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The sweden Cow Boy can play all kind of Blues !... And can create new ones !

2018. What the fuck is going on Hatred uprising, the resistance growing. Adelphi Music Factory: musical brothers. Javelin: A gospel piano weapon filled with love. Brotherhood. Sisterhood. Freedom. Peace.

DJ Support:
The Black Madonna
“I love the record so much!!! I cannot tell you how many people have asked me about the Javelin tune!!! Thank you for this wonderful record”

Annie Mac
“it’s a BANGER - absolutely love it”

Denis Sulta
"This is a certified BANGER. I’ll be playing it all summer."

Skream
“Loving this! Will support 100%”

Seth Troxler
“I like the dub”

After more than a decade of deep, expansive productions on labels such as Detroit Underground and CPU, Annie Hall arrives on MUSAR for a record typically rich in texture and understated grooves.

Opening track 'Linium' immediately seduces listeners with a complex drum pattern that somehow feels spacious, subtly twisting and turning its way around Hall's analogue world. Dutch artist Mattheis maintains this understated feel but adds a soft, compelling kick in response on his suspenseful remix of 'Lavandula'. The original, moodier version of this cut the follows to open the B side, gradually erupting around a killer distorted bassline. The EP continues to hit a more urgent note with the tense machinations of 'Silene', where dense layers of stuttering, frenetic drums interweave with Hall's trademark, melancholy keys. The record concludes on a weightless, transcendent note with 'Santolina', taking each visceral element featured thus far and slowing each down, with affecting results.

Indebted to vintage electro and IDM, Hall's music is no throwback, always looking forward and moving dancefloors in the most unexpected ways.



DJ FEEDBACK

Early support from



Michael Mayer (Kompakt) : Nice vibes from Mattheis... will play for sure!

James Zabiela (Born Electric) : Linium is a nice one, thanks.

Arnaud Le Texier (Cocoon / Chronicle) : Nice music. Thx!

Marcel Dettmann (Ostgut Ton/MDR) : Thx!

Carl Craig (Planet E) : Thx!

Gonno (Beats In Space Records / Endless Flight) : I like Mattheis' :)

Thomas Hessler (Index Marcel Fengler) : Nice one! Thank you!

Slam (Soma) : Thanx

Âme (Innervisions) : Thanks

Blasha & Allatt (Meat Free / Manchester) : Amazing!

EREZ / John Byrun : A superb EP

Tom Lye (Melodic Distraction - Liverpool) : Big fan of the whole EP. Strong, building electro with different moods. Essential!

Afrodeutsche (NTS / LuckyMe / Skam) : Glitchy melodica... Right up my Strasse...

DJ Shiva / Noncompliant (Valence / Detroit Underground) : Stellar music here. Moving beyond "DJ music", this is just really fantastic to listen to in headphones. Gorgeous stuff.

Lonya (Asymmetric Recordings) : Great stuff here!

Nori (Posivision) : Cool work.

Cinnaman (Rush Hour / Naked Naked) : Lavandula and Santolina are my favorites! thanks

Dj Windows XP (E-Beamz) : Dope E.P. Will play Lavandula.

Ambivalent/LA-4A (Delft/Cocoon/Ovum) I'm a huge fan of Annie Hall and Mattheis!!! This is a FANTASTIC release!! One of my favorites of recent months just on first listen!!

Benoit C (Tsugi) : Linium for me

Ian Blevins (ESP Institute / Sulk Magic) : Linium and another bit of top work from Mattheis. Santolina is pushing my buttons too. Aphexy vibes.

Joe Europe (Ransom Note) : Very nice!

Azterisco: Very interesting record. Nice remix!

Oded Peled : What a fantastic release! Was hard to choose a favourite between Linium and the Mattheis Remix of Lavandula. Both will come in handy in my sets. ....Thanx a lot and keep em coming.

Naduve (Cocktail d'Amore / Disco Halal) : Both A1 and A2 are great!..Thanks.

Anastasia Kristensen (Nous) : I dig this a lot, it's a crazy well produced record.

Demia E.Clash (Darknet) : Such a good ep-.i love them all,quality production yess.

Pedro Martins (Karakter Records) : Nice EP overall. Linium, Silene, and Santolina are my favorites. Thank you so much!

Xinobi (Discotexas) : Great record. I'm specially enchanted by the original version o Lavandula. Congratulations.

Scan Mode (DJ Mag Spain) : Lavandula in both mixes for me

John Osborn (TANSTAAFL) : Can't pick a fav. it is all Devine. thank you.

Madloch (Sound Avenue) : Nice EP, Linium & Lavandula original are my favs, thanks.

DVS NME (Transient Force) : The standout track is Lavandula.

It Was 1968 When Fania Records President, Jerry Masucci, Received A Phone Call From Conguero George Guzman, Inviting Jerry To Listen To His Band. Jerry Turned The Project Over To Harvey Averne, Who Later Reported To Jerry That The Band Was 'out Of Sight' And Suggested That Masucci Sign Them Up. A Short Time Later, Things Became Complicated For George And His Band. First Of All, The Lead Singer Was Drafted Into The Military, Leaving George High And Dry. By The Time A Replacement Was Found, George Learned That His Trumpet Player Was Leaving To Join Another Orchestra, So The Search Was On For His Replacement. One Problem Led To Another And Before You Knew It Several Months Had Gone By Before George Was Finally Ready To Enter The Studio And Begin Recording. Thanks To George And Harvey's Perseverance, 'introducing George Guzman' Was Released In Time For George To Join The Fray Of Boogaloo Bands That Had Brightened Up The Night Scene In New York City In 1968.

Dancing With Fireflies From Sanderson's Second Long Player Urban Mosaic Gets The Treatment Courtesy Louis Haiman, Minimal States And Off Land. Louis Once Again Shows His Flare For Soulful Detroit Influenced Tech, Putting A Fwdthought Spin On Sanderson's Original Arrangement. Minimal States Leaves An Equally Strong Mark With His Rich Idm Techno Flavoured Rendition. Stasis Recordings Stalwart, Off Land, Reworks Just Beyond Into A Gorgeous Piece Of Chill Out Bliss.

Previously on All City via The Smoke Clears, West 2 West & Night Christ John Daly a six 6 track edition of his 10 track digital album 'We Will Live Again'.
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According to John:
"This music was made over a year and a half period, while i was losing my father to cancer. I don't usually work with concepts, and certainly didnt have one in mind making this, but with something this heavy as the backdrop it had to be an influence, especially since my musical gift came from him. This I am only truly realising now.

The drums and vocals were added later. Dan Walsh from Fixity and others in Cork played the drums. The vocals are by an Italian singer based in Galway, Barbara Vulso.

This is the third album under my own name, having worked with aliases for albums since 2012. It was always going to be so, and again I now realise that given the personal nature of the project it could only be that way, though i didn't know or question why at the time"

Fourth Kind the self titled mini album on Omniverse Records. It's hard to pinpoint a genre with records like this; produced by Marc Mac of 4hero and similar to some of the 4hero output, it defies genre and fits somewhere in-between many. The production is heavily reliant on synthesisers and vintage drum machines in places but is full of real life and organic movements, this is partly down to the signature drums played by Luke Parkhouse. The only other guest spot is filled by Nu Jazz Funker Pascal Strauss aka Luman Child who plays bass guitar on "Take Me To Your Sky" which along with "Afterglows" are the closest we get to dance tracks, in most parts a 70s fusion feel is present. The short interlude type tracks tie the journey together and I would go as far as to say vital to telling the story. Moogs, Arps and Solina strings weave patterns throughout, all in all, across the 10 tracks the album is a journey of mood and emotions. 180g Pressing. Released 28th September 2018.

Singer, pianist, writer, poet and creative being, Allysha Joy, is a key member of Melbourne collective, 30/70. Their growing success over the last two years has led her to further challenge her expression in a project of her own, pushing boundaries as a female keys player, poet, singer and producer. Whether performing solo on Fender Rhodes or accompanied by her band, Allysha's steady groove, husky vocal tone and unique style of writing emanates her own personal truth and illuminates a powerful feminine energy learning to be peaceful, giving and considerate of others.

On her debut EP, Brussels-based multi-instrumentalist Esinam gives us an entrancing insight into her eclectic world of jazztronica.

Released 21st September via Sdban Ultra, her self-titled EP carries influences from different worlds geographically, culturally and musically. Blending traditional and modern instruments with her soulful voice, the acoustic sounds of the instruments are allowed to evolve and take on new dimensions, opening up a kaleidoscopic spectrum of sound and colour.

Esinam Dogbatse is part of a new generation of musicians bringing forth a cultural blend of music. Having opened for the likes of Nakhane and Témé Tan at Les Nuits earlier this year, Belgian rapper Baloji invited her to guest on his latest critically acclaimed album '137 Avenue Kaniama'. She has also supported Alsarah & The Nubatones, Selah Sue and Melanie De Biasio on her sold-out shows at Ancienne Belgique.

For the recording of the EP, Esinam joined forces with Jules Fradet from Studio Planet (Damso, Afrikan Prötökol). Producing and playing most of the instruments herself, the EP was mastered by LA-based producer Kelly Hibbert aka Almachrome (J Dilla, Madlib, Little Dragon, Flying Lotus, Ebo Taylor, Mark de Clive-Lowe and Arca).

Lead track 'Birds Fly Under a Heavy Sky' is a mesmerising opener that smoulders effortlessly against a backdrop of subtle beats and sensual rhythms, with Esinam's soft vocals and hypnotic flute providing the groove.

On 'Do Not Go Into That Black Night', she is dark and direct. It's a magnetic take on jazz noire that doesn't distract from the sultry inflections of her voice, while 'Gavoé' recalls the spirit of her Ghanaian roots in a ballet of instruments that display a level of personal freedom and sensitivity. Through merging different genres of music, we are warmly welcomed into Esinam's musical universe.

Esinam teamed up with Senegalese DJ and producer Ibaaku on the highly charged 'Electric Lady', who provided some distinctive musical hues. A track drenched in afro-futurist colours, sonic samples and collages freely mix with electric and raw sounds, supporting the energetic playing of the flute. The structure of the song remains true to Esinam's signature sounds: surprising ruptures, poetic atmospheres and constant affirmation of groove.

When Esinam performs live, she juggles traditional instruments such as the tama, kalimba and pandeiro, which she loops and blends with the sound of her flute and voice. It sometimes triggers dance, sometimes contemplation

"The Room", Fenster's fourth album and their first release on Altin Village & Mine marks the beginning of a new chapter for the band. After releasing three albums, a feature length film, and touring extensively throughout Europe and North America since 2012, "The Room" serves as an entry point into their sonic evolution. The essential characteristic of the band is transformation - within and between genres, albums, and songs. Their sound is a window framing psychedelic, groovy, hypnogogic, playful pop.

Fenster is Elias Hock (Germany), Jonathan Jarzyna (Germany), Lucas Ufo (France) and JJ Weihl (USA). Their mission in creating this album was to compose and arrange every song together in a room. It is an experiment in collective creativity that pushed all of them to transcend their individuality and create something together which is greater than the sum of its parts.

The songs were tracked live in a house where the band ate, slept, and played together. Often the songs were recorded without implementing a click track. They were intent on finding and locking into a human groove—one open to imperfection—while still maintaining a tightness between them. They wanted to make the songs feel alive—as if the listener were present in the room with them in the moment of creation.

The album's title track "The Room" opens the record like a rollercoaster ride. There is a tension in the first bars that ties us to earth, a minimal riff that guides us to the first chorus where we feel we are slowly lifting into the air—and by the time we reach the second chorus it has exploded into a space far away from the planet's gravitational pull.

The band's use of juxtaposition is not just a way of channeling a vast library of musical genres and concepts, it is a means of expression. Combining tender pop melodies with kraut-beats, disco grooves and psychedelia frees the band from any one sound and creates a genre all its own.

This playfulness is especially vibrant in songs like "Rhythm A" and "HAHA lol" which deconstruct and fuse together disparate moments of explosive rock, tender harmonies, percussion made of splashing water, voices from a radio, and electric piano. Even "Feel Better", a sparkly pop ballad is cracked wide open by a long trippy interlude that appears unexpectedly within an otherwise classic structure.

The cover art, created by the band's own Lucas Ufo, invites us into a room in the shape of a human skull. If one looks "out" the window in the picture, one finds oneself looking in to an infinite portal of rooms within rooms. The record plays a lot with this idea of perception. In "HBW", the relationship between the bass and the drums creates the feeling of an infinity loop. The lyrics lend an enigmatic tint to the landscape of so called objective reality v. perceived reality: "I was a phase — you were going through — said I was the one but there is no one — there's only the sun — that gives shape to the moon"

The record starts with "The Room" and ends with "Two Doors". Maybe one door is an exit, and one leads to another room... who knows The song has something mysterious and expansive, like a digital ocean flooding the room, carrying everything away. The whole process of making a record is about capturing a moment in time. This is the record they made - in this point in time, all together, in a room. The last words of the record roll out with the waves: "What you leave behind for someone else to find — Two doors inside — neither one is right"

Tracklisting

Point of View is a new parallel project by Cognitiva Records.
It is a limited series of 150 hand-signed "7inch" copies.
Each release will compare two artists, different points of view with the same pattern. side A Beraber - Shades Play
Beraber is an Amsterdam based producer and dj that made his debut with this moniker on La Freund Recordings. He has a bi-monthly show on Red Light Radio.
This time he has delivered a special groovy production with deeply roots in 90s italian house. A rich and full sound with few elements; it's his goal. 'Shades Play' is mainly Juno-6, Korg M1 and TR-707.

'Garage bands suddenly obtain cult status and become the antithesis of their initial appeal'

Garage Class were a group of reluctant outliers who produced one of the finest contributions to the wave of UK DIY music that emerged during the late 70s and early to mid-80s.

Hailing from Alsager in North West England and comprised of Tim Shutt (vocals) Phil Murphy (lead guitar) Clive Williams (guitar) Lynne Sanders (bass) and Phil Bourne (drums / bass on studio recordings) Garage Class originally went by the name of The Pits before their then manager Steve Hurt imposed an alias which, though unpopular within their ranks, would nevertheless reflect the shambolic art they would eventually capture on their first and only single.

