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From 'Breaking Bad' to Danish films and albums
Asger Baden is a productive composer and has created music for countless films, television productions and series. He has worked with directors such as Christoffer Boe, Nicolaj Arcel and Martin De Thurah, and his music is featured well known productions like 'Breaking Bad', 'The Wolfpack' and 'VICE' on HBO.
'Zarniqa' is recorded with a 40 piece major symphony orchestra in Prague. On the album, Asger Baden chases music's untouched essence.
Asger Baden is a composer and producer based in Copenhagen Denmark. 'Zarniqa' the 1st album in his own name - 16 cinematic, timeless compositions with a dramatic and dense expression ranging from melancholy to an etheric ease.
The main part of the album is recorded with a 40-piece symphony orchestra in the majestic Rudolfinum Dvoák Concert Hall in Prague. In stark contrast to the orchestra are the piano pieces - recorded solo by Asger Baden in Copenhagen. The contrast between the grand symphonic sound and the intimate piano pieces defines the album

The band formed in late 2013 by former Coldworker members Joel Fornbrant (vocals), Oskar Pålsson (bass) and Anders Jakobson (drums). The line-up was completed by guitarist Kristofer Jankarls (also in Livet som insats) a few months later and the quartet focused on songwriting. The first recording took place in the spring of 2015 and the 12 tracks were released on the two 7' EP's Time and again and Mankind crawls.Following the releases of the EP's and a few live shows Axis of Despair continued to work on material with the ultimate goal to create a striking grindcore album with an aggressive, yet diverse selection of strong songs. The writing process was spread out over a year until the band went into the studio and begun the recordings in the summer of 2017.Contempt for Man propels with twenty super-charged raging songs, clocking in around the half an hour mark - short enough to retain attention, and long enough to serve a good taste of the bands particular brand of European grindcore.

A long time ago, in a Norway far far away in time, keyboardist Bugge Wesseltoft introduced his New Conception of Jazz to the world. We're talking about the late 90s, when Bugge's cosmopolitan blend of jazz, hiphop and techno beats was pretty much the coolest music coming out of Norway at that moment. That was a golden time for Norwegian music, in fact, when the rest of the world began to sit up and take notice that something was stirring up north, and realised the music was more than just glacial tones hurtled from icy mountaintops and frozen lakes. This was the sound of urban Scandinavia.

A few years later came the electronic dance genre 'space disco'. Along with Todd Terje, Bjørn Torske and Lindstrøm, Prins Thomas was at the epicentre of this next big wave to surge out of Norway. Now, the two generations have come together in this exclusive collaboration between Bugge and Prins Thomas on the Smalltown Supersound label. Jazz and electronics combine for that energising vitamin D shot of Nordic sunshine.

The Rainbow Studio in Oslo is a familiar name to anyone who follows the ECM label - many of its classic 1970s jazz albums were recorded there under the eye of resident producer Jan Erik Kongshaug. Bugge and Thomas booked a couple of sessions at the legendary space with Kongshaug at the controls, and improvised some tunes in the style and spirit of some of their favourite ECM moments, like the fresh, open sounds of Codona, Egberto Gismonti, Oregon and Kenny Wheeler. Bugge had previously done a remix of Thomas's 'Bobletekno' in 2015 but this is the first time they have worked together as active musicians. The results - also partly taped at Thomas's home studio - fuse programmed rhythms, live synths and percussion, all captured in a sumptuously spacious acoustic.

For an even more authentic touch they called up one of their all time local heroes and one of Norway's most famous jazz drummers, Jon Christensen, who's been the go-to guy for Jan Garbarek, Terje Rypdal, Keith Jarrett and many more. At 75 years he's still pretty spry behind the kit, as you'll hear on several tracks here.

Make no mistake, though, this is not retro pastiche but contemporary music, coasting on gently insistent programmed grooves and bubbling basslines. The whole thing feels not so much like a consciously hip fusion of DJ and jazz musician, more like two great musicians totally enjoying themselves. Which is exactly what it is.

Key facts:
Bugge Wesseltoft is one of Norway's leading jazz figures. He set up Jazzland Recordings in 1996. His solo Christmas LP It's Snowing On My Piano remains Norway's best selling jazz album!

Prins Thomas's real name is Thomas Hermansen. His label, Full Pupp, means 'full breast'. He's released several albums under his own name, as well as collaborations with Bjørn Torske and Lindström. Check out his amazing Paradise Goulash mixtapes.

Opening track 'In The B' kicks off proceedings in no uncertain fashion. It's 100% wall shaker material, the type of techno music best paired with strobe lights and towering speaker stacks. It mesmerises with its low-slung undulating bassline and Detroit rhythms before giving way to some riotous old school Essex stabs and sharp claps. No messing, this is a certified 3 AM red light burner! Track 2 'Chocolate Biscuit' accelerates proceedings! Beginning with unfussy drums and a robotic, bleep-heavy melody driving it off into a wonderfully off-kilter direction. Its arpreggio'd rhythms may be brutish and wrestle a growling sense of menace out of the track, but the overall feel, however, suggests considerable care and attention has been paid to make it sound this way. There's clearly an uncommon musicality at play here to make something this complex feel so simple.
The BPM drops next on 'Jenny's Hall' but from the offset, there's enough funk and thrust in the motorised synth line to get bodies gently grooving without the beauty getting lost in the slower loop. This is blissed out, psychotropic techno - the kind of track where it feels like you're floating and falling at the same time, but all the while making sure you still remain fit for purpose on the dancefloor. Ian Blevins takes on remix duties this time and the Berlin-based DJ/producer offers up a sleek peak-time banger that fizzes, bubbles and percolates. He gives the rhythm on 'Jenny's Hall' less space to swing and ties it to a tight motorik beat turning it into a slice of shiny, modern techno but with extra shoulder-checking force. Its vibe drawing from a sense of outsider-party fun with a wry smile, and a knowing wink running throughout before bringing the package to a suitably left of field crescendo.

First Terrace return with the second instalment of their split series, an ongoing project which sees the work of two artists illuminated in each other's light. Built on the acknowledgement that context alters perception, the light shone by the opposing track alters the shadow cast, the effect of the other. In answer to the forked road presented by FTS001, we chose the quiet path*. As such FTS002 is a journey softly travelled. These pieces will not leave a scar on the sonic landscape, rather glide above the tips of the reaching leaves, high on a different mission. Vida composed her pieces to be absorbed in complete darkness. They were exhibited as part of the project In the Dark in Berlin, 2016. The lack of visual stimulus enhances the listening experience, sharpens the ears. At the same time, the audience is made vulnerable, they cling to the sound as it is their only guide through this passage of time. More information on In the Dark can be found here. Chihei presents a new long form piece conjured with guitars and effected into abstraction. It is parallel in form to the ebb and flow of water over the margins of a beach, ever the same yet constantly renewed. *(this time)

New album from Anthony Ferraro aka Astronauts, etc, who for most of his music career, served as Toro y Moi's keyboardist, with this album 'Living In Symbol' being his debut solo record.

