quête:oh n

every insane animal gutting each to the core over grains of sand.

Halftime Drum & Bass’ hottest commodity vs. NYC Breakcore Pioneer on this plate. Amen flavored slow stepper, then onto a 168 jungle odyssey.

Demon come, demon go.

It’s a 3fer with New Orleans Sonic Terror partners dropping down south dark hop, nem0 with the abstract downtempo, and a piece of filthy sludge from German noise terrorists appended for shock value.

Three years after their critically acclaimed and sold out Abrada LP the great and joyful Japanese afro groovers Ajate are back with their much awaited brand new album Alo!

Ajate is a Japanese band who plays a unique blend of afro-groove dance music mixed with Japanese traditional festival music called "Ohayashi". Formed in 2011 by the band-leader John Imaeda, Ajate consists of 10 Japanese musicians.

Another unique feature of the band is the use of hand-made bamboo instruments as well as traditional Japanese percussion. The "Jahte" is a bamboo-made xylophone or balafon with a piezo pick-up mic attached to each key, connected to a pre-amplifier to obtain a loud sound and to add some touch of dirty distortion to its warm and natural acoustic sonority.

The "Piechiku" is also a bamboo-made string instrument inspired by the west-African "Ngoni" or Moroccan "Guembri" instruments. The Piechiku uses strings of the Japanese traditional "Shamisen". This instrument is also played through a pre-amplifier and John sometimes adds some wah-wah effect to it. All these bamboo instruments are designed, made and named by John Imaeda himself.

On Alo you will also be amazed by the exceptional sound of the Japanese Shinofue flute, which was not on the previous Abrada LP. Now, add to this unique sound some well-crafted Japanese female and male singing and you get a killer mix of Afro-Funk flavored grooves with traditional Japanese music!

Since the release in 2017 of their Abrada LP on the 180g label Ajate has toured Europe twice and has played a memorable concert at the world famous Trans Musicales festival in France in 2018, which has been followed by another great KEXP Live session.

Here is some music you will not be able to hear anywhere else, by one of the most joyful Japanese band to hear on record and to listen live!

First time on vinyl. Recorded for DC's Black Fire Records in 1976, Theatre West's music never made record until now. Selected works taken from the master tapes of James "Plunky" Branch (Oneness of JuJu, Experience Unlimited etc). Hailing from Ohio and resident in DC, Theatre West was made up of musicians from Slave, Gil Scott Heron's Midnight Band, The Fabulous Originals, Malone & Barnes and others. Serious jazz-funk-soul selections via the vaults of Plunky and Black Fire Records.

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

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

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

Rejoicer is a Tel Aviv-based musician making cosmic jazz-tinged electronica. 'Rejoicer' has collaborated with Mndsgn, Georgia Anne Muldrow and Dudley Perkins, as well as being a member of the band Buttering Trio and running the Raw Tapes label.

Several tracks on ‘Spiritual Sleaze’ include vocals, with featured guests including iogi, KerenDun, Nitai Hershkovits, Jenny Penkin and Sam Wilkes. Key tracks from the album have had videos made by visual collaborator Jengo, who will also tour with Rejoicer to perform their live A/V show in 2020.

Rejoicer cites Sun Ra, Aphex Twin, Steve Reich, Dabrye, Eric Satie, Wu Tang Clan and Scientist among his musical inspirations. For fans of Kiefer, Mndsgn, Teebs, Flying Lotus, BADBADNOTGOOD, Thundercat, Shigeto.

Press - Reviews & features in 405, RA, Faze, Clash, Mojo, Electronic Sound, Stamp The Wax, Mixmag, Faze, Musikexpress, Jazz News, Tsugi. / Online - 6 Music, Worldwide FM, NTS, Radio Nova, ByteFM, EGO FM, Triple J, Double J.

David Gray’s multi-platinum-selling album, White Ladder is presented in newly remastered audio in celebration of its 20th anniversary.
White Ladder spawned the timeless hits “This Year’s Love,” “Babylon,” and “Sail Away” and is one of the greatest and most heart-warming word-of-mouth successes in music. “What happened with White Ladder involved more than music. It was a sort of heart and soul moment of total surrender for everybody involved, for me and the
audience. That was it. It doesn’t get any better than that.” - David Gray

The expanded, deluxe edition features a remastered version of the iconic album plus a second disc; LP of previously unreleased and rare White Ladder-era B-sides and demos. LP 2x12" regular pressed & designed on 140g White Coloured Vinyl, Includes Printed Inner Sleeve, Gatefold & DL Card.

Adelphi Music Factory return with a mahoosive, peak time, fist pumping piano house bomb that harnesses that signature spiritual feeling that they do oh so well. Rapturous, unadulterated ecstasy bottled up and ready to be unleashed at will.

A very good meeting point between Hardcore and tribe, avoiding to be Frenchcore, and doin' a traditional Tribecore sound before it turned too mutch commercial... Actually full of good ideas and defenitly party time weapon ! Oh Yeah ! Rockn'roll baby !

+ Bonus 7" 400 ltd!

Christina Aguilera, Donny Hathaway, and Gregory Porter. If you are curious to learn how these three names are connected with Movements Vol.10 then all you got to do is to keep on reading.

Those of you who have been enjoying Tramp Records' Movements series from the very beginning know that this series is not just about funk. It actually covers a wide spectrum of genres: early Rhythm & Blues, Soul-Jazz, Latin-Soul, heavy James Brown-style Funk, and mid-70's pre-Disco. The track listing is, as on all previous volumes, selected in chronological order.

For this, our 10th jubilee album, we go back in time more than 60 years. The Frankie Greer Quartet opens the set with their beautiful composition "Spooky". Just as sweet is "Early in the Morning" by the Bill Beau Trio which was recorded in 1958. What Eunice Haze, Phylis Hendricks and the Eddie Buster Band have in common is the fact that each of them has recorded only one 45rpm single in their musical career.

Johnny Spinosa's "Come On" is a fierce Rhythm 'n Blues monster of the highest order. The same goes for The New Philadelphians. No one would question if "The Mustang" was announced as an unreleased Blue Note recording by Lou Donaldson from 1968. Cleveland Eaton, who became one of the most versatile and best jazz bassists in 1970s, started out with his band The Kats in the late 1960s. "Under the Covers" was arranged by none other than Donny Hathaway (of "The Ghetto" fame) with who he has worked closely together in his early days.

Probably one of the finest and most sought after versions of "Coming Home Baby" out there has been recorded by a german dude and bis band, Ronny Pellers Satin Sound. Another excellent cover version is delivered by The Lido which should leave any latin-jazz fan speechless. "El Mexicano" is an inconspicuous little groover while the next two tunes by Herb Crawford's Jazz Ensemble and The Runningboards are more in the soul-jazz vein. Listen to the dummer on "Louisville Assembly Plant" who goes nuts!

Mr Renault's dishes have always been on the plate what they promise on the menu, thoughtful, solid and reliable.
And all of this is delivered to your table with grace and wit, oh what a class act.

* "The Longest Sleep Through The Darkest Days" is the sophomore album from Plymouth shoegaze post-pop electronic project Winterlight. The project was originally a solo endeavor started by Tim Ingham back in the mid-oughts but now sees his daughter Isabel taking on bass guitar duties.
* This new album is the culmination of nearly seven years of on and off creative spurts, false starts, and second guesses reflecting the turmoil hinted at in the album's title. Yet those that follow Winterlight know Tim's been making music pretty much all along and releasing occasional demos via his Soundcloud.
* This lengthy process has yielded one resounding result: If it ain't broke, don't fix it. "The Longest Sleep Through The Darkest Days" has all the Winterlight earmarks: divine organs, thoughtfully constructed drums, the occasional electronic flourish and, Oh... Those immaculately soaring guitars! While Ingham considers Winterlight to be post-pop, and for the most part the duo still brings those melodies to the table in spades, there are some unique changes happening under the surface in the album's bookends that move way beyond simple ear candy. This shows The Inghams are starting to take risks while still staying true to the original vision for the project.

"Art Is A Cat" is The Dining Rooms' eighth studio album - thirteenth if we also consider five remix and rework records - in over twenty years of career. It comes out five years after the fully instrumental "Do Hipsters Love Sun (Ra)?", and shows itself as a new milestone in the artistic path of the Milanese duo formed by Stefano Ghittoni and Cesare Malfatti.

In fact, "Art Is A Cat" hosts every facet of The Dining Rooms' music, mostly nourishing the intuitions delivered in past albums such as "Experiments in Ambient Soul" (2005) and "Ink" (2007). It preserves all the characteristics of their typical signature: songs balanced between folk and soul, dub expansions, instrumental hip hop and cinematic atmospheres. Not to renounce to any of these aspects and given the high quality of the recorded material, Stefano and Cesare decided not to sacrifice anything, and wrote and produced a 19-song full-length for a total duration of about sixty minutes.

"Art Is A Cat" also hosts a large group of guest singers, both historical voices of the band and absolute novelties, who also co-wrote the lyrics; the vocal parts are interspersed with the group's instrumental classics, from funk-fueled visionary downtempos to more experimental micro-songs. Sean Martin and Georgeanne Kalweit therefore return with two songs each (one of the two sung by Georgeanne has its lyrics written by Jake Reid, a London-based singer who already collaborated with The Dining Rooms in "Lonesome Traveler" in 2011).

Among the new entries we have, first of all, the Italian-Tunisian Rahma Hafsi on the sensual ballad "Little Girl" sung both in English and Arabic, while the very young Italian-Salvadoran Beatrice Velasco Moreno sings, together with Sean on backing vocals, the spoken-word "Teach Me To Dance", the spiritual "Sweet Love" and the title-track, an orchestral folk moment among the most inspired ones in the entire band's history; Lola Kola, queen of Tropicantesimo, also brings an absolute novelty in the world of The Dining Rooms, presenting for the first time an Italian-sung piece: "Nella Sua Loca Realtà", a post-melodic song dedicated to the fragility of love.

The vocal parts series ends with two episodes in which Stefano resumes his past as a singer (in the '80s with Peter Sellers & The Hollywood Party) with the Indian-flavoured "Ohm And Raga" and the existentialist ballad "She Says I'm Bad".

"Art Is A Cat" is therefore a complete and very fascinating album, destined to excite and leave its mark.