As The Pits the group offered a loutish inflection on glam-punk flamboyance, evoking Johnny Thunder hitting the north and remaining disowned yet undeterred in a dreary old boozer. But as Garage Class the group distilled a roughcast and homespun primitivism that felt quintessentially their own. In this they proved too unruly to be assimilated into any wider scene. Early gigs descended into acrimony and recognition proved elusive. Yet what they managed to make back then now sounds like an extraordinary article of underdog ambition.

Released in 1984, four years after it was originally recorded, the Terminal Tokyo single is an unlikely triumph of exceptional messthetic punk. Though raw and unpolished the songs here are precariously pop-minded and indisputably anthemic. The titular A-side reveals the dry and detached drawl of Shutt aka The Subliminal Kid, a sharp, jaded and poetic voice that has some of the most iconic lines never heard in punk. Accompanied by second-hand guitars, on-the-fly handclaps and a chorus like a terrace chant this is the cult hit that never was, a heroically artless masterpiece that has all the ragged character and misfit euphoria of Swell Maps and The Buzzcocks if they were more impulsive and boisterous, and left to their own devices in the remote margins of a Cheshire town. The original B-side is here substituted for I Got Standards, a track that, until now, has somehow remained unreleased. An ideal twin to Terminal Tokyo there's the same brusque and dog-eared quality to the band's delivery, as well as the same upfront emphasis on strong hooks and insistent momentum. Yet again, Shutt is on impeccable form, perfecting an inflated, adolescent antagonism that has all the sardonic, malcontented charm of similarly 'shirty' buggers like Dan Treacy (Television Personalities), Patrik Fitzgerald and Mark Perry (Alternative TV).

Although never accepted in their own time both tracks represent a brief but inspired moment of fervent imperfection, one that epitomized the best of a diffuse and autonomous underground movement spearheaded by The Desperate Bicycles and built upon by the likes of Amos & Sara, The Homosexuals, The Cleaners From Venus and Family Fodder. Like them Garage Class were situated at a point where punk, art, humour and a sense of stubborn independence all intersected.

In the years since Terminal Tokyo has accumulated a retrospective appeal among certain trusted circles, with Jon Dale celebrating the single in his exhaustive and essential Story of UK DIY for Fact Magazine, and original copies regularly changing hands for a foolish forty quid or so. With this inaugural release on the Outer Reaches label Terminal Tokyo is not only restored for the very first time but given a worthy expansion courtesy of JD Twitch (Optimo).

Continuing his own fascination with the fringe history of UK DIY - documented on his own outstanding compilation Cease & Desist: DIY! (Cult Classics From The Post Punk Era 1978-1982) and in his re-edits of Crass Records classics for an early release on RVNG INTL - Twitch reinterprets I Got Standards as an incisive, dubwise outing that pictures Jaki Liebezeit and Muslimgauze on a bender in England's provinces, tasked with remixing the raw product of local punks. A new slant on Garage Class' crude magnificence, built to play loud on contemporary soundsystems.

Although the latter part of 1980 spelled the end for Garage Class with members moving on to other projects (Bourne fell in with The Colours Out of Time, Murphy went on to front The Regular Guys and Shutt eventually left to form Happy Refugees) this reissue attempts to give their fleeting time together and the unique single statement they made the treatment it deserves. If this means Garage Class have obtained cult status, their initial appeal remains. Just listen for yourself.

Lowrider soul heads for a south-of-the-border surf date on these two sizzling originals from Alba & the Mighty Lions. A perfect soundtrack for cruising with the bad girls in a drop-top or soothing a late night heartbreak, "La Verdad" and "Esperando" are your tough, no-nonsense friend with a heart of gold who always has your back. Soulful vocals paint a mood while the band's nimble arrangements follow every move. Alba Ponce de León is a multi-talented artist who cut her teeth in the swirling scene of Brooklyn's indie underground, backing up Daptone acts Charles Bradley & Naomi Shelton as well as playing a major role in the fearsome feminist freedom fighters, The Resistance Revival Chorus.

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

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

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

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

This is already our seventh Deep Love compilation and we dare to say our most complete yet in sound and flow. The ten pieces on this sampler blend in perfectly with that laid back 'late' summer mood. We are very pleased to welcome yet again some new acts to Dirt Crew with the likes of 'Jaxx Madicine', 'Ouer', 'Times are Ruff' and 'S3A'. We cross many borders not only in genres but also country wise. From the heavy Disco sampled jam by French producer 'S3A' to the Jazz and Funk laden epos of the Italian 3 piece 'Jaxx Madicine' over to the Dutch deep house boys 'Times Are Ruff' who are well known from their, same named, label and finally to the Berlin duo 'Ouer' who also run an own label and released with our good friends at 'Heist Recordings', delivering an ecstatic electronic floating tune here.

This is all completed by some excellence from long time Dirt Crew artists. '25 Places' have been with us for many years now and their two Ep's have gotten so much love from the deeper deep house community. Here they drop an epic almost IDM techno like tune that closes this great album in the best possible way. Our Icelandic stall wart 'Felix Leifur' drops a heavy hitter named 'Buster'. After his recent 'Bobby Donny' Ep earlier this year we are thrilled to have him back on Dirt Crew! 'Harry Wolfman' and 'Ponty Mython' need no introduction really, they are adding Electro/ Disco/ Electronica fuelled cuts that form a great middle part to this mix of tunes. Harry going in very smooth and relaxed, something else than his usual House workout which we really loved to present to you. 'Ponty Mython' drops an irresistible 'good times' indie acid track in his unique 'free' style.

Last, we must of course not forget 'Dan Only' and key wizzard 'Lorenz Rhode'! With another beautifully smooth cut 'Dan Only' follows up on his latest debut Ep with us. Again a smart cross over in Techno and House with a distinct relaxed groove and atmosphere to it. Lorenz is back 'On Top' here after his super successful first offering to the Deep Love series last year and his 'And I Said' EP which stormed many charts. In the middle of touring and working with Detroit Swindle on their 'High Life' album we are super happy that he found the time to make another gem with that raw n funky live feel to it... We couldn't have started this compilation off with a better joint than 'Marakuja'.

Enough words for now ... just put these vinyl on your decks or stream/play it on the go and don't forget to drop them at a sweaty club night. Deep Love is here to stay!

Alma Negra are back on Heist! After their much applauded 2017 release with that great Soulphiction remix, they've been rather busy taking over the scene. They started their new label 'Alma Negra records' where they released 3 ep's in quick succession, with new as well as older material that showcases their tropical roots and keen ear for clubby reworks. They launched their live show, doing gigs across Europe with a highlight at one of London's more intimate live venues: the Jazz Café. Their latest outing -making their release count a total of 4 in only 8 months - was on Marcel Vogel's Lumberjacks in Hell and explored the more live / rework side of their project. Now they're back on Heist with 3 new tracks, supported by an Awanto 3 remix. 'Conversation' is a track we wanted to put out on Heist badly, simply because it's a beast of a track. It sits somewhere between a live African drum track, percussive techno and moody Midwest electronics, with pads and strings coming in and out of play while a relentless kick drum keeps the energy on a haunting level. This track is Alma Negra at their filthiest, and it feels like they've taken a next step from last year's dark and heavy Luanda dub, bringing it from an intimate dreamy stage straight into the main room. 'This is the place' shows a different side of the house spectrum with the Alma's love for dreamy deep house. The track flows up and down, with soothing Rhodes chords, arpeggio's and mumbling vocals setting a summery mood that's perfect for your warm up or daytime party. Meanwhile, their third original track 'From the heart' goes even deeper and navigates around a smart vocal loop topped with strings, bleeps, claps and rimshots that just keeps going.

Walter Gibbons, a true master of the mix, a disco legend, a pioneer of dance music. There's literally very few who can lay claim to progressing the artform of studio mixing and technique than the late Gibbons. His contribution to contemporary music cannot be understated, first as a DJ where his drum laced experimentation captured the ears and minds of his peers and the dancers, then later as a mixer and studio genius where he continued on his quest. Often fixated on the percussion and breaks within records his versions would often dive into spaced out, dubby and stripped back territory that very few of his peers were even contemplating at that time, fervently reconstructing the tracks themselves and often the time, space and dancefloor within which the record was being played. A true original, Gibbons was behind many of the 'definitive' versions of the classics, his unique style often catapulting records that were just fine in their original form into brand new colourful, cosmic interpretations that flourished sonically and rhythmically with brand new sounds that bristled with vision.

Salsoul Records thought a well programmed and thought out retrospective of this legends output was in order and this incredible collection of tracks is where we find ourselves. A stellar compilation across 2 heavyweight slabs of wax featuring of some of Gibbons' finest works. Included you'll find genre defining cuts like his mixes of Double Exposure, Loleatta Holloway, Love Committee, First Choice and many more.

A truly essential package for the die-hard Disco aficionado or for those who are exploring this most important movement in dance music for the first time. Curated with the full input and backing of Salsoul Records and carefully selected to reflect the truly timeless nature of the music contained within. For listening, for dancing, for turning on a party!

Remastered by Optimum Mastering. Artwork & design by Million Dollar Disco. Fully authorised.

Music Mania and Indica Dubs is proud to present the fourth release in their Mania Dub series. Following the classics 'Almighty Dub' (MD001), 'Rastafari' (MD002), 'Light Up Your Spliff' (MD003), comes another of the UK Dub scene's most popular producers; Vibronics, with two of their most popular anthems from the early 2000s: Red, Gold & Green / Terror. Both of these killers were previous released on different labels, and we have collated both songs into one giant release! Vibronics, the future sound of dub, have been vibrating the world with bass since 1997. Their music is at the forefront of the UK Dub scene, proven by over 60 releases on their own legendary SCOOPS label.

'Red, Gold and Green was the first time I worked with Horns - all played by Stevie Splitz - and now I've been working with him ever since... Terror was made with using the most basic equipment, set up in a temporary studio at home just to build some of raw exclusive dubplates that were never meant for release - they have gone on to be some true Vibronics anthems.'

The master tracks have been provided by Steve Vibronics for us to ensure the original heavyweight sound!

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

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

The 8 track album features new collaborations with DJ Phil, Gantman, DJ Paypal, and Sirr Tmo, and a previously unreleased classic from 2013, co-written with DJ Rashad. WFM will be available in Vinyl and digital formats on September 7th 2018. Listening to WFM, the first thing that jumps out at you is Heavee's masterful use of synthesizers and sound design. You get the sense that these elements have been lovingly crafted during countless hours of sonic experimentation and invention in the studio. As Heavee explains, the primary focus on synths represents a departure from his usual creative process: 'Usually in my method of production, synths or sounds come somewhat close to last, likely after I find structure or rhythm. Basically, it's not something I particularly go for first, but this time around they became the building blocks'. Heavee has made a conscious decision to challenge himself, adopting a different approach to his past productions. In doing so, he moves away from the familiar sampling techniques which characterised his earlier work: 'I am a child of the last days of ghetto house culture as it shifted into juke/footwork. My parents, aunties, and uncles played house and ghetto house music at family functions, BBQs and house parties. That's my roots and where I came from. However, on this record, I chose to stray away from vocal samples, to give myself room to grow in different areas.' Heavee finds his voice in emphatic fashion on Cloud Ride feat. DJ Phil. His lyrical content and flow are on point as the track flips seamlessly from hip hop to footwork and back again. DJ Phil features on 3 tracks in total, a reflection of Heavee and Phil's close friendship and musical connection. As Heavee explains: 'Phil's studio is a safe space for me. Whether he is in the room or not, I don't feel weird about trying something that might be silly, taking it to the next level, or coming from a place of pure inspiration. Phil has historical, musical and cultural knowledge relevant to Chicago. He shares a lot of invaluable knowledge with me' WFM features It's Wack a classic collaboration with DJ Rashad that still sounds fresh today. Heavee remembers how Rashad would always stay connected, even during his relentless touring schedule: 'We'd get calls no matter where he was. We would talk about everything! He ALWAYS had new info; what new music was popping, scenes that were really accepting or supportive of what we were doing, blends that made the party go off, sites, adventures and just fuel us with support from him and give us living proof of the global support that was to come and the journey that was ahead of us.' Although Heavee makes music with the dancefloor firmly in mind, the sheer quality of his music transcends that space. So sit back and enjoy the next chapter in the Teklife story. All that remains is for Heavee to sign out with a message for the worldwide Teklife family: 'First, Thank you to everyone who supports what I do as an Individual, and Teklife Music as an entirety. You don't understand how much your support means to us, it literally keeps us moving. The takeover is far from over! Second, thank you to everyone involved in this project, I couldn't have made it without you. This process taught me so much about what it takes to become the person you want to be. It starts inside of you, and you have to really work for it, you can't wait and wonder. I feel beyond blessed to present this gift to the world, walking this journey of self -discovery through music with you!!!

LP in printed innersleeve + download code. STUFF.'s highly anticipated new album is a cross genre groove, spanning broken hip-hop, electronica and jazz-influenced future funk, bringing forth a completely different and exciting sound.

STUFF.'s highly anticipated new album is a cross genre groove, spanning broken hip-hop, electronica and jazz-influenced future funk, bringing forth a completely different and exciting sound.


With fans that include Plaid, Kev Beadle, Kutmah, Lefto and Gilles Peterson, STUFF. began life in 2012 when drummer Lander Gyselinck was asked to play live music in-between DJ sets. Collecting together like-minded musician friends, they would keep the vibe of the room bubbling, with spaced-out jams and improvisation, taking elements of funk, RNB, electronica, jazz and hip-hop, forming their own compositions as a result.


Hotly tipped in Belgium as one of the country's brightest new hopes, they released their first EP the same year, which included the track D.O.G.G. and it caught the attention of bloggers, 22tracks and DJs across Paris and Brussels. Supports slots with D'Angelo and Robert Glasper soon followed and the band would go on to share the stage at the Dour Festival with Hiatus Koyote, Flying Lotus and Lefto.


