Search:no age

Dark Entires is honored to reissue the long out of print debut album Elevator to Eden by LIVES OF ANGELS. Lives of Angels was the brainchild of GERALD O'CONNELL from London, England. In 1974 he worked at CBS studios mastering recordings from tape to disc. By 1977 he joined his first band MYSTERY PLANE, led by school mate Mark Harvey and later joined by his soon-to-be wife Catherine. Gerald branched off in 1980 forming Lives of Angels as an outlet for his own compositions. He recorded, produced and played all of the instruments on Elevator to Eden' between 1981 and 1983, using a primitive set up of drum machines, one keyboard, guitar and a tape echo. Influenced by the Krautrock sounds of Neu! and Amon Duul II as well as US psychedelic rock, Lives of Angles crafted their own unique post-punk sound. Elevator to Eden was originally released in 1983 on cassette by Color Tape Records, the label started by Gary Ramon of Modern Art. Then in 1986 Fire Records remixed and re-released the album on vinyl but the band was not happy with the mixes. This reissue features the original 4-track cassette mixes of Elevator To Eden on vinyl for the first time ever. The LP includes 9 songs featured on the original Color Tapes release. All songs have been remastered for vinyl by GEORGE HORN at Fantasy Studios in Berkeley directly from the original master tapes. Each LP comes with unreleased photos, original artwork and a lyrics for all songs.

Rich La Bonte is a musician, writer and editor from upstate New York born in 1946. At age 11 he figured out how to record a piano backwards with his first tape deck and discovered Monk, Mingus and Art Blakey. In 1965 Rich moved to Ithaca, bought an electric guitar and started singing in garage rock band the huns. After the band dissolved, he moved to NYC and played bass and sang in the original cast production of the musical Godspell. In the late 70s La Bonte moved to Hollywood with Shari Famous, released a a few 7' singles as Dada2, and started fLAtDiSk Records, a vinyl subsidiary of Dave Gibson's Moxie Record Company.

Rich released his debut solo album 'Mayan Canals' in 1981. The seven songs were recorded between 1973 and 1980 while living in New York, Pennsylvania and Hollywood. Influenced by everything from Apple Records to Zappa, the album veers from oozy psychedelia to synthesized breezy folk. Vocally Rich sounds like a cross between Tom Verlaine and Lou Reed. Some tracks feature an EMS Synthi A synthesizer, known to generate the sci-fi sounds from Dr. Who. Other songs utilize feedback from a Maestro Fuzztone box into a TEAC 4-track SimulSync tape recorder. Lyrically La Bonte tackles themes of dying celestial bodies, the birth of his daughter, and a critique of Bowie's character in The Man Who Fell To Earth. Included on this reissue are two bonus tracks originally released on the double A side 7' single Chance Circumstance/Drums Along The Maple Wood, a tribute to Irwin Chusid, the eminent WFMU DJ, with vocals by Shari Famous.

All songs have been remastered from original tapes by George Horn at Fantasy Studios in Berkeley. The jacket features a replica of the original jacket with a Mayan figure screen printed using the original rubber stamps from Rich's archives. Each copy includes a 6-page xeroxed booklet with lyrics, never before seen photos, and liner notes by Rich La Bonte.

Dark Entries present the sophomore album from Austin, Texas analogue hardware enthusiast Bill Converse. Immersed in the early days of the 90s midwest rave scene, Bill began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Derrick May were key early influences. Techno, noise, ambient and tape processing are all part of his uncanny sound palette. His debut album 'Meditations/Industry' was released on cassette in 2013 and edited for a vinyl release in January 2016 followed by two 12' singles 'Warehouse Invocation' and '7 of 9' the same year.

'The Shape Of Things To Come' is a 70 minute journey spread across two pieces of vinyl. It's comprised of seven tracks recorded directly to tape with no overdubs, made at Converse's home studio. At the time of recording, Bill was sending this material to Josh Vance (Josua Dorje Ngodup) for feedback. Most of the time Josh would respond in the form of artwork, and then Bill would create another track inspired by this feedback chain. Converse has dedicated this series of tracks to him. The songs on this album reveal a sublime influence from Detroit techno, early Chicago house, and Acid. For this album Converse slightly bumped up the tempos geared for dancefloor energy. Built around vintage synthesizer lines and gritty drum machine percussion, the tracks evoke how things have changed and how they have come to be.'

All songs were mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a gatefold jacket with a painted photograph portrait by Dietmar Busse and layout design by Eloise Leigh. The gatefold conceals an otherworldly collage made by Josua Dorje Ngodup. Each copy includes a postcard featuring artwork from Bill's sister with notes.

Oberst & Buchner are next up on Freeride Millenium and the two Bavaria born, Vienna based producers deliver an EP that offers their interpretation of what 'modern summer togetherness sounds like.' The talented pair started making music together aged 15 and aim to cook up emotionally driven jams. They do so on labels like Heimlich, Underyourskin Records, Schönbrunner Perlen, Lokd, and always get the juices going, as they do once again here. Beginning with the brilliant 'Greg' we dive into a breakbeat bath of summery chords as playful claves dance on the horizon. It is a melodically rich track with spiritual feelings that really bliss you out. On the moodier 'Emile' night time arrives and warm chords mix with jangling, organic glass and percussive tinkles that reflect rays of light. It's a perfectly jazzy and loose number that really suspends you in a rueful place. Last but not least, 'Embrace' is a fluid intergalactic convention with sparse drum kicks weighed down by sombre synths. A skittish, dubstep style groove then comes in and elevates the track with gentle guitar licks and slithering synths adding colour, and overall it has the same zoned out feel as a thousand-yard stare. This is a brilliant mood EP that mixes up the synthetic with the organic, creating some fascinating grooves as a result. The release once again features original artwork from the ever talented Daniel Rajcsanyi. Thanks for purchasing a real copy!

avorite Recordings proudly presents Natureza, first album of Joao Selva. The story of Natureza is made of the meeting between two passionate artists who are Jonathan "Matuto" Da Silva and Bruno "Patchworks" Hovart.Born and raised in Ipanema and son of a pastor, Jonathan Da Silva grew up in a community of ex-prisoners and converted artists. He made his first guitar notes before his 10th birthday, under the watchful eye of Wanda Sa (muse of the bossa nova), and influenced by a father who in addition to his work, was also a true music lover with a collection, where black music, rock and classical meet. From the age of 18, Jonathan began a life of entertainer, traveling the world to offer shows for disadvantaged children and intensively practicing the Brazilian traditional music arts (Capoeira Angola, Maracatu, Samba de Roda, Coco de Roda...). It was later in France and in Lyon that he put down his instruments. There he formed the trio Forro de Rebeca in 2008, touring the all country and winning many praise in media. The trio recently joined forces with American producer Maga Bo on the project Sociedade Recreativa, whose album was released in 2016 on The Jarring Effects label.Bruno Hovart is a recognized producer, multi-instrumentalist, and remixer. After passing through Angers, Birmingham and London, he's based in Lyon since 2001. Bassist and guitarist for various bands, he switched to production in the mid-90s. Passionate about music and tireless creator, Bruno has practiced in almost every imaginable style, when it comes to groove music, collecting many aliases and projects for more than 10 years: Patchworks, Voilaaa, Uptown Funk Empire, Mr President, Taggy Matcher, Mr. Day, Hawa, John Milk, Lightnin 3, The Dynamics or Metropolitan Jazz Affair ... Nothing resists and escapes his talent and production skills. Thus, when he discovered and met Jonathan and his music, Bruno saw an immediate opportunity to broaden the spectrum of his discography a little more, by looking at Brazil. Beyond its traditional heritage, Brazil has always been a land of extremely varied music, influenced by the international scene. Soul, Jazz and American Pop did inspire many local stars such as Chico Buarque, Carlos Jobim, Gilberto Gil, Tom Zé, or Erasmo Carlos. Both fervent lovers of this movement and these names, it's with the idea to pay them a faithful tribute, that Jonathan and Bruno began the Joao Selva adventure. Together they gave birth to Natureza and embark us for a trip into the heart of the Tropicalist Pop influences of Jorge Ben and Caetano Veloso, the intoxicating Funk of Tim Maia, and the social poetry of Vinicius de Moraes.

