Cerca:none

Upon examining the eventful life of Can bassist Holger Czukay, one might conclude that this intrepid musician was a loner. His turbulent career exuded an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly emphasized that his creativity was always contingent upon a musical partner, whether that was a skin-and-bones counterpart or an anonymous manifestation that interacted with him through radio waves or, as happened later, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble, his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records, who already released the highly acclaimed retrospective 'CINEMA' to mark the occasion of Holger's 80th birthday at the beginning of the year, has taken it upon themselves to release reissues of Holger's music in order to make it accessible once again.

Upon examining the eventful life of Can bassist Holger Czukay, one might
conclude that this intrepid musician was a loner. His turbulent career exuded
an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly
emphasized that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an anonymous
manifestation that interacted with him through radio waves or, as happened
ater, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a
Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble,
his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records,
who already released the highly acclaimed retrospective 'CINEMA' to mark
he occasion of Holger's 80th birthday at the beginning of the year, has
aken it upon themselves to release reissues of Holger's music in order to
make it accessible once again.

Upon examining the eventful life of Can bassist Holger Czukay, one might
conclude that this intrepid musician was a loner. His turbulent career exuded
an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly
emphasized that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an anonymous
manifestation that interacted with him through radio waves or, as happened
later, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a
Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble,
his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records,
who already released the highly acclaimed retrospective 'CINEMA' to mark
the occasion of Holger's 80th birthday at the beginning of the year, has
taken it upon themselves to release reissues of Holger's music in order to
make it accessible once again.

Strut present the frst ever international reissue of in-demand '80s zouk LP 'Las Palé'
by Feeling Kréyol, out of Guadeloupe.
Producer Darius Denon explains: 'This was 1988 and bands like Zouk Machine and Kassav
were huge. I had met producer Frankie Brumier when I was performing at festivals and
parties and he wanted to record a girl group so we began scouting venues, mainly around
the Grande-Terre district in the island's capital, Pointe-à-Pitre. I ran auditions and picked out
the best three voices - Fabienne, Leïla and Yolande. One was singing in a choir and none of
them had met each other previously.'
Recording at a studio in Le Gosier, Denon trained them to sing the songs and spent around
6 weeks recording the album: 'I gave them a couple of compositions that I had planned for
my own solo album. I remember that we all got on really well; the sessions were fun.'
The title track 'Las Palé' was the lead track pushed as a single and achieved modest
success domestically. The band did a few promotional performances in the island's
discotheques but, in the end, the album stalled. 'Studios were expensive and there was
no cheap technology as we have now. So, the producer ended up cutting corners with the
production - the mix was not completely fnished and the voices were not synchronised
right to some of the tracks.'
For Denon, he continued his career to the present day, successfully moving to Paris and
breaking through with the hit 'Je t'emmene' in 1998. Meanwhile, although 'Las Palé' turned
out to be Feeling Kréyol's only recording, the interest in the album has grown in recent years
with the title track's lo-f charm fnding its way into sets by Invisible City and onto Red Light
Radio and more. This frst full reissue is remastered by The Carvery and features full original
artwork along with a new interview with Darius Denon.
KEY POINTS:
- First ever reissue of sought after original zouk LP from 1988
- Sleeve notes by modern day zouk star and album producer Darius Denon
- Remastered by The Carvery
- Tracks already cult classics through plays by Invisible City, Motor City Drum
Ensemble and more
FOR FANS OF:
Sofrito, Digital Zandoli, Kassav, William Onyeabor, Soundway, Invisible City, Motor
City Drum Ensemble, Disques Debs, zouk, Haitian compas, Gilles Peterson, Darius
Denon, Les Vikings

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. After A Short Hiatus The Band Gradually Gravitated Back Into The Studio And Recruited Noted Uk Producer Colin Emmanuel, Aka C-swing, To Oversee The Process Of hot Shots Ii' Which Was Released In Mid 2001. Notoriously The Band Had Intended To Release squares", Which Featured A Sample From The Günter Kallmann Choir's 1970 Version Of Wallace Collection's daydream", As The Lead Single. However After Filming The Music Video And Taking The Single To Radio It Suddenly Transpired That Another Single daydream In Blue' By I Monster Featuring The Sample From Günter Kallmann Choir Recording Was Also To Be Released At The Same Time Causing The Band To Release broke' Instead. Touring Extensively And Supporting Radiohead In August 2002, They Made No. 3 On Q Magazine's List Of 50 Bands To See Before You Die".

vailable on 7-inch red vinyl single (includes free digital copy on MP3). Vinyl is limited to 500 copies.

Les Disques du Crepuscule presents All Through the Night, the first of two of newly recorded 7-inch coloured vinyl singles by The Passengers, the late 1970s new wave group from Brussels who subsequently became cult Factory/Crepuscule band The Names.

In 1978, with the Brussels scene still in the grip of raw punk, The Passengers offered a fresh, pop-oriented sensibility, mingled with the darker accents of later post-punk. This was young music in every sense, with none of The Passengers older than 22, shaped more by American than British influences, notably the Velvet Underground, whose radical style was in turn echoed by late Seventies bands like Richard Hell and the Voidoids, Talking Heads and Television. The presence of Isabelle Hanrez on vocals also made comparisons with Blondie inescapable. 

With their first gigs in the five-piece quickly became a local sensation, and in March 1978 won a battle of the bands known as the 'First Belgian Punk Contest' - only to reject the prize (a one-off single deal) as a cynical commercial ploy. Instead, the band chose to tape All Through the Night for Brussels punk imprint Romantik Records, only for the label to fold before this came to pass. 

The Passengers parted company soon after, with Michel Sordinia, Marc Deprez and Christophe Den Tandt becoming The Names on Factory Records, while Hanrez formed own pop-punk outfit, Isabelle et les Nic-Nacs. Four decades on, the original Passengers quintet decided to record and issue the singles denied a release at the time, recorded and played as if it were still 1978!

Cover portrait by Eric de Merkline. Design by Atomluft.

Available on 7-inch clear vinyl single (includes free digital copy on MP3). Limited to 500 copies.

Les Disques du Crepuscule presents All Through the Night, the first of two of newly recorded 7-inch coloured vinyl singles by The Passengers, the late 1970s new wave group from Brussels who subsequently became cult Factory/Crepuscule band The Names.

In 1978, with the Brussels scene still in the grip of raw punk, The Passengers offered a fresh, pop-oriented sensibility, mingled with the darker accents of later post-punk. This was young music in every sense, with none of The Passengers older than 22, shaped more by American than British influences, notably the Velvet Underground, whose radical style was in turn echoed by late Seventies bands like Richard Hell and the Voidoids, Talking Heads and Television. The presence of Isabelle Hanrez on vocals also made comparisons with Blondie inescapable. 

With their first gigs in the five-piece quickly became a local sensation, and in March 1978 won a battle of the bands known as the 'First Belgian Punk Contest' - only to reject the prize (a one-off single deal) as a cynical commercial ploy. Instead, the band chose to tape All Through the Night for Brussels punk imprint Romantik Records, only for the label to fold before this came to pass. 

The Passengers parted company soon after, with Michel Sordinia, Marc Deprez and Christophe Den Tandt becoming The Names on Factory Records, while Hanrez formed own pop-punk outfit, Isabelle et les Nic-Nacs. Four decades on, the original Passengers quintet decided to record and issue the singles denied a release at the time, recorded and played as if it were still 1978!

Cover portrait by Eric de Merkline. Design by Atomluft. e

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. After A Short Hiatus The Band Gradually Gravitated Back Into The Studio And Recruited Noted Uk Producer Colin Emmanuel, Aka C-swing, To Oversee The Process Of hot Shots Ii' Which Was Released In Mid 2001. Notoriously The Band Had Intended To Release squares", Which Featured A Sample From The Günter Kallmann Choir's 1970 Version Of Wallace Collection's daydream", As The Lead Single. However After Filming The Music Video And Taking The Single To Radio It Suddenly Transpired That Another Single daydream In Blue' By I Monster Featuring The Sample From Günter Kallmann Choir Recording Was Also To Be Released At The Same Time Causing The Band To Release broke' Instead. Touring Extensively And Supporting Radiohead In August 2002, They Made No. 3 On Q Magazine's List Of 50 Bands To See Before You Die".

Welcome to the seductive groove of Nonetheless, a new duo formed of Florian Bocksrucker and Felix Bergleiter, and the first LP on Neubau. Across four sides of vinyl Nonetheless deliver an intriguing mixture of tough dystopian midnight-drive soundtracks and transporting early electronic/musique-concrète-hybrid interludes. Nonetheless is the sound of cogs turning, churning melancholy and pulsing snake-charmer drum machine palpitation. The end result is catharsis through sinister journeying. From the near-acidic punch of 'Machine of Love and Hate', to the grandiose slow-motion of 'Epik' and the ravey 'Exclusion Zone', Nonetheless' debut record is something special to savour, and is proudly presented as the tenth release on Neubau.

Sometimes Magic Happens. Sometimes, Emotions Enwrap You In A Way You've Rarely Experienced Before. Sometimes, It's Just A Matter Of Freedom: The Freedom To Create, Improvise, Process, And Re-process, Without Specific References, Deadlines, Or Obligations To Please Whatever Markets Or Audiences With Clear-cut Styles And Sound Signatures.

Actually, This Tomat Petrella Affair Is Quite Unexpected. It's A Game Of Two: Turin-based Davide Tomat, Who Has Over Twenty Years Experience As A Multi-instrumentalist, Band Leader, And Sound Designer In Several Italian Projects (niagara, N.a.m.b., And Founder Of The Superbudda Collective); And Musician Gianluca Petrella, Hailing From Southern Italy But In Fact A Citizen Of The World And - More Importantly - One Of The Most Revered And Inventive Jazz Trombone Players In The World From The Last Decade Or So (as Stated On Several Down Beat Critics' Polls And Proven On His Blue Note And Ecm Releases).

'kepler', Their Collaborative Effort, Is A Beast Of A Different Nature. It Has So Many Textures, Intuitions, And Complexities That You Can Hardly List This Simply As A 'jazz-meetselectronica' Project.

So Much Cheesy, Well-educated, Nicely Predictable Music Has Been Produced Under That Moniker, But So Far None Of Them Have Had 'it'.

GENESA001W marks the start of the label's 'White Series' which will be reserved for a more playful side of experimentation within our genre. None was more suitable for the opening of the series than the Serbia's indeliberately 'best kept club secret', MKDSL ("Mama kaze da sam lep" translating to "Mama says that I am pretty"), a true master of combining different genre's into a style of his own. Broken-space-techno-pop anynone

Redsonja Records presents: Reference number 17, 'Mercury', a 3 track EP, on Digital and Vinyl signed by two internationally renowned English artists, highly acclaimed on the global electronic scene. We are talking about none other than Mark Broom and Silicon Scally (Carl Finlow).

Mark Broom delivers the goods with 2 original tracks exclusively for Redsonja Records.
'Mercury' is techno in its purest form, a beautiful groove delineated by an accompanying string meandering synthetically along the track from start to finish, at times broken up by Broom's generous use of delay and reverberating claps, making the track compact and ready for the dance floor. Whereas a darker and more complex techno sound, alive with trademark Broom percussion, identifying with the current techno club scene can be heard spilling out of his second track '77S3'

Carl Finlow also presents us with a little gem of a track, surprising us once again, this time with an electro remix of 'Mercury' in true Silicon Scally style. The resources he puts to use define him as a serious producer, successfully maintaining significance and groove whilst distorting the soundscape by overlaying the sinister rhythm with captivating fettles and shapes of sound, the end result being literally extraordinary.

This EP makes for a must have in any techno sympathiser's collection, as RS17 is an all round excellent and authentic production, made with lots of care and attention.

