Krakow based Olivia joins Pinkman with a modern twist on ancient charming practices. "Dancing Snake" takes you to a surging tomb rave in the heat of the desert. Your dehydrated soul will be satisfied by liquid notes of acid, while your mind is hypnotized by oriental melodies. Grubby rhythms and crunchy kicks reminisce about reality, making you wonder whether this all was just a lucid dream.
COLLECTING ORDERS FOR RESTOCK!
The recent data dump from DJ house get the remix treatment from Coco Bryce & Desert Sound Colony - "breaks-jungle-house" in the mix! Pressed on limited 12" vinyl 300 copies Worldwide.
Fully remastered 7 inch reissue with replica artwork for the first time since its original release in 1971 - the sublime, raw and incredibly powerful gospel-soul song, ‘He's Forever (Amen)’ by The King James Version alongside the Sam & Dave channeling high energy gospel number, 'He's Coming'.
Original copies of this almost unattainable record trade hands for in excess of £375, so an official reissue will be welcome news to many that have been after this one for years. Black 7" dinked centre hole
Three years after their last collaboration “Lost in the Moment”, part of Darius’ debut album Utopia, the French producer and Nigerian born future soul artist Wayne Snow unveil their stellar single “Equilibrium”.
The message of unity has never felt more relevant than the times we are living through right now. This project composed one year ago, serves as a stark reminder that we can all transcend above our differences and connect through the experience of music together, regardless of colour and race.
The undeniable synergy of both artists create a harmony magnified by the richness of their diverse cultures and musical background.
The beat instantly catches us in a warm and arresting atmosphere. The main melody reveals an uptempo rhythm gently interwoven in Wayne Snow’ emotive voice, born in Nigeria, living in Berlin in preparation for his next album. His lyrics infuse a carefree candor, which only suggests love and euphoria, fruit of an universal balance and a collective caring energy.
After multiple collaborations among “Helios” or the “Nightbirds” improvised live project (feat. FKJ and Crayon), the two artists reunite once again on “Equilibrium”. Heady and joyful, only few seconds are enough to form a timeless memory and make this track an instant classic. Darius holds Wayne’s powerful vocals, which travel through the composition as gospel pipe dreams. His Funk and Disco influences, embodied by his heart-warming and dynamic groove reminds us of his iconic project Romance (2014). Driven by a festive and upbeat energy, Darius finally renews himself with a return to his musical roots, whilst Wayne Snow steps up towards an audacious expression and a peek into his forthcoming artist album.
Lovers of pastel and retro aesthetics, we find the artist’s aesthetic language elevated through an impressive video treatment by the esteemed French director Alice Kong set for release on July 23rd. The audio release will precede a week earlier on July 16th, part of his forthcoming project.
Two versions of this much-loved gem (covered by Led Zeppelin and Roger Daltrey from The Who more recently), ‘As Long As I Have You’ was the
title track of Garnet Mimms’ first solo album from 1964 which made a brief appearance as a seven inch and now goes for £500.
The slightly longer ‘Single Version’ made it to demo-only in France in 1967 and is a super rare cut - an edited live version with brass courtesy of
The Senate that goes for around £400 if you can find a copy. Remastered here from the original sound source.
”Marking the fifth communication from his self-titled label, Evigt Mörker’s latest EP offers deft instruction in the tranquilising tension between infinities and physicalities.
Arriving as the follow-up to his stunning debut album for Northern Electronics, the EP makes further illustrations toward the total spectral intensity of Evigt Mörker’s world. Across three tracks we trawl through three effervescent enclaves that each wind a different route to heady clubbed-out ravines. A shuffling impermanence remains at the core of the work, keeping us in a persistent transit between movement and reflection. Cycling a wealth of sonic detail over the listener, Evigt Mörker’s command is as effortless as it is chilling.”
Untold’ is an experimental electronic LP from multi-disciplinary artist and author Sophia Loizou. Depicting a series of speculative sonic landscapes; animals, ocean waves and weather systems are abstracted into eco-centric cyber-dreams creating powerful ambient compositions that invite us to see the Earth through the eyes of others.
‘Untold’ is not about the natural or the technological but the relationships between the two; sonic textures, breaks and melodies are shaped by the dynamics of a lion’s roar or the rhythm of a dolphin’s echolocation emissions. “I didn’t want to make it human-centric,” explains Sophia. “I wanted to remove my compositional and structural domination, to find ways to make it about the symbiosis of systems I see in the world.”
‘Untold’ is part of a much bigger multi-disciplinary project that also includes a collection of poems with accompanying audio, artworks, an AV show and a lecture performance.
Mastered and cut by Matt Colton @ Metropolis.
We present to you our twelfth release on 7” format, a collaboration between Ojah, Chazbo & Yuuri Bamboo.
The A side contains the track “Resilience”, a melodica version over a 90’s inspired steppers riddim. The first verse is played by UK Dub legend Chazbo, while the second verse is played by Japanese melodica player Yuuri Bamboo, bringing to the table two unique and different yet complementary melodica styles.
On the B side we find a hypnotic and adventurous stripped-down dub version, reminiscent of those early morning dubs at a Shaka session, mixed live in analog by Ojah at his studio.
Limited edition of 350 copies, hand-stamped and hand-numbered, served in a thick custom reversed kraftliner sleeve.
Produced by Ojah, recorded at Alchemy Dubs Studio, London.
Melodica by Chazbo & Yuuri Bamboo, recorded at Roots Temple Studio, Japan.
Mixed & mastered by Oscar Pablos “Ojah" at Alchemy Dubs Studio, London, 2020.
Graphic design by Victor Castro.
all rights reserved
Counterchange presents 'Eigenlicht' by Portuguese-German multi-instrumentalist, producer and award-winning film composer John Gürtler.
Gently teetering between krautrock-influenced synth mantras and saxophone improvisations, down-tempo electronica, sound design experiments and moments of rich ambience, 'Eigenlicht' is a diverse album of electro-acoustic music. The 11 tracks were recorded between two studios and on location at Berlin's infamous Teufelsberg, the abandoned Cold War era US spy-radio and radar outpost named 'Field Station Berlin', surrounded by forest to the west of the city.
A document of Gürtler's development, many of the pieces here were first laid down in his bunker-like former basement studios at Drontheimer Straße in north Berlin, before he eventually elevated above ground - both physically and musically - building his current Paradox Paradise studio and becoming an established film music composer. In 2019 John won the European Film Academy Award for Best Score, for his soundtrack for Nora Fingscheidt's debut feature 'Systemsprenger' (System Crasher).
In recent years John collaborated on a number of projects with acclaimed German producer and composer Phillip Sollmann aka Efdemin, performing live and releasing the 'Gegen Die Zeit' EP on Sky Walking, a subsidiary of Dial records where he also remixed Efdemin's 'Parallaxis' under the moniker The Borderland State.
In part an ode to the Macbeth Systems M5 modular synthesizer, with its three oscillators, much of the album features the towering instrument, whose uniquely rich tone and rumbling, pure bass end characterises tracks like 'Eigenlicht', 'M5', 'Synthetics' and 'Five Voice'.
"The M5's built in spring reverb and huge sliders and faders - as opposed to all the tiny knobs on Eurorack synths - make it as playable as any acoustic instrument."
John's primary background is in acoustic music, coming from woodwind and keyboard instruments, improvisation and composition. The leap into working with computers and electronic instruments found him exploring ways to make synths and samplers sound as organic as possible.
Roman Flügel presents: Sister Midnight!
What started as a party series that saw Roman inviting friends and favorites is turning into a full-fledged label adventure now. Shaped to be the vehicle for old and new Roman Flügel music alike, unreleased surprises and previously released sure shots from the archives, it’s the first time after his involvement in the seminal Playhouse and Klang label universe, that he tends to such an enterprise himself - with the help and support of Running Back records.
Now, the journey of Roman Flügel’s own Sister Midnight label starts with the valuable Tracks On Delivery series. Originally released on the third jewel in the Playhouse crown (Ongaku Musik) from 2000 to 2002, it’s a meditation on and contemplation of techno. Remastered, recut and repackaged as a triple vinyl edition with the addition of two previously unreleased „Patterns“. Pristine sound design, hypnotic wizardry and dry then architecture let all of them appear as if they haven’t aged a day.
Or as Roman says himself:
“I’ve always tried to push myself into new territories since I started music production. Those new territories can surely be achieved by the endless possibilities of inspiration, chaos and will power. At the time of the production of my Pattern series as under the name Tracks On Delivery I was highly inspired by some of Andrew Weatherall’s Techno sets while visiting London for some of his Blood Sugar Parties. Tracks On Delivery is unthinkable without the crude ‚germanic‘ mixture of Detroit labels like Jay Denham’s Black Nation and Weatherall’s own UK Techno imprints like Emissions Output. The Pattern Series, back then created for the Frankfurt based Ongaku Musik label, and now I am very happy to be able to release 15 original Patterns along two unreleased Patterns on my own Sister Midnight label.“
Turned on by a new dawn of chemical love, Sydney dance-funk combo Bellydance laid down their sampledelica blueprint in 1991, thinking in parallel with Weatherall's revelatory work with Primal Scream. A candy flip of streetsoul, festival jam band and Chip Monck's cautionary brown acid address, 3 Days Man! was primed for open fields and discotheques, in an age when the deejay was royalty.
With an elastic lineup that boasted up to 9 members, Bellydance synchronised more with the club scene than the city's straight-ahead pub rock racket, naturally recruiting hometown heroes Peewee and John Ferris to remix their multi-track concoction. A certified party closing anthem, the brother's sun-smacked breakbeats elevate a collective consciousness beyond the clouds.
Originally issued on Regular Records sub-label Boomshanka Music as a precursor to their album One Blood, the now sought-after 12" sports characteristic artwork from Mambo visionary and Mental As Anything co-founder Reg Mombassa. Instigated by Sydney selector Ben Fester, this Efficient Space reboot arrives fashionably late to Woodstock's 50th anniversary but just in time to help soothe universal division.
Released via Cactus Jack/Epic/RCA UK. Travis Scott brings us the self titled debut pack from his Cactus Jack label/creative collective. Originally released digitally in December 2019, the project includes the remix to the Billboard Hot 100 #1 Smash “Highest In The Room” as well as features from Cactus Jack label mates and guest artists including Sheck Wes, Don Toliver, Chase B, Rosalia, Pop Smoke and Quavo. Specialist promo/marketing activity.
Panic is the very first pseudonym of the legendary DJ and producer Aubrey, also renowned to have set the seminal label Solid Groove in the early '90s which includes licensing from the likes of Derrick May, Carl Cox, Pete Tong. The original release "Dialated Rhythms / Last Injection" fully remastered and reissued via the Italian La Bella Di Notte, is a sublime mix of techno and sophisticated breakbeat for a hypnotic journey all the way through any classic warehouse parties.
Side One is heart-pounding Techno, Hardcore and Electro. Side Two is 90s inspired UK Jungle with an excellent rework from Tim Reaper.
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The Doors returned to their roots and were reborn a rock ’n’ roll band on Morrison Hotel, the group’s fifth studio album. Completed in only a few weeks and released in February 1970, the hard-charging album took its name from the Skid Row hotel in downtown Los Angeles that’s featured in the iconic cover photo taken by Henry Diltz.
Morrison Hotel: 50th Anniversary Deluxe Edition includes the original album newly remastered by The Doors’ longtime engineer and mixer Bruce Botnick, plus a bonus disc of unreleased studio outtakes, and the original album on 180-gram virgin vinyl. The music will also be available from digital and streaming services the same day.
For this new collection, the original album has been expanded with more than an hour of unreleased recordings taken from the sessions for Morrison Hotel. These 19 outtakes transport listeners into the studio with Jim Morrison, John Densmore, Robby Krieger, and Ray Manzarek for an unprecedented perspective on the making of the album. Botnick says: “There are many takes, different arrangements, false starts, and insightful studio conversations between the band – who were in the studio – and producer Paul Rothchild – who was in the control room. It’s like being a fly on the wall.”
Several of these unheard recordings spotlight how Queen Of The Highway and Roadhouse Blues evolved across multiple sessions. It’s especially interesting to hear how the band played with different bass players on Roadhouse Blues. Early versions include Harvey Brooks, who played on the band’s previous album, The Soft Parade. Later takes feature guitar legend Lonnie Mack on bass along with The Lovin’ Spoonful’s John Sebastian on harmonica who, due to contractual restrictions at the time, had to be credited as G. Puglese.
Among the treasure trove of unreleased outtakes are also rough versions of Morrison Hotel tracks Peace Frog and Blue Sunday, as well as The Doors rarity I Will Never Be Untrue. The collection also captures some incredible session outtakes of the band jamming on cover versions of the Motown classic Money (That’s What I Want) and B.B. King’s Rock Me.
Dutch groove connaisseur Ivano Tetelepta returns to his home base ESHU Records. Presenting four tripped out originals accompanied by two excellent reworks by befriended artists Jasper Wolff and Ion Ludwig. The pack perfectly captures the loosely and laid back attitude of the label and Ivano himself, doing their own thing as always. The a-side is all about the groove, a stripped down and playful rhythmic jam built for a hazy late night session with Ion Ludwig turning this inside-out, transforming the original into a lengthy minimal dub version. The early morning sun rays bring the vibes on the flipside where 'Loosen Up' is an atmospheric 90s feeling techno floater where Indigo aera head honcho Jasper Wolff shakes this up with a fierce techno twist. As special addition there's a 7" where Tetelepta shows one of his enlightening dub meditations and a rambling early Mills-esque tribal work-out. The whole bunch is mastered by Marco Spaventi and will be released digitally and in special 12"+7" pack.
"Vapor City" ist das gefeierte Debütalbum von Travis Stewart als Machinedrum welches erstmals 2013 erschien und seit einigen Jahren nicht mehr erhältlich ist. Anlässlich der Veröffentlichung seines neuen Albums “A View Of U” veröffentlicht Ninja Tune eine limitierte Neuauflage des Klassikers auf goldenem Doppelvinyl mit Artwork von Dom Flannigan and Eclair Fifi.
"Vapor City" ist ein Moloch, eine Metropole entstanden in Travis Stewarts Träumen, die ihn schon ein Leben lang verfolgen. Immer wiederkehrende Träume brachten ihn so oft in diese imaginäre Stadt, so dass er diese Viertel für Viertel beschreiben kann und das illusorische Metropolis auch für seine Hörer endlich erfahrbar macht. Das Album ist eine detaillierte Stadtkarte aus Sound-Landschaften, die es jedem ermöglichen sich in "Vapor City" zurechtzufinden - oder auch darin verloren zu gehen. Nach Veröffentlichungen auf LuckyMe, Planet Mu, und Hotflush Records und seinem hochgelobten Album "Room(s)" aus 2011 bastelte Stewart nicht nur an Nebenprojekten wie JETS (mit Jimmy Edgar) oder etlichen Remixen, sondern auch an der Vertonung seiner Vision.
Released in 2011 on the compilation «Mental Beauty » on record label, Composite Records, DJ Yellow teamed up with his friends,Tiago Fragateiro and the sublime singer Tracey K, to create the song "Special". This track had major success in the clubs and on the radio, with DJ’s like Hot Since 82 featuring it on his Pirate Ship Mix, as well as it landing in the Beatport top ten.Now Poussez Music has decided to re-release « Special » on vinyl and digital including a new mix of the original , DJ yellow’s Sleep No More remix, and a brand new track « Don’t you know ».This EP will be released on 12" vinyl and digital on Poussez Music in May 2020.
Dynamic Dublin-duo Boots & Kats get given the keys to the House of Disco channelling an Italo Disco rave of interplanetary proportions for HOD028. Three pure peak-time pumping Italo warpers, complete with an exquisite Johannes Albert’s Party Talk remix to round off the package.
Fists in the air business in a far-away planet, one where synthesisers rule the lands using colossal kicks and huge snares to enhance the power of their all-encompassing arps that range from rapid fire bass to gargantuan top lines. Johannes Albert then throws in some party chatter and deft sampling to his reworking of ‘Party Talk’ completing this futuristic capsule of interstellar goodness.
It’s the best of that ‘80s Italo sound given a modern take that harnesses Boots & Kats’ unbridled Irish energy.
A virtuoso pianist and composer of seminal works in early electronic and experimental classical music, Jocy de Oliveira’s musical output has had a great influence within Brazil and abroad. Her sole contribution to Brazilian popular music, her 1959-recorded album, ‘A Música Século XX de Jocy’ in many ways stands apart from the rest of her artistic oeuvre.
The original vinyl release marketed the record as adding to Brazil’s samba heritage with a ‘simple and original dialectic’, naming its style ‘vanguard samba’, which differs from both traditional samba and Bossa Nova, in its infancy at the time.
Listening to Jocy’s ‘20th century music’ in the context of the contemporaneous and vastly more influential Bossa Nova style is especially striking. Where Bossa Nova’s innovators incorporated influences from jazz and French piano music to a samba foundation, Jocy de Oliveira took a greater leap, wedding her century’s classical music to samba. Where Bossa Nova dawned a new epoch of poetic lyricism in Brazilian popular songs with great poets such as Vinicius de Moraes and themes of longing, love and nature, Jocy de Oliveira’s lyrics are concerned with scenes of urban tragedy and decay, presenting an alternative vision to Brazil’s stereotypical tropical paradise image almost 10 years before the emergence of the Tropicália movement.
The sounds and lyrics of Jocy’s landmark release still shock today. Put in the context of a conservative Brazil on the eve of Brasília’s inauguration, it is even more startling that this record ever got made. An unconventional mix of classical and popular musical influences combined with socially critical, ironic and at times journalistic lyrics make for a unique listening experience.
A unique representation of Brazilian popular music, Jocy de Oliveira’s masterpiece ‘A Música Século XX de Jocy’ is reissued for the first time. Meticulously remastered, the record is pressed on high-quality 45-RPM vinyl, with a modernised back cover and printed inner sleeve including previously unseen pictures taken for the record’s release in 1959.
