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Concealed within the eclipse, Overdue presents a new black-label 12" series - symbolic of its sinister auditory contents.

Further proof of their unbridled dedication to sound system music and commitment to quality, the Belgian Dubstep imprint unravels
it's fifth physical release. Based in Denver, its newest signee by the name of Ghast returns to the spotlight, following up on heavyweight releases on prominent labels such as Encrypted and Gradient Audio.

The talented American artist sets the stage with two unruly armaments, alongside murderous remixes by Denmark's bass music stalwart RDG as well as the label operators themselves, Substrada & Caba.

Starting the engines, 'Mothership' immerses the stage in flickering echoes and haunting wails - the air bustling with anticipation. Eerily disfigured, granular reverberations materialize amid a pressurized and truly outlandish soundscape, barren at its core. Heading into the second section with renewed vigour, no dance floor remains unscathed in the ensuing aftermath.

The subsequent doomsday scenario, as engineered by Substrada & Caba, strips the ship to its bare essentials - laced with trippy drum instrumentations and the psychedelic foley samples. The meticulous flow presents itself in a bleak dungeon style - hoodlum vocal fragments rounding off the resulting low-frequency inferno.

Flipping the record to its equally profound B-Side, 'Vehement Mess' unhinges another portal into madness - dance floor upheaval guaranteed. Showing no signs of mercy, the infernal armagedon proves to be emblematic for Ghast's dystopian sound design. Profusely industrial and with clinical efficiency, hitting all the right frequencies as the second wave ignites but all available power reserves.

Finishing off any remaining survivors with his irreproachable signature style, RDG's remix marches onwards with unrestrained might in a four-to-the-floor fashion - super-charged, galvanizing the rave in a no-holds-barred shutdown.

Chicago-based contemporary electronic musician Steve Hauschildt has composed panoramas of synthesized sound for over a decade. First within his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music, and later across a steady and critically-acclaimed stream of solo releases spanning ambient techno, arpeggiated electronica and post-kosmische styles utilizing synthesizers, computers, and digital processing. In 2018, he extended a collection of rich, visceral tracks titled Dissolvi, his first release on Ghostly International and his most collaborative work to date. Just a year later, Hauschildt returns with Nonlin, an album that's freer, leaner, and looser, both structurally and conceptually; less linear compared to its predecessor, but still captivating. Developed and recorded in several studios during and around the edges of tour - Chicago, Los Angeles, New York, Tbilisi, and Brussels - this material emulates an alienating encounter with a smattering of places, a replicant of culture shock, a solitary and stark experience with uncanny environments, melody and dissonance as oblique locales. Nonlin finds Hauschildt evolving his palette of tools, integrating modular and granular synthesis. The improvisatory and generative nature of modular systems, when paired with his signature grid-oriented and hand-played techniques, guides these compositions slightly out of line to hypnotic effect. Opener "Cloudloss" permeates the mix with an unsettling smog, which reappears and all but engulfs "A Planet Left Behind." On cuts like "Attractor B" and "Subtractive Skies," pockets of air rest between sequenced pulses, whose crumpling and flattening folds build into a restrained rapture of crisp frequencies and milky reverb-swallowed coruscations. The album's title track and centerpiece logs on to a foreign network, a fractured percussion signal that modulates and stutters into static amidst curious melodic sparkling in the hazy bandwidth. "Reverse Culture Music" casts an elegant and brooding stream of strings, pizzicato and churning bow from Chicago cellist Lia Kohl, against chiming minimalist synth frameworks. A surprising pattern emerges in the taciturn systems at work. Hauschildt continues to expand his already horizon-wide repertoire, here exploring the effects of corrupting coordinates; a flight subject to the collapsable abilities of time in remote spaces, a smearing of the axis to elegiac ends.

Pacific Express emerged from Cape Town, South Africa in the 1970s. The band were from the so called "Coloured" community and were ground breakers in both musical and political arenas. The founder members Paul Abrahams (Bass), Jack Momple (Drums) and Issy Ariefdien (Guitar) were joined by Chris Schilder (Piano), Vic Higgins (Pecussion), Barney Rachabane (Alto Sax), Stompie Manana (Trumpet) and Zayn Adams & Kitty Tshikana on vocals for their second album "On Time" in 1978.

On several occasions the group fell foul of Apartheid laws and discrimination by the state broadcaster, SABC. On one occasion they were asked to leave the stage of an international tour by Australian act John Paul Young, because the law forbade racially mixed performers on the same stage. The promoter, management and band members all resisted and once he incident made the Australian newspapers the authorities had little choice and turned a blind eye.

And so to the music. The most important thing. The LP opens up with the slick jazz-boogie funk of "We Got A Good Thing Going On", a perfect vehicle for the vocals of Zayn and the statement-of-intent, on-point musicianship of the band.

"I Hear Music" is the first of three smooth sweet string-laden ballads to feature on the LP. The majority of the songs on the LP were written by keyboard player Chris Schilder. As well as high-craft songwriting Chris also contributes layers of effortless musicality with his Rhodes and piano. "Good Old Days" (the only cover on the LP) is next and its smooth-rock grooves swing effortlessly to the fore. The A-Side of the vinyl closes with the instrumental jazz funk of "Saturday Night".

The flip side of the album opens with the bands biggest commercial success. A sweet soul ballad penned "Give a Little Love". Stepping outside their usual sound. This hit however was not without controversy as the video was removed from the TV airways after the South Africa Broadcasting Corp realised that the group were of mixed race, which was against rules for so called local artists in public performance at the time.

"Dream" follows on with the driving jazz rock and travelling keyboard solos. "Reaching Out For Love" is a power-pop boogie groover powered by guest vocalists Erica Lundy and Kitty.

"Say The Last Goodbye" is the last of the trio of ballads. A smooth style moment sounding all the bit like a 70's US TV drama closing theme. The LP features with a funky workout where the band show off their chops and slick level of musicianship.

Besides the success in southern Africa this album became a regional hit as a pirated music cassette in Nigeria. It was also released in France and Japan.

The band would go on to record one further LP in 1979 and a single in 1981. They carried on performing however well pass that. Throughout their years together the band acted as central hub for Jazz musicians within the Cape Town area. Players as Tony Cedras, Jonathan Butler and Alvin Dyers gaining experience alongside established names such as trumpeter Stompie Manana and alto saxman Barney Rachabane.

Here at World Seven we are ever so pleased to be re-releasing what we consider the bands finest album moment.

A spiritual successor to our last Sleazy McQueen 12", Daikaya is a slab of buttery, slow-burn disco that coats the dance floor in molasses, making the party move with a certain sensuality.

The four-track vinyl EP includes three originals, all by Sleazy McQueen and Terry Grant, and one remix, courtesy of Versatile chief, Gilb’R, who turns the title track inside out and gives it a creeping, alien presence while not letting go of its starry-eyed, luscious warmth. For the digital edition, a second version, stripped down and dubby, is tacked on as a bonus.

After taking time out to search for the right blend of carefully curated tracks, Bristol-based dancefloor futurists Innate return with a third multi-artist EP - shot through with melody, warmth and soul.

