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Detroit blue-eyed soul from The Flaming Ember, a band who signed to the then newly created Hot Wax Records (founded by the prolific hit making Motown team Holland Dozier Holland) Sunshine is the bands third Hot Wax LP with highlights including ‘I’m Not My Brothers Keeper’ to ‘1200 Miles From Heave’. Recognised for their contribution to music and inducted into the Rockabilly Hall of Fame in 1999
This 1971 album is reissued with original artwork presented in a gatefold sleeve and preseed on 180g heavyweight black vinyl with printed inner sleeve

Heartbeat Hartcore music... Asmatik gently silk and knife, surprising you but not too mutch. Fast and clear, hard and sweet... Opposites meltdown to create a large scale of ambience... the Ep even offer a kind of Noise Ambient

The third in the releases where label favourites are represented for today and backed with a remix / version by a contemporary producer of repute, presents 80s leftfield pop-rock band In Embrace. Appearing here are two versions of The Living Daylights, the original long version and a re-recorded live take, plus additional versions by Timothy J Fairplay.

Coming out of the midlands Post Punk / fanzine scene Gary Knight and friends formed the original incarnation of In Embrace in 1981. Picked up by Glass Records, the early, edgy live recording were re-proposed as Knight developed his 'non-musicianship' with an interest in the possibilities of the studio.

The original "Uncut" version takes it's anti-war themed vocal and lays it over a Jah Wobble inspired bassline and tense electronic rhythm. As it builds, the pressure mounts a visceral sense of oblivion of 9+ minutes of deep dubbing and repeating refrain.

Next to this the "Live In Studio" version sees the later 3 piece band replay it out in an energetic raw form that makes a worth addition. Handing the versions, plus backing tracks to Timothy J Fairplay offered a radical departure. His brooding Redub and Bonus mixes take the track to a darker place, drawing out the induced, relentless madness Knight always intended.

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

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

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

A new sublabel of the longstanding Canadian electro imprint Suction Records, Ice Machine — focusing on old-school wave/post-punk sounds — launches on Valentines Day 2020 with two fresh Canadian synth-pop LPs on vinyl. Along side a reissue of Ceramic Hello’s cult 1981 minimal synth classic “The Absence Of A Canary,” comes this, the self-titled debut LP from a new Toronto-based duo, Analytica.

Analytica is comprised of David Lush, who’s released several killer solo tapes under the name Memorex, and Gabe Knox, who made a big splash last year with his awesome instrumental synth/kraut solo LP “ABC” on acclaimed UK label Polytechnic Youth.

Analytica make synth-pop the old-fashioned way: driving, verse/chorus pop songs utilizing hardware synthesizers and drum machines, vocals and bass guitar, and recorded to tape. The comparisons to early-Depeche Mode (there’s even a cover of “Reason Man” — an unreleased, Vince Clarke-penned, Depeche song that was part of their earliest live sets), and prime-era New Order (right down to the Oberheim DMX percussion and Peter Hook-style bass guitar) are inevitable, but rarely are these sounds executed with such style and conviction. According to the band, lyrically Analytica “explore facets of the dark age ahead — the propaganda, the nationalism, the environmental disaster in front of our faces - while attempting to offer something of a defence against a nihilistic response to these fears. It's at once a call to arms and a recognition that we're entirely fucked.”

The LP contains 11 songs, and is housed in a stunning reverse-board jacket, and is limited to 500 copies.

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

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

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

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

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

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

Following up on their explosive and critically acclaimed debut album Free To Believe (2015, Do Right Music), Canada's premiere deep funk outfit The Soul Motivators are back with their sophomore album Do The Damn Thing. The 9-track album delivers a heavy dose of the band's signature funk sound, incorporating the soulful sensibilities of lead vocalist Shahi Teruko, who has been performing and touring with the band for the past two years and makes her recorded debut here.

From the high-octane 'Mindblastin' and 'All the Way to the Bank' to the moody ''Black Rhino' and the car-chase MSFBs-inspired 'Savalas' which show off the Motivators' instrumental grooves, Do The Damn Thing is guaranteed to appeal to the most discerning funk fans.

