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Crepuscule presents The Scottish Affair (Part 2), a vibrant live album by iconic Scottish guitar group Josef K recorded at the historic Beursschouwburg arts centre in Brussels on 8 April 1981.
Pressed in a limited edition of 1000 copies in clear vinyl, the sleeve features original 1981 poster artwork by designer Jean-Francois Octave printed in black overlaid with metallic gold pantone. The inner bag includes period flyers and images, as well as quotes by Paul Haig, Malcolm Ross, Alan Horne, Michel Duval, Annik Honore, Allan Campbell and Bert Bertrand.
Best known for their association with Postcard Records, Josef K also recorded two singles for Belgian indie Les Disques du Crepuscule (Sorry For Laughing; The Missionary), and also taped studio album The Only Fun In Town in downtown Brussels. The group first performed in the city on New Year’s Eve 1980, playing a riotous show with Orange Juice and Marine at legendary warehouse venue Plan K, and resumed their ‘Scottish affair’ with Crepuscule the following April, cutting their album in a matter of days and performing at the Beursschouwburg as well as a small youth club in Lier three nights later.
 At the Beurs show Jokay rattled off 10 songs in just half an hour, with journalist Bert Bertrand noting “several good reasons to get excited” about the visiting quartet. Adds guitarist Malcolm Ross: “We played four dates in Holland on our way to Brussels and then recorded the album in about five days. So we were pretty tight and Paul was in good voice.”
 Recorded from the mixing desk, all 10 songs have now been newly re-mastered for issue as a vinyl only album, The Scottish Affair (Part 2).

This split release unites two female underground acts, both of whom have recently become pivotal parts of the contemporary electronic musical landscape in Japan. Hot on the heels of the acclaimed PAREDO EP compilation (TAL12), which has been released in May 2019 (and also includes contributions from Lena Willikens and Miki Yui), the SUPER MILD split album is the second outing by KOPY and TENTENKO on TAL. Their newest works punctuate their highly individual approaches to contemporary experimental dance music.

TENTENKO is a Tokyo-based electronic music producer. Her career began in 2013 when she joined the mainstream idol group BIS. Immediately after her departure from BIS in 2014 she commenced work on her solo project under her artist name TENTENKO. Since then she has radically reinvented her music away from glossy J-POP towards weird and industrial rooted dancefloor. TENTENKO first made a name for herself on the alternative Japanese music scene with a steady flow of live performances as well as collaborations with members of the legendary Japanese noise band HIJOKAIDAN.

For a few years now KOPY has been an unpredictable and charismatic part of the vital electronic music scene of Osaka. She has quickly garnered a reputation for creating her live sets exclusively with borrowed electronic equipment. Her name KOPY very much originates from this "concept". Apart from a few performances at Düsseldorfs famous nightspot SALON DES AMATEURS, she has been invited by LENA WILLIKENS to her showcase at the MEAKUSMA FESTIVAL in 2018. Her sinister dancefloor mystique is heavily steeped in the free spirited noise and rhythm cultures of her hometown.

‘Green & Gold’ is the second collaborative release from Mr Key & Greenwood Sharps, the long awaited follow up to their
critically acclaimed 2015 album ‘Yesterday’s Futures’. The record was written and recorded between Greenwood Sharps’
cottage in the verdant English countryside and the off grid Finca in the foothills of the Andalusian Sierra Nevada, Spain where
Key is based.
The title has multiple meanings none of which are anything to do with weed or money. First and foremost, green and gold are
the colours which synesthete (a person who sees sound) Greenwood Sharps, composed the record in. It also alludes to the
dialogue between the green of the UK and the dusty gold of Andalucia which created the project. Finally green and gold speaks
of the dynamic between the sun and photosynthesising organisms, the driving force of life on earth.
‘Yesterday’s Futures’ took the listener on a meandering journey through a vast landscape of moods, sounds and ideas,
leading ultimately to redemption and the possibility of resolution. Thematically, ‘Green & Gold’ picks up where ‘Yesterday’s
Futures’ left off, but structurally it takes the opposite tack; an extended exploration of a single ubiquitous idea: universal love for
all things and all people and the challenge of maintaining these shiny ideals in day to day life, as our cynical side reasserts itself.
Key’s first output after an extended hiatus from releasing music makes it obvious that during this time he continued honing his
craft. The unique perspectives and disarming honesty which set him apart from his peers remain, but his technical prowess and
capacity to convey sentiment are notably enhanced. The same applies to Greenwood Sharps, who’s masterful production has
risen to new heights yet still maintains the rich and subtle sonic palette he has become known for.
Dropping alongside the EP is a short film featuring the works of long time collaborator Jamie Johnson, the man behind the
artwork for both ‘Green & Gold’ & ‘Yesterday’s Futures’. The short film is the visual counterpart to the EP and serves as the
perfect introduction to the world of ‘Green & Gold’ as it visually explores all the themes present in the music & provides a snap
shot of the incredible tracks on offer.
In a troubled and busy world, marred with anxieties and uncertainties, ‘Green & Gold’ comes as a breath of fresh air and offers some valuable food for thought for those searching for real heart felt substance rather than the sanitised, individualised &
commodified norm we have all become accustomed to.

Hollie Kenniff is a Canadian-American electronic musician. The Gathering Dawn is her debut solo album .
The album, which is her first ambient proclamation, displays a sprawling looseness in sharp contrast to her works as one half of Mint Julep with husband Keith Kenniff (Helios, Goldmund).
The Gathering Dawn wistfully utilizes glacial synths, blurred out guitars and Hollie's melancholic vocal plumes as a basis. The album finds Hollie effortlessly folding classic ambient motifs in with minimal modernist brushstrokes.

The Gathering Dawn will be out on November 15th on limited edition 180gm pink vinyl and compact disc.

"A work of searching, and in many moments, finding"

Maggie Thornton as Sky Civilian is set to release her second EP this November on Atomnation: At the Seams. It's a stepping stone, from the lyrical, gentle, genre-agnostic electronica of Open Door, to Maggie’s own rounded and angelic take on acid-house.

Maggie’s cinematic, synth-heavy style emerged after a decade of orchestral French horn playing and classical studies. She combines this brass-inspired, synth-forward approach with her weightless, almost-whispered vocals, and dance-floor ready beats. The melding of influences present in her work make Maggie a fresh and promising new artist in the electronic music scene, an artist we hope to hear more from for many years to come.

Edition of 100 copies only.

Side A: 'Vodou'. Head priest: Gran Sèvitè Jean-Daniel Lafontant. Vodou priests: Oungan Eddy Saint-Jean and Anperè Jean Céus. Vodou priestesses: Manbo Françoise Célestin, Manbo Christine Lamour, Manbo Marie-Marthe Similien and Manbo Jacqueline Thélus. Other participants: Ounsi and members of Sosyete Na-Ri-VéH. Percussionists: Ountògi and the drummers of The Sacred Temple Na-Ri-VéH 777. Side B: 'Rara'. All-female rara band: Forever Rara Fanm of Belair.

Grand Rue recordings made by AMé in front of the Atis Rezistans, Port-au-Prince on 21 December 2015, 4:54pm to 5:18pm. Vodou ceremony and all-female rara band recorded by AMé at Temple Na-Ri-VéH 777 in Port-au-Prince, 16 December 2015, 9pm to 1am. Edited by Philip Marshall with AMé in Cologne, 16 May 2016. Mastered by Zachary James Watkins at Stank House, 3 August 2016. Artwork by Stefan Fähler. AD&D by Don Wyrm.