In 2014, STUFF. were invited to perform a Boiler Room session for the prestigious global, online music broadcasting platform, the first European live band to do so.
The band's self-titled debut album, released in 2015, received critical acclaim, with the Belgian press citing the release as the "record of the year" and "the best thing that happened musically in Belgium since the last 25 years". Mastered by Daddy Kev (Flying Lotus, Thundercat, Jon Wayne), several tracks from the album received airplay on leading dance and electronica radio stations across Europe, and included support from Gilles Peterson on BBC Radio 6 Music and Phil Taggart on BBC Radio 1.


STUFF. have performed sold out shows across Europe and have gained a growing reputation for their explosive eclectic live sets, playing over 150 shows on such diverse stages as the North Sea Jazz Festival (Netherlands), Pukkelpop (Belgium), Secret Garden Party (UK), Shambala festival (UK), Dimensions (Croatia) and Fusion (Germany). The band were also personally invited by Gilles Peterson to perform at On Blackheath, London.


Accolades in Belgium include two MIA's (Belgian Music Industry Awards) for 'Best Musician' (Lander Gyselinck) and 'Best Artwork' (Rinus Van de Velde).
STUFF. are Andrew Claes (ewi/sax), Lander Gyselinck (drums), Joris Caluwaerts (keyboards), Dries Laheye (bas), Mixmonster Menno (turntables)

The debut vinyl only release on the newly established KOD (Keep on Dancing) Records embodies the spirit of multiple day long sessions held at the revered Can Chou Chou house in Ibiza, where anything goes from Disco to Techno (in this case the former prevails) so long as it's played tastefully and at the right time. No title and no artist name appears on on this single, just the music speaking for itself.

Mac DeMarco's breakthrough sophomore album, Salad Days - released on April Fools', 2014 - garnered widespread critical acclaim, landing on over 30 Year End lists. It was the album that catapulted DeMarco from 'loveable slacker' to 'mature songwriter with a gaptoothed grin,' all at the tender age of 23. DeMarco's demos for Salad Days, originally included in an expanded edition of the album only available on Captured Tracks Mail Order site, peel back the curtain of said artist, who, up until then, may have been more known for his raucous live shows than his genuine talent as a songwriter and craftsman. This collection of demos and sketches as well as previously unreleased instrumental demos offer a rare insight into Mac's world and process.

For the dance film essay - The Body as Archive Gregor Schwellenbach chose a simple yet radical approach: he created a kind of catalog of sounds, clearly structured, presented with sobriety and boldness. The sounds are not embedded in the familiar frame of rhythm-harmony-melody, rather, they are introduced smoothly, presented one after the other, sometimes going together, then standing alone. It is a sensual approach, at the same time executed strictly systematically. Or vice versa: Schwellenbach's composition is strictly systematical, giving maximum space for sensuality and the unfolding of sounds.

Schwellenbach strives to create a system that doesn't become rigid, by treating the material gently and with sincerity.

In composing - The Body as Archive he sets clear rules: everything is played by hand, he only uses instruments he plays himself: Keyboards (Rhodes, piano, synthesizer) and double bass. Almost all material is played in the same key, the chords can be used in any combination, everything fits to everything. The ten parts of - The Body as Archive , mastered by Taylor Deupree, could be played all at the same time without sounding cacophonous.

Everything is pure presence, a gently woven stream of elegance and attentiveness. The organization of sounds - usually an action of preparation, didactic and discipline - turns into poetry.

Thomas Fehlmann steps away as co-member of The Orb following two acclaimed full lengths on Kompakt (COW - 2016, Moonbuilding 2703 AD - 2015) and embarks back on his solo career with a career defining album 'Los Lagos' - from Detroit to Schaffel techno he conducts a broad spectrum of electronic music into a seamless flow.

Thomas Fehlmann has been active since the late 1970's from Palais Schaumburg, the Tresor defnining trio 3MB (with Moritz von Oswald and Juan Atkins), Ocean Club (together with Gudrun Gut) and of course The Orb.

Artwork direction and design by DESIGNERS REPUBLIC.

'Los Lagos' is Thomas Fehlmann's seventh solo full-length, his 4th for Kompakt following his Berlin inspired 2010 full length 'Gute Luft'. in the musician's own words it's about "checking the juice".

Establishing a picture of his current artistic condition, as suggested by the title - los lagos / die lage / the situation (literally translating to 'the lakes' but taking the meaning of 'wassup' in the context of a relaxed discussion between friends), the album refers to Fehlmann's "musical motivation, dreams and wishes" through the language of music exclusively: a way to "allow myself to techno" he says, "to techno as a means to deconstruct and rebuild again. Set up an area of tension, loose it in the flow of the grooves. Magnifying some detail out of proportion, regroup around that and slowly knit a texture. Expand."

"It was time to take a bend and head where the sun rises or sets, wherever my heart drives me." This is pretty much the kind of decision Thomas Fehlmann has made. 61 and shining, longstanding member of The Orb, multi-talented composer and boundless experimentalist, had to make in the twilight of his collaboration with Alex Paterson, eager to taste the flavours of the unknown on his own again. "It was the moment when felxibility would have become compromise'. Far from being the demise of their joint dream, this was bound to split it in two distinct, parallel fantasies - rich of their own singularity.

As goes with that essential love of his for the free-flowing nature of electronic music, a fascination born out of its "lack of borders", capable of "inventing, changing the emphasis, experimenting with an unpredictable outcome", 'Los Lagos' "freely connects disparate extremes. Art, disco, minimalism, schmalz, jazz and funk". As he likes to say, Fehlmann's head functions as a sampler, capturing elements and re-assembling them under his own embracing perspective ; not afraid to leap from a deep, dubbed-out hypnotism ('Window', 'Morrislouis', 'Freiluft') to the playfulness of '90s-style bleepy schaffel ('Tempelhof' featuring Max Loderbauer), through out-there, muscle-flexing dancefloor cuts ('Triggerism') onto the calmness of ambient ('Geworden').

In need to keep his inner balance in check, Fehlmann committed himself to "switch off the control" and follow his intuition, which isn't so much of an easy process as he also wanted to incorporate the side disturbances experienced: "it's a complex process of search and destroy to bring out a new beauty trying to expand my vocabulary". With 'Los Lagos', Fehlmann looked at finding "the structure that's surprising, disturbing and rewarding". The artwork for the record, courtesy of contemporary artist and friend Albert Oehlen whom he shares lots of artistic ambitions with, echoes the producer's "funky use of shape and space, sludge and clarity" like a second skin. A search for light and harmony that Fehlmann sums up eloquently: "Does your inner musical voice respond", that is the question. Then "doors open up in unexpected corners, rays of light appear; you follow through and you're in - in your oasis."

Dark Entries reissue the 2nd full length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.

In 1986 Carolyn moved into her family's building in downtown San Francisco providing a space to develop her own art and music for the next two decades. She was the only tenant of the five story building. The top floor had 36 abandoned rooms with building materials and holes between floors, staircases that created natural reverb. It was during this isolated time that Carolyn would start working on her second release, 'Parts of The Insomnic Wheel,' 60-minutes of ten untitled pieces that ran into each other. This was also the first release on cassette due time constraints of the LP. She spent many nights at the 24-hour diner across the street chatting metaphysics, parallel universes, the 5th dimension and astro-projections. Carolyn would sleep next to paper/pencil and report dream states, experimenting with mental techniques, investigating how far her mind could go. It was a journey to unravel the 'dark night of the soul'. Utilizing her industrial surroundings, Carolyn would bang on sheet metal and record percussion on found materials. Originally released by Ladd-Frith in 1986, this reissue adds 4 unreleased bonus tracks recorded during the same period. Each copy includes a 16-page zine with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios.

Dark Entries reissue the 3rd full length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.

In 1987, towards the end of art school, Carolyn won another award from the New York Society of Illustrators. During the trip to New York to accept the award, she met electronic/dulcimer musician, Dan Joseph. After writing some letters they decided to make a split cassette titled 'Hypno-Seizure'. CYRNAI contributed 30 minutes of music to Side A of the cassette, 10 untitled pieces that ran into each other. She had just bought a round-the-world ticket going from China to Europe via Eurails, to Egypt, where she liked to wander. She picked up instruments from several countries and recorded the sounds of her new surroundings. Technology was changing into early sampling and she used a Commodore 64 with large floppy disks to record loops. Originally self-released in 1988, this reissue adds 3 unreleased bonus tracks recorded during the same period. Each copy includes a double sided insert with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios.

Dark Entries present the first ever vinyl issue of Jon Krocker's debut album 'Monolog' originally released on cassette in 1983. Jon is from Winnipeg, Canada and got his start as half of the synth noise duo Dialog. In 1981-82, while studying for a BA in Film Studies, he would go to the studio and practice. No writing or patch memories, composing on the fly. His set up consisted of a Minimoog, Oberheim Two Voice, Roland RS-202, Roland Space Echo, EML 400, Roland DR 55, Roland System 100 mixer. After playing some of the songs to Impulse Records store owner Roman Panchyshsyn, he agreed release the album on cassette on Contagious Records. Primarily influenced by the German school typified by artists such as Conrad Schnitzler and Kraftwerk, Jon's music exhibits the cold machine ethic of the neumusik. The 12 instrumental tracks are stark and minimal, at times anxious but overall space orientated and flexible.

All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each copy includes an 8-page newsprint zine featuring ephemera, press clippings, photos and liner notes by Jon.

Cat.no.: DE 228
Format: LP

Tracklisting

You may remember the closing of Space, Ibiza with Carl Cox when he played a bootleg of Total Confusion.
Barry Obzee Hobbs (Rising High A&R) spent a lot of time trying to locate the Remixer and finally did a few months ago. We have now signed the remix which will be released on vinyl in May and on digital in July. The story goes like this: Carl Cox has been playing the version at most of his shows including Tomorrow Land, Kappa Future Fest and Timewarp ( see video clip below) but this is where the story becomes more interesting. The Remixer, ROD Malmok from Rotterdam aka Benny Rodriguez, who is a very established DJ Producer playing for Loco Dice in Ibiza etc and releasing on Ben Klock's imprint Klockwork, Chris Liebing's imprint CLR, Adam Beyer's imprint Drumcode and many more was inspired to remix the track through a conversation with Dubfire, Rod gave him a rough copy the following day. He played it to Carl Cox at Space, Ibiza and Cox begged him for a copy - see video below
If you've been around the scene for a while you will know that Rising High Records was one of the first labels to shape Techno, Hardcore and Breakbeat in the UK and was huge!

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Genius work from the Detroit underground of the 70s - one of the greatest records ever on the now-famous Tribe Records label, and a masterpiece of soul, jazz, and righteous spirit! The session's headed by tenor player Wendell Harrison - and it's got an all-star Motor City lineup that includes Marcus Belgrave on trumpet, Phil Ranelin on trombone, Jeamel Lee on vocals, Charles Eubanks on electric piano, and Charles Moore on flugel horn. The tracks have a spacious spiritual approach that recalls some of the later Archie Shepp on Impulse - a blend of soul jazz with slight touches of electric instrumentation, some vocals, and a very progressive spirit overall - stepping proud in the new freedoms of the 70s, yet still swinging and very groovy.

Cold Beat is a San Francisco-based quartet fronted by Hannah Lew (synths, vocals) with Kyle King (synths, guitar), Luciano Talpini Aita (synths) and Sean Monaghan (guitar). Formed in 2013 the band has released three albums and two EPs. 'A Simple Reflection' is a 7-song collection of Eurythmics covers, yet feels just as personal as any of their original material. While digging through a collection of 12s for her record shop Contact Records, Lew stumbled across the earliest Eurythmics B-sides and was floored. This lead to the discovery of their debut album 'In The Garden'. Annie Lennox's abstract and poetic lyrics really struck a chord with Hannah. What had started out as a single cover quickly snowballed into a full blown obsession. The synth and drum programming resonated with her songwriting process, so reimagining them was very creatively fulfilling. The covers on this EP are simultaneously dynamic and atmospheric post-punk that plays to Lew's ethereal vocals and King's crystalline guitar. All songs have been mixed by Mikey Young (Total Control) and mastered by George Horn at Fantasy Studios. The record is housed in a jacket designed by Eloise Leigh, which features pink and purple clouds that evoke a dreamy softness and DIY playfulness and photos Lew in her best Lennox-inspired drag. Each copy includes a postcard with photos and notes. 'Sometimes a song seems to sing just for you, as if someone knows your most inner thoughts and feelings and has found a way to describe them effortlessly' - Hannah Lew

One afternoon in 1975, friend and fellow music traveler, Harold Schroeder, showed up at Poo-Bah Record Shop where Tom Recchion worked selling records and experimental music to people, forcing them to buy albums that he swore would change their lives. Harold asked if Tom wanted to share in a studio space close to the shop. After seeing it Tom immediately said "YES!". They moved in and divided the space in half. On Tom's half he made drawings, paintings, performances, video, sculptures, installations, and music. Harold had his all set up for music with his newly acquired Steiner-Parker synth and guitars and things. At the beginning they played under the name The Two Who Do Duets. Soon the late-night jam sessions that took place in the back of Poo-Bah moved over to the fourth floor of 35 South Raymond. It was pretty beat up and derelict, the way one imagines an artist's studio to look. They could make all the noise they wanted. No one else was on their floor. The music heard on this LP has remained unheard since it was recorded and was created just before and right after the inaugural concert by the Los Angeles Free Music Society (LAFMS) groups Le Forte Four, Doo-Doettes, and Ace & Duce. That concert took place in late January 1976. The sessions on this release feature members of the newly formed and expanded Doo-Doettes, which now included Dennis Duck, Juan Gomez, Harold Schroeder, and Tom Recchion, as well as Ju Suk Reet Meate from Smegma and Ace, of Ace & Duce. 35 S. Raymond eventually became a sort of LAFMS headquarters, with Chip Chapman of Le Forte Four, artist and future Extended Organ vocalist/guitarist Paul McCarthy, and soon to become singer for Nervous Gender, punk/folk artist Phranc, who along with many other artists and musicians, moved into the building. 35 S. Raymond allowed for free expression and explorations of all sorts. Some wild parties ensued, not to mention the luxury of endless hours of experimentation. Parking was free and so was the art and music. Ace found the tapes for side one ("Tom's Studio") in his archive and Ju Suk Reet Meate found the tapes for side two ("50 Of Every American Are Machines") and edited them both for this release. No overdubs or remixing was emplo

BOMB!!!!!
* The first release from the mysterious old 90's drum n bass warriors operating under a new guise alongside Technical Itch on production duties.
* 90s vibes but with modern production standards.
* If you know that era of drum n bass you will undoubtedly know who they are but their identity will remain strictly confidential.
* Wishing to remain anonymous in todays often fake and overly narcissistic scene, Brakken have chosen to remain locked in the studio, shrouded in mystery.
* DJ performances by members if the Tech Itch Recordings crew but not the producers themselves.
* Press / Promotion: Club and radio play from many DnB DJs will special support from many of the scenes founders.

