quête:pu

AAlmost a decade after debuting the event series, audiotheque releases its first EP, including three tracks by various local artists.
The first one, Mike's Jam, comes by Bern's new power duo Frank Spirit. It is a puristic, full analogue house jam, finalized on Mike Huckaby's personal request.
RBMA graduate cclinic joins for A2. Talk Silver is a groovy house track which stands out for its prominent baseline and the inclusion of balearic and nordic elements.
Long-time audiotheque resident DJ Robel rounds out the record. Fasiga is straight and clear, yet impulsive and fun.

Label head honchos Rhode & Brown finally debut on their own imprint, Slam City Jams, after putting out music on fellow labels Toy Tonics and Public Possession. Produced over the past two
years, the Wave 100 EP might be the most versatile record by the Munich-based fellas so far.

On the title track we have an euphoric hint of 80s synth nostalgia, slapped bass and banging woodsticks (did someone say Safri Duo!). 'Sparkle' on A2 feels like the joy of a fresh breeze on hot summer days whilst living la vida loca in the clouds - b/w phat bass, sweet flutes & strings.

On the flip there is 'Love Lane', a classic house track with a funked up bassline, shuffling snares and the most erotic vocal in human history. 'Moon Bells' on B2 is the soundtrack to that road
trip you did back in 86' with a Juno 106 arpeggiator bassline, percussive drums and airy synths all around. 'Over Europe' on B3 rounds off this special 5-tracker with beautiful ambient spheres
straight from outta space.

Articulat is the (new) artist name of Ovidiu Stanciu, a Romanian dj/producer living in Rotterdam. Under the moniker Manikin, he worked on several concept albums with titles like Popular Mechanics, Taxim and Grandma's Attic Revival over the last couple of years. While selecting tracks for this debut EP it felt like curating a 'best of', and we chose to put three thriving and pounding slow-beat bangers on the A side, and to show more of Articulat's versatile style on the B-side. Expect experimental electronic songs inspired by themes like Steampunk and Romanian folklore, very precisely engineered to experience storytelling in the most physical way.

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.

Brendon Moeller offers up his 'Set In Motion' EP on Echocord sub-label Echo Echo this September, comprising three originals from the Dub Techno veteran. South Africa, New York based producer and DJ Brendon Moeller aka Beat Pharmacy/Echologist has long been respected as one of the pioneering figures in ethereal, dubbed-out Techno with regular appearances at global hot spots like fabric, Berghain and Cielo as well as releases on labels like Third Ear, Kimochi, Neovinyl and Echocord. Here though we see Moeller joining the roster of the latter's sublabel Echo Echo, marking its fourth release. Title-track 'Set In Motion' leads with Brendon's signature murky synth textures at its core whilst lumpy low-end tones, shuffled hats and spiraling dub echoes fluidly undulate amongst one another throughout. 'Eastern Beach' follows, and as the name would suggest, nods towards brighter sounds with airy pads, soft bell chime synths and pulsating subs driving the composition alongside swinging, heavily reverberated percussion. 'Economy' then closes the package, stripping things back to gritty dub stabs, dusty 4/4 drums and billowing noise sweeps.

The keeping of pets marks humans' attempt at taking possession of a part of reality that is not at his disposal. Dressing a piece of the real that lives according to entirely non-human rules and which only in the saddest case does not resist the discipline of the human symbolic order vehemently and in a sustained matter, is a violent act of protection. Because in the non-place of the real, all that which we are helpless in the face of looms: the non-logical and the nameless, the violence and the noise, yet also the unrestrained and unfiltered desire.The innocuous figure of the pet marks a gateway to an investigation of these eerie milieus, while electronic dance music lends itself to this investigation in an outstanding way. This constellation marks the subject of Column's 'Pets II.'

Column is the name of Cologne based renaissance man Jan Philipp Janzen, who, as chief emissary of Cologne's pop internationalism, has been playing the field in various functions for Von Spar, Cologne Tapes, Urlaub in Polen, Owen Pallett, Scout Niblett or The Field, and who has also, in one way or another, been involved in most relevant records coming out of Cologne for the past number of years. After his excellent solo debut 'Pets I' (Areal, 2016), Janzen presents another extraordinary record in 'Pets II,' perfectly complemented by another ghostly oil work of Burkhard Mönnich on the cover.Sonically, 'Pets II' marks a clear development for Column. In its exploration of the thresholds of the real, it sets two points of focus, corresponding with the split in sides A and B.

Side A, on which Janzen teams up with long-time friend myr. (PNN), explores the uncanny as a fissure of the symbolic order, and the subsequent breaking in of the real. It opens with two peaktime rockets that have their wooden, nether-regional groove narrated by grim, down-pitched vocals. The ethereal remix by Leibniz (hundert) seems to be observing the situation from a hiding place, and is the side's clandestine and no less dark closer.

Side B, for which Janzen invited studiomate Marvin Horsch (Dorfjungs/Beats in Space) along, delivers two swaying synthesizer workouts, the second of which, 'Molly and Swerve,' is directed firmly at the dancefloor again. What is at stake here is the transition between a free, undirected jouissance of the real and a more ordered becoming-lust. Here, as in Map.ache's (Kann/Giegling/Altin Village) remix which closes out 'Pets II,' it becomes clear what connections dance music can foster between a free, impersonal desire and the sphere of interpersonal wanting, but also the losses that are negotiated in it. Above all, however, it becomes evident what a courageous daring project 'Pets II' is in all of its conceptual and aesthetic determination; with Von Spar's standout 'Garzweiler' 12' (Altin Village & Mine, 2017), it documents a New Cologne Realism.

Southern Lord Is Excited To Bring Forth The Debut Album By Los Angeles-based Rock Trio, The Primals, Founded By Current And Former Members Of Darkest Hour, The Explosion, Dead To Fall, And More.

All Love Is True Love, The Primals' Debut Album, Features Ten Infectious Tracks Produced By John Reis (rocket From The Crypt, Drive Like Jehu, Hot Snakes) And Completed With Cover Art By Laura K. Giron.

Fans Of Wand, Ty Segall, Nirvana, And The Pixies Are Especially Recommended To Tune In.

he band's first full-length, All Love Is True Love, will see release on September 7th, the label this week sharing the first single, 'Fortune & Sons.'  'Fortune & Sons' Now Streaming

About the track the band note, ''Fortune & Sons' is one of the heaviest songs on the record. Though the album offers a plentiful dose of dynamic variety, we wanted to kick you off with a ripper.'

The Primals is comprised of vocalist/guitarist John Henry (vocalist for Darkest Hour), bassist Chad Fjerstad (formerly of Dead To Fall), and drummer Andrew Black (formerly of The Explosion). The band's fuzzy execution is equal slabs ripping guitar heaviness and infectious pop sensibility. Concocted by a seasoned group of thrashers with a historical backbone in D.C. punk community. The disintegrated spirit of grunge rises from the ashes, revitalized in a new light.

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.

Die Münsteraner Indie- und Punkrockband Muff Potter hat sich mit ausverkauften Shows in 2018 und 2019 zurückgemeldet! Das Quartett veröffentlichte zwischen 1993 und 2009 sieben gemeinsame Alben, vier davon hat das Label Grand Hotel van Cleef bereits auf Vinyl wiederveröffentlicht. Jetzt wird die Reihe mit den Reissues von "Muff Potter" (1996), "Schrei wenn du brennst" (1997) und "Gute Aussicht" (2009) komplettiert.

Scion of the Urals this devotee called Gedevaan drops a notable classy non-Moscow sound. The city where music can be fake, where anyone can lie to you, where anything can be sold and re-sold for a higher price. Where constantly you suffer from major vanity and notorious capital speedy manner. Moving to that town may change you with no warning. 'Class Compliant' is more about authentic slow-burning undercurrents. Smells like 'rest of Russia' the noise is out of massive roaring cities and their pre-harsh dummy lives. Inclined to withdrawn and introspective synthesis Gedevaan offers an original dim-light feel, warm-wet, woody swamps and mossy rocks. A velvet haze makes your vision blurry. Just look! Is it a Baba Yaga's hut Track the music. To don't forget about your roots. It's pretty nice to accomplish with old stuff by Perc and a brand new one of Electric Rescue - the pure primal perception with a high impact factor.

Universalist is the first album by ACT! Baroque, kaleidoscope electronics; material sound for a disembodied world. The energy is optimistic and posi - even naive - a statement of unity in the age of psychic dislocation.

10 Tracks of phosphorus midi and brittle digi textures feel indebted in spirit to the masters of psychic jazz as much as the physical euphoria of the club. Above all, this album belongs to the catalogue of Halocline Trance, yet subtle references connect it to a larger lineage of free sound. The empty, divine heaviness of songs like Ecstatica / On Patrol invokes Yusef Lateef's Little Symphony, while the computerized spontaneity of Lava Valley feels somehow connected to Yasuaki Shimizu's Music for Commercials. Non-musical sounds and evocative melodies sit side-by-side - new psychedelia for love and life in the digital jetstream.

ACT! is a project from Toronto-based musician David Psutka. Building on a diverse body of releases as Egyptrixx, Ceramic TL, Anamai and various other collaborations, ACT! denotes a new chapter of creative output from Psutka and the Halocline Trance label. Universalist follows a prolific string of releases in 2017 with Anamai - What Mountain; Ceramic TL + Ipek Gorgun - Perfect Lung; and Egyptrixx - Pure, Beyond Reproach, and synthesizes recurring themes of materiality and the unifying potential of sound.

Released on Leeds Jazz & Soul labelATA Records, the debut LP fromThe Lewis Express takes the rich legacy of the soul-jazz outfits of the 1960s as the initial blueprint of their sound. Taking inspiration from the likes of Ramsey Lewis, Young-Holt, Eddie Cano, Ray Bryant and Cannonball Adderley, they present a collection of tracks that range from introspective spy film themes to burning Brazilian jazz.