With thanks to: Ghetto Biennale, Leah Gordon, Atis Rezistans, Gabriel Toso, the priests and priestesses, the members of the all-female rara band, the percussionists, Clocktower Radio and all the Haitian People.

An introduction to Vodou music and Rara, by Gabriel Toso:

"Tanbou prete pa janm fè bon dans" ("A borrowed drum never makes good dancing")

"Music is to Vodou what water is to our bodies or fire to our hearts: all embracing, all inflaming. The spirits of Vodou are called upon and energised by the inexhaustible rhythms of Africa. Brought by the slaves to the New World, and merged with indigenous and European traditions, their magical power is the soundtrack of Vodou itself, its life-force.

Dancing, singing, praying are all fundamental aspects of Vodou; but above all it is the drumming that plays a major role during the ceremonies, an invitation to the lwas (gods) to join and partake in the rituals. Like the heartbeat of an infant in its mother's womb or the vibrations of our planet, the percussions of the tanbou (drum) are at once instrument and creator. Different batteries of drums correspond to different rites, countless rhythms to a multitude of nations of laws. The drum is not only a musical instrument but a sacred object, an expression of the divine. Its sound guides the initiates to their appointment with the spirit world.

Rara festivals are yearly celebrations that begin following Carnival during the Catholic Lent season, when the activity of the Vodou temples is at its quietest. During those six weeks Rara bands parade for miles playing music, dancing, and performing rituals for Afro-Haitian laws, while wearing specific costumes and using a variety of musical instruments. Probably originated in Haiti during the colonial period, Rara bands and their vast repertoire of songs are both politically and socially engaging while keeping an amusing, irreverent, and at times risqué personality. Traditionally connected with a Vodou temple, Rara bands leave the ceremonial spaces to interact in the public sphere through parading, thus reminding both participants and spectators of the physical presence of the lwas." – Gabriel Toso, London, 3 November.

Rooted in the São Paulo contemporary art scene, Laima Leyton’s credentials in the world of music are firmly established as one-half of Mixhell alongside her husband Iggor Cavalera (Sepultura, Cavalera Conspiracy) and for her work with Soulwax.
Now the producer, musician, activist, artist, mother and teacher unites her multifaceted talents with her ambitious double-vinyl debut album ‘Home’. It will be pressed and distributed by The Vinyl Factory and released by Deewee on November 8th. Featuring two records that are designed to be played simultaneously: Laima’s vocal and synth tracks on the ‘TONAL’ disc alongside Iggor’s beats on the ‘RHYTHMICAL’ record. Syncing two records offers an unconventional way to experience the music.
Rather than passively hearing the music, the listener’s need to ritualistically sync both records makes for an immersive experience. There are two key elements that make ‘Home’ such a distinctive project. Thematically it explores how the two core contrasts that inform Laima’s life can coexist. On one hand it’s about domesticity – her love for her family and her frustration with domestic routine. Yet on the other, it’s about her creativity – her desire to express herself artistically while still tending to her role as a mother and a housewife. “It’s almost like a family photo album in another format,” says Laima. “I needed to find the balance in this dichotomy, to feel good with myself in both roles, and be aware of things that really mattered to me. To be a woman, a mum and a female producer: all of these feelings were in the music.”

The Tokyo based producer Yoshinori Hayashi will release his new EP, ‘Y’, on November 8th via Smalltown Supersound. The EP will be his first release since his debut LP, Ambivalence, from last year which received a glowing 4.0 review from Resident Advisor.
Hayashi has studied under Japanese avant-classical composer Mica Nozawa. When not DJing, he works in a record store in Tokyo. Thus far, Hayashi has released a string of 12”s on labels including Going Good Records, Jinn Records, Lovers Rock, Gravity Grafittiand Moscoman’s Disco Halal. Previous work by Hayashi has been called “a complex patchwork of studio gear, live instruments, dusty jazz records and smartly cut library sounds, whose textures are soft and inviting. But its arrangements are constantly ruffled, squeezed, brushed and pinched—which is to say, nothing stays still for long” (Resident Advisor).

There are certain records you have to earn the right to play. After buying the right kind of warehouse, you have to build the energy in the room for what feels like an eternity until the precise moment the vape circle starts gettin’ out of control and Dionysus the Greek God of Greek Promoters tears through the very fabric of reality and screams “t??a!” right in your goddamned face. All of which brings us to Color Code, the latest EP from new Turbo sensation Dean Grenier.

Every single one of these four tracks is killer, a term industry demands have forced us use lightly in the past, but not this time, mister. This is sexually-viable sci-fi techno that rewrites your genetic code to give future generations a better chance at exhibiting club-friendly phenotypes like dance antlers or even more powerful sweat glands. At the snap of a glowstick, any of these selections will take your next set from “good” to “very good” on a scale of “good” to “shitty” to “very good.” That is our promise to you, no matter who you are or how much we care what you think.

This is some serious top shelf material out of Baltimore and a certified masterclass in sweet symphonic soul. Optimistics was originally released in 1970 on Turbo and it’s every bit as essential as The Chi-Lites, The Delfonics and The Moments yet nowhere near as known. Those original copies are ridiculously rare and, of course, the prices are equally ridiculous.

Optimistics is a killer LP throughout, beloved of discerning hip-hop producers worldwide and routinely championed by the legendary Pete Rock. The genius George Kerr has handled the production on what is an album of beautiful, naïve soul for mind and body. It’s bursting with goodness and, like the best of its genre, it radiates a heart-breaking ambience that cuts right to the core.

The band of Billy, Harold, James, Charles and Jerome are described on the back cover as “five young, black knights who have embarked on a musical crusade and they're gonna slay a lot of dragons along the way”. We’re not entirely sure how many mythical serpents were dispatched during the making of this album but we can certainly attest to the sense of evangelical drive.

Evergreen opener “You Put Something New In My Life” is a heart-stopping ode to a transformative love. A ballad with spine-tingling chord changes and melodic switch-ups to spare, its sweeping strings and precise drums complement the falsetto delivery perfectly.

It’s followed by the equally beguiling “Let’s Love”. Another string-drenched harmony ballad, it revolves around delicate piano and distinctive guitar lines, crying out to be recontextualised by the best sampling technicians. Closing out the A side, the wonderfully restrained “Love Is God Almighty” is harp and horn-driven, barely-there soul from a higher plain. Heavenly.

Ushering in the flipside, “Should I Let Myself Go”, sampled recently by Knxwledge, is sensational guitar-soul with a yearning that could bring the most hardened soul to tears. It’s followed by the uptempo, Temptations-funk of “Man” and quietly-great “If I Could Influence Man”, where the competing vocals ride a chugging, funky breakbeat and delicious guitar licks. The refreshing, groovy “Say It Baby” is an appropriately positive, upward looking closer. Its sentiment and feel speaks directly to both the band name and the title of this, their only album. Truly optimistic.

The whole LP is a winning blend of slow, spine-tingling ballads and joyously upbeat tracks. It’s a case of A+ vocals, melodies and harmonies over beautiful playing and arrangements. It deserves to be canonical.

This fresh reissue has been mastered with the usual care by Simon Francis and cut by the legendary Pete Norman. The artwork has been lovingly reproduced by the Be With team.

Optimistics should be known to a much wider audience. We’ve hopefully gone some way towards rectifying that.