Unter Evolution versteht man gemeinhin die allmähliche Veränderung der vererbbaren
Merkmale einer Population von organischen Strukturen von Generation zu Generation.
Überträgt man diesen Gedanken aus der biologischen Welt in die musikalische von Northern
Lite, so trägt jedes neue Album die signifikanten Merkmale seiner Vorgänger in sich, aber erfindet
dennoch den typischen Northern Lite Sound auf spielerische Art neu.
Evolution, das 13. Studioalbum von Northern Lite, gibt ihrem unstillbaren Drang nach Härte und
Geschwindigkeit Raum, ohne jedoch die existenzielle Notwendigkeit von Liebe zu verleugnen.
Sich ihrer eigenen Vergänglichkeit bewusst geworden, gehen Kubat, Bohn und Rödel, nun jenseits
der vierzig, schonungslos mit sich ins Gericht. Weder textlich noch musikalisch werden
Gefangene gemacht. Von zärtlich quecksilbrigen Pop Balladen, bis hin zu neuen Hymnen, die die
Kraft haben, ganze Generationen im Herzen zu verbinden, nimmt jeder Song des neuen Albums
seine Hörer mit auf eine Reise zu sich selbst.
Im Ergebnis bilden hier Inhalt und Form eine rauschhafte Koexistenz, die nur durch die
meisterhafte Präzision der musikalischen Ausführung noch Steigerung erfährt.

For The Geek and VRV, everything is a matter of time. Since they first met six years ago, the two beatmakers have been broadcasting their music to the four corners of the world, and their collaboration is as strong as ever after the years. Vanguards of the French instrumental hip-hop scene, they’re coming out today with their first album, Time Machine, a synthesis of the sounds and the ideas they’ve been working on from the very beginning of their careers. A trip back through time, as its name suggests, demonstrating the range of sound possibilities that they created in previous projects and on their international tours.

The release of their hit “It’s Because” in 2013 launched them on the scene as French producers who managed to break into the United States, with sampling as their musical base. Closer to home, the Coachella, Osheaga, and Solidays music festivals were won over by the pair’s complementarity, which made the success of their BTOS beat tapes and their EPs, Electric City and Origami.

But since everything is a matter of time, it was sometimes necessary to just let things go, take a break and think things over before coming back even stronger. A year and a half ago, The Geek and VRV started to slow things down, in order to take a step back and concentrate on this new album. With one overriding idea: to explore different eras and time periods, and transpose them into our modernity. Each track is associated with a pivotal year in music. With “Paris Jazz Club 1920”, the first single on the album, we're plunged into the cozy atmosphere of the cabarets, featuring the virtuoso Montreal pianist Anomalie. A meeting made possible thanks to the famous beatmaker Gramatik, who was a fundamental inspiration for their music, and who is also present on the album, as well as the flagship producers Fakear and Møme.

On Time Machine, The Geek and VRV have turned on their time machine to bring us to the year of James Brown’s birth, and find the unstoppable groove of “Get Funky 1933”. Always with hip hop in sight. The explosion of disco inspired them to record “Roller Disco Party 1980”, and the film Back to the Future was behind “Time Machine 1985”. The mixing of different time periods means that the styles, genres and atmospheres are channeled to perfection. The Geek and VRV have been preparing for this trip for five years now. With Time Machine, the time has come for them to begin their exploration, and to take us along for the ride.

In a career spanning 45 years, Leo Sayer has sold more than 80 MILLION records worldwide. In a career spanning 45 years, Leo Sayer has sold more than 80 MILLION records worldwide. It was co-produced by former teen idol and actor, Adam Faith and his long-term writing partner David Courtney. It was co-produced by former teen idol and actor, Adam Faith and his long-term writing partner David Courtney.

Indeed, while he's best known as a DJ/producer in his own right, Duvante's own A&R skills are impressive, with Residual counting on everyone from Fym to Boo Williams to Garrett David over the years. As with their last V/A (the brilliant Refraction Vol. III), the label owner has done another expert job at rounding up some great troops here, with four emerging producers delivering the goods courtesy of Refraction Vol. IV.

We get underway courtesy of Rukka's 'Stellar Radiation'. Full of zippy, nimble synths and clever cowbell sounds, 'Stellar Radiation' is a brilliantly constructed slice of intergalactic funk that brings the rabbit role in some style. Teakup's 'Believe' is a more stuffy, techno-focused cut, the likes of which has been produced in a unique, urban-influenced vein. Miscellanea I on the Is / Was label, it's another reminder of the Ohio native's undoubted talents.

'Sepehr's 'Exit Your Body' plays out like a vintage cut from The Martian. Loaded with funk and soul motifs and characterised by its 808 sounds, this is techno of a real swagger and panache. Deep but brilliantly catchy, it's indicative of the label at its very best. It's then left to Italian producer Pressure Point to see us out, a task he fulfils in some fashion thanks to 'So Far So Good'. Another track with its roots in classic sounds, it too maintains a sort of contemporary edge. Really fascinating and sumptuous stuff that strays down different paths throughout the course of its almost 6 minutes, it closes the release in truly emphatic fashion.

Space-influenced tracks that bring the listener to the heart of the funk cosmos, Residual's latest serves up a brilliant and dexterous voyage to soundspheres that are well worth getting lost in.

Glasgow based label "Out From Out There" present its first release by label owner "Sadistic" along side "Ohmega Sir". 4 slabs of dark and hard hardcore techno. Limited Edition of 150 Copies - Vinyl Only!

Paul Young’s debut album No Parlez launched him as one of the most talented musicians of the early ’80s. The record reached number one on the UK Albums Chart and remained in the Top 100 for 119 weeks. After he released the third single from the album, a cover of the Marvin Gaye classic “Wherever I Lay My Hat (That’s My Home)”, the song reached the first position in the UK Singles chart.
Afterwards the second single “Love of the Common People” and the follow-up single “Come Back and Stay” charted all over Europe.
The last one proved that he was capable to chart with his own material as well. His great vocal individuality made him one of the most beloved singers of the early ‘80s.
... Unfortunately he couldn’t hold on to this success, but 'No Parlez' will always remind us of the great musician he once was.

Detailed Information about this LP:
'No Parlez' is available as a limited edition of 2000 individually numbered copies on purple marbled (purple & solid red mixed) vinyl.

Fifteen folk tales from 7 albums made over 7 years by an imbued composer, conjurer & channeler of cosmopolitan Blues. Downtown Castles received “Best of 2018” honors from WIRE Magazine, Liberation France, The Quietus, Gilles Peterson, The Vinyl Factory, Aquarium Drunkard, and AV Club.

Cynosure returns with OHMS, a playfully uplifting collaboration from Mike Shannon and Ohm Hourani. The three-track EP features two originals laced with twisted drums and slippery synths, equally fitting for intergalactic exploration or a beachside sunrise. The original tracks’ intimately minimal production is complimented by a remix from Akufen of elegant deep house, making for a record that is both contemporary and classic. “Hightower PSA" slips out the gate with a carefree ambling baseline over a slow, swelling tide-like pad. Breezy, pulsing synth stabs pull the groove together while precise, quick hats and snares weave around buzzing tones like alien chatter. “Nova In The Sun” moves into steadier and darker territory: the bass hops between a stark kick-snare, with hats tastefully drizzled on top.

But when singer Ilhem’s sultry voice cues subtle hand drums and squiggly echoes, the track transforms from a slick minimal affair into a soulful throwback. “Nova In The Sun (Akufen’s Aldo Nova In The Sun mix)” takes the female voice of the original and jumps right in with an upbeat staccato piano and swirling violins. A full-blown house arrangement ushers in lush strings, electric piano chords, and loosely fitting open hats and snares, all conspiring to bring a splash of joy to any peak-time crowd. On the whole, OHMS deliver a versatile EP that swaggers with a smile.

The hyper talneted Stellar Om Source (NOT NOT FUN, RVNG, NO 'LABEL) blowing up new styles on this one!

"If there is one thing that leaps out from Stellar OM Source’s music, it is the sense of a highly active mind at work. There is an indivisible feeling that a real person is behind this dynamic flurry of tones, waves, vibrations and modulations. On I See Through You, the first full Stellar OM Source release in over four years, the spark that first LP piqued the interest of so many listeners is glowing stronger than ever.

In the 2010's, Christelle Gualdi carved a name as one of the most essential live electronic musicians around, dazzling dancers and home listeners in kind with her bombastic, acidic hardware jams. Circumstances outside her control forced a stop for the Stellar OM Source project. It was touring, including two shows in the summer of 2019 at Dekmantel Festival and Listen! that Gualdi credits as year highlights, which proved to be the integral jump-start to the engine.

Inspiration came rushing back thanks to the human connection of performing. Seeing a younger generation connect with her put fresh charge into the circuitry of her gear. All this accrued into new material on the road, and thus I See Through You was born.

The spirit of 2013’s cult favourite Joy One Mile is alive and well on I See Through You. There is once again immediacy, urgency and lust. But Stellar OM Source stepping into a comparatively more poppy and playful mode on these four tracks could also throw some. Fundamentally she says, it comes from a similar place, and ends with an enmeshed and positive outcome. Gualdi credits both “1995 rave” and “the clarity, bass and breath” of hi-def hip-hop productions as being twin northern stars for her to follow.

The artwork comes from friend and highly respected photographer & director Pierre Debusschere, whose work similarly flits between arresting close-ups and, well, the widescreen luxe of Beyoncé videos. “I’m definitely not a purist anymore,” Gualdi laughs – and with club-ready impact meeting human warmth, this shows in abundance.

“Night Alone” wastes no time in getting the listener up to speed. Is that an LFO sample running through “Night Alone”? Is this a lost Metro Area classic? Is that Stellar OM Source taking a diversion into searching Ibiza-rousing vocal for a moment, or did we imagine that in a heat haze? Where are the kicks? Oh there they are. How many elements are buried and revived within just over five minutes?
It’s hard to tell. Before we know it, “Lost Codes” is up and away, keeping pulses racing. A pitter-patter of baby kicks feel like a pre-tremor before a welting electro-Italo lead crashes into play. With fizzing energy, rasping synths and a frisson of danger, fans of Unit Moebius and The Hacker will be doing somersaults of joy.

“White Echoes” wastes kicks off the flip side with low gurgles descending briefly like a UFO reverse parking into the spot SOS had vacated. Soon, 303s are twisting like Chinese burns while warm chords offer a salve. The mood maintains on “Wild Palms”, the only song on this record not to feature additional mixing work from Peaking Lights’ dub-wise sensei Aaron Coyes.

True to form, the B2 is all Stellar: elements switching up and out, with all the fun and frenzy of capital-L Live action. Kick drums and bassline darting back and forth like a synchronised swimming routine, all elements in concert. The momentum of a runaway mine cart that you can’t help but strap yourself to. I See Through You is one for the dancers who have given Stellar OM Source the motive to move forward once again."

They Say: “A selection of suspense underscores and drama blackcloths which vary in intensity and cover a wide range of suspense and drama situations”.

We say: A breaky, funky library great masquerading as a horror score. Oh, and the cover art is amazing.

