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Minimal Wave presents a full length album by Dutch electro pioneer, Das Ding. Das Ding is Danny Bosten, who was active in the early 1980s releasing his music and friends’ music via his own cassette label called Tear Apart Tapes. While studying graphic design in art school, he designed all the tape covers himself. Meanwhile, he re­corded his own music as Das Ding. Powerful dark electro, some tracks are quite addictive and danceable while others are more for at home listening enjoyment. The dancefloor killer is somewhere between Reassurance Ritual and H.S.T.A. The record is pressed on 180 gram vinyl and comes in a printed innersleeve featuring artwork by Danny Bosten, and heavyweight outer jacket with photographs by Dima Belush. Definitely one of this year’s favorites

Seriously good new PPU - obscure lowdown funk from Miami..

Central AYR Productions.. Recorded in various places and others spaces, mostly around Orlando Florida. Multi-Instrumentalist and Vocalist, Anthony Cole is the latest chapter of the PPU family album. AYR, pronounced "air", was formed in 1993. AC recalls "those were very productive and indulgent periods of my life", "the next level in black light". We've got countless hours of 4-track cassette recordings to sort through, these were the first few standout tracks, presented to you in their unedited entirety. Stay tuned for more of the what we call Dirt Music, only in the underground, building on where PPU began.

2019 re-issue, 180g vinyl, remastered from the original tapes
Be With have raided the KPM archives to re-issue another of our favourites from the KPM 1000 series. They say: A Dramatic Suite Of Themes, Montage, Sequences And Generics. We say: An enormously influential and heavy KPM set of timeless, killer funk breaks from 1972 by the mighty John Cameron. Jazzrock is an aggressive, percussion-heavy album with an energy that leaves jaws on the floor. Breaks and beats for days with electric piano, bass loops, and pounding percussion. Funky jazz with a deep, tough, soundtrack feel. As with all of our KPM re-issues, the audio for The Road Forward comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity. And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!

The 10th Snaker is straight out of Bucharest, Rumania. Eirwud Mudwasser dreams about an imaginary tropical planet from his quiet place somewhere in between. Organic yet electronic past-futuristic soundscape created from daily ideas, in combination of FM synthesizers and African instruments (i.e. Balafon) and off course with interesting samples. 'Contemporary Library Sound' --an ongoing theme of Snaker -- is expressed again in 11 distinctive songs, treated with touch of East-Europianic feeling.

With 10 albums already to her name, Muriel Grossmann is well-placed to create more sonic waves in 2019. Taken from her mesmerising spiritual jazz LP 'Golden Rule', we have deep jazz, modal jazz, esoteric jazz, spiritual jazz; refined, intensified and concentrated into 2 whirlwind sides.


"Arresting, deeply moving spiritual jazz... it's deep"

"Muriel Grossmann... embraces the groundbreaking, exploratory jazz of Sun Ra and John Coltrane, gives a very respectful nod to fellow contemporaries Nat Birchall and Shabaka Hutchings, and immerses itself in a swirl of transcendental expression" - UK Vibe

" Recommended, particularly for listeners who are ready explore sounds beyond straight ahead jazz or those comfortable with more esoteric jazz sounds." - The Vinyl Press

The new album by Juno Award and Polaris Music Prize-nominated Canadian soul star Tanika Charles.

Produced by a stable of some of Canada's finest musical minds including among the others Chin Injeti (DJ Khalil, Eminem, Drake, Aloe Blacc..), Record Kicks proudly presents "The Gumption" the awaited new album by Canadian soul star Tanika Charles that will hit the streets worldwide on May 10.

"What gave you the gumption?" Tanika Charles rhetorically asks during the introductory notes of her sophomore album appropriately titled The Gumption. While the apprehensive lover at the receiving end of that inquisition should feel slighted by the remark, it also alludes to the assuredness Tanika has gained since the release of her Juno Award and Polaris Music Prize-nominated debut Soul Run. The Gumption picks up where Soul Run left off, continuing her tradition of marrying classic soul with modern production styles. Across a dozen songs spanning 38 minutes, Tanika addresses moments of vulnerability, vindication, uncertain love, forbidden fruit and the state of the world today. "It's a little more mature. It's not feeling guilty about being up front, not being afraid to address situations that aren't comfortable for me. I'm comfortable in my skin now in a way I never was before. The overall theme is growth. I feel the music reflects that, and my words reflects that. Even the album cover tries to convey the feeling too. I'm not putting up with unnecessary nonsense anymore."

Predominately guitar-driven mid-tempo soul, with a handful of dance floor friendly tunes and some psychedelic leanings, The Gumption was indirectly influenced by the likes of Alabama Shakes, The Supremes, Khruangbin, D'Angelo, and Moses Sumney. It is sonically moody at times, but with consistent silver-lining arcs. "I've grown up and learned to deal with situations significantly better. We have a tendency to hold back our innermost feelings for fear of hurting others. Even when we're happy we worry about over-sharing, as if joy is a competition you don't want to gloat about."

The success of Soul Run propelled Tanika in front of new audiences far and wide, with extensive touring in North America and Europe. "I've been touring, experiencing new places and meeting new people. And in that time also worked on completing this album". While criss-crossing Canada with festival appearances on both the east and west coasts, Tanika also embarked upon four overseas tours for a combined 45 European shows within a one year period. This included performances at the prestigious Trans Musicales Festival in France, the Lärz, Germany Fusion Festival, Mostly Funk & Soul and Jazz Festival in UK, the Holy Groove Festival in Switzerland, and the Canarias Jazz Festival in Spain.

2023 Repress

A heaven-made match is now complete with Gerry Read's debut EP for Pampa Records. The British producer's distinctively twisted, lo-fi sound, combined with Pampa's deep-vein instinct for quality quirks, ushers in a new phase for two of house music's most celebrated names. The opening bars of 'It'll All Be Over' are immediately evocative, hinting at the patchwork style to come. Twangy banjo strings and a foot-stomp beat seem to herald a folksy arrangement, but that isn't to be. Soft floaty pads rise up to form an unlikely partnership, softening sharp edges and adding sophisticated melodic expression. Once a compressed vocal sample is introduced, the entire structure reveals itself and begins to spin and loop in the style of iconic French house productions. Propelled further along by the endearing drama of flooded bass drum kicks, falsetto voices and xylophone pings, 'It'll All Be Over' is immediately memorable and expertly architectured. Read's second cut, 'Satyricon,' is woven in the spirit of micro-house. Sharp waveform cuts, timely pauses, loops of noodling keys and hints of percussion shakers combine for a low-slung psychedelic effect. With the sunniness of a vintage folk-pop sample and sultry snatches of Spanish dialogue added atop a deep mid-tempo shuffle, Read secures his place alongside the Bradocks and Leclairs who came before him. On the flipside, Pampa's figurehead takes an expert turn at the controls of 'It'll All Be Over (DJ Koze remix).' The original's jagged edges are buffed out, and shined up into a gleaming disco house anthem. With its artfully timed strumming breakdowns and cowbell accents, it is an appetising teaser of the forthcoming summer.