Nuovo Testamento is a new half-American half-Italian trio featuring members from Horror Vacui, Sheer Mag, Tørsö, Terremoto and Crimson Scarlet. With such references you wouldn’t expect this to be any less good than it actually is. Exposure is their very first recording and its six songs perfectly blend colwave bass lines, minimal electro beats, synthpop melodies, ethereal female vocals. That’s why we decided to give this its well-deserved vinyl run after the first band-released tape limited edition. Expect more from this cult in the future but for now we only have a couple hundred copies here so don’t snooze on this.

Born and raised in South London, Hector Plimmer is a multi-faceted producer, composer and DJ whose sound is drenched in tribal rhythms and beautifully crafted bass. Influenced by beat-makers like Flying Lotus and Theo Parrish, but with the subtleties of the classic Metalheadz era drum and bass, his second album 'Next To Nothing' is released on 25th October 2019. The album features guests Ego Ella May, Emma-Jean Thackray, Andrew Ashong, Pie Eye Collective and Alexa Harley.

After featuring on Brownswood Bubblers 11, curated by Gilles Peterson, Hector proved his talent when he was selected as a winner of the PRS Steve Reid InNOVAtion award. At a performance at ‘Sounds Of The Universe’ Record store, Hector caught the attention of Albert's Favourites' label heads Adam Scrimshire & Dave Koor. A conversation was started which led to the transfer of almost a whole album's worth of material and resulted in his debut full length record ‘Sunshine’.

'Sunshine' was met with rapturous acclaim. The record went on to be awarded Gilles Peterson’s album of the week on his BBC 6 Music show and was championed by both Lauren Laverne and Tom Ravenscroft on the station as well as Jamie Cullum on BBC Radio 2. Its success on the airwaves transcended to streaming with the inclusion in the top 50 viral US chart on Spotify.

"This album has been a real labour of love. I spent the most part of a year trying to make music I thought would be fitting to follow my last album, whilst not actually knowing what that might sound like. 'Sunshine' had been received way more positively than I had anticipated and although praise is a lovely thing, it was the cause of much anxiety when the time came to start on this record. I put a lot of pressure on myself to produce music and kept going down routes that felt forced or just didn’t click for me, in hindsight I realise this was me making music not for myself, but for what I imagined other people might want to hear. In a way 'Next to Nothing' is my first real album, 'Sunshine' was more like a collection of four to five years worth of music compiled into the shape of one. This is my first dedicated attempt at creating a cohesive project, something that shows who I am right now and what got me here."
- Hector Plimmer

As a DJ Hector has a monthly slot on NTS radio. He has played alongside the likes of Gilles Peterson, Kutmah, Alexander Nut, MNDSGN, Onra, Dego, Kaidi, Max Graef & Glenn Astro; Hector finds himself in the good company of those talented selectors who play genres across the spectrum of Hip-hop, Beats, Funk, Soul, Disco, Afro-beat, House and Jazz.

Ok, this one is different from the usual standard of re-edits releases on GAMM.

Swedish duo Pomona Dream from Gothenburg is no re-edit outfit but an official artist. The main track 'Blame It On the Groove' is a vocal rare groove jam which is based on Aged In Harmony's highly sought after 'You're A Melody'.

Together with catchy soul/pop vocals from Pomona Dream and tasteful additional production this simply just works...yup it's that good.

To make the case even stronger Pomona Dream got an extra treat on the B-side. 'San Francisco' got an uptempo electronic / hip hop feel that is very modern yet very timeless with its simplistic vocals and synth(ish) melodies.

It's basically a solid song with an edgy production. All in all, this a real nice 7" inch with lots of character. Check check!

15 years ago in a basement in the Bronx, I attended a bunch of sessions with my long time collaborator and friend, Ray West. Ray is a lifelong DJ and home producer, and only in 2012 did he begin to release music via his well-respected underground label, Red Apples 45. He had a main studio but also this much smaller room in the back which I dubbed “Studio B” in the tradition of any multi-room recording facility who would have a second “B” or third “C” room, and the name stuck. Despite the much lower-level quality equipment in that room, like a Yamaha MiniDisc board burning mixes realtime to CD-R, there was a certain vibe to it that inspired creativity, and a simplicity that encouraged faster working methods. One of the groups that worked there was called Results. Their philosophy was whatever happened in the moment was meant to be on tape and they didn’t spend hours perfecting it. This is rather opposite to how I work in the studio and especially on my own material, of which I can be thorough to the point of finishing less than I’d like. Through working there I realized the potential of having a smaller, simpler second setup, one that was not related to my work as an engineer, or my artist career as a performing electronic musician and techno producer.


Fast forward to 2016 and I would have both a professional studio outside of the home and enough spare gear to make a smaller studio based around a 4-track cassette recorder in my living room. This was a place where I could make whatever I wanted, whenever I wanted, without the disturbances of clients, the chaos of 30th St., or any genre restrictions that I might place on myself in the big studio. I spent some time tracking down a functioning Akai MG614, the holy grail of 4-track recorders. It’s a large machine, making even the MPC3000 look small on the table next to it. With no computer, things were focused. I went through a couple of variations of the setup in my living room beginning with an MPC1000, DSI Evolver, Sonic Potions LXR, Bastl Microgranny, and a variety of classic effects that I didn’t keep in the rack at Butcha Sound like the Yamaha SPX90 and Ensoniq DP-4, plus a bunch of pedals and eventually a Korg Karma keyboard. Then I had the good sense to bring home the Emu SP1200 I was borrowing from The Martinez Brothers. Eventually I brought home the MPC3000 as well. Another thing I kept connected was a Zoom field recorder that captured sirens, street noises, and me playing the upright piano in my apartment live to tape. Results. These recordings were made in Hell’s Kitchen from July 2016 - May 2017 with the window open and the sounds of my Manhattan block inspiring the takes. — Phil Moffa 2019

Neurot Recordings are proud to reissue the landmark collaboration Neurosis & Jarboe, which was originally released in 2003. This latest version is fully remastered and with entirely new artwork from Aaron Turner.

Very limited silver metallic and black swirl 2LP - Non-Returnable

Steve Von Till explains the idea behind the remastering; "Bob Weston (Chicago Mastering Service, and member of Shellac) worked closely with Noah on making these new versions sound as good as the possibly can. Noah has the most trained critical ear for fidelity out of all of us being an engineer himself. We recorded this ourselves with consumer level Pro Tools back then, in order to be able to experiment at home in getting different sounds and writing spontaneously.  The technology has come a long way since then and we thought we could run it through better digital to analog conversion and trusted Bob Weston to be able to bring out the best in it....This new mastered version is a bit more open, with a better stereo image, and better final eq treatment."

He continues about the original artwork..."Aaron felt he could create something that would unify the energy of both Jarboe and Neurosis in an elegant manner.  We let him do his thing and I think it definitely adds to mystery of the album and sets it apart from the rest of our catalog."

When two independent and distinct spheres overlap, the resulting ellipse tends to emphasise the most striking and powerful characteristics of each body. Such is the case with this particular collaboration between heavy music pioneers Neurosis and the multi-faceted performer Jarboe (who performed in Swans and who has collaborated with an array of people from Blixa Bargeld, J.G. Thirlwell, Attila Csihar, Bill Laswell, Merzbow, Justin K. Broadrick, Helen Money, Father Murphy, the list goes on...) The musicians pull from one another some of the most harrowing and unusual sounds ever heard from either artist at the time - a sentiment which also rings true to some 15 years later.

