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Nicetraxuk hand over the production reins totally to Li'l Mark (Classic, MFF, Apollo) on this 12" and digital release. The ep starts off with 'Inevitable' which builds slowly with plenty of synth work over a tight driving beat. At its crescendoAthe deep bass synths take over and away we go! Driving synths and padsAweave through this track from start to end with syncopated class.'Be afraid' follows, starting out with a spacey vibe over a bouncing beat which drops outAto introduce a snippet of vocal and a huge, vibrating stretched bassline this track has it all-spacey, deep and driving with diverse and crafted sounds swirling around keeping the dance floor constantly engaged. Flip the 12"A over to find 'F IT',A another bass driven tech track with a great vocal stab. Mark really turns it up a notch here to create an enormous sounding track, using all his years of knowledge and production to pull all the elements together to work together perfectly. This track has been causing serious damage on the dance floor when tested out! TheA12" isAconcluded in old school fashion with an acappella (or as he calls it Itapella) for the true DJs out there! The perfect way to round off this brilliant EP

Though highly contemporary Bad Woman is an album that takes Pop music back to a time when lyrics where more than esthetic gimmicks. With Céline's music, one cannot avoid to listen to what she has to say. To be honest we've not been struck by lyrics as much as with this record for quite a long time, and it keeps on growing.
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Bad Woman can be seen as a mutant blend of everything that's been produced by the music industry these last 30 years, from Cher's delirious come-back in the 1990's to the most embarrassing moments in Dance music (think Gabber and Happy Hardcore), blurring the frontier between 'good' and 'bad' taste, between commercial and alternative. Just like Cher's Believe, Céline Gillain's Bad Woman sometimes sounds like the music of a former diva who's been through tough times, saw her expectations torn apart and came back to music with a bizarre testimony of her state of mind.

Following a first compilation in 2016 and a series of parties, Rinse France & Piu Piu join forces for the first release of her own label : Grooveboxx Records.

Together, they present 'Memorias', the first EP of her new imprint.

Quite explicit through its title, Grooveboxx catalogue stands for an exploration of the grooves across its modern shapes, it embodies the quest of trance throughout music and question the body and the individuals on the dancefloor.

The first release is composed of 5 percussive tracks from producers and DJs Aleqs Notal, Myako and Geena.

All tracks are exploring samples coming from the Musee du Quai Branly's ethnos collection along with some some field recordings captured in a garden in Paris where south American tribes were exhibited during the ""Universal Exposition"" in Paris.

With Salvia Cosmica Myako takes us to a progressive voyage surrounded by all kinds of spirits whispering melodies to our soul while the tribe's marching band marks our footsteps with its strong percussions. Enter the forest.

Influenced by Chicago & Detroit, house producer Aleqs Notal graces us with a percussive jam baptized Finger Prints.
6:45 of pure rhythmics honoring the roots of the music its been sampled from. The rite begins.

La Dansa Del Risa is a conversation between birds and humans overlooking at the tension one night in the forest can impose on our western fears of nature. Stay close to the flames.

Antinote senior, Geena blesses us with Selva Spirit, a slowjam reverie filled with eerie pads and peculiar drum sequences.
We're almost there.

Last but not least, Jungla Encantada seals the EP with a deep wisdom and mastership of the jungle's best kept secrets. It's slow pace and flute melodies appease our senses while mysterious dialects becomes our native language.

The journey is complete.

New one on Antinote.. Broken glass, dogs barking & cats roaring: Succhiamo is back and gives us news from the scrapyarh with punkish synthpop traxx
Some words from the label:

Remember that straightforward mix of EBM and synth-punk that came out on Antinote last year, wrapped in a suggestive black and gold sleeve The lyrics were strictly not ambiguous and the music produced by Panoptique and Paula was joyfully aggressive.
Broken glass, dogs barking & cats roaring: Succhiamo is back and gives us news from the scrapyard.

The thing is, it seems that Succhiamo's scrapyard has been animated by Bill Plympton : in place of dogs and cats, it's a lew Pink Panther chasing a spaced-out Scooby-Doo on Dolore Dentro or Stai Male. Happily championing bad taste, the two musicians even venture into the illegitimate territories of italo-pop missed hits, shaped for lipsync performances on Rai Uno with the nagging Que Pena.

As we're getting close to the middle of the record, the music gets openly punkier, climaxing with the explicitly
named Desiderio Di Violenza, brushing past 200 BPM. While the inevitable silence following the last notes of Que
Pena temporarily puts an end to the pleasant nightmare that is Mani In Fuoco, the figures - somehow similar to
those inhabiting the world of Fritz the Cat - that Succhiamo insidiously inserts into the listener's head don't fade
away: they patiently wait for the duo's pulsing drum machines and the saturated synths to wake up again and set
them in motion for another ride.

After the acclaimed 'Rather Not' mini album from 2016 TWINS (That Which Is Not Said) returns to Enfant Terrible... this time with a two track 7' vinyl... on the A-side you will find a synthpop / minimal elektro / cold wave tune with a metal beat reminiscent of John Foxx... the B-side features a harsh elektro piece... it is tense and uptight... almost techno even... this one could also have been fitting for a Gooiland Elektro release... and could (should) be a future dj favorite...

The Brothers Jonathan And Ferdinand Bockelmann Aka Glaskin ... The kellerkinder' Who Are Taking Care Of The schall Im Schilf' & back To The Woods Festival' Form Together The Duo Glaskin. In Recent Months, A Lot Has Happened To Them, They Have E.g. With Esacpe Velocity Released Her Debut Ep And Another 2 More On Hotflush. tymewriter' Is Carried By A Broken Beat Over Which Gloomy Surfaces Overlap. Just Fat !!

Simon D And Pluto Produce Together As Preset. With club Sub' They Deliver A Dirty Techno-breakbeat Board That Does Not Look The Same. Techno Smasher !!

Blitz Resident & Lighthouse Festival Booker Leo Küchler Aka vince' Made His Vinyl Debut With namechanger'. He Does Justice To His Style As A Dj With This Housig-playful Number In Each Case.

Phillip Von Bergmann Is Rote Sonne Resident And Firmly In The Circle Of Friends Of Ilian Tape, Maurice Paloni Runs The Label Alden. The Result Of Their Collaboration Is A Breaker Club Track, Perfect For Building Tension.

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

Following his incredible debut album 'Talisman', Whiney has stepped back into the lab to cook all manner of big, beefy dancefloor beasts. The 'Waystone' LP boasts his most widespread set of influences yet with drum & bass fusions of trip-hop, grime, UK hip hop and ambient across 14 outstanding tracks.

Album highlights include the tumbling jungle rumbler 'The Capital' that scatters down with snappy amens in a perfect storm. Plus the unmissable 'Triple Duppy Demon'; a menacing tribal stalker rearing its head in a display of raw beats and bars from Manchester's own Levelz crew member Truthos Mufasa, alongside a production pairing with Hugh Hardie.

'Waystone' also sees the triumphant return of the dream-team-supreme! Hospital's wordsmith Inja joins forces with Whiney on 'Mission'. This certified heater is a grisly tirade of dancefloor chaos, a worthy successor to fan favourites 'Flashlight' and 'She Just Wanna Dance'.

Of course Whiney's second long-player is also packed with showstopping solo productions such as 'Dismissed', 'Slingshot' and half-time triphop switch up 'Darkest Night'

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

The California-born, London-based producer Rrose is well known for taking dancefloor techno into the uncharted depths of experimentalism and psychedelia while also paying homage to artists of the 20th century avant-garde such as Marcel Duchamp, James Tenney, and Eliane Radigue.

"Beware of Shells" (the first solo Rrose release of 2018) is a diverse five track EP that goes to extremes of both aggression and tranquility while remaining strangely cohesive. The EP opens with machine gun bass drums that slowly disintegrate into a swirl of undulating tones and ghostly resonances. Next comes "Incisors" - the most solidly dancefloor track of the EP - which establishes a primal, skeletal rhythmic base upon which snake-like analog synth lines interweave in unpredictable ways. "The Swelling" follows with a short, sparse study in feedback, bent into uneasy melodic patterns. Side B opens with a previously unreleased 2013 remix of the Los Angeles band Deathday, and is perhaps Rrose's most overtly "industrial" track to date, with buzzing, dissonant synth tones that sound somewhere between a foghorn and a distorted guitar. The EP finishes on a contemplative note with "Pecking Order," a microtonal, ritualistic affair conjuring the spirit of Wendy Carlos's little-known masterpiece "Beauty in the Beast."

Pure heat coming from Sector 7 Family. Lemzly Dale back on the buttons, taking a sidestep from his very-own Pearly Whites imprint,with four cuts that cross the lines between o.g. grime, R&G, UK Funky and even a tinge of that rap & footwork kinda lean with those hi-hats and 808 snares flinging across big subs like it's nothing.

Bazza Ranks & Dynamite MC return with another two track golden nugget for the Vinyl heads. After the last outing the pair notched up plays from Radio Royalty such as David Rodigan, Don Letts, Melody Kane and many more. Don't Let is pass is good advice as the last 7" sold out FAST. Available from Irish Moss Records Feb 2019.

Jonny Rock is somewhat of a sorcerer, an omnipresent eye that gathers secret ingredients from far and wide—old school House oddities, hypnotic melodies of the Orient, the furthest reaches of Disco, the easy pace of Turkish psychedelic funk—fusing it all into his own shrouded code, a string of immaterial messages, both subliminal and lucid, that highlight his eccentric sense of storytelling and nuance. He imbues a sense of familiarity in his music, implying history that might not be studied but still feels learned, a quality inherent to productions born from a vast catalog of influence (and the inseparable sample material). Jonny conjures euphoric acid flashbacks, herds of crowds through Istanbul alleys, the misty morning residue from raves of yore, orchestral winds blown across the Aegean riviera, and he manages to concentrate their essence into singular details such as a snare drum. Both sides of his eternally-awaited ESP debut lean toward his dark arts—'Tye Die Techno' drives a relentless hard-edged drum kit that could throw an otherwise self-respecting Goth into a heated breakdance battle, while the title track and theme, 'Ode To A Happening On Earth,' plays with the imagery of ritual, fantasy and role-playing—but throughout this malevolent stew, there is a sustained hint of the artist's playful nature. No matter how murky the trip becomes, Jonny is always there, a light at the end of the tunnel, with a big hug to reassure that everyone will be OK. He is one clever bastard—if you know, you know.

