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While their trademark sound has always been flourished with plenty of nods to the past - think jazz-funk, disco, acid jazz and boogie - Reel People's career has been forged on crafting new songs and instrumentals. For their latest album, "Retroflection", they've decided to flip the script, serving up a set of covers of classic cuts with the assistance of some notable vocalists. It's a neat twist and one that results in a string of superb revisions. Check, for example, the Mica Paris-fronted take on Alicia Meyers' "I Want To Thank You", their starry version of electrofunk staple "Don't Stop The Music" (complete with sublime Angie Stone vocal), an Incognito style take on Willie Bobo's "Always There" and a riotous, scene-stealing romp through Pleasure favourite "Joyous".

King's X is the self-titled eponymous fourth studio album by the metal trio King's X. The dark side of their music and song writing is experienced throughout this superb record. The requisite instrumental virtuosity is, as always, hard to ignore, but where this album really shines is in the quality of its vocal performances. This album is not a traditional metal album by any stretch of the imagination, but is a great addition for any music fan in the rock and metal scene. Compact songs are widely covered on this album. With their dense and transparent sound they're one of the strongest acts from their time, and that's exactly what they're showing on this album.

The American rock band King's X combining elements of progressive metal, funk and soul in their versatile sound.

King's X is available as a limited edition of 1000 individually numbered copies on solid moss green coloured vinyl.

Lance Ferguson's Raregroove Spectrum is a collection of newly recorded versions of classic funk, soul, jazz and latin vinyl rarities, which features some of Melbourne's finest musicians across the album, including past and present members of The Bamboos, The Putbacks and Hiatus Kaiyote.

As the man at the helm of many musical projects over the years including Cookin' On 3 Burners, Menagerie & his solo project Lanu, Lance is no stranger to the art of imaginative musical re-interpretation, be the material soul, funk and jazz based or the works of James Blake, Roxy Music and Prefab Sprout.

For Raregroove Spectrum, Lance explains that much of the inspiration for the re-works comes from his experience as a DJ, "Some of these versions can almost be looked at as DJ re-edits, sometimes we're extending what may be a really short track into something longer, or teasing out the elements in a song that really make it work on a dance-floor. It's essentially what someone does with a club re-edit, except we went the extra step and re-recorded the whole thing with a live band".

In other cases, top-shelf classics have been re-imagined in different guises: James Mason's 'Sweet Power, Your Embrace' as a sun-drenched Samba, or Anderson Paak's sure shot tune 'Am I Wrong' given an 1980's style Boogie/Jazz Funk makeover. Stir into this musical gumbo stew the raw Deep Funk of 'Egg Roll', the swinging Mod R&B of Googie Rene's 'Smoky Joe's La La' to the epic, widescreen Jazz-Funk of Pleasure's 'Joyous' - Rare Groove Spectrum provides new perspectives on the obscure to the well-loved, from old-school to new sounds - this is rare grooves re-grooved... beautifully.

Norwegian artist Tarjei Nyga°rd first touched on the ESP Institute spectrum in 2016 with a limited red flexidisc of Bleusa that accompanied issue 21 of New York City's acclaimed Love Injection fanzine, and since then, his poetic music has been a staple in our arsenal (especially during Summer), for its ability to effectively direct moods is second to none. Across the four tracks on this debut EP, Tarjei paints quite viscerally using the most fundamental of tools—melodic and rhythmic hooks—and as obvious as this may sound on paper, its his deliberate approach to songwriting that brings these productions to life. Bleusa is literally dripping with a sense fantasy and adventure—island pads, golden bent notes, even a cameo bird-call from the infamous Acid House loon—yet Tarjei exhibits a mature level of restraint, a highly sophisticated sleaze recognizable to refined pleasure-seekers. Forus Echo furthers this notion but expands into full-blown rapids of ecstasy, rolling over soft-thumping percussion that mimics the human heart while smothering the listener in euphoric waves of pads and delays. Side B shifts us from the melodic dynamic heard thus far over to a strong rhythmic palette, not acknowledging any specific reference point but loosely hearkening back to early-era turntablism, the demented title track Lost In Lindos is a aquatic beat thats both deep and buoyant, the type of liquid tool that works at any BPM. Øylie closes the EP with a signature ESP vibe that has us lying on our backs, drawing finger pictures in the opium smoke above, feeling the warm embrace of collective consciousness while telepathically harmonizing our plans for a bright utopian future.

When Dunham Records/Daptone producer and musician Thomas Brenneck first heard the close family harmonies of the Sha La Das he had a revelation; he knew he had to get it on tape.



Direct from Staten Island, the four Schaldas, father Bill and sons Will aka Swivs, who also toured the world playing keyboard for Charles Bradley and his Extraordinaires, Paul of Paul and the Tall Trees and Charles Bradley and his Extraordinaires, and Carmine had come into the studio in Brooklyn to record background vocals on Charles Bradley's Victim of Love. It was a passion that drove Brenneck from the very beginning.



'Hearing them sing together in the studio was incredible', says Brenneck. He collaborated with Bill Schalda writing songs and applying harmonic sensibilities rooted in doo wop, blues and soul. It wasn't a stretch for Bill, after all he'd been second tenor when still a teen in Brooklyn vocal group, The Montereys in the 1960s (their 45, Face In The Crowd/Step Right Up on Blast records sells for $500 these days) who would play venues from neighborhood bars to the 1964 World's Fair in Queens.



'Bill is the genuine article, just like Charles Bradley and Sharon Jones, he came directly from the source,' says Brenneck. Indeed, Bill Schalda was right there amongst doo wop and r&b groups of the era, singing Moonglows and Flamingos tunes.

'You'd go out on the street and constantly hear a bunch of guys singing on the corner, they'd finish playing handball in the schoolyard during the day and then they'd start singing at night,' says Bill. 'We were all just guys in the neighborhood in Brooklyn, who gradually found each other.'



After their children were born, Bill and wife Linda moved the family across the Verrazano-Narrows bridge to Staten Island. Growing up, sons Will, Paul and Carmine remember summer nights singing group harmonies on the stoop of their home with their father Bill guiding them. 'He would bring us out on the stoop on Staten Island and he would teach us each parts of say, the sesame street song - we were his backing group very early on - that was fun,' says eldest son, Will.