Set for release on June 23 via Asylum Records, x (multiply) is the hugely anticipated new album by Ed Sheeran.
It follows his critically acclaimed and hugely successful 2011 debut +; an album that was certified 6 times platinum in the UK alone and has achieved worldwide sales of over 4 million copies to date. It also saw Ed asthe recipient of various awards for the record, including 2 Brits, an Ivor Novello and multiple Grammy nominations.
Never an artist to stand still, Ed recorded x at various locations around the globe (all the while drawing on experiences and influences encountered on his over three years of unrelenting touring) with such luminary producers as Rick Rubin (Eminem, Jay-Z, Red Hot Chilli Peppers), Pharrell Williams (Daft Punk, Robin Thicke, N.E.R.D), Benny Blanco (Rhianna, Wiz Khalifa) and Jeff Bhasker (Alicia Keys, Jay-Z) adding new flavours to the classy work of key collaborators Johnny McDaid (Snow Patrol) and Jake Gosling (who produced +). xhas the musical ingredients to make it one of the most important global releases of this year.
The new set showcases the exponential growth (both vocally and musically) of an incredible artist, who at 23 exhibits the poise of a seasoned veteran. The songs for x came together whilst touring + and, in the same way as the latter was a snapshot of his life and relationship to-date, x charts his loves and life since. Only 'One', the perfect album opener and first song written for the record (in 2011 whilst on tour in Australia) looks back to that time and is the link between the two records. With 'One' under his belt, almost before he noticed he was writing, Ed had ten new songs and counting.
The breath-taking album-closer 'Afire Love' was written about his grandfather who passed away last Christmas. 'Always the hero of the family - such a cool guy - he'd been suffering with Alzheimer's for some time and I actually started writing that song two weeks before he passed away," Ed says. "I was thinking 'What if' and then he did...' Then there is the timeless ballad 'Photograph' written in May 2012 in a hotel room in Kansas whilst on tour with Snow Patrol. McDaid had a piano loop playing on his laptop while Ed was making a Lego X-wing Fighter to give to a charity auction. He just started singing as he put the pieces together and the song grew from there. 'Don't' started life as a riff on his phone and grew into another of x's massive moments. The deluxe version of the album also includes the original song, 'I See Fire', which Ed wrote, produced and recorded for the second Hobbit movie. This was after Academy award-winning filmmaker Peter Jackson personally commissioned him. With no promotion besides 3 tweets from his personal twitter account, it reached #2 on the UK iTunes chart.
However it's the Pharrell-produced lead single 'Sing', due out in the UK on June 1, that's pushing the envelope for Ed. #Sing was the number one trend on twitter globally ahead of launch with the track immediately tearing up airwaves nationwide including a 7-week add to Radio 1 and an unprecedented addition straight to the Super Hit list at Capital FM and Kiss Network. The audio upload on YouTube was Ed's biggest ever video launch, clocking 650k views in its first 24 hours. Already i-tunes Top 5 in 15 different countries (number 3 in the US), Top 20 in 36 countries and with all chart positions climbing, 'Sing' is well on the way to being a global smash.
On the back of 'Sing's' launch, x reached No.7 in the UK iTunes chart on pre-order alone with that success mirrored internationally with No.1 positions in the US and Canada, Top 5 in New Zealand, Sweden, Australia and Top 10 in 20 countries.
'I'm really proud of my new album and can't wait for people to hear it.' Ed says. 'It's definitely my best work.'

It is said that every generation casts its mind back to a previous era in times of crisis; the resources that will allow us to decode the questions of our moment may lie in the myths of another era.

Le Renard Bleu, the new musical and cinematic collaboration between Lafawndah and composer Midori Takada, and filmmakers Partel Oliva, takes a cross- generational echo as ground zero for recovering a crucial myth for uncertain times: the blue fox.

As transmitted by Takada, the fox appears in both ancient Senegalese and Japanese folktales as the trickster archetype; belonging both to the heavens and to the earth, the fox is the agent of chaotic good, shaking the world up when its energy has become stagnant. Above all else, the fox is famous for its cunning nature.

Renard Bleu marks the first new music released by Takada in nearly twenty years; it would be difficult to overstate the importance of her return to the public eye. Her first solo record, 1983's Through the Looking Glass, has been rediscovered and heralded as a lost classic; the influence of her percussion trio, the Mkwaju Ensemble, continues to permeate and inspire a new generation entranced by its lucid beauty, playfulness, and sensual patience. Takada has performed in numerous film score orchestras, including the ensemble for Akira Kurasawa's Dreams, coincidentally a key influence on Renard Bleu.

In the ensuing years, Takada has worked closely with theater group the Suzuki Company of Toga on productions of Electra and King Lear, an experience, she says, that allowed her to pursue 'a unity of music, body and space.' Recent live solo performances have evinced the depths of her exploration of all three.

Equally, it is Lafawndah's freedom of tone, decentralized maps of ancient and modern music cultures, and alloying of devotional intensity with modern songcraft casts her as a distinct relative of Midori Takada's.

Over the course of two EPs, self- directed music videos, and countless live performances, Lafawndah has drawn out an uncompromising exploration of how theater, situational intervention, and choreography can amplify the affective palate of forward pop music. One can trace the influence of artists such as Meredith Monk, Carlos Sara, and Andy Kaufman as much as musical antecedents AR Rahmann, Missy Elliott, or Geinoh Yamashirogumi.

It is in a mutual commitment to this unity that Lafawndah, Takada and Partel Oliva find fertile aesthetic common ground.

The music of Renard Bleu originated in Takada's preoccupation with the legend of the fox; after constructing a vivid instrumental composition dramatizing the spirit animal's journeys through waterphone, bells, marimba and various forms of drums, Lafawndah responded - in her inimitable mix of fairytale and undertow-- with melodies and lyrics capturing a dialogue between her and the fox himself. Eventually, the duo met in Tokyo for a week of communing with the material at Avaco Creative Studios, where new elements were composed on site.

Created in partnership with KENZO and premiered today via their channels, it was Partel Oliva who imagined a contemporary cinematic frame for the myth of the fox to re- appear, creating a hybrid of choreography and narrative around Takada and Lafawndah's performance of their joint composition (also titled Le Renard Bleu.) Returning to film in Japan for the third time, Partel Oliva's moving image work (Club Ark Eternal, The Pike and the Shield) has set the standard for and revolutionized the fashion art film. Their deployment of original music, dance, and a highly stylized mis en scene coalesces here in the casting of Los Angeles krump artist Qwenga as the eponymous fox, stalking the halls of the ancient Noh theater in which Takada and Lafawnda's performance takes place.

Why call up the myth of the fox now In Le Renard Bleu, Lafawndah and Takada's collapsing of distance between generations, styles, and milieus intimates that the relationship to time must be shaken. The future lies in fragments in the past; to remember is to recover it; the fox rises to thicken the plot.

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Land Of Hits was operated by one Peter Brown, a truly colossal figure in NYC's music scene, it's catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. Mistafide's colossal old-school rap behemoth 'Equidity Funk' has long been a record that makes the serious collectors salivate and is now here in full 12" form repress, too legit to quit.

Not much is known about the crew behind 'Mistafide', their government names are listed online but this is the only record they put out using this name. Suffice to say, this has no impact on the fury and style with which the MC's deliver their raps, backed with the studio nous of impresario Peter Brown. Across 12 minutes 'Equdity Funk' is a slamming Disco-rap monster, interpolating elements of the evergreen B-boy jam 'Theme From SWAT' it sounds like everyone just got into the studio and went for it. In the style of the times this is the real hip-hop flavour, a live band, some MC's and some death defying bars being dropped, proper old school. A truly rare recording, 'Equidity Funk' has been one of those records fans of the Disco-rap era have been fiending for for decades - often commanding prices over the $1000 mark you can now grab this slice of essential NYC street Funk.

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

The second album release on Cordial Recordings is a re-release of Afrodisia's highly collectible album 'Elephant Sunrise' from 1980 on Comma. the album is limited i pressing to 500 units. Afrodisia were combination of US soldiers with local musicians from Worms, Germany that were formed in 1978 and recorded two albums during their years together with 'Elephant Sunrise' being the only one that was actually released. Cordial Recordings will be issuing the previously unreleased album in 2019. 'Elephant Sunrise' has become a revered album by collectors because of the high quality of songs featured on the album which cross from soul to funk to disco and jazz with great ease. The band's leader Darnell Summers is originally from Detroit and is the brother of Headhunter Bill Summers who also features on the album as a player and songwriter. 'Sugar Free' is highly regarded by aficionados on the soul scene for it's glowing summer sounds and is one of the two songs that Bill Summers co-wrote on the album. This is one album not to be missed.

The group Shake was the brainchild of the elusive soul and funk singer/producer Lenis Guess from Norfolk, Virginia. It is now considered one of the great overlooked funk bands of the late 70s Virginia scene - a tight little combo with a warm style that's just right for the dancefloor! The VA groove of the time was a different take on the styles being used up north in Philly and New York - as the groups were often more traditionally funk-based, especially in their instrumentation - but played in a mode that was upbeat and soaring, perfectly suited for the disco-era dancefloor, yet handled with the sincerity of an indie soul group. Shake communicate a heck of a lot in their music - moving through some great original tunes written by producer Lenis Guess, done with some nicely personal touches that maintain the indie spirit of the set, even though the group's overall sound is tightly professional. Originally released on Guess records, it includes the Kon & Amir favourite 'Lost In Space', but the whole album is just great.

Classic singles like Billy Fury's 'Halfway To Paradise', Dusty Springfield's 'I Only Want To Be With You' and The Walker Brothers' 'Make It Easy On Yourself' would not have been hits without Ivor Raymonde. As their arranger, and in the case of 'I Only Want To Be With You' songwriter too, he shaped the final recordings. He decided on the orchestration and backing
vocals, chose the instruments and determined what was heard on the radio - and what record buyers bought.
'Paradise: The Sound Of Ivor Raymonde' is a long-overdue celebration of Ivor Raymonde, collecting his work as an arranger, musical director, producer, singer and songwriter. The story of a British musical great is told for the first time.
Billy Fury, Dusty Springfield and The Walker Brothers are heard. So is the only vocal performance for which Ivor Raymonde received a credit on a record label. He worked with the pre-fame David Bowie and Tom Jones. He spotted the potential of Los Bravos, steering them into the charts with 'Black Is Black'. Near-misses and obscurities made with Brit-girls Cindy Cole and
Helen Shapiro, the soulful Sonny Childe and confrontational protopsychedelic London band The Flies are as fantastic as the hits. With these and more, 'Paradise: The Sound Of Ivor Raymonde' distils the essence of the magic of Ivor Raymonde.
'Paradise: The Sound Of Ivor Raymonde' is released by Bella Union, the label run by Ivor's son, former Cocteau Twins member Simon Raymonde.
Compiled by Simon and Kieron Tyler, it is a very personal tribute to a sadly missed father. Born in 1926, Ivor Raymonde passed away in 1990. The previously untold story is revealed through a moving reminiscence written by Simon and in-depth liner notes and a track-by-track commentary by Kieron. Ivor Raymonde played on the ocean liner The Queen Mary in 1949. In the Fifties, British television viewers saw him in legendary comedian Tony Hancock's 'Hancock's Half Hour' but music was always going
to be most important - the hits with Billy Fury and Dusty Springfield in 1961 and 1963 meant he was in demand. The 26 selections balance the wellknown with collectable rarities and tracks drawn from - until now - barely heard-of singles. Each is a gem and each shows the magic of an Ivor Raymonde recording.
'Paradise: The Sound Of Ivor Raymonde' is issued on CD and 180g heavyweight double vinyl album with digital download code. The vinyl version is sequenced slightly differently for listening flow. Every track was originally issued as a single issued in mono for the pop market until 1968 / 1969. Keeping the integrity of the compilation in mind, all but four tracks appear in mono as they did originally. The masters used are those of the original singles.

A.g. Returns With All-start Cast, Featuring The Likes Of Diamond D, Lord Finesse, Alchemist And More. For This Album, He's On His A-game, From Beginning To End. Touching On Topics From The Hip Hop Biz, Street Tales And Political Hypocrisy. The Taste Of Ambrosia Is A Full Meal Serving For Mature Rap Devotees Who've Grown Tired Of Contemporary Rhymesayer Laziness. Joined By Guests Including Diamond D, A-bless And Thirstin Howl Iii, A.g. Backs Up His Claim That He Is Ill Enough To Paint His Own Portrait, And Illustrates And Vision Of Rap Immortality That Hardcore Heads And Fellow Legacy Mcs Alike Can Worship Eternally.

