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Limited Edition Clear Vinyl

Includes 12' Vinyl and Deluxe CD album, 30 page hard back book

Now that I've been to Nashville,' Kylie Minogue says with audible affection, I understand. It's like some sort of musical ley-line...'

Golden, Kylie's fourteenth studio album, is the result of an intensive working trip to the home of Country music, a city whose influence lingered on long after the pop legend and her team returned to London to finish the record: We definitely brought a bit of Nashville back with us,' she states. The album is a vibrant hybrid, blending Kylie's familiar pop-dance sound with an unmistakeable Tennessee twang. It was Jamie Nelson, Kylie's long-serving A&R man, who first came up with the concept of incorporating a Country element' into Kylie's tried-and-trusted style. That idea sat there for a little while, with Minogue and her team initially unsure about how to bring it to life. Then, when Grammy-winning songwriter Amy Wadge's publisher suggested Kylie should come over to collaborate in Nashville, a city Kylie had previously never visited, something clicked. You know when you're so excited about something,' she recalls, that you repeat it an octave higher and double the decibels I was like that. 'Nashville! Yes! Of course I would!'. I hoped it would help the album to reveal itself. I thought 'If I don't get it in Nashville, I'm not going to get it anywhere.''

Kylie's Nashville trip involved working alongside two key writers, both with homes in the city. One was British-born songwriter Steve McEwan (whose credits include huge Country hits for Keith Urban, Kenny Chesney and Carrie Underwood), and the other was the aforementioned Amy Wadge, another Brit (best known for her mega-selling work with Ed Sheeran). It was then a truly international project: Golden was mainly created with African-German producer Sky Adams and a list of contributors including Jesse Frasure, Eg White, Jon Green, Biff Stannard, Samuel Dixon, Danny Shah and Lindsay Rimes, and there's a duet with English singer Jack Savoretti.

However, the album's agenda-setting lead single Dancing was, significantly, first demoed with Nathan Chapman, the man who guided Taylor Swift's transition from Country starlet to Pop megastar. If anyone knows how to mix those two genres, Chapman does. Nathan was the only actual Nashvillean I worked with. He's got a huge studio in his house, which is probably due to his success with Taylor... there's plenty of platinum discs of her, and others on his walls.' There's something of the spirit of Peggy Lee's Is That All There Is, of Dylan Thomas' Do Not Go Gentle Into That Good Night, even of Liza Minnelli's Cabaret about Dancing, a song which not only opens the album but sets out its stall, providing a microcosm of what is to come. You've got the lyrical edge, that Country feel, mixed with some sampling of the voice and electronic elements, so it does what it says on the label. And I love that it's called 'Dancing', it's immediately accessible and seemingly so obvious, but there's depth within the song.'

The experience of simply being in Nashville was an overwhelming one, before Kylie had even arrived. Once I knew I was going to Nashville, people talked about the place with such enthusiasm. They said without doubt I would love it and, I would come back with songs. They were sending lists of restaurants, coffee shops and bars. It really was a beautiful and genuine response and it felt like I was about to have a life changing experience and in a way, I did.' The reality came as something of a surprise, when she found a far more modern metropolis than the vintage one she'd envisaged. I thought it would be like New Orleans: little houses and bars, with music spilling out onto the street. It reminded me more of Melbourne: apartment blocks going up everywhere! The main strip, Broadway, where the honky tonk bars are, that's where the street was filled with music and it was just amazing.' Mainly, Minogue remembers the heat and humidity. It was 100 degrees. It was like it was raining with no rain.' She also relished the chance to wander around unrecognised, visit a few venerable music bars and soak in the atmosphere. I didn't get to the Grand Ole Opry or the music museums but I managed to go to a couple of the institutions there like The Bluebird Cafe and The Listening Room, and just by being there, through some kind of osmosis, you get this rejuvenated respect for The Song, and the writing of The Song. There's no hoo-hah around it. There's a singer-songwriter there, talking about the song and singing the song, to an audience who are there to listen. Although, I have to confess I was guilty of starting to clap too soon during a long pause at the end of one of the songs. The guy made a bit of a joke out of it and got a laugh from it, but I thought 'Of all people in the audience, no...''

It's probably no coincidence, therefore, that every track on Golden is a Kylie co-write, making it arguably her most personal album to date. The end of 2016 was not a good time for me,' she says, referring to well-documented personal upheavals, so when I started working on the album in 2017, it was, in many ways, a great escape. Making this album was a kind of saviour. I'd been through some turmoil and was quite fragile when I started work on it, but being able to express myself in the studio made quick work of regaining my sense of self. Writing about various aspects of my life, the highs and lows, with a real sense of knowing and of truth. And irony. And joy!'

The songwriting process allowed Kylie to get a few things out of her system. Initially, she admits, it was cathartic, but it also wasn't very good. I think I was writing too literally. But I reached a point where I was writing about the bigger-picture, and that was a breakthrough. It made way for songs like Stop Me From Falling and One Last Kiss. It also meant I had enough distance to write an autobiographical song, like A Lifetime To Repair, with a certain amount of humour. The countdown in that song: 'Six-five-four-three, too many times...'. I don't know if that will be a single, but I can just imagine a girl with framed pictures of past boyfriends, and kind of going 'Oh god, when am I going to get this right'' When she listens back to Golden, Kylie can vividly hear the Nashville in it. It is, she'll agree, probably the first time that a Kylie album has sounded like the place it was made. You wouldn't normally relate my songs to the cities. Can't Get You Out Of My Head sounds more like Outer Space than London. But Shelby '68, for example, was written in London but it was done with Nashville in mind. It's about my Dad's car, and my brother recorded Dad driving it! I don't think I'd have written a number of the songs, including Shelby '68 and Radio On without having had that Nashville experience.'

The latter, she says, is about music being the one to save you.' Throwing herself into the making of the record, she says, crystallised that idea. If there's one love that will always be there for you, it's music. Well, it is for me, anyway.' That song, in particular, carries nostalgic echoes of the golden age of Country, as heard through Medium Wave transistors and tinny home stereos in the distant past. Like any child of the Seventies, Kylie had a basic grounding in Country music, mainly absorbed from older family members. My Step-Grandfather was born in Kentucky and though he lived most of his adult life in Australia, he never stopped listening to his beloved Country artists.' If there's any classic Country singer whose imprint can be heard on Golden, it's Dolly Parton.

Kylie saw Dolly live for the first time at the end of 2016, at the Hollywood Bowl. It was like seeing the light,' she beams. It was incredible. Everyone, whether they know it or not, is a Dolly Parton fan. When I was in Nashville, I did pick up a T-shirt that said 'What Would Dolly Do' Maybe that should be my mantra.' And, whether consciously or otherwise, there's a timbre and trill to Kylie's vocals on Radio On that is distinctly Parton-esque. My delivery is quite different on this album,' she says. A lot of things are 'sung' less. The first time I did that was with Where The Wild Roses Grow. On the day I met Nick Cave, when I recorded my vocals, he said 'Just sing it less. Talk it through, tell the story.' This album wasn't quite to that extreme, but a lot of the songs were done in fewer takes, to just capture the moment and keep imperfections that add to the song. I remember on my last album, a lot of producers were trying to take out literally every vibrato they heard. And that's not natural to my voice. I mean, I can make myself sound like a robot, but it's nice to sound like a human!' Working within the Country genre also gave Kylie permission to write in the Nashville vernacular. Because we were going there, I wasn't afraid to have lines like 'When he's fallen off the wagon we'd still dance to our favourite slow song', 'Ten sheets to the wind, I was all confused', 'I'll take the ride if it's your rodeo'. The challenge of bringing a Country element to the album made the process feel very fresh to me, kind of like starting over. I started to look at writing a different way, singing a different way.'

If ever Kylie lost confidence in the Country-Pop concept, and found herself pondering This is great, but back in the real world - my real world - how will this work', Jamie Nelson was there to badger her into sticking to the path. We found a way to make it a hybrid with what we'll call my 'usual' sound. It had to stay 'pop' enough to stay authentic to me, but country enough to be a new sound for this album. The closer we zoomed in, and the more we honed it, I knew Jamie was right. We sacrificed good songs that weren't right for this album, because we wanted it to be as cohesive as possible. The songs that were hitting the mark were these ones, so we decided to be strong, and that's how we wrapped up the album. What he said, that stuck with me, was that 'I'd hate to get to the end of this and really wish we'd gone for it.'' Having worked with Kylie for so long, Nelson was able to put this latest shift of direction into perspective. He said 'You've traditionally done it throughout your career. You had your PWL time, then you did a complete turn when you went to deConstruction, then another complete turn with Spinning Around, and R&B dance-pop, and then another turn with Can't Get You Out Of My Head, icy synth-pop, and this is another one.' He was right. It felt like the right time to have a change sonically. New label, new stories to tell, and a new decade almost upon me.'