The band continues to broaden their definition of soul music from a spiritual, political and social standpoint, as evidenced by the album's most poignant and introspective moment, 'Modern Superwoman' featuring lyrics penned by Teruko. The Soul Motivators have toured tirelessly in their hometown of Toronto and all across the country. Their diverse crowd always turns out for their propulsive live show, and their mandate has always been the same: inclusivity, community, togetherness, and getting down on the dancefloor.

Nantes-based Australian drummer and percussionist Will Guthrie returns to Black Truffle with Nist-Nah. Like his previous solo record on the label, the abrasive hip-hop concrète of People Pleaser 'BT027', Nist-Nah finds Guthrie branching out in a new direction, this time in a suite of six percussion pieces primarily using the metallaphones, hand drums and gongs of the Gamelan ensembles of Indonesia.

The music presented here is grounded in Guthrie’s travels in Indonesia and study of various forms of Gamelan music, from the stately suspended temporality of the courtly Javanese Gamelan Sekatan, to the delirious, thuggish repetition that accompanies the Javanese trance ritual Jathilan, to the shimmering acoustic glitch of contemporary Balinese composer Dewa Alit and his Gamelan Salukat.

However, far from an exercise in exoticism, Nist-Nah develops out of Guthrie’s extensive work with metal percussion in recent years (as heard, for example, on his 2015 LP for 'IDEAL', Sacrée Obsession), where gongs, singing bowls and cymbals are used to build up walls of hovering tones and sizzling details.

Though Guthrie is broadening his palette to explore Gamelan instrumentation and pay tribute to his love of this sophisticated yet elemental percussion music, the pieces presented here are equally informed by Guthrie’s interests in free jazz, electro-acoustic music and diverse experimental music practices, exploring long tones, extended techniques, and non-metered pulse.
'Nist-Nah' presents a variety of approaches across its six pieces, from the crisp, precise rhythmic complexity of the opening title track to the droning textures of ‘Catlike’ and ‘Elders’.

On the epic closing ‘Kebogiro Glendeng’, Guthrie offers an extended, layered rendition of a Javanese piece belonging to a repertoire primarily used for warmups, beginner’s groups and children first learning Gamelan, elegantly gesturing to his own amateur status while using the piece’s insistently repeated melody as an extended exploration of the hypnotic effects of repetition, falling in and out of time with himself to create woozy, narcotic effects until the piece eventually dissolves into a wavering fog.

4TRK-029 sees label head Dj Hyperactive team up with Jason Patrick for the Inflexion EP. The release kicks off with, “Shadows Of The Underground” a stripped down acid Techno track that builds in a mutating fashion with it’s 808 cymbals, filtering shakers, and pitch bent synth stabs Mississippi Mud Hound gets underway with a growling bassline that morphs throughout alongside additional synth elements and percussion bits. On side b, “Harrier Env” provides a jacking feel that manages to also have stutter step bass groove in conjunction with 909 percussion, a spacey drone, and a mysterious melody. Closing out the release is “Bandaid On A Bullet Wound” an atmospheric stripped down track with powerful bass, sci-fi bleeps, and a lead synth riff that pushes and pulls in intensity throughout the track.