Die in Los Angeles lebende Harfenistin Mary Lattimore kehrt mit ihrem neuen Album ,Silver Ladders" zurück. Seit ihrem letzten Longplayer ,Hundreds Of Days" aus dem Jahr 2018 ist Lattimore international getourt und hat gemeinsame Alben mit KünstlerInnen wie Meg Baird und Mac Mccaughan veröffentlicht. Außerdem erschien 2019 ein Remix-Album von ,Hundreds Of Days" an dem sich unter anderem Jónsi und Julianna Barwick beteiligten. Bei einem ihrer Festival-Auftritte traf Lattimore Neil Halstead von Slowdive: ,A friend introduced us because she knew how big of a fan I was and Neil and I had a little chat... The next day, I just thought maybe he'd be into producing my next record." Das tat er schlussendlich auch. Lattimore nimmt ihre Alben traditionell allein auf, daher hinterlässt Halstead als Produzent und Mitarbeiter eine ganz eigene Note. Der Aufnahmeprozess in Halsteads Studio, das auf einem alten Flugplatz stationiert ist, dauerte über neun Tage. Lattimores unverkennbarer Stil ist auch auf ,Silver Ladders" elegant - im Vordergrund stehen sich ausbreitende Harfen-Schichten, welche mit aufblühenden Low-End-Synthesizern und Halsteads Gitarre angereichert werden. Die Musik kann sich teils bedrohlich anfühlen wie der Klang des Ozeans, der sich mit den Gezeiten verändert. Inspiriert von den Erzählungen aus Cornwall, die Halstead mit Lattimore teilte, sowie von diversen Gesprächen, Ideen und ihren eigenen Reisen, haben die Songs deutlich etwas märchenhaftes - und doch ist ,Silver Ladders" offen für eigene Interpretationen. LATTIMOREs Erinnerungen - ,the Cornish landscape, the hotel from the movie The Witches, the cream tea, winning the pub quiz, the Sunday Roast, the ghosts of all of the surfers who had died in the wild waves, the night walks to the top of the hill to see the moon shining on the water." - scheinen durch diese Werke hindurch, ohne sie zu definieren. In gewisser Weise gehören sie, ähnlich wie das Meer oder der Himmel, allen. Das ist die Schönheit ihres Handwerks!
The Remixes is a compilation album by The Stone Roses, which features remixes by various producers including Utah Saints and Paul Oakenfold. Various techno luminaries ply their skills reworking some of those early classic songs, and it is immediately clear that the Roses, even beyond the genius of their songs, were a preeminent dance band.
The Remixes is available as a limited edition of 3000 individually numbered copies on transparent & red swirled vinyl. The package includes an insert.
Meda Fury is so gassed to welcome Silvestre back for a virtual hug and a 5 track EP of new jams and remix fire! The Lisbon boy done good has been enjoying some well earned praise for his last few releases - his '...is boss EP' on Secretsundaze, 'Girar' on Diskotopia, and 'Yeah' via yours truly. Gigs in Amsterdam, Bristol, Porto, London and Lisbon followed - including his debut on Boiler Room. For this new EP we are served 3 brand new Silvestre tracks and 2 huge remixes from one of the most respected labels in Lisbon - Príncipe! 'Todos Bem' starts as an organ led scratch-fest, with a tight auto-tune vocal from Silvestre himself, before mutating into an anthemic/hedonistic 303 acid and whistle banger! This euphoric string-laden track equally at home in Ibiza or Notting Hill Carnival! 'Paga O Que Deves' is up next; Joao's love of grime and UK bass culture is evident from the drop, twisted synths and breaks recall everyone from Eastman to Wiley. On the flip we find serious remix pressure from Silvestre's friends and contemporaries - the Lisbon crew of Príncipe! DJ Firmeza is up first, pushing the tempo way up on 'Yeah', turning it into a banging kuduro rave monster, propulsive batida drums upping the temperature. DJ Lilocox follows with an intense remix of 'Demónios Na Cabeça', converting it into a percussive trancey big-room bomb. Layers of mixed afro/gqom drums follow a strict samba-like rhythm forcing hands and possibly the ceiling higher.
Repress!
Summer's in the air, and with impeccable timing, Bawrut returns with his fourth EP for Ransom Note Records! From ‘Ciquita’ to ‘Rumba’ to ‘Three Sounds’, the Madrid-based producer has been providing DJs with off-kilter dance floor ammunition for years now, amassing a dedicated following in the process. Out 13th September on 12” and digital, the Pronto Arpeggio EP is arguably his biggest and best collection to date. It’s certainly his silliest, kicking things off with a frankly absurd title track. Clocking in at almost 11 minutes, ‘Pronto Arpeggio’ is a prog techno labyrinth of fakeouts, tempo switches, thwacking kickdrums, and huge synths like if Giorgio Moroder did the music for Tomorrow’s World . So yeah, not your average mid-set toilet break tool (although if you want to use it for that, we won’t judge you). ‘Shooreee’ is classic Bawrut with a psychedelic twist, like spiking your own Negroni with mescaline. This sweaty, slow-burn acid weapon bides its time before erupting into a potent payoff. ‘Atchu’ carves its way through laser bleeps and dub FX, built around an unforgettable vocal sample that’ll be lodged in your skull for months whether you like it or not.
When it came to the remixes, we thought it was only right to enlist some of Bawrut’s biggest supporters. KiNK chisels ‘Pronto Arpeggio’ into a vlean slab of high-velocity machine funk, while Ruf Dug teases out the gentler side of ‘Shooreee’, resulting in a melodic track that feels tailor- made made for Mediterranean sunsets.
Bawrut absolutely ruled the festivals in 2018 with ‘More Cowbell’ and we’re expecting more of the same this year as he continues to go from strength to strength. Forza!
LTM presents a limited double vinyl gatefold edition (500 copies only) of B9, the definitive collection of cold wave and minimal electronica from Belgium, recorded between 1979 and 1983.
Originally released on Sandwich Records in May 1981, B9 featured 10 exclusive tracks by luminaries such as Digital Dance, Polyphonic Size, Kid Montana, Pseudo Code and Prothese, the latter the first recording project by Daniel Bressanutti of Front 242. Now digitally remastered, with 10 additional tracks on the second disc, this new deluxe vinyl edition also features Front 242, The Names, Marine, Siglo XX, The Neon Judgement, Berntholer, Allez Allez, Isolation Ward and more.
Cover op-art by Victor Vasarely. Design by Benoît Hennebert, based on a poster for The First Belgian Rhythm Box Contest (1981). Liner notes by James Nice. The existing CD version of B9 is also still available (LTMCD 2486)
Available on vinyl for the very first time: the 1992 album "Apocalypse Across The Sky" by the legendary MASTER MUSICIANS OF JAJOUKA. Produced by BILL LASWELL, remastered for vinyl by HELMUT ERLER at D&M Berlin and according to Songlines one of the essential recordings of the ensemble.
No matter if you consider the MASTER MUSICIANS OF JAJOUKA a "4,000 year-old rock'n'roll band" (WILLIAM S. BURROUGHS) or even "6,000 years old" (ORNETTE COLEMAN) – without doubt, the music of the ensemble in all its incarnations over the centuries is deeply rooted in Sufi mysticism, paganism and the cult of the goat-god Boujeloud. According to a myth, many centuries ago Boujeloud appeared to a shepherd called Attar, an ancestor of today's ensemble leader BACHIR ATTAR, and till today every year at the end of Ramadan a fire in honour of the goat-god is ignited. This pagan root aside, the music performed in several hour long rituals on traditional instruments like tebel and tariyya (drums), ghaita (a woodwind instrument), lira (flute) and gimbri (stringed instrument) reveals hypnotic, trance-inducing qualities and is considered to have magical and healing properties.
In the 1950's, BRION GYSIN along with PAUL BOWLES were among the first westerners to witness such a ceremony, and it was GYSIN who invited the MASTER MUSICINS OF JAJOUKA to play in his restaurant in Tanger, and who later (in 1967) brought BRIAN JONES to the small village of Jajouka where the ROLLING STONES guitarist recorded the ensemble for what became the first "world music album" and that raised interest in the MASTER MUSICIANS OF JAJOUKA in the western world. Since those days, a wide number of creative minds like WILLIAM S. BURROUGHS, ORNETTE COLEMAN,MARC RIBOT, FLEA, TALVIN SINGH or the ROLLING STONES have worked with THE MASTER MUSICIANS OF JAJOUKA who are now performing regularly outside Morocco.
In 1991, iconic producer BILL LASWELL also embarked on a trip to the small village of just 800 inhabitants in the Rif mountains to record the group for his AXIOM label - "Apocalypse Across The Sky" is, unlike other LASWELL projects that bring together different cultures and genres, a pure document of the ensemble, raw and unpolished but exquisitely recorded, and ranks according to the world music magazine Songlines among the essential recordings of the legendary MASTER MUSICIANS OF JAJOUKA and is now available on vinyl for the very first time!
Tape / Cassette
Longstanding collaborators & Bay Area based experimental duo Kush Arora & Lucas Patzek aka Only Now & Orogen return with ‘AVULS’, the project’s sophomore release.
Building on the unearthly, black hole transmissions and creaking, exospheric ambience of their self-titled debut, Only Now & Orogen present an abyssal, elemental broadcast from another unchartered extra-terrestrial zone. Remote and astronomical yet tied to a newfound sense of rhythmic structure, ‘AVULS’ navigates a course through inverted beat-led frameworks, surging detonations of sub-bass, and severely turbulent, monumentally scaled soundscapes.
Amidst this large, slow-moving cyclone of sound sit fragmentary emergences of choral voices and Gregorian chants; a distant, esoteric presence within dense eruptions of attritional noise and infinite recesses of low end.
In harsh, pointillistic detail and through infernal surround sound, Only Now & Orogen channel dub, noise and power electronics, evoking a distorted, ritualistic inflection on the Voyager Golden Record; a mass of tectonic motion and friction; a storm in deep space.
Aix Em Klemm is the moniker of the ambient music project consisting of Adam Wiltzie (Stars Of The Lid / A Winged Victory For The Sullen) and Robert Donne (Labradford / Anjou).
As Wiltzie told Sadness Is In The Sky fanzine, his collaboration with Donne began when “we all met during a Texas swing of a Labradford tour that Stars Of The Lid opened for back in 1996. They stayed at my house for a few days and we became close.”
A year later Wiltzie was asked to join Labradford for their Mi Media Naranja European tour of 1997 as the sound technician. This tour also included Bruce Gilbert of the legendary band Wire who was the opening act and joined them in the van for the entire tour. With Gilbert’s nightly improvisations of minidisk field recording explosions running through a Sherman Filterbank, it left a profound effect on Wiltzie and Donne, and led to inspiring internal philosophical discussions on the importance of improvisation. After concluding six weeks in the van, the idea of creating a unique collaboration separate from their other projects was realized. The duo exchanged tapes over the course of a year and then Donne ventured to Austin, TX for a week to record at Wiltzie’s home studio in 1999. The in-person collaboration moved much more quickly than the exchange of tracks by mail. One track on the Aix Em Klemm album, “Sparkwood And Twenty-One”, was written and recorded in one day. The duo took the mysterious name Aix Em Klemm and the self-titled debut was released in the autumn of 2000.
As of late, Wiltzie lives in Brussels, and Donne joined Stars Of The Lid on their last tour of Europe in 2016 playing modular synth. They still collaborate musically so new Aix Em Klemm recordings remain a possibility.
“The two extracted some morsels of sound from their respective group’s structures and constructed an altogether different and Zarathrustian ‘building of sound’—one that combines the haunting spirits of the old with the mystique of the new unknown.” —Tape Op
Repress
René Pawlowitz presents himself in many different forms; whether it’s as Head High, EQD, Wax, WK7, The Traveller or more recently as Hoover - he consistently, and without any fuss or hype - produces some of the most effective, quality techno you can find on the planet. The Shed alias is usually reserved for his best work.
With this in mind, it really is a special event to announce this amazing new EP from Shed on Tectonic, showcasing 3 distinctive and highly effective techno cuts.
‘Try’ takes a broken-beat techno rhythm for it’s spine - reminiscent a little of the 2008/9 dubstep/techno crossover period. Tension is set with dissonant elements pulsing around swooping subs until we are saved by the heroic pads that ease in, building ever upwards to a lush finale. Close your eyes and be transported back to the rave.
‘Box’ is a darker, more percussive affair - claustrophobic and industrial. 130bpm 4/4 distorted kicks set the stage as frantic drum machine hats and claps crash about heavily reverb’ed ghostly samples.
Lastly we come to ‘Sweep’, a hypnotic bleepy roller with a bass heavy presence. As the riff loops up and over, drums build and a dissonant synth part creeps in. The not-quite 4/4 kick drives you ever forward with a gentle stumble as rattling hi hats flair about over head. Great finish to a great EP.
Unclassifiable percussionist and producer Chiminyo will be releasing his long-awaited debut album “I Am Panda” via London tastemaker label Gearbox Records on the 25th of September. The ten-track album is a foray into unexplored sonic territory, featuring a host of diverse guest musicians from London’s burgeoning music scene. Chiminyo's music may be rooted in the London jazz scene, but his music is transcendent of anything that could be defined as such. Whilst his joint use of analogue and digital technology meaningfully honours the manic city lights of London’s bustling scene, it remains ever-changing crossing over into hip-hop, future pop, experimental electronic and global spheres. Chiminyo's tech-heavy drum kit set-up, combines the raw, immediate live sound of percussion and the futuristic timbres of his electronic productions to create his own, daring soundscapes. Via laboriously self-coded software, each cymbal crash and drum hit triggers a synth or sample, allowing Chiminyo complete control and freeing him of all loops, click-tracks and backing tracks.However, it is important to note that Chiminyo's music is far more than just a technical feat. Whilst still highly innovative in it's composition, "I AM PANDA" is purely the result of a deep and tireless exploration of the music that Chiminyo truly resonates with to create a soulful, spiritual, and evocative record that feeds off the conflicting duality between technology and nature. Composed and arranged by Chiminyo and recorded at Konk Studios by Ricardo Damian (Jorja Smith, Sampha, Binker & Moses), the new album also features a host of talented guests including Kweku Sackey aka K.O.G, singer Dunja Botic, and spoken word artist Brother Portrait of Steam Down fame. The new album follows on from Chiminyo's 2019 debut EP "I Am Chiminyo", which served as a visceral introduction to his unique sound, and earned plaudits from the likes of Gilles Peterson, BBC 1Xtra, CLASH, Red Bull, Jazzwise, Jazz FM and more. As well as his own solo project, Chiminyo also performs and records with some of the leading figures of London’s music scene, including spiritual jazz-leaning outfit Maisha and psychedelic energy bomb Cykada. He has also previously collaborated and recorded with Gary Bartz, Nubya Garcia, Shabaka Hutchings, Theon Cross, and Zara McFarlane.
The Allergies are back with the latest in a long line of party starting gold nuggets on 7" vinyl. 'Get yourself Some' sees the guys channel a bluesy stomping soul style reminiscent of Sam & Dave and the Motown greats. Screaming blues harp, hammond organ stabs, lyrics about making it all by yourself, and a steady groove make this one sounds like it could have easily been played by The Swampers in a long-lost Muscle Shoals session.
Meanwhile on the flip, The Allergies enlist two UK hip hop titans - Dr Syntax and Skunkadelic to trade bars on the driving and energetic 'I'm On It'. Funky sax licks, party bongos and a bassline you could set your watch to all complete the perfect beat for these two to flex their microphone skills over. And the end result is another blistering cut taken from their album 'Say The Word'.
After their 2016 dancefloor burner "Jump," Poirier and Red Fox are pairing up once again for "Pull Up Dat" taken from Poirier's new album "Soft Power." Rooted in a dancehall style, "Pull Up Dat" is full of good vibes with Red Fox confidently leading the dance. Poirier brings a modern touch that relates to the 90's dancehall scene. On the B-side, Patexx is all about delivering an uplifting message with the collaboration "Unity & Strength." As Patexx says at the beginning of the song: "United we stand, divided we fall." Then on the remix tip, young and upcoming producer SIM from Montréal flexes to new heights, turning "Pull Up Dat" into a set-ready banger.
With his first album dating back to 2001, Poirier is a prolific, creative and eclectic Canadian producer / musician with a 20 year journey of creating music. Constant in his albums and DJ performances is a desire to build bridges between different languages, communities, and cultures. His open, uninhibited musical mind means that his works bend boundaries, resulting in compositions that mix several styles and eras. He has now produced a total of 11 albums and many EPs with labels such as Ninja Tune, Nice Up Records and, more recently, Wonderwheel Recordings. Active in Montreal, his successful monthly dance party Qualité de Luxe is dedicated to African and Caribbean music, attracting crowds for over six years. Poirier is also the man behind Bounce le Gros and Karnival, parties with legendary status in Montreal nightlife history.
"Pull Up Dat" is available digitally as a single pack and as a limited edition 7" vinyl record on September 25th, 2020.
Our new slice of wax comes this time from outer space made somewhere between unknown galaxies and black holes. The spaceship’s pilot is 30drop, a mysterious alias that has been running its platform 30D for a long while now and is not often seen outside its realm. So it’s an honor for us to have 30drop onboard.
For this special occasion 30drop provides six cuts of futuristic techno but with a ravey approach in a time backspin that brings us back to the 90’s via Sci-Fi, reminding in some way of the early UR records, when Mad Mike and Jeff Mills worked together on the soundtrack of the future.
This is our first mini LP with 3 cuts per side. The first cut is Brain reset, the short drone intro soon leads to a relentless groove made of repetitive sequences over a fast groove. Intense and obsessive.
Mental Understanding brings more minimalistic ingredients, absence of hi hats, just kick drum and synth lines.
Brain effervescence showcases the infamous 90’s hoover sound bringing the rave element and 303 acid lines all merged in a lawless and dense mixture.
B side opens with Self awareness, starting with ethereal atmospheres, spiced with resonant bleeps and micro drones in a beat-less exercise.
Klapaucjusz brings back the 90’s feeling again with analogue arpeggios and melodies, again over a clean groove in a Detroit oriented number.
Closing the release, Knowledge, a space odyssey of strings, abstract synth lines and flotation.
A work that showcases the skills of this well-seasoned producer that stands apart from any trends, futuristic, atemporal and scientifically crafted.
W&P by 30drop
More glorious heat from the vaults of NYC's Disco powerhouse - P&P Records!
One of many labels operating under the equally legendary tutelage of Patrick Adams and Peter Brown, two truly colossal figures in NYC's music scene, the P&P records catalogue is still fascinating underground dance music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds its 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!
