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Jaye P Morgan's 1976 million dollar private press featuring the cream of the LA jazz and funk scene and one of David Foster's first productions is finally reissued. Wewantsounds is delighted to announce the release on deluxe LP and CD of Jaye P. Morgan's ultra rare private press originally released in 1976. This lost classic recorded in LA at the legendary Sound City Studios is also the first full-blown production by David Foster two years before he co-produced Earth Wind and Fire's album I Am and went on to become one of the hottest producers on the scene. Featuring an extraordinary line up of the best LA musicians including Harvey Mason, Ed Greene, Jay Graydon, Ray Parker Jr. Tower of Power, Ernie Watts and many more, it's probably one of the most expensive private press ever produced and a delight of sophisticated Los Angeles funk featuring Jaye's superb soulful vocals. The LP edition will come with the original 4 page insert full of session photos and credits.

With a line-up that reads like a who's who on the 70s Californian scene, this album was a bold move for the singer who had made her mark in the 50s and 60s as a popular music singer and actress. Hiring Foster was a masterstroke as he hadn't yet produced any noticeable hit but together they gathered the most impressive crew of musicians you could think of including two of Foster's closest associates, guitarist Jay Graydon and singer / arranger Bill Champlin (of Sons of Champlin's fame) and created the perfect white Soul album with a breezy California feel.

Featuring masterful renditions of such iconic songs as Stevie Wonder's songs as Seems So Long and Earth, Wind And Fire's Can't Hide Love (for the anecdote, Foster, Champlin and Graydon would soon pen After The Love Has Gone which would become a mega hit for Earth Wind AND Fire two years later), together with a handpicked selection of originals, the sound alternates between uptempo funk and soulful mid-tempo ballads, all served by Morgan's superb vocals. The missing link between Steely Dan and Earth, Wind and Fire, Jaye P. Morgan is pure, undiluted Funk music and an essential LA classic which Wewantsounds is glad to make available for the first time.

Pete 'Bassman' Bain, one of the founding members of the UK cult psych rock band Spacemen 3, formed Alpha Stone after Spacemen 3 and his other band The Darkside split up in the mid-nineties. In 1996 the band recorded the album 'Stereophonic Pop Art Music' and it was released on Bomp! Records on Compact Disc. The album hasn't had a 'proper' vinyl release until now, 2018, when Hoga Nord Rekords continues their collaboration with Pete Bassman by releasing the album.

You can clearly hear that Pete Bassman was the driving force behind Alpha Stone; fuzz, synthesiser -sweeps, programmed drums and processed vocals are the cornerstones in Alpha Stone's sound. Raga-like mantras, heard in Farmer C, lies track to track with more percussion driven grooves and psychedelic pop oriented songs. The album's sound has obviously survived the 20+ years shelved in obscurity and proves the 'Drugby' sound still vital!

It's always hard to sum up a bands particular sound in a few words, but you could say that if you put guitar and bass, synthesisers, a drum machine, and Julian Copes record collection in the hands of an alien, you've got Alpha Stone!

The body never lies. Every dance is a graph of the heart. Nothing is more revealing than movement.

These are the words of Martha Graham, one of the greatest American dancers and choreographers of the 20th century. Massimiliano Pagliara might as well have them tattooed on his chest, close to his heart, being an accomplished dancer, too. He has studied contemporary dance in Milan and Berlin, and went on to dedicate his life to transforming experience into movement, be it musical, physical, or spiritual. Massimilano's message is clear: Don't stand still. Don't keep looking back. Know where you are coming from, but don't remain petrified by the past. Take a chance at Endless Change, instead. Move on! Just like Massimilano did.

Stemming from Lecce province, an area at the south-eastern-most tip of Italy, Massimilano has been based in Berlin for several years where he's been one of the main forces behind recombining the city's hardboiled techno scene with an often overlooked sensibility for the soft and the tender. Call it underground disco passion. Massimilano's last and sophomore album, With One Another, released in 2014, was about celebrating the joy of human encounters and in parts seemed like a big get-together with like-minded artists and friends (among them nd_baumecker, Lee Douglas, and Credit 00). The record quickly hit the number one spot in Groove magazine's album chart - and its creator hit the road.

Besides his busy DJ schedule and far from the usual club circuit routines, Massimilano dedicated himself to intense travelling and exploring the world anew. 'I felt like I have lived more than ever,' he states. 'Getting to discover all these beautiful places around the world and meeting so many lovely interesting people, has inspired me in many different ways. I feel enriched.'

The result of these experiences is Feel Live, Massimiliano's third full-length endeavour. It was recorded in several intimate, sometimes improvised studio settings between Los Angeles, Portland, and Massimiliano's homebase in Berlin as well as at airports and on intercontinental flights high up in the sky. Featuring vocals by Private Agenda, Peaking Lights, Kim Anh and instrumental contributions by Fort Romeau, Tim K, and Jules Etienne, Feel Live is Massimilano's most playful and imaginative work to date. It's as emotional as sensual, as vibrant as the first ray of light after a thunderstorm has cleared the air.

Is it awkward or odd to call this record jazzy Presumptuous to pinpoint its spacial, almost orchestral qualities Unfair on the ruling Cosmic powers to highlight its aspirations of founding a new land of Balearic Harmonia and getting down at a huge fertility rite with electro enthusiasts and house lovers Not one bit. Feel Live is pure grandeur and elegance. It feels like an eternal movement.

Martha Graham has dedicated her whole life to dancing. 'It's permitting life to use you in a very intense way,' she said. 'Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable.' Massimilano couldn't agree more. His advice when facing the inevitable: 'Live what you are feeling, feel what you are experiencing, good or bad, it is an experience.'

john Yancey' Is The Second Album Illa J Will Release On Jakarta Records, Following The Successful
Release Of Home Last Year. The Project Is The Second Collaboration With Los Angeles
Based Producer Calvin Valentine, Who Once Again Contributed All Of The Production For The Long
Player. While home' Was Largely Inspired By Illa's Native City Of Detroit, john Yancey' Now
Focuses On His Time In California.
(this Album Is) Definitely More Personal Than All Of My Projects, Nothing Specific, But I Basically
Talk About About The Ups And Downs Of All My Relationships Over The Past 10 Years, Still Grieving
About My Bro, Etc. This One Is Trippy Because The First Single Comes Out A Day Before My 32nd
Birthday And The Original Title Was 32 Because This Is A Special Year To Me Because My Brother Died
At That Age So It Had A Lot Of Meaning. But It Makes Sense That It Ended Up Being Called John
Yancey Because For So Long In My Career I Felt Like I Was Tryna Be Me And My Brother, And I'm Finally
At Peace, Like I'm Not J Dilla's Younger Brother Illa J, I'm James Younger Brother John.'
While The Story Of The Album Might Have Changed, There Are Certain Continuities As Well, Built
Around The Strong Foundation Of The Combination Of Illa's Voice And Calvin Valentine's Soulful
Sample Based Production. The Previous Album Already Saw Illa J Incorporate More Singing Into
His Raps And He Goes Down This Path Even Further: i Wanted To Emphasize The Singing But Use
More Of My Natural Singing Voice, As Well As Rap More Than On Home.' In Regards To The Music,
Calvin Wanted To Make The Project Sound a Bit More Polished Where Home Was Purposely
Rough Around The Edges.' Still, The Production Remains Soulful And Rich With Layers To Leave Things
Interesting For The Listener, The More Spins You Give The Record.
The Cover Was Created By Robert Winter, A Cologne Based Photographer Who Was Also Behind The
Visual Appearance Of Home.

