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Nach mehr als fünf Jahren sind Purity Ring zurückgekehrt, um ihr drittes Album anzukündigen. WOMB wurde vollständig vom Duo Megan James und Corin Roddick produziert und aufgenommen und wird am 3. April über 4AD veröffentlicht. Das neue Purity Ring-Album ist dabei eine Chronik der Suche nach Trost, der Suche nach einem Ruheplatz in einer Welt, in der so vieles außerhalb unserer Kontrolle liegt. Die auffallende Verletzlichkeit des Openers "rubyinsides" zeichnet einen Weg auf, der sowohl sehr persönlich als auch tief mit den uns nahestehenden Menschen verbunden ist - unseren Verwandten, ob sie nun von Natur aus oder aus dem Umfeld kommen. Während sich der Boden unter ihren Füßen verschiebt, helfen sich die Figuren auf dem Album gegenseitig, dem Tod, der Verzweiflung und anderen Veränderungen mit Widerstandskraft und Anmut zu begegnen. Die Suche gipfelt in "stardew", einer glitzernden, transzendenten Einladung, "einfach da zu sein, wo du bist" - die Art von kraftvollem Frieden zu erleben, die nur durch ein wirkliches Heimkommen gefunden werden kann. WOMB folgt auf das international gefeierte und höchst einflussreiche Debüt von Purity Ring im Jahr 2012 und Another Eternity im Jahr 2015. Damals lobte die New York Times die Songs als "nur wenige Schritte von den Radiohits von Sängerinnen wie Ariana Grande und Ellie Goulding entfernt", während Rolling Stone sie als "glänzenden Synthie-Pop plus kavernösem Hip-Hop" bezeichnete, und der New Yorker lobte das Duo für "kreativen Elektro-Pop, der ebenso warm und menschlich wie kalt und fremd ist, eine berauschende Kombination, die sich kühn futuristisch anfühlt".

After a period of quiet, Area is back with friends on Kimochi Sound.
All the tracks here are reworks of Area productions, but the collaborators take the originals in new and exciting directions.

Gauss' Natan H offers up a stomping version of Dare To Be Different, whereas Freerotation's Leif contrasts with a fleetfooted rendition of The Face Yours Reminds Me Of. Longtime label contributor Benjamin Brunn gets the whole B-side to traverse tempos and textures and round out the emotive release.

hand-numbered white vinyl 12" in spray-painted sleeve limited to 200 copies (comes in different coloured sleeve we cannot guarantee which one you will receive)

We were first introduced to Marumo’s ‘Modish’ album via DJ Okapi's amazing resource the ‘Afrosynth’ blog, which archives South African bubblegum/disco from the 80s & early 90s. Aside from this blog, this music would otherwise remained unknown outside of South Africa, apart from the most hardcore of digger and record collector.
‘Modish’ was originally released on Spades Record in 1982 and was recorded by producer West Nkosi, who was a member of supergroup ‘Mahlathini & The Mahotella Queens’. He worked with the big hitters in South African music such as Ladysmith Black Mambazo, Teaspoon & The Waves, Patience Africa and many more. Marumo were made up of a group of musicians from the Athlone School for the blind in Bellville, close to Cape Town. The band members, John Mothopeng, Munich Sibiya, Simon Falatsi and Marks Mbuthuma, had previously played in the groups Batsumi, All Rounders and The Orations and came together to record this versatile album. It covers a wide number of genres from Sotho soul, Mbaqanga, disco-funk, gospel & spacey-synth slow jams.
Flash forward 30 or so years later and lost dead-stock copies of the album start to appear and Marumo’s music begins to be heard across the world in the DJ sets of Motor City Drum Ensemble, Invisible City Editions, Floating Points, DJ Okapi and others.
We included the afro-disco-funk beauty of 'Khomo Tsaka Deile Kae?’ on our Mr Bongo Record Club Volume Three compilation, but felt ‘Modish’ needed to be available and heard in it’s entirety. We hope you enjoy!

Tucked away in their cover, but never for long, Guts' musical eyebrow wands have once again panicked, this time aggressively marking Africa.

Letting his instrument guide him towards the one he felt was the next signature of his label Pura Vida Sounds, the beatmaker-producer found himself face to face with an old acquaintance: Pat Kalla aka the voice of the Voilaaa Sound System, aka the one with which he crossed the funk on his album Philantropiques and the title "Daddy Sweet".

Convinced to follow him in studio, Pat, accompanied by his Super Mojo celebrates this collaboration by decapsulating La "Canette". Long groove in the mouth, acidic notes of synths and attacks of precise guitars, despite the bitterness of his words, a drink that suits every hour of the day and that strengthens the legs most numb. Heckled by her journey to the bottom of Pat’s musical bag, shaken by the syncopes of the beat, she spreads her funk foam from the very beginning into the A-side furrow.

Bartering the beige trench coat of Commissioner Joss against a colorful toghu, Kalla and his Mojo revisit on the B side the "Requiem Pour Un Con" de Gainsbourg. The martial groove, dark and hypnotic leaves its place to a polyrhythmic afrodisco production, surrounded by a low velocity.
More than a recovery, they are making a real diversion.
A hijacking driven by Pat Kalla and his Super Mojo, with Serge Gainsbourg and Jean Gabin sitting in the back seat like two "Pachas".

Kicking off 2020 – Great Circles takes a step away from the dance floor with the release of the monolithic new work from Philadelphia-based artist Radere, ‘I Do Not Want What I Have.’ This long-in-gestation set of slow burning electronics and shadowy drones is part of the label’s growing selection of releases dedicated to deep listening, following on from the 2017 Prefix Moniker LP.