Neurosis & Jarboe opens with a high-pitched whirring sound winding up as Jason Roeder's ominous tom-drum beat and Noah Landis' slinking synth line writhe in unison until Jarboe drops in, drawling in her characteristic, corrupted Southern belle voice, "I tell ya, if God wants to take me, He will." From there on in, the album is a series of abrupt shifts and cleverly juxtaposed themes that flows in a rhythm of its own. The sinister and ethereal sounds, vocal coos and electro-pulses of "His Last Words" seem like the perfect soundtrack to a David Lynch film. On "Erase," song parts are dissected and grafted one atop the other, continually building tension as Jarboe wails and yelps with Banshee fervor.

The project began with the artists working in seclusion, recording the elements that would best highlight their own characteristic integrity and personality, rather than either attempting to mimic one another's familiar elements. As recorded ideas were passed back and forth, the collaboration proved to bring out the most unhinged and urgent talents of all those involved.

Throughout the album, that signature "Neurosis note" - the sound of something simultaneously recoiling and erupting, the apocalyptic tone announcing the birth of a new world - reaches its apex and becomes evermore icy and eviscerating. Guitarists Steve Von Till and Scott Kelly trim their tones for cleaner, chorus-drenched effects layered between the thunderous distortion blasts of bassist Dave Edwardson. Likewise, Jarboe's operatic wail and other vocal contortions sound perfectly suited to the eruptive emotional fray of the music.

The collaboration is a deeply textured mosaic that is a culmination of merged aesthetics from two major influences on free-thinking sounds. It unlocked the hidden potential of electronic music as a new force in heavy rock. At a time when groups like Oneida, Wolf Eyes and Black Dice were beginning to experiment with technology in making mind-numbing leaden electro-drone freed from any essence of "dance music," Neurosis & Jarboe redefined all notions of their past - and outlined the course of heavy music to come. It's interesting to look back through the lens of this release, and think about these ideas and concepts in the present.

Neurosis & Jarboe remains the meeting point of all art that takes us beyond ourselves.

How could we describe multi-instrumentalist Penelope Antena ? From her Lo-Fi sounding EP ‘Down the Habit Hole “, to her soul infused duo “Honey Drips” with Swiss producer Deheb, to the fragile and tormented melodies of “33-1 Oak” her first single out on the new Parisian label Kowtow Records.

Penelope can proudly say she takes from her mother Isabelle Antena when it comes to cross musical genre. Though the commun thread between all the worlds she cleverly navigates, would definitely be her vocals. Experimenting instinctively with different techniques, Antena uses her voice as a harmonic lab of emotions. Sometimes intimate, sometimes haunted. Always Original.

Her first LP Antelope - entirely self-produced - comes as proof that the music she makes changes and evolves to perfectly match her personal story. After a painful heartache, Antena settles alone in her parents house, lost in the woods somewhere in the south of France. Surrounded by her grand father’s instrument (Marc Moulin- great Belgian Composer from the 70’s ) she writes this 10 tracks album field with melancholia and broken love. Like on the branches of the Cedars around her house, It’s a folky electronic breeze that hallows onto this record.

New sound, same familiar feeling when listening to Antena (be it Mother or Daughter) : acoustic and electronic have rarely been so intertwined, beautifully combined. And if Bandcamp placed her song “Abuse” as one of the best of 2018, 2019 is sure set out to be a good year for this multi-facetted artist with narrative propension.

A mind-bending blend of modular synth performance, Anthony Baldino’s dynamic Twelve Twenty Two LP is a treat for all ears. Baldino’s transcendent album is available both digitally and on vinyl on Thursday, October 24 via MethLab Recordings.

“The record focuses heavily on the modular synth as a composition tool and instrument. I originally approached this as a collection of tracks that were recorded straight out of the machine with little to no editing. The work flow of generating a complex patch and then figuring out the overall arch and performance of the piece was really exciting. The Tip Top Audio Circadian Rhythms was a key compositional tool in this process and was used to organize the overall structure of these pieces. It wasn’t until I stumbled upon a patch, the opening synths in ‘Fading Quickly Now,’ that I went back to how I used to write and shifted to harvesting sounds and rhythms from the modular and arranging and editing them in the box. That patch was originally created for a different track on the album, which I’ll let you find, but IH ad accidentally changed the clock rate before tearing the patch down. Hearing it in that new way triggered a whole new thought process and emotional reaction for me.” - Anthony Baldino

Originally approached as a collection of tracks recorded straight out of Baldino’s machine with little editing, Twelve Twenty Two is a complex piece of thoughtful modular work. A truly stunning display of masterful sound design, Baldino’s sound resonates with listeners from first note to last. Existing in a unique space where ambient sounds meet vivacious bass, Baldino seemingly exists in an impressive league of his own, with Twelve Twenty Two standing apart powerfully from the masses. With an already powerful arsenal of artists and releases, MethLab Recordings adds a brilliant 10-track addition to their already wild playbook.

“From the beginning, it was important for me to keep this record musical and emotional and not just an exercise in technicality, so using both the modular and the computer to arrange felt really good both emotionally and sonically and created a different balance to the record that I really liked. Switching the process up a bit halfway through kept things interesting and I think the body of work really benefits from it. This record is split in half with performance based/straight out of the machine tracks and the other half organized in the box. But when listening back, the two approaches overlap so much that it’s hard to tell where one approach ends and the other begins.” - Anthony Baldino


About Anthony Baldino:
Born and raised in New York, Anthony Baldino is an LA-based composer and sound designer whose work spans an enormous range of production avenues. The likelihood that you haven’t heard his world is nearly impossible, with music and sound design in too many trailer campaigns to list, including Prometheus, Interstellar, Ex-Machina, Star Wars: Rogue One, and Avengers: Infinity War and End Game just to name a few. From there, his work ventures to the opposite pole of production with custom sound design based compositions for Dolby Labs mixed in Atmos, beautifully glitched out remixes, and continues on to mind-bending modular synthesizer performances.

With his debut artist release, he delivers a devastatingly beautiful album grounded in IDM that focuses on modular synthesizers/ While a vast amount of modular synth music is currently being released, this album goes far beyond the typical beeps and boops that one may expect when they hear “modular IDM record.” This record is as technical as it is emotive. Tasteful and incredibly detailed, Twelve Twenty Two bridges the gap between sound-design laden beats and cinematic motifs and ambiences. This record does not disappoint and is sure to become a favorite of electronic music fans.

The album opens up with a slowly unfolding melody that seems to be within grasp, but never actually repeats itself. Incredibly tasteful glitchy sound design leads us into a build that one would only expect to be in a movie, and then drops into a full-on sonic assault of impeccable drums and rich synths. From there, the record traverses a wide array of texture, time and technique. Closing with a track that makes you feel like you could actually reach out and touch the sound and float in its space, the sonic landscape created in Twelve Twenty Two is a true treat for ears.

Field Recordings, carefully chosen percussion, electronic spice and acoustic ingredients. This is the foundation for every recipe that Bolivian Belgian artist Suso Perez aka Susobrino creates. In 2018, he presented his debut EP “Mapajo” on Global Hybrid Records. Since then he has won several awards; the “Champion Sound Beat Battle” and “Most Promising Artist” at the Red Bull Elektropedia Awards of Belgium. He introduced his creations to numerous festivals in Belgium and abroad.

His new album “La Hoja de Eucalipto” brings alive a more energetic and aggressive part of Susobrino and presents a work focused on the ethnic and world sounds, mixing his masterful percussion with electronic beats to create a unique and distinctive sound. For fans of the organic electro-latino sound of Chancha Via Circuito, Nicola Cruz and Dengue Dengue Dengue.