Primarily based in Leeds, The Lewis Express is comprised of many of the musicians that have graced previous ATA releases: George Cooper, Piano (Abstract Orchestra) Neil Innes, Bass (The Sorcerers, The Magnificent Tape Band, Tony Burkill), Sam Hobbs, Drums (Dread Supreme, Tony Burkill, Matthew Bourne) and Pete Williams, Percussion (The Sorcerers, The Magnificent Tape Band, Tony Burkill). Recorded over an intense two-day session by the band of the same name, "The Lewis Express" is a nod to the classic soul jazz recordings of The Young Holt Trio / Young-Holt Unlimited and Ramsey Lewis, from who this group take their name. But, delivered with a distinctly European feel. As with many of the classic Ramsey Lewis cuts, this album was recorded live, capturing the rich inter-relationship between the players.

Kicking off the album isLove Can't Turn A Man, a slow burner that introduces the piano of George Cooper as he works over a rock solid backbeat.Cancao De Momentois an up-tempo Brazilian Workout in the style of Milton Banana with rhythmic piano punctuated by percussion.Brother Move Onis probably the most recognizable as being in the soul jazz vein, with nods to such classics as Ramsey Lewis'The 'In' CrowdandSoulful Strutby Young Holt Unlimited, particularly the latter. Moving intoHawkshaw Philly(their nod to session music legend and leader of The Mohawks, Alan Hawkshaw) the band create what sounds like a rare library cut.Theme From The Watcheris a nod to the cinematic soul-jazz of the 60s, conjuring up the sort of imagery that coincides with the black and white spy thrillers, espionage and intrigue.Last Man In The Chain Ganghas a very strong Ramsey Lewis feel and offers some of the most powerful piano playing of the whole album. The final track,Straight Seven Strut, is the only vocal track of the album. The staccato swing and French vocals lend it some of the qualities of 60s yé-yé music but with a far jazzier backbone, spiced with percussive handclaps.

PNN turns 5! Celebrating our birthday with the 20th PNN release. Publishing our most original artist Hendrik Meyer a.k.a. Myr. again on 12inch. Myr. is already known for his Maxi Nobody Knows, his album Diamondsbacks Make Wonderful Pets and his latest release Next 1 on Areal in 2018. Now releasing Apparently Innocent on PNN we face a 4-track EP beginning with "That's right, Pop", which revels us in Ko¨lscher Euphoria. "Beach Bag" a reminiscent of Matt Karmil's sound cosmos - stumbling charmingly to endlessness (in the digital version even a little further). While the third track 'She Hums" brings us a Myr. classic for the dancefloor and finally "One - Eyed Reilly" revitalizing the shuffle and leading Myr. to new glamour. We proudly present Apparently Innocent!

6 track LP pressed on 12" black vinyl with black centre label, black disco insert, black laminated sleeve with barcode detail.

* London based label SM-LL presents its second main label 12" LP release, Zimní Král, from Italian artist Andrea Taeggi.

* Andrea Taeggi works in Berlin as a composer, live performer and electronic music producer. Besides his solo practice
— on his own name or under the moniker Gondwana, he is co-leading long-standing electroacoustic project Lumisokea. His music has been released on vinyl and dubplate on labels Opal Tapes, Type, and Präsens Editionen.

* The music on this record was made using a vast array of rare analog machines Taeggi had the chance to work on at the Willem-Twee synthesis studio in Holland (built with the iconic Studio di Fonologia RAI as a blueprint). Most of the percussive sounds come from an Analog Computer, which has been rarely used only as a music instrument (its main purpose was flight simulation). In fact, during the Cold War times it was also used as a measurement tool by civil engineers and even by the army. At present, no one has ever officially released music recorded at the Willem-Twee synthesis studio.

*The music on this record further explores cyclical, minimal and hypnotic concoctions - a particular investigation focused on unusual rhythms that Taeggi had already started on his well-received 'Mama Matrix Most Mysterious', released on Type in 2015. Think walls of sub frequencies, snappy rollercoasters of the mind, labyrinths in hyperspace & snakes eating their own tails.

* BIG, BAD AND HEAVY! Two of Pinch's biggest dance floor bangers, remixed by one of UK dubstep's hardest hitters, Kromestar. Guaranteed rewinds.

* 'The Boxer' first appeared on Tectonic back in 2010, fusing grime and dubstep with tribal drums and tearing squarewave bass. Kromestar stays true to the original but switches his stance to swing hard with a left hook, Southpaw style. After a moody build up, the intro breaks away into a brief moment of calm, before bass comes out fighting, throwing knock out punches hard and fast. Tried and tested dancefloor damage of the highest order.

* Flip then for an equally dangerous remix of Pinch's Deep Medi release 'Swish', from back in 2011. Simple, effective and deadly, Kromestar gives this classic an update, setting it up for another few years of wheel-ups!

* DJ Support from: Kahn & Neek, Mala, RSD, Joker & many more.

In search of the sublime, contemporary electronic musician Steve Hauschildt has designed grids and panoramas of sound across multiple releases through the rise and dissolution of his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music. Consistent with his solo work is Hauschildt's ability to coil his craft in precise, varied, and distinctly physical forms. Gently spinning arpeggios converse with post-industrial decay. Sonic bers sway like pendulums from static melancholy to motorik bliss. Dissolvi, the artist's rst full-length with Ghostly International, engages sublimation from an ontological perspective: by dissociating the self. Hauschildt steps out from the singular path, for the rst time in a traditional studio, to compose and arrange contributions from friends. As a result, his most collaborative work to date extends a vast, vibrating framework in which to consider the state of being.

The album's title — a reference to cupio dissolvi, the Latin phrase meaning "I wish to be dissolved" — needn't be taken one-dimensionally or as purely solipsistic. It does, however, serve an apt reference. Physiological phenomena are of interest to Hauschildt. These back-of-mind ruminations nd their way out. Songs are cerebral in orientation, but beyond explanation, the music is truly visceral.

Involuntary eye movement inspires the serene, sanguine-nearing-suspicious "Saccade." Hauschildt feathers soft percussion beneath the echoed refrains of Los Angeles musician Julianna Barwick, together shaping a svelte suggestion of the anxieties brought about by modern-day surveillance; if everyone is being watched constantly, there is no individual, no self, only a broadly monitored and clumsily cataloged populous. The work of Chicago poet Carl Sandburg comes to mind: 'I am the people—the mob—the crowd—the mass.' The individual dissolves into the taxonomic crowd.

Minimalist techno impulses provide a stylistic through-line for Dissolvi. Understated synth phrases and drum grooves take hold in selective moments, like synchronistic structures onto which nebulous mists, like the rapturous voice of Gabrielle Herbst aka GABI on "Syncope," cling to and cloud, producing a dazzling rift in consciousness. The 7-minute centerpiece "Alienself" reiterates this creative logic, burbling like an amorphous body of water on a low-gravity planet, on the verge of dissolving, but never fully dematerializing.

The album was constructed in Chicago (where Hauschildt now resides) and partially in New York. "Much of it was recorded in a windowless studio which removed elemental or seasonal references to time in the music," says Hauschildt. "The focus this time was on mixing the album and incorporating a broader set of instrumentation. I describe my compositional approach as being quasi-generative." Embracing new methods and philosophical curiosities, and in turn, expanding the range of his repertoire, Hauschildt proposes a fascinating and profoundly rich experience in listening, being, and deliquescing.

Already played by:
Craig Richards
Seth Troxler
RPR - Soundsystem

Mennie and Julien Sandre team up under their Jarau alias for an impressive EP on One Records. Dubnova features two originals that span hypnotic synths, warm, sonic basslines and intricate spacey layers. For the remix, musical craftsmen DeWalta and Voigtmann join forces for the first time since their monumental Ground Effect EP on Jan Kruger's Hello Repeat in 2014. Here they showcase the more techno side to their production skills.

Friends and colleagues, Mennie and Julien, began the Jarau project in 2017 to experiment and push creative boundaries. 2018 saw the release of their Interstellar EP on respected vinyl imprint Pleasure Zone, which will be followed by this heavy-weight offering on One Records. Tenax resident Mennie was named by DJ Mag as one of the most prominent emerging Italian producers. Born in France and now based in Italy, Julien runs the acclaimed Blind Box vinyl only label, which he started in 2015.

Meander boss DeWalta a.k.a David Koch is one of the most admired artists in the industry, not only a talent behind the decks he delivers a remarkable live set and has released a wealth of music on key underground labels. Claus Voigtmann was originally born in Germany but bases himself in London, where he co-founded the underground and conceptual party, Toi.Toi.Musik. This year sees the release of his eagerly anticipated album and a focus on his Subsequent imprint, also playing regularly alongside Adam Shelton and Subb-an for their One Records showcases.

Seilscheibenpfeiler 003 comes from Canadian native Graham Douglas via his moniker Nautiluss. Having released several EPs on Turbo and Hemlock, he's now bringing his bass influenced sound from Toronto to Berlin.
In Liquid Sky and Reak, Nautiluss puts his skillful use of percussive elements into action, completed by playful synth lines and thus creating heavy bass vibes which won't let you keep your feet still. However, there's no such thing as a comfort-zone for him! Inky, surely the hidden gem on this EP, shows a different side of his production skills: Starting like a 4/4 warehouse banger, it gets a full on twist a` la Nautiluss. An energetic ending to his first release on Seilscheibenpfeiler...

On The Latest Release From Make Mistakes, Roy England And Friends Take Us On A Ride Into The Beautiful, Soulful Depths. From Uplifting Love Jams, To The Chunkiest House Funk, As Always, The Gang Has You Covered.
Roy England's Original Mix Soars Through The Night Skies. Pitter-patters, Emotive Pads, And A Driving Groove Bring Us The Softer Side Of Our Little Boogie Baron. Perfect For The Euphoric Abandon Of A Sweat Soaked Dance Floor.

Alexi Delano, A Man Who Needs No Introduction, Kicks Things Up A Notch, Taking The Original And Giving It A Restructured, Pumping Groove. A Dubby Line Runs Through, With Echoing Pads, A Pulsing Bass, And Fluttering Keys And Synths. A Beautiful Dance Floor Meditation, With Plenty Of Junk In The Trunk.

Fredy Grogan Takes A Hard Left, And Steps Confidently Into A Psychedelic, Tribal Funk. Teasing New Vibes Out Of The Original Material, Grogan Transforms Beauty In Rhythm Into A Classic House Groove, Before Settling Us In To A Hypnotic Groove.