Sonically, the album weaves its influences into an alien drapery. 'The Border' introduces Latin psychedelia to a groove à la David Axelrod, setting the stage for a vocal performance that manages to be equal parts Lee Hazlewood and HAL 9000. On 'The Room', a Borgesian story gets dressed up in an eerily graceful string arrangement reminiscent of Les Baxter. And 'Who I Talk To' nods to George Harrison in a soft rocking arrangement that supports Ferraro's ghostly croon.
Living In Symbol Is An Ode To Ambiguity, The Future, And Saying 'so Long' To The Known. A Member Of The Last Generation To Experience Life Before Total Interconnectedness, Anthony Ferraro (digitally Known As Tony Peppers) Aims To Be A Bridge Between Two Very Different Realities.

The Spirit Of Change Is Especially Pronounced In California's Bay Area, Where Technologies Dawn And Disruption Is The Noblest Goal. Critics And Advocates Of All Stripes Write Columns And Fill Talk Radio Hours With Their Analyses Of The Times. Ferraro Is A Funny Case: A Sometimes Luddite With A Romantic Streak, He Would Probably Be A Doomsayer If It Weren't For His Being Situated In The Middle Of It All. As It Happens, He Ended Up Writing A Generative Music Algorithm That Sold On Auction At The Smithsonian For $5,000.

His Take On Tomorrow Is Nonjudgmental, Meditative, Imaginative. It Keeps Away From Unqualified Hope Or Outright Alarmism, Choosing Instead To Embrace The Indeterminacy As Food For Dreaming.

Ferraro's Friendship With Chaz Bear, Who Co-produced The Album, Began Modestly Enough: Bear Walked Into The Coffee Shop Where Ferraro Worked While Attending Uc Berkeley. The Two Became Friends, And When Ferraro Graduated The Following Summer, He Signed On As Touring Keyboardist For Toro Y Moi. Musical Bonds Were Forged Over The Next Few Years, And The Pair Began Collaborating On What Would Become Living In Symbol.

Living In Symbol Is A Series Of Rooms, A Choose-your-own-tomorrow Story. Step In And Peer Through Its Open Doors.

Taking a turn to some of its roots, Emotional Rescue offers a reissue of Ramjac Corporation's UK house/breaks anthem Cameroon Massif!. First released on the increasingly cult-status Irdial Discs in 1990, this was very much the sound of the big bang explosion of Acid House morphing and splintering, as subsequent multi-genres developed, formed, imploded and reformed in new ways that still subsists today.

Within the melting pot of anything goes, chemically-enhanced optimism that spread across the UK during that return to the summers of love from 1987 onwards, the nascent sounds coming from Chicago and Detroit were mixed with a hybrid of 80s British influences, taking in European synth pop, US electro, new beat, hip hop and reggae. Out of this appeared a new sound, mixing that love of techno and house with dub bass and break beats into a proto-jungle swirl.

Like many growing up through the ever-evolving 60, 70s & 80s British music scene, Paul Chivers' early years of learning piano and guitar, moved from Beatles era pop to take in punk, jazz and anything an eager musical mind could explore. Developing a long-term interest and study of Cuban and Afro-drumming, his acquisition of an Atari and sampler soon moved to programming of both drum machines and TB303 and with that, Ramjac Corporation was born.

Playing live at some of the earliest raves in 1988, as often through luck and "right time, right place", including the infamous Back To The Future and Energy parties, Ramjac went from playing from 50 to 10,000 ravers in a matter of months, as the nation was gripped, depending on your cultural standing, by either a mixture of drug apocalypse paranoia or ecstatic celebration.

It was a meeting with Akin Fernandez, founder of Irdial Discs, that led some of the first studio experiments and creation of Cameroon Massif!. Utlising Akin's in-house studio and production skills, alongside Chivers' jazz influenced outlook of improvisation over arrangement, the track took shape, mixing the live programmed percussion, heavy doses of phase, delay and reverb and Sun Ra inspired keys that resulted in a number of mixes of Massif!.

Collected here are the original 12" "Massive" and "Massing" mixes, plus a special live version taken from the "Live At The Brain" reunion gig of 2009. The sought after 1990 versions and original Live mix are taken a step further with this 13 mins + mix, in essence a resampling and remixing reversion with didgeridoo and live on mic MCing, that gives a real glimpse of those early live sets. With more Ramjac Corporation material upcoming and a live reel-to-reel show appearing soon, the return of Cameroon Massif! is now.

Cong Burn go deep on their third record with Freerotation affiliate Duckett making his first appearance on the label and Chekov following up his recent contribution to Timedance. The heady A-side opens with Chekov's 'Spring' which has spent the last few years popping up in sets from Lena Willikens, Call Super and the Hessle Trio. Duckett's 'Lost In Israel' rolls through its first half carried by complex arpeggios before its layers are broken down and evaporated. On the B side Lack provides a extended and dubbed out DJ tool sounding like if Kowton released on Workshop. Haddon's 'Anabiosis' ties this batch together having first appeared on Cong Burn's debut CDR back in 2015 - since then it has become a go-to opener, closer and after party ender.

n5MD is proud to bring you All That Was Lost, The 3rd album from cinematic ambient composer Stray Theories. A treat for for fans of Hammock, Eluvium & the more soothing works of Sigur Ros...
Australian born and current New Zealand resident Micah Templeton-Wolfe is the sole force behind Stray Theories, and this album finds him following-up 2014s We Never Left EP with his first new long-form Stray Theories material, not to mention, his first album to be pressed to vinyl.
Templeton-Wolfe's time away has not been for naught. Composing for films, collaborations with like-minded artists and a plethora of remix projects, all while creating a sample pack for the Noiiz sample app under new project Ocean Lost. So it's been a busy time for Templeton-Wolfe.
While he has seemingly been focusing his efforts else- where, Templeton-Wolfe has been quietly composing for All That Was Lost, an album which is imbued in spades with Stray Theories' signature mood-altering sound- scapes.
Muted electronics have always played a part in the Stray Theories pallet, and some of Templeton-Wolfe's extracurricular work might have something to do with those textures now being brought a bit more to the fore. In Templeton-Wolfe's hand, these fit in perfectly within the personally subjective nature his music has always suggested. All That Was Lost is a cinematic ambient gem brought into the world at a time when we need it most.