11 never-heard tracks from Synthzerland pioneer Bruno Spoerri, released for the first time on vinyl, with liner notes by the artist. WRWTFWW Records is very delighted to announce the release of Rare & Unreleased 1971-1998, a collection of never-heard and hard-to-find works by Swiss music pioneer and synth super wizard Bruno Spoerri. The album is sourced from original masters and available on a vinyl LP cut at Emil Berliner Studios (formerly the in-house recording department of Deutsche Grammophon), housed in a 350g sleeve with a superb artwork by Nicolas Eigenheer, and packed with track-by-track liner notes by Mr. Spoerri. Rare & Unreleased 1971-1998 gives a fascinating glimpse into Bruno Spoerri's incredibly inventive repertoire, collecting tracks from projects as diverse as commissioned music for trade fairs, the Swiss railroads, or the union of Swiss cheese makers(!), soundtracks for TV shows about ecology, live synth improvisations at Montreux Jazz Festival, and sound installations for art exhibitions. Always the adventurer, Spoerri records a pneumatic drill for the irresistible electronic bossa of 'Konzert für SIG-Pressluftwerkzeuge", mixes train sounds and the EMS Synthi-100 for the joyful lo-fi funk of 'Rollin'", lets overheating synthesizers take a life of their own to create the sci-fi ambient of 'Waves of Montreux", and works with bees, pigs and various birds for the environmental music bliss of 'Rhythm'n bees' and 'Birds of Cochin". Synthzerland rejoice, it's time for another captivating journey of sound exploration on Planet Spoerri! Bruno Spoerri celebrated his 83th birthday in August this year. He is still experimenting, recording, customizing audio gear, improvising on stage and in the studio, collaborating (Julian Sartorius, Franz Treichler of Young Gods, Marco Repetto of Grauzone, Roger Girod...), inventing new sounds and finding new creative outlets.

Only four releases into it's blossoming back catalogue, and Molly's RDV label continues to establish itself as an unmissable outlet for contemporary house and techno with an EP from long-established, always-vital German producer, Dana Ruh.The twitchy, rhythmic 'Natural High' sets the rhythm, ideal for those easily seduced by Ruh's indelibly tight drum work (or those about to be converted to it nonetheless). 'Moonday' then expands the sound with a deeply satisfying bassline that blossoms in myriad evocative directions, incorporating trippy acid fluctuations, haunting vocals and a general sense of strobe-lit urgency.On the flip, and 'Vattenfall my A' establishes the energy which which it shares its namesake, trading in a minimal but flexible bassline and eeking out each ounce of tension, in the confident, minimalist style Dana Ruh is beloved for. To close the EP, Molly herself takes 'Vattenfall my A' to task, tunneling deeper still with a remix that establishes several shades of fresh, sensual ambiguity, not to mention, an ominous bassline that flirts with the edge.

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

Nirosta Steel is a sometime alias of Steven Hall. Musician and survivor of the `80s NYC`s art melting pot. Everybody Sing dances like Steven`s long-term collaborator and lost-way-too-early friend, Arthur Russell. As he forced irresistible, idiosyncratic, Disco-Not-Disco, out of the Ingram Brothers. Riding low rumbling bass. Phased guitar, country picking, flickering in and out of the mix. Strings, choir boy falsetto, and blue yodel, cutting through its delay-drenched, dance floor delirium.

L.A.`s Cole Medina delivers two reworks. His Heavy Disco take is intro`d by cowbell and synth swirls. Cymbals crashing like sampled surf. With Stratocaster microtones, and echoes of the original, washing over an electronically, re-imagined B-line and trip-py sequences.

Cole`s Knuckles Tribute sets poignant piano and gated orchestral euphoria against a classic Def Mix groove. Revealing the song in epiphany. Clarifying the lyric`s call for unity. Where singing your troubles away is a analogy for strength in adversity. Everybody hurts sometimes. In that, we are united. Eventually heading towards its own disorientating climax. Comin` at ya from all sides.

Mind Fair`s version goes in for some tribal thumping. Stripping the track down, before building it back up. Its big kick blowing bins like a hyped heart pumping within a giant's chest. Chicken scratches dropping in between its colossal 'lub dub', and Coati Mundi-meets-Jah Wobble-like Punk Funk..

SJ Tequilla continues to build on his small but well formed discography with a new EP on Bright Sounds. His three originals come backed with a remix from cult producer SW. SJ Tequilla has released on his own Shot Of T imprint and DJ Fett Burger s Freakout Cult since debuting in 2017. The Japanese born, Berlin based artist is also close to Sex Tags Mania and regularly holds it down at OHM Club as well as for busking on his live, vintage hardware jams around the streets of Kreuzberg.
The opener is a six minute house bumper with a classic lead acid line and plenty of Detroit pads. The pinging analogue drums are lively and elastic while more thoughtful keys are draped over the top. SUED man SW. steps up to remix and brings a mixture of pad laced serenity old school rave basslines to his hard hitting drums. The B1 is another rugged mix of live sounding drums, acid snuggles and rueful keys while ambient synths stretch off to infinity. Last but not least, B2 sinks into a blissed out dub house vibe, rolling deep and smooth and showing off Tequilla s ability to cook up far sighted synths that have real emotion. This is an EP well school in traditionalism but that also brings some fresh skills and ideas to the grooves.

22a presents a collaborative project with the Polish jazz septet EABS and featuring Tenderlonious on flute and soprano saxophone. Strictly limited to 1000 copies worldwide, this 12' of deep jazz is housed in colour sleeve and

includes an insert containing sleeve notes and photos. The Electro Acoustic Beat Sessions collective (EABS) are without doubt the most accomplished jazz group in the world right now. They have a unique and

innovative approach to music, fusing elements of Polish and classic jazz with hip hop, funk and folk. Their debut album 'Repetitions (Letters to Krzysztof Komeda)' is a dedication to Polish Jazz legend Krzysztof Komeda that focusses

on compositions by Komeda between 1962 and 1967. The album explores Komeda's lesser-known compositions featured in ballet etudes, movies, short films, documentaries and animations.

'Kraksa/Svantetic' is the final part of a dedication to Krzysztof Komeda, recorded straight to tape at Radio Opole in Poland. Polish jazz has had a big influence on 22a and Tenderlonious and working with

EABS became a priority after hearing their album. Tenderlonious was therefore delighted to accept their invitation to go out to Poland to perform with them.

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

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

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

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

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

DJ Feedback:

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

Eli Escobar - OH yes.

PBR Streetgang - 20/20 Vision - classic

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

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

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

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

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

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

...

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

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

Known for a broad swath of genre-obliterating club tracks on crucial labels including Critical, Exit, and 50Weapons, Sam Binga approached us earlier this year with a radically different kind of project, a collaboration with Welfare, true junglist and label boss at D&B bastion Rua Sound. The result of their team-up is Conamara Fieldworks. Its unique inspiration and patient process are best described by the duo themselves:

"In early November 2016, we set off through the bleakness of an Irish November into the wilderness that is Conamara, County Galway, Ireland, with about half an idea of what we wanted to do. Our friend Laney had been kind enough to allow us the use of a 300 year old cottage overlooking the sea, itself belonging to her family through generations which she was bit by bit restoring to its former glory. The isolation was perfect - very little in the way of creature comforts, no network coverage, but plenty of turf for the stove and Guinness for the belly.

Our routine for the next few days consisted of trudging the length of the rugged coastline in search of interesting sounds we could potentially process into usable elements for some kind of dub/dub techno-inspired composition...This took us inside tidal caves and abandoned ruins, across sheep fields, up and down mountains and winding country lanes, in and out of the odd pub, under upturned boats and (carefully) across huge washes of seaweed-covered shoreline. Using our handheld recorder (shouts Danny Scrilla for the lend) we assembled a palette of varied noises, constantly battling with the peaking and distortion created by the incessant Atlantic gusts.

Each evening, following some intense huddling around the stove and vital Irish home cuisine and stout, we'd examine and dissect what we had collected that day, sometimes discovering the most interesting material firmly planted in the background of the soundscapes. A certain amount of (but not too much) processing later we had the bones of a few short loops of each sound which made some kind of musical sense when played alongside each other.

Binga suggested staying true to the craft and keeping the rawness to the foreground by attempting to develop the loops into full compositions via live desk mixing, arrangement and effects. We said our goodbyes to Conamara and a month or two later said our hellos to the Dubkasm shedio. Following a crash course from the dynamic duo, we set to work for the day, learning as we went along and enjoying to the full the unpredictability, intuition and sheer vibes a dubbing session can bring, particularly in a studio kitted out with some fine analogue gear which undoubtedly helped us to keep that damp, saturated feeling that Conamara had sown."

The resulting collection of music speaks for itself, and does so in its own language. It is meditative, deeply textural, and richly saturated, with awesome sound design, generous bass weight, and dubwise finesse. Referencing ambient, concrete, and dub techno while never letting any genre dictate its path, Conamara Fieldworks is a deeply rewarding and intensely involving listen. A restrained yet transporting remix from the one Ossia completes the set.

"I met Marcell at a gig I played at Karlstorbahnhof in Heidelberg earlier this year, he was serving beers behind the bar all night, it was a fun but not so busy party. The club shut the doors early and we were holed up in this old train station-come-club having a few drinks into the early hours. We sat down, chewed the fat and bonded over Jungle (and UK music in general). Marcell's buddy Phillip was insistent on me checking out his tunes through a small little bluetooth speaker!!! and these sorts of scenarios never quite play out how you'd like them too right! This one did!" Patrick Conway

Verbos Electronics, Xaoc Devices, Noise Engineering, Metasonix, Folktek and Trogotronic might not be familiar names to many but modular enthusiasts will surely pounce. Moto Music, home for experimental and alternative dance music, turns its head towards the tiny island of Malta for a new project titled Parallaks; a project formed by duo Owen Jay (Gauss/Metrolux) & Ed Blank and themed around the concept of Nuclear Power Plants. While both artists have been involved in modular synthesis since the late 90's, they recently teamed up with the scope of performing a few live gigs at their locals events and the live recording from 'Klang@Liquid Club' caught the attention of Moto Music which lead to a debut EP of pure, raw & crunchy deep techno with Detroit & Chicago influences.