In this album Susobrino created a story of 5 beings looking for answers in their individual lives.
The first track “La Hoja de Eucalipto” is the ceremony right before the journey. It’s a three part composition to set the tone of the entire album: question, answer and interpretation.
“Despertar” (wake up in spanish) is the realisation of the journey these beings are getting into. The guitar interprets the rain as a cleansing. A fresh breath in, breath out.
“La Marcha” is the physical start of a long journey. They will be walking for days, weeks or even months. The exciting, courageous travellers leave their families and friends towards unknown lands that they never dared to enter. Many days of walking pass and they reach a new habitat. A dense jungle.
“Dispersion”. This brings tension and fear out of the 5 travellers. A 6min long repetitive song that interprets walking in circles. Everyone gets separated from each other and they question with doubts of getting out of the unknown jungle. Eventually, the 5 beings survive the unknown jungle. Exhausted and lost, they keep walking with no idea where to go. That’s when they stumble upon “Polahimán”. A mysterious entity who’s very eager to help and knows exactly where they have to go. With riddles and poems, he gives them directions.
“El Desierto de Pazmancú” A new habitat. An endless dessert. Yet, the beings are refilled with courage, crossing the entire dessert. That’s where Polahimán is waiting for them.
“El Enfrentamiento de Polahimán”. This is the endboss; The Final Chapter. The 5 grown travellers find themselves in many challenges. This is where you, as a listener, can interpret if it’s a good or bad ending. Or an open ending?

Susobrino plays and records everything in his humble studio in Belgium. Percussion, quena (flutes), guitar, charrango, field recordings and a yamaha dx9.

We love pop music. You’ve probably noticed. Witness our vinyl love-ins with Kylie, Róisín and Cassie if this has somehow passed you by. So when Lou Hayter (London-based musician, style-DJ to the stars, one of our besties) asked us to put her sumptuous funk-lite hit “Cherry On Top” on vinyl it felt like a neat fit. But this isn’t just any old Be With record. We decided such a monumental track would make the perfect inaugural release on Be Pop, our new, most likely sporadically active, side-label.

For those not paying attention in 2005, Lou Hayter was the keyboardist in Mercury nominated electro-pop outfit New Young Pony Club (who were a really good band, beyond the hype, and arguably a little ahead of their time) and she is currently one half of electronic duo Tomorrow’s World, a project with Air’s Jean-Benoît Dunckel. Her comeback single “Cherry On Top” originally appeared in late October 2018, but as a digital only concern. Unsurprisingly it caused a blog stir (Gorilla vs Bear correctly gushed) and what seemed like 6 Music’s entire roster of DJs had it on repeat.

But it’s not a proper single unless you can buy it in a record shop. So accordingly we’ve issued it as a full picture sleeve 12", pressed on white vinyl. And just to make certain, the instrumental and a cappella are on the flip. This is our homage to the classic dance/pop 12" singles of the late 80s and early 90s.

Riding an infectious sample of Marc Jordan’s yacht-rock classic “Generalities”, it’s a glistening, sun-soaked daydreamy jam, perfect for convertibles, pool parties, and roller-discos. It’s quite delicious. Whilst it’s pop without question, it wouldn’t be a Lou Hayter track without ice-cool nods to other magical genres; with Italo flecks and dream-pop vocals, this is cherry coloured funk indeed.

“Cherry On Top” screams “Mighty Summer Pop Radio Anthem”. We might have just missed the end of Summer 2019, but this 12" comes out just in time for every summer from now until the end of time.

Southern Lord is proud to present reissues of the first two albums from iconic Portland-by-way-of-Nashville-based hardcore punk icons, From Ashes Rise.

Alongside related acts His Hero Is Gone and Tragedy, From Ashes Rise are one of the most iconic pioneer acts of the gloom-heavy American crust/hardcore sound born of the late 1990s.

Following their EPs on Clean Plate Records and Partners In Crime Records, the debut full-length Concrete & Steel was initially released through Feral Ward Records in 2000, followed by the release of their second album, Silence, through the same label later that same year.

Staples of the band’s catalogue, these two seminal LPs have not only stood the test of time, but lie as markers at the beginning of a now well-trodden path, making From Ashes Rise one of the founding acts of the sound so many modern acts continue to draw influence from.

The reissues of Concrete & Steel and Silence have been fully remastered by the band’s Brad Boatright at his revered Audiosiege in Portland, Oregon, the LP’s original covers formatted to tip-on jackets.

Industrial Doom Hardcore, or maybe Hardtechno at some point but anyway not too speed, very fat, crunchy and defenitly Hardcore in the spirit.

• Laura Lee signed to Hot Wax records in 1971, after five R&B hits on Chess. This album is her first recording for the ex Motown producers (Holland – Dozier- Holland) newly created label
• She debuted with ‘Wedlock is a Padlock‘ reached #37 in R&B charts but it was ‘Women’s Love Rights’ that become one of her biggest hits reaching #12 R&B/#36 Pop charts.
• Other highlights include soul ballad ‘Her Picture Matches Mine’ and the dance floor filler ‘I Don’t Want Nothing Old (But Money).
• Demon Music are proud to reissue this classic on 180g heavyweight vinyl with printed inner sleeve

In late 1997, unsigned Melbourne producer Castel won a competition at a local club. The prize was certainly sought-after: a CD single release on leading local label DanceNet. That EP, “Estrel”, subsequently appeared in stores in 1998, but within two years Castel had packed away his Atari-ST, sold off his hardware and quit music for good.

Thanks to Echovolt Records, Castel’s story now has a happier ending. 22 years after it was recorded, the unfeasibly gorgeous “Estrel” is finally appearing on vinyl alongside original bonus cut “Me & You” and a trio of similarly impressive unreleased productions from the period.

“Estrel” is positivity personified – a melodious, morning-fresh blast of deep electro bliss rich in bustling drums, tuneful IDM style lead lines and darting, psychedelic electronics. It’s joined on side A by “Me & You”, a pitched-down chunk of hazy ‘90s electronica that wouldn’t have sounded out of place on one of Warp Records’ legendary Artificial Intelligence compilations.

On side B, Castel opens up his archive of unreleased recordings for the very first time. The rush-inducing, bass-heavy swirl of “Safer Somewhere” – one of the last tracks he ever recorded and reminiscent of some B12 recordings from the period – is followed by the intergalactic ambient brilliance of “Latch” and the lilting, sun-bright bliss of breakbeat-driven shuffler “16/11/1998”, whose combination of weighty bottom-end and layered electronics neatly sums up the unheralded qualities of Castel’s previously forgotten work.

The highly anticipated album by Jay-Z's 4:44 soul hurricane Hannah Williams & the Affirmations produced by award-winning composer and multi-instrumentalist Shawn Lee.

Hannah Williams, the British soul hurricane who sensationally became part of Jay-Z's chart-topping 4:44 album, is primed and ready for her own national and international breakthrough.

Williams turned heads worldwide when the hip-hop superstar sampled her heart-stopping vocals on 'Late Nights & Heartbreak' for the title track, '4.44' on his 2017 album. Now Hannah and her exemplary, Bristol-based band the Affirmations deliver a definitive career statement with the drop-dead soulful new album 50 Foot Woman which will be released October 18th on the Milan based imprint Record Kicks.

The album captures all of the visceral power of the band's increasingly legendary live performances. Shades of classic Soul and Psychedelic Funk blend uniquely with modern-day flavours on a record destined to set the soul agenda for 2019 and far beyond. "I've never been as proud of anything in my entire career" says Hannah.