Bastard Jazz is proud to present the next installment of our long running Tempo Dreams compilation series. As with previous volumes of the compilation, we've tapped an established artist that we're big fans of to shine a light on their personal favorite producers, and compile an album up of all unreleased music from emerging & underrated young talent. And with Volume 5, we're happy to welcome in the Los Angeles based but globetrotting selection of Free The Robots.

Rooted in Santa Ana, CA, Chris Alfaro aka Free the Robots has spent over a decade taking his craft to audiences around the globe. Known as one of the pioneering artists to come out of LA's infamous beat movement, the energy and technical skill behind his live performances have landed him among the greats, sharing stages with Dj Shadow, Prefuse 73, Flying Lotus, to Afrika Bambaataa. Crafting stories to tell with his ever-evolving solo project Free the Robots, he has always had the ability to jump in and out of other worlds inspiring a unique signature sound that hints at jazz, psych, electronic, and hip hop, while remaining un-genre-fiable.

Staying almost permanently on the road, Chris has come across an array of artists and scenes around the world. Different tours and temporary living situations have landed him in the middle of both the DIY underground and more mainstream clubs and stages. Some artists he's connected with have either kept it proudly local or breached international borders. Underrated, unknown, or already on the brink; these are just a few of the people that have crossed paths with Free The Robots. He's chosen these songs as a representation of some of the vibes that inspire his music: Jazz, Psychedelia, Dirtwave, Beats, and a little bit of Future Funk make up Volume 5 of his Tempo Dreams series.

As with all previous volumes, the compiler has produced a track exclusively for the album, which Chris delivers in the bass heavy, South East Asian vibes of "Nasi Goreng" (also available on a limited edition 7" with another unreleased FTR track). Other producers included on the album include Mophono, Never Ending Echo, Kuromoji, RSI-MSK, The Breathing Effect, Cazal Organism, Lefto, Chubby Boss, Caliph8, TITLE, Nois IV, The Heavy Twelves, Mu. and Markey Funk.

Los Angeles - September 7, 2018 - Billy Idol's 1980's remix collection, Vital Idol, is getting a modern-day upgrade with Vital Idol: Revitalized, set for release on CD and digital by Capitol/UMe on September 28. A 2LP 180-gram black vinyl in addition to a limited edition, color variant will follow on November 16.
More than 30 years after his groundbreaking Vital Idol compilation cemented the vibrancy of the dance-rock remix genre in the second half of the 1980's, Idol's Revitalized collection features 11 brand-new remixes of his most classic and enduring hits. Lending their hands to the Revitalized proceedings are electronic dance luminaries Moby, The Crystal Method and Paul Oakenfold as well as current innovators including Tropkillaz, Shiba San, Juan Maclean, CRAY and RAC, who's remix of 'Dancing With Myself' debuts today.
Vital Idol, initially released in Britain in 1985 and subsequently issued in the United States in 1987, was the first remix record released by a rock superstar. Besides being certified platinum, Vital Idol was accompanied by a version of 'Mony Mony' that reached No. 1 on the Billboard Hot 100 Singles chart, as well as hitting the Top 10 on the U.K. Singles chart.
Highlights found within the grooves of Revitalized include The Crystal Method's percussive, explosive stab at 'Rebel Yell,' CRAY's bass-and-keyboard-blessed 'White Wedding,' Tropkillaz's trop-house framing of 'Eyes Without A Face,' St. Francis Hotel's shimmering stop/start caress of 'Flesh For Fantasy,' and RAC's retro-harmonic, fist-pumping 'Dancing With Myself.'
Meanwhile, the digital version of Revitalized features four additional exclusive remixes, namely the brand new Billy Idol/Steve Stevens Remix of 'Mony Mony,' Paul Oakenfold's Extended Remix of 'One Breath Away,' Moby's 'Half Time Version' of his take on '(Do Not) Stand In The Shadows' and 'Save Me Now (Lost Dog Remix),' reworked by Billy Idol's son, Willem Wolfe with Brandon Rauch and Ed Bedrosian.

New collaborative album from two of the world's most revered sound artists. 'At its best, William Basinski's music inspires the sort of rapturous testimony usually reserved for peak experiences, cult leaders and the dead.' Pitchfork // 'Awe-inspiring: strange, elemental, and profound.' AllMusic // For over half a decade, William Basinski and Lawrence English have been in regular contact with one another. During that time their paths have crossed repeatedly in various cities; Zagreb, Los Angeles, Hobart and more, in a variety situations. It was from these chance encounters - and the strange familiar of lives lived in transit - that their first collaboration, Selva Oscura, was seeded. The phrase Selva Oscura draws its root from Dante's Inferno. Literally translated as 'twilight forest,' it metaphorically speaks to both those who find themselves on the unfamiliar path and more explicitly the nature of losing one's way in place and time. Each of the extended pieces on this record maps an acoustic topography that draws on the concept of drifting into the strange familiar. The works each dwell in an ever shifting, yet fundamentally constant state of unfolding. As one sound fades away, another is revealed in its place, creating a sense of an eternal reveal. Selva Oscura was recorded in Brisbane and Los Angeles simultaneously. The compositions were each created through a process of iteration and rearrangement that inverted the micro and macro characteristics of the raw sonic materials. Dynamics and density were chiselled with restraint and at other times intensely reductionist approaches to create a limitlessly deep, but open sound field - as rich as the suggested place from which its title is drawn.

The Stunning And Ground-breaking Album From The Composer And Saxophonist Chris Bowden.

'this Is The Album That Connected It All.' Gilles Peterson 2018

Chris Bowden's Debut Album Time Capsule Was First Released On Soul Jazz Records In 1992 To Universal And Widespread Critical Acclaim. Now 20 Years On A New Wave Of Current Jazz Artists Led By The Likes Of Kamasi Washington In The Usa And A Host Of British Artists - Shabaka Hutchings /sons Of Kemet, The Ezra Collective, Moses Boyd, Nubya Garcia, Fourtet, Yussef Kamaal, Tenderlonious, Binker & Moses - Have Brought This Original Ground-breaking Album Into The Limelight Once More As A Pivotal Starting Point, Sharing Many Of The Aesthetics Of These Current Artists At Work Today.

Musically All Are Inspired By The Spiritual Jazz Of John Coltrane, Alice Coltrane, Pharoah Sanders, Archie Shepp, Don Cherry Et Al Paired With A Modern Electronic Music Sensibility. Chris Bowden's Time Capsule Has Stood The Test Of Time Like Few Other Albums (as The Title Of The Album Suggested), And Remains A Pivotal, Wholly-successful And Original Experimental Musical Collage, A Radical Inspiration And Forebearer To Many Of The Best Progressive Jazz And Electronic Artists Working Today.

The Album Has Been Fully Hi-spec Re-mastered And Is Available As A Limited-edition Heavyweight Double-vinyl Release With Gatefold Sleeve (+ Free Download Code), Slipcase Cd And Digital Album.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

1972 saw the release of The Sixth Ear (Narco NR666), this time credited to Nik Pascal. A more complex work than Beyond The End..., it adds consistent rhythmic patterns to the mix with the addition of bongoes and also explores some interesting chord progressions.