Kylie Minogue will, it's scarcely believable, turn 50 this year. This looming milestone is partly behind the album's title, and title track. I had this line that I wanted to use: 'We're not young, we're not old, we're golden' because I'm asked so often about being my age in this industry. This year, I'll be 50. And I get it, I get the interest, but I don't know how to answer it. And that line, for my personal satisfaction, says it as succinctly as possible. We can't be anyone else, we can't be younger or older than we are, we can only be ourselves. We're golden. And the album title, Golden, reflects all of this. I liked the idea of everyone being golden, shining in their own way. The sun shines in daylight, the moon shines in darkness. Wherever we are in life, we are still golden.' One of the album's shiniest moments is Raining Glitter, an exuberant banger which ventures closest to Kylie's traditional dance-pop comfort zone. Eg White, who is one of the producers and writers and a great character, was talking about disco one day. I said 'I love disco, but you know the brief.' We needed to be going down the Country lane, so to speak. But we managed to bring them both together. When I wrote it, I was thinking about the Jacksons video for Can You Feel It where they're sprinkling glitter over everyone. And I think there's a Donna Summer record that's got that feel to it. I think that's my job: I basically leave a trail of glitter after every show I do anyway.'

Kylie is looking forward to the challenge of incorporating the Golden material into her live shows. Mixing these songs in with my existing catalogue is going to be fun. And it could be fun to do some of those songs with just a guitar. It'll make my acoustic set interesting...'Her incredibly loyal fans - to whom one Golden song, Sincerely Yours, is intended as a love letter' - will, she believes, have no problem with her latest stylistic shift. My audience have been with me on the journey, so I shouldn't be afraid that they won't come with me on this part. I've had fun with it, and I'm sure they will too.'

The time spent making Golden has, Kylie says, been a time of creative and personal renewal. I've met some amazing people, truly inspiring writers and musicians. My passion for music has never gone away, but it's got bigger and stronger.' And if there's an overriding theme to the record, it is one of acceptance. We're all human and it's OK to make mistakes, get it wrong, to want to run, to want to belong, to love, to dream. To be ourselves.'

I was able to both lose and find myself whilst making this album.'

Das erste Album von Chris Carter seit 17 Jahren! Als Gründungsmitglied von Throbbing Gristle - gemeinsam mit Cosey Fanni Tutti, Peter 'Sleazy' Christopherson und Genesis Breyer P-Orridge -, spielte Chris Carter eine signifikante Rolle in der Entstehung elektronischer Musik, eine Reise, die Carter als Teil von Chris & Cosey und Carter Tutti respektive Carter Tutti Void und in seinen Soloarbeiten bis heute fortsetzt. Die Verknüpfung von traditioneller Musik und Elektronik sind jene Momente, die die Musik von CCCL Volume 1 an das Schaffen von Throbbing Gristle rückbinden.

In an interview with Jazz Magazine in the early 1970s, Dharma, as a collective voice, outlined their method: 'we try to reach, within free jazz, the same sort of rhythmic cohesion as in Bop, a cohesion based not exactly on tempo, but something which feels like tempo. A kind of underlying pulse'. Evidence of these ideas can be heard immediately on listening to Mr Robinson, the first album by the Dharma Quintet, for whom community living seemed obvious, in order to add to the aforementioned cohesion. Through this, the group members played together on a daily basis, trying out things which were worked on day in, day out. They were also listening to a lot of records, with of course a preference for free jazz, but not forgetting Miles Davis in his electric period, notably for the keyboards of Keith Jarrett and Chick Corea. To which should be added esthetical-political concerns based on a refusal of hierarchy, and a desire to escape from a restrictive academic approach... It was within this framework that Jef Sicard and Gérard Coppéré (saxophones, flute, bass clarinet), Patricio Villarroel (electric and acoustic piano), Michel Gladieux (bass) and Jacques Mahieux (drums) formed the first version of a collective united by structured intentions. Because, within Dharma, individual improvisation cannot be envisaged outside of a clearly designated framework, even non-tempo. The result is a beneficial cohesion, and moments of great beauty born of a collective excitement and giving rise to ambiances which seemed almost possessed. The use of modes could seem to link Mr Robinson to the spiritual jazz of the past but that is without taking into account the fact that the benevolent spirit of Eric Dolphy seems to watch over this album. In France, a similar desire for cohesion could be found in the Cohelmec Ensemble, who had parallel preoccupations, to the point where their bassist, François Méchali, ended up by joining Dharma: there is unfortunately no recorded trace of this, just the memories. As a quintet, with however some personnel changes, Dharma recorded three albums (there is also one as a trio, under the name of Dharma Trio), which are all of fundamental importance (Dharma would also accompany, and to great effect, the songs of Jean-Marie Vivier and Colette Magny). Individually, the members would record with musicians passing through (notably Anthony Ortega, Dave Burrell) and participated in other key groups including Machi Oul and Full Moon Ensemble.

Alien Ensemble's trombone man Mathias Goetz caused quite a splash when he released his eponymous debut LP under his Le Millipede moniker back in 2015: The multi-instrumentalist's initial offering was clearly something else, impossible to grasp, a musical vessel beyond genre, beyond style or era, seemingly beyond space and time even, a vessel that carried an almost cosmic kind of song-craft - music with no fixed stamp of origin, though it did somehow feel like an Alien Transistor release. Followed by remix album Mirror Mirror, which comprised reworks by 1115, Protein, LeRoy, Olaf Opal, and Saroos, to name a few, it's now time for album #2: The Sun Has No Money.Let's face it: There's nothing as majestic as the sun. At least not in our world. If it runs out of juice one day, it's game over: The End. Light's out. For everyone. At that point, it wouldn't even matter if you're rich or poor. We're all equal under the sun. Same level. And yeah, this might not be major news, but then again... we're talking about the sun. The sun! Guess it's about time to acknowledge its power and superiority, right In fact, you can feel it on your bicycle: pedaling at night, when it's on duty in other hemispheres, and you're working hard at the dynamo, sweating, you can actually feel how powerful it is. In the end you get off the bike all recharged, a tune on your lips - and somehow feeling like a miniature version of the sun yourself. And whenever you feel like that, that's exactly the right moment to grab a melodica and get to work.Following an initial warm-up round sans electricity, this new album soon begins to glow: Mathias Goetz aka Le Millipede doesn't need pedals, he boosts circulation by single-handedly* playing tons and tons of different instruments - it actually feels like thousands, easily. And thus begins a show that has countless levels to it: There are various sonic illusions... and yet Le Millipede doesn't hide anything: He's also willing to show the inner workings, the actual recording process and everything else. In short: he goes meta. Makes songs about making songs. That's right: why not use all these beautiful means to address the issue of money It's not the sun that casts shadows, all it does is recharge, fuel: growth & thriving, that's the sun's area of responsibility. And yet there came a man whose plan was simple: steal the fruit from your garden, only to sell it right back to you, for money. We can hear the sea gulls crying in the distance, as somebody is throwing breadcrumbs up into the wind that carries their voices...It's not the sun that casts shadows - all it does is radiate light. And yet there came a time when someone blocked those rays of light. Now if you're some kind of Diogenes, you'll simply say, Move at least a little out of the sun.' But if you're a teacher, you'll maybe light up your pipe and use that to lighten up. What matters is that the percussion parts, in this case, resemble some serious musique concréte. The sun doesn't know shadows - all it knows, is itself. And yet somebody entered the picture and built an entire city. A city full of streets, so that houses can cast shadows into these avenues. Plus, there's music in the streets, music originally written inside the walls of said houses.One of those streets is known as the Tin Pan Alley: a place that got its name from a music writer who compared the sound of so many pianos to the banging of tin pans. That sound: that's one side of the road that is this album. Some of these melodies appear to be shadows of earlier tunes, dating back to, say, 1898 or even before that, melodies that were first registered in the Tin Pan Alley publishers' offices back in 1912 or 1917. We actually get to see this Alley at that point in time. We see the ropes, the workings. How things come together, the actual act of creation. Suddenly, we can hear the shadows!
Okay, so one side of this street is America. The US of A. The opposite side: Russia. And smack dab in the middle: Europe. A pothole in the center. All the back-and-forth that occurs between these two poles ultimately depends on the movement of the sun. Night and day, taking turns, commuting in and out of sight. We get to meet Prokofiew's and Scriabin's ghost, among other spirits, reframed and published by Le Millipede's own imaginary label imprint on the historic Tin Pan Alley. Indeed there are moments on this album when Le Millipede seems to be playing Scriabin's clavier a` lumie`res (tastiera per luce), when his performance seems to be based on synesthesia, a wild cross-pollination of colors and sounds. In case you didn't know this: In the States, Prokofiew goes by the name Brian Wilson, and Scriabin's also known as Sun Ra - yet another guy who's usually broke, but gets to spend a lot of time out in the sun. Together, these assorted protagonists ask the people of the Antilles for Mutabor dance-tokens and send postcards to Moondog in Germany, right back into the darkness. On the postcards you can see people dancing the Biguine...Firing foreign fossil fuels from all pipes (Brennelementsteuer!), Le Millipede controls the very center of this hustle and bustle: going as far as to employ some southern Chopped & Screwed styles, he's 100% current and zeitgeisty! Houston, we've got a problem: there's some kind of myriapod, centi- or millipede on the loose! Well, give me another sip of lean, sizzurp, dirty Sprite, and on goes the journey in the Pullman coach. Let's follow the sun! Keep on moving, keep things motorik! Here comes the Trans-Eureka-Express. Cherish the backpacking days! A piercing rhapsody of sound (bohrende Rhapsodie), we'll remember them fondly! And thus things move on, the sun, the days, the earth: rise, set, action, round and round... onwards eternally. The sun: the biggest loop known to mankind. As if it was some kind of sonic Rube Goldberg contraption, time seems to be stretching out while listening to that hmmm. After all: time is a lot (a lot!) more than just money. And yeah, the sun is the real big shot on (or rather: above) Planet Earth. Le Millipede's live line-up also includes Markus & Micha Acher (The Notwist etc.), Nico Sierig (Joasihno), and Manuela Rzytki (G. Rag & die Landlergschwister, Kamerakino etc.).
*sole exception: Evi Keglmaier (Zwirbeldirn, Hochzeitskapelle) plays the viola. Words/sun worship: Pico Be