2022 repress

currently the rediscovery of long forgotten japanese electronic, jazz and new age music is at a peak like never before. but although many re-issues already flood the record stores around the world: the large, diverse musical culture of japan still got some gems in store that are really missing.

for example, it is still quiet around the the work of japanese bass player, new-age and ambient musi-cian motohiko hamase. when the today 66-years old artist started to be a professional musician in the 1970's, he quickly gained success as a versed studio instrumentalist and started to be part of the great modern jazz isao suzuki sextett, where he played with legends like pianist tsuyoshi yamamoto or fu-sion guitar one-off-a-kind kazumi watanabe.

he also was around in the studio when legendary japanese jazz records like 'straight ahead' of takao uematsu, 'moritato for osada' of jazz singer minami yasuda or 'moon stone' of synthesizer, piano and organ wizard mikio masuda been recorded.

in the 1980's hamase began to slowly drift away from jazz and drowned himself and his musical vision into new-age, ambient and experimental electronic spheres, in which he incorporated his funky medi-tative way of playing the bass above airy sounds and arrangements.

his first solo album 'intaglio' was not only a milestone of japanese new-age ambient, it was also fresh sonic journey in jazz that does not sound like jazz at all. now studio mule is happy to announce the re-recording of his gem from 1986, that opens new doors of perception while being not quite at all.

first issued by the japanese label shi zen, the record had a decent success in japan and by some overseas fans of music from the far east. with seven haunting, stylistically hard to pigeonhole compo-sitions hamase drifts around new-age worlds with howling wind sounds, gently bass picking and dis-creet drums, that sometimes remind the listener on the power of japanese taiko percussions. also, propulsive fourth-world-grooves call the tune and all composition avoid a foreseeable structure. at large his albums seem to be improvised and yet all is deeply composed.

music that works like shuffling through an imaginary sound library full of spiritual deepness, that even spreads in its shaky moments some profound relaxing moods. a true discovery of old music that oper-ates deeply contemporary due to his exploratory spirit and gently played tones. the release marks another highlight in studio mule's fresh mission to excavate neglected japanese music, that somehow has more to offer in present age, than at the time of his original birth.

Fresh from touring with Hugh Masekela ( The Boy's Doin' It'), Gboyega Adelaja goes into the lab to drop heavy keyboard science on his Moog and Fender Rhodes. Its Joe Sample meets the Afro Funk of BLO. With names like Jake Sollo on guitars, Mike Odumusu (BLO, Osibisa) on bass guitar and Gasper Lawal on percussion. This is a top quality, Afro-Funk, all-stars affair that shines from the inspired interventions, masterly arrangements to the sublime production.
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Additional Notes:

I was already following Hugh Masekela when I met him, he was an outstanding musician and I knew of his collaboration with
Hedzoleh, that band brought him nearer to many of us, because he was playing authentic African melodies with the Hedzoleh
sound which was mostly percussion oriented. Yes I knew about Hugh's music before I met him. Infact when we started playing
together, he insisted that I stay with him in our three bedroom apartment, other members of the band had their own apartments,
but Hugh and myself shared the same 3 bedroom apartment'.

We were touring, under Casablanca owned by Neil Boggart, we toured as professional musicians, flying to our gigs. There was
a time when we were touring with George Clinton and Parliament Funkadelic we had two luxury buses deployed for our use.
We made many friends where ever we went to play, we met many big and popular musicians who came to watch our shows, the
Spinners came to see us in Detroit, we met Wayne Shorter of Weather Report, Freddie Hubbard, we played a gig with Herbie
Hancock at the Carnegie Hall New York City, we toured almost all the 50 States of the US.'

The music on this EP was conceived in China, between 1989 and 1993. The original tracks were mixed to DAT in real time, in a small neighbour-proof studio inside my apartment in Macau, a 19th floor with a view to the hurricanes. There's a small, unexpected or improbable story behind each track, some little magic fused with the local atmosphere, certainly guaranteeing their lasting authenticity 25 years later.

TAIPEI DISCO
Late 80s Guangzhou was an exotic city where the traditional past coexisted in harmony with the present and even already with the future.
I'd rather spend my weekends in Guangzhou than diving into Hong Kong consumerism - as most ex-pats in Macau did. I took a cab at the border and travelled 150 Km through chaotic roads with family and friends until reaching the hot, humid, mega South China metropolis.
We ate on street joints in the evenings, went on to a karaoke bar and ended up at Taipei Disco, the only proper club in town. All the others were inside hotels and played generic music or they were seedy, sleazy, smoky cabarets.
Taipei Disco used to be a cinema and played cantonese pop music and anglo-saxon pop/rock (that was new). The spacious dance floor was generously lighted, the atmosphere was airy and modern. Boys and girls were in the habit of dancing in pairs, one in front of the other, observing a respectful yet sensual distance. When the girl took a few steps back, the boy went along and vice versa. With legs and feet (more than the upper bodies) synchronized with the music, they never exceeded in extroversion. Cool.
I always carried a MicroComposer and a portable DAT recorder in my travels through China and weekends in Canton. Any spontaneous musical idea was imediately recorded and memorized. The MicroComposer allowed multitrack recording, which was very handy on the road. Based on the emphatic choreography of Taipei Disco's dancers, i started to compose a rhythm track while sitting at a table, with headphones, listening to Cantopop in the background. As if by magic - not a rare occasion in music - everything began fitting together. Odd as it may seem, the track ended up sounding more germanic (Kraftwerkian) than Cantonese pop.

The story ends in a circle: the cantonese DJ at Taipei Disco, whom i used to ask to play certain records, wanted to play my music at the disco when it was basically only just a rhythm track and little else. From a cupboard under his set up he took out a battered keyboard (unrecognizable brand) and invited me to play over the track with the available sounds on the keyboard. The circle was complete, with Cantonese clubbers happily dancing forwards and backwards, as if it were another Cantopop hit.
I didn't get payed but the house offered us free ice cream cups in which little Portuguese flags were sticked.
The track would be finished later, in studio, with vocoder strings ensemble and synth solos.

TAIPEI DISCO (LIVE)
The live version of 'Taipei Disco' was recorded during a live set at the China Pop venue, in Macau, 1993. China Pop was a rock club built in the ample space of an old fishing warehouse, located in the labyrinthic Inner Harbour area. It was decorated with large Mao Zedong and Cultural Revolution posters and memorabilia and had a unique atmosphere, fusing Pop Art with film noir. We began our performance at 1AM, pretty early for Macau's nightlife standards. We were lucky. An audience showed up. And in Macau there were always several friends among the audience, which tranformed a musical performance into a relaxed party.
The atmosphere was particularly surreal on that night. The front row was dominated by French Crazy Horse dancers, a sort of Oriental Moulin Rouge. The girls had finished their last performance of the evening at the Crazy Horse and were still energized from their show. During our performance, right in front of us and perfectly synched, we could hear the famous irreverent screams of can-can dancers. You always had to expect the unexpected in Macau.

RED MAMBO (IMPROMPTU)
I was familiar with the Portuguese-speaking African countries well before having lived in China. I found myself returning several times to one in particular, always attracted by its magic and very distinct, identitary culture and music: Cape Verde.
During the early years of DWART a lot of the inspiration for drum machine rhythms (Roland's TR series) came from African music, especially from new musical trends that gained full autonomy with Cape Verde's independence from Portugal, as was the case with funaná.
I had the privilege of having known and befriended some of the greatest Capeverdian composers, musicians and singers during the 70s and 80s, such as Bana, Luís Morais, Cesária Évora, Paulino Vieira, Chico Serra, Tito Paris, and historical bands such as Bulimundo (ambassadors of funaná) and Os Tubarões (great innovators of morna, coladera and funaná, with the sonic impact of an afro-beat big band).
When Luís Filipe de Barros began playing Os Tubarões for the first time on Portuguese radio, that was the turning point for African music in Portugal. The 'Tabanca' album was so widely heard and talked about that it quickly got a Portuguese release through one of the big labels of the time.
The mystic of this band from the Santiago Island would reach the East. Os Tubarões played to a packed room in Macau in 1992, and after the bombastic gig we arranged a dinner and party at my place.
We ate and drank generously and the moment came for a jam session at the small studio on the 19th floor. Because Os Tubarões didn't all fit in the studio, we recorded an impromptu with only three of the musicians: Tótó Silva (electric guitar), Mário Russo Bettencourt (bass) and Zeca Couto (piano). And there we were improvising without barriers, suddenly detached from cultural roots, labels and constraints, a truly unique moment. The track is now being released exactly as it was recorded, imbued with the real communion between the musicians. And it could only be titled 'Red Mambo'. I wish to dedicate it to the memory of Ildo Lobo and Jaime do Rosário, founders of Os Tubarões, sadly and too soon departed from the land of music.

Dais Records Is Proud To Announce The Official Reissue Of "elph Vs Coil - Worship The Glitch". Remastered By Engineer Josh Bonati And Supervised By Coil's Drew Mcdowall, The Vinyl Release Is Pressed Onto Double 12" Lp Vinyl (from The Original 10" Release), And Is Packaged In A Gorgeous 24pt Stock Matte Gatefold Lp With Sticker And Vellum Track Listing Insert. . Also Available On Digipack Cd And Digital.

"unexplainable" May Well Be The Best Explanation For The Members Of The Uk Based Electronic Outfit Coil. Making A Radical Shift From Intentional Accessibility, By Means Of Traditional Pop Songwriting, To Abstract Happenstance, Coil Had Entered Into A New Phase In Their Career...uncharted Waters Utilizing What Was Then The Newest Computer Technology, Digital And Analog Synthesis And The Newly Formed Ideas That Something Outside Of Themselves Was Steering The Ship.

During The Studio Sessions That Developed Into What Would Become 'worship The Glitch'. Coil Became Aware Of Random Compositions Emitting From Their Gear, And Were At Odds With Constant 'accidents' That Were Perpetually Plaguing The Recordings. The Band Called These Unintentional Emissions "elph": A Conceptual Being That Is One Part Physical Equipment, One Part Celestial Being...constantly Playing The Role Of Trickster, Throwing A Wrench Into Coil's Methodology. Eventually, These Accidents And Mistakes Were Embraced By The Band, And The Process Of Misusing Audio Software To Create Intentional "errors" Was Adopted As A Musical Technique. The Acceptance Of The "mistake", And The Use Of Discovered Mistakes As Intentional Elements Slowly Became The Drive And Concept Behind The Album, Thus Birthing The Title 'worship The Glitch'.

Originally Released In 1995 On Coil's In-house Imprint Eskaton, Worship The Glitch Was Coil's First Proper Album-length Attempt At Conceptual Ambient Composition, With A Radical Focus On Chance. Seamless Vignettes Of Shattered Electronics (though Ebbing Softly And In Delicate Balance With Each Other) Provide An Underlying Uncertainty And Discomfort To The Listener.

Goatherder is the seventh album from underground London producer Kristian Craig Robinson, AKA Capitol K. This ace manipulator of audio and punk warlord of groove has crossed a tapestry of styles and approaches with his own secret compass since 1998.

Along with everything from Chinese pop to the marching band music of the United Arab Emirates in his early musical vocabulary, the influence of rave, new wave, grunge, and noise-core would collide to create a bold new sound. His early studio experiments gave birth to his debut, Sounds of the Empire (Planet Mu, 1999) built upon a heady balance of samples and live sources that placed Capitol K at the forefront of the UK's electronic scene. The follow-up, 2002's Island Row, was released via XL Records, with lead single Pillow becoming a daytime Radio 1 crossover. Nomad Junk (2005) combined Asian field recordings into a vibrant psychedelic collage, while Notes From: Life On The Wire With A Wrecking Ball (2008) paid homage to London's squats and free anarchistic artistic spaces of which K was a part for many years. Andean Dub (2012) was an exploratory South American-influenced album of heavy synth laden cumbia sound system tracks.

The last seven years have seen Capitol K's stature as a producer elevated with his establishment of the renowned Total Refreshment Studio and recording work with musicians such as the Mercury Music prize nominated The Comet Is Coming, global dance act Ibibio Sound Machine (Merge), the pan-Arabic Flamingods (Moshi Moshi), Serafina Steer and her BAS JAN project, and contemporary folk artist Rozi Plain, among many more.

This latest work was developed and recorded in his native Malta, where he built a studio in a cave (a former goat stable). K gathered bamboo instruments collected around the world, including an ancient Quecha reeded pipe (his new-found lead instrument), and various resonating vessels and percussive objects including dry fennel storks collected from Punic troglodyte sites, and atonal flutes built from fresh cut farmland reed. Ritualistic improvisations took place over a series of seasonal visits, awakening genetic memory and plant communication.

Back in London the tracks were interfaced and expanded with post-industrial machine beat and bass guitar lock down. Homage is paid to New Age synthscapes, while a Spirit Jazz overtone arrives from K's recent years as the sonic muscle behind a plethora of luminous albums born in his Total Refreshment Studio. Goatherder follows on from the 2016 collaborative incarnation LOOSE MEAT and sonically abridges 2012's Capitol K album Andean Dub.

Outside of studio production and his solo repertoire as Capitol K, Kristian has toured as guest musician with multiple bands over the last 15 years, including Brazil's Cibelle (Crammed Discs), Archie Bronson Outfit (Domino) (whom he also co-produced), and recently Du Blonde (Mute Records).

His last project, Loose Meat, was a collaborative album of poetic dance music received lots of radio play in the UK and toured across the country for a year, performing a number of festivals.

He established the Faith and Industry record label which handled his subsequent releases and through which now he releases a number of other artists that he develops and produces.

Jonny Drop's debut, Sub Plot, was the very first album release on the fledgling Albert's Favourites label at the beginning of 2016. The initial offering, a 7" of album favourites Mind Field and This Is The One had quickly been picked up on by the good people at BBC Radio 6 Music as well as some of Drop's personal heroes including Kenny Dope, Mr. Thing and Nightmares On Wax.

But when the infectious rhythms and warm production of the beat tape landed, its impact was greater than anyone at the label could have hoped.

Although Jonny never stopped producing beats in the following years, he was also kept busy as a drummer, playing live for Andrew Ashong, The Bongolian and Connie Constance, whose Boring Connie EP he also laid down beats for.

Then in early 2018 his band The Expansions delivered their celebrated Murmuration LP. All the while, with the support of his label family, Drop had been evolving his solo sound too.

'The Only Sound sees a huge progression in my writing direction, as I collaborated with multiple vocalists and musicians, instead of the usual 'one-man band' approach.

The development of these processes make this LP a steady departure from the beat-tape influence of my past releases, and hopefully, showcase the more original sound I've been working to achieve over the past few years.'