A quartet of timeless-sounding tracks full of stargazing sounds, undulating acid lines, far-sighted electronics and crackling beats, the A side kicks off with Perseus Traxx's "Drifting In Space": a loose-limbed exercise in analogue house deepness that wraps slowly shifting pads, meandering melodies and pulsating TB-303 motifs around broken house drums.

Welcoming Australian scene stalwart Ewan Jansen to the fray with "Sinders", he effortlessly blurs the boundaries between far-sighted, Motor City style techno and the kind of head-in-the-clouds analogue sounds that have always been his forte.

On the flip, Reedale Rise adds his touch with "Coral". In keeping with the brilliance of his 2018 debut album "Luminous Air", he drops a colourful, picturesque voyage into deep electro territory rich in ear-catching melodies, engaging chord sequences and crunchy machine percussion. To round, label co-founder Owain K returns with "Teifi", another ultra-deep treat: an enveloping, dancefloor excursion rich in fluttering lead lines, slowly expanding chords, vintage bass and punchy drums. A fitting conclusion to Innate's latest immaculate, eyes-closed voyage."

The 888 Miles E.P. includes two original tracks, 888 Miles and 777 Miles, which both develop a psychological tension that leads to moments of euphoric liberation where the synths soar and allow the mind the wander, accompanied by a rhythmic groove. There is a slightly different sensitivity between the two tracks that you'll can easlyer constat. Then, don't forget, even if the approach sounds different, the soul remains the same. The other original track, 000 Miles, places you on a spacecraft, with ambient musicality sounding like it could have been generated by hydraulic pipes or air conditioning. This E.P. release also includes '888 Miles XXX Reshape', a deep techno remix by none other than the awesome Francois X. He's probably the best person to describe it: "I've known David & Kevin (Klash Point duo) for a while now and when they suggested that I produce a remix for them, it was natural to say yes. It's funny how this piece of music saw the light, as it has a completely altered tone from the original. It's definitely one of my funkier tracks, with trippy and bluesy vibes - like a trip deep into the wild."

Rockets Audio starts the saga with 4 finest minimal house trackers by Matheiu, Denis Kaznacheev and the master trio Wareika. A rocket (from Italian rocchetto "bobbin" is a missile, spacecraft, aircraft or other vehicle that obtains thrust from a rocket engine. Rocket engine exhaust is formed entirely from propellant carried within the rocket before use. Rocket engines work by action and reaction and push rockets forward simply by expelling their exhaust in the opposite direction at high speed, and can therefore work in the vacuum of space.

In fact, rockets work more efficiently in space than in an atmosphere. Multistage rockets are capable of attaining escape velocity from Earth and therefore can achieve unlimited maximum altitude. Compared with airbreathing engines, rockets are lightweight and powerful and capable of generating large accelerations. To control their flight,
rockets rely on momentum, airfoils, auxiliary reaction engines, gimballed thrust, momentum wheels, deflection of the exhaust stream, propellant flow, spin, and/or gravity.

Rockets for military and recreational uses date back to at least 13th century China. Significant scientific, interplanetary and industrial use did not occur until the 20th century, when rocketry was the enabling technology for the Space Age, including setting foot on the Earth's moon. Rockets are now used for fireworks, weaponry, ejection seats, launch vehicles for artificial satellites, human spaceflight, and space exploration.

SOUND rockets are the most common type of high power rocket, typically creating a high speed pitch by the wave of rythm with an oxilator. The stored delay can be a simple pressurized detune or a single filter delay that disassociates in the presence of a curve (EQ + FILTER ), two hats that spontaneously react on contact (RANDOMIZER), two snares that must be ignited to react, a solid combination of effects with oxidizer (solid GROOVE), or solid fuel with liquid oxidizer (hybrid FILTER BAND DELAY). Chemical rockets store a large amount of energy in an easily released form, and can be very dangerous. However, careful design, testing, construction and use minimizes risks.

The mostly anonymous producer FSS joins Veyl with ‘MMXX_FFS’, a collection of nine raw, mangled numbers that manage to make lo-fi sound hi-fi. Built in moments stolen from working with DIY punk bands and artists producing for Warp, UNO, True Panther, Lucky Me and Tri Angle.... Originally from New Mexico, now living in London, with NYC on the horizon, FSS is no newcomer, and this isn’t your usual debut.
Inspired by a need to release the rage and disillusionment brought on by the extreme shit show the world has become, the writing of ‘MMXX_FSS’ — “it’s nearly 2020, for fuck’s sake” — doubled as a cathartic process for the artist, providing much-needed relief from the constant struggle of living on this planet.
Urged to push into the wild and off the beaten path, the record’s sound is iltered through an ongoing battle with tinnitus, a heavy fascination with distortion, and a treasure of inspired electronics. Memories of clear, bright landscapes play like loops, bombarded with the shock and suffering of urban action. Based on the constantly vacillating reality between moments of familial bliss to existential terror in white hot flashes, ‘MMXX_FFS’ is a snapshot of this process. Generating more.
FSS’ debut is out this December on cassette and digital, as always featuring artwork by Tomaso Lisca.

Jay Clarke's masterful BLACKAXON imprint returns with a shapeshifting EP from Davide Piras.

What began as a sonic sketchbook for Clarke to express his expansive view of electronic music, is evolving. The label is opening up to artists who hold a shared passion for creating dynamic and interesting techno compositions, with a few surprises here and there. Following last October's superb contribution from rising talent Yant, experimental techno artist David Piras drops a quadruplet of cuts to join the BLACKAXON fold.

His BLACKAXON debut, "Beyond Our Reach", is a true all-rounder. It leads with the dusty slow bass monster "Radiation Belt", before the gritty electro noodlings of "Multipolar" enter the fore. The analogue-infused rave cut "System Cartesian" takes the EP into otherworldly realms, before atmosphere-heavy "Pangaea Heritage" closes out the work, evoking a hazy afterhours vibe.

"Davide's productions hold an air of Convextion about them, he's one of my favourite artists. I locked into that right away and knew I wanted to release his music. When I listen to Davide's tracks I feel as though I'm in the middle of a sci-fi movie, they're funky and futuristic tales from the deep. Amazing!" - Jay Clarke

Public Release once again plunges into the deep well of dance music talent it's hometown of San Francisco has long fostered for Moon Replacement, the debut single by Anderson Chase, two originals wrapped around a couple remixes of its titular track.

Clocking in at over eight minutes, “Moon Replacement” is a tense, drawn-out affair. It coaxes you onto the dancefloor with hardedged drums that slap with a metallic clang, a steely bass throb that defines its backbone, and spindly synth noodles that creep around the crust on top. Chase’s previous life as a punk and metal drummer seeps through; this is a tenacious house boogie that trundles along at that Goldilocks BPM of 118, fast enough to snap you to attention, slow enough that you don’t lose stamina as you give into the groove.