Make Mistakes Keeps On Keepin' On. That's All We Know. the Tears Of The World Are A Constant Quantity. For Each One Who Begins To Weep Somewhere Else Another Stops. The Same Is True Of The Laugh. Let Us Not Then Speak Ill Of Our Generation, It Is Not Any Unhappier Than Its Predecessors.

Samuel Beckett, Waiting For Godot

Mirror Box is the solo analog synth project of Dallas musician Sean Kirkpatrick. With an extensive resume that includes keyboard duties for Kill Rock Stars' 00s noise rock band The Paper Chase as well as his concurrent projects, dark post-punk-synth-rockers Nervous Curtains and darkwave duo Little Beards, Mirror Box is Kirkpatrick's first foray into the purely electronic realm. Blending together elements of Giallo moodiness, dub texture, techno propulsion, a passing nod to your favorite wave music, and a flare for the kosmiche, Mirror Box' debut release, Minimal Compliance EP, is a tour de force of the veteran musician's exploration of a wide range of influences and experience.

Released by Dallas-based Gavin Guthrie (TX Connect)'s TRU (Texas Recordings Underground), the 5-track EP kicks off with the immediately-gripping title track. A huge mid-tempo 808 beat drives the menacing Moog bass while cosmic synths explore the skies over gritty, urban terrain. 'The Body,' grounded by its stuttering and singular bass line, is an expansive reworking of a track from Little Beards' debut album which features Nan Kirkpatrick on the release's only vocal appearance. Side A closes with 'Destabilized Agent,' a retro-futurist dream that effortlessly voyages from Sagan's Cosmos to a melodic minimal wave refrain.

While the first side's lush synthesizers and sophisticated syncopation are somewhat of a departure for TRU, a label that has so far defined itself by bringing the electronic sounds of Texas' underground warehouse scene to dance floors across the sea, the flip side of the record is where the four hits the floor. 'Grifter React' opens with a hard kick and electro zaps, letting the rhythm take the lead until a distorted bass finally enters to provide the hook. Minimal Compliance EP finale, 'Critical Blitz,' weaves together all of Mirror Box' finer elements into a concise mission statement. Pulsing, hypnotic mono-synth, vintage mellotrons, classic hats and claps, sweeping production (courtesy of Alex Bhore at Dallas' Elmwood studios) and sparse synth melodies converge in dark analog pleasure that will guide you along like on a cool air-conditioned drive through a devilishly hot Texas night.:

Mindshift Records Is Proud To Present Trouble12, "homan Square", By Area Featuring Remix Appearances By Murdoc And Drmlgcc, Culminating In A Stellar Release Pressed On Limited-edition Vinyl, Out Of Continued Respect For The Vinyl Medium.

The Release Begins With "dark Days", A Strong Cut With Deep Kicks, Hard Claps, And Solid
Basslines All Combined To Create A Euphoric Experience For Both Listeners And Dancers.

Up Next, A Remix Of "alta" By Murdoc Brings Us To The Next Level With Pulsating Bass, Haunting Vocals And Crafty Syth-work, Sure To Please Closing Out The A-side Very Nicely.

Opening The B-side, We Have Drmlgcc's Remix Of "dark Days", A Bass-heavy Rendition Of The Original, Featuring Unique Synth Pads, Great Percussion, And Rhythmic Pauses Throughout The Progression Of The Track.

Concluding The Release Is The Original Mix Of "alta", A Unique Composition
Returning Us Full-circle And Closing Out The Ep "homan Square".

Crazy 12 Track Library Music Style Album On This Ace Italian Label. All Based Around Bumping Live Rhythms Triggering An Obscure Japanese Drum Synth Module..recorded In 2017.
.
It Was November 2017 When I Received A Call From An Old Friend, "hi Fabrizio, I Found A Rare Japanese Drum Machine, You Should Come And See It Before I Put This On Ebay." I Went To Check It Out And Immediately Realized It Had More Potential Than Just Drum Sounds Generation, It Was Able To Produce Quirky And Creepy Sounds If Triggered By Any Sound Source. So I Bought It And Brought In The Studio, Where Me And Alex Were Laying Down New Beats And Ideas. It Took Just Three Days Of Jams To Get The Skeleton Of This Record Done: I Programmed The Module To Receive Alex's Drum Hits And The Device Started Creating Synth Lines, Almost As It Was Speaking Its Own Language.i've Found A Soul In This Machine, And I Wanted To Bring It To Life In These Tracks, A Mix Of Arranged Compositions And Improvised Jams. No Root Keys, No Grids, No Clicks, Everything Came Out In An Instinctive And Natural Way

As Far As We Know It's The First Time This Synthesizer/drum Machine Is Been Used In This "improper" And New Way.

Fans of Electro's big hitter DJs such as Helena Hauff, Dave Clarke, UMEK, Maceo Plex, and UMWELT won't have escaped the sonic assaults of Dutch artist RXmode and his fellow Transhumanism collective members; w1b0, Slaves of Sinus, TFHats.

RXmode's last EP 'Cerberus' was very much the EP he'd been building up to since his debut on Bass Agenda Recordings back in 2015; dark, sinister, heavy, and distinctive.

One of the tracks from that EP, 'Degraded', gets the remix treatment from the other Transhumanism members on this, the third vinyl release the collective have put out.

The original track kicks things off in style before the three very individual remixes take things to new territories. TFHats takes the track, remoulds it and adds his own lyrics and vocals to great effect. W1b0 brings what will certainly be looked back on as one of the heaviest tracks of 2018; his 'Violation in G Minor' mix is a brutal sonic assault with a bassline that will surely wake the dead. Last and by no means least Slaves of Sinus brings an abstract acid tinged version; laced with his own brand of sinister vibes and darkness.

The Godfather of Montreal Disco, Robert Ouimet, put his magic touch on three tracks for Basic Fingers

The tune 'Strength' was written for my partner Bozanne Evans. This EP is dedicated to her.

Side note: The tracks 'I' and 'Strength' were originally going to be released as UNITY006 on the label 'Unity Through Sound' before they folded after their fifth release.

I didn't want the release to go to waste so decided to put them out on my label taking advantage of the 12' format by including a personal favorite of mine 'Life' and Ill_Ks monstrous remix of 'I'.

This is my most personal release to date and I hope you enjoy it.

Chad Dubz

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

It has been exactly ten years since Finders Keepers Records rst liberated Luboš Fišer's immaculate soundtrack music for Valerie And Her Week Of Wonders (Valerie A Týden Divu) from the vaults of the Barrandov Studio in Prague. As the inaugural release of an ongoing discography of previously unreleased scores from the hugely creative 'Film Miracle' that occurred during and after the Czech New Wave (CNW), this score will always retain a special place in the heart of the label as well as our listeners who consistently request an updated repress of this signi cant vinyl milestone. Having grown in status from an obscure and misunderstood socialist-era art house oddity, via the hands of risqué foreign uff merchants, to nally nd its rightful audience as a bona de surrealist cinematic masterpiece of world class standards, this 1970 lm adaptation of Vítezslav Nezval's 1935 avant-garde novella (a lm that literally cross-pollinated Max Ernst's A Week Of Kindness and Lewis Carols Alice In Wonderland) has garnered widespread critical acclaim. Inspiring ongoing generations of visual artists, musicians, writers and lmmakers - all of whom regard this truly individualistic and inimitable surrealist lm poem to be an indelible in uence - Valerie continues to impregnate their daily artistic referential fabric.

Patterns Of Consciousness is the powerful second full length from analog synth composer Caterina Barbieri. Highly recommended to fans of Alessandro Cortini and Eleh, Barbieri can be seen/heard/felt live at major electronic music events across Europe and beyond.Gorgeous high resolution analog textures and algorithmic melodies unfold under Barbieri's careful control, exploring the basic nature of sound and consciousness. These pieces are minimal in arrangement but maximal in presence asserting Barbieri as a unique voice in contemporary electronic music composition."Patterns Of Consciousness finds Caterina Barbieri at her best, elegantly moving between melodically pleasant yet twisted sequences and comforting, reassuring sonic spaces. Every piece, while given a singular identity, is part of the bigger picture: a work of art that will push you, pull you, and then eventually leave you with your back against the wall once you get to the last track. " Alessandro Cortini (Nine Inch Nails)"A pattern creates a certain state of consciousness. Once it is created, the pattern stands as an object exactly like the sound waves which generate it. We are at the same time inside and outside of the object. While being it, we observe it. Over time we become familiar with the inner structure of the pattern. We decode its gravitational centres, where our psychomotor attentionis attracted, where everything seems to be drawn. When a change in the pattern occurs it causes a perturbation of the previously established field of forces. This causes consciousness to fracture, potentially unfolding layers of perceptions we weren't aware of or simply suggesting that we access only a fraction of our psychic potential.The layered nature of consciousness and the relativity of perception are some of the biggest secrets we can experience through sound." Caterina Barbieri

- Direct from Spain and totally lost in time the orchestra Enterprise was a great blend of the ''Disco Orchestral'' and ''Space Disco'' styles.
- Amazing project, wisely conducted by Josep Llobell Oliver, a Spanish keyboard player, composer, engineer and producer.
- Enterprise was the perfect soundtrack to your space trip, that dancing hidden treasure you always wanted to discover.
- Remastered reissue includes pictures and linernotes by Dr. Vinilo (Madmua Records).
#funk #soul #spacedisco #cosmicdisco #josepllobell #oliversplanet #spanishgrooves
In 1975 he was commissioned by the label's artistic director to produce a studio album with a hefty budget. It was his first company and he named it after the intergalactic ship Enterprise. He assigned the bands logo (inspired by the musical group Chicago) to a friend-musician and selected the tracks: Barry White, Chick Corea, the everlasting Beatles, sonidos calientes and other well-known hits, all played by Llobell along with the labels other musicians, all on payroll thanks to Belter. Javier Cubedo, Enrique Tudela, Gabriel Martinez, Kitflus, Ricard Roda, etc. all gave their best on a magnificent first album that would be followed by 3 more, one per year, all including original compositions by the group along with international hits that are currently part of our countries wonderful music library, even though they still haven't received all the recognition they deserve, Garcia Segura, Santisteban, Calderón, Pepe Nieto, José Solà, Manolo Gas, Adolfo Waitzman and Algueró, Ramón Farrán, Miguel Ramos, Albert Peter, Jaume Cristau, Josep Llobell and many others, published albums in the 70's.
Josep has been inexhaustible, for many years he has influenced the career of soloists and bands, modernizing their sound, Manolo Escobar, Peret, Junco, arrangements and productions for Marfil, Bachelli, Ana Reverte, even great artists from 'La Movida' and rock music like Burning or El Último de la Fila.