‘Oh, baby, this is where it gets good.’ - Zaphod

The last ever BBC radio series of The Hitchhiker’s Guide to the Galaxy makes its vinyl debut! Materialising in the lavish packaging style of the preceding five series (Primary Phase, Secondary Phase, Tertiary Phase, Quandary Phase and Quintessential Phase) the Hexagonal Phase will make its presence known to all humanity on heavyweight Neon Geen vinyl! First broadcast in 2018, the Hexagonal Phase is based on Eoin Colfer’s And Another Thing…, the first - and, to date, only – official sequel to Douglas Adams’s original book series. This is also the first ever publication of the original radio edits of the Hexagonal Phase, as heard on their original Radio 4 broadcast. Arthur Dent and friends are thrown back into the Whole General Mish Mash in a rattling adventure featuring Viking Gods and Irish confidence tricksters, taking in a rare glimpse of Eccenrica Gallumbits and a brief but memorable moment with The Ravenous Bugblatter Beast of Traal.
Starring John Lloyd as The Book, with Simon Jones as Arthur Dent, Geoff McGivern as Ford Prefect, Mark Wing-Davey as Zaphod, Sandra Dickinson as Trillian/Tricia McMillan, Samantha Béart as Random and Jim Broadbent as Marvin, with a guest cast including Jane Horrocks, Lenny Henry, Jon Culshaw, Mitch Benn, Ed Byrne, Toby Longworth, Professor Stephen Hawking and many more, with music by Philip Pope. Adapted, Directed and Co Produced by Dirk Maggs, based on the novel And Another Thing… by Eoin Colfer, with additional material by Douglas Adams.

Presented on 3 x 180g heavyweight neon green vinyl, and
presented in illustrated wallets inside a rigid, bound 20 page book,
including a perspective sleeve note by Geoff McGivern and a
concluding overview of the series’ development by Jem Roberts,
Adams’s official biograph

You’re home just in time for tea.’ - Fenchurch

WRWTFWW Records is too happy to announce the much anticipated official reissue of Japanese duo Inoyamaland’s quintessential ambient/environmental/electronic album Danzindan-Pojidon, produced by Haruomi Hosono and originally released in 1983 on his Yen Records label. Available outside of Japan for the first time, the new age classic comes as a limited LP with liner notes by band member Makoto Inoue.

With Danzindan-Pojidon, Yasushi Yamashita and Makoto Inoue created what they describe as "a special place where the kingdom of summer vacation never ended". Playful and magical, it’s a sonic landscape defined by tinkling synths, floating minimalist melodies, pastoral excursions, and mythical overtones. The 10-track adventure takes the listener on a joyful audio exploration of unknown but friendly territories, like childhood memories of an imaginary island where everything is vibrantly alive and peaceful.

The original recording sessions for the album took place in an apartment filled with Inoyamaland’s "favorite things and friends" and the wonders that came out of them were handed to master Harry Hosono who added his undeniable genius touch. And thus Danzindan-Pojidon was born, an absolute must-have, sitting in the pantheon of all-time 80s Japanese ambient greats alongside Midori Takada’s Through The Looking Glass, Hiroshi Yoshimura’s Green, and Satoshi Ashikawa’s Still Way - and holding that mysterious power of "music that makes life a little easier and happier".

The EP labirinto 2020 marks a welcome back from Spacetravel that combined the tough, futuristic groove with a solid techno influence full off effect.

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

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

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

Max Graef and Julius Conrad are Ratgrave. ‘Rock’ is their
second album - ongoing transmissions of Electronic PFusion from Earth. It follows a stellar debut on Funkineven’s imprint Apron. The duo’s sound palette draws inspiration from 80's funk, soul, rock and electronic but through a contemporary lens from two versatile multiinstrumentalists.

 In their own words: “Rock is the essence of energy and
vibration we felt in different styles of music, almost like a
parallel component connecting all things we like. In the
process of recording the new album we kept coming back
to this essence no matter what style the original idea was.
There was the raw and brutal energy of Jazz-Rock, a lot of
video game influences that somehow adhered this essence
just as well as quieter Pop and Psychedelic passages that
we recorded. Among other things we absorbed a lot of
heavy music during the time of the recording like Blue
Cheer, Black Sabbath, Frank Zappa or Jimi Hendrix and
realized while writing our own music how much impact
they had even on quieter songs. This is why ‘Rock’ felt like
the perfect title although the music ranges from P-Funk
and Spiritual Jazz to various styles of Pop and beyond.”

 Max Graef has previously collaborated with Glenn Astro on
records for Ninja Tune and both artists have previously
released on Tartelet.

 This marks the fourth official album on Black Focus, a
London label founded by Kamaal Williams.