Japanese house producer Gonno, known for his ability to graft scalpel-sharp minimal techno loops onto out-there, mindexpanding arrangements, puts his own spin on the song for the A2 slot.
He darkens the mood while zapping it with a static charge to quicken its pace. On the reverse is Mark E’s take, which goes in the opposite direction, applying some heat so the square structure’s joins start to melt, wiggle, wobble. The bottom is still stocky, a molten mass of heavy-duty bass energy, but the melody that dances around the top is airier and lighter, glints of sunshine through storm clouds.

And then “Between Us” arrives to stick the landing, get us back to where we started. Like “Moon Replacement,” it’s a blocky foot-stomper that directs you forward with its tireless rhythm section, though this time with an even longer shadow cast behind it.

repress

2LP 140G VINYL + 12 PAGE BOOKLET.

"Space Echo - The mystery behind the "Cosmic Sound" of Cabo Verde finally revealed!" is the 20th release by the fabulous Analog Africa Label.

In the spring of 1968 a cargo ship was preparing to leave the port of Baltimore with an important shipment of musical instruments. Its final destination was Rio De Janeiro, where the EMSE Exhibition (Exposição Mundial Do Son Eletrônico) was going to be held.

It was the first expo of its kind to take place in the Southern Hemisphere and many of the leading companies in were all eager to present their newest synthesisers and other gadgets to a growing and promising South American market, spearheaded by Brazil and Colombia.

The ship with the goods set sail on the 20th of March on a calm morning and mysteriously disappeared from the radar on the very same day.

One can only imagine the surprise of the villagers of Cachaço, on the Sao Nicolau island of Cabo Verde, when a few months later they woke up and found a ship stranded in their fields, in the middle of nowhere, 8 km from any coastline.

After consulting with the village elders, the locals had decided to open the containers to see what was inside - however gossip as scintillating as this travels fast and colonial police had already arrived and secured the area.

Portuguese scientists and physicians were ordered to the scene and after weeks of thorough studies and research, it was concluded that the ship had fallen from the sky. One of the less plausible theories was that it might have fallen from a Russian military air carrier. The locals joked that again the government had wasted their tax money on a useless exercise, as a simple look at the crater generated by the impact could explain the phenomena. "No need for Portuguese rocket scientists to explain this!" they laughed.

What the villagers didn't know, was that traces of cosmic particles were discovered on the boat. The bow of the ship showed traces of extreme heat, very similar to traces found on meteors, suggesting that the ship had penetrated the hemisphere at high speed. That theory also didn't make sense as such an impact would have reduced the ship to dust. Mystery permeated the event.

Finally, a team of welders arrived to open the containers and the whole village waited impatiently.

The atmosphere, which had been filled with joy and excitement, quickly gave way to astonishment. Hundreds of boxes conjured, all containing keyboards and other instruments which they had never seen before: and all useless in an area devoid of electricity. Disappointment was palpable. The goods were temporarily stored in the local church and the women of the village had insisted a solution be found before Sunday mass.

It is said that charismatic anti-colonial leader Amílcar Cabral had ordered for the instruments to be distributed equally in places that had access to electricity, which placed them mainly in schools.

This distribution was best thing that could have happened - keyboards found fertile grounds in the hands of curious children, born with an innate sense of rhythm who picked up the ready-to-use instruments. This in turn facilitated the modernisation of local rhythms such as Mornas, Coladeras and the highly danceable music style called Funaná, which had been banned by the Portuguese colonial rulers until 1975 due to its sensuality!

The observation was made that the children who came into contact with the instruments found on the ship inherited prodigious capabilities to understand music and learn instruments. One of them was the musical genius Paulino Vieira, who by the end of the 70s would become the country´s most important music arranger. 8 out of the 15 songs presented in this compilation had been recorded with the backing of the band Voz de Cabo Verde, lead by Paulino Vieira, the mastermind behind the creation and promulgation of what is known today as "The Cosmic Sound of Cabo Verde".

The field of electronic music were involved. Rhodes, Moog, Farfisa, Hammond and Korg, just to name a few.

Influential UK artist Man Power makes his Skint Records debut this December with a thrilling new offering featuring Berlin’s Private Agenda.

Man Power is a true electronic virtuoso who has proven he can do searing acid, raw techno and expressive disco with equal elan.
As well as running his own Me Me Me labels, he has appeared on top outlets like ESP Institute and Correspondent and now impresses once again with the help of Berlin’s Private Agenda.

The electric original version of ‘Do It Thin’ is an intense and steamy affair with Eurobeat synths and Italo piano chords that are sure to make a huge impression on the crowd. Vocals that Bronski Beat would be proud of soar to the heavens and get hands in the air whilst the hard hitting drums drive things forward.

Dramatic chords build the suspense, leading you towards an epic, guitar laden breakdown with well sequenced synths adding weight and colour. Edgy and expressive, it is a real stomper with a fusion of myriad different styles.
An instrumental version is also supplied that removes the vocal and allows the studio skills and musicianship to really shine, this was a showstopper in Man Power’s recent Boiler Room set and it not to be missed.

Man Power marks his Skint debut here with the same sense of timelessness and quality that has defined his career to date.

2024 Backstock

After having released several solo works of both artists, Dauw announce the first collaborative full album by The Humble Bee & Benoît Pioulard; 'I suppose I'm your future'.

Both artists hold a very special place in the history of the label. The Humble Bee was already present from the very beginning and, in hindsight, definitely has put an important mark on the musical aesthetics we've been developing throughout the years. On the other hand, we crossed paths with Benoît Pioulard several years ago through our ongoing Living Room Concert Series in which he offered one of the most magical evenings to date. Given their mutual love for the tape medium and melancholic compositions, we only had to connect the dots as we were pretty sure that some magic was up in the air.

It goes without saying that we were uttermost happy when they both accepted our invitation to work on a collab album. Even though we didn't know where their efforts would end, it already felt like a victory that we, as a label, were able to link these artists. Above all, the art of curating can be considered as an essential feature of running a label but for us it is also the most wonderful part about it. Linking artists to each other, like we also did in our Dialog Tapes or Illuminine Reworks series, even goes a step further as it makes new connections, pushes boundaries and ultimately can result in an unexpected enrichment of the musical field.

"I always look forward to the Dauw collaboration releases. Most of the creativity for these lays within their curation: it brings together artists that, although arc in the same orbit but somehow never cross paths. The beauty of collaborating is that we learn from having to give space to another creative force, working alone we fall back on what we know and what we have already done. Although I wasn't paired with Tom for earlier projects, the guys at Dauw thought (and rightly so) that it was about time we crossed our musical paths for an lp." (The Humble Bee)

Pink fog rises amidst the hills; dew covers all in silver paint glittering in the background. Layers covering layers of low clouds, fog and haze. Shimmering city lights. Silhouettes of figures sitting in the hills, hanging in bridges, on top of houses, looking upon, observing city drive from up high as if it was a meditating bonfire.

A notion of something going to happen. But all that remains is a glimpse of pink fog hanging static in the air.

Risks Issues Opportunities, the third release from berlin based R.I.O. Label brings together a collection of electronic wave music from six different performers with one common ground: their mysterious & slightly melancholic aesthetics. - (R.i.O. - RIO03)

The vitality you hear on Antique Blacks is a testament to the unique energy of the community around The Foxhole Cafe in Philadelphia, as Ra honed his unique brand of Afro-Futurism through the late 60';s and 70's. Cosmic theatre, spiritual chants, and experimental electronics make this record an essential document that was ahead of its time. Ancient to future! BIG TIP !