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

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

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

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

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

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

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

It has been a good year for Idle Hands. The label reached its 50th release with a release from Livity Sound's Pev and November saw the release of Parris' latest 12' featuring a KMOS remix.
For the labels final vinyl release of 2018 it is the turn of Stockholm's Pistol Pete. Idle Hands boss Chris Farrell has long been a fan of this artists work. He may not have put much out over the years but each release has found a welcome home at the Bristol record shop from which the label operates.
On this release we find three club focused House tracks, each exuding a warmth one would hope for in these cold winter monts. 'Orphan' opens the set with crunchy, swinging drums and the deft use of a sample. 'Lundagatan' continues things apace with some concentrated drum programming and a chopped up soul sample. 'Esqpads' rounds things off with a warm Deep House feel and grooving bassline.

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

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

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

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

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

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

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

For this third release on Dais, Drew McDowall reaches into concept, ritual, and immersion, in an exercise of unravelling the DNA of hallucination. The Third Helix is McDowall's product of deconstructive exploration, twisting the fibers of being into new structure, shape, pattern, and pulse, without reconstituting its inscribed template.

The result is a true third act,in McDowall's career, that has seen him peregrinate from the late-70s art-punk of the trio Poems to his work with Psychic TV and Coil throughout the 80s and 90s, into his current home of New York City, where he has composed with CSD, Compound Eye, as well his solo work. That triangulation is central to The Third Helix, as it begins with his dive into the existence of a sensory toolkit unique to McDowall before twisting faculties and reconfiguring consciousness by honoring inherent power, cognizant of memory yet agnostic of context.

With the tenet that journey is rarely linear, but rather an omnipresent oscillation of matter, sound is stripped to salient and primal, propelled by McDowall's boring into the core of memory and impulse, suturing together the silent awareness of excogitating experience.

Featuring eight new tracks of McDowall's dark, experimental electronics, including the opener "Rhizome", The Third Helix is a churning descent into emotion, provoking thought and reflection while carving out haunting space only to fill it with baffling and wondrous structures of layered sound. McDowall solidifies himself as an architect who transforms otherworldly materials into something fascinating and challenging in the process.

Unnerving, trancelike anthems for nervous meditation and anxious relaxation, fans of Coil will immediately connect and immerse, while the complex compositions welcome listen for drone and ambient enthusiasts.

Packaged within a thick sturdy matte sleeve jacket featuring artwork/design by artist J.S. Aurelius (Ascetic House/Marshstepper).

Cat.no.: DAIS 122 LP

Tracklisting

For this third release on Dais, Drew McDowall reaches into concept, ritual, and immersion, in an exercise of unravelling the DNA of hallucination. The Third Helix is McDowall's product of deconstructive exploration, twisting the fibers of being into new structure, shape, pattern, and pulse, without reconstituting its inscribed template.

The result is a true third act,in McDowall's career, that has seen him peregrinate from the late-70s art-punk of the trio Poems to his work with Psychic TV and Coil throughout the 80s and 90s, into his current home of New York City, where he has composed with CSD, Compound Eye, as well his solo work. That triangulation is central to The Third Helix, as it begins with his dive into the existence of a sensory toolkit unique to McDowall before twisting faculties and reconfiguring consciousness by honoring inherent power, cognizant of memory yet agnostic of context.

With the tenet that journey is rarely linear, but rather an omnipresent oscillation of matter, sound is stripped to salient and primal, propelled by McDowall's boring into the core of memory and impulse, suturing together the silent awareness of excogitating experience.

Featuring eight new tracks of McDowall's dark, experimental electronics, including the opener "Rhizome", The Third Helix is a churning descent into emotion, provoking thought and reflection while carving out haunting space only to fill it with baffling and wondrous structures of layered sound. McDowall solidifies himself as an architect who transforms otherworldly materials into something fascinating and challenging in the process.

Unnerving, trancelike anthems for nervous meditation and anxious relaxation, fans of Coil will immediately connect and immerse, while the complex compositions welcome listen for drone and ambient enthusiasts.

Young Cosmonaut Having Decided To Fill The Silence Of Space With Ethereal And Dreamlike Of House Music, His Productions Resonate Throughout The Cosmos.
Very Young, He Dreams Of Interstellar Travel Through The Broader Electronic Music. He Left The High Reliefs Of The Alps To Prepare For New York And Began Producing Hip-hop Under The Pseudonym Kayloo. Quickly Recognized In The Industry But Initially Inspired By Producers Such As Pepe Bradock,
Janeret, Hugo Lx, Kink, He Does Not Forget His Dreams Of Stellar Conquest And Now Comes Back To The
House Music.
His First Space Mission Will Take The Shape Of A Self-produced Ep In Vinyl Format To Be Released At The
Parisian Distro, Syncrophone.

Lockertmatik steps up with both his alias' Lockertmatik/Kryptic Universe for Delinquent Deliveries first release. Both sides encapsulates his Detroit tinged acid goodness.
- A side gives you Director's Cut, the title track. It's a squelchy acid number that buzzes and flies through exceptional automation and it's acid is as good as it gets, a true winner. A2 delivers a Kryptic Universe track, Chandler Park. It's heavenly in its soundscape a ture fire hit.
- B side does not let you down either, Stuff #2, a forward moving acid banger that grooves and modulates from beginning to end, something for every discerning record bag. B2 brings the record to a close with a detroit tinged acid banger, Blue Film.

R+R=NOW is a collective of like-minded boundary-breakers featuring Robert Glasper, Terrace Martin, Christian Scott aTunde Adjuah, Derrick Hodge, Taylor McFerrin & Justin Tyson. The 'R+R' in the band's name stands for Reflect+Respond, and was inspired by Nina Simone who said an artist's duty is to reflect the times.
With Collagically Speaking the band presents an urgent musical hybrid that is distinctly of the now. As Glasper says, R+R=NOW tells 'our story from our point of view... It's a very honest, fluid sound that rings of hip-hop, EDM, jazz, at times - hell - reggae... a bunch of cats that respect each other so much that we always pass the ball.' The album features guest spots by Omari Hardwick, Terry Crews, Stalley, Amanda Seales, Amber Navran, Goapele, Jahi Sundance and Yasiin bey.

First time on vinyl
10th Anniversary of the Breaking Bad TV Series
5 x 10' vinyl in 5 different jackets, 1 relating to each season
Each 10' is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl!
Lift off box-set with Breaking Bad logo on front with special drip-off varnish
Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge
Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad
One run only of this very exclusive BOX-SET
Individually numbered the manufacturing qty for Worldwide is est 4000 with 800 for the UK - we could get some more
PLEASE ORDER BY 12.00 TUESDAY 25 SEPT TO BE GUARANTEED YOUR QTY
Available worldwide
Weight ESTIMATED 950g
All the essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others
Various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more
This release will be heavily promoted on social media, including the social media accounts of Breaking Bad (facebook, over 11 million followers!!!).

MOV proudly presents the OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) 5 x 10' BOX-SET!

A TOP PRIORITY RELEASE with WORLDWIDE RIGHTS!

So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl!

Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018.

The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET!

This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl!

OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) is presented in a beautiful Lift off box-set with Breaking Bad logo on front with special drip-off varnish. The box-set includes a selection of defining songs, devided in five 10' records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10' records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!

Breaking Bad is an American neo-western crime drama television series created and produced by Vince Gilligan. The show originally aired on the AMC network for five seasons, from January 20, 2008 to September 29, 2013. The series tells the story of Walter White (Bryan Cranston), a struggling and depressed high school chemistry teacher diagnosed with lung cancer. Together with his former student Jesse Pinkman (Aaron Paul), White turns to a life of crime by producing and selling crystallized methamphetamine to secure his family's financial future before he dies, while navigating the dangers of the criminal world. The title comes from the Southern colloquialism "breaking bad", meaning to "raise hell" or turn toward crime. Breaking Bad is set and filmed in Albuquerque, New Mexico.

Walter's family consists of his wife Skyler (Anna Gunn) and children, Walter, Jr. (RJ Mitte) and Holly (Elanor Anne Wenrich). The show also features Skyler's sister Marie Schrader (Betsy Brandt), and her husband Hank (Dean Norris), a Drug Enforcement Administration (DEA) agent. Walter hires lawyer Saul Goodman (Bob Odenkirk), who connects him with private investigator and fixer Mike Ehrmantraut (Jonathan Banks) and in turn Mike's employer, drug kingpin Gus Fring (Giancarlo Esposito). The final season introduces the characters Todd Alquist (Jesse Plemons) and Lydia Rodarte-Quayle (Laura Fraser).

Breaking Bad is widely regarded as one of the greatest television series of all time. By the time the series finale aired, it was among the most-watched cable shows on American television. The show received numerous awards, including 16 Primetime Emmy Awards, eight Satellite Awards, two Golden Globe Awards, two Peabody Awards, two Critics' Choice Awards and four Television Critics Association Awards. For his leading performance, Cranston won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series four times, while Aaron Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series three times; Anna Gunn won the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series twice. In 2013, Breaking Bad entered the Guinness World Records as the most critically acclaimed show of all time.

In The Dust Of Idols is an album exploring mortality, existentialism & the dread one can feel in the face of an apparently meaningless world. The journey you embark on when trying to create meaning where there is perhaps none. These initial senses of dread can be brought about by the insignificance you feel in the face of greatness, where others have seemingly found meaning and purpose in the face of your own wavering path. Other then these can be expressed in grandness and can become historically significant human feats, the fact that they have stood the test of time can become in itself overwhelming when reflecting on your own journey. Whilst these moments in time may hold no specific meaning to you - despite their impressive nature - you are driven into senseless awe. In the Dust of Idols ties in this sense of wonderment coupled with the overarching dread you feel as you contemplate your own existence, where you fit into the significance of society and as Ruth Tallman quotes ' the search for answers in an answerless world'. 'I wanted to create something dense & heavy. When you listen through, it makes you feel like it has the weight of time stitched into it' explains Ives. As well as expanding the range of instrumentation used on this,his second album, Ives also enlisted the talents of Cellist Charlote de Burgh-Holder and experimentalist Joe Summers on the tracks 'The Unread Library' and 'Twisted Necks' which further adds to the dynamic depth and range on this record Clarity was not my main objective, like an old piece of furniture covered in dust, you can tell what it is but the details are obscured,

A generous slab of finest Canadian Soul, one of the funkiest pieces of wax to come out of this country with ex-Jamaican talent Earle Heeedram aka 'The Mighty Pope' providing the vocals, originally released on the small 'Heart' label, with no industry or much promotional support the disc sank without notice, now being one of the most in demand 'Northern Funk' tunes on the Rare Soul Scene, available here on a nice great-sounding reissue 45!