Radere is the ongoing project of Carl Ritger, who has worked under the nom de plume since 2009 and has deep ties to the Great Circles family. He played some of his earliest shows at Inciting HQ, the recently shuttered, label-affiliated venue, and invited Justin Gibbon AKA Westov Temple and Great Circles label founder to contribute to some of his earlier recordings. While he started out as a more straightforward ambient guitarist, Ritger’s work developed into more experimental textures as he explored modular synthesis and processed found sounds.

Ritger’s releases from his time spent living in Denver, CO c. 2011-2018 are marked by a particular strain of east coast nihilism and an angular aesthetic that keeps the listener off balance. Now back in his native Philadelphia, the two long-form pieces that comprise ‘I Do Not Want What I Have’ represent a perhaps more nuanced meditation on pain and loss. “Spitty Kisses,” the 15-minute album opener, takes aim at the listener with a brutal salvo. It is almost sadistic in its sonic intentions – acerbic modular sound and abrupt stuttering in the material leave a listener personally affected. “You’ve Been A Ghost Your Whole Life,” on the flip, delivers a salve for the A-side’s wounds and resolves its masochistic tones.

Written through a period of intense personal trauma as a means to seek comfort and solace through creative action, it’s clear that the puerile humor of nihilism is gone and grown out of in Ritger’s work.

FFO: taking long walks off of short piers, the legend of the monk Kelpius living among the trees of the Wissahickon, traditional creation and destruction stories in polytheistic faiths, and John Coltrane.

The record is accompanied by a digital-only series of remixes by friends of the artist and regular collaborators, including new works from Borne and Shivers, as well as Great Circles alums Westov Temple, Chaperone, and WOLF DEM.

Hand-stamped and numbered, w/ A4 colour insert design by 'O$VMV$M'.

Back in 2018, Lumière Noire celebrated its first anniversary with a compilation featuring thirteen exclusive tracks by an eclectic group of electronic musicians – a family portrait of sorts. A few months later, a second volume of From Above, compiled by the label's artistic director (and DJ) Chloé, once more brings thirteen established acts together with promising upstarts. The first compilation was the embodiment of the label policy advocating for both artistic excellence and a widening of electronic aesthetics – bopping from deviant house music to adventurous IDM and to the rigor of dancefloor techno, among other electronic explorations. Some of the artists featured are now closely associated with Lumière Noire, while others were more established performers such as Benedikt Frey, Lauer, Jonathan Fitoussi, Il Est Vilaine, Dave e Brun (half of Swayzak) and Frank Agrario, as well as upcoming artists such as C O N T R A (a side project by none other than Iñigo Vontier), Sutja Gutierrez, Théo Muller, Markus Gibb, Bajram Bili, and a sprinkling of UFOs circling the genre (Suuns' Ben Shemie, Drvg Cvltvre, and electro-acoustic combo Lumi). This group photo laid down a number of paths for a label in perpetual evolution.

Since then, the Parisian entity has continued to grow within the international electronic scene, releasing Local Suicide's Leopard Gum EP, Iñigo Vontier's first LP, and planning another slew of releases for 2020. The lineup for this second volume of From Above is once again equally intriguing, offering a crescendo-like track listing over a double LP format, which is a feat of sorts for a "Various Artists" compilation.

Marc Mélias' fascinating, unsettling Permanent Waves gets the proceedings going with a contemplative track that provides a serene opening to the odyssey on which From Above will be taking the listener. Pletnev continues on with the playful, hooky Marco O’Polo, a fundamentally techno track built over a seductive 90s-inspired breakbeat. Douglas Greed (whom Chloé remixed on BPitch a few years back, and had himself remixed track from her album Endless Revisions featuring Ben Shemie’s vocals), supplies Vancouver, a slice of ambiance à la Boards of Canada, supported by a gripping breakbeat. The rhythmic arpeggio of Israeli producer's Middle Sky Bloom makes his contribution a hypnotic, disconcerting slice of dark disco. Thomass Jackson, a safe bet in the new wave of the Latin-American electronic music blowing its sometimes hot, sometimes cold wind, proposes Mithra, a dancefloor incantation to the Antiquity's bull god. With Bells, Goldmoon delivers a track that is both melodic and nostalgic, tinged with rhythmic samples, Moog basses and solar backgrounds. Longtime friend of Chloé, Krikor, who has released two albums on L.I.E.S. Records (Pacific Alley and Saudi), offers a moment of respite with Sally Hardesty (a nod to fans of horror movies), a heavenly and bewitching track that, paradoxically, hints at the highly energetic second half of the compilation. Discovered with Confidences EP released on Lumière Noire, the young French producer Morgan Blanc asserts himself here with Werde Der Du Bist ("Become who you are"), a song with luminous chords and midtempo rhythms to start the second half of the compilation by raising the tension. Galician producer, DJ and designer Cora Novoa continues the rollercoaster's ascent with her Virtual Aesthetics, which once again brings those acid tones – this time without the vertigo. Equally corrosive, but tenser and more percussive, the uncategorizable NSDOS' AL-G attempts to give order to a chaotic electronic world full of violence and danger. Rebeka Warrior (half of the duo Kompromat alongside compatriot Vitalic), takes on a more nostalgic vibe with Ich Komme Zurück, a French/German techno chant evoking a secret dream of a track from a bygone era. Three years after the release by Lumière Noire of Moderna and Theus Mago's stroboscopic Dog Is Calling You, Theus Mago makes a solo comeback with Idealistic Stone, a most acid of club tracks, rattled by the modulations of the inevitable TB 303. French electro-rock saltwarth Yan Wagner's dancefloor alter ego The Populists' Prehistoric Lemurs gives an almost Orientalizing twist to Kraftwerk's techno-pop. To close things off, the collection's last track, the appropriately-named Instant Track by impromptu encounter between Hervé Carvalho (Acid Arab), Jacques Bon (Smallville) and Demian (Kompakt) Acid Love Triangle, releases the pressure with a long, bittersweet reverie that leaves the listener, at the end of these thirteen musical adventures, to rest languorously on an artificial and welcoming shore.

