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Available on vinyl for the first time since its original release in 1984, Outernational Sounds proudly presents Build An Ark pianist Nate Morgan’s second outing for the celebrated Nimbus West label – the conscious and spiritualised sounds of Retribution, Reparation.

Pianist Nate Morgan (1964-2013) was a central figure on the Los Angeles jazz undergound. A core member of the circle around the legendary bandleader, pianist and community organiser Horace Tapscott, Morgan had been part of Tapscott’s U.G.M.A.A. (Union Of God’s Musicians and Artists Ascension) since he was just a teenager, and was a key member of the Pan Afrikan People’s Arkestra, known as ‘The Ark’. Through the 1980s and 1990s he kept the PAPA flame alive, organising the Ark’s sprawling songbook, running legendary jam sessions, and keeping LA’s deep jazz roots well watered. By the early 2000s he was bringing hard won knowledge to a new generation as part of the Build The Ark collective. He was a musician’s musician, at the beating heart of the radical, community-minded Los Angeles jazz network that Tapscott and his associates had first put together in the early 1960s.

Retribution, Reparation was the second of the two LPs Morgan recorded for Tom Albach’s storied Nimbus West imprint. His first, Journey Into Nigritia (Outernational Sounds OTR- 008), had been a declaration of arrival laced with energies drawn from Cecil Taylor and Coltrane. One year later, with nods to Herbie Hancock (‘One Finger Snap’) and Ellington (‘Come Sunday’), Retribution, Reparation was a confident statement of purpose. Politically charged with pan-Africanist and Black nationalist sentiments inspired by Marcus Garvey, and titled with uncompromising directness, the album focusses the soundworld of the Ark into a surging, restless masterpiece of spiritualised modal jazz. With Danny Cortez on trumpet and Ark stalwart Jesse Sharps on saxophones the frontline is explosive (this set is also one of the few places the extraordinary Sharps can be heard in a small group setting), while Fritz Wise and Ark regular Joel Ector hold down the rhythm section. Morgan’s forceful, Tyner-like chords and virtuosic solos and bind the music together. From the poised drama of the opening dedication to Tapscott’s U.G.M.A.A. (‘U.G.M.A.A.GER’) to the propulsive militancy of the title track, Retribution, Reparation spreads the word: ‘Advance to Victory, Let Nigritia Be Free!’

ISAN’s Robin Saville reveals an ambient album, which merges the Electronica aesthetics of his main project with field recordings, drones and acoustic instrumentation.

A lot of things have been written about what happens to the mind when the body starts moving. Instead of reciting poems of the inevitable self-help books, let’s get straight to the point: For many, taking walks on a regular basis is both liberating and empowering. It is not necessarily so much about the exercise, but rather finding one’s own rhythm in life. Robin Saville – of ISAN fame – is such an ambler His walks inspired him to base his third solo album – his first one for Morr Music – on the out of the way places he came to see and experience while being out and about.

Clocking in at just under 40 minutes in total, "Build A Diorama" is both a subtle culmination and a poignant antipode to what Saville has achieved together with Antony Ryan as ISAN. While the aesthetics might seem similar in places, Saville opts for a decisively different pace when it comes to writing and producing. Progress is steady, and change, however, is slow – like looking at a diorama for a long period of time in the ever so slightly changing light or as a flaneur focussing on one particular spot, a found object so-to-speak, waiting for the mind to orchestrate it appropriately, giving it sense and meaning.

Built around quiet field recordings, Saville’s six compositions transform this highly personal and, therefore, difficult-to-convey experience into a comprehensible exploration of beauty. Where ISAN almost exclusively uses electronics, Saville deliberately expands this well-established palette with acoustic instruments like bass guitar, chimes and glockenspiel, aiming for an even more suitable musical manifestation of what the walker sees and feels once he fully engages in his passion. Ranging from blissfully pulsing pads allowing for complete associative freedom ("The Deepdale Halophyte Economy") to the playful minimalism of an orchestra dominated by busy bells ("Bosky"), Saville’s "Build A Diorama" is not just a valuable addition to his musical output, but an essential audio guide for those striving to explore, learn and understand.