The 1970s saw change in Sun Ra's recorded output, and as far as we can tell, the content of his live performances. By the middle of the decade, Sun Ra's music no longer seemed comprehensible as part of the jazz New Thing – quirkier, more idiosyncratic elements were more to the fore.

At this time, 1974, every Sun Ra record still surprised, and seemed radically different from everything else he had released up to then. The musical universe proposed by free jazz had never circumscribed Sun Ra. He had been part of the movement, but was able to use the possibilities it suggested without being limited by its conventions.

The Antique Blacks illustrates this well. Recorded as a radio broadcast in Philadelphia, according to Dale Williams, it has a well defined but oddball structure. Sun Ra was a master architect, very concerned to use the unfolding of an album, a broadcast or a live performance to create a satisfying structure.

Song No 1 starts on an upbeat note, it's a lively, tonal introduction, featuring John Gilmre on tenor saxophone, Sun Ra on roksichord, Dale Williams, then aged 15, on guitar, and Akh Tal Ebah on trumpet.

Sun Ra's poetry is featured on There Is Change In The Air, a track which has on occasion been used for the album title: in its original incarnation as a Saturn LP, there was no dedicated sleeve artwork, and this record appeared under many names. Ra's poetry is allusive, elusive and paradoxical, and this was its first major appearance on a record. During instrumental passages, Dale Williams' guitar is heard, along with the saxophones of Marshall Allen and Danny Davis.

The Antique Blacks is a similar setting for a Sun Ra poem, which encompasses "spiritual men", and Lucifer as a dark angel. The Arkestra is heard in conducted improvisational ensembles, in between the sections of the poem.

This Song Is Dedicated To Nature's God has Arkestral vocals, with John Gilmore's voice in th foreground. Williams' guitar is once again prominent in the instrumental passages.

Sun Ra's poetic declamations provide the structire for The Ridiculous I and The Cosmos Me, which also has a fine unaccompanied tenor solo by John Gilmore, keyboard improvisations by Sun Ra, and closes with bass clarient from Eloe Omoe.

Sun Ra's keyboards are heard with minimal Arkestra support on Would I For All That Were – a fine synthesiser improvisation, with electric piano left hand accompaniment.

Tension is resolved by Space Is The Place, which rounds the album out in an upbeat mood, with Akh Tal Ebah, James Jacson and Sun Ra prominent among the vocalists. The closing section includes the chant Sun Ra And His Band From Outer Space, often used at the close of live performances. This isn't strictly live, though: in one line the vocal is played backwards on tape!

Vinyl Only. Produced by Ollie Marland of De-Lite and Jah Wobble's Invaders Of The Heart fame Label logo by manga legend Shintaro Kago. Archival reissue of rare 1984 jazz-funk fusion diamond in the rough by German-Australian-British madcap ensemble Bells of Kyoto, produced by Ollie Marland of De-Lite and Jah Wobble's Invaders Of The Heart fame. Fusions grooves with Orient-funk detours and looking out the window of a Swissair aircraft moments of cool mid 1980s contemplation.

Highly recommended to porthole dreamers, seasoned mind travelers, inventive dancefloor adventurers, and dogs who like to stick their head out the car window.

Drums - Alex Friedrich
Electric Bass - Peter Drefahl
Mastered By - Rico Sonderegger
Piano, Bells - Peter Waters
Producer - Bells Of Kyoto, Laurie Carls, Ollie Marland
Recorded By - Laurie Carls, Ollie Marland
Synthesizer, Guitar, Percussion - Ollie Marland

So what’s the deal now - are we all just going under? And if so, what will we find below? On his second EP for the label, Leibniz immerses himself deeply in the subject matter with three tracks that draw on the titular »Hydron« as an alternative source of energy, with three tracks offering more water displacement than a regular Typhoon-class submarine - it’s that cold, clear bottle of Fuji in a desert full of uninspired memes.

The hundert co-founder overtakes the discussion about electric cars and those damn scooters by cruising down the aquabahn with his hydrogen car at 132 to 134 knots per minute. There’s a coming changeover of power to be felt in the air here for sure, yet there is much more to be gained from the water - the fuel for your deep dive into the unknown once we’ve gone under. In the meanwhile however, you have two options: become conscious of the impact that we as a species have on this planet or find the one gadget that will serve as a fix for everything. Just remember to stay hydrated along the way.

By Geert Sermon - 'The Sound Of Belgium' - A timeless collection of unintentional psychedelic, post-everything, and pre-anything music with his one of a kind, unique, selector air, compiled by Dj Morpheus aka Samy Birnbach, member of post punk/wave band Minimal Compact and responsible for compiling the classic downtempo/ambient late 90's Freezone series on SSR Records (parent label of Crammed).

Dead Air is Marconi Union's tenth studio album of a career that began in 2002.

Starting with the following year's Under Wires And Searchlights, they've created an explorative body of instrumental work that's shifted between electronica, dub, minimalism, avant-jazz and ambient music. Along the way they've collaborated with the likes of Jah Wobble, remixed Max Richter and Vök and provided soundtracks for art installations and other visual media. They've also had their own music remixed by Biosphere and Japan's Steve Jansen, among others.

The new album offers ample evidence of a band in its prime. Marconi Union still sound vital and original, enthused by the possibilities that music has to offer. "We've never wanted to repeat ourselves," states Talbot. "We've made ten albums and have been going for 17 years, but it still feels fresh. That's been so important for us all the way through. We're looking to do new things all the time" co-founder Richard Talbot says.

Indeed, the exquisite Dead Air bears only a passing resemblance to its 2016 forerunner, Ghost Stations. The trio have dispensed with beats, brass and guest musicians this time around, opting instead for a more intimate and textural approach, a constantly evolving soundworld of tones and sensory impressions.

Dead Air also bears little resemblance to the trio's initial vision for it. "The album we set out to make had far more of a rhythmic element," explains Talbot, " but fairly late in the process, we decided to completely change direction." This is entirely in keeping with Marconi Union's guiding methodology. Ideas remain fluid throughout the writing process, until Talbot and bandmates Jamie Crossley and Duncan Meadows ultimately settle on what feels right to them.

As such, Dead Air is a sublime testament to their collective instinct.