Please meet the young production duo of Davin Coady and Geoff Foley known as 'Between Ourselves' from Water-ford/Ireland, one of the Irish key cities for the more deeper flavours of underground House-music. They have previously released on labels such as Republik and Galaktika. Their offering is comprised of 2 tracks. The first track 'Red Mist' is a melodic driven tune with an epic monster-break that hur-tles the listener to an uplifting climax. The 2nd Track 'Guidance' hits the spot with a catchy bassline in the break, the 'hook' of the tune. None other than Berlin based Ruede Hagelstein created a remix for 'Red Mist'. Indeed he is a man for those special tunes that will always stay on your mind. He stripped down the original to its bare essence keeping the epic feel - a dirty dark masterpiece. Andre Lodemanns edit of 'Red Mist' pushes the floor potential to the max with his customized drum sounds.

Matthew Dear is a shapeshifter, oscillating seamlessly between DJ, dance-music producer, and experimental pop auteur. He is a founding artist on both Ghostly International and its danceoor offshoot, Spectral Sound. He writes, produces, and mixes all of his work. He straddles multiple musical worlds and belongs to none, now nearly 20 years into his kaleidoscopic career, with ve albums and two dozen EPs plus millions of miles in the rearview of his biography.

Bunny is the name of Matthew Dear's fth album. His rst since 2012, it bounces into plain sight preceded by two slyly different singles in 2017: the moody, urgent "Modanil Blues' and the buoyant, blithe, Tegan and Sara-featuring 'Bad Ones.' Bunny follows both modes, among others, parading down a rabbit hole of unhinged phrasings, dreams, and interludes. It saunters in the shadows; it stands brightly in the moonlight. Bunny is a dual vision of avant-pop; an artistic reckoning from a 21st-century polymath; persona splintered, paradox paraphrased, a riddle rendered.

is it the best jazz record from japan, as the french-born english disc jockey, record label owner and music collector gilles peterson once assumed or is it maybe the best jazz record of all jazz records
well, everybody needs to decide by himself and has to listen to 'watabase', the second solo piano album of the japanese jazz pianist fumio itabashi, that was originally released in 1982.
tokyo based mule music unearth it, remastered the original recordings and brings it back to the global stores in order to seduce all music lovers that embrace notes who come straight from the heart and soul.
while diving deep into the seven compositions on 'watarese', any sensible listener finds out, that the instrumental piano pieces are somehow soulfully connected to what keith jarret plays on his legendary 'the köln concert' live album for the munich based ecm record company.
like jarret, itabashi does not play his notes academic. he let them fly, gives them some kind a life of their own, hits the piano keys deeply emotional and injects his compositions and interpretations some kind of nervous human soul.
in terms of style some call his 'watarase' recordings post-bop, others contemporary jazz. none of such definitions fit really, as all is just that kind of agitating jazz that melts spirituality with humanity. three tunes, the epic 'someday my prince will come' as well as 'msunduza' and 'i can't get started', are interpretations of compositions by the us-american movie score pioneer frank churchill, south african pianist dollar brand and russian-american composer and songwriter vernon duke.
all other four compositions been written and recorded by the 1949 born itabashi who started to play the piano when he was eight years old. while studying at the tokyo based kunitachi college of music, he fell in love with jazz.
his love was so deep, that he starts to work in the 1970's with such legendary japanese jazz musicians like trumpet player terumasa hino, drummer takeo moriyama and saxophonist sadao watanabe.
till today fumio itabashi is a vital part of the japanese jazz culture as a live performer and film score composer. those who want to see how he makes love with his piano should check the world wide web for the french documentary 'jazzed out', that captured his unique way of playing in one episode.
but as music is always firstly for the ears, and not for the eyes, this little letter in-front of you would rather like to recommend to play the 'watarase' recordings loud to get hooked by the highly infectious piano gems that have been recorded at nippon columbia 1st studio in tokyo on 12th and 13th of octo-ber 1981.
they will haunt you. they will come for good. and they will force you to be a good friend with the repeat button - whatever medium you chose to surrender to the piano jazz music of fumio itabashi.

supported by Apollonia, Subb-an, Praslea and many others. Andy Catana & Daniel Kovac deliver their first Ep on Do Easy Records remixed by none else than Robert Dietz under his alias R10. He returns as a Remixer after remixing the first Do Easy Records 10 years ago. So take your time and listen!

Upon examining the eventful life of Can bassist Holger Czukay,
one might conclude that this intrepid musician was a loner. His
turbulent career exuded an enduring eccentricity governed by a
boundless free spirit. Yet Czukay, who passed away
unexpectedly last year at the age of 79, constantly emphasized
that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an
anonymous manifestation that interacted with him through
radio waves or, as happened later, the internet. Nonetheless,
most of his partners were of flesh and blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast
worthy of a Martin Scorsese film. Only the most interesting
character actors were cast: Brian Eno, Phew, Rolf Dammers,
David Sylvian, Annie Lennox, Jah Wobble, his Can bandmates...
the list could go on and on.
Many of these masterpieces are now out of print, so Groenland
Records, who already released the highly acclaimed
retrospective 'CINEMA' to mark the occasion of Holger's 80th
birthday at the beginning of the year, has taken it upon
themselves to release reissues of Holger's music in order to
make it accessible once again.

A captivating collection of early singles by the renowned Zimbabwean Mbira master and a true African music icon. The songs were mostly recorded in the 1970's, during the buildup to the Chimurenga revolution,

and were only ever released in Stella's home country. Deep resistance & culture. 'I am a rebel', smiles the 70-year-old Stella Chiweshe. Her album 'Kasahwa: Early Singles' offers a fascinating introduction to the world

of Mbira, with the term not only referring to the instrument, consisting of 22 to 28 metal keys mounted on a wooden healing tree body, but also to a musical genre - and on a much wider level, to an entire culture and deeply spiritual

lifestyle, very much at the core of the young Zimbabwean nation. 'Kasahwa' is a collection of impossible-to-find early seven inches, eight cuts spanning the period from 1974 to 1983 and representing Mbira in its purest

form. None of these songs has been released outside of Africa so far.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

1972 saw the release of The Sixth Ear (Narco NR666), this time credited to Nik Pascal. A more complex work than Beyond The End..., it adds consistent rhythmic patterns to the mix with the addition of bongoes and also explores some interesting chord progressions.

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes." (progarchives)

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same." (twoheadeddog)

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

Magnetic Web was released in 1973. It appeared under the Nik Pascal monicker and showed a clear evolution in sound, favoured by the addition of an Arp 2600 and some rhythm boxes. It also included percussions and cymbals. The Two Headed Dog site thinks "this is his masterpiece in all of its acid-laced glory."

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes."

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same."

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself, and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

Nik's last album, Zero Gravity (Narco NR123) came under the Nik Pascal name and had a fantastic side long piece on the title track which reminisces of the works of Cluster. B side features four tracks that also bear some Conrad Schnitzler reminiscences. This was to be Nik's last LP before he would sell all his synths to ex car racer and future electronic/ambient music star Steve Roach.

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes."

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same."

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself, and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

Flevans returns with a killer 45 for the funky dancefloor! Leading the way is 'Who's Got Me' - an up tempo disco/boogie cut with more slap bass than a clone army of Larry Grahams... It's a tasty dancefloor number with a BIG top line from none other than Laura Vane (MJ Cole, Gnarls Barkley, Laura Vane and the Vipertones) who absolutely owns the vocal duties as anyone who is familiar with her work would expect. Oooh Weee!

Over on the other side we have more classic-sounding Flevans material with the party starting funk breaks of 'Take Your Money'. His signature jazzy keyboard and guitar licks converse with cheeky vocal samples all flying in and out of this slick production in a delightful fashion. It's all about the beats on this one - it's a guaranteed foot mover!

Brett Anderson believes that Suede's debut album, winner of the Mercury Music Prize in 1993, probably has
more cultural resonance than any of their other albums, as a pre-cursor to Britpop and a supplanter of grunge. It is
also home to four ground-breaking singles.
The album included those four singles 'The Drowners', 'Metal Mickey', 'Animal Nitrate' and 'So Young', but
none of the nine b-sides. These are now included on a second LP, along with a cover version of 'Brass in Pocket'.
Housed in a gatefold sleeve, the inner sleeves features all the lyrics.

WRWTFWW Records is overjoyed to announce the release of two never-released-before soundtracks by French award-winning composer, audio experimenter, electroacoustic and musique concrète magician, and all-around sound visionary Bernard Parmegiani, sourced from the original reels, and neatly packed together in a gatefold sleeve double LP with English and French liner notes. The 2 albums are also available in an all-in-one digipack CD. Les Soleils de l'Île de Pâques (1972), by French director Pierre Kast, is a sci-fi feature which secured itself a well-deserved place in the pantheon of mysterious cult films thanks to hallucinatory (and superb) cinematography, exploration of supernatural phenomenons and occult symbolism, and one hell of a trippy atmosphere. La Brûlure de Mille Soleils (1965) also comes from Pierre Kast, but this time with the help of none other than writer, photographer, multimedia artist, homme à tout faire Chris Mar

Party season is underway ! Here is your first go-to item in Take Away's new Bite Size series. Making a return after his previous sweet treat is none other than Admin, serving up two perfect bites. May We Take Your Order

Time flies, doesn't it It sure does when you suddenly wake up to celebrate your 10th vinyl release as a small label, which is the case with us. But as we're all about quality over quantity, our latest 12" offering comes with a superb collage of fresh music by the one and only Radicall. Having made his mark as one of the most consistent producers, known for his trademark combination of strong, dynamic drum programming and soft and booming basslines, Radicall keeps on delivering top-quality music with each next release. And this 12" single is no exception to the said rule. The playful, happy-go-lucky 'Touch' is a bit of a nod to the old-school/rave/early jungle/footwork/you-name-it style given its complex drum pattern and an array of acid-style synthetic samples and tinges of vocal here and there, but sticking to modern-day standards nonetheless. The flipside comes with 'Build Me Up' remixed by Bungle, who surely knows how to make good things just as good as they are, but yet a bit different. And here we have the Brazilian powerhouse reshaping Radicall's work to make it a bit lighter and upbeat, but still retaining some elements of rawness mixed perfectly with traces of nostalgia. An excellent job, breathing a new life into the original piece - a darker-shaded straight-to-the-point roller, which you can get as a digital bonus added to the release. So here it is - the tenth vinyl item in our catalogue, featuring names you simply can't go wrong with. What better way to celebrate the occasion

Pietro 'Bingo' De Lisi and Alex Carpentieri aka Italian duo System of Survival, have long been renowned for their raucous live cuts, the likes of which have firmly established their name amongst fans of discerning house and techno. Regulars at Ibiza institution, Circoloco at DC10, the boys knack for a tune has also brought them to the attention of respected label outlets such as Bpitch Control, Freak n'Chic, Moodmusic, Rawax and Get Physical. However, their latest release - released here via the emerging Deset Music - might just be their best yet. The label's inaugural release sees the boys perk up with two stunning originals and are back by remixes from none other than two Chi-town legends, Boo Williams and Ricardo Miranda.
Opening up the sounds of the release is 'Nu Soul Era'. A raucous, deep cut that displays all that's excellent about System of Survival, this one goes firmly down the rabbit hole in search of kicks. Characterised by its quite brilliant and catchy baseline, the action is dark and trippy throughout, with a firm emphasis placed on a groove that never lets its guard down throughout. A majestic start to the EP, it gets us underway with some distinction.
System of Survival's other original is 'Funky Left Funky Right'. Again, the duo expertly showcase their penchant for melodic structures, this time via a bleepy baseline that's perfectly suited to peak-time floors. Ricardo Miranda's interpretation goes deep and off-kilter, but remains true to the original's full-on characteristics. A stunning indication of the producer's eclecticism and studio mastery, it's an intoxicating take on a track that's never lacking in suspense.