A brand new instalment in the Trans Afryka series, that is loosely inspired by the sounds of the black continent and devoted to club-oriented Afro-House.

Riding the waves of success with sold out volume 1, Zambon employed three talented producers to bring more goods to the table.
Transatlantyk regulars like DJ Dook and Universo are joined by a newcomer Tamten and together deliver a bomb of an EP!

Aptly titled 'Afro Acid' by DJ Dook is exactly what it says on the sleeve - raw DJ tool with squelchy samples, mantra-like vocal loop and focused vibe. Think of an soundtrack to a futuristic version of Apocalypse Now. Just the perfect peaktime beats to heat the party a little bit more.

'Praise Song' by Universo is built on a wandering bassline reminiscent of Malian blues with tribal chants, penny whistles and various sorts of percussions on top. This beautiful groove rolls and rolls without end, like an endless summer.

'Ukukhnaya' by Tamten is the most atmospheric out of the three, fusing New Age midi sounds with the vibes of South African deep house.

New comers Laughing Man and Noah Skelton release their 'Element EP', on Silencio.
The first track, 'Element', is a collaboration between the two artists. This combined effort rumbles into the clearing, dragging the dance floor and its occupants along with it for a riveting ride throughout its duration. A beguiling bass line, complimented by underlying ethereal sounds, seamlessly contrasts and connects to form a compelling rhythm. Riddled with space age laser samples that periodically bubble to the surface, this track consistently pulls listeners in by pushing out good vibrations.
On Side B Laughing Man goes solo with the second track '1939'. This dynamic offering is a model of contemplative creation that basks in its own thought provoking ambience. A series of scintillating samples, echoing in waves of varying intensity, are served up with satisfying drums and a clever assortment of claps. This release has a way of finding your mind and marinating in the sub-conscious because it's just that deep.

Over the years, Phil Mison has become the go-to selector for those looking for Ibiza-themed compilations. None of his previous collections, though, have been quite as personal as Out Of The Blue, a compilation inspired by his first spell behind the decks at the Café Del Mar in 1993 - and the remarkable chain of events leading up to it.

Mison made his first trip to Ibiza in the summer of 1991 and quickly fell in love with the magical music being played by Café Del Mar resident DJ, Jose Padilla. On his return to the UK, Mison began to cultivate his own take on the laidback, open-minded style, recording mix-tapes of Ibiza style chill out' tunes to give to friends.

In November 1992, Mison was hanging out in Tag Records, Soho, when Padilla walked in. He plucked up the courage to speak to the Spaniard because earlier that summer Mison had given one of his friends some tapes to take out to Jose in Ibiza so he wanted to see if he had got them. During the conversation Mison invited him down to his next DJ set at Nicky Holloway's club, the Milk Bar and less than three months later, and clearly impressed by what he'd heard on the tapes, Padilla invited Mison to fill in for him at the Café Del Mar, beginning in April '93.

It's that first trip to DJ in Ibiza - a crazy six-weeks spent dividing his time between spinning records at Café Del Mar, hanging out in Jose Padilla's house in the hills, and meeting some particularly eccentric White Isle residents - that proved the inspiration for Out Of The Blue.

The compilation contains a mixture of records that Mison played in his earliest Ibiza sets, those that remind him of that period, and recent discoveries that boast a similarly warm, loved-up vibe. Mison is at pains to point out that it's not a track-for-track representation of his first sets, but rather a collection inspired by this most momentous of experiences.

As you'd expect from a selector of Phil Mison's standing, Out Of The Blue is an outstanding collection. Some will no doubt hear the influence of his mentor - the man he credits with effectively turning his DJing career around - in the undulating rhythms and new age melodies of Kamasutra's Sugar Step', the meandering synthesizer solos and Spanish language vocals of Congarilla's sublime Sacred Tree', and the lilting flamenco guitars of Gambarra', an unreleased mix from Mison's popular Cantoma project.

Elsewhere, listeners can marvel at the starry ambient bliss of Belgian legend Frank De Wulf's The End', recline to the saucer-eyed fusion jazz of the Christoph Spendel Group, shuffle along to tactile, hard-to-find period deep house from Language, Moodswings and Don Carlos, and marvel at The Cactus Rose Project's ridiculously rare Jelly', a sparkling, disco-era jazz-rock outing partly inspired by the Doobie Brothers' Long Train Running'.

Out Of The Blue may well be a very personal selection of tracks celebrating a moment in time, but it's happily one that we can all enjoy.

CHRISTIAN NIELSEN is a musician you would not immediately expect to see behind the SPEICHER / KOMPAKT EXTRA crest. We love to surprise your ears and have enjoyed for some time his outsider approach to any genre he chooses to tackle. In particular with 'Hard Times' - a prime-time melodic monster that bridges the right transitions. Right when you need them to.
Berlin via Belgium techno juggernaut LOCKED GROOVE has been on our radar for ages thanks to releases on HOTFLUSH and AFTERLIFE. 'Dawn' is one of those magical tunes that loop along but evolves with every listen. You hold us to it that we think it could be the best set opener 2017 will have to offer. Intricate drums balance well with lush minimalistic melodies.
Our SPEICHER series rapidly heads towards 100. Where it goes, only we know - so savour the flavour while it lasts.

While the story of Jah Wobble, from post-punk bassist to Tube driver to world music explorer is well documented, the fact he founded his own label, Lago Records, at the age of just 23 years old has oft been overlooked. Lago Records was set up by John "Wobble" Wardle soon after his acrimonious departure from college friend John Lydon's Public Image Ltd band at the end of the recording of the Metal Box sessions. Although still young, Wobble had already experienced a music career most would dream of and was experienced enough and singular in his thinking that while now working with both Island and Virgin Records, he did not want to be constrained by the traditional label / artist format and release schedule. With a mindful of music ideas and working with a group of friends and musicians, Lago allowed Wobble to express his wider musical interests that now forms it's own unique document in time. This release takes a collection of songs from the 6 EPs released on the label between 1981 and 1985 and captures some of his best ever music, covering a wide palette including dub, jazz, spoken word and even some pop sensibilities, all held together by his instantly discernable bass rumble. The driving post-punk-dub of Invaders Of The Heart is clear a link to the PiL years, while the psychedelic nature of Long Long Way and Fading offer long, drug-induced meditations. Nocturnal and East take this further with long-form instrumental experiments, before both Voodoo and the now highly sought after Blowout take in (Balearic) pop touches that the mid-80s were beginning to encapsulate. Packaged with DJs in mind as much as for the "Heads", the Lago Years double pack is a revelation to those who thought they knew the Jah Wobble sound and offers a perfect framing of a unique musical journey.

"Alpha percussion", recorded in 1985, is a cult groovy ambient album of acoustic percussion, pleasant to listen to and full of samples and break known very well by Djs and artists likes Danny Brown (which uses a sample in "Really Doe", a song of his latest album on Warp Records).
Giovanni Cristiani is one of the most prepared and complete Italian percussionists. Born in Rome in 1952 he graduated in percussion in young age and began playing professionally in Italy and abroad. In 1979, after years of activity at the side of the most popular jazz musicians, constitutes the Music Workshop A.D.E.L., playing drums and percussion courses. Pentaflowers (BEAT Records sub-label and publisher) asked him to make a solo percussion library music album in full artistic freedom that was pressed in limited edition for insiders; so was born "Alpha Percussion", a gem now finally accessible to all thanks to Mondo Groove label.

Some try it with mouth-to-mouth insufflation and cardiac massage. Others with
psychopharmaceuticals or group therapy. Still others with divorce. By going cold turkey. With a new profile pic and a matching hairstyle. Seen it all at Robert Johnson, already endorsed everything - at least as long as it helps: as a lifesaving measure.
But since the year dot, the Offenbach-based club with its affiliated label recommends to all which are undecided or have doubts particularly one thing: Music. And dance.
Every two years, when life newly blossoms during spring, Live At Robert Johnson opens its windows widely, lets new music out and fresh air into the house. The beguiling scent of nature and aviation fuel blends with the scent of sweat and dry ice fog - and causes sundry healing confusion. As soon as the first tone of the Lifesaver Compilation 3 is heard, the swelling grunt of Vincent Feit's 'X04', the scenery of the dancefloor right at the Main river appears before one's eyes.
On Saint Monday Iconoclasts rebel against the age of self-optimization. A crack goes through the parquet of the dance floor (or the dancing party itself). The post-unambiguities era is beginning. The images become blurred. Bass case. Alternative facts. Resonance hole. No reception. And then it's only the queue answering the club emergency hotline. Finally there is a buzz on the line. 'Just drop the images!', it says.

