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KARIN RABHANSL hat ihre Seele an den Teufel verkauft. Zumindest hat es sich gelohnt: Tod & Teufel, das vierte Studioalbum der Sängerin und Gitarristin aus dem niederbayerischen Trautmannsdorf, ist eine Mörder-Scheibe geworden: Leichtfüßig grenzüberschreitend, frei von jeglicher Befindlichkeitssäuselei und weder Kaff noch Großstadt (weil du das Mädchen zwar aus dem Wald, aber den Wald nicht aus dem Mädchen kriegst). No fillers just killers, wie man in KARINs Heimatdorf unweit von Passau zu sagen pflegt. Oder wie es die Menschen in ihrer derzeitigen Wahlheimat Nürnberg auszudrücken pflegen: Liederbayern strikes back! Zugegeben: Tod & Teufel, die neue LP/CD von KARIN RABHANSL, ist ein wenig sinister geraten. Ein düsteres Rockalbum mit krummen Taktarten und allerlei Geschrei. Eine Dämonenplatte. Diesmal ist die Ringelprinzessin abgetaucht in die Abgründe und Untiefen der menschlichen Seele. Rabhansl erzählt von Werwölfen und Irrlichtern, über Alter, Einsamkeit, Stalker, Organhandel, faustsche Vertragsangebote und darüber, dass man es eh keinem Recht machen kann auf dieser Welt. Auch musikalisch hat sich einiges getan. Wenn man schon eine Rockband hat, dann kann man es auch mal ordentlich krachen lassen, nickt das Stromgitarren-Mädchen und gibt die Devise aus: Pop raus, Rock rein! Das neue Programm ist gestartet. Die Themen werden wilder, die Ziele exotischer. Ab jetzt ist wieder alles offen im Rabiversum: KARIN RABHANSL segelt weiter ins Abenteuer, immer der Nase nach, und wahrscheinlich ist es das, was wir an der liederbayerischen Niedermacherin am allermeisten mögen: ihre Neugier. Und ihre Unerschrockenheit.

Produced by Jenn Wasner of Wye Oak. LP is on coloured coke bottle green vinyl + inclues download code and 12x12' lyric sheet/ liner note insert.

Madeline will be on tour throughout the UK and Europe this Autumn.

'Building from understated beauty to dense guitar theatrics. It reminds me of Chicago circa '93 as remembered in a dream — a little bit of Liz Phair 'Exile In Guyville' - rendered in soft-focus with the graceful confidence of a young master. ' STEREOGUM

In January of 2018, five months after the release of her debut album Night Night at the First Landing, Madeline Kenney traveled from Oakland, California to the woods outside of Durham, North Carolina to record her sophomore album with a new collaborator, Wye Oak's Jenn Wasner.

The choice was a conscious decision to explore new methodology in writing, recording, production and even genre. Perfect Shapes sees Kenney leaping headfirst into fresh and adventurous territory, largely eschewing conventional rock structures in favor of theme and melody. Its ten songs are full of surprises big and small - from vibrant synth lines to taut bass figures and subtly modulated vocals - that instead of feeling fussed over, reveal Kenney's penchant for elegant and abstract composition.

Kenney's 2017 debut, Night Night at the First Landing, was a guitar-centric rock album, produced by friend and collaborator Chaz Bear of Toro Y Moi, Perfect Shapes leans on the foundational pieces of Night Night - fuzzed-out guitar tones, coy wordplay and Kenney's notably strong voice - but with an unconventional approach that allows them to bloom, reincarnated. Perfect Shapes marks Wasner's first foray into producing another artist's work and is permeated by the pair's collaborative spirit. Both Wasner and Kenney play multiple instruments on the record, and engineered the session alongside Kenney's touring percussionist, Camille Lewis.

An eagerness to explore and experiment is apparent from start to finish, as Kenney and Wasner weave endless sonic curve balls into the arrangements. From the delightfully warped percussion on opening track 'Overhead' to the burbling synths on the R&B-tinted 'The Flavor of the Fruit Tree' and the left-field trumpet solo in 'Your Art,' these rich and inventive ideas echo Yo La Tengo's everything-but-the-kitchen-sink mentality, as well as the surging soundscapes of Tame Impala and Wye Oak at their most impressionistic. Lead single "Cut Me Off" is a surprise of its own - the most pop-forward song Kenney has written yet. 'Bad Idea,' finds her balancing fragility as foil; later, 'I Went Home' manages to evoke both frustration and affection in a single breath.

The complex and open-ended questions that lay at the core of Perfect Shapes mark Kenney's arrival into a hard-hitting reflective space: How do you love another when it hurts to do so What is the physical limit to which one can carry the emotions of others How does a modern female artist reckon with the expectations demanded of her femininity Yet for all the notes of doubt and fear that Kenney raises, she delivers each song with confidence and poise, grounded by the pointedly laid and surging soundscape.

Kenney has always had a penchant for curiosity and experimentation. Raised in the Pacific Northwest, she began studying classical piano and dance in kindergarten, and grew to believe her future lay in modern dance choreography. Not one to be tied to a singular pursuit, however, Kenney took a hard left in college, studying Interpersonal Neurobiology and supporting herself with a career in baking. Music remained a constant however, and after moving to the Bay Area in 2013, Kenney quickly found footing in the supportive arts community in Oakland. There, she met and began collaborating with Chaz Bear (Toro Y Moi), which led to the production of her Signals EP and later her debut album, Night Night at the First Landing. Both releases were received with great critical acclaim, and saw Kenney exploring the sounds within her self-proclaimed twang-haze genre, defined by cathartic fuzz breakdowns and lyrical sensitivity.

Odd Beholder, Das Projekt Der In Zürich Lebenden Musikerin Daniela Weinmann, Veröffentlicht Das Debüt-album "all Reality Is Virtual".

"all Reality Is Virtual" Ist Ein Intelligentes, Fließendes Und Sonderbares Pop-album, Bunt Und Bestimmt. Es Setzt Sich Mit Den Seltsamen Versuchungen Unserer Zeit Auseinander: Von Ki Bis Tinder, Von Der Offline-einsamkeit Bis Zum Obsessiven Selbstmarketing. "mir Ist Aufgefallen, Dass Die Versuchung Eines Digitalisierten Lebens Vor Allem Darin Besteht, Dass Alles Gemessen, Aufgezeichnet Werden Kann Und Damit Bekannt Ist", Sagt Weinmann. "aber Ich Sehne Mich Nach Überraschung, Nach Verwunderung Und Zufall. Mir Gefällt Das Unbekannte, Das Unkontrollierbare."
Odd Beholder Haben Mit "lighting" Und "atlas" Bereits Zwei Tolle Eps Veröffentlicht. Darüber Hinaus Erschien Im Frühjahr 2018 Mit "remixes" Eine Fein Säuberlich Zusammengestellte Ep Mit Ausgewählten Bearbeitungen Von Freund_innen, Die Odd Beholder Unterwegs Gefunden Haben Oder Von Denen Sie Fans Geworden Sind: The/das, Fejká, Hundreds, Alessandro Giannelli, Kalipo, Thomas Atzmann. Nach Touren In China, Italien, Deutschland Und Der Schweiz, Hat Daniela Weinmann In Zusammenarbeit Mit Dem Schweizer Musiker Und Produzenten Martin Schenker Das Debütalbum Aufgenommen. "all Reality Is Virtual" Von Odd Beholder Erscheint Am Im Oktober 2018 Als Lp, Cd Und Digital Auf Sinnbus Und Mouthwatering Records.

Fleetwood Mac are proud to announce a Reissue of their critically acclaimed live album The Dance, originally released in 1997 - it was the first to reach the top of the charts since '82's Mirage. The 2LP Features the line-up of Lindsey Buckingham, Stevie Nicks, Mick Fleetwood, Christine McVie and John McVie for the first time since 1987's Tango In The Night. The Dance also features new material written by each of the primary song writing members of the band (two from Buckingham) as well as popular album tracks. The Album denotes the epic span of Fleetwood Mac's Career, with the cover artwork having Mick Fleetwood recreate his famed stance from their Famed Album 'Rumours'

The Dance LP coincides with Fleetwood Mac's much anticipated US tour, which kicks off on the 3rd of October and will see much of the original line-up reunite on the road again.