It was May 2017 when Earthboogie's debut release dropped on Leng. The soundsystem-loving East London duo rightly won praise for a fne EP that brilliantly joined the dots between all things intergalactic, terrestrial and tribal.
Having spent the last ten months recording their adventures, Izaak Gray and Nicola Robinson return with Silken Moon', the frst single from their forthcoming debut album, Human Call.
In typical fashion, Silken Moon' cannily combines musical elements from a myriad of styles - most notably Afro-disco, samba and mid-tempo Chicago house - to create a humid hybrid that defes easy categorization. There are bouncy organ riffs, undulating acid lines, clipped Afro-funk guitars, tons of tropical percussion and the chanted, carnival-friendly vocalizations of guest singer Nina Miranda.
The release comes backed with remixes from two members of the extended
Leng family: long-serving producer Felix Dickinson and Turkish rising star Ali Kuru. Dickinson sticks close to the original of Silken Moon' with a mix built around gently jacking machine drums and Earthboogie's sweaty guitar licks while Kuru takes Human Call' in an altogether more cosmic direction. Pushing the track's psychedelic TB-303 lines and tropical textures to the fore whilst
adding his own mind-altering electronics - most notably a fat new synth bassline - Kuru cleverly re-casts the track as a pulsating, late night throb-job.

Garden City Movement's debut album 'Apollonia' is set for release on 16th March 2018. The trio of Roy Avital, Yoav Saar and Johnny Sharoni produce a blend of sounds drawn from their diverse cultural worlds, ranging from art-pop to experimental house to horizontally-aligned vibes.

Since surfacing at the close of 2013 with their breakout track 'Move On', Garden City Movement have released 'Entertainment' and 'Bengali Cinema' EPs, the 'Modern West' 12' in collaboration with The Vinyl Factory, climbed the Hype Machine Popular Chart with multiple singles, recorded live sessions for Boiler Room, Majestic Casual and FACT, opened for Bonobo, Caribou, Alt-J and played all over the world. The band's music video for 'Move On' received a nomination for Best Music Video at the LA Film Festival, won Best Video of The Year' at the MTV Israel Music Awards and the video for 'She's So Untouchable' screened at Raindance Film Festival in London.

Recording through 2017 at their studio in Tel Aviv, Garden City Movement took the time to explore their sound as a band. From the combination of dream-like vocals and cinematic-RnB in singles 'Slightly All The Time' 'Before I Fall' and 'A Means To An End' to the leftfield four-four of 'Mediterranea' and 'Sans Titre' or the ethereal jazz of 'I Knew Before I Met Her (That One Day I Would Lose Her)' and worldly influences of the title track - the heightened craft in their production is firmly felt across the album's 18 tracks.

After releasing three EPs, which each had a very tight deadline, recording the album has been a chance to grow. It's the first time we have been able to really take the time and experiment a lot in the studio, try to develop and deepen our language, come up with new sounds, and take our techniques even further'. - Garden City Movement

The album takes a darker path lyrically, exploring the breakdown of a fading relationship and the depression, loneliness and abuse that follows. While not explicit, this melancholy grounds the album in the real world. The fusion of forward facing production and confessional account of human-interaction frames an emotional and honest album of modern soul music.

Born in Poland and now operating out of the ever-effervescent London, the adoptive city where she's learnt the ropes of music production and Djing, Anii - real name Ania Iwinska - has lived many lives in one. Yet if one thing's remained a constant over the years, no matter the harshness of the obstacles life threw at her, it's indeed a deep and inextinguishable love for music; be it behind the mixing desk at Wired Studios or in her own Shoreditch workroom, the key place where she's kept honing her skills with unfazed diligence, up to the point of making it her actual second home.

Anii lands her debut transmission on Kompakt and surely not the last. Named after the Polish word for 'roots', 'Korzenie' finds Ania threading her way in between subtle deep-house and techno folds, delving into the essential strength of her past and present to carve out an hypnotic maelstrom of traditional Polish music strings, tribal percussions and elegiac melodies. Coupling eerie ostinatos with stealthy bass moves, it's an ode to the magnitude of memory and power of resilience that reels out, blurring the line between late night club environment and further spacious, moony soundscapes.

Fayze came of age in Windsor, Ontario, a diverse, gritty Canadian city in the immediate shadow of Detroit. During the 1980s, this fortunate geography placed the local scene in the inner orbit of the emergent Detroit techno scene. From that starting point, Fayze fell deeply in love with experimental, original sounds. Today, his innovative, genre-defying soundscapes flirt occasionally with global schools like avant-pop and krautrock, but his sound is all his own. Fayze 's new music uses vintage analog synthesizers, which he's been collecting since the early 1990s, to build organic, textural compositions. An idiosyncratic collection of ambient, dreamy soundscapes, the album features inspired collaborations with Detroit, Windsor, and Toronto artists. Its myriad influences include Aphex Twin , Stereolab , Led Zeppelin , and Boards of Canada . A well-travelled creative professional by day, Fayze previously made music with Marc Houle and Marshall Sfalcin of King Kool Flipped . This is his first major solo project.

'A Part Of Me' is the debut album by Ivan Arlaud alias 1954, a young musician from Lyon, France. It's an immersive journey between nostalgic and synthetic sounds, melancholia and hope, fears and confidence. He contrived to describe all the bright, warm, cold and dark moments of his restless imagination in rhythms without being intrusive. As the title says, it's his personal disclosure.

- CD: Digipac
- Zwei schwarze heavyweight LPs in wide-spine Sleeve inklusive MP3-Donwloadkarte

Fantasy Life was a one-off Italo disco studio project that consisted of various producers, songwriters, and vocalists from Turin, Italy. The line-up included Lorenzo Avico, Maurizio Camoletto and Sergio Bergamin. They recorded their only single Over and Over' at Minirec Studio in 1985 with mixing engineer Gigi Guerrieri. It was released that same year by Thick Record a sublabel of Il Discotto Productions and became one of the most coveted Italo Disco 12's. Over and Over' is a parable that describes the story of a girl growing up, comparing her life to the changes of the moon. Signature Linn drum and Simmons drums create the driving rhythm track that hauntingly sways back and forth. The vocal version has a nearly two minute extended instrumental break in the middle of the song heightening the dramatic pace. On the B-side is a Dub Version with extended instrumental breaks, bass lines and occasional vocals. Both songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl is housed in the original jacket featuring a painting by Andrea Franzoso and includes a double sided postcard with lyrics and notes

LP There's been an air of hypnagogic mystery surrounding Acid Test's sublabel Avenue 66 from the start. Joey Anderson's oblique, Prince-inspired incantation "Above The Cherry Moon" set the tone for a label that's sound that has found beauty in the furthest recesses of the dance floor, in the murkiest decay of kick drums and rave stabs. Fitting then, that the first album on the imprint comes from Trux, an artist who has chosen to reveal nearly nothing about themselves. Following a cult classic mini-LP for Office Recordings, "Orbiter" bears out the anonymous producer as a master of liminal, conceptual dance music. "Orbiter's" ten tracks have a vaporous, shape-shifting quality, threatening to topple over into full-on kick drum bliss or vanish into ambience. Opener, "With It," moves from heady ambient rush to skeletal piano, while "Blinko" and "Roy's Garage" spell out a hazy memoriam for the UK continuum. Forlorn pianos ring out amongst the field recordings, excitable toms and jungle bass all softened in the enveloping gauze. "Orbiter" positions Trux as an unknown auteur who puts evocative world of tone and echo into dizzying motion, content to watch from the wings.