On this, their debut, the talent is harnessed in 11 songs, each tender-voiced delight delivered with absolute conviction combined with musicians that have help define the Daptone/Dunham Records sound including Brenneck, Homer Steinweiss, Dave Guy, Leon Michels, Nick Movshon and Victor Axelrod. 'I wanted to take the Sha La Das outside of the doo wop genre,' says Brenneck. 'To take the whole vocabulary of doo wop harmony and reapply it to soul - so you get super soulful harmonies along the lines of The Manhattans & The Moments.'



From the opening atmospheric guitar strum of Open My Eyes via a walk along the Coney Island boardwalk catching the last glimpse of sunlight at dusk of Carnival to the sublime crescendo of harmonies of the winsome Love in the Wind, each song evokes a deeply personal yet universal yearning that none of us can escape. Quite simply every song yields magic.

There's something special when a family can meld voices in close harmony. The Everly Brothers had it, The Beach Boys had it, the Schalda's have it.

Italian directors GUALTIERO JACOPETTI and FRANCO PROSPERI gave birth to a whole new subgenre of 'non-fiction' exploitation movies with their 1962 hit MONDO CANE. After repeated accusations of forgery, unethical behaviors and war crimes, they decided to make a movie about the atrocities of American slavery as an apology of sorts. It was 1971 and the movie was FAREWELL UNCLE TOM (ADDIO ZIO TOM) The famous critic Roger Ebert called the result 'the most disgusting, contemptuous insult to decency ever to masquerade as a documentary' Naked flesh, voyeurism and violence is constantly used but gorgeous photography and a memorable score from Academy Award nominee RIZ ORTOLANI add a sickening slickness to it all: rock- beat tunes mixed with classic big band themes, waltz and funny marches and the beautiful OH MY LOVE, with the vocals from Katyna Ranieri, used, among many others by Winding Refn in his cult movie DRIVE (2011).

FIRST VINYL REISSUE EVER
LIMITED EDITION OF 500 COPIES
COMPLETE EDITION WITH EXTRA TRACKS

Tropical Disco plucks out a spellbinding salvo of heaters for Tropical Disco Volume. 7, dished out on suitably heavy wax.

Moodeena's 'The Horns' boldly kicks off the record, effortlessly weaving together elements of funk, soul and afro, influenced by a myriad of far-reaching regions. The earworm of a bassline subtly leads the piece, morphing, dipping and then reassembling as the brass resurfaces, creating a tender, palpable sound palette. On the flip 'What Da Funk's playful track title doesn't reflect its cultivated build, and no doubt lethal functionality on a dancefloor.

Titillating strings are the driving force for Tropical Disco newcomer Sammy Deuce's input, bringing a burning, high-energy ode to golden-era disco with 'Smack My Strings Up'. Hot on the heels of a series of well received releases on labels such as Glasgow Underground, Club Session and Big Love, Sammy deuce offers up a rare guest track on the label that pairs perfectly with a recipe Sartorial and Moodena have refined so successfully.

Sartorial closes the EP with 'Little Love', a carefully plotted symphony and formidable sign off for the release. Hustling a creamy bass and slowly swooning vocal, this audio aphrodisiac will have dancers headed straight to the bedroom...

Tropical Disco's back-catalogue of quality nu-disco obscurities is building thick and fast, and the latest package is a diamond in a gleaming gold mine.

Support across Mi Soul & House FM.

Envee is well known producer not only in Poland.

He is releasing music since 2001.

You may know him from remixes for Compost, Jazz & Milk, Sonar Kollektiv, Wah Wah 45, GAMM and many more.

Now he is back with first album since 2008!

Come on journey from ambient, broken beat, dub to swing, spoken word or some hip-hop.

16 unreleased tracks on two vinyl records with poster inside. Only 300 copies worldwide!

Following up on their debut full length release, 79.5 drops a new and revamped version of their dance floor classic "Terrorize My Heart (Disco Dub)". A tune that leaves no room for gray and finds the ladies of 79.5 walking the line between vulnerability and forthrightness. Setting out with admonishments of love and infatuation that are quickly checked by the bluntness of women who've lived in the Big Apple for years, 'is it her or is it me, that's how it's gotta be'. Remixed and remastered with a new intro for the DJs, producer Leon Michels and engineer Jens Jungkurth managed to take an already smash of a tune to a higher level. For the B side we enlisted one of underground hip hop's brightest stars, Tall Black Guy. His 'Bounce Remix' of 'Terrorize My Heart' is just that. The Detroit producer takes the tune to a different level and turns it into a monster of a head-nodder. Loose drums and chord stabs provide backing track while vocal samples through out keep the track super hype. An easy dancefloor killer for the Hip Hop / R&B jocks.

Part II The title of the project is: "An Intermediary Plane of Existence", an in-between world, a shadow zone, two universes, the place between the entrance and exit of a portal. Most electronic music producers probably know the feeling where they, after producing and recording a track they are extremely content with, are suddenly overcome with a slight fear: "what if my computer crashes, what if the file of the recording gets lost somehow and the music gets lost, it's gone forever...". That feeling and the fact that all music, ever written and even the music that has yet to be written, is "somewhere" when it's not
being played or made. It's either written down in notes, stored in
someone's mind, cut into a piece of vinyl, recorded on tape, converted into 0's and 1's hiding somewhere on a hard drive, a cloud, a CD or a USB stick. It's been taken form the place it was before it was made and stored in another place, in an intermediary plane of existence, waiting to be played, to come back to life and listened to again. We wanted to do this various artists album not with just any talented artist, but with people we've met the past years who became our friends and people we admire for their music and personalities. Friendship is also something that most of the time resides in an intermediary plane of existence. When a friend is not in the same room, city or even country it doesn't mean the friendship is not still there. If you've never even met
someone in person, it doesn't mean you can't be friends. Even if you haven't spoken to your friend for a long period of time, it doesn't mean the friendship doesn't exist anymore. The same goes for love I believe.
Some people you will never stop loving, alive, or dead. Both owners of P-RT-L lost their fathers within a week from each other last year, but I also know people who haven't seen or spoken to their dads or moms in over a year, yet somehow it feels completely different not seeing someone for a long time if you know a person is still alive, even though it's not sure you will ever see him or her again. Their dads went back to the place they were before they were born and they will never come back the way they knew them. Just like all music that went lost before we as humans had the ability to write it down, store it on a medium or pass it on otherwise. That exact music, just like their dads, is lost forever. I know this will probably sound a bit too philosophical for some of you readers, but it's something that keeps me awake at night, sometimes. This albums is a way for us to celebrate the fact that the music on it, will never be lost because we as humans have found a way to store and contain it in a place where we can easily reach it, for ever. We hope you will enjoy the music! P-RT-L Featuring artists: Alex Bau ,AnD,Anouk De Vos, D-Leria, Daniel Kane, Dasha Rush, Frame Six Micol Danieli

With his third single release, Y-Bayani (pronounced like Why-Bayani) shows clearly that he is the most intriguing roots-reggae sensation coming out of Ghana. He is backed again by the lushly grooving Band of Enlightenment, Reason and Love.