Breath Of Danger was originally released in 1974, and rounded up a killer ensemble cast of library legends including Alan Hawkshaw, Brian Bennett, Alan Parker, David Lindup, Kenny Salmon, Barry Morgan and Ray Cooper.

Lindup’s opener “Cold Sweat” sounds like hip-hop-friendly mode Axelrod and, indeed, was brilliantly sampled by Kool Keith for his Dr. Dooom project. Alan Hawkshaw and Brian Bennett’s “The Manipulator” sounds like it arrived straight out of the same sessions as their legendary Synthesizer & Percussion LP from the same year.

Over on the B-side Alan Parker’s “Psychosis” is a moving and beautifully restrained funk-guitar/cello/harp workout. Stunning. Kenny Salmon’s “Flying Squad” is a sleazy, flute-enhanced gem and the album closes with “Voodoo”, a seventy second riot of sound and colour from the dynamic drumming-percussion duo of Barry Morgan and Ray Cooper.

Sonically, there’s a widescreen vitality in all these tracks thanks to the driving rhythms, vibrant horn sections and blazing guitar work. It renders Breath Of Danger - 45 years old - truly ageless. The Themes series is known for having particularly striking sleeves, which was unusual for library records at the time, and Breath Of Danger’s scraps of comic-book crazy make for one of the most eye-catching.

As with all of our other Themes re-issues, the audio for Breath Of Danger comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

“Cryptic, twilight emissions from Villalobos and Loderbauer; their synthetic compound of electronics and ouroboros jazz has walked from ECM and Perlon over to Mana.
Developing a sound that tends to drift along as otherworldly atmospheres and strange fusion, Vilod evade easy categorisation, even compared to Villalobos’ already experimental and genre-twisting solo minimal offerings. He and Loderbauer pull away the backbone inherent to the structure of that dance music, and The Clouds Know refines a deft and subtle musical noir built on ambient cues, sparks and claps of electricity, brushed drums, black voids and subterranean bass swoops. There's a twinkle in the eye and moments of deadpan levity, but the overall mood here is sober and introspective. Emotions run deep.

Through studio mastery and an enigmatic language the album forms a fascinating sonic and sensory work with few compromises. With erratic rhythms notably submerged—techno remains as an irregular pulse in the belly of the beast—fields of crisp, uncanny detail expand greatly. Humid environments appear, dense with the chatter of synthesised insects and the gentle rain of drums and whispering cymbals, enchanting the listener in focus or sublimating into layers of ambience depending on your disposition - and the quality of your stereo field.”

Oh, Juan! We love thee, we love but thee with a love that shall not die ‘till the sun grows cold and the stars grow old.
Once in a blue moon, there is a star for whom we see limitless possibilities, whose inevitably long and fruitful œuvre all but insists we do everything in our power to nurture and provide support.

We diligently examine that sky, seeking rarefied meaning from an often desperate and banal universe, and over this past decade you have surely proven one of the brightest, most wondrous and tenacious cosmic forces we’ve encountered.
Your kaleidoscopic wealth of personality, your emotionally urgent storytelling, your obsessive-compulsive weaving of voices siphoned from the pop culture æther, your ability to synthesize teachings from the Atlantic Northeast, Caribbean and Fatherland to pen an ever-evolving musical autobiography; these superhuman strengths are not lost on us.

The 'Oxford House' EP is particularly special, as 'Fahrt Im Himmel' was our fateful introduction to your work, and though that meeting in a writhing maniacal pit of half-naked sweaty bodies was nearly five years ago, it still lives romantically close to our hearts. We just know the world will fall in love and 'Let It Go', just as we did.

It’s exciting to see you merge a musical adolescence with the now evolved Juan Ramos of 'Oxford House', recognizing your significant coming-of-age and never shying away from your roots, but rather confronting and embracing them at your every turn.

We will continue to champion your creative process and output, in hopes of fueling your inherent quest to illuminate uncharted regions of your vision.
... With all our love, always and forever, the ESP Institute.

On the hunt for timelessness we travel far and wide and realise only the wisest and stupidest of men never change. Brilliance borders lunacy. Extreme wisdom and extreme stupidity are the same. When u know everything u know nothing. Just as minus infinity reaches plus infinity and forms a circle. Just as extreme right wing and extreme left wing are basically the same but arrived from a different angle. Extremely bad taste becomes good, and extremely good taste is contrived. The truth is in the middle (yes i have come at an age where i can say that) so we have to embrace change to be the only constant. Everything and everyone always changes. So what does it mean “to be timeless”?

A very special thanks to Efdemin.
The story goes like this:
He gave us the strong winds remix. We told him its a bomb. We also said its a little sad maybe perhaps that it contains so little of the original. “Oh let me try something” was his answer. And the very next day we got sent the good winds mix. Of course we asked if we could include both mixes. How could we choose?

'Esoteric, modal and deep jazz from the undergound, 1968-77'

Jazzman Records presents the sound of the unsung musicians who – in the midst of the Vietnam War and the fallout of the Civil Rights struggle – created some of the most beautiful Spiritual and meditative music of the era. Sometimes funky, sometimes mellow, but always trying to say something about the world in which we live.
Existing completely under the critical radar and largely ignored or unknown by music fans and critics alike, most of the musicians featured in this album won't be familiar to even the most seasoned aficionado. Their records, frequently turned down by distributors and record stores, saw little attention when first released - and have seen even less since. But in this era of musical apathy, where so many music junkies look to the past for their musical fix, we have re-discovered hidden, obscure and esoteric jazz musicians who looked to the four corners of the earth - and beyond - for inspiration. Here we evaluate Spiritual Jazz – music that is a snapshot of the era after Coltrane, a time which saw the evolution of an underground jazz that spoke about the reform of the soul, the reform of the spirit, and the reform of society: a music which was local and international at once, which was a personal journey and a political statement, and which was religious and secular in one non-contradictory breath.
The music on this album reflects the social and historical forces at work during the closedown of the '60s dream; music made by close-knit collectives and individual visionaries, by prisoners and eccentrics, by mystics and political radicals. It includes music by acknowledged masters, and moments of brilliance by unsung figures known to us from just one or two recordings. It is the jazz music of America in the age of civil rights, brutal repression, political assassination and war; a music that would guarantee the survival of the spiritual dimension in a society that was angry and traumatized, but nevertheless had seen hope of better days to come.

Continuing the series of single releases from Carlton Jumel Smith's album "1634 Lexington Ave." is a beauty of a track in the form of "Ain't That Love". In soul music guitar doesn't always take lead the way it does here played by Seppo Salmi of Timmion house band Cold Diamond & Mink. You might know those tracks like Darondo's "Didn't I" or "Oh Love" by Iron Knowledge that begin with a guitar line that just freezes the heart.

And there's of course one soulful guitar man we can't leave out here. If Carlton ever put his Bobby Womack to the front, it might be the case with this mid-tempo shuffler. Carlton always sings like he's squeezing the last drops of emotion from the human race, but in this number he's really aiming for the cherry. Cold Diamond & Mink supply the right ingredients for the mix with a strong beat and mellowed out horn melodies.

If there's one single you want to pick from Carlton's album for those Autumn Sundays looking through the window or walking in the park, make it this one.

‘Still Strange’ reaches back into the prized loft tapes of Jeff Sharp aka Orior following the revelatory discovery of his overlooked early ‘80s gems on 2016’s ‘Strange Dream’ collection, as coaxed out by
DDS dons Miles Whittaker and Sean Canty.
Huddling another sublime, dusty set of analogue tapes freshly baked and remarkably well-restored by Andy Popplewell, ’Still Strange’ contains four gorgeous flashbacks to the era 1979-1983
surrounding and even pre-dating ‘Strange Beauty’, and then shifts focus to recordings that Orior made around the early ‘90s.
As with its predecessor, Orior is not alone on the material in ’Still Strange.’ From those feted early tapes we find Phil Hollis returning to lend jagged guitar on the drum machine sizzle of ‘Feels Like
Summer’, while the mysterious synth player New Cross John makes vital contribution to ‘Invium.’
Along with the aching synth sigh of ‘To Return’, which pre-dated all of these recordings, and the nine minutes of haunting bedsit strums in ‘Larbico Alt Mix’ which came from the first batch, the
early material is all arguably worth the price of admission alone for seekers of lost synth treasures - really this stuff is just so good..
However, the album’s other six tracks expand knowledge of Orior’s work into the ‘90s and also contain some extraordinary material. Salvaged from further loft tapes found in various states of degradation, and subsequently mixed down between London’s Goldsmiths College and Miles Whittaker’s Whalley Range attic (and elsewhere), they are decidedly more blunt and gloaming, especially in the Deathprod-like ‘Under Shadow’ and the near static witching hour ambience of ‘Endless’, while shorter vignettes such as ‘Unknown Future’, ‘Gothic’ and ‘Another’ point to pre-echoes of BoC’s crepuscular scapes and even Bladerunner-esque sci-fi noir soundscapes

20 years of Pop Ambient. Already? One didn’t notice. It’s an anniversary which comes quietly. An anniversary with quiet tones.
In the spirit of the special restraint of pop-elegance, it has no reason to drawn attention to itself with a big „Tam-Tam“. Or better: „Bum-Bum“. The bass drum stays outside. Nevertheless, in fast-paced, overstimulated times of moving forward, it’s a joyful occasion to look back.
What strikes most by putting or listening to 20 years of pop ambient in a row is the central theme that holds together the dense aesthetic concept like the pearls of a necklace.
Floral beauty for digital naturalists. Music like flowers, that don’t wilt. Timeless. Ageless. But with all of the conceptual unity and resolution, Pop Ambient would not be Kompakt without the break, the friction, the expansion of musical boundaries in between tradition and innovation, in between conspiracy and the openness of the discourse.
Aestheticism, escapism, acting in the spirit of „nevertheless“. Swans drifting by, clouds pass over, everything is floating and: „Boredom is a stylistic device“ (Andy Warhol).

Pop Ambient Music is medicine against illnesses, that you don’t even suffer from. It’s giving everything, demanding nothing.
Musical lotus leafs, off which the virtual wastewater of our time is rolling like the reality is dripping off the matrix.


In this sense, we’re happy about the pop-ambient anniversary greetings from new and old companions like Thore Pfeiffer, Max Würden, Yui Onodera, Jörg Burger, Thomas Fehlmann, Morgen Wurde, Leandro Fresco aswell as contributions from T.Raumschmiere, Andrew Thomas and, after a long break, from friends from early days like Joachim Spieth, Markus Guentner und Klimek.

Pop Ambient 2020 is released digital, as CD and of course as a chic double vinyl. Also included in the package: The whole distinctive cover-series as an art book of 44 pages. And for all of the old and young fans and collectors there is the Pop Ambient 2001 in a overhauled original version out on vinyl for the very first time.



