echoes overlapping and intertwining like vines and creepers weaving on temple walls. Ancient-to-the-future.

“Creator” strikes a different yet equally dread chord, 140-ish post-apocalyptic Rasta business focused squarely on bass and space, hard, insistent drums and infinite echo trails flinging from the snares and percussion, creating hypnotic tracers like sparks swirling heavenward from a well-tended fire in blackest night.

Imagine African Headcharge on Jah Tubbys, or a rootsman groundation resuscitating ancient machines in the crumbling ruins of a near-future world and you begin to see what Marcus Anbessa brings. This music reminds us that nature herself will some day claim Babylon and grind it to dust, regardless of our efforts to save it or hasten its fall.

After a lengthy hiatus from the label, Melbourne's best kept secret Booshank returns with a highly anticipated four tracker, featuring a contribution from Japanese artist Gonno. Tumultuous beat tracks meet detailed synthesis to form the signature sound we've come to love and expect from the mystery man.

In "operating with a blown mind" Booshank has manifested the energy and intricacy of his previous fantasies on Butter Sessions, Domestic Documents, Unthank and his own newly formed imprint Couch Acid. A hybrid of club ready cruisers and dreamy mind-melting ambience that could soundtrack a nightclub experience in an alternate reality or a low-key arvo in the sun.

A great crossover record for both DJs and fans of more ambient vibrations bolstered by a crackerjack interpretation by Gonno.

Limited to 300 copies worldwide.

Margino (real name Kim Kallie) is a South African artist. She recorded her first song
at the age of eight, when she performed ''Montreal'' with her mother Judy Page. She
sang with the reggae group Kariba and jazz rock outfit Turbo in the early 80's, and
later did backing vocals for Future and others. She first shot to fame as a solo star
with a version of ''Holiday'' (written by Lisa Stevens and Curtis Hudson, credited as
Cathy Hudson), which was released at the same time as Madonna's version.
Margino also had a hit in 1983 with a cover of In-Deep's ''Last Night a DJ Saved My
Life'', that went to #16 on the South-African Top 30 and charted for 10 weeks. She
now runs a Performance Academy from her studio, and continues to perform on
stage at events around Cape Town.
Recorded at RPM Recording Studios (Johannesburg, South Africa) in 1985, Happy
People is a flawless album with dancefloor hits such as ''Happy People'', ''I'm
Getting Out'' and ''One Hot Night'' and downtempo tunes such as ''You Turn Me On'',
''You Need A Woman'' and ''You''. All rhythm tracks were played by Attie Van Wyk
(Keyboards, Synthesizer, Drum Machine) and Danny Bridgens (Guitar). The full
album is a cream of boogie funk, disco and pop.
For this reissue, Jamwax took the pleasure to remaster the sound from the original
tape. The artwork was also remake with Andy Warhol ''Marilyn Monroe'' pop art
style, for your eyes pleasure.

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

180GM PRESSING - 500 COPIES ONLY.

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

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

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

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

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

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

Erstmals Auf Vinyl: Das Debütalbum Des Synth-pop-trios Gunship Aus 2015. Exzellenter 1980er Retro-sound Aus Analogen Synths, Cineastischen Vocals Und Cyperpunk-attitüde, Mit Einem Feature Von Horror-meister John Carpenter Höchstpersönlich. Exklusiver Bonustrack Ist Der Gunship-remix Für Lionface "no Hope State" (2017), Der Hier Seine Erstveröffentlichung Auf Tonträger Erfährt. Für Fans Von Empire Of The Sun, Mgmt Oder Röyksopp.

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

Available april 30th

Heavy heavy heavy gospel compilation.. Including a few tracks that are under the radar or recently discovered such as Harrison Jones - On that Other Shore, Converters, I've Been Converted and the super limited self-released 45 by Mr Jesse R. McGuire – Jesus Is On the Mainline. Only 50 copies were ever pressed... Also holds Paradise's brilliant "Keep the Fire.".. TIP!!

Although gospel and disco music seem like polar opposites—one is secular while the other has embraced a hedonistic culture—the marriage of the two genres has birthed the uplifting spirituality and dance floor thump found in gospel disco. By the mid-'70s many established and independent gospel artists started creating records with a tight four-on-the-floor beat that touched both churchgoers as well as patrons of the drug-fueled establishments of the '70s.

Cultures of Soul Records is proud to present the second installment of Greg Belson's Divine Disco. Belson is one of the world's leading authorities on the funky gospel sound; for this collection he dug deep into his crates to
undercover the rarest independent and private press gospel disco records ever recorded. Greg Belson's Divine Disco sound is one that's been heard around the world from his DJ appearances at Glastonbury's NYC Donwlow stage to LA's Funky Sole to soul nights across
Europe.

