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Green Vinyl

'2016 - My Generation”?: a momentous comeback for Mirwais, two decades on from his classic “Production” album.
It all started in 2016 with an idea Mirwais had for a music video to promote his upcoming single ?“2016 - My Generation”?.
The idea led Mirwais and co-founder of graphic design studio H5/creator of the Oscar-winning ?“Logorama”? animated short
Ludovic Houplain? ?to work together on a fascinating ten-minute short entitled “?My Generation?”.
Since its 2017 release, the film “?My Generation?”, produced and scored almost liturgically by Mirwais, made the rounds of
festivals, winning several prizes worldwide.
It presents itself as a backwards travelling shot during which all of our pop culture moment’s gimmicks collide at 100 km/h:
sex, the net, art, politics, sports, stocks, big pharma and big porno – from Hitler’s speeches to Trump’s contemporary
analogues.
Flash forward to 2020, and it is this very six-minute ?pop-litical ?critique of our era’s societal excesses that Mirwais chose
as the music video for his new single ?“2016 - My Generation”?, set to be released during the coming fall’s American
presidential election.
A sonic deflagration that heralds a new album from one of Madonna’s most iconic collaborators, succeeding, two decades
later, the now-classic ?“Production”?. A punchy, percussive single poised between hard techno and electronic disco,
sprinkled with choirs and distorted, psychedelic synths ?“2016 - My Generation”? is a dance floor-ready opus bearing
Mirwais’ inimitable signature. This way of mixing genres, of conjugating past and future, and of making pop experimental
and vice-versa, cements Mirwais’ reputation as one of times’ most singular composers.

Two years in the making, Future Ruins, TOM And His Computer’s debut album, will be released on Trentemøller’s In My Room label in October 20th. As a 20 year veteran of the Copenhagen music scene, Thomas Bertelsen has been releasing music under the sobriquet of TOM And His Computer for five years, merging the newest technologies with the old, while squeezing fresh sounds out of equipment that’s not only obsolete, sometimes it’s barely functioning at all. “I switch back and forth between the digital and the analog worlds. I’ll utilize old guitar pedals as well as the newest software,” says Thomas Bertelsen, producer behind TOM And His Computer. “It’s never about the gear, though, but rather finding that one little sound that can trigger an idea for an entire track.” Future Ruins was also co-produced and mixed by Trentemøller. While previous offerings have taken listeners to the outer boundaries of what can be considered “electronic music,” including nods to dark wave, dream pop, krautrock and modern psych rock, Future Ruins presents those influences in a new way and represents a great leap forward for the Copenhagen based producer.
The result is a genre-less collection of songs showcasing TOM’s obsession with propelling sounds of the past into the present, and future, combining noise and edginess with his “commitment to fresh ideas with a clear sense of melodies,” according to Clash Magazine. “My tastes are eclectic and I like to flirt with many different sub genres,” says TOM. “The aim was to combine various styles while trying to maintain a common denominator,” which committing to a full-length offered as an opportunity.

Tape / Cassette

As one half of Phantom Horse, his long-serving electronic duo with Ulf Schütte, Niklas Dommaschk co-produces beautifully muted, Kraut-inspired jams that seem to soundtrack fictitious TV ads for wondrous imaginary household appliances, e.g. a calmly efficient, if slightly unsettling kitchen robot with an integrated lava lamp feature.

In contrast, Shapes cuts tracks down to size – nothing here is longer than five-and-a-half minutes. Also, Dommaschk has turned up the treble, the prominence of the higher frequency spectrum adding bite and menace to these deceptively simple synth polyrhythms.
Whereas opening track “Benzin” (German for “Petrol”) manages to conjure the paradoxical image of something or someone meandering with urgency, “Einzeller” (German for “single-celled organism”) channels a John-Carpenter-style pulse, complete with horror sound effects. “Interference” is a truly effective representation of the term, with piercing, but quiet tinnitus frequencies set above a beat as sparse as it is crunchy. “Two Stones”, by contrast, offers a kind of robotic wistfulness whereas closing piece “Energies of the mind” fizzes out like a jumble of toy keyboards attempting to score a science programme - and failing, but instead revealing some much grander emotional truth.