French modern-classical quartet astrïd return on May 10th with the first part of a new release entitled A Porthole.

Conceptually the two records work in unison, focusing on portholes into the abyss, with part one delving into the depths of the deep sea. The tracks are named after various strains of seaweed, the artwork depicting dark waves and uncertainty. Part two will follow in a years time and will turn its attention to the night sky and constellations.

A Porthole continues astrïd’s signature style of billowing guitars, strings and woodwind. Each element intertwined with another, linked perfectly together through restrained jazz-tinged percussion. 2017’s highly-acclaimed release ‘Through the Sparkle’ with renowned pianist Rachel Grimes (of Rachels) set the bar extremely high for this release but astrïd have matched the depth, melody and quality of that record here.

Part one of this journey features some sublime compositions with Cyril Secq’s expressive and bold guitar playing carrying the pieces into chamber music territory, joined seamlessly by a variety of other instruments that swell and soar and fit perfectly into the story being told. Everything seems to have its place, nothing is overplayed or out of step here, there is an organic nature to the way this quartet plays and interacts with one another as melodies circle back and fade away in the same beautiful breath.

A Porthole is a deeply charming record, exercising glorious, nuanced refrain and offering a sort of hope rarely found in music these days.

• Aqua blue vinyl - limited to 300 copies w/ download code

• The album was mastered by Harris Newman (Godspeed You! Black Emperor, Tindersticks etc)

• The artwork is extracted from an original one of a kind monotype print by Gizeh overlord Richard Knox.

Penalties Of Love Is The Debut 12' From 21 Year Old Vocalist, Multi-instrumentalist And Producer Sequoyah Murray. It Is A Remarkable Debut, Striking In Its Maturity And Originality. Writing Deeply Confessional Lyrics And Creating Abstract Textured Song Structures, Sequoyah Is A Product Of His Time, Place And Borderless Generation, Making Music That Is Both Wildly Experimental And Unforgettably Accessible, His Lyrics Proudly Recasting His Vulnerabilities As Strengths. He Was Born Into A Musical Family Atlanta, Georgia, One Of The Music Capitals Of The World: His Mother Is A Singer, And His Father A Percussionist, Both Having Spent Their Lives As Creative Musicians. If His Frst Loves Were The East African Music Introduced To Him By His Father And His Mother's Sumptuous Falsetto, The Booming Baritone Of Arthur Russell Became One Of His Oldest Friends And Most Important Touchstones. Just Like Russell, His Music Is At Once A Self-created World And The Result Of Deeply Organic Collaboration. While Sequoyah Serves As His Own Producer, He Enlisted The Help Of Acclaimed Producer And Remixer James Ginzburg (empstyset, Ginz, Bleed Turquoise) & David Corney To Mix. His Family Also Contributed, With His Father's Drumming Throughout, And His Mother And Little Brother Singing On penalties Of Love', And second Born', Respectively. 12' Ep Pressed On Virgin Vinyl And Packaged With With Free Download Card

Back in 2014 when we first released the self-titled Chupame El Dedo we weren't sure if people could hold their mojitos while banging to their music. In 2019 we seriously advise to keep your hands free while listening to their second album. Formed by psych cumbia master Eblis Alvarez (Meridian Brothers) and Pedro Ojeda (Romperayo), the man that found the perfect cocktail mix for acid + folk + tropical beats, Chupame El Dedo are ready to mess around with Satan. 'No Te Metas Con Satan' it's a humorous title for music that expels cartoonish metal-vibes mixed with tropical rhythms. It's a pitch perfect title for a record that's never at the right pitch. The humour makes way for the funny stories that Eblis and Pedro explore in their lyrics. Souk's fourth release is a daring adventure in global beats. Frequently it comes to mind the universe of Quasimoto, Madlib's abstract hip hop that sounded delicious in the early 2000s. Chupame El Dedo lives in the same kind of power trip, fuelled by intense salsa rhythms dressed with heavy metal images.
That's where Satan comes into place. The Devil wears many clothes, but none are as multi-coloured and trendy as the ones we see in 'No Te Metas Con Satan'. We are advised of that during the first side of the LP. Each song dares the listener, with a multitude of ideas, sometimes dissonant ones, that find their way to make sense. An example The first song 'No Te Metas Con Satan' sounds like a perverted version of 'Da Ya Think I'm Sexy' and when you think it's over, it starts again, repeating ideas and leaving you extremely confused. What the fuck just happened Chupame El Dedo happened.
And it goes on. Flip to the other side and 'Alexandra Candelaria' says hi. A 7:43 minute long sinful & hilarious soup opera. No-one is ready for this. Laughter mixes with intense head banging, while we listen to what would happen if Jodorowsky made a Cartoon Network show. A damn good one. Maybe it's a good idea to not mess around with Satan, but you'll be in serious trouble if you don't listen to this. Seriously.

The mysterious EEE crew a back with another late-night techy roller, full of that sub bass and crisp percussion alongside a perfectly placed vocal sample you never thought could work this way. Every EEE release so far has done the business quick time - don't sleep!

Early support from East End Dubs & Enzo Siragusa

As always - one-sided, 180g, hand-stamped gear!

Renato Ratier is one of the most important names in Brazilian and South American electronic scene not only as the creator of the d-edge club and partner of Warung club, two of the world's leading electronic music clubs. As a producer and citizen of the world, this time the artist found inspiration in the middle of the Atacama desert in Chile during a trip to a gig in that country. Definitely, the vibe and atmosphere of this unique place, suggested to Ratier a track full of personality as well as his work as a producer. While working on his new album, Ratier offers us a precious and pulsating track, with a striking square bassline and a hypnotic line of chords and synths. To complete this special package, Ratier invited two of the most important djs and Brazilian producers to bring their remixes.Ney Faustini and A.84 with their brilliant jobs.