Asembi Ara Amba, sung in Fanti language, is an old Fanti story about having bad luck if you see a vulture up in the sky. As Y-Bayani sees one suddenly and for no reason he gets in trouble with the police. Being hold back in the police station he finally takes his chance to escape into freedom while the police men taking a nap.

On We Are The Band of Enlightenment, Reason And Love the group presents their personal anthem. The song is a cinematic journey starting with a mighty horn theme, followed up by a mantric chant and enters finally into a wall of sound in double time. It's a small symphony for sure.

Raised in the outskirts of Paris, his career has embraced music, fashion and film and established Kiddy as a key figure in Paris's LGBTQ community and the voguing and ballroom scenes.

'One Trick Pony' sees Kiddy working with such talents as Rouge Mary (Hercules & Love Affair) Be Honest, Burn The House Down & One Friend and Crookers Dickmatized. Citing gospel and hip-hop, 90s Chicago and Detroit as influences,

Kiddy has delivered an album with house DNA at it's core whilst embracing a pop sensibility. It explores intimate, personal topics - unrequited love, paternal desertion and acceptance of one's body.

'I define myself as a house-music artist. Queer is limiting. My music reflects my everyday life. I talk about me and being black and gay. My songs are about love. They're not political, but my work is.

The lead single Dicktamized is about 'toxic relationships, the ones you know you would be best to remove yourself but you're almost hypnotised into thinking if the sex is good you should carry on.' 'It is taken from the soundtrack

of Gaspar Noe's latest and critically acclaimed movie 'Climax' premiered at this year's Cannes Film Festival and also featuring Kiddy. Kiddy Smile is supporting Beth Ditto around Europe from May to July 2018.

Jamaican superstar Popcaan returns with his long awaited sophomore album, Forever. Popcaan's journey has taken him from a promising young star to the leader of a generation of Jamaican and diaspora artists, a generation that feels their influence reverberate in pop's continuing interest in the sonic signifiers of dancehall. Forever finds Popcaan grappling with his role as an icon

After the release of their playful debut album "Worldstyle" the Budapest duo are now returning with their 2nd album "Brotherhood" and this time their message is more serious. The music if often summons blues elements but also influenced by dub, funk and a little hip-hop while the lyrics are mainly about the social and personal problems of our time interpreted by talented guest vocalists from all over the world. The guest performance of KRSA puts the point on the letter 'i' in 'Brotherhood' and in the other reggae-inspired song 'Pass It On'. Being one of the dominant figures of the Hungarian ska movement he is an
important guest on the album. As the main driving force behind the 90's very popular and recently revived British band Freak Power Ashely Slater needs no introduction. He has worked with Dub Pistols, Dublex Inc., or Fort Knox Five, and his
talents and professional performances are turbocharges three
completely different songs. 'Revolution!' has previously released in 2016 as a 7' single and features dazzling electro blues and Ashley's food for thought lyrics. In 'Life Is Love' he proves that his talent has no barriers whether he sings lonely doo-woptempo or the dub-ska of 'People Kill People' which is a unique cover of Éric Serra's seminal 80's cult classic 'Guns & People'.
Denise M'Baye known as the MC/singer of Mo'Horizons is featured in two downtempo tracks. 'Wings' is a laidback song about love while and 'All My Life Is In This Bag' smuggles back a little bit of the mood of 'Worldstyle'.Fedora is the best-known female MC/singer of the Hungarian bass music life. She made her own solo album in 2017. With 'Come Away With Me'
she proves that she's not only an bass music MC, but a great singer with deep emotions. Another guest from Hungary is the lead singer of the downtempo-funk band Mystical Plants. Bryant Goodman contributes to the album in two different tracks with his gravelly voice. 'Bad Man's Ballad is bittersweet song about the average politician of our age while 'Keep Going On' on
the other hand is full of playfulness and delivers a short but positive message.
At last but not least we have the Ghanaian M3NSA on the board from Fokn Bois and RedRed. His lyrics in 'It Works' is very motivating for everyone and spreads the message of not giving up even if the world is seemingly against you.
Savages Y Suefo's new album 'Brotherhood' is a lot different from their previous one in many ways but it remained just as eclectic as its predecessor 'Worldstyle' and still proves Savages Y Suefo's wide interest and openness in music that is needed today... and not just in music.

This raw, intimate recording, which took place at the start of Prince's career right before he achieved international stardom, is similar in format to the Piano & A Microphone Tour that he ended his career with in 2016. The nine track, 35-minute album features a previously unreleased home studio cassette recording of Prince at his piano captured in 1983.

The private rehearsal provides a rare, intimate glimpse into Prince's creative process as he worked through songs which include "17 Days" and "Purple Rain" (neither of which would be released until 1984), a cover of Joni Mitchell's "A Case Of You", "Strange Relationship" (not released until 1987 on his critically acclaimed Sign O' The Times album), and "International Lover".

The album also includes a rare recording of the 19th Century spiritual "Mary Don't You Weep" which will be featured during the end credits of Spike Lee's BlacKkKlansman in theatres August 2018.

For fans of Prince's spontaneous live medleys, tracks 1-7 of the album are presented in that same format as they were originally recorded.

Limited Colored Edition - 1000 Copies

Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. 'Heroes to Zeros' is the third and final studio album by The Beta Band released in 2004. It was mixed by famed producer Nigel Godrich and rose to number 18 in the UK charts.

Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. Released in 1999, the album The Beta Band' followed the critically acclaimed compilation The Three E.P.'s' (1998). With high anticipation for The Beta Band, the band originally planned to record the album in four separate continents, but financial constraints slimmed the recording locations down, however, the album was still recorded in a variety of locations and pulling inspiration from sources as diverse as Jamaican reggae, Disney's movie The Black Hole' and Bonnie Tyler's Total Eclipse of the Heart".

As co-founder of Fuck Buttons; the highly-influential noise-electronic duo, Andrew Hung has toured extensively with headline shows at the Kentish Town Forum, Glastonbury and Greenman Festivals, been featured on the

2012 Olympics opening ceremony and all three albums have featured as Best New Music on Pitchfork Media. His production work has included Zun Zun Egui's 'Shackles Gift' and cowriting/

co-producing the critically acclaimed 'Kidsticks' by Beth Orton. In 2016 he soundtracked the multiple-award winning film 'The Greasy Strangler ', and was nominated for Best Soundtrack at the Empire Awards. His debut solo

album, Realisationship was released via Lex records in October 2017. An Evening With Beverly Luff Linn is the soundtrack to Jim Hosking's directorial follow up to The Greasy Strangler and stars Aubrey Plaza, Jemaine Clement,

Emile Hirsch, Craig Robinson and Matt Berry.

Anders Trentemøller's career is a travel-heavy one, with his touring schedule taking him pretty much all over the world. But it's his home port that's inspired his latest project, the sprawling, stunning compilation mix 'Harbour Boat Trips Vol. 02: Copenhagen'. Clocking in at just over an hour long, the compilation sees Trentemøller curate and craft sixteen songs into a heavy, hazy mix that ranges from shoegaze to electronica, featuring both familiar and celebrated artists like A Place to Bury Strangers (with a new Trentemøller remix) and Slowdive to more obscure finds, as well as Trentemøller's own tracks and remixes, most notably a brand new Trentemøller cover of Neil Young's classic 'Transformer Man'. The mix sees him pick up a thread he left off earlier in his career. In 2009 he put together 'Harbour Boat Trips - 01: Copenhagen', a compilation mix comprised of his favourite music, both Danish and international, from across four decades, loosely inspired by the motion and movement of Copenhagen's busy harbour. Closing in on a decade later, we're getting the second edition, with 'Harbour Boat Trips - 02' arriving this November.

Sunda Arc are brothers Nick Smart and Jordan Smart. Best known as key members of Norwich based alternate-jazz trio Mammal Hands, Sunda Arc channels the duos love of electronic and dance music, without losing any of their deep musicality. Drawing on techno, electronica, neo-classical and post-rock influences, Sunda Arc compose and perform using both electronic and acoustic instruments, including analogue synthesisers, home-made software patches, piano, saxophones and bass clarinet - all finessed and channelled through their own unique creative strategies. Integrating electronic elements and experimentation with the expressiveness and energy of acoustic instruments and live performance, Sunda Arcs music is expansive, compelling and fun in equal parts.

Limited Edition: 500 x 2 LP Gatefold Pressing. Bentley Rhythm Ace formed in Birmingham in 1996 when ex Pop Will Eat Itself bassist Richard March and DJ Michael Stokes discovered a shared love of obscure, oddball and eccentric tunes. Utilising lo-fi cut and paste sampling techniques combined with analogue synths and some wild turntable action their debut EP was picked up by Fatboy Slim's Brighton based Skint Records and released to widespread acclaim. The BRA live show added Fuzz Townshend on drums and James Atkin (ex EMF vocalist) on keyboards and the latter years of the 90s saw BRA firmly established as festival favourites with appearances at Glastonbury, Reading, V, T in the Park, Montreux Jazz and Fuji Rock amongst many others. Their irreverent approach mixed with big beats, thundering bass, wild synths and esoteric samples proved to be a hit with fans and critics alike. 1998 saw Bentley Rhythm Ace crowned 'Best Dance Act' in that year's NME awards. Their eponymous debut album was given a worldwide release after the Bentleys signed to Parlophone records and the band toured extensively in the UK, Europe, Japan, Australia and USA. As well as releasing a highly regarded DJ mix album on Ministry of Sound, and releasing a second album for Parlophone (featuring vocals from Black Grape/Ruthless Rap Assassins frontman Kermit), BRA also produced well received remixes for the Beastie Boys and Supergrass as well as soundtracking several TV shows and adverts. This "21st Birthday - Bonus Tracks Edition" of the album has been compiled by Richard March of the band and includes the original 11 track album along with 2 bonus tracks remastered and repressed to vinyl for the first time in almost two decades! Presented in a deluxe gatefold sleeve, complete with original artwork and comprehensive sleeve notes for all thirteen tracks written for this release by Richard March. Bentley Rhythm Ace (21st Birthday - Bonus Tracks Edition)

After a remix and a compilation track for Quintessentials, it's the third time that KRL appears on the label and also his third full EP. Following on from his previous releases on Wolf Music Recordings (yes, he can even be found on the first ever Wolf Music release!) this EP is a mixture of two older ideas started in 2014 and two completely new tracks playing on a mixture of samples and field-recorded sounds. - Third' is multistyle. It's got proper house with - never leave', a track that features the beautiful voice of Janine Small. It's got rough deepness with - rhodes to nowhere'. It's got a bit of beat madness with - confession beat'. And it's got sublime, fragile electronics with - glacier'. We love that!

Drama were the Canadian duo of Eric Simpson (Vocals, Bass Guitar, Guitar) and Don Stagg (Keyboards). Formed in in Mississauga, Ontario in 1978, the pair had previously played together in progressive psych bands Majik and VIIth Temple. Almost every Saturday, Eric and Don would record one song on a TEAC 4 track tape recorder after a couple of takes with very little over dubbing. The pair were influenced by what was playing on the radio during the recording sessions. Everyone else at that time was in a rock or pop band yet Drama were making electronic music. The pair released their debut LP 'Loneliness' on Psycho Records in 1979. There were 500 albums made and about 200 ended up in the garbage as band members shuffled from apartment to apartment. This was followed by a 4-track 7' later that year featuring live drums and additional guitar.
Seance Centre says it best, 'On Loneliness, the pair traded in their velvet and chord charts for thin ties and a cheap drum-machine. The LP still carries a whiff of patchouli, but the sound stings of solder and electricity, and inhabits a nascent zone somewhere between krautrock and new-wave. The vocal cuts are all clustered on the A-side, starting with an ode to the inefficiency of the Toronto Transit Commission - some things never change! The dystopian sci-fi themes are par for the League, and highlights are the love ballad 'Anna King' and the charming 'Feable'. The instrumentals on the B-side feel decidedly more Teutonic, and have a certain CBC charm that sounds like JP Decerf recording for Parry Music. It even opens with a slinky stoned Pink Panther.' For this first time vinyl reissue we've expanded to a double LP with a bonus album of the 4 songs from Old Hollywood 7' and 9 previously unreleased tracks and demo versions. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original photo by Don Stagg taken from his apartment rooftop overlooking Toronto of a young teenager sniffing glue and includes an insert with photos and liner notes by Drama.