'It's all not that tragic.' This helps.
The Lifesaver 3 Compilation, the yet most comprehensive package of the lifesaver history, sounds like electro, sharp-edged like the vault in a Hague bunker (Lauer), provides data pop with piano crescendo (Fort Romeau), brings the style characteristics of German Schlager music to the breakdance mat (Rolande Garros), lets the bulky lily-of-the-valley bells clang and sends the reverb tails away with the wind (Benedikt Frey). There are several new names to discover: Felix Strahd, Benjamin Milz, Vincent Feit; and of course there a many old acquaintances: Massimiliano Pagliara, Orson Wells, TCB, Chinaski. Roman Flügel brings us 'Good News', however: 'From Another Planet.' And Fort Romeau feels 'Lost, Again', but in such somnambulistically beautiful manner that you want to get lost with him instantly and jointly find the great joy.
Again and again there are mysterious chants. It's not required to decipher the specific words in order to get the message: Salvation is near. Salvation is here:









[)] e1 | Roman Fügel - Chang

* Includes a DIN A2long poster inside the 12" sleeve with edition number and music download code

* Rogue Style 1 EP is an international homage to b-boy culture, where the worlds of breakbeat music and breakdance collide. Sinistarr (USA), Kiat (Singapore), Kabuki (Germany) and HomeSick (Canada) are connected in many ways, now they lay bare their hip-hop roots and give something back with a fresh take through the eyes of drum & bass and juke/footwork. Here is what they have to say:

Sinistarr: "As a teenager I grew up as a b-boy, dancing anywhere I could: schools, parks, festivals, you name it, my crew was there with cardboard and a speaker. I eventually got deeper into DJing and making music and learned to bring a sound that's not just for the crowds and the purists, but also for all the dancers!"

Kiat: "Hip Hop has taught me to keep evolving, to explore new forms in all my art. Progression is the key to evolution. -- I met Sinistarr online thru myspace and we had a musical connection which led to our first collaboration 'Black Diamonds' which is still one of my personal favourite tunes I've been fortunate to be part of it's creation. With Kabuki, i've always been a fan of his work since his 'Makai' alias on No U-Turn, despite meeting him only recently thru the label.I've always known him to be constantly progressing his ideas in his music which I respect alot."

Kabuki: "B-boy culture has always been a strong influence on how I pursued my art, mainly because of its DIY ethos and attitude of perfecting your craft. Incidentally these were also the aspects that drew me to Jungle when I first discovered it in the nineties. -- I'm happy to rub shoulders with Kiat, Sinistarr and HomeSick on this release, as I'm a fan of their music foremost, but also because we became friends through the music."

HomeSick: "I was only a child in the 90s and as a result I feel like my understanding of b-boy culture was experienced second hand thanks to 90s/early 2000s hip hop music. I appreciate the parallels I can see with footwork culture, particularly the similarities to the community mentality of break dancing. -- I know Sinistarr through booking him for our local party night in Alberta, Canada called Percolate. Our city must have left an impression on him because a year later he made the move here from Detroit. Had the pleasure of hosting him as a room mate for a little over half a year, the home was a very potent creative space during this time. Kabuki hit me up a few years ago and we very quickly got to sharing tracks and collaborating together. Mans a master of production and a super important part of the global scene."

The idea for a reminiscence of b-boy culture stem from label owner Booga:

"Why am I interested in this so much I grew up in East Germany and as the movie "Beat Street" premiered in 1985 over here I was age 13 and blown away by the energy, the music, the wit, the style - everything in this movie was better than everyday life in Leipzig. So I started saving for a cassette recorder and taped music shows from West German radio and prepared tapes for school disco gigs to the hope somebody would do the "robot" to Arthur Baker "Breaker's Revenge". Unfortunately that never worked out hahaha. But I was hooked since then and as the wall came down in 1989 I travelled to West Berlin just to buy the Beats, Breaks and Scratches 1-4 vinyl box by Simon Harris. The fascination for breakbeats never stopped and before I discovered Jungle around '94 I was down with the British cut up house thing from the likes of Marrs, Krush and Coldcut as another form of breakbeat music. The "do it yourself" spirit from hip hop culture inspired me to start a local website called breaks.org in 2000 to locally promote the drum and bass scene with emerging producers, djs and mcs for a wider audience and I threw in some interviews with Storm, Kabuki, Rob Playford, Klute and John B. That turnt into a multi author blog called itsyours.info in 2004 which still exists - that is where I had the pleasure to introduce Kiat and Ash in 2007. All these years I was listening and playing drum and bass tunes when the occasional "bboy tune" came up, some were obvious like Alex Reece "B-Boy Flavour", Lemon D "B Boyz", Commix "Change" and some were not so much self-explanatory like Digital & Spirits "Phantom Force" and the remixes by T-Power & Codeine or Fracture's Astrophonica Edit - but I felt the hidden force of breakdancing nevertheless. With the Rogue Style series I have the first class opportunity to ask established and new Defrostatica artists to present a current interpretation of b-boy culture. This is a dream coming true."

Until he was about 20, Texas-born Melvin Sparks was a rhythm & blues guitarist, backing Jackie Wilson, Curtis Mayfield and Marvin Gaye as a member of The Upsetters. But Sparks gave up his seat on The Upsetters' bus in New York City, where a chance introduction to George Benson led him to a place in soul jazz history. Melvin played and recorded with Lou Donaldson, Leon Spencer, Bernard Purdie, Jack McDuff, Jimmy McGriff, Idris Muhammad, Dr. Lonnie Smith, Charles Earland, Grover Washington Jr., Reuben Wilson and so many more. Even during the quietest years of soul-jazz Melvin stayed relevant through hip-hop and r&b, a quick search at WhoSampled turns up more than 150 samples of his funky chicken scratch. And Melvin's legacy is heard in contemporary soul/funk bands like The New Mastersounds, Soulive and The Greyboy Allstars, all of whom he also guested with several times before his early departure from this realm in 2011.

This release documents Melvin's final band just months before his death. Organist Beau Sasser and drummer Bill Carbone had been working with Sparks for several years, and, despite the power dynamic - they were in their early 30s, Melvin an elder-statesmen of the genre - the unit was sharp, relaxed and performed Melvin's music with a jovial spirit. The trio played the Burlington, VT club Nectar's regularly, but this night featured two "onlys." Per the recommendation of Nectar's agent they used the "Grippo Horns," the only time Sparks used a horn section in the last several years of his life, and they allowed a multitrack recording of the show. Both were strong decisions.

The tracks on this album, lovingly mixed by guitarist, producer and Melvin Sparks fan Eddie Roberts, demonstrate that Melvin played as well in the final months of his life as at any time. Sparks counts "Whip! Whop!" off at what he said The Upsetters called a "showtime tempo," and peppers it, as well as most of the album, with quotes from jazz standards, pop songs and cartoon themes, all woven effortlessly into the bebop-funk dialect he helped create. He unfolds amiable melodies, patiently and methodically, through his several-minute lead on "Breezin'." And Sparks is audibly uplifted by the Grippo Horns helping him perform his 1973 arrangement of "Ain't No Woman" for the first time in decades.