The spiritual and uplifting music of Clifford White is highlighted with two of his most sought after songs, taken from his 1989 album The Lifespring, and presented here in a special extended 12" for the first time. Starting in music production at just 15, White could be described as a protegee, however his take is that they were part of a music journey that continues today. With a centre found in electronic music and spirituality, his progress, from simple home use 4-track stereo to working in professional 16-tracks studios was swift, but matched by a deeper appreciation, greater confidence and wider palette of music styles. Utilising his love of early samplers, his first use of the Akai S612 to accompany and expand his keyboard recordings saw continued development from his debut album at just 17 with Ascension (1985), to the follow up Spring Fantasy (1987) and on to The Lifespring (1989). A small review in the local paper literally led to a knock at the door and offer of a deal from the Start (State Of The Art ) label to record his next album. With a subsequent advance, professional studio equipment was hired and out of these sessions his sound expanded to include ambient, orchestral, synth pop and even ballads. From this both Lifestream and Rain Trek emerged. With a love of Jean Michel Jarre's Oxygene in mind, Lifestream's smooth beginning soon gives way to the pulse of an arpeggio driven groove. Aiming for "relaxation with an edge", the track has become a secret play for the more Balearic minded DJ in the decades since and now sees the LP trade for dizzying sums. However, the original is achingly brief, gracefully fading as part of the album's journey. Here though, with DJs and collectors in mind, White returns to the song to craft a specially extended version that completes the song and will be appreciated at sunsets across the globe. Seeking to take the music and listener to another place, Rain Trek took White's interest in Sci-Fi and the mystic powers of water to a rightful conclusion. The healing nature of his music is apparent, the mystery, yearning and travelling, all emotions evident, but with a kick that will grace the more enlightened dance.

Here come The James Hunter Six! Serving yet another delicious dish of what you wish with the premier single off their upcoming LP, Whatever It Takes (DAP-051).

And I'll be a monkey's uncle if James hasn't delivered two of his most compelling sides to date on this one. I Don't Wanna Be With- out You' is a graduate level course in the Three R's of R&B: Rhythm, Rhyme, and Romance.

A sultry rumba sets the mood, as Hunter swaggers in - donning his finest voice like a crisp tuxedo, complete with ruffled vibrato and rhyming cuff-links - and proceeds to lay on an absolute heart-stealin', deal-sealin', panty-peelin' gem.

On the flip, I Got Eyes' loosens the collar and brings the metro- nome mark up a few clicks for a punchy tightened-up workout, edged-up with vibes and street corner backgrounds.

Bring your talcum powder and a change of clothes cause it's another jaw-droppin' showstop- per by that finger-poppin' pond-hopper, James Hunter

There are some tunes that rock around so hard... like Ascender did, or like Popof And Noisebuilder did ... A long time ago CYB-X Sound system did a pure jewel of a tune... but this one, from another member of the sound is just a blaster... At a even higher level ! This EP also offers 2 remixes from Brent Brain and FML 010 : one in a tribe hardfloor acid way and one in a Hackney Hardest way... 165 to 175 BPM fiull-on record ! MUST HAVE !

Beautiful 1 Lp Edition With 140g Vinyl, Stoughton Tip-on Sleeve, Liner Notes (english & Japanese) By Chee Shimizu, Sticker Official Reissue Of Diggers' Favorite Colored Music Available On Vinyl And Cd Or The First Time Since 1981. Genre: Electronic, New Wave, Pop, Synth, Experimental Wrwtfww Records Is Deliriously Happy To Announce The Reissue Of The 1981 Self-titled Album From Cult Japanese Duo Colored Music, Available On Vinyl (housed In A Stoughton Tip-on Sleeve) And Digipack Cd, With Liner Notes By Digger, Curator, Connoisseur, Writer And Legend Chee Shimizu. An Incredible Mix Of Cosmic New Wave, Unconventional Disco, Avant-garde Synth Pop, And Hybrid Electronic Funk, Colored Music Is Enchantingly Unique, A Sort Of Experimental And Magnetizing Take On David Bowie's Berlin Trilogy With A Psychedelic Haruomi Hosono Touch. From The Groovy Post-punk Glam Title Track To The Proto-house Dance Floor Killer heartbeat", Ichiko Hashimoto And Atsuo Fujimoto Hit All The Right (and Sometimes Not-exactly-right-but-truly-genius) Notes To Create The Odd And Beautiful, An Unparalleled Audio Escape To The Best Elsewhere You Can Think Of. Also Playing On The Album Are Celebrated Musicians Mansaku Kimura, Shuichi ponta' Murakami (pacific, Ki-motion By Mkwaju Ensemble, Collaborations With Jun Fukamachi, Yasuaki Shimizu, Haruomi Hosono...) Kiyohiko Semba, Tamio doyo' Kawabata, And Tatsuhiko Hizawa.

Having previously featured on Comb and Razor's popular compilation 'Brand New Wayo', Caribou's 'The Longest Mixtape: 1000 Songs For You' (twice) and remixed by numerous DJs including Kornél Kovács. It has long been over due that Nigerian synth-funk legend Dizzy K gets the reissue he deserves, teaming up with London based record label Sticky Buttons for a very special double LP compilation.

Dizzy K Falola is one of Nigeria's most adored disco funk artists form the early 80's. His career was propelled by EMI Nigeria who brought him to notoriety with his first album 'Excuse Me Baby', released in 1982. Excuse Me Baby became an instant success in Nigeria and within 3 months he was back in the studio recording his second album and touring with international superstars such as The Whispers. The success of his work came both from the creative collaboration of musicians and their progressive style of synth-funk and disco influenced heavily by western artists. The team included Nkono Teles, Felix Liberty and Dizzy K's mentor and manager Tony Okoroji amongst others who together formed the disco funk that infected the homes, streets and clubs of Lagos. Noted in 'Hip Hop Africa: New African Music in a Globalizing World', Dizzy K's song titled Saturday Night Raps which features on Excuse Me Baby is thought to have been on of the earliest examples of commercial African Rap music. It was examples like this that showed Dizzy K was bringing something new to the Nigerian boogie scene.

With careful restoration by Colin Young at See Why Audio, (who's expertise and talents have graced some of the most iconic reissues of recent years, including "Who Is William Onyeabor" and Charanjit Singh's "Synthesizing: Ten Raga's to a Disco Beat") and vinyl mastering conducted by The Carvery, cutting the masters on a Neumann VMS70 mastering lathe originally used in Nashville's CBS studio to cut Motown classics. This is an uncompromising vinyl package covering Dizzy K's first 3 albums from '82-'84. Compiled for the dance floor and offering Sticky Buttons take on the bright boogie goodness of Dizzy. With personal liner notes from the artist and fresh artwork by the team this is a record that cuts to the point.

'Garage bands suddenly obtain cult status and become the antithesis of their initial appeal'

Garage Class were a group of reluctant outliers who produced one of the finest contributions to the wave of UK DIY music that emerged during the late 70s and early to mid-80s.

Hailing from Alsager in North West England and comprised of Tim Shutt (vocals) Phil Murphy (lead guitar) Clive Williams (guitar) Lynne Sanders (bass) and Phil Bourne (drums / bass on studio recordings) Garage Class originally went by the name of The Pits before their then manager Steve Hurt imposed an alias which, though unpopular within their ranks, would nevertheless reflect the shambolic art they would eventually capture on their first and only single.

As The Pits the group offered a loutish inflection on glam-punk flamboyance, evoking Johnny Thunder hitting the north and remaining disowned yet undeterred in a dreary old boozer. But as Garage Class the group distilled a roughcast and homespun primitivism that felt quintessentially their own. In this they proved too unruly to be assimilated into any wider scene. Early gigs descended into acrimony and recognition proved elusive. Yet what they managed to make back then now sounds like an extraordinary article of underdog ambition.

Released in 1984, four years after it was originally recorded, the Terminal Tokyo single is an unlikely triumph of exceptional messthetic punk. Though raw and unpolished the songs here are precariously pop-minded and indisputably anthemic. The titular A-side reveals the dry and detached drawl of Shutt aka The Subliminal Kid, a sharp, jaded and poetic voice that has some of the most iconic lines never heard in punk. Accompanied by second-hand guitars, on-the-fly handclaps and a chorus like a terrace chant this is the cult hit that never was, a heroically artless masterpiece that has all the ragged character and misfit euphoria of Swell Maps and The Buzzcocks if they were more impulsive and boisterous, and left to their own devices in the remote margins of a Cheshire town. The original B-side is here substituted for I Got Standards, a track that, until now, has somehow remained unreleased. An ideal twin to Terminal Tokyo there's the same brusque and dog-eared quality to the band's delivery, as well as the same upfront emphasis on strong hooks and insistent momentum. Yet again, Shutt is on impeccable form, perfecting an inflated, adolescent antagonism that has all the sardonic, malcontented charm of similarly 'shirty' buggers like Dan Treacy (Television Personalities), Patrik Fitzgerald and Mark Perry (Alternative TV).

Although never accepted in their own time both tracks represent a brief but inspired moment of fervent imperfection, one that epitomized the best of a diffuse and autonomous underground movement spearheaded by The Desperate Bicycles and built upon by the likes of Amos & Sara, The Homosexuals, The Cleaners From Venus and Family Fodder. Like them Garage Class were situated at a point where punk, art, humour and a sense of stubborn independence all intersected.