Producer Okzharp and vocalist-artist-dancer Manthe Ribane both hail from South Africa, where Manthe still resides, while Okzharp lives in the London where he is a DJ and producer, initially cutting his teeth in LV, who in 2007 were one of the very first acts signed to Hyperdub. Manthe has been at the forefront of South Africa's cutting edge fashion, art and dance worlds for over a decade. After leaving LV, Okzharp and Manthe started collaborating, going on to release two well-received EPs on Hyperdub, 'Dumella 113' and 'Tell Your Vision', recorded in Joburg and London respectively. The recording of 'Closer Apart' reflects the title. Okzharp says 'Most of the music came out of headphone moments in hotel rooms, planes and airports in the brief periods of time that we spent together.' Describing Manthe as a co -producer, he continues 'She selected instrumental sketches and we developed them together, sometimes just keeping the bare bones or a melody or rhythm, or trying different elements or sounds.' Even though the album was built long distance, the short periods they spent together were the ground zero for creativity. Okzharp recalls 'One particular moment in Milan last year, we had a whole free day before our flight so we visited the Salone di Mobile design show. We were so inspired by an installation there just walking around, listening to the amazing soundtrack. That evening our flight was delayed, so we sat on the floor of the airport terminal putting musical ideas down for 'Time Machine' on the laptop speakers and writing the lyrics. "Tic Toc time, we'll be fine / Airport queues, cerulean blues / Viper trails cross the skies / Lights reflect in your eyes...' ' 'Closer Apart' has a softness and openness that contrasts the tougher sound of the EPs. Manthe explains, 'The new music is a 360 turn, an expression of my 'Lady' side. I grew up listening to Jazz, Classic and Gospel, I am a very soft spoken person, and it resonates with being confident with that. It's been crazy finding balance and finding a smart way to strengthen my weaknesses, I had to trust the process.'

Dauwd returns to Technicolour with 'Theory of Colours - Versions' EP. A new 4-tracker EP containing remixes/reworks of various singles from his debut album. The EP opens with a piano rework of 'Analogische Memories', recoded at his studio in Berlin and the result of countless hours work - 'it took some time, as I had to learn to play piano' Dauwd explains. Dauwd also makes up one third of the Berlin collective, party and radio show, African Acid Is The Future having previously released on Kompakt and Ghostly International. Ukrainian music producer and Leleka label boss Vakula provides a remix of 'Macadam Therapy'. Fresh from the release of his well received LP 'Metaphors' and following on from last years 'Techno Game' released via Arma and 'Cyclicality Between Procyon And Gomeisa' released via Dekmantel in 2016. AAITF partner Romain Azzaro AKA Rouge Mécanique provides two remixes of 'Murmure' (one 'Walking', the other 'Running') - "Romain and I returned to the studio where I made

Always Seen With A Smile On His Face, Inja The Poet, Lyricist, Storyteller And Unparalleled Master Of Ceremonies Presents His Debut Album On Hospital Records. His First Drum & Bass Focussed Long-player 'blank Pages' Flexes His Lyrical Style With Heartfelt Sentiment, Roughneck Flows And Quick-fire Wordsmith Wizardry. All Partnered With Heavyweight Productions From Pete Cannon, Nu:tone, Logistics, Serum, Whiney And Anile.
Inja's Back With Partner-in-crime Pete Cannon On 'war Games'. A Funky Bassline Lays The Foundations For This Fear-fighting Tale. As The Breaks Roll Out Inja's Militant And Deep Rhetoric Puts This Track On A New Level, With Signature Percussive Flair From The Sought After Hip-hop Beatmaker.
Inja's Spoken-word Piece For Amnesty International 'she Just Wanna Dance' Was A Viral Online Hit In 2017. It's Now Been Given A Turbo-charged Re-work By Med School Young-gun Whiney. Inja's Poignant Commentary On The Prolific Problem Of Harassment In Club Culture Sits Atop A Grimey Half-time Stepper That Switches Up Into A Lethal Upfront Roller.
Inja Proves He Can 'juk' Any Riddim In 'samurai'. Serum's Steppy Beat And Woofing Bassline Balances Inja's Story Of The Samurai, Slicing Through The Tune Like The Lyrical Sensei He Is.
even With A White Page And Black Ink, You Can Spell Out More Colour Than The Eye Can See.' - Inja

2017 saw the arrival of Pin Up Club here at the Bordello with a superb three tracker, Friends of the Vortex. Now the Dutch partnership are back. This time a quartet of tracks has been selected to produce The Forever Machine. The bold bars of Friends of the Vortex, the romantic rushes and soundtrack silhouettes are all present with new elements being introduced to further develop a truly unique style. Breathy vocals and melancholy are countered by warm synthlines in the brooding 'Valis' before the lonesome 'Is There Anybody Out There' blooms into a daringly bright work of disco dimensions. Opening the flip is the title piece. Smouldering, 'The Forever Machine' burns with quivering chords that rise ever skyward on a column of tight rhythms as lyrics spiral ever upward. 'A Deepness In The Sky' is a perfect illustration of Pin Up Club's ability to transform burgeoning sombre sounds into tempered elation, rumbling strings and fragile percussion intermingling for a heady finale. Welcome back to Bordello A Parigi guys, welcome back to Pin Up Club.

Betty Harris' The Lost Queen of New Orleans Soul collects together the steady stream of amazing soul and funk singles issued by Betty Harris from 1964 to 1969, under the musical guidance of legendary composer, musician and producer extraordinaire Allen Toussaint, a collection which truly captures the heart and soul of the city of New Orleans during this era.
Betty Harris's powerful, fiery soulful vocals found a perfect accompaniment with the New Orleans' players that Toussaint put together to back her, which by the time of her funk classic 'There's A Break In The Road' were the legendary super-tight, super-funk New Orleans group The Meters.
With the extraordinary song-writing skills of Allen Toussaint alongside the powerful, soaring, confident and emotive singer and the groove of The Meters, you have an unbeatable combination. That Harris never in fact lived in New Orleans (she flew in from Florida for all her sessions with Toussaint's local in-house players) seems almost an irrelevance, a geographical aside to the defining New Orleans sound captured on the recordings featured here.
All of these singles featured here were released on Allen Toussaint and his business partner Marshal Sehorn's local New Orleans label Sansu, widely distributed in the southern city but in only limited quantities elsewhere. As a consequence, Betty Harris' music failed to achieve the commercial success of other New Orleans artists such as Lee Dorsey (who she recorded with) and The Meters (who backed her). And so at the end of the decade she stopped recording, retired from the music business to raise her family in Florida.
This is no reflection of the stunning musical quality of all these songs which encompass everything from southern soul, heavy funk, deep soul ballads and northern soul. Betty Harris has been a cornerstone of Soul Jazz Records' New Orleans Funk and New Orleans Soul compilations. Always soulful and always funky, Betty Harris' music contains the essence of New Orleans music. She is the Lost Soul Queen of New Orleans.
This collection is released on CD, heavyweight gatefold double LP vinyl (+ download code) and digital and comes complete with full biography, original label artwork.

RAWAX CONTINUES THE MUSICAL JOURNEY WITH BOO WILLIAMS!
THE CHICAGO MASTER COMES AROUND WITH THE 3RD
RELEASE ON CHIWAX CLASSIC EDITION CALLED "LAST OF THE PASS".