It's been a long, winding road to Hailu Mergia's sixth decade of musical activity. From a young musician in the 60's starting out in Addis Ababa to the 70's golden age of dance bands to the new hope as an emigre in America to the drier period of the 90s and 2000s when he mainly played keyboard in his taxi while waiting in the airport queue or at home with friends. More recently, with reissue of his classic works and a re-assessment of his role in Ethiopian music history, Mergia has played to audiences big and small in some of the most cherished venues around the world. With 2018's critical breakthrough "Lala Belu" Mergia championed himself and consolidated his legacy, producing the album on his own and connecting with listeners through the sheer creative power of his version of modern Ethiopian music. His subsequent performances revealed an artist who is in no way stuck in the nostalgia for the "golden age" sound. The press agreed, including the New York Times, BBC and Pitchfork, calling his music "triumphantly in the present" in its Best 200 Albums of the 2010's list. Mergia's new album "Yene Mircha" ("My Choice" in Amharic) encapsulates many of the things that make the keyboardist, accordionist and composer-arranger remarkable_elements that have persisted to maintain his vitality all these years, through the ebb and flow of his career. The rock solid trio with whom he has toured the world most recently, DC-based Alemseged Kebede (bass) and Ken Joseph (drums), forms the nucleus around which an expanded band makes a potent response to the contemporary jazz future "Lala Belu" promised. "Yene Mircha" calcifies Mergia's prolific stream of creativity and his philosophy that there is a multitude of Ethiopian musical approaches, not just one sound. Enlisting the help of master mesenqo (traditional stringed instrument) player Setegn Atenaw, celebrated vocalist Tsehay Kassa and legendary saxophone player Moges Habte from his 70's outfit Walias Band, Mergia enhances his bright, electric band on this recording with an expanded line up on some songs. Mergia produced the album which features several of his original compositions along with songs by Asnakesh Worku and Teddy Afro. An artist still reinventing his sound every night on stage during his marathon live sets, this 74-year-old icon refuses to make the same album twice. The album feels as urgent and risky as his concerts can be, pushing the band to the outer limits of group improvisation and back with chord extensions during his exploratory solos. "Yene Mircha" captures this live experience and fosters an expansive view of what else could be in store for this tireless practitioner of Ethiopian music.

2x12"

Circle Vision proudly presents the anticipated debut album of Copenhagen producer and label head RDG aka. Ruben Nielsen.

"Planetary Sound Fiction" marks the Danish label's 10th release with a subbed-out panoramic trip deep into the current state and future of bass music, with sound allies Killa P, Rider Shafique, K Man, Ill Chill, Monti and Yaa Aisin all complementing the hands and ears of the accomplished Danish producer throughout the album.

Drawing on experience from decades of DJing, musical production, sound engineering and intergalactic excursions, RDG has thoroughly matured his undeniable skill of orbiting and perfectly blending the dimensions of jungle, dubstep, techno, DnB, experimental, leftfield and downtempo music into a coherent and captivating sonic journey.

Following more than 25 EP releases over the past 10 years, "Planetary Sound Fiction" is by far RDG's most exhaustive work to date and presents a sound, encompassing anything else released by the Danish producer so far.

(180g LP) On his debut album Travesseiro Feliz (Happy Pillow) Rio de Janeiro based dreamer and new Far Out Recordings signing Ricardo Richaid melds his tropical heritage with his love for psychedelic music, jazz and rock.He also takes inspiration from the many Brazilian greats - Caetano Veloso, Arthur Verocai, Hermeto Pascoal, and Azymuth (to name a few) - who he has worked with as an engineer, assistant and producer, in Rio's former RCA studio, Cia dos Tecnicos.

For the first release of the new decade we are honoured to introduce LA-based Oxóssi who has conjured a captivatingly sinister sonic palette for his debut EP on the label.

Sama
A scorching 8-bar intro catapults us straight into 'Sama', the first track of the release, where abandoned-jungle-ruins atmospheres meet threatening wooden flutes and weighty wobs - Oxóssi is not messing about. The narration proceeds with a melody sung by a penetrating laser-beam-like synth, which adds a space layer to this organic banger, getting more and more detuned throughout the track while kickstarting a call-and-answer march between the flute and synth-wob melodies. Don't expect to uncover the secrets of 'Sama' at a first listen, this intricate creation will keep revealing itself listen after listen.

Saut Dans Le Vide
An alluring pad harmony and a hidden inspirational message from the artist introduce the fascinatingly titled 'Saut Dans Le Vide', a masterful arrangement of unrelenting piano chords, subtle choir stabs, dreamy flute leads and compellingly staggering drums. Elements keep artfully alternating throughout this convoluted composition which arouses a pensive, melancholy-nuanced hopefulness.

Undead
It's time to get glitchy here, as 'Undead' makes its entrance. Shimmering melodies rain down in a glittery shower of eerie purple confetti, surrounded by rattling white noise strikes and playful-yet-mighty bass hits. As the story evolves, an 8-bit synth lead briefly takes us to a post-apocalyptic landscape before we momentarily wake up from this psychedelic daydream, just in time to take a breath and dive back in for round two.

Smooth Swede Sune’s follow-up to the beloved Butter Love EP is equal parts bright and bittersweet. Elevator Connoisseur boasts the producer’s knack for sampling and crafty layering in unison with his trademark dusty drums.