Airplay on Tom Ravenscroft (BBC Radio 6 Music), Re:lax w/ Re:ni, Laksa & Biggabush (NTS), Gage (NTS), From The Depths with Drakeford (NTS)

Premieres of Four Feet and Blasphemy on Trax Mag and Ransom Note

Review on 2 Hungry Ghosts

DJ support from Midland, Bruce, Re:ni, Troy Gunner, Maya Jane Coles, Minor Science, Via Maris, Mosca, Blackdown/Martin Clark, Horse Meat Disco, Tony Thorpe, Daire Carolan (All City Records), Deft, Phototherapy, Shadow Child / Polymod, Lukas Wigflex, Soulphiction/ Jackmate

Following on from his Mud EP, one of this year’s most distinctive, body- and mind-contorting dancefloor 12”s, Haunter Records boss Heith fires up his Saucers private press for a KILLER collaboration with longtime sparring partner Weightausend. Seriously, this is the biz - broken, bionic, 4D dancehall / tekno battle-droids that carve out disruptive new geometries in the dance without once dropping the ball or getting on your tits. Feels like there’s a million different going things on in each track, and yet H&W build air-flow into their creations - there is room for reflection and bliss-out amid the tangles of twisted metal and reptile blood spatter! Massive tip for anyone into that recent Pharmakustik record, Mike Dred & Peter Green's Virtual Farmer...but this is totally it’s own thing. With suitably stomach-turning artwork by the great Tim Ryan.

Beastly sounds for a zombie nation as classic 80s gaming soundtrack Shadow of the Beast gets debut vinyl edition with a recording taken from the original platform game, and new artwork from acclaimed illustrator Keith Rankin.

Composed by David Whittaker for the 1989 Amiga platformer of the same name, Shadow of the Beast sees its first ever vinyl release courtesy of the UK's Lag Records, presented in also its first mastered edition as directly taken from the original game system.

A prolific VGM composer, Whittaker holds more gaming soundtracks to his name than any other, with titles such as Lazy Jones to his name, as (in)famously sampled for the 1999 club hit Zombie Nation.  

Shadow of the Beast remains a prime example of his pioneering hands-on approach, programming music directly with instrumental samples of his own on a Korg M1 synthesizer. The tunes make for a singular combination of Spaghetti Western-style tension mixed with world beats. Tracks like The Plains play with harder rhythms like warped speed techno, while a hard-to-miss melancholy pervades the Underground suite.

The fiendishly difficult Shadow of the Beast itself was an interesting example of game design for its time, recorded at a frame rate to match arcade machines as opposed to monitors, and loaded with a 128 colour palette. Two sequels later followed in the 1990s, along with a 2016 remake for the Playstation console.

The soundtrack comes ready for a 2019 audience with mastering courtesy of Jerome Schmitt at the AirLab, and brand new artwork from acclaimed illustrator and musician Keith Rankin in collaboration with artist Ellen Thomas. Shadow of the Beast will also come on transparent purple vinyl, in standard LP format.

A key player in the New York scene and boss of her own Dusk & Haze label, it was Francis Harris' Kingdoms that initially released Sophie Saze's standout two-part album, and that is where this forward looking package of highly original remixes lands. First up is German artist Roman Flügel, who’s responsible for a myriad of musical aliases and just as many different sounds. Here he is in experimental electronic mode and reworks 'Cure' into an elongated groove with twisted synth lines layering up over the shimmer, shadowy beats. It's a ghoulish track with a creepy atmosphere.
Swede Anthony Linell makes tripped out, heady techno on Northern Electronics, always with a stylish aesthetic. That continues here as he reimagines 'Aliens' as an absorbing cosmic soundtrack. Supple, rubbery drums bubble down low while broad pads and astral motifs colour the airways above and sink you into a state of trance. New York beat maker and Blueberry Records boss FaltyDL then steps up with a remix of 'Self'. It is a typically off-kilter groove that seems to float on post-jungle drums while distant synth details make for a dreamy atmosphere. Closing out this killer package is Saze's original track 'Dreams', an intense techno cut where coarse textures peel off the industrial clatter of the drums.

WRWTFWW Records is insanely happy to announce the first ever vinyl reissue for both volumes of Yoshio Ojima's superb environmental music project Une Collection des Chaînons I and II: Music For Spiral, originally released in 1988 on CD only. Each volume is sourced from original masters and comes as a double vinyl LP with liner notes in English and Japanese . This marks the inaugural release from the ESPLANADE SERIES by WRWTFWW Records which focuses on the works of Yoshio Ojima and friends.

Une Collection des Chaînons II (along with its complementary predecessor Une Collection des Chaînons I) gathers selected music pieces conceptualized and produced for sound-designing the Wacoal Art Center in Aoyama (Tokyo) also known as Spiral, a hub for a wide range of sophisticated cultural proposals spanning visual arts, theatre, music, design, fashion, and lifestyle.

Named after its superb curled-shaped structures laid in a vast atrium, Spiral is a monumental work of architecture by Fumihiko Maki, designed according to the principles of Metabolism, a movement advocating the fusion of the notions of megastructures and organic biological growth - in essence, evolving designs and constructions, adapting to human needs naturally.

Evolving, organic, adapting, these are notions that perfectly describe Yoshio Ojima's divinely designed brand of environmental music. Continuing, embellishing and bringing the Collection des Chaînons (which translates as collection of links) full circle, this second volume approaches sound design in relation to various contexts, sizes, and shapes. The nanoscopic neoclassical lullaby "Les Trois Grâces" brings attention to the importance of small details, "Pulse at Soothe" starts with the minimalism of a Satoshi Ashikawa piece and slowly drifts into mystical landscapes and cavernous echoes, "Entomology" and its melancholic artificial forest feels like a Twin Peaks mirage, and "Atrium" literally feels like a floating visit of a gigantic open space structure. With each timbre selected with extreme precision, each element placed in space with the utmost care, and textures worked to allow a wide canvas of emotion for the listeners, Yoshio Ojima's music is the constantly transforming connecting point between humanity and architecture.

Sitting alongside Midori Takada's Through The Looking Glass, Satoshi Ashikawa's Still Way, Hiroshi Yoshimura's Green, or Yutaka Hirose's NOVA, Une Collection des Chaînons is a pivotal work of Japanese environnmental/ambient/minimalist music.

A note from Yoshio Ojima: "Please listen to this album at around the same volume as daily life sounds such as air conditioners and refrigerators."

PGS 011 comes to us from Gustav Brovold, an essential player in Detroit's latest wave of underground electronic music. His début EP, "Hyperbolic Space" is the first release solely dedicated to the local legend, with influences ranging from 90s UK rave, apocalyptic techno, and bright, post-Drexciyan electro. Since the late-aughts, Brovold has been a fixture of Detroit's dance community; first as a member of Randy Chabot's Deastro project, and then a pillar of the after-hours scene through raves with the ADULT Contemporary collective, all the while sprinkling in rare, must-see all-hardware-based live shows around the city. Moments of brilliance have boiled over the surface globally, with appearances on Don't Be Afraid as Radio Brovold in 2015, the Detroit Electronic Quarterly's "DEQ Vol. 7" in 2016, and on the punishing opener of PGS 009's with "Temple of the Circuit" earlier this year.

Following a live show at Detroit's Donovan's Pub in late 2018, Zach (Shigeto) came to the obvious realization–this music is the reason why we started PGS, and needed to release the music to a wider audience. Brovold handed PGS a flash drive with hours of completed music, a gold mine in bits and bites. "Hyperbolic Space" represents a cohesive sampling of the mountain of tracks from Brovold's vaults, propelling PGS into the next decade. Play it in your car, or at unauthorized raves, and dance to the airwaves of Radio Brovold.