Steve Reich's Drumming is regarded as one of the most important musical works of the last century. Distilled through his studies of African percussion in Ghana during 1970 and Balinese gamelan music, Reich revolutionized our understanding of polyrhythms, sculpting a new sonic territory to illuminate the radical potential of Minimalism.Divided into four sections, performed without pause, Drumming is written for eight small tuned drums, three marimbas, three glockenspiels, piccolo and voice. The singers recite melodic patterns that mimic the sounds of the instruments, gradually rising to the surface and then fading out. The overall effect can be transfixing - pulling listeners into the rhythm and possessing a raw immediacy, directness and energy.The premier performances of Drumming took place in December 1971 in New York City - first at The Museum of Modern Art, then at Brooklyn Academy of Music and finally at Town Hall where this recording was made - and featured the composer along with a cast of longtime collaborators including Art Murphy, Steve Chambers, Russ Hartenberger, James Preiss, Jon Gibson, Joan La Barbara, Judy Sherman, Jay Clayton, Ben Harms, Gary Burke, Frank Maefsky and James Ogden.Originally released in 1972 by gallerist John Gibson in a small private edition, Drumming represents the culmination of Reich's investigation into rhythmic phase relationships and its early realization captures a remarkably organic feel, especially compared to the more widely known version on Deutsche Grammophon from 1974.This first-time vinyl reissue and first-time CD release has been carefully remastered from the original master tapes.

"Things take a psychedelic turn for SchleiBen 7 with a welcome to the label of arch exponents of mind expansion in NYC's Georgia and the unlikely but no less diverse inclusion of Balearic stalwarts A Man Called Adam. Having Georgia in the series might not now be a surprise, however discussions with this open, genuine duo started during a visit to New York over 3 years ago and so here, finally realised in this fluid journey of confident pace and harmony, is the best of their freeform evocations. A duo in the everyday sense, Brian Close and Justin Tripp are video / music production teamsters of unnatural talent. Having gained a status of their own that has seen them release for the likes of Palto Flats and FTD, the five pieces that form their contribution drip with psychedelic intent. Culled from archives, the interest is how the tracks - made over different years, locations and situations in life - meld in to something poetic simply by being placed within a specific format. Avant-chimes ebb to rhythmic pulses and erudite teachings before dark percussion and Eastern melodies reach a clattering, but gentle finale. With an upcoming collaborative album with Secret Circuit due on the label later in 2018, as well as recent works with RVNG Intl's Matt Werth and recordings for Sacred Summits' brethren Firecracker Recordings, it's a warm, effusive glow of a welcome. In contrast, the inclusion of A Man Called Adam in the series may indeed surprise but is a false comprehension. The "Sketches" included here show AMCA away from their Balearic pop incarnation of the last thirty years and towards the academia that both members Sally Rodgers and Steve Jones have pursued in the last decade. With both completing PHDs, Sally ('The Diachronic Impact of Technology-Led Abstraction in Oral, Written and Music-based Poetries') is a senior lecturer at Leeds College Of Music, while Steve ('Mobilise: The Carry Principle, Sound and Mobile Media') is based out of de Montfort University, now is the perfect time to highlight the diverse sound environments they have been working in. The music that makes up these recordings are drawn from sound works and audio experiments completed in recent years. From sound toys and apps to home made glass organs and electro-acoustic sound, custom patches to spoken word manipulations, the sketches are excerpts - some evolved from commissions for the National Science Museum, BBC Radio 4 and live performances with the world renowned video artist Milosh JL - fused especially for this release. Bringing these generated pieces in to an audible "mix" creates a discourse of their work in performance, interactions and visual media. An intellectualised album therefore, but still in the premise of the series to allow artists to present something new, unique, discrete, hidden even, all with the aim of giving the recipient the chance to sit back and (un)listen. "

The Four Tracks Composing All My Time Reveal A Unique Bird's-eye Perspective Over The Contemporary Pop Landscape, With Its Ambiguities And Fictional Public. By Developing A Personal Approach In The Bosom Of A Universal Notation, Mechatok Informs Naturally His Compositions With A Deep, Emotional Insight. Ornate But Undisposable, All My Time Glides Through The Skies Of Today's Music With A Rejuvenating Melody. Limited Edition Vinyl. Includes Dl Card.Timur Tokdemir Aka Mechatok Hails From Munich But Now Calls Berlin His Home. With His 2016 Debut 'see Thru' Ep On Staycore The Young Producer Exhibited A Rare Gift Of Honing A Distinct And Unique Style At Quite A Young Age. The Title Song Was Accompanied By A Captivating Videoclip Shot By Benjy Keating On The Stairs Of Athens' Panathenaic Stadium, Able To Reflect Both The Wide Scope And The Intimacy That Defined The Compositions. Mechatok Also Attracted Attention Thanks To The Single 'still Life' (co-produced By Toxe) Which Scored The Kenzo Fw 2016 Prints Presentation. The Allure Of Mechatok's Compositions Can Be Partly Traced Back To The Fact That He's A Classically Trained Guitarist, But A Distinct Expertise Can Also Be Recognized In His Dj Sets, Where He Instinctively Juggles Melodic Pieces With Club And Pop Music, Conveying Feels From Vulnerability To Bliss. In His Mixes For Dazed And Mixmag, Mechatok Tells Stories Of Melancholy, Always Radiating With A Moving Energy. Mechatok Has Also Shown His Face As A Top-notch Pop Producer, By Providing The Instrumental For Uli K And Yung Lean's "schemin" Or By Remixing Sinead Harnett's "rather Be With You" Or Mr Mitch And Palmistry's "vpn", Which Got Recently Published On Planet Mu.

Marquis Hawkes is an alter ego adopted by long time electronic music producer Mark Hawkins, founded for his house music focussed activities. Hawkins decided it was time for a reboot after being head-hunted by old friends Dan Monox and Kenny Wasp, who had just founded Dixon Avenue Basement Jams in 2012, particularly as the material differed from what he'd previously released.

Hawkins solidified his sound during this period, taking influence from house music's Chicago, Detroit and New York home bases alongside the UK's deep house sound. Fusing these styles with contemporary production values, he developed a style synonymous with his Marquis Hawkes alias.

Whilst branching out to release on other labels like Clone and Cremé Organisation, he caught the attention of London club fabric's artist-led label, Houndstooth. They signed him on a long term deal, giving visibility to his DJ profile that meant he could play music full-time.

In 2016 his debut album 'Social Housing' was released to critical acclaim, and the following year, a stellar string of releases on Will Saul's AUS Music label culminated in the ubiquitous club and festival hit, 'The Basement Is Burning'. A track inspired by Hawkins' own shocking experience of a fire in his apartment block, it was played heavily on radio across the summer of 2018.
Looking forward, this new 12' EP for Houndstooth under the Hawkes alias is scheduled for release on June 29th, and features a vocal collaboration withUrsula Rucker, Hawkins is also pursuing other music projects and identities, some known, like his Juxta Position project, which he uses for more industrial but groove based techno material, but others which are more incognito, and may well remain as such.