Cologne's electronic music community keeps on giving, drawing on a dense plethora of fresh talent ready to shake up our little big grassroots industry. The latest ace up the city's sleeve must be Tim Engelhardt, part of a new breed of incredibly versatile young producers that get their cues from all sorts of genres and listening situations, combining profound musical knowledge with intuitive playfulness and multiple perspectives on sound. In Tim's case, we're dealing with a solid pianist background - which becomes rather obvious in the great care he takes over harmonies and an expanded melodic structure. However, that's just one side of the story, as the organic fluidity and atmospheric dexterity of his music most certainly hark back to an upbringing among the rolling hills and sprawling forests of Germany's Westerwald - one of the country's best known mountain ranges that has already inspired artists such as Dominik Eulberg or Gabriel Ananda. Having released your first recordings at the tender age of 14 - as Tim did in 2012 - might put you in a 'wunderkind' category - a flattering, but ultimately risky proposition, finding many a prodigy overwhelmed with the dubious honour. Not so much our hero, who chose to put his skills to work: in only four years, he grew his portfolio with plenty outings on labels such as Traum Schallplatten, WIR, Babiczstyle, Amuse Gueule, Ostwind Records, Popart Music, Playmusic Productions, Parquet Recordings, Manual Music and more - but his breakthrough release was hands-down the 2015 EP 'Everything Is All You Have' on Steve Bug's iconic Poker Flat imprint, followed by 'Enigmatism' on the same label.

Hell Yeah is proud to present a new EP from an artist that has been on their radar for a while. That artist is Napoli's Quiroga aka Walter Del Vecchio, the Italian DJ and producer who also runs his own Really Swing label and has been given props by the in the know Test Pressing blog, as well as having all his tunes dropped by
Balearic Gabba Sound System at every opportunity.

One of the finest talents to come from Italy in recent times, Quiroga cooks up hypnotic and trance including sounds from a myriad of diverse influences from opiate jazz to shuffling funk beats, from shifty landscapes to library music.

First up is Viaggio a Tulum, a perfectly loose and jumbled mix of sunny vibes, feel good chords and clipped vocals full of soul. The sort of thing that has you day dreaming of lazy afternoons and drunken BBQs, it's perfect example of Quiroga's efforts style.
Non Dire Notte—featuring Acido and ReallySwing act 291Out members Luca "Presence" Carini on electric bass and Vincenzo "Warren" Ciorra on electric guitar—is even more lazy and elongated, horizontal and blissed out. Twanging guitars off set pixelated synths, squelchy chords and Afro signifiers bring the heat and overall you cannot fail to get lost in the groove.

Prati Bagnati is a serene ambient interlude that feels like laying on your back and looking into a deep blue sky and second ambient cut Bava is more textured and intense, with shifting drones and muffled voices bringing a sense of filmic unease to the table. Overall, this is a perfect window into Quiroga's most intoxicating musical world.

Support by Alexis Le Tan, Aficionado Djs, Coyote, Ibiza Sonica, Reza Athar, Gonno, Noema, Fabrizio Mammarella, Riccio, Bill Brewster, Private Agenda, Soft rocks, Tim Love Lee...

Medical Records proudly presents a special limited edition of all 3 "Forgotten Tracks, Sketches and Unfinished Work 2002-2004" by Martial Canterel as a triple gatefold set. Volume I was released previously in 2013, and Volume II and III are simultaneously being released by Medical Records as standalones. Sean McBride has been producing work under the Martial Canterel moniker dating back to 2002 as well as working as half of Xeno And Oaklander. These tracks capture the allure and depth of Sean's early work exploring rhythms and perfectly crafted pop songs using a very early incarnation of limited instrumentation. Fans of Martial Canterel's early work (think "Austerton" and "Sister Age") will be instantly elated. This is the first time these tracks have been released on vinyl and have been remastered for this release by Martin Bowes at the Cage, UK. Contains special bonus insert with lyrics. Fans of early Martial Canterel as well as other cold wave icons such as A Blaze Color, Snowy Red, and the like will need this collection. Presented on high-quality 180gram classic vinyl in a triple gatefold pack.

Fabio Borgazzi - aka Fabio Fabor - played literally every known style of music, from baroque to 'satanic' electronic, in his library music albums released during his career which lasted almost seven decades. Born in Milan in 1920, Fabor was one of the great artisans of post-war Italian popular music. Author, arranger and conductor with a classical background, he started writing songs (in the 1950's and 1960's) for popstars such as Nilla Pizzi, Johnny Dorelli and Milva; he then turned to music for theatre, cinema and tv, to which he dedicated the rest of his career. In 1981, when he released 'Galassia M81, Fabor was a veteran in the scene of library music, both as an author and an editor. It was the so-called golden age for the genre, just a moment before the advent of MIDI - which made everything easier, but flatter too, putting an end to the 'Italian Touch". The tracks featured here (credited to the fictional combo The Astral Dimension: Fabor together with his friend Antonio Arena) still have a definite Seventies taste, reminding the wave of German kosmische musik (especially the Darmstad school), but they also reflect the Moog-mania raging in pop music after the big success of Walter/Wendy Carlos with the 'Switched On' series. Avant-garde and kitsch hand in hand, ambient for documentaries and background music for horoscopes... all in sequence, with the only purpose of being used and generating royalties.

After the successful Calypso Rose's 'Far From Home' album, Because Music will release a two remixes EP for the Record Store Day. Those remixes are made by the South African Mo Laudi. His work is considered to be in the vein of Jamie XX's music. Forget the thorns, because she has them, and without delay pick this (Calypso) Rose who, at 76 years old, looks fresher than ever. Calypso Rose was always a fighter and had to overcome hostility from her father, a Baptist preacher thoroughly opposed to her pursuing a musical career. And she was sexually abused as a teenager, as she bravely confessed in Calypso Rose, Lioness of the Jungle, the 2009 documentary about her. A tireless worker, she composed almost 800 songs, starting at age 13, and spent 17 years singing on cruise ships for the New York-based company Celebration At Sea, before playing on the legendary stages of the Apollo and Madison Square Garden with two of the greatest calypsonians, Lord Kitchener and Mighty Sparrow. Calypso Rose is a fighter indeed: you don't survive cancer and two heart attacks without a solid dose of grinta.

with his third album 'vin ploile' the bucharest, romania based producer, musician and dj petre in-spirescu captured a whole new audience in 2015 and reached out with minimal leftfield ambient sounds to music loving folks, that are not part of the world-wide dance music universe.
well known as one of the key figures of the romanian electronic dance music scene since his first ep 'tips' on luciano's label cadenza, inspirescu stepped away from club sounds that made him famous due to releases on labels like vinyl club, lick my deck or amphia.
also his two solo albums 'intr-o seara organica...' and 'gradina onirica', both released on (a:rpia:r), the record label he initiated with his buddies rhadoo and raresh in 2007, do not have much in common with the sound of 'vin ploile' - a mesmerizing deeply musical album that he only tuned in with some elements of piano, string and wind instruments as well as analogue electronics.
at the end of 2015 his nine slow swinging arrangements where celebrated in many polls and now, just a bit more than one year after the release of 'vin ploile' petre inspirescu delivers 'vîntul prin salcii' - another longplayer enlarged with seven, up to epic twelve minutes long arrangements, that continue where 'vin ploile' ceased.
they all listen to the name 'miroslav' and only differ numerically in their title. you can call them ambi-ent. you can call them minimal music in the sense of classic compositions by steve reich or terry riley. they groove - sometimes more, sometimes less. and they spread the sounds of flutes or saxophones, delicate piano figures, organic jazz drumming, arpeggiated analogue synth-lines, mesmerizing strings, choral singing, alienated looped vocals and spaced out new aged spheres.
what unites them all is the way, the melodies dance upon and in each single tune. their beautiful tex-tures ensnare and they are continuously engaged with experimentation. a mystical album full of evolu-tionary music to which each listener is able to paint his very own emotional picture. moody, dark and at the same time light-flooded shape-shifting compositions - made for those who love to surrender them-selves to a gentle dance between experimentation and attractiveness.
the cover artwork for petre inspirescu's album was made again by the illustrator and photographer julian vassallo, who's artistic works fascinate with a touching spirit of distance, that captures the truth in each single motif. just like petre inspirescu's music, only that his art grooves with notes that tell somehow: there is no truth. there is only perception.

Pocosin is the first full-length album from Loess in over 10 years.

During the last ice age glaciers slowly carved away the landscape creating mineral rich sediment. For hundreds of thousands of years melt water carried this fine-grained sediment downstream to parts of North America. In some areas strong winds carried this sediment and deposited it forming a network of ridges and dunes. These deposits of loose
silty wind-blown, or aeolian, sediment are called Loess.