Pressed on Vinyl for the first time ‘Hi- Fi Serious’ was the third album from ‘A’ released in 2002. It includes their hit single, "Nothing", which became the band's first and only top ten hit when it reached number 9 in the UK singles chart. "Nothing" was followed by top 20 hit "Starbucks", named after the coffee chain.
The tour following Hi-Fi Serious saw the band headlining the 5,000 capacity Brixton Academy as part of their Inner-City Sumo Tour. At the end of the year they won the Kerrang! award for Best British Band.In 2004, their single "Nothing" appeared on Beyblade's Let It Rip! official soundtrack. In 2007, "Something's Going On" and "The Distance" appeared on the Surf's Up video game soundtrack.

Red Vinyl LTD

Pressed on Vinyl for the first time ‘Hi- Fi Serious’ was the third album from ‘A’ released in 2002. It includes their hit single, "Nothing", which became the band's first and only top ten hit when it reached number 9 in the UK singles chart. "Nothing" was followed by top 20 hit "Starbucks", named after the coffee chain.
The tour following Hi-Fi Serious saw the band headlining the 5,000 capacity Brixton Academy as part of their Inner-City Sumo Tour. At the end of the year they won the Kerrang! award for Best British Band.In 2004, their single "Nothing" appeared on Beyblade's Let It Rip! official soundtrack. In 2007, "Something's Going On" and "The Distance" appeared on the Surf's Up video game soundtrack.

Venus Volcanism is the musician and electronic artist Rena Rasouli. She presents her first solo mini-album “Rizitiko’ on Optimo’s sub-label, Weaponise Your Sound, using traditional folk songs of her native island Crete as a basis for this work.

‘Rizitiko’ evolved from Rasouli’s thesis titled “the music performances based in traditional dialect focuses on the healing ability of sound”. The songs were created and sung by folk troubadours. Expanding on these oeuvres, Rasouli seized on the idea that the melodic use of voice is the oldest form of therapy in human culture. This primary and ritualistic material was intertwined with electronic and natural ambient soundscapes. The resulting compositions express the omnipresent sensations and emotions that play a key role in the healing process whilst communicating an intense connection to the collective unconscious. Traditionally sung by men there are numerous reasons to believe that many of the songs were initially created by women. To sing them in a female voice projects a different approach to the traditional rendition – one closer to that of a lullaby.

»Alchemy« is the debut album from 22-year old singer-songwriter Tara Nome Doyle, following the singles »Heathens«, »Neon Woods« and »Mercury«. Doyle’s 2018 EP »Dandelion«, featuring her breakthrough-hit »Down with You«, has so far amassed nearly two million streams. Recently, two of her songs featured in Sophie Kluge’s feature film »Golden Twenties«. Doyle is a member of Kat Frankie’s choir on whose a capella EP she features.

»Alchemy« deals, in two songs each, with the four phases of development of the pre-modern natural philosophy, the alchemy. The album can be read psychologically or as a portrait of someone coming of age. Experience and reflection are closely entwined which is as beautiful as it’s threatening.

Doyle, whose middle name is pronounced just like »Naomi«, is from Berlin-Kreuzberg, her parents are from Ireland and Norway. She speaks (and sings) both languages without accent. Is it permissible to recognize the biographical background of these landscapes in her art? The stored heat and the fog from the Irish peat bogs, the magic of the the Norwegian forests?

The concept album was recorded in large parts with David Specht (bass player and producer of Isolation Berlin) and Doyle's newly founded band in Berlin. Specht remains reserved, keeping the band in check. It’s the interiors that we should hear – acoustically, but also thematically. The drums sound more like a knock on the window pane than the city noise outside the door, the guitar controls the harmony and not the power supply. The first instrument remains Doyle’s voice, which is always working and is looking for a way. Inward, outward. All songs were written by Doyle, for the arrangement for »Neon Woods« she worked with Max Rieger (Die Nerven, producer for e.g. Drangsal and Ilgen-Nur).

Starting from the assumption that polyrhythmic music is a political statement,
Wang inc. developed this 12” focusing on the stories of the past years taking place in the
central Mediterranean Sea. Stories of hope and despair, often tragic by the will of
powerful and egoistic people.

Each track describes a fase of the crossing of the Sicilian channel: Fuga is the escape from
the Libyan prisons, Gommone is the crossing on an inflatable raft that often finds a tragic
epilogue, Approdo is the battle between humanitarian aids and governments to find a
place of safe, Abbraccio is the tragic history of mother and son found at the bottom of the Mediterranean Sea still hugging each other.

It’s harsh techno, slow, with vivid images, lot’s of tension and bleak atmospheres. All titles are in
Italian because this story is part of the history of Italy.

Limited edition 180g 12″ record featuring 5 bangers. Comes with high-quality gloss sleeve featuring Gobsmacked skull artwork.

Taking influences from underground spaces and dark clubs, the GOBSMACKED! 12” series kicks off with a bang, dropping a five track vinyl from Diarmaid O Meara. The Irish producer describes himself as “trying to push the boundaries of electronic noise” and he couldn’t be more right. It’s just 30 minutes long and hugely pulsing, but packs more punch than a gym full of heavyweight boxers. “While working on new tracks in the studio, I’m always trying to create my own personal rave, and when I find myself in the middle of a dark and twisted sound, then I know I’m on to something,” he says of the creative process in his Berlin bunker studio.

The 12” includes a number of previously released digital singles by Diarmaid O Meara, which have been his chart topping and most widely played tracks, that have not yet made it onto black gold until this point. Featured as multiple Beatport number ones, peak time festival big room sounds, countless Boiler Room recordings, the 12” is a collection of club belters, tried and tested over countless sound systems and DJs.