"Oakland Ave"
The vibes of forgotten 90s raves: UK techno made with digital synths, resampled as a low-bitrate soundtrack for the night time level of a PlayStation racing game. Building, dancing hi-hats, slow building chord stabs, dubby techno feels. A triumphant finish, 1st place in fifth gear. (*If you play this at 45rpm, you can Jit).

Following the Stardancer EP and his remix for All I Need To Get High by Damian Lazarus & The Ancient Moons, Ae:ther unveils his most accomplished and daring work yet on the highly anticipated debut album Me released on Crosstown Rebels. Blazing a trail with his natural aptitude for crafting emotive, captivating compositions that have landed him releases on Crosstown Rebels Afterlife and Fabric, Ae:ther presents his debut LP. The album is a painstakingly produced collection of haunting melodies and narcotic rhythms that display his love and inspiration for ambient electronica, deep underground music and introspective atmospheres, culminating in dreamlike soundscapes programmed with taut percussion. The album begins on Stardancer, setting the tone with gentle keys and space influenced licks that portray a cosmonaut ascending into the stratosphere. This moves into the glistening, atmospheric Finferli, where synths depict aliens conversing in a distant, just-discovered world. Sub-aquatic ambient fills We’ll be Together, boosts of energy and intricate melodies weave in and out of the vocal, locked to the dubby groove. Ice cold subtlety and the otherworldly electronics of Costes drip slowly like water down a pane of glass. A mood of relaxation and weightlessness continues on Tina, a tender beat combined with pattering echoed chimes. N.62, a special ethereal piece, features warm chords and reduced percussion, gradually developing like the morning sun rising. Mysterious, playful charm unfurls on Elf, progressive harmony teases towards a crescendo before dropping back into the hypnotic beat. Clark is light and airy, funky melody constructing an interplanetary anthem. Stimulating a brooding mood, fuzzy clicks and glitches dance on the deep bass of Spektre II, conveying dust spraying off the surface of a moon landing. The shimmering ripples of electronica on title track Me fuse with delicate human vocals creating a heart-warming, personal account of Ae:ther’s relationship with his instruments. Trademark bleeps and blips wash over natural broken beats in one last final call to his utopia in the album outro.

In a turn of events, Startree finds itself wading into the slower, more sensual side of things for its third release, courtesy of relative newcomer and super-talent Nelson Bishop. “Alice et les Aloes“ is a heart-rending, melancholic-yet-propulsive piece which impels the dancer in lovely and unforseen directions. The bass guitar holds the bottom down with a easy-yet-mighty, low-slung sleaze, and the ascending electric piano and keyboard figures joyfully take it to the stars. Soulful with modern-rock edges, this is music which endears itself to the listener on more than one level and for longer than one season.

“Still Life Noix de Coco” is rooted in a stomping Linndrum pattern, vaguely post-punk chorus-y bass and wistful, descending organ timbres. Driving and somewhat mysterious, you would do well to time the release of fog onto your dancefloor to coincide with the airing of this jam. Shoring up the other side is Darshan Jesrani’s take on “Alice et les Aloes.” In this version, Darshan takes the track around the corner, through the unmarked door, past the video arcade and straight to the ideal dancefloor, heaving and smiling, warm with bodies emoting to each instrument as it is given space, by the arrangement, to shine. Startree is proud to present this release as a continuing statement of its musical intentions and its simple desire to inspire and have a good time.

‘Green & Gold’ is the second collaborative release from Mr Key & Greenwood Sharps, the long awaited follow up to their
critically acclaimed 2015 album ‘Yesterday’s Futures’. The record was written and recorded between Greenwood Sharps’
cottage in the verdant English countryside and the off grid Finca in the foothills of the Andalusian Sierra Nevada, Spain where
Key is based.
The title has multiple meanings none of which are anything to do with weed or money. First and foremost, green and gold are
the colours which synesthete (a person who sees sound) Greenwood Sharps, composed the record in. It also alludes to the
dialogue between the green of the UK and the dusty gold of Andalucia which created the project. Finally green and gold speaks
of the dynamic between the sun and photosynthesising organisms, the driving force of life on earth.
‘Yesterday’s Futures’ took the listener on a meandering journey through a vast landscape of moods, sounds and ideas,
leading ultimately to redemption and the possibility of resolution. Thematically, ‘Green & Gold’ picks up where ‘Yesterday’s
Futures’ left off, but structurally it takes the opposite tack; an extended exploration of a single ubiquitous idea: universal love for
all things and all people and the challenge of maintaining these shiny ideals in day to day life, as our cynical side reasserts itself.
Key’s first output after an extended hiatus from releasing music makes it obvious that during this time he continued honing his
craft. The unique perspectives and disarming honesty which set him apart from his peers remain, but his technical prowess and
capacity to convey sentiment are notably enhanced. The same applies to Greenwood Sharps, who’s masterful production has
risen to new heights yet still maintains the rich and subtle sonic palette he has become known for.
Dropping alongside the EP is a short film featuring the works of long time collaborator Jamie Johnson, the man behind the
artwork for both ‘Green & Gold’ & ‘Yesterday’s Futures’. The short film is the visual counterpart to the EP and serves as the
perfect introduction to the world of ‘Green & Gold’ as it visually explores all the themes present in the music & provides a snap
shot of the incredible tracks on offer.
In a troubled and busy world, marred with anxieties and uncertainties, ‘Green & Gold’ comes as a breath of fresh air and offers some valuable food for thought for those searching for real heart felt substance rather than the sanitised, individualised &
commodified norm we have all become accustomed to.

TXLAX is Dave Aju’s first album in five years, and we couldn’t be more pleased to present it.

As always there is plenty of fresh genre-defying ideas in the music, but this time wrapped in a much more relaxed and focussed aesthetic - a fitting personal soundtrack for the homecom-ing theme of his move back to Los Angeles from Berlin, as the combined airport letters in the title suggest.

There is a sonic stylistic bridge of sorts between the sister cities on display as well, all im-bued with that inimitable combination of raw playfulness and warm refined soul as only Dave Aju does.

From the soaring West Coast future funk opener “Bird’s Eye”, the nautical disco-not-disco of tomorrow in “Out To C” and the bugged-out broken beat flavor of “Silverfish” to the slick me-lodic electro vibes of the title track, and gorgeous shuffling deep house closer “Yulia”, TXLAX is a masterwork filled with beauty, character, and detail that will reward many repeat listens. We hope you enjoy it as much as we do!

Born and raised in South London, Hector Plimmer is a multi-faceted producer, composer and DJ whose sound is drenched in tribal rhythms and beautifully crafted bass. Influenced by beat-makers like Flying Lotus and Theo Parrish, but with the subtleties of the classic Metalheadz era drum and bass, his second album 'Next To Nothing' is released on 25th October 2019. The album features guests Ego Ella May, Emma-Jean Thackray, Andrew Ashong, Pie Eye Collective and Alexa Harley.

After featuring on Brownswood Bubblers 11, curated by Gilles Peterson, Hector proved his talent when he was selected as a winner of the PRS Steve Reid InNOVAtion award. At a performance at ‘Sounds Of The Universe’ Record store, Hector caught the attention of Albert's Favourites' label heads Adam Scrimshire & Dave Koor. A conversation was started which led to the transfer of almost a whole album's worth of material and resulted in his debut full length record ‘Sunshine’.