Crosstown Rebels deliver their next album in the form of a masterful offering from Chic Miniature. The cosmic duo, Ernesto Ferreyra and Guillaume Coutu Dumont make a welcome return to the label with eight tracks of melodic bliss.Fourteen years in the making, a thread of mystery weaves its way through the tapestry of this melancholic LP. It's a true journey through a sublime sonic soundscape. Opening track Adormecido is shrouded in mystery, closely followed by Miso Drunky with its tribal drums and dramatic synth stabs. Kaléidoscope bubbles up next, swiftly followed by Tilt with its genteel cowbell. Then comes Año Uno the first track created back in 2004 with its impressive church-like bells. Suki Ni is twinkling and sublime that flows into the delicate groove of Let It Slide, which samples an ambient rain storm. The album closes on La Sandunga gracefully littered with plentiful percussion.Of the album, the pair explain how they were 'raised on old technology and integrated the newer technology in our everyday lives as it was developing' a fact that is clearly apparent upon listening to the album. They give a sonic hat tip to their 'love of melancholic melodies....almost always rooted in the past, but to us, no time is attached. Are the new machines dreaming about the past, or are the new ones contemplating the future that lays ahead'. The album proves their ability to fuse the new with the old to create an album bursting with timeless tracks.Ernesto Ferreyra and Guillaume Coutu Dumont's partnership is a true meeting of musical minds. Their first release was gifted to us way back in 2005- the Conexio´n Califa EP released on German imprint Raum Musik. Since then they've released on Musique Risque´e as well as a previous EP on Crosstown Rebels. Individually, they've released a plethora of music with Ferreyra also heading up his own label Loosen Up Records and Guillaume signing music to Musique Risquée amongst others.

LOYOTO are the East-Berlin born Eva Be and Cle from the western part of the formerly dived city. Both started their DJ and producer career almost at the same time in the heart of the then developing scene, the very center of Berlin, just after the wall came down. Originally rooted in very different styles of music, they encountered for the first time DJing together in 2011, finding common ground in more than just music - a gig, that should lead to more: They decided to combine their talents and knowledge and build a studio together. Here, and during legendary back2back DJ sets, they finally united their different musical backgrounds - dub/reggae and underground house music - and defined their very own sound.

2025 Repress

After a wildly successful collaboration on Thatmanmonkz's 'Turn It Out' from the LP, Columbus-ing, Dave Aju suggested they should continue their production streak for a new percussive tracks project. At the same time, Aju had finally kept his word to legendary Bay Area club/underground MC and personality, Foxxee aka Foxxee Brown aka Lawrence Petty, to work on a track together as well. Petty being a core part of the infamous Ya Mama's House radio show on 106 KMEL alongside Pete Avila and David Harness that introduced legions of young Bay Area DJs to real House Music, includ-ing Aju, in the early 90s. While Aju & Monkz had originally been working on more of a slick club romance narrative angle over some robust tumbling drums, some very tragic news had struck their hometown - at an under-ground event in Oakland California, more than 30 people including many dear friends and stalwarts of the local dance music community had been trapped inside a building and killed in a fire that broke out while doing what they love, in the now-infamous Ghost Ship. Lawrence and Aju immediately acknowledged and agreed that the track should serve as a tribute to the event and the loved ones affected by it. But decidedly, rather than it being a solemn requiem of sorts, it should reflect the communal power, strength and uplifting spirit of the underground scene they all helped build and knew so well. At first entitled They Sleep We Live, a representative reference to the iconic arm tattoo of the late Jonny Igaz aka Nacht, one of the more well-known and active DJs whose life was lost that tragic evening, and a lyrical direction idea for Lawrence for a direct tribute to the SF Bay Area scene,

One of the world's most iconic drum & bass acts, Pendulum have announced their return for 2018 with a brand new album and brand new live shows. 'The Reworks' is a project unlike any
other released by the band before, and marks the end of their seven year hiatus, officially launching on 16th March.

To mark their return, the band have announced their first headline show since 2011 at London's unique new space, Printworks . The show sold out in under an hour and will be both an auditory and visual spectacle for fans.

Also announced is Pendulum's return to one of the UK's biggest events - Reading and Leeds Festival . Headlining the BBC Radio 1 stage - the same slot they graced the last time they played in 2010, the shows mark a welcome return for the band in the UK.

The news will undoubtedly be well received by Pendulum 's legions of fans, with the band having hinted at a comeback by returning to the live stage last year, headlining the UK's South
West Four and Nass Festival , and confirming for this years Snowbombing festival in Austria.
For 'The Reworks' , the internationally-renowned band have tapped some of the most innovative talents from over the past few years to deliver dynamic and refreshing interpretations of their
biggest hits and some of their personal favourites. Friends and collaborators Skrillex , Icarus ,Knife Party and Matrix & Futurebound take their turn on this who's who of electronic music
royalty, whilst Noisia 's explosive cut of the now-iconic track 'Hold Your Colour' will be available with the album preorder from the 16th March.

'The Reworks' album will be available in both CD and vinyl formats from the 29th June.

This exciting announcement marks the beginning of a new era for Pendulum , who have long been considered one of electronic music's most important and pioneering acts, famed for their
no-holds-barred live shows. With more huge festival dates TBA across the summer and new originals on the horizon, 2018 marks the an exciting chapter in Pendulum's already lengthy career.

Noisia' s remix of ' Hold your Colour' , the first single to be taken from Pendulum 's 'The Reworks' album, is set for release on 16th March alongside the preorder, with the full album set to drop on 29th June.

Word Of Advice To Funk Lovers, There Is Not A Minute To Lose. Get On Board Of The Big Hustle's Spaceship. Before We Take Off, Let's Do A Little History. The Band Was Founded In 2014 By Bass Player And Composer Sébastien Levanneur And Its Aim Is To Bring Together 70's Old School Funk With The Hippest Actual Sound Laced With Influences Spanning From Steely Dan And Headhunters, To Snarky Puppy And Soulive. With Mighty Horn Players, A Rock And Funky Rhythm Section, The Big Hustle's Music Has A Very Large Variety Of Soundscapes.

The First Destination Takes Us To The Washington, D.c. Area With turn Up'. The Groove Is Clearly Go-go Music Flavored With The Trademark Sound Of Cowbells And Of Course It Reminds Us Of Zapp By The Use Of The Talk Box On Lead Vocals, Performed Here By Saad El Garrab. And Don't Miss Out Shaun Martin (snarky Puppy, Erykah Badu, Kirk Franklin Amongst Others) As A Very Special Guest Performing The Talk Box Solo! Second Stop Is a Curse, A Blessing'. It's An Instrumental Very Much In The Freddie Hubbard Vein During His Cti Years. The Last Leg Of The A Side Ends With An Instrumental Interlude Titled flying Donut'. Double Tribute To Jay Dee And Flying Lotus, The Music Is A Simple Hip Hop Loop Based On Samples.