Consisting Neither Of One Lone Woman, Nor Hailing From Either The Eurasian Country Or The North American State, This Georgia Is In Fact Comprised Of Two Human Males Working Out Of China Town, N.y.c., Namely Brian Close And Justin Tripp. Together They Form A Creative Partnership Responsible For Not Just A Slew Of Output Upon Such Highly Regarded Imprints As Meakusma, Palto Flats And Emotional Response, But Also For A Kaleidoscopic Variety Of Multimedia Work With A Whole Host Of Clients, From The Corporate To The Counter Cultural. With An All Embracing, Freeform And In Some Ways Contradictory Approach To Production, Their Sound Is At Turns Stimulating, Terrifying, Comforting And Confounding. Separated From Any Visual Representation, The Audio On Its Own Becomes A Soundtrack For The Listeners' Own Intense Internal Projection Screen.

With 'time', Georgia's Vision Is Especially Well Realised As Here, In Collaboration With Fellow Intuitionists Firecracker Recordings, They Release Into This World An Album Which, With Any Luck, Shall Help You Unlock Your Inner Portals - Should They Need Assistance In That Regard Anyway. Unquantisable Polyrhythms Knock Against One Another In An Uncannily Externalised, Conflicting Collage Of Half Remembered Dance Ritual Memories. Fragmented Melodies, Disembodied Vocal Snippets, A Hint Of Ethnomusicality In Places All Give Deep Nods Simultaneously To Ancient Experience And To Post Human Intelligence, Condensing Past Present And Future Into One Eternal Instant.

'time' The Album Asks Us: What Happens When One Removes Ones Expectations Of Where In Time A Piece Of Music Or Art Must Sit And What Of Time Itself As A Construct, Now That We Have Myriad Ways Of Measuring It, Even At The Atomic Level; But Still Its Passing Is Completely Relative According To The Observer, And Indeed May All Be In Our Minds Anyway Equally, You Can Always Just Put It On - Again, And Again - Empty Your Mind Of Such Thoughts Completely, And Allow All Of Your Particles To Move Around Freely To This Joyful Noise... After All, That's The Point, Isn't It We're Gonna Have To Stop Asking Questions Eventually.

'New Kind', one of the more direct moments of dancefloor pleasure throughout Gabe Gurnsey's acclaimed debut album, 'Physical', is expanded on for this digital package. The 'Extended Dub' stretches out the original's tight groove in a pleasingly baggy fashion that recalls the experimental club dubs pioneered by Trevor Horn, Martin Rushent and Shep Pettibone.

Back to the future, and enigmatic new producer Fall Forward delivers a smooth, rave tinted rework that is guaranteed to thrill the strobe-lit, sweat-drenched club crowd that inspired the original LP. An additional dub of the remix places the focus squarely on it's clean, irresistible acid bassline.

Dubplate’s Don Persian has repressed this Hardcore Breaks Techno Riddim, seeing there were only 100 in existence before going for crazy prices, now including a mix from S.Bell capturing a shimmering soundscape vibe, adding perfection to his unsung abilities. This E.P. has some speaker destroyer’s on there, introducing the MixMaster Max into the pot alongside the Persian doing what can only be called world dub music. Sterling breaks shuffling at a downtempo 8 bit vibe with a really heavy bass! MixMaster Max’s history is interesting to say the least...

Born October 1966. Break Dancer in 1984, under the moniker Mad Max, started a crew named The Back Street Warriors, busking all over the UK at places such as Covent Garden/Leicester Square Performing on stage & in clubs. They once jammed with The Rock Steady Crew in Camden Palace in front of an audience.

Then in 1987 he became a DJ, playing all genre’s of music, he first played on RJR Radio, playing Electro, Hip Hop, Soul, R&B & Reggae. Moving forward he started playing Acid House & Four to the Floor Music styles, by the early 90’s he played on Weekend Rush & then went onto Defection, Touchdown, Don & Passion FM, playing Acid & Hardcore Jungle.

In the early day’s, MixMaster Max was one of the Innovator’s of Jungle music by mixing Hardcore, Reggae & Hip Hop together, helping other’s to produce, fuse & gain idea’s in the music industry. He was by Far the most Original, Innovative, DJ anybody had ever heard.

In 1991 he played alongside John Saunderson at the Camden Palace on a Friday night, he also played at the Famous Hacienda Club in Manchester.

He was the first DJ to create the Topsy Turvey, which is one turntable on top of the other, he came runner up in the DMC World Championships in the early 90’s.

He played at some of the Biggest Rave’s back in the day, Pirate club 93, Fantazia 92, Dungeon’s 91/92, Turnmills 92, to mention a few. He also played on Avenues FM & People’s Choice, which were legal Radio Station’s, not forgetting Kool FM & Centreforce.

He performed on stage with the We Papa Girl Rapper’s in 1990 at the Notting Hill Carnival. This Legendary Cult figure is a Master of the Nunchucker’s & TurnTable’s!

His innovative Mixes were ‘legendary’ he was a pioneer precursor to the Art form known as Jungle Music, not to mention his Scratching abilities, which was ‘extraordinary’!

For those that listened to pirate radio back in the day, he was the legendary cult figure that inspired us all, giving us the freshest musical styles that had never been heard before!

He can still be heard on Radio today...What an inspiration this Unsung Hero has been to us All!

Malik Hendricks is a rhythmically inclined aesthetic enthusiast born in the 80's, and raised in the 90's. A DJ for over a decade, he has always approached music with a rigorous curiosity and views the dancefloor as the ideal arena for collective cultural appreciation, a place where the quest for knowledge meets the quest for experience. Dance is the true language of the body, and a gateway to the recognition of our shared humanity.


Money Cat Records - Round black records bringing good luck. Linking motion with emotion, dance unites the body and soul of all who participate. Music from Brooklyn to the world. Established in 2018.

Info We Release Jazz is ecstatic to present its fifth release (following Ryo Fukui's Scenery and Mellow Dream, Le Cercle Rouge's soundtrack by Eric Demarsan and Stuff Combe 5 + Percussion), the first ever live performance and recording by Marc Moulin's sought-after jazz-funk band Placebo, captured at Casino Kursaal during the Montreux Jazz Festival in 1971 and never released before. Placebo's Live 1971 is available in a limited edition 180g vinyl mastered at half speed, housed in a 350gsm sleeve with UV coating and an obi strip. June 17th, 1971, the Montreux Riviera, its delightful microclimate and postcard scenery, its fabled music history and the luscious wines of the region. A dream setting for Marc Moulin to lead his ensemble on a 26 minutes+ jazz adventure - Nick Kletchkovsky on bass, Freddy Rottier on drums, Johnny Dover on bass clarinet, Alex Scorier on soprano saxophone, and Richard Rousselet on flugelhorn. The magic of that night is dripping through Placebo's sumptuous 'Showbiz Suite", a soulful piece in two parts in which every instrument gets enough room to shine, smoothly navigating between cozy cognac-by-the-fireplace funk and heartfelt grittiness, served with a pinch of Soft Machine vibes. It's the night Placebo was born, when foundations were laid for three classic albums: Ball of Eyes (on which you can hear a shorter studio version of 'Showbiz Suite"), 1973, and their final self-titled album. Born in 1942 in Ixell

A very rare remix package of STL's original material from Sebastian Mullaert on very limited edition 12" vinyl.