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes." (progarchives)

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same." (twoheadeddog)

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

Magnetic Web was released in 1973. It appeared under the Nik Pascal monicker and showed a clear evolution in sound, favoured by the addition of an Arp 2600 and some rhythm boxes. It also included percussions and cymbals. The Two Headed Dog site thinks "this is his masterpiece in all of its acid-laced glory."

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes."

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same."

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself, and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

Nik's last album, Zero Gravity (Narco NR123) came under the Nik Pascal name and had a fantastic side long piece on the title track which reminisces of the works of Cluster. B side features four tracks that also bear some Conrad Schnitzler reminiscences. This was to be Nik's last LP before he would sell all his synths to ex car racer and future electronic/ambient music star Steve Roach.

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes."

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same."

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself, and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

Children Of Tomorrow will celebrate soon its 10 years anniversary. The label was created by Emmanuel Ternois back in the day and being joined by Arnaud Le Texier in 2011. Since then they focused on Techno producing amazing artists, to name few: Terrence Dixon, Zadig, Tensal, Antigone, Oscar Mulero, Jonas Kopp, Samuli Kemppi etc... Children Of Tomorrow is now presenting the first album from Arnaud Le Texier. After almost 30 years Dj-ing around the world and almost 20 years producing. Signing many releases over the years and always busy delivering dance floor releases, it's been a long wait to finally get an album from ArnaudOn his first album we can feel that he wanted to tell a story and to express something deeper with his production experience. There is a different variety of Techno that stretches from ambient / broken beat / hypnotic / raw Techno along with subtles grooves, wondrous atmospheres & sonic textures. On A side the album opens with Dusk, an ambient atmospheric mid-tempo track with sonic sounds that is a perfect intro.Pattern 2 starts with drones and blip sounds and a broken beat groove follows with a pad that sounds like a voice coming from the space. The track ends with some modular click sounds that make the whole track clever. Followed by the album title Granular Therapy, a deep techno track with modular bass line and melancholic pad. A perfect track to play in after or to warm up a party.The B Side is more dedicated to the dance floor with Black Nympheas that is a proper dark modern techno with a grinding bass line and magic drones. A simple beat makes the track evolve in a nice way. Blade Pass frequency is 4/4 effective Techno with a 909 kick, a syncope acid bass line and a pad that sends you to another dimension. It is a powerful track but with a sense of deepness and sensibility that Arnaud can achieve sometimes. This side closes with Binary Sun Dawn which is an ambient track with melody that has a jazz feeling mixed with dark atmospheres, sonic drones and water drops. The C side opens with Mono Driver, a minimal track with a little synth that stays until the end repetitively until it makes you travel and lose your mind. Deep and dance floor at the same time.

Then Snapper is a more percussive track with some shinning bells and a grinding modular bass line.

The last track Virgo Consortium is a cosmic broken beat with dark atmospheric drone, simple bass and phasing efx. The D Side starts with Midi overdub which is a beauty. A mix between ambient and broken beat. The pad has the deepness that transports you somewhere else with an angel choir on top. The beat is spacial and groovy at the same time with smart high hats. This reminds Arnaud's past ambient production but with a modern approach. Surely a special track of the album.

Hideous Engine is more dance floor with metallic bass line and 4'4 beat going towards a sonic pad that closes the track.The last track Dawn is ambient with drones and blip sounds and an acid bass line modulate. A perfect end of the album.This album is an accomplished journey that makes you dance and travel from dusk till dawn. Arnaud Le Texier shows a coherent vision and illustrates his vast diversity in the techno world. Hopefully we won't have to wait 20 years to get another one.

Daniel Terndrup Is A Los Angeles-based Dj And Producer. A Longtime Record Collector And
Digger, Daniel Has Become A Local Authority On Bygone Music. He Hosts Regular Radio Shows
On Dublab (crosseyed & Painless) And Nts (heat-wave) While Also Throwing A Weekly Party
For Heat-wave In Collaboration With Wyatt Potts At Former Hollywood Stripclub, Gold
Diggers. Daniel Started Making Music A Decade Ago As One Half Of Cosmic Kids. Alongside
Ron Poznansky, He Made A Name For Himself Producing Heady House And Astral Dance Tunes,
And Releasing Records With Cult Labels Throne Of Blood, Let's Play House And Dfa. In Addition
To Racking Up Plays On Original Cuts, The Duo Was Regularly Tapped To Deliver Remixes For
Heavyweights Like The Rapture, Holy Ghost!, Poolside And Superhumanoids.
After A Handful Of Releases With Cosmic Kids, Daniel Pivoted Toward His Own Project As Daniel
T. His Solo Output Is Inspired By Everything That You Might Find Leafing Through His Record
Collection: Funk, Post Punk, New Age And Pop Of Yesteryear (think: Compass Point All Stars To
Yellow Magic Orchestra). The Music He Releases As Daniel T. Is A Reflection Of His Global Taste,
But Indelibly Filtered Through His Southern California Surroundings

Blurb Attached
Following His 2015 Solo Debut Tetrachromat, Released On Friends Of Friends Sister Label
Young Adults, Daniel T. Returns With A New Album Called Heliotrope, Out This Summer On
Cascine. In Contrast To The Steady Dance-oriented Tempos Of Tetrachromat, Heliotrope
Moves Across More Dynamic Landscapes, All United Under Daniel's Sun-soaked Sensibility.
From The Breezy Bounce Of call,' To The Lithe Cover Of Tatsuro Yamashita's Classic windy
Lady,' He Effortlessly Wades Into Pop Territory. Elsewhere, On The Neon Glow Of moonlight
Bounce' (inspired By Dan's Near-religious Love Of Roller-skating) And The Ebullient First Single
'heat-wave', His Trademark Mid-tempo Swing Shines As Bright As His Synths. Heliotrope Is A
Reflection Of His Global Taste, But Indelibly Filtered Through His Southern California
Surroundings

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

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

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

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

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

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

Look we're five records deep and yes, we aren't sure which tune is on which side... But luckily, this release is as high concept as Speed 2: Cruise Control. On one side you will find 'AD', which samples an inspiring speech given by the heroic Angela Davis at Southbank in 2017. Listen to her wisdom as you play this in your front room at 7am to people who suddenly can't quite look at their hands properly. The other side "PAS" greets you with warnings of atomic explosions over a riotous jam between a Yamaha CS-10 and a sturdy analogue 808 clone. If you have a pressing need for air raid sirens, this is for you. We hope you like this West Friends Release. There will be more..