The B Side Takes Us Back Into The Past With Two Brilliant Covers, Involving Rod Temperton The Late Great British Songwriter Who Scored Some Of Michael Jackson's Biggest Hits. Now The Idea For This B Side Is To Do The Opposite Approach From The A Side. Taking 70's And 80's Original Music And Make Them Travel Into Time To 2018. We First Land With A Heatwave Song Named the Star Of A Story' From Their 1976 Central Heating Album. Track 2 Is A Herbie Hancock Song Named gettin' To The Good Part' From His 1982 Lite Me Up Lp. This Time Traveler Ep Journey Ends With An Interlude. Called gimme Dat', The Song Deals With The Need Of New Music, New Sound.

Again, This Blend Of Deep Rooted Funk Laced With A Contemporary Edge Is To Be Consumed Without Moderation. And Do Not Forget That E.p. Also Stands For Extended Pleasure.

Sfetsas formed GFO in 1976, in order to accomplish an ambition dating back to his 1960's Avant-garde period in Paris: to create a piece of work that would expand the boundaries of Greek traditional music. The result is a Progressive-Jazz Fusion masterpiece comprising complex and intriguing compositions, and performed by Athens' best musicians of the day.
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Sfetsas grew up on the island of Lefkada where he studied classical music from an early age at the local conservatory. At the same
time he was genuinely connected to traditional music and especially to the sound of the clarinet, the lead instrument in the region's
folk music. From a young age Sfetsas would perform with Gypsy orchestras in local feasts. It was this experience that inspired him
to create the GFO after his return from Paris in 1975. Sfetsas founded the orchestra while working at the National Radio, an orchestra comprised mostly of members of the Variety Music Orchestra, who had a solid background in both classical and traditional music. In that way, he was able to realise his ambition. Something he could not do in Paris, since it was impossible to find musicians trained
in both musical cultures.

The recordings on this album, forming only a small part of his overall body of work with GFO, are previously unreleased. The music
was recorded Stereo on Reel Tape and with high standards for the time, with the current mastering process highlighting even more
the quality of the recordings. The result is a truly impressive and pure audiophile album.

It shouldn't come as a surprise that Applescal is the next in line for a release on DGTL Records, seeing as he has been part of the crew since day one, with multiple appearances at their shows to his name. The Atomnation label-head crafts out three tracks all coming from one single studio jam, aptly naming them Harmony One, Harmony Two and Harmony Three. The record is a special one for Applescal himself as well, as it's his first full EP in two years.

The EP starts off with Harmony One, a dubby and bass heavy track with a subtle vocal sample. It steadily builds up towards a more energetic part with synth stabs and heavy snares, while the pads in the background still make it keep its atmospheric feel. As all three tracks come from the same studio jam, it's obvious that this was the start of the jam, serving as the basis for the other two tracks. The second one, Harmony Two, was previously part of an Atomnation sampler and received a lot of great feedback, as well as airplay from a few big names in the industry. It builts around an arpeggio that playfully progresses and intensifies towards the break, where a raw synth is layered on top for the climax. With a more subtle bassline, but multiple rhythmic elements that add a proper swing, it makes an essential peak-time tune.

The flipside brings Harmony Three, which distinctly sounds as the final part of the studio jam. Hard hitting synth stabs and a rolling bassline set the track apart as the heavier hitter of the three, while still clearly building on the overall theme. It features an arpeggio that progresses along the break and into the main part, with sharp drum samples and tense synths. It wraps up this release perfectly.

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

Who Do You Go To For Your Very First Session When You Have Just Been Gifted Your Very Own Top-flight 'stradivarius Of Synth Based Studios' Enter 'the Grid' ...mr David Ball: One Man Band Of Pioneering Electro-pop Distorters Soft Cell, Part Time Psychic Tv Personality, Film Soundtrack Composer And All Round Synth Afficionado & Richard Norris: Eclectic Beat-meister & Ambient Dj, Record Producer, Commited Psychedelicist From 'beyond The Wizard's Sleeve'. The 1990's Saw Worldwide Commercial Success As The Grid Scored 10 Uk Chart Hits, Many A Euro Hit Including 1994's International Mega-hit 'swamp Thing' Featuring A Twisted Use Of Sampled Banjos Lifted From The 1970's Okie Shocker Movie 'providence. In 1996 The Grid Went On A Holiday And They Didn't Return Till 2005. In The Initial Week Of The Moog Sound-lab In Early 2015 As The Studio Was Literally Put Together Around Them, Our Abiding Memory Was Their Absolutely Delighted Grins As Each Moog Unit Was Added To The Lab. Dave & Richard Created This Benchmark Album Of Deluxe 'tronic Trax That Showcased Their Prarie Wide Knowledge Of Electronica & Their Ocean Deep Skills As Both Technicians & Original Soundscapers - Kraftwerk-ian Werk-outs, Space Noise Jams, And Slinky Grooves With Subtle Pop-tones.

7"

A ludicrously rare outing from Jah Rej and the Jah Works crew appearing on vinyl for the
first time.
.*Dating from 1989, `Carrion Bird' has only previously surfaced on the cassette-only various artists set `One Foundation' released on the Jah Works label.
*A deep meditative instrumental (apart from a hint of Donette Forte's voice drifting into the mix) dropping on a moody head-nodding mid-paced rhythm.
*Backed with `John Crow' a retrained dub mix by Rej from Channel One UK studio.

The world has barely recovered from the previous sting of the Scorpio Man, when he lands in another dose. "Cold Turkey Time" from Ernie Hawks' debut album gets a single treatment here arriving back to back with the 45 only track "Tracking Down". The latter should make the b-boys move even if heard in the relaxing steams of a Turkish bath, where its breezy melodies eventually point at.

"Cold Turkey Time" is a serious slab of jazzy funk that shares many of the exotica qualities of its partnering side. It might sound nice, while driving a fine European sports mobile down on a spiraling mountain road, preferably in a 60's dandy state of mind. The eerie wordless vocals at the end tie the package together so nicely that Dario Argento could have made a scene out of it.

The continental vibes emanating from this vinyl single are bound to appeal to rare groove fanatics and secret agents alike. Ernie Hawks and his merry bunch of professionals are on a mean streak here, so keep listening.

Atangana Records's back with its second release, once again a long-awaited reissue, once again digging into the Caribbean music with a classic track from Les Maxel's (from Guadeloupe), Le Retour de Toto'. As usual, the remastered tune comes with a remix and a B2 just' coming with the remixer's add parts.

Originally out in 1976, Le Retour de Toto' on Disques Debs International is a brilliant dancefloor killer, magnifying the cross-world between zouk and latino music, biguine and calypso. You can hear from the prominent hi-hat all the energy of the dance moves you could improvise on that kind of joint. With a lot of break, wonderful horns and backing vocals, Le Retour de Toto' will enjoy all the summer dancefloor and airwaves for some time...

Deni Shain says : When we discovered this gem with my friend Likkle Ben, over a night of digging, it's mainly the keyboard break that drove us nuts! We were already hearing the edit that we'd make for our gigs... It didn't take long for me to contact the family of Henry Debs, introducing Atangana's project. They loved it, and at that time I went to studio with my friend Papastomp to start remixing it... I love how we added step by step the addparts, giving respect to the original tape...