When I get a request to do a remix, I take that as an invitation… an invitation to express.

The sounds from the original composition become doors / gates… stepping stones for me to travel into this very moment and investigate how it is always changing (that changing being me).

I start working with the sounds… looping, playing, shaping… like a ceramist working with the clay, a painter working with the brush and paint, or the baker working with the dough. This process becomes a mantra; a meditation, and my studio becomes filled with sounds and rhythms… echoes from the original song, filtered by this very moment, temporary passing through "someone" being called Sebastian Mullaert or Wa Wu We.
Expression taking place and there are "NO MORE WORDS". Music becomes being, just Being.

STL is one of my absolute favorite artists, this specific invitation felt very special to me and the journey around the creation of the remix has been very deep.

Now I invite You to take part of it, let your consciousness express this very moment through the experience of the music. Again, being is just Being.

Much love
Sebastian Mullaert & Wa Wu We & …

Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018
Digital transfer: Jonathan Fitoussi & Diego Losa

Translations: Valérie Vivancos
Layout: Stephen O'Malley
Photos: Jacques Brissot, ARR

Coordination GRM: François Bonnet
Executive Production: Peter Rehberg
Remerciements: Brunhild Ferrari

SIDE A
Music Promenade (1964-1969), 20'29

Electroacoustic Music
World premiere for the Théâtre de la musique, March 16, 1970
" Hétéro-Concert ""

Permanent version for four stand-alone tape recorders. A series of colliding realistic sounds and sonic images. Whilst walking, a man is struck by the violence of his surroundings. Nature has disappeared in a whirlwind of warfare and industry in the midst of which he encounters a dying folklore and a lost young girl.
The "Installation" version is used to sonify a place in which walkers are free to choose their musical itinerary.

SIDE B
Unheimlich Schön (1971), 15'40

Musique concrète made in 1971 in the studios of the Südwestfunk in Baden-Baden.
Voice: Ilse Mengel.

"How does a young woman breathe when thinking about something else "
To be listened to at a low volume.

To happiness through simplicity. Rendering a very personal tribute to well understood minimalism, the same that is based on simplicity and conceptual refinement and that is adapted to the creation and musical production -respecting that electronic maximum canonical of "less is more" - in terms of its compositional process, instrumentation, mixing, effects, etc. 'Simple Things' can be danced throughout the night. It is a collection of tracks with punch, made from the clarity and personality that characterize Nacho Marco, susceptible to being played at very different times and places. Exhale, from beginning to end, a natural love towards the dancefloor. From the simplicity of the search for this objective, its author -in his Warm Studio in Valencia- has used different rhythm boxes -programmed internally- for each track in order to, also based on a raw mix - especially in percussion and basses - to provide the tracklist with a varied air -between digital and analogue- through which to enjoy traveling through deep-house, nu-disco, acid, etc. and, therefore, in funk, soul, jazz, etc. From Chicago to Valencia, passing through N.Y. and Detroit. And all this avoiding arguments and essays of style. From a maximum freedom of creation and enjoyment. Yes, we are facing a "100% Nacho Marco" job.

Formed in '92 with voice, distorted bass and drums. Band's symbol comes from a sign placed on witches graves, which is jolly. The assurance of the old sound sustained through energetic expression rather than shallow noise. Two MC's through Energeia, 'Simon Dreams In Violet' ('93), 'Dreaming The Lost' ('94).' Had Mick Mercer's 'Hex Files: The Goth Bible' been published a year later he would have added: 'and the self-released MC 'Follia' ('95) on their own label Interior Deus.'
25th anniversary limited edition vinyl of 341 numbered copies. Comes with a 16 pages insert also including digital album + bonus track.

Jauzas The Shining (Shipwrec, Last Known Trajectory) returns to New Flesh Records, this time accompanied by his compatriot Eliot Forin aka Foreign Sequence (D.KO Records, Concrete Collage). The unexpected duo delivers four unreleased killer cuts of high caliber for your own pleasure. Very Sci-Fi-esque "Talking Machines" takes place in a dystopian future and brings together a collection of powerful electro tracks incorporating elements of rawness, acidity, and melancholy at the focus of this intent.

In overture of the A-side, gloomy "Death By Fuzz" offers an epic collaboration between the two artists: the song fully illustrates the analog brilliance and dancefloor dazzling that they are able to. This heading jam picks things up with solid metallic drums while punishing percussions lift the track even higher until the end. Brainwashing "Painful Headaches" instantly following sees Foreign Sequence in a brilliant solo exercise where he unleashes the acid whereas a solid rhythm leads you to the dancefloor for some robotic and insane movements!

Side B opens with eponymous track "Talkin' Machines", a pulsating journey into processors and computer drivers from the French pair. Characterized by unhealthy melodies, pounding beats and cyborg noises, the cut merges fascinating sequences and dark atmospheres. With its astral pads, Jauzas The Shining's final song "Colombia" takes you on a cosmic trip, traveling at light speed through time and space thanks to mighty distorted FX. A rough ride, deep and intricate to destination unknown, the perfect future funk soundtrack for an no return exploration.

"Talkin' Machines" celebrates the collision of two worlds, two artists with strong universe and personality to become one entity. Rush on it!

Private Selection's first full length LP comes in blistering form from Santiago Leyba. Recorded in L.A. and his hometown of Albuquerque, New Mexico, the songs on 'Western Vices' are a reaction to some of the bleaker circumstances that exist in these places. Not unlike Santiago's past work, this music reflects the paranoid and altered states that some people live in as a result of their surroundings. It lies in contrast to escapism and revels in dreadful realities to bring to life a highly rhythmic, woozy and disenchanted collection of tracks. The 12 songs are named after characters, landmarks and phrases associated with L.A. and Albuquerque, acting as reference points for the dialogue of sounds that hold them together.

Santiago Leyba has been producing music as a solo artist and in collaborative affairs since 2010. Raised in New Mexico, he currently lives and works in New York City. Leyba has recorded and performed most recently as Santiago (Unknown Precept, Private Selection Records), Western Versions (Pastel Voids), and U.S. Hard (Pastel Voids, Blankstairs).