Flash forward to the present, and the duo of Clay Emerson and Ian Pullman may seem to have gone the way of the glaciers and all but disappeared. Instead, their signature loose aural silt has been slowly and methodically accumulating and now makes up their new full-length Pocosin.

Others may have no point of reference and Pocosin is a welcome introduction to the sound of Loess; in a mere blink of an eye from when they began.

Inspired by the likes of Raresh, Zip, and Villalobos, the artist known as Kepler has something special in store for your local area dance floor. "Making Chords" is an exciting new release that's guaranteed to please.
The title track "Making Chords" can be appropriately described as nothing less than an addictive, bona fide banger that will instantaneously hook its end user after one listen. From the beginning Kepler. sets the pace with a smooth, sexy bass line that will command your attention and aggressively compel any crowd to start dancing. This passionate production pushes its agenda with a rumbling tempo, dynamic drums, and intriguing vocals that are well worth repeating. Laced with clever sounding samples and purposeful piano licks, "Making Chords" is made for anyone and everyone.
The second offering, "Wire" is a quirky, fun departure that gives insight to Kepler's wide range. This spooky sounding track is characterized by its off-beat rhythm, saturating bass tones and curious sounding signals that slide up and down while continually building momentum. As the "Wire" progresses, one can't help but to take note of how its unpredictable nature is dictated in such a well-organized manner. Very, very interesting.

Lagartijeando is the name of producer, musician and DJ Mati Zundel. Born, raised and currently living in a small town on the outskirts of Buenos Aires called Dolores. From a very early age, he was musically curious- experimenting with percussion, charango, guitar, bass, voice, and beyond.

Strongly influenced by his travels through Latin America, Mati's signature psychedelic dance tracks latch onto everything from traditional folk sounds from the Bolivian altiplano to the jungle beats of Brazil. Mati hypnotically fuses his traditional influences (with an emphasis on shaman chant and charango loops) with contemporary electronic beats, creating a sound that once left NPR speechless.

Lagartigeando was signed to the infamous ZZK Records in 2009 (Chancha Via Circuito, Nicola Cruz, etc.) on which he released his first EP Neobailongo- a mix of cumbias with electro and dubstep elements. After releasing the EP, Mati soon took to the road and dove deeper into the music of the Andes, studying charango and various traditional folk styles. In 2012, under the name Mati Zundel, he released his first full length album Amazonico Gravitante, via ZZK as well as Waxploitation (Gnarls Barkley, Danger Mouse) in the U.S.

Some more miles later, Mati released his second LP Cardos Redondo also on Waxploitation, which featured 8 songs recorded across Latin America- an album he calls an 'imaginary sound map of Latin America,'

Freshly into 2017, Mati brings us El Gran Poder via Wonderwheel (Novalima, Alsarah & The Nubatones)- named after an important Aymara festival that takes place in Bolivia and Peru, purely to celebrate family. At these festivals, the community also celebrates their culture and the importance of the collective identity. Like these festivals, the album is a celebratory one, and will tempt any listener out of their seat. The album was recorded in Mati's town, Dolores, outside of Buenos Aires. Once again taking a huge variety of sounds- this time influenced by Brazilian house,afro-brazilian rhythms, and folkloric Andean music. All songs are written and produced by Mati, apart from Lunita, a danceable track written in collaboration with Barrio Lindo.

Peter Hunnigale aka Mr Honeyvibes was born in South London on December 12th, 1960. Peter Hunnigale was to develop into one of Britain's most formidable reggae 'Lovers Rock' artist of our time. It was clear at a tender age Peter's main interest was in music and being born of Jamaican parentage, he was exposed and influenced by music of West Indian culture.

Untamed Love is an UFO in Peter Hunnigale's career, recorded at Omega studio (London) and originally released on the Cosmic label in 1986. Some people have no words to describe it. You can call it brit-boogie, rare funk, sick jam, musical bomb, or god jam, whatever it's a typical mid 80's tune with a rhythmic background sound that is captivating and memorable, thanks to heavyweight synth and awesome vocals. The original 12'' vinyl record is still very hard to find and expensive nowadays. If you are about to discover this song, make sure you are sit down when you listen to it because this song will blow you down hey girl I like the way you smile'.

Growing up in Britain meant that Peter Hunnigale was also open to other genres of music and with seeing the popular acts of the day perform on television and hearing the songs on the radio Peter knew what he wanted to be. Peter is also a great musician and did live work with reggae legends such as The Chosen Few, The Pioneers, B.B. Seaton and many others, while earning the respect of their peers as a competent bassist and qualified engineer. He won a Best Newcomer award at the Celebrity Awards in 1987, and won Best British Reggae Album at the British Reggae Industry Awards the same year.

Limited to 500 copies with artwork

While unveiling the 'Mutant Tournament' Quartet last year, label boss Nachtbraker was quietly hunting for new music behind the scenes. Being the fine huntsman he is, he came out of the woods with sonic bits and bobs so delectable he had no choice but to spread them out over two brand new quartets. That's right, eight records in total, to be released over the course of the next 18 months. We're delighted to introduce you to Scott Franka, who's at the helm of the first missive. This creative head from Amsterdam has been making music since the tender age of 11, but it wasn't until he adopted his Scott Franka moniker that he really found his groove. His music encompasses influences from dub and dark techno to classic drumpcomputer and synth-heavy house. Franka's style takes cues from Detroit, Chicago and the UK, and yet is also very personal and forward thinking at the same time. 'The Gym' might be his solo debut, but a smattering of releases from the man is on the horizon. The best way to introduce you to Scott Franka's musicality is 'The Gym' on A1. Starting of with sweet, melancholic chords and 808 hats Scott turns your world upside down after the first break. Try to keep your head steady, and get that dirty look of your face.. doesn't work right It's just too good. 'Toenail' is up next, and its undeniable groove and incredible amalgamation of synths and strings make for an absolute early hours melter. Flip over for 'Sorry' to hear Franka knock it out of the ballpark with its heavy breakbeat and UK-style bass. Finally, there's 'Street', a mesmerising groover, rounding things off nicely. The release doesn't only mark its first artist EP, it also marks a new look for the label. Building on the muscular,pheromone-rich theme of the first Quartet, Elsemarijn Bruys developed a fresh concept for both new Quartets with a little help from Scott Franka,

Check that superb new Wave War opus... A pure Hardcore EP in the best tradition for a start with a Very PCP style Magneto tune... with a speedcore hig time (double kicker)... Then goes « Distortion cerebrale », a wild open kicking mental hardcore... B sides open with Cyberterror, one of those No-Tek or XMF acid avalanche sustained by a Speedcore BPM. Last tune, speedcore as well, brings an acid mental call. Blaster !

Jerome Meyer AKA Von D is a master craftsman, well-known for releasing dubstep and bass music since 2009. On an increasingly prolific trajectory since last year, recent 12's on Infernal Sounds, Trojan Audio and Scotch Bonnet have signaled his renewed focus on dubwise productions. We are proud to say that Von D's Khaliphonic debut sees him fully committing to reggae and dub - in his words, going back to my musical roots.'

Politricks' is a masterwork, cut from the same living rock as the classic Cuss Cuss riddim, a simply huge bass and drum workout that is truly one for the ages. Politricks is an anthem for now, a call to avoid the dead-end of politics-as-usual and a warning to beware of the lies politicians tell to keep themselves in power - full of promises but changing nothing. Von D says that working with Don Cotti was very natural,' and their easy relationship is audible - the tune fits the vocal like a glove, and Cotti's instantly-recognizable singjay style gives even more gravitas to an already heavy track. The dub version spools out Von D's signature saturated echoes even further, and opens up spectral chambers of reverb that shimmer and glow.

The B side Ygrec' is an equally massive tune, just as compelling if more meditative and mysterious, coming in both one drop and power-steppers mixes for maximum versatility and vibes. Both tunes and their versions feature an incredibly robust, warm, human sound - one that simply can't come from machines alone - live drums, bass, and kete drum among other instruments maintain the tradition of live musicians in dub - to say nothing of expert desk-based mixing and deployment of live analog effects the way the elders intended. Both tunes dial in at 140 making them perfect for roots and dubstep selectors alike.