Breath in. Breath out. Thank you.



Wolfgang Voigt, September 2019.

20 Jahre Pop Ambient. Schon? Hat man gar nicht gemerkt. Ein Jubiläum auf leisen Sohlen. Ein Jubiläum der leisen Töne. Und ganz im Sinne pop-eleganter Zurückhaltung, kein Grund, großes Tam-Tam zu machen. Oder besser gesagt: Bum-Bum. Denn die Bassdrum bleibt ja draußen. Dennoch freudiger Anlass genug, in reizüberfluteten, schnelllebigen Zeiten auf dem Weg nach vorne einen Blick zurück zu werfen. Wenn man 20 Jahre Pop Ambient Platten hintereinander legt / hört, sticht einem zunächst der sprichwörtliche rote Faden ins Auge und ins Ohr. Der Faden, der das dichte, ästhetische Konzept zusammenhält wie die Glieder einer Perlenkette. Florale Schönheit für digitale Naturalisten. Musik wie Blumen, die nicht welken. Zeitlos. Alterslos. Aber Pop Ambient wäre nicht Kompakt, wenn nicht bei aller konzeptionellen Ge- und Entschlossenheit, auch der Bruch, die Reibung, das Ausweiten musikalischer Genregrenzen zwischen Tradition und Innovation, zwischen Konspiration und Diskursoffenheit, inkludiert wäre. Ästhetizismus, Trotzdemismus, Eskapismus. Schwäne treiben, Wolken ziehen, alles fließt – und: »Langeweile ist ein Stilmittel« (Andy Warhol).

Pop Ambient Musik ist Medizin gegen Krankheiten, die man gar nicht hat. Gibt alles und verlangt nichts. Musikalische Lotusblätter, an denen das virtuelle Schmutzwasser der Zeit abperlt, wie die Realität an der Matrix.

In diesem Sinne freuen wir uns über pop-ambiente Jubiläumsgrüße von neuen und alten Weggefährten wie Thore Pfeiffer, Max Würden, Yui Onodera, Jörg Burger, Thomas Fehlmann, Morgen Wurde, Leandro Fresco sowie Beiträge von T.Raumschmiere, Andrew Thomas und nach langer Pause, von Freunden aus frühen Tagen wie Joachim Spieth, Markus Guentner und Klimek.

Pop Ambient 2020 erscheint Digital, als CD und natürlich als schickes Doppelvinyl. Mit im Paket: Die gesamte unverwechselbaren Cover-Serie als 20-seitiges Kunstbuch. Und für alle neuen und alten Fans und Sammler, erscheint zeitgleich Pop Ambient 2001 erstmalig auch auf Vinyl, in generalüberholter Originalversion. Das Ganze gibt es zudem im schicken Jubiläumsschuber in limitierter Auflage und farbigem Vinyl, exklusiv erhältlich nur auf kompakt.fm …

Einatmen. Ausatmen. Danke.

Wolfgang Voigt, September 2019

2x12"

The first LP from Scorn since 2010’s Refuse; Start Fires, ​Cafe Mor ​is Mick Harris in his happy place. Which just happens to be in studio, demolishing all standards and rules for electronic bass music, and embodying the darkest, deepest sound in dub. ​Cafe Mor ​takes risks outside of the conventional Scorn apparatus, and with these risks come substantial rewards.

The album is comprised of powerful dub excursions, from the deep dark dank of the front two tracks Elephant and The Lower The Middle Our Bit, and gaining steam towards the ultraviolence of Mugwump Tea Room to Never Let It Be Said to the CRUSHING DEATH KICK of Who Are They Which One. A quick drive under the lights with a lasered out snare on Dulce, then we come across the appearance from ​Sleaford Mods ​frontman​, Jason Williamson,​ on the standout track on the LP, “Talk Whiff”. A cruise around the Midlands sighting the Broke Fridge and Tinder Surprise, with an instant classic refrain:

“Talk Whiff // I’m a busy person // I’ve had enough of it”
Cafe Mor culminates in the all-in-one dub affair SA70, letting rip all the new mixer and fx techniques of Harris’ most recent incarnation of Scorn. The album is the official soundtrack for all smoked out backroom deals, situations and arrangments, cancelling all small tours, and mongoose rhinocharging the bass to level 24.

All tracks Created and Mixed ​by MJ Harris in the Lad’s Old Room

B14 Mastered​ by Daniele Antezza for ​Dadub Mastering Studio

Artwork​, ​Layout ​by ​MachineTM

This essential LP edition compiles 20 of Chuck Berry’s most emblematic and celebrated songs, taped by the Chess label between 1955 and 1961.
These recordings helped define the exact nature of early rock & roll. All-time classics such as Berry’s car songs (“Maybellene”), his calculated and carefully crafted instant smashes for the 1950s teenage market (“Reelin’ and Rockin’,” “Sweet Little Sixteen,” “School Days”), and his celebrations of the music itself (“Rock and Roll Music,” “Johnny B. Goode,” “Roll Over Beethoven”), are some of the greatest rock tunes ever written.
Take “Johnny B. Goode” specifically - the intro alone is arguably one of the most iconic pieces of music ever recorded, and the subsequent hand in hand energy of both the vocal and the instrumentation not only forms a brilliantly hook throughout the track, but also creates something uniquely Chuck Berry.
This material will convince even the sceptics of Berry’s brilliance. All of these original gems, which have been brilliantly remastered to achieve the most pristine sound, are simple two-and-a-half-minute songs that convey all the sheer power and emotion of rock & roll. Enjoy!

Thousand Knives Of Ryuichi Sakamoto's Landmark First Solo Album From 1978 Issued On The Better Days Label And Featuring The Synth Classics "plastic Bamboo," "end Of Asia" & "thousand Knives" Is Reissued Outside Of Japan For The First Time In Decades.

Wewantsounds is proud to announce the release of Ryuichi Sakamoto's first solo album originally released in 1978 on the soughtafter Better Days label. Sakamoto was a member of Yellow Magic Orchestra at the time but the group hadn't released their first album yet. Featuring Sakamoto on a wide range of synthesizers and keyboards programmed by Hideki Matsutake, and accompanied by a few musicians including Haruomi Hosono and Pecker, "Thousand Knives" was a blueprint for the YMO sound and includes cult classics that were to become live favourites. Save for a small-scale release in 1982, this is the first time the album is being released on vinyl outside of Japan. Remastered from the original tapes by renowned producer and engineer Seigen Ono, the LP edition comes with original artwork including OBI and 4p insert with new introduction by Paul Bowler. 1978 was a key year for Japanese music. Haruomi Hosono, one of the country's most innovative musicians had just formed Yellow Magic Orchestra pursuing the sonic experimentation he had started with his solo album "Paraiso." The album, credited to "Harry Hosono and The Yellow Magic Band," had been recorded between December 77 and January 78 and featured both Ryuichi Sakamoto and Yukihiro Takahashi. Hosono quickly invited both musicians to form YMO but before the group could release their first album, Sakamoto entered the Nippon Columbia studios in April 1978 with a plan. Sakamoto had become an in-demand session musician after studying composition at the Tokyo University of Art and had played in many key albums of the time: Taeko Ohnuki's "Sunshower" and Tatsuro Yamashita "Spacy" to name just two famous albums. This led to an invitation by Hosono to feature on "Paraiso". A penchant for avant-garde and improvisation had gotten Sakamoto interested in Electronic Music early on and with “Thousand Knives”, he decided to get Hideki Matsutake on board as he had mastered the art of synth programming following a stint with Electronic Music pioneer Isao Tomita. “Thousand Knives” took several months to record as Sakamoto would be busy during the day with his session work and would only record at night. Named after Belgian-born poet Henri Michaux’s description of a mescaline experience, the album is a reflection on how synthesizer technology might come to change the face of music. The first side conceived as a long suite opens with the title track and a recitation of the Mao Zedong poem "Jinggang Mountain" filtered through a vocoder, before morphing into a mid-tempo synthpop instrumental. It is followed by "Island Of Woods", a ten minute track buzzing with insect-like synth sounds reminiscent of the tropical exotica of "Femme Fatale" on “Paraiso” (also featuring Sakamoto). Side one ends with "Grasshoppers," a beautiful acoustic piano melody underlined by a subtle synthesizer soundscape. Side two opens with "Das Neue Japanische Elektronische Volkslied," acknowledging the influence of the German sound spearheaded by Kraftwerk. The track features a mid-tempo metronomic beat skilfully intertwined with a Japanese folk sounding melody. The album ends with two catchy uptempo synthpop tunes in the form of "Plastic Bamboo" and "The End Of Asia," which both became staples of YMO’s and Sakamoto's live shows. Although "Thousand Knives" sold modestly upon release, it was hugely influential in setting the agenda for what was to follow. YMO's sound included various influences from its three members but there is no denying “Thousand Knives” paved the way for the group's Computer Music sound. Thousand Knives remains a fascinating insight into the making of a music revolution.

It took Mr Raoul K more than three years of work inside and outside the studio to complete his first album for Compost Records. His first goal was to show all the musical influences he came across during his time in Ivory Coast. Ivorian music has incorporated musical traditions and instruments from East-Africa, West-Africa and from Central Africa – a real musical melting pot.

Mit ihrem sechsten Album kehren die Casady-Schwestern Bianca und Sierra zum bewährten Erfolgsrezept
ihrer früheren Releases zurück. Im Gegensatz zu den mehr psychedelisch-elektronischen Erkundungen der
beiden letzten Veröffentlichungen "Tales Of A Grass Widow" (2013) und "Grey Oceans" (2010), streift
"Heartache City" wieder durch staubig-poetische Gefühlswelten längst vergangener Tage. Ihren Anfang
nahmen die zehn Tracks von "Heartache City" wie gehabt im südfranzösischen Landgut der Casadys, wo
sich die beiden Geschwister ein lauschiges Studio eingerichtet haben. Dort sammelten sie Ideen und
schrieben Songs, die sie bei Gelegenheit mit minimalem Equipment, antiken Instrumenten und Vintage-
Spielzeug vertonten und ganz nostalgisch mit einem alten 4-Spurgerät aufnahmen, nur zu zweit, rein
akustisch und ohne digitalen Firlefanz. So entstanden relativ reduzierte Songs, die ihren Weg letztlich in
Argentinien in die Händen ihres Produzenten Nicolas Kalwillwith, und um eine Prise Buenos Aires
angereichert, ihren krönenden Abschluss fanden.