Canyons are places of mystery and beauty. The interesting thing is, while they are one of the great wonders in the history of planet earth and attract scientists of all kinds of disciplines, they have also been a popular retreat for artists and musicians. You will have heard of Topanga Canyon, Rickie Lee Jones and Chicago recorded here. Laurel Canyon is even more well known, a mythical place where Crosby, Stills & Nash developed their unique vocal sound while hanging around Mama Cass' place. Or was it in Joni Mitchell's house on Lookout Mountain? Ok, you get the picture. There is something unexplainable, almost magical going on in canyons.

Maybe that's why Andy Platts and Shawn Lee were thinking of "Canyons" when they wrote and recorded their third album as Young Gun Silver Fox. With "West End Coast" and "AM Waves" these two very talented musicians, singers, songwriters, arrangers and producers already explored all things Westcoast, AOR, Softrock and Boogie. But - especially if you are a into the golden age of this sound running from circa 1976 to 1984 - you will be aware that there is no return once you started digging these unconditional musical delights with their timeless compositions, untouchable musicianship and refined arrangements. The great albums from that era appeared when punk broke and the musical establishment was shaken to the ground. Today they sound more up to date than ever. Who would have thought back then?

On "Canyons" Young Gun Silver Fox turned it up to eleven. They are nothing but "Kids" cruising in the fast lane, totally over the top searching for the "Dream Woman", touching down in Tokyo caught in a "Long Distance Love Affair", imagining the theme for a lost 70s TV series starring "Danny Jamaica", being on the winning side in a "Private Paradise", getting deep and soulful in "Things We Left Unsaid" and wondering how to spread "All This Love". Their bass lines, sound layers, brass arrangements and harmony vocals are immaculate. Everything fits perfectly. Just like this. "Who Needs Words" when everything is crystal clear? Exactly!

"Canyons", after all, are magical places of rare beauty. (Mr. Mellow - Porcaroc Club/Mr. Mellow's Sunday Scene/Soho Radio).

Yes, we know the soul and funk world of the glory days, big labels, radio shows and bands amid a social context of segregation. A context that starts becoming less important when this music genre enters the mainstream in the late 70’s to eventually fade away at a fast pace in the 80’s until its complete disappearance in the 90’s and beyond. This time though, we dive a bit deeper into the hoods, because the social context of today ain’t no greatly different and it has its very own music, deeply rooted in the sounds of the early days, although more immediate and dense of beats and urban feel.

We are in Chicago, a place where every 2 hours someone is shot, and every 14 hours someone is murdered. It ain’t no Iraq or Afghanistan but one of the biggest and most sophisticated cities in the world. In the city’s west and south sides, which are considered the heart of Black America, gang rivalry is tearing its people apart. It has become so brutal that both police and perpetrators agree that this urban warfare is out of control. I started this release process after Yann sent me an heads up on this song and it took me most part of last year to build some mutual trust with Lay Lemons aka Biggz from North Lawndale, main area in the west side of the city and one of the most dangerous places in the world. When I first contacted him, Lay was having a hard time (and still does) as his daughter Raven was caught innocent in a gang shooting crossfire.

After the following investigation, the FBI (yes, big gangs are federal business) arrested and charged some members of The Four Corners Hustlers, yet Raven’s murder has no responsible and Lay suddenly lost his daughter overnight in the summer of 2017. He simply couldn’t concentrate on music, and the silly requests from a mad Italian with his crooked english were probably sounding to him like aliens speaking from outer space. I’m pretty sure this wouldn’t have been possible without the help of Lay’s cousin, sound engineer and recording studio owner living today in Detroit, so accept my gratitude Mr. Tony Amos.