This is the sound of breaking some kind of inner lockdown, of turning inwards and then projecting parts of murky inner shadows outward, as well-defined and sometimes lurid shapes, individually clear, but still in the process of becoming organized into a complete whole. The unfinished is what excites us the most. May the shapes never find their slot in the jigsaw puzzle.

All songs by Niklas Dommaschk
Recorded between 2017 and 2020 in Berlin and Nijmegen
Mastering by Edgar Medina
Artwork by Daniel Castrejón

From their early days hosting parties in Oxford through to the huge success of their two-part ‘Everything Not Saved Will Be Lost’ album, Foals have consistently explored their interest in dance and electronica. Now the band chart the most essential remixes from their career so far as they share the new remix package ‘Collected Reworks Vol 1’.

The tracks featured on ‘Collected Reworks’, are a compilation from an eclectic range of artists who have uncovered new angles to Foals’ discography. It includes one of their earliest remixes, from Ewan Pearson who blends Balearic bliss into ‘Olympic Airways’, as well as Solumun’s huge version of ‘Late Night’, which has been viewed over 50 million times at YouTube. Another standout moment is Hot Chip’s inventive interpretation of ‘My Number’.

‘Collected Reworks Vol. 1’ has been launched with Hot Since 82’s brand new remix of ‘Into The Surf’. The tech house producer / DJ behind ‘Buggin’’ and ‘Restless’ subverts the track from its original desolate beauty into something fresh and invigorating. The relentless driving beat maximises its energy throughout its eight minute duration, while its progressive leanings are given some unexpected throwback flavour with ‘80s style sax.

One of the most quietly influential underground artists of recent times, Yamaneko returns with Spirals Heaven Wide, his fourth full-length album. Since breaking through in 2014 with his cult debut album Pixel Wave Embrace, Yamaneko has been one of the key artists re-contextualising ambient music for a new generation, crafting fragile compositions that draw as much from the angular shapes of grime, techno and keygen music as they do the soothing soundscapes of new age cassettes, ambient records and video game soundtracks. Written during Yamaneko’s last winter in London before relocating to Tokyo, Spirals Heaven Wide is his longest and largest-sounding release to date, combining some of his most evocative long-form pieces with the kind of haunting miniatures that made his early music so distinctive. The majority of the tracks were written after Yamaneko's first run of audio-visual shows at the end of 2018, and so are rooted in the same kind of live workflow and production methods that he explored with those sets. As with last year’s Afterglow EP, Spirals Heaven Wide is underpinned by a underlying influence of euphoric dance music, with distant trance and hardcore signifiers - both key influences on Yamaneko from an early age - visible through the album’s thick blankets of wind and fog. These influences come fully to the forefront on ‘This Spring of Love' and 'Fall Control’, two of the most outright spine-tingling tracks Yamaneko has released to date. Elsewhere, the album explores his love of emo music’s bittersweet melancholy, a fascination with constellations and the cosmos and an increasing love of writing extended, long-form compositions: a side of Yamaneko first explored on 2017’s Spa Commissions collection and continued on his contribution to respected ambient series Longform Editions.

Three years after their last collaboration “Lost in the Moment”, part of Darius’ debut album Utopia, the French producer and Nigerian born future soul artist Wayne Snow unveil their stellar single “Equilibrium”.

The message of unity has never felt more relevant than the times we are living through right now. This project composed one year ago, serves as a stark reminder that we can all transcend above our differences and connect through the experience of music together, regardless of colour and race.

The undeniable synergy of both artists create a harmony magnified by the richness of their diverse cultures and musical background.

The beat instantly catches us in a warm and arresting atmosphere. The main melody reveals an uptempo rhythm gently interwoven in Wayne Snow’ emotive voice, born in Nigeria, living in Berlin in preparation for his next album. His lyrics infuse a carefree candor, which only suggests love and euphoria, fruit of an universal balance and a collective caring energy.