Cloud One was one of Adams' numerous studio outfits, featuring a ridiculously healthy dose of the man's virtuoso keyboard and synth playing. This was a progressive Disco sound, the pairing of extremely danceable funk and R&B with some spaced out over-dubbed analogue synthesizers and keys made for a heady concoction indeed, especially in 1976 when this cut was released. This was one of many Cloud One trademarks and one of the things that make these records still sound so way out today! 'Atmosphere Strut' could not be a better title for this immense slice of true NYC space Disco - it's got it all - the driving rhythms of the Cloud One band, the killer vibes, celestial vocals and Adams' totally wigged out synthesizer workouts. On top of all this goodness, the main man Kon, Boston's editor supreme and self confessed DIsco fiend and digger, has dropped a stellar and respectful edit of Atmosphere Strut' for all your disc jockeys out there, featured here across the length of the B-side thus making this an essential repress of this legendary 12". If you don't know this jam, and you're a Disco head - you're in for a treat! You're gonna fly......!
This is a 100% legit reissue, made in conjunction with Above Board distribution and the Phase One Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.
Red Vinyl
With this three-cut EP, Andy Vaz pays tribute to Choutsugai, a Deep House DJ-and-promoter crew who booked him for many years of Tokyo gigs. Inspired by the unit’s love for “No Fairytale Luv feat. Detroit’s Eva Soul on Vocals.” Vaz decided to put it out as red transparent vinyl for VAZ-UP-001The two originals Tracks were created at Deutztroit Studios in Cologne, with vocals by Detroit’s Eva Soul on all three and “No Fairytale Luv” receiving a charged remix treatment from fellow Detroiter Niko Marks. The EP’s sound is classic Vaz, his own productions especially. The original “No Fairytale Luv"struts mightily, its pumping groove bolting from the gate with an acidy bass pulse, congas, and sparkling synths. With Soul draping her, yes, soulful musings over the energized groove, the gurgling floor-filler indelibly brands itself as Vaz’s craftsmanship. “U Got It Unlocked” is less urgent by comparison, this one more focused on a relaxed, funk-inflected swing given a subtle Latin feel with the addition of percussive accents. Soul again muses dreamily, though this time in a production that’s as much electronic reverie as club track. Of the three cuts, the EP’s primary house banger is undoubtedly Marks’s “No Fairytale Luv” makeover, which stomps even more forcefully. This one is a floorfiller
Over the years, the sonic world of Heist has grown into a place where energetic house, live instruments and worldly electronics move together in the most natural way. We're very proud of the fact that we can showcase artists that cross boundaries or simply create their own universe, while keeping a strong connection with the identity of the label.
Our next release, the 'Exposures EP' by Teleseen, fits perfectly into this aesthetic. Teleseen is the main project of nomadic DJ, producer and multi-instrumentalist Gabriel Cyr and draws influence from deep house, afro house, samba, batucada as well as the experimentalism and sound system cultures of his home town NYC. His sound leans heavily on polyrhythmic programming and he's nothing short of a synth wizard. His 'Exposures EP' features 3 originals, and a remix by Berlin based Italian house guru Black Loops.
The record features a number of collaborators and recordings of various instruments, ranging from percussive sections to synths and guitar. This live approach to electronic music is one that is deeply rooted into Gabriel's work. His upcoming release on Soundway as 'Thaba' is another good example of this approach and also shows how diverse his sounds really is.
The title track is a thrilling synth affair with tribal-like chants running through a vocoder. The combination of handclaps, crunchy synths and steady drums make for a thrilling afro house track that hints towards early motor city electronics.
Black Loops is known for his deep grooves and built his fame with his releases on Freerange, Pets and Shall not Fade. His take on 'Exposures' sees him upping the tempo to a pacey 130 bpm, where an introvert vibe of reverbed hits and bleeps take you into full dream mode. He expertly chops up the original into a contemporary track that fits somewhere between high tempo tech-house and minimalistic deephouse.
On the flip we get to hear more of the sonic world Teleseen has to offer. 'Dekalb' is a track that seems impossible to box into a genre. Its mood is set by a lovely section of free-flowing Rhodes chords and the chopped vocals and open synth- bass give the track a whole new feel. It is that ballsy electronic edge combined with dreamy textures and live rhythms that give 'Dekalb' its unique vibe.
The final track of the EP -'Transfer'- takes us down to a mid-tempo percussive workout with a balearic twist. The steady electronic groove and the free flowing guitar take you to yet another corner of Teleseen's beautifully crafted universe.
Enjoy the music and play it loud!
Yours Sincerely,
Lars & Maarten
It is a pleasure to announce the first artist ep of one of ://about blank's closest friends and faithful companions-ANJA ZAUBE.
By developing a dark and hypnotic atmosphere, her DJ sets always are characterized by an intense and excessive arc of tension and her very own, unique signature.
Such is also the case for her productions; the magnificent HEADLESS HORSEMAN remix represents a perfect complement.
We are more than happy to present this release and will hopefully, one day, celebrate it together on our very own MDF and other dance floors on this planet.
The future is unwritten.
Hotly tipped newcomer Yulia Niko joins the Watergate collective, delivering an exciting label debut to mark the occasion. The Russian-born, Berlin-based artist has piqued the ears of heads with quality releases on Crosstown Rebels, Get Physical and her own TochnoTechno imprint. She steps up for Watergate Records with an inspiring maiden EP, augmented by remixes from YokoO and Francesco Mami. ‘Manifesto’ is the intriguing opener, as intergalactic synths rub shoulders with a chugging groove for an ultra-cool finish. ‘Passion’ is heavy on vibes, pairing an enchanting vocal with a colourful bed of percussion. YokoO contributes a subterranean ‘Defragmentation’ remix of ‘Manifesto’ on the minimal tip, before adding some warmth to the palette teaming up with Francesco Mami for a ‘Vegas Mix’ primed for the afterhours with its deep grooves and shuffling beats. ‘Hurts So Slow’ reinforces Niko’s versatility, imbuing a dusty house vibe primed for late night sessions.
Straight from the Mediterranean Sea, the Greek Duo Bonnie and Klein have landed at MM Discos to present “ROOF GARDEN”, an EP where the balearic beats and downtempo takes over the control and where the “2 Balearica devotes” invite us to enjoy an amazing trip from the Ionian coast thru the Aegean beaches until Myrtle Sea.
Bonnie & Klein are no longer unknown after being working the last 4 years for well renown labels as “Leng”, “Music for Dreams” and “Is It Balearic?” among others. Following their previous releases, B&K stay loyal to their own personal vision of “Chillout”.
Highly influenced by the architecture and culture from Greece, George & Thanasis build beat after beat an amazing work where their “Laid Back Style” will be the main character on this story, a long with haunting keys, wicked percussions, and sounds and melodies that will remind to “Far East”.
No Tengas Miedo' es un disco que se gestó durante los recientes tiempos de pandemia y que nos hace recordar que no debemos de tener miedo de vivir ni de morir, que tenemos que replantear las formas de vida que teníamos antes de que todo el mundo se detuviera pero que sigue siendo un privilegio seguir vivos. Creemos que esta es
una nueva oportunidad de remediar todos los daños que le hemos hecho a la Madre Tierra, a nuestro cuerpo, a nuestra alma, a nuestros semejantes. Creemos que debemos de tener fe y esperanza en el humano, aún cuando nuestros gobernantes nos dan demasiados motivos para creer lo contrario gracias a sus acciones (y sus inacciones). Todos enfrentamos diferentes obstáculos en nuestras vidas, pero debemos de saber que no estamos solos, que nos tenemos los unos a los otros, todos como hermanos y hermanas, sin banderas ni fronteras. Muchas veces pensé en no realizar este disco por el miedo que la sociedad y gobiernos nos inculcan a siempre esperar los peores escenarios, pero estoy harto de vivir con miedo, de vivir aguantándome las ganas de averiguar lo que puede ser o no ser. Además, desde que yo recuerdo, mis abuelos ya hablaba de crisis, mis padres también, y siempre hemos sabido salir adelante, porque nuestro espirítu es más fuerte que todos sus intentos por derribarnos. He decidido que no voy a parar de luchar por lo que quiero hasta el último día de mi vida. Queremos que todo aquel que compre este disco sienta el mismo espíritu con el que fue hecho y quenos ayude a esparcir la esperanza y fe que tanta falta le hace al mundo. Queremos salir adelante junto con todos ustedes, hombro a hombro, corazón con corazón.
Haunting industrial electro EP from the depths of the Belgian underground. Hybryds is the long term project of former The Klinik member Sandy Nijs. Active for over 30 years and involving a rotating cast of collaborators, Hybryds draw influence from ancient rituals, mythicism and S&M to create a sound that is truly their own.Lust was originally released as a limited edition mail-order exclusive in 2002 by Spectre and has since become highly sought after. All tracks have been remastered by Ruud Lexx.
Erik Sumo is one of the most established Hungarian music producers of the last 20 years.
His various acts gained national and international, underground and mainstream success, he scored movies - think of the now cult 'Liza, The Fox Fairy' soundtrack on one of our early 7"s.
His latest album 'Mount Fuji' came out in November 2019, it contains 'Run Into The Wild', an odd yet catchy leftfield floor-filler with an unmistakable mood built of glamorous disco vibes and sinister imaginings from the woods around Fujisan.
On this EP you can hear the previously unreleased disco dub version of the song and 3 remixes taking the original into completely different directions.
Mytron & Ofofo of Multiculti fame chose to go the tribal way by adding some extra percussion and reconstructing the chorus making the track even more dance floor friendly than it was originally.
Oakland based producer E. Live turned the tune into a contemporary boogie burner, while Budabeats staple M.W.D.'s version has an atmosphere that is impossible to describe.
Limited to 400 copies worldwide.
Gennaro Giamundo AKA Genny G launches his new record label “Parsimonia” with the first instalment Parsimonia EP.
The package is comprised of 4 original tracks plus 1 remix by Artizhan. Vastly different in their presentation the tracks explore the fringe of deep and house music with bouncing synths, vocals, percussion drums all tied together with fretless baselines.
Limited of 250 copies handmade with insert and artwork (incl. digital code for download release + 2 bonus tracks).
yellow & clear green marbled vinyl
For the inaugural EP, FOLD resident Gareth Wild presents "Common Assault". With metallic tubular synthesis, cut-throat percussion and rolling rhythms, this EP is an effective and essential piece of material demonstrating all angles of Techno, immersive to peak-time.
The release features three original tracks and two locked grooves from Gareth with stripped back, dark-side remix work from Madrid's very own Roll Dan.
Featuring bespoke, full colour cover art by designer Lion Sauterleute and pressed up on coloured neon wax the release lands 25th September at all good outlets.
In the meantime, check out the snippets on our Soundcloud. The movement continues!
Imagine for a minute that Klein MBO would return from the Italo heaven to deliver a brand new EP. How amazing would that be? Sometimes such miracles lay just around the corner. Nijmegen based Luca Dell’Orso found some sort of time machine that brought him back to the days of Disco Magic and Il Discotto; a time where wobbly synths, heart felt handclaps and sweet melodies flled the air. After appearances on Red Laser Records, Bordello A Parigi and Shmlss’ label XXX it’s time for his debut on Utrecht based SoHaSo sublabel OOSSHA. Filled to the rims with stylish Italo-disco, the Eternal Waves-EP has it all. Slow motion Gaz Nevada-esque disco on Common Occurrence (which comes with two beautiful Cosmo Vitelli-remixes); sun blissed and fast paced happiness on Return Of You and stark new wave- vibes on Constriction. Closer Bont & Blauw proves that Luca understands the essence of the genre. It has the same fnesse of the best Gazebo-records, back in the day. If you have a heart for italo, you don’t want to miss this perfect wave.
Finnish DJ/ProducEr duo Cut BEEtlEz droppEd thEir dEbut privAtEly pressed High Jump 7” EP bAck in 2014. ThAnks to A hook up from lEgEndAry MC, DJ, vinyl vEtErAn And All round top fEllA OxygEn thEy sEcurEd A dEAl with AE Productions And rEturnEd in August 2017 with 12” singlE Droppin’ NEEdlEs fEAturing OxygEn And Soundsci crEwmAtEs AudEssEy and U-GEorgE.
SincE thEn Cut BEEtlEz hAvE bEEn mEticulously crAfting thE rEst of this Album whilE concurrEntly working with ThE Good PEoplE on thEir Cut PEoplE EP rElEAsEd in 2019 on FAbyl REcordings.
BEing thAt nEithEr J MAn or HP LovEscrAtch ArE MC’s thEy nEEdEd somE vocAl AssistAncE And rEcruitEd thE immEnsE tAlEnts of rEgulAr cohorts ThE Good PEoplE along with Guilty Simpson, RAh DiggA, El DA SEnsEi, J-LivE, OxygEn, REks, Truck and REtnA – All of whom wE’rE surE nEEd no introduction. ThE Droppin’ NEEdlEs mAin vErsion from thE singlE is Also includEd for good mEAsurE but thE rEmix rEmAins ExclusivE to thE 12”. EyE cAtching Artwork by thE EvEr AmAzing Mr Krum finishEs off thE pAckAgE nicEly!
Trouble, the aptly named new album on Goner Records, is a confident and joy-filled statement delivering the good-news gospel message unapologetically through music influenced by Ray Charles, Junior Kimbrough, Bill Withers and of course, his father.
Recorded at legendary Royal Studios in Memphis by Lawrence “Boo” Mitchell (Al Green, Solomon Burke, John Mayer, Buddy Guy, Mark Ronson & Bruno Mars, North Mississippi Allstars), Trouble is the culmination of everything in Rev. Wilkins’s remarkable life, his regional history, his family music history. And in a world once again riven with discord and division, like the Memphis of Wilkins’ youth in the 1960’s, Trouble delivers passionate and confident musical performances with a message of hope that meets our present moment equal to the best music from that earlier era.
To call the Reverend John Wilkins a national treasure would not be an overstatement. He is the son of pre-war blues/folk-revival legend Reverend Robert Wilkins and he leads one of the most exciting and uplifting musical acts on the blues and gospel circuit today. His multiracial, multi-generational band blends soul, southern gospel and hill country rhythm, into a sound that has the infectious drive of hill country blues with the emotional heights of a summer tent revival.
Following in the footsteps of his famous father Rev. Robert Wilkins, a blues-singer turned preacher who went from the juke joint to the pulpit, the life of Rev. John Wilkins took a similar path, echoing the story of the elder Wilkins’ most famous song, “Prodigal Son.”
But in 2020 John Wilkins’ life has been closer to a different iconic bible character, Lazarus, as he has miraculously risen after surviving a month-long stay in intensive care battling Covid19 in a Memphis hospital. As Rev. Wilkins sings on the closing track of his forthcoming album, “I’ve come through the storm and rain, I’ve come through the storm and rain, and I made it!”
And there is much to celebrate with this resurrection.
An exchange between several voices of African artists (the Congolese Flamme on guitar, the late Cameroonian Hilaire Penda on bass, the Beninese Angélique Kidjo on vocals, and the dj singer producer
from South Africa Mo Laudi on the mike) gathered for the dance and celebration of this World Heritage work. The most popular anthem of classical music revisited in Afro Pop mode for crowds around the world. About this project, the producer Philippe Cohen Solal (ex-Gotan Project) tells: « When Mo Laudi, a Paris-based South African DJ, joined me in the studio, he delivered a great rap full of positive energy and geopolitical rhymes, from Patrice Lumumba to Biko and from Congo to São Paolo. Then Queen Angelique Kidjo, like a divine diva, fervently sang her hymn "Lonlon" in the Mina language, where the Afro literally meets the Bolero. We will not forget the fine team that allowed me to concoct this sacred cocktail: Flamme Kapaya,
outstanding Congolese guitarist, the Parisian DJ-beatmaker Lazy Flow and the late Hilaire Penda, Cameroonian bass player who unfortunately left us since. Benin, South Africa, Congo and Cameroon meet in Paname, the capital of World Sound, but the musical adventure did not stop there. The remixes take us straight to London with Poté, to Berlin with Daniel Haaksman and to Johannesburg with the super-group Batuk formed by the godfather of the African electro Spoek Mathambo, the kwaito maestro Aero Manyelo and the Mozambican singer Manteiga. At a time when travel is prohibited or
not recommended, let us be glad that music does not need certificates or passports and knows no borders ».
Freshly signed artist named Ian Ash (also know as “H” and Sunny G) delivers a massive filtered boogie house track. So What U Want will also come with a Lord Funk remix which sound a bit more electro funk to blast the dancefloor.
This track is a radio killer and should be loved by many musiclovers including DJs, producers or simply people who like to listen to mainstream vocal house as French touch production. A bunch of samples and played instruments make it efficient and support the
sweet voice of the singer Djemaïli. He is known first as an R’n’B singer, but he liked to perform on this future classic – and you can hear it! Ian Ash is known as a resident DJ of the World-famous Montreux Jazz Festival where he has spun records yearly between 2001 and 2019. Including 1st and 2nd parts of George Clinton Parliament Funkadelic, Spearhead feat. Michael Franti, Doctor L, Tony Allen,Jean Grae, Raphael Saadiq, Will Calhoun, Common,Dj Cam, Mister Mike, Benji B, Souljazz, Andy Smith,Buddah Monk, Jimmy Cliff back band, Jamie Lidell, and Claude Nobs himself! He spun also at Cargo (London), SPACE (Ibiza), NL (Amsterdam), Divans du Monde
(Paris), etc. He surely is in the top 10 Funk DJs in Europe. He also has been stage and studio audio engineer for 2 decades and has mixed a couple of live artists such as Joe Sample, Mandrill or even AIR. He has mixed more than 90 concerts at Montreux Jazz Festival 2002 and deeply participated in producing 4 Days in Geneva by Ohmega Watts
more recently.
Escort digs back in their catalogue for some classic material, delivered on 7” now for the first time ever!
The title track of their 2015 LP 'Animal Nature' graces the A side, a slow-burning groove with throbbing synths, incendiary guitar riffs and soaring vocals. On the flip, Italian editors Tiger&Woods deliver a quintessentially T&W-style cut up and pumping rework of the anthemic 'Barbarians'.
Following 2019’s release of Azymuth’s Demos (1973-75), two more home-recorded demo tracks by the Brazilian psychedelic jazz-funk masters have surfaced from a tape in drummer Ivan Conti’s private archive. These five-decade old recordings by the young band show the maturity, musicianship and distinctive style that saw Azymuth become one of the most important groups in Brazilian history.