From the remote township of Te Mata, in the rugged hills of New Zealand, comes a new imprint following in the tradition of mid-80s rub-a-dub from an often overlooked corner of dancehall culture.The brainchild of local farmer and radio personality Red Robin - alongside the deadly production duo Naram and Art - the first 12' features two heavy-like-lead riddims with discomix cuts from four unsung heroes of the 80s with conscious, street-level lyrics.
Side A finds legendary singer Winston 'Midnight Riders' Powell rise again on a synth-infused piece of classic rub-a-dub. Despite being his first release in decades, he delivers a cutting edge vocal from his Kingston 9 borough about life Outta Road in the Jamaican capital. He then crosses live to special agent Speng Bond for a deejay report on the current state of Britain in Dread Outta Road. With a more uptempo riddim, the flipside sees Toronto-based 80s star Steve Knight fire some timely shots at corrupt politicians with Dem a Fraud, before Los Angeles-based MC Tippa Lee comes correct with a self-affirming deejay cut on Salute the Veteran.
Both sides are served with one-away dub mixes from Naram and added textural touches from Disrupt. Six cuts on one record, strictly limited pressings.

In 2017, Benedikt Frey released his breathtaking debut album with the ESP Institute, Artificial, and now as we finally come up for air, we're more than proud to offer an eclectic collection of remixes that's nothing short of essential. Side A leads with H For Hysteria remixed by a beloved hero, Nicolas Chaix a.k.a. I:Cube, one of the most prolific and respected electronic artists Paris has to offer. His touch is considered and elegant, imbuing the track with a tasteful 303+808 backbone to support an array of patiently floating melodies and angelic vocal samples. Following this, Tolouse Low Trax of Du¨sseldorf's infamous Salon Des Amateurs remixes the same track, stripping instrumentation down to a skeletal palette of bass guitar and stabbing percussive punctuations, chopped up inna minimalist stylee that has become his beat-making signature. Side B leads with a remix by another Du¨sseldorfer, DJ Normal 4, whose re-imagination of Private Crimes takes us for an even more menacing ride, half-timing the tempo and skillfully rolling out a barrage of jungle snares from rave days of yore. Closing the release is the most aggressive remix of them all, a bonafide techno beatdown of the same track by DALO, the co-producing artist to whose haunting vocals lace the original version. Her dark vision opens with sparse industrial drums that blossom into a driving assault of raw machinery, definitely not for the faint-of-heart. An all-around solid release here, fun for all the family... more than just the tip!

As a Dutch label, we're proud supporters of the homegrown sounds of guys like Nachtbraker, Frits Wentink and Fouk. Adding another Dutchie to our list of exquisite producers, we present you 'Pitto' with his debut on Heist Recordings. Pitto is a musically omnipotent creature, venturing into deep house with the underground hit 'Richklap' on Wolfskuil back in 2012 and dreamy electronic pop with his album 'Breaking up the Static' on Sonar Kollektiv and Virgin. He has also moved beyond producing his own music, running 'Studio Stekker'; a Dutch music festival that focused on freeform creative interactions between musicians where the artists performing on the festival locked themselves up a week in advance in Kytopia (Colin Benders' synth paradise) to make new music together. Through this, he's worked with people like Kyteman, Matthew Johnson, Sebastian Mullaert and Colin de la Plante, better known as 'The Mole', who is also present on Pitto's Heist debut with a remix.

The 'Late night studio moves' ep is one of varied styles, where Pitto's inspiration from African music, jazzy and soulful samples becomes evident. He finds his 'funk' in repetition, clever sample combinations and combining electronic and live elements in the most organic way.

'Late night studio moves' finds its basic groove in an African percussive loop. Over the 9:26 minutes, the track slowly adds elements, chopped African chants and piercing synth hits. It's all really dreamy and energetic at the same time, but it is when the bass and main keys kick in, that you really feel the euphoric vibe of the track. The Mole chose to remix this track and he turned it completely upside down, both in vibe and tempo. His version is an atmospheric and mesmerizing downtempo track, where the percussion works in an intoxicating way and bells, birds and chants move in and out of the spotlight.
Pitto's second original track on the ep is the mesmerizing 'Treat me like a fool'. 16th hi-hats, claps on the hats, and a chopped piano loop set the mood here, but it's the vocal that steals the show. A mantra like 'You love me' builds up and breaks down into 'you love me like an angel, but you treat me like a fool'. Each time, the track builds and builds, never quite giving in to a massive drop, but instead, focuses on the stripped back soul that is the heart of the track.

'Jazz kids' evolves around a jazzy bass loop and a set of quirky African percussive elements that you could imagine Henrik Schwarz making if he were in a more leftfield mood. A syncopated synth melody filters in and out throughout the track and a basic kick and hi-hat combo keeps the energy going strong on this on.

We're proud to bring you this deep, dreamy and provocative EP by Pitto and hope you'll enjoy it as much as we do.

WHITE RING mark a triumphant return with a brand new full-length Gate Of Grief, due out on Rocket Girl on 22 June 2018. Their debut album arrives a full eight years since their benchmark EP, Black Earth That Made Me, which sold out almost instantly, making their records some of the most highly sought after on the underground scene and earning them a cult following across the globe. Swerving from aggressively abrasive to beautifully ethereal, musically they draw from varied and challenging palette, whilst tackling themes of loss and acceptance due to struggles with drug addiction and existential dread on a broader scope.

WHITE RING were originally formed by Bryan Kurkimilis and Kendra Malia, before they were joined by Adina Viarengo, with Bryan and Adina currently touring as a duo. One of the most acclaimed proponents of the "Witch House" movement, WHITE RING blend heavy, distorted electronics with eerie, unsettling vocals. However, their new material, created over the course of seven years, pushes the boundaries further, subverting genre ideas and mashing them all together, with industrial, metal, rave, chopped and screwed, rap, grunge, neo folk, post punk and new wave all in the mix. As Bryan Kurkimilis explains; 'We treat our influences like tools to create a certain feeling. We are interested in covering more ground than sticking to a certain formula.'
Bryan and Kendra originally met on Myspace in 2006. At the time Bryan lived in New Orleans and Kendra was in New York, and they didn't even meet face-to-face until 2008 after they had already released a few singles. In 2010 they released the EP Black Earth That Made Me, which was a collection of songs that they mostly recorded before they met in person. The record confounded expectations by selling out immediately on pre-order, making it very rare and highly sought after, with copies going on Ebay for large sums. It was reissued by Rocket Girl in 2011 and still continues to sell in voluminous amounts.

They started playing live in 2009 and rapidly grew a reputation for their captivating performances, usually bringing their own lighting equipment and putting on a spectacular laser show. They have played for large crowds in their hometown of NYC and toured the UK in 2010 in support of their sold out split 7" with oOoOO, playing InTheCity and SWN festivals - which were their first shows outside of New York. They have since shared the stage with the likes of Cold Cave, araabMUZIK, Liturgy, Blank Dogs, Gatekeeper, Blondes, oOoOO, Clams Casino, and others.  
They started recording Gate Of Grief in 2010, with the hope of exploring new musical territory, however they took a while to find their path. Bryan and Kendra had some tough personal battles to fight, a sense that pervades the whole album. Thematically it delves in to some pretty dark places whilst exploring the concept of time and what it does to people, relationships and society. As Bryan explains; 'There is a lot of tragedy in this album but there is also hope at the end of it.'
By 2016 pressure was building to finish recording, however due to Kendra's ill health, they needed to bring in someone new to assist with vocals. Fortunately they found Adina Viarengo, who had played in various bands and gave them the impetus needed to complete the album. Shortly after meeting in Brooklyn, Bryan and Adina moved to Joshua Tree, California to finish recording the album, before settling in Massachusetts. Her vocal style fitted in seamlessly with what Kendra had been doing, and although she sang on half the songs, it's almost impossible to tell who is singing on which track, thus making her the perfect addition to the band.
Gate of Grief can be considered the second part of Black Earth That Made Me, or rather, they are the first two chapters in an overarching trilogy about evolution. As Bryan explains; 'First you are born but then you realize what you are and what is against you and it's a flood of emotion that you can only hope to hold on for and let it pass.'
The album title, Gate of Grief, refers to the real gate between Africa and Saudi Arabia that is believed to be the spot where the first humans migrated out of Africa and went on to populate the rest of the world. The album art ties in with this concept, with an image depicting a group of settlers in the USA in early 1900 during a parade. They were actually from a cult in the early 1900s in Bryan's hometown of Fort Myers, Florida.