Born in High Wycombe in Buckinghamshire, Williams'father was a musically gifted minister, and her mother let her join the church choir at the age of six. Hannah could read music before she could properly read words, and when she discovered soul by listening with her mum to Motown and Bill Withers, there was no turning back.

After a 2012 debut with her previous band the Tastemakers, it was 2016's Late Nights & Heartbreak that announced the arrival of Hannah Williams and the Affirmations. But little did she know that Jay-Z was listening. One day, at her then-day job running the music department at the University of Winchester, he sent her a text.

Once she'd established that it wasn't a wind-up, and summoned the courage to call him back, she learned that JayZ's producer, No I.D., had played him Hannah's track to inspire his response to Beyoncé's Lemonade, on which she sang of his infidelities.

Williams was as in the dark about how 'Late Nights & Heartbreak' would be used until 4:44 dropped. But the substantial sample of her voice opened doors she never dreamed of. "It was an incredible catalyst," she says, "as a change in our collective career, and getting a global audience. Suddenly, there were millions of predominantly American hip-hop fans listening to my voice, going 'Is this from the '60s? Is she dead?'"

What followed was a year of the band's widest-ever touring including an invitation to perform at Central Park Summer Stage NY, Toronto Jazz Festival and Brooklyn Bowl NY and expanded audiences in continental Europe where she and the Affirmations had already made a mark. Then came the burning determination to make the record of their lives. The captivating 50 Foot Woman is that album, produced by Shawn Lee, a respected presence on the funk/soul scene whose credits include Amy Winehouse, Lana Del Rey and Alicia Keys. Lee has released five solo albums as Shawn Lee's Ping Pong Orchestra on San Francisco label Ubiquity Records and is also one half of the cool melodic pop duo Young Gun Silver Fox.

Now the world will hear what the cognoscenti have known for a while: that Hannah Williams is the real deal, and sings from her very soul. "I feel like my performance comes from my solar plexus," she says. "The emotional side of it is so intrinsic; I can't take it away from what I do."

Another fine slab of that Disco goodness from the mighty Kojak stable. Toronto party machines & re-edit maestros The Patchouli Brothers step up to the plate this time with 2 monstrous sides of peak-time Disco heat.
'BDSM / Gert A Chance' will not leave your bag, these cuts are primed, ready and able to lift the roof off of your discotheque, road-tested by the bros and deemed suitable the gods at Kojak Giant Sounds & Disco Promotions. Say no more. Essential wax for the discerning mirror ball fiend right here. Limited, as always. Do it!

"Coconut Grove started as a secret. I wrote & recorded it in deliberate solitude over the course of a year, in long sessions when I was alone at home or after everyone else had gone to sleep. I had the uncanny sense of discovering something quite old rather than of making something new.

Every album I've made revealed itself over time - Coconut Grove snaked its way through my psyche, going back to my beginnings. While working on it, I found some notes I had jotted down back in 2006, when I was 22 & first inching away from punk towards electronic music. I wrote that I had been dreaming of something humid and menacing, melting but also alluring. I heard some of that in the haunting, dubby minimal techno of the time, and imagined it crossed with the slashing urgency of my favorite no wave & post punk bands. I imagined the catharsis I experienced as a performer rerouted through techno's mercurial endlessness. Those visions never left me, and I've been dreaming of them in one way or another ever since. Coconut Grove folded that time back onto the present, letting me start again from the beginning.

A lot can happen in a year, and, at the risk of sounding coy, a lot happened to me in 2018. Coconut Grove was an exorcism, or maybe a rebirth, but whatever it was it moved with a little extra fluidity. You can hear it for yourself, but I will say the album's softer touch is no accident. Living in that secret space, it felt good to let some air in."

-Daniel Martin-McCormick aka Relaxer

Most recently Jacek Sienkiewicz had been mainly preoccupied with with experimental music - his explorations of outer limits of sound resulted in 3 albums released already in 2019, with two more to follow by the end of the year. So, It was good and perhaps refreshing to hear his surprising return to the dancefloor with "Lightin", an unexpected Summer afterparty anthem released digitally in June. By popular demand, it's now released on vinyl in its full, 11+ minutes glory. Lightweight, gentle and tuneful, propelled by a syncopated rhythm, it rolls like a steam engine taking you to your favourite holiday destination. Side B brings us another new track - "Tracker" is definitely built for clubs and designed for peak time moments, be it in a cramped, dark basement or a big room at a festival. This EP is Jacek's first new club-oriented record on his Recognition label since 2016's "Hideland" - and a teaser for an all-new album, due next year.

2024 Repress
ODD OKODDO is a Kenyan/German duo consisting of Olith Ratego and Sven Kacirek.

The two artists met in Kenya, about a decade ago, when Sven Kacirek was recording his "Kenya Sessions", an album that put Kacirek on the map of outernational producers. It was reviewed as a "World Music 2.0" (de:bug magazine), whose "fascination endures" (The Wire). Olith Ratego also made an appearance on the "Kenya Sessions”, on the track "Too Good To Be True".

The duo formed the project ODD OKODDO in 2018, with the two musicians joining their various talents which dovetail in perfection. Ratego writes the lyrics and vocal melodies while Kacirek composes, records and produces the arrangements of all nine songs on AUMA. They create a colourful, dynamic sound which is defined by both Ratego’s enormous vocal compass and range of timbres as well as Kacirek’s outstanding skills as a sensitive percussionist.

Olith Ratego sings in a musical style called "dodo", which originates from the shores of Lake Victoria in Kenya, high in pitch and soulfully expressive. He refers to his music as "dodo blues". His lyrics touch upon the topics of politics, family and of course: love. As a skilled luthier, Ratego builds his instruments himself, like the five-stringed Okodo which lends its name to the project.

Sven Kacirek is a multi-instrumentalist who has been commuting between Germany and Kenya for many years now. In the past he has closely collaborated with various international musicians, among them Nils Frahm and Shabaka Hutchings. Kacirek’s sound builds upon a powerful bass marimba which is present throughout the album. It sometimes invokes the sound of a tuned 808 kick-drum. He works with Kenyan an arsenal of percussion instruments as well as household objects and found materials. Kacirek has now settled into a signature sound which has been described as "thrilling and dizzyingly inventive" by the Australian Cyclic Defrost magazine.

The LP comes with a printed inner sleeve with liner notes by Tabu Osusa from the Nairobi based label Ketebul as well as explanations about the song lyrics.

When we talk about Tullio de Piscopo (Naples, 1946) we’re talking of a living legend of drums, whose career dates back to 1969.

In 1971, tired of commuting from Naples to Milan, he moved to Milan for good, where he joined as a drummer the group of Gianni Basso and Oscar Valdambrini. Shortly thereafter, he recorded “Fastness” and “Coagulation”, his very first single on a 45 under the moniker of “Jujuy”, for Aldo Pagani’s label “Analogy”, with the catalogue number “TRE 0”.

Recorded in 1971, but only relesed in 1973, “Fastness” and “Coagulation” are two fully instrumental tracks for solo drums and percussions, catching the spirit of the very early Tullio De Piscopo, before he became the most requested italian drummer from 1974 on, starting an incredibly successfull career still going on.

Our detective work allowed us to unearth the actual multitracks analog master and we’re about to repress this absolute masterpiece for the very first time on a 12” format, as the original 45 now fetches a three-figures sum on the collectors market.