Von D got his start as a drummer and engineer outside Paris, in the heady days of original jungle. Early releases on Disfigured Dubz, Hench, Boka, Black Acre and the seminal V Recordings, as well as his reggae-oriented Liquid Wicked project, cemented his reputation. Don Cotti is a prolific producer, DJ and MC with releases stretching back to 2006 on labels as varied as Bass Face, Studio Rockers, and Soul Jazz.

Mastered by Lewis at Stardelta. Art & design by Polygon Press.

It was the spring of 2007 when Paul 'Mudd' Murphy and Kevin Pollard announced the arrival of the former's Claremont 56 label with Villa Stavros', a magical frst collaborative 12'. It
seems somewhat ftting, then, that Claremont 56's fnal release of its' frst decade will be N7 Odyssey, the frst collaborative album from Mudd & Pollard. By the time Villa Stavros' came out, the pair had already been regular studio buddies for a couple of years. Initially, Murphy had recruited Pollard - a hugely talented keyboardist and composer - to play on tracks he was working on for Rong Music. One thing naturally led to another, and soon they were joining forces to make music as Murphy's home studio in
Holloway, North London. As the years rolled by, further acclaimed singles followed Villa Stavros' - the bubbly, Rhodes-laden Balearic disco shuffe of Vincent', and the lilting, intergalactic dub disco of Scaffold', most notably - before the duo's other musical commitments began to take precedence. Murphy had his hands full running the Claremont 56 and Leng labels, while Pollard carved out a successful career as a soundtrack composer for both flm and television. Now, the album they set out to make all those years ago is fnally fnished and ready to be
released. N7 Odyssey - titled in tribute to the Holloway studio they recorded in for many years before Murphy moved - draws together freshly re-mastered versions of their previously released singles with a clutch of previously unheard tracks. Built around the duo's own fne musicianship, with Pollard handling synths, keyboards and electric piano, and Murphy guitar, bass and percussion, the album's ten tracks offer a musical journey through their shared love of shuffing grooves, sun-kissed soundscapes and
gentle positivity. Highlights come thick and fast. There's the swirling strings, futtering futes, jammed-out electric pianos and heady female vocals of Far Away', the enchanting new age ambience of December', and the rush-inducing Balearic disco breeze of Mawson's Walk', a former single blessed with sublime horn solos and rising, cinematic strings. Check, too, the head-
nodding beats, fuid electric piano solos and jazzy guitars of Inatin', the gentle Eastern mysticism and vintage ambient house aesthetics of Anura', and the ultra-deep house pulse of N7 Odyssey'. The album fttingly fnishes with a sublime ambient interpretation of Scaffold', arguably the duo's most celebrated track. It may have taken a decade to emerge, fully formed, but Murphy and Pollard have delivered an album that's beguiling, magical, and hugely comforting. Clearly, it's an odyssey worth
taking.

'Deep session! It is rare to hear folk music from Japan in such beautiful fidelity and incredible dynamics. This recording is intensely gorgeous and hauntingly disarming. This should open up a whole new world of adventurous listening for folks outside (and inside!) Japan.'Brian Shimkovitz (Awesome Tapes From Africa)

'Sounds absolutely great! Super interesting and engaging.'Ben UFO

'Just Give Me That Old Time Religion, It's Good Enough For Me.'Japan Blues

A hotline to the gods! Kagura is a thousand-year-old form of Japanese Shinto sacred music and dance, accompanying the chanting of myths; the word "kagura" can be translated as "god-entertainment". Passed down over countless generations, the music is rare and recordings even rarer. Shigeo Tanaka was a master of the yumi (bow), an uncommon single-string percussion instrument, which is a true bow: arrows are fired off at the end of each ceremony to fend off evil sprits. The instrument is difficult to play; it's hard to draw out the proper sound and maintain the rhythm.
Yumi kagura is the oldest of all the various forms of kagura. The Tanaka family, based in rural Joge-cho, Hiroshima prefecture, has passed down this yumi kagura tradition for hundreds of years; this lineage continues to this day in the person of his daughter Ritsuko Tanaka. The Joge-cho yumi kagura, which prays for family well-being, bountiful crops and good fortune, was designated an Important Intangible Cultural Property in 1971. The piece featured here, "Takusa saimon", based on the myth "Ama no iwato" (The Rocky Celestial Cave), is mesmeric, reaching back across ages to the time before time, with Tanaka's voice and yumi, accompanied by flute and metal percussion, drawing us closer to the primal activities of the gods. Listeners may find affinities with aspects of musics as diverse as German electronic minimalism like E2-E4, certain Ethiopian music, "spiritual jazz" and more, all tapping into the deep root of forever. Previously available only on a ridiculously obscure 1990 cassette release, Yumi kagura is the first collaborative release by EM Records and Riyo Mountains, a Japanese folk song research team. Available on LP and CD, with the CD featuring a bonus track: "Inagahachiman jinja yumi kagura hono" recorded in 2016 by Tanaka's daughter and successor Ritsuko Tanaka.

+ Direction/liner notes by Riyo Mountains
+ English liner notes & lyrics

Stirred up from deep within, from an abstract spiral of sound and movement, from a sensation of time and space absolving and converging at once, the Black Flower musicians have molded a tangible matter: the album Artifacts. Their second full album sounds international and ageless. Eastern influences, Ethiodub and jazz effortlessly merge. Fantasy and reality seem to fuse. In a word: nourishment for body and soul.

"Psyche-delicious and accessible 20th century Ethiodubjazz. As if John Zorn put on Fela Kuti's shoes and imbibed Mulatu Astatke's whirls."

Piloted by saxophonist /flutist /composer Nathan Daems (Ragini Trio, Dijf Sanders, Antwerp Gipsy-Ska Orkestra), this instrumental band aims for originality. Fellow musicians and 'brothers down the road' are Jon Birdsong (dEUS, Beck, Calexico) on cornet, Simon Segers (Absynthe Minded, De Beren Gieren, Stadt) at the drums, Filip Vandebril (Lady Linn, The Valerie Solanas, Antwerp Gipsy-Ska Orkestra) at the bass and Wouter Haest (Los Callejeros, Voodoo Boogie) playing keys.

For many of us, the Ethiopian aspect once made known to the world by Mulatu Astatke will stand out. Still, Black Flower further adds oriental scales, Afrobeat à la Fela Kuti, jazz in a John Zorn way and varied western music traditions such as rock and dub. The resulting melting pot is undoubtedly inspired by Nathan's distant travels and the multifariously colorful city of Brussels.

...Pretty legit if you ask me - LeFto, Studio Brussel

After their well-received debut album Abyssinia Afterlife (2014, W.E.R.F. / Zephyrus Records) that created an atmosphere of mythical figures and psychedelia, Black Flower now reflects on ancient and modern cultures. The album title Artifacts refers to centuries-old fragile objects or tools that empowered the development of human culture. The world today would look entirely different without those artifacts. The seemingly brittle suddenly becomes a powerful welding cornerstone. Add the musicians' personal musical backgrounds and the result is an album with an ageless mystique. Artifacts is the synthesis of different cultures, of the past and present, and personal and collective memories. It is the soundtrack to modern reality, based on the elements that connect us.

Brilliant - Gilles Peterson, BBC Radio 6

One of Belgium's Best Bands of these past years (...) Black Flower does not simply play a tune, they always groove! - Kurt Overbergh, Ancienne Belgique

Uncomplicated originality, plenty of space for fantasy and an organic tone: those are the ingredients for Black Flower to lay claim to an age-old human ritual: dancing! Still, Black Flower also stands out in various other settings. Their audience at a jazz club will have felt exalted, their audience at a late-night show will not have resisted dancing. The band wields influence over their surroundings in a way only heart-and-soul musicians can. This mastery has repeatedly taken them to United Kingdom, France, the Netherlands and Germany.

Before Bob Marley came on the scene, many in Britain dismissed reggae as either the stuff of one-hit wonders or skinhead
dance music. Now it is recognised as influential style, which has not only sold millions of records worldwide but had a major effect on the mainstream. But only a few of his fans realise the man's recording career was as lengthy as it was: though he died aged just 36 in 1981, he'd been active in the studio since 1962 onwards.Despite some of the tracks featured here would be re-recorded on later albums, these 'prototypes' exhibit a rough-hewn, soulful feeling. We all knew his music was timeless, this was but further proof.