At Diarmaid O Meara’s touch in the studio, the technotic sounds released from his control become alive, while dark vibes take a stormy ride through intense rhythms. Track titles like ‘Selfish Bass’ convey the vibe of music that chews up and spits out razor-sharp techno and rave fusions that race to tempos upwards of 140BPM. There are playful techno tracks like ‘In Your Head’ next to euphoric rave ups like ‘Live In The Night’ and bass contortions like ‘Ripcord’ that are masterfully concise but utterly devastating. Not to mention the ever hypnotic, chugging sounds meets massive crescendo of ‘Improbable Strip’.

“Whenever something crazy emerges through a rig, enough for you to you hear people screaming in ecstasy, and you know the production has delivered”, he says. And it is exactly this momentum that GOBSMACKED! wants to deliver – it sounds loud and obnoxious but also fun that draws on real appreciation for dancefloor destruction as well as countless hours of studio work. Therefore, it is no surprise that the artwork for the series also features the style of the well known Gobsmacked bunker parties run in Berlin venues like the infamous Griessmuehle, where said music has probably been overplayed to crowds with goldfish length memories. .

It would be fair to say that Leng co-founder Paul “Mudd” Murphy is a born collaborator. Since first donning the Mudd alias at the dawn of the century, Murphy has released numerous collaborative albums and singles with regular collaborators Ben Smith (as Smith & Mudd) and Kevin Pollard (Mudd & Pollard), as well as playing a key role in “super-groups” Paqua and Bison. “Susta”, which marks his first single on Leng since 2009, sees Murphy add some new names to his growing list of collaborators. It was made in cahoots with singer/songwriter David Harks, a regular Satin Jackets collaborator who also appeared on Jack Cutter’s superb “Serpent Strut” cut on Murphy’s Claremont 56 label.

“Susta” is a bubbly, evocative and ear-pleasing chunk of mid-tempo nu-disco pop featuring lead vocals from Jaanika Leino AKA JaneLy – a former X-Factor Finland contestant whose sultry and evocative voice simply soars above Murphy and Harks’ sparkling, life-affirming instrumentation. Rich in twinkling synth solos, rich Clavinet lines, chugging arpeggio lines and eyes-closed piano, “Susta” is a strong song that will squat inside your head and stay there for days.

Our advice is to welcome it in – it’s as joyous and life-affirming a track as Leng has ever released. It’s accompanied by a predictably strong remix by British electronic music veteran Andrew Meecham (Bizarre Inc, Chicken Lips etc.), who dons the now familiar Emperor Machine alias to deliver a dub for the ages. Combining his own analogue and modular electronics with snippets of Leino’s vocal and some of the warmest instrumentation from Murphy and Harks’ original mix (think Clavinet and Rhodes for starters), Meecham offers up an epic slice of electronic dub disco that bubbles away for ten mesmerizing minutes. It’s a superb interpretation of a high quality cut.

• 180 GRAM AUDIOPHILE VINYL • LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON RED COLOURED VINYL

The pioneering hip hop group Treacherous Three released several albums, starting with the compilation record Whip It in 1983. It consists of material they record in their early years like “Feel the Heart Beat”, “Whip It”, and “The Body Rock”. The spectacular production makes it sound smooth, while the song length of +5 minutes let you stay focused on the lyrics.

Bristol-based multi-instrumentalist producer Memotone returns to Diskotopia for the stunning full-length LP Invisible Cities, undoubtedly his most accomplished work to date, effortlessly joining the dots between Martin Denny, Yasuaki Shimizu, Nurse With Wound, and Mark Isham…

Memotone is the principal alias for Bristol-based multi-instrumentalist, composer, and producer William Yates. As a solo artist, he has released on labels such as Black Acre, Bedouin, Project Mooncircle, and Brownswood either as Memotone or under his other alias Halfnelson. In addition to doing composition work for film and television, he works as a session musician for the likes of Dmitry Evgrafov, Connie Constance, and Phaeleh. He's also part of the Avon Terror Corps project helmed by Bokeh Versions, Giant Swan. Noods et al., and is a member of ATC-affiliated Pheasantry Society. His music has been championed on the radio, a key influential medium for Yates growing up, by the likes of Gilles Peterson, Mary Anne Hobbs, Tom Ravenscroft, Nick Luscombe, and more.

Drawing from Bristol's own sonic history, from the late 80s to the present, as well as the writing of Italo Calvino, Yates has put together 10 tracks on Invisible Cities that sit somewhere between neo-classical, ambient, fourth-world exotica, and post-krautrock. The mix of different timbres of live string and wind instruments, astute synthesizer touches, and skittish drum machine strokes creates an organic and ethereal energy deftly manipulated into a delicately interwoven narrative through Yates's production prowess. Already garnered support from the music press and radio DJs, the album will strongly appeal to a wide range of music lovers and fans of Ryuichi Sakamoto, Dorothy Ashby, Alberto Iglesias, Labradford, Delia Derbyshire, Peverelist, Toshifumi Hinata and more…

Mavericks of the musical landscape, Brooklyn’s finest genre-defying duo Dave + Sam release their anticipated debut album ‘No Shade’ on Classic Music Company this spring, a thirteen-track narration of the 21st century experience, told through the eyes of vocalist Dave Giles II and production maestro Sam O.B. With the aim to package love, empowerment and socio-political commentary into a collection of tracks that never compromise on groove or soul, this enchanting album never loses sight of its message as it journeys from deep Chicago house and otherworldly melodies to funk-laden jams and adventurous studio experimentation.