Next up on Dusky's renowned 17 Steps label is the return of long term pal Kiwi. Having supported the lads on 9 of the 17 Steps tour dates and having also provided the 15th release in the label catalogue - the fellow Londoner now readies his 'Oooh' EP which comes backed up with a remix from Feel My Bicep affiliate Hammer.

Kiwi's sound is one defined by positive, kinetic feeling - joining the dots between Detroit Techno, Soul and Balearic. With previous releases on Futureboogie, Life and Death and Moscoman's lauded Disco Halal imprint, he's garnered several accolades including reaching number #85 in Mixmag's Top 100 tunes of 2017 and sitting at #1 in the genre chart for a total of 9 weeks with his 'Orca' EP back in 2016.

Now - continuing on his ascent, Kiwi lays out a pair of rapturous, gooey House jams that lands right on time for the festival season. On 'Oooh' - Vocal lines swirl over a largely beatless backing track. A rich, balmy feeling unfolds behind synth chimes and layered delays which work together to form an irresistible summer DJ tool. 'Andromeda' then follows up and blends 80's soundtrack-tinged stabs with crispy drums and thick sub bass before being accompanied by a pulsating synth line that carries the track to a delectable crescendo. Hammer then closes things up with a somewhat hallucinogenic take on 'Oooh' with LFOs, analogue sweeps and blobs of acid bleeding together to cap off an altogether warm and woozy trip.

As with the previous two releases on the label, 'Rellik' was recorded live and on the first take using a selection of analog synths, drum machines and sequencers, particularly the warm and dynamic sound of the E-Mu SP 1200 as the lead.
'The 'Rellik' project is a mashup between Rock and Hip Hop elements using SP1200 classic drum kits, filtered and distorted synths. We call this Krauttech' - MASK Intense sirens set the tone of the A1 before introducing a thumping sub and delayed snares, making way for harsh bass and dark effects in the A2 to generate an ominous atmosphere. On the flip, the B1 brings crunchy, modulated synths alongside an intense and thunderous kick whilst the B2 delivers a thick, pulsating low-end with an assortment of metallic and heavy drones that round off this cryptic
package.

Detroit label My Baby focusses on letting underground local talent shine, and that is the case with the second EP, a various artists affair featuring label boss Mister Joshooa, plus Remote Viewing Party and Tammy Pickle with a remix from My Baby.
The acts featured on this release are all residents of the famous TV Lounge/TV Bar venue in Detroit. The 12" includes Eddie C along with My Baby boss and TV Bar booker Mister Joshooa-who work together here as Tammy Pickle-plus Rickers, who is one half of ATAXIA, and How to Kill Detroit co-founders Remote Viewing Party, while Rickers and Joshooa also link as My Baby to remix one of the tracks.
First up are Remote Viewing Party with the superb '410'. It's five bumping minutes of silvery tech with whirring machines and gurgling synths all weaving around well programmed and punchy drums. Sure to infect real energy and freakiness into any club set.
Mister Joshooa makes his first appearance with the alluring 'Alright Fine', a slow and absorbing track of gloopy bass, percolating drums and unsettling vocals. Subtle acid lines and prickly hi hats all make this one really jump out of the speakers.
Next up, Mister Joshooa links with Rickers for a standout remix of '410' that is even more physical and driving. The metallic groove is run through with alien sounds, shooting synths and ghoulish voices that are filled with paranoia and will make a great atmosphere in the club.
Joshooa and downtempo disco don Eddie C then collaborate as Tammy Pickle for 'Indifference,' which is a perfectly slow and sensuous number with elastic synths and bass. Crisp hits drive it along and encourage you to sink deep into the groove.
This record is jam packed with talent and original ideas, and one that marks out this label as one to watch.

ALEX is a dark, haunting and brooding synthwave record that sets the night on fire, taking you from darkness all the way to the shining lights of Broadway. With hints of cyberpunk, outrun and other 80's inspired retrowave influences, ALEX has developed a true signature sound that is funky, groovy and totally rocking. X takes you on a futuristic, electronic music trip that's filled with nostalgia and suspense. Artist bio: In the last few years, Ireland's Bart Graft has been releasing healthy amount of great music. His signature sound of pastel coloured and retro inspired synth music is stellar synthwave from the top of the shelve. Along with bigger names in the genre such as Mitch Murder, Waveshaper, The Midnight, and others, he truly is holding up the genre's current producer flame high. Inspired by the works of Talking Heads, Laurie Anderson, Talk Talk, Brian Eno, Pink Floyd, Tear For Fears, The Ward Brothers, Peter Gabriel, Frank Zappa, INXS, and many more... Nostalgic synth stabs accompanied by pulsating guitar licks, energetic drums roll around yet a bunch of track are plain chill. This album is a trip to the rooftops of 80s and 90s culture. From the fast-paced rock track, to ambient vaporwave, the balance is just right as 'Modern Life' cements Bart Graft as a force to be reckoned with.

LPost-Heretic Dracula X Chronicles is Nicola Kazimir's debut album. It features 30min full of diverse, rough, evil, melancholic electronic music compositions either partly sampled out of important melodies in his life or fully produced by him. Post-Heretic Dracula X Chronicles LP draws from contemporary and past cultural references evolving around institutional-critique, occultism and dividualism and manifests those via metatags or sonic compositions.

Nicola Kazimir is a part of the collective Les Points based in Zürich, Switzerland.
His art/music draws from 90's rave utopias, decentralized & dividual thought, institutional-critique, occultism, progressive & accessible frameworks as showcased at their offspace Mikro -
a physical room which has no doors and opening times during exhibitions and raves - making an institution available to all social layers.
His recordlabels "Les Points" and the newly founded "Gentrified Underground" appropriate those ideas and transfer them to the distribution channels of electronic music.
Nicola refuses genre-stigmas and explores a vast number of genres in his dj-sets and productions - his newest LP "Post-Heretic Dracula X Chronicles" being an example of that diversity.

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.'

Shortly before the turn of the year 2017/18, my friend Jan Müller wrote me an e-mail: »Dear Martin, I'll send you the new album of my band ›Dirty Dishes‹ now. The album is titled ›Kabinett Von Papen‹. It is a concept album, which has the third-last government cabinet of the Weimar Republic as a subject. So, please tell me how you see it - whatever your verdict, I'll use it as an incentive to put my mind and body in the service of global pop culture even more so in the future«.

Dirty Dishes is founded in 2005 by Jan »Rasmus Engler« Müller (Tocotronic) and Rasmus »Jan Müller« Engler (MHerrenmagazin, Little Whirls, Ludger) when the two are bored during recording sessions for the second album of their group Das Bierbeben. Immediately, they write two pieces of music (»Bon Giorno«, which has alcohol and drug abuse as a subject, as well as »Drink a Coke«, a Brigitte-Mira-dedicated anthem for the caffeine-containing soft drink), which are released in the same year as a single under the title »Hurra...! Endlich Ferien!« on the label K.i.N.d.V. Two years later, the duo releases their debut album »Tea Is Not Our Cup of Coffee«. Here one can hear the first experimental and more conceptual works such as »Dirty Dishes as Goofy as Asterix«. The following albums (»Mit uns nicht!«, 2009, and »Von der raffinierten Kunst, jemanden in einen Tümpel zu stoßen«, 2013) juxtapose song and experiment. The first pure concept album, including now-permanent members ALEXANDER (Schrottgrenze, Station 17), Guido vom Flockenberg (Back On The Road), Isabella Stellmann (pedagogue) and Zopfus (ByteFM), is »Der Egel vom Tegel - Die kleine Rock-Operette der Dirty Dishes« (2010), followed by »Round about Ignaz Kiechle«(2013). The latter brings together songs that deal with significant events in the life of former Agriculture Minister Kiechle and were recorded freely improvised in just one recording session.

On the now-available »Kabinett Von Papen«, composed in monastic retreat, each piece is named after a minister from Papen's presidential cabinet (1.6.1932-3.12.1932) and represents them tonally and/or lyrically succinct.

Planet Mu Are Very Happy To Be Releasing 'vicious Circles', The Debut Ep By Sinjin Hawke And Zora Jones, Who Aside From Producing Music Also Run The Audio-visual Production Unit 'fractal Fantasy'. Zora Released Several Collaborations On Last Year's 'visceral Minds 2' Including 'dark Matter' With Planet Mu's Jlin, While Sinjin Has Collaborated With Dj Rashad, Just Blaze And Mikeq, And Also Produced Music For Monoliths Like Kanye West And Frank Ocean. Remarkably, Given The Breadth Of Their Work, 'vicious Circles' Is Their First Collaborative Ep, And The First Time Either Have Released A Vinyl Record Too. The Ep Is A Great Showcase For The Duo's Emotional, Maximalist Chimeras Of Abstract Pounding Beats. From The Punchy, Circular, Grandiose Build-ups Of Opener 'vicious Circles', To The Unyielding Melancholy Of 'god' With Its Sinister Bulgarian Choir Sample Against A Peak Timbaland-era Rhythm, The Record's Potent Synths And Manipulated Vocals Are Both Simultaneously Fierce And Friendly. 'source Of Conflict' Is A Poised Dance Between Pulsing Ambient Textures And Drilling Beats, While 'lurk 101' Pits A Volley Of Abstracted Juke Toms Up Against A Hammering Drumline. 'babyboysosa' Feels Like Drum-less Drill, Manipulating Vocals Into Strange Alien Shapes Over A Bassline Before Spiraling Toms And Hi-hats Start To Form A Forceful March. The Ep Concludes On The Love Anthem 'and You Were One' With A Chipmunked Vocal Running Through Its Wonky Chorus Of Bent Notes And Chords.

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.

Lucrecia Dalt's Anticlines is a volume of bodily and geological substrates within poetic theory and sound. It is a place where skins and minerals dissolve and commingle, where gaseous subterranean leaks inflate lungs, where brain cavities echo interplanetary waves bent from passing through atmospheres.