Many tracks are under the radar or recently discovered such as Harrison Jones - On that Other Shore, Converters, I've Been Converted and the super limited self-released 45 by Mr Jesse R. McGuire – Jesus Is On the Mainline. Only 50 copies were ever pressed. This volume even includes gospel disco from the UK with Paradise's brilliant "Keep the Fire." This compilation also includes remixes and edits by Steve Cobby (who was a member of Fila Brazillia) and the Divine Situation production duo of Greg Belson and Paulo Fulci.

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

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

Nighttime approached in the Hollow and as the hue of the sky shifted to
dark, another dreary state of slumber commenced. The raven, ever so
gallantly mounted on a birch pedestal, twitched his head in
bewilderment as the Horseman lay in his bed of stone. Aware of his
elongated moments in solitude, this living humble creature sensed that
this extended period of time alone had caused a great deal of misery
for the Horseman. Over time the distress subsided.

Next on Berlin's Renate Schallplatten is Longhair, a project formed by Marko Pelaic and Benedikt Bogenberger, two residents of Berlin's Wilde Renate. Mangostine, a four-tracker, follows last year's 12' on Dutch label Bordello A Parigi and a track contribution on House Is OK. It lands with an Axel Boman remix. The EP opens with the title track, its name drawn from the exotic fruit. Over a brooding bassline we hear light, fluttering melodies and uplifting keys, creating a peak-time roller that'll put smiles on faces across the dancefloor. 'Pans & Pots,' the A2, starts as a darker affair with trippy vocal samples and fluttering drum patterns, before warm keys and intricate instrumentation lift the mood to make for a fun-filled jam peak-hours feel-good jam. On the flip, Studio Barnhus head Axel Boman reworks the title track into a more subtle, deeper cut; the melodies remain but in the background, replaced at the forefront by tribal drums and abstract vocals. Closer 'Aquamen,' meanwhile, opens as a straight-edged techno cut with a heavy bassline and fluttering snares, before playful keys and intermittent sci-fi samples add some texture. It's another late-night jam that'll lift the energy without ever being too forceful. The release is Renate Schallplatten's first since 2017's various artist compilations. Earlier EPs have landed from Moscoman, Sebastian Voigt, Wareika, and more.

Special Record Store Day 2013 release! LP version includes free download! One explanation for the 90s-fascination with Casio, Korg and other analogue synthesizers is quickly at hand: The 1st video-game generation was coming of age and were happy to hear that their dearly loved “Space Invaders“-soundtrack was suddenly popping up in electronic music. It takes slightly longer to explain why one record from that time - “Beautronics“, the debut by UK-synth-duo ISAN first released in 1998 - kept its appeal until today. “Beautronics“ does not grab you immediately. You don’t hum these tunes after a few listens, in fact you might not even hum them after dozens of spins. It’s not about humming. It’s about soft cushions and a cosy duvet made of sounds, it’s about aural sheets floating around like warm humidity during a hot bath. Occasionally it’s even about IDM, but in a very late-night kind of way. Antony Ryan and Robin Saville, the two English lads behind ISAN, are very open about their goals. They separate the longer tracks with short, often abstract pieces they called “Tints“. So it’s as much about tonal colour, as it is about melodies. The “Tints“ form an interesting contrast between ambient sounds and the more focused tunes. But even their most bass-dominated songs such as “Skeek“ are not exactly four to the floor. There’s no more than one to the floor, while the rest is sailing somewhere above in a haze of beautiful sounds and melodies. The album’s sleeve and title are straightforward about this: it’s all about the human beauty in electronica. Just like your mom’s heartbeat that set the tone for the first nine months of your life, “Beautronics“ produces sounds that radiate a warmth and naturalness that make them feel familiar upon first listen. The 15 years since its initial release don’t change a thing about this. That’s why it’s certain, that “Beautronics“ will win a new generation of listeners with this re-issue.

French producer Erell Ranson's affinity for the deeper shades of Detroit sound is well known, but his ability to absorb those influences and create beautiful music with his own signature is the reason we're so excited to welcome him into our family. Having previously released on labels such as Kalahari Oyster Cult, aDepth audio, Nice & Nasty Records and his own MySelf Recordings, amongst others, Erell's became quite skilled in crafting sophisticated and emotional tracks which still seem to feel perfectly at home in a crowded 3 AM club situation. EP for Barba, titled "Dreams Of Nila", is a 4-tracker consisting of "Dreams Of Nila", "Reminiscence 0f The Past", and "Far Away Of Your Side", with the latter receiving an additional remix treatment by a Rotterdam-based project Duplex. "Dreams Of Nila" is a somewhat more leaning towards Chicago-ish side of things, with its huge bassline enveloped by shuffling 707 drums. Soft-sounding synth pad sequences work as an emotion injection and appear perfectly timed, without removing the edge of this, essentially, club track. "Reminiscence Of The Past" is the most direct of the bunch. Syncopated bass drum, forward-leaning groove and those classic techno snare roll fills make this track hard to ignore as it is, without mentioning complex interaction of synth lines, chords and beautiful detroit-reminiscent string stabs. Wonderfully executed counterpoint of hard edge and soft touch is what makes this cut a truly special one. Techno in its fullest form. "Far Away Of Your Side" is somewhat closer to the energy level of "Dreams Of Nila", and is a well-paced deep cut perfect for later moments in the night when subtle approach is everything. Slow synth pads give your mind some time to relax while the groove keeps your body occupied. Duplex remix of "Far Away Of Your Side" takes the track another notch down but in a more sideways manner. Broken electro groove is what keeps the foundation of the track while Chris Aarse & John Matze (aka Duplex) masterfully work their synths and pads to keep the tension for the whole duration of the track. Melancholy mood is tangible here, and at its best, ready for the dancefloor.