Seeing us out the door is Boo Williams' remix of 'Nu Soul Era'. The 'Mortal Trance' producer can always be relied on to bring the heat in his own inimitable way, and he does so here with the sort of panache for which he's best renowned. Injecting the original with every more bounce, he wastes no time in getting down to business, setting his stall out via an acid-led, 909-flavoured remix that offers up a tantalising version of what's arrived before. An all-round stunning EP of various shapes and sizes, there's plenty here for fans of discerning house and techno to get stuck into on this one.

The second release on WERK is signed by J. Manuel. The young producer has been polishing his sound ever since he first started experimenting with electronic music gear as a child. His commitment to following his own instincts rather than conforming to what was being played around him resulted in a very different aesthetic to the one commonly associated with Berlin techno.

Drive Fiction EP stands proof of that. All 3 tracks push boundaries in their own style, that being perhaps the strongest link between them. The title track 'Drive Fiction' presents old-school leads over broken beats and electro inspired pads while the A2 'Falling in Sine Circulation' is arguably the most dance floor oriented track, with a pounding 4×4 kick drum and an alarming 3/4 sine wave slaying the high frequencies. Closing the EP is B-side 'Softer', a melodic track with long, undulating pads that is nonetheless driven by a powerful rave-inspired beat.

With its second release, WERK comes to confirm the Path it seeks to travel through both parties and releases: that of the sounds less rigid. Gritty, wild and presenting a wide range of rhythmic patterns, Drive Fiction EP is a defying record. Challenge accepted

Recorded in Cleveland, OH October 2017 by Andrew Veres.

Artwork by Ren Schofield.

Ren Schofield has returned with a new installment in his notorious "LP" series for Spectrum Spools. "LP" has all the earmarks of the classic Container sound with it's uber-mangled, saturated tape garble and headlong tempo macabre. However, this new set of tracks feature an attention to composition unlike much of the Container we've previously heard. While the tracks unfurl across two sides of wax the contours and jagged edges of each sonic sculpture display a new refinement while maintaining the full capacity to vaporize any club floor with Container's traditional recklessness.

Miraculously, this new "LP" manages to incorporate some more traditionally 'musical' elements thus far untouched upon in the projects output while simultaneously delivering it's most damaged and blown out offering yet. Despite leaving a trail of albums that get more intense with each passing year, this "LP" is bar none the most loaded. The tracks feature a trajectory with narrative, surrounded by broken acid basslines grating against disintegrating tape loops. This is the infectious and singular hypnosis Container has become well-known for. Overloaded drum patterns, washes of feedback, and dying melodies - it's all here and somehow it's restructured to be different and better than ever before. With this latest installment, there are no longer shambles but merely dust left behind.

As Container continues to evolve in an upward motion, "LP" presents a refreshing and welcome new chapter.

Red Hare's roots run all the way back to the Washington D.C. music scene of the 80's and 90's, where Shawn Brown, Jason Farrell and Dave Eight immersed themselves in the braids and tangles of that city's unique strain of hardcore.
In 1987, Brown (the original (and current) singer of Dag Nasty) and guitarist Farrell founded Swiz— a harsher take on melodic hardcore released via Dischord's sister-label Sammich and their own freshly-minted label Hell- fire. Eight joined Swiz on bass in 1989 and remained until the band wrapped it up in 1990.
By 1995, Farrell and Eight reconvened to immerse themselves in the angular post-hardcore stylings of Bluetip, yet found enough juice to again tap Brown for the short-lived Swiz reboot, Sweetbelly Freakdown. Meanwhile, Joe Gorelick was living a parallel existence drumming in the band Garden Variety. A fortuitous string of circum- stances led him down the Jersey turnpike straight into Bluetip's empty drum chair. Although Gorelick did not record with the band, his prowess was nonetheless noted and cataloged for future missions — first in 2002 with Farrell in Retisonic and now with Brown, Farrell, Jason and Eight in Red Hare.
Red Hare are set to release their second album Little Acts of Destruction on May 11th through a joint effort with Dischord and their own label Hellfire. Like their debut Nites of Midnite (2013) and their stop-gap 7', Lexicon Mist (2016), the album was recorded and mixed by longtime collaborator and friend J.Robbins. These 14 songs are a heady/hearty mix of the familiar and new that bristle with the energy of the hometown sound they helped shape.

Closed Paradise brings his inimitably smooth ethos to Lovedancing. His sampladelic originals are a pastiche of sources, glued together for the booty and soul. At his request, none other than Whiskey Disco's own, Pontchartrain and The Silver Rider remix to round out and bring added funk and flex to the array.

Fresh on Francis Harris' Kingdoms imprint comes Rasmus Juncker's 'Ophold' - six tracks of sublime atmospheres and textures. The Danish musician, sound composer and DJ fits perfectly with the label's aesthetic, joining the dots between ambient, leftfield electronica and modern classical.

Juncker has a background in studying jazz drumming and has been playing improvised music within the jazz domain for many years. He also started to DJ at the age of 14 and was introduced to the world of electronic music production at the same time.

When Rasmus started to think about his debut album he spent several months trying to find his own way to combine his favourite musical influences, improvisation, electronics and classical music. 'Almost a year later', Juncker says, "I went to a sensory deprivation floating tank in Copenhagen while researching for another performance and while I was lying there, floating in the water, deprived from most of my senses, I got the idea to do something drastic in my musical process. Philosophers like Immanuel Kant describe this deprived state as a mental 'Cesura', which became some sort of guideline for the album."

So Juncker decided to start working on the album by leaving the process as well as the final result completely open. 'I wanted to create sounds and music that I had no idea what they would sound like, but would feel like a mental 'Cesura', an 'Ophold' (in Danish)' he states.

He invited musicians, one after the other, to his studio. "I had an electronic musician to improvise patterns and new interesting sounds based on my experience in the deprivation tank. I chose some of the takes and some weeks later I invited a jazz guitarist to listen and improvise on top of what he heard. Then a classical string quartet and a double bass player came to my studio months later, and finally I recorded myself on percussion and drums.

Throughout the recording process I've been experimenting with special microphones in various setups, used noises from the recordings and the room became absolutely essential for the pieces." Juncker states.

"The material I used was all first take improvision which I arranged, layered and edited into compositions. The final pieces were mixed by Andreas Pallisgaard with the same improvised and experimental approach of the recording and the production. None of the musician met each other, but their sounds developed into something completely fantastic I think. The presence of the acoustic instruments and the depth and complexity of the synthesized layers gave some kind of an indescribable sounding music from another galaxy.

Track by track:

'Norddrum' starts proceedings - ethereal, grainy sounds merge and disassociate, as a distant rhythm gradually finds its way to the fore.

The second track, 'Sora' , clocking in at under 2 minutes, is an interlude full of strings, pads, and percussive hits, rich in feeling. This strong sense of sound design and seemingly disparate sounds woven together into a whole carries through into 'Eksotisk Tirsdag' - the strings, plucked instruments and electronics harking back to 4th world adventurers like Jon Hassel and Brian Eno.

'Cyklus' dives into drone textures, pulsing and modulating to create an unearthly soundtrack.

'Havekunst' is another 2 minutes interlude, this time bringing a fully charged rhythmic barrage to the front.

'Cesura', the final track is in essence the EP's centerpiece - a sprawling 8 minute journey that traverses tense, fibrous sections and on into pulsing modular passages, before opening up into glorious moments of wonder and brightness. It's a hugely bold yet fragile endeavour, in line with the whole release.

Good news, kids: Now you can play a different Kitjen record every day of the week, because just as last summer, we have some hot Dutch jams coming your way for Kitjen 007: Utrecht's own Stijn Sadée, who has been making moves in the Dutch scene for a while and runs the infamous Club Sauvage night, brings us three mystically exotic joints that showcase his manifold sources of inspiration and will bang your gong this summer. None other than Hessen's love doctor Gerd Janson stops by to seal the deal by turning "Affetto" into a 12 minute dancefloor journey. Pack light!

Following their work compiling last year's hugely well-received Ten Years of Jaunt EP, Blackhall & Bookless return to their label with four varied, equally confident shades of their distinct, versatile dancefloor vision. 'Forward' is an instantly enveloping slice of big-room techno that's entirely club ready and yet focused on atmosphere and tension, taking no prisoners and yet unfolding on it's own terms. That same ecstatic and almost ethereal club pressure reemerges on 'Voyager', under which gently unleashes a skittering landscape of blissful breakbeats and Vangelisesque synths. Inspired by the unforgiving sea that borders their hometown in the North East of England, 'Ocean' is perhaps the most intense moment on the EP, dragging listeners into wave after wave of undulating dub chords, always underpinned by driving, raw and percussive drums. Ending in forgiving ambience, this moment of respite leads to the conclusion, 'Occupy'. A beatless send-off, it nonetheless remains equally compelling and vast in it's filmic and complex sound design, showcasing Blackhall & Bookless' finely tuned meld of the substantial and the subtle. Tinged with the North Sea air and the pulse of Detroit, Blackhall & Bookless continue to master the sound of agile, accessible yet uncompromising club music.

"Up next on 20/20 Vision we welcome Nathan Jonson back for his second outing on the label, and this time it's rounded off with a big remix from his brother Mathew Jonson. Business EP finds Nathan back in familiar musical territory. Serving up genre bending tracks which fuse electro, techno, house and old school rave into a melting pot of electronica which is not easy to define. 'Business' & 'Let Your Body' are unconventional, unique and original, with off kilter basslines and rave stabs reminiscent of a Luke Vibert and Carl Finlow hybrid. The release also see's the first appearance on 20/20 Vision from none other than Mathew Jonson, who turns in a killer remix of title track 'Business'. Since 2001 Mathew has constantly evolved, with a back catalogue of scene defining tracks and one of the most electric live shows in the business. It's a honour to finally have him feature on the label.

The anonymous underground figure of Phoboz is associated with one colour - black. Not only is his online presence a mystery, with alternative stage names such as Doghead, Phaseliner, and Parseq. He is also connected to the well-respected Motorlab label, whose releases from the outset have been devoid of portraiture, biographic information, or textual support. Black covers, a few silver symbols of factory hardware, and nothing more.

Nonetheless, one Russian venue online has referred to Phoboz's earlier work as 'digital music for sentient people.' There's a vague connection between darkness, industry, and Russian feelings of late. Actuality is black.

These same emphases define the newest release by Phoboz on Resonance Records, entitled 'Flow' and overseen by Moscow's techno kingpin Nikita Zabelin. Forty minutes of resonant, insistent beats, straight from the gut of some abandoned factory. A heavy, even thunderous tradition fades to black, leaving the echo of prior decades to repeat itself, over and over. Even the titles of this release speak of something lost in the dark: 'Forgotten Planet' or 'Shifted Bias.' One tradition has evanesced; a future equivalent remains vague.

Phoboz gives voice to that shift from erstwhile desire to present-day drive, from industrial progress to post-industrial flow. The sounds of a forgotten culture.

"It was the most beautiful summer of my life."

Memories — places, vacancies, allusions — are fundamental characters in Mary Lattimore's evocative craft. Inside her music, wordless narratives, indenite travelogues, and braided events skew into something enchantingly new. The Los Angeles-based harpist recorded her breakout 2016 album, At The Dam, during stops along a road trip across America, letting the serene landscapes of Joshua Tree and Marfa, Texas color her compositions. In 2017, she presented Collected Pieces, a tape compiling sounds from her past life in Philadelphia: odes to the east coast, burning motels, and beach town convenience stores. In 2018, from a restorative station — a redwood barn, nestled in the hills above San Francisco's Golden Gate Bridge — emanates Hundreds of Days, her second full-length LP with Ghostly International. The record sojourns between silences and speech, between microcosmic daily scenes and macrocosmic universal understandings, between being alien in promising new places and feeling torn from old native havens. It's an expansive new chapter in Lattimore's story, and an expression of mystied gratitude. A study in how ordinary components helix together to create an extraordinary world.