A former geotechnical engineer from Colombia currently residing in Berlin, Dalt's concern with boundaries and edges shape the lyrics and music of Anticlines, her sixth album. Paying careful attention to pace, breath, and texture, Dalt microtonally shifts the distance between speech and song while using traditional South American rhythms to support her contemporary electronic composition.

Lucrecia arrived at the atmosphere of Anticlines after several months of studying and creating new patches for the Clavia Nord Modular, forming a rhythmic feedback flow with it, a Moogerfooger MuRF, and her voice. The overall effect of cavernous space backdroping Dalt's intimate vocal phrasing rewards contemplation, supported in the physical formats of Anticlines by a lyric booklet documenting Lucrecia's collaboration with Australian artist Henry Andersen.

The album opens with Edge,' bordering on a pathological circlusion of self upon other. The lyrics depart from the Colombian myth of El Boraro, an Amazonian monster who turns its victims insides to pulp before sucking them dry and inflating their bodies like balloons to lifelessly float away. Tar' ponders human dependence on earth at the boundary of the heliopause, where to inhale might be like breathing tar. Dalt's distant and obscured vocals end with, we touched only as atmospheres touch.'

The sonic rise and fall of Analogue Mountains' is inspired by martian traces found in Antarctica embedded by meteorite ALH84001, suggesting that we might well be living in mountains transferred from Mars.' The steadily winding music on Concentric Nothings' descends with the lyrical exercise of dissolution let my touch be indistinct and instinctive.'

Interspersed with the lyrical pieces of Anticlines are instrumental interstitials that demonstrate preceding concepts — as if to say, this is what antiforms sound like, and this is what the universe's indifference sounds like.' Dalt's ongoing experiments with visual artist Regina de Miguel support these ideas, their practice allowing the objects of their attention to slip in and out of being.

Mystic of matter, Lucrecia Dalt has previously performed and worked with Julia Holter and Gudrun Gut, her slippery spoken word and performative nature recalling the work of Laurie Anderson, Robert Ashley, Asmus Tietchens, or Lena Platonos. While touching stones, The Thing by Dylan Trigg, Cascade Experiment by Alice Fulton, and Wretched of the Screen by Hito Steyerl are but a few formative scripts that support Dalt's exploration of the betwixt and between.

In preparing a live set for Anticlines, Dalt plans to stage an uninterrupted configuration, like a kind of alienated lecture, aiming for gestures that create tensions with non-existent objects.' Dalt intends to provide meaning and a place for the listener to meditate or relate to the concerns and ideas' she presents.

- Lucrecia Dalt is a Colombian recording artist, songwriter, and producer.
- After studying civil engineering in Colombia, Dalt worked at a geo-technical company for two years and has since lived in Barcelona and Berlin, where she currently resides.
- She has released five solo albums and has collaborated with musicians Julia Holter, Laurel Halo and Rashad Becker, to name a few.
- Dalt has composed for sound design installations and performance pieces for institutions such as the Santa Monica Art Centre, Reina Sofia Museum and the Maisterravalbuena gallery of Madrid, in collaboration with visual artist Regina de Miguel.
- Anticlines is Dalt's sixth solo record, and her first on RVNG Intl., following the release of 2015's Ou.
- Anticlines explores the boundaries and limitations of human consciousness. The album's poetic lyrics were written collaboratively between Dalt and Henry Andersen during a weekend in Brussels, Belgium.

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.

1954 is the fifth vinyl release on the Modern Cathedrals label by recent Detroit export Altstadt Echo. Staying true to the themes of the the 'year series' that began with the 1913 EP and was followed by the 1905 EP, the artist continues to explore somber, broken beat techno with an eroded, highly-textured percussive focus.

In the previous two EPs from this series, Altstadt Echo was joined by Varg, Abdulla Rashim, Stave, and Evigt Morker on remix duty. For the 1954 EP, he's commissioned UK artist Szare, who delivers a highly danceable revision that combines the ghostly vocals of the original with highly frenetic percussive injections.

The artwork of the EP is aligned with the label's greyscale documentation of Detroit, this time featuring the stunning architecture of the New Center district of the city. The photos were taken by the artist prior to his move to Berlin in Fall 2017.

Miami legendary producer Willie Clarke sat on this glorious Kat Roberts solo version of 'Stand Up For What You Want' since 1984 and we're happy to have worked with Willie to release these versions on vinyl for the first time. The 12" version with Les Brown was originally released in 1984 and is highly respected by collectors across the globe. The general feeling was that the song would have been better received with Kat pushing her vocals to the front and thankfully Willie had recorded two different takes of the song at the time when he recorded it originally. The song itself brings a positive message and provides Kat with a great platform to show off her warming vocals.

After a triplet of solo 12"s, all courtesy of label main man Rupert Marnie, Hamburg-based imprint The Press Group are set to break 2018 in with the multi-flavoured TPG004 - a versatile debut VA that offers a fine close up on the label's whole cast of operating forces with some choice contributions from TPG's core tetrad including Youthman(29), Ten Letu, DJ Dodo and Marnie himself. Mind your backs!

Shape-shifting yet coherent as a whole, this collective effort puts together a swinging confluence of sounds and aesthetics - clearly aimed at the dancefloor but equally poised for laid-back chill sessions. First release on the label to reunite the entire crew, TPG004 mashes up a wide-spanning array of grooves and tempi in exploded view, giving full vent to each artist's idiosyncratic universe whilst establishing a hyper-modern sound ID, both infectiously funky and undeniably potent.

Casting its net far and wide: from the pared-down astronautical breakbeat of Youthman's 'Aemilia' to DJ Dodo's breezy jacking jazz-footwork hybrid 'The Machine' via Rupert Marnie's lithe ganjah-smelling shuffler 'Health' and Ten Letu's muscle-flexing acid roller 'Ah, You Shot Me!', it's a feast of feelgood beats that you're invited to, neatly connecting the dots between the guys' shared love for video game soundtracks, liquid dubstep, heavy jungle breaks, minimal house and further daydreaming, hazy harmonics to drape yourself into.

This is Uenay's debut release.
4 boomy, pure & direct Techno bangers.
4 driving, effective, boomy Techno stompers.
A massive 4 track debut EP.

Dixon gave his personal touch to LCD Soundsystem's 'I Used To' on the A side. B side features a previously digital only version of 'Pulse'.

Tucky Buzzard
The Complete Tucky Buzzard 5 Lp Slipcase Box Set
- Having Come To The End Of The Psychedelic Path, The End Decided On A Change Of Musical Direction And A Change Of Name,
Arising From The Ashes As Tucky Buzzard In 1970 And Retaining The Line-up Of Guitarist Terry Taylor, Organist Nicky Graham,
Drummer Paul Francis, Bassist Dave Brown, And Vocalist Jimmy Henderson.
- The First Album, Recorded With Madrid Philharmonic Orchestra Directed By Waldo De Los Rios, Contained Some Last Vestiges
Of The Band's Previous Existence. But The Second Album, Produced By Old Associate Bill Wyman With Glyn Johns At Olympic
Studios Set Out The Band's Template Of Bluesy Rock, A Leading Genre At The Dawn Of The 70s. Mick Taylor Makes A Guest
Appearance.
- For The Fourth And Fifth Albums, The Band Was Signed To Deep Purple's Own Purple Records. Bill Wyman Continued In The
Producer's Chair, But The Departing Nicky Graham Was Replaced With A Second Guitarist.
- Strictly Limited To 750 Copies, And Housed In A Numbered Rigid Slipcase Featuring Photos From The Collection Of Terry Taylor
(bill Wyman's Right Hand Man In The Rhythm Kings For The Last 25+ Years), All The Original Sleeves (including Two Gatefolds)
Are Faithfully Reproduced. The Inner Sleeves Feature Extensive Annotation By Alan Robinson Based On Interviews With The Band.

On her Unterton debut, Their Specters, Borusiade offers four different takes on atmospheric, industrial electronics and chopped rhythms, composed around the themes of ecological and human self-destruction. 2018 has already been an active year for the Romanian-born, Berlin-based electronic musician, who released her debut LP A Body on Co´meme in March and has since toured her live set throughout Europe. Known for a hybrid sound between noisy electronics, techno, post-punk, and dark disco, she has also released EPs and 12's on labels such as Minimal Wave sublabel Cititrax and Jennifer Cardini's Correspondant. EP opener 'Forewarned Is Forearmed' sets the tone as a massive drum march, stomping forward between rolling snares, clanging metal percussion and guttural drones, while evolution-themed 'Common Ancestor' is a tribal head-nodder, with booming sustained kicks offset by overdriven snare brushes and fluttering synths. New forms from a primordial sonic pool. On 'Doublethink' wailing synths and stuttering rhythms vie for dominance in a storm of off-kilter techno, while the mammoth, slow melodic closer 'Atlas' moves to the pace of waves crashing and hypnotic, detuned, interwoven melodies. Big sounds for the end of days.

Mental Overdrive, Norwegian gran ol wizard of techno, owner of Love OD Communications starts of with 'Clocked', a colorful and moody track with a touch of grittyness. Thomas Urv, Ploink Label head and one of Norwegian techno's main protagonists, brings a signature raw high energy techno track '6.24 Con Dao'. Per Hammar, Swedish producer and DJ based in Berlin, the captain behind Dirty Hands and 10Years labels delivers a steady dubbed hypnotic house track 'Blank Space'. Thomas Skjaerstad from Trysil, Norwegian winner of Burn Residency 2017 finishes the EP with a punchy, dark spaced out techno track titled 'Space X (Sommeroya Edit)'.

At first, it's difficult to pinpoint exactly what makes Our Girl so special, or why the Brighton-formed, London-based trio's music stands out within a busy crowd of fellow guitar-wielding-types. But if an explanation didn't jump out when they first emerged with a debut EP of mighty fuzz-soaked songs in November 2016, it surfaces with 'Stranger Today', a debut album of personal, emotional juggernauts that could have only been made by these three people: Guitarist / vocalist Soph Nathan, bassist Josh Tyler and drummer Lauren Wilson.