Lay Lemons has never been involved with gangs nor was Raven, nowhere near that business. They are people of music, family and religion trying to survive in one of worlds toughest places. This song, its vibe, the beats, the voice... Are coming straight out of their hood, written around a fire bin on the side of the street and put together with 3 instruments. It has no chorus, it’s verses all the way through, it is a kind of prayer to the unknown in the hope of salvation through everyday strength.

Lay Lemons I salute you.

Auf "Small Favours" - der 6–Songs Vinyl–Auskopplung des Albums "Favours", verbündet sich Elektronikmusik–Zauberer Wolff Parkinson White mit verschiedenen SängerInnen, unter anderem Norah Jones, Natalie Beridze und Pascal Leboeuf.

Wolff Parkinson White's typisches Maschinengewehr–Feuer aus manipulierten Audio–Splittern steht hier in krassem Kontrast zu der Wärme der menschlichen Stimme. Seine erste EP–Veröffentlichung auf Nonplace bedient sich an vergleichsweise bekannten Liedstrukturen und beantwortet die Frage, wie ein Projekt von Björk und Venetian Snares klingen würde, wären sich beide jeweils der Nachteile diatonischer Monotonie und der endlosen harmonischen Wüste bewusst.

Die 6 Tracks der EP wurden von Labelchef Burnt Friedman persönlich von den 13 Album–Tracks ausgewählt. Der Schlagzeuger Jochen Rückert, der hinter dem Spitznamen "Wolff Parkinson White" steht, spielt auf "Heaps Dub" (nonplace20) von Root 70 und "Coptic Dub" (nonplace27) von Hayden Chisholm's Projekt The Embassadors.

For the new Arma release Ena explores different, distinct facets of his sound across three productions. “Pale” distills his vision of techno as a minimalist, repetitive construct. Working around non-standard time signatures, he creates a densely woven lattice of percussive pulses, which cut a polyrhythmic path through nightmarish sheets of noise. “Secondary Color” uses a broader palette that opens the Ena sound up to the light,,, “Wired” heads further away from the grid in pursuit of sound design exploration, as a rack of pipes and chambers strike, boom and chime against artful distortion and cavernous reverb. While Ena has historically been hesitant about remixes of his material, he warmed to the idea of long-time Arma friend JASSS reworking “Wired”. Taking the track into her own fiercely individual sound world, she uses the harmonic tonality of the original as a jump-off point for an epic, emotionally forthright chiller loaded with coldwave bombast, trap hats and Silvia’ own voice. Coming from entirely different angles of approach, Ena and JASSS are bound together by their fearless individuality. You can sense the slithers of pre-existing music somewhere in their constructions, but such familiarities are no more than faint echoes of places they passed through on their way to somewhere new.

Samuel Rohrer CONTINUAL DECENTERING
With his Arjunamusic label and a growing catalog of categorydefying releases, Samuel Rohrer continues to quietly, yet confidently, make a name for himself as a genuinely unique Gigure within the European electronic music realm. In the current era, talk of blurring boundaries between musical genres and attitudes is more the rule than the exception, but not always something done with any degree of success. Rohrer is one of those rare alchemical explorers to have truly created a hybrid which is all his own, one that does not just exist to melt distinctions for its own sake, but is a natural result of years of experimentation with both the determination of electronic music and the ludic spirit of ‘free improvisation.’ On his newest offering, Continual Decentering, this vision is applied to a set of mostly in real time (live) performed explorations. 
In keeping with his many years’ worth of fruitful collaborations, the tonal palette on this new record is one that is expectedly rich for those familiar with his work, yet still surprising in terms of how exactly the differing tonal colors come together. Representative tracks like Spondee and The Fringe are brimming with dub pulses, noir shivers and blooming timbral variations that are in many places carefully isolated / focused and in other places blended together in vivid fusions. In terms of the emotional atmosphere created here, the pensive and questioning tone hearkens back to the ‘wide open’ state of electronic music in the mid-late 1990s, yet with a greater clarity and maturity of vision that makes this music feel like a possible answer to aesthetic questions being raised at that time. As with Rohrer’s most recent solo work, like the Range of Regularity LP, Continual Decentering showcases the artist’s skill in turning the drum kit into a lead instrument. While the term “lead instrument” denotes a kind of exuberant “Glash,” or a clear separation from the rest of the voices in an ensemble, we can take the term to mean something different throughout this listening program of 13 short vignettes: that is to say, everything else within the audible environment exists to complement the character of the percussive playing rather than to stand apart from it. It helps that Rohrer has, in fact, developed a unique and complex hybrid system in which drum hits trigger modular synthesizer processes, the use of which makes for an incredibly fluid response time between distinct sonic events. In contrast to the previous Range... LP, this new offering is propelled less by interlacing threads of intensity and more by a shared sense of deep listening. As displayed on pieces like All Too Human, there is a profound sense of attention to silences or thoughtful pauses that maybe hints at another crucial aspect of Rohrer’s style: over the course of this program, we tend to hear the player not only playing but listening, an activity which makes perfect sense given the sense of instrumental dialogue already mentioned. All of the above come together to give Continual Decentering a “live”-ness that will easily translate from recorded document to dynamic performance.