'Sunshine' was met with rapturous acclaim. The record went on to be awarded Gilles Peterson’s album of the week on his BBC 6 Music show and was championed by both Lauren Laverne and Tom Ravenscroft on the station as well as Jamie Cullum on BBC Radio 2. Its success on the airwaves transcended to streaming with the inclusion in the top 50 viral US chart on Spotify.

"This album has been a real labour of love. I spent the most part of a year trying to make music I thought would be fitting to follow my last album, whilst not actually knowing what that might sound like. 'Sunshine' had been received way more positively than I had anticipated and although praise is a lovely thing, it was the cause of much anxiety when the time came to start on this record. I put a lot of pressure on myself to produce music and kept going down routes that felt forced or just didn’t click for me, in hindsight I realise this was me making music not for myself, but for what I imagined other people might want to hear. In a way 'Next to Nothing' is my first real album, 'Sunshine' was more like a collection of four to five years worth of music compiled into the shape of one. This is my first dedicated attempt at creating a cohesive project, something that shows who I am right now and what got me here."
- Hector Plimmer

As a DJ Hector has a monthly slot on NTS radio. He has played alongside the likes of Gilles Peterson, Kutmah, Alexander Nut, MNDSGN, Onra, Dego, Kaidi, Max Graef & Glenn Astro; Hector finds himself in the good company of those talented selectors who play genres across the spectrum of Hip-hop, Beats, Funk, Soul, Disco, Afro-beat, House and Jazz.

The larynx or voice box is a small organ located towards the top of the neck in humans and some other animals. Constructed largely of cartilage, it houses the vocal folds that allow for the manipulation of pitch and volume, which are essential for the phonation of spoken speech. It is also involved in bringing air to the lungs when we breathe and it protects the windpipe when we swallow. However, those unfortunate to experience the potentially fatal malignant tumours of laryngeal cancer will have their larynx removed, resulting in a traumatic loss of speech; thankfully, as this rare record issued by Smithsonian Folkways in 1964 demonstrates, removal of the larynx does not necessarily spell the end of speech for such blighted individuals. Instead, through developments in artificial voice creation, patients could learn to employ modes of vocal communication again. The album was recorded by physician Harm A. Drost at the Phonetic Laboratory of the Ear, Nose and Throat Dept of the University Hospital, Leiden, in the Netherlands, working under the direction of Professor H. A. E. van Dishoeck. As the advances were fairly new and surprisingly varied, Drost felt a phonograph album demonstrating the techniques would be useful for those in the field. The album thus features a narrator explaining aspects of several different techniques, followed by examples of patients employing them. Buccal speech (limited to certain consonants), parabuccal speech (collecting air in a space between the upper jaw and the cheek), glosso-pharyngeal speech (a method deemed obsolete where air is forced between the tongue and the palate), esophageal voice (made by reconditioning one’s esophagus via swallowing, suction or injection), various injection techniques and devices such as the larynxophone, pipa di tichioni and “western electric” are all explored here, along with other aspects of the larynx and its absence. Speech After The Removal Of The Larynx is definitely one of the strangest albums ever given a commercial release!

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.

Idealist, Patrick Zigon, El Choop and Van Bonn took their hands on Insect O.’s full length album ‘Atacama’. Zurich based Idealist turns the epic ‘New Dawn’ track into a raw techno mover with acidic chords and an air cutting hihat. For his remix of ‘Resonance’ Biotop label head Patrick Zigon spices up the melodies with some disharmonic sounds and embeds it on top of a shuffling groove foundation. El Choop got on remix duties for ‘Atacama’ and hit the ground running. Using multiband saturation and a granular software to create a pad, he’s turned it into an entirely new exploding techno track. Van Bonn rounds up the remix edition. Using some trippy fx, he lays the chords and field recordings on top of a very deep dub beat in his mystic remix for ‘Forest Of The Monkeys’.

Yoshi Wada's Lament For The Rise And Fall Of The Elephantine Crocodile, originally released in 1982 on India Navigation, remains one of the most remarkable flowers to grow in the rarefied air of American minimalism – akin to Terry Riley's Reed Streams and Pauline Oliveros' Accordion & Voice, yet with a wild, liberated energy all of its own.

After graduating from Kyoto University of Fine Arts with a degree in sculpture, Wada moved to New York City in 1967 and quickly fell in with the community of artists known as Fluxus. In the early '70s, he began building his own instruments and writing musical compositions, studying with La Monte Young and Hindustani singer Pandit Pran Nath.

Recorded during an epic three-day session in an empty swimming pool in upstate New York, Wada's first album brings together two of the oldest drone instruments – the human voice and bagpipes – to simple and glorious effect. A visit to the Scottish Highlands spurred Wada's interest in bagpipes, which the composer integrated into these sparse, otherworldly sounds heard on Lament.

"That swimming pool was quite hallucinatory," recalls Wada. “It was another world. I felt it in terms of resonance. I slept in the pool, and whenever I moved, I woke up because of the reverberations.... The piece itself is an experiment with reeds and improvisational singing within the modal structure."

This first-time vinyl reissue is limited to 750 numbered copies. Comes with poster.

Soul Jazz Records’ Nigeria Soul Power 70 album showcases the influence of funk, rock and disco on Nigerian music during the 1970s. Originally released as a now-long-out-of-print collectors’ 7” RSD box, this fully expanded album release now also includes extra tracks from Sonny Okosuns, Wings, Chief Kollington Ayinla and more. While for many people the fusion of funk and jazz music with Nigerian rhythms and aesthetics began with Fela Kuti and his afro-beat sound, in fact this can be traced further back to the phenomena of the 1960s Nigerian artists and house bands in nightclubs and hotels who interpreted US soul and pop music with a local flavour and none more so than Geraldo Pino, the ‘African James Brown’ who features heavily in this collection. Other similarly inspired Nigerian funk and soul artists featured here included Tony Grey and his Ozimba Messengers and Don Bruce and The Angels. Nigeria Soul Power 70 includes a number of tracks from the group Wings originally known as BAF (Biafran
Air Force) Wings, an army band formed during the Biafran civil war in Nigeria. The groups’ heavy mixture of funk, rock and African styles was popular among many Nigerian groups at the time.
Beneath the shadow of the few Nigerian artists who signed international recording deals in the 1970s – Fela Kuti, King Sunny Ade, Chief Ebenezer Obey – lies of vast wealth of largely undiscovered musical transmutation and cultural cross-pollination, and included here are heavy afro-funk/rock and disco tracks
from artists such as the legendary Sonny Okosuns as well as rare cuts from little-known outside of Nigeria - groups such as Colomach and MFB. Most of these obscure artists signed to major labels in Nigeria in the commercial slipstream that opened up as Philips, Decca and EMI tried to emulate the international
success of the big three international Nigerian artists. Finally featured here is Kollington Ayinla, one of the co-founders of Nigerian Fuji music, who gives us perhaps the heaviest of all tracks on this album. Ayinla is the great moderniser of the Fuji sound and in the late 1970s began adding Bata drums and synthesizers to his authentic music to create a powerful and heavy new fusion of traditional and modernist aesthetics, embracing both new technology and experimentation while rooted firmly in Nigerian historical lineage. Nigeria Soul Power 70 is released as a heavyweight gatefold double vinyl LP (+ free download code),
deluxe slipcase CD and digital album.

