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played by audiofly, renato cohen, wink and many more

Altercat proudly presents the definitive reissue of one of the crown jewels of South American jazz. Essentially the brainchild of Argentinian jazz's leading figure Jorge López Ruiz, the project Viejas Raíces marked López Ruiz's departure from the traditional forms of jazz. The trio that recorded this album, consisting of López Ruiz joined by his life-long friend drummer Pocho Lapouble and gifted Chilean pianist Matías Pizarro, created a thrilling blend of jazz and Uruguayan candombe, surrounded by an undeniable cinematic feel spurred by López Ruiz's long experience in the soundtrack field. When read as one element, the cleverly chosen combination of group name and album title (in English: 'Old Roots of the Colonies of the River Plate') readily hints at the kind of sounds the listener will be challenged with when diving into this LP.

Recorded in 1976 in the wake of the "Proceso de Reorganización Nacional", the bloodiest period of dictatorship in Argentina, the album was initially frowned upon by critics and public alike, both still firmly rooted in jazz traditionalism and obviously not ready for the new ideas that musicians like López Ruiz were experimenting with. Despite being a commercial flop upon its release, the album has been enjoying a growing reputation over the last two decades, acclaimed by jazz enthusiasts who value it from a different historical perspective and embrace its experimentation during this revolutionary period of change.

Forty-five years after its release, the album receives the Altercat treatment with a much deserved deluxe reissue, with sound direct from the master tapes and an accompanying 12-page booklet with previously unpublished pictures and bilingual liner notes telling everything you ever wanted to know about the album and those who made it possible.

Repressed !!

Jay Dee needs no introduction. Widely regarded as one of the most important figures in hip–hop alongside Pete Rock, Kanye West, Pharell, and Dr. Dre, his influence has reached far beyond the genre. Known widely as your favourite producer’s favourite producer, and having produced and remixed for legends like Janet Jackson, Daft Punk, A Tribe Called Quest, Brand New Heavies, Busta Rhymes, Common, Erykah Badu, Guru, The Pharcyde, The Roots, De La Soul, and Royce Da 5’9"—the list is endless—there is no questioning Jay Dee’s genius. Many have tried, but none have been able to duplicate his sound. Originally released in 2001, Welcome 2 Detroit marked Jay Dee’s first solo project and the groundbreaking debut of BBE’s Beat Generation series, where producers stepped into the spotlight with complete creative freedom. A paradigm-shifting record, it was short-listed for Artistic Achievement in Music in October 2001 (the U.S. equivalent of the Mercury Prize) and instantly set the bar for everything that followed. Now, 25 years later, Welcome 2 Detroit returns in a long-awaited repress, celebrating a quarter-century of influence and innovation. This anniversary edition brings the instrumental version of the album back into circulation after years out of print, allowing listeners to experience the full depth and complexity of Jay Dee’s production in its purest form. Stripped of vocals, the intricacy, texture, and brilliance of his work shine brighter than ever—revealing details you may have missed the first time around. Make sure you grab a piece of history.

Kenny Gino and Big Mike a.k.a. the Solid Gold Playaz both started playing records in the late 70's/early 80's. Having family from Chicago, who were DJ's and down with some of the big guys at the time, "heavily influenced our music and production styles" both say. "Living so close to the city, we could go down to all the legendary night spots. The Rainbow and the Warehouse, the Box, the Shelter... places where you could just feel the vibe. And you could hear guys like Farley Funkin' Keith, Ron Hardy, and Jammin' Gerald (the Chicago DJ/producer who is Kenny's cousin) play these incredible records". They both were hooked on the house sound, and would bring it back to their home, a small city named Racine, Wisconsin, located about an hour and half north of Chicago. They continued to develop their DJ and production skills into the 90's, but musically, weren't taking things very seriously until they met Chicago producer Louis Bell. He introduced them to many of the people who were building the mid-90's Chicago sound. "Louis gave us access... access to places we hadn't been before. He took us into the offices of Cajual/Relief Records and Underground Construction, and suddenly we were face to face with guys who were doing what we wanted to do... Cajmere, Paul Johnson, Glenn Underground... showing us that we could do this too. We did a few releases just to get our name out, and soon we had some pretty big named DJ's playing our music. We had DJ's actually looking for our records, and telling us how much they liked our sounds... that just blew us away, especially with very little promotion and in the limited numbers we were pressing... our music just started to build a name for itself."