Die Cut Sleeve with download. It’s a strange betweenworld, bookended by sleep and the jolt of being wide awake in a place where you wonder how you got there. You know the feeling… It seems familiar but the colours are, well, unreal. In a high-ceilinged room, a grand piano plays lush melodies as, meanwhile, somewhere, an Alice In Wonderland clock ticks, cellos are bowed, a swarm of something vibrates and the hallucinatory crowd around Rosemary’s Baby babble. An echoey electronic hum builds and falls like a 50s refrigerator passed through and effects board, things run backwards, staccato strings are plucked… and that’s not the half of it. “I’ve never been happy staying in one particular school of musical thought. The fun has been turning things on their heads, to try something you were not supposed to do.” We’re on an immersive and adventurous travelogue with the former member of the legendary Tangerine Dream, Paul Haslinger - this is a man who knows how to build tension, hold moods, illustrate contempt, lies, passion and pleasure; He can create fear, loathing and love - he’s been unlocking the nuances of such emotions in a hugely successful career as a TV and film soundtrack composer (Halt And Catch Fire, Underworld and the Golden Globe-nominated Sleeper Cell). ‘Exit Ghost’ is his long thought out opus, a moment caught in time, flicking through reference points, taking an ethereal excursion that permeates musical genres as it becomes awash with intricate sounds and cross-pollinating rhythms. Built originally from the warmth of his grand piano ‘Exit Ghost’ resonates with purity and power, from an eerie and evocative betweenworld, that’s at once expansive and rolling, then intoxicating and suffocating in equal measures; modern composition at its most uplifting; cerebral, celebratory, intense and beautiful. “The soul searching in connection with this record was extensive. Finding places of resonance, giving a colour to your memories. It was more challenging because it’s not somebody else’s narrative. Finding the core of your own story can be the most difficult task of all.” Created over the span of eight years and filled with literal and personal references, the album itself is a testament to the search - a quest filled with hints, particles and suggestions.

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

Satin is the first solo EP from Lack, the alias of Manchester based artist Charlie Foy - having previously featured on various twelves for the Cong Burn collective. Recorded between 2016 and 2019, these tracks were started during long train journeys, before being finished in the studio. More introspective than previous material, these tracks offer a unique insight into the window of serenity that comes from movement and being in-between places.

These exceptionally balanced and well-crafted compositions use production techniques that explore the relationship between the natural and synthetic, using transients from field recordings to trigger machines, as well as granular synthesis and resampling techniques that further blur this distinction. Equally suited to listening at home or in a club context, these tracks reward deep listening and continually reveal details with each listen.