Featuring an instrumental take on Roberto and Erasmo Carlos’ 1969 Jovem Guarda hit “As Curvas da Estrada de Santos”, and spacey psych-folk oddity “Zé e Paraná”, the new 7” release via Far Out Recordings shines yet more light on this critical period for Azymuth.
As is the case with many of Brazil’s pop icons, Roberto and Erasmo Carlos had been backed by Bertrami, Malheiros and Conti either on stage, in the studio, or with compositions (in Bertami’s case) since the late sixties. Conti notes that “As Curvas da Estrada de Santos” was a big hit in Brazil when it came out in ‘69 and had already been covered by Elis Regina a year later.
But where both Elis’ version and the original were grand pop-rock ballads, Azymuth’s take is a moody, melodic jazz excursion, featuring Bertami’s incredible Hammond organ, Fender Rhodes and grand piano juggling, Ivan Mamao Conti’s distinctively tough drums, and unusually, Alex Malheiros plays a double bass instead of an electric one.
As the title suggests, “Zé e Paraná” is guitarist João Américo (Paraná) playing alongside Bertami’s Rhodes comping, synth embellishments and dreamy wordless vocals. While credited as the composer and guitarist on “Linha do Horizonte” a track from Azymuth’s debut album which would become the theme tune for a famous novella, Paraná has to this day, remained relatively unknown.
Both tracks were recorded in Jose Roberto Bertrami’s house in Rio de Janiero at some point between 1973-75. These tracks were not recorded in a professional studio, meaning the sound quality differs from other Azymuth releases. At Far Out we take great pride and extreme care in ensuring our releases and reissues are produced to the best possible sound quality. In this case the original source material had not aged well and was considerably damaged. The sound has been restored to the best possible condition but there is still some noticeable tape hiss and slight distortion on ‘Zé e Paraná’. For this reason, we strongly advise listening to preview clips before buying this release.
Keyboards: José Roberto Bertrami
Guitar: João Américo ‘Paraná’
Produced by Azymuth and José Roberto Bertrami
Recorded at José Roberto Bertrami’s home studio in
Laranjeiras, Rio De Janeiro, Brazil 1973
Issue and project co-ordinator: Joe Davis
Additional tape restoration by Daniel Maunick at the Sugar Shack
Mastered by Frank at Carvery Cuts
Berlin techno luminary Jamaica Suk announces her most ambitious project yet: Uncertain Landscape.
This 17-track, 4x 12” vinyl release on her acclaimed Gradient label will be released in four installments from Autumn to Winter 2020 and brings together a host of diverse techno talent. She will release a DJ mix featuring all 17 tracks to complete the series accompanied by a film from Anthony Vouardoux. The project is made up of a wishlist of names whose music she has been heavily supporting in her sets over the last few years. “I wrote specific producers inquiring for tracks that would be fitting to the label and also fit the DJ mix that I’m recording from these tunes. I’m looking to promote music that shares the same vision as I do.”
It marks the first original releases on Gradient from producers other than herself, which is a change of tact from her original plan for her imprint. “Initially I wanted to only release my music on Gradient including remixes - but it doesn’t make sense as there’s so much inspiration out there. By expanding the label’s network we create our own tribe.”
Jittery rhythms with a touch of ‘Spastik’ about them propel BNJMN’s ‘Abyssal Surge’ into life, with a big riverbed sound abounding as the track builds through haunting sustained tones and glitching mechanics.
Arthur Kimskii thundering ‘Natasha’ pummels from the first moment, with shuddering sub bass carving its way through the sound field as hypnotic bleeps pulse in the distance. Rapid-fire. Filtering percussive waves accentuate the bassline’s incessant 16ths rhythms, all the while the resonant kicks hammering away beneath.
Wrong Assessment’s ‘The Eight’ is a dissonant avalanche of warped textures, where grunting synth thrusts rub up against industrious pulses and chattering hi-hat patterns weave in and out of the mix. Stuttering bass and cymbal rides complete the urgent feel.
Introspective respite comes from Electro Indigo’s ‘Volcanite’, a stirring piece of broken beat experimentation where graceful pads slide hauntingly over taut kick and bass patterns and beautiful ghostly analog synth notes.
Look out for parts 2-4 coming soon and special audio + visual showcases.
“Not The Nine O'Clock News gave the world alternative comedy and made the media scene we have today.” – Mark Lewisohn, Radio Times Guide to TV Comedy
Celebrating over 40 years since the ground-breaking comedy series arrived on BBC TV, Demon Records proudly presents Hedgehog Sandwich - lovingly mastered on 180g heavyweight Hedgehog Splatter vinyl.
Let the famous signature tune take you back to the heady days of 1979, when Labour gave way to the Conservatives, striking workers created the Winter of Discontent, and Not The Nine O’Clock News inherited the BBC2 time slot vacated by Fawlty Towers. It quickly became a trailblazing smash hit, running for four series and making stars of Rowan Atkinson, Mel Smith, Pamela Stephenson and Griff Rhys-Jones.
Among the many famous, and much-loved, sketches included on the LPs are David Bloody Attenborough (aka Gerald the Gorilla), Points of View, General Synod’s “Life of Python”, Constable Savage, University Challenge, Hi-Fi Shop, That’s Lies, Not The Parrot Sketch, Open
Marriage, Question Time, Game For A Laugh, Two Ninnies, McEnroe’s Breakfast, What A Load of Willies, The Pope’s Visit, Simon and Garfunkel and – yes – The Return of Constable Savage. Produced and devised by John Lloyd and Sean Hardie, Not The Nine O’Clock News won a Silver Rose at the Montreux Festival and a BAFTA for Best Light Entertainment Programme. Its large writing team included such future luminaries of TV comedy as Richard Curtis, David Renwick,
Andrew Marshall, Guy Jenkin, Laurie Rowley, John Lloyd and Andy Hamilton. Presented as a faithfully reproduced facsimile gatefolds, and remastered from the original tapes
“Not The Nine O'Clock News gave the world alternative comedy and made the media scene we have today.” – Mark Lewisohn, Radio Times Guide to TV Comedy Celebrating over 40 years since the ground-breaking comedy series arrived on BBC TV, Demon Records proudly presents all three original LPs - Not The Nine O’Clock News, Hedgehog Sandwich and the double LP The Memory Kinda Lingers - lovingly mastered on heavyweight themed coloured vinyl.
Let the famous signature tune take you back to the heady days of 1979, when Labour gave way to the Conservatives, striking workers created the Winter of Discontent, and Not The Nine O’Clock News inherited the BBC2 time slot vacated by Fawlty Towers. It quickly became a trailblazing smash hit, running for four series and making stars of Rowan Atkinson, Mel Smith, Pamela Stephenson and Griff Rhys-Jones.
Among the many famous, and much-loved, sketches included on the LPs are David Bloody Attenborough (aka Gerald the Gorilla), Points of View, General Synod’s “Life of Python”, Constable Savage, University Challenge, Hi-Fi Shop, That’s Lies, Not The Parrot Sketch, Open
Marriage, Question Time, Game For A Laugh, Two Ninnies, McEnroe’s Breakfast, What A Load of Willies, The Pope’s Visit, Simon and Garfunkel and – yes – The Return of Constable Savage. Produced and devised by John Lloyd and Sean Hardie, Not The Nine O’Clock News won a Silver Rose at the Montreux Festival and a BAFTA for Best Light Entertainment Programme. Its large writing team included such future luminaries of TV comedy as Richard Curtis, David Renwick,
Andrew Marshall, Guy Jenkin, Laurie Rowley, John Lloyd and Andy Hamilton. Presented as a faithfully reproduced facsimile gatefolds, and remastered from the original tapes.
“Not The Nine O'Clock News gave the world alternative comedy and made the media scene we have today.” – Mark Lewisohn, Radio Times Guide to TV Comedy Celebrating over 40 years since the ground-breaking comedy series arrived on BBC TV, Demon Records proudly presents The memory Kinda Lingers - lovingly mastered on 2 x 180g heavyweight Hedgehog Splatter vinyl.
Let the famous signature tune take you back to the heady days of 1979, when Labour gave way to the Conservatives, striking workers created the Winter of Discontent, and Not The Nine O’Clock News inherited the BBC2 time slot vacated by Fawlty Towers. It quickly became a trailblazing smash hit, running for four series and making stars of Rowan Atkinson, Mel Smith, Pamela Stephenson and Griff Rhys-Jones.
Among the many famous, and much-loved, sketches included on the LPs are David Bloody Attenborough (aka Gerald the Gorilla), Points of View, General Synod’s “Life of Python”, Constable Savage, University Challenge, Hi-Fi Shop, That’s Lies, Not The Parrot Sketch, Open Marriage, Question Time, Game For A Laugh, Two Ninnies, McEnroe’s Breakfast, What A Load of Willies, The Pope’s Visit, Simon and Garfunkel and – yes – The Return of Constable Savage.
Produced and devised by John Lloyd and Sean Hardie, Not The Nine O’Clock News won a Silver Rose at the Montreux Festival and a BAFTA for Best Light Entertainment Programme. Its large writing team included such future luminaries of TV comedy as Richard Curtis, David Renwick, Andrew Marshall, Guy Jenkin, Laurie Rowley, John Lloyd and Andy Hamilton. Presented as a faithfully reproduced facsimile gatefolds, and remastered from the original tapes
Blue Vinyl
Steve Bicknell presents: 27
“Track 12” and Reinterpretations.
“Flame in Darkness” EP – Released 1993
It was back in 1993 when Steve Bicknell first resealed “Track 12” on Cosmic Records.
27 years later the veteran artist travels back in time and teams up with KR3 to re-issue this techno masterpiece, inclusive of the original re-edit plus three new interpretations by Jing, Metro Skim & Heartless.
Available from September 28th both on vinyl from Ready Made Distribution, 27 symbolises a meeting point between past, present and future of techno.
The music is there to remind us that time is circular, nothing is still and everything evolves.
Italian producer Roberto Semeraro aka Pearl River Sound drops his first collaboration with Z.I.P.P.O on Fides called ‘VST Intended’. Combining IDM, Jungle and Acid elements this record reminds of to the early AFX, Luke Vibert , U-Ziq primal sounds. Completing this package on the B side two stomping remixes by Clone Records affiliate Ryan James Ford and Electro mysterious producer 2030.
VENT’s 21st release, a remix EP edition of 120 copies all hand numbered with a risograph printed cover, sees the collaborative works of 2019’s Kına LP by MAYa & Tolga Baklacioglu (VENT017) being reinterpreted through the lens of four prolific remixers. Each has brought their own perspectives and experiences to the table, challenging and redefining the original versions in their own way. Palestinian producer Muqata’a, for instance, has taken the track “Jyoti”, a track dedicated to Jyoti Sing, who was gang raped and murdered in India, reconstructing it so as to emphasize the continuous violence against women, whereas Martial Canterel has universalized the notions of yearning for a homeland in his remix. As a release featuring a broad range of bold and uncompromising remixes in different styles, the themes of nostalgia and yearning helps each remix highlight the qualities of the others. As keys to decrypt each remix more carefully, the artists have provided their brief comments, below:
Silent Servant (legendary dj/producer):
"I tried to give this remix a different approach than what has been my usual. Something based on perceived nostalgia but mixed in a modern way. I wanted it to feel like a lost RMX for the Hacienda from 1984 but hit in a modern club standard.”
Martial Canterel (cult poster boy for 21st century minimal synth):
"In approaching the work of my very dear and old friend, Maya, and her collaborator, Tolga Baklacioglu I wanted to situate differently the atmosphere and longing, to word it entirely otherwise. I wanted to dramatize this yearning for home and homeland, what the Welsh call Hiraeth. I want to place her plaintive strivings for home and tranquility in a festival of upbeat rhythms and releases."
Muqata’a (Palestinian beatmaker):
"It was very interesting remixing this powerful piece, working with the concept and different elements of the track, 'Jyoti', creating a more loop-based structure in an attempt to represent repeated violence against women."
Decimus (uncompromising esoteric artist):
"What I find amazing about the original version of this track is how colossally monolithic it is. It shifts and morphs over its 13 minutes but it never relents in its intensity and density. It feels epic and gigantic. I chose it to remix because I saw it as a challenge to carve something quieter and perhaps more narrative, in form, out of it while trying to stay true to the intensity of the original."
The first vinyl release of 2020 on Nang, belongs to the Parisian producer and newcomer to the label, Kelton Prima. The veteran artist has been producing and Djing since the late 80's, also releasing under the alias of D_Tekt. Prima has released on the Belgian label Disco Praline, Chicago based imprint Mathematics Recordings, Pizzico Nobel and also has contributed remixes for Thieves Like Us and Plastique de Rêve among others. Along side him on this release features Hard Ton, the Italian artist, who released previously on NANG188. The duo deliver a cover version of Culture Club's 1983 hit, Miss Me Blind. The release sticks with a retro aesthetic, yet given a modern high impact make-over and features 4 edits.
The "Miss Me Blind" original takes you you on a voyage, straight to a dance floor worthy of the infamous New Dance Show in the late 80's. The upbeat, nu-disco grooves, with Solid bass lines (that later trans into squelchy acid affair) are counter balanced with Hard Tons sublime vocals. The Vintage drum machine sequence is perfectly matched with shimmering synths and guitar riffs.
Second on the release is the The Caribbean House "Vision". This edit takes things a little deeper with a modulating bass arpeggio, that pans across the stereo field. Spliced and pitched down vocal cuts feature in this version alongside chime bell melody and pads that creates a emotional ride.
DJ Rocca, the Italian producer a Nang Records regular, delivers a rhythmic and percussive remix. This is classic Rocca style with retro drum machine programming, and a variety of smooth and silky Italo synth patches. The final edit of "Miss Me Blind" consists of Club Domani's bouncy, bass heavy club version. This upbeat and energetic remix keeping things rolling with break-downs and snare filled drops.
b 02: Miss Me Blind (The Caribbean House Vision) feat. Hard Ton
[c] 03: Miss Me Blind (DJ Rocca Italo Vocal Remix) [feat. Hard Ton]
[d] 04: Miss Me Blind (Club Domani Remix) [feat. Hard Ton]
Coladera is a merge of friendship and talent formed by Vitor Santana from Brazil and Joao Pires from Portugal. Both artists were eager to create a sound which they felt was missing in the Lusophone world: a true refelection between Portugal, Brazil and West Africa, especially Cape Verde and Angola.
With their latest Album "Lá Dôtu Lado" ("There on the other side") they created an authentic example of their dream, featuring songs which emphasizes the close musical and cultural ties within the Atlantic triangle. An epiphany on both sides of the Atlantic were the goddess called Yemajá on one side and Kianda on the other side. both are associated with the water and feminine mysteries.
'Legend' is lofty praise that is often used lightly, however, Mike D from the Beastie Boys certainly is one in the truest of spirits. We are delighted after over 30 years of being involved in music to finally release a project involving such a hip-hop pioneer and icon as Mike. In keeping with the maverick attitude of the Beastie Boys, you don't always get what you expect. For this release there isn't a hip-hop beat, instrumental-funk or hardcore-punk joint in sight, rather an electronic-African club banger.
Mike took it upon himself to rework Malian artists Idrissa Soumaoro and L'Eclipse De L'I.J.A. and their track ’Nissodia', which is taken from the 'Le Tioko-Tioko' album originally released in 1978 on the German Democratic Republic (GDR) label ETERNA. The song was also featured on 'The Original Sound Of Mali' compilation released on Mr Bongo back in 2017.
It was November 2019 and the day before a Mr Bongo 30 years celebration event in Paris at the Pedro party in the 'New Morning' club, when out of the blue the remix landed in Dave Mr Bongo's inbox. We loved it straight away and decided to road test it the next night in the club. Whether it be a remix/re-edit/rework, it doesn't matter, what does matter is that it works spectacularly in the club and had people jumping on the stage to dance at the party. A sensational track and one which leaves a beautiful memory of good-times from a night out in Paris (and one which is in retrospect is even more poignant as the late-great maestro Tony Allen was in the club that night), and we are sure it will light up many more dancefloors to come.
West coast composer, artist, and producer Kaitlyn Aurelia Smith has chartered a pioneering career with multiple critically-acclaimed albums since 2015. Following the release of The Kid in 2017, Smith focused her energy in several directions. She founded Touchtheplants, a multidisciplinary creative environment for projects including the first volumes in her instrumental Electronic Series and pocket-sized poetry books on the practice of listening within. She's continued to explore the endless possibilities of electronic instruments as well as the shapes, movements, and expressions found in the physical body's relationship to sound and color. It is this life-guiding interest that forms the foundational frequencies of her most recent full-length, The Mosaic of Transformation, a bright, sensorial glide through unbound wave phenomena and the radiant power discovered within oneself. "I guess in one sentence, this album is my expression of love and appreciation for electricity," says Smith. While writing and recording, she embraced a daily practice of physical movement, passing electricity through her body and into motion, in ways reflecting her audio practice, which sends currents through modular synthesizers and into the air through speakers. Not a dancer by any traditional definition, she taught herself improvisatory movement realizing flexibility, strength, and unexpectedly, a "visual language" stemming from the human body and comprised of vibrational shapes. Understood as cymatics, as Smith says, "as a reference for how frequencies can be visualized," much like a mosaic. Smith describes her first encounters with this mosaic; "the inspiration came to me in a sudden bubble of joy. It was accompanied by a multitude of shapes that were moving seamlessly from one into the other...My movement practice has been a constant transformation piece by piece. I made this album in the same way. Every day I would transform what I did yesterday...into something else. This album has gone through about 12 different versions of itself." As it has arrived, in a completed state, The Mosaic of Transformation is a holistic manifestation of embodied motions. Smith's signature textural curiosity that fans have grown to adore pivots naturally into a proprioceptive study of melody and timbre. Airy organ and voice interweave with burbling Buchla-spawned harmonic bubbles. "The Steady Heart" quivers to life, peppering blasts of wooden organ between winding vocal affirmations. As with a body, moving one portion requires a balance and counterbalance; here, subtle tonal twitchy signals fire in conjunction with coiling arias to create a mesmeric core. When the beat arrives at the midway mark, a swooping and jittery waltz, a sense of stasis in motion, a flow state, is sonically achieved. As soon as it syncs, it disappears back into the swirling ebbs of electric force. Other tracks stray into more ruminative physical realms. "Carrying Gravity" is built around string-like pads that expand and contract like a solar plexus, becoming taught and then loose. If the record could be summarized in a single movement, it is the 10-minute closing suite, a rapturous collage called "Expanding Electricity." Symphonic phrases establish the piece before washes of glittering electric peals and synthesized vibraphone helix into focus. Soon, Smith's voice grounds it all with an intuitive vocal hook, harmonized and augmented by concentric spirals of harp-and-horn-like sounds. Smith's music doesn't capture a specific emotion as much as it captures the joys of possessing a body, and the ability to, with devotion and a steady open heart, maneuver that vessel in space by way of electricity to euphoric degrees.