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

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

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

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

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

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

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

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

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

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

Yours Sincerely,

Maarten & Lars

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

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

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

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

Same track on both sides

4 remixes of the TUBE originaly produced by Jaquarius & Neko Majin Most of them here are acid to acidcore, with a few of hard techno feeling... Notice the Joe I.N.D. Version, a very industrial downtemppo hard techno kicker !

Unknown Truths is the debut album from Tony Beardsley (aka Dark Strands). What can be said about this album.. for one, it is a body of work that has been crafted as a labour of love with sources of inspiration taken from the late 80's underground warehouse parties and clubs where no one speed or style of music was played.. curve balls as they say, was a good thing. Ambitious maybe.. but the only aim of the album was to actually not to have one. No one genre or concept can be applied, but this is not by design, purely accidental as the music weaves between various electronic strands and rhythm forms. Its fair to say that his music has not been compromised to follow latest trends or fashion. It is for everyone, but no one. It's only true purpose is to liberate senses and provide a lasting sonic soundtrack to the modern age.

The body never lies. Every dance is a graph of the heart. Nothing is more revealing than movement.

These are the words of Martha Graham, one of the greatest American dancers and choreographers of the 20th century. Massimiliano Pagliara might as well have them tattooed on his chest, close to his heart, being an accomplished dancer, too. He has studied contemporary dance in Milan and Berlin, and went on to dedicate his life to transforming experience into movement, be it musical, physical, or spiritual. Massimilano's message is clear: Don't stand still. Don't keep looking back. Know where you are coming from, but don't remain petrified by the past. Take a chance at Endless Change, instead. Move on! Just like Massimilano did.

Stemming from Lecce province, an area at the south-eastern-most tip of Italy, Massimilano has been based in Berlin for several years where he's been one of the main forces behind recombining the city's hardboiled techno scene with an often overlooked sensibility for the soft and the tender. Call it underground disco passion. Massimilano's last and sophomore album, With One Another, released in 2014, was about celebrating the joy of human encounters and in parts seemed like a big get-together with like-minded artists and friends (among them nd_baumecker, Lee Douglas, and Credit 00). The record quickly hit the number one spot in Groove magazine's album chart - and its creator hit the road.

Besides his busy DJ schedule and far from the usual club circuit routines, Massimilano dedicated himself to intense travelling and exploring the world anew. 'I felt like I have lived more than ever,' he states. 'Getting to discover all these beautiful places around the world and meeting so many lovely interesting people, has inspired me in many different ways. I feel enriched.'

The result of these experiences is Feel Live, Massimiliano's third full-length endeavour. It was recorded in several intimate, sometimes improvised studio settings between Los Angeles, Portland, and Massimiliano's homebase in Berlin as well as at airports and on intercontinental flights high up in the sky. Featuring vocals by Private Agenda, Peaking Lights, Kim Anh and instrumental contributions by Fort Romeau, Tim K, and Jules Etienne, Feel Live is Massimilano's most playful and imaginative work to date. It's as emotional as sensual, as vibrant as the first ray of light after a thunderstorm has cleared the air.

Is it awkward or odd to call this record jazzy Presumptuous to pinpoint its spacial, almost orchestral qualities Unfair on the ruling Cosmic powers to highlight its aspirations of founding a new land of Balearic Harmonia and getting down at a huge fertility rite with electro enthusiasts and house lovers Not one bit. Feel Live is pure grandeur and elegance. It feels like an eternal movement.

Martha Graham has dedicated her whole life to dancing. 'It's permitting life to use you in a very intense way,' she said. 'Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable.' Massimilano couldn't agree more. His advice when facing the inevitable: 'Live what you are feeling, feel what you are experiencing, good or bad, it is an experience.'

john Yancey' Is The Second Album Illa J Will Release On Jakarta Records, Following The Successful
Release Of Home Last Year. The Project Is The Second Collaboration With Los Angeles
Based Producer Calvin Valentine, Who Once Again Contributed All Of The Production For The Long
Player. While home' Was Largely Inspired By Illa's Native City Of Detroit, john Yancey' Now
Focuses On His Time In California.
(this Album Is) Definitely More Personal Than All Of My Projects, Nothing Specific, But I Basically
Talk About About The Ups And Downs Of All My Relationships Over The Past 10 Years, Still Grieving
About My Bro, Etc. This One Is Trippy Because The First Single Comes Out A Day Before My 32nd
Birthday And The Original Title Was 32 Because This Is A Special Year To Me Because My Brother Died
At That Age So It Had A Lot Of Meaning. But It Makes Sense That It Ended Up Being Called John
Yancey Because For So Long In My Career I Felt Like I Was Tryna Be Me And My Brother, And I'm Finally
At Peace, Like I'm Not J Dilla's Younger Brother Illa J, I'm James Younger Brother John.'
While The Story Of The Album Might Have Changed, There Are Certain Continuities As Well, Built
Around The Strong Foundation Of The Combination Of Illa's Voice And Calvin Valentine's Soulful
Sample Based Production. The Previous Album Already Saw Illa J Incorporate More Singing Into
His Raps And He Goes Down This Path Even Further: i Wanted To Emphasize The Singing But Use
More Of My Natural Singing Voice, As Well As Rap More Than On Home.' In Regards To The Music,
Calvin Wanted To Make The Project Sound a Bit More Polished Where Home Was Purposely
Rough Around The Edges.' Still, The Production Remains Soulful And Rich With Layers To Leave Things
Interesting For The Listener, The More Spins You Give The Record.
The Cover Was Created By Robert Winter, A Cologne Based Photographer Who Was Also Behind The
Visual Appearance Of Home.

Last February, We Had The Delightful Surprise To See Dominique Dalcan On The Victoires De La Musique Stage (main French Musical Award). The Elegant Singer Received The Award For The Best Electronic Album For His Project Temperance, An Album In English Full Of Reliefs, Dense And Splendid. We Are Delighted To See Today That Dominique Publishes A Second Volume Of Temperance. The First Albums Of Dominique Dalcan Came Out In The Early 90's, Especially On The Belgian Label Crammed Discs. He Is Considered One Of The Ambassadors Of The New French Pop, Combining Electronic And Orchestral Arrangements. At The Same Time, Under The Name Of Snooze, He Immerses Himself In Electronic Music And Creates Soundtracks For Cinema And Contemporary Art. In 2013, He Switched To The English Language And Adopted A New Artistic Identity: Temperance.

The Project Moves Away Freely From The Format Of The Song To Dive Into A Vast Electronic Palette. In Temperance 2, We Hear Contemporary R & B Ballads Full Of Artificial Strings, Collisions Of Textures, Even Balinese Sounds But Nothing That Never Steals The Show With Dominique's Voice And Lyrics. The Temperance Repertoire Addresses The Confusion Of The Human World And A Wild Nature. There Is Also A Question Of Fusional Love With Pop And Soul Songs. This Gives An Album That Rushes Against Each Other Joy, Fury, Despair, Desire Or Pleasure, Without Them Ever Contradicting Each Other, And That Moderates With Art And Temperance, In Short.

Boum Boum Boum! 25 years of KOMPAKT. When a record label still thrives after a quarter of a century thanks to a focus of what was expected to be a short lived music phenomenon called TECHNO, then it stands to prove two things; that it techno has taken its place amongst serious, multilayered musical genres like rock'n'roll, pop and folk music. And that KOMPAKT has never been only for techno, but KOMPAKT stands as a broad-minded, genre-defying entity that has set out to cross-pollinate all kinds of musical inventions within the realm of electronic music. Through its course, KOMPAKT has sent 'Around The World', all kinds of sub-genres, concept series and crossover adventures based on the non- negotiable 4/4 beat. And back again.

Without a doubt, the 100% kickdrum-free POP AMBIENT series is the most endearing and enduring concept that I have had the pleasure to curate. From the start, I felt there was a strong need to add a certain pop- elegance - ensouled by discourse as much as hedonism - to a sound that was recognized as 'Chill Out' music that could be heard in seedy techno club back rooms and forgotten festival areas. Over the years, I like to imagine that POP AMBIENT has crystallized into a highly recognizable trademark sound and a multi-facetted musical universe of its own.

So once again, I had the pleasure to put together this year's edition by plowing through an ocean of sonic jewelry that had been submitted from all over the world by new and old friends. The task was clear: for this special edition, I must create a homogenous listening experience that would both appeal to our trusting followers, to continue our tradition while integrating new micro facets , variations and influences from neighboring musical universes as possible. Obligatory while being innovative. Conspirative while being cosmopolitan. Albeit the headline 'Ambient' might sound a little too humble for a compilation that encompasses aspects of neo classic, atonal music and the most beautiful aural kitsch imaginable, it still helps as a necessary means of orientation in the best possible sense. Same goes for another dear tradition: Veronika Unland's abstract-floral cover design that keeps on pleasing our sore eyes year after year.

Although each and every POP AMBIENT edition doesn't shy away from diving into the relevant question of 'What is contemporary discourse music' - in the end it all boils down to that elevated moment where all theory dissolves into ambient air, into a higher state of cosmic bliss. POP AMBIENT is sacral music for non-believers.

Wolfgang Voigt Cologne, October 2018

Bum Bum Bum. 25 Jahre KOMPAKT. Wenn ein Musiklabel, das seine inhaltliche Ausrichtung im Wesentlichen auf den anfangs als schnelllebig und vor allem kurzlebig apostrophierten - hype' Techno setzt, nach 25 Jahren in jeder Beziehung immer noch voll im Saft steht, dann zeigt das zwei Dinge: Das erstens mittlerweile jeder bemerkt haben du¨rfte, dass Techno eben kein kurzftristiger hype ist, sondern vielmehr ein vielschichtiges, ernstzunehmendes Genre, das sich ebenso wie Rock'n'Roll oder Schlager fest in der Musikgeschichte etabliert hat.

Und zweitens, dass KOMPAKT nie nur ein reines Technolabel war und ist, sondern ein nach vielen Seiten aufgeschlossenes Experimentierfeld, das sich von Anfang an der Grenzu¨berschreitung und dem musikalischen Erfindungsreichtum verschrieben hat. U¨ber die Jahre wurden unter dem KOMPAKT-Signet etliche Subgenres, Konzeptreihen und Crossoverwagnisse auf Basis der unverhandelbaren geraden Bassdrum - around the world' und wieder zuru¨ck geschickt.