The new album is more atmospheric, emotional and expressive. It is filled with beautiful vocal performances, musical contributions from label partners and close friends Deoke and James O'Keefe, and inspirational London jazz composer, flautist and master saxophonist Tamar Osborn (Collocutor/On The Corner).

Voices here include Shea Soul, Grace Walker, former Myron and E soul man Eric Boss with his Lucid Paradise and Pendletons partner Ishtar, plus First Word Records producer/Golden Rules collaborator Sarah Williams White.

While there are thoughtful, down-tempo moments of electronica in abundance here, Drop brings his favourite elements of disco and soul into the picture too.

And there's no shortage of low end throughout. The Only Sound is a welcome next step from Jonny Drop, the sound of a beat maker not just finding his feet as a composer, but thriving in new territory.

Huey Morgan (BBC Radio 6 Music),

Music Is My Sanctuary premiere for All This Trouble, Bonafide Magazine premiere for Looking Glass
'A really talented musician, absolutely loving that" Lauren Laverne on This Is The One, BBC Radio 6 Music

Original Soundtrack - Super Deluxe Version, (including 4 tracks never released on vinyl before, this feature is exclusive to this edition, see the tracklisting), 180g vinyl, mastered at half speed, heavy cardboard old Stoughton tip-on sleeve, obi, gold sticker Info We Release Jazz is delighted to present the official reissue of the original soundtrack of Jean-Pierre Melville's 1970 film noir classic Le Cercle Rouge (starring Alain Delon, Bourvil, Gian Maria Volontè, and Yves Montand) composed by French soundtrack master Eric Demarsan, available on limited edition 180g vinyl LP mastered at half speed and including 4 bonus tracks not available on previous pressings of the album. Eric Demarsan's compositions for Le Cercle Rouge draw from the orchestral spirit of the Modern Jazz Quartet (as requested by Melville who loved John Lewis' work), abstraction and minimalism to create a suspenseful and hypnotizing audio landscape which elegantly underlines the tense atmosphere of unavoidable fate that shrouds the movie and the doleful beauty of its characters. Simply put, it's the finest combination of underworld existentialism, coldblooded chic, and crime jazz! Le Cercle Rouge boasts the participation of celebrated jazz players Guy Pedersen (bass), Daniel Humair (drums), Georges Arvanitas (piano), and Bernard Lubat (vibraphone). Starting as a collaborator of François de Roubaix and Michel Magne in the 60s, Eric Demarsan went on to become a mainstay of French cinema soundtracks, composing for directors such as Jean-Pierre Mocky, Costa-Gavras, and Patrice Leconte among others. He also recorded the cult album Pop Symphony (for Pierre Cardin in 1970) under the Jason Havelock pseudonym.

The 2nd Release On 823, A Creative Project Founded By Ta-ku, Is Featuring The Label Debut Of Portland Wunderkind Quickly, Quickly.

823 Is Also The Numerical Representation Of The Phrase 'thinking Of You'. It Represents The Appreciation For The People/ideas/places That Inspire Us And Push Us Forward. As A Label We Are Proud To Present A Series Of Musical Releases That Showcase The Artists Musical & Visual Endeavors. The Artwork Is Shot By The Artist Themselves & Each Release Has An Accompanying Photo Zine That Acts As A Visual Story That Compliments The Music They Wrote At That Time.

There's A Maturity To The Sound Of Portland, Oregon-based Producer Quickly, Quickly That Makes It Difficult To Believe He's Just 17 Years Old. Using Elements Of Jazz, Hip Hop, And R&b, Quickly, Quickly Weaves A Tapestry Of Wispy Productions That Feel Equally Inspired By The Dusty Drums Of Early '90s Boom Bap As They Do By The Whimsical Electronics Of Head-turning Contemporaries Like Tennyson. Taking Over On Vocals, Bass, Drums, And Piano, He Offers Insight Into A Greater Understanding Of Musicality, There's Time Devoted To Each Audible Layer And It Shows.

Ta-ku:
graham First Caught My Eye With His Film Photography - It Was Only Co-incidental That He Also Made World Class Sounds & Made Me Ever So Jealous With His Musical Talent At Such A Young Age. Graham Is One Of Those Wunderkinds That Have Managed To Create Such A Strong Musical Identity For Himself And Makes It Look So Effortless. Graham Is The Reason Why I Started 823. He Is The Epitome Of Someone Who Embodies That Free Flowing Creative Energy That Needs To Be Showcased To The World!

Music Has Always Been A Part Of Quickly, Quickly's Life, As He Started Playing Piano When He Was Two Years Old. This Love Of Music Shaped His Young Life And Created A Solid Musical Foundation For Future Efforts. In 5th Grade Quickly, Quickly Found Hip-hop, Citing Common Market, J Dilla, Blue Scholars, And The Pharcyde As Early Influences. With His Love Of Hip-hop And Early Musical Background, It Seemed Only Right That Quickly Would Begin To Produce His Own Music.
Having Now Made Beats For Around Six Years, Quickly, Quickly Is Producing At The Top Of His Game. The Production On His Debut Ep over Skies' Is As Easy-going As It Is Complex, And The Fact That There Are No Samples On The Ep Makes It All The More Impressive. Inspired Heavily By The Sky And The Many Forms It Takes, This Ep Blends Genres And Crosses Musical Borders With Ease.

Off-kilter Broken Beats From A Collection Of Up & Coming Artists From Around Europe And Beyond.

A1. Twelon - Quad

Twelon Heralds The Start Of The Ep With A Builder Track Perfect For Openings And Breakdowns Mid Set. Industrial Creeps And Hisses, Spliced With Intricate Percussion.

A2. Nollern - Sitar Pro

Nollern's Eff_el & Dan Beaven Burst Forth To Bring An Upfront, Yet Minimalistic, Glitch-rife Drum Track - Perfect For The Players Wanting To Layer An Element Of Sparse, Brutal Breaks Into The Mix.

B1. Tlk - In Your Shadow

Tlk Brings Us A Beautiful, Emotion Filled Arp Track. 'one Of My Goals When Making A Track, Is To Only Use One Sound: To Make One Synth Sing.' - Linkwood. This Is The Inspiration That Tlk Used For In Your Shadow.

B2. Xantrax - Xtk

A Trippy, Jazzy Combination Of Atmospheric Synthesis, Acoustic Drums And A Heavy Bass-weight Underlay, Giving The Ep A Raw, Yet Balanced Finish.

Meet Me On The Corner is taken from the band's sophomore album, Orange Whip, which itself was BBC 6Music's Album of The Day on its release. It follows previous singles Whatever You Do and Sinner, which garnered support from Craig Charles, Tom Ravenscroft and Huey Morgan. The song showcases Honeyfeet at their funkiest and chunkiest. A pounding beat beefed up by bass, guitar and brass propels forward while Rioghnach Connolly sings lyrics that could be straight out of the playground, but suggest something deeper, possibly mystical even, in its demands for a dalliance on the street.

Remixes on this more foot friendly single come courtesy of homegrown legends of funky house music, Crazy P who come through with both a vocal and dub version. Honeyfeet's latest opus is turned into a straight up soulful disco monster by the boys from Nottingham, with Rioghnach's rasping vocals playfully meandering over Hot Toddy and Ron Basejam's crisp beats and trademark live bass. Elsewhere, much hyped Russian production don, I Gemin, delivers his take - still aimed at the dance floor of course, but a slightly deeper house affair based around jazzy keys and chopped up vocals that take the song into more sonorous territories.

As a bonus, the 12" package also features the acclaimed remix of previous single, Sinner, courtesy of erstwhile Polish Innocent Sorceror, Envee - his shuffling, moody take only previously being available on vinyl via a super limited (and now impossible to find) 7-inch release late last year. For the last couple of years Honeyfeet (whose name comes from a line in the Blues Brothers film) have been a conduit for the ideas and expressions of an exotic mixture of Manchester based musicians. This genre-defying band incorporate styles including jazz, folk and hip hop into their music.

The band are fronted by Rioghnach Connolly - also known for her work with Real World artists Afro Celt Sound System and The Breath - "A remarkable singer and flutist who...can ease from Irish traditional influences to soul" (The Guardian). The line-up is completed by Rik Warren (vocals/harmonica), Gus Fairbairn (tenor sax), Biff Roxby (trombone/vocals), Ellis Davies (guitar), Lorien Edwards (bass guitar), John Ellis (keyboards) and David Schlechtriemen (drums).

Since their self-released debut album, 2013's It's a Good Job I Love You, keyboardist John Ellis jumped on board as full-time member, bringing his unique musical presence. This enabled the development of a more texturally adventurous style, as witnessed with the dual atonal solo between himself and guitarist Ellis Davies on Sinner. Similarly, for their current LP, Orange Whip, engineer, bassist and spiritual guide Lorien Edwards makes his Honeyfeet recording debut, so completing the 'kitchen' of this very special band.

- The album, Orange Whip, is out now.

Dais Records is proud to announce the official reissue of "ELpH vs Coil - Worship the Glitch". Remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the vinyl release is pressed onto double 12" LP vinyl (from the original 10" release), and is packaged in a gorgeous 24pt stock matte gatefold LP with sticker and vellum track listing insert. . Also available on digipack CD and Digital.

"Unexplainable" may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career...uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship.

During the studio sessions that developed into what would become 'Worship the Glitch'. Coil became aware of random compositions emitting from their gear, and were at odds with constant 'accidents' that were perpetually plaguing the recordings. The band called these unintentional emissions "ELpH": a conceptual being that is one part physical equipment, one part celestial being...constantly playing the role of trickster, throwing a wrench into Coil's methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional "errors" was adopted as a musical technique. The acceptance of the "mistake", and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title 'Worship the Glitch'.

Originally released in 1995 on Coil's in-house imprint Eskaton, Worship the Glitch was Coil's first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener.

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, it's catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. High Fidelity will be the first in a series of Queen Constance rarities to be reissued, an extremely rare and coveted record that can change hands on the second hand market for big big money, avoid those low rent bootlegs that are out there and cop this fully licensed repress.

The group's self-titled sole long-player is a fantastic 6 track set of gritty, soulful and uplifting funky Disco with a DIY edge. Not too much is known about the artists themselves, or even when the record was performed, recorded or released but it certainly sounds like a group who knew their craft inside out. The energy is high across the record and the group sound like they're on fire, just check the outrageously funkified 'Magic Carpet' and you'll see what we mean. Amazing. The whole project has that enchanting lo-fi, back-street feel to it in terms of production and the mind boggles as to how such a record would have come off had it been recorded at a Motown or any other 'big' studio, but no matter as this release is perfect the way it is, an essential piece of street-level NYC Disco straight from the underground.
This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Romain Azzaro come's back on his own imprint with a Rouge Mécanique Extended Play compiled with cinematic shaded instrumentals and a heady mix of post-punk, ambient and noise. Bringing acoustic life to electronica, his signature sound rolls over the Ep with elegance and versatility.

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

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

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

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

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

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

The young Dutch DJ & producer Lewski debuts on Darko Esser's Wolfskuil Limited series with 'Folkloric Human' EP presenting four fine Electro / Techno cuts.The title track opens the EP with a blend of old school electro and distinctly modern techno, featuring rhythmic bouncy beats and a playful built up perfect for the floor, followed by 'Phase Mistress', a vintage sounding beauty with captivating bass sequences and plenty of analog flavor.'EreBus' kicks off the B-side with its twisted drive, cyborg samples and sinister attitude that justifies it's name been derived from the mythological god of darkness. The atmospheric, Detroit flavored 'Decommissioned Androids' rounds the EP off with tight basslines and relentless analog madness.Lewski's debut EP on Patron Records last year gained support by the likes of Ben UFO, DJ Stingray and Umwelt. Lewski is part of a select cut of young artists who are absorbing electro's legacy, carrying it into the future and with his release on Wolfskuil Limited we can be sure that the future looks very promising.

To Follow A Long Awaited Single From The Legendary D'arcangelo Brothers, Happy Skull Has Turned To A Friend Of The Family And Former Bristol Scene Stalwart, Bass Clef.

The Long-serving Producer First Rose To Prominence Via A Series Of Inspired, Genre-mangling Albums And Singles On Blank Tapes, He Has Since Gone On To Deliver Hard-to-pigeonhole Material On Fellow Bristol Labels Punch Drunk And Idle Hands, As Well As Pan And The Trilogy Tapes Amongst Others.

Those Versed In His Bulging Back Catalogue Will Notice Familiar Stylistic Traits Throughout - Think An Endearing Looseness Built On Hardware Manipulation And A Playfulness Rarely Seen In Modern Dance Music. For His Happy Skull Debut He Takes On Acid House, To Great Effect. This Is Most Evident On Flipside "acid Hearse", A Constantly-rising Roller Built Around A Nagging, Tb-303 Style Riff And A Swinging, Off-kilter Drum Machine Rhythm.

Echoes Of Acid Can Also Be Heard In The Sparser A-side, "charnel House", Where Sharp, Psychedelic Lead Lines And Mind-bending Electronic Motifs Weave In An Out Of A Crunchy Rhythm Track To Create A Track That Is As Fun As It Is Weighty.