After multiple collaborations among “Helios” or the “Nightbirds” improvised live project (feat. FKJ and Crayon), the two artists reunite once again on “Equilibrium”. Heady and joyful, only few seconds are enough to form a timeless memory and make this track an instant classic. Darius holds Wayne’s powerful vocals, which travel through the composition as gospel pipe dreams. His Funk and Disco influences, embodied by his heart-warming and dynamic groove reminds us of his iconic project Romance (2014). Driven by a festive and upbeat energy, Darius finally renews himself with a return to his musical roots, whilst Wayne Snow steps up towards an audacious expression and a peek into his forthcoming artist album.

Lovers of pastel and retro aesthetics, we find the artist’s aesthetic language elevated through an impressive video treatment by the esteemed French director Alice Kong set for release on July 23rd. The audio release will precede a week earlier on July 16th, part of his forthcoming project.

From 1963 to 2014: "Peace Chant - raw deep and spiritual jazz" exhibits 51 years of music. A well matched anthology with sounds to dive into, hard rhythms to dance to and vocals to meditate on.

The Tramp Records crew has compiled 9 tracks in nice order and dramaturgy. Some tunes you might have never heard before unless you own one of the rare original vintage vinyl records. Peace Chant is released on two separate LPs with own catalogue numbers and on one CD. Some songs I can't get out of my mind:

The previously unreleased "Don't Give Up Your Smile Today" is opening the compilation. It's from Das Goldene Zeitalter, a band that didn't survive - but whose members had a huge influence on German jazz, soul, afrobeat and funk within the last years merging into groups like The Poets of Rhythm, The Whitefiled Bros., and The Malcouns. Boris Geiger aka. Bo Baral sings a Pharoah Sanders like tune, his voice deeply resonating, the rhythm section heavily grooving.

After the first three woolly recorded tracks Walt Bolen's "Peace Chant" with its dry and funky sounds with flute, two guitars and percussion is quite a pleasure to listen to. Organ and voice are Bolen's who used to play the keys in San Fernando Valley church when he was a child. "Peace Chant" was recorded for his own Ar-Que label in 1972 and is one of the few cuts with him as a leader. He has played sessions and clubs for years and today he is sitting at the church organ again.

This publication's oldest recording dates back to 1963: "Mozambique" by Luna Brothers Trio, a Caribbean and hypnotic instrumental. For my jazz trained ears it is rather unusual that the güiro (the gherkin played with a stick) is being played throughout the entire song. Heavily laid back cowbell, concas and timbales and the slightly detuned piano are wonderful! "Mozambique" sounds like from another star but its origin is Los Angeles, where the brothers Fred and Ricardo Luna had their night club band. You could imagine a bast skirt strip and at the same time the great Raumpatrouille (Space Patrol) landing on German B&W TV screens in 1966.

Hozan Yamamoto recorded crime jazz with the Japanese bamboo flute shakuhachi. He belonged to Tony Scotts "Music for Zen Meditation" in 1964, played with Ravi Shankar, avant-garde jazz bassist Gary Peacock and appeared at Donaueschingen Festival for contemporary music. Tokio university's open minded lecturer recorded the funky and modal "Spotlight on Sapporo" in 1972.

Our third release of the decade comes from another new signee, Barcelona-based Kodama, who teams up with Dubstep OG LX One for the heavyweight A side.

Cronauer
Uplifting bells and pad harmonies pave the way to a gritty bass assault, striking with the power of a meteorite coming from outer space. Cronauer unfolds as these contrasting yet complementing parts engage and interwine, driven by heavily-swung hard-hitting drums which turn the track into a club weapon.

Piranha Plant
Time to turn page and enter the next chapter: Piranha Plant is a sublime oneiric journey of lush harps and heavenly bells, joining into masterfully composed layers of melodic bliss and. New sections keep introducing instruments like new characters in this dreamy fairytale.