Hinged tightly by the soulful nuances of Moodymann, Mos Def and Gil Scott Heron, Dave’s captivating spoken word delivery is purposeful and considered, as Sam weaves rhythms and grooves so deep you can get lost in them – the two musical narratives working in perfect harmony. Impassioned cuts like ‘Facts’, ‘Worth It’ and ‘Sauce’ leverage hip-hop’s tradition of battle rap against white supremacist rhetoric, a message that remains ever more relevant in today’s political climate. Title track ‘No Shade’, ‘Day One (Oh Baby)’ and ‘Can’t Get Enough’ allow stories of love and loss to unfold to the listener, while the stripped-back grooves of ‘Round The Way’ and ‘You Da Shit Girl’ add another dimension to the album. Featuring a number of collaborators such as Chicago legend Mike Dunn, powerhouse vocalist Ramona Renea and fellow Brooklyn natives Cor.Ece and LATASHÁ, ‘No Shade’ is an evocative, powerful and joyful experience when played in its entirety.

Recorded in Brooklyn’s Bedford Stuyvesant, a neighbourhood bearing the scars of over-policing and encroaching gentrification, the vibrancy of the community and its unyielding history of creative expression shines through on the album’s entirety. As products of such environments, Dave + Sam’s music is resilient, revolutionary and organic in equal parts. An homage to their mutual reverence for early Chicago house and the golden era of underground parties in New York, ‘No Shade’ is a riveting body of work ready for you to lose yourself in.

The Star Beams album is a bit of an enigma. When we first came across their epic dance-floor monster 'Disco Stomp’ it was on a Disco Calypso compilation, so we assumed it originated from the Caribbean. Years later we worked out how wrong we were and that this nugget was actually from South Africa and taken off an ultra scarce album on JAS Pride records from 1976. The next problem was tracking down an original copy and we don’t think we’ve ever seen our Bongo team member Gary Johnson as happy as the day he turned up clutching a copy under his arm. 'Play Disco Specials' was produced by Ray Nkwe who also worked with Mankunku Quartet and The Soul Jazzmen, with all writing credits on the album going to Ray, the recording credited to engineer Robin Ritchie and the artwork to Carol Knowles. Other than this, the personnel of the record remains a mystery, but sometimes a bit of mystery is a good thing. Aside from the disco-jazz-funk of 'Disco Stomp’, which has found it’s way into the DJ sets of Theo Parrish, 'Play Disco Specials’ will appeal to fans of The Star Beams South African contemporaries The Drive, Batsumi and Pacific Express.

After an intensive 2019, which saw Michal Wolski release a number of EPs, he’s starting 2020 with a return to Boddika’s Nonplus Records with ‘Chant’ - a 12 filled with deep, driving, detailed Techno. This new release, explores more nuanced and hypnotic territories of electronic music, placing off-beat and ambient structures alongside 4x4 Techno rhythms.

‘Chant’ is a sonic experimentation with modular synthesizers and a plethora of modern, digital-era tools.

In addition to Wolski’s original work, is a remix from one of the most visionary modern Techno producers of our time, Anthony Linell, co-founder of the Northern Electronics record label.

Iron & Wine performed and recorded an absolutely captivating live set of songs in the Blue Room venue at Third Man Records in Nashville. Armed with spartan set-up of a guitar, microphone and his minimal backing band in front of a soldout audience, Iron & Wine’s Sam Beam ambled through his discography, on touchstones like Naked As We Came from classic album Our Endless Numbered Days, The Trapeze Swinger from Around the Well and Winter Prayers from Ghost on Ghost. It was a heartfelt experience without sacrificing any charm, personality or gestalt crowd connection.

Another win for the Glowing Pin as Müller & Wandt drop a fresh new age groover on a killer club dub tip. Elsewhere Phazer Boys, Suzanne Kraft, Philipp Otterbach and River Yarra remix the pscht out of their favourite tracks from ‘Instrumentalmusik..’. Expect Goan hits, cosmic trips, loved up rave and chilled out wave on this flawless five tracker.

Growing Bin becomes Glowing Pin for the most anticipated rematch of the century. Back at the beginning of 2018, Wolf Müller and Niklas Wandt went head to head for a box office smash, throwing a high school percussion tray, wall of hardware and voodoo skull into the ring for the tribal trip of ‘Instrumentalmusik Von Der Mitte Der World’. Now the multi-instrumental duo face off once again, but this time it’s a royal rumble with Phazer Boys, Suzanne Kraft, Phillip Otterbach and River Yarra all bringing the noise to the Glowing Pin.

Müller and Wandt dominate the action on the A1, playing loose with sampler vox, serene pads and future primitive rhythms on the unreleased ‘Fun Dub’ of the also unreleased ‘Dub Dub’. Imagine Ferris Bueller’s trampoline tumble trading Chicago to the Weissenhof and you’ll sense the mood of this New Age groove. Germany’s number one party dudes, those freaky Phazer Boys take a break from dropping killer Candomblé cuts to reach for the lasers on the A2, taking ‘Ahu’ to another dimension. Dripping in neon body paint and armed with fire poi, the Düsseldorf duo power up progressive house sequences, didgeridoo bass and thumping tribal house percussion for a wall-shaking, speaker-breaking remix.

The B1 belongs to synth whiz Suzanne Kraft who revels in glistening, gliding glory on an expansive remix of ‘Auflösung’. Sleek, serene and futuristic, the track shimmers like Fritz Lang’s Metropolis, free from inequality and rendered with the 5D(ub?) majesty of a DMT breakthrough.
B2 hears Salon associate and serious talent Philipp Otterbach take over on a stripped back and psychedelic post punk dub of ‘Expedition’. Angular bass by Süne Große and a stuttering rhythm underpin astral flourishes and the hazy vocals of Lucas Croon before the African elements begin to move to the forefront.
Last man standing is Australian outlier River Yarra, who leads us into the Krautback with a chugging dub of ‘Weltraumsandalen’. Lent a lysergic sparkle by a percolating one-note bassline, this slow motion stunner masters perpetual motion amid the eerie echoes of the bush, organic percussion and electronic animal cries fading into the night. Let the pins glow again.