The Vibe Drops (Emcee G Roc Gayle & Moar) presents Higher Frequency vinyl LP. The album features guest vocals from Rita J and Finsta (Finsta Bundy). Also live instrumentation from Remi Schnell on guitar and Jean Louis Potin on the Flute. The Vibe Drops explore with various sound vibrations, live instrumentation, turntablism, records, sampling and advance lyrical content: rhymes, word-play and poetry, blended to perfection with the beats. The Vibe Drops drops first musical offering Higher Frequency
will have the listener fulfilled, hoping the message comes across and resonates to move, elevate, in order to cope and defeat the everyday stressors of life. Higher Frequency delivers boom bap, jazz hop and soulful Hip-Hop stimulation for the mind, body and soul.

DEAIK is SJ Tequilla’s third record on his own imprint Shot Of T.
A solo affair, where the Berlin based Japanese artist keeps on exploring a variation of different sounds on his new 12″. Thumping Acid, moody ambient, Acid house for a club night, and some more familiar mellow drum machine and melodic pieces.
SJ Tequilla’s most varied record to date. Also with an interesting approach to tempo, where each side shifts between 33-45 by preference of the listener. Essential Shot Of T!

Die besten musikalischen Außenseiter sitzen nie lange still. Sie mutieren stetig, verwandeln sich in neue Formen und weigern sich, in Schubladen gesteckt zu werden. Floating Points hat so viele Gestalten, dass es ohnehin nicht einfach ist, ihn irgendwie einzuordnen. Da ist zum einen der Komponist, dessen Debütalbum „Elaenia“ im Jahr 2015 begeisterte Kritiken erhielt, darunter als Pitchforks „Best New Music“ und Resident Advisor's „Album of the Year“ - und ihn von den Tanzflächen auf die Festivalbühnen weltweit brachte. Dann ist da wiederum der Kurator, dessen Plattenlabels gefühlvolle neue Klänge in den Club gebracht haben, und der auf seinem geschätzten Imprint Melodies International alte Klänge wieder zum Vorschein gebracht hat. Ferner ist da der Traditionalist, der Disco-Typ, der Maschinenmusik macht, der Digger, der stets auf der Suche nach unentdeckten Edelsteinen zwecks Wiederveröffentlichung ist. Und dann ist da noch der DJ, dessen offener und zugleich mutiger Umgang mit dem Genre ihn einst ein 20-minütiges Instrumental des Spiritual-Jazz-Saxophonisten Pharoah Sanders im Berghain spielen ließ.

Nach der Veröffentlichung seiner Zusammenstellung von funkelnder, analoger Ambient- und Atmosphärenmusik für die geschätzte „Late Night Tales“-Reihe, stellt Floating Points' erstes Album seit vier Jahren, „Crush“, alles, was man über ihn zu wissen meint, wieder auf den Kopf. Nicht minder als ein knallender Donnerschlag elektronischen Experimentalismus’, dessen Titel auf den langsam überkochenden Schnellkochtopf anspielt, den die aktuelle politische Gemengelage in der Welt suggeriert, in der wir uns derzeit befinden. So hat Shepherd einige seiner bisher härtesten und treibendsten Tracks produziert, mit Blick auf die britische Bass-Szene (aus der er in den späten 2000er Jahren selbst hervorgegangen ist), wie beispielsweise die zuvor veröffentlichte markante Lead-Single „LesAlpx“ (Pitchforks „Best New Track“). Auf „Crush“ sind allerdings auch einige seiner ausdrucksstärksten Songs zu finden: seine charakteristische Melancholie ist in den erhabeneren, sanfteren Momenten des Albums oder im Buchla-Synthesizer zu finden, dessen unheimliche Modulation das Album prägt.

Sein neues Album fühlt sich augenblicklich an - und lebendig. Es ist der Klang der vielen Seiten von Floating Points, die schließlich miteinander verschmelzen. Es bezieht sich auf die „explosiven“ Momente während seiner Sets, die normalerweise auftreten, wenn er unerwartete Genres zusammenwirft, aus dem ganz einfachen Grund, weil er sich darüber freut, diese Platte „jetzt wirklich laut hören zu können“ und dann die Nadel aufsetzt. Es ist „genau wie das, was passiert, wenn man zu Hause mit seinen Freunden Musik spielt und diese sich überall im Raum ausbreitet.“, erklärt er.

Two dope Island Boogie tracks by Experience, an Afro Reggae group hailing from Germany. - Very nice steeldrumming in these tunes..

Experience’s “Share It With You” and “Happiness” can both be found on the private LP release “Oh! What A Feeling” from 1982. The group consisted of Anthony Flaverney from Trinidad, Curvin Murchant from Jamaica, Daniel Kofi Jefferson from Ghana and John Innies from Trinidad and was founded in Hamburg.

Anythony Flaverney, the lead singer on both songs, was active as songwriter and musician in Germany since the mid-1970s, most notably appearing on the Peter Herbolzheimer arranged “Caribbean Rock“ album by Malcolm's Locks (be sure to check their funk version of Bob Marley’s “Get Up Stand Up”!). Curvin Merchant, a highly respected drummer from Jamaica, settled in Germany around the same time. Before forming Experience, he was a member in several groups, including highly successful pop acts like Boney M. Later he became known as "Germany’s Grandfather of Roots Rock Reggae", among other things buildung up the "Reggae Center" in Hamburg. Flaverney and Merchant are joined by Daniel Jefferson on bass and John Innies on steel pan. The band existed for about 2 years, touring in Germany and Europe, unfortunately recording only one album which features a unique mix of Reggae and Funk.

The first track “Share It With You”, should give any serious music lover goose bumps. It was written by Flaverney and features a deep groove, steel drum solos and fantastic soulful vocals. It’s that type of tune you will play in a DJ set and people will come up to you and ask what it is. The single version is slightly edited.
Side B continues with Happiness, an equally great track with positive vibe and attitude, written by Flaverney and Jefferson. Again, the steel pan sounds give it that special compelling “Island” vibe from Trinidad.

The single is limited to 300 copies and comes in a beautiful picture sleeve showing part of the original artwork from the “Oh! What A Feeling” album.

Die Münsteraner Indie- und Punkrockband Muff Potter hat sich mit ausverkauften Shows in 2018 und 2019 zurückgemeldet! Das Quartett veröffentlichte zwischen 1993 und 2009 sieben gemeinsame Alben, vier davon hat das Label Grand Hotel van Cleef bereits auf Vinyl wiederveröffentlicht. Jetzt wird die Reihe mit den Reissues von "Muff Potter" (1996), "Schrei wenn du brennst" (1997) und "Gute Aussicht" (2009) komplettiert.

Ever since their debut 7” landed on our doorstep unannounced, we have been captivated by the powerfully understated movements of the duo known as Undefined. Sahara (keys/bass/programming) and Ohkuma (drums) have deep roots in the Japanese dub and reggae scenes (Heavymanners, Soul Dimension) and operate their own experimental dub label, Newdubhall. Recent collaborations with Kazufumi Kodama (of dub elders Mute Beat), dBridge, and Kabuki are nudging the group further into a spotlight that they richly deserve.

Named for the 3-feel of its colossal groove, “Three” is a locked groove of pure downtempo dubwise, techno in its repetition, hip hop in its tempo and swagger, motorik in its muscularity, meditative in its clarity. Featuring the unmistakable voice of ZamFam Rider Shafique, showcased in a moment of profound introspection and vulnerability, “Three" banishes all thoughts of flash-in-the-pan “big tunes” for an incredibly deep and immersive dive.

“Three Dub,” a version in the classic sense, strips out the vocal entirely to focus on the rockstone riddim, crafted of one of the most captivatingly beautiful bass tones we’ve ever heard, combined with wicked drum turnarounds, lightning hi-hat work, and extremely subtle & sophisticated dubbing technique. A masterclass in dubwise essentialism and profound attention to detail, stripped down to the foundation yet incredibly lush and alive.

Strictly limited to 600 copies for the world. No digital, no repress. Design & screen print by Polygon Press. Mastered by Sam Precise.

DEAIK is SJ Tequlla’s third record on his own imprint Shot Of T. A solo affair, where the Berlin based Japanese artist keeps on exploring a variation of different sounds on his new 12″. Thumping Acid, moody ambient, Acid house for a club night, and some more familiar mellow drum machine and melodic pieces. SJ Tequilla’s most varied record to date. Also with an interesting approach to tempo, where each side shifts between 33-45 by preference of the listener. Essential Shot Of T! Artwork by: Fett Burger

Timeless Legend came from Columbus, Ohio. Their ‘Synchronised’ album from 1980 is one of the rarest ‘rare grooves’ and both original copies and the ‘northern soul’ single “I Was Born To Love You” still sell for over £1,000 a copy.
By 1985 music styles had changed and the group with shortened name Timelesscapitalized on the burgeoning boogie scene with the 12” double header we reissue here. Of the two sides “You’re The One” has become the most enduring and in demand, again an original reach which has been sold for £1000 on the collectors scene. The French reissue from 2011 is also extremely sought after. In this edition the release has been restored to how the original first looked and sounded on Pendulum Records artwork from Expansion.

For Fans Of…Aretha Franklin, Betty Davis, Lyn Collins, Sharon Jones, Ann Peebles. Pink vinyl 45 is limited and for Indies only. 1000 copies Barbara Howard's On The Rise is more than just another rare soul LP. It's a love story. It's a dream. It was an attempt to break through. And although Barbara certainly never became a star, one song did become a staple in rare soul and funk DJ sets, keeping interest in Barbara Howard just under the surface. And as fate would have it in 2016, a sealed copy of the LP would find its way into Plaid Room Records in Loveland, OH and kick start the revival of her story and her music. In 1968, as an outgrowth of a community movement and talent search program called "Operation Step-Up", Steven Reece wanted to take his community movement to the next level. This is when the idea of founding an independent label came to mind. The idea was to self-produce quality records and through successful sales attempt to land major label distribution. Steve identified Barbara Howard as the talent and set to producing her record. The idea was to produce an LP with a variety of tracks that could be marketed to a variety of radio formats and markets (gospel, pop, soul, jazz, etc.). And while the record fizzled shortly after its release, Steve and Barbara ended up getting married shortly afterwards making this possibly the most romantic production of a record is soul music history. "I Don't Want Your Love" is the only track they produced that was NOT featured on the LP, so we're proud to get this deep funk banger back into the world at large!

Pacific Breeze is a collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between.

Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.

Many of the key City Pop players evolved from the Japanese New Music scene of the early '70s, as heard on Light In The Attic's acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, 'Deconstructing the line between imitation and authenticity.' Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.

2xLP housed in a deluxe wide spine jacket with over sized fold-out booklet, full color printed inner sleeves, and custom die-cut obi card

Vinyl-Wiederveröffentlichung des vierten Studioalbums von Millencolin aus dem Jahr 2000.