Dorsia
A brisk intro catapults us straights into Dorsia, a high-energy introspective roller which joins two sides of Kodama's multifaceted output. Melancholic melodies dance over a powerful bass & drum synergy, until the second drop comes in with stomping weight, beautifully delivering our fix of bass-Nirvana.

Climate of Fear follows up Soft Boi’s debut LP with a mammoth drop: 12 tapes ripped straight from the first two years of Berlin parties. Released one per month, the series moves from Izabel’s shivering chug through Nkisi’s deadly anarcho-gabber psychedelia, Polar Inertia’s sleek techno throb and DJ Python & Mad Miran’s impromptu closing b2b.

Climate of Fear's second installment in their tape series comes from Polar Inertia: a one hour masterclass of HD ice burn techno. Recorded live, the set shows PI in full command of their craft, lunging forward with deadly intent while opening up to moments of shivering awe. The full roster is as follows:

Elena Colombi
Polar Inertia
Nkisi
Bruce
Relaxer
Bambounou
Shanti Celeste
Karen Gwyer
Vladimir Ivkovic
Izabel
Terekke
Mad Miran b2b DJ Python

The wide-spread admiration for Uijui’s production chops has been imminent for several years now, only stalled by the instant gratification of endless night outs, snooker and one or two shattered computer hard disks. He’s been crafting discreet and thoughtful, yet effective midnight sun house and heartfelt techno over the years concluding in a 3-track EP for Cold Blow.

This is the debut release for WORQ RECORDS. An independent label out of Chicago USA. The label was an idea because of how hard it is these days to classify tracks into either House or Techno let alone one of the tons of sub genres of the two. Loving both genres and not wanting to label tracks or records with one group or the other, WORQ RECORDS was created. This debut release on 12" vinyl allows for a selector to blend these tracks into a variety of different mixes.

QUINROK1 sets the pace for what the WORQ RECORDS sound will be. A blend of House/Techno/Minimal/DubTechno. Born, raised and bred with the Chicago House sound and the underground rave scene culturing and shaping the flavor of where his House/Techno sound is today. This 6 track 12" will have something for your mix! Huge deep kicks, snappy snares, hats and claps with fat bass grooves and soul samples, its a recipe for some bangers!!

The Games new album - Born 2 Rap - gets a limited 3LP unoffical Record Store Day release!
• ***PLEASE NOTE THAT THIS IS A NON-DISCOUNTED TITLE***
• The Game, two-time GRAMMY® Award nominated multiplatinum Compton rapper, songwriter, producer,
actor, and entrepreneur. He locked down a place in the pantheon alongside greats of both coasts by a
combination of bar-for-bar bravado, provocative observation, hard-hitting hooks, and sharp introspection.
And now the prolific rapper returns with his 9th album fittingly titled, Born 2 Rap. Collaborated on the
album with artists such as Ed Sheeran, Miguel, Anderson .Paak, Nipsey Hussle, 21 Savage, Bryson Tiller,
Chris Brown, Trey Songz, and many more.
• The Game’s prior album 1992 debuted #1 on Billboard’s “Top Rap Albums Chart” and tied Drake for most
#1 album debuts since the chart began in 2004. Also, the album gave The Game his eighth #1 on
Billboard’s “Top R&B/Hip-Hop Albums Chart” tying him for third with 2Pac and Lil Wayne. He started this
impressive legacy with double platinum 2005 full-length debut, The Documentary. It not only bowed at #1
on the Billboard Top 200 and garnered GRAMMY® nods in the categories of “Best Rap Song” and “Best
Rap Performance By a Duo or Group,” but it also emerged as a classic avowed by Pitchfork among the
“Top 50 Albums of 2005”. The 2006 followup Doctor’s Advocate retained his spot at #1 on the Billboard
Top 200 and went platinum. Maintaining positions in the Top 10, he ignited a prolific string of blockbuster
releases—L.A.X. 2008, The R.E.D. Album 2011, Jesus Piece 2012, Blood Moon: Year of the Wolf
2014, The Documentary 2 2015, The Documentary 2.5. [2015], and 1992 [2016].
• “Born 2 Rap” has over 75 million streams worldwide and peaked at #2 on Billboard charts

Side One is heart-pounding Techno, Hardcore and Electro. Side Two is 90s inspired UK Jungle with an excellent rework from Tim Reaper.