 4pp digipack. 180g vinyl LP in reverse board printed sleeve
with 3mm spine and digital download card.

Two are surely better than one. Following Lory D and Fadi Mohem, Toronto based producer Graham Bertie aka Nautiluss also steps up for his second outing on Seilscheibenpfeiler, marking the label’s 10th overall release. Once more, Nautiluss is transforming playful and rhythmically intriguing bass music into prime dancefloor cuts, encompassing a rich array of sounds and moods ranging from upfront rave action to delicate deepness.
„Guccifer“ kicks things off with a dark, shuffling beat, creating a subtle hardcore/jungle vibe with atmospheric overtones. „Snakes And Ledgers“ is a percussion-heavy tune led by a fat and thumping bassline and completed with muffled chants by Toronto rapper Matthew Progress. Next up is „WiFi Oasis“, again fronted by a memorably melodic and reverberating bassline while the track explores airy and enigmatic IDM territory. „Moment Of Clarity“ rounds off the EP with ethereal synth pads and big breaky beats, providing an ideal closing track for every extended club night.

"Aporia" is a New Age album from Sufjan Stevens and his step-father and record label co-owner, Lowell Brams. In the spirit of the New Age composers who sanded off the edges of their synths' sawtooth waves, "Aporia" approximates a rich soundtrack from an imagined sci-fi epic brimming with moody, hooky, gauzy synthesizer soundscapes. The album may suggest the progeny of a John Carpenter, Wendy Carlos, and Mike Oldfield marriage, but it stands apart from these touchstones and generates a meditative universe all its own. This is no mere curio in the Sufjan Stevens catalog - but a fully realized collaborative musical piece. Stevens and Brams recorded "Aporia" over the course of the last several years during Brams' visits to Stevens' home in New York with the help of several frequent Asthmatic Kitty collaborators, including Thomas Bartlett (Doveman), D.M. Stith, Nick Berry (Dots Will Echo), John Ringhofer (Half-handed Cloud) drummer and longtime collaborator James McAlister, keyboardist and trombonist Steve Moore (Sunn O)))), guitarist Yuuki Matthews (The Shins) and vocalist Cat Martino.

white vinyl

Desroi cuts his unrivaled skill to combine power and pace into four new tracks again. "Vermillion Border" draws from a dazed palette of concise and forceful sounds and thus raises the bar on his lasting run of EPs.

Tightly oscillating and resoundingly austere, the EP has its moments of stormy brutality that punctuates the mesmeric synth cycles to inspiriting elation. "Bright Blood" and "Gauze Covers Flaw" appear tethered at the base by cavernous low end and heady drum machine programming which drives the work.

Closing track "Empty Eye" might present Desroi's most funky work to date, rounding the EP off with a single warping synth motif shifting through sonic spheres.

‘Visions’ is a new collaborative album from BADBADNOTGOOD co-founders, Matthew Tavares and Leland Whitty. The Grammy Award winning, multi-platinum producers have been performing and writing music together for 10 years. They have achieved international acclaim with BADBADNOTGOOD and Tavares’ recent solo single ’Self-Portrait’ has been championed by tastemakers such as Gilles Peterson and Benji B. ‘Visions’ is the latest upshot of their incredibly fruitful partnership.

Recorded in Toronto, it was produced by Tavares and Whitty - with Tavares also mixing the album and arranging strings. After a three-week writing period it was played in its entirety in one continuous studio session; almost all the tracks on the album are the first take. Tavares is on piano and guitar, Whitty on saxophone and flute. The rhythm section of Julian Anderson-Bowes on bass and Matthew Chalmers on drums completes the players. They make an impressive collective and are performing at the peak of their powers.