Limited edition release of 500 in a black sleeve, each with a unique, experimental numbered screen print, 30 cm x 60 cm, in collaboration with Studio Heretic.

In support of the release Daniel Avery will be playing Drone's take over of Tresor on December the 1st, joined by Richard Fearless, Errorbeauty and Drowned performing live.

PSSU are Richard Fearless and Daniel Avery. Long time friends, they first formed their relationship whilst working out of Andrew Weatherall's legendary 'Rotters Golf Club' where Fearless made 'Trans-Love Energies' and Avery did a lot of Drone Logic. The two are now studio neighbours in Leamouth on the River Thames. They were drawn to the collaboration by a mutual appreciation of the other's music.

'307309' is pure electro soul and, with 'Fabricated from Steel', PSSU deliver a techno monster. Both tracks were forged at the Metal Box, Drone's studio in East London

The godfather of acid house, DJ Pierre, is back - bringing four heavyweight Chicago cuts to the fore, two of which, 'Pinball Machine' & 'The Spirit' are unreleased, exclusives.

'Sexy Aquarian' showcases Pierre's unique style putting his trademark spin on this classic vocal, combining it with a bumping bass and dizzying acid lines, to trigger old memories whilst giving you something new for your mind, your body and your soul.

Next up 'Pinball Machine' goes in heavy on the percussion - filling those speakers with a barrage of weighty toms, crisp hats and crunched up snares. The frenzied synth line bounces around relentlessly, pinging off the sides of your brain like a sonic arcade.

Take to the flip for a lesson in how to take jackin' house to another level. 'Whats Mine is Mine' delves beyond the beat, mixing sassy vocals and spiritual organ stabs, with a touch of swing reminiscent of an era long gone.

Closing out the EP, 'The Spirit' utilises another treasured vocal layering it behind punchy drum programming, a rumbling bass and atmospheric touches that add an ethereal tinge to the track.

DJ Feedback:

The Black Madonna - We Still Believe / Liaison Artists - Excellent!

Eli Escobar - OH yes.

PBR Streetgang - 20/20 Vision - classic

Andy Caldwell - Nettraxx / Cr2 Records - Ooh so so sublime. Good shit here!

Tony Humphries - The Zanzibar / New York - Nice peak time banger.

Danny Howard - BBC Radio 1 / Nothing Else Matters - Aceeeee. Wicked vocal!!! Love the vibe

Over the course of their last two release, Love Notes has brought back the two artists that made their first release such an instant classic; first, Casey Tucker, and now; Simoncino, whose remix of Tucker's Affirmative Action helped to launch Love Notes onto our collective radar. Simoncino herein does what he does oh-so-well, his unwavering nod (and maybe even slight obsession) to that which came before him permeating all three tracks here. Love Note impressively shows no signs of slowing down; three years after their inception, Nathaniel Jat's imprint is closing in quickly on the 20 release milestone without even a momentary dip in quality.

This highly prolific UK Drum and Bass producer returns with his second Tempo Records release. This work sees Alex' Judd rhythmic tweaks and overlays of texture with intricate melodies, heavy dub basslines giving the tracks a live & energetic feel. He draws out each track with his own distinctive craftsmanship and still giving them space to breathe. ''U Got me'' might be his best work to date but that's just our opinion. ''No Hype'' on the flip side says it all; music shouldn't be a hype but this release surely creates a huge buzz with all the dj's worldwide. This release comes as a limited 140g crystal clear vinyl pressing with full artwork sleeve + white glossy inner sleeve, including a mp3 download voucher + a free poster/inlay and all tracks mastered by Stuart Hawkes of Metropolis Mastering London.

Early Dj Support & Feedback
More Coming Soon!
Ltj Bukem thanks For Sending'
Grooverider good'
Icicle thanks, I'll Support No Hype On Rinse Fm'
Dj Flight nice Release, U Got Me & Loved Up Are Probably My Picks On First Listen. Will Play The Former This Weekend.'
A-sides no Hype', Thanks!'
Doc Scott thank You'
Drumsound & Bassline Smith nice One'
Gremlinz dope'
Hyroglifics (aka The Executioner) nice Ep!'
Villem hype Hype Hype'
Lynx yesssss Not A Media Hype!'
Chromatic nice Ep, Big Up Alex!'
Dj Clarky great Tracks On This'
Dj Chef (ministry Of Sound) big Ups Full Support'
Dj Tendai (swerve) loved Up Is Sublime'
Dj Kalm great Release Thanks!'
6blocc love The u Got Me' Track'
Earl Grey u Got Me Is The One, Badness.'
Arkaik will Be Supporting 'no Hype' Thanks'
Bulletproof Tiger (nyc, Usa) always A Pleasure To See Tempo In My Inbox. Biggups Y'all'
Dj Ros (addiction Fm + Label, Poland)'!'

...