Since forming in Nathan and Tyler's Brighton home four years ago - Wilson joining as a late recruit when she was wowed by a demo of their self-titled debut track, and 'Stranger Today''s opener - Our Girl's members have only had pockets of time to work together. A day booked in a local studio here, a soundcheck there, full-time jobs and other projects meant the three rarely had a concentrated, collective patch. This changed in September 2017, when they stayed in Eve Studios in Stockport for a week, recording with Bill Ryder-Jones. Their week in Stockport became a crucial catalyst for what would follow. Ryder-Jones is a guitar virtuoso himself ('He did stuff neither me or Soph had ever seen anyone do before,' Tyler remarks), and he became an unofficial fourth member of the group.

'Stranger Today' is a special debut for several reasons: First, because it's the sound of a band beginning to grasp their own value and place in the world. Secondly, because you can hear the trio's hunger to finally get in the same room and put to tape years' worth of scrapbooks, half-finished ideas, and a slowly-forming feel for how their first album would actually sound. 'What band isn't itching to make their debut But it's quite frightening, knowing you're about to do it,' Wilson remembers.

The real clincher, however, is Our Girl's dynamic, and how it plays out across 'Stranger Today'. Best friends in person, the trio share the same close kinship and chemistry on record. On one side is Nathan's visceral lyricism, which has a habit of detailing and chipping away at precise moments; the first heart-flutter of a new crush; the moment a long-term friendship begins to ebb away. Around her, Tyler and Wilson's rhythm section carefully mirrors each feeling Nathan conveys. When she sings pointedly about love ('I Really Like It'), she's backed by a major-key afterglow. When the subject turns on its head ('Josephine'), out steps a wall of taut, earth-shaking noise. They each 'serve the song,' in Wilson's words, moving in sync but with their own personal slant. Not least on the closer 'Boring', where all restraint is thrown aside and the trio let out one final, violent thrash. They inhabit a space bigger than the first loves, sleepless nights and growing pains that define this record.

Nathan remembers being in Brighton four years ago, shortly after Our Girl formed, and realising, 'I was finally in the band I wanted to be in.' Almost half a decade later, and this eureka moment is sewn up on 'Stranger Today'. It's the sound of three friends totally at ease in their own space, discontent with being anywhere else; a vibrant document of what it's like to be young, invigorated and amongst people who feel the same.

N8noface Was The Vocalist For Underground Synth-punk Legends Crimekillz. He Is The Younger Brother Of Tucson-bred Modern Boogie Rocket Man Zackey Force Funk, Both Now Residing In Long Beach, Ca.in 2017, Hit+run Released N8's Visceral Debut Album Stories Of Those, As Well As Demos And Demons Vol. 1, A Ten-track Collection Of Home Demos Recorded Between 2015-2016. On Dia De Los Muertos 2017, Noface Also Unleashed The First Single From His Forthcoming New Album True Story, The Haunting Double A-side Lathe Cut idgaf / Say Goodbye.'
True Story, The 14-track Lp Due This August, Reads Like A Collection Of Compelling Mini-narratives, Brief Yet Honest Tales Of Personal Struggles, Anti-establishment Rants, Dead End Loves, And Real-life Tragedies. N8's Minimal Wave Sound Is Not About Nostalgic Lo-fi Nor Home-recorder Formulas, But His Own Instinctive Style That Defies Categorization And Comparisons. The Result Is A Distinct Sound Of Rapid-fire Hardcore Punk Moshing With Awkward Pop Music. Standout Tracks On The Dense 18-minute Album Include not Like You', bad Day', men Who Dress Well' And glasgow Smile'.

It has been exactly ten years since Finders Keepers Records rst liberated Luboš Fišer's immaculate soundtrack music for Valerie And Her Week Of Wonders (Valerie A Týden Divu) from the vaults of the Barrandov Studio in Prague. As the inaugural release of an ongoing discography of previously unreleased scores from the hugely creative 'Film Miracle' that occurred during and after the Czech New Wave (CNW), this score will always retain a special place in the heart of the label as well as our listeners who consistently request an updated repress of this signi cant vinyl milestone. Having grown in status from an obscure and misunderstood socialist-era art house oddity, via the hands of risqué foreign uff merchants, to nally nd its rightful audience as a bona de surrealist cinematic masterpiece of world class standards, this 1970 lm adaptation of Vítezslav Nezval's 1935 avant-garde novella (a lm that literally cross-pollinated Max Ernst's A Week Of Kindness and Lewis Carols Alice In Wonderland) has garnered widespread critical acclaim. Inspiring ongoing generations of visual artists, musicians, writers and lmmakers - all of whom regard this truly individualistic and inimitable surrealist lm poem to be an indelible in uence - Valerie continues to impregnate their daily artistic referential fabric.

Rico Puestel is a phenomenon and currently one of the best artists around when it comes to solid, discerning techno. That's techno that takes no detours, doesn't hide behind vocal samples or need unnecessary, pseudo-intelligent tinkering to get the listeners' attention.

Puestel's two current Cocoon contributions "Equity" and "Immunised" are strongly reminiscent of "Caravel", which he also released on Cocoon Recordings almost exactly a year ago. The mini breaks and prolonged dramatic pauses are all pieces in the puzzle of Puestel's arrangement and together with the hypnotic beats and constantly radiating synths and effects, they make up his own interpretation of techno sound. It buzzes, it shines and with the right PA it's exactly the type of vibe that help us forget the daily grind of dance music madness! That ubiquitous "Let The Bass Kick" sample hasn't felt so at home for a long time!

The Song Says - Bruno Pronsato´s label restarts after 4 years of hiatus with a Vinyl Version of his seminal "Lovers Do"

It's been fours years since the original release of Lovers Do. For the first time now finally released on vinyl. In the meantime he's kept very busy--primarily with side projects. First there was Others, his experimental house outfit with Daze Maxim. Then came Public Lover, his duo with the French artist Ninca Leece that debuted last year on thesongsays (Bruno's label). He's continued to join forces with Sammy Dee as Half Hawaii, playing live shows around Europe and putting out tracks on Perlon and Diamonds & Pearls. As half of the duo Ndf, he coproduced Since We Last Met, a single that marked his debut on DFA and landed in Pitchfork's top tracks of the year. But while he was juggling all these different projects, one piece of music was slowly taking shape: his third and most immersive album, Lovers Do. Like much of Bruno's work to date, Lovers Do is experimental without being snobby--or to use his own term, accidentally avantgarde'-- but this one takes it further than the others. It has a looseness that's truly rare in techno, scrapping formulaic verses and breaks, it winds along like an abstract sketch, guided by intuition instead of logic. Some songs are fraught with nervous tension, others are soothing and rich with detail, from dappling rhodes to orchestral swells, jazzy drum fills and wet hand claps. Human voices swirl in and out of the mix, serving only to make things more surreal. Many of the tracks stretch well beyond ten minutes, one bows out after less than three. The album overall is delicate and subtle, but it also features Bruno's best club tune in years, the eerie and delirious Feel Right.' Brian Eno once described his own

Bergsonist is the moniker of Moroccon born and NYC based Selwa Abd. 'Solyaris' follows the self-released '' and a prolific slew of releases for labels such as Styles upon Styles, Borft, and Angoisse amongst others. For Selwa her uncompromising & otherworldly, hypno technoid creations aim to capture a given moment in time, contextualising her often direct, hugely affective, & unpolished approach to production.

Selwa describes 'Solyaris' as 'an ode to the present broken education system that allowed me to sustain my dreams in NewYork', explaining, 'As an immigrant from Morrocco, I felt always fearful of the future, pressured to succeed at school. The only way I was able to channel all that anxiety was through music'.

There's a undeniable physicality to Bergsonist's work, and the idea of expunging anxiousness into her music is felt from the oft as 'Solyaris' strides into vision with it's quickening roaring pulse and scrambled explorative electronic probes. This sense of anxiety eases as layers of rhythm build - heads begin to turn down and lush minimalist swathes eventually envelope bodies in calm unity, Anxiety diverted.

'Conflict in Yeman' opens with a gambit of off-kilter percussive experiments & electronics, conveying a sense of determined urgency. Things grow more & more intricate & immediate as we progress - layers of disruption weave around a reoccurring 140BPM shuffle, anchoring Selwa's constant explorative concrete diversions.

'Former Alien who has been naturalized by a U.S Citizen' brings things down a notch - skittering drums linger below a truly haunting whispered melody, occasionally broken down by collapsed rewinds and thunderously raw in the red beat grit - to dizzying effect. Whereas previously 'Solyaris' had taken its cues from Drexciyan Detroit Electro 'Former Alien...' stands closer to a Fantastic Damage era EL-P instrumental rather than anything aimed at the floor.

The EP rolls out with 'Fidel Gastro', a structured & focused piece of Machine Funk & end of days drop cues, conjuring an effective mix of both euphoria & imminent dread.

Bergsonist cuts a unique figure for electronic music in 2018 as someone explicitly exploring the relationship between head & body music. Although undeniably more than oft aimed at the dancefloor, Selwa's work also holds an equal respect and understanding of the head & heart. From her politically loaded Track titles, to her ideologically aligned guise of 'Bergsonist', to most significantly - her music's ability to elicit a spectrum of finely tuned emotional responses within the confines of each track

Echocord's Echo Echo sub-label continues with its third releases this August, courtesy of German producer and Credo founder Alex Bau with his 'Zenstory' EP. Germany's Alex Bau has been a prominent name on the underground DJ circuit on his home turf, and further afield, for three decaces as well as racking up an impressive back catalogue as a recording artists for labels like Cocoon, CLR, Sleaze and of course his very own Credo label which has been a platform predominantly for his own material whilst welcoming the likes of Kyle Geiger, Takkyu Ishino and Electric Rescue onto the imprint also. Here though we see Bau joining the roster of Echocord's fledgling sub-label Echo Echo with a new four-track EP and taking the lead on the package is 'Clouds' with pulsating low-end tones, hissing analogue noise and dusty drums samples all flowing in unison with ethereal chords and sweeping pads. 'Contour' follows, tipping the focus over to bubbling delayed stab hits, fluttering sub bass and evolving white noise bursts throughout. The 'Prelude' of 'Zenstory' opens the flip side and as the name would suggest it's a cinematic build up to the title-track featuring tension-building, expansive atmospherics ahead of the original mix which features a thumping muted kick, stuttering atmospheric echoes and spoken word vocal tucked into the depths of the record.