Eine der wohl scho¨nsten und nachhaltigsten Konzeptreihen du¨rfte wohl die bassdrumfreie POP AMBIENT-Serie sein, die ich als KOMPAKT-- Altvorderer' nach wie vor die ja¨hrliche Freude habe, zu kompilieren. Dabei hat sich u¨ber die Jahre aus dem anfa¨nglichen Bedu¨rfnis der seit den fru¨hen 90er Jahren in den sogenannten - Chilloutrooms ' grossra¨umiger Technoclubs, - Lounges' und - Muzakkneipen' entstandenen - Entspannungsmusik' etwas entgegenzusetzen, eine eher von Pop-Eleganz, Diskurs und Hedonismus beseelte, eigene Spielart ambienter Musik, eine vielschichtige programmatische Musik mit hohem Widererkennungswert entwickelt.

So hatte ich auch im Jubila¨umsjahr einmal mehr die Qual der Wahl, aus den aus aller Welt kommenden, grossartigen Klangpreziosen guter alter sowie neuer Freunde die subjektiv besten zu einem homogenen Ho¨rerlebnis zusammenzufu¨hren. Dabei ist mir immer sehr wichtig, einerseits den Erwartungen der treuen Ho¨rerschaft im Bezug auf Traditionsverpflichtung gerecht zu werden und andererseits auch immer mo¨glichst viele Mikrofacetten, Varianten und Einflu¨sse angrenzender Stile und Universen aufzugreifen. Innovativ und verbindlich. Konspirativ und weltoffen. Auch wenn der U¨berbegriff Ambient, fu¨r eine Kompilation die sowohl Aspekte von Neuer Klassik, Atonalita¨t und Kunstmusik mit den allerscho¨nsten Seelenkitschklangwelten zu vereinen sucht, zu eng gefasst ist, so hilft er doch bei der notwendigen Orientierung im besten Sinne. Ebenso wie die Tradition gewordenen, wunderscho¨n abstrakt-floralen Kunstblumenwelten der von Veronika Unland gestalteten Cover, die ein ums andere Jahr auch die Augen in Verzu¨ckung versetzten.

Auch wenn jede Kompilation sich aufs Neue an den relevanten Fragen zeitgema¨sser Diskursmusik abarbeitet, so ist der erhabene Moment am Ende doch der, in dem sich alles zu Gunsten eines - ho¨heren, kosmischen' Ho¨rerlebnisses, im wahrsten Sinne des Wortes in ambiente Luft auflo¨st.

POP AMBIENT ist die sakrale Musik der Ungla¨ubigen.

Wolfgang Voigt / September 2018

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

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

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

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

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

Major Keys is a brand-new audiophile label focusing on fully licensed reissues of jazz classics, pressed on 12' for a fuller, louder version compared to the original album cut. What better way to kick of the series than housing Herbie Hancock's imitable 'Chameleon' and 'Watermelon Man', loud and proud on either side of a 12' - remastered and cut by the engineer of the original Head Hunters LP from 1973.
They don't get much more iconic than 'Chameleon'. Nestled on the incredible 1973 'Head Hunters' album it's a 16-minute exploration of legendary jazz funk - having all the sensibilities and solos of a jazz record, yet grounding its rhythms in funk, soul and R&B. Even, as its title suggests, morphing from a low slung slow jam into a full-on, fast paced spiritual gem. Lock in for one of the most iconic basslines around courtesy of Paul Jackson, alongside some of the sweetest synth and Rhodes playing you're likely to hear from Herbie, all tied together with Harvey Mason's mythical drumming. Sampled the world over by the biggest and the best this is a truly timeless and hugely influential piece of music.

On the B side, the equally intriguing 'Watermelon Man'. This version, again taken from the Head Hunters LP, differs from the Blue Note bop '62 original, with Hancock developing it into a jazz fusion expedition. Bill Summers top and tails the track with a style of beer bottle blowing imitating a type of whistle playing found in Central African Pygmy music, giving a unique flavour to Hancock's jazz funk stylings that focus on the rhythmic interplay between each instrument. From Dilla to Digable Planets, Madonna to Massive Attack it's a classic that's sampled time and time again for good reason.

TYR number 5 is here from emerging artist GMG. This Berlin based producer is a classically trained jazz musician and you can hear it shining through each carefully crafted composition. On the B side we start out with a top-tier remix from D_Roots, who delivers one of the most solid grooves of the year. These tracks are like nothing we'd ever heard before; they are truly original. Hope you enjoy them as much as we do.

A lost ambient cosmic gem from Liquid Liquid founding member Dennis Young is getting a long-overdue vinyl reissue! Young, the percussionist and marimba player in the seminal New York art-wave group, recorded a series of cassette-only releases in the '80s after Liquid Liquid disbanded. A couple of these were picked up at the time for Korean release, which is where Daehan Electronics, a South Korea-based label dedicated to tracing the history of electronic music in the land of the morning calm, comes in.

Quest was one of these albums, part of a biorithmically-aligned New Age serie, each album meant to be heard on specific days of the week. DE has worked with Young to remaster the the album for this new release, bringing out the full warmth of the analog synthesizers used to create it. It is the first in a series of projected collaborations with Young, which will delve deeply into both the scarce cassette issues and other, unreleased material newly discovered on tapes. Liner notes outline the history of the record and include Young's own look back at the making of Quest.

This is the second release from the Parisian label Aperçu, which has uncovered European producers for this compilation featuring 4 titles.The story of this compilation came about gradually, with one thing leading to another as the artists involved met up all over Europe and their musical affinities became apparent. Two years after their EP Stara Zagora,Metshka and Roman Delore are issuing the second release of their label, Aperçu, promoting three producers well deserving of attention. Ben Kaczor, the resident DJ at the legendary, intimate Elysia Club in Basel, Switzerland has his own label, KCZ, and is an adept of dark, sharp-edged sounds such as in 'Navel,' which plays out like a hypnotic, melancholy adieu but with well-defined kicks.Temiri, a native of southern France having spent time in Berlin, now lives in Switzerland as well. With the Swiss mountains and Geneva's rave parties shaping his sensibility, he created 'Love Intentions' - a soft gift to the world. HiromaKeo, a Lisbon-based French producer, champions a wide-ranging, contemporary approach to electronic music. After three years spent comanaging the collective and label ESITU (between Lille and Brussels), he has started a new project in Portugal: Vilamar. In 'SonheiContigo' we find his signature precision and the Japanese influences he likes.
Last but not least, Metshkaand Roman Delorecontinue to appear at parties and events in Paris and to work on hybrid events through their Pauza collective. At the crossroads of techno, ambient and experimental music, here they give us 'Ocre,' a work of slow violence.

"In 1978, Nova performed for Obama. Well, kind of: Nova was the band for the Punahou School prom in Honolulu, Hawaii, and a young student named Barack (known then as 'Barry') was in attendance.

Backtrack to 1976, and Nova was the opening band for Donald Byrd at the nearby Blaisdell Arena. The day was Sunday, June 27. The following day, Isaac Hayes would perform on island for the admission price of $1.

Nova, led by singer Checo Tohomaso, was one of several go-to party bands during the golden era of Hawaii funk and soul music in the mid-1970s through early 1980s.

The band's infectious gospel-funk-disco can be heard on their sole release, a self-titled 1980 LP that feels like one big party recorded live in the studio. (Check out the Marvin Gaye-inspired 'I Feel Like Getting Down' on the 2016 'Aloha Got Soul' compilation on Strut Records).

The story is all too familiar, however: funk band releases LP, the music goes dormant in years to follow, and today original copies sell for hundreds online.

Not long after the album's 1980 release, Checo met Marvin Gaye, who was living on Maui (where George Benson also resided). Shortly after, Marvin invited Checo and his counterparts to join his multi-city tour across Europe. Videos of Checo rocking keyboards, percussion and singing background vocals for Marvin Gaye's last European tour can be found online.

Checo, born in Florida yet raised in lush Manoa Valley as well as Okinawa, Japan, now resides in Vancouver, Canada, where he leads the VOC Sweet Soul Gospel Choir and continues to deliver his signature sound: high energy, positive, 'sweet soul' music.

AGS-7010 features two non-stop groovers with a 7' edit by Roger Bong on the A-side. LP reissue in the works!"

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

LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Piano Viberations' 'small group jazz featuring piano and vibes with rhythm' makes for a gorgeous Francis Coppieters showcase, surely one of Belgium's best-kept musical secrets. Released in 1975, and arguably the most low-key of the KPM and Themes records we're re-issuing, this is easily our current favourite.
'The Open Highway' is the appropriately-named opener, and immediately demonstrates Coppieters' dexterous interplay between piano and vibes in assured, joyous fashion. The shufing bossa of 'Sales Notes' is a jaw-dropper, well-mined by samplers with impeccable taste. The mellow head-nod drum-break
that is 'Funky Chimes' brilliantly demonstrates Coppieters' quiet majestic side with its slow-motion funk rhythm with beautifully refective notes throughout.
The upbeat and joyful 'Cross Talk' closes out side A. Vibes and piano are defnitely at the heart of the arrangement here. The quick cut movement of 'Piano In Transit' is another gem, driven principally by piano but those vibes along for more than just the ride. On a more gentle, elegiac note, 'To Shearing With Love' is a warm, slow, romantic piece in the style of George Shearing. It's
plaintive and sublime.
Piano Viberations is one of those rare library records the original description of which makes as much sense now as it did when it was frst released. Piano and vibes with rhythm indeed.
As with all ten re-issues, the audio for Piano Viberations comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

Recorded by composer and multi-instrumentalist Giuliano Sorgini between 1974 and 1976 in his studio in Prati district in Rome, a stone's throw from Italian television offices, Africa Oscura is a set of tracks inspired by the wildest and most obscure secrets of those lands, intended to be the background of some tv documentaries.

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".

LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

James Clarke's Mystery Movie was released in 1974 as modern, small group compositions in various moods. Ideally suited to the new Americanised style of T.V. and cinema flm where music is used to create the mood and carry the action'.
So this collection covers a lot of bases, but it does so brilliantly and has absolutely no right to be such a fantastic listen from start to fnish.Mystery Movie is best known for the slick drum breaks underpinning the top-notch jazz-funk chase theme Car Patrol', the fuzz rifng and ARP soloing of The Heavies' and the slow-mo strut of Mystery Moll'. Study In Fear' and Empty Streets' are horror soundtrack fodder of the fnest sort.
However, it's the understated, plaintive pieces that we fnd the most rewarding.
Ambient feels and strung-out fried-folk treats, full of cyclical naïve melodies.
Music that evokes the 'downlifting' Ronnie Lane and Ron Wood instrumentals from their great Mahoney's Last Stand LP, as well as the beautiful soundtrack work of Jack Nitzsche and Ry Cooder. You might also recognise Waiting Game' from being sampled by melodic downbeat masters Express Rising.
Check Relaxed Theme', Quiet Girl', Routine Procedure' and Quietness Sustained' for a melodic, melancholic set, with the last three performed on just acoustic guitar and harp. Gorgeous work.
As with all ten re-issues, the audio for Mystery Movie comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

Russian producer Nocow returns to Rekids with an enthralling full-length album entitled 'Atoner' this November.