Radio & Podcast
Coming Soon!
Icicle (rinse Fm) thanks, I'll Support No Hype On Rinse Fm This Thursday 20-09-2018'
Dj Chef (ministry Of Sound) big Ups Full Support'
Onedek (origin Radio Uk) awesome!!!!!'
Andre (soulsurfer - Bassdrive) now This Is A Strong Release... I Agree That This Is Alex Greatest To Date. U Got Me, Loved Up And Feel Good Are Immediate Favorites. Support In Club And Radio!'
Benjamin (the Dance Mission Dnb Show - Kiss Fm Australia) cool Music'
Overfiend (bassdrive) superb!'
Stunnah (bassdrive) big Release!!'
Chris Muniz (insomniac / Bassrush) mashing It Up Proper!'
J Swif (dnb Hq Podcast) dope Release Duded, 'feel Good' Is The One!'
Stanislav (zima - Czech Radio 1) gonna Play no Hype' Today... Cheers. Stanislav'
Matze (urban Wildlife / Syncopix Records) 5/5 The Rework Of Sweet Sensation Is Killer. The Crowed Loved It. Cool Arrangement And Use Of The Vocals. Feel Good With It´s Long Bassline Is Also A Most Functional Dance Floor Banger. Thanks For This One!'
Jose (nas Radio Show - Brazil) awesome Crazy Material Right Here'
Simon (see You Next Life Podcast & Night) soul Intent Fan Here So It's All Good. Cheers!'
Francesco (delta9 Recordings / Podcast) interesting And Diverse Album! All Are Great, Fav Are Loved Up And No Hype'
...

Reviews Blogs & Magazines :
More Coming Soon!
Julian (mixmag Germany Dnb Reviews) i Really Enjoy loved Up'.
Aliina (jungledrumandbass) big Up !!
Matthew (one Hour One Dj) great Tunes. Particularly Feeling The Two 2 Sides, Loved Up And Feel Good. Lovely Gritty Rollers.'
Rohan G. (dj Mag Spain) pow!'
...

Neville Watson returns to DBA with The Midnight Orchard, his first full-length in five years. Watson is a key figure on the electronic music scene at large and has made regular appearances on Don't Be Afraid, as well as on celebrated imprints such as Crème Organization, Clone and Rush Hour, where he released some of his best-known work alongside Kink.

In a crowded landscape of factory-line jack trax and synthesis for the sake-of-it, it's little surprise that Watson's physical, arresting takes on house and techno have been such a staple in the record bags of the world's leading DJs for the past twenty years. Throughout The Midnight Orchard, Watson seamlessly bridges his futurist leanings gleaned from a lifelong commitment to electronic music with the anarchic spirit of his acid-house heritage.

The record still finds catharsis in the relentless pulse that has defined Watson's life since his early residencies where he peddled ecstatic escapism to towns on the commuter belts of London, notably via his involvement in seminal Reading party Checkpoint Charlie. However, there's a more somber, arguably introspective and perhaps even somewhat wistful tone at play throughout. This might surprise those who've invested their feet and hearts in tracks with titles like Night Of The Inflatable Muscleheads and Everything I Know About House (I Learned on Facebook).

In a move away from his previous musical leanings, The Midnight Orchard embraces a distinctly more UK sound, unapologetically chronicling the paranoia that can be found skirting the euphoria of rave. And while Watson has avoided the eyebrow-arching pitfalls of the self-serious DJ full-length, it must be noted that the rhythms here are more skittering, the atmosphere less jubilant and the signature lo-fi hiss, fully popularised and bastardised since Watson's last album, has taken on a more fore-boding tone.

Meanwhile, the atmosphere elsewhere harks to a more idealistic world, particularly on the cascading and subdued Eine Kleine Emusik, and the euphoric We Own The Night. Twin Tub and Reet Dux provide dubby, sensual moments of escapism. There's uncompromising, hard-nosed rhythms on Dee Sides, and cosmic electro throughout 4am in the Trees. The album then concludes in a bold fashion with Displays of Brotherly Love and the resolutely hopeful atmosphere of Phosphorescent.

Reflecting decades of immersion in club culture and taking inspiration from wider-found sounds, The Midnight Orchard is loaded with thrilling parallels and a sense of genuine unpredictability. Tracks like Come On In and Anarcho Midnight are layered with unease, utilising pitch dark arpeggios and skittish, growling electronics to devastating effect.

Having dedicated the last eighteen months of his life to the studio, Watson has rec-orded what is undeniably the most unexpected music of his career. Amid the dark-ness, The Midnight Orchard has borne fruit.

Our final physical release of 2018 at First Word comes courtesy of Souleance, aka the DJ producer duo consisting of Soulist and Fulgeance, with a double A sided single, and a glimpse into one of our forthcoming 2019 releases, 'French Cassette' which follows on from Souleance's acclaimed 'La Beat Tape' release from 2013, and again delves into crates of samples with a distinct French flavour.

'François' is a track dedicated to the one and only François de Roubaix, legendary film score composer, jazz aficionado and one of the duo's biggest French influences. A delectable slice of 100 bpm instrumental boom bap, built around a seriously infectious jazz-funk groove, and chopped-up vocals.

'Sète' heads to the south of France, to the beautiful Mediterranean city where Gilles Peterson's Worldwide Festival takes place. A region that the duo have had love and appreciation of, for many years. This one touches up the tempo a little, with some sun-glazed boogie riding beneath ethereal vocals, samples and sizzling synths.


With a decades worth of collaboration between them, and persistent party rocking across Europe, Souleance continue to create tried & tested nuggets of magic for the dancefloor. This double-sided 7" is no exception, and should give you an idea of what to expect from the full beat tape next year. Meanwhile, here's another essential one for the record bags.

On her deeply moving debut album At Weddings, Sarah Beth Tomberlin writes with the clarity and wisdom of an artist well beyond her years. Immeasurable space circulates within the album's ten songs, which set Tomberlin's searching voice against lush backdrops of piano and guitar. Like Julien Baker and Sufjan Stevens, she has a knack for transforming the personal into parable. Like Grouper, she has a feel for the transcendent within the ordinary.

Born in Jacksonville, Florida, and now based in Louisville, Kentucky, Tomberlin wrote most of At Weddings while living with her family in southern Illinois during her late teens and early twenties. At 16, she finished her homeschooling curriculum and went to college at a private Christian school she describes, only half-jokingly, as a "cult." By 17, she had dropped out of school, returned home, and begun to face a period of difficult transition in her life. The daughter of a Baptist pastor, Tomberlin found herself questioning not only her faith, but her identity, her purpose, and her place in the world.

"I was working, going to school, and experiencing heavy isolation," Tomberlin says of the time when she first began writing the songs on At Weddings. "It felt monotonous, like endless nothingness. It was a means to get through to the next step of life." In songwriting, Tomberlin found relief and lucidity she had trouble articulating otherwise. When she was 19, she wrote "Tornado" on her parents' piano, and began to develop confidence in her music. A year later, she had written enough songs to fill an album.