Melancholie verbinden die meisten mit Schwermut. Für Skater ist "Melancholy" aber einfach ein Trick mit dem
Board. Und wer des Schwedischen mächtig ist, verbindet Millencolin mit einer Ska-Punk-Band. Die wird von
Nikola Sarcevic (Gesang, Bass), Erik Ohlsson (Gitarre) und Mathias Färm (Gitarre, Drums) im Herbst 1992 in
Örebro, Schweden, beim - ist doch klar! - Skaten gegründet. Komplett ist die Band 1993, als Schlagzeuger
Fredrik Larzon dazu stößt. Einige Platten und weltweite Touren später erscheint im Frühjahr 2000 ihr viertes
Album "Pennybridge Pioneers". Pennybridge ist die wörtliche Übersetzung des Namens ihrer Heimatstadt
Örebro (Öre = Penny, Bro = Bridge). Produzent ist Brett Gurewitz, Chef der Labels Epitaph und ehemals
Mitglied der amerikanischen Punk-Urgesteine Bad Religion. Für viele Kritiker gilt "Pennybridge Pioneers" als
beste Veröffentlichung von Millencolin. Kennzeichnend für das Album ist der Abschied von Ska-Rhythmen bei
gleichzeitiger Hinwendung zu eher rockigeren Riffs. Wenn man so will, bietet "Pennybridge Pioneers"
Punkrock nach amerikanischer Tradition in einer schwedischen Variante. Die Vinyl-Wiederveröffentlichung
kommt wie seinerzeit das Original via Epitaph auf den Markt.

Hyperdub launch new sub-label Flatlines for the release of ‘On Vanishing Land’, an audio-essay by Justin Barton and the late Mark Fisher. ‘On Vanishing Land’ evokes a walk along the Suffolk coastline in 2006, from Felixstowe container port ("a nerve ganglion of capitalism") to the Anglo-Saxon burial ground at Sutton Hoo. A walk under immense skies, through zones of deep time, and within sunlit, liminal terrains, into the eerie. Everywhere there are charged atmospheres, shadowy incursions, enigmatic departures. A derelict radar base, coastal heathland, drifting thistledown, towers of overgrown shipping containers - music haunted by wider levels of reality, narrations about rarely visited zones and potentials, voices of dreams and stories. This music includes newly-composed tracks by John Foxx, Gazelle Twin, Baron Mordant, Raime, Pete Wiseman, Farmers of Vega, Skjolbrot, Eerie Anglia, Ekoplekz and Dolly Dolly. Alongside these are glimpsed views toward M.R.James’s ‘Oh Whistle and I’ll Come to You My Lad’ (1904), Joan Lindsay’s ‘Picnic at Hanging Rock’ (1967), and Brian Eno’s ‘On Land’ (1982). Beyond the surface of the day something becomes visible, a way forward, an escape-path from capitalist reality. ‘On Vanishing Land’ is about following the lines of terrains and dreams. It is about a micropolitics of escape, of disappearance. A micropolitics of waking the faculties. ‘On Vanishing Land’ was initially part of an exhibition commissioned by The Otolith Collective and The Showroom in London, and after ‘londonunderlondon’ (2005) it was the second audio-work collaboration by Justin Barton and Mark Fisher.

The LP cover features photos taken by Mark Fisher, and a short essay by Justin Barton. Pressed on 180g vinyl, in deluxe rigid board sleeve, with free mp3 download code.

More golden era heat from the nervous vaults! It keeps coming!
1994 is the year and Black Moon and the whole Boot Camp Clik are on a major roll.
'Buck Em Down' is as potent today as it was back then with Da Beatminerz bros flipping Donald with a little 'Hihache' in the mix.
Oh? You love that gritty SP1200, filtered out, buddah smoke filled basement sound? Well, this is for you. All-time classic stuff right here, easily.
Here on dinked 45 for the first time ever you get the dirty instrumental versions of this sublime mid-90's banger.

Fully legit, licensed and reissued by Above Board distribution in conjunction with Nervous Records, NYC. 2019.

Founded by Larry Akles in 1971 in Fayetteville, North Carolina, The Chocolate Buttermilk Band, has been one of the busiest and most successful cover and backing bands in the Southern United States for the last 5 decades.
While they’re little known outside the region, their handful of singles from the early 1980s are, for record collectors, among the best and most desirable in Modern Soul and Boogie Funk.

Jerome Derradji & Past Due Records are proud to present “Head Games (The Story of Larry Akles & CBM Records)”. Released on a DLP / CD with printed inner sleeves (or booklet) that include never seen before pictures of the band and a story written by Jacob Arnold. Artwork is by the mighty Al Kent. As a companion to the compilation we are also reissuing the incredibly rare and sought after “Head Games” 7” with a picture sleeve.

This compilation includes every song released by the Chocolate Buttermilk Band, remastered and reissued for the first time.

Needless to say, this is an essential release for fans of Boogie, Soul and Funk as the Chocolate Buttermilk Band releases are known to fetch thousands in the collectors market.

In Larry Akles own words, “This girl in Atlanta told me one time, she said ‘Larry, I heard on the radio that Chocolate Buttermilk was going to be on the show, and I told my girlfriend, Oh, it’s gonna be onnnn if Chocolate Buttermilk on there, ’cause whoever come behind them, they got to go!’” He continues, “When we hit the stage, boy it’d be some fire. We wouldn’t have to get warmed up. We’d start off hot!”

Rotterdam's Nr1 Jungle & Breakcore badman FFF back on PRSPCT's RVLT imprint.

4 tracks that deliver all things great this legendary producer has to offer. A little more subtle this time round but still oh so powerful.

24/7 Soundkiller is one of those records every true junglist needs in their life!

JK Flesh is the electronics-only project of Justin K. Broadrick
(Godflesh, Techno Animal, Zonal, The Blood of Heroes). He is a
absolute master of high quality, prolific electronic composition, and has
released JK Flesh on Downwards Records, Hydra Head, and Hospital
Productions. Submerged is the leader and founder of Ohm Resistance.
DJing internationally for 20 years, he has pioneered the sounds of hard
drum & bass and played in the furthest reaches of the globe.
Blacktacular is one of Portland’s most prominent MCs and promoters of
electronic music, dropping articulate, inspiring rhymes over every
Pacific Northwest drum & bass event spanning the last two decades.
Limited Edition Print by Pascuale Belvito

Regis is the founder of one of techno’s most influential and
uncompromising labels, Downwards Records. His inimitable hard
techno sound, and collaborations with Surgeon as British Murder Boys,
have cemented his legacy as the definition of the Birmingham techno.
Luke Lund is one of the Finland’s fastest rising young composers, with
the ability to move seamlessly between the marshes of dark hop to the
silkiness of deep techno. His own Terranean Recordings label has
been fearlessly documenting the Finnish underground and beyond
since 2010. King Pin Frankie is treasure untold – a live Regis recording
from New Year’s Eve 1997 in Chicago. Pounding classic minimal TR
909 with an accelerating/decelerating arppegiator make this A side a
serious find, with distorted synth moving platforms occurring as the
track winds out. TIP! Luke’s Scourge is an electronic composition
masterpiece – pinning a straight kick underneath a shifting snare,
leaving the question open – is it techno? Is it dark hop? Whatever it
may be, the bass underneath tells it big and fills up a subwoofer.
Limited Edition Print by nem0

The Black Keys’ long-awaited ninth studio album, “Let’s Rock”, their first in five years, is a return to the straightforward rock of the singer/guitarist Dan Auerbach and drummer Patrick Carney’s early days as a band. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” The album includes the hit single ‘Lo/Hi’. The Black Keys’ touring begins in North America in September, with further international dates to be announced soon.



“Let’s Rock” was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like a homage to electric guitar,” says Carney. “We took a simple approach and trimmed all the fat like we used to.”



The “Let’s Rock” Tour will hit cities including Chicago, Nashville, New York, Los Angeles, and Austin. Special guests Modest Mouse will provide support on all dates, and Shannon & The Clams, Jimmy “Duck” Holmes, *repeat repeat, and Jessy Wilson will each open select shows on the tour. The band also headlines 2019’s Life Is Beautiful festival in Las Vegas on September 21.



Rolling Stone named ‘Lo/Hi’ a “Song You Need to Know” and said, ‘the Keys have officially returned, louder than ever’ and the New York Times calls the song ‘the kind of garage-boogie stomp that the band never left behind.’ In the words of the NME, ‘It’s the soundtrack to the type of party that doesn’t exist anymore, but one you still wish you were cool enough to get the invite to.’



Formed in Akron, Ohio in 2001, The Black Keys have released eight studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), and, most recently, Turn Blue (2014). The band has won six Grammy Awards and headlined festivals including Coachella, Lollapalooza, and Governors Ball.



Since their last album together, both Auerbach and Carney have been creative forces behind a number of wide-ranging artists:



Dan Auerbach formed the Easy Eye Sound record label, named after his Nashville studio, in 2017, with the release of his second solo album, Waiting on a Song. Since its launch, Easy Eye Sound has become home to a wide range of artists including Yola, Shannon & The Clams, Dee White, Shannon Shaw, Sonny Smith, Robert Finley, and The Gibson Brothers; it also has released the posthumous album by Leo Bud Welch as well as previously unreleased material by Link Wray.



Patrick Carney has produced and recorded new music with artists such as Calvin Johnson, Michelle Branch, Damns of the West, Tobias Jesso, Jr., Jessy Wilson, Tennis, *repeat repeat, Wild Belle, Sad Planets, Turbo Fruits, and more. He also created the theme music for the Netflix TV show BoJack Horseman with his late uncle, Ralph Carney.

A very warm welcome aboard to the splendid AMERICAN STANDARD label !!

Critical & hedonistic acclaim have already been lavished on this Charleston based sonic excavator of considerable note, so we won't bore you with an exhaustive biog, mainly because there isn't one.
The music is most definitely left to do the talking as this one man 'Folly Beach Psychemagik' fills the record boxes of the world's most discerning diggers with treasure beyond measure.

So, for this latest 3 piece for American Standard we're firmly in the FM synthesis musical district of early 80's planet earth.
70's session players still strung out from the previous decades' debauchery tried their hand at piloting these electricity powered units to wildly varying degrees of success.
Luckily for you, Jaz has been kind enough to find and reload three of the finest, more esoteric, obscure but eminently playable moments from this fertile era for some primo 'back to the future' frugging...

Celebrating the photography of Robert Doisneau, 25 years after his death. Discover the new Esprit Robert Doisneau Collection, associating songs with his famous images of Paris.

Famous all over the world, the photographer’s work accurately represents the soul of Paris. This collection of ten LPs are all pressed on 180g coloured vinyl.

Atangana Records presents its 4th releases, beginning a new collaboration
with Henri Debs & Fils imprint.
This record is a first tribute that Atangana Records and Henri Debs & Fils
wanted to give back to the great Guadeloupean producer Henry Debs.
With this compilation EP, gathering rare and unpublished titles, Déni Shain
and his team aim to dust off the archives of the label and allow as many
people as possible to discover the pearls of the French Caribbean Islands.