Conceptually the album is a canvas for a combination of composition and group free-form improvisation. Tavares and Whitty are the sole composers, but with some tracks collectively improvised, there is also a group dynamic running through the album. The outcome is a sublime melting pot of modern jazz, impressionist classical music and Arthur Verocai-esque arrangements. It is a sound that is hard to date; it is certainly of the now but is also reminiscent of a lost classic. Similar to the process of its creation, the optimal listening experience for ‘Visions’ is in its entirety. As a coherent body of work it draws the listener in with waves of intensity and crescendos that release back into tranquility - there is both darkness and light in the album’s narrative arc. There is also rawness and honesty to the music, which makes it feel like an intensely personal and intimate offering.

Lazy Harts Club man Evan Baggs is not one for keeping up a regular release schedule; in fact, his last single of note appeared way back in 2015. This first appearance on Time Passages has arguably been worth the wait, though. The Neu Rochelle EP offers a quartet of contrasting cuts. For example, compare the rough-and-ready, bass-heavy Drexciyan space electro of "UTL", the rolling, acid-flecked old school tech-house of "Neu Rochelle", and the melodious machine jam that is closer "Still Breezin". Best of all, though, is "All Question All Answers", which comes on like an unlikely collaboration between 'Pure Trance' era KLF, bleep types Sweet Exorcist, and late '90s tech-house jams.

Imagine a Kerri Chandler track anthropomorphized, then jammed into a Japanese purikura photo booth for a series of bedazzled, glittered, and airbrushed headshots. Imagine that image set to music. What do you hear? Westcoast Goddess' The Inner Snoopy, a frenetic house workout that is puzzlingly contemporary, classic, and alien.

The four-track EP kicks off with the title track, a cloud of cotton candy, supersaturated hot pink, threaded with twinkly bells and a bass shuffle that flips and flops around with cheerful abandon.

“Limelight Golden Age” and “Murder at Passion Cove,” the two tunes that follow, assume a quietly sinister tone, introducing minor-key piano pounds and pinched synth riffs that stretch to the heavens to complicate the overwhelming joyousness of the instrumental palette and arrangement.

A subtly ironic 12-inch that satirizes and lampoons the bubblegum, technicolor sounds from our hyperactive age while hearteningly finding beauty within it all.

Bah — words, words, word! It's wildly fun party music imbued with idiosyncratic humor and life-affirming happiness.
Play it loud, play if often.

Repress

After launching their own De Stijl label last year, Artefakt are back on Delsin with Icarus, a sparkling new four track outing. Known for their intricate sound design and deep yet hard hitting grooves. Always serving up atmospheric music that is artful and filled with rich detail, they continued on their own path once again here. Starting with the smooth and hypnotic, stripped back grooves from Icarus. Followed by the cavernous and immersive ambient trip Ganzfeld Effect. The darker Vapour is still heady and meticulously crafted with deft little details, a rich sound field and supple techno drums getting you in the zone. Delphic then offers crisp breakbeats, dubby drums and electrically charged synths that are physical but emotional. It's another perfect fusion of light and dark, thoughtful and physical techno from this ever impressive pair.

Smokey Purple Vinyl

BITE presents as its 7th release Will To Destroy: a collaboration by Berlin underground techno heavyweights Sarin and Imperial Black Unit. Sarin, the project of Emad Dabiri, previously released on the label last year with the Kuleshov Effect EP and now offers again his bassline heavy groove and sonic signature. Meanwhile, Imperial Black Unit is a technoid duo originally from Toulouse formed by Pablo Bozzi and Thomas Chalandon. With their sharp synths and metallic rhythms on top of growls that could evoke black metal atmospheres, they complete this remarkable record that reaches from slow, new beat alike compositions to peaktime anthems making Will To Destroy an effective ammunition.

Hailing from Ann Arbor MI DJ FLP makes his vinyl debut on new Vanity Press offshoot 3345 records. A 5 track vinyl that's suitable for play at either speed

Kareem Cali & LaRosa link up for a debut EP on Sidney Charles's hard hitting Heavy House Society this March, while groove master Nick Beringer serves up a superb remix.

Kareem Cali & LaRosa have linked many times before on originals and remixes that have helped define the house agenda in recent years. They have a laid back but warm style that is functional but full of subtle detail and studio charm.