Influential Spanish artist Coyu is stepping out on his own Suara label with a long overdue debut album entitled ‘You Don’t Know’ that is going to shatter all conceptions about him. Due for release this September 23rd, the 16 track affair showcases his broad range and takes in collaborators like Moby, Lazarusman, The Horrorist, Thomas Gandey and many more.

Coyu quickly rose through the ranks to become one of the most prominent names in underground dance music. The Spanish man famous for his love of cats has established his Suara label as a go-to outlet for the most essential house and tech tracks, as well as releasing his own expressive grooves on Cocoon Recordings, Diynamic, Bedrock Records, Turbo Recordings and MORE. Now he really stretches his legs across a fantastic full length album that goes way beyond the dance floor and shows many new sides to his sound. The artist has been working on it since 2012 and aims to show people that whatever they think about him is wrong.

Says the artist himself, “the album is named ‘You Don't Know’ because many people have a preconceived idea of who I am. Until now, maybe I wasn't smart enough to show them my roots, what I love and what I can offer to the music. I'm not just a DJ or a producer who can play or make grooves – I love many different genres and many different kinds of music. With this album I want to change that preconception.”

The album kicks off with a dramatic spoken word from legendary vocalist Lazarusman before exploring low slung and sleazy grooves on ‘The Three Chimney’, floaty light melodic and dreamy house on ‘Out of The Pain’ and more club focussed but just as dreamy fair on ‘We All Try’ with Mike Leary.

Proving he can do everything from poolside gems to peak time techno, ‘Fear Is Gunna Be A Player In Your Life’ is one to get you in a trance with its sonar like synths and rolling deep space drums. Thomas Gandey aka Cagedbaby then steps up to guest on ‘1+1’ which is a hands in the air piano anthem to pump the party, and ‘Wanna Do Right, Wanna Do Wrong’ is a techno cut with brilliantly energetic drum programming and a big, perfectly placed vocal sample.

Switching up the vibe is ‘I May Be Dead, But One Day The World Will Be Beautiful Again’ with none other than dance legend Moby. It is a heavenly track with break beats, angelic melodies and a celestial feel that leaves you refreshed. The second half touches on raved-up drum & bass, gurgling minimal techno and harder techno with mind melting acid synths. The Horrorist contributes to the banging ‘My First Pill’, while the techno journey continues with ‘Unite’ featuring Gabriella Vergilov before the album finishes on the fluttering ambient track ‘Insania’, with mad church bells and manic percussion all bringing things to a close in style.

This is a broad, adventurous album that covers plenty of music ground and takes you on a true electronic trip from one of dance music’s most accomplished names.

We love pop music. You’ve probably noticed. Witness our vinyl love-ins with Kylie, Róisín and Cassie if this has somehow passed you by. So when Lou Hayter (London-based musician, style-DJ to the stars, one of our besties) asked us to put her sumptuous funk-lite hit “Cherry On Top” on vinyl it felt like a neat fit. But this isn’t just any old Be With record. We decided such a monumental track would make the perfect inaugural release on Be Pop, our new, most likely sporadically active, side-label.

For those not paying attention in 2005, Lou Hayter was the keyboardist in Mercury nominated electro-pop outfit New Young Pony Club (who were a really good band, beyond the hype, and arguably a little ahead of their time) and she is currently one half of electronic duo Tomorrow’s World, a project with Air’s Jean-Benoît Dunckel. Her comeback single “Cherry On Top” originally appeared in late October 2018, but as a digital only concern. Unsurprisingly it caused a blog stir (Gorilla vs Bear correctly gushed) and what seemed like 6 Music’s entire roster of DJs had it on repeat.

But it’s not a proper single unless you can buy it in a record shop. So accordingly we’ve issued it as a full picture sleeve 12", pressed on white vinyl. And just to make certain, the instrumental and a cappella are on the flip. This is our homage to the classic dance/pop 12" singles of the late 80s and early 90s.

Riding an infectious sample of Marc Jordan’s yacht-rock classic “Generalities”, it’s a glistening, sun-soaked daydreamy jam, perfect for convertibles, pool parties, and roller-discos. It’s quite delicious. Whilst it’s pop without question, it wouldn’t be a Lou Hayter track without ice-cool nods to other magical genres; with Italo flecks and dream-pop vocals, this is cherry coloured funk indeed.

“Cherry On Top” screams “Mighty Summer Pop Radio Anthem”. We might have just missed the end of Summer 2019, but this 12" comes out just in time for every summer from now until the end of time.

One of Italy's most revered producers on the global scene, Bottin is always ready with an invigorating palette of sounds and rhythms that stem from his endless thirst for invention. This new release continues that diverse legacy with Balearic-infused pair of Italo cuts. "Waterland," is a buoyant disco number. Its bass ebbs and flows with wave-like consistency, polyrhythmic drums percolate beneath, creating a type of suspended animation that propels motion with a tempered energy. The slow-burning crescendo of Respirare' begins with an airtight blend of tick-tock rhythm and minimal then the pace picks up and the synths pile on. Bottin takes the blissed-out enchantment of the Balearic and infuses it with the kinesis of Italo without the music losing its easy-breeze stride.

The new sub-label from WNCL Recordings features 12 short “tools” per release, for use on discotheque sound systems and home stereos alike. Released on 10” vinyl with digital to follow at a later date.

Denham Audio – the next generation of breakbeat scientists from the land of bleep and clonk – take some time out from their world domination plans to grace the Library Tool Kit series with an essential collection of heavy duty miniatures.

"Coconut Grove started as a secret. I wrote & recorded it in deliberate solitude over the course of a year, in long sessions when I was alone at home or after everyone else had gone to sleep. I had the uncanny sense of discovering something quite old rather than of making something new.

Every album I've made revealed itself over time - Coconut Grove snaked its way through my psyche, going back to my beginnings. While working on it, I found some notes I had jotted down back in 2006, when I was 22 & first inching away from punk towards electronic music. I wrote that I had been dreaming of something humid and menacing, melting but also alluring. I heard some of that in the haunting, dubby minimal techno of the time, and imagined it crossed with the slashing urgency of my favorite no wave & post punk bands. I imagined the catharsis I experienced as a performer rerouted through techno's mercurial endlessness. Those visions never left me, and I've been dreaming of them in one way or another ever since. Coconut Grove folded that time back onto the present, letting me start again from the beginning.

A lot can happen in a year, and, at the risk of sounding coy, a lot happened to me in 2018. Coconut Grove was an exorcism, or maybe a rebirth, but whatever it was it moved with a little extra fluidity. You can hear it for yourself, but I will say the album's softer touch is no accident. Living in that secret space, it felt good to let some air in."

-Daniel Martin-McCormick aka Relaxer