From the artist --

"Western Vices is meant to be listened to at high volumes."

apologia /ˌapəˈləʊdʒɪə/ noun: apologia; plural noun: apologias ● a
formal written defence of one’s opinions or conduct Introducing you the
name of the third release of Insulin. 3 original tracks made by
Damaskin. An artist who comes from Belgium. He is also known as
Seraphym Rhythm, his ambient side-project. This talented genius
offers here a real homeric journey, a travel through the abyssal depths
of his mind and the darkness of his music, thank to those hypnotic and
granular sounds with an incredible sound design, fabricated and melted
at perfection. In already hostile and tumultuous places, Codex Empire
is bringing the last hint of an overwhelming and chimerical
environment.

Gregorio Gomez aka Gladkazuka is a mythical figure from Medelli´n's underground nightlife, contributing since pre - smartphone ages with energetic live sets to the celebration of life in the convulsive surrounding of the Colombian city. After playing and touring alongside Matias Aguayo with 'The Desdemonas' and contributing with the club smash hits 'Ihr Euer' and 'Futuro Chaos' to the 'Solidarity Forever' series on Co´meme - Gladkazuka is back with a full EP in which highly emotive and sensual electro dance fantasies culminate to 'The Drop'. Gomez' creations are nocturnal and lush, utopian and melancholic - underground dance pop that would be mainstream in a better world.

However these songs were created in a place where an unseen destruction of nature is taking place, and - in mids of times of supposed peace agreements - social leaders are being assassinated under the eyes of a new right wing government. Meanwhile the societies are fragmented towards a growing individualism and competition, exchanging dignity for an ideal of consumerism.
In this chaos, music becomes the celebration of life.

'Naturalia', the first track of the EP reflects this with its lushness and its jungle - like humid warmth, 'Flancing' with its happy flying fishes and 'El Coral' with its jittering electric eels.

'The Drop' is decontextualized Electro and New Wave - echoes of The Cure and The Other People Place dissolving into utopian dreaming, longing for better times, like vampire bats, hanging in their caves, waiting for the night to come.

Born from Music of Life archive tapes (previously believed lost) which were uncovered by Robin Allinson in a Publishers warehouse in 2012.

The source material for this special record is" 1989 Hustlers Convention Live" (SPOCK1) ".

A Live Hip Hop Album, famously sampled by The Prodigy for the 'Everybody In The Place' vocal. The tapes of the night were multi tracks with 6 channels of audio recorded, Decks (Mono), 2 Mics (Mono) and the Room (Stereo). Being so old the tapes were first 'baked' and then transferred from a Studer machine in to Pro Tools via Prism Sound A/D converters at FX Rentals / FX Copyroom, Acton, London.

Notable performances by Artists on the Night came from MC Duke & Merlin; Mark The 45 King; Demon Boyz; Daddy Freddy. DJ's on the night were Westwood and Cut master Swift. Sections of their sets between Artists was captured. What did not make the Album was the Battle instigated by Overlord X coming on stage and stopping proceedings to battle MC Duke. As Duke once told me "X stuttered on the Mic".

Listening back, it's gold and puts Queen Latifa popping up in context. While restoring the Album as a multi track mixdown Robin started a series of new music projects plundering the MOL tapes and formed Stay On Target records to release them. Recordings were sent to: Sonars Ghost (SOT000), Stormski, 6Blocc, Bay B Kane and the last instalment was by Robbee Darkhalf.

Laid back and chilled out, Andrew never lets anything or anyone bother him. He has an air of mystique about him which others often envy.

(Andrea Solitario) ANDREW SOUL Andrew from his real name, Soul as the part where his inspiration come from, is a native italian producer born in 1986.

Music has been the first and everlasting love for this guy who soon came into his city's underground scene: he was 15 years old when he walked into a club for the first time. Then everything came by itself: a fusion of house and techno, the passion for the acidized sounds filled his mind and his heart.

But listening wasn't enough: the love for the music was to much for not to create something.

So Andrew started a path made by wicked grooves, dropping acid synths and emotional vibes, huge baseline, soulfoul vocals, roland tr-707 on the drums: these featuring characterize at best Andrew's sound.
The love for the analog sound push him over the years to purchase some vintage drum machine and keyboards, to make his sound as better as he can, and to add to his sound some cool old flavour.

Having DJd for years in his native Italy, Andrew turned his hand to production a few years back and promptly set about making some of the most emotive and engaging analogue house and techno around.

Vinyl collector, record lover, for him there's nothing better than watching a wax riding a turntable and listen the music that come from it.
As an eclectic artist, in his sets, Andrew likes to mix from deep to techno, through the house, but people never know what to expect from his large underground music knowledge; old, classic, brand new tunes and own productions makes his set really sophisticated and different each time.

After working on music collaborations for several years, with some friends , early 2011 was time to start sharing solo productions with his first release on Paulatine Records, wellknowed Uner's label. 4 tracks that take attention of many wellknowed djs, like X-Press2 that played the tracks at MOS and on their radioshow, Adam Port who said "Finally something different..." and many others..
Then two vinyl release: first one on the great Barcelona based Kiara Records "Too Much Love Will Kill You", Julien Chaptal on remix, and second one on the New York based imprint Stranjjur Inc, on remix Kris Wadsworth and Baldo; "Close To You" placed 29th on RA Chart.
A great tune with the close friend Frank Naht alongside a remix for Fabio Monesi on friend's label Blackrose Records, and an EP on Espai Music to follow.
End of 2012 was good: EP come out on the Defected's sub label "Tenth Circle"
November 2012 was also time for releasing on Safari Numerique with David Labeji on remix, and the track "No Way" played by Richie Hawtin.
2013 full of work and innovation, with 2 remixes on italian Moan Rec for Meeph, and U.S. based Undulate Recordings for Frank Nath, a really deep EP on his new family Popcorn Records, and jacking mode on for the new release on Safari Numerique.
2014 starts with a vinyl only release on Popcorn Records Ltd, special collaboration with Peter JD and remixes from Amir Alexander and Franco Cinelli.

The path is long and Andrew's research is still long way to end...