Opener B21 is a brilliantly off-kilter tune with warped synths and tripped out details all making it perfect after party fodder. The drums are driving underneath it all, so will be irresistible to the floor. Over Ground is more stripped back but just as punchy, with rubbery kick drums and squelchy synths making for a hugely dynamic groove that is infectious and restless.

Rubisco label owner Nick Beringer then steps up after establishing himself as a real underground talent thanks to cult EPs on the likes of Raum, Berg and Taverna Tracks. His version is perfectly hazy and dazed. The balmy pads swirl around like a warm wind, the hi hats are delicate as they spin above the kinetic kicks, and the whole thing oozes warmth and class.

This is another essential EP from this already standout label.

The PPF are now back in full voice it seems...
It's been 15 years since their beautifully packaged series of EP's found their way into the world's best record crates
And after two recent & very well received releases on Hot Peas 'N Butter, we get four more certified floor-fillers from the vaults.
Constructed as club-ready reworks for their own sets, this pin sharp selection appears here as a one-off limited vinyl release.

A 4-way of their most wanted secret weapons for the faithful, these re-tailored & timeless classics are the sonic manifesto for preserving those good ol' Dirty Basements.

Two giants of Brazilian music back-to-back!

Jorge Ben can do it all - vocalist,songwriter, musician, producer and to many their ‘all-round’ favourite Brazilian artist. Jorge has had an amazing career, involved in music from the early 60's through to the current day, writing countless classic songs for him and other artists.

This awesome samba-disco-funk joint 'Waimea 55.000’’ is a lesser-known production, taken off a 7” B-side released on Som Livre in 1978. This is a gem which needed to be dusted off and given the
wider audience it deserves.

Baby Consuelo with her distinctive voice is one of Mr Bongo’s favourite Brazilian singers. The only female founding member of the mythical group Os Novos Baianos, Baby is a real innovator andpioneer, changing her persona and musical styles over the years, but still staying unique.
Here we have Baby at the start in raw psychedelic hippy mode,
giving a powerful vocal delivery where she manages to sound simultaneously badass and lovable. This early song was released in 1970 on RGE records on a compacto 7” credited to Baby Consuelo and additionally featured on OsNovos Bahianos’s debut album 'É Ferro Na Boneca!’ in the same year (re-issued on Mr Bongo in 2019).

Deliberately breaking all the rules Mr. Hornby once famously outlined regarding the creation of homemade (tape) compilations, Saroos’ members indeed had the term “mixtape” on their minds while working on their latest full-length – albeit in the hip-hop sense: a sonic snack box, interconnected shots from the hip, something that just came together and immediately felt right.

Whereas hip-hop folks nowadays often use the vacuous term “project” in order to steer clear of the ontological debate caused by the almost synonymous use of album/mixtape, Florian Zimmer, Christoph Brandner, and Max Punktezahl, otherwise busy with The Notwist, Driftmachine & Lali Puna, stick to the classics: their new 16-track project “OLU” (Off Label Use) is, officially, still an album. But it’s wild and vibrant like a mixtape, interwoven like its cover: a seamless burst of ideas, impulsively combined to form a split-screen snapshot of recent moments and momentums.

Re-appropriating the term “Off Label Use” – which actually means: using prescription drugs in ways that aren’t mentioned on the instruction leaflet – in their own “off-label” way, Saroos never sounded more loose-limbed and elastic. Whereas the trio’s earlier releases were rather conceptual and homogenous, “OLU” indeed has a more loose, spur-of-the-moment feel, a spontaneous force at its core. Checking the weighty sci-fi inspirations at the door, they use that Bomb Shelter-type of freedom to reinvent themselves at every turn, chasing sounds that happened to emerge in the group’s triangular energy field.