Deluxe LP w 180g, Reverse Board Sleeve, MP3 Download - HOLOVR is Jimmy Billingham who also records under the alias's Tidal, Venn Rain, Journey of Mind & Holographic Mind - He has released music on Firecracker Records, Opal Tapes and Hooker Vision as well as his own Indole Records Release Information Anterior Space may strike some listeners of a certain age as an echo of the gilded age of "armchair techno" exemplified by Warp Records' Artificial Intelligence comps. There's a similar convergence of the cerebral and the blissful in the four epic compositions HOLOVR (aka Jimmy Billingham) finesses from his analog and digital synths as that found on those early-'90s pieces by Black Dog, B12, and others. Discussing the creation of Anterior Space, which is the first HOLOVR release to feature no beats, Billingham reveals, "Dropping drums gave me a bit more freedom in terms of tempo and rhythm, and it was actually really liberating. Having fewer elements in a track also meant it was possible to record live, which is my preferred way of working, as you can capture an actual snapshot of time and a natural, in-the-moment negotiation of the different elements of a track. I'd know a track was ready if I could sit there and listen to it looping round for long periods of time and really get lost in it, and then I'd try and capture a nice section of that in the space of 10 minutes or whatever." You can hear this on Anterior Space's opening 11-minute track, "Into Light." Its subtle gradations of warped tones and implied rhythms teem with hyperactive elegance. The titular light glints off of several jeweled facets, like a disco ball made out of diamonds. The slow, mobile-like rotation of synth baubles over a foundation of yearning, icy drones on "Apparent Motion" creates the illusion of a shimmering stasis, but there's actually a great deal happening here. .

We've waited really too long to release this ep. These tracks were given to Musique Risquée more than 10 years ago and waited since then on harddrive before they got rediscovered on a boozy night in Tokyo. They have not aged a bit, fresh as when they were given to us. Maybe we weren't ready then. But we are now and hopefully you are too.

Virginia-born singer/songwriter Nicole Wray has everything you'd want in a singer: an infectious Jackson-5-family-member flare, a range like Aretha's, and a church upbringing that's brought a pure, healing texture to her voice. But the struggle she's been through has made her more than a singer. Nicole Wray is an artist. When talking about Queen Alone, her first solo album in some time, Nicole explains, It's a reflection of my soul. It's who I am today.' And aptly so. Nicole is writing and singing songs about her life. And yet to even start to know her soul, you have to go back to the beginning. Growing up in Portsmouth was tough at times for Nicole. However, at the age of fifteen, life opened up quickly when Missy Elliot paid a visit to Nicole's family home to audition her on the spot. Missy was there on the rumored strength and quality of her voice. Instantly blowing her away, she signed and left with Missy that night. Two years later, at age 17, she had a hit gold single off a solid debut album (Make It Hot). Suddenly she was part of a team that included late '90s R&B and rap royalty: Missy, Aaliyah, Ginuwine, Playa, Timbaland and Magoo. She made it, and fast. However, as rapidly as she achieved success, Nicole then found herself needing to re-make it. By late 2001, her time with Missy and company had run its course. They amicably parted ways and Nicole, once on top of the R&B world, was unsure of what was next. It was a very low, but important, point in her life. While neck-deep in this struggle, Damon Dash and Roc-A-Fella Records called. They signed an album deal and by 2004, in what was starting to be a pattern, just as things were looking up Roc-A-Fella suddenly (famously) split. Nicole found herself in a familiar situation. In 2013, Nicole paired up with London vocalist Terri Walker and released the album Lady. Once again, Nicole was tested. Terri parted ways with the group to pursue her own projects shortly after the album's release. Fast forward to now-the transformation from singer-for-hire to pure artist is evident in this new full-length solo release, Queen Alone. The record was written and recorded in 10 days at the legendary Diamond Mine Studios, in Queens NY with Leon Michels and Tom Brenneck handling production. Nicole says she is Singing out loud now-singing from the stomach.' Back in 1998 she was coached how to sing, and told to stay in a pocket that never let her show her range, power, and passion. Today, after stutter-stepping in and out of the industry, there is a new soul and substance to her songs-all of it from her life. They Don't Hang Around", tells the story of her post Roc-a-Fella days, Guilty", is about her brother's incarceration, Make Me Over" tells the relatable story of being broke with expensive taste, and 'Let It Go', a perfect way to end the record, is about the simple act of letting go and moving on. Almost echoing her new record, Nicole says, You have to go through something for it to be real.' She has been living with one foot in fame and the other in real life. The result is clear: she's feeling something real in her music again. And it's hard for us as listeners not to follow suit.

Beautiful Deluxe Artwork, Limited ot to not to is an experimental RnB project by VA native Ian Mugerwa that combines low fidelity electronic recording techniques with unconventional song structures to produce music that serves as homage to dusty old blues recordings. At 19, Ian left his hometown of Fairfax for Richmond, where he slept on friends' floors for several months while recording Goshen. During the day he would "hunt dussy" and during the night he would haul borrowed equipment over to the VCU music facilities and record until the morning. He was moderately successful on both fronts. The resultant recordings form a coming of age album, a snapshot of Ian from the ages of nineteen to twenty. Ian's goal was to explore new aesthetics in black music through use of nontraditional methods, creating less polished, less sterile RnB in the process. Such methods included layering 40+ cello tracks to create the illusion of an orchestra, or collaging four, separate, 4-minute tracks of improvised percussion into one. Most drums were recorded last. Despite the focus on experimentation, it was important to Ian that he be crafting pop music. It is his belief that an impactful artist has, at least to some degree, a moral responsibility to deliver their art to the maximum amount of people (to efficiently help art as a whole progress). In other words, if restraint can be exercised, it ought to be. Similar artists include James Blake, Phil Elvrum, Mark Hollis, and D'Angelo.

Krishnanda is an album in the truest sense of the word - a spiritual, psychedelic Brazilian masterpiece from start to fnish - celebrated by everyone from Seu Jorge and Kassin to Floatng Points, Madlib and DJ Nuts. These days, originals change hands for thousands of dollars. Pedro dos Santos, born in Rio in 1919, was a percussionist virtuoso, composer and inventor of instru-
ments that apparently included oddites such as the 'Tamba' (electrifed bamboo drum) and the mouth berimbau whistle. Nicknamed Perdo 'Sorongo' afer the rhythm he invented, that features throughout 'Krishnanda'. A highly spiritual man who was regarded as a philosopher by many. He worked with greats including Baden Powell, Elis Regina, Maria Bethany, Elza Soares, Sebastão Tapajós, Roberto Ribeiro, Milton Nascimento, Clara Nunes, Paul Simon and Arthur Verocai, playing on
his legendary self-ttled LP. In the same vein as Verocai and his self-ttled LP, 'Krishnanda' was Pedro's chance to shine with his own, and only, solo recording. Krishnanda was produced by Hélcio Milito, the drummer of Tamba Trio, and arranged by conductor Joppa Lins, and originally released in 1968 on CBS (Brasil). Musically, the album touches folk, samba,
afro-brazilian and psychedelia plus added efects, with a lyrical depth and diversity to match; themes including morality, percepton, existence and ego. Despite the genius of the record and the infuence that it had on musicians at the tme of release, it
disappeared into obscurity. We frst discovered the record around 2003, through a friend Julio Dui. Around that tme Brazilian funk and bossa was the favour of the day, so didn't catch our ear immediately, however it contnued improve with age and now we consider it to be one of the best albums ever made, regardless of genre or origin.

Bursting into the 1980s on a new label (the then-upstart, now-legendary Rough Trade) and with an augmented, audibly panicked lineup, The Fall's Grotesque is the true pure-bred Fall release from the Marc Riley era. Released in the immediate wake of The Fall's most beloved single (Totally Wired), the album carries over that righteously famed teeth-chattering, bolstered in no small part by the drumming of new addition Paul Hanley, brother of bassist Steve Hanley and aged only 15 at the time of recording

RAWAX proudly welcomes Mr. Lamont Norwood aka Dj Di'jital to the family! A true pioneer from Detroit!