Awarded a residency at the Headlands Center for the Arts, Lattimore spent two summer months living with 15 fellow artists — writers, playwrights, musicians, poets, painters, activists, curators — in a cluster of old Victorian military buildings on the Northern Pacic Coast. Days offered solitude, Lattimore set up in a spacious barn, able to arrange her instruments at will. Nights welcomed new perspectives. "Hanging out with a lot of accomplished artists with poetic ways of looking at the world was really inspiring. My heart was in a bit of a tangle after leaving Philadelphia. I was holding onto things instead of moving forward. My time there was a nostalgia detox, a way to press reset in a healthy way. Also breathing in the freshest air in America, straight off of the ocean, felt good."

Throughout the shifting locales there is one consistent companion Lattimore engages: a 47-string Lyon and Healy harp. The instrument wires directly into her psyche. Pitchfork's Marc Masters posits, "she can practically talk through it at this point, she's created a language." The space and stillness of the Headlands afforded Lattimore freedom to her expand her vocabulary, to stretch out and experiment with layers of keyboard, guitar, theremin, and grand piano. Lattimore's voice sweeps beneath the plucks and washes of opener It Feels Like Floating,' enraptured by the winding current, and reappearing in the second minute of the immense "Never Saw Him Again." The track elevates towards a shimmering apex of static and percussion before organ drone yields to signature halcyon utters. As with much of Lattimore's work, the track titles are telling, "Baltic Birch" is a somber windswept march that sways gracefully out of step, a remembrance of a recent trip to Latvia where she was struck by the abandoned resort towns along the Baltic Sea. Hello From The Edge of The Earth' is an earnest reection of Lattimore's love of the natural world, recognizing the thresholds of varying terrains.

The album's fth track borrows its name from Lattimore's favorite line in Denis Johnson's short story Emergency' from Jesus' Son. A character, lost in a blizzard, reassesses a disjointed universe, a clash between curtains of snow and angels descending out of a brilliant blue summer: it isn't an apocalypse, it is a drive-in movie, with stars hovering above the lot, off the screen, in the throes of the Midwestern storm. This mix-up is disorienting and existentially tragic, Lattimore's darkly strummed piece is a melancholic parallel, mimicking Johnson's elegant suture attaching two remarkably discontinuous spaces.

Micro-revelations, not quite as bright as torn skies but nonetheless enlightening, were everyday occurrences during Lattimore's residency. Living small days with small tasks — feeling little dramas within the arcadian universe of a national park — rendered her the sense that disjointed spaces can be interconnected no matter the enormity that divides them. It's in this elastic scale of perception that something as simultaneously simple and intricate as Hundreds of Days can ourish.

- Second solo album for Ghostly, past releases on Thrill Jockey
- Recently toured w/ Sharon Van Etten, Jarvis Cocker, Kurt Vile, Steve Gunn, Julia Holter, Iceage
- Mary Lattimore has been featured on Pitchfork, NPR, The Wire Magazine, and more

"This release is 3xLP and it's individually 1000 hand-numbered limited edition. The first 200 copies are pressed on BLUE TRANSPARENT vinyls (AR012).
It's dedicated to the Organic / Meditative / Groovy 1992 Japanese release, with all the ORIGINAL tracks, contained both in the CD and in the now so rare 12"" + 4 SPECIAL REMIXES from Japanese men, none than... Kuniyuki, Chee Shimizu (Organic Music), Max Essa and Tadashi Yabe (U.F.O.).
Archeo Recordings is a reissue record label that regenerates old, lost, obscure (and forgotten) rare gems of Italian music of the 70s and 80s, and not only.
All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images. Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.

Three original tracks by French tyrant Moteka who continues the exploration of his beloved dark techno territories. The first two tracks more hard hitting, where on the flip, title track Zvezda is more spaced out and comes with a crispy electro rework by none other than Dutch versatile heavyweight Tripeo.

A wonderful companion piece to the totemic Fed, we proudly announce the first ever vinyl edition of Korp Sole Roller by Plush. Liam Hayes' magical fourth full-length LP was previously only available on a rare Japanese import CD. Produced and arranged in 2010 by Pat Sansone (Wilco / The Autumn Defense), it finally arrives in a limited edition of 500 copies.

The common impression of Plush is that of an underground rock myth, lent greater poignancy by the lofty vision that galvanised his music. Yet while he has long been a cult concern, clued-up celebrity fans periodically declare their profound love for Hayes' maverick genius. Indeed, after Jason Schwartzman introduced Plush to Roman Coppola, several stunning songs from Korp Sole Roller soundtracked Coppola's A Glimpse Inside The Mind Of Charles Swan III.

As ever with Plush, it's easy to imagine you are listening to a privately pressed rarity from the mid-late 1970s. Or one of the criminally neglected jewels from the discography of Jimmy Webb or Burt Bacharach. The sound on Korp Sole Roller does differ crucially from Fed, however. It is more streamlined. These 10 gorgeously seductive creations careen around ornate string and wind instrument arrangements and producer Sansone's deft work is likely the reason for this. Yet, brilliantly, it still possesses that sun-warped take on classic pop-rock, that Plush specialises in. That peculiar "down-lifting" phenomenon of performing upbeat songs in an enigmatically mournful way.

Upon completion, Korp Sole Roller barely received anything resembling a release. Press coverage was zero because none of the major magazines or blogs knew of its existence. His management at the time essentially buried the album in order to concentrate on other releases. Looking back on this decision, it really made little sense. Everyone involved in its creation of these near-perfect gems is extremely proud of it. Liam himself has described it as the favourite of his albums. Pat's delicate work is astounding. Remastered especially for this special limited edition, it is presented in a sumptuous gatefold jacket with high-end art photography throughout, including full colour inner sleeves. Finally, here's your chance to own a slice of kaleidoscopic pop history.

15th release of the strong Barba records! And its FBK who's back featuring a remix by none other than Claude Young - a Detroit heavy-weight who's been particularly selective with his output. Kevin's previous record for Barba, a 2016 twelve titled "Screaming Her Name", also featured a remixes by Terrence Dixon and Plural. Between then and now Kevin managed to put out a track for "The Cast Project" VA and a solo EP for Radio Slave's "Rekids" imprint. As we mentioned earlier, "Eclipse" features two original tracks, the title one and "To A Place I Know". "Eclipse" track is closer to the sound we've come to associate to FBK's productions - equally banging and meditative. This track takes you for a spin with hypnotizing lead synth, distorted acid lines and drums that intensify the vibe as the track progresses. It's dark and moody, but perfect for those moments when the dancefloor is ready to dive really deep. "To A Place I Know" starts on the similar note but as soon as the sampled vocal loop takes the lead it takes the song to a much happier place. Hypnotizing element is still unavoidably present but here the synth line is more subdued and plays a supporting role to the vocals. Something you would play when you need to dive out from the deep and feel some sun on your skin. Finally, Claude Young's remix of "Eclipse" is a fairly different affair, focusing on the meditative aspect of the original quite literally, and taking it to a whole other level. It is an exercise in restraint and patience, with a slowly-rising tension masterfully achieved by a piano line, ambient pads and synth textures subtly exchanging roles throughout the whole length of the song. Simply wonderful. All that, pressed onto a heavy duty 180 gram vinyl and beautifully packaged in an original artwork traditionally featuring local artists

A cool film needs a cool soundtrack, right And none come cooler than ATOMIC BLONDE. A double LP filled to the brim with needledrops of some of the '80s best known cuts, as well as some under the radar gems, and a smattering of brand new tracks recorded especially for the movie.

David Bowie, George Michael, The Clash, Nena, Siouxsie and the Banshees, and A Flock Of Seagulls of course need no introduction, and they all contribute absolutely killer songs here. Rubbing shoulders with these A-listers are lesser known acts such as Re-Flex, whose track 'The Politics of Dancing' was a minor hit in the UK and is a pure '80s synth-pop banger from start to finish. After The Fire went from playing uninspired prog rock to recording the should-have-been classic 'Der Kommissar,' full of funky guitar licks and a chorus so hook-laden it should be illegal. 'Voices Carry' by American new wave band 'Til Tuesday features Aimee Mann on vocals and is an all-timer everyone needs on vinyl.

Darren Cunningham's eagerly~awaited new album is an adventurous, ultramodern, thoroughly British affair, rummaging about in the inner lives of house and techno, and brilliantly elaborating the accomplishments of his debut, Hazyville.
Determinedly off~the~map and resistant to pigeonholing, Cunningham is an enigmatic and playful figure, citing Francis Bacon and Monet as inspirations longside Theo Parrish, Anthony 'Shake' Shakir, Daft Punk, 'binary codes and numeral systems', and The Avengers. He's a hard man to pin down - somehow a key player in the post~dubstep diaspora and yet not there at all - but everything comes across in his shape~shifting, richly textured music.
The South Londoner's acclaimed debut lived up to its name: a series of dreamlike sketches and ideas. For Splazsh the fog has lifted, the sounds are less submerged than before, but still sticky and close - a signature combination of exuberance and introversion, luminescence and puzzlement. Unconstrained by the formal cliches of the dance music he loves, Actress' melodies and arrangements are enthralled by their own genies. Worlds of disturbance and melancholy revolve giddyingly inside the insidious funk of tracks like Get Ohn and Lost. A range of musical influences is redrawn, from speed garage (Always Human) to grime (Wrong Potion), with none crowned king. There is a reflectiveness - the ambient drift of Futureproofing, the radiophonic judder of
Supreme Cunnilingus - in amongst the industrial, synth~wave flavours of Casanova, and the stirring, stately Maze.
Actress has quickly and justly become one of the most respected names in the UK's new dance music underground. His own label, Werk Discs, has proven itself one of the most formidable and taste~making UK independents of recent times, bringing the world extraordinary albums from Zomby, Lukid, Lone and Actress himself. In love with the mysteries of groove and repetition, Splazsh is both a culmination and a new beginning for Actress, a substantial and eccentric work from a brave and coolly individual artist.
With international press interest gathering - photo features in Dazed And Confused, and Fader in the US, and a session with Wolfgang Tillmans for the cover of the German magazine Groove - the stage is set for Actress.

Techno Album of the month March 2018 in Mixmag UK!

Central to the Israeli club scene, Deep'a & Biri have long been defying expectations even within a community they helped construct. Serving as resident DJs, activists and bookers for Tel Aviv's legendary Barzilay Club, the pair helped build a transcendent club scene. Hugely influential artists such as Robert Hood, Derrick May, Rødhad, Ben Klock and Moritz Von Oswald passed through the club, enjoying legendary crowds and what they could surely sense was a genuine air of anarchy, rebellion and unadulterated rave pleasure.

As the duo held down dozens of parties with dozens of DJs, there was no 'eureka' moment for their emerging sound; just a steady stream of brilliant, inspiring electronic music, much of which left an indelible imprint on the pair. Now based in Berlin, for Deep'a & Biri, things are much the same, even if the landscape and the city is different. Always rooted in the fertile ground between machines and emotion, on their second full-length LP, 'Dominance', the duo demonstrate their unique grasp of the sensitive, unfolding relationship between man and machine. Steadfast in their insistence never to remain in one lane in terms of their sound, 'Dominance' flawlessly segues between forcefulness and weightlessness. From beginning to end, this is not a record afraid to show its teeth with an uncompromising, instantly recognisable techno palette that kicks the foundations of any sound system with menace, anger and determination, particularly on tracks such as the dense 'Voltage' and pulsing throughout the more industrial flourishes of 'Ecole De Nancy' and 'Seeking Solace'.