Run The Length Of Your Wildness is a weekly dance party held every Monday night at Underground SF in San Francisco, which initially launched on August 24th, 2015 in a small rave cave known as The Basement — formerly and infamously known as 222 Hyde — in San Francisco's Tenderloin neighborhood. Friends and 100% Silk labelmates Cherushii (Chelsea Faith) and Roche (Ben Winans) started the night as an opportunity to DJ more often, honing their skills in the process. But thanks to the intimate setting, The Basement's supportive owner and staff, and the wonderful crowd who attended on a regular basis, Run The Length Of Your Wildness became so much more than that: a community of music-obsessed weirdos, nerds, scene fixtures, first-time ravers, and eccentrics, leavened by the occasional random partygoer passing by, taking a chance, and finding themselves hooked on their new Monday night mainstay.

We book primarily local DJs and live acts, and make an effort to book artists and DJs who have never performed out before. We encourage experimentation, and we're proud to say Run The Length Of Your Wildness has become a place for electronic musicians and DJs to showcase their expressive freedom and GO WILD!

On December 2, 2016, Cherushii, Nackt (Johnny Igaz) and several other beautiful souls were lost in the Oakland Ghost Ship warehouse fire. The loss is beyond devastating — we miss our friends dearly. The San Francisco electronic music community has come together to do whatever we can to champion their legacy, and Run The Length Of Your Wildness is proud to be an enduring part of that legacy.

Hobo Camp is proud to be able to partner with Run The Length Of Your Wildness to produce a release containing music from Cherushii and Nackt, to preserve their legacy and contributions.

All profit from the sale of this record will be donated to the families of Chelsea Faith and Johnny Igaz.

serenitatem, the fifteenth installment of FRKWYS, RVNG Intl.'s collaboration series pairing intergenerational artists in creative conversation, joins Visible Cloaks with Yoshio Ojima and Satsuki Shibano, two trailblazers of the Japanese avantgarde music and visual arts scenes of the 1980s and 90s.

Yoshio Ojima began his career as a composer of environmental and ambient music, with a particular interest, and optimism, in the possibilities of generative software. His compositional pursuit of human synthesis with computerized forms was realized in its fullest potential alongside Satsuki Shibano, a pianist renowned for her interpretations of Erik Satie and Claude Debussy. Together, they were among a handful of influential Japanese artists whose innovations still resonate, if not more vibrantly than ever, well beyond the tightly-knit scene's original core. In the early 90s, Ojima was among the programmers of the influential satellite radio experiment St. Giga, a constantly-evolving sonic landscape that combined field recordings and sound collage with occasional readings of Japanese poetry. Satsuki was a regular reader for the station. This musical terrarium bloomed out of sight in a small Tokyo studio, a greenhouse of sound with no set start or finish time that audiences could tune into, absorb, and immerse.

The perpetual flow state of St. Giga — recordings of which Ojima shared with Visible Cloaks — would be highly influential to serenitatem's constitution. As Visible Cloaks, the Portland, Oregon duo of Spencer Doran and Ryan Carlile have developed their own set of creative strategies that form an aesthetic fuse point between human intention, aleatoric composition, and improvisation.

These are notions most recently reflected in 2017's Reassemblage and Lex, a respective album and EP in which the duo combined generative software and virtual representations of global instruments into lacy, interlocking patterns. Long time admirers of Ojima's work on albums like 1988's Une Collection Des Chainons, Doran and Carlile discovered after an online introduction that they shared with Yoshio and Satsuki an abiding interest in pre-classical composers, the Lovely Music, Ltd. label, and the British avant-garde, as well as a mutual respect for one another's techniques and processes.

The four musicians met in Tokyo, Japan at Sounduno Studios in December 2017, at the tail end of Visible Cloaks' first Japanese tour, to commence work on serenitatem. Leading up to the studio sessions, Doran and Carlile sent Ojima processed sound sketches recorded while on a European tour, which Yoshio would add to and return. Visible Cloaks would then fold Yoshio's edits back into the original compositions, which Doran and Carlile brought to the exploratory recording session. During that week together in Tokyo, the quartet made use of a number of creative strategies — 'echoing sound together,' as Yoshio puts it. Among the strategies, MIDI randomization gave the quartet melodic lines and what Doran calls 'randomized clouds,' or 'tightly grouped notes that become smeared tonal clusters functioning more like chords in themselves.' Carlile would also feed Ojima and Satsuki's text into Wotja, a generative music software which produced a MIDI language around which the quartet expanded their compositions.

'The aim,' Doran says of serenitatem, 'was to make a work that was not specifically ambient (or environmental), but something more multi-hued, weaving these deconstructive concepts into an album that has a deeper architecture underpinning it.' Accordingly, serenitatem is a marvelously sharp record, its sutures between human and machine virtually impossible to find but suggested everywhere you turn. The collaboration among Ojima, Satsuki, and Visible Cloaks is both musically and conceptually inseparable from the technology that made it possible. Throughout the album, Shibano's playing resonates like Satie's, her rhythms cascading like drops from leaves an hour after the rain. Overtones are stretched and warped like modeling clay, then spun around and shown off from multiple angles.

A single soaring note might seem to be suddenly plunged underwater, its richness of sound made shallow and its sharp edges blunted. Pittering chimes and rapidly warping vocal samples hang in the luxuriously glossy space, water trickles from ear-toear, familiar melodies rise from nothing and dissolve before they can be traced. With the depth of its emotional charge, serenitatem burns away the easy cynicism of the day, presenting itself as the kind of delocalized work of art the internet promised us decades ago — a synthesis of artistic visions, technological sophistication, futurist ambition, and, occasionally, ancient polyphony. Listening to it can feel a bit like tuning in to a 21st Century version of St. Giga: It's a place where the future still grows.

Visible Cloaks, Yoshio Ojima, and Satsuki Shibano's serenitatem, FRKWYS Vol. 15, will be available across LP, CD, and digital formats on April 5, 2019. The quartet will perform select live shows throughout 2019.

Billie Eilish's meteoric rise to global stardom has been nothing short of phenomenal and arguably unparalleled to date. Since her 'ocean eyes' debut, Billie has quietly, yet unapologetically infiltrated the forefront of pop. Thanks to a growing legion of loyal followers across the globe, an EP that has sat in the Billboard Top 200 for more than 18 months now, on the cusp of going Gold in the UK and more than 5 billion combined streams globally, her tours have sold out consecutively around the world, and this week, the teenage marvel has confirmed she will be releasing her highly anticipated debut album 'WHEN WE ALL FALL ASLEEP, WHERE DO WE GO' on March 29 on Polydor.   'When we made 'bury a friend,' the whole album clicked in my head,' Billie explains. 'I immediately knew what it was going to be about, what the visuals were going to be, and everything in terms of how I wanted it to be perceived. It inspired what the album is about. 'bury a friend' is literally from the perspective of the monster under my bed. If you put yourself in that mindset, what is this creature doing or feeling' She continues. 'I also confess that I'm this monster, because I'm my own worst enemy. I might be the monster under your bed too.' 'WHEN WE ALL FALL ASLEEP, WHERE DO WE GO' was written, produced and recorded entirely by 17-year-old Billie Eilish and brother Finneas in their childhood home of Highland Park, Los Angeles. Recorded in Finneas' bedroom opposite Billie's, the pair spent most of 2018 writing songs on the road, then spending many days and nights when off the road, at home, recording the album. The first to be revealed since the album announcement is 'bury a friend,' a driving tour-de-force of a song, trailblazing its way into the world and sounding quite unlike anything else that's out right now. Reaffirming Billie Eilish's place, always ahead of the curve, never compromising her sound or vision.  More exciting news to come from Billie Eilish very soon. 