Kicking off 2020 in style, Life And Death welcome Madrid based groove maker Bawrut for some of his distinctly off kilter brilliance.
Italy born Bawrut makes warm, heartfelt electronic music that crosses the musical spectrum, doing so with a true left of centre perspective. He imbues his productions with weird and wonderful sounds and an exquisite sense of craft that make them both unusual and engaging. He has done so on the likes of his own Silencio label as well as Ransom Note and PETS Recordings and has become a mainstay of the DJ circuit as a result. Next to high profile shows at places like Nuit Sonores he has also toured as far afield as Vietnam, and here he brings some worldly perspective to this latest for DJ Tennis’ always cultured label, Life And Death.
First up is 'Rollin'', almost ten minutes of synth based excellence that takes you on a real sonic adventure. The drums are firmly rooted and hypnotic while the various pads up top unfold like aural fireworks. It's a tense track that never lets up and keeps you locked for the epic duration. Equally fantastic is 'Terza' with its twisted, tortured synth lines and vocal yelps all bringing real drama to the deep and rolling drums. It's a turbulent track to bring real edginess to the club. Lastly, the grinding 'Drum Beat' has a menacing bassline and tribal vocal stabs cut up with rave sirens. It's a sweaty, strobe lit monster that takes you to the heart of the dance floor.
These are three perfectly slow-release but high impact tracks from this ever more vital talent.

The relationship between Norm and Core is in terms of sunlight playing over a mountain and a valley. Norm is the brightly lit portion, Core is the dark area occluded by the mountain's bulk. As the sun moves across the sky, Norm and Core gradually trade places with each other, revealing what was obscured and obscuring what was revealed. Norm is solid, focused, hot, dry, and active.

Fire – Sky – The Sun – Day Time.
Core, by contrast is yielding, cold, wet.
Water – Earth – The moon – Night-time.

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

“Please Wait“ (Ta-ku & matt mcwaters) releasing their EP „Black & White“ featuring soon to be mega star Masego and others via 823 & Jakarta Records. After releasing last year’s very successful tribute-record “25 Nights for Nujabes” (almost 13 mio. plays on Spotify to this day), Perth-based artist Ta-ku finally returns with brand new music!

... Please Wait is the culmination of numerous online exchanges and years of sharing voice memos, stems, musical ideas & TikTok links between Ta-ku and Canadian producer matt mcwaters. Their cathartic approach to this body of work has been more about self-expression than anything else and has culminated in an EP that covers a range of issues and experiences from different times in their lives.

While the 1st single features Jamaican-American multi-talent Masego and will also have a video, the 2nd single features up & coming singer/songwriter Alayna. Ta-ku’s 823 label represents the appreciation for the people/ideas/places that inspire and push us forward.

The artwork is shot by the artists themselves and each release has an accompanying photo zine that acts as a visual story to compliment the music being showcased.

Tape / Cassette

Mark Gergis is a producer, musician and audiovisual archivist known for his radio and video productions, recordings and performances. His work has focused on regional folk-pop music from the Middle East and Southeast Asia, including choubi and dabke from Iraq and Syria. As an archivist, Gergis is currently working on the project Syrian Cassette Archives, for which he aims to restore, preserve, catalogue and share his large collection of Syrian media from what can be called Syria’s ‘cassette era’ (1970s–2010). As an artist, under his name and others (Porest) he has released music on the Sublime Frequencies, Discrepant and Nashazphone to name just a few. It’s a wonder that amongst this hectic schedule he still finds time to present us with a new (old) collection of early century recordings (1999-2013).