Beyond these grittier, although never mindless, moments of authority, a sense of escapism and curiosity imbues the album. 'Alpha Cephei' offers the first hint of Deep'a & Biri's more wistful concepts, producing a smoke trail of twinkling electronics out of a smudged but distinctive bassline. That understated sense of emotional catharsis carries throughout, to be found between the complex-yet-familiar bells that drive 'Flow Diverter's' rhythm to a Detroit-indebted landscape that will surely instantly elasticate any keen dancers, while 'False Memories' offers big-room techno fulfillment with none of the character or sincerity removed for cheap thrills. Saving the most remarkable moments for last, the pair sign off 'Dominance' with the poignant and purifying 'Astral Trails', fusing an ethereal, ambient landscape with the more pronounced rhythms of their hardware.

The album's distinctive artwork comes from the studio of Jewish orthodox artist Avraham Guy Barchil, who forged a powerful connection with Deep'a, both was immediately drawn to 'weird atmosphere, amazing technique and emotions involved with his work'. Perhaps one of the most interesting painters from Israel, Avraham is known for his unique perspective, taking his inspiration from the Zohar - the foundational work in the literature of Jewish mystical thought known as Kabbalah. The ambiguous figures represent mystical aspects of the Torah (the five books of Moses), as well as material on mysticism and mythical cosmogony.
Ensuring their natural, conscious touch always remains at the forefront of this unapologetically machine-driven music, Deep'a & Biri have produced an album in the lineage of their heroes and greatest influences. Cerebral yet satisfying, deep yet always engaging, 'Dominance' both reasserts and evolves Deep'a & Biri's forward facing and singular sound.

Turbolenz is a new label from Offenbach run by Philipp Lenz aka Delenz. The first label's release comes from Shayde, the brain child of Delenz and his partner Richard Hötter. Titled - Ama il buco' (Italian natives get the joke here), it features a very diverse spectrum of sounds and moods.

- Ama il buco' a slow grower and steady groover that will get many bodies moving and is some ready-to-get-naked material for sure.
- Kühlschrank in F-Moll' is a rather dreamy, yet positive and escapistic affair. Insert your favourite sunrise after a long night out here.

The flip side starts with a remix by none other than Swayzak, the mighty tech house duo from London. Their take on - Ama il buco' is a crisp and cool peak time affair for a moment of contemplation - if that makes sense. The last track - Ofwebach' is obviously an homage to Delenz' home town Offenbach. Apparently a more uptempo and experimental terrain, - Ofwebach' is something else.

All in all, the result is a rock-solid 4-track debut release on Turbolenz or as they say in Offenbach and Frankfurt: Megastabiles Ding.

'Fifteen' celebrates the work of Ben Lamdin, the musical maverick behind the Nostalgia 77 guise, with an eclectic compilation of tracks spanning fifteen years of jazz, hip hop, blues, funk, downtempo, soul and psychedelia.
Handpicked by Nostalgia 77 and Tru Thoughts, this retrospective showcases the best recordings and remixes from the respected producer, composer, songwriter and guitarist, spanning a range of projects. Featured on this fantastic anniversary release, are classics like Prince Fatty's "Medicine Chest Dub" and the second to none take of "Seven Nation Army" featuring the phenomenal vocals from the ever-soulful Alice Russell. Also included on the retrospective, the beautiful tripped out hip hop take on "Sleepwalker" from fellow Brightonian producer Ambassadeurs, and a track from Lamdin's country soul project with acclaimed songwriter Jeb Loy Nichols.

The Berlin-based Citylow label has been releasing quality house and techno for some time now. Born from a mix of musical influences from the metropolitan suburban life, the label is characterized by vintage, analogue sounds, modular systems and the many other influences of label manager Alfredo Trastulli aka F.T.G. The heart of the label is Citylow Humans Crew, a movement of underground artists around the world who day-after-day match their story with an underground music philosophy.

Staunchly dedicated to vinyl culture and with an ethos that tends to veer toward assured, confident sounding house and techno, theirs is a modus operandi that's served them very well indeed. For their latest, the attention switches to Fuckthegovernment.Ltd label boss F.T.G, who hooks up with regular collaborator Brando Torri aka Siyha Kuma for another release that speaks volumes of their talents. The A side features the remix, which comes at us from none other than the fucking parisienne talent Jef K, who in this instance has hooked up with Mikael Weill to supply a differing take on the original. Jef K of course, is a man who needs no introduction to house music fans. One of Paris' most acclaimed DJs and producers, he has a monthly gig at famed club Concrete, where he's renowned for sumptuous basslines and exquisite house music. Gritty and relentless, their remix is characterised by some steely bass hits and a stubborn refusal to compromise. A gnarly jam that soon comes to life courtesy of a quite brilliant bassline, this one is sure to make an impression wherever it's let out of the bag. Exceptional stuff we're sure you'll agree. Elsewhere, the B side features the original, which we soon realise is where the aforementioned remix earned its industrial stripes.

The word 'Icosahedrite' refers to the geometric figure icosahedron, and arises from the idea that the EP is an amalgam of electronic music styles with many other aspects of traditional musical genres, like jazz or blues. Metaphorically, those genres act as the multiple sides of an imaginary icosahedron. Something complex yet solid that sits outside of the conventional emerges as the final result. A1 'Phason Jazz' - This is a track where conventional jazz structures converge with electronica, and the influences Eduardo gets from Miles Davis and John Coltrane shine themselves. Twisted keyboards patterns mixed with delays and deafening effects form a place to get lost, and eventually repetition becomes hypnotism and turns into an automatic trance. B1 ' Mr Dewey D' - Mr Dewey D is referring again to Miles, and his first and second surnames.This song is much more influenced by Dark Comedy (aka Kenny Larkin) and all the records that he throws out on the french label 'Poussez' titled 'FunkFaker: Music Saves My Soul' Blues breath tirelessly in this composition where there is not much time for an objective analysis and where everything finally leads to an insane ending. B2 'Rhythmic Soundscapes ' - This track is, I guess, the most conventional part of the EP, Nonetheless, it retains special qualities. Floating pianos with delays are combined with bass sounds that go back and forth, forming a musical piece with techno sensibilities that I hope will give opportunities to the most daring DJs.

Masterworks Music returns with their illustrious 10" vinyl-only brand, The Masters Series. Stepping up to handle duties on this fourth instalment is none other than Tel Aviv's own Obas Nenor.
Having made waves with his previous outings for Defected, Heist Recordings and his own label, Nenorian, not to mention EPs for the likes of Strictly Rhythm, Mahogany Music and a slew of 12's for Whiskey Disco as half of Rabo & Snob...let's just say the man gets around! Now unleashing his 'Weirdo disco' style on Masterworks Music Here, he packs his studio creations win a tidy, 10" format with a double-header with "Candies" on the a-side and "Stay" holding down the b-side. 'Candies' offers the perfect counterpart with a shuffling, low-key vibe. Every much as danceable as the flip, "Candies" pairs jangling guitar riffs with vocoded rhymes and more undulating vocal snips. Clavinets dripping in wah-wah wackiness keep the mood light and funky and recall the glory days of acts like Faze Action and Crazy P.
Flipping over to the B side 'Stay' wastes no time getting down to business with wonky, percussive intro that launches head-first into a stomping Moog-bass groove. Layers of vocal samples undulated and punctuate the rock-steady disco beat while chords and claps get the hips shaking.
Cracking' tackle for any modern disco head, these are sure to blaze up the night!

Mastered and cut by Rashad Becker at Dubplates & Mastering in Berlin.

Hana's first and self-titled LP was recorded in Autumn 2010 at Facta non Verba and consists out of 5 tracks which are techno oriented with disposal of experimental and abstract elements.

Reviews

OMG Vinyl
Hana s S/T LP is easily the best promo records we ve gotten in months. This Greek duo has somehow, almost entirely below the radar, released one of the most exciting electronic records of 2011. Their wobbly brand of techno sometimes chugs ahead at full-speed, other times easing back into a wider waver, almost resembling some weird, warped IDM. I will be shocked if this record doesn t get wider appreciation very soon. Whether that happens or not, we fully recommend it, track one down.

Cyclic Defrost by Oliver Laing
Granny Records duo Hana come correct with their first album, offering a refreshing take on techno and IDM variants in the vein of Jan Jelinek, Raime, Actress and hints of the mighty Chain Reaction label. Mastered at Berlin s Dubplates and Mastering by none other than Rashad Becker, a name that often appears in the run-out groove of artists who inhabit a curiously funky techno-not-techno netherworld Hana s debut self-titled release grows in stature and listening enjoyment with every spin. With a sense of fun and adventure inhabiting the grooves, Hana (who are also part of label-mates, Good Luck Mr Gorsky), explore experimental timbres and ghostly vocalisations with a lightness of touch that belies their recording credentials.

Starting off with an abstract, Clicks and Cuts style intro, Liv slowly finds the sweet spot between mutant Detroit electro funk, a hint of the indie/dance territory of Matthew Dear and the abstract, yet rhythmic 12 releases on the Beatservice label, by Norwegian duo Information from the mid 90s. Obermaier implies the groove to begin with, until a wrong-footed man-with-two-left-feet rhythm leads into minimal acidic flourishes. Album opener SM heads in a Ricardo Villalobos vs. Nonplace Urban Field direction, as the lopsided rhythm and sepulchral vocals add a haunted edge to proceedings. CR80 uses beautifully syncopated live drums and urgent female vocals, and adds a driving, belligerent synth riff falling somewhere in between DMZ and Gary Numan. Echoic, boingy sounds threaten to derail the beat, but somehow it manages to maintain, reminding me of Shed and A Made Up Sound; more in overall feel than in the specific sounds. For those that enjoy abstract electronics that work just as well on headphones as on the dance floor, Greece s Hana are a duo to watch.

Textura
Hana's self-titled debut album arrives saddled with a (literally) cheeky front cover one would more associate with a 70s band like Wild Cherry than a Greece-based techno outfit formed in Thessaloniki last summer. Recorded in fall 2010 at Facta non Verba, the five-cut release finds Good Luck Mr Gorsky members Thanasis Papadopoulos and Thanos Bantis hunkered down in their chemical lab concocting formulae to go along with their material's stripped-down techno beats. Using analogue synths, samplers, and sequencers, the duo brings a decidely experimental edge to their productions, sprinkling as they do liberal doses of burble and flutter over bass-heavy techno rhythms.
The opening track, Sm, sets the scene with a heavy low-end pulse thudding alongside a steady kick drum and joined by acidy synths and percussive effects that suggest a lighter being repeatedly flicked open. On a slightly more aggressive tip, the B-side's Cr80 adds truncated vocal yelps to its bleepy, elephantine throb. A dubby dimension emerges in the track, too, when echoing waves drift repeatedly across the huge bass that slithers across the track's underbelly. The album's most elaborate track comes last. Liv opens beatlessly with flickering shudders and what could pass for the amplified workings of an ant community but then progressively fills in the dots with an insistent beat pattern, voice fragments, and even the demented meander of accordion playing. Though Hana hardly rewrites the techno guidebook on the release, it's nevertheless a pleasurable listen, in part due to the multi-dimensional experience provided by the vinyl format and the always superb mastering work done by Rashad Becker at Berlin's Dubplates & Mastering.