Real name Aleksei Nikitin, Nocow is known for his versatility, producing a large body of genre spanning work on labels like Clone Royal Oak, Figure, Fauxpas Musik, Gost Zvuk and Styrax. The St. Petersburg-based producer debuted on Rekids last year with his 'Samaya Dolgaya Noch' EP, a mellow release complete with vocal driven cuts as well as 2-step rhythms, and now returns with a myriad of productions in a fourteen track album entitled 'Atoner'.

'Atoner' opens with an eponymous track that gently unravels with soaring synths and subtle percussion before Nocow's voice emerges alongside twinkling atmospherics in 'Complie'. Throughout the long player are also intricately produced short tracks sitting between the two and three-minute mark such as looping vocal number 'Dancerecter', the melodic and rattling 'Leto' and ominous 'Delore'.

Ostanovitsa' is a murky offering featuring a meandering organ riff, leading into the pitter-patter drums and serene chords of 'Starveme (feat. Tayut Ogni)'. 'Come Along' is a crystalline and otherworldly experience from start to finish, whilst 'Melting Lights' is comprised of echoing, subterranean sounds, making way for reverberating snares and metallic stabs in 'Standalone'.

Husky murmurs and soothing notes then make up 'Neva', moving into the syncopated beat and idyllic chord sequences in 'Can't Get Enough' ahead of 'Stonecold' and its icy aesthetic. Finally, the album reaches a mesmerising conclusion with the spellbinding 'Footer'.

Cómeme delivers to you one of the freshest rhythms of 2018, recorded in Johannesburg, the new residency for the renegades of the beat. This is 'Rain' - starring Matias Aguayo and the actress, dj and singer Ayanda Seoka aka Mujaji The Rain. She's resident at the legendary Bar Kitchener's all femme 'Pussy Party', a space for feminist / queer action and dancefloor joy, right in the centre of Joburg.

Cómeme has been since some time in a serious and passionate relationship with that city. Radio Cómeme transmitted shows from there with electronica legend Felix Laband, Mpumelelo Mkatha from BLK JKS, the queer performance duo Faka, Gqom pioneers RudeBoyz and also Kwaito's legacy keeper Spleef McZaul. Matias Aguayo ventured into a beautiful collaboration with DJ Spoko, released two years ago on this label.

'Rain' is a deeply rhythmical track, inspired by the grooves that converged when Cómeme swing crossed the paths with the syncopations people in Joburg were dancing to. It has become quite clear in the recent years that elegantly shuffled triplets are marking a way to the future in dance music, especially in the southern hemisphere, no matter if you're in Durban, Rio or Santiago.

On top of this modern groove we can hear Mujaji the Rain enjoying how she gets wet under a dark and tropical sky. Laughter, joy and ecstasy is what she emanates while hypnotically involving you into this atmosphere of dense drumming and trance. (side note: Cómeme has been consequently evading the description hypnotical in press releases but this time it was unavoidable).

For further jacking fun we generously included a 'Club Mix', including more drum frenzy towards the second half of the track, and a 'Just Drums Mix' for the skilful DJ.

Side B features the jam 'Serious', which comes along with another killer beat, reminiscent of Michael Jackson or Cheri. A late-night track in which Mujaji The Rain turns into a sensual but slightly annoying creature that doesn't want to leave the dancefloor. and for sure doesn't want to go home.

We added an instrumental version to this complexly arranged tracks, which feature pianos, strings, and heavy synth bass stabs.
All tracks on this 12' are written in a 6/8 signature, which some normative DJs might shy away from, but be safe: both tracks are in 120 bpm and carry the seal of official Cómeme dancefloor approval by the label's highly respected DJs.

As Usual ! Vinyl Only !

After being released on labels such as Fauxpas, Motech, Thema, Detroit Underground and Modelhrat, Module One a.k.a. Viktor Kiktenko makes his debut on Another. With this EP, Module One drops a 3 mesmerizing and efficient deep house tracks ! Beautiful textures and irresistible house grooves ! top notch !

Many know Luther Davis from his more familiar and previously reissued disco floater 'You Can Be A Star', not so many people outside the collector's world know the disco-funk 45 'Keep on Dancin' as its about 4x as rare and slightly more out there musically (which is a good thing). The horn and guitar led disco funk hook float's almost precisely between Modern Soul and Deepfunk (The scene that played it first) and for a change i love the guitar solo, used almost like a synth effect. On the flip is an admittedly formulaic deep soul joint that just works due to the dope backing vocals and crispy drumming.

LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Veteran library musician Alan Parker recorded with session vocalist Madeline Bell for his Themes International Music label and the result was 1976's The Voice of Soul.
The sensational uptempo dancer 'That's What Friends Are For' is probably the most well known track on the record, and is a big hit on the rare groove scene, but it is by no means an anomaly. The Voice of Soul is essentially a perfect, sophisticated soul album with heaps of swagger and sass from beginning to end.
Its once generic-sounding title is now deservedly defnitive.
And the whole LP oozes sex. It oozes sex so much that it could have soundtracked a period porn flm. Indeed, parts of it did. 'Love Is All' and 'You've Got What It Takes' both featured on the infamously banned Pretty Peaches from the same year.
As is usual with library records, The Voice of Soul was hard to get even when it was frst released. It's next to impossible now. So here's your opportunity to own what is in our opinion one of the fnest rare soul LPs of the late 70s, and a superb example of Madeline Bell's superlative vocal talents.
But that's not the whole story. As well as pitching the record as 'a varied selection of modern female vocal features which are equally suitable for background or radio programme usage', the original release notes go on to explain that 'the corresponding backing tracks are issued on TIM 1022 The Sound of Soul. Therefore it is possible to edit from vocal to instrumental version and vica versa where commentary or scene changes occur.'
So yes, all of the backing tracks from The Voice of Soul were released as The Sound of Soul, and we couldn't re-issue one without re-issuing the other.
As with all ten re-issues, the audio for The Voice of Soul comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

The two sides of 1973's Big Business / Wind of Change are mainly the work of thegreat Keith Mansfeld but there's a killer cameo each from Alan Hawkshaw and David Snell to help deliver a thematic suite, diverse in mood, applicable to dramatic and environmental situations'. A Be With favourite and truly one for the heads.
The Big Business of side A is all the work of Keith Mansfeld. It's heavy on the suspense and features the vital Hot Property', an insistent groove so good that Madlib sampled it to lace the ace Long Awaited' by Lootpack with Dilated Peoples.
Sleeping Giant 1' is a more feshed out version of the equally-dazzling Fatal Error', evoking the orchestral magic of David Axelrod. Indeed, it conjures images of Diamond D falling over himself in the early-to-mid 90s to loop its intoxicatingly
eerie soundscape. Complete with guitar flls that recall Paris, Texas-era Ry Cooder, you need this record for this piece alone.
The horn-and-fute-led "Tycoon" is a head-nodder and "Power Complex" has some fantastic percussion. Other highlights include the breezy glide of Whistle Stop Tour' and its sister groove Clean Air.'
Over on Side B is the more expansive Wind Of Change, which includes the David Snell and the Alan Hawkshaw contributions. But these ain't no fller. Snell's shufing International Flight' sounds like a smooth Dorothy Ashby track tossed from the heavens. Hawkshaw's Road And Rail' is about as luxurious and strung-
out as the great man gets and it might just be the highlight of this whole set.
Not to be outdone, if Mansfeld's Balance Of Power' doesn't make you feel like king of the world then you must be playing it wrong. Oh, and did we mention World In Action'!
As with all ten re-issues, the audio for Big Business / Wind of Change comes from the original analogue tapes and has been remastered for vinyl by Be With regularSimon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's
brand identity.

Earlier in the year, Red Light Radio co-founder Hugo van Hejiningen and Identified Patient joined forces to debut their new musical project, Stallion's Stud. Artificial Dance is ready to release the first fruits of the duo's studio collaboration.
The four-track EP digs deep into their shared love of electronics, post-punk era experimentation, DIY music culture and dubbed-out drum machine rhythms. The results are undeniably dark and intoxicating, with former punk singer Hugo fronting proceedings via mind-altering vocals and twisted lyrical flows.

Opener 'Promising Promises' sets the tone for what follows, with Hugo's spoken vocals wrapping themselves around ricocheting industrial dub rhythms and raw, delay-laden electronics. The delay trails to oblivion remain a force to be reckoned with on the creepy, fuzz-fuelled cold-wave doom of 'Instrumental Aria', while the throbbing and clanking 'Unpredictable' and 'Voice of No' ratchet up the intensity by several notches via end-of-days guitars, heavyweight bass and face-melting percussion.

Recorded already in 1983/84, these soulful songs still show a relation to 1970s soul pop with lush
arrangements that work with real instruments and have a vibrant atmosphere. An all in all memorable songwriting
and the incredible vocals of Mavis Staples from The Staple Singers make the album stand the test of time, even 35
years after the initial recording sessions and 25 years past its first CD/MC release. Licensed by legendary BRIAN
HOLLAND and for the first time on vinyl now by EVERLAND!

Mavis Staples has come to fame and fortune as member of the family vocal group THE STAPLES
SINGERS from the late 50s onward to the mid 80s and she has released a fair amount of solo albums as well,
many of them in recent years. - Love gone bad' is a solo effort from 1993, originally titled - Mavis Staples' and only
released on CD and cassette back in the days. So EVERLAND have now done the right thing and put out the first
ever vinyl of this gem. And a real gem can be found here. Soul music in a down tempo with a slick production and
lush arrangements that still have this vivid expression making it real music by real musicians. The songs contained
on this album all date back to the early 80s, from a session not released until 1993. The melodies and the way the
compositions flow go back to a mid to late 70s soul pop style that incorporates elements of funk and dance music
but in a moderate pace. You can easily float upon the dancefloor and drift away in silky dreams. Some tunes have
a synthesized beat with a typical 80s sound, but these are compositions that stand the test of time and 25 years
after their initial release and 35 years after these recording sessions they shine on as diamonds of black soul pop
and R'n'B music (not to be confused with Rhythm & Blues). Mavis sings like a grand lady of soul with a timeless
quality that makes her stand out from the crowd of similar crooners. Even in the most gentle moments here the
tunes have an irresistible groove that moves the listener. But you can also sit and listen and explore piece by piece
digging deeper into the arrangements to unearth great bass and guitar lines. You will sing these vocal melodies
over and over again in the days to come until you throw this onto your turntable once again. I wonder why this did
not see a regular release back in the 80s as it would have led Mavis Staples to the top positions of the charts, Pop,
Black Music and Billboard. She was meant to make an impact and although she was already in her mid 40s when
she recorded this collection of soul nuggets, she brought a lightfooted youthful spirit in, which gives so much life to
her songs. A must have for all aficionados of female fronted soul pop.