Of everykune tre
The hawethorn blowet suotes
My lemmon sse ssal be
The fairest of erthkine
Wel was hire dring
The cheld water of the well-spring
Wel was her bowr
The rede rose and the lilye flour

Dutch groove connaisseur Ivano Tetelepta returns to his home base ESHU Records. Presenting four tripped out originals accompanied by two excellent reworks by befriended artists Jasper Wolff and Ion Ludwig. The pack perfectly captures the loosely and laid back attitude of the label and Ivano himself, doing their own thing as always. The a-side is all about the groove, a stripped down and playful rhythmic jam built for a hazy late night session with Ion Ludwig turning this inside-out, transforming the original into a lengthy minimal dub version. The early morning sun rays bring the vibes on the flipside where 'Loosen Up' is an atmospheric 90s feeling techno floater where Indigo aera head honcho Jasper Wolff shakes this up with a fierce techno twist. As special addition there's a 7" where Tetelepta shows one of his enlightening dub meditations and a rambling early Mills-esque tribal work-out. The whole bunch is mastered by Marco Spaventi and will be released digitally and in special 12"+7" pack.

More glorious heat from the vaults of NYC's Disco powerhouse - P&P Records!

One of many labels operating under the equally legendary tutelage of Patrick Adams and Peter Brown, two truly colossal figures in NYC's music scene, the P&P records catalogue is still fascinating underground dance music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds its way into the playlists of respected DJ's and selectors across the globe. This latest repress from the vaults is a real biggie - a true NYC underground disco CLASSIC!

Cloud One was one of Adams' numerous studio outfits, featuring a ridiculously healthy dose of the man's virtuoso keyboard and synth playing. This was a progressive Disco sound, the pairing of extremely danceable funk and R&B with some spaced out over-dubbed analogue synthesizers and keys made for a heady concoction indeed, especially in 1976 when this cut was released. This was one of many Cloud One trademarks and one of the things that make these records still sound so way out today! 'Atmosphere Strut' could not be a better title for this immense slice of true NYC space Disco - it's got it all - the driving rhythms of the Cloud One band, the killer vibes, celestial vocals and Adams' totally wigged out synthesizer workouts. On top of all this goodness, the main man Kon, Boston's editor supreme and self confessed DIsco fiend and digger, has dropped a stellar and respectful edit of Atmosphere Strut' for all your disc jockeys out there, featured here across the length of the B-side thus making this an essential repress of this legendary 12". If you don't know this jam, and you're a Disco head - you're in for a treat! You're gonna fly......!

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Phase One Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Aix Em Klemm is the moniker of the ambient music project consisting of Adam Wiltzie (Stars Of The Lid / A Winged Victory For The Sullen) and Robert Donne (Labradford / Anjou).
As Wiltzie told Sadness Is In The Sky fanzine, his collaboration with Donne began when “we all met during a Texas swing of a Labradford tour that Stars Of The Lid opened for back in 1996. They stayed at my house for a few days and we became close.”
A year later Wiltzie was asked to join Labradford for their Mi Media Naranja European tour of 1997 as the sound technician. This tour also included Bruce Gilbert of the legendary band Wire who was the opening act and joined them in the van for the entire tour. With Gilbert’s nightly improvisations of minidisk field recording explosions running through a Sherman Filterbank, it left a profound effect on Wiltzie and Donne, and led to inspiring internal philosophical discussions on the importance of improvisation. After concluding six weeks in the van, the idea of creating a unique collaboration separate from their other projects was realized. The duo exchanged tapes over the course of a year and then Donne ventured to Austin, TX for a week to record at Wiltzie’s home studio in 1999. The in-person collaboration moved much more quickly than the exchange of tracks by mail. One track on the Aix Em Klemm album, “Sparkwood And Twenty-One”, was written and recorded in one day. The duo took the mysterious name Aix Em Klemm and the self-titled debut was released in the autumn of 2000.
As of late, Wiltzie lives in Brussels, and Donne joined Stars Of The Lid on their last tour of Europe in 2016 playing modular synth. They still collaborate musically so new Aix Em Klemm recordings remain a possibility.
“The two extracted some morsels of sound from their respective group’s structures and constructed an altogether different and Zarathrustian ‘building of sound’—one that combines the haunting spirits of the old with the mystique of the new unknown.” —Tape Op