Throughout At Weddings, Tomberlin's lyrics yearn for stability and belonging, a near-universal desire among young people learning to define themselves on their own terms for the first time. "I am a tornado with big green eyes and a heartbeat," she sings on "Tornado," her voice stretching to the top of her range. Rich, idiosyncratic imagery — a fly killed with a self-help book, brown paper bags slashed violently open, clouds that weep over a lost love — sidle up to profound realizations about learning to be alive in this world. "To be a woman is to be in pain," Tomberlin notes on "I'm Not Scared." On "A Video Game," she muses, "I wish I was a hero with something beautiful to say."

Tomberlin cites the hymns she grew up singing in church as her greatest musical influence, and while At Weddings in many ways documents the unlearning of her childhood faith, it's easy to hear the reverential quality of sacred music in her songs. "A lot of hymns talk about really crazy stuff — being saved from the depths and the mire, judgment. When you actually realize what you're singing, it becomes really overwhelming," Tomberlin says. "I grew up singing in church. I was still helping to lead worship when I started coming to terms with the realization that I didn't know if I believed. I felt nauseous and shaky reading these words I was singing and feeling their intensity. If I did believe this, how could I sing these words without being scared out of my mind That's what's influenced how I write."

At Weddings is laden with reverence for music itself, for the power it has to heal others and help people navigate their lives. It is a record about learning to love oneself and others without reservation, from a place of deep sincerity — a lifelong challenge whose tribulations Tomberlin articulates beautifully. "My number one goal with my music is for honesty and transparency that helps other people find ways to exist," she says. With At Weddings, this remarkable young songwriter offers up comfort and wonder in equal measure.

a1 | Any Other Way
a2 | Untitled 1
a3 | Tornado
a4 | You Are Here
a5 | A Video Game
b1 | I'm Not Scared
b2 | Seventeen
b3 | Self Help
b4 | Untitled 2
b5 | February

2018 played host to a bumper crop of sounds from some of Philly's grittiest, including Great Circles mainstays M//R and Chaperone. To close out the year that was, we are pleased to present Heckadecimal's 'Murder Tape.'

A Minneapolis-based producer and acid auteur, Heckadecimal has been a fixture within the vibrant Midwestern electronic music community for nearly 20 years. Founder of the legendary 'Anti-human' events and co-curator of the ever-prolific Always Human Tapes imprint - alongside Ryan Wurst and Peter Lansky - Heckadecimal's reputation is one of unrelenting creativity and tireless advocacy for sonic experimentation. His work has found its way to light via a slew of pseudonyms and stage monikers, including The Worm, noface and Wonder Sirens.

In short - Heckadecimal lives and breathes the sonic matter that he leaves pouring out of studio monitors, busted bar systems and finely tuned rave stacks, wherever his travels take him.

Live performance lies at the core of Heckadecimal's practice. When he stormed through Inciting HQ in Philly earlier this summer, he took command over an arsenal of hardware that reminded us of how Octave One or Shawn Rudiman might show up. These were machines that he had lived with; touched with custom modifications, hand-drawn stickers and pockmarks incurred in battle, one got the sense that the gear was a personal extension of the artist.

Perhaps it's a bit maudlin, but we feel a certain kinship with this project. Indeed, these tracks at times feel very much of a piece with the gnarled tonalities in which our stable typically traffics; all low-slung riddims that reach at equal lengths towards mutated IDM aesthetics and post-Packard Plant techno extrusions. These are future perfect grooves that glide along under the vast Midwestern sky, providing a fertile communication conduit with the City of Brotherly Love.

Give thanks for acid. Great Circles will see you in the New Year..

New Order are proud to announce the release of TOTAL from Joy Division to New Order on vinyl. Originally released in June 2011 on CD, TOTAL from Joy Division to New Order will be available on vinyl for the very first time on 30th November 2018.

Featuring single versions of tracks from both Joy Division and New Order mastered for vinyl by Frank Arkwright from his 2011 remasters. The iconic album cover was created by Howard Wakefield with art direction from Peter Saville.

TOTAL contains New Order's UK Top 10 singles Blue Monday, True Faith, Regret and the Number 1 single World in Motion along with classic Joy Division tracks Love Will Tell Us Apart, Transmission, She's Lost Control and Atmosphere.

New Order head out on tour in November. Playing their only UK show of 2018 at London's Alexandra Palace before dates in Mexico, Chile, Argentina and Brazil.

We Launch A New Vinyl Series, Strictly Limited To 200 Units, No Repress, On Which We'll Be Releasing The Finest Tracks Released On The Digital Pot (digipot).
For This First Strike, We've Chosen A Oldie But Definitely Goodie, Released Back In 2009 On Digipot18: Katharsys, Gancher & Ruin - Dirt Track Ep.
The Original Release Includes 4 Tracks, We've Taken These 2 For "hard-stuff-on-vinyl" Lovers: Sky From Beyond / I Think Its Done.

We Launch A New Vinyl Series, Strictly Limited To 200 Units, No Repress, On Which We'll Be Releasing The Finest Tracks Released On The Digital Pot (digipot).
For This First Strike, We've Chosen A Oldie But Definitely Goodie, Released Back In 2009 On Digipot18: Katharsys, Gancher & Ruin - Dirt Track Ep.
The Original Release Includes 4 Tracks, We've Taken These 2 For "hard-stuff-on-vinyl" Lovers: Sky From Beyond / I Think Its Done.

Exactly one year after Lorenz's debut EP on Dirt Crew he is back with a super funky follow up. With the recent
'Marakuja' track on our 'Deep Love 2018' compilation he already set the tone to a much more fluid and organic live approach to his sound recording.

The opening title track 'Belair' is a heavy 'wurly' organ jam he developed mainly by playing live and afterwards finalizing it in his Cologne studio. After his recent tour and shows as part of the Detroit Swindle live outfit he really got into improvising and composing his tunes on the fly. The Funk is all over this one and it is a great uplifting 'sunny' jam to play out. Following this one is the slower and deeper 'Jubilee' that's adding even more soul to the 'Rhode' funk with an irresistible bass line and melody and when the clavinet break sets in it's nothing but Good Times on the dance floor! A certain rewind for us and favorite track off this new EP.