In the years since Terminal Tokyo has accumulated a retrospective appeal among certain trusted circles, with Jon Dale celebrating the single in his exhaustive and essential Story of UK DIY for Fact Magazine, and original copies regularly changing hands for a foolish forty quid or so. With this inaugural release on the Outer Reaches label Terminal Tokyo is not only restored for the very first time but given a worthy expansion courtesy of JD Twitch (Optimo).

Continuing his own fascination with the fringe history of UK DIY - documented on his own outstanding compilation Cease & Desist: DIY! (Cult Classics From The Post Punk Era 1978-1982) and in his re-edits of Crass Records classics for an early release on RVNG INTL - Twitch reinterprets I Got Standards as an incisive, dubwise outing that pictures Jaki Liebezeit and Muslimgauze on a bender in England's provinces, tasked with remixing the raw product of local punks. A new slant on Garage Class' crude magnificence, built to play loud on contemporary soundsystems.

Although the latter part of 1980 spelled the end for Garage Class with members moving on to other projects (Bourne fell in with The Colours Out of Time, Murphy went on to front The Regular Guys and Shutt eventually left to form Happy Refugees) this reissue attempts to give their fleeting time together and the unique single statement they made the treatment it deserves. If this means Garage Class have obtained cult status, their initial appeal remains. Just listen for yourself.

Into the Light is launching a parallel and limited series with contemporary material from both Greek and international artists. First stop is the album 'Postclub Prism' by the German producer Cass. offering ten gorgeous ambient pieces about light and romance.
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Since 2012, Niklas Rehme-Schlüter aka Cass. has released albums of varying styles, from the rather organic and loop based ambient pieces on 'Loops & Farewell Sketches' and the 'Red Atlantic' EP on Throne of Blood in 2017, influenced by 80's pop sonics, to the more balearic and percussive recordings on 'The Sound of Glades' together with Wolf Müller in 2016. On his new record 'Postclub Prism' Cass. explores his affinity to calm and atmospheric ambient music at the threshold to the reverberant sound of club music.

The 8 track album features new collaborations with DJ Phil, Gantman, DJ Paypal, and Sirr Tmo, and a previously unreleased classic from 2013, co-written with DJ Rashad. WFM will be available in Vinyl and digital formats on September 7th 2018. Listening to WFM, the first thing that jumps out at you is Heavee's masterful use of synthesizers and sound design. You get the sense that these elements have been lovingly crafted during countless hours of sonic experimentation and invention in the studio. As Heavee explains, the primary focus on synths represents a departure from his usual creative process: 'Usually in my method of production, synths or sounds come somewhat close to last, likely after I find structure or rhythm. Basically, it's not something I particularly go for first, but this time around they became the building blocks'. Heavee has made a conscious decision to challenge himself, adopting a different approach to his past productions. In doing so, he moves away from the familiar sampling techniques which characterised his earlier work: 'I am a child of the last days of ghetto house culture as it shifted into juke/footwork. My parents, aunties, and uncles played house and ghetto house music at family functions, BBQs and house parties. That's my roots and where I came from. However, on this record, I chose to stray away from vocal samples, to give myself room to grow in different areas.' Heavee finds his voice in emphatic fashion on Cloud Ride feat. DJ Phil. His lyrical content and flow are on point as the track flips seamlessly from hip hop to footwork and back again. DJ Phil features on 3 tracks in total, a reflection of Heavee and Phil's close friendship and musical connection. As Heavee explains: 'Phil's studio is a safe space for me. Whether he is in the room or not, I don't feel weird about trying something that might be silly, taking it to the next level, or coming from a place of pure inspiration. Phil has historical, musical and cultural knowledge relevant to Chicago. He shares a lot of invaluable knowledge with me' WFM features It's Wack a classic collaboration with DJ Rashad that still sounds fresh today. Heavee remembers how Rashad would always stay connected, even during his relentless touring schedule: 'We'd get calls no matter where he was. We would talk about everything! He ALWAYS had new info; what new music was popping, scenes that were really accepting or supportive of what we were doing, blends that made the party go off, sites, adventures and just fuel us with support from him and give us living proof of the global support that was to come and the journey that was ahead of us.' Although Heavee makes music with the dancefloor firmly in mind, the sheer quality of his music transcends that space. So sit back and enjoy the next chapter in the Teklife story. All that remains is for Heavee to sign out with a message for the worldwide Teklife family: 'First, Thank you to everyone who supports what I do as an Individual, and Teklife Music as an entirety. You don't understand how much your support means to us, it literally keeps us moving. The takeover is far from over! Second, thank you to everyone involved in this project, I couldn't have made it without you. This process taught me so much about what it takes to become the person you want to be. It starts inside of you, and you have to really work for it, you can't wait and wonder. I feel beyond blessed to present this gift to the world, walking this journey of self -discovery through music with you!!!

The keeping of pets marks humans' attempt at taking possession of a part of reality that is not at his disposal. Dressing a piece of the real that lives according to entirely non-human rules and which only in the saddest case does not resist the discipline of the human symbolic order vehemently and in a sustained matter, is a violent act of protection. Because in the non-place of the real, all that which we are helpless in the face of looms: the non-logical and the nameless, the violence and the noise, yet also the unrestrained and unfiltered desire.The innocuous figure of the pet marks a gateway to an investigation of these eerie milieus, while electronic dance music lends itself to this investigation in an outstanding way. This constellation marks the subject of Column's 'Pets II.'

Column is the name of Cologne based renaissance man Jan Philipp Janzen, who, as chief emissary of Cologne's pop internationalism, has been playing the field in various functions for Von Spar, Cologne Tapes, Urlaub in Polen, Owen Pallett, Scout Niblett or The Field, and who has also, in one way or another, been involved in most relevant records coming out of Cologne for the past number of years. After his excellent solo debut 'Pets I' (Areal, 2016), Janzen presents another extraordinary record in 'Pets II,' perfectly complemented by another ghostly oil work of Burkhard Mönnich on the cover.Sonically, 'Pets II' marks a clear development for Column. In its exploration of the thresholds of the real, it sets two points of focus, corresponding with the split in sides A and B.

Side A, on which Janzen teams up with long-time friend myr. (PNN), explores the uncanny as a fissure of the symbolic order, and the subsequent breaking in of the real. It opens with two peaktime rockets that have their wooden, nether-regional groove narrated by grim, down-pitched vocals. The ethereal remix by Leibniz (hundert) seems to be observing the situation from a hiding place, and is the side's clandestine and no less dark closer.

Side B, for which Janzen invited studiomate Marvin Horsch (Dorfjungs/Beats in Space) along, delivers two swaying synthesizer workouts, the second of which, 'Molly and Swerve,' is directed firmly at the dancefloor again. What is at stake here is the transition between a free, undirected jouissance of the real and a more ordered becoming-lust. Here, as in Map.ache's (Kann/Giegling/Altin Village) remix which closes out 'Pets II,' it becomes clear what connections dance music can foster between a free, impersonal desire and the sphere of interpersonal wanting, but also the losses that are negotiated in it. Above all, however, it becomes evident what a courageous daring project 'Pets II' is in all of its conceptual and aesthetic determination; with Von Spar's standout 'Garzweiler' 12' (Altin Village & Mine, 2017), it documents a New Cologne Realism.

Southern Lord Is Excited To Bring Forth The Debut Album By Los Angeles-based Rock Trio, The Primals, Founded By Current And Former Members Of Darkest Hour, The Explosion, Dead To Fall, And More.

All Love Is True Love, The Primals' Debut Album, Features Ten Infectious Tracks Produced By John Reis (rocket From The Crypt, Drive Like Jehu, Hot Snakes) And Completed With Cover Art By Laura K. Giron.

Fans Of Wand, Ty Segall, Nirvana, And The Pixies Are Especially Recommended To Tune In.

he band's first full-length, All Love Is True Love, will see release on September 7th, the label this week sharing the first single, 'Fortune & Sons.'  'Fortune & Sons' Now Streaming

About the track the band note, ''Fortune & Sons' is one of the heaviest songs on the record. Though the album offers a plentiful dose of dynamic variety, we wanted to kick you off with a ripper.'

The Primals is comprised of vocalist/guitarist John Henry (vocalist for Darkest Hour), bassist Chad Fjerstad (formerly of Dead To Fall), and drummer Andrew Black (formerly of The Explosion). The band's fuzzy execution is equal slabs ripping guitar heaviness and infectious pop sensibility. Concocted by a seasoned group of thrashers with a historical backbone in D.C. punk community. The disintegrated spirit of grunge rises from the ashes, revitalized in a new light.

Francis Harris' exceptional run of releases for his own labels Scissors & Thread and Kingdoms now extends to this perfectly formed EP for hafendisko, which sees him rework some of hfn music's finest moments of the last two years. Harris, the Brooklynite whose feel for subtlety and space seems to infuse all his work, takes on three of the Hamburg label's cannon - kicked off with Kasper Bjørke's 'Cloud 9', featuring Urdur. Here Harris deconstructs the original and reforms it into a some quite removed from its origins - shuffling drum machines bring about a Kraftwerkesque feel, before beautiful tones and atmospheres reveal themselves. The track seems to develop along two paths simultaneously, somehow creating a truly affecting piece of leftfield electronica.