This is a long overdue reissue of a fantastic album! Here we find a pure disco classic from the US scene of the late 70s. The original copies retail at plus $300, that's only if you can find one at all! So those who love to spin good music, but are unwilling or unable to lay down too much money can now lend an ear to this fine vinyl! The opening track is 6.5 minutes long and consists of ongoing grooves with a hint of rock thanks to the melodic lead guitar. The driving rhythms are irresistible with soulful and strong female lead vocals that capture you right away. This reminds me strongly of the lengthy Donna summer dance classic, released during the same period 'Better than walking out' which became a dance floor sweeper. There is nothing complicated here, just sheer groove interwoven with catchy melodies. 'Lovin' you is so easy' follows and is a mid-paced soul anthem that comes as clean, slick and close to pop music a tune can come, but the melody of the chorus will stick to your mind. The arrangements are tight revealing several layers of instrumentation on second take. The lead singer's expressive voice matches with the best of its genre. A grand dame of soul familiar to a wide audience. While we ruminate about the different stylistic ingredients of this album we reach ''Woman', an entire instrumental with a straight groovy beat paired by cool funky rhythm guitar that lies beneath a soundscape made by the electric piano. Both seem to interact tightly and communicate with another. This tune just moves you physically with ease. Lushly orchestrated ''Our love is special' turns out to be a wonderful soul pop anthem of the kind that stays with you when you have only enjoyed it once. I'm almost certain that most fans of the late 70's soulful dance and pop will spin this record over and over again. This is what the DISCO LADIES are made for. Their music has this certain disco feeling but the classic 60s Motown Soul roots are so obvious and keep the whole collection of songs so grounded, that the music will go straight to the heart, nestling there for a long time. ''I second that emotion' is again a mid-paced groover that has this fluttering beat with great instrumental figures build upon this footing. One might hear elements of reggae, gospel and funk melting into an utterly joyful soul pop tune that eventually would become an evergreen in the clubs. Last but not least we are treated to ''Woman', again the arrangements of lead and backing vocals are amazing! These are footed by equally amazing strings and horns. These melodies, soulful, expressive, intense and full of joy! The last tune is a vocal version of 'Woman'. Definitely being the highlight of the entire album and a worthy finale for a record that sticks out of the masses of disco music productions of it's era! All this makes a wonderful and delightful reissue ! worthy of joining every black music aficionado of the 1970s.

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

After a five year release hiatus, in 2018 Yura Khlop is putting out music under his SE62 alias again. "Jazzed EP" is the second release in the SAFT X series and the Kiev based producer has delivered a class record.

The A-side opening track; "Swing Tool" is built around more jazzed out samples than the other tracks. SE62 cleverly plays original notes together with a hazy sample that serves as the core element. "Jazzed EP" will be available through all specialized retailers in the autumn of 2018. On A2 we find "July". Again a very dance floor oriented record with taints of emotion. The very present chord and bassline dominate the tracks structure until at one point; a beautiful sample is introduced. Positive sounds for lovers of classic deep house.

The title track "Jazzed" is a signature piece of thumping deep house, using swinging MPC style drums and an evolving digital piano riff. This together with some submerged sounding sample shots, create a dance floor worthy ambiance. After "Jazzed", we find "Pitch Black", a sample-heavy jam that is based around a set of characteristic drums. A swinging chord and an infectious chord progression do the trick on this true dance floor record.

SVET(Light in Russian) was established to release dubby-influenced music from a vast pool of artists, with whom MAYAK has connected during past four years. Our first release is a various artist compilation from unique musicians across the globe.

While the A-side(from veterans) is quite moody and not that straightforward, B-side (from newcomers) is ready to rock dancefloors without any concerns.

With MEL013, Melodies International are extremely proud to bring you at last, a disco anthem from Detroit that was originally recorded in 1980 and dedicated to the 'King Of The Champion Fighters': Le Stim - A Tribute to Muhammad Ali (We Crown The King).

Le Stim was a band formed by lead vocalist Donald Jennings in the late 70s. Now an ordained deacon back in Detroit, Jennings was brought up in a gospel environment and was said to be born to sing. Growing up picking up songs from the likes of Nat King Cole, Ella Fitzgerald or Sam Cooke, Jennings frequently performed for family and friends and went on to sing for audiences in New York, St. Louis and all around Detroit.

We Crown The King is a song written in the mid 70s by the late Herbert Andrei Duncan, also from Detroit. Duncan approached Jennings with the song who was initially reluctant to sing it because it took him out of his usual vocal range. However, Duncan finally (thankfully!) managed to persuade Jennings after five years to record a tune that would prove to become a party anthem decades later.

Remembering Duncan, Jennings says: 'Andrei was positive..inquisitive.... and determined. I was only 18 or 19 years old at the time and remember Andrei coming over to my house.... He had a cellphone in his car!.. I remember going to Andrei's house, and he said he wanted to do the track. Andrei did not take no for an answer! The answer had to be yes! However Andrei didn't have any money to record the song with. So we made a deal. In exchange for the use of his P.A., Loc (the drummer) provided the seventeen musicians for Le Stim to record 'We Crown The King'. The session itself was recorded at a studio in Southfield, Michigan.
According to Jennings, Muhammad Ali did hear the track back then and liked it! Le Stim were in touch with Ali's management and were about to meet him on a number of occasions which unfortunately didn't work out.

Licensing this record has proven to be Melodies' biggest research effort as of yet and has involved visiting it's author, Duncan's former house in Detroit only to discover it had burned down and that his family had moved years ago. It wouldn't have been possible without the invaluable help of Jeremy from Rain&Shine records (NZ) who then managed to track down the family back in Texas!

Officially licensed, remastered and cut to half-speed lacquers at 45rpm (instead of it's original 33rpm format) to bring the shine out of the top end - MEL013 comes forth in it's original 12' vinyl format with exclusive Melodies stickers and digitally too.

A trio of guitar, bass and drums, Elektro Guzzi overcome the boundary between analogue versus digital, performing techno live with the drive of a machine and the sonic detail of an instrument - without any computers or loopers. For their upcoming album Polybrass, Elektro Guzzi have drastically expanded their sonic repertoire: both in the studio and on stage, they are joined by an ensemble of three trombonists, opening up a whole new realm of possibilities. With Hilary Jeffrey, Daniel Riegler and Martin Ptak, the band are joined by three brass heavyweights, each of them well renowned for both their solo ventures as well as projects such as The Kilimanjaro Darkjazz Ensemble, Sand and Zeitkratzer. By treating the three trombones not simply as a set of extra instruments but rather as one coherent body of sound on its own, Elektro Guzzi dissociate the brass instruments from their conventional use and repurpose them into something completely different: a modular synthesizer, with each trombone representing one oscillator. In doing so, Elektro Guzzi add new layers of depth to their music, emphasizing a more cinematic side of their music: like the soundtrack for a movie, Polybrass is bigger, darker, more dramatic, more intimate. Warm and fuzzy textures float weightlessly above fragile soundscapes and complex sonic fragments. At the same time, the band's signature sound runs distinctly through the entire album: solid percussive grooves, stripped down to the absolute minimum it takes to make your body move. Hypnotic repetition, building tension and suspense up to a point where the energy of the music gets so intense you feel like you can physically touch it with your hands, interlaced with organic patterns of sound, constantly changing and evolving, pulsating and oscillating. Vinyl: heavy sleeves + heavy printed inner sleeves, 180g vinyl with download code.

The new album from Danish electronic trio System is a special kind of collaborative effort with piano magician Nils Frahm. His purpose-built improvisations on synth, organ and piano served as source material for the members of System (Thomas Knak, Anders Remmer & Jesper Skaaning), who merged his warm acoustic tones with their minimalist digitalism and set out to translate their distinctive clicks 'n' cuts electronics into vivid soundscapes. Over two years in the making, the resulting nine tracks are as sonically intriguing as they are touching. Ranging from the mellow bliss of the title track to echoes of 90's and 2000's electronica and ambient sequences frequented by mesmerizing movements and sounds. The blending of piano and digital tones and noises into emotive pieces might instantly recall the work of Alva Noto and Ryuichi Sakamoto, though System and Frahm come to quite different results.

Thomas Knak met Nils Frahm at one of his concerts in Copenhagen. They stayed in touch, exchanging thoughts and ideas. Two years later, Anders Remmer was also introduced to Nils. From then serious ideas for a collaboration formed. As Nils was a fan of System's self-titled debut album (released in 2002 via Pole's Scape label) their talks centred around Dub and minimalism, elements that constitute most of System's music as well as their side and solo projects. This in mind, System began producing sketches and brought them to Nils´ Durton Studio in Berlin in December 2015, where they recorded ten hours of him playing keys and effects to their drafts. Back in Copenhagen, they decided to change direction. - As Nils had told us about his fascination with our debut album, we tried to rediscover this minimal clicks 'n' cuts era. But hearing Nils playing to our rhythmic beds, we felt the need to scrap those beats and instead head in a more cinematic direction.'

So they started building new pieces from the Durton recordings, maintaining some of the minimal and static quality while new layers of synth sounds and noises created a richer and more organic quality compared to older System albums. The solo projects of Thomas (Opiate), Anders (Dub Tractor) and Jesper (Acustic) always relied on steady beats or rhythmic material, so the productions of 'Plus' with their focus on acoustic and melodic elements, ambient layers and cinematic moods, sees them pushing forward into new areas.

This way, the trio avoided copying what they had already done years ago, when they built a reputation as Denmark's prime originators within electronic music in the 90's and 2000's. 'Plus' is a triumphant example of collaborative experimentation and may be the dawn of a new era for System: - For us it was really satisfying to focus more on actual sound rather than rhythmic aspects. There is a lot of potential in this field, so it would only be natural for us to pursue this, maybe as a series of collaborations with other people who's music we admire.'