For over 20 years, your irrepressible host Rex and his legendary Fool's Paradise radio show on WFMU has held a grudge against the whole square world. Broadcasting from an undisclosed location in rural New Jersey in a fur-lined fall-out shelter located miles below the earth's crust, this weekly "excursion to nowhere" continues to proudly play nothing but greasy grooves from inane 45s, non-hit misfires, curveballs and oddballs from the Rock & Roll era. Yes sirree, those weird and warped ones about monsters, beatniks, chickens, apes, stewed moonbeams and mosquito knees...

And now, in the tradition of free love and nickel beer, Jazzman Records has teamed up with Rex to bring together a fabulous collection of his top spins! These are the songs that, by virtue of Rex's dogged persistence, have now achieved a kind of classic status that was surely never previously thought imaginable - The Fool's Paradise Favourites.

Gatefold LP includes 18 tracks with extra special chicken-themed twin spin bonus 45 single!

Next up on Francis Harris's newly-founded record label Kingdoms comes something very special from Brooklyn-based film composer, songwriter, producer and performer Léah Lazonick. Movimenti della Luna D'Oro ('Movements of the Moon of Gold' translated from Italian) is a four-track EP from one of the most exciting musicians and performers around - a beautiful quartet of contemporary classical music with a twist. Lazonick is something of a polymath, having composed and conducted orchestral and electronic scores for short films and commercials as well as being a classically-trained pianist. Lazonick is also a connoisseur of analog synths and vintage drum machines, and will release a second EP focussing on these passions during the course of 2018. Here we are treated to three luscious works for piano and string quartet, written for a one-off performance at Studio OFF Interarts, an art gallery in Montreal. The piece was performed in a forest-like immersive environment, and was originally called In a Forest (A Piece in Three Movements). Lazonick performed the piano parts along with a string quartet she had assembled for the performance/recording. Lazonick explains: 'As opposed to most of the other songs/compositions I have written, I have no concrete sentimental story behind writing this piece. The motivation, inspiration and overall idea behind composing it was of a more technical nature; attempting to relay the music in my head at its purest form, without any compromises, by primarily making use of melodic and harmonic dissonances whilst still keeping the content captivating, musical and continuous.

Belgian musician Dijf Sanders pens and produces soundtracks for distant, far-flung places that brood with exotica, psychedelia, jazz and electronica. His new album 'JAVA', is a psychedelic and modern search for the sounds of the homonymous Indonesian island. Armed with a set of field recorders, Dijf traveled to every urban and rural corner of Indonesia in the spring of this year. As a contemporary incarnation of ethnomusicologist Alan Lomax, he collected an impressive repertory of recordings, commissioned by the Europalia Arts Festival and KAAP Creative Compass. 'Kacapi', 'Kendang', 'Angklung', 'Calung' or 'Gamelan' are not the names of indigenous tropical diseases by the way, but those of local instruments that Dijf encountered on his adventurous musical quest. For two weeks the American expert ethnographer Palmer Keen stood by Dijf through his total immersion into the island's colourful culture and rich, ceremonial traditions. On his return to Belgium, Dijf headed straight back into the studio with the gathered material and invited some of his musical soulmates to put the icing on the cake. It is no coincidence that the three guests - Nathan Daems, Filip Vandebril and Simon Segers - are all part of Black Flower, a band that famously flirts with Oriental sounds. From hours and hours of field recordings, Dijf distilled ten psychedelic pieces which ride on waves of ecstasy and trance, and bridge the gap between two worlds. Tribal rhythms and warm melodies are fused to a seamless and beautiful musical work in utopia. The Brugge-born, Gentbrugge-based musician is one of those great Flemish talents. In the past, he earned his stripes with Teddiedrum and The Violent Husbands and has produced bands like Kenji Minogue and Blackie & The Oohoos. He has also released music under his own name including the critically acclaimed album 'Moonlit Planetarium'. Welcome to Dijf Sanders' wonderful journey into future exotica.

The Tel Aviv based music label 'Raw Tapes Records' has been getting a lot of attention in the last few years, broasdcasted around the world (Gilles Peterson/BBC, The Gaslamp Killer, Toshio Matsuraa/Tokyo Moon FM, Dom Servini/Wah Wah 45 London, Peanut Butter Wolf/Stones Throw LA, Radio Nova/France, Wicked Jazz Sounds/Amsterdam, KCRW/LA, Andrew Jervis/Bandcamp).

With more than 70 albums released out of around 20 local artists within an 10-years work, this is no doubt the most productive independant music label in the history of Israel, and surely Tel Aviv's leading Beats/Hip Hop label and collective.

Puzzles vol.3 is the third volume in the Puzzles Compilations Series from Raw Tapes, featuring 13 of the current artists on the label, including Buttering Trio, Sol Monk & Nitai Hershkovits. The release features cooperations with MNDSGN, vocalist Jenny Penkin, Uzi Ramirez and more.

Curated by KerenDun, this album ranges from Beats & Hip Hop to Jazz and Electronics.

The album marks the 10-years-Anniversary for Raw Tapes.

Don't wanna move to Southern California / I wasn't really meant for LA...' So sang Dent May once upon a time, now he's eating those words with a side of avocado toast in his new Los Angeles bungalow. What made the lifelong Mississippi boy pull up stakes and head west No one looks at you funny if you wear a tuxedo to the supermarket.' What he means is he moved there to shake up his surroundings, clear his head, and write the most accomplished record of his young career, the magical mystery tour de force Across the Multiverse.

Following the lead of musical-polymaths-with-LA-ties before him like Brian Wilson, Van Dyke Parks, and Harry Nilsson, Dent's style on Across the Multiverse will be familiar to fans of his previous work. Yet there's something more refined about this collection... Stately strings mingle with boogie piano like old friends. Synths weave a celestial backdrop throughout. Every verse, bridge and chorus in its right place, giving it the unmistakable feel of a true songwriting craftsman at work. Lyrically Dent has never been sharper, musing on themes like modern romance ( Picture on a Screen', Face Down in the Gutter of Your Love'), existential dread ( Dream 4 Me', I'm Gonna Live Forever Until I'm Dead'), and the distance to the moon ( Distance to the Moon') as he searches for meaning among the infinite scrolling feeds of our 21st century augmented reality. The title track, a duet with Frankie Cosmos, is a deep space love song about finding love beyond impossible boundaries.

Across the Multiverse was written and recorded in a sunny bedroom in LA's Highland Park neighborhood, with Dent producing and playing nearly every instrument himself. The tracks were selected from dozens of songs written after the LA move, a gold rush of productivity inspired by late nights DJing rare disco funk cuts at local watering holes. It's his first record for new label Carpark and will be released August 18th.

Dent May is a self-described hotel bar lounge singer and aspiring daytime TV talk show host - has been charming his way into the hearts of music fans since the release of his debut album The Good Feeling Music of Dent May & His Magnificent Ukulele on Animal Collective's Paw Tracks label in 2009. The Mississippi-born, Los Angeles-based songwriter, performer, and Dolly Parton enthusiast has since released two more acclaimed records, Do Things (2012) and Warm Blanket (2013), dropped the holiday smash I'll Be Stoned For Christmas', and played hundreds of shows from Shanghai to Chicago. His latest album, Across the Multiverse, is an interstellar voyage of mythic proportions.

Hot on the heels of the critically acclaimed 2017 LP Windswept - which soundtracked David Lynch's Twin Peaks, Digital Rain is Johnny Jewel's latest album. Jewel is known for his extensive collaborations with film makers David Lynch, Nicolas Winding Refn, and Ryan Gosling, as well as for his work with groundbreaking musical groups such as Chromatics, Glass Candy, and Desire.

The 19 movements of Digital Rain are three dimensional beds of analogue warmth encompassed in raw electronic moisture. The result is an expansive pallet of soft color amid canyons of jagged oscillations. According to Jewel, "Digital Rain is a mirror image of itself designed to play as a singular liquid movement."