Songs for dancing, having fun, and vibing out, B. Bravo's latest project, the "Cosmic Mind" EP, brings listeners to the dancefloor by way of a healthy dose of talk-box, retro synths and irresistable boogie grooves.
Los Angeles producer, talk-boxer, remixer, DJ & instrumentalist, B. Bravo, has been flipping interstellar references and laying down galactic beats for over a decade. From 2009's Analog Starship to 2020's Cosmic Mind EP, the funk in him is alive and well. Born in California with roots in Japan, Bravo combines his love for jazz, soul, hip hop and electronics into his own signature sound of swinging grooves, melodic synths and bouncing analog basslines.
The Detroit assault continues with the second release in the WPH U.S. Series coming courtesy of Brian Kage. Brian has been an integral part of the fabric of Detroit’s house & techno scene for as long as you can remember and has released many timeless grooves on his own Michigander label and many other outlets, including the brilliant ‘Shut Your Eyes’ on the Omar S-run FXHE label.
Opener ‘Werkit’ sets the bar high with a chugging groove, mind-melting strings and piano chords, all produced to perfection. The challenge is met by the two remixes. Detroit’s Patrice Scott goes on his classic deeper tangent that never fails to deliver and WPH boss Red D fires up an electro banger reminiscent of 313 staple Aux 88. Brian rounds things off himself in style with ‘Groove La Tape Deck’, a serious slice of hypnotic house music that will make you nod more than just your head. Timeless stuff once again from the WPH camp!
LIMITED REMASTERED VINYL REPRESS WITH NEW COVER ART AND SLEEVE NOTES.
The mythology that has grown around The La’s has made them one of the most enigmatic bands of the last few decades. The story began in a hard hit Liverpool in 1984, when Mike Badger teamed up with local lad Lee Mavers to write and sing their way out of the rut the city was in.
Over the next two years they co-wrote material inspired by their love of 'roots' music such as: Bo Diddley, raw 1950s Rockabilly, Captain Beefheart and the punk bands they had both seen in local club Eric's a few years before. Early reviews called them ‘Surreal Rock ‘n’ Roll’ (Melody Maker) or 'Tom Waits could have dreamt up The La's 'Sweet 35' (NME)
These earliest La's recordings that now appear here on limited edition vinyl are raw & spirited, defining a unique, creative time in the band’s history and firmly point the way to future success.
'Had The La's been able to accommodate Badger and Mavers could world domination have been far away?'MOJO
LIMITED REMASTERED VINYL REPRESS WITH NEW COVER ART AND SLEEVE NOTES.
The La’s are one of the most enigmatic bands of the last few decades releasing only a handful of singles and one 'official' critically acclaimed album (which was disowned by the band itself!).
Lee Mavers (singer/songwriter) has stated repeatedly, that the closest he came to capturing his perfect vision was with the original recordings- which now appear here on limited vinyl with an undisputed spirit and freshness that could never be recaptured.
With so much mythologising around the bands early recordings, and their eventual disappearance, Viper are proud to present the songs which appeared thirty years ago on The first La's album, only as nature intended- authentic, endearing and quite simply magical.
Amongst many highlights is the first ever recording of There She Goes, 'Live'- now correctly considered to be a standard. Noel Gallagher famously stated that :'Oasis wanted to finish off what the La's had started' It's fair to say it's right here where Brit Pop started.
Overflowing with musical ideas and topical lyrics that sound just as relevant today as they did when they were initially released, Prince’s iconic double album Sign O’ The Times captured the artist in a period of complete reinvention. The final 16-track album included just some of the countless songs Prince recorded in the prolific period of 1985-1987, which saw the dissolution of his band The Revolution, the construction of his innovative recording complex, Paisley Park, and the creation (and ultimate abandonment) of the albums Dream Factory, Camille, and Crystal Ball.
This September 25, The Prince Estate, in partnership with Warner Records/Rhino UK, will reissue Sign O’ The Times. This 4LP Deluxe Edition will feature the classic album remastered for the very first time by Prince’s original mastering engineer Bernie Grundman, along with single mixes and edits released in the period the album was released.
Following a stellar run of recent releases including best-of-year EPs from the likes of DJ Plead and DJ JM, Nervous Horizon are back with their first record of 2020 — a unique new collaborative EP by object blue and label co-head, TSVI. Out on September 25th, ‘Hyperaesthesia’ details four sweltering new club tracks — described by the pair as “body music” — that mesh together object blue’s widescreen, experimental club tones and TSVI’s borderless percussive styles. “I was curious to see how TSVI and I could merge our sounds, whether we could supplement each other without eclipsing one another, and I'm so happy with the result”, explains object blue. “I never thought I could write with somebody else but this happened so easily. It's been a liberating process, just a pure pursuit of fun, yelling in our chairs when we dropped the beat.” Inspired by ‘ever-present conversations about machines and sentience’, the EP’s mechanical crux plays out in the narrative of the tracks too; from a sense of machines ‘waking up’ on near 8-minute opener ‘Thought Experiment’ to the frantic, processing energy of ‘Turing Machine’. The record also comes complete with a special remix by Loraine James and vinyl-only bonus track, ‘Syntax’. ‘Hyperaesthesia’ follows a fruitful 12 months for both object blue and TSVI: Following the release of her breakthrough debut EP, ‘Do You Plan To End A Siege?’, for Tobago Tracks back in 2018, object blue has since become one of dance music’s most crucial new artists. As well as releasing her third, critically acclaimed EP last summer (‘FIGURE BESIDE ME’), she’s turned in remixes for everyone from Murlo to Seb Wildblood, been invited to record a BBC R1 guest mix for Benji B and performed live at Paris Fashion Week, after composing the music for Andreas Kronthaler for Vivienne Westwood SS20. object blue was also announced a SHAPE artist for 2020 earlier this year, alongside artists like Afrodeutsche, Rian Treanor, Jay Glass Dubs, Oli XL and more. TSVI’s upward trajectory shows no sign of slowing down either. From the release of his enchanting debut album ‘Inner Worlds’ in 2018, he’s since gone on to put out a series of game-changing records under his Anunaku moniker for both Nic Tasker’s AD93 label and Martyn’s 3024 imprint, including July’s ‘032’ — a joint EP written with DJ Plead. Alongside fellow co-heads Wallwork and Federico Ciampolini, he’s also overseen the rise of Nervous Horizon since the label’s inception in 2015, moulding it into of the UK’s trailblazing new-school dance labels.
London based artist Fede Lng is back on Axe Traxx with his 'Shaolin 808' Ep. The Ep features a collaboration with Miami artist Mojeaux called 'Prove Yourself' - 80s music lovers might spot some samples they know in there.
The original track get a smooth remix by the Alabama house master Byron The Aquarius who's just fresh off his Apron Records Debut.
The B Side sounds more like what Fede's been working on lately in the studio with his analog machines, 'Broken Miami' is the most melancholic track of the Ep and with it's broken rhythms it ties itself to a more recognizable and highly pleasurable sphere, while the B2 is more hard hitting and club ready.
After the first appearance on our Elements 02, and some massive releases around the world,
we are happy to present you Deep Dimension debut ep.
Two powerful tracks inspired from 90s rave sound.
To complete the pack we have 2 strong remixes from 2 artists who need no introduction,
Rekids's man Radio Slave and our label boss Luca Agnelli.
Originally released in 2002, Comet is proud to present the legendary album Homecooking, reissued with a remastered version. Tony Allen talks about the album: After Black Voices and Psyco on Da Bus albums, I came back with HomeCooking which was an album filled with guests. I brought in Ty, who had remixed some of my work previously, to rap on the record, and Damon Albarn, who had already sung about me on 'Music is my Radar'. Since the early days I've been trying to find things that everybody will want to listen to. I've always been pushing Afrobeat in different directions. Here's another one again, another style, almost clean but still rough, raggedy and radical.''
Rickard Jäverlings music can deservedly be described as playful and searching but for that sake not fumbling or too loose around the edges. On Album 4, the second album release from Jäverling on Höga Nord Rekords, he dwells more in dub than on his prior album release, and Jäverlings skillful songwriting is carried smoothly by the soft and fluffy production: the rhythm section sounds as if resting upon a sun warm bed of moss and elements flows in and out of the production like a freshly rippling stream of water deep in the summer forest. Echoes shoots through the pines, the hills and the valleys and makes the album a premium dub experience which dominates large parts of the album.
Aside the obvious references to nature that comes in mind listening to Jäverlings music, this album is more than a romantic view on the Swedish wilderness. It flirts, like all quality dub from the seventies and eighties with science fiction and space with broad synthesizer sweeps and delay drenched clouds like imploding and exploding stars somewhere in the outskirts of the Milky way, spreading dust over the Swedish forest. On the final three tracks, Ganjaman_72 takes the album out of the galaxy with spaced out-remixes on some of the songs.
With his feet steadily grounded in jamaican music tradition whit a non sentimental and curious view on production, Rickard Jäverling have together with Johan Holmegård (Dungen, Goran Kajfes), Andreas Söderström (ASS, Goran Kajfes) och Ganjaman_72 created the natural follow up to Album 3.
Searching for new ways to express himself, Maarten Smeets (one half of Detroit Swindle) has found a new perspective on music in his alter ego “Wanderist”. Here, he shares his unique view on contemporary electronic music with strong influences from dub, electro, techno and ambient in tempo’s that match the intensity, funk and drive of his sound. As Wanderist, he has been writing some of his more abstract work of recent times. His sound is melancholic yet euphoric, using powerful loops and dreamlike melodies to create a dense flow in his compositions. His debut release is signed to Aus music later in 2020 and he has also launched his own label titled ‘Transient Nature’ where his own work will be released along with the work of like-minded artists. With a large catalog of music ready to release and collaborations with various labels planned for 2021, the future is bright for Wanderist.
It might come as a surprise, but the „Boot and Heel EP“ might be the first Tiger & Woods product that could be called unashamedly Italo disco. Think Den Harrow and old school CBS radio programming rather than the Italian boogie side of things that used to be the prevalent influence in the Roman’s studio work. Here we go with four tracks that are sharp as knives. Beautifully crafted, perfectly arranged and smitten with the charm of positivity, it’s the perfect soundtrack to the fading summer and next year’s hedonistic club season. Always remember: you gotta change to stay the same.
One of the most influential bands to emerge from the UK’s festival scene, the Ozrics layer ambient and ethereal landscapes with freeform dub trips, incredible rave grooves and psychedelic progressive rock. It is an open exploration of music and the soul.
The band’s last release to feature Merv Pepler and Joie Hinton, who left to form Eat Static, ‘Arborescence’ was the Ozrics’ fifth studio effort in as many years. Soundscape textures remained their focus and their strength, with the now trademark Steve Hillage-esque guitar, gurgling and whirling synths and tight rhythm section all wrapped around rave, techno, African and Middle Eastern influences.
The tracks alternate between the power driven (‘Myriapod’, ‘Shima Koto’, ‘Astro Cortex’), classic Ozric Tentacles space rock (‘Dance of the Loomi’, ‘There’s a Planet Here’, the title track) and those with an ethnic flavour (‘Al-Saloog’).
The powerful music here, embellished by plenty of synth dweedling and strong rhythm patterns, takes the listener of open mind and free spirit to somewhere special. Classic Ozrics then.
‘Arborescence’ will be released on 180g red vinyl as the fourth title in the Ed Wynne remasters series on Kscope.
![Michele Mausi & more - [R]3volution Records Sales Pack 001 [incl. R3V001 / R3V002 / R3V003]](https://www.deejay.de/images/l/4/9/958349.jpg)
Blocaus series is back with it's 8th release, "Gods & Robots" EP by rising French artist Ruhbarb for his debut EP on the label. Involved with labels such as Materia and Odd Oven, Ruhbarb's sound is a mixture between techno, dub and ambient, nurturing a tone that is driving, groovy and dark, but always loaded with great emotional depth. Part of a promising new generation of French producers and DJ's, Ruhbarb delivers 4 fantastic cuts in his own personal style including on the B side two killer remixes from Answer Code Request and Antigone.
To challenge the leader of the five element ninjas, Shaw Cuts lines up a heavy squad on the next record, armed with versatile remixes of Farron's "Five Element Ninjas EP": Pugilist, Substance, Jonas Friedlich and Realitycheck.
First off the mark, Pugilist launches into battle dealing forceful blows with his version of "Liquid Shorts". Whirlwind breaks, sharp drum patterns and cavernous chords, lacerate the ninja leader. The heat is on!
Substance rolls in to support, shredding the field with his remix of "Contaship". With blood-spattered pads, a gargantuan rolling groove and harmonic synth elements, he brings the villain to his knees.
Jonas Friedlich blazes in with his remake of "Brooklyn Banks", catching the leader off-guard with dirty Hip-Hop rhythmics, swirling vocals and twist of the original's lead synth. The leader lurches forward...
Realitycheck furiously steps into the clash. His remix version of "It's Only 4 Life" circles the field, its propelling rhythm and floating percussions closing in on the enemy.
The target surrounded, attacking from four sides with full force and allegiance, they execute the ninja leader in one sweep.
The battle leaves them with deep scars, but suffering, like fate and death, is part of life. And through it, the strongest souls emerge.
(Record Store Day 2020)
Mannequin Records is proud to celebrate 40th years of Nocturnal Emissions with more reissues setup for 2020.
"Tissue of Lies" is the Nocturnal Emissions first album, released on the band's own Sterile Records label as EMISS001 in 1980. "Tissue Of Lies"
shows you Nocturnal Emissions Industrial roots, from noisy collages to classic power noise, reminding the early Throbbing Gristle and Cabaret Voltaire, Faust ('Tapes' period) or Conrad Schitzler's 'Schwarz'.
The Nocturnal Emissions project, masterminded by Nigel Ayers, has been on the cutting edge of new music since the 1970s. Nigel Ayers has been described as a Guerrilla Sign Ontologist, cutting-up and pasting the contents of the human psyche. With a background in avant-garde art, his work has grown from audio visual installations through underground video works which changed the shape of British television.
In the early eighties Nocturnal Emissions hit London with a barrage of seminal funk; pioneering the use of sound samplers, multi-cultural
collage and electronic noise. They became a shape shifting chameleon lightening the darkness of post-industrial music, combining extremist performance art and video displays with apocalyptic beat music. Nocturnal Emissions have since been credited as a catalyst for a
generation or two of sound workers.
However, at the height of their success, the Emissions decided to shun the crass commercialism that had developed around them, and to develop their work as a secret alchemy. Nigel Ayers has continued to work with a strong underground of cult support, avoiding music industry fashions, and following his own creative path he concentrated on creating a strong sense of a wilderness identity through sound.
Limited edition of 600 copies, on solid white vinyl.
Frankfurt dynamo Shan, fresh off the back more eclectic fire for Running Back and Live at Robert Johnson, get's to dive into the legendary Candi Staton vocal vaults, and comes back up with 'One Day' : classic sounding, piano-lead house on the Deep Mix, tough, big floor bumper on the Ruff Mix.
Remixes come from fast rising Bristol newcomer Litherland and Phonica's Earth Trax, both strong, with breaks and piano's on the former, space and widescreen dub all over the latter.
Repress!
For its second release, Radiant Love sticks to family values. Paying homage to the party and label’s co-director and resident Byron Yeates, Byron’s Theme comes from the likes of Vani-T (one half of Berlin’s forceful, femme party Climax) and D. Tiffany (who threw down a ruthless remix on the label’s first release by Fio Fa). Together, they take the name of Pillow Queen – a semi-pejorative term for the kind of sub who expects to receive pleasure like a well catches rainwater. No reciprocation, just a reign of sexual passivity.
Their tracks, however, give plenty. “Byron’s Theme” presents a rich palette in its 2-minute buildup: a dry trance hook, high-end synths buzzing and wavering, pitch-shifted voice samples and a pan-flute ran through with tremolo. Throbbing, the 303 bassline picks up after a breakdown at the 4-minute mark, and only then does one realise the song’s still building. There’s still room in the last 40 seconds for some percussion modeled on a breakbeat loop – which is to say, the track is incredibly cheeky and hard-hitting – all that I would hope for in any lover.
While the EP’s first track feels wide, rangy, “Estrel Nights” opens the EP’s B-side in a much closer, tighter space. The build is percussive: bongo taps, claps, cowbell; then a hi-hat snaps things into shape, and in lopes the kick drum. And rhythm remains the central player here. It’s not until 3 minutes in that the percussion finds a melodic backdrop – a dreamy, detuned pad, choral, like a moan.
Ex-Terrestrial’s remix of “Byron’s Theme” repositions some of the elements and ratchets up the tempo of the original, but maintains its respiration: the energy and erotics flow into a different structure, closer to traditional trance, with sharp hi-hats and loopy arpeggios that phase in and out of syncopation, measure to measure. Diagonal, we incline to a climax that dizzily plateaus at 6 minutes, de-escalates and breaks down over the next 2, glows until it’s just a kick drum, slower, slower still; we’re catching our breath.
PRESSED ON ECO-FRIENDLY VINYL AT THE GREENEST PRESSING PLANT IN THE WORLD
The ends of days are ones with which Damian Lazarus is familiar, but, much like his biblical namesake, he too, has come back from the brink and risen to fight on, his career is interwoven with themes of survival and re-birth. Fittingly then, his second solo album does not wallow in our current dark times but charts a path of hope. Flourish, offers a glimpse of a new world worth living in and surviving for.
Flourish takes us through the many lives of Damian Lazarus, who, as he has grown older, and traversed the globe, has come to more deeply examine the role the dance floor plays in his own life and that of others. With parties cancelled, it would have been easy to wallow, but instead urgency took hold, and isolated Italian countryside Damian took the space to tackle the larger questions he has been grappling with for years.