Locational recordings, radio and TV intercepts, cassette excerpts, environments and street music all expertly all expertly meshed up into a vivid sound journey from places that were (and might) never be again.

repress

2LP 140G VINYL + 12 PAGE BOOKLET.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

'Agartha Stories' is a record we were looking forward to release for quite some time. Hailing from the Venice area in Italy, Bruscagin & Visnadi are representing a specific sound from that region, a certain type of melodic techno but with its very own sound design we have rarely heard before. Hear the interesting story behind it. As half forgotten legends from ancient civilisations like Celts, Aztecs, Vikings and Incas say, there is a mythical place located in the centre of our planet. This enchanted place is called Agartha and only accessible through hidden gateways under different places on our Earth's surface, like the Pyramid of Giza, Mato Grosso or Mount Epomeo. Agartha is populated by an ancient civilization that survived Atlantis. What diversifies these inhabitants from our society is the respect and the love they feel for the nature and the fundamental elements that are substantial for the progress of human beings. Following their 'Indian Stories' release on Lost & Found, Bruscagin & Visnadi dedicate their second episode of the saga to the mysterious civilization of Agartha
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"The first series comprises six related movements, usually organised in pairs, electronic sounds with instrumental and more rarely, concrete sounds: Incidences/resonances brings into play controlled resonances akin to sounds of concrete origin in a process that helps to expand the variable electronic sound sources.

Here, 'incidents' are opposed to one-off 'accidents' in the second movement: Accidents/Harmoniques (Accidents/Harmonics). In the second movement, very short events of instrumental origin change the harmonic tone of the continuum they interrupt or overlap.

Moreover, the high notes are underplayed, which stimulates the attention given to other phenomena generally hidden by the melodic form applied to the instrumental play. Géologie sonore (Sound Geology) is similar to a flight over an area where different 'sound' layers come to the surface one after the other.

When seen from high above, instrumental and electronic sounds seem to fuse ... Dynamique de la resonance (Dynamics of Resonance) is a microphonic exploration of a single sound resonating through different forms of percussion. L'Etude élastique (Elastic Study) places together various sounds produced by 'touching' elastic or instrumental skins (baloons, doumbeks) or vibrating strings and a number of instrumental gestures close to this 'touch', using electronic processes to generate white noise.

Conjugaison du timbre (Conjugated Tone), the last movement in the series, uses the same substance to apply rhythmic forms onto a perpetually varying tone continuum. "The second series of movements draws its inspiration from concrete and electronic sources rather than instrumental ones. Incidences/battements (Incidences/Beatings) is a reminder of the first movement in the first series which then quickly moves into Natures éphémères (Ephemeral Natures): ephemeral play on instrumental and electronic sounds, singled out by their internal trajectory rather than by the material itself. Matières induites (Induced Matters): just as molecular effervescence triggers a changes of state, it seems that the different states of these sound materials can be generated by each other or through induction processes.

In Ondes croisées (Crossed Waves), the pizz vibrations interfere with somehow 'visible' water drops on the surface of a similar material. Pleins et déliés (Downstrokes and Upstrokes) can be listened to as the energies absorbed in the motion of bouncing bodies, while hollow 'bubbles' and points bring together some people's gravity and others' downwards movements. The work finishes with Points contre champs (Reverse Angle Points).

Here, the notion of perspective of the different sound threads weaving a kind of network, or field, traps the occasional iterative elements in the foreground and progressively absorbs them, giving more space for the angle - and the chanted sound - to grow." (B.P.).

Beyond Space And Time is the new record label from Japanese music festival, Rainbow Disco Club (RDC). RDC has been welcoming music loving people to Japan for over a decade. Throughout the festival's history, RDC have been fortunate to constantly encounter performers and DJs who've collaborated with them in establishing a beautiful dance floor year in, year out. These relationships have lead RDC to start their own label, and now gives them the opportunity to reveal one of the best-kept secrets: What is in a DJ's record bag?

This time around, festival regular DJ Nobu kindly opens up his collection and shares the music he loves with us all. On visual duty we welcome Senekt - his representational yet contemporary drawing illustrates the emotion we feel from DJ Nobu.
We have much more music to come in future from artists that we trust and respect.

▼ DJ Nobu describes 10 tracks this way ▼

A1. Laurent Garnier - Water Planet
Highly respected French DJ/Producer Laurent Garnier has been releasing tracks for decades capturing the very essence of Detroit Techno and Breakbeat. He always manages to create something truly emotional. This is not his biggest hit, but it's my favorite.