The ep comes in 300 copies packed in hand burnt sleeves on the front and a silkscreen print on the back

Eocity is the result of a study on technological failure and the imagination of a non-existent urban landscape.

This project features the use of a Yamaha ex5r, one of the rst synths to ever implement VL synthesis.

The "Yamaha Virtual Acoustic" Synthesis tone generation was born to try to accurately emulate the complex vibrations and other acoustic phenomena of real instruments and their sounds within space, but the dubious results of this technology gave birth to something more.

Its nal output sound happens to be cold and synthetic while being also organic and warm at the same time, welcoming the listeners into a feeling of an arti cial world that is neither digital nor analog.

In this world man is not around anymore and the binary language survived him, communicating with the rest of the natural environment, in respect of its laws and dynamics, becoming one indistinct entity.

Eocity is a place that exists in between the imaginary and the real one, gently oating as a digital tactile experience.

For A Long Time, Electronic Music Has Been Understood In Terms Of Sounds Rooted In Particular Places: The Styles Of House And Techno Inextricably Wedded To Detroit, Or The Early '90s Jungle Sound Which Carries Echoes Of London. But That's Something Which Is Changing - In Latin America More Than Anywhere Else. A New Project, Led By Gilles Peterson And Rum Maker Havana Club (that Created The Havana Cultura Platform In 2007 To Promote The Island's Contemporary Culture), Shines A Light On Cuba's Fast-mutating, Rhythmically-adventurous Underground. It's A Scene Where Old Ideas Are Transplanted Into New Contexts, And Like-minded Scenes Are Brought Together In New Dialogues.

Havana Cultura: ¡su´belo, Cuba! Showcases An Extended Network Of Like-minded, Forward-thinking Musicians Driving Cuba's Music Forward. Following Repeated Trips To Connect With Venues, Collectives And Djs, Peterson And Will Lv - One Half Of Lv, Who've Released On Hyperdub And Keysound Amongst Others - Linked Up With Dj Jigu¨e, A Much-respected Producer And Dj, Whose Guampara Label Has Charted New Directions For Cuban Music. He's Been Profiled By The Fader And Vice, And The Album Features His Extended Network Of Collaborators, Connecting Afro-cuban Traditions With Contemporary Movements And Ideas.

The Album Provides A Snapshot Of A Unique Club Culture That's Fast Evolving. On The One Hand, It's Indebted To Cuba's Unique Characteristics, Where Regularly-practised Traditions Are Coloured By Intermittently-experienced Cultures From Outside. On The Other, It's Part Of A Global Shift Toward De-centred Club Music, With Homegrown, Influence-grabbing Dance Cultures Tilting Attention From Club Culture's Traditional Epicentres. It Offers A New Side To Havana That's Firmly Rooted In Its Past.

Extremely hot on the heels of 'A Library Excursion', Earl Jeffers teams up again with Don Leisure, his partner-in-beats for another EP of Darkhouse Family goodness. Following on from their highly acclaimed debut album 'The Offering' from late last year on First Word, the Cardiff duo have hand selected a group of friends, dons and legends (including DJ Spinna & Kaidi Tatham) to serve us up 'An Extra Offering'. Five remixes curated by the crew.

For the refix of 'The Accession' (which originally featured Kamaal Williams, Dave Newington and Daf Davies from Boy Azooga), label-mate Kaidi Tatham kicks off with some down-low bottom-heavy boom bap, before switching up the tempo mid-way for a blast of his inimitable jazz-funk bruk boogie.

Next up we're honoured to have not one, but TWO tracks from the Brooklyn legend, DJ Spinna. His Galactic Soul rub of 'Another World' flips the original into a deep soulful 4/4 house cut, featuring the lush vocals of Esther (and one Charlotte Church on backing vocals, pop fact fans).

Then there's DJ Spinna's Galactic Funk take on 'Just So You Know' with the marvellous Vanity Jay on vocals. This one is on the same mid-tempo tip as the original, but with that unmistakable Polyrhythm Addict flavour of big kicks, crisp snares, hench bassline and sweet spacey synths.

For the 'GAEA' remix we keep it Cardiff and introduce the man like Alfie Swan. Doubling up the tempo of the original, this adds some seriously wavy sonics and flips the groove entirely, creating a seriously innovative cocktail of riddims. One for those not shy of some jazz ethics in the dance.

And to close out this offering, Andromeda Jones lays down a ridiculously delectable broken beat mix of 'Journey To Love', this one again featuring Vanity Jay. No messing with this one, this is straight dancefloor fire, transforming the hip hop soul track into a future boogie heater. One for the ravers.

This EP illustrates once again Darkhouse Family's wide range of influences and sounds, as selectors and as music makers themselves, and is no doubt one that will stay in your box for a very long time...n

to Me, Sounds Have Always Been More Interesting Than Words,' Says Agnes Obel. i Love It When The Voice Becomes An Instrument And You Almost Forget It's A Human Voice.' Never Is This More Apt Than On This Beautifully Programmed And Bewitching Selection Of Music.

Agnes' 2010 Debut Album Philharmonics Went Platinum In France And Belgium And, Unsurprisingly, Quintuple Platinum In Her Native Denmark, Where She Also Won Five Danish Music Awards (equivalent To The Brits) In 2011. The Follow-up Aventine, Released In Late 2013, Was Imbued With The Same Measured Calmness As Her Debut. It Went Platinum In Belgium And Gold In Denmark And France.

For The Mix You Have In Your Hands It Feels Almost As If Agnes Has Scoured The World Looking For Kindred Spirits - Or Kindred Songs. There's A Quietude About It All, The Antithesis Of A Rush Hour, Like A Frozen Lake On A Sunday Morning. This Is Aided By A Veritable Cornucopia Of New Obel Material, Including A Haunting Reading Of Danish Song 'glemmer Du', Inger Christensen's 'poem About Death' Set To Original Music, And An Agnes Original, 'bee Dance'.

Among Them, There's The Enigmatic Jamaican Singer Nora Dean Who Weighs In With The Hypnotic And Slinky Duke Reid Production, 'ay Ay Ay Ay (angie-lala)' And The Sparse, Sardonic 'party Girl' By Michelle Gurevich, So Good It Inspired The Eponymous French Movie. There Are The Plangent Voices, The Bulgarian Folklore Choir, Nina Simone, Ray Davies And Agnes Herself, Ringing True. Somehow, Ms Obel Makes Even Makes The Electronic Tracks Bow To Her Needs As With Yello Whose 'great Mission' Is More Martin Denny Than Underworld And Cult Greek Composer Lena Platonos' 'bloody Shadows From A Distance' Pulses Gently Rather Than Throbs And Can's Recently Rediscovered 'obscura Primavera', Unusually Hushed.