Truly an old school Techno Bass jewel, DJ Di'jital has been a key player in the development of what some call the "Second Generation" of Detroit Techno. Having released on classic Detroit labels like Metroplex, Direct Beat, and Twilight 76, there is plenty of good reason why his name and his work have become so legendary over the years.

Influenced by early groups like Kraftwerk and Parliament, it was no surprise that the 80's fusion of Electronic Music, Funk and Hip Hop that brought about the Electro Funk sounds, would have such an impact on him. As a kid, Lamont Norwood aka DJ Di'jital became acquainted with the idea of mixing two songs together using tape decks, which while being limited, still gave him the drive and passion to pursue a career as a professional DJ. Over the years he played many different house parties and underground clubs, even spending some time as a Cabaret DJ.

Throughout this time, Di'jital became an incredibly skilled turntablist, quickly gaining the reputation of being a formidable force behind the wheels of steel. The year 1996 would prove to be quite a momentous one for Norwood, not only signing to the already well established label Direct Beat, but also becoming the official DJ for one of the label's finest and most important artists, Aux 88. Having already released his first EP, "Prototype", on Direct Beat, this would become a great opportunity that would help seal him as an icon of what was now known as the Detroit Techno Bass scene. Over the next few years,

Di'jital continued recording for Direct Beat, releasing some of the greatest and most unique Techno Bass classics to date, even doing a few remixes for some of Aux 88's most well known releases like "Electro/Techno", "I Need To Freak", and "Break It Down". Hit EPs like "From The Mind Of The Master", and "360 Degrees" became instant classics, still very sought after to this day. He also had some of his songs appear on some of the various Direct Beat compilations that were released between the years 1996 and 1999 like "Xperience De Bass II", which released "Radar2Bass", one of his most notable works, as well as the all time collector's album, "Techno Bass: The Mission".
Perhaps what may have been one of the biggest signs that his career was becoming exactly what he had hoped for, was the opportunity presented to him to remix Aaron Carl's classic "Down", which was released on the iconic Metroplex Records in 1998; Something that to any Detroit native would have been an honor and a milestone, given the reputation and level of success and influence that Juan Atkin's imprint had on the Detroit Electronic Music scene, as well as the global Electro/Techno movement.

Between the years 2000 and 2002, there was a small hiatus in complete EPs or albums being released by DJ Di'jital, although there were 2 different tracks released on the labels Bipolar and Studio iK7. In 2002, he went on to sign to another of Detroit's legendary imprints, Twilight 76, where he released 2 EPs, "Bass Programmers", and Di'jital's Revenge". In 2005, already a veteran and having amassed the necessary skill and knowledge needed to be a true beat warrior, Di'jital was now ready to join the resistance...Underground Resistance that is! Featured on the Interstellar Fugitives Vol. 2 compilation ( also later released as a 2xCD/DVD set ), Di'jital also released on the Electrocuter EP, which featured the previously released "Bang", as well as "Track 19".

In 2006, already well into the digital age ( no pun intended ), Norwood would release his first set of downloadable works, starting with an album called "The Prototype", on Twilight 76, which was completely unrelated to his first EP which was also called "Prototype". Recently, Twilight 76 has also released what is so far a 2 volume set of battle cuts dubbed "Electro Battle Tools".

The only known material that is known to be in the future for DJ Di'jital at the moment is a remix of Morphogenetic's "Techno Bass Is Back!", which was originally released as a free download to members of Technobass, but will soon be released on a 12"/Digital release that will launch the site's own label "Techno Bass Music". There will also be a follow EP by Di'jital, so stay tuned! Over the years, DJ Di'jital has proven to be an unstoppable force in the Techno Bass scene, tirelessly working to push the boundaries of Electro forward with his futuristic and visionary beats that have unleashed mayhem across the globe, not just in his published works, but also in his incredible DJ acts, where one can truly witness one of the few actual turntablists in this style of music. Expect more in the future as Di'jital's revenge continues to spread across the globe with his out of the ordinary approach towards Techno Bass music.

Next installment of Rex Ilusivi archive uncoverings - This time a live concert from SNP (srpsko narodno pozoriste / serbian national theatre) in Novi Sad, Serbia. Again it's a sublime masterclass in layering and mixing from the much revered King Of Illusion. TIP!
.
'To this day Rex Ilusivii remains an enigma of the global music culture, caught between late cold war electronic spheres, classic and the power of found sound. A musician from the Southeast European counterculture, whose art today seems to be the worldly intelligence of the modern age. Listening to the early music of Mitar Subotic sounds like catching the future even tough you know here sounds the past. How can somebody be light years ahead of most of his contemporaries in terms of individuality and uncompromising vision, creating such musical narratives with a feeling for outernational space' It must have been the signs of his time in Yugoslavia, that lead him to compositions in which two or more antithetic forces fight each other for the cause of an unheard harmony that melts industrial, sample art, Musique concr'te and ambient. His 'Koncert SNP' from 1983 demonstrates his ingeniousness to the core ' about 38 minutes of experiment and appeal that move playful between demonstrative frankness and seductive sensuality. You hear pulsating synthesizer bliss, widescreen sample art full of Bosch-like images and elusively drama catchiness that absorbs deep. So deep that words can't express their meaning. Only notes can spell out the score. Listening to his live recording several times without a break reveals also a story arc of literary transcendence. And as transcendence is something beyond speech, the music of Rex Ilusivii can't be narrowed down in phrases. Only one thing must be recommended: surrender to it and it will surrender to you.
Michael Leuffen in June 2016

A-TON ist eine neue Edition und Plattform des Berghain-Inhouse-Labels Ostgut Ton und konzentriert sich auf Ambient-, Archiv- und andere Musiken, abweichend von den
clubfokussierten Veröffentlichungen des Hauptlabels. Darüber hinaus markiert das erste Release auf A-TON - Chronicles I - den Beginn einer Serie von Veröffentlichungen Luke Slaters unter dessen Alias The 7th Plain und präsentiert geremastertes, zuvor veröffentlichtes als auch bislang ungehörtes Archivmaterial.

Zuerst erschienen auf General Production Recordings zwischen 1993 und 1996, lotete Slaters The 7th Plain die sich stärker ausbreitenden Facetten von Ambientmusik aus und trieb sie gleichzeitig an die Genregrenzen, indem sich The 7th Plain nicht auf beatbefreite Synthflächen beschränkte, sondern treibende Progressionen, nuancierte Rhythmen und raffinierte Melodien mit einbezog. The 7th Plains außerweltliche Musik entzog sich somit der genauen musikalischen Einordnung, nachzuhören auf den beiden Alben The 4 Cornered Room und My Yellow Wise Rug (beide GPR, 1994) - emotionale, gespenstische und eskapistische Musik, bei Erstveröffentlichung vorwärtsdenkende Alben, die in Rückbetrachtung die Zeit besiegt haben.

Ursprünglich aufgenommen in Slaters Spacestation Ø, nun für A-TON komplett geremastert, zeigt Chronicles I die futuristische Ästhetik und musikalische Agenda der Neunziger in einem zeitgenössischen Kontext, ohne Nostalgie aber mit dem Wissen um die Zeitlosigkeit dieser Musik. Mit sieben originären Stücken und einem unveröffentlichten Ken Ishii-Remix klingt The 7th Plain so beseelt und relevant wie eh und je.

Während "Boundaries" (von My Yellow Wise Rug), "Grace" und "Surface Bound" (beide von The 4 Cornered Room) Slater-Aficionados bekannt sein dürften, sind "The Super 8", "T Funk States", "Slip 7 Sideways" und "Chords Are Dirty" bislang ebenso unveröffentlicht wie der zuvor erwähnte Remix von Ken Ishiis "Extra".

Mit Chronicles I erweitert The 7th Plain die Wärme und Kälte analoger Synthesizermusik auf das digitale Zeitalter: Während A-TON Chronicles I als Doppel-LP und CD
veröffentlicht, wird die Musik selbst in verschiedenen Digitalformaten zum ersten Mal überhaupt erhältlich sein - wodurch The 7th Plain einer neuen Generation von Hörern zugänglich wird, die die Vielfalt elektronischer Musikgeschichte erst für sich entdecken.