"After living a few years in a desert climate, I realized I was nostalgic for the constant presence of precipitation from every city I once called home. The sound of hail ricocheting off my roof in Houston...The floods crashing in from the Gulf of Mexico that would destroy my mother's house three times...The constant kiss of drizzle on the streets of Portland, and the morning rain against the windshield of Trimet city bus number 15 that I would ride home after recording all night...The snow buried row houses of Montreal where my daughter was born, and the rhythmic feel of ice cracking under my boots for six months straight."

"The desert is constant, and I love this repetitious ritual of Los Angeles so much. As moisture and humid weather seem more and more like a dream I once had or a fading memory of the places I fell in love with...I wanted to make a record without drums, without lyrics, vague in form. Each track morphing and eclipsing the next like the ever-changing movement of clouds obscuring the moon."

Cut By The Legendary Bernie Grundman In Hollywood. Recorded in Joshua Tree / Mixed in Los Angeles.

This special collector's edition electronically reproduced stereo 7' single (only 200 copies), comes in two fantastic coloured vinyl options (100 x red vinyl and 100 x purple vinyl). A refreshingly new take on mono to stereo conversion. Elvis fans growing up in the 1960's and 1970's unwittingly listened to his 1950's catalogue in electronically reprocessed stereo, love it or loathe, it was pretty much all there was back then unless you could afford to track down expensive mono copies. To better understand where the electronically reprocessed stereo versions originate from, we need to go back to 1961, at which point RCA had begun the process of taking Elvis' 1950's mono masters and converting them into a stereo sounding effect. By 1960 when Elvis returned from the army, he was recording in true stereo and as far as RCA were concerned, mono was a thing of the past. You just need to listen to the sound quality of the 1960 'Living Stereo' version of the 'Elvis Is Back' album, to appreciate just how much the recording industry had moved on in just two years. Such was the demand for stereo records in the early 1960's most major labels had created their own process for converting mono into stereo or 'fake' stereo as it became known, with some labels producing better results than others. Opinions on Elvis' 1960's electronically reprocessed stereo versions are mixed, with some recordings making the transition from mono to stereo effect better than others. Some DJ's actually preferred playing the electronically reprocessed stereo versions, believing they gave a wider fuller sound on the dancefloor. By late 1970's, RCA had once again begun to re-issue original mono masters, giving many fans their first opportunity to hear how these tracks were originally issued. By the time compact discs had arrived on the scene in the 1980's, electronically reprocessed stereo was well and truly dead and buried. Very few electronically reprocessed stereo recordings ever made it onto a digital format and the few that did are now highly collectible. Recorded at RCA Studio 1, New York on the 30th of January 1956, My Baby Left Me is a driving powerhouse rockabilly masterpiece with a real Sun Records vibe to it (produced by Steve Scholes with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar, Bill Black on bass and D.J. Fontana on drums). Our flip side Blue Moon Of Kentucky is another rockabilly classic which first appeared as the opposite side to That's All Right (Sun 209) in 1955 (Elvis' first single). Blue Moon Of Kentucky was recorded on the 7th of July 1954 at Sun Records (produced by Sam Phillips with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar and Bill Black on bass). Both tracks have been painstakingly re-engineered to create a stereo effect sound. The result is a bigger, sharper sound that jumps straight outta the grooves at ya! One reviewer described the process as - it's as if a veil has been lifted off the tracks'. Both tracks are taken from the forthcoming album titled 'Elvis Presley - The 50's In Stereo' (mono to stereo re-visited). For best results play this killer double-sider very loud!!!

This special collector's edition electronically reproduced stereo 7' single (only 200 copies), comes in two fantastic coloured vinyl options (100 x red vinyl and 100 x purple vinyl). A refreshingly new take on mono to stereo conversion. Elvis fans growing up in the 1960's and 1970's unwittingly listened to his 1950's catalogue in electronically reprocessed stereo, love it or loathe, it was pretty much all there was back then unless you could afford to track down expensive mono copies. To better understand where the electronically reprocessed stereo versions originate from, we need to go back to 1961, at which point RCA had begun the process of taking Elvis' 1950's mono masters and converting them into a stereo sounding effect. By 1960 when Elvis returned from the army, he was recording in true stereo and as far as RCA were concerned, mono was a thing of the past. You just need to listen to the sound quality of the 1960 'Living Stereo' version of the 'Elvis Is Back' album, to appreciate just how much the recording industry had moved on in just two years. Such was the demand for stereo records in the early 1960's most major labels had created their own process for converting mono into stereo or 'fake' stereo as it became known, with some labels producing better results than others. Opinions on Elvis' 1960's electronically reprocessed stereo versions are mixed, with some recordings making the transition from mono to stereo effect better than others. Some DJ's actually preferred playing the electronically reprocessed stereo versions, believing they gave a wider fuller sound on the dancefloor. By late 1970's, RCA had once again begun to re-issue original mono masters, giving many fans their first opportunity to hear how these tracks were originally issued. By the time compact discs had arrived on the scene in the 1980's, electronically reprocessed stereo was well and truly dead and buried. Very few electronically reprocessed stereo recordings ever made it onto a digital format and the few that did are now highly collectible. Recorded at RCA Studio 1, New York on the 30th of January 1956, My Baby Left Me is a driving powerhouse rockabilly masterpiece with a real Sun Records vibe to it (produced by Steve Scholes with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar, Bill Black on bass and D.J. Fontana on drums). Our flip side Blue Moon Of Kentucky is another rockabilly classic which first appeared as the opposite side to That's All Right (Sun 209) in 1955 (Elvis' first single). Blue Moon Of Kentucky was recorded on the 7th of July 1954 at Sun Records (produced by Sam Phillips with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar and Bill Black on bass). Both tracks have been painstakingly re-engineered to create a stereo effect sound. The result is a bigger, sharper sound that jumps straight outta the grooves at ya! One reviewer described the process as - it's as if a veil has been lifted off the tracks'. Both tracks are taken from the forthcoming album titled 'Elvis Presley - The 50's In Stereo' (mono to stereo re-visited). For best results play this killer double-sider very loud!!!

We are very excited to present the new collabo release between Cosmic Compostions and Jitwam's selftitled album " ".

Born in Assam, Gauhati, in Northeast India, but currently based in New York's storied borough of Brooklyn, Jitwam spent his formative years in New Zealand and Australia, before living in monasteries in Thailand, orphanages in South Africa, and washed out apartments in London. Of everywhere and nowhere, his music draws influence from a litany of iconoclasts including, but not limited to RD Burman, Moondog, The Velvet Underground, Yayoi Kusama, Jay Electronica, Jay Dilla, Moodymann, Leon Thomas, Madlib and Asha Bhosle.

Across " (selftitled)", he utilizes knowledge acquired through years spent digging through dusty crates, and talents honed as a multi-instrumentalist, producer, and vocalist. A series of stumbling, jazz/soul-rooted beat sculptures, each buried beneath a haze of fuzzy psychedelia, broken microphone blues, and articulated through a freestyled process he describes as "first thought, best thought", " (selftitled)" solidifies Jitwam's spot as a major emerging talent.

Recalling the fourth world dreamscapes explored by oddball songwriters like Connan Mockasin, Clarence Clarity, Jai Paul, Silicon, and Unknown Mortal Orchestra, it represents a time of transition and remembrance for Jitwam, while still fulfilling the core qualities he looks for in song. In his words, "Music is a refuge. A shelter from the storm. A place you can go to close your eyes."

Since he first shared his music with IZWID Records boss Kutmah at a Brainfeeder afterparty in London, Jitwam has released through Leaving Records, Cosmic Compositions, and The Jazz Diaries (the label he co-runs with Casey Van Reyk and Nigel Mphisa). He's also written with Inkswel (BBE) and Paul White (R&S), featured on Moodymann's K7! "DJ-Kicks" compilation and been championed by Gilles Peterson, Alexander Nut, Andrew Jervis (Bandcamp), and Funkineven. Mainly mixed and mastered by Matthewdavid at Stones Throw studios in Los Angeles, " (selftitled)" will be available on vinyl and digital formats.

After great success of Moondance 002, 003 is expected to be no less than great. One of Croatia's finest, Ivan Komlinovic is back with his brand new 4 tracker including The Analog Cops splendid remix. Straight up underground techno-funk filled with different vibes and mindsets that Ivan delivers at Moondance 12" is fragment of his arsenal of raw but warm-analog sounding elements. We are honoured to present "Ninja's Cross" killer cuts that represents Ivan's unique drift between different techno and house vibes.