"For the final part of SchleiBen 5 - 8, Emotional Response welcomes two Scottish based artists to close out the series. In Jon Keliehor you have a world and music traveler with history from psychedelic rock to fourth world exposure, alongside one of the best electronic producers of the last decade, Lord Of The Isles. As the drummer of West Coast folk rock / psychedelic band The Daily Flash, Keleihor spent much of the mid-60 based in and out of Seattle and Los Angles, playing alongside the likes of Jefferson Airplane, Cream and The Doors, before an increasing interest in meditation and philosophies outside of the 'rock' realm led him to England in the early 70s where he become involved in dance theatre. Teaching Advanced Rhythmic Music Studies at the London Contemporary Dance School, his music composition style became influenced by his studies of world music. Finally settling in Glasgow for over 20 years, while running the Luminous Music label and Gamelan Naga Mas, his earlier recordings for labels like Indipop, Touch and Bruton have seen a recent revival, with music appearing recently on contemporaries Optimo Music and Invisible Inc. The wonderful recordings included here span over 3 decades, from sessions at the Luminous Studio at The Diorama Theatre, London in the early 80s, through to recent field-work based recordings in the Cairngorms. Reconfigured and updated, a common thread appears through the pieces - a sense of longing and appreciation - as Jon's knowledge of outer-national instrumentation alongside equally extensive travels around the globe gives the recordings a seamless blend of organic craft. The tonal consonances within unlikely combinations of instruments, with tuned glasses (tarang), tabla, jaw harps, clay flutes and ocarinas, Chinese instruments that include Xiao-Bo and Xiao-Ping, large Noah bells, small and larges gongs all employed, the recordings have been reconstructed, edited and updated via sampling and digital processing. Featuring the playing of John "Jhalib" Millar - the extraordinarily gifted musician and tabla player - who has appeared with an EP on sister label, Emotional Rescue (ERC029), sadly recently deceased, the contribution acts as a tribute and more. To close, the music of Lord Of The Isles is an excellent companion to Jon's work. Neil McDonald's list of club-based releases on labels CockTail D'Amor, Ene, Firecracker, Permanent Vacation, ESP Institute and Phonica is comprehensive and exemplary, however within his productions has often been an other-worldly element, a space between the beats and occasional fully ambient pieces. Approached originally for series one of SchleiBen, the 7 pieces included were worth the wait, a journey in themselves and the perfect completion. Spanning almost 5 years, the majority were written during an extended exile in the Cairngorms. The lifting, ethereal, but melodic nature of the music fits that aesthetic. Blue skies, snow, long walks, space to think, but with a longing and appreciation of family and friends. The solitary nature found in SchleiBen 8 and the geographical incidence of both artist's recordings including sessions in the Scottish Highlands fits the series ideals and is a nice closure. Enjoy and listen. "

Capofortuna is a duo made up of legendary Bologna-based house maestro, DJ Rame and multi-instrumentalist Ricky Cardelli from Rimini. Perhaps our 'housiest' release to date. Crush On You is an EP of particularly sophisticated forward thinking dance music. With glorious live instrumentation and joyous arrangements this is the kind of record that is going to slip right into many DJ's collections. Don't sleep on this one.

Time flies, doesn't it It sure does when you suddenly wake up to celebrate your 10th vinyl release as a small label, which is the case with us. But as we're all about quality over quantity, our latest 12" offering comes with a superb collage of fresh music by the one and only Radicall. Having made his mark as one of the most consistent producers, known for his trademark combination of strong, dynamic drum programming and soft and booming basslines, Radicall keeps on delivering top-quality music with each next release. And this 12" single is no exception to the said rule. The playful, happy-go-lucky 'Touch' is a bit of a nod to the old-school/rave/early jungle/footwork/you-name-it style given its complex drum pattern and an array of acid-style synthetic samples and tinges of vocal here and there, but sticking to modern-day standards nonetheless. The flipside comes with 'Build Me Up' remixed by Bungle, who surely knows how to make good things just as good as they are, but yet a bit different. And here we have the Brazilian powerhouse reshaping Radicall's work to make it a bit lighter and upbeat, but still retaining some elements of rawness mixed perfectly with traces of nostalgia. An excellent job, breathing a new life into the original piece - a darker-shaded straight-to-the-point roller, which you can get as a digital bonus added to the release. So here it is - the tenth vinyl item in our catalogue, featuring names you simply can't go wrong with. What better way to celebrate the occasion

First Ever Vinyl Reissue, Limited Edition To 500 Copies Only, Bonus Tracks Not On The Original Lp, Remastered Sound, Insert With Liner Notes By Nick Rossi And Photos, Beautifully Housed In Three Back-flapped 1960s Uk Style Picture Sleeve ! The Wynder K. Frog Story Evolves Around Mick Weaver. After He Switched From Piano To Organ He Joined A Band Named The Chapters That Would Soon Be Renamed Wynder K. Frog And Perform Material From James Brown's Flames, Booker T. And The Mgs Or Even Songs Learned Through Georgie Fame's Recordings And Graham Bond's Repertoire. Wynder K. Frog Moved To London And Became Regulars In The City's R&b Scene Playing At Swingin' London's Clubs Like The Tiles Or The Marquee. A Contract With Island Records Was Secured And -under The Wings Of Producers Like Chris Blackwell, Guy Stevens, Jimmy Miller Or Gus Dudgeon- Wynder K Frog, A Name That Would Eventually Be Used As A Pseudonym For Weaver More Than A Proper Band Name, Did Some Some Amazing Hammond Organ-ized Recordings And Issued In Three Lps And A Bunch Of Cool 45s.

At The End Of The 1960s, Weaver Would Quit The "band Scene" To Become One Of The Most In Demand Session Musicians And Throughout His Career He'd Be Heard Backing Names Such As Eric Burdon, Roger Chapman, Dave Gilmour, Keef Hartley, Alexis Korner, Ralph Mctell, Taj Mahal Or Otis Rush A.o, But His Lps As Wynder K Frog Are Classic Hammond Sound From The 1960s Uk And Will Appeal To Those Into Brian Auger, Graham Bond, The Artwoods, Zoot Money, Jimmy Mcgriff, Booker T. & The Mgs And The Likes.

Out Of The Frying Pan

Released At The End Of The Summer Of 1968, And With A Host Of Session Musicians That Included The Brass Section Of John Mayall's Bluesbreakers, Producer Gus Dudgeon Helped Weaver / Wynder K Frog To Improve The Results Obtained On The Debut Lp And Get One Step Closer To The Live Action. The Formula Was More Or Less The Same, Instrumental Hammond A Go Go Covers Of Hits From The Era, Including The Rolling Stones' "jumping Jack Flash", A Funked Up Version Of The Classic Tommy Tucker Blues Number "hi Heel Sneakers", An Exploding Cover Of "tequila" Or The Standard "green Door", But It Also Included The Sensational Weaver-penned "harpsichord Shuffle".

The Mysterious Love Drop Continues His Homage To The Classic Raw Sounds Of Days Gone By As He Drops An Anthemic And Pounding Slice Of House Music For Home Taping.
With His Trademark Moody Grooves And Heavy Delays He Builds A Vibe Which Is Guaranteed To Set Any Dance Floor On Fire.
Keeping It Raw And Proper With A Generous Pinch Of Soul And More Than A Touch Of Badass, Love Drop Just Moved Things Up To The Next Level. Less Is Definitely More As He Destroys The Floor.

On The Flip, Dicky Trisco Plays To The Emotional Strength Of The Original And Delivers A Highly Polished Heads-down, Dubbed Out Version For The Club.
While Rising Star Of The Scene Dan Shake Raises The Tempo And Treats Us To A Raw And Funky Workout To Complete A Very Fine Package Indeed.

Free Your Mind And Love Drop Will Follow.

Greatest Hits Was A Major Triumph For Kravitz And A Worldwide Top 10 Chart Performer, Reaching No. 2 In The U.s. And No. 1 In Austria, Italy, And Other Countries. This Compilation Showcases The Many Strengths Inherent In The Grooves Of Kravitz's First Five Albums — 1989's Let Love Rule, 1991's Mama Said, 1993's Are You Gonna Go My Way, 1995's Circus, And 1998's 5 — By Assembling 15 Of The Best Tracks From The First Stage Of His Celebrated Career.- this Greatest Hits Collection Features Early Kravitz Classics And Also Sports A Pair Of Exceptional Non-album Tracks, Including The Previously Unreleased Mid-tempo Version Of again,' Which Reached No. 4 On The Billboard Hot 100 Singles Chart. The Album Also Boasts Kravitz's Incendiary Cover Of The Guess Who's All-time Rock Classic american Woman,' Which Initially Had Been Featured In The Hit 1999 Film, Austin Powers: The Spy Who Shagged Me, And Was Eventually Added To A Cd Re-release Of 5.
- the Core Tracks On Greatest Hits All Serve To Illuminate Kravitz's Own Considerable Talents As A Multifaceted Singer, Songwriter, Producer And Guitar Player.

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

Flight 770 is an EP about global moods and inspirations, made around a trip to Georgia, where Thee J Johanz played at a festival with his friends from Goa. The title track combines old school gfunk grooves with techno sounds and dreamy leads from the rare Korg 770, while the boutique Russian Mad 5 drumsynth is spanking your ass with vibrant claps. Night of the bodySNADchers started as a project for the Goan Gandu label by Snad and Iggy the Bastard. It's inspired by the trippy vibe of the endless (after)parties at Cirrus, near Chapora. Thunder Over Tbilisi expresses the pressure you feel in Georgia, specially after what recently happened to club life in Tbilisi. Coming back to Holland Thee J Johanz played at the Island of Terschelling and refound himself looking at the stars. Small dots in a seemingly infinite universe. But also massive electrifying diamonds.

Salvador Font studied violin, clarinet, composition and harmony at the Conservatori Municipal de Barcelona, but very soon started to gain notoriety as a saxophonist in the rich jazz scene of 1940s Barcelona. Font would soon be playing tenor sax and clarinet in the Orquesta Gran Casino. He was in his early twenties and his hot swing technique was already praised through the citiy's scene, he would grow to be considered the best saxophonist in Spain by playing in many orchestras and combos, among them: José Puertas', Antonio Vilá's Virgina, Bonet de San Pedro's band, Pierre Michel, El Lirio Campestre, Los Marios, Luis Rovira y su orquesta, Orquesta brasileña Fon-Fon, Jaime Camino, Los Embajadores, Italo Leone's... With these and others, Font toured constantly, visiting many countries and even staying on some for long seasons: Mexico, Morocco, Switzerland, Egypt... Hungarian violinst of Turkish ancestry Kurt Dogan gave him the "Mantequilla" surname - he felt "Mantequilla" (which means "butter") fit Font's mellow yet swinging improvisation style.

Mantequilla y su conjunto

In the early sixties, "Mantequilla" had the chance to lead his own combo, Mantequilla y su conjunto, with which he was to record the three splendid EPs that are compiled on the present album. All these 7" have become elusive collector pieces in the record market, with sellers demanding from 200 to as much as 950 euros per copy.

In 1961 "Mantequilla" was at his best moment, his gigs at the Jamboree Jazz Cava had brought him back to the first line of Barcelona's jazzmen after he had been working abroad for a long time, and was approached by the Belter label to record an EP. On the sessions he was accompanied by Manolo Mercedes on trumpet, Pedro Ferré on piano, Rafael Lizandra on double bass and Rafael Verdura on Drums. The material chosen for the disc were four original compositions by Salvador Font which had a high West Coast flavour all over: "La Tuna Club", "Whisky Jazz" and "Jamboree" named after famous jazz clubs and "Azul Trompeta", dedicated to Manolo Mercedes.

In late 1962, after spending some time in Madrid working as members of the Italo Leone combo, "Mantequilla" and pianist Manuel Gas came back to Barcelona for the recording of the second "Mantequilla" EP, also on Belter. We find again Manolo Mercedes on trumpet, Pedro Ferré on piano and Rafael Lizandra on double bass, the drummer this time was José Farreras. Another news is that Manuel Gas also sat on piano and vibraphone. The songs chosen for the occasion were two tunes from the Art Blakey Jazz Messengers repertoire: Bobby Timmons' classic "Moanin'" and the Jacques Marray track "No Problem" from the soundtrack of the Les liaisons dangereuses film (mispelled "Not Problem" on the sleeve and label), plus the Salvador Font penned "Blue Note" and "Full de ases" - on "Full de ases" "Mantequilla" trades his sax for the violin, which he also mastered under high influence from Stephane Grapelli. The record was released on Belter in early 1963 and showed "Mantequilla" adding a certain aggressivity to his sound, in a soloist style which has been compared to that of tenor saxophonists Barney Wilen or Benny Golson.

1965 was the year of release of Mantequilla y su conjunto's third EP, now on the Discophon label. Mercedes and Farreras are again present in the recording sessions, joined by Ricardo Miralles on piano and Enrique Ponsa on double bass. Four original Font compositions make up the fantastic EP: "Blues 3/4", "Atmósfera", "Vat 69" and "Balada".

There would be a further EP on Belter, released in 1971 as Mantequilla Group it was a cash-in operation to take some redits of the ye-yé discothèque phenomenon, it gets quite afar in style from the jazz works of Mantequilla y su conjunto, so we just left it aside for the present edition.

"Mantequilla"'s career would continue, in 1968 he would settle in Majorca and form a swing band with Bonet de San Pedro and Manuel Bolao. He played in local orquestras and also with first class world acts like Gerry Mulligan, Tete Montoliu, Errol Gardner, a.o. He was even approached by Henry Mancini to play sax on The Pink Panther Theme in a gig Mancini did with his orchestra in Palma de Mallorca in 1975, He also joined his son Salvador Font (a demanded drummer himself who has played with Máquina!, Orquestra Mirasol, Música Urbana, Gary Burton Quartet, Georgie Fame, and many others) and his peers Carles Benavent, Emili Baleriola, Josep Mas 'Kitflus' and Jordi Bonell with whom he recorded his acclaimed "Mantequilla" album in 1987.

Now, for the first time ever, the legendary three ultra rare and imposible to find EPs by Mantequilla y su conjunto are compiled in a lavish vinyl LP with remastered sound, featuring liner notes and photos and a fantastic period inspired, three backflaped, front laminated sleeve. It is a stricly limited edition of only 500 copies and they are expected to sell out very soon, do not miss your chance of getting yours - it may be the last chance of chasing the Mantequilla sound on vinyl at a reasonable price!














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One man's vision of Soul music's evolving potential' ROLLING STONE

The Bamboos are one of the highest profile soul / funk acts in Australia, and have been recognised worldwide as masters of reinventing the genre with modern songwriting within classic arrangements & production over the past 10 years. They've clocked up some impressive Spotify hits numbers on along the way: " Wilhelm Scream" (3.5 M), 'On The Sly' (2.8 M), 'Helpless Blues' (1.8 M)"
Mainstay members Lance Ferguson and vocalist Kylie Auldist are also the creative forces behind one of 2016's biggest singles, 'This Girl' by Kungs Vs Cookin' On 3 Burners. Ferguson played on and co-wrote the song (incl that infectious guitar riff and lyrics) which along with Auldist's powerhouse vocals. The remix went on to hit #1 in France, Germany, #2 in the UK, top 20 in Australia and the US and top 30 in 35 countries. It's edging close to half a billion Spotify plays and 300 million Youtube hits.
Having previously collaborated with the likes of Aloe Blacc and Alice Russell, their latest offering 'Night Time People' see's the band call to mind everyone from Martha Reeves to Sharon Jones, The Bamboos deliver two catchy singles that draw together the raw drive of their earliest LPs and their more recent progressive experimentations in the studio. It's a fresh approach that finds the band wholly reenergised.