Fresh off the release of his 'Cosmo EP' earlier this year, longstanding label stalwart Fetisch reignites the fire with 'Singularity EP' - the second EP from the forthcoming Terranova album. A six-tracker featuring four original cuts plus a pair of remixes from Seattle's Pezzner and Istanbul's Rising Star Alican along with collaborations with Sifa (Congo) & Ivory (Milan). The outerspace'y stomp of Terranova's prime versions of 'Cosmochord' feat Flashmob and 'Cosmocode' feat Voltague, both lifted from his latest outing Cosmo EP, resonates deep into the grooves of the present platter, whilst the ethereally hypnotic vibe of 'Let It Fail' (feat. Sifa & Ivory), with its brittle percussions and slow-scudding pad tapestries, as well as the left-of-centre, hovering electro of 'Powergrid' draw in a further zero-G atmospheric vein and 'Sophia (Ode to a Robot)' are tailored for dawn-time party communion and intense stargazing momentums. All of these tracks are inspired by Fetisch's obsession with the current developments in creating artificial intelligence and robotic technology and his ambition to add androids to the impressive list of humanoid guests of the Terranova Soundsystem.

Already quite the jacking pumper, 'Cosmochord' gets a further menacing treat with Pezzner at the controls - ramming the doors of the club by means of loud kicks and lusty piano chords - each of them pounding with the impact of an apposite Glasgow kiss. Meanwhile Alican takes 'Cosmocode' further into Saturnian confines, densifying the minimal backbone of the track with an extended battery of arpeggios, bleeps and middle-eastern percussions thrown in for good measure. With the rolling techno shuffle of 'Escape Ism' and stuttering rhythmic engineering of 'Tempelhof' (the 'Terranova Maschinenraum' studio is located inside Berlins old airport). Fetisch loops the loop on a pulsating note, expanding the mind to horizons both poetic and physical - further establishing his unmatched sound signature.

One half of the KWC 92 (who has previously delivered two top notch lps for L.I.E.S.), Swedish producer Max Stenerudh aka Maxxx Bass steps forward with a 9 track solo effort titled "Gone Fishing". Right off the bat we hear Stenerudh immersing himself in a world of chilled out and narrative FM electronic explorations that call to mind places past. The untitled tracks leave it to the listerner to create a story on their own, as voice pads, hand drums and dare we say pan flutes push and pull their way through the album creating dreamlike textures and otherwordly escapes. Ideal music to fall into a late afternoon summer siesta to. LP comes come with full color 22cmx28cm color poster and download card

Originally released digitally on Luke Solomon & Derrick Carter's Classic Music Company last summer; Girls of the Internet's deep-house-dub-techno-afro ballad 'When U Go' is now being pressed up to vinyl on RAMP Recordings. Since it's release, 'When U Go' has been burning up some of the more discerning dancefloors worldwide, with club support from DJ's as diverse as Mark Farina, Stacey Pullen, Eli Escobar, Oliver $, François K, Soul Clap, Roger Sanchez, Carl Craig, Booker T, Serverino, Riva Star, Doc Martin, Karizma, Marco Carola, Tensnake & Mousse T. Peckham's finest pervayers of Deep House, Bradley Zero approved duo FYI Chris, turn in an exclusive dubby West Coast-vibed remix of the track available only on this vinyl.

The B side is a brand new track from Girls of the Internet - 'Running' featuring Nattlie Maddix, of the House Gospel Choir. Mixing live instruments with synths and drum machines, 'Running' is a soulful yet driving disco tinged deep house track. To finish off this massive package, Local Action's Finn delivers a genre-straddling remix of 'Running'.

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.

* Bristol dubstep mainstay Gemmy, a key figure in pioneering the city's electronic music identity alongside fellow 'purple trinity' producers Joker and Guido, is set to release his latest EP 'Unruly' on his World Of Wonders imprint.

* Since his acclaimed 2008 debut with 'Bk 2 The Future' on Peverelist's Punch Drunk imprint, Gemmy has released on respected labels including Pinch's Tectonic, Mike Paradinas's Planet Mu, Soul Jazz and Earwax before forming his own imprint in 2011. The new three-track EP follows on from his 'Bamboozled' EP for World Of Wonders last year and shows off Gemmy's keen talent for crafting purple wave influenced dubstep.

* 'Unruly' offers three tracks that serve as measured excursions in melody and restraint. 'Na Tek Bak Chat' is an intensely rhythmic and darkly spacious production, whilst the searing 'Sonicboom' bristles with funky, grime-inflected rhythm. The propulsive 'Stop Dat!' is a vividly expansive and minimal exploration of bass music.

* 'Unruly' brings another solid release from one of dubstep's most influential producers. World Of Wonders will release 'Unruly' on July 27th.

As we celebrate the 25th year of V Recordings, it couldn't be a better time for another release from DJ Patife & Vangeliez. One of the OG's of Brazilian D&B Patife teams up with fellow countryman Vangeliez (formerly one half of Human Factor) once again. Fresh from their last single, as well as features on last year's very well received 'Viva Brazil' compilation released in conjunction with SUNANDBASS, this duo has definitely found their own lane!

* On 'Living Together' they link up with two of the most recognizable voices in the D&B, MC Fats and Stamina MC to create an uplifting summer anthem, that spreads the positivity of music across the globe. These two vocalists need little introduction, but in case you don't know, they are behind some of the most seminal moments in our genre's history, classics like Calibre's 'Drop It Down' , DJ Hype's 'Peace, Love & Unity, DJ Marky & XRS's 'LK', D Kay's 'Barcelona' and so the list could go on... Basically with the coming together of these four names you're in safe hands! 'On The Floor' continues to push a euphoric feeling, but adapts a sub low bass that could tear through any system!

* Teaming up with Manchester's finest for vocals on 'Ain't That Bad', the tracks follow in the vein of their previous collaboration on Soul-R, and DRS delivers a stellar vocal performance that brings the track to life, and is again full of good vibes, definitely something you can never have enough of! 'Unexpected' is dripping with original liquid vibes - think Carlito & Addiction, Calibre, D Bridge Big Bud, Solid State - with a 21st-century twist - one for the those who like it deep.

* Drum & Bass as a genre now has so many different sounds and styles, but one sound that has ridden the waves of fashions and emerged as timeless is on display here as the duo deliver 100% organic, funk-filled Drum & Bass music for the soul.

* LABEL MARKETING: Features on V Recordings Podcast, Dedicated newsletter to 85,000 V Recordings subscribers. 80,000+ Facebook reach through label controlled Facebook and Twitter. Press on websites across the globe.

The Soul Brothers Inc. hail from Houston, Texas and were likely one of the most important funk/soul groups in the city in the late 1960s until they broke up in the mid '70s. Tramp released The Story of the Soul Bros. Inc. in late 2010, now it is time to pick two lesser known songs for release on 45rpm single. Both sides are equally great, especially Put It On Him with its heavy drums and and wah wah guitar throughout the song.

If you dig this 45rpm single release feel free and check the full-length album of the Soul Brothers Inc., released back in October 2010. (The Story of the Soul Bros. Inc., TRCD/LP-9009

The turning point between Pumpin tribe and « back to techno »... X-tech have always been a bit electro and on this EP he defently goes for it... This is the successfull turning point for his artistic choice. Even if you can still feel the acid, and the pumpin and the breakbeat of a classic tribe tune, there is here already the elcrto (this is a Marseille thing), the down pitch to more reasonable speeds, and aslo the variety of style into a single, witch was kind of a revolution and will always be ! A breilliant record that deserved a descent repress ! Was mastered and cut at DK Mastering, near toolbox. Brightening old this old DAT before it's too late !

First side brings a Techno Psychedelic tunes, Live system.
B-side goes more triby, With an electro psychedelic aspect and a light pumpin curley kick style.

Sampled by Drake ( Jungle') and G-Eazy ( Running'). Instrumental versions of Gabriel's Stones Throw Records debut Jardín now available on limited edition wax. Gabriel Garzón-Montano's formidable skills have come to fruition on Jardín in his Stones Throw debut. This album came out of wanting to make music that reminds people how beautiful life is and how delicate their heart is,' he said. I've always wanted to make music that is healing, comforting, and funky. I named the album Jardín hoping for it to create a space for healing when people put it on. A garden is full of life, growth and beauty,' Gabriel said of choosing that unifying image as the title for his new album. It makes me think of green and white and all the colors as they appear in different flowers.' That vivid spectrum bursts forth on Jardín itself and the album contains references to fruit of all sorts, sour mango, juicy tangerines and sweet peaches. From the heartache and aching vocals that float over the dusty drums of Crawl' to the stutter-step thump of Bombo Fabrika' to the high falsetto he nails on Octave,' Garzón-Montano proves himself to already be one of 2017's biggest breakout talents.

Pure dancefloor masterpiece from the hidden forces of berlin sound !

Der in Uganda geborene und aufgewachsene MARK KAVUMA ist einer der wichtigsten jungen Trompeter der britischen Jazz Szene Er ist eine treibende Kraft der neuen, jungen Londoner Jazz Szene . Sein Debütalbum "Kavuma" bietet ein Kollektiv aus Ausnahmekünstlern aus London und New York dar, die gefühlvollen Jazz liefern. Ihr Ziel ist es, Menschen zum Tanzen zu bringen, indem sie das Herz und Seele der Musik spüren. Bei "Kavuma" geht es darum, den Menschen eine schöne Zeit zu bereiten - was hier auf außergewöhnliche Art und Weise gelingt.

Crazy Beautyfull Cheezy Vibes ! A Pure Pleasure ! Needed !!!

From 140 To 170 Bpm Acidcore Music !

When Scanning A Lsd-brained Activities Then The Scanner Gets Colorfull.... Of Acid Mental Tribe/techno, Acid Melodious And Acidcore !

Lets Check Pink And Lets Be Punk !