The mighty one-man-band with the most notoriously misspelled airport pick-up signs in music history returns to his beloved hometown imprint Musique Risquée with a scorching three-track can of shake-ass. Guillaume & The Coutu Dumonts is never one to shy away from fresh contrasts in his works, and we have no exceptions here - all manner of dark-to-light, flacid-to-hard, and identifiable-to-WTF moments, sounds, and vibes abound. Lead-off piece 'Histories Vraies' brilliantly soundtracks the inevitable future moment when a season-premiere costumed viewing party for Game Of Thrones unknowingly gets their punch spiked with moon rocks and teleported right to the middle of Panoramabar at peak time. A2 jam 'Far Is The Field' counterattacks with the next level fusion of Sun Ra Arkestra-esque transmissions wrapped around a Humpty Dance-on-steroids Bassline, twisting and shifting away from the hands on the clock with beautiful ease - 'I am Music..' indeed. Finally, B-side long-burner 'Whatever's Inside' rocks a sultry belly dancer's theme song at an FM and modular synth Bazaar on Uranus, with G & the CD's patented sharp percussion fills ensuring that the resulting melted faces and hearts will still be set in motion by the all-important collective flexing of the Gluteus maximus.

Two years after ".... and The Casiotone Orchestra", Odessey & Oracle continue their speculative and colorful explorations through an adventurous sonic quest, mixing acoustic sonorities and classical instruments, using a pallet of analog specimens dating back to the 60s and 70s. Retro-futuristic music with sophisticated arrangements underlines unbridled songwriting with heterogenous influences (Brian Wilson, Caetano Veloso, White Noise, JS Bach, Moondog, Robert Wyatt...). The lyrics, in French, both surreal and utopian, serve as witness to the contradictions of our times and invite the listener to imagine a revolutionary love

Buenos Aires-based imprint Unlock Recordings release the fourth instalment of their 'Collaborations' series featuring cuts from Ryan Crosson, Jonas Kopp, Guti From Downstairs and more.The stripped back aesthetic of previous 'Collaborations' vinyl-only releases have garnered some heavyweight support from the likes of Ricardo Villalobos, Sonja Moonear, Raresh and Laurent Garnier, to name a few. Gonzalo Solimano's label now returns once again, showcasing some of Argentina's most exciting talent alongside other distinguished names from the scene - further establishing Unlock Recordings' reputation for delivering high quality, jazz and dub-infused house and techno.

Melodies International proudly moves forward with an elusive piece of mid-tempo Chicago soul originally performed by Gloria J. Jennings in 1977.

Gloria was signed to Stage Productions as a gospel singer with pure and raw talent she had developed in the choir of her father's Southern Baptist Church. She was 16 years old at the time. To tutor her for R&B vocals, Willie C. Nance of Stage Productions spent 3 months taking the artist back and forth for vocal training 25 miles each way, 3 days per week.

At the time, Mr. Nance had made plans to work with singer and songwriter Theresa Eagins to record Know What You Want'. However, two days before the recording was set to begin, Ms. Eagins refused to move forward with the recording as she chose to take her religious faith more seriously and forgo the singing of secular music. Hence, Stage Productions turned to Gloria Jay to perform a song that would go on to move people thousands of miles away, many years later.

One of them was Patrick Forge: Back around 1990 I had a residency upstairs at the Wag Club on a Friday night alongside Paul Martin (he was Gilles P's A&R right hand man at Talkin Loud), the night was called Respect and we played mainly Soul, Boogie and Jazz-Funk. Many years later I bumped into Paul at a record shop and he quizzed me about a tune I used to play at the end of the night at Respect. Hhe described it as being an independent Soul seven inch on a red label, slow to mid tempo... and more to the point a bullet of a record. It piqued my curiosity so much I burrowed through my seven inches and even made Paul a compilation of likely contenders, his response was lovely selection, but it's not on there!'. Damn, a mystery! Many moons later whilst I was living in Japan, my tenant in my London flat said she'd found an old mixtape I'd done for her way back when and was desperate to know the identity of something she was calling the choo choo song'. Eventually when I was back in London she played the mixtape and I quickly identified her tune as Fabrica' by Cesar Mariano, however letting the tape play some time later a familiar descending chord sequence catapulted me back to those Friday nights at The Wag, and Gloria Jay's plaintive vocals reminded me of a record that had been absent from my life for far too long. I've no idea what happened to my original copy, I hunted another one down straight away, and I've kept it close ever since. Know What You Want' is a song that goes deep in such a simple, unaffected, almost naive way, Gloria's voice is both sweet and raw, it's built on simple chords and obvious instrumentation, but it's so much greater than the sum of its parts.

Know What You Want' is soul music, pure and unadulterated, there's nothing getting in the way of the feeling, it's straight from the heart.' Carefully re-mastered from the tapes, MEL008 comes forth in its original 7' format with a 14'x14' poster.

Originating in a New York apartment and completed in a garage in suburban Sydney, Jonti's new album Tokorats is out on Stones Throw Records on 3rd November 2017. Following on from 2012 releases Twirligig and Sine & Moon, Tokorats is a psychedelic, harmony-rich dream-hop journey. Recording for the album began in 2013, and four years and up to 100 versions of each song later, Jonti is finally ready to invite you into his Tokorats universe.

Slow cooked meat, smooth cigarettes, hot baths, and fine wine." Jesse Bru knows best. A stunner of an EP written during the early days of his arrival in Berlin from Vancouver, Jesse debuts on Rhombus with two tracks of beautiful house music on wax

Feedback:

Luna City Express (Moon Harbour) - "nice ep!! like both tracks & will play" thanks;-) (norman)."
Black Loops (Toy Tonics) "yeah my man goes deeepppp."
Quarion (Tamed, Retreat) - "Great production!"
Desert Sound Colony (DSC) - "Liking Trixx!"
Shir Khan (Exploited) - "very deep and moody. like space jazz."
Mat.Joe (Mother) - "Dope!!!"
Digital FM - "Nice, EP! TNX DFM."
Laurent, Different (Radio F) - "2 nice tracks / The second is my Fav..SUPPORT!"
Kiss FM (Ukraine) - "Downloading for KISS FM, thanks!"
DANILO D'ANDREA - IFYOUWANT's Radio Show IT - "thanx."
Riyaz , DIVERSIONS (Radio CA) - "like the melodic rhythms and nuanced flows!"
Lars, Deeper Shades Of House (Radio USA) - "love "Space Jazz" atmosphere."
Ibiza Global Radio (Jose Maria Ramon) - "nice, will try it."

Tom Ware is a Grammy nominated engineer, producer and musician from Omaha Nebraska. Throughout the 70s and 80s Tom was the drummer for many bands, including Norman & The Rockwells, Toy boat Toy boat Toy boat, and Hit N Run. Because of his love for electronics, mechanics, and machines of any kind, he was always the only one who truly knew how pa systems worked. Tom got an entry level job at a Rainbow Studios and would work at the recording studio during the day, play evening gigs till 2 in the morning, then go back to the studio and work on new ideas all night. During these teeth cutting sessions, Tom worked by himself, following his instincts and creating sounds he loved to listen to.

His reckless abandon approach and thrill to learn was a high octane fuel that resulted in his first solo self-titled album. The album's 10 songs were recorded and mixed between August & December of 1983 and self-released in early 1984. The album would be re-released in 1985 by independent Krautrock/Kosmische Musik label Sky Records in Germany and re-titled 'The Fourth Circle'. Some of the instruments used on the LP were a Sequential Circuits Prophet 5, & Pro One, Simmons SDSV electronic drums, Roland TR-606 drum machine, & Hammond B3 organ. While recording this album Tom was influenced by new wave sounds of Yellow Magic Orchestra, the Berlin and Düsseldorf schools of pulsing synth music and the celestial realms of Jean Michel Jarre. All songs have been mastered and lacquer cut by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a replica cover with computer graphics by Lars Erickson and photos by Ken Mayer and includes a postcard with liner notes by Tom Ware.

The Doors had one of the most extraordinary debut years in music history in 1967, releasing a string of hit singles and two platinum albums, beginning in January with the band's self-titled debut, followed by Strange Days in September. The latter peaked at #3 on the Billboard album chart and featured classics like Love Me Two Times,' When The Music's Over,' and the title track Strange Days.'

STRANGE DAYS (50TH ANNIVERSARY DELUXE EDITION) was produced by the album's original engineer Bruce Botnick. It includes the original stereo mix of the album on CD for the first time in a decade, with sound that's been remastered for the first time in 30 years. The second disc features the album's original mono mix, which has been remastered for this set and is making its CD debut. Accompanying the set are liner notes by music journalist David Fricke, as well as a selection of rare and previously unseen photographs.