As anyone who has watched Lazarus DJ can attest, his inspirations are deep and varied, criss-crossing show tunes, drum n bass, jazz, electro, soul, house, techno and everything in-between. This album reflects his immersion in a multitude of scenes over the years, from the early days of London drum n bass, to his role as a figurehead in the electroclash scene, and of course the significant impact his Crosstown Rebels label has had on contemporary underground house and techno. Flourish is far from a box of functional DJ tools, in the same way as Damian’s debut album Smoke The Monster Out or the more worldly outings in his brace of albums with the Ancient Moons. It’s a personal, brave and varied body of work. It’s also the work of an artist who has grown over the ten years since his last solo album. Lazarus plays with nuances of texture, tempo and style to create a rich and dense album that takes us on an odyssey that is at times both dark and uplifting. Vocals of his own cast an intimate shadow over the album with those of his sole collaborator Jem Cooke offering a soothing balance amidst the madness.
Damian’s work reminds us that however taxing the journeys there are always moments of beauty to be found.
Conceived as a loosely-based concept album around the idea of crushes and young love, that dog’s sophomore album Totally Crushed Out! is a touchstone underrated classic in line with of-the-era releases like the Breeders Last Splash and Liz Phair’s Exile in Guyville.
From the Sweet Valley High reminiscent illustrated album cover, to the A minus rating given by the dean Robert Christgau, to the Jenni Konner songwriting credit (long before she was the showrunner for HBO’s Girls) this album is quirky, smart, well-written and most of all...enjoyable.
that dog’s touring behind Totally Crushed Out! found them sharing stages with Foo Fighters, Weezer and Teenage Fanclub, their songs being covered live by Pearl Jam, collaborating with Beck, and the vid for “He’s Kissing Christian” achieving sub-Buzz Bin status on MTV.
This 25th anniversary reissue marks the first EVER vinyl appearance for this album. Showing their attention to detail, Third Man Records sleuths got their hands on the original oil painting used for the front cover art and worked directly from that for all relevant artwork needs.
Mysterious and masked techno talent Paul Villard unveils more of his musical weaponry on the Lone Romantic label this August.
Nothing is known about this artist but from the fact that, “strange and unusual superhuman powers and abilities” came to him after a “gamma accident.” He has released on Blind Allies and Applied Research, remixed Carl Finlow and is a producer with a cinematic electro sound.
Futuristic opener 'Side Effects’ is a bumping electro cut with a stuttering drum pattern and squelchy synth funk from another planet. ‘Submarine Limousine’ keeps up the cyborg styles with a crisp electro groove that is run through by sci-fi vocals and effects, while ’Fluid Dynamics’ is all watery synth droplets and fractured vocals panning about the mix. Taught bass stabs keep you on your toes and make for an otherwordly robot disco vibe.
The second half of this well-crafted EP starts with the glowing pads and creepy atmospheres of
‘Bioluminescence’, a classic Drexcyian electro jam that charges hard and deep into the cosmos. ‘Neon Death’ is an explosion of coruscated synth lines and bumping bass, tripped out machine sounds and warped electro-techno before closer ‘C.A.R.R.I.O.N.’ zones you out with intense ambient pads and modulated synths that are restless and paranoid.
With this majestic EP, Paul Villard paints and vivid picture of some distant interplanetary world.
"I am sitting in a garden, I haven't left the property in weeks, someone is dropping off food once a week. I haven't seen a human being in ages, I feel like a reverse Schroedinger cat - do I exist when nobody sees me? I must be somewhere in France but I don't remember. I have lost my consciousness again. When I wake up I hear a broken record looping somewhere in the mansion. A washed-out opera. Behind the trees I see the dilapidated hermaphrodite sculpture in a field of verdant nettles and fern. I hear gunshots far afield, aeroplanes in the sky, sirens on the main road.
When unconscious I dreamt of sitting on the Concorde observing the scarab blue ocean and iridescent clouds from above, an erstwhile receding memory. Sometimes I hear the organ of the nearby Renaissance Cathedral merging with the Russian Church bells.
I am hallucinating again. Someone's humming in the kitchen? Singing? A Radio? I overhear two young women talking about art galleries in the neighbour's garden. Bees attack, again…..again and again. The hairspray finally intoxicates them. An amphoric japanese voice is whispering in my head saying I will die soon. Someone (something?) bangs on the vases. The fountain's water turns dark red.
Fleur calls and says mum died. The funeral will be televised on tuesday. We opt for the synthetic choir for the service. The call is suddenly interrupted. Mold is slowly taking over the house.
I go back inside."
Une Fille Pétrifiée is the debut album of new Black To Comm related entity Mouchoir Ètanche (after one recent 12" on Richter's own Dekorder label). Combining real and fake acoustic instrumentation, sampling, field recordings and excessive yet inaudible post production this is another sublime and ethereal statement. Influences are ranging from (French) Classical & Opera to the anecdotical compositions of Luc Ferrari, Chinese Opera, Chanson, Sacred Music / Church Music, JG Ballard and Surrealism.
Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produces soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe and Kunstverein Hamburg.
Barcelona to Brooklyn via UK: following two very special releases from Beartrax, for their third release (and second of 2020) hot new NYC label Melodize welcome one of Spain’s most consistent electronic ambassadors, Factor City co-boss Undo, and Cin Cin bossman Fort Romeau for remix duties.
Hot on the heels of his stunning ‘Dark Woods’ EP earlier this summer, Undo comes packing some stunning electronic tackle. Sitting somewhere between Border Community and Underworld, both cuts are lavishly layered as myriad synths bubble and ripple away in their own little co-existing worlds.
Baggy, charming and just nicely off-grid, both sides of the coin can be flipped; those looking for a darker jam will be all over ‘Sixty Days’, a powerful cut where the basses melt into swaggering loose kicks. Need things even darker? Then jump on Fort Romeau’s remix where the kicks are cemented into place with a stark acidic twist.
Meanwhile those of us hungrier for more of a cosmic head trip will find serious pots of gold at the end of the rainbow that is ‘Just One Day’. A twinkling, shimmering odyssey, tracks like these don’t come round all that often. Melodize realise total bliss once again.
FAR are excited to bring Chris Coco and DJ Rocca to the label for this release. Both artists need no introduction to Balearic /House and Disco aficionados, the pair have both notched up stunning solo musical releases.
Meeting at La Casella festival in Italy in the summer of 2019, the duo decided to team up in the studio resulting in the ''Discoteca'' EP, a shimmering slice of Balearic, Disco House containing all the right ingredients and forward motion required for maximum sunshine or nightime connection.
On A1 Discoteca (The Heavy Fun Dub Mix), they manage to create a heady cocktail of synth riffs, ARhodes and Guitars all underpinned by a solid bass line, nodding to the Jazz funk of Atmosphere with the edge of Dinosaur L recording in Italy circa 1982. AAntonio prosper turns up on vocals, whispering, and chanting, evoking imagery of a night out in the mid-summer heat somewhere in southern Europe.
A 38 minutes exorcism, dionysac sexyness fueled with romanticism, made of mechanical incantations mixed with spectral vocals of forgotten imaginary tribes, words from a physicist (Incomprehensible Image), and mystical breathings… To remind you that music is demanding your soul and body, fully.
A master irritator, disclosing this talent all the way, down to every chosen title, for the album itself and all of its components (would you put Milk in Water ?). As repetitive or minimalist music may already make some of you feel nervous, it seems more accurate to talk here about primitive music – notwithstanding a non violent anarchism. But those are only words and vain attempts to attach TLT to a region or a family. Neither the burden of classical European music legacy, which eventually lead to pop music, seemed to interfere with his wild mind, and if it is no surprising to hear Bach in German electronic music, there is here a clear statement that you are out of this sirupy prison…
For D.W. is a sorcerer. He’s been empirically learning the speaking of trance with years of touring and experimenting with all kinds of audience and venues, from clubs to museums, from Mongolia to Brazil, from his performances with his bands Kreidler or Toresch to solo ones, sustained by a steady limited set up, as the one used when he’s recording : one MPC, rudimentary synths, few effects and a mixer. No sound engineer on stage as only he knows his secret language… Raw dubmaking, leaning towards hip hop, indubitably underlining here a significant distanciation from his previous industrial inspirations. The bewitchment of this record is operating with no warning from the very first seconds until the last epiphany of Sales Pitch.
He is using his knowledge of techno, psychedelism (Inverted Sea), UK bass (Jumping Dead Leafs), only to bring you out of it. We all tend to be slaves, without even being conscious about it, and a balance must be existing between being a slave and showing off. Mr. Weinrich’s answer is unsettling because it is an utter call to this balance, in our world of black and white and political correctness. There is no morality in music… Don’t expect anything else than an unaccountable liberating immediate experience. Don’t expect any kind of music because you are already in the past or the future… From his recording technique mainly relying on one takes, his adoration of mistakes and jeopardy, to the core essence of repetitive music, it is all here about being in the present. No ears no glasses.
Comet Records presents the Tony Allen & Africa 70 reissue series with the classic late seventies first four solo albums of Tony Allen remastered and restored: Jealousy, Progress, No Accomodation for Lagos & No Discrimination, all coming in an heavy Deluxe Tip-On Jacket.
Recorded with Afrika 70 at the height of their power as Fela Kuti’s band, these are seminal recordings in the pantheon of Afrobeat history. Once again, Comet Records has the opportunity to shine a light on the sheer musicality and originality of the humble drumming giant. Tony Allen’s passing in April 2020 sent a shockwave across the world, as fans and collaborators from Lagos to Brooklyn and everywhere in between mourned the loss of a generous and powerful being, the kind of being we thought would live forever. Thankfully, we have the gift of Tony’s timeless music, starting with these four special solo albums, through which his musical voice guides our dancing feet and full hearts forever.
Produced by Fela Kuti in 1975, Tony Allen’s first solo album with Afrika 70, Jealousy, is like the man himself: light on its feet yet deeply settled, spacious yet bursting with magical talent. On the title track “Jealousy,” Tony is joyously in his element, conducting one of the mightiest bands in the world - he is the head chef, and the band is cooking. The second track, “Hustler,” features one of the most iconic solos in drumming history, a rare glimpse into Tony’s gift of musical phrasing - it is possibly the best example of Tony’s ability to literally
speak through his beloved drumset.
Tony Allen possessed magic within him, which he spent his entire life sharing with us through his drumming hands, tapping feet and generous heart. That magic is ever-present and strong on these formative solo albums - they are must-haves for Afrobeat fans across the globe.
2025 Repress
Comet Records presents the Tony Allen & Afrika 70 reissue series with the classic late seventies first four solo albums of Tony Allen remastered and restored: Jealousy, Progress, No Accomodation for Lagos & No Discrimination, all coming in an heavy Deluxe Tip-On Jacket. Recorded with Afrika 70 at the height of their power as Fela Kuti’s band, these are seminal recordings in the pantheon of Afrobeat history. Once again, Comet Records has the opportunity to shine a light on the sheer musicality and originality of the humble drumming giant. Tony Allen’s passing in April 2020 sent a shockwave across the world, as fans and collaborators from Lagos to Brooklyn and everywhere in between mourned the loss of a generous and powerful being, the kind of being we thought would live forever. Thankfully, we have the gift of Tony’s timeless music, starting with these four special solo albums, through which his musical voice guides our dancing feet and full hearts forever. Progress showcases Afrika 70 doing what they do best: digging deep and bringing the force, but always with
remarkable restraint and swagger, propelled by Tony’s steady hands and feet. The title track, “Progress” starts with a bang and never loses steam - a performance so fierce that it stands alongside Fela’s most
powerful anthems. The second track, “Afro Disco Beat” shows Tony Allen at one of his creative peaks. He tells: “What I was saying on Progress was that instead of fighting Fela for money, I was trying to progress and create on my own. Progress is what a hard worker is looking for I had to look it for myself” (Taken from Tony’s autobiography by Michael Veal). Tony Allen possessed magic within him, which he spent his entire life sharing with us through his drumming hands, tapping feet and generous heart. That magic is ever-present and strong on these formative solo albums - they are must-haves for Afrobeat fans across the globe.
Sukh Knight's DAKU imprint comes strong again with its 3rd vinyl release, this time with some of Sukh's classic tracks getting the remix treatment. The title track is Cimm's much sought after monstrous remix of 'Diesel Not Petrol', with Cimm adding his trademark crisp drums, and extra riffs and stabs to give this classic track a modern vibe. This one has been in constant rotation in both Dubstep & Grime scenes getting instant reloads. On the B-side, finally getting a release after being a treasured dub for 12 years, is the VIP mix of Diesel Not Petrol, this one also still sounding as fresh and heavy as it did all those years ago. To top it all off, Mystic State come with their deep, heavy meditation vibes on the remix of 'Shutdown', guaranteed to take you on a journey. Timeless music!
Black Truffle is pleased to announce Ashioto, the first international solo release from Japanese drummer-percussionist-composer Tatsuhisa Yamamoto. Active for over a decade, Yamamoto has performed and recorded extensively with artists such as Jim O’Rourke, Eiko Ishibashi and Akira Sakata, as well as participating in innumerable improvised and ad hoc groups.
Ashioto presents two wide-ranging pieces that combine Yamamoto’s percussion work with piano, field recordings, electronics, and contributions from guest musicians Daisuke Fujiwara and Eiko Ishibashi.
Beginning with a passage of chiming metal percussion, the first side slowly builds into a rolling, open groove reminiscent of Yamamoto’s work on Eiko Ishibashi’s acclaimed Drag City LP The Dreams My Bones Dream. Spacious piano and synth notes, along with Ishibashi’s spare melodic figures on processed flute, hover above this propulsive rhythmic foundation, the whole effect adding up to a more abstract take on the area explored on Rainer Brüninghaus’s ECM classic Freigeweht. The LP’s second side opens up a cavernous space filled with ominous electronics and shimmering metallic percussion, which organically transitions into a passage of rumbling piano chords and mysterious concrète sound. Later in the piece, Daisuke Fujiawara’s saxophone enters, playing melancholic melodic fragments that are looped and layered, creating a seasick swaying effect familiar to listeners of James Tenney’s works with tape delay systems. Beginning as delicate bass drum pulses, Yamamoto’s accompanying percussion eventually builds the piece into a raging torrent of free-improv splatter, processed sax and fizzing electronics.
Though grounded in instrumental performance, Ashioto is very much a studio construction, making inventive use of electro-acoustic principles in its editing and mixing. Together with its sister Ashiato – a different take on the same ‘script’ released simultaneously on Japanese label Newhere – Ashioto demonstrates to an international audience for the first time the true breadth and ambition of Yamamoto’s work.
Mastered by Jim O’Rourke. Cover photos by Kuniyoshi Taikou. Design by Lasse Marhaug.
a a1. Turn Around And Count 2 Ten Y&Co."B" Mix 7.54
b a2. My Heart Goes Bang Love Machine Remix 5.05
[c] a3. Hit And Run Lover [Ventura Mix] 5.01
[d] b1. You Spin Me Round (Like A Record) [Zi Zone Mix] 4.35
[e] b2. Something In My House [Deadend Of Eurasia Mix] 5.42
[f] c1. Lover Come Back To Me [Earthquake Mix] 9.31
[g] c2. Isn't It A Pity [Bustard Remix] 5.15
[h] d1. Just What I Always Wanted [R.M. Hyper Techno Mix] 4.47
[i] d2. Blue Christmas [P.K.G. Remix] 4.32
[j] d3. I Paralyze [B4 Za Beat Remix] 6.35
This classic album, released in July 1972 on the back of three chart-topping T.Rex LPs – provides a perfect snapshot of the era the press dubbed ‘T. Rextasy’ and is proof of Bolan’s extraordinary and enduring appeal across the generations.
The Slider contained two UK Number 1 hit singles, Telegram Sam and Metal Guru and the first to bear the T. Rex Wax Co imprint, a seal of approval from EMI Records, who felt Bolan sufficiently important to warrant having his own record label. This edition features the complete album remastered by producer Tony Visconti and Ted Jensen.
Dukes of Chutney, the transcontinental trio of Dustin Lynn, John Paul Jones, and Petra, explore the different spaces and places, between nothingness and nature, that nurture inner and outer peace for their debut full-length Hazel. Cosmic yet intimate, long-gestating and free-flowing, diffuse and centered, Dukes turned toward their immediate sanctum, and a network of friends and colleagues, to realize the vision of Hazel. “Pretty much everything we do is without purpose,” the Dukes admit, in line with their pursuit of joy. But it’s not empty hedonism or passivity at play on Hazel, so much as an expression of freedom. “Why not?” was scribbled on the white frame of the Polaroid documenting their first appearance on Tim Sweeney’s Beats in Space many years ago, and it remains their motto, their mantra.
The Magic Movement welcomes Anatta to the family with her Fields Of Play EP.
Following her debut Album on Random Collective, her new EP comes as a four-track package:
In the original mix, Anatta invites us to discover a sonic world between pitched down UK House and future-primitive downbeat.
Rough Drumbeats, quirky synths, and catchy vocal chops guide us through a sophisticated arrangement with unforeseen twists and turns.
Salon des Amateurs resident Tolouse Low Trax delivers the 'Knights & Wheels Remix' in his signature style: While a hypnotic vocal loop hooks you up from the very beginning, minimalistic and dreamy synths slowly submerge the listener into a jam of stripped-down Lo-Fi funk.
The 'Beat Mix' by Rio de Janeiro's sound wizard Carrot Green and long time family member of the label, speeds up the tempo, and puts together a groove of classic electro boogie vibes with a P-Funky bassline that sounds like a futuristic liaison between Afrika Bambaataa and George Clinton.
Increasing the UK house vibe with strong drums and a wobbly bassline, Noema's 'Acid Ghetto Style Remix' works the mysterious vocals of Anatta into a delicious hook and creates a highly animating and fun dancefloor monster.
And now, let's get weird!!!
Factory Benelux and New Order present Of Factory New York, a unique benefit album released to assist Michael Shamberg, who ran the NYC office of Factory Records during the celebrated label's Eighties heyday.
The Sly Stone sampling, scene smashing hip hop track 'Because I Got it Like That' that launched the Jungle Brother's to the world in 1988, housed on their groundbeaking debut album 'Straight Out The Jungle'.
Original copies of the single now change hands for £50 if you’re lucky so a fully remastered, official reissue is exactly what the doctor ordered! Backed with the rare Ultimatum mix (aka The Stereo MC's).
Finally, after 53 years, "I Caught You In A Lie" is now rightly regarded as one the GREAT New Orleans Soul classics.