M 13) Burn It Down

Officially reissued at last! Considered by many to be a genuine 'holy grail' of soul & funk. Featuring 'Miracles' as sampled by Public Enemy, Basement Jaxx, Arrested Development and many more.

Originally from Compton, Los Angeles, the Jackson Sisters were one-hit wonders who briefly shone and made some noise in the early 1970s before quickly fading into obscurity. Their only US chart entry was 'I Believe In Miracles,' a funky slice of bubblegum soul with a catchy, sing-along chorus released on the Prophesy label that briefly saw them make the lower reaches of the R&B charts in September 1973.

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

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

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

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

Official reissue in replica of original artwork.

"It was the most beautiful summer of my life."

Memories — places, vacancies, allusions — are fundamental characters in Mary Lattimore's evocative craft. Inside her music, wordless narratives, indenite travelogues, and braided events skew into something enchantingly new. The Los Angeles-based harpist recorded her breakout 2016 album, At The Dam, during stops along a road trip across America, letting the serene landscapes of Joshua Tree and Marfa, Texas color her compositions. In 2017, she presented Collected Pieces, a tape compiling sounds from her past life in Philadelphia: odes to the east coast, burning motels, and beach town convenience stores. In 2018, from a restorative station — a redwood barn, nestled in the hills above San Francisco's Golden Gate Bridge — emanates Hundreds of Days, her second full-length LP with Ghostly International. The record sojourns between silences and speech, between microcosmic daily scenes and macrocosmic universal understandings, between being alien in promising new places and feeling torn from old native havens. It's an expansive new chapter in Lattimore's story, and an expression of mystied gratitude. A study in how ordinary components helix together to create an extraordinary world.

Awarded a residency at the Headlands Center for the Arts, Lattimore spent two summer months living with 15 fellow artists — writers, playwrights, musicians, poets, painters, activists, curators — in a cluster of old Victorian military buildings on the Northern Pacic Coast. Days offered solitude, Lattimore set up in a spacious barn, able to arrange her instruments at will. Nights welcomed new perspectives. "Hanging out with a lot of accomplished artists with poetic ways of looking at the world was really inspiring. My heart was in a bit of a tangle after leaving Philadelphia. I was holding onto things instead of moving forward. My time there was a nostalgia detox, a way to press reset in a healthy way. Also breathing in the freshest air in America, straight off of the ocean, felt good."

Throughout the shifting locales there is one consistent companion Lattimore engages: a 47-string Lyon and Healy harp. The instrument wires directly into her psyche. Pitchfork's Marc Masters posits, "she can practically talk through it at this point, she's created a language." The space and stillness of the Headlands afforded Lattimore freedom to her expand her vocabulary, to stretch out and experiment with layers of keyboard, guitar, theremin, and grand piano. Lattimore's voice sweeps beneath the plucks and washes of opener It Feels Like Floating,' enraptured by the winding current, and reappearing in the second minute of the immense "Never Saw Him Again." The track elevates towards a shimmering apex of static and percussion before organ drone yields to signature halcyon utters. As with much of Lattimore's work, the track titles are telling, "Baltic Birch" is a somber windswept march that sways gracefully out of step, a remembrance of a recent trip to Latvia where she was struck by the abandoned resort towns along the Baltic Sea. Hello From The Edge of The Earth' is an earnest reection of Lattimore's love of the natural world, recognizing the thresholds of varying terrains.

The album's fth track borrows its name from Lattimore's favorite line in Denis Johnson's short story Emergency' from Jesus' Son. A character, lost in a blizzard, reassesses a disjointed universe, a clash between curtains of snow and angels descending out of a brilliant blue summer: it isn't an apocalypse, it is a drive-in movie, with stars hovering above the lot, off the screen, in the throes of the Midwestern storm. This mix-up is disorienting and existentially tragic, Lattimore's darkly strummed piece is a melancholic parallel, mimicking Johnson's elegant suture attaching two remarkably discontinuous spaces.

Micro-revelations, not quite as bright as torn skies but nonetheless enlightening, were everyday occurrences during Lattimore's residency. Living small days with small tasks — feeling little dramas within the arcadian universe of a national park — rendered her the sense that disjointed spaces can be interconnected no matter the enormity that divides them. It's in this elastic scale of perception that something as simultaneously simple and intricate as Hundreds of Days can ourish.

- Second solo album for Ghostly, past releases on Thrill Jockey
- Recently toured w/ Sharon Van Etten, Jarvis Cocker, Kurt Vile, Steve Gunn, Julia Holter, Iceage
- Mary Lattimore has been featured on Pitchfork, NPR, The Wire Magazine, and more

This is the 2nd various artists compilation from the esoteric Black Lodge collective out of Los Angeles, showcasing a variety of sounds one is likely to hear at their monthly gatherings. This comp contains a mixture of acidic jacking warehouse bangers from veteran producers TX Connect and Jasen Loveland alongside a more acid chicago house inspired jakbeat track from Black Lodge co-founder Kosmik and an EBM/electro dance cut from the Belligerents.

Don't wanna move to Southern California / I wasn't really meant for LA...' So sang Dent May once upon a time, now he's eating those words with a side of avocado toast in his new Los Angeles bungalow. What made the lifelong Mississippi boy pull up stakes and head west No one looks at you funny if you wear a tuxedo to the supermarket.' What he means is he moved there to shake up his surroundings, clear his head, and write the most accomplished record of his young career, the magical mystery tour de force Across the Multiverse.

Following the lead of musical-polymaths-with-LA-ties before him like Brian Wilson, Van Dyke Parks, and Harry Nilsson, Dent's style on Across the Multiverse will be familiar to fans of his previous work. Yet there's something more refined about this collection... Stately strings mingle with boogie piano like old friends. Synths weave a celestial backdrop throughout. Every verse, bridge and chorus in its right place, giving it the unmistakable feel of a true songwriting craftsman at work. Lyrically Dent has never been sharper, musing on themes like modern romance ( Picture on a Screen', Face Down in the Gutter of Your Love'), existential dread ( Dream 4 Me', I'm Gonna Live Forever Until I'm Dead'), and the distance to the moon ( Distance to the Moon') as he searches for meaning among the infinite scrolling feeds of our 21st century augmented reality. The title track, a duet with Frankie Cosmos, is a deep space love song about finding love beyond impossible boundaries.

Across the Multiverse was written and recorded in a sunny bedroom in LA's Highland Park neighborhood, with Dent producing and playing nearly every instrument himself. The tracks were selected from dozens of songs written after the LA move, a gold rush of productivity inspired by late nights DJing rare disco funk cuts at local watering holes. It's his first record for new label Carpark and will be released August 18th.