On the Corner's DJ tool and eclectic favourite, Versus is back for a second instalment. There are some familiar faces occupying this tasty wax and some new comers pushing the needle further-out On the Corner.
As 2015's Versus sold-out we'd already acquired some fresh production talents and sent stems over to new and old friends alike.
Get your atlases out as we criss-cross the globe introducing you to artists from afar-afield as Nairobi, Manchester, Pune, Iringa, Detroit, and South London.
We kick off with Jinku, self-proclaimed space monkey hitting OtC wax for the first time. The producer is one-fifth of the East African Wave, a collective of young DJ Producers who are revolutionising the East African arts scene. As a 'sponge' of different influences, Jinku lays down a balearic reworking of fellow Nairobian, Makadem's 'Nyako'.
Of the returning artists none is quite as mysterious as the elusive and incomparable Black Classical - discordant-Ra-like organ meets Brazilian poly-rhythmic percussions bludgeoned with a heady slab of rave breaks make for 'Jeje': already a firm fave of Gilles Peterson.
Boundary pushing Contours brings a new swing to the 'Agama' groove, following the underground smash from Al Dobson Jr back where it all started with the release of Tamar Collocutor's first album in 2014.
Wonky psychedelic perambulations through the Traab al-Beidaan (Sahara) from Sam Jones who adds another construct to his mantle. Group as Salaam have a cassette release forthcoming and this construct comes from field recording sessions conducted during a feast out in the shadow of Africa's largest Windfarm by label head Pete OntheCorner. Vibes!
On the B-side, sprightly producer Daisho from the Indian hotbed of Pune brings a layered percussive heater hanging in the atmosphere with ominous synth b-lines and rightly tipped to be in the realms of and early Four Tet mover.
The release enters into a deeper shamanic dance territory in the final third: the beathead's elixir, M.I.X.G. and their massive xylophone (Embaire) are back and gets a heavy acid rerub as South London's FYI Chris appear OntheCorner wax again with
'Drop the beat'.
Peter Croce, head of Detroit's Rocksteady Disco brings it deep into the early hours for this euphoric 4am fix of OntheCorner's
afro-latin-electronic party experimentalists, Penya.

We started with the principle - the cosmic idea that we were taught by our father from a very young age - that the stars and planets make a sound, that deep in outer space there is audible harmony.'With its cathedral-like, richly resonant acoustics, the new HBE album is a brilliant expression of this interplanetary principle. The album is by turns urgent and contemplative, funky and reflective, varied in its textures, but entirely of one piece. Underpinned by concepts of our earth's place in the cosmos, held in place by meditation, swirling with notions of history, science, theology, ancestry, there is a rich conceptual brew here. But always, what talks loudest is the music. The album rings with what back in the 1950s the jazz critic Whitney Balliet called the sound of surprise'. At a time when the phrase Spiritual Jazz threatens in some quarters to become a tired cliche, this is a record that makes you believe again in the genre's validity.

Talking to Cid, one of the Ensemble's two trombonists, one phrase recurs: back to the beginning'. We wanted to go back to the beginning, when we were kids, real young, and our father would wake us up at 5 AM to practice for two hours before breakfast.' One outcome - initially unplanned but subsequently embraced - is that unlike their two previous albums on Honest Jon's, this is an album without a drummer. When we started, as Wolf Pack, just brothers on the street with our horns, there wasn't a kit in sight.' Book Of Sound retains plenty of rhythmic heft, but the absence of a drummer opens up space for a notably varied instrumental palette. Acoustic guitar, piccolo, synthesiser, alto sax - none of them typical HBE Instruments - all have their place on the album. Most striking perhaps are the vocal lines that thread through the album and give it a palpable warmth. In Wolf Pack, we rapped and played, this time we took it a step further.'

Sessions were recorded in Brooklyn and Chicago, and brilliantly mixed at Abel Garibaldi's studio in the Loop ( Abel was like a musician on this record'), and it's the Hypnotic's hometown that permeates. For Cid this is a deeply Chicago record: it's got the vibe of the lake, the vibe of the prairies opening up to the west'. It also has the vibe of those Sun Ra Arkestra albums recorded in Chicago in the 1950s, and - of course - the Phil Cohran albums from the 1960s.

It's Phil Cohran (the father of all seven members of the Ensemble and their first teacher, and not just in music) who is the album's guiding spirit. For Cid it's a major regret that, in the months before their father's death early in 2017, Phil was not well enough to play on the album. He loved the whole idea, and we had the perfect place for his zither'. But Book Of Sound is a magnificent testament to their Cohran legacy. You know, it's tough trying to satisfy everybody with our music. It's hard enough satisfying ourselves, let alone the jazz scene, the hip hop guys, what have you. With this album we just dropped all that as a consideration, and tuned into deeper principles.'

Two years after his last outing on Get Physical, Roland Leesker returns to the label of which he is Managing Director with a brilliant new track that comes with a remix from Cardopusher. Leesker has only put out a select few releases over the last 15 years-both solo and as DJ Carrera and R&R with none other than Ricardo Villalobos-but he has a truly fully formed sound. This tune has been doing serious damage in the clubs for a while now and makes you wonder why Leesker doesn't release more! Entitled 'Thunderstorm' it is seven minutes plus of moody and dramatic tech with heavy synth clouds, whining machines and turbulent drums all whipping up a storm. Manic keys and heavy chords come in and out as fizzing textures all make it a real synapse firing affair that is designed to arrest the attention of huge crowds, and it sure will do that. Venezuelan born Cardopusher has a diverse and experimental sound that takes him from techno to electro to acid to rave to house on labels like Super Rhythm Trax, Zone and BNR. Here he masterfully cooks up another frenzied track with spraying acid, heavy, marching and industrial drums and a real sense of rave energy that will dazzle as much as delight in any set. Finally, Leesker offers up his own 'Dschinn mix' providing even more raw energy. Angry drum rolls, stomping kicks and huge hi hats all piled up and force you onto action. It's a superbly metallic, in your face track to wake up a crowd in the late night hours. With this EP, Get Physical's sensational 2017 keeps on getting better.

Juris Boiko (1954-2002) and Hardijs Ledinš (1955-2004) were the core members of the NSRD, which is best known as Latvian avant-garde, postmodern, experimental and underground music group active in 1980s. BIG TIP! STROOM BRINGING IT...! comes with download code.
.

Their activities were widely multidisciplinary and they can not be considered as purely musicians since none of them had a professional musical education. Their creativity was manifested through variety of media - music, performance and action art, visual arts, poetry, samizdat, the introduction video art in Latvia etc. NSRD also made a significant contribution to the explanation of the theoretical aspects of art in the interpretation of the postmodernist movement, and developed the independent concept of 'Approximate Art'. At the end of the 80s, NSRD got connected and performed with several artists and musicians living in West Germany, including Indulis Bilzens, Micky Remann and Maximilian Lenz aka Westbam and others.

Next up is Serbian Nenad Petronijevic aka Shoxy, With some big releases under his belt on labels like Desolat, Nima Gorji's NG Traxx and Kanzyiani's Jesus Loved You we are pleased to bring you his 'Drum State EP' on Fake which includes a super rework by none other than Martinez.
300 press. 12"Vinyl Only

Osaka, not being Japan's capital city, has a history of producing some unique underground movements and artists. Without the attention or the funds Tokyo artists may have access to, Osakan artists over the years have had to make their own way with raw innovation.Iku Sakan, an electronic musician and DJ from Osaka, has spent most of the last decade living in Berlin. Prior to that, he was active in the underground club scene of Kyoto & Osaka. A previous unit was Sakan & Senju (with Muneomi Senju of The Boredoms). Together, they produced a 15 copy handmade edition of their music on CDr. Iku personally handed a copy to Karlheinz Stockhausen, when he was visiting Tokyo for his last festival appearance in Japan.Sakan began playing steel drum at the Görlizer park in Berlin, Tori Kudo of Maher Shalal Hash Baz then invited him to accompany the band. Immersing himself in the international DIY / noise / improv scene back in Berlin, he became active as an improviser, DJ and promoter, and has since worked with Sun Araw, Anders Lauge Meldgaard, Pekka Airaksinen, Günter Schickert, and Damo Suzuki.Playing and improvising, touring and DJing, has led to his sound, a kind of metaphysical music, with circular rhythms and an emotive, melodic feel. He combines analogue and digital devices (Omnichord, Roland MC303, and a DIY electronic doll synth. made by his friend Stephane Shibatsuji-Perrin in Tokyo), and pre-recorded materials, mixing and merging all four signals into one mixer (no MIDI sync.), through an effect pedal. When recording, he usually lets these devices run until something clicks. Then he records and starts to improvise, like he's playing an imaginary instrument, entering a timeless region where track length loses its meaning.2017 has seen some of Sakan's Berlin recordings released, initially on two tapes: 'Human Wave Music', for Natural Sciences, and 'Cepheidian' for Planet Almanac. The two track long player 'Prism in Us All' on Japan Blues' imprint is his first LP. His on/off-world sound, part kalimba, part gamelan, part E2-E4 - and at the same time, none of them. A hypnotic, musical mantra, centring the spirit, and resonating with the harmonics of the spheres.Prism In Us All' is the second release on Japan Blues' eponymous imprint, after featuring the album on his NTS show in January.300 copies only, in silk-screened sleeve.

Just a few months after its first release, Nitsa Traxx comes back with a very special 12'.
The project started with a file exchange between Eduardo de La Calle and Ferenc. They decided to work each track on their own side using only a few isolated sounds from the other. This way none of the tracks could never be treated as a full original, but proper remixes of tracks that never existed, building an uncanny, almost dreamlike emotion.
A Side is for Ferenc's 'Parón Largo', where synthetic strings are omnipresent and time and space unbends, evolving to an anticlimax where an eerie vocal and the longest possible drop are the leading trademark. A never ending and emotional standstill that goes deeper than the Mariana Trench.
Eduardo De La Calle uses his distinctive signature sound in the B Side. 'Cloaking Tech D Fly D' is an obsessive yet beautiful track that reminds us of the Somewhere in Detroit series. This is a mental and heart-warming tribute to the Motor City sound that just a producer like Eduardo could do.
Next releases are on the corner already, and we can't wait to share them with you.

Mick has been active in the seedier corners of electronic music for more than 30 years, first immersing himself in the world of hi-NRG and new wave before embracing the house, techno, acid and electro explosion of the late 1980s. Aligned with DJ Hell in the 90s and more recently the Intergalactic FM crew, he's the quintessential selector. A life spent digging in the undergrowth for deviant dance music has given him the edge that makes a truly gifted spinner, without riding on hype or studio productions. However, Mick isn't adverse to the odd outing on vinyl, having previously appeared on International DJ Gigolos both solo and as The Kinky Lovers with sometime partner Isabella Venis, but these moments are few and far between. For this release on Arma, Mick has given us two edits that speak to his distinctive style as a DJ - the original tracks are cult choices re-moulded into deadly, subversive club weapons. The brooding darkwave of 'Himmelfahrt 89' is enough to turn the most indifferent bar crowd into swaying, baying denizens of the night, while 'Stay Silent' pummels out a relentless electro motif that teeters on the edge of destruction for 11 thrilling minutes. These aren't crowd-pleasing DJ tools, and neither are they slick and easy edits of obvious classics. This is a peek into the inner workings of a man with decades of experience working masses of flesh into a sweaty fever pitch using sounds you've never heard before. The mastering on Mick's edits was undertaken by none other than Dutch electro legend Rude 66, while the striking artwork on the sleeve sees Arma reach out for the first time to French artist Judex. The nerve-shredding, broken Op-Art assault was originally found in a book published by cult illustrator Sam Rictus. Cover Artwork by J

Solar Phenomena is a brand new label on an exciting astral crusade. The take-off pilot for our virgin mission is none other than decorated Polish producer Echoplex. One of the country s first breakthrough international techno artists, his body of work dates back almost 20 years While often taking us 20,000 light years forward. This is no exception.

The Solar Experience provides uplift. Like any deep dive into the cosmos, take off is gentle but picks up speed as more interlocking details weave like a blur of stars in your shuttle window. Expect turbulence as Anywhere jettisons the rocket and submits mercy to the acid asteroids with a broken beat jumping at every angular bump.

Hyperspeed prevails with the Detroitian-toned technoid stampede Your Place . Momentum sustained by an insistent sense of urgency as more elements hammer into the mix, it s complemented by an unforgettable remix from A Made Up Sound. His only remix of the year, it s a dense and wonderfully fuzzy weave of planet-bouncing rhythmic elements and alien textures that takes you well beyond the point of no return.