For the third chapter of Refined Productions Aleksandra Grünholz aka We Will Fail delivers her third full length album entitled Dancing on her recently launched label with Jakub Mikolajczyk, head of MonotypeRec label and MonotypePressings. Here she tells the story:

'Taking a break from rationality, my first thoughts about the theme of this album were about the night, when our sight is limited and thoughts are corrupted by fatigue. I don't dance anymore, I don't party, I don't let myself go. Some time ago that part of life slipped away from me. This album is like silently entering into a place you shouldn't be in. A lot of rave inspired sounds were used on the album, dreamy pads, arpeggios, simple melodic structures; but this album is not easy and simple.

As head of a graphic design studio in Warsaw, last year was very hard for me, the amount of work started to overwhelm me; I started to feel stupid and possessed by the work, this is how the tracks 'Very Urgent' and 'Economic Maladies' were born. While the track 'Reason' is about losing rationality and how easy it is to do.

'Put Your Hands Up in the Air' encompasses the rave. It's also a kind of question, can music itself tell a story Very often in EDM or trance music there is a story and I like to call it catharsis. A moment, when the beat slows down and melody/pads become solo. I tried to extract this moment, without adding drops and aggressive rhythms.

'So Who's the Man' is about regaining the power, slowly but consequently. This album is a about feeling bold, monstrous and strong. Like looking insolently into someones eyes. You have to be patient with this one, because it builds up slowly. If you listen only for a fragment you miss the whole idea.

'Beasts from the East' was inspired by the thought of being a small peace loving person in a chaotic world that is dominated by stupidity.

The track '2018' epitomises the rave, but more complicated. Each of the layers are a but simplistic and could construct a dance track, but as there are so many sounds simultaneously, it can become disturbing in the perfect way.

'Diving in Plastic' was fit for the last track, I didn't want the album to have a perfect conclusion, I wanted to leave the listener hanging and ready for more.'

Dramas - Im Jahr 2016 Gegründet, Präsentierte Das Artpop-duo Dramas Mit Ihrer Im Frühsommer 2018 Erschienenen "libra"-ep Ein Großes, Emotionales Debüt Und Sorgte Auch International Für Aufsehen. Unter Anderem Wurde Die Erste Single "mess" Mehrmals Zur Nummer Eins Der Hörercharts Auf Einem Großen Berliner Radiosender Gewählt.
Nun Legen Dramas Nach Und Werden Bereits Als Eines Der Nächsten Großen Bands Aus Österreich Gehandelt. Die Neueste Single "midnight Sun" Ist Zugleich Auch Der Vorbote Auf Das Im Oktober Erscheinende Debütalbum "nothing Is Permanent". Getrieben Von Der Faszination An Unbewussten Gegensätzen Und Widersprüchen Verpacken Viktoria Winter Und Mario Wienerroither Darauf Inhaltlich Schweres Und Bedrückendes In Reduzierte Und Tief Bewegende Musik.

Planet Battagon are innovators in Droid Jazz. Electronics, jazz and outer-national sounds ain't no new thing. But following in the extra terrestrial sounds and cosmic mythology of Sun Ra, Planet Battagon are not reaching for the cosmos but simply made of it. Droid consciousness is the starting point but what's consciousness got to do with it. The droid's need culture, music and art and of the highest and most experimental of that lies Droid Jazz.

Originating on Lord Battagon's home planet the group are documenting the folklore and jazz stylings of the Trans-neptunia neighbourhood out on the edgelands of the solar system. This debut release follows on from a Lord Battagon outing on the Atlantic Jaxx label. 'Who's out on Quaoar' is taken from the Ltd Ed 12' 'Battagon Symphony', part one of 'The Rough Guide to Trans-Neptunia'. The release also features 'Salacians of Neptunia', a homage to the early droid cultural pioneers and the chant like 'Moon of Dysnomia' that is played ceremonially to temper the erratic saline tides of the aforementioned moon especially during its retrograde period. Droids and saline do not mix well and OntheCorner are releasing these 'Rough Guides to Trans-Neptunia' after intercepting distressed transmissions prior to a
devastating saline tide.

The Noise Droids of Planet Battagon are:
Jack Baker - Acoustic Drums
Martin Slattery - Bass Clarinet,Alto Sax & FX
Oli Savill - Percussion
Mickey Ball - Trumpet
Nathan Curran (Tugg) - Synth Bass, Syn Drums, FX & Conductor

Composer, Synthesist And Producer Matt Robertson Is Set To Release His New Album 'entology' Via Tape Club Records On 16th November 2018. It Follows His Warmly Received 2016 Album 'in Echelon', Described By Mojo As "nils Frahm's Modern Classical Meets Jon Hopkins' Grainy Techno", "an Album Of Symphonic Electronica And Leftfield Techno Thats Cinematic In Scale" In Mixmag And "magnificent Wild Sound" By The Line Of Best Fit.

As Musical Director For Björk, Cinematic Orchestra And Anohni As Well As Working With Lamb, Emiliana Torrini And Bat For Lashes, Matt Has A Wealth Of Experience Collaborating With Some Of The Most Exciting Artists In The World. Working With A Collection Of Vintage, Modern And Diy Synths, And Combining Electronic Music Production With Classical Composition And Cinematic Soundscapes - Artists, Producers And Film Composers Alike Seek His Enveloping And Distinct Sound.

"i Love The Idea That Not So Very Long Ago, The Idea That A Species Could Become Extinct At All Was Laughed At. In The 17th Century, Fossils Were Believed To Be From Mythical Creatures Like Dragons. In 1796, George Cuvier Presented The Idea That A Species Could Have Existed And Now No Longer Existed, And He Was Laughed At By Scientists. Darwin Then Suggested That Evolution Did Not Need Catastrophic Events To Explain Extinction - More That It Was Due To Perpetual Competition In An Overcrowded World.

I'm Adopting The Word "entology" To Be An Awareness Of Our Current Period Of Geological Time Being An Extinction Period, Where An Extinction Period Is Defined As A Time When A Significant Proportion Of Species Die In A Geologically Insignificant Amount Of Time. I Was Trying To Imagine The Obvious Desolate Spaces Of A Post Apocalyptic World, But Also The Slightly More Opaque Vision Of The Fact That So Many Things Are Becoming Extinct Around Us Without Us Noticing, Or Even Being Aware Of Their Existence In The First Place.

The Idea Is Of Desolation But, Because Of The Awareness, Also Of Hope."

- Matt Robertson

I Conceived 'darkly' In 2015 As A Piano Album. I Was Fascinated By This Instrument And Couldn't Think About Electronic Music At All. I Spent A Lot Of Time In Front Of The Instrument Before My Fingers Could Play What Was Needed. And At Some Point, I Got A Few Solo Piano Tracks, But They Sounded Very Raw And Unfinished. Almost At The Same Time, I Was Getting Back Into Experiments With Electronic Music And Focussed More On Recording Piano In An Electronic Context. Paying More Attention To Different Textures And Multilayeredness. I Was Working On Soundtracks For Films By Noir Films And This Helped Me Finish Two Compositions, Which Later Determined One Of The Directions Of The Album And Served As A Bridge Between The Solo Piano Compositions I Recorded At The Beginning, And The New Electronic Tracks. At The Beginning Of 2018, I Got Back To The First Solo Piano Tracks To Give Them A Finished Form, Adding The Missing Elements That I Could Not Hear Three Years Earlier. I Wanted To Make A Piano Album, But I Got The Album Which Was Formed By Itself And Became A Result Of My Experiences, Worries, And Events Of My Life That Occurred During These Few Years. I Dedicate This Work To A Human, Which Shares This Life With Me, Supports Me And Believes In Me Like Nobody Else! I Dedicate It To My Wife.

"darkly" Comes Out On Limited, Double, Grey Vinyl (including Download Code)

Play It Say It welcome New York artist David Berrie for a first EP on the label and one that offers three dynamite pieces of punchy, high impact and inventive house music.

Raised amongst the diverse culture of NYC's nightlife, Berrie started sneaking into clubs as a youngster and since then has risen through the ranks to have now played iconic rooms like Output NY and DC-10 Ibiza. Fusing his musical history with other genres to create his own, unique style of house and techno, David has taken his passion to the studio and served up essential tunes on Hot Creation and Cuttin' Headz.

Opening the account is 'Revolution', seven superbly programmed minutes of slick and involving house beats and knotted bass. It's a restless, body shaking track to make the floor move with futuristic synths fleshing it out and bringing a vital sense of machine soul.

The equally compelling 'JB Loop' is another dynamic bit of electronic house music. Rubbery drums bobble and bounce about with wild computer sounds and infectious bass all ramping up the energy levels and making for a standout track.
Last but not least, 'Rear End' is a supple, intricately designed track with slippery synths, spinning hi hats and bass surges all wrapping around each other to make for real minimal funk. It's a track that oozes Detroit vibes and cannot fail to sweep up the floor.

These are three characterful and masterfully produced cuts of high-class dancing music.

LMYE first came to light in 2016 on Funkineven's Apron imprint with the LMYE EP, which quickly became a regular fixture at the London label's infamous parties and bbqs as well as with house DJs worldwide. Since then the pair have been relatively quiet, only appearing once on record, with a release for Bristol's Idle Hands in 2016.

The paucity of their output though belies a busy production schedule behind the scenes. Tracks from those sessions have surfaced occasionally in the sets of DJs like Shanti Celeste and Ben UFO but they have never seen the light of day on a full release until now.

As you would expect from their first releases, the self-titled LP treads a line between classic house and UK garage with a nod here and there to boogie and Latin freestyle, genres which have inspired their production techniques.

From barnstorming new jack house cut 'The Gift' to the classic UK funky sound of 'Hypnotized', LMYE have selected only the most weighty numbers at their disposal, with the aim of offering an LP that will catch the ear of those at every end of the house spectrum.

That's not to say that this is an LP of dancefloor-only cuts though. 'Long Island at Night', which features Bristol's Typesun and Adam Davies live in session, shows the softer, more musical side of LMYE's output. Meanwhile 'XTC Rising' is a uk garage cut with a classic edge which nevertheless still feels modern and up to date in its outlook.

In short, 'LMYE' collects the highlights of a number of years' work, with the aim of finding a home in the boxes of the most discerning and listeners for years to come.