Kicking it off “with a killer, to grab attention” (Hornby/Cusack, after all), the massive reverb-stumblin’ adjustment between beats and bass of opening track “Quarantaine” cross-fades smoothly into “Humdrum Rolloff,” an early hint at the group’s off-label practices: the underwater creepers floating around here were really voices (mostly). From majestically built oriental sound-pieces (“Looney Suite Serenade”), synth-based “End House Mario” and a triptych of speaker-boxxxing gas lamp experimentations entitled “Cord Burn 1-3,” Saroos have rarely sounded this playful and unrestricted: there’s a new energy at work that welds all the different sonic playing fields together to create one continuous 40 minute mix.

For the B-side descent, “Tatsu Jam,” at less than 4 minutes still the longest cut, billows over the kind of sizzling hi-hats you’d expect to hear on real trap tapes from Hotlanta. A prelude to a bunch of quicker-paced instrumentals (“Scratch Pets”, “24h Love Gumbo”) and ambient sun showers, until the next “Plateau” (Mo’Wax vibes!) brings the beats to the fore once again (“Tomorrow’s Kudos”), and the ultimate “Whirligig” sounds like a mix of Oktoberfest 2020 and Johnston’s “Casper The Friendly Ghost” coming apart at the seams.
Whatever you wanna call it – album, LP, mixtape, project, who cares? –, it’s definitely a double A-side tour-de-force.

LostSoundBytes throws us by force into the deep end of a poorly lubricated engine with this 5 tracks mini album. Hear the dirty mechanical rumble of an old abandoned tractor that LostSoundBytes has just hot wired and driven off with, leaving road kill on his way. Driving fast or slow, you may ask. Who cares ! For our beneluxian shaman puts the pedal to the metal destroying the speakers on the way with Rusty Tractor. A certain vision of combustion by our mechanic LostSoundBytes : saturated rhythms on beaten up drum machines dragging us between Brussels and Paris.

Transversales Disques proudly presents Pharoah Sanders - Live in Paris (1975). A never-before released ORTF recording performed live at studio 104, Maison de la Radio, Paris. First official release with the full permission and cooperation of the National Audiovisual Institute. Deluxe edition, Classic Tip-On Gatefold jacket, including exclusive liner notes and pictures. Mastered from the original master tapes.

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

Red Vinyl LTD

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

Ferrum is a large-scale exploration of inharmonic timbres, oscillating between brutal grinding textures and intricate percussive singularities, created by digitally transforming recordings of various metallic objects.

Susanne Kirchmayr's new album takes a close personal look at the spectral richness of iron and other metals, in various shapes and sizes, recorded, processed and arranged to a carefully curated selection of musical miniatures. Some of the results are an obvious nod to her Electric Indigo DJ alias, music that could be played on the dance floor of an alien cargo ship, both highly familiar and foreign at the same time. Others offer almost steady-state like meditative qualities, vibrations from deep within, on a sub atomic level, full of light and motion on the tiniest possible scale. The limitation in material opens up a seemingly unlimited world of colours and rhythms, oscillating, resonating and highly immersive.

Ryan Crosson takes care of the fifth EP on tastemaking Detroit label My Baby Records with a fantastically forward-looking four-track vinyl offering. Ryan Crosson is a complex artistic creature who has roamed far and wide in his storied career. His always innovative music has come on groundbreaking labels including Wagon Repair, M_nus, Spectral Sound, and of course his own Visionquest. Each time he explores a new sound world and draws on things as diverse as musique concrète, Downtown New York funk, and East African jazz. Now he cooks up more beguiling brilliance on this fresh new EP. Opener ‘Speaker Dubs’ is a deep, bubbly rhythm track with dub chords rippling out to infinity. It’s a stylish track full of far-sighted reverence and supple groove that locks you in a trance. ‘Ogilvie’ is a piece of absorbing ambient with found sound recordings of muffled voices that sounds like you’re in an underground station. B-side opener ‘FutureTheory’ is another minimal masterpiece with glitchy sound design and eerie chords peeling off a tight, kinetic groove. Ghoulish voices add more late-night atmosphere and the whole track grows ever darker and more consuming as it unfolds. The excellent ‘OortCloud’ takes you back to the heart of a dance-floor with futuristic menace: the smooth drum loops are militant, the voices are dehumanised and the searching synths speak of a desolate landscape. It’s heady, brilliantly bleak stuff that is utterly infectious. This is another hugely inventive EP from one of the underground’s most consistent talents

Theo Kottis continues his impressive run of form with the sublime ‘Nothing To Lose’ EP, released on his own Beautiful Strangers label on March 13th.