We Are Mattimatti. Two Mattis Living In Different Countries - Sweden (malmö) And Germany (berlin). We Travel Around The World Playing Music While Asking Ourselves, 'who Are We'. The Answer Seems To Change Just As Our Surroundings Do. But The Music Stays With Us And So Does The Friendship. It Is Cliché That It's Hard To Put A Label On Music. And To Say It Has Almost Become A Cliche Itself. But Whole Meaning Of Music Is To Listen To It And Create Your Own World By It. To Create One's Own World One Needs Space. Space That Is Not Interrupted By Either Style Or Defining Categories. Mattimatti Is An Attempt To Step Into That Space Creating Music That Is Solely Built On Improvisation. Our Music Is An Invitation To Places Not Yet Known, Where Rhythmic, Suggestive And Meditative Soundscapes Meet The Present Moment. Music Represents Many Things For Us. First Of All, It Is In-sync With Our Friendship, When The Relationship Is Stuck So Is Our Music. Our Music Is Therapy. We Need To Be Authentic With The Music In Order To Have A Real Friendship And The Other Way Around. As Friends And Musicians We Welcome The Unexpected. This Has Lead Us To Places Where We Never Would Have Ended Up In If It Weren't For The Music. In That Way, Music And Life Walk Hand In Hand. If We Dare To Be Real About It. We Are Living In A World Full Of Confusion When It Comes To Identity. It's Easy To Loose Yourself. All Of A Sudden You Are Standing There Playing Music But Missing The Music At The Same Time, Or Hanging Out With Your Best Friend While Missing The Friendship. We Are Trying To Stay Connected. It Is A Constant Task. We Lose It But Then We Find It Again, Just Like Everybody Else. Sometimes It Ends Up In Music For The Moment. Sometimes It Ends Up In The Shape Of A Record. We Met On The Streets Of Berlin In Spring 2013 While One Of Us Was Playing On The Streets. After We Played The First Time Together, There Was No Question That We Would Travel A Musical Journey Together From That Day. Mattimatti Was Initiated. On Our Quest We Began Playing Improvised Tunes On Sitar And Hang On The Street While Travelling Through Sweden And Germany. This Lead Us To Be Invited To Numerous Festivals All Over Europe While Constantly Developing Our Music And Sound. Since Then Our Set Has Added New Instruments Such As A Drum Kit With Hang, African Harps, Sitar, Guitar, Harmonica, Clarinet, Hank Drum And Vocals On Top Of It Extending The Sound With A Space Echo. The Long, Intimate Tunes That We Are Creating Have An Original Structure And Sound. There Is A Certain Present Resting In The Music Which Is Hard To Describe But Easy To Experience If You Listen To It. Our Live Concerts Have Been Dubbed Mythical, Hypnotic, Magic And Epic. Traveling Is Our Biggest Influence On Music. Mattimatti Are Now Both Based In Berlin & Malmoe And Work Together With The Contemporary Circus, Dance And Music Group - kollektiv Knaster .

Although Itta (Vocals, Harmonium) and Marqido (Analog Synthesizers) have been regular fixtures in Seoul's experimental music community for years, the vinyl release of Spiritual reflects the growing international recognition of their singular sound, described by The Wire as 'meditative synthesized vistas.' Spiritual certainly embodies the meditative element of their music, layering hypnotic modular synth with Indian harmonium drone and Itta's transcendental vocals. This is more than functional music for the metaphysically curious, however. Perhaps more than any of their previous releases, Spiritual offers an open accessibility, owing at least partly to the channeling of krautrock-influenced rhythms. Tracks like 'Luft' and 'Morgen Tempel' wouldn't sound out of place in any DJ set with kraut or psychedelic leanings, while 'Barabonda' and 'Dodeuri' dig deep into a more meditative place, serving as perfect expressions of the album's title and intent. Fans of Neu!, Kraftwerk, Laraaji or Klaus Schulze might find themselves in a comfortable yet unexplored place.

Spiritual was originally released in 2017 as a limited-edition cassette of 250 copies, produced in collaboration with Seendosi, an arts enterprise in Seoul Euljiro district, the city's heart of printing, packaging and electronics manufacturing. The cassette sold out within a year of its production, prompting Extra Noir, who had previously released Tengger's 'Breathe In, Breathe Out' on their Extra Noir Vol. 1 compilation, to propose reissuing Spiritual on vinyl. Working with Seendosi once again, the result is a beautifully produced piece of work. Closely attentive to the band's vision, the gatefold sleeve features rich landscape motifs that evoke Tengger's commitment to earthly travel and the less accessible places beyond. Pressed onto clear vinyl, the design of Spiritual has been carefully constructed to reflect the entirely unique music within: heavy ephemerality, dense transcendence and grounded wanderlust.

You're The Man is the first-ever planned 'lost' Tamla/Motown album from Marvin Gaye. Fifteen (15) of the album's 17 tracks are on vinyl for the first time and three tracks are newly mixed by SaLaAM ReMi. The album also includes the rare long LP version of Marvin Gaye's cancelled Christmas single from '72, as well as an unreleased vault mix of its instrumental B-side, and new essay by Marvin's biographer, David Ritz. The release will coincide with the 60th anniversary of Motown as a label and also Marvin Gaye's 80th Birthday (April 2).

While the tracks have been issued on various collections and deluxe editions, this is the first time they have been placed in their proper context. In addition to context, You're The Man was the album that was proposed to follow-up the monumental What's Going On, and it contains all of Marvin's solo and non-soundtrack recordings from 1972 (his next two albums in quick succession: Trouble Man and Let's Get It On).