Having a larger budget for Strange Days allowed the band to spend more time experimenting in the studio. They used an eight-track recorder for the first time, which resulted in some memorable overdubs like Krieger's double-tracked guitar on When The Music's Over.' Surprisingly, the trippy keyboard sound heard on the album's title track is actually one of the earliest appearances of a Moog synthesizer in a rock song.

Strange Days mixed new songs written on the road with some written before the band's 1967 debut. In fact, the band performed Strange Days' during its 1966 residency at the London Fog in L.A., while My Eyes Have Seen You' dates back to 1965. Another early track is Moonlight Drive,' which was one of the very first songs that the band practiced together, and where the band heard Krieger's haunting bottleneck guitar playing for the first time. It's also the song Morrison sang to Manzarek at Venice Beach in 1965 when the two former UCLA film students reconnected and decided to start the Doors.

Remixes from Ruede hagelstein & Amin Fallaha, Scuba, Julien Bracht and Tom (Alt-J) Hymn to the Night is the debut album from rising electronic post-punk duo, Lea Porcelain. The album was writt en and recorded over a two year period in Berlin's FUNKHAUS, a broadcasti ng house created under Soviet supervision that now houses the world's biggest recording studio. We are proud of what we have made and we have learned a lot through the process,' recall the band. The spectrum of the album is extremely wide.

Every song works together, playing with very different moods. We would describe it as atmospheric, cinemati c and melancholic'. Including the singles, 'Bones', 'Out Is In', and 'Warsaw Street' The song is rich in vibrant synthesizers and gentle vocals laced with percussion as lively as a marching band, creati ng a track as quixoti c as a lucid dream. - Stereogum

Ominous motorik kraut rumblings and the thudding electronic trickery of prime era Underworld. - Godisinthetvzine

Music-wise, we're thinking of smooshing together Joy Division with Echo & The Bunnymen (sure) coupled with the modern-downbeatness of The XX. So everything dressed in black basically. Brilliant stuff . - Killing Moon

An electronic duo from Frankfurt, Lea Porcelain have a dark, twisted yet oddly enti cing sound. - Clash Magazine

Music for post-apocalyptic deserts. Experimental synth-sounds with hypnotic percussions - imagine Moondog performing with John Carpenter and Cabaret Voltaire.

Relating to their live appearances, Phantom Horse might be named a lazy combo since they are not to be found on stage all too often. Yet their withdrawn approach fits this album very well - Als Ob' is once more a journey through inwardness, a contemplative excursion to the electronic outback, still friendly asking for your attention. There's plenty of things to discover if you listen mindfully, the Phantom Horse rides out where you as a listener like to be lonely. Those ancient synths are still around, playing their melodies as if* there were no time thieves waiting around the corner (*That is what Als ob' means).

Altogether, the sound has become more electric yet not eclectic, the duo has dekrauted, describing their sound as more ritual but of course avoiding any kind of mysticism and fairy-tale dullness.

Since 2015's Different Forces' (also on Umor Rex), Phantom Horse have fleshed out their friendly stoicism that hauls their experimental synth sounds into the area of songs - maybe even pop songs that aren't tangible at least. Welcome to the insular state of Phantom Horse.

SPECIAL LIMITED EDITION X 300 WITH BONUS 7 :
Limited special edition with the 7" containing the track "Lune noire", in 2 parts - one per side.
It's already been 5 years since the last Zombie Zombie album 'Rituels d'un Nouveau Monde', after which the group explored other territories by signing 2 film scores, namely 'Loubia Hamra' by Narimane Mari and 'Irréprochable' by Sébastien Marnier, as well as creating the music accompanying a contemporary circus show called 'Slow Futur' created by Martin Palisse and Elsa Guérin. Wouldn't these beautiful parentheses make you want to return to the sources After 10 years at Versatile Records, 2017 also marks the decade anniversary of the release of their first album 'A Land for Renegades' in 2007, at the time considered to be one of the 10 best albums of the year according to Rough Trade.
'Livity' - Zombie Zombie's latest opus seems to plunge us deep into science fiction, with a cover designed by the mythic cartoonist Philippe Druillet, who is also the founder of the cult Métal Hurlant comic series. The title of the album is somewhat misleading, as one could mistakenly think of a certain dub record made at
the famous Island Records Compass Point studio in the Bahamas. For the uninitiated 'Livity' or 'Life force' is actually a Rastafarian spiritual concept based on the idea that an energy exists within, and flows through, all people and all living things. The record was recorded last winter in Paris, in a very short time frame. 7 tracks played live in 7 days, by Etienne Jaumet (synthesizers / rhythm box / metallophone / sax), Cosmic Neman (drums / vocals / sound effects), and Dr. Schonberg (percussion / electronics / trumpet), recorded at the Red Bull Studios by Thibaut Javoy and Jerome Caron, 2 very competent engineers. To keep it in the family, the album was then mixed by another member of the Versatile stable, the mysterious and legendary DJ/producer I:Cube, done in the label's Victor Studio.
On this album the principles that are dear to the group rest being respected, still as far away as always from the standards of 'radio play', A living kind of music, composed of long instrumental moments recorded with analog synthesizers and drum machines, accompanied by drums and percussion. But I:Cube's touch may bring the unique energy that one may find at Zombie Zombie's concerts; on certain cuts like title track 'Livity' that the group recorded in Laos, a wild combination of 808 kick drums and bewitching jungle sounds that sound quite unlike anything else out there, and especially on 'Hippocampe', which gives the impression of hearing an old school hip hop rhythm with the power of a metal band who have replaced their guitars with an army of synthesizers: we recommend you listen to this particular track in a convertible while speeding down the highway.
As with all of Zombie Zombie's music the cinematic component is still strong, on titles like 'Ils existent..' 'Acera' which was originally composed for ciné-concerts accompanying the films of Jean Painlevé et Maurice Pialat. The energy of the beginning is still very present, as is - of course - the kraut inspiration. But it's also an album that takes new directions and sonic risks, like on 'Looose', which brings to mind the Art Ensemble of Chicago, or the groove of James Chance in New York in the early 1980's, featuring the free sax solos of Etienne Jaumet and Dr. Schonberg on the trumpet. The group also offers some slower and calmer titles, like 'Heavy Meditation' as well as exploring more experimental tracks in the line of French 70's groups such as Lard Free or Richard Pinhas, for example on the bonus track 'Black Moon'.
Please - Take your time, and enjoy listening!

After more than a year of silence, the French duo VTCN RADIO releases its debut album "'Mydriase"

Mysterious and audacious odyssey, 'Mydriase' presents itself as a sensory and confidential journey. Fruit of a nocturnal composition guided by a need of musical introspection and a decisive encounter with an owl, the writing of this album will cut off its creators in an alternative reality for three years. Behind VTCN RADIO are the French producers Nathan Bokobza - a pianist fascinated by the romantic repertoire and the harmonic research of the impressionists - and Louis Martinez, a guitarist passionate about digital technologies and their uses in the process of sound creation. The group revealed its existence at the end of 2015 with the esoteric Riddle Song and continues to surprise the spirits with the release of the compositions Late Night Shuttle and Venus Flytrap in 2016, before creating in 2017 their own label "Five to Six Records". VTCN RADIO presents with Mydriase an experience based mainly on the dialogue between two entities - a dark, deep and a purer and luminescent - to constitute an elegant music, and ambivalent by its capacity to propose different interpretations. This self-produced album marks the first release of their label Five to Six Records, and presents us for the first time in a broader way the hallucinatory and singular universe of VTCN RADIO.