Opening with a Gasmask Live extract, this RSF will keep on digging the mental tribe sound as it always did....
The Gasmask is just a perfect brain swinger : long flanged acid style in the Curley SOM.
Skelle then comes with another Live track, swinging deep bass playing with your nerves :)
The flip opens with a Misspic pumpin mental tune, sweet groove at the Tribe Funk frontier, very Spirally inspired.
Bart finished the job with a dry kicker, totally old school is the DSP style...
Rsf Confirms its post-Dsp direction and bring on the future of the tribe brain dance sound !

That's a pityless good Deathchant... Volume 4 long awaited pearl bringing 45RPM loud cut dispite there are 4 tracks. BIG DIGGAZ have the culture ! Funky UK Hardcore !

Tribe pumpin dancefloor newskool sound ! Funky Ixi style:)

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 Long Now is a duo featuring Richard Norris and Finnur Bjarnason, with special guests. They mix piano, voice, string section and electronics with the sound of the Icelandic breeze. The music sits within the post ambient, electronic, contemporary classical genre, with a strong sense of landscape, mood and melody. Richard Norris One half of the Grid, alongside Soft Cell's Dave Ball, one half of Beyond The Wizard's Sleeve with Erol Alkan... Richard Norris has a thing about working as a duo. With many productions and remixes under his belt, including tracks for Warpaint, Brian Eno, Tame Impala and many more, Richard brings an electronic sensibility to the Long Now. He has a long term passion for ambient, electronic, drone, soundtrack and modern classical music. Finnur Bjarnason Finnur Bjarnason is an Icelandic musician whose background is in classical music. Having trained to be an opera singer, rst in his native Reykjavík and later at the Guildhall School of Music and National Opera Studio in London, he then pursued an international career as an operatic tenor for over a decade, appearing in many of the world's most prestigious opera houses, singing everything from Montiverdi to Wagner to modern opera. As he has become ever more interested in where the boundaries between musical worlds get blurry, and particularly how the sound world of 'acoustic' singing world could best intersect with electronic music, he has begun an earnest exploration of the 'other side'. The Long Now play the Blue Dot Festival on Sat July 21st, with more dates to follow. The performance will be accompanied by a lm by BAFTA award winning director Kieran Evans, recently shot in Iceland. The band are currently preparing an album and series of live performances featuring piano, voice, electronics and string quintet.

AE Productions in association with In Effect Recordings are proud to present the next installment from Philadelphia legend Phill Most Chill, this time with beats provided by Nova Scotia based DJ/Producer Jorun Bombay, under the guise of Jorun PMC - with a tip of the hat to Hip Hop legends Run DMC. If you've heard either of Jorun's incredible Rock The Discotek mixes you may have heard one or two tracks from this 12' in their early form as parts of those mixes. Here at AE Productions we thought it was a shame that they weren't available as songs in their own right on vinyl so here they are with an extra track for good measure and with more of Phill Most Chill's trademark artwork making the sleeve look incredible!
The EP opens with Can't Stop Won't Stop and gets straight down to business. Phill Most Chill starts on the first beat of the first bar almost as if he can't wait to rock the spot. This is pure party Hip Hop fueled by uptempo Disco Breaks, but don't be fooled by that statement - this is no crossover rap music, we mean the type of party that could be found in parks in New York in the early days of Hip Hop. Listen for a whirlwind of extended turntable action from Jorun who slices like a food processor throughout.
Magic Disco Machine stays with the classic Disco Break sound with various nods to Block Party Classics which create a great club friendly track. Again with some serious turntable skills from Jorun to complement Phill's hype rhymes, this is the brand new exclusive track for this release and has all the credentials of a summer party classic.
The final track here The Champ stays with the classic block party theme but this time utilising a raw Funk groove that will be a surefire hit with B-Boys and B-Girls worldwide and shouldn't fail to get any Hip Hop party moving. This could be considered the most underground sounding of the three tracks assembled here.

Confused Machines' are excited to release an E.P by the composer and producer Ishai Adar (aka Oosh). Adar started his musical journey in the mid 80's as the keyboard player of the legendary Israeli post-punk band 'Nosei Hamigbaat', together with his high school friend Ohad Fishof.After his withdrawal from the band, he released 'Her': An innovative, experimental, electronic dance album, rare in the Israeli music scene of the late 90's. In this album, he fused 80's synth-pop influences ('Depeche Mode', etc.) with a cutting edge techno sound, which still sounds up to date. This album influenced the local underground electronic music scene of the late 90's.Following the album 'Her', Adar became a prominent composer and created soundtracks for motion pictures such as: 'Year Zero' (2004), Oscar-nominated 'Beaufort' (2007), 'A Film Unfinished' (2010), 'Bethlehem' (2013) and 'Mr. Gaga' (2015).In his current project '12', Adar revisits the synth-pop sounds which shaped his musical taste. He infuses profoundness and character to musical genres such as new-wave, Italo-disco, Euro-pop and contemporary dance music forming - multi-layered, euphoric and romantic melodies. A killer acid-techno remix of the track 12 by the legendary Rude 66 is included in the E.P.

Kimochi Sound introduces a new artist for their 30th release. This debut record is all deep beats and breaks and it's full of the fuzzy feels and swollen atmospheres we've come to expect from the imprint. It's a bit of a mini album, moving from Ilian Tape techno influences to a closing number reminiscent of Ulrich Schnauss.

Acid house alert! We are really excited to introduce you our new release. Tomlin is a misterious producer from our gang and we are sure you will love him. Pure analog stuff for Omar S and Levon Vincent's fans.
Don t miss it!"

PLEASURE ZONE proudly presents Sakro! His success shows constantly up to the stars so maybe "Voyager1" is the right title to discribe Sakro's career. He released on some of the most important imprints of our time. PLEASURE ZONE is happy to announce also a follow up after summer called "Voyager2". Stay tuned!

The long awaited answer from the notorious southern-hemispherian sound system, Subtle Sound System. This debut release from their record label aptly named Subtle Recordings is bringing some heavy weight straight out of Christchurch, New Zealand, first up with local legend Headland. Exquisitely imprinted 'no holds bar' by the masterful Optimal Media in a full art sleeve, this 180 gram, vinyl only, no-repress recording superbly ushers in a new beginning for the sound system and is another pillar of foundation to the future sound of bass music.

Headland, with his atmospheric soundscapes, sparatic drums, jarring percussion and punishing basslines, has been taking his unique sound to the world for the past few years and has sequentially been picked up by some of the most forward thinking labels in the bass music scene. From notoriety like Innamind Recordings and Zam Zam Sounds, Headland is one of the most noteworthy artists on the scene today and is a staple in sets from artists including, Samba, Mala, VIVEK, Commodo, Sleeper, just to name a few. Headland's infamy continues on Subtle Recordings debut release with the two outstanding tracks, Quiver and Deathbed.

From a spacious beginning, Quiver quickly builds pressure, manifesting into a track that by the end of, you'll have to regroup your crew as all would have been taken on their own solo journey. Navigate through high level percussion, sonic stabs, sub-temperate basslines and menacing vocals, all encompassed within a 130 bpm landscape where the richters leave you feeling vulnerable and insignificant. Quiver is a force of nature not to be taken lightly. After setting the stage, this behemoth pushes to another level, with erratic note changes and misplaced beats, before opening up to a plateau of relative safety within rolling basslines and familiar haunts. Recollecting yourself, you are once again thrust into unknown territory. A barrage of death blows commences until eventually you find yourself on the other side, disorientated, demoralised, but thankfully unharmed. With support from dons like Gantz, Boofy, J Kenzo, Mr K, Quiver has begun to leave its mark through the next frontier of bass music.

A usually silent, still and chilly affair, Deathbed is anything but, with its uplifting groove, conscious beat scape and warm bassline. But don't get too cosy, cause this assortment of frequencies is cold. Foreboding basslines. Wholesome mids. Trademark Headland accents. Deathbed builds in monumental 140 bpm splendure, in a simplistic formation, that will have you calling home to tell Mum of your triumphant return. Bask in all the glory as the track sheds back into its essential ingredients before collapsing into a well rewarded breakdown. Another confident drop will re-immerse you within the ride, reminiscent of what has been conquered and celebrated in the dystopian sound Headland has crafted in this atmospheric masterpiece. Banging dancefloors worldwide by artists like, Commodo, VIVEK. Deathbed produces the goods for an old fashioned shelling.

The Moment We've Been Waiting For. Youngsta's Sentry Records Continues To Set The Pace And Raise The Standard With One Of The Most Sought-after Artists In The Current Dub And Dubstep Scene. After Releases On Institutions Such As Deep Medi, System And Zamzam Sounds - Egoless Is Back For Another 12' Shell. Revealing The Next Masterpiece Of The Croatian Heavyweight, The Prolific Imprint Welcomes Its Next Family Member And Two Mammoth Tracks. From Vintage Fx To On-the-fly Arrangements And Live Instruments - Egoless' Production Style Encapsulates The Jamaican Roots, Transferring Its Spirit Into The Modern Era.

Heading Straight Into The Abyss Of 'decolonize', We're Being Greeted With Tastefully Overdriven Tape Hiss, Obscured By Reverb. Oriental, Sitar-esque String Plucks Take Form, Wielding An Increasingly Inquisitive Nature. Alongside The Organic, Percussive Swing The String Plucks Cease For A Moment - A Fierce Vocal Statement Excites The Air As The Full Intensity Of This Sonic Weapon Hits The Speakers And Every Last Fibre In Your Body. The Superbly Orchestrated Arrangement Flows In A Continuous Groove, Led Onward By Haunting Surges And Psychedelic Flute Arpeggios. On Top Of The Stomping Foundation, Longing Spheres Conclude The Anthem And Leave Us Crave For A Rewind.

Turning To 'global' - The Alarm Bells Of An Apocalyptic Future Reverberate Into To Your Ears. Gargantuan Drone Pulses Lead The Way For Tribal, Acoustic Drums To Stir The Dance. A Daunting Swing Hurls Its Monumental Weight. Deeply Imbued With Rhythm - The Meticulously Crafted Sound Design Leaves Us Dancing In Awe. Life-like, Vibrant Flute Performances Form A Harmonic Composition Of Exceeding Quality, Sure To Fire Up Any Dance. Polished By Creative Vocal Sampling And Egoless' Fine-tuned Sense Of Controlling Tension & Release - These Tracks Will Stand The Test Of Time - For This Year And Beyond.