Following an Annie Mac’s ‘Hottest Record in the World’ accolade for ‘Turning Around’, a brace of Mixmag’s Big Tunes and 10/10 reviews in 2019, plus support from many leading tastemakers and DJs, Theo Kottis shows why he is one of the UK’s most exciting producers and regarded as ‘one to watch’ for 2020.

The three-track ‘Nothing To Lose’ EP includes everything from club focused sounds to smooth, soulful melodies. Carefully crafted, the title track ‘Nothing To Lose’ is ready for the dance-floor and described by Midland as “sounds like Floating Points making a record for Afterlife!”. '12 Months' mixes arpeggiated synths with pads and breakbeats to create a perfect peak-time moment. The more chilled sounds of 'Loyal’ showcases Theo Kottis’s impressive range, offering up another stellar groove.

With a forthcoming date at Berlin’s iconic Panorama Bar (22 February) and a Gerd Janson remix of ‘Turning Around’, 2020 is off to an excellent start for Theo Kottis.

**Double LP - 180 GRAM** Already Platinum. Impeccable design. Although this is one of the more talked about records of his career, there's no doubt that this is a testament to JAY Z's diligence, entrepreneurship, and artistic vision. Picking up where Watch The Throne left off, Magna Carta Holy Grail is JAY Z's twelfth studio album, and a portrait of an emcee embracing fatherhood, marriage, and striking a balance between a past spent coming up and a future shuffling around the top. The LP also includes a limited edition flexi-disc postcard of exclusive non-album track ''Open Letter'' hidden under the artwork on the back cover. Production is helmed largely by J-Roc, Timbaland, Pharrell Williams, Hit-Boy and others, while featuring performances by Beyoncé, Rick Ross, Justin Timberlake, Frank Ocean, Nas, and more. With MCHG, JAY Z understands that hip hop is starting to enjoy the same clout as fine art and, even better, hip hop is alive, a part of the world, evolving, and not cordoned off in a museum. Play it forward and grab a copy now.

Drum & Bass duo The Prototypes release their much anticipated debut album 'City of Gold' on Viper Recordings following hit singles such as 'Pale Blue Dot', 'Don't Let Me Go' and 'Pop It Off'.

Already one of the hottest acts in the UK Drum & Bass club scene having 3 out of the Top 10 best selling tracks of 2014 on Beatport, The Prototypes are reaching new heights with their debut LP which showcases their trademark club sound and vocal anthems.

GoGo Penguin present Ocean in a Drop (music for film), a 5 track EP drawing from music originally written for their original live score to Godfrey Reggio’s cult film Koyaanisqatsi. Expect music that moves from fragile beauty to powerful themes that offer both a stand-alone snapshot of the trio’s world and echoes of the images that inspired the music.

Disco Segreta makes another dream for italo-disco hardcore true!

The first ever 12” officially licensed repress of this Yamaha DX-7 and Polysynth arpeggiated 1985 italo-disco masterpiece, previously released only as a b-side of a 45 on the tiny italian Discokkio label.

The 12” edition – made in collaboration with Metastasio himself – will feature the original version plus an alternate instrumental and vocal versions of “With You”, recovered from the original demo tape.

DSM009 will be strictly ltd. to 300 copies.

We're delighted to kick off our 10th anniversary celebrations with a release from an artist we've long admired, Dusseldorf's Harmonious Thelonious. His explorations into minimalism and polyrhythms have been staples in our sets since we were first connected via the Salon des Amateurs, and we couldn't be happier to welcome him into the Highlife fold with one of his brightest sounding records yet - documenting his musical adventures in Uganda.