Null + Void's huge Dave Gahan-featuring-track 'Where I Wait' has been heavily remixed over the past months, but also gets the Harris treatment. Completely flipped form the original, this is a haunting remix with tough and funky underbelly, utilizing Gahan's vocals only sparingly.

Danish alt-pop trio ticktock have their single 'Hatefuck' refixed also, and Harris zones in on the glitchy vibe and adds layers of claustrophobic depth to the production.

The music on this EP was conceived in China, between 1989 and 1993. The original tracks were mixed to DAT in real time, in a small neighbour-proof studio inside my apartment in Macau, a 19th floor with a view to the hurricanes. There's a small, unexpected or improbable story behind each track, some little magic fused with the local atmosphere, certainly guaranteeing their lasting authenticity 25 years later.

TAIPEI DISCO
Late 80s Guangzhou was an exotic city where the traditional past coexisted in harmony with the present and even already with the future.
I'd rather spend my weekends in Guangzhou than diving into Hong Kong consumerism - as most ex-pats in Macau did. I took a cab at the border and travelled 150 Km through chaotic roads with family and friends until reaching the hot, humid, mega South China metropolis.
We ate on street joints in the evenings, went on to a karaoke bar and ended up at Taipei Disco, the only proper club in town. All the others were inside hotels and played generic music or they were seedy, sleazy, smoky cabarets.
Taipei Disco used to be a cinema and played cantonese pop music and anglo-saxon pop/rock (that was new). The spacious dance floor was generously lighted, the atmosphere was airy and modern. Boys and girls were in the habit of dancing in pairs, one in front of the other, observing a respectful yet sensual distance. When the girl took a few steps back, the boy went along and vice versa. With legs and feet (more than the upper bodies) synchronized with the music, they never exceeded in extroversion. Cool.
I always carried a MicroComposer and a portable DAT recorder in my travels through China and weekends in Canton. Any spontaneous musical idea was imediately recorded and memorized. The MicroComposer allowed multitrack recording, which was very handy on the road. Based on the emphatic choreography of Taipei Disco's dancers, i started to compose a rhythm track while sitting at a table, with headphones, listening to Cantopop in the background. As if by magic - not a rare occasion in music - everything began fitting together. Odd as it may seem, the track ended up sounding more germanic (Kraftwerkian) than Cantonese pop.

The story ends in a circle: the cantonese DJ at Taipei Disco, whom i used to ask to play certain records, wanted to play my music at the disco when it was basically only just a rhythm track and little else. From a cupboard under his set up he took out a battered keyboard (unrecognizable brand) and invited me to play over the track with the available sounds on the keyboard. The circle was complete, with Cantonese clubbers happily dancing forwards and backwards, as if it were another Cantopop hit.
I didn't get payed but the house offered us free ice cream cups in which little Portuguese flags were sticked.
The track would be finished later, in studio, with vocoder strings ensemble and synth solos.

TAIPEI DISCO (LIVE)
The live version of 'Taipei Disco' was recorded during a live set at the China Pop venue, in Macau, 1993. China Pop was a rock club built in the ample space of an old fishing warehouse, located in the labyrinthic Inner Harbour area. It was decorated with large Mao Zedong and Cultural Revolution posters and memorabilia and had a unique atmosphere, fusing Pop Art with film noir. We began our performance at 1AM, pretty early for Macau's nightlife standards. We were lucky. An audience showed up. And in Macau there were always several friends among the audience, which tranformed a musical performance into a relaxed party.
The atmosphere was particularly surreal on that night. The front row was dominated by French Crazy Horse dancers, a sort of Oriental Moulin Rouge. The girls had finished their last performance of the evening at the Crazy Horse and were still energized from their show. During our performance, right in front of us and perfectly synched, we could hear the famous irreverent screams of can-can dancers. You always had to expect the unexpected in Macau.

RED MAMBO (IMPROMPTU)
I was familiar with the Portuguese-speaking African countries well before having lived in China. I found myself returning several times to one in particular, always attracted by its magic and very distinct, identitary culture and music: Cape Verde.
During the early years of DWART a lot of the inspiration for drum machine rhythms (Roland's TR series) came from African music, especially from new musical trends that gained full autonomy with Cape Verde's independence from Portugal, as was the case with funaná.
I had the privilege of having known and befriended some of the greatest Capeverdian composers, musicians and singers during the 70s and 80s, such as Bana, Luís Morais, Cesária Évora, Paulino Vieira, Chico Serra, Tito Paris, and historical bands such as Bulimundo (ambassadors of funaná) and Os Tubarões (great innovators of morna, coladera and funaná, with the sonic impact of an afro-beat big band).
When Luís Filipe de Barros began playing Os Tubarões for the first time on Portuguese radio, that was the turning point for African music in Portugal. The 'Tabanca' album was so widely heard and talked about that it quickly got a Portuguese release through one of the big labels of the time.
The mystic of this band from the Santiago Island would reach the East. Os Tubarões played to a packed room in Macau in 1992, and after the bombastic gig we arranged a dinner and party at my place.
We ate and drank generously and the moment came for a jam session at the small studio on the 19th floor. Because Os Tubarões didn't all fit in the studio, we recorded an impromptu with only three of the musicians: Tótó Silva (electric guitar), Mário Russo Bettencourt (bass) and Zeca Couto (piano). And there we were improvising without barriers, suddenly detached from cultural roots, labels and constraints, a truly unique moment. The track is now being released exactly as it was recorded, imbued with the real communion between the musicians. And it could only be titled 'Red Mambo'. I wish to dedicate it to the memory of Ildo Lobo and Jaime do Rosário, founders of Os Tubarões, sadly and too soon departed from the land of music.

Dais Records Is Proud To Announce The Official Reissue Of "elph Vs Coil - Worship The Glitch". Remastered By Engineer Josh Bonati And Supervised By Coil's Drew Mcdowall, The Vinyl Release Is Pressed Onto Double 12" Lp Vinyl (from The Original 10" Release), And Is Packaged In A Gorgeous 24pt Stock Matte Gatefold Lp With Sticker And Vellum Track Listing Insert. . Also Available On Digipack Cd And Digital.

"unexplainable" May Well Be The Best Explanation For The Members Of The Uk Based Electronic Outfit Coil. Making A Radical Shift From Intentional Accessibility, By Means Of Traditional Pop Songwriting, To Abstract Happenstance, Coil Had Entered Into A New Phase In Their Career...uncharted Waters Utilizing What Was Then The Newest Computer Technology, Digital And Analog Synthesis And The Newly Formed Ideas That Something Outside Of Themselves Was Steering The Ship.

During The Studio Sessions That Developed Into What Would Become 'worship The Glitch'. Coil Became Aware Of Random Compositions Emitting From Their Gear, And Were At Odds With Constant 'accidents' That Were Perpetually Plaguing The Recordings. The Band Called These Unintentional Emissions "elph": A Conceptual Being That Is One Part Physical Equipment, One Part Celestial Being...constantly Playing The Role Of Trickster, Throwing A Wrench Into Coil's Methodology. Eventually, These Accidents And Mistakes Were Embraced By The Band, And The Process Of Misusing Audio Software To Create Intentional "errors" Was Adopted As A Musical Technique. The Acceptance Of The "mistake", And The Use Of Discovered Mistakes As Intentional Elements Slowly Became The Drive And Concept Behind The Album, Thus Birthing The Title 'worship The Glitch'.

Originally Released In 1995 On Coil's In-house Imprint Eskaton, Worship The Glitch Was Coil's First Proper Album-length Attempt At Conceptual Ambient Composition, With A Radical Focus On Chance. Seamless Vignettes Of Shattered Electronics (though Ebbing Softly And In Delicate Balance With Each Other) Provide An Underlying Uncertainty And Discomfort To The Listener.

Original Soundtrack - Super Deluxe Version, (including 4 tracks never released on vinyl before, this feature is exclusive to this edition, see the tracklisting), 180g vinyl, mastered at half speed, heavy cardboard old Stoughton tip-on sleeve, obi, gold sticker Info We Release Jazz is delighted to present the official reissue of the original soundtrack of Jean-Pierre Melville's 1970 film noir classic Le Cercle Rouge (starring Alain Delon, Bourvil, Gian Maria Volontè, and Yves Montand) composed by French soundtrack master Eric Demarsan, available on limited edition 180g vinyl LP mastered at half speed and including 4 bonus tracks not available on previous pressings of the album. Eric Demarsan's compositions for Le Cercle Rouge draw from the orchestral spirit of the Modern Jazz Quartet (as requested by Melville who loved John Lewis' work), abstraction and minimalism to create a suspenseful and hypnotizing audio landscape which elegantly underlines the tense atmosphere of unavoidable fate that shrouds the movie and the doleful beauty of its characters. Simply put, it's the finest combination of underworld existentialism, coldblooded chic, and crime jazz! Le Cercle Rouge boasts the participation of celebrated jazz players Guy Pedersen (bass), Daniel Humair (drums), Georges Arvanitas (piano), and Bernard Lubat (vibraphone). Starting as a collaborator of François de Roubaix and Michel Magne in the 60s, Eric Demarsan went on to become a mainstay of French cinema soundtracks, composing for directors such as Jean-Pierre Mocky, Costa-Gavras, and Patrice Leconte among others. He also recorded the cult album Pop Symphony (for Pierre Cardin in 1970) under the Jason Havelock pseudonym.