"i Was Surprised At How Much Time I Ended Up Spending On This. I Collected All The Songs Together With My Partner Alex And We Just Spent Time Listening To Records, Trying To See What Would Fit Together. Some Of The Music I've Included Here Is On Mixtapes We Made When We Were Just Friends As Teenagers. Each One Of The Tracks Produces Stories In My Head." - Agnes Obel, February 2018

Born in Munich, Sebastian Schnitzenbaumer aka BELP partially grew up on the Seychelles islands off the coast of East Africa. Educated in classical piano, those two gravitational poles, European and African influences, became the basis for his musical development. Having travelled extensively with a closer connection to London over the years, BELP kept his base in Munich, becoming part of a small alternative scene questioning the predominantly rich and posh surface of the city. Blending jazz, dub and noise, an emphasis on darkness in his broken beat oriented works evolved as a reaction to a rather hedonistic society preferring warm and uplifting sounds.

Superb acid dancefloor techno tribe party timer... And, a splendid A2 killer from Vikkei... a tune that no one shall forget as a 136 BPM downtempo techno acid loud un-doom perfection. MASTERPIECE

Following 2017's 'Path of Ruin', DJ Richard returns to Dial with his much-anticipated sophomore LP, 'Dies Iræ Xerox'. Undoubtedly one of the most distinctive and fully-formed electronic producers in recent memory, DJ Richard imprinted the sound of a bubbling US underground with his label, White Material, founded in 2012 alongside Young Male. His first solo LP for Dial, 2015's 'Grind', found DJ Richard delicately establishing a discipline between his East Coast noise heritage and a physical, emotive tradition of house music, mastered during an extended stay in Berlin. Now firmly settled once more in his hometown of Providence, 'Dies Iræ Xerox' is a personal and uncompromising journey that finds the Rhode Island native in reflective form, journeying without compromise into both his creative influences and personal psyche. In part adapting its title from the Latin hymn 'Dies irae', otherwise known as 'Day of Wrath', 'Dies Iræ Xerox' melds the physical and psychological aspects of DJ Richard's production ethos in sharper, more widescreen vision than before; the oceanic swells of ambience yet more powerful, and the rigid basslines sharper still. With the chaos of the Berlin club scene an increasingly distant memory, the album is enriched with a contemplative, even brittle tone, as informed by film soundtracks and literature as the pulse of city living. Still, this is new material from DJ Richard, a touring DJ as distinctive as any other to be found behind the decks at some of the world's finest clubs and festivals. On 'Dies Iræ Xerox', the artist finds the space to write 'the records I really want to play', and each suggests a template for genuine dancefloor transcendence, beginning with the electrifying 'Vanguard' . The sludgy yet sophisticated crawl of 'Tunnel Stalker' sets the tone for the menacing yet somehow melancholy EBM of 'In Broad Daylight', while the record draws to a breathless close with the affecting, drum machine lethargy of 'Gate of Roses'. Drawing little distinction between his more physically rousing material and searching soundscapes, 'Dies Iræ Xerox' instead finds a passage of catharsis throughout both. 'Dissolving World', the album's breathtaking centerpiece, is a choral feature hypnotically overwhelmed by walls of electronic feedback, forging a dramatic link between old ways and new. On the bold and near-beatless 'Ancestral Helm' and 'Final Mercy', DJ Richard seems to grant both music and raw emotion the ability to simply float in the air, brilliantly, poignantly unresolved. If 'Grind,' inspired by the weathered coastlines of Rhode Island, was a record concerning "the border between civilization and the ocean," then 'Dies Iræ Xerox' is an unapologetic follow-up concerning that between macabre obsessions and fear of death. Produced during a murky, transitional period, DJ Richard found himself particularly drawn to Medieval European art and mysticism, fascinated by depictions and philosophies of the antichrist and end-times. Greatly influencing the uncompromising, apocalyptic tone of the album, these investigations have created an engaging and personal vision of the 'Day of Wrath.'

Only one month after the release of their first ep on MT on May 2018, Vactrol Park continue surprising, this time with a full LP in the shape of 'Music from the Luminous Void'.The album sees VP delve much deeper into more atmospheric realms. Using modular synths and unexpected drum machine sequencing they leave the 4X4 beats behind in favor of off-world rhythms and ever growing bass. Starting with Drops's high frequency tension, laying on top of those heavy kick drums it keeps on growing and growing. From there it moves to the 'End of the party' groove that is Novikov's Notation, and its trippy monotonic rhythm. The A-side ends with the heavy sampled ambient track Macbeth, bringing forward that mesmerizing flute solo by Italian artist Luca Spagnoletti yet succeeding in avoiding the kitsch, and with a touch of class. The B-side delves even deeper into ambience and atmospheric muzak. Starting with Bells, that features again Spagnoletti on flute. Then we get into the real gems of the album - Anstruther and Glove. The first is a pure trip into modular psychedelia and repetitive jazzy-like drum rhythms, creating tension right from the start and plays with it throughout the track before decaying slowly into Glove, which is in sense both the catharsis and the decompression session of the album. Like a 2018 version of Vangelis, this track's soundscape will keep you dreaming with your eyes closed long after the album ends.

180g vinyl

Colin Potter Is A Sound Engineer And Musician Currently Based In London. He Has Worked Within The Fields Of Electronic And Experimental Music For Over 35 Years, Collaborating With The Likes Of Current 93, The Hafler Trio, Organum, Andrew Chalk, And Most Notably As A Key Part Of Nurse With Wound Alongside Steven Stapleton. He Started The Esteemed Icr (integrated Circuit Recordings) Label In 1981 Releasing A Clutch Of Wonderful Home Recordings Of His Own, Over Half A Dozen Small Run Cassette Only Releases.'the Where House' Was Recorded In 1981 At Ic Studio, A Converted Wash House In Sutton On The Forest In North Yorkshire. The Album Was Self-released On Cassette That Same Year Via Icr. This Expanded Double Lp Edition Features All 13 Tracks From The Original Tape On Vinyl For The First Time Plus 4 Bonus Tracks. 'the Where House' Is A Prime Example Of Early Uk Post-punk/industrial Electronic Music. combining Dub, Electro, And Krautrock Rhythms With Psychedelic, Kosmische Noise In Multiple Mutations Ranging From Almost Pop-wise Songcraft To Horizon-scanning Motorik Flights,' Says Boomkat. Most Of The Damage Was Done By Colin Using Guitars, Synths, Sequencers, Drum Machines, Percussion, And Modified Toy Keyboards With Fairly Primitive 4-track Recording Equipment. He Was Assisted On Some Of The Tracks By Stephan Jadd-parry (guitar, Percussions), Jon Caffery (guitar, Bass, E-bow, Percussion) And Nick Jackson (synth). All Songs Have Been Remastered For Vinyl By George Horn At Fantasy Studios In Berkeley. The Record Is Sleeved In A Replica Of The Original Cassette Artwork By Jonathan Coleclough. Every Copy Includes A Double Sided Postcard Insert With Notes From Colin.