Dent May is a self-described hotel bar lounge singer and aspiring daytime TV talk show host - has been charming his way into the hearts of music fans since the release of his debut album The Good Feeling Music of Dent May & His Magnificent Ukulele on Animal Collective's Paw Tracks label in 2009. The Mississippi-born, Los Angeles-based songwriter, performer, and Dolly Parton enthusiast has since released two more acclaimed records, Do Things (2012) and Warm Blanket (2013), dropped the holiday smash I'll Be Stoned For Christmas', and played hundreds of shows from Shanghai to Chicago. His latest album, Across the Multiverse, is an interstellar voyage of mythic proportions.

Henrique Oliveira aka HNQO, is the man responsible for this exciting full album release on DOC Records.

HNQO

is one of the fastest rising young stars in the techno, house and indie dance scene in Brazil.
Causing much attention and hype with his recent EP release on DOC Records (Balinese Death - also featured in MAGNUM VOL 1) and having reach the

#1 spot at Hot Creations Top selling single, it is time to introduce his first album "The Old Door", (influenced by Marlin Stimming and Anders Trentemøller, two of his heroes).
A weird string sound marks the opening of "The OId Door".

By mixing old sounds with new ideas, while recording different instruments, the track shows HNQO's life and it features Urzula Amen in the vocals.

"The Death of the Elephant' is a soundtrack to remind us how destructive human kind has been to the nature. Using sounds of Pizzicato Violin, "40s Cartoon' continues to take us to a journey through the artist's imagination.


The album is filled with the Henrique life moments during the year it took to produce the album.

For an example in "Egyptian Lover" HNQO describes how nice it would have been to have a lover flying overnight.

On this track Russian singer Cotry interprets the lyrics.

"Fallen Angel" is a dramatic piece telling a story still about flying.

"If" is another collaboration with the amazing Urzula Amen.


As we get closer to the end, when its finally time, 'Light a Cigarette' reaches a melancholic state where all melodies were recorded with eyes shut and in complete darkness.

A spiritual moment that became Henrique's favourite track of this project.

The scratch of a match, the flame and then a foggy synth that releases all the feelings in sound waves.
The album cover was inspired on a door.

A door that HNQO was able to enter by playing certain keys on his synths, percussions and strings that allowed him to reach a organic level while making it all a bit more human in terms of groove construction.
A poem from Rai Knight was perfect fit to give the density for the digital bonus track.
To get a better feel of what this album has to say, HNQO invites you to open 'The Old Door"

(180gr) An incredible album from Lo Borges - one of the best singer/songwriters on the Brazilian scene of the 70s!

An incredible album from Lo Borges - one of the best singer/songwriters on the Brazilian scene of the 70s! Borges first burst into the spotlight for his work on the Club Da Esquina album by Milton Nascimento - and his work as part of Milton's "corner club" really helped shape the style of the more famous singer. Yet Borges is almost an equally great talent on his own - with a soaring, soulful approach that's every bit as great as the best Nascimento material from the period - and recorded in a wonderfully similar spirit! The sound here is completely sublime right from the start - music that moves us, even if we can't understand the language of the lyrics - like some of the best work by Caetano Veloso and Gilberto Gil. There's maybe a bit more guitar than on some of the Milton Nascimento work of the period - but used in a fuzzy way that slides in nicely with some of the jazzy phrasing of the instrumentation - which is delivered with help from key contemporaries who include Beto Guedes, Nelson Angelo, Toninho Horta, and Tenorio Jr. The songwriting is amazing - and titles include "Cancao Postal", "Voce Fica Melhor Assim", "Nao Foi Nada", "Calibre", "Faca Seu Jogo", "Toda Essa Agua", "Pensa Voce", "Como O Machando", and "Aos Baroes".

Brilliant 70s material by Antonio Carlos Jobim - one of his key sets from the middle part of the decade that had the composer really deepening his approach to both singing and songwriting - moving past some of the more instrumental modes that he was using at the start of the decade! There's a richness to the songs that goes way past simple bossa styles - and the lyrical brilliance shows that Jobim hardly ever needed a poet or co-writer to help him hit the heights - as he really wins us over with his words as much as his music. Claus Ogerman produced, and gives things the right balance between fullness and space in the charts - which allows both a great focus on Antonio's vocal style - expressive, but very down to earth - and a few nice solos on Fender Rhodes too! Titles include "Saudade Do Brasil", "Correnteza", "Boto", "Ligia", "Valse", "Arquitetura De Morar", and "O Homem".

Finnish visual artist and filmmaker Hannu Karjalainen's music draws inspiration from ambient, drone, modern classical and dream pop. His first album Worms In My Piano was released in 2007 on Osaka Records and the second album, Hintergarten in 2009 on Simon Scott's Kesh Recordings. A Handful Of Dust Is A Desert, his third album - and the first under his full given name - arrives after a prolonged break.

Hannu Karjalainen's association with Karaoke Kalk started with his remix of Dakota Suite's The End Of Trying Part III on The Night Just Keeps Coming In in 2009 which also featured remixes by the likes of Hauschka, Deaf Center, Loscil and many more. Now, luckily for all concerned, Hannu is releasing a full length album on the label in the form of the exquisite record A Handful Of Dust Is A Desert.

The album opens with the track Angel which is a truly heavenly composition reminiscent of Boards of Canada's finest work. The Emigrant makes effective use of sinister synth-lines and delicate glockenspiel patterns to invoke a kind of science-fiction soundtrack atmosphere. Throughout the record, our ears are graced with truly sublime sound-scapes and transcendent textures.

The title track is actually the shortest tune on the album, but in no way less evocative. It's looped piano melodies are comparable with Susumo Yokota's later recordings in their minimalism and poise. A Year In a Day continues to walk the fine line between ambient and electronica - which is one of the albums great virtues: it shows how lively and eventful ambient music can be. Certainly ambient music benefits from having a strong pulse as Karjalainen demonstrates in various tracks on the album. The song Love Is A Black Lion features a sample from the afore mentioned Dakota Suite tune The End Of Trying Part III, and therefore somehow closes a circle.

This powerfully contemplative album comes to a controlled landing with the majestic Breaks My Heart She Aria, another in a long line of mesmerizing drifts, with a floating choral voice delicately enveloped in strings and pitched percussion.

A Handful of Dust Is A Desert is instantly captivating and for lovers of ambient music, dream listening. As an artist who trained in photography and is mostly active in the world of visual art, Hannu Karjalainen clearly enjoys a great deal of creative freedom in his music. This is the kind of desert you won't mind getting lost in and even take pleasure in roaming through the expansive sonic landscapes and horizons it embodies.

This instalment follows on from our acclaimed 'Volume One' - Lauren Laverne's 'Compilation Of The Week', supported by the likes of Disclosure, Jeremy Underground, Horsemeat Disco, Hunee and Laurent Garnier. 'Volume Two' picks up where the last one left off — with a touch more soul and disco — records we've been spinning in our DJ sets and on the radio show of the same name, that inspired this series.