With a celestial voice that's been streamed over 3 million times thanks to acclaimed features with The Kite String Tangle, Golden Vessel and label mate Sampology, Brisbane-based artist Tiana Khasi (Kah-see) shares her debut EP, 'MEGHALAYA', out 29 March via Soul Has No Tempo.

The Sampology-produced debut is a rich tapestry of styles and influence, with inspiration drawing from themes of self-empowerment, family and heritage, collaborating with contemporary musicians while studying jazz. ''Meghalaya' is both geographic and spiritual. It's a place I creatively resort to seeking affirmation of my identity and for true holistic inspiration. I wanted to create a body of work that honestly showed where I was at musically and personally. I felt the growing pains of being a young woman, mixed race/Australian born and studying jazz. I was neither here nor there.'

'Nuketown', the first single from the forthcoming release, is out now following global premieres with Complex UK & London's Worldwide FM. Upon hearing early mixes, Gilles Peterson handpicked the track to feature on his most recent compilation, Brownswood Bubblers Thirteen, via Brownswood Recordings. Touted by local tastemakers and HypeMachine blog Purple Sneakers as "the debut single we didn't know we needed", 'Nuketown' has found airplay with national stations triple j & Double J, placement in Spotify's Just Chill playlist, rotation with Sydney's FBi Radio, and enthusiastic support from community radio and online media around the country and beyond.

"A flawless example of the kind of music we can expect from Tiana going forward. [Nuketown] creates something completely original, drawing elements from jazz but never chasing a particular sound or vibe. Everything comes naturally, taking you on a journey with the instrumentation matching the ebbs and flows of Tiana Khasi's sweet vocals. It serves as an exemplary debut for the young artist, and can only mean better things are on the horizon." - Complex UK

A keystone artist in her hometown whose live reputation precedes her via her work fronting local jazz/hip-hop collective Astro Travellers, Tiana Khasi's voice has been praised as "elegant" (Life Without Andy), "most dope" (Audiosteez) and "as venomous as it is honey-sweet" (Happy). A trained jazz vocalist, Tiana's unique sound is heavily influenced by her Samoan and Indian heritage, and has seen her support Jamaican-American "TrapHouseJazz" sensation Masego, Swedish soul artist Fatima and acclaimed Australian collective 30/70.

Rivertones - the recorded music of Caught by the River - have repressed their classic 2012 Dylan Thomas-in-dub 7" Under Dubwood by the Dubwood Allstars.

Although Under Dubwood might seem an incongruous mix - the words of Dylan Thomas, the voice of Richard Burton and the studio sounds of King Tubby - the resulting single actually makes perfect sense - a gloriously woozy psychedelic skank that places Llareggub somewhere just outside downtown Kingston, JA. Since its release five years ago, Under Dubwood has been a staple on BBC6 Music and was used as soundbed music for the BBC's coverage of Dylan Thomas' centenary in 2014. It remains hugely in demand from the Caught by the River shop and has been sold out for the last eighteen months. The identity of the Dubwood Allstars remains a mystery to all at Rivertones.

On the B-side of the Under Dubwood 7" is River Theme by the Time and Space Machine (aka acid house stalwart Richard Norris of the Grid and Beyond the Wizard's Sleeve). River Theme is a hypnotic, fuzzed-up garage groove that's equal parts Dirty Water Club and Trash.

Next up on LOVEiT is head honcho JK himself, presenting a fine Reminiscence to 90s french house on the A1. With his remix, italian Jo Pariota transforms the title track into a veritable detroit house groover by adding warm pads and driving hats. JKs B1 is a moody deephouse affair including jazzy keys and a thought provoking spoken word sample by a certain saturn-visiting cosmic poet. The Rare Sun Recall Mix by .WS takes you places: riding out on an uptempo tribal beat, it slowly starts to fall apart before vanishing into ambient bliss. - morri313 Early Feedback: Lay Far (Atjazz Record Company / Local Talk / 4 Lux) Congrats on the release! Loving the 'Being Neglected As An Artist

As part of their 20th Anniversary celebrations, Strut present the first new volume in their pioneering 'Nigeria 70' series for over 8 years, bringing together rare highlife, Afro-funk and juju from the '70s and early '80s. Compiled by collector and DJ Duncan Brooker, this new selection of tracks is receiving its first international release outside of Nigeria.

The compilation returns to a fertile heyday in Nigerian music when established styles like highlife and juju became infused with elements of Western jazz, soul and funk and musicians brought a proud new message post-independence. Brooker places the spotlight particularly on some of the incredible Ukwuani musicians from the Delta State region as guitarist Rogana Ottah and Steady Arobby's International Brothers Band forged their own fluid brand of highlife and soulman Don Bruce drew on the US R&B greats for a series of great albums and explosive stage shows at his residency at Hilton Hotel in Abuja.

Elsewhere, the album explores the close connection between Nigeria and Benin's music, most famously through Sir Victor Uwaifo, appearing here with a killer mid'80s ekassa jam, as well as highlife hitmaker Osayamore Joseph on 'Obonogbozu' (Joseph made headlines in Nigeria for very different reasons in 2017, surviving a one month kidnapping ordeal).

Other tracks include 'Sickness' a 1979 lament on how all countries share troubles by Prince Nico Mbarga, the Nigerian / Camerounian star behind the smash hit 'Sweet Mother'; reggae singer Felixson Ngasia switches to funk and disco for a heavy workout with potent lyrics around black identity; another major highlife great Etubom Rex Williams unleashes a punchy psych funk gem with 'Psychedelic Shoes' and Africa 70 member Pax Nicholas vocals a simmering Afrobeat groove from Jacob Lee's Saxon Lee & The Shadows International Band.

'Nigeria 70: No Wahala' iis released on 29th March 2019 on CD, 2LP and digital. All tracks have been restored by See Why Audio and mastered by The Carvery. The package features comprehensive sleeve notes including exclusive interviews with some of the original artists.

Pussyfoot Records Is Back After The Labels 15-year Hiatus With A Brand-new E.p Featuring Both Old And New Pussyfoot Artists. 'the Shape Of Cats To Come' Mixes Genre, Age And Artistry, Showcasing The Label's Diverse And Varied Roster Of Artists From All Over The World. The E.p Will Be Available To Buy And Download, Also As A Limited Edition 12' Vinyl With Beautiful Artwork By Tokyo Artist Rob Kidney. Label Founder Howie B Contributes Two Tracks, One Solo And One A Collaboration Between Chinese Artists Mickey Zhang & Whai. New Signing To The Label, London Based, Milo Clare Releases His Debut And Pussyfoot Regular Sie Also Contributes. You Can Listen To The First Release: Sie - Riders On The Storm Here.