Dais Records is proud to announce the official reissue of "ELpH vs Coil - Worship the Glitch". Remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the vinyl release is pressed onto double 12" LP vinyl (from the original 10" release), and is packaged in a gorgeous 24pt stock matte gatefold LP with sticker and vellum track listing insert. . Also available on digipack CD and Digital.

"Unexplainable" may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career...uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship.

During the studio sessions that developed into what would become 'Worship the Glitch'. Coil became aware of random compositions emitting from their gear, and were at odds with constant 'accidents' that were perpetually plaguing the recordings. The band called these unintentional emissions "ELpH": a conceptual being that is one part physical equipment, one part celestial being...constantly playing the role of trickster, throwing a wrench into Coil's methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional "errors" was adopted as a musical technique. The acceptance of the "mistake", and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title 'Worship the Glitch'.

Originally released in 1995 on Coil's in-house imprint Eskaton, Worship the Glitch was Coil's first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener.

A Certain Ratio Stammen Aus Manchester. Sie Wurden Von Dem New Order Manager Rob Gretton 1979 Entdeckt Und Bei Dem Legendären Label Factory Unter Vertrag Genommen. In Dem Spielfilm 24 Hour Party People Bringt Es Factory-label-manager Tony Wilson Auf Diesen Nenner: having All The Energy Of Joy Division But Better Clothes'. Jedenfalls Sollten A Certain Ratio Sollten Später Weitere Acts Wie Quando Quango Und Swing Out Sister Hervorgehen. Dennoch Existiert Die Band Bis Zum Heutigen Tag. Ihr Post-punk Sound Ist Weniger Puristisch Angelegt Als Der Ihrer Zeitgenossen, Öffneten Sich A Certain Ratio Doch Auch Genres Wie Dub, Disco, Funk Und Soul.

- change The Station Von 1997 Wurde Ursprünglich Auf Rob´s Records Veröffentlicht, Dem Label Des New Order Managers Rob Gretton. Soul-pop Trifft Auf Die Ambient-electronica Dieser Dekade.

Taking a turn to some of its roots, Emotional Rescue offers a reissue of Ramjac Corporation's UK house/breaks anthem Cameroon Massif!. First released on the increasingly cult-status Irdial Discs in 1990, this was very much the sound of the big bang explosion of Acid House morphing and splintering, as subsequent multi-genres developed, formed, imploded and reformed in new ways that still subsists today.

Within the melting pot of anything goes, chemically-enhanced optimism that spread across the UK during that return to the summers of love from 1987 onwards, the nascent sounds coming from Chicago and Detroit were mixed with a hybrid of 80s British influences, taking in European synth pop, US electro, new beat, hip hop and reggae. Out of this appeared a new sound, mixing that love of techno and house with dub bass and break beats into a proto-jungle swirl.

Like many growing up through the ever-evolving 60, 70s & 80s British music scene, Paul Chivers' early years of learning piano and guitar, moved from Beatles era pop to take in punk, jazz and anything an eager musical mind could explore. Developing a long-term interest and study of Cuban and Afro-drumming, his acquisition of an Atari and sampler soon moved to programming of both drum machines and TB303 and with that, Ramjac Corporation was born.

Playing live at some of the earliest raves in 1988, as often through luck and "right time, right place", including the infamous Back To The Future and Energy parties, Ramjac went from playing from 50 to 10,000 ravers in a matter of months, as the nation was gripped, depending on your cultural standing, by either a mixture of drug apocalypse paranoia or ecstatic celebration.

It was a meeting with Akin Fernandez, founder of Irdial Discs, that led some of the first studio experiments and creation of Cameroon Massif!. Utlising Akin's in-house studio and production skills, alongside Chivers' jazz influenced outlook of improvisation over arrangement, the track took shape, mixing the live programmed percussion, heavy doses of phase, delay and reverb and Sun Ra inspired keys that resulted in a number of mixes of Massif!.

Collected here are the original 12" "Massive" and "Massing" mixes, plus a special live version taken from the "Live At The Brain" reunion gig of 2009. The sought after 1990 versions and original Live mix are taken a step further with this 13 mins + mix, in essence a resampling and remixing reversion with didgeridoo and live on mic MCing, that gives a real glimpse of those early live sets. With more Ramjac Corporation material upcoming and a live reel-to-reel show appearing soon, the return of Cameroon Massif! is now.

* "Of all the dubplates in my bag from this last few years, the ones I've selected most often have Walton's name scribbled on the sleeve. 'Black Lotus' is a unique creative statement; I'm very proud to release it on Tectonic and to support Walton, who I believe is a true talent." Pinch

* On July 6th Tectonic recordings presents the game-changing second album by 26 year old Mancunian Sam Walton, better known as simply Walton.
* 'Black Lotus' follows his inclusion on Tectonic's landmark 100th release - Riko Dan's 'Hard Food' EP, plus the 'Praying Mantis'/ 'Koto Riddim' 12' (also on Tectonic) and the 'Taiko' EP on Kaizen - the latter two of which hinted at the album's sound, but didn't fully prepare us for the brilliance to come.

* Abstract electronics, grime, dubstep and new styles that don't even have a name yet coalesce perfectly on this classic in the making. It finds Walton at peak power, reaching just as far (if not more so) than anything on the Pan, Different Circles, Boxed or Tectonic catalogues for pure futurism and new-terrain-traversing brilliance.

* Spacious and modern sounding, with just the right amount of grit, on 'Black Lotus' Walton has taken things the next level - setting an impressive new high bar. This is the best music to take inspiration from far eastern culture since Photek's seminal 'Ni - Ten - Ichi - Ryu' and 'The Water Margin'.

* Cinematic may be a term bandied about too often, but on this record it unquestionably applies, with the whole thing playing out like an epic movie, full of highs, lows, action, reflection and changing scenes.

* The album kicks off with 'Black Lotus', which makes it quickly evident that this isn't just another generic longplayer; a weightless/sino style intro segues into a mystical kalimba line, which is then is enveloped by huge waves of synthesized, pitched-down brass.

* 'Point Blank' offers locked, harsh mechanical funk, full of aggravated excitement, before sleek, spacious grime and disguised pop garage achieve twisted anthem status, on the hugely satisfying 'Koto Riddim'.

* 'No Mercy''s Yakuza crime riff is perfect for Riko Dan's threatening menace, especially at the point his voice gets distorted into a guttral and unsettling, demon-like wretch.

* 'Mad Zapper' is abstract, comprised of simple yet challenging beats, tones and stutters, whilst 'Angry Drummer''s taiko/kumi-daiko style percussion has a rousing, heavy thump.

* 'Pan' sounds equally enthralling whether soundtracking a dark movie scene of impending danger, or carying enratptured ravers on a danceflor journey, especially one suited to the synapse-prodding drama of a high production, lazer-heavy festival set.

* Choppy drums and bouncy bass tones are laced with the georgeos melody of 'Ehru', and 'Vectors' is sleek 'n' deep breakbeat-garage-meets-IDM.

* Although already known for elements of musicality, Walton raises his game even higher with the beautiful closing track 'White Lotus', which has a wow factor akin to hearing Aphex's Twin's 'Jynweythek Ylow' for the first time.

* 'The title came from the idea that I wanted it to be sweet and melodic in areas, but dark and grimey at the same time', recalls Walton. 'I never really listened to much Japanese and Chinese music before working on this, and that element originally came from listening to a lot of Sino grime stuff. It wasn't until I was deep into the process of making the album that I started listening to loads of traditional stuff on YouTube for melodic ideas, which changed how it turned out. The whole dubstep techno crossover thing was also a big influence.'
* 'I'm really happy to have Riko Dan & Wen on there', he adds. 'I've done a few remixes of Riko tunes which have had a great response, so it's been wicked to get some original material done together. The track with Wen was first started a while back, so I'm glad it was finally finished and will see a release.'
* Walton has been steadily gaining serious clout through releases since 2011 on Hyperdub, Keysound, Tectonic and Kaizen, with supporters including Mumdance, Logos, Slimzee, Laurel Halo, Wen, Hodge, Mary Anne Hobbs, Giles Peterson, Paleman, Teki Latex, Commodo, Loefah and Kode9. Key club, festival and radio shows include FWD at Plastic People, Fabric, Outlook, NTS, Rinse and BBC 1xtra.