Patrick Ryder

The journey continues for Nuage as the Russian beat smith proudly unveils his superb debut EP on the coveted Microfunk Music. A sophisticated bouquet of audible delight from across the electronic spectrum, the "Romantic OD" EP is a 5-piece wonder showcasing Nuage at his very best. Featuring the Microfunk commander-in-chief Bop, expect a world of ambient-jungle crossed with lo-fi electronica with sprinklings of everything in-between.

Fabrizio Lapiana's Attic Music label reaches release number 20 on the main series with a new EP from the boss himself: Collective Chaos features remixes from fellow Italian techno luminaries Neel & Laertes.

Rome's Lapiana has been a vital voice in the global techno underground for more than 10 years now. His Attic Music label has played a key part in that, while his own evocative techno soundscapes have come on the likes of M_Rec ltd, Figure Jams, ARTS and Out-Er. This is his first outing of 2020 and is a superbly stylish techno trip.

Opener 'Crystal' is deep, drawn out techno with perfectly smooth and supple drum programming that soon gets you in a state of hypnosis. Subtle synth loops rise up through the mix as things grow more urgent, and once the percussion joins you're utterly locked. The title track is a more turbulent and edgy affair that sound tracks a dystopian urban wasteland - the synths are riddled with static, the hurried drums are punchy and there is an urgency in the molten synth lines that keeps you right on the edge of your seat.

Sound sculptor Neel runs Spazio Disponibile with collaborative partner Donato Dozzy and has an impeccable knack for sound design. Here he links with Laertes (half of Modern Heads with Dino Sabatini), a Mental Modern and Concrete Records associate who produces artful techno. Together, they remix 'Collective Chaos' into a dark and moody techno roller with glitchy textures and high speed synth lines that sweep you off your feet.

Closing out this terrific trip is 'Koyuk', a Millsian adventure into an intergalactic techno future, with polyphonic synths rippling above a rubbery drum line that is both propulsive and pensive.

This is high grade, perfectly distilled and meditative techno from some of Italy's finest exports.

It's with great pleasure that we announce the return of New York's synth wizard Steve Moore to KOMPAKT - pretty much exactly 10 years after his much lauded first appearance 'Bayern Kurve' on our SPEICHER series.

Steve Moore is widely recognized as one half of Italo Disco-tinged horror-prog project ZOMBI, his numerous thriller movie soundtrack works (The Guest, VFW, Mayhem, Bliss, The Mind's Eye) as well has his clubbier output on Ron Morelli's L.I.E.S. imprint.

The title track of this 4 track EP, "Frame Dragging" sees Moore in full spine tingling mode. In case you've ever stepped into a hot bath on a cold day (in case you haven't you should try it) you should be well familiar with the phenomenon of being incredibly cold and hot at once. That's exactly what 'Frame Digging' does to the dance floor. Goosebump massacre.

"Gamma Quadrant" combines emotive balearic elements with a rolling minimal house track that reminds us of early Playhouse glory. Or is it early Kompakt?

'Gravity Well' and 'Protostar' are both taking a more chilled out route. They perfectly bookend both sides of the record and showcase Moore's stunning ability of creating suspenseful, spaced out beauty.

Mirror Glaze Lavish” is Marc’s latest effort in trying to depict his cynical and disillusioned view of the present-day music scene, seen through a sonic magnifier that emphasizes its greatest controversies, by juxtaposing different electronic languages as a challenge to the current levelling artistic trends. The artist personality is nullified, standardized to a state of placid non-critical thinking. Everyday’s emptiness emerges as the structure of reality and only the cracks in it still lead to life. “Great souls suffer in silence”, once said Friedrich Schiller, but what if silence becomes an audible, danceable image? As if all these electro cuts, differently permeated with a balanced mix of playful darkness, were populated by eerie animals that cannot find peace with their habitat and keep dancing relentlessly until the very end of their miserable existence. Seen in this context, each of Marc’s tracks must be interpreted as an irreverent and poignant act of self-assertion vis-à-vis his contemporaries. Morah’s reinterpretation of “Celexxa” adds value to the original track, taking us for a dirty ride on a psycho-electro-charged rollercoaster.

Reggae Musik aus Lybien, aufgenommen im Jahr 2008. Nachdem der Song bereits millionenfach bei Youtube gespielt wurde, erscheint er nun erstmalig offiziell und auf Vinyl beim Berliner Label für erstklassige Reissues mit Musik aus dem arabischen Raum: Habibi Funk. Die EP erscheint mit 4-seitigem Booklet und MP3-Download-Coupon.

We proudly present to you on our 10th 7inch release, and for the first time ever on vinyl, the suitably named tune "Alchemy" by UK dub legends Alpha & Omega. This track first appeared on their album "Serious Joke" from 2002 (on CD).

The A side contains the original version included on the album, remastered for vinyl of course, while the B side contains a new dub version by Ojah.

Limited edition of 600 copies, hand-stamped and hand-numbered, served in a thick custom reversed kraftliner sleeve with inner black disco sleeves.