In the years before ​Hunter Lombard​ perfected the gentle art of juxtaposing mega breakbeats with lush synth hooks, the New Yorker was an active rock musician. Citing the afterglow of her guitar background as a big influence for her current melodies and timbre, Lombard inhabits a sparsely populated intersection in dance music. For ​Schloss’​ third release, Lombard connects the dots between sweet rave nostalgia and clublands latest wrinkle. She has previously released on Volvox and John Barera’s label Jack Dept, and can often be found behind the decks at Elsewhere, Good Room or Bossa Nova Civic Club.
Slow Foam​ is mixed and mastered by Matt Karmil.

O'Girl aka Ellinor Jackson is back once again on Borft! Her debut left me wanting for more. Like label boss Villa Abo said 'Sometimes you just feel right about it'. Although this 4-tracker is her second record out there the music is fully matured house goodness. Stabs and chords builds up a funky groove on a solid beat foundation in Corners Couch. Proper sunset/sundown dance music. Snap Happy dives right into filtered loopy loops and voice samples. It takes its time so you can get snug and cosy and then unleashes a percussion party right at the end so you'll be smile-dancing and sipping fizzy in no time. Shoddy Shoes is a straight up club joint. Dark wobbly techno bass moves dubby stabs forward while a mysterious mist floats on top. Some strong clap action keeps everything moving from side to side! The last track is a lush French Riviera happy moment. Warm pads, classic house piano and bass action all day long. Smiles everywhere and not a cloud in sight! - Sahpo Ripasso

And we used to be such a nice record label .... BKV 026 swells up from the Bristol swamp in the forms of post-human industrial duo Bad Tracking. Here they have assembled variously, one spacious black metal intro (with original screams), an industrial-pop earworm not unlike Depeche Mode imploding in a feedback tunnel, two itch-tek dancefloor riddims namecheking local venue bans and I just don't know what to call 'Wellspring' really, the end of days? Well you had it coming anyway…..


Known in town for upsetting local MPs and lisencees with their live performances as 'naked technology sex slaves' think cassette-induced self harm, total nudity, blood from ears, Bad Tracking are the most visceral thing we've seen in this new wave of Avon experimental - a breath of life into the longstanding tradition of industrial performance art (and an antidote to idle BR club culture). Lyrically touching on censorship and tech // sonically they use feedback as a punishing instrument of anguish and expression.Widower EPis truly chewed nail sonics, more human than all your noise records, genuinely more scary than your edgelord power electronics nonsense, more forward than all yer government funded experimental think-records.


You may remember Bad Tracking from their remix of 90s soundsystem legends Bush Chemists on Bokeh last year. It sounded like they played the original through 1,000 knackered tape decks and added one kick drum. It was total sacrilege and we loved it. Bad Tracking is Gordon Apps aka reputed jungle/drumfunk producer Relapse (who also moonlights as Avon Terror Corp's Olivia Mutant John, buy his shit) and poet / VHS video artist Max Kelan (who has lent his visuals to MVs from Hodge, The Pop Group, OM Unit, Young Echo to name only 4). They've released on tRewdindForward family labels like Mechanical Reproductions and champions of bad taste and good music - Fuckpunk.

2x12" Repress


January 1981 found Gudrun Gut and Bettina Koster in Christopher Franke’s Berlin-Spandau Studio recording their first Malaria! EP (Zensor Records). Christine Hahn of The Static with Glenn Branca and Barbara Ess, joined in from New York, and Manon P. Duursma fresh from Nina Hagen’s O.U.T. project and Susanne Kuhnke completed the Line-Up.

Malaria! started touring intensively soon after the release of their 12”, commencing with a concert with New Order at Brussel’s Ancienne Belgique, and going on from there to concerts with Siouxsie and the Banshees, Birthday Party, The Slits, The AuPairs, Raincoats, Nina Hagen, John Cale, Einstuerzende Neubauten. They played venues as diverse as the Mudd Club, Peppermint Lounge and Studio 54 in New York, the Documenta in Kassel, the Bat Cave in London, Les Bains Douche in Paris, Milky Way and Paradiso in Amsterdam, ICA in London, the Piazza Santa Maria Novella in Florence and Markthalle in Hamburg and naturally, again and again, at the SO36 in Berlin.

While touring, Malaria! used their time off to record in Studios in New York, London, Brussels, New Orleans, and in Berlin (How Do You Like My New Dog? 7”, Weisses Wasser 12”, New York Passage 12”, Revisited MC, Emotion Album). At the BBC studios in London Maida Vale Malaria recorded an Kit Jensen and a John Peel Session.

Malaria! took a break in 1984 - Bettina and Christine re-located to New York, and Gudrun and Manon stayed in Berlin to form, with Beate Bartel, Matador, but not before they recorded their Mini-Album, Beat the Distance. 1992 Gudrun, Bettina, Christine, and Manon met up in New Orleans with Jim Thirlwell (Foetus) to record Elation 12”. Elation was followed by Cheerio, Album, which again was recorded in Berlin.

Chicks on Speed did their own version of Malaria’s song, Kaltes Klares Wasser in 2001, and the Remix went into the German Top 10.

Malaria has been an instrumental part of Berlin Music History, as recently presented at the „Zurück zum Beton“ at Düsseldorf’s Kunstakademie, Kunsthalle Wien „Punk!“, „Geniale Dilletanten“ Goethe Institut, and in B-Movie.

BIBA KOPF 2019
The theme song for that great German road movie yet to be made, Malaria!’s 1981 single “How Do You Like My New Dog?” etched the E into the motion music of their soon-come debut album Emotion with its trail-out line “Immer vorwärts, nie zurück...”. Always forward, never back: from West Berlin to London, Paris, New York and Tokyo... from here, there and everywhere to eternity, the Autobahn goes on forever, with Malaria! at the wheel, spinning new moves from timelines crossed in records and songs right on the money evoking Zarah Leander, fighting the power, staring down Death, and a whole lot more. In all, one merry hell of a ride, and on the evidence of Compiled 2.0, it’s not over yet.

MARK REEDER 2019
"Even today, their originality in everything from sound to style, has proven just how relevant Malaria! are. In my opinion, their music has stood the test of time. To me, Emotion sounds as good today as it did when it was first released and it was a pleasure to revisit it. They might not have had any zillion selling albums, and their image might have been copied, while their sound could never be. They remain exclusively unique and their influence and legacy will reach far into the future. This band is both an inspiration and a statement and they prove what five very creative girls can achieve, if given the right support to allow them to evolve, and it is exactly that, which has made Malaria! Germany’s most successful and renowned, all-girl band...“

DIEDRICH DIEDERICHSEN 1991
"...Malaria! put across so many clear, manifest, attractive, certain, muscular, and harsh symbols, just as they refused - defying the customs intrinsic to these symbols and the worlds in which they circulate - to weave all these things into a readable, reproducible and manageable, generic text..."

This 4 track EP comes out of Ibiza Records archive vault's called Archives Vol 5 produced by Low Block Noise in 1991 & EOAD in 1993. Each of these tracks represents hardcore and merging of jungle breaks starting to come through in the early 90s.

A. Rave in the Bedroom - This track produced by L.N.B made in 1991 has some great piano stabs and had a sample taken from 'The Young Ones' bbc2 sitcom as back then it was all about the big samples being used.
AA. Its Not Big & Its Not Clever - This track from L.B.N made in 1992 and has a classic sample taken from Robin Williams 'Good Morning Vietnam' film. The track has strong jungle breaks that were now a dominating presence at that time in the scene.
AAA. Love The Feeling - This track produced by E.O.A.D made in 1993 is more hardcore with the piano stabs offering a ravey anthem feel representing the warehouse scene. Which was dying out and Jungle was becoming the more dominant force.
AAAA. This track produced by E.O.A.D also made in 1993 and is a remix of the original with the hardcore elements offering a more raving anthem feel representing the warehouse scene back then.