The first of two wonderful new full lengths for Polytechnic Youth for the first week in July. This is a debut release on vinyl for Spanish based Jordi Navarra whose musical oeuvre stretches between 'Surf, Hippie / Space Rock and crude electronic music' often different yet coated in tons of reverb and echo for 'it's final catalepsy'! 'Micromundos,' needless to say for PY devotees, concentrates on his cruder electronic soundscapes; incredible often ambient, drone themed pieces that on one hand dip their toes into the revered works of Hans-Joachim Roedelius and Dieter Moebius, and the sky back catalogue whilst equally conjuring up a collision of Spacemen 3 psych meets Wire, early Cabs or Magazine darker more atmospheric, post punk industrial / experimental workouts. Eight abstract, kosmische fuelled pieces that act as an interesting sister release to the label's other July offering, the more overtly 'in-yr-face' synth pop themed Mitra Mitra LP. Two beautiful releases expected to sell out pretty swiftly, and released together first week of July.

Moscow Is Mythologized For Its Grandeur And Gravity But Its Parable Pleasures Offer Splendor And Even Absurdity. Over The Ten, Symmetrical Pieces Of For, Kate Nv Scores Her Native Urban Environment With Just Enough Whimsy To Gurgle Through The City Cracks And Grow Psychotropic Foliage. Each Sound Assumes Its Own Personality, Moving Through The Album Metropolis Like Miniature, Mutating Molecules Viewed From Nv's Apartment Window.

Alternately A Guitar-wielding, Post-punker And One Within The Multitude Of Moscow Scratch Orchestra's Avant-garde, Nv Is A Versatile Artist That Maneuvers Instinctively In Whatever Musical Environs She Finds Herself. Nv's Second Solo Album Is An Even More Abstract Endeavor Than The Hybrid Pop Of 2016's Binasu. Inspired By Casual Moments Of Ephemeral Sound From Within And Beyond Her Apartment Walls, The Record Has A Clarity Arrived Altogether And From Right Under Her Nose. Recorded At Home, Nv Says It Was As If The Music Was Not Written By Herself, But Her Chair.

For Inhabits A Stage That Piero Milesi & Daniel Bacalov, Ann Southam, Or Hiroshi Yoshimura May Have Written Music For And Dresses It With Viktor Pivovarov's Psychedelic Depictions Of Moscow - Contorting Bodies, Flying Pencils, And Multi-dimensional Faces Dance With Subtle Arpeggiations, Conversational Voice Synthesis, And Anthropomorphic Midi. Animating Objects Is Essential To The Album. Like A Surreal Still Life, Each Piece Is An Alien Arrangement Of Common Elements That Extend The Everyday Ritual Into An Eternal Landscape Of Unconscious Activity. Somewhere Along That Landscape, Kate Awaits And Greets With Apples For Hands And Fish For Feet.

Like The Album Title, Each Composition Contained Within Is Represented As A Three Letter Word, In Russian And English. The First Half Of For Was Written In The Spring. Starting With yxo Ear,' Previously Released On The Peaceful Protest Compilation Cassette In 2017, Melodies Meander And Lollygag. a Two' Incorporates Human Breath Played Like Notes On A Pump Organ. Oak' Offers A Warm Tune To Tango. How' Loops Curious Notes That Bump Into Each Other With A Chirpy Acknowledgement. You,' The Only Track On For With Lyrics, Sets A Wassily Kadinsky Poem To Song.

The Second Half Of The Album Was Written In The Autumn. The Feathery Edges Of One' Extend Like Watercolors Bleeding Off A Rubber Scroll. See' Is A Subdued, Shadowy Variation Of How', As If The Same Song Were Played In Different Weather, Dimmer Light, Or By Kate's Devious Doppelganger. The Electronics Unravel And Unwind On Dog' Until The Final Track, Who,' Ends With Vague Solemnity And Rattled Metals.

A Short Online Film Series By Shura Kulak Will Accompany The Release Of For. The Films Follow A Solitary Figure Performing Ordinary Tasks Through A Slow, Warped Lens — Each Song Enacting A Daily Habit: Waking, Dressing, Reading, And So On. In Her Live Performances Around The Album, Kate Nv Will Play Each Song From Memory, Allowing For Variation From The Recorded Tracks, And Scenes From The Films Will Be Re-created And Improvised In The Moment.

Favorite Recordings presents this new official album reissue of State of Emmergency by French band The Fizz: A real underrated, complete and intriguing album, originally released in 1986 as a private-press LP and quite hard to find in good conditions nowadays.

The Fizz is mostly the result of Patrick Jouanneau, a French musician, composer and producer who's still active today. He remembers: In the early 80's I had a recording studio allowing me to easily fulfil my desire to create songs. It was then that I began to compose and write songs, in French or in English in this case. State Of Emergency (spelling on the LP is a mistake), is born from a fierce will on my part, and the other four have followed, but it was not easy, the musicians, you have to get them out of bed! I have to say that Richard Larozé, the pianist, was a very strong guy with harmonies, and has somewhat changed my first version, much more oriented in Soul and R&B.'

And when asked about his main influences, Patrick says: It's always difficult for me to speak about influences, out of respect, and humility especially, but they nourished us and nourished this project, Stevie Wonder, Al Jarreau, Earth, Wind & Fire, and so on, were and still are important to me and this was the case for the entire FIZZ group.'

At the end, State of Emmergency by The Fizz is a very interesting and brilliant album with great inspiration in melodies and compositions. And who knows, listening to the title "A So Called Being", it could even have inspired a certain King of Pop'...

Trux' Second Ep On Berlin Based Record Label Office Is A Bow To The Many Outstanding Moments In The History Of Ambient Music.
Allusions To Brian Eno Are Just As Recognisable As To The Charming Concepts Of Pop Ambient Or Clicks & Cuts.
It's Between These Poles That The Four Tracks On The A-side Oscillate And Manage To Capture The Listener
With Vibrant And Diverse Soundscapes. The Flip Side Sees Trux Drop A Stunning Melodic Breakbeat Tune Besides Remixes
By Workshop's Premier Techno Chef Lowtec As Well As A Freestyle Electronica Version By O$vmv$m. The Much Loved Super
Quiet Tops The Record Artwork Off With Another Remarkable Example
Of His Casual And Airy Black And White Photography.

The first time the album has been released on vinyl
- Includes bonus tracks and remixes by Tiga, Jason Nevins and Almighty
- The release will be announced by a trailer through Dannii Minogue's Facebook page which has 409K followers
- Dannii will promote the release via Instagram stories and posts to her 276K Instagram followers
- Dannii Minogue is available for promo and interviews throughout pre-order period
- "It's one thing to create an excellent three-and-a-half-minute dance-pop song, but another to sustain the appeal over an entire album. Kylie managed it with Fever, Madonna followed suit on Confessions on a Dance Floor. Dannii's contribution to the genre on Neon Nights is every bit as good as those classics." - IDOLATOR
- A veritable pick and mix of the European dance scene at the time, Neon Nights spawned four Top 10 hit singles in the UK 'Who Do You Love Now' (No.3), 'Put The Needle On It' (No.7), 'I Begin To Wonder' (No.2) and 'Don't Wanna Lose This Feeling' (No.5).
- The album reached No.8 on the UK Official Albums Chart and was certified Gold. In Australia it was nominated for "Best Pop Release" at the 2003 ARIA Music Awards.
- Dannii says: "When I embarked on a solo recording career and released my first album in 1990, music was only released on 7' and 12' vinyl. Fast forward through my album releases and throw in a bunch of technology changes, cassingles, cassette albums, CDs, Mini CDs and we are finally back to vinyl! Neon Nights never had a vinyl release - it was the 90's, and the industry was entering the digital age, and no-one was looking back at this experience of music listening. Thankfully Gen Y has embraced the nostalgia of the record player, so you finally get to Put The Needle On It with these tracks (please turn the volume up loud enough to annoy your neighbours!)."

Debütalbum des britisch-nigerianischen Electronic-Produzenten und Singer/Songwriters Tony Njoku, ein Globetrotter, aufgewachsen zwischen Lagos und London, dessen bewegende Klangbilder aus den kürzesten Popsongs epische Abenteuer machen. Vocal-Club-Beats für Ästhetiker. "Exciting blends of African percussion, falsetto croons and dark synths." - Fact. "Fusing abstract beats with his angelic tones." - Mojo. "Expansive electronics flirting with psych and soul." - Clash.