Following their hotly tipped 2018 debut album 'On' - Altin Gün returns with an exhilarating second album. 'Gece' firmly establishes the band as essential interpreters of the Anatolian rock and folk legacy and as a leading voice in the emergent global psych-rock scene. Explosive, funky and transcendent.

Some words from the label:

The world is rarely what it seems. A quick glance doesn't always reveal the full truth. To find that, you need to burrow deeper. Listen to Altin Gün, for example: they sound utterly Turkish, but only one of the Netherlands based band's six members was actually born there. And while their new album, Gece, is absolutely electric, filled with funk-like grooves and explosive psychedelic textures, what they play - by their own estimation - is folk music.

'It really is,' insists band founder and bass player Jasper Verhulst. 'The songs come out of a long tradition. This is music that tries to be a voice for a lot of other people.'

While most of the material here has been a familiar part of Turkish life for many years - some of it associated with the late national icon Neset Ertas - it's definitely never been heard like this before. This music is electric Turkish history, shot through with a heady buzz of 21st century intensity.
Pumping, flowing, a new and leading voice in the emergent global psych scene.

'We do have a weak spot for the music of the late '60s and '70s,' Verhulst admits. 'With all the instruments and effects that arrived then, it was an exciting time. Everything was new, and it still feels fresh. We're not trying to copy it, but these are the sounds we like and we're trying to make them our own.'

And what they create really is theirs. Altin Gün radically reimagine an entire tradition. The electric saz (a three-string Turkish lute) and voice of Erdinç Ecevit (who has Turkish roots) is urgent and immediately distinctive, while keyboards, guitar, bass, drums, and percussion power the surging rhythms and Merve Dasdemir (born and raised in Istanbul) sings with the mesmerizing power of a young Grace Slick. This isn't music that seduces the listener: it demands attention.

Altin Gün - the name translates as 'golden day' - are focused, relentless and absolutely assured in what they do. What is remarkable is the band has only existed for two years and didn't play in public until November 2017; now they have almost 200 shows under their belt. It all grew from Verhulst's obsession with Turkish music. He'd been aware of it for some time but a trip to Istanbul while playing in another band gave him the chance to discover so much more. But Verhulst wasn't content to just listen, he had a vision for what the music could be. And Altin Gün was born.

'For me, finding out about this music is crate digging,' he admits. 'None of it is widely available in the Netherlands. Of course, since our singers are Turkish, they know many of these pieces. All this is part of the country's musical past, their heritage, like 'House of The Rising Sun' is in America.'
As Verhulst delves deeper and deeper into old Turkish music, he's constantly seeking out things that grab his ear.

'I'm listening for something we can change and make into our own. You have to understand that most of these songs have had hundreds of different interpretations over the years. We need something that will make people stop and listen, as if it's the first time they've heard it.'

It's a testament to Altin Gün's work and vision that everything on Gece sounds so cohesive. They bring together music from many different Anatolian sources (the only original is the improvised piece 'Soför Bey') so that it bristles with the power and tightness of a rock band; echoing new textures and radiating a spectrum of vibrant color (ironic, as gece means 'night' in Turkish). It's the sound of a band both committed to its sources and excitedly transforming them. It's the sound of Altin Gün. Incandescent and sweltering.

Creating the band's sound is very much a collaborative process, Verhulst explains.
'Sometimes me or the singer will come in with a demo of our ideas. Sometimes an idea will just come up and we'll work on it together at rehearsals. However we start, it's always finished by the whole band. We can feel very quickly if it's going to work, if this is really our song.'

Just how Altin Gün can collectively spark and burn is evident in the YouTube concert video they made for the legendary Seattle radio station KEXP. In just under 20 minutes they set out their irresistible manifesto for an electrified, contemporary Turkish folk rock. It's utterly compelling. And with around 800,000 views, it has helped make them known around the world.

'It certainly got us a lot of attention,' Verhulst agrees. 'I think a lot of that interest originally came from Turkey, plenty of people there shared it.'

That might be how it began, but it's not the whole tale. The waves have spread far beyond the Bosphorus. What started out as a deep passion for Turkish folk and psychedelia has taken on a resonance that now travels widely. The band has played all over Europe, has ventured to Turkey and Australia and will soon bring their music to North America for the first time.

'Not a lot of other bands are doing what we do,' he says, 'playing songs in that style and seeing folk music in the same way.'