Zygos has been non-stop killing it for a good few years now. Every dub he churns out is a madness and he is constantly pushing and evolving his sound for the better. We couldn't be happier to get the man himself back for his third release and second wax outing on the label. His signature techno / industrial influenced sound runs throughout the EP from the twists and turns of Rotation to the deep dark sound designs of Sick as a Dog. Big ups Georgio on this wikid wikid plate!!!

Halav Av is a Tel Avivian super-group consisting of members of the Israeli alternative music scene. Alonzo and Amitkes of The Crotches, Niv of Red Axes, Yovav of Shame on Us and Adiel of Hila Ruach & Future Shock.

This summer the band will release their first album, the first singles to meet the public’s ears will be To Live, Talk to Me and Mt. Beitar. These singles and the rest of the album were recorded by Uri Mixmonster of The Apples straight onto two-inch tape like the good ol’ days.
In addition to Mixmonster’s recording expertise, the album features Cello virtuoso Noa Ayali of The White Screen and Keyboardist Shay Landa of The RPS Surfers.

Wrapped up in a cover by the praised Israeli artist David Tartakover, the songs in this album are meant to be short and ticklish just like a father’s bristles. Because Father’s Milk is the essence of male gentleness. It is romantic, optimistic, nostalgic and naive. It’s childhood. It’s longing. It’s longing for childhood. Father’s Milk is the feeling of fatherhood, even if without offsprings. Father’s Milk is love, it’s music, it’s nourishing music.

“Having moved forwards emotionally from the wilds of dystopian stalking and associated hobbies, Madonnatron have instead been found frolicking through the green pastures of gangsta pimps, Hindu God wars, Cyber Men invasion, loveless nightclub hook-ups, modern Italian Nabokov, and revered screen goddess Elizabeth Taylor. Think of them as post-punk lab rats in the Secrets Of Nimh, feasting dubiously on back-dated episodes of Top Of The Pops. With notorious roaring guitars, chanting vocals and rabid drums they audibly glow in the dark, are strong-armed, and will probably bite you.”

Like their debut, which was released to much acclaim in July 2017, Musica Alla Puttanesca was produced by Liam D. May at Trashmouth Studios.

Their atmospheric, raw, and confrontational live shows carry a sonic force that by turns will make you weep, cross yourselves, and weep again. In the last couple of years, Madonnatron delivered a successful UK headline tour; supported The Moonlandingz,

Mais Alors !!?... c’est à l’envers is the first release of new French Label ICI BIENTÔT (Here Soon ...), launched by Paris Fleamarket’s Record Shop, Geminicricket. On the Menu... Suspended Time,
Unsung Heroes, Hidden Records and Next Door Marvels.
In 1983, NEF released their first and only album, Mais Alors !!?... c’est à l’envers. At that point, the band already had a long history, interwoven with that of various musical trends and alternative
movements from the late sixties to the early eighties. That’s certainly what makes this record so special and able to conciliate such different worlds as Electronic Prog, Film Score, New Wave …
The band’s destiny was most certainly tied to their native region, the South of France, an idyllic environment that attracted a number of musicians during the 1970s, allowing the group to attend many
concerts or share the bill with several groups that have gone on to become well known: Can, Ash Ra Tempel, Magma, Catherine Ribeiro, Zao, Chêne Noir, Art Zoyd …
Founded in 1975 by Richard Lorenzi, NEF started as a kind of Free Rock band with multiple influences, going from Prog to Musique Concrete, in which any method of making sound, any way of
bringing out sounds was good … 2 musicians and a photographer, full member of the band who was projecting slides over the music and influenced their dreamlike universe. In 1978, Vincent Tronc came on board with his keyboards and synths. While the group had been influenced by electroacoustic techniques until then, Vincent broadened NEF’s horizons, bringing in a host of new influences: Ash Ra Tempel, Kraftwerk, Klaus Schulze … the beginnings of electronic music. When the album is recorded in 1983, new directions were taken and changed NEF’s usual sound.
First, the idea of playing the accordion, clearly not a common thing and a new Drum Machine, the Roland CJ-5000. Pressed the day a figure of French Chanson died, NEF’s pressing is botched up, a
good part of the records were unusable since the records came out totally warped. Then, at the end of the eighties the small stock of remaining records is lost in the sadly famous flood of Nîmes. 2000
records had been pressed, but very few survived! All the more reason to reissue Mais Alors !!?... c’est à l’envers, an unsung record, free and multifaceted, a quirky and daring musical ovni, transcending eras and genres, between synthetic
Krautrock and Film Score, reminiscent of NEU! (with a red nose), François de Roubaix and Pascal Comelade.

Are you ready for fresh blood! Some time ago, Tomorrow Is Now Kid! head honcho Alex Salvador and Jelle Meeuwsen aka "Pokopoko" met while spinning records and talking music at a party in Tilburg, The Netherlands. A big stack of demos got sent over to the TINK! headquarters and eventually a debut EP named "Petrichor" was created. A powerful four-tracker with a dusty and melancholic take on today's House music. It's raw and funky but changes vibes throughout, keeping it fresh. That said, "Petrichor EP" is an emotional rollercoaster and a tribute to the ever-changing and unpredictable Dutch weather.

DJ Feedback

Harry Avers:
"A solid EP."


Colin Dale:
"Great sound and a solid EP."


Jeff Barker:
"Iglozbub and Stipperflip are cool. Will support, cheers!"


Simon Huxtable:
"There's a distinct 90s UK house vibe to this EP. Good stuff."


Michael Serafini:
"Excellent! Petrichor and Hurdy Gurdy solid."


Jacques Renault:
"Always dig a new release from Tomorrow is Now Kid!"


Tim Haze:
"Very nice EP, will definitely play out. Soulful, funky, deep and energetic all at the same time. "


Mirco Violi:
"Very nice tracks."


Robert Monk:
"Quality proper Deep House cuts - love em all."


Eric Downer:
"Love the slowly unfurling start to the ep, 'Hurdy Gurdy', introducing things with floaty keys and jaunty percussion. this leads into the smart, sunny and upbeat 'Iglozub' which is snappy, bringing the mood up a little and spilling into the deep, meandering but no less uplifting 'Stipperflip' and a driven hi-hat dripping over a thick bass pump. Pokopoko saves the best for last, however, with all tracks leading to the majestic 'Petrichor', deep, dynamic and evolving with sweet, aching chords laced up with a crispy shaker and syrup-smooth bassline. Perfection."


Agus Arbol:
"House music at its best."


Severino Panzetta:
"Cool vibe."


Tunde Adams (DJ Caspa):
"Really nice ep here, will be supporting. "


Ben Gomori:
"Iglozub is stunning."


Al Bradley:
"Cool EP right here, saving the best to last with Petrichor doing the business!"


Timos:
"Nice work, I like it thanks!"


Paul Hazendonk:
"Lovely lovely vibe in Iglozub."


Times are Ruff:
"Nice work! Cool tracks."


Nathan Goode:
"Another fine release by TINK! Can't wait to play this one on air! "


MEAT:
"Great tunes!"


Robert Colon:
"This Is Some Beautiful Sexy, Dirty & Filthy House & I Am Loving It! I Will Be Smashing This Out."