The hotly tipped UK artist makes his debut for Drumcode's vinyl only off-shoot. Focused on showcasing cutting-edge underground techno, Adam Beyer's always got an eye on the future when curating Drumcode Ltd. Taking inspiration from the likes of Marcel Dettmann, Truncate and Planetary Assault Systems, Turner's four-track debut 'Don't Talk To Me About Style' was birthed in his home studio throughout 2017. The industrious Brit delivers a powerful peak-time EP of nocturnal techno that moves between different moods. The title track pops with a thick grinding bassline and trippy synth effects, before 'Escape' envelopes you into a subterranean world. 'Diodes' follows, a fantastic slice of electrifying techno that bucks like a rodeo bull. The EP concludes with the blazing 'Tunnel', that makes its mark with deft drum arrangements and a piercing call-to-arms siren.

Fresh off the back of the languorous poolside disco and tropical pop of their debut album 'Shapes On Shapes' released last November, LA based duo Wild & Free return with a collection of essential remixes from label mates and influences alike by revisiting the heady disco of recent single 'Ferns and Stuff'.
Both multi-instrumentalists, singers and producers in their own right, Wild & Free duo Drew Kramer and George Cochrane came together in 2015 and have spent the past 2 years crafting a series of acclaimed EPs and remixes (for the likes of Joe Goddard (Hot Chip), Panama, Gigamesh, RAC and Ben Browning of Cut/Copy) that saw them tipped by the likes of Spin, XLR8R, Indie Shuffle, Clash Magazine, Data Transmission and many more and take their live show on the road playing alongside the likes of Brooklyn's Body Language.After releasing a few solid ep's and two full lengths album's Xinobi has gained real recognition among established and well-known artists and opinion-makers, and his underground cult has amplified. What has followed is remixes, edits and reworks for artists such as Sbtrkt, The Avener, John Grant, Toro Y Moi, Nicolas Jaar, Agnes Obel, Kris Menace and Tensnake.Along with Moullinex and Mr. Mitsuhirato he gave birth to the still-growing-influent Discotexas who here lend their label mates their expert musical arrangement skills with 'Discotexas Club Mix' thrown in for good measure. And it doesn't stop there, with legendary New Yorker Justin Strauss, who has produced and mixed records and remixes for the likes of LCD Soundsystem, Beyonce, La Roux and Goldfrapp contributing a 'Whatever/Whatever' mix as part of the slick and hugely influential production duo he formed with Bryan Mette.
Already noticed for his remixes and array of collaborators and with several releases under his belt (including a track on the 'Bonjour Colette' compilation), Tokyo-based Yuki Abe AKA producer/DJ Boys Get Hurt gets his inspiration from the melancholic feelings the end of summer inevitably brings about, a personal and evocative sensibility in tune with the land of the rising sun's delicate culture. Yuki expertly crafts bouncy disco-house music with sprinklings of electronica, indie, ambient, hip-hop and R&B. Here he adds a mix with a loose and joyful feel that fits the sentiments of what Wild and Free represent perfectly.

Extremely hot on the heels of 'A Library Excursion', Earl Jeffers teams up again with Don Leisure, his partner-in-beats for another EP of Darkhouse Family goodness. Following on from their highly acclaimed debut album 'The Offering' from late last year on First Word, the Cardiff duo have hand selected a group of friends, dons and legends (including DJ Spinna & Kaidi Tatham) to serve us up 'An Extra Offering'. Five remixes curated by the crew.

For the refix of 'The Accession' (which originally featured Kamaal Williams, Dave Newington and Daf Davies from Boy Azooga), label-mate Kaidi Tatham kicks off with some down-low bottom-heavy boom bap, before switching up the tempo mid-way for a blast of his inimitable jazz-funk bruk boogie.

Next up we're honoured to have not one, but TWO tracks from the Brooklyn legend, DJ Spinna. His Galactic Soul rub of 'Another World' flips the original into a deep soulful 4/4 house cut, featuring the lush vocals of Esther (and one Charlotte Church on backing vocals, pop fact fans).

Then there's DJ Spinna's Galactic Funk take on 'Just So You Know' with the marvellous Vanity Jay on vocals. This one is on the same mid-tempo tip as the original, but with that unmistakable Polyrhythm Addict flavour of big kicks, crisp snares, hench bassline and sweet spacey synths.

For the 'GAEA' remix we keep it Cardiff and introduce the man like Alfie Swan. Doubling up the tempo of the original, this adds some seriously wavy sonics and flips the groove entirely, creating a seriously innovative cocktail of riddims. One for those not shy of some jazz ethics in the dance.

And to close out this offering, Andromeda Jones lays down a ridiculously delectable broken beat mix of 'Journey To Love', this one again featuring Vanity Jay. No messing with this one, this is straight dancefloor fire, transforming the hip hop soul track into a future boogie heater. One for the ravers.

This EP illustrates once again Darkhouse Family's wide range of influences and sounds, as selectors and as music makers themselves, and is no doubt one that will stay in your box for a very long time...n

Awanto 3 and Meditation Tunnel appear on the latest Blitz, DJ Tennis' ongoing, limited, vinyl-only series. These colourful records sometimes pop-up around Life and Death showcases, often featuring non-standard cuts + off-kilter attitudes.

Dekmantel affiliate, Awanto 3 offers-up an infectious after-party gem, with "The Phone We Call It." Slow-burning cosmic keyboards pair with elements of Detroit techno and a subtle wink to RDJ's masterstroke, Xtal.

The flip contains a killer from Meditation Tunnel, the newly-birthed dance project from The Rapture's Luke Jenner. La La La is a Blitz future-classic. Syncopated bass guitar, crusty synthetic strings and the purest of vocal performances - Blitz #2 is one to remember.

South African Mbaqanga And Bubblegum Instrumentals For The Dance-floor. First Time Available Outside South Africa. Cult Favorite Among Collectors. Follows The Successful Reissue Of bafana Bafana' Last Year. Professor Rhythm's 1991 Recording Professor 3 Is A Vivid Reflection Of Urban South Africa As Apartheid Was Ending. Thami Mdluli's Production Project Had Young And Old Dancing To A Sound That Sought To Unite Blacks Within Southern Africa. our Music Gave Hope To The Hopeless,' He Says. Mdluli's Third Instrumental Album (which Contains Some Background Vocals, To Be Exact), Portrays The Moment When The Dominant Mbaqanga And American R&b-based Bubblegum Sounds Being Produced In Johannesburg And Other Urban Centers Were Transforming Into House And Hip-hop-inspired Kwaito. The Pop Of The 80's And All That Went With It—from The Models Of Synths And Drum Machines To The Lyrical Style—gave Way To A Changing Melodic Emphasis And New, Much Slower Tempi Using A Completely Different Rhythmic Skeleton. Upbeat, Chipper Bubblegum, Often With Double-time Breakdowns And Upstroke Syncopations, Faded And The Sounds Began To More Closely Resemble Those Of Contemporary Black America—where Hip-hop Was Slowing Down And The Bass-lines And Melodies Were Getting Moodier, Darker In General. At The Same Time House Music Had Briefly Reached Mainstream Acceptance In The States And That Popularity Continued To Feed Into Awareness Overseas. These Two Influences Blended With The Burgeoning House Music Scenes In Johannesburg And Pretoria As Professor Rhythm 3 Was Being Produced In March 1991 (the Same Year Apartheid Ended). Mdluli Explains, we Were Influenced By Foreign Bands And So People Updated Their Sound.' According To Mdluli, The Evolving Sound Was Bolstered By Widening Availability Of House And Rap Records From Abroad While, Most Importantly, An Increasing Sense That Apartheid Might Soon Be Finished Was Met With A New Positivity Vibe Society. 1991, '92, '93... Mandela Was Released. People Were Upbeat, They Were Happy, The Music Was Good.' Professor 3 Came Out On Vinyl As The Lp Business Was Dying In South Africa And Sold Around 20,000 Copies. It Was Mainly Distributed On Tape, Which Sold Closer To 100,000. With The Help Of Engineer Fab Rosso, The Recording Features Backing Vocalists From Mango Groove. After Making A Half-dozen Records As Professor Rhythm, Mdluli Once Again Shifted His Focus Musically. By The Mid-90's He Had Veered Off Gospel Music— And Left Playing In Bands And Started Making His Own Solo Recordings. His Enormous Success In The Gospel Realm In The Years Since Is A Remarkable Story In Its Own Right, But For Now We Are Only Dancing.

A true funk-soul masterpiece. Sampled by Madlib, Homeboy Sandman, Ghostface Killah, Black Milk, Roc Marciano, 9th Wonder, and more.

Beautiful, golden-era soul written by Leon Sylvers III, produced by Jerry Butler and Keg Johnson.

The Sylvers were a family from Los Angeles who were very successful during the 70's and into the early 80's, with chart hits - deep into pop-disco territory - including 'Boogie Fever', 'Hot Line' and 'High School Dance'. This is the group's second album, from 1973, and is one of their strongest.

Opening with the awesome mid-tempo 'We Can Make It If We Try' the record moves through funk, boogie and deep soul moods, finishing on a hazy, acapella version of The Beatles 'Yesterday'.

Official reissue in replica of original artwork.