Whilst many people may only know the various cover versions, Robert Parker's original sublime slice of heartfelt Soul has steadily built in reputation, especially recently. That's why original Nola copies are £150+, even for battered ones! So here is the official legitimate, remastered repress on the sacred Nola label.
Washington collective, The 3 Pieces, privately-pressed Iwishcan William on their own DL Records in 1982. The 12 has Discogs, for one, confused. Is it soul, rap, jazz, go-go, funk, electro, or educational? By nature of its birthplace and date of birth, it`s all of those.
Synths shimmer in harp-like glissando. The bass grumbles, rumbles, machine-made. The beat pops and locks. The whole thing grooving and exuding positivity. One part the cosmic funk of say Cloud One`s Patty Duke. Another, the balearic chug of Will Powers` Adventures In Success. Like Brother D it looks to “agitate, educate, and organize”, and stirs in the sentiments of Razzy`s I Hate Hate. Imagine if the Last Poets jammed with sister Sarah Webster Fabio. Keys parp like car horns, a real trumpet blows a Don Cherry solo, but the track really revolves around its sweet Sesame Street call-and-response chorus:
“I wish love. I can love. I will love. I am love.”
Swiss gentleman DJ and Phantom Island resident, Lexx, produces a killer remix - smoothing out the OG`s jerky edges, upping its sophistication. Making clear the contributions of Lexx` new bubbling electronics. rescuing a clipped guitar, previously lost deep in the mix, and moving the children’s voices to the fore. Ensuring you’ll remember that
““I am” is the glory of a wish come true.”
Idjut Boy Dan Tyler then ties up the package, well he actually kinda sends it out into space - expanding everything in echo. NYC Peech Boys-esque delay. The result is a mind-blowing, psychedelic, almost ambient, Larry Levan-like, Paradise Garage dub. Where fragments of song fly at you from four corners. Trippily pan from left to right. The horn blasts now paying tribute to King Tubby`s Hi-Fi. François Kevorkian going bang!
All carefully mastered with love from the original master tapes by Sam Berdah at The Wall studios.
Steve Von Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the gothic Americana he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil.
FOR FANS OF : MARK LANEGAN/MICHAEL GIRA/NICK CAVE.
Over the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.
Von Till’s fifth solo album is a swirling and iridescent blend of ambient, neo-classical, and gothic Americana that swan-dives into the darkness of modern life, with the resulting emergence a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form.
With a foundation of simple melancholy piano chord progressions embellished with mellotron, cello, french horn and electronic treatments Von Till's scorched ache spreads across the terrain of No Wilderness Deep Enough like a brushfire, adding a tactile level to his sonic creation as well as an inviting level of friction to the burning beauty painted across the album's framework.
With a foundation of simple melancholy piano chord progressions that came to fruition during jetlagged nights in his wife’s childhood home in Germany, No Wilderness Deep Enough was further embellished with mellotron and electronic treatments in Von Till’s home studio in North Idaho. Viewing the emerging result as an ambient instrumental album, he consulted friend and engineer Randall Dunn (Marissa Nadler, Earth) about adding live cello and french horn and piano in a proper studio. After enlisting Brent Arnold on cello and Aaron Korn on french horn, he challenged Von Till to sing over the music and make it his next solo album—which is exactly what happened, with final work being completed at Tucker Martine’s (the Decemberists, Neko Case) Flora Recording and Playback in Portland.
The second offering by Julie Carpenter’s textural orchestral entity Less Bells takes its title from a storied strain of decorative objects worn in remembrance of lost loved ones: Mourning Jewelry.
The album shares a similar mood of devotional pageantry, stirring ornamental laments born from a need to “create beauty out of grief.” Utilising an amalgam of strings, synthesisers, and choirs, the pieces ascend and descend in grand, glimmering arcs, ebbing from passages of “baroque complexity” to expanses of haunting emptiness. Certain songs also skew more overtly western than ever before, deeply reverbed plucks of banjo refracted against glowing horizons of sunrise drone: Americana gone ambient.
Furthering the music’s mystic intentionality, the track titles comprise “the major arcana of a tarot deck from an alternate universe,” lorded over by the “Queen Of Crickets,” ruler of “The Gates,” “The Fault,” and “The Fang.” Even so, the record requires no psychic divination to glean its fragile majesty, its muted tumult of mirage and melody. The beauty it possesses is too blatant, and bountiful.
The Drumcode founder is measured when it comes to signing music to his own imprint, biding his time till the stars align. His last individual outing was 2015’s ‘Stone Flower’ EP, which included the thrilling label favorite ‘What You Need’.
A succession of classy collaborations followed, linking with DC’s most vital artists highlighted by ‘Your Mind’ with Bart Skils, proclaimed one of the best tracks of the last decade by Mixmag.
An EP that gives a nod to uncertain times, while remaining resolutely positive, ‘No Defeat No Retreat’ was written during Beyer’s fruitful production sessions during lock down. The opening track, ‘Park People’ sets the pace with an energetic, 80’s nu wave creating the track’s spine. Its hypnotic energy stems from a powerful synth riff and vocal sample culminating in a skillfully balanced track that neatly combines the old with the new.
The title track is a study in contrasts, deftly crafting a muted, nagging vocal hook and infectious bass line into a slice of forward-facing, edgy techno.
With its subtle, undulating layers of melody building in the background, it ushers in an understated sense of euphoria, making it a perfect end-of-set mood-maker.
A thrilling return!
Tape / Cassette
Brand new 70 mins blast from the Hair & Treasure crew pressed a double dung casing for your listening (dis)pleasure.
Recorded between 2017 - 2019 into Uncle Eddie's VHS player, magik happens inside the Archers boudoir.'
In the band’s own words:
‘’A clumsy wife with a tricky nose wants to feel deserving of her husband and a former male beauty pageant winner wants his out-of-place arm implants revised or removed.
Rating 6.2 “
Etrusca 3D is a new band that merges two current Audio and visual artists from the 21st Century, Francesco Cavaliere and Spencer Clark.
The album is the first to be released by Spencer Clark's label Pacific City Discs, as a subsidiary and in collaboration with Discrepant.
‘’One cannot underestimate the result of stating the names of certain gods at high voices. Something that sinuous and quiet enters into this disc for you to listen. What if the Etruscan Civilization instead of transforming or amalgamating into the roman one, was instead passed on to other worlds? Were the tombs, their spiral idols and funeral decorations a meticulous method for transmuting to something else?
Etrusca 3D is the juxtaposition of two imagineers friendship, as Francesco says, 'because I am Etruscan and you (Spencer) are 3D." There is a piece of the future of Etruscan civilization contained within this disc. It is with Spencer's remote viewing of a past and future creative culture and Francesco's birthright that we find a true insinuation of civilizations world body.
We decided to invoke various Etruscan deities or spirits by sampling Francesco's voice uttering their name. We put them inside the Emax 2 3D machine and we began to play these deities and thus incorporate a fresh and ancient music language to present the 21st Century Etruscan experience. In the meantime, these musical stories turned into Francesco's imaginary storytelling style to further present a narrated record of the intuited activities of Etruscan Gods...’’ - Francesco Cavaliere & Spencer Clark
All songs by Spencer Clark & Francesco Cavaliere
After the launch of his very own label LTF Records earlier in April, Franky Rizardo is presenting his second release ‘Polaris EP’, four tracks that capture the unique rollercoaster of emotions that the last few months have been:
“Polaris was made the day after the announcement of the lockdown measures in the Netherlands. The gravity of the situation started to settle in and for me it meant that my summer agenda had been cancelled. The feeling of trying to accept this fact and keeping my spirits up evolved into this track. Which is uplifting but hits the feels as well.”
Polaris reflects the melancholy over a lost summer, but channels POSITIVITY and determination to make the best out of the situation.
As one of the Netherlands finest house music exports Franky Rizardo has been making and playing music for most of his life. With the global Corona pandemic, he, as well as the industry as a whole, is looking towards an uncertain future when it comes to performances, clubbing and coming together on the dancefloor. However, Franky is keeping his spirits up and continues to focus on his own output and creativity through his newly founded label LTF Records.
In times of social distancing, he is connecting with his fans through live streams such as De Marktkantine, Verknipt and Straf_Werk, as well as at the first social distancing gigs (with COVID-19 safety rules) such as Thuishaven (Amsterdam) and Kiesgrube (Duisburg).
In tough and uncertain times like these, Polaris EP comes as a message of positivity and inspiration, to light up peoples’ days and remind them that regardless of the situation now, there’s a silver lining.
For anyone who can remember, Arca's &&&&& was a moment. Its 25-minute stretch of coiling, contorted grime and glitch; dub and hip hop dropped with the buzz of an impending co-production credit on Kanye West's Yeezus in 2013. It included cuts of sound and beats that were too weird for that pop project, while becoming a piece of experimental art that what would come to define what is by now broadly known as a `post-club' sound. It's music that is as visceral as it is experimental; made as much for the mind, as it is for the body. Released with no warning seven years ago, &&&&& became a bridge between Alejandra Ghersi's time partying and collaborating with her queer peers, while still living in New York to the next stage of her career releasing on Mute in London. She'd go from making beats for rapper Mykki Blanco and fashion label Hood By Air, posting lurching bass reworkings of pop hits on YouTube, and producing her first fluid mixtapes with DIS Magazine, to finishing off this seminal mixtape on the synths in Daniel Miller's studio. After dropping three impressive EPs the year before, &&&&& marked a transition. Continuations and extrapolations of material from Stretch 1 and Stretch 2 appeared in the mangled RnB sampling of "Century" and Arca's signature vocal layering in the pitched flow of "Waste". Along with the fluttering, muted heartbeat of "Obelisk", and the lumbering piano chords of "Mother", fourteen sonic sketches were elegantly woven together into a single, downloadable whole. As Alejandra's course turned toward moving to Europe from the United States, &&&&& became a remarkable challenge to the form of the mixtape, which was a relatively new trend taking hold of the online-oriented underground at the turn of the 2010s. But where many, if not most mixtapes where treated simply as a showcase of individual tracks presaging a more `official' release to come, &&&&& was a complete piece in its own right. "I wanted to make something that was my best work," Alejandra says about a record that has stood the test of time, "I listen to it very fondly today." This reissue of Arca's 2013 debut mixtape &&&&& features an etching on side B of the vinyl.
Following contributions from Carl Craig, Stacey Pullen and Wajeed, Swiss DJ and producer Mirko Loko steps forward to mix the fourth volume of Planet E's mix series, Detroit Love. Active since the late nineties when he first began DJing in the clubs of Lausanne, Switzerland, Mirko Loko has always felt a deep connection to the music of Detroit. Having been personally invited by Carl Craig to play at the Detroit Electronic Music Festival in 2001, that connection has stayed consistent and electric ever since. Mirko Lokois also known as a Cadenza mainstay and a curator of Verbier's Polaris Festival, but the music of the Motor City has been the guiding force of his creative career.
Having earned BBC Radio 6 play from Gilles Peterson for last year’s track ‘Vortex’ , Japanese duo
Ohnesty today announce their next release, ‘Movin’ On’ EP, out on 22nd May on Highball. The
project unites two influential talents from Fukuoka’s burgeoning underground scene: BRISA, the
adventurous and eclectic producer/DJ who spans everything from nu-jazz to acid house, and shigge,
founder of the Yesterday Once More label.
The EP makes an immediate statement of intent with the title track. Underpinned by a lurching,
mechanised groove, it swings unexpectedly into a stuttering, pitch-shifted vocal cut alongside insistent
hi-hats and the kind of soulful female vocal sample that’s a hallmark of deep house. The track demonstrates Ohnesty’s unique style. On one hand, they’re constantly pushing an audacious sense
of creativity into a progressive-focused track. Yet at the same time, they never lose sight of the
importance of making it sound both engrossing and energising.
Its second track ‘K&T’ focuses those traits in a completely different direction, blending elements acid
jazz, late ‘70s disco and French Touch into their own vision. And finally ‘Need You’ echoes yacht rock
and ‘80s movie scores with sweet synths and the booming gated reverb drum sounds.
The ‘Movin’ On’ EP is completed by a remix of ‘Need You’ by British producer Happa . One of the
youngest artists to have ever DJed at Berghain, Happa’s production talents have also been called on
by the likes of David Byrne, FKA Twigs and Trim.
Ohnesty released their debut EP ‘Time To Be Honest’ last September on Yesterday Once More. It
was followed by an accompanying remix package , which included intreprations from the likes of
Metome and Daijo Kaisei.
The ‘Movin’ On’ EP is the second release from the new London-based Highball Records. Aiming to
highlight essential, forward-thinking new music from Japan, the label debuted in March with
Foodman’s ‘Dokutsu’ EP.
BSP // Bispebjerg is a record label that presents music from Copenhagen based artists and affiliates. BSP is closely related to the Copenhagen Underground Posse, music and party collective that where active on the Copenhagen scene for the past 8 years.
Behind the label are Philip Jun Kamata, has been making music for nearly two decades, where he, among other things released the underground bass sex anthem "you dont know what love is" on Hyperdub. J Kamata is debuting on this V/A two new alter egoes; the 313 high tech funk inspired Jun Anthony, as well as his raw electro moniker Sequential Hill.
The other half of the label, Daniel Savi has been active in the club scene for a good while, primarily releasing on house labels such as Underground Quality and Tartelet Records. For this release he hits you hard with his bass alias Savi DJ.
With BSP we attempt to build a universe with Jungle, Electro, House, Booty Tech and their derivative genres. The first release is a V/A consisting of 3 different artists as well as remix from local hero Kasper Marott (Kulor, Axces).
Release comes in white discobags w. blue sticker on front and double sided foto insert.
Track descriptions
A1. Jun Anthony - 313 Garage. 06.38
Jun Anthony presents his groovy take on a garage track under a heavy 313- high tech funk influence.
A2. Jun Anthony - 313 Garage (Kasper Marott Remix) 05.53
The second cut holds a dubby, deep and groovy remix from Copenhagen rising star Kasper Marott.
B1. Sequential Hill - Jakd Oscillateurs - 05.29
Jun's alter ego Sequential Hill presents a punk approach to electro - Raw, but with a tiny soft spot for lofty strings and emotional pads.
B2. Savi DJ-Djungle (Slow edit) 06.08.
Savi DJ presents savvy bass grooves on this revivalist jungle cut, in a slowed down version for your mixing pleasure.
For PM002, Antechamber ’s tectonic plate shifting grooves are carved into slabs of deep-dyed ochre vinyl. Four new tracks bring uncompromising sounds for the mature palette. Antechamber’s sound
blends opposing feelings of claustrophobia with a bold transporting musicality that reveals 25 years of perfecting a craft.
The opener, Archaic Idol, is a rude awaking in a foreign land - and alludes to the iconoclasm evident in the shattered panes of the cover artwork by Alcarcia. Track two, Ossolstone lays down the foundations for the new reality. Sparse, rich reverb, allowing the blocks to fall into place as the listener discovers and becomes acclimatized to the new sonic reality. Opening with an exquisitely dense and profound synth we are plunged into a landscape where Antechamber has free reign to show off skills.
Bordering on regimented syncopation, yet with enough space to allow the track to breathe. Susurrus pulses in an organic sense, tapping into a primordial vision. Remix duties are handled by Lemna (Japan) and Lakker (Ireland). Lemna’s take on Archaic Idol opens up the sound. The emotional heart of the original is maintained but with an unexpected direction that rewards the listener with lavish full range
mesmerizing intention.
Concluding the release, Lakker stamp their unmistakable mark on Ossolstone. A haunting circular bass competes with high-end percussion.
Senthulà is one of the many aliases of musical jack of all trades José Guerrero, a long standing figure in the already rich underground scene of Valencia. In this solo excursion he explores the vast possibilities of mechanical repetition, the machine funk of dirtbag rhythms and proper boogie DIY synth music, sculpting a syncopated sound that is both modern and atavistic. Coming from a deep knowledge and ability to communicate very diverse sounds, slow jams unfold into dance music for clear eyed lounge lizards for whom sleaze comes not dizzy but focused. Whitened african rhythms beat up no wave disco pleasure points, managing the hard task of being very cool and nonchalant, but also hot and dedicated.
This closed door nightclub music will appeal to fans of the new developments in dance music that put Cabaret Voltaire, impLOG or Orchestre Poly-Rythmo de Cotonou into XXI Century basements. The record comes also with a killer remix by Tolouse Low Trax, probably our favourite producer in modern rhythmic music.
Widely and rightly regarded as one of the best ever soul and funk bands, the now legendary Average White Band tore-up the rule book and conquered the US, UK & International charts with a series of soul and disco hits between 1974 and 1980.
AWB’s repertoire has been a source of inspiration and influence for many R&B acts and they are one of the most sampled bands in history, remaining relevant today, continuing to reach new generations of younger audiences.
Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have all borrowed sections of their grooves.
Having split in 1982, Average White Band re-formed in 1988 with a different line-up but with Alan Gorrie, Onnie McIntyre and Roger Ball remaining. ‘Aftershock’ is the Band’s 11th album, originally released in 1988.
‘Aftershock’ includes the singles ‘The Spirit Of Love’, which features Chaka Khan and Ronnie Laws, as well as ‘Sticky Situation’. Other special guests include The Ohio Players.
This is the first ever vinyl release of the now defunct Parisian formation None, whom have left very few traces of their recordings apart from a furtive tape appearance; keeping true to their name by favoring the intensity of their live performances to conventional sound fixations. Although only one single recording remained following the band’s dissolution back in 2019, the oddly titled Khneï Khneï Thnacapata Thnacapata is a compelling demonstration in self-restraint as well as one of the very few relics left to cherish of the short lived group. Arranged as a forty minute long movement, the posthumous album swallows us through free improvisation, jazz and post-punk in a composed mayhem that echoes their equally intense live conduct where steadfast drums and far out cassette manipulation meet head-on with troubled saxophone blows, lonesome crippled guitar action and unintelligible vocals in which to lose one’s mind.
Widely and rightly regarded as one of the best ever soul and funk bands, the now legendary Average White Band tore-up the rule book and conquered the US, UK & International charts with a series of soul and disco hits between 1974 and 1980.
AWB’s repertoire has been a source of inspiration and influence for many R&B acts and they are one of the most sampled bands in history, remaining relevant today, continuing to reach new generations of younger audiences.
Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have all borrowed sections of their grooves.
Following an eight-year hiatus, Average White Band returned in 1996, recording ‘Soul Tattoo’, the Band’s 12th album, at Daryl Hall’s studio in New York State.