It's already been 5 years since the last Zombie Zombie album 'Rituels d'un Nouveau Monde', after which the group explored other territories by signing 2 film scores, namely 'Loubia Hamra' by Narimane Mari and 'Irréprochable' by Sébastien Marnier, as well as creating the music accompanying a contemporary circus show called 'Slow Futur' created by Martin Palisse and Elsa Guérin. Wouldn't these beautiful parentheses make you want to return to the sources After 10 years at Versatile Records, 2017 also marks the decade anniversary of the release of their first album 'A Land for Renegades' in 2007, at the time considered to be one of the 10 best albums of the year according to Rough Trade.
'Livity' - Zombie Zombie's latest opus seems to plunge us deep into science fiction, with a cover designed by the mythic cartoonist Philippe Druillet, who is also the founder of the cult Métal Hurlant comic series. The title of the album is somewhat misleading, as one could mistakenly think of a certain dub record made at
the famous Island Records Compass Point studio in the Bahamas. For the uninitiated 'Livity' or 'Life force' is actually a Rastafarian spiritual concept based on the idea that an energy exists within, and flows through, all people and all living things. The record was recorded last winter in Paris, in a very short time frame. 7 tracks played live in 7 days, by Etienne Jaumet (synthesizers / rhythm box / metallophone / sax), Cosmic Neman (drums / vocals / sound effects), and Dr. Schonberg (percussion / electronics / trumpet), recorded at the Red Bull Studios by Thibaut Javoy and Jerome Caron, 2 very competent engineers. To keep it in the family, the album was then mixed by another member of the Versatile stable, the mysterious and legendary DJ/producer I:Cube, done in the label's Victor Studio.
On this album the principles that are dear to the group rest being respected, still as far away as always from the standards of 'radio play', A living kind of music, composed of long instrumental moments recorded with analog synthesizers and drum machines, accompanied by drums and percussion. But I:Cube's touch may bring the unique energy that one may find at Zombie Zombie's concerts; on certain cuts like title track 'Livity' that the group recorded in Laos, a wild combination of 808 kick drums and bewitching jungle sounds that sound quite unlike anything else out there, and especially on 'Hippocampe', which gives the impression of hearing an old school hip hop rhythm with the power of a metal band who have replaced their guitars with an army of synthesizers: we recommend you listen to this particular track in a convertible while speeding down the highway.
As with all of Zombie Zombie's music the cinematic component is still strong, on titles like 'Ils existent..' 'Acera' which was originally composed for ciné-concerts accompanying the films of Jean Painlevé et Maurice Pialat. The energy of the beginning is still very present, as is - of course - the kraut inspiration. But it's also an album that takes new directions and sonic risks, like on 'Looose', which brings to mind the Art Ensemble of Chicago, or the groove of James Chance in New York in the early 1980's, featuring the free sax solos of Etienne Jaumet and Dr. Schonberg on the trumpet. The group also offers some slower and calmer titles, like 'Heavy Meditation' as well as exploring more experimental tracks in the line of French 70's groups such as Lard Free or Richard Pinhas, for example on the bonus track 'Black Moon'.
Please - Take your time, and enjoy listening!

For the label's 50th release, Emotional Rescue returns to the music of Woo to close a trilogy of reissue collaboration albums, in A La Luna. Following Whichever Way You Are Going (1982) and Into The Heart Of Love (1990), their opus A La Luna (1991) was the last of the bands song based albums and represents a wonderful way to close this association.

Reworked, re-ordered and remastered especially for this first time vinyl release, brothers Mark and Clive Ives again present their unique, ground-breaking and at the time, heart-wrenchingly overlooked music, that seems to fit the folk-new age-electronics of today as well, if not better, than when first released.

Across 20 plus songs Mark's guitar, clarinet and vocals are as ever drenched in Clive's mixing desk mastery. Echo and reverb shimmer as the short pieces rise and fall like the wind blowing across nighttime trees. With no song going much beyond three minutes, A La Luna flows as one piece. The unmistaken sound of Woo wraps itself around you in an essence, warmth and glow that is addictive, meditative and uplifting.

Featuring the original vocal performance of Mark's love ode, Magic In The Dark stands as a centerpiece where, as with all their albums, vocals appear at a minimum, as part of the musical journey.

The underlying somber nature of the album comes as the band ended more than a decade of recording with little critical or commercial success. The fact they did not release a full album again and moved towards a more meditation outlook was a loss, however, their recent rediscovery and the excellent releases by Drag City and Palto Flats included, has finally given the Ive's brothers not just a place in appreciation, but has shown that there really is no one like Woo. Enjoy the magic.

Bewitching Avant-Pop album from impromptu supergroup built around acclaimed Japanese duo, Tenniscoats. Featuring members of Notwist, Jam Money and Joasihno.

In these dark and uncertain times, there's an ever-growing collective of peaceful, loving types, bound together by an understanding of one peculiar word: Tenniscoats. Aside from being the name of an influential Tokyo-based duo, it represents fun, artistic freedom, experimentation and - perhaps most important of all - inclusivity.

A Tenniscoats gig is rarely the audience watching the performers. Instead, Saya and Takashi regularly shun the stage in favour of any particular spot that takes their fancy, whether it's an empty seat in the auditorium or the roof of a neighbouring cafe. In the world of Tenniscoats, music can happen anywhere, and everyone is invited to join in.

During the winter of 2016, the music happened in Munich. As a long-time fan, Markus Acher (Notwist) jumped at the chance not only to put Tenniscoats on the bill at the Alien Disko festival he was organising, but also to invite Saya & Takashi to a small apartment studio, together with Mat Fowler (Jam Money) and Cico Beck (Aloa Input, Notwist). This is where Spirit Fest was recorded over the following 14 days.

Tenniscoats are known for their collaborations - some of their finest work was done in conjunction with Tape, The Pastels, Jad Fair and many others - so making good use of the time and friends available was natural to them. For me, timing is important,' Saya said. We met in season, and the song flowers are now blooming!' Mat Fowler recalls the Spirit Fest sessions taking place in an idyllic, festive atmosphere. Every morning we'd all share breakfast, chat and learn about German Christmas customs. We'd catch the bus in the morning and walk home in the evening. The journey ran parallel to the beautiful flowing Isar River that bubbles, ebbs and flows right through the middle of Munich.'

While Tenniscoats sit at the heart of proceedings, it isn't their album alone. Markus, Mat and Cico also brought songs, providing a solid base on top of which the artistry could evolve. Mat explains that, a melody would begin, and slowly, each of us - in our own time - would find our way into the music.

Producer Tadklimp would sensitively set-up around us in this narrow window of time, so as to document that first and intuitive moment of collective discovery.' Nearly everything was recorded live,' agrees Markus, playing and singing together in one room with piano, guitars, percussion and some keyboards.' The collaborators came from Germany, Japan, the UK, Greece and beyond. That sense of inclusivity is palpable.

From the tender beauty of Markus's River River' and Saya's Mikan' to the electro-Merseybeat of Tenniscoat's Nambei' and the half-crazed pianica-reggae of Shuti Man', the resulting album is a testament to the manner of which these musicians are able to channel their songwriting through their spontaneity. It's also a snapshot of a gentle and intuitive moment in time - a beautiful meetup that expands this community, happily, even further.

Jon Willks (Grizzly Folk)

Brewing another supremely heavy release on the horizon, Moonshine Recordings is stealing the spotlight once again. Proudly presenting Violinbwoy's first solo album, unadulterated sound system pressure at its finest. Slavic chants and drum rhythms meet the unrivaled power of Violinbwoy's eccentric take on modern bass music 'Fyetisov' kicks off the stellar 3x12" release with a high-powered Stepper emission. Setting the tone with a rumbling bassline and supremely energetic lead instrumentation, full force sound system music down to its core. Shining in a different light, 'Moonspell' reveals its melancholic nature gradually intensifying through otherworldly percussion and anthemic vocal sample placements. Stripped down to its bare bones,'Dubplate' unleashes its detuned, percussive shackles for a massive onslaught of four-to-the-floor, while keeping true to Jamaica's music roots. Warbling tape echo spheres and excellence in emotive expression Violinbwoy's collaboration with singer Marina P turns out to be an anthem by itself enthralling, whoever gets caught into the midst of this hymn of a track. Not backing down one step from the established level of quality, 'Sound System' featuring Junior Dread excels once more in a crystal-clear demonstration of modern roots music mandatory repeat listening. Rejoicing in simplicity, 'Rig Alert' holds true to what the name suggests - cinematic bass meditation, fluidly scaling with the size of its speaker counterpart. Moving on to Dan s vocal skills in 'Wanted': Rastafarian wisdom chanting along a skanking rhythm and orchestral atmosphere. Ethereal bells being submerged in moving air and scattered white noise, 'Run & Hide' demonstrates a more experimental side within the LP exhibiting Downtempo/Ambient inclinations in a magnificent combination with Dub characteristics, only increasing in energy to the call of the dub siren. Ready for more, the title track 'dod' captures us within the expressive, introductory playing of the violin, deserting it for echoes and sub oscillations alike. Calling upon the prowess of Rider Shafique, his harmonic toasting is being escorted by a forward-minded halftime groove in 'Find The Way'. Topping the LP off with Sis' excellence in telling a story through song on a hypnotic instrumental. The nature of last tunes is often powerful, serving to concede with an explosion, appropriate of the session as is the case with 'Surfacing' closing off the monumental EP with visceral lead movements, setting the tone alongside driving drums and one more murderous bassline, sure of receiving countless rewinds in the near future. Encompassing a plethora of current Roots- Dub- and Steppa- influenced styles, Moonshine's next LP installment is sure to be received for what it is: a definitive, quality expedition of what's firing up dance floors around the globe.