The Allergies are back with the latest in a long line of party starting gold nuggets on 7" vinyl. 'Get yourself Some' sees the guys channel a bluesy stomping soul style reminiscent of Sam & Dave and the Motown greats. Screaming blues harp, hammond organ stabs, lyrics about making it all by yourself, and a steady groove make this one sounds like it could have easily been played by The Swampers in a long-lost Muscle Shoals session.

Meanwhile on the flip, The Allergies enlist two UK hip hop titans - Dr Syntax and Skunkadelic to trade bars on the driving and energetic 'I'm On It'. Funky sax licks, party bongos and a bassline you could set your watch to all complete the perfect beat for these two to flex their microphone skills over. And the end result is another blistering cut taken from their album 'Say The Word'.

Gondwana Records are delighted to announce the 6th release of our '7" Series', our first ever 7" vinyl collection series. Featuring bespoke artwork from Gondwana Records designer Daniel Halsall, cut at Calyx in Berlin, and manufactured at Optimal. This one is limited to strictly 300 copies and housed in a reverse board printed sleeve with classic 'dinked' centre holes.

The release also comes with a limited edition postcard

Dwight Trible and Matthew Halsall first met by chance at a festival in South Africa. Dwight sat in with Matt's band for an impromtu jam and a friendship was born. The result was Dwight's 2017 recording for Gondwana Records, Inspirations, produced by and featuring Matthew Halsall and members of the Gondwana Orchestra. With the LP long sold -out we've decided to shine a light on the first two tracks from the album. Together they make a glorious, deep, soulful 7" with a timeless message. On Side A we have, Dwight's impassioned take on Bacharach and David's classic What The World Needs Now is Love and on the flip we have a low-slung take on Donny Hathaway and Leroy Hutson's Tryin' Times. Both feel even more relevant now than they did when written. Just 300 copies and no re-press on this one - so don't miss out.

Rocksteady and Reggae have long been a part of the rare soul scene, since its inception in the early Sixties. It’s easy to hear the influence of early American R&B in the development of ‘Ska’ and as ‘Soul’ music took over as “the sound of young America”, in the mid-Sixties, it too tinged the sound of Jamaica. No more so than our dance floor anthem “I Feel So Bad” by the legendary JACKIE EDWARDS.
Edwards was born Wilfred Gerald Edwards in Jamaica in 1938 and by the age of 22 had already scored a No.1 record on the island. He’d had four chart-topping hits before signing to Chris Blackwell’s new ‘Island’ imprint in 1962. He became an integral part of Island Records, as a prolific artist, songwriter, producer and general helper. He wrote “Keep On Running” and “Somebody Help Me” for the British R&B band The Spencer Davis Group, both of which went to No.1 on the U.K. pop charts.
“I Feel So Bad” was released on the distinctive ‘red and white’ Island logo in 1967 and was adopted by the burgeoning U.K. underground soul scene, most notably at the Twisted Wheel club in Manchester. It has been played on the ever evolving Northern Soul scene ever since and, a half-century on, commands a price tag of £700+ for a mint original. Fortunately our devastingly good-looking “official” reissue can be bought for a more modest sum.
Jackie Edwards is also responsible for our flip-side “Baby Don’t Wake Me” which he wrote and produced for reggae singer DEL DAVIS at the turn of the Seventies. The combination of Jackie’s well-honed soul-induced musicianship and Davis’ gravelly soulful vocals create the perfect Northern/Crossover dancer.
Two fabulous reasons to make this one of the top reissue 45s of 2020!