As The Title Suggests, Joakim Recorded This New Album Last Year At Studio Venezia, The Installation/sculptural Ensemble/recording Studio Created By Xavier Veilhan For The Prestigious 2017 Venice Art Biennale. Built Inside The French Pavilion & Inspired By The Grotto-like Merzbau By Kurt Schwitters, Studio Venezia Had Dozens Of Artists Create And Record There Over The 6 Months Of The Biennale (from Chassol To Brian Eno, From Joakim To Sebastien Tellier), Invited By Xavier Veilhan Himself With The Help Of Co-curator Christian Marclay.

With An Impressive Collection Of Rare Instruments From Medieval Horns To Rare Modular Synths (baschet Crystals And Percussions, A Buchla, A Clavinet...), Studio Venezia Was An Amazing Creative Playground For The Adventurous Musician. Those Instruments Were Captured By A Team Of Sound Engineers In The Best Possible Way Thanks To Nigel Godrich's (beck, Radiohead...) Mobile Studio Loaded With State Of The Art Vintage Recording Gear.

Before Going There In May 2017, Joakim Examined The Instrument List And The Specific Context Of A Studio Open To The Public Within An International Contemporary Art Exhibition To Anticipate His Creative Process. Instead Of Drafting Compositions And Demos Ahead Of The Recording Session, He Decided To Have An in-situ' Approach By Creating A System Involving The Visitors Of The Studio In The Composition Phase. Joakim Asked Random Visitors Of The Pavilion To Pick A Word, A Letter (between A And G), Tap A Tempo And Sometimes Choose The Instruments That He Would Play For Each Piece. The Word Was Translated Into A Chord Using A Transcription Table Joakim Invented. Hence The Song Titles Made Of The Given Word Plus The Name And Origin Of The Contributor. The Music Was Then Mostly Improvised, Based On Those Chords, Scales And Tempi. The Recordings Were Then Taken Back To New York Where Joakim Made Some Light Editing And Mixed The Pieces.

In Terms Of Influences, Joakim Tried To Channel The Spirit Of Proto-ambient German Heroes Cluster, 60s And 70s Modal Jazz, Japanese Evocative Minimalism And Drone Composers' Hypnotic Transcendence.

One Can Hear The Studio Through These Recordings, Which Was The Point, To Use The Studio As An Instrument, Like The Kraut Rock Pioneers Did. You May Hear The Floor Cracking, People Talking Or Coughing, And The Peculiar Quality Of Music Recorded In A Large Space With Its Acoustic Properties, A Rare Occurrence When Everyone Is Now Working From Small Home Studios And Major Large Studios Are Closing Down. This Album Also Marks A Return For Joakim To His Musical Education As A Classically Trained Pianist As You Can Hear Him Improvise On The Piano ( arms', air', dream'), Fender Rhodes ( trust') Or Harpsichord ( absense').

Following The Release Of The Studio Venezia Sessions, Joakim Will Create A Live Performance Based On His Experience In Venice. The Premiere Of This New Solo Performance Is Commissioned By The Villa Medicis In Rome For Their Villa Aperta Festival Early June. More Shows Will Follow.

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

Nine Inch Nails Will Release Bad Witch On June 22, Completing The Trilogy That Began With 2016's Not The Actual Events And 2017's Add Violence.

When Michaela Meise performed at WestGermany at Kottbusser Tor in Berlin-Kreuzberg on March 20, 2015, accompanying herself on the accordion, I was perplexed. I knew her first album from 2010, which was about hymns (»Preis dem Todesüberwinder«, originally released on Clouds Hill, available as a download and stream through my label from July 2018 on), but what she was playing weren't spiritual songs! I wanted to put this music out on my label: the songs sounded sad, aloof and wistful but also proud, determined and unerring.

The album title »I am Greek« is a tribute to Melina Mercouri's album »Je Suis Grecque!«, which was released in 1971 when Mercouri was deprived of citizenship by the Greek military junta. Mercouri lived - like Mikis Theodorakis and many other cultural workers - in exile. Meise's album is dedicated to the chanson scene of post-war Europe, whose songs were popularly folksy, but also political. Some talk about the experience of war, the Shoah and labor migration. Michaela Meise has translated the Greek, French and Romanian songs into German (with the help of Aliki Marini and Carmen Gheorghe) so that the lyrics are understandable to a German audience, a gesture that was also common in the European chanson scene. More than half of the songs are by Mikis Theodorakis. He knows the translations and new recordings, gave his blessing and just noted a wrong tone ... The other pieces on the album are by the French artists Barbara and George Moustaki and the German musician Alexandra. There is also a Romanian folk song.

The album was recorded by Michaela Meise together with members of the group Isolation Berlin as well as the guest singers Carmen Gheorge and Dirk von Lowtzow (Tocotronic). The producer was David Specht (Isolation Berlin).

Michaela Meise and me both have intimate relations with Greece - Michaela has innumerable holiday memories with parents and brother, I have a friend who lives in Athens and whom I have been visiting regularly for about ten years now. This friend, the graphic designer Vasilis Marmatakis, styled Meise's album using an impressive, scary photograph taken in May 1985 during the occupation of Polytechnio Athens. Together, we opted for an elaborate packaging made by a bookbinder, a so-called Japanese tip-on-gatefold cover. The packaging reminds us of the records that were made in Greece for export and taken by German tourists as a souvenir back home.

Funky DL steps into the arena with his highly demanded album 'Blackcurrent Jazz 3'. Seamlessly weaving his boom-bap style with jazz breaks throughout every track and topped with his smooth and often intense flow, his lyrical ability is top shelf and the beats are at an unequalled standard of excellence. The album showcases some of the finest Jazz Hip-Hop in the scene as it shifts through varied styles of Jazz and Jazz moods. With features from the Nujabes collaboratives Cise Starr and Substantial, the entire set oozes with golden droplets of musical magic moment after moment. The tone is set immediately as the album starts and continues an incomparable and superb standard of quality music right up until the final track.

A Site-specific Recording Sporting A Straightforward Approach That I've Grown To Love In The Works Of Gonçalo Cardoso. An Album Of Modern Day Exotica, A Genre I Usually Pretty Much Dislike, Yet Cardoso Steers His Vehicle Easily Aside The Trapdoors And Potholes.

Combining Found Sounds, Sparse Playing And Field Recordings He Creates A World That Both Invokes Treasure Island, And An Essay On Exoticism. Indeed Questions Are Raised. But Especially Beautiful Emotions Are Shared. Cardoso Acts Both Like The Journalist And The Aesthetic. Sometimes He Just Registers, As Being The Observer At The Sideline, Sometimes He Alters And Collages The Material Into New Worlds.

The Isle Of Unguja Is The Great Scene Of This Album. We Hear The Sound Of Water, Suddenly Interrupted By Beautiful Chorals Or The Strumming Of String Instruments, A Drum Beat. We Hear The Local Fisherman Talk While The Shortwave Radio Becomes The Symbol Of The White Man Seeking Truth And Direction In The Tropics. Its Dial As A Tool To Reflect. This Album Invokes A Certain Nostalgia For Age-old Enthnographies, Like A Romantic Letter From The Tropics. A Hymn Of Solitude, In Awe Of The Nonhuman And Human Elements. Like Photography, Through Various Compositions - Stills From A Moment - To Shed Light Upon The Unique - Universal Process Of A Place.

"all The Recordings Were Made During Our Month Long Stay In A Beach Hut In The Main Island Of The Zanzibar Archipelago, Unguja Aka Zanzibar Island. Unlike Other Beach/island Locations The Scenery There Was Very Dynamic And Ever Changing. The Colours Would Change With Every Tide Creating A New Washed Out Landscape Everyday.
There Are A Lot Of Recordings Of Tides (they Have 3km Tides Everyday!), Of Walking Around In Low Tide, Of The Tidal Waves Banging Against Our Hut At Night, Of Sailing In Wooden Dhows, Fishermen Talking And Sand Washing Their Dhows, Of Walking At Night In The Village As Well As Some Fm/am Radio Improvs. A Lot Of What You Hear Was Done On The Spot With Some Minor Adjustments Done Later. (g F Cardoso)"

Gonçalo Cardoso Is The Man Behind The Prolific Discrepant Recordlabel And Composes Under His Own Name And The Moniker Gonzo. He Recently Traveled In Middle And Southern America.

At a time when on every street corner, adolescent wannabe gangstas believed they had to tell everyone and their dog about their greatness and the inferiority of all others, there was a cadre of Munich-based Hip-Hop artists producing incredibly fresh and imaginative music, inspired, of course, by the golden era of the 90s. They played gigs in small clubs in front of some dozens of people, spread mixtapes and Eps and were celebrated by their friends and the rest of the scene. The world took no notice - until now ! Tramp Records, specializing in unearthing forgotten pearls of musical art, documents with "Golden Hits", an era of Munich underground Hip Hop which flew completely under the radar, spanning ten years from 2005 to 2015. The musical bandwidth and quality of the tracks is astonishing, but so much more could have been possible. Much of this music remained fragmented or unreleased for a host of reasons, families, stressful jobs, musical reorientation, and even lost hard disks... but one story has a happy ending! When Masta Ace had a live show at the legendary Atomic Cafe, Primatune's Fid Rizz was able to hand over a CD with demo beats. Unfortunately the CD was blank by mistake! But the curiosity of Masta Ace had been piqued, and he got back to him, the rest is history. Features of other stateside rap heroes like Wordsworth or Declaime followed.

The very best of this era, including tracks never before heard and ideas remaining fragmented, has now been compiled by Tramp Records to take you for a fascinating listening journey.

Hip Hop, as it was since it's inception in the Bronx, fresh and real, and made with passion by neighborhood kids spitting truth about life and the struggle!

Key selling points:

- including many unreleased songs
- the vinyl LP comes with a full album download code

From the church to the library, it's now time for 'A Sweet Excursion', courtesy of our favourite French funkateers, DJ Soulist & Fulgeance aka Souleance, offering up three tasty edits to feed the dancefloor.

'Fantasie' opens the set with an idyllically relentless rhodes-riff riding a slice of sugary boogie, with a super squelchy bassline and a healthy layer of disco percussion spread on top, for those with a sweet tooth.

The righteous horns of 'Lord' blaze into play next accompanied by a 4/4 disco kick, before the sugar rush kicks in and the band let loose an almighty groove. Even a soulful set of angels begin to sing, guaranteeing this one will bring out a lil' bit of that holy ghost within.

We end out with 'Funkin' which does exactly what it says on the tin. A solid five minutes-plus of delectable heads-down funk containing all the right ingredients, and the French duo's own special sauce mixed into the pot for good measure.

With a decades worth of collaboration behind them, and persistent party rocking at festivals and clubs, Souleance continue to create tried & tested moments of sweetness on dancefloors across the globe. This three-tracker is no exception, and makes this another essential one for the record bags.

'A Sweet Excursion' is released on Excursions on Friday 29th June 2018 on limited three-track vinyl 12" only.

Transcendentally Beautiful, The Space Lady's Music Is Returning To Earth. Transmitting Messages Of Peace And Harmony, The Space Lady Began Her Odyssey On The Streets Of Boston In The Late 70s, Then San Francisco Ten Years Later, Playing Versions Of Contemporary Pop Music With An Accordion And Dressed Flamboyantly. Following The Theft And Destruction Of Her Accordion , The Space Lady Invested In A Then-new Casio Keyboard, Complete With A Phase Shifter And Headset Mic, Birthing An Otherworldly New Dimension To Popular Song That Has Captured The Imaginations Of The Underground And Its Leading Exponents Ever Since Having Toured Successfully All Around The World With Her Greatest 90s Hits Record, She Felt It Was Time To Record New Songs... And So She Did!

Artist and musician Alex Puddu, whom many already know for his "Danish Pornography" series and solo records, has written and produced the second album for his soulful band The Moonfires. A second coming that showcases strong R&B classic melodies, Afro vibes and tight funky grooves that take the listener up to a level of great bands like New Birth, Ohio Players, Mandrill, and Black Heat. This is Alex Puddu at his groovest!!!

Ascetic Limited is shifting gears, focusing on solo EPs dedicated to the artists that form the collective. To kick it off they present an EP from renowned Milanese techno producer Wrong Assessment, who throughout his career in techno has proven himself to be one of the most interesting producers coming out of Italy. From his collaborative works with the late Max_M as Overall Severity to his solo works as Wrong Assessment, his tracks are always unique. Influences ranging from minimal to hard pounding techno bangers, through house grooves and ambient arrangements, he still is able to transmit his sound and vision with his music.

Wrong Assessment's 8th Floor EP is comprised by (A1) Asceta - an ambient downtempo immersion that washes over the listener in preparation for what's to come. (A2) Empire, is a clear example of the great sound that Wrong Assessment has developed throughout the years, winding synth lines and driving techno beats with a great minimalist approach to sound. The title track, (B1) 8th Floor - a bouncy, playful track filled with great ambiance that can fit into any DJ set and will drive the audience to the dance floor. Ending the EP on a heavy note, (B2) Radial brings heavy kicks and strong ambient works mixed with intense techno beats and brooding synth lines that will have the dance floor going insane.

Ascetic Limited presents Wrong Assessment's 8th Floor EP as their 5th release and second EP on the label

After recently playing host to established names such as Fabe, Nima Gorji and Michael James, Pathway Traxx returns to its roots by introducing a new artist, but long time friend Wiremu. This pure club record, and vocal infused EP is set to light up a dance floor near you very soon. Wiremu brings his unique chugging sound by the bucket load while label boss Niko keeps it smooth on the B-side.