On the flip we added two remixes from his previous high in demand tracks 'On Top' and 'And I Said'. Lorenz has been working a lot on various projects with his good friends Strip Steve and Tensnake and both had their go on these tracks from last year. Strip Steve took the parts of 'On Top' and turned them into a deep Detroit flavored House Jam with stabby beats and beautiful strings added. Last but not least Tensnake fires up a high octane remix of 'And I Said' that leans much towards old school New York house rhythms and the additional 'Sax' topping gives it a groovy 90s feel to it. For sure bringing back that great happy and funky flow of the original.

We hope you dig this funk and soul laden EP by Lorenz Rhode as much as we do! Enjoy!

The name Hugo Mari might not ring a bell just yet, but we've got a feeling this is about to change real soon. He's released a handful of EP's under his former alias Books on Omena and XVI including his own edit series on the latter label (check out his killer track 'in the groove or his jazzy deep house collaboration with Zodiac called 'Feel it in my Bones'). Considering he's also remixed well known artists like afrobeat legend Dele Sosimi and grime master Trim, you might share our view of this amazingly talented and versatile producer. His 'Change ur ways' EP for Heist is soulful, jazzy, deep and energetic with three varied originals and a classic soulful house remix by man of the moment, NDATL label head Kai Alcé.

'Get Loose' features the silky-smooth vocals of Zodiac, some lovely solo work on the Rhodes and a 'free jazz' vibe on the horns. There's a constant funk bassline looping throughout the track to keep the energy going while the loose arrangement as well as the drum programming give the track that care-free feeling of a never-ending live jam. With that, 'Get Loose' is a great club track that crosses the boundaries between funk, jazz and house.

The title track still has that jazzy feeling but moves towards a quirkier territory with some 'Frits Wentink' style harmonization, detuned piano's and loosely chopped samples. There's a definite gospel feel to the track, thanks to the choice in vocal chops, which is complemented perfectly by a filtered disco bassline. The percussion layer and rhythmic elements are full of energy without ever crossing the line where of subtlety that makes this track so catchy.

On the flip, there's 'Feel ur senses', the most straightforward deep house track of the release, that gets its mood from an ongoing tremolo on the Rhodes pads. Space bleeps, bells, a hidden arp and 'reverbed-out' hits give the track an almost balaeric sound that will certainly put a smile on your face.

The B side is complemented with a vocal and instrumental remix of 'Get Loose' by Kai Alcé, who has been throwing out one killer tune after the other, remixing Volcov's Isoul8 project (one of our favorites of the year), as well as kicking out releases on his own NDATL label. Kai goes for a full-on soulful house vibe, giving his own chord progression center stage along with a set of rimshots. He chooses to leave the horns out, and instead work the vocal, Rhodes, and cowbells from the original to great effect, adding a little solo work of his own on a bell-like piano where he freestyles happily throughout the track and copies the vocal for added harmonies.
The instrumental version is perfect for those moments where you're done with all the vocals and just want a tight soulful groove.

We couldn't be happier with this release so play it loud and get loose!

Yours Sincerely,

Maarten & Lars

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, its catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. This latest repress from the vaults is a real biggie - a true NYC underground disco CLASSIC!

High Voltage is one of the more familiar names in the P&P / Queen Constance galaxy. Led by Peter Brown and Patrick Adams right hand man and producer Michael Campbell who presided over some of the biggest and best sides the labels put out. This one is a must, essential, do not sleep business. 11.00 minutes of Disco fury! One is forgiven in thinking that this would've been huge had it have come out on one of the 'bigger' Disco labels, but that hasn't stopped 'Rock, spank, freak' becoming a true blue club anthem. Appearing in the playlists of DJ's and selectors as diverse as Larry Levan, Danny Krivit and Daniele Baldelli. Rough n'ready, unpolished but musically explosive the sounds contained on this here 12" are indeed High Voltage! As with a lot of these jams, this one's been badly bootlegged, so ignore those wack counterfeits that are out there and bag you a fully licensed reissue of this absolute bomb. Dope.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Same track on both sides

The demons of night are out again: Seoul's one-stop shop creative collective Byul.org returns this fall with its third international album, entitled Nobody's Gold, out via Alien Transistor (worldwide) and the group's own Club Bidanbaem imprint (South Korea). Comprising 14 new songs, it's a dizzying, haunting affair that channels the group's manifold influences and references points (from post-punk to Stockhausen and back via club culture) and yet sounds intriguingly coherent.

Moving in and out of the shadows, Nobody's Gold breaks forth as pure sonic landscape - a universe of its own, folding and unfolding into both more experimental patterns, yet also with occasional hooks and dark catchy structures, gracious build-ups flickering among the hazy roar and thunder. After the screak and squeal of 'Lamb with a Wolf Mask,' the foreboding sounds of 'The Museum of The Two of Us' segue into a synthesized party tune about a missing friend being chased by police ('Nari Yuko Yin'), one of several vocal tracks with a sinister edge. Taking things up another notch, 'Friendly Enemies' is probably the closest this group will ever get to creating a stadium-ready anthem. On the other end of the spectrum, 'The Place Where Designers Go To Die' is a magnificent void with an immense and irresistible undertow...

Never too jolly (not even while 'Day Drinking at a Seaside Town' or during takeoff via epic pop tune 'Bats We Are'), Nobody's Gold compiles soundscapes with a very tangible, corporeal presence - iridescent sonic sculptures placed in unlikely settings (e.g. outer space, see: 'Dirty Dirtiness'), born at the fringes where night blends into day and vice versa.

Inspired by everyday life, half-remembered drug/club experiences, Pascal Quignard's disturbing La haine de la musique, Stockhausen and Bill Evans, the new LP sees the collective remain true to its DIY foundations while repeatedly questioning our listening habits and 'the exaggerated love for the concept of love,' as they put it.

Founded around the dawn of the millennium as a group of poetry-loving friends who'd occasionally meet for drinks, Byul.org has long become an extremely prolific and versatile collective within Seoul's scene: Main song-writer TaeSang Cho and his mates Yu Hur, Jowall, YunYi Yi, SuhnJoo YI, HyunJung Suh, and SoYoon Hwang went from publishing to recording, from releasing tunes to design, art direction and more. Although their list of clients includes Atelier Herme`s and the Venice Biennale (they did the Korean Pavilion twice), the group still remains a drinking circle of close friends at its core: Pals who simply like to create and carouse and dream and live and perform and play tunes together.