Elsewhere we glide deeper into the cosmos with shiny, gliding and ultimately hopeful The Sun Just Shines , we re sucked deep into hypnotic black holes on the warping bass and broken drums of Memorabilia before activating landing procedures on Match Made In Heaven . Soft chords acting as a parachute, the glistening arpeggio providing the deep oceanic landing spot, it s the ideal end to an accomplished debut celestial adventure. Who knows where Solar Phenomena will take us next

Eight releases in, Leonidas & Hobbes have honed a mutual love of soundtracks, disco, jazz, house, techno, acid, psychedelic, African and dub sounds.
Web Of Intrigue is one part tribute to lost 70s soundtracks, when music was created on the finest analogue hardware, featuring full bands, session players and lush orchestrations, one part tribute to 70s disco gods Nile Rodgers and Bernard Edwards (Chic) and one part mid-tempo but nonetheless cosmic house. The three parts fuse to form an instrumental track sounding as fresh as a whole meadow of daisies in 2017 and one that's been going down extremely well with international DJs who have road-tested the material.
Heavy Weather flips the script for a deeper workout in a 3/4 time signature - more of a cosmic waltz. Taking its main cue from 70s jazz fusion heroes Weather Report and The Doors' Ray Manzarek, it incorporates rich African percussion, spaced-out flourishes exhibiting the duo's love for the dubs of Lee Perry, King Tubby et al, and a good old fashioned arpeggio of an acid line - definitely a more esoteric number, all told.
The 'Dawn' and 'Acid Rain' mixes push different buttons for the heads, as suits the mood. It all adds up to a very Balearic confection, fitting snugly in with the burgeoning revival for this somewhat ineffable sound - a trend that seems to be getting stronger/bigger every year, popping up every time the sun gets his hat on and we all remember how to party like the lucky residents of that infamous White Isle....
MORE INFO
London/Edinburgh analogue electronic duo Leonidas & Hobbes released debut EP "Machines, Tapes & Electronic Setups" via the Hobbes Music label back in May 2013, picking up plaudits and support from the likes of Resident Advisor, Mixmag, Erol Alkan, Ashley Beedle, Alan Braxe, Shadow Child, Jimpster, Nick Warren, M.A.N.D.Y., Leftside Wobble, Mr G, Auntie Flo, Sasha, John Digweed and many more... The duo were consequently commissioned to remix the Pet Shop Boys.
Second EP "Mo' Machines" came out on the label in April 2014 and received equally high praise, with i-D Magazine inviting the duo to record a DJ mix which has to date chalked up a whole lot of love on Soundcloud.
Leonidas has released two other collaborative EPs with London-based Japanese DJ/producer Kay Suzuki via his Round In Motion imprint, equally winning fans worldwide, with a track now forthcoming on new label YAM Records' You And Music Volume 1 EP plus much more in the pipeline for 2017. Leonidas also has his own lovetoparty label, releasing edits of much-loved disco tunes on limited edition 12" vinyl format and free download. Previously, Leonidas made a name for throwing word-of-mouth parties around east London on his audiophile 'lovetoparty' sound system (providing some of the inspiration for much-admired late-night watering hole Brilliant Corners).
Equally, Hobbes ran the widely acclaimed Trouble nights for ten years in Edinburgh/Scotland, working with the great and the good from across the soul/jazz/dance spectrum since '02, and championed up-and-coming live talent via his Limbo 'gig-in-a-club' nights at The Voodoo Rooms for nine years since '07. Hobbes has toured his DJing style to the various corners of the dancing planet, including gigs in the Far East, much of Europe and across the UK. The Hobbes Music label has otherwise featured artists as diverse as Auntie Flo, JD Twitch (Optimo), Neil Landstrumm, Craig Smith (6th Borough Project), Ali Renault, iO Sounds, Joe Howe, Debukas, Fudge Fingas, Marco Bernardi, Dimitri Veimar, Mick Wills and Nightwave, with further support from Ben UFO, Justin Robertson, Motor City Drum Ensemble, KiNK, The Revenge, T.E.E.D, Kiki, Groove Armada, Maceo Plex, OOFT!, Domenic Capello (Sub Club), XDB, Ben Mono, Masa Sutela, Bawrut/Scuola Furano, Numbers, John Heckle and many more...

We are bringing together the creative might of our residents to bring the sound of Renate on a double release EP. Over the years Renate has grown from a impetuous party to a glorious club. The people who came together under her roof and played beats that made bodies pulsate with ecstasy have become benchmarks in the music industry of today. We want to share with you that talent. The first EP hosts tracks from Peak & Swift the colourful techno duo that inadvertently become the face of renate today. Sebastian Voigt, the dark techno Horse of the Renate tribe, adds a little mystic depth. Samanta Fox & Oliver Klostermann bring their high styled brand of cosmic music to the wax in a epic track and lastly Johannes Albert the wunderkid who broke free of the berlin's shackles and taken over the global stage with influences from none other the Wilde Renate.

lvin Toffler was overwhelmed. When in the morning of October 4th, 1988-it was his 60th birthday-he was starring with a still somewhat absent look into a bowl of cornflakes, he thought that in the surface structure of the yellowish shimmering milk which was making an emulsion with the maple syrup and slowly but irreversibly corroding the crunchy crystals on the flakes, he could see through a window into a timeless dimension. Toffler, who at that time had reached the peak of his fames as a future scientist, was sustainably disturbed from his peek into this extra temporary peephole. In none of his books-'Future Shock' had just been released with yet another edition featuring a proud printed note on the book cover stating 'more than 5 million copies in print'-did he ever mention this occurrence. Even after his death in June 2016, no note on this incident could ever be found in his estate. The 'flake dimension' as Toffler called it in notes which were later shredded remains a secret of opaque, hard-to-grasp radiant power.

Maybe it's too simple to describe 'Pneumatics' as a creation coming from this cornflake world Without doubt. Are there any more precise terms or instruments to determine the multifacetedness and beyond-timeliness of the 'Pneumatics' soundscape There are still unknown. 'Pneumatics' is, after releases at Innervisions, Die Orakel und his own label Sound Mirror, the debut album of Orson Wells (as long as you don't count in 'Jupiter' - Wells's first LP which was released in 2014 with 48 copies on cassette-have fun digging for rarities and bargains!).
Perhaps Wells, known in Frankfurt under his real name Lennard Poschmann and as an employee at the record store Tactile, is only a messenger. Or a psychic. The sound manifesto that he apparently transmits from Toffler's secret dimension tells of a city of upside down pyramids ('Tianon'), of passes into the land of the five elements ('Multipass') and dead straight four-to-the-floor lines which appear bended within the spherical dimension (''Geodesic'). These beats are right on the heels of the ones of Intersteller Fugitives; the strings sound like that at any moment a vocal sample edited by Moodyman could warp over through the Cornflake wormhole. Pneumatics is the science of all technological applications powered by condensed and often by quite heated air. It is a matter of mechanics, compression, jackhammer, ramblings, high pressure levels, valves for blowing of steam. On 'Pneumatics' it's all about this. And more. Orson Wells's album gets to the point of the post-retro futuristic state of the dancefloors of the house and techno clubs of this planet. It is like a peek into another dimension, right on the golden cut of spacetime geometry.

Boka Records returns after a near 2 year hiatus to present a series of brand new releases and new recruits. First up is Bristol's Guesswerk featuring regular collaborator oneThird and a fine remix from none other than Quest of DEEP MEDi fame

DJ Harrison is Richmond VA-based producer and multi-instrumentalist Devonne Harris.

The son of a radio DJ who introduced him to the world of record collecting, Harris grew up with music, progressing from violin, to high school drum-line, to the Jazz Studies program at Virginia Commonwealth University. He also continued working with other instruments and developed an interest in sampling. His development as a producer - at first, without a computer or sampler - came first learning to replay samples on the drums, piano, bass or guitar.

DJ Harrison finds himself inspired by local musicians in the Richmond scene that's as diverse and nonexclusive as they come. Among rappers, producers, punks and bluegrass bands, he falls within reach of an expansive pool of musicians to collaborate with. He lives and works in Jellowstone, a house turned recording compound occupied by his band mates in Butcher Brown, a 'garage punk jazz funk' group.

Eleven tracks recorded by Miles Davis' nonet in 1949 and 1950, The Birth Of The Cool may just be the most accurately titled album ever. The tracks just bleed hipness - cool, smooth, and swinging - and practically define the genre of "cool jazz". Unparalleled recordings required for any fan of mid-century American jazz.

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

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

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

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

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

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

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

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

Stockholm-based Wolfbrigade announce the news of their ninth full-length album, titled Run With The Hunted, set for release on April 28th through Southern Lord.

Formed in 1995, initially as Wolfpack, after five years they ventured into the new millennium as Wolfbrigade. The band have released an impressive volume of LPs and smaller releases, and have toured widely over the years, becoming one of the premier acts of their genre. Their damning music surges with outcries against human socio-political injustices, yearning for transformation and freedom.

Wolfbrigade's Run With The Hunted strikes with ten brutal new tracks of their trademark d-beat, hardcore-crust-punk fury, elevating both the harsh intensity and the melodic attributes of their music to new extremes of savageness. There's a concentrated sense of urgency across the record, and a sense of dystopia fuelling the scathing vocal wrath. Run With The Hunted was recorded in both Studio Fredman in Gothenburg (At the Gates, In Flames, Martyrdöd), by Fredrik Nordström and Henrik Udd, and in Sunlight Studio (Dismember, Entombed, Grave) in Stockholm, by Tomas Skogsberg.
 
  About the new album, Wolfbrigade declares, We looked to explore our rawness, writing straight-up, in-your-face, primitive songs. On this record, we decided to push the melodic strains even further, but without losing either intensity or brutality. Lyrically we have been inspired by both classic and obscure dystopian literature, finding suitably horrible metaphors for the decline of western society. The search for freedom continues, but this time the path is pointed inwards, into ourselves.'
Run With The Hunted











 

Secretsundaze are proud to announce the second 12' in the Dance 2017 series. The EP is once again a 3 tracker this time featuring the highly-promising emerging talents of DJ Slyngshot, Bastien Carrara and Jayson Wynters. DJ Slyngshot hailing from Offenbach near Frankfurt has had tongues wagging with three hot 12s on his own imprint Yappin Records and received club and radio play by the likes of Omar S, Floating Points, Ben UFO and Jon Rust. His contribution to the A side of Dance 2017 Part 2 sees him on fine form with the devastating rhythm of 'Hygh-Tech'. Kicking off with a rough and ready groove the hook is a gnarly nagging synth line that will worm its way into your brain. Add a sampled wailing diva and some more jazzy interludes and you have a festival-ready high grade bomb on your hands! On the flip steps up France's Bastien Carrara. His dusty jams on the likes of Rawthenticity and Funkineven's Apron imprint caught our attention and we roped him in for a track. Here he presents the charming, breezy and breaky 'That Time Again'. Warm, atmospheric and groovy this is definitely one for long summer nights ahead. Last up Jayson Wynters represents the UK! Jayson made his debut on none other than Mr G's Phoenix G. imprint with the sub-aquatic 'Unfamiliar Territories' EP. He is an amazing DJ and selector able to play house / techno sets and also jazz, boogie, disco and funk sets where required at the likes of Brilliant Corners. 'Chi Kung' is a bubbling, mystical percussive number with hand played drums and a perfect closer to the EP.

At Cambium we like to keep it brief and let the music do the talking. Here we have a fresh release from none other than V.I.C.A.R.I. with his 'Still Be There EP' From deep rolling bass lines to hypnotic synths and bouncy rhythms this is a must have for any vinyl collection

Danilo Braca (danyb) arrived in Brooklyn from his native Rome in 2012. Playing around town, running sound at local venues and slowly allowing these edits--informed by many years working the floors across Europe--to evolve on and off the dancefloors of New York City. Check his web radio TSoNYC - The Sound of New York City.
Busted Vol. 1 kicks off with something very special - a lovingly reworked, top secret, late 70's jam favoured recently by none other than DJ demi-god Harvey
Anyone who's heard him play in the last couple of years will be familiar with the original version of this truly magical 13 minute slo-mo Disco jam - it's a genuine holy grail moment !
Having established that quality is of the upmost importance, Busted continues with a beautiful duo of amended cuts on the flip. The uptempo, playful 'Play Me Hard' works the groove, hard !
while 'Have A Cake' is a gloriously sleazy mid-tempo workout
One hell of a 12" ladies & gentlemen !