A2. Mono Junk - Beyond The Darkness
This track represents the very early days of Techno with it's ravey atmosphere. It has a primitive feel, and the obscure mixdown sounds almost unbalanced. That said, this one really stands out when DJing. Very cool.

B1. Psychick Warriors Ov Gaia - The Valley
It was always my intention to include this track in a compilation if were I ever to do one. It has a fat underlying groove, with some indigenous spices thrown in. The whole thing is put together beautifully. No complaints!

B2. Melody Boy 2000 - Plenty Of Love
I wanted to include a track that had Jacking feel to it - that is my definition of dance music. This track mixes well in both Techno and House DJ sets.

C1. Drax Ltd. II - Amphetamine
This is my all time favorite track by Thomas P Heckman. It asks questions and strikes down all the boring 'wanna be cool' techno tracks. It is obviously a well known tune already, but I include it here because I'm often asked for it's track ID from new kids in the game. This is a classic that should be passed down.

C2. Dan Curtin - 3rd From The Sun
Curtin's refined synth grooves and bass lines make this a true timeless classic. It do not get tired of listening to his rhythms and melodies - he always gets it just right.

C3. Front 242 - U-Men.
The originator of Electric Body Music. Their husky vocals, hard rhythms and strong synth basslines made the group very popular at the time, and they are still to this present day. To me, this track represents what the Belgian New Beat scene is all about.

D1. The Prince Of Dance Music - E3 E6 Roll On
This is the track I played the most up until around 2006. It is a genuine house track that cuts through trends in music. A hidden floor killer.

D2. Pan Sonic - Lähetys / Transmission
Electronic music has existed for decades, and if you are to choose some of the best from all scattered & hidden places, Pan Sonic's 'Lähetys / Transmission' must be considered. The track emerges beautifully - breaking structures and transcending the past. Every layer of the piece is produced with such delicacy and care, that as a whole it magically drags you into the world of the unknown.

D3. Burial - Archangel
This track merges melancholic emotions with technological prowess at the highest level, and deeply impacted the dance music scene on it's release. I recently played this track at the end of my set at the forward thinking Terraforma Festival in Milan. It faded out to huge applause from the open minded crowd. A moment to be remembered.

Double cyan blue vinyl in a gatefold sleeve. Two printed inner sleeves and a six panel oversized booklet. Download card enclosed. The vinyl includes the Deluxe track listing - 17 tracks in total.

U2 return with their hotly anticipated new studio album 'Songs of Experience'. The Island Records priority release completes a stellar year for the Dublin band, following their return to stadiums with the critically acclaimed, sold out 'The Joshua Tree Tour 2017' playing to 2.4 million fans in just 51 shows across Europe and North and South America, as well as the successful 30th Anniversary re-issue of 'The Joshua Tree'.

Recorded in Dublin, New York and Los Angeles, Songs of Experience was completed earlier this year with its subject matter influenced by Brendan Kennelly's* advice to Bono, to ...write as if you're dead'. The result is a collection of songs in the form of intimate letters to places and people close to the singer's heart: family, friends, fans and indeed himself.

Songs Of Experience is the companion release to 2014's 'Songs Of Innocence', the two titles drawing inspiration from a collection of poems, Songs of Innocence and Experience, by the 18th century English mystic and poet William Blake.
Produced by Jacknife Lee and Ryan Tedder, with Steve Lillywhite, Andy Barlow and Jolyon Thomas, the album features a cover image by Anton Corbijn of band-members' teenage children Eli Hewson and Sian Evans.

'The Blackout' and 'You're The Best Thing About Me' were the first songs to be made available from the album. 'You're The Best Thing About Me' is the band's first UK Top 20 airplay record in a decade and has also been remixed by Norwegian superstar DJ and producer Kygo.

*Brendan Kennelly - Irish poet, novelist and Professor Emeritus at Trinity College, Dublin.