‘Soul Tattoo’ includes the single ‘Back To Basics’, with Hall & Oates collaborator Klyde Jones, on lead vocals on ‘Every Beat Of My Heart’, and Daryl Hall appearing on ‘I Wanna Be Loved’, which was co-written with Alan Gorrie.
Widely and rightly regarded as one of the best ever soul and funk bands, the now legendary Average White Band tore-up the rule book and conquered the US, UK & International charts with a series of soul and disco hits between 1974 and 1980.
AWB’s repertoire has been a source of inspiration and influence for many R&B acts and they are one of the most sampled bands in history, remaining relevant today, continuing to reach new generations of younger audiences.
Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have all borrowed sections of their grooves.
Following a seven-year break, Average White Band returned in 2003, with their most recently released wholestudio album, ‘Living In Colour’, which includes two soul classics in ‘I’m Gonna Make You Love Me’ and Major Harris’ ‘Love Won’t Let Me Wait’.
The full album line-up comprised Alan Gorrie, Onnie McIntyre, Klyde Jones, Fred Vigdor and Brian Dunne, along with additional musicians Eliot Lewis ,Cliff Lyons, John Fumasoli, Tony Kadleck, Bill Harris, Carlos Gomez, Joe Najmy and Rob Aries.
Repress!
Wewantsounds presents this reissue of Billy Brooks' much sought-after album 'Windows Of The Mind', released in 1974 on Ray Charles' Crossover Records. It includes one of the most famous samples in hip hop history in the form of 'Fourty Days' which forms the backbone of A Tribe Called Quest's 1990 anthemic "Luck of Lucien". Newly remastered, the reissue comes with original artwork.
"A deep oceanic trip from BLNDR supported by an hypnotic killer remix from Voiski.
All of it in a full colour sleeve with a clear dolphin vinyl.
(might work as an underwater ID when you are diving as well)
What else could you want ?
Close your eyes & enjoy the ride..."
Vinyl Edition Featuring New Art! Features Guest Verses From Cormega, N.O.R.E., Meyhem Lauren, Freddie Gibbs, And More Plus Guest Production From Alchemist, DJ Premier, Pete Rock, And More. Kool G Rap doesn’t let his legend status stop him from continuing to do what he loves. Last year, the Corona, Queens veteran dropped his ‘Return Of The Don’ album, and in 2018, he’s following up the solid effort with a collaborative album full of heavy hitters behind the boards and on the mic, alongside Rochester native 38 Spesh (aka $pesh), who linked with Griselda Records’ Benny the Butcher earlier this year for the well-received ‘Stabbed & Shot’ album. The album’s tracklisting boasts veteran features like Cormega and NORE, while also brandishing newer school spitters like Freddie Gibbs and Meyhem Lauren, and Griselda Records’ Benny The Butcher. Behind the boards, as mentioned, KGR summoned production akin to MCing prowess. Alchemist heads up “Land Mine” while DJ Premier and Pete Rock lay the beats for two tracks each. Album mainstays Midnite and 38 Spesh handle most of the rest of the production. Overall, the project is a lot of what you’d expect from Kool G Rap: grimy street rhymes full of stories of peril and the beats to match. On “Land Mine,” the duo of 38 Spesh and Ransom provide a rather introspective look-back on their troubled come up while a song like “Flow Gods” reminds everyone that G and his assembly are nothing to be taken lightly when it comes to witty wordplay and velvety smooth bars.
One of the most successful German jazz musicians, Nils Wülker has won multiple awards, and collaborated with the likes of Jill Scott, Craig Armstrong, OmaraPortuondo (Buena Vista Social Club), and Peter Vettese.
“Go” is Nils’ excursion into the world of electronics. The recording is "maximally not live" with analog synthesizers, the arpeggiator, the organic loops and beats.
In contrast it presents some of his most beautiful compositions so far - and his most dynamic trumpet playing beyond his live albums and concerts.
Recorded with members of his live band, as well as American trumpeter Theo Croker on "Highline", their remote duet.
We welcome to the Moustache Records family the oldskool electro legend Martin Matiske with his Electronic disco-ish 12 inch EP release "Robotic Theatre" This is a future vision of a theatre run by robots and is the era in which machines entertain mankind. Operas are written and played in a mechanical way. The pieces of "Robotic Theatre" deal with different terms of stage work. Track A1 is called "Acting Faces" and Refers to the rehearsing of the role, as well as the interaction of the actors on stage. The well-being of the actor does not often match what is played. He has to play even If it's painful. B2 is the track called "Machinery" Human beings are machines that build machines today. The advantage is perfection and time saving. Robots as actors are reliable and precise. B1 listen to the name "Transistor Dances"its Like The Hungarian Dances by Johannes Brahms you just need a dance to express happiness and remind your culture. Dances bring people together. A robotic dance should not be missing in a play. The last track of the EP is the tune "Practise" a story about a robot the has to practise to achieve perfection and it is fun." Don'tplay this underwater order now gone is gone.
Yogg and Pharaoh - The Neverending Gever Remixed PRLX08RMX Coming out soon on Parallax Records - Tel Aviv duo Yogg and Pharaoh unleashing a 2X12” remix pack featuring remixes by Answer Code Request, CUB Regis and Simon Shreeve, Shxcxchcxsh, Luigi Tozzi and Amandra. Ranging from peaktime breaks in ACR’s familiar style, to CUB’s dub-infused meditation, the result is a coherent 6-part collection of their last record, reworked to the edge. The Neverending Gever Remixed sheds new light on Pharaoh and Yogg’s unique world of sound as in Shxcxchcxsh’s crackling wall-of-sound reinterpretations, to Luigi Tozzi and Amandra’s lush atmospheres, this release is a real journey through the fascinating world of modern techno.
* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.
* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.
* The 6th release on the celebrated Deep Seven Records label was the last Desired State production to emerge out of the Ram/Liftin Spirit HQ. Under the alias ‘Faze Lock’, 2 more 1993 Hardcore rollers emerged in the form of 'Come Again' and 'Feel It'.
Utter presents Danny Wolfers' aka Legowelt's cult spywave album 'Schaduw Horizon' on vinyl for the first time. Initially released on CDR on Wolfers' Strange Life label back in 2008, this DX7-drenched soundtrack was influenced by real locations near Wolfers' coastal dune studio in The Hague.
Set in the depths of the cold war at an abandoned zoo, it scores the imaginary story of Percival, a NATO animal parapsychologist researching the extra-sensory powers of a Siamese cat and a chess-playing chimpanzee named Albert. After the Soviets discover the project, Percival's team members are assassinated one by one, forcing him and his animal friends to escape in a small sailboat towards a mysterious island...
The album has been remastered by Wolfers then transferred and cut by Helmut Erler at D&M. It is housed in a deluxe gatefold sleeve that opens to reveal detailed stories behind each track, while the entire back cover is a life-size chess board for any budding Alberts wishing to play a game. A special 'confidential documents' envelope completes the package and contains a map of the abandoned zoo, a top secret letter including coordinates of the locations featured in the story, DX7 schematics, foldable chess pieces and a 'Schaduw Horizon' sticker.
Rare musical magic from the Bruton library catalogue – ambient, spacey, pastoral and electronic. Music by John Cameron, Alan Hawkshaw, Fran-cis Monkman, Brian Bennett and more – all total masters of the scene. All very cool. All very now. All will sell very fast.
Over the last three decades Jonny Trunk has collected and written about library music. But he’s never had a great deal of luck with the Bruton catalogue. By this he means that he’s never stumbled across a massive stash, or lucked-out buying a huge run for practically nothing –that’s the kind of thing that used to happen in the 1990s and the early noughties if you were out there looking hard for library music. But he did manage to get about 25 in one hit about 20 years ago when the BBC shut down their “TV Training Department” near Lime Grove and also when a box of Brutons ended up being dumped at a hospital radio, and they didn’t want the records, so Jonny got a call.
There are lots of Bruton albums in existence – over 330 LPs in the vinyl catalogue, issued between 1978 and 1985. That’s a lot of music to wade through if you are looking for sublime modern day sounds. For many years now the “trophies” from the Bruton catalogue have been the beat or action driven LPs – the two Drama Montage albums (BRJ2 and BRJ8) have always been the big hitters, and others such as High Adventure (BRK2) too.
But Jonny has always found himself drawn to the lime green LPs, the pastoral, peaceful albums (The BRDs), which were full of the kind of gentle, lovely music that would turn up in Take Hart as Tony was paint-ing a woodpecker or a badger or an Autumn tree. The other Brutons he likes are the orange ones (The BRIs) simply because they are full of ex-perimental futuristic electronics and would remind him of 1980s ITV backgrounds. This LP series includes Brian Bennett’s cosmic classic Fantasia (BRI 10). Jonny has been knows to refer to this style of library music as “Krypton Factor library”, because it’s exactly what that strange but successful 1980s TV quiz show sounded like.
In recent years as interest in library music has expanded, we’ve watched
the price of a handful of Brutons really going through the roof - not the just the action and drama ones, but the more esoteric and experimental LPs too – like the BRDs and the BRIs. Jonny gets the vibe that people fi-nally want to hear this other more interesting and experimental side of the Bruton catalogue. So what better time than now to put together a compilation of such sublime period sounds.
Not only does this album bring together a set of fabulous cues that would cost the average man in the street a month’s wages (if the origi-nals were all wanted and if you could even track them all down), but it also chops out the need to listen to other tracks on library albums that are nowhere near as good.
The cues here all date from between 1978 and 1984. They come from the BRD, BRI, BRH, BRJ, BRM, BRR and BRs catalogues.
The composers are all legends within the genre, and here, were doing what great library composers do best – fulfilling a brief and utilising modern studio equipment to both commercial and beguiling effect.
* First appearing on A&O’s album `King and Queen’ in 1991, `Pure and Clean’ became an instant classic, with Jah Shaka cutting the track and running it on dub. Fast forward to 2013, Partial Records release it on 45 for the first time backed with one of the Shaka-championed dub cuts,
it remains the best fastest selling 7” on Partial.
* So, all good things come to those who wait. Partial have repressed it with 300 only copies available, with a tasty hand stamped outer sleeve.
The MINDFULNESS HIPERNORMALISATION album itself marks a new turn in Eduardo's work, breaking away from any musical style or stereotype and always trying to seeking freedom of expression,marked also by a strong connotation of voluntary ostracism.A new stage in which Eduardo uses this double vinyl like a tool to mark a distance with the current international scene and also support the Adam Curtis theories shown on his acclamed documentary "The HiperNormalisation" 2016 . The album show influences that goes from romantic ambient melodies to the most complex and experimental electronica,also including easy listening techno where it is difficult to differentiate the line between techno and ambient.
Francois Kervorkian,DJ and official engineer of albums belonging to Depeche Mode or Kraftwerk, gives support to this great work of Eduardo which will remain in the near future and without any doubt as a cult album.
At the end of the 90s, a movement began in West London that birthed a fresh direction in dance music. Though this movement never got mainstream press coverage, never had a crossover chart single, and never really transcended its community roots, there was a unique alchemy at work - a fertile moment of creativity, where a group of friends began to experiment with new cadences, rhythms and distilled influences, crafting a new direction in the attics and bedrooms of their neighbouring postcodes. Their music was a head-on collision between the sounds they had been raised on; the reggae sound system culture of Notting Hill Carnival, the sophistication and sheen of Electro-Funk, Jazz Fusion, Soulful House and Disco, the Afro-Beat sounds of Tony Allen and Fela Kuti, and the raw minimalism of early Hip Hop. Though "Broken Beat" was never a tagline that the producers anticipated, and one that they often publicly resisted, those two words would gradually come to represent the scattered rhythms, rolling basslines and soaring changes that were inherent to this exciting new sound. It's not clear who first coined the term "Broken Beat", but try to imagine how it felt to hear it for the first time; the production was grounded in MPCs and SP1200s, the hand-me-down samplers of the Hip-Hop and Jungle golden eras, and the drums that tumbled out of these machines at the hands of these creators had a jagged, stuttering feel, almost as though the groove was close to collapse.
* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates its 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.
* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.
* We continue our Deep Seven remasters with the 7th release in the series. 'Legal Offence' was yet another pseudonym from Ant Miles that brings us 2 thunderous mixes of the track 'Burnin'. Relentless beats and breaks make up this rare and sought after 12" from 1993 that provides that prevalent Hardcore vibe.
* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates its 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.
* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.
* Two more previously unreleased tracks from Desired State that were found in the vaults continuing their exploration of the ‘unknown lands’ of Junglistic Drum and Bass. ‘Terra Incognita’ carries a haunting atmosphere over precision tooled breaks and deep sub basses with a vocal sample taken from 'Deep Space Nine' which was a new show at the time. The flipside ‘Sub Conscious’ features vocals and Indian chants from the movie ‘The Doors’ and again rides out over original beats and vibes in keeping with the Ram/Liftin Spirit sound of the ‘94 era.
Taken from their acclaimed self-titled debut album, ‘One Hand Tommy’ is its latest single and proves no matter how strange our world seems right now, it could always be stranger…
In a blitz session of blood curdling vocals, disarticulated fretwork and wickelly deranged lyricism, ‘One Hand Tommy’ sees The Imbeciles tell us the tale of: Tommy; a child trapped in a dystopian landscape of nuclear annihilation with only a giant killer snake for company.
‘One Hand Tommy’ is the latest exhilarating track to be released from The Imbeciles self-titled debut album - out now. Comprising 13 imploded songs which rarely last more than two minutes, the album was recorded on tape in eight deranged days on the Texan-Mexican border. Packed with stripped-down musical information and resonant with atmosphere, the album was hailed by CLASSIC ROCK as “Some kind of Apocalypse Now” (✭✭✭✭). The band also gained masses of support at radio from BBC 6 Music, Radio X, BBC Radio 1, amongst others. The delirious fun of ‘One Hand Tommy’ is just another reason to believe the hype...
And now it’s been remixed by DJ Tennis & Danny Daze, Mark Broom, Suzanne Kraft and Duncan Forbes.
The remixes have picked up a fantastic amount of support from a long list of names, including this lot – Radio 1’s Pete Tong, Red Axes, Jackie House, Len Faki, Gerd Janson, Laurent Garnier, Ben Sims and more!
Legendary UK graff writer and beatmaker REQ returns to vinyl for the first time in almost 20 years since his Warp and Skint releases. Classic b-boy break manipulation and scuffed electronics are infused here with all the mischief of Smudge's influence on his work in their ongoing creative collaboration. Sure fire remixes from The Fear Ratio (aka Mark Broom & James Ruskin) and rising star and Sneaker Social Club / Moving Shadow signee ETCH, who some many know is the nephew of JAS who REQ painted with in Brighton's TDK crew in the 90s… as JB said: "Bring on the juice".
Brand new release from Turbo Guidance Entertainment! We deliver a compilation with 4 versatile dubs cooked by our wizards ! Pablo Bozzi (half of Imperial Black Unit and half of Infravision) signed "Sangria Sound System N°1", a slow burner italo-disco track. Perfect to close a cosmic set in the afternoon drinking pepper-mint lemonades! Cowbells everywhere and powerful arpeggiator. Watch out the guy, this year is going to his year! In the second position we have a reggae-disco remix from the man Androo; part of NS Kroo and also well known on the label Music From Memory. He totally switched the
original dub techno track of Babe Roots into something sweet and bouncy. Lobster for you ears. You can even ear autotune on the vocal! Awesome! Coming at the third place, here come Komodo from Indonesia! "Funky Buzz" is a perfect blend of tribal and dub rhythms with a repetitive bassline. Big delays and full effects to rock iguanas. Komodo is a rising star of South Asia, look at the sky to see him shining like a Telsa soon ! And last but not least, we serve you a sweet downtempo riddim from Mali-I aka Z Lovecraft (Rhythm Section). He built a hip-hop influenced track with aerial chords. Perfect music if you want to take the mic and try to toast like a real badboy. Only 400 copies for the world. Sleeve visual is gently printed in risography 3 colors at Shift Studio (Tunisia) - DIY each and everytime.
The different seeds that have been planted throughout the life of Croatian Amor come to bloom on 'All In The Same Breath,' affirming an equilibrium that's all its own. Spiralling through the half-light electronics are gentle bumps and breaks that are layered into moments of elevation. A coarse edge remains just an arm's length away, but there is an unmistakable element of celebration throughout the album's 10 tracks. As the syncopated terrains ring out, their perpetual rhythmic motions call a medley of human voices that speak in security. They sing to everyone just as they sing to themselves. In the years since the seminal Croatian Amor album 'Love Means Taking Action' Loke Rahbek has strode a twofold path. There are the delicate, meditative compositions that he has made with Frederik Valentin; setting acoustic instrumentation against affecting digital treatments, each of their collaborative albums are an exercise in the magnificence of subtle restraint. And with the sharpest of turns you'll find Rahbek's parallel universe of rave-shocked rhythms and kinetic helixes that eddy through genre and tempo with few constraints. Collaborations with Varg²™ have yielded the wildest of this, and remain ongoing, yet the traces were already apparent across much of the previous Croatian Amor album 'Isa' with its treated vocalizations and cascading rhythmic mechanics. 'All In The Same Breath,' arrives as a steady handed synthesis of these divergent instincts. Elaborating the distinct techniques and themes that form the wistful essence of the project, the album's quiet composure is a sign that these familiarities have been set adrift to settle into their own private ecosystem.Small vessels travel in a perfect array. Light following shadows, following light. Every movement a signal, every second is camouflage. 'All In The Same Breath' is perhaps more than anything an invitation to be open to wonder.
Truth is stranger than fiction they say, 2020 has proven it. This is not the year we asked for, but it's the year we received. Remarkably, even as clubs and social events across the world shuttered, the spirit of Techno remained alive in living rooms, bedrooms, and basements planet-wide. We hope you still draw inspiration, and excitement in the culture we've collectively nurtured for so many years. Before long we will see each other again, hug and kiss one another, and reconnect under more auspicious stars. For now, we wait. Luckily, we have new music for you to pass the time. We present our latest vinyl 12” record release: 'Life Under Lockdown', featuring tracks by Kessell (1/2 of the legendary Spanish duo, Exium), Joton (founder of Newrhythmic Rec.), HD Substance (co-founder of Sub_tl, and teacher at the Bass Valley), and JX-216 (co-founder of From 0-1). Modern, syncopated Techno for the new world.