We opened a new record shop in the centre of Brighton late in 2016 - 13 years after the mighty London store closed it's door. Now situated on the ground floor of our Gloucester Yard home the shop is open every Saturday to sell records that we love, some of which you'll hear on the radio shows, and on this album.

It's been a resounding success and we've been able to host sunny instore events and Facebook Live broadcasts with guests including Nick The Record, Dimensions Festival family Debora Ipekel, Flamingods, Slugabed, The Physics House Band and Remi Kolawole & Sensible J.

In 2017 and beyond, we will be releasing more of our official reissues including lesser-known essentials from Brazil, such as Gal Costa's 'India', Robson Jorge & Lincoln Olivetti, Burnier & Cartier alongside 1980's Mexican psychedelia from Luis Perez. We've been digging deep, and will share another edition of our 'The Original Sound of...' series, this time across the border from Mali to neighbouring Burkina Faso. As ever, you'll hear these first, on our radio shows.

There will be more 'Mr Bongo Presents' events - we brought Alain Mion & Cortex to the Jazz Cafe in London in 2017 - and we've highly anticipated slots at Bestival and Lost Village festivals, plus a return to RAPPCATS in Los Angeles, more guest shows on Worldwide FM and NTS Radio and, of course, the continuation
of our own radio shows.

Compiled by David 'Mr Bongo' Buttle and Gareth Stephens,
plus a few personal favourites from Gary Johnson, Ville Marttila and Graham Luckhurst.

Expansion's most successful and longest running compilation series returns with a 2017 edition. The concept remains the same, fifteen must-have modern soul room gems taken from the year's biggest dance floor spins on the soul scene. While tracks here have topped UK soul charts, many have not been available in all formats. Once again, attention is paid to the 'flow' of the 15 gems chosen here from shuffling beats to boogie to more soulful house as played at modern soul events. Participants this year include Omar with Los Charly's Orchestra, Tawatha Agree (voice of Mtume's Juicy Fruit') with Aeroplane, Kenny Thomas with Thames River Soul produced by and featuring Incognito, and both Wez and The Groove Association formerly members of Brit Funk group Second Image. Leela James is here after her stint in a US realty TV show R&B Divas: Los Angeles', other guests including Amp Fiddler, Faith Evans, Trina Broussard and Lifford.

For someone who went from growing up in a secluded Norwegian forest to producing for some of the biggest hip-hop and pop megastars on the planet, Peder Losnegård has had quite the journey.



It was through a series of remixes that Lido catapulted into the sets of the most high-profile DJs around the globe, capturing the ears of numerous notable tastemakers. Reworking acts like Disclosure and Bill Withers, the producer set the Internet ablaze with talk of his four-note piano tag and speculation as to who was underneath the moniker. While his playful, restless musicality saw him adopt an array of aliases — but he'll keep those under wraps for now.

Debuting on Pelican Fly with 2014's 'I Love You' EP, followed by the 'Superspeed' EP, and remixes of Banks, Alt-J and MØ, Lido's anti-formulaic style emerged. His tracks bounce from one idea to another voraciously, but always with that clear Lido stamp. You don't just get a drum and a bassline on a track of his; you're more likely to get an entire string or brass section that elevates his sound to cinematic heights.

Having previously released on Z.I.P.P.O's Fides imprint, 3KZ now bring their powerful four tracker 'Not From Here' on Balans Records. 3KZ are Z.I.P.P.O and Kalean

The Dutch label Balans Records returns with it's twenty-first instalment to the series that have previously seen releases by Mike Parker, Drafted & ROD among others. This time Darko Esser's imprint presents a collaboration between Z.I.P.P.O and Kalean, under their 3KZ moniker. Having previously released on Z.I.P.P.O's Fides imprint, 3KZ now bring their powerful four tracker 'Not From Here' on Balans Records.

'Not From Here' opens the EP with its flowing grooves & eerie pads to create a beautiful techno track followed by 'Nature Of Motion' that offers an astral like immersion to the listener with its haunting melodic rhythms. On the flipside 'Circles' & 'Times' switch up the vibe in a more intense & playful mood, resulting in a finely balanced EP of atmospheric driving techno.

early supposrt
Luke Slater
'Great, thanks.'

James Ruskin
'Nature Of Motion for me, thanks!!'

Marcel Dettmann
'Thanks.'

Kristian / Ame
'Thanks.'

Rolando
'Wow killer stuff here, all tracks are dope!! Nature of Motion is my fav, great work!'

Dj Pete
'Great Italian Detroit techno.

Etapp Kyle

'Thanks.'



Sigha

'Lovely vibes, full of soul.'



Nuno dos Santos

'Beautiful release!! Love all tracks and thats pretty rare.'



Jeroen Search

'Go 3KZ go! A2 & B2 for me, very cool stuff!'



Ontal

'Thank you!'



Orde Meikle / Slam

'Thanks.'



Eric Cloutier

'Another beast of an EP from 3KZ & its always good to get a Balans promo.'



Kr!z

'Nice one, full support.'



Monika Kruse

'Great floating techno, love it!'



Arnaud Le Texier

'Not From Here & Circles for me, thanks.'



Jeff Rushin

'Cool release.'



Jeff Derringer

'I like it, good stuff!'



Mr. Jones

'Nice vibe on this EP. Like the energy and drive in Times.'



Leghau

'Great release. I really like A1, thank you.'



Robert Lamart

'Nice tracks, thanks!'



Angel Molina

'A side for me here. Great, timeless Mills-esque techno stuff, thanks.'



Mareena / Tresor

'Another winner by 3KZ, thanks guys. Holy shit, that ambient tune!!'



Phone

'Total support.'



Limo

'Love these guys, thanks.'



Joseph Capriati

'Downloading for Joseph Capriati, thanks!



Richie Hawtin

'Downloaded for Richie Hawtin.'

Adrian Younge presents: The Delfonics is quintessential sweet-soul from The Delfonics lead vocalist William Hart produced by Adrian Younge. From the very beginning, it was Younge's intention to create an old-school Delfonics vibe but offer a very hip-hop-informed perspective. There are distinguishing musical elements that Delfonics fans will recognize, like the electric sitar guitar, the French horn, string arrangements, and the tympani. Recorded and mixed by Adrian Younge at Linear Labs, the preeminent analog studio of Los Angeles, CA.

Fall of 2016 sees Midnight Magic ready to enchant us once more with the much-anticipated birth of their 2nd studio album, the wondrously eclectic Free From Your Spell. Going back to their roots in Los Angeles, Morgan Wiley, and Tiffany Roth, alongside the rest of the boogie nonet, have prepared a refined feast of genre-bending songs. The ever so diverse moods of Free From Your Spell make it a seductive journey. With each song mixed seamlessly into the next, the record coalesces into one long disco odyssey, reminiscing Giorgio Moroder and Donna Summer's concept albums "Four Seasons of Love" and "A Love Trilogy". Moods, genres, and styles intertwine like an aural kaleidoscope, the album electrifying with its striking harmony. Whilst exuberantly borrowing from past decades, Free From Your Spell more than holds its own as a self-assured, innovative body of work. Midnight Magic's Free From Your Spell is an offer one can't refuse. An attractive deal in the form of disco escapism, traveling through its various shades, emotions, and incarnations, a comprehensive revival of the genre for modern ears. It's Studio 54, It's Moroder,Amanda Lear, Gino Soccio, and Grace Jones. It's a whole palette of 1980's R'n'B and cosmic funk. Despite all the music references of past eras Free From Your Spell is very much a current album, a mature demonstration of genuine skills in songwriting, a multi-instrumental banquet of sounds, a coherent collection of ambitious dance tracks and a beautiful celebration of eclecticism. Add to this some of Tiffany Roth's most memorable vocals to date and you arrive at one of the year's most exciting releases. There is a strong reason for both "midnight" and "magic" in the name of the band after all.