Delicate Wash is back with its third offering of classy edits built for the most discerning of dance floors.

It delves deeper into the cosmic cosmos, and unveils more of the lesser known, but brightly shining disco stars you've come to expect.

Picture Vinyl "A balance between things that you know people will like and things that you think people will like" is what John Peel had to say on his BBC homepage about Apparat's music programming concept. Apparat then appeared at the Peel Session in May of 2004 substituting like with die for in JP's statement. Indeed, it's sad but true: John Peel passed away a few months later to a heart attack while vacationing in Peru. Apparat could only find a more fitting farewell mood with the rerecording of his session: a sonic dedication to the huge mentor John Peel from Shitkatapult and their people.

Apparat is known as a fluctuating mood-maker by way of his computer companion. In this case he leaves his garb behind. Apparat swings the composer's stick with emotion to give yearning its segway by conducting pieces of lonely melancholic beauty with godly discretion. New strings are thanks to the violin and cello of Kathrin Pfänder and Lisa Stepf aka Complexácord, whose soul-drenched expression lets your mind sway.

The trio harmonizes with dream-like perfection. It reminds one once again of the experimental modus operandi combining classical instruments with electronic music. Singer Raz Ohara and clarinet/sax player Hormel Eastwood find their chosen virtuous and emotional space on this promising cloud. What remains are warm dark drops of elegiac pop the pour down the back of your heart.

This Apparat John Peel Session was remastered by Bo Kondren at Calyx Studios in February 2019 incl. the digital bonus track - Komponent as Telefon Tel Aviv Remix.
The physical appears as picture disc featuring the wonderful original design by Hanna Zeckau & Carsten Aermes on vinyl.
The original release from 2005 (Strike 153) also contained more Remixes by Bus, Rechenzentrum and Apparat himself.

This release by The Band of Enlightenment, Reason & Love presents a new instrumental version of the heavily sought after debut release "Zota Yinne" by Alogte Oho, the meanwhile classic second release on Philophon from 2014 (PH45002). So far, The Band of Enlightenment, Reason & Love, as Philophon's house band, never had any release under its own name, but here we go! It's sure: more will follow.

"Zota Yinne" is a dubbed out variation of the original Frafra gospel classic with the one and only Jimi Tenor as a guest on flute and synth. "Starlet Road Filling Station Romance" is an other-worldly search for love, perfectly characterized by Jimi Tenor's love cries on the saxophone.

Acht Jahre nach dem Klassiker „Thora Vukk“ veröffentlicht Robag Wruhme ein weiteres Meisterwerk – Venq Tolep!

Mit spielerische Leichtigkeit nimmt Wruhme synthetische Klänge und gesampelte Geräusche, schneidet sie zurecht und baut daraus Beats, ohne dass seine Musik je gebastelt klingt: jeder einzelne perkussive Sound eine kleine Einheit, die vor Melodiösität berstet. Oder diese zumindest andeutet. Für "Venq Tolep" seine erste Pampa Albumveröffentlichung seit 8 Jahren, hat Robag Wruhme sich genau da hinein vertieft und den Raum dieser Teile weit aufgezogen. Er findet Beats in den Beats, öffnet diese weiter, entdeckt Hooklines und Harmonien, und spürt, wo er schliesslich gänzlich auf Rhythmen verzichten kann. "Venq Tolep" klingt rund. Ein Bogen spannt sich. Und natürlich ist es das Robag Wruhme Universum. Wärme statt Coolness und Freundlichkeit statt Härte. Aber mit "Venq Tolep" formuliert Robag Wruhme noch etwas anderes: Das Album spricht die Sprache von Clubmusik – Klanggestaltung, Layering, Arrangement sind vertraut. aber "Venq Tolep" wagt auch die größtmögliche Annäherung von Track an Song: Techno Pop? Pop Techno? Pop Ambient? Ambient Pop? – Ach was, ganz einfach: »"Venq Tolep" ist Robag Wruhmes Einschreibung in die Pop Musik.

Formate:

- Limitierte 2LP inkl. 7inch mit zwei exklusiven Bonus Tracks, Postkarte & Download Voucher
- CD erscheint im hochwertigen Digipak

British blues-rock quartet Zior had their roots in the bourgeoning R&B scene that arose during the

late 1960s in the southeast coastal city of Southend; they built a strong reputation in live

performance, opting for ‘happenings’ in the style of Hawkwind and Pink Floyd that went beyond

mere musical events. By the time they recorded their self-titled debut album, issued on Larry Page’s

short-lived Nepentha label in 1971, they were clearly influenced by the emergent hard rock/

heavy metal scene of the West Midlands, drawing from Black Sabbath’s discordant riffs and occult

influences, along with shrill vocal attacks in Led Zeppelin mode; there were shades of Steppenwolf

and the odd Doors-sounding keyboard riff as well (and the Black Sabbath link was heightened

by an album design from Keith McMillan, who was responsible for Black Sabbath’s debut cover

too). The resultant Zior is a varied ride through different kinds of rock terrain, from blues rock to

hard rock and on to whimsical psychedelia and prog-rock, making it hard to classify. Though this

debut LP should have heralded a bright beginning, misfortune seemed to dog the band from the

start; other recordings were released under the name Monument, the band members listed under

aliases, and a second album, Every Inch A Man, was issued in Germany after Zior’s breakup in

1973, without the band’s knowledge or permission.

Little Things 04:51 B5. Onlee Desire 01:58 B6. Reelax 03:43 Shortinfo: soulphonic Means Speaking From The Soul, And That's What My Sound Is All About.' - Ohbliv

As a winemaker hailing from the Palatinate, Florian Hollerith understands a thing or two about vintage. It's something that also comes through when you sample his music - rich, full bodied with just the right level of acidity. 2018 was already a good year with Ohrenzirkus featuring on both Sven Väth's Sound of the 19th Season mix CD as well as this year's Dots and Pearls vol. 5 compilation. Florian certainly announced his arrival on the scene in style, so it's only fair that he gets the chance to demonstrate his full range of skills on his very own Cocoon Recordings release. 2019 however, has a darker, more complex flavour...

Florian certainly knows a hookline when he finds one. On the EP's title track Perlas, he's working from the inside out with complex layers creating a vortex of sound. This dense sonic mesh is playful yet dangerous, with ethereal voices and jagged chants adding to the disorientation of the opening exchanges until the congas and skipping bassline give us something to hold onto. The dance floor melts under our feet as a raw, tripped out groove takes hold before the bass suddenly morphs into a brassy acid line that spreads its wings and soars. It's music for the headstrong, a celebration of the timeless tribal ceremonies that have come to define us.

Love Summer adds a contemporary twist to the melodic joys that drenched the early nineties in pure ecstasy. The soulful vocals soothe the mind as horn stabs punctuate the sensual groove, generating power and passion in equal measures. It's a straightforward approach, revolving around a familiar yet eminently seductive riff that just keeps on rolling, propelled forward by the force of its own momentum. There's no need to fuss when you hit on a winning formula like this.

More retro futurism abounds on Electro Indianer as arpeggiated bleeps usher in another vast, sprawling soundscape designed to induce a collective trance on the dance floor. Whistling, circular effects wash back and forth increasing the tension notch by notch as we're led deeper into the wormhole. Finally, the track deconstructs slightly, creating enough space for classic Casio-style bleeps and percussion to embellish a beautiful blissed out ending that trails off into the sun rise, as ancient Native American pipes pick out a haunting melody in the distance.

* Mirae Arts presents Hush Residence. We are joined by old friends and new comrades from the Kantō underground.

* C-Kay is co-founder of the Tokyo-based collective Space Baghdad and resident DJ of Constant Value. C-Kay is typically busy shaking dance floors with her hypnotic DJ sets, but also producing music for experimental labels such as Subsist Records and Constant Value Records.

* Saraam is a Tokyo-based sound artist, performer, and DJ under the Constant Value banner. Saraam is also a resident of the yearly Tokyo Festival of Modular.

* Katsunori Sawa and Damaskin return to Mirae Arts in their usual noisy disguises.

* Hush Residence is a compilation featuring four experimental techno tracks from Katsunori Sawa, C-Kay, Damaskin, and Saraam. Mastered by James Plotkin.

* Artwork illustration is done by Sydney based architect, Patti Bai.

* Vinyl pressed at the highly reputable Gotta Groove Records, Cleveland, Ohio.

* Comes with polybag packaging

Nippon Afro-Groovers AJATE are back with two dancefloor bombs teaming up with French Garage Funk providers NY.KO!

180g heavy vinyl

Limited edition of 500 copies

Fresh from their highly acclaimed KEXP live session!

Includes two remixes by beatmaster Deheb

New Ajate album to be out late 2019!

Formed in 2011 by band leader Junichiro "John" Imaeda, Ajate consists of 10 Japanese musicians who play a unique blend of afro-groove dance music mixed with Japanese traditional festival music called "Ohayashi". Their album Abrada is out in 2017 on the 180g label, selling out immediately and being followed by two highly acclaimed European tours. Teaming up this time with French groovers Ny.Ko, Mammamelie and With Regularity are two dancefloor destroyers announcing Ajate's brand new album to be out late 2019!


[b] 2. Mammamelie (Deheb Remix) [feat. Ny.Ko]

[d] 4. With Regularity (Deheb Remix) [feat. Ny.Ko]


[b] a2. Mammamelie (Deheb Remix) [feat. Ny.Ko]

[d] b2. With Regularity (Deheb Remix) [feat. Ny.Ko]

Deformer is known for breaking down musical barriers as well as crushing taboos and oh boy, are you in for a treat with this latest release. Musically Deformer reinvents his recognisable sound once again and it's no surprise that over the years many people consider Deformer a genre in itself. The record is fierce, it has dark humor, explicit content, original arrangements and the Deformer signature sound. What better to wrap this release with the bizarre artwork of famous Japanese manga artist Shintaro Kago. It's a match made in.. well, a horror hentai dungeon I suppose. I never knew that I would be comfortable in such a place, but all I can say is that I can't get enough of this record! Deformer has gained popularity in Japan in recent years and this is his tribute to his Japanese fans. Inspired by Japanese hentai Deformer introduced a new genre, sexually explicit Japanese Breakcore now known as: 'Bukkakecore'.

The vinyl release comes with a download code containing two bonus remixes by Japanese Hardcore heroes Myosuke and DJ Technorch.