Farron Gets Back On Shaw Cuts With His Fourth Record, 'invincible Shaolin' - A Tale Of Double-dealing, Rivalry, Royalty And Bad Blood. Manchu General Pu's Evil Quest To Eradicate The Shaolin Tradition Unfolds, Cunningly Pitting North And South Shaolins Against Each Other. 'spring Break Ya Neck' Opens The Clash With Its Rhythmic Shifts And Whirling Synth Pads. The Northern Masters Prevail.
After Pu's Henchmen Secretly Kill The Southern Shaolin, The General Blames The Masters From The North, Unleashing Chaos. 'cosmicaph' Restores Order, Its Pounding Drums And Floating Melodies Giving New Strength To The Southern Shaolin. Revenge Must Be Taken.
To Prepare For Conquer, The Southern Master Sends Three Of His Disciples To Three Masters To Learn Their Secret Weapons. 'sir Hatch' Sets The Pace With Rolling Punches, Dirty Synths And Sharp Percussion As The Three Disciples Transform Into Lethal Fighting Machines.
Just Before The Final Encounter Between The Shaolin, Leibniz Lands On The Scene With His Fresh Interpretation Of 'spring Break Ya Neck', Revealing To Both Schools That They Have Been Deceived. Joining Forces, North And South Battle The General And His Men, Led By Leibniz's Funky Drum Patterns And Turbulent Synth Action.
And The Shaolin Spirit Lives On...

DJ Slip's amazing Discography counts more than 30 releases on well-known lables like Missile, Music Man, Kanzleramt and his own Creation Rebel imprint. His productions are always this little bit different and sets them apart from the rest. Again DJ Slip surprises even those who know. Born and raised in Midwest America he started his music productions with Woody Mc Bride and DBN from Milwaukee. Slip's Homebase is nowadays Brooklyn NY where his Creation Rebel label and the studio are placed too. His brand new album "The Machines Will Know Who You Are" is his first real album and another groundbreaking step that shows his dissimilar sound creations based on electro, techno and instrumental hip hop tunes. The LP contains 12 stories told by the tracks and the guide Slip leads us through the world of strange percussion grooves, post-acid-times, electro bass soundsystems, bangin' techno club memories, chillin' nightflights, Brooklyn and the rough street-life sounds from New York.

Motoko & Myers is the collaborative project of Bay Area-based duo Wonja Fairbrother and Daniel Letson. “Colocate” follows their 2018 debut release on the Open Hands Real Flames imprint (Bass Clef), further developing their distinctive style which combines melodic, pop song structures with live improvisation and odd or no-meter approaches to rhythm and timing. It is a collection of bright, addictive listening, full of tracks that manage to feel at once hooky and aleatory, naive and rigorously arranged.

Recorded and assembled sporadically over a period of several years, the album’s idiosyncratic palette was achieved through much technical and methodological eccentricity: “4-handed” collaborative keyboard playing; 12-bit sampling and archaic presets; field recordings of cicadas in Louisville, Kentucky and church bells in Freiburg im Breisgau. The album’s nine tracks exude a homespun quality that is rare to find in contemporary electronic music – hazy, warm, and disarmingly organic.

Australia-based musician Mark Gomes presents the debut full length under his own name for Soda Gong. “Alphane Moods” finds Gomes employing strategies that will be familiar to listeners of his work as Blue Chemise – elegiac, loop-based modes of composition and a predilection for concise etude forms – that manifest here with a strikingly different scope and intent, shifting from expressive abstraction into more conceptual terrain. Over the course of fourteen widescreen tracks, he navigates the gap between nostalgic and futurist sensibilities, concocting elusive, romantic, and sanguine settings that feel both plucked from the past and beamed in from a time still to come. Gomes describes his approach on the record as a “practice of ‘constructed ambience’, deploying sounds and track titles with pop-psychological associations of escape.” The result is a vivid, cinematic album that splits the difference between the worldbuilding retrofuturism of the best vaporwave music and the shadowy, homespun tape vignettes for which Gomes has become well known.

Written and produced by Mark Gomes
Master + cut by Kassian Troyer at D&M
Artwork by Alex McCullough

“Trash Can Lamb” is a new solo album from Akron, OH-based multi instrumentalist Keith Freund. For the better part of twenty years, Freund has been producing intimate, shape-shifting music on his own and as part of collaborative projects such as Trouble Books, Lemon Quartet, and Aqueduct Ensemble. Here, he concocts a heady, homespun broth of analog synthesis, bit-reduced sampling, piano, standup bass, saxophone, and location recordings, arriving at a loose and evocative set of songs. Throughout the album, we hear 8-bit experimental delays mangling airy acoustic materials, denaturalizing them into primitive loop structures while retaining their golden-hued, melodic cores. The sputters, hisses, and croaks of handmade electronics nuzzle up to wistful piano and saxophone ruminations; the pure pandemonium of chaotic triangle wave patching and filtered noise settles into the serenity of a backyard dusk full of spring peepers (or maybe they’re crickets…). It’s in the space between the ragtag and rough-hewn and the romantic and yearning that Freund situates these compositions; it’s a peek inside a workshop that sits atop the trees, branches scraping on the windows, bluejays who just won’t knock it off, a table fan spinning slower and slower, its cheap blades covered in dust.

All music by Keith Freund, with contributions by Linda Lejsovka, G.S. Schray, Steve Clements, and Corey Farrow.
Mastered by Kassian Troyer at D&M.
Art/design by Alex McCullough and Felix Luke.