Recorded in Philadelphia in 1969, The Deirdre Wilson Tabac's sole album is a beautiful blend of funk, jazz and soulful pop. Possessing the complex grooves, thrilling breaks and ethereal weirdness that The Rotary Connection pedalled so brilliantly, the LP failed to connect with audiences upon its original release.

In the decades since, it has deservedly attracted a considerable cult following. However, almost inevitably, it has become increasingly tricky to pick up a copy in good condition for anything less than eye-watering sums. As such, we're delighted to present the first officially licensed vinyl reissue of this undoubted masterpiece of freaky funk-rock, limited to just 500 copies.

The Tabac were, in fact, a trio. Discovered, managed and produced by Svengali Sonny Casella (who'd earlier managed garage band The Magic Mushrooms), they comprised Deirdre Wilson, Stu Freeman (formerly of said Mushrooms) and Barbara Payne (formerly with the James Brown Revue). They were backed by session players including jazz guitarist Chuck Anderson, bassist Hugh McDonald and keyboardist Roy Bittan (who went on to be a long-term Bruce Springsteen sideman).

Their first single coupled two fine Casella compositions, each featuring powerhouse vocal workouts, the supremely funk-fuelled blues beat of "The Other Side Of Life" and the psychedelic-flavoured "Look In My Face" - both of which are featured here. This 7" picked enough up airplay to merit an album, which duly appeared early the following year, but, as is often the way with these lost classics, it received barely any press. Correspondingly, sales where low and the trio didn't last long.

And herein lies the real tragedy. The rest of the LP deserves to be heard from start-to-finish - it's that good. A beguiling mix of funky folk and rocky jazz tracks, with some deep, string-drenched harmony soul ballads and a handful of remarkable covers elegantly presented througout. Indeed, they put some sauntered head-nod funk into The Beatles' "Get Back" whilst tearing through a version of "Sittin' On The Dock Of The Bay" which gives Otis' original a real run for its money.

But the real standout cut for most - with its soulful, haunting vocals, swinging hammond organ and stabbing horns, is the incredible 6/8 time jazz dancer "I Can't Keep From Cryin' Sometimes." Staggering.

Following the U.S. Army's liberation of Munich in May 1945, the world's first Amerikahaus was inaugurated there with a library, a magazine reading room, a children's library, a record and lm department, and lecture and seminar rooms, together with a concert hall and exhibition space. Up to 80,000 people a month utilized the offerings of Amerikahaus during its early years. Beginning in 1953, the United States Information Agency (USIA), an institution founded as an instrument of the Cold War, began to finance Amerikahaus. In addition to representing the U.S., its principal task in West Germany was to democratize and denazify the postwar population. After the beginning of the Cold War, many of these re-educative measures also served as propaganda in a programmatic linking of democratic and economic principles meant to strengthen transatlantic relations against the Communist Bloc. In 1997, the U.S. government concluded its work at Amerikahaus in Munich and shipped almost all its items back to the States. However, 1,630 long-playing vinyl records from the library were left behind in cardboard boxes in the basement. When Michaela Melián looked through this forgotten collection, one of the first things she came across was Don Gillis' 1940 tone poem »Portrait of a Frontier Town«, whose second movement is entitled »Where the West Begins«. Don Gillis, a composer and radio producer, used the musical styles and genres of that decade to create an explicitly American program music. Michaela Melián's »Music from a Frontier Town« is fueled by the diverse sonic material of this extensive record collection once considered as an instrument of cultural education. This record has been produced in addition to Melián's twenty-four hour performative music installation »Music from a Frontier Town« in the garage of what is now the Bavarian Center for Transatlantic Relations at Karolinenplatz, Munich (4-5 May 2018).

Keshavara debuts on FILM.

Taking it's influence from downtempo Alt-Pop and Hip Hop, but with nods to blissed out Dub and World Music - the Indian producer arrives on the Berlin based label with Creators of The Rain. Danny Wolfers takes control on the flip - turning in a gorgeous, transcendental remix under his Legowelt alias.

Live instrumentation provides the backbone of the work - dusty drums drive the music forward, complemented by shifting dub-guitar leads, off kilter bassline licks and delayed drum machine breaks. Singer Gio's vocals sit com-fortably at the back of the mix, soft but inviting - present but realised with a distinctly otherworldly energy. There's a fine, organic feel to the recording - ambient surface noise shifts and warps between elements, and live FX pop and duck in and amongst instrument strikes giving the work a rolling, hypnotic feel. It's a deep and fully realised piece of music - wonderfully three dimensional in it's execution, and a striking homage to the artist's wide frame of refer-ence.

On his remix, legendary synthesiser enthusiast Legowelt draws for a characteristically Sci-Fi finish, in keeping with the best of celebrated output for Clone, L.I.E.S., Creme Organisation and more. Maintaining the tempo of the origi-nal piece, but augmenting the work with a growling Reece bassline and hazy lead synths, the Dutch producer care-fully shifts Keshvara's recording up a gear. Where Creators of The Rain began life as a grooving, Hip Hop indebted piece of World Music - immediate but markedly laid-back in it's execution - Danny Wolfers injects a more anthemic, uplifting sentiment, highlighting the dub elements with a delayed drum machine line and pushing the vocals back with a touch of reverb to give his glorious synth-work space to breathe. It's a wonderful take on an already accom-plished piece of music; respectful but inspired - and no doubt some of the Hardware Occultist's finest work.

A native of the Caribbean coast of Colombia, Abelardo Carbono achieved legendary status in his country's storied ranks of musical icons by combining the homegrown sounds of cumbia with the chiming guitars of West African soukous, enormously popular with the local tropical sound systems, and drenching the whole thing in his off-kilter, surreal and slightly psychedelic sensibility.

With the exception of a well-received compilation of songs from his 1980s heyday, Carbono has been rarely heard from outside the sweaty dancehalls he still commands in his hometown of Barranquilla. Now, Names You Can Trust has welcomed the reclusive guitarist and singer back to the vinyl format with a simmering Afro-Carib beast of a cut, recorded with the assistance of Will "Quantic" Holland on rhythm guitar and Mario Galeano (Frente Cumbiero, Ondatropica) on keys and in conjunction with Lucas SIlva of Palenque Records & Polen Records. It's a true cross-generational and international collaboration that is uniquely possible via Colombia. The first release of this expansive & power packed studio session is a cover of vallenato pioneer Guillermo Buitrago's La Piña Madura. This updated take veers heavily towards Africa on a rock solid foundation of bass and drums, with Abelardo's trademark guitar and quirky vocals leading the way.

Black To Comm's Marc Richter returns under his Jemh Circs guise for a 2nd album of sonic abstractions. In contrast to Black To Comm's analogue tape and vinyl based sound, in Jemh Circs he works with digital sources by primarily sampling modern Pop Music (and various other oddities) on YouTube (et al.) and sending chunks of it through a variety of arcane transformations and mutations.Using similar esoteric methods as on his 2016 debut album but with very different results the record deconstructs the hypermodern sound of Pop Music with a Post Punk attitude, energy and primitivism. Richter's combining disparate elements that shouldn't really work together but somehow all the chaos is making strange sense creating a collection of oddly diverging sonic vignettes with a surreal and anarchic spirit. This is music deeply rooted in the present but still difficult to pinpoint to a certain year or style."(untitled) Kingdom" converts a seemingly one-dimensional concept into a complex puzzle of ideas, sounds and narratives, completely assimilating the original sources and transforming them into novel entities with an unexpected melodic and rhythmic quality.Some press clips for previous releases:The overall effect is quite remarkable. Each track is like a hologram of pop music itself, a tiny part that reflects the whole. You almost feel that you could open them out and re-create entire popular music cultures. We'll be grateful for that when the next solar storm fries all of our hard drives. (Ian Sherred / The Sound Projector) In that way Jemh Circs is a record about process - not just how Richter loops and distorts and mutates his samples, but how the sounds of pop music create a particular sonic signature, one that gets more interesting the farther they're pulled from their original context. (Marc Masters / The Out Door) Recycling random audio off YouTube, Jemh Circs' process couldn't be less sentimental, but the results turn out to be sneakily emotive. (Philip Sherburne / Pitchfork)

Swingrowers are known for their mixture of JAZZ, SWING, POP and ELECTRO, they have extensively toured Europe and North America, opening sell-out shows for Parov Stelar, Chinese Man & Caravan Palace. On top of delivering official remixes for Caro Emerald and Swing Republic, Swingrowers also boast musical collaborations with The Lost Fingers, Gypsy Hill, DJ Pony Montana and have had their own songs remixed by Bart&Baker and Jamie Berry.

Following on from their debut album 'Pronounced Swing Grow'ers' in 2012, Swingrowers have released their second album 'REMOTE' in early 2015, followed now by 'OUTSIDEIN', the band's third full-length studio album. This new release shows their expert musicianship and most meticulous production to date, mixing genres from jazz to electronica, from gypsy-swing to full-on rock'n'roll with a melodic pop sensibility.