Six years after his last album on Miasmah, Schattenspieler, it's great to find Marcus Fjellström resurrected after several long years spent composing his audio-visual opera Boris Christ.

Born out of shattered dreams and an obscured vision of the future, Skelektikon is a delirious yet lucid exploration of the farthest and most conflicted reaches of the heart, teeming with confusion, passion, and ghostly shadows. Being no conventional composer in any way, Marcus stumbles further down his musical domain of detuned orchestral (re-)arrangements and pain-inducing synth passages, arriving at a most unique and personal result. Where Schattenspieler gave way to noir filled alleyways, Skelektikon fills them with paranoia. It's the sound of Limbo, of dancing amoebas, of deviant skeletons, nostalgia and futurism, or quite possibly none of that.

Inhabited by the bizarre and the beautiful, Marcus's music is a blurred yet encouraging representation of how you can never trust your own feelings - or eyes and ears for that matter. And yet, we can't shake the idea that the truth is to be found somewhere within this alien language, as delivered to us through the speakers. Opening our eyes after the final track has dissipated, we wouldn't be surprised to find someone or something there, staring at us, in silent and unsettling knowledge.

Fall of 2016 sees Midnight Magic ready to enchant us once more with the much-anticipated birth of their 2nd studio album, the wondrously eclectic Free From Your Spell. Going back to their roots in Los Angeles, Morgan Wiley, and Tiffany Roth, alongside the rest of the boogie nonet, have prepared a refined feast of genre-bending songs. The ever so diverse moods of Free From Your Spell make it a seductive journey. With each song mixed seamlessly into the next, the record coalesces into one long disco odyssey, reminiscing Giorgio Moroder and Donna Summer's concept albums "Four Seasons of Love" and "A Love Trilogy". Moods, genres, and styles intertwine like an aural kaleidoscope, the album electrifying with its striking harmony. Whilst exuberantly borrowing from past decades, Free From Your Spell more than holds its own as a self-assured, innovative body of work. Midnight Magic's Free From Your Spell is an offer one can't refuse. An attractive deal in the form of disco escapism, traveling through its various shades, emotions, and incarnations, a comprehensive revival of the genre for modern ears. It's Studio 54, It's Moroder,Amanda Lear, Gino Soccio, and Grace Jones. It's a whole palette of 1980's R'n'B and cosmic funk. Despite all the music references of past eras Free From Your Spell is very much a current album, a mature demonstration of genuine skills in songwriting, a multi-instrumental banquet of sounds, a coherent collection of ambitious dance tracks and a beautiful celebration of eclecticism. Add to this some of Tiffany Roth's most memorable vocals to date and you arrive at one of the year's most exciting releases. There is a strong reason for both "midnight" and "magic" in the name of the band after all.

''In a time of peace and prosperity on Phantom Planet, three unwanted heroes arrive home to seek justice where there is none to be sought. Shunned by modern society, Forsh gets a job at the electricity board, Red Defender snoozes through work at the local news and booze, and Bin Man finally finds his dream job... as a postman. With no evil to lay waste to, they put their dinner money together to create the world's greatest record label, BOSS TRACKS. Using broken dustpans and Dance Ejay '98, they create what will go down in history as the most seminal and brilliant piece of musical forgery known to Merseyside. 4 tracks packed full of pure dance floor steroids for your love-pump; this is interstellar muscle music at its finest, let it reach out grab you by the tenderloins! Thank you Phantom Planet Outlaws. Once again the world has been changed forever, for the better.''

Marky- 'Whaaat rollers!! I looove it!!!!!! Big tunes 100% support as usual'
Ant TC1- 'usual level of quality from a label that never fails, true to the original sound, never swaying from the good old roots this music was built on, it's a 10 out of 10 from me on both releases, Expose was an insta-fave for me upon first hearing'

Randall- 'Heavy tunes'

* Quarantine continues into 2016 with more from Fierce and Zero T, Following their recent Metalheadz release.

* ''Expose'' This stepping roller has been getting a lot of love of late. A misleading intro lulls you into a false sense of security, before the bass drops!

* "Clandestine" Another big break roller, echoing styles of long ago. Providing conscience for those who have none...

* Both these tracks continue to establish the return of Quarantine and have been getting supported and played by Friction, Fabio, Doc Scott, Randall, Hype, Bailey, Marky, Ant Tc1 and many more.

The Seven EP is coming from none other than Electric Indigo, who is pushing things forward in the electronic music scene since the early ninetees.
She also hosts the network female pressure , which tries to make female artists more visible and therefore holds a data base with information about many of them.
The A 1 track Sept is a journey through soundscapes and a club track at once. There are unbelieveably many details to discover.
Siete on A 2 is on the edge of an Ambient and Techno. A tremendous kickdrum becomes the centre of the rich atmosphere.
On B 1 Tensal hands over his interpretation of Sept . This track is up for the peak time on the big floor.
On B 2 Hagen Richter, who is running the label, also remixed Sept . This track combines melodies with a heavy snare drum.
The 12" comes with a sticker on the disco sleeve.

Unshakable integrity, adamant dedication and multi-faceted creativity are all characteristics that define the personality of french electronic artist Marcelus. Following an already fluent relationship with music and a string of single releases on Tresor Records, Marcelus - given name Cedric Bros - thought it would be the opportune moment to dive into his most intimate inspirations and produce Vibrations, his debut album.

This full length project naturally comes at a pivotal moment for Marcelus, his experiences and knowledge coming together to create a homogenous body of work reflective of his expertise as a musician so far. Vibrations is purposefully techno oriented. It is a personal journey through his proficiency in the genre, travelling from techno to house inspired dub techno to futuristic and experimental by the end of the three vinyls.

To calculate the dark, nonetheless melancholic energy of the record, mathematical datas of Pi and Phi were deliberately measured into some parts of the composition of each track. The result is an ever-evolving web of rhythms that redefines pre-established structures.
Through its rich sonic journey Vibrations proves, from A to F, that Marcelus is undoubtedly one of today's most interesting and dexterous producer in the genre, and pertinently lands on Tresor's 25th Anniversary calendar

Killekill catalogue number 025 is a jubilee release:
It's KILLEKILL MEGAHITS II !!
But it's not only a jubilee release. It's also milestone and turning point in the Killekill history, because with this release Killekill closes one chapter, and opens up another.
We are constantly getting too many demos full with good music in way too many different styles to squeeze them onto one label. So finally we have come to the point where we will start a line of new labels with different profiles to give ourselves the opportunity to feature even more daring artists and release whatever we like in the most suitable outfit for it.
So far, there is this compilation, which has been carefully compiled for your pleasure. Label regulars such as Cassegrain & Tin Man, Furfriend, Alex Cortex or Eomac have delivered high quality stuff of all kinds, but we are also introducing a lot of artists who will feature on the coming labels:
Umwelt with his epic and dramatic electro, who will release an album with us later in 2016, Dez Williams with his genre-crossing sound which works on every dance floor plus Power Vacuum's Bintus who delivers his portion of electro/acid madness on Record 1.
Record 2 features the legendary Detroit Grand Pubahs, who present their electro outfit Techmarine Bottom Feeders, The Fool's Stone, which is a new project by Hard Ton, electro legend Adriano Canzian and italian queer artist Brigida plus London's underground hero Jerome Hill, who lets it jack and roll with his Memory Machine.
On Record 3 Kamikaze Space Programme surprises with some bell-driven percussive techno and what can we say It is with great pride that we include the acid techno epos by none other than the legendary 'Prince of Techno' Blake Baxter.
This compilation is a trip through a big musical universe. Enjoy!

Inmotion Music LTD sparks its first release by none other than Marco Faraone. Fresh off his unflinching release schedule in 2015, with poignant releases on Drumcode, Moon Harbor BEASONE and On Edge Society,
Marco's first release of the year see's him affirming his position as a full-spectrum techno mainstay. With two stunning remixes by Argentinas Jonas Kopp, Replace EP showcases a versatile playlist grounded in timeless, raw techno.

With their next carefully curated release, the Opilec Music label begins to shine a light on the roots of Italo with the reissue of an ultra rare and obscure synth Italo disco track by A. Avenue from 1984.

This is a special Record Store Day 2016 release and of course, Opilec Music has remastered the original vocal and instrumental versions and here include I-Robots reconstructions and two Flemming Dalum's reworks.

This is a track many labels wanted, but only Opilec Music have been granted official rights to this cult re-release. Originally released on Discover Records, this is the only EP

A. Avenue (aka Dario Ancona and F. Feleppa) ever put out and it now fetches high prices on Discogs. Once you hear the music, you can understand why: The lovably naive and innocent vocal version is seven minutes of cosmic and psychedelic grooves with perfectly retro melodies and pixelated chords that take you into outer space.

Mid tempo drums are full of funk and drive and the two part vocal—one crisp and clean, one filtered and dehumanised—really lend the whole thing a special robot feel that is second to none. As well as a stripped back instrumental, there is a fine I-Robots Reconstruction that is quicker and more driving.

The vocals are also more prominent, soaring up top above reflective synths and rainy xylophone style melodies. It is a real Italo disco gem that is followed by a spacious and tripped out version from Danish DJ and producer Flemming Dalum, who has been devoted to Italo all his life and works with labels like Mothball, Bordello A Parigi and Disco Modernism.

He also layers in more cowbells, punchy drums and claps that refresh it for a modern club, and buy the EP digitally and you will get a second Dalum edit that is the deepest of the lot - 100% true to the original.

This reissue will make many record collectors and Italo disco fans truly happy, and is just the start of some brilliant new projects to come.

To celebrate Kontra-Musik Records hitting the ten-year mark, founder and label owner Ulf Eriksson has put together a collection of some of our finest releases. This has been a daunting task, for we are happy to announce that we could easily have made several very different compilations that we would have been equally contented with - there are so many superb tracks we had to leave out. This has, however, been a labour of love. Much like the label itself. Eclecticism has always been a lodestar for Ulf Eriksson, as we hope this collection gives testimony to. The label has always been moving freely between techno, house and more experimental sounds. Kontra-Musik intends to show different angels of perspective, not to convert you to a new Religion or Ideology. Being open to a broad variety of sounds and rhythms - judging them not solely by their functionality but rather by their personality - has been the Kontra-Musik way from day one. While it has been a crooked and sometimes exceedingly hard road to follow, we're hoping to carry on for several years to come. After 10 years, the label still feels meaningful and current to us - in short: it's still worth it. Kontra-Musik would like to thank everyone - from contributing artists to faithful friends of the label who have supported us all these years. None of this would have been possible without you.

15 prime slabs of mid-60s USA garage punk MISERY - garage punk SADness in GATEFOLD SLEEVED luxury with liner notes, band photos, label scans. (NOTE: This is an entirely NEW series and NONE of these tracks were on the old series 'GARAGEPUNKUNKNOWNS'.) The Other Side "DARK SIDE", The Pastels "HOW MANY NIGHTS", The Toads "STAY AWAY", The Henchmen "SHE STILL LOVES YOU", The Night Walkers "STIX AND STONES", The Time Takers "LOVE ME LIKE YOU DID BEFORE", The Night Riders "SHE WON'T MISS YOU", The White Angels "BUT HE NEVER COMES BACK", 24. We The People 'ALWAYSLIES', The Dominions "I NEED HER", The Saxons "THE WAY OF THE DOWN", The Sonics "YOU DON'T HEAR ME", The Mystics "ORPHAN", The Vacant Lot "HEY BABY". The Squires "WHY OH WHY"