Najem Sworb brings us the thirty-fifth edition of Wolfskuil Records adding the Strasbourg-based artist to it's roster. Previously releasing on labels such as Clone Basement Series, Technorama, Metis Recordings and the now defunct Ai Records, Najem Sworb has been transforming through various genres of techno since his debut release in 2007.

Rad.Velc EP brings us 4 original tracks playing upon the themes of house and techno. 'K-159' opens the EP with a fierce relentless bass and squeaky pads ending in a harmonic disarray while 'K-166' follows in a smiliar suit rather with a dub inspired rhythms. On the flipside, Najem Sworb switches up the vibe with 'K-abL' which illustrates the artists more house influences with mystical synth lines. However, 'K-177' demonstrates his knack for techno, delivering an explosive device fit for the dance floor. Together in all four tracks Najem Sworb shows his expertise in unique synth work providing a quirky cadence to his beats.

DJ FEEDBACK
early support from
Answer Code Request: Interesting stuff here!
Rødhåd: Downloading for listen.
Anthony Parasole: This is quite good!
Ben Sims: B2 doing it for me.
A.Mochi: A2 is for me!
Angel Molina: K-abL/K-177 as my fav track on here, especially the last one, killer one.
John Osborn: Really strong release - loving A2 & B1.
Isolated Lines: Very cool tracks! I really like A2 and B2. I'll play them.
Jeff Derringer: Sounds very nice! I'll try this in Detroit.
Phone: Love hypnotic tribal sound of K159.
Truncate: Solid tracks all around... but really digging that B1 track.
Orde Meikle: Great release.
Ekserd: Another excellent one on Wolfskuil. Super nice!
Echoplex: Fresh.
AWB: Long time fan of Laurent's work.
Invite: Another great ep on the label! Keep them coming!
Jeroen Search: Yes!
Blawan: Very nice ep! Full support.
Joseph Capriati: Downloading for Joseph Capriati.
Mr. Jones: Always a surprise what new sound Wolfskuil will bring.Like this funky and fresh EP.
Richie Hawtin: Downloaded for Richie Hawtin.
Marcel Heese: Killer!
Randomer: A side bangs.
Robert Lamart: Support.
Svreca: Feeling specially K-177.
Mosca: Love that K-166 synth!
Tensal: B2 is my pic here, nice stuff as usual in Wolfskuill.
Markus Suckut: 166 & 177.
Sinfol: Will try b2.
Ame: Thanks.

Killekill catalogue number 025 is a jubilee release:
It's KILLEKILL MEGAHITS II !!
But it's not only a jubilee release. It's also milestone and turning point in the Killekill history, because with this release Killekill closes one chapter, and opens up another.
We are constantly getting too many demos full with good music in way too many different styles to squeeze them onto one label. So finally we have come to the point where we will start a line of new labels with different profiles to give ourselves the opportunity to feature even more daring artists and release whatever we like in the most suitable outfit for it.
So far, there is this compilation, which has been carefully compiled for your pleasure. Label regulars such as Cassegrain & Tin Man, Furfriend, Alex Cortex or Eomac have delivered high quality stuff of all kinds, but we are also introducing a lot of artists who will feature on the coming labels:
Umwelt with his epic and dramatic electro, who will release an album with us later in 2016, Dez Williams with his genre-crossing sound which works on every dance floor plus Power Vacuum's Bintus who delivers his portion of electro/acid madness on Record 1.
Record 2 features the legendary Detroit Grand Pubahs, who present their electro outfit Techmarine Bottom Feeders, The Fool's Stone, which is a new project by Hard Ton, electro legend Adriano Canzian and italian queer artist Brigida plus London's underground hero Jerome Hill, who lets it jack and roll with his Memory Machine.
On Record 3 Kamikaze Space Programme surprises with some bell-driven percussive techno and what can we say It is with great pride that we include the acid techno epos by none other than the legendary 'Prince of Techno' Blake Baxter.
This compilation is a trip through a big musical universe. Enjoy!

Michigan's ambient and soundtrack specialist John Beltran introduces a new LP that will be co-released by Delsin and his digital only label Dado Records. Entitled Through the Blinds, it features ten tracks by Blair French (who also appeared on his Music For Machine compilation on Delsin last year) and will be released on January 18th 2016. Blair French aka Dial.81 is an experimental producer and visual artist who won an award for his score of Detropia--a documentary about his home city of Detroit--and now makes his ambient debut. As you would expect of such a project, it boasts suspensory and near spiritual pieces of ambient music with angelic chords and glassy textures. There are also more frosty cuts that sound like a chilly Autumn walk, tracks that feature emotive neo-classical piano pieces and suggestively rhythmic compositions that sooth your mind. The second half of the record touches on church like passages of synth heavy sounds, strikingly sad violins and lo-fi arrangements that sound, one hopes, a little like what you might hear as you pass from this life to the next.

Entitas, is the second instalment of Jay Clarke's BLACKAXON imprint, and sees the label boss bring out the big guns in the form of three distinct and diverse cuts. First up is Entity, an autonomic monster which has sweat soaked energy written all over it. It's auspiciously one part deep, and more than double just as twisted. Things are far from linear with Entity, it's mercilessly the sum of it's own parts, and has the hallmarks of a true big room pleaser written all over it. A truly authentic demonstration of the old adage 'It's not where you are going, it's how you get there'. Entity is certain to be reached for by all of the major players on the Techno circuit for a long time to come.
On the flip, Ghosts Of Acid is the Yin to Entity's Yang. A plangent and introspective groove opens up with wispy cymbals, cleverly placed rims, hats and claps. Exploratory and evolving subaqueous acidic forays dare the listener to dive in a little deeper, with the reward being a very proficient and efficient take on the now classic Acid sound.

Existence Through Perception seeks to carry on where the previous two tracks left off. A driving groove and sinister hook lets up briefly midway to a near triumphant fanfare, only to be brought back to it's mischievous overture. A perfect late night/peak time track for DJ's looking to elevate the bar of their set just one more rung higher.

Support From:

(Phase), DVS1, Ben Klock, Answer Code Request, Luke Slater, Norman Nodge, Chris Liebing, Lucy, Oscar Mulero, Speedy J, DJ Deep, Tommy Four Seven, Cassegrain, Inigo Kennedy, Slam, Brendon Moeller, Nihad Tule, Kr!z, Psyk, Jonas Kopp, Truncate, Samuli Kemppi, Juho Kusti, Anthony Parasole, Eric Cloutier, Jereon Search, Moerbeck, Truss, Distant Echoes, Yac (I/Y), Philippe Petit, Thomas Hessler, Randomer, Volte-Face, Fundamental Interaction, Arnaud Le Texier, Ame, Angel Molina, Tensal, Kwartz, Stacey Pullen.
Credits