A Colourful Storm presents the first ever compilation of work by Velocette, the nom de plume of Jason Williams and one of the most unique producers from the '90s' wider ambient-techno landscape of the United States. Gathered from recordings originally released on Jonah Sharp, aka Spacetime Continuum's Reflective label and Williams' own Parallel Recordings, the tracks are sublime, sought-after and primed for modern audiences. "Bound in a Nutshell" and "Microcosmik" are chill-out room dreams while "Memories For The Future" and "Stumm" are pure dancefloor and after-hours euphoria. Dreamy selection for dancers and and stargazers alike. "Listening to Velocette is like gazing into a brilliant night sky - a blanket of stars shimmering like a kaleidoscope just beyond reach." For fans of Klaus Schulz, Stasis, Likemind. Full-colour printed reverse card sleeve with liner

"Me Against the World" is the third studio album by 2 Pac, released on 14th March, 1995 by Out Da Gutta/Interscope Records. Drawing lyrical inspiration from his impending prison sentence, troubles with the police, and poverty, the album is described as being 2 Pac’s most introspective album

Released while 2 pac was imprisoned, the album made an immediate impact on the charts, debuting at number one on the US Billboard 200. “Dear Mama” was released as the album’s first single in February 1995 and would be the album’s most successful single, topping the Hot Rap Singles chart, and peaking at the ninth spot on the Billboard Hot 100.

"Me Against the World" won best rap album at the 1996 Soul Train Music Awards. In 1996, at the 38th Grammy Awards, Me Against the World was nominated for Best Rap Album and the single “Dear Mama” was nominated for Best Rap Solo Performance.

Touted as “confessional,” “reflective,” and “soul-baring,” Me Against the World was as one of 2pac’s most positively reviewed albums,
with many calling it the magnum opus of his career.

The work is considered one of the greatest and most influential hip hop albums of all time. In 2008, the National Association of Recording Merchandisers, in conjunction with the Rock and Roll Hall of Fame, recognized 'Me Against the World' as one of the “most influential and popular albums,” ranking it number 170 on a list of 200 other albums by artists of various musical genres.

For its second release, NUBIPHONE is proud to present you SUNSHINE, a privately pressed Afro-Jazz-Folk UFO album recorded in 1980 by the Cameroonian Singer, Musician, Actress, Seamstress & Poetess LIZA NGWA. Individually-numbered Official Deluxe Edition, limited to 500 copies! Comes with a beautiful exclusive poster, a handwritten insert from Liza Ngwa herself with the lyrics of the album and a download card.

All producers on this timeless EP known for their contribution to NuDisco/Deep House Music. 1 Life records has enlisted the services of top talents. Deep house veterans Mateo & Matos wrap drifting deep spheres, lilting electronics & warm synth rhodes chords around a chunky groove on his fine beat interpretation for a brighter & breezier deep house vibe on a remix that benefits greatly from a squeezable synth bassline & some undulating TB-303 style acid motifs, while Rune Lindbaek deliver with Frisvold a driving chunk of dub-disco/deep house fusion rich in sparkling synthesizer lines, sun-kissed chords & his own rubbery post-punk bass. Studio don Vincent Inc bring unforgettable impressions & inspiration for mind, body & soul together with his remix. 4 tracks came together to tell music stories about hypnotic deepest stuff, depression, happiness, loneliness, love, miracles & magical experiences

After a global trek we're back at base camp with a pair of thrillers from the chiller for your next rumble in the jungle...

Prepare to take a cosmic cruise on the A side with 'Dromedary', a masterclass in daft drum-breaks, Saharan strings and syrupy synth-lines perfect for Arabian nights and disco daze.
This one's been a TD sure shot since our first parties, so it's high time we shared the love boat.

Move to the flip for an interdimensional trip, as TD Transport welcomes you aboard the 'Super Express', a lysergic locomotive burning up the mainline from Mos Eisley to Mumbai.
Linn drum lasers lock into a lurching groove, fuelling the furnace as we blast past Bollywood, take a detour into the Metro Area and arrive right on schedule to save your party.

100% Drum fun guaranteed.

Limited pressing inc. hand numbered insert...

Emergency Ward! (1972) is Nina Simone’s statement on the Vietnam War, and by dealing with matters more spiritual than political, this album aptly reflect the events of the day. The entire first side consists of a 18-minute medley of George Harrison’s “My Sweet Lord” and a poem by David Nelson called “Today Is a Killer,” set to music by Simone. This is a very strong, gospel-like performance, sometimes resembling the Capitols’ “Cool Jerk” with a call-and-response vocal arrangement - one of Simone’s finest moments. It was performed together with the Bethany Baptist Church Junior Choir of South Jamaica, New York. Side two consists of the Lennie Bleecherâ’s Jeremy Wind song “Poppies” and George Harrison’s “Isn’t It A Pity”. Tracks 1 and 3 were recorded november 18, 1971 at Fort Dix, and track 2 is recorded at the RCA Studio in New York City.

• 180 GRAM AUDIOPHILE VINYL
• INSERT
• 1972 ALBUM FEATURING “MY SWEET LORD / TODAY IS A KILLER” MEDLEY
• LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Istanbul based global record company Caz Plak proudly presents “KÜN”, the first solo album of Cem Yıldız, one of the preminent faces of the electronic-traditional hybrid music in Turkey.

Cem Yıldız known as one of the important musicians of past years
and has an impressive career; from his education in Istanbul Technical University Conservatory to the Orient Expressions band; from Montreux Jazz Festival to one of the world’s most esteemed music festival Sonar Barcelona, “İnsanlar” the band that he founded with Barış K, soundtracks of various TV shows and movies; the smash hit song called “STIL” which he composed and read on the Musique de France album of Acid Arab and made a tremendous impression all over the world.

Kün album, in this respect, is the first solo album of Cem Yıldız and represents a new phase of hybrid music retaining his signature sound, blending traditional, electronic, psychedelic music and Anatolian philosophy.

“Kün” has recorded in Istanbul, mastered in Los Angeles and produced by Caz Plak in 12’’ LP format in limited numbers.