[a] a1 Bukkakecore [Beat-Bukkake]

mule musiq's sub label studio mule has formed a group of shifting members and are now releasing a debut album with 8 tracks of reworked obscure japanese gems.

the album contains the three singles the group released so far, featuring miyako koda of the ex-perimental pop band dip in the pool -- whose "on retinae" was reissued by music from memory to great acclaim -- on vocals and mule musiq staple kuniyuki on production with direction by label head toshiya kawasaki.

one of them, "carnaval," is a cover of the japanese dance classic by taeko ohnuki, produced by ymo. "shinzo no tobira" is a remake of the track by mariah, a band led by sax player yasuaki shi-mizu, from their album utakata no hibi -- which was one of the reissues that sparked the global interest in obscure japanese music in the last few years. studio mule's version features japanese lyrics rewritten by miyako koda. "face to face" is a cover of the ambient pop gem from the ultra rare album desire by yumi murata of mariah -- an album visible cloaks is a fan of.

also included is a rework of "kagami no naka no jugatsu," a song by tamao koike produced by ymo, turned into a dubby balearic pop track -- dubbier than the version included on the yen label compi-lation -- sang by nanako sato, one of the artists enjoying some newfound success following a string of reissues stemming from the "city pop" revival craze. the oriental ambient pop "yugao" by singer songwriter mioko yamaguchi is covered by vocalist saho terao, whom some describe as this gen-eration's taeko ohnuki.

"the april fools" is a rework of yukihiro takahashi's track, which itself was also a cover of the origi-nal song by burt bacharach. this new version boasts a more experimental arrangement with nanako sato handling the vocals. ymo's "ballet," originally with vocals by yukihiro takahashi, was reconstructed into a dance floor-ready instrumental by kuniyuki. many say yoshiyuki ohsawa's "soshite bokuwa toho ni kureru" is one of the greatest songs of the '80s. the 12" dance version is reshaped here into a melancholic balearic house track.

the album cover is by the increasingly popular hotshot photographer kota shouji.

What kind of band would choose a double vinyl, gatefold LP for their first release The Hare and Hoofe. Their eponymous first release consists of two discs. Disc One rounds up their 'hits' so far - 2018's smash hit White Blindness, the space gregorian
chant that is Voyager, and the pastoral tale of Appledore Fayre. The second consists of their rock opera, The Terror of Melton. Time-travelling scientists. Giant laser-eyed robots. A rock opera to end all rock operas...

Pitched somewhere between The Who, The Stooges, ELO, Sparks, Pink Floyd, Voivod, Pete Townshend, Brainiac, Bowie and Judas Priest, The Terror of Melton is a headspinning,
ambitious journey. In turns stomping, tear-jerking, full-on rocking and dreamlike, it will transport you. Prog Magazine's Dom Lawson described it as 'absurdly entertaining and deliciously weird... An unmissable trip for fans of the fuzzy and farout'.
2018 saw the band recording a BBC6Music Marc Riley session before even releasing a physical record. In addition, they've had plays on Stuart Maconie's Freak Zone. The band have also gained a monstrously good live reputation, playing an instantly
legendary set at Hastings' Beatwave festival, as well as headlining Tannerfest, Pitch Fest, playing with Focus and The Fierce and The Dead, and the John Snow Society's annual celebration of the eminent epidemiologist.
Some describe them as 'educational psych', others prefer 'polytechnic beat', still more as 'a seventies garage band'. There's certainly primeval drums, fuzz bass, lashings of guitar and synth noises from another planet.
Formed from a gang of friends from Folkestone, Hoofe members have played in groups including The Heliocentrics, The Priscillas, Ye Nuns, Jail Cell Recipes, The Frank Sidebottom Oh Blimey Big Band, Chalet and Hyperglo.

doctor umezu diva is a japanese sax player kazutoki umezu's one off project which he invited two female artists, one is a legendary marimba player midori takada and one more is a vocalist&pianist and half of japanese newwave band colored music in the end of 80's.

this album was one of the best kept secret jazz album from japan. dubby from ondas tokyo(he compiled 'va/midnight in tokyo vol.2' on studio mule) brought me this record. it was really hard to find as the amount of copies has been very limited.

this album is a unique mixture of modern classical sound and avant-garde jazz which is kind of similar with strata east or nimbus.

For the 5th time now, Nemoy managed to convince actual
musicians to release something on his largely unsuccessful
label. And oh boy, are those some actual musicians this time!
Marlow and his partner in crime Rainer Trüby came up with a
lush, deep house stomper featuring a little vocal shred we all
think we know - but we really don't! They are not so much into
the obvious sample digs... Combined with some crazy hi hat
work and all the minor 9th chords you can possibly handle, - U
Know How I Feel' makes you feel like they really do know, how
you feel. Azaxx took all this and turned it into something
completely different. To be honest, he might just have created
an entirely new genre of soulful electronic dance music.
Outstanding drum programming and the exact right amount of
- when is that beat coming back again!' make his remix a very
unique ride. Nemoy made a version too. He challenged himself
to use the cheapest, most unintuitive and terrible synth you can
imagine for this. And he made it sound like a Million Dollar.
The shue on this one is a very weird animal - but also a very
uffy one. Go get it, before the others do! There are only 200
copies around!

Remix extravaganza ahead! What started as an attempt to transport Feater's brillant outsider pop 'Time Millionaire' (taken from the Socialo Blanco album) onto a dance floor with one or two remixes, ended up as a feast served on three different platters with some heavy hitters. First up, Pépé Bradock and Ricardo Villalobos are crossing their beams. Spread over two 12s, the masters of idiosyncrasies and splendid aural design, Bradock and Villalobos treat the voice of Vilja Larjosto with love and care and bring it into their respective universe during peak time: vocals, dubs, acapellas and bonus bits included. Expertly, tricky and inventive. Remix EP no. 3 merges different trajectories of UK dance music traditions (or Ireland for that matter). Man of the moment Krystal Klear takes the material down to love town: the sound of 1980s Island records meets NYC boogie and UK street soul sounds. Hessle Audio's Pangaea follows the other path: uptempo bass fun with a driving dub and an instrumental pass. Last but not least, Feater & Sam Irl themselves deliver a blissed out dub of the original. Oh, and if you have enough time, flip over to the 10 with an Aba Shanti-I approved UK reggae and lovers rock take on it by Blood Shanti.

Remix extravaganza ahead! What started as an attempt to transport Feater's brillant outsider pop 'Time Millionaire' (taken from the Socialo Blanco album) onto a dance floor with one or two remixes, ended up as a feast served on three different platters with some heavy hitters. First up, Pépé Bradock and Ricardo Villalobos are crossing their beams. Spread over two 12s, the masters of idiosyncrasies and splendid aural design, Bradock and Villalobos treat the voice of Vilja Larjosto with love and care and bring it into their respective universe during peak time: vocals, dubs, acapellas and bonus bits included. Expertly, tricky and inventive. Remix EP no. 3 merges different trajectories of UK dance music traditions (or Ireland for that matter). Man of the moment Krystal Klear takes the material down to love town: the sound of 1980s Island records meets NYC boogie and UK street soul sounds. Hessle Audio's Pangaea follows the other path: uptempo bass fun with a driving dub and an instrumental pass. Last but not least, Feater & Sam Irl themselves deliver a blissed out dub of the original. Oh, and if you have enough time, flip over to the 10 with an Aba Shanti-I approved UK reggae and lovers rock take on it by Blood Shanti.

Bobby Sparks II ist vielen ein Begriff. Sei es als Keyboarder bei Snarky Puppy, Marcus Miller, Prince oder Liz Wright, Bobby hat überall markante musikalische Spuren hinterlassen. Und nun ist es endlich soweit: Mit "Schizophrenia - The Yang Project" steht Bobby Sparks Debutalbum (2CD Set) zur Veröffentlichung bei LEOPARD an. Es hat gedauert, um diese außergewöhnliche Sammlung unterschiedlichster Songs zu produziern. Aber es hat sich mehr als gelohnt: zeigt sich darin doch das breite musikalische Vokabular und der schier unerschöpfliche Schaffensdrang des Keyboarders. Vom slammenden Funk bis zu langsamen, groovigen Soul-Balladen und Streifzügen in die Genres Straight-ahead-Jazz, Fusion, Orchester- und Weltmusik: das sehr passend betitelte Album "Schizophrenia - The Yang Project" vereinigt eine Vielzahl verschiedener Musikstile in sich, ohne dabei das Gesamtbild aus den Augen zu lassen. Mit an Bord auf dieser außergewöhnlichen musikalischen Reise sind eine Reihe seiner alten Freunde aus Dallas, sowie viele Stars des Genres - etwa die Bassisten Marcus Miller, Pino Palladino, MonoNeon und Hadrien Feraud, der Trompeter Roy Hargrove, die Sänger Frank McComb und James - J. Rob' Robinson, Snarky Puppys Michael League und Jason - JT' Thomas, die Gitarristen Lucky Peterson und Eric Gales sowie die Drummer Mark Simmons, Brannen Temple und John - Li'l John' Roberts.

Big John K began singing in church at age five and taught himself to play piano. His performing career actually began in Dayton, Ohio around 1957 where he played with Ray Charles and several members of Count Basie's band. In the late 1950s he recorded around twenty different songs but only six singles were released. He then changed his name to Johnny K. and was signed to Epic Records in 1969. He played shows with Jerry Lee Lewis, Charlie Rich, B.J. Thomas and opened for Jimi Hendrix but left Epic Records in 1971. "Poor Souls" and "Marching Home" were both released on tiny indie labels and remained unknown even in collector circles to this day. The Tramp crew is extremely happy to finally re-release these two cuts - 110% rhythm & blues dynamite!

Regen, Sonne, Bogenlampe - Fern Aller Entgeisterung Schwebt
Euphorie Übers Parkett. Kaum Faerlezt Und Seicht Ent¢ammt
Verbiegen Sich Vergangene Räume. Leise Und Voller Durst
Entgleist Die Struktur Hinzu Frohlockender Ekstase.
Charismatisch Windet Sich Carlotta Aus Den Trümmern Der
Ideenlosigkeit - Die Sanftmütigkeit ¢attert Elektrisierend Wie
Eine Lockenpracht Vor Dem Inneren Auge Des Ersten Eindrucks.
Lag Er Direkt Am Fuße Ihres Berges, So Hat Er Doch Vergessen
Ihr Wesen Ohne Reue Einzufangen. Ungebändigt Gestikuliert Der
Letzte Moment Trauter Unverbindlichkeit Wie Ein Morsezeichen
Und Ohne Jeden Titel In Eine Gestanzte Leere. Heiser Legt Eine
Bekannte Versuchung Wärmend Und Voll Von Wahrhaftigkeit
Die Kühle Hand Auf Des Treibenden Schulter. Es Scheint Wie Ein
Werk Der Analogen Entfaltung - Episch Knacksend Und Mühelos
Rudernd.