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Originally released on EMI Sweden, original copies of this album still change hands in excess of $500.

This was Doris' jazz album though it contains more than a hint of Joni Mitchell, Led Zepellin and the like. Backed by her husband Lukas Lindholm on bass she was able to lay down some seriously funky bass lines on tracks like Don't and Beatmaker. On You Never Come Closer, an experimental track that was way ahead of its time, Janne Carlsson unleashes a fearsome sound on drums helped by Bernot Egerladh on organ.

Merc Music proudly presents new Artist "Edward", a new light emerging from the Black Country underground.
Having passed Mark E a CD full of left field house music Maxa & Naxa finally make their way onto vinyl with Merc.
Here lies deep distorted driving 4/4 beats and looped disco monotony, following in the vein of previous Merc releases this pushes the sound even further. You don't need us to tell this is the real deal folks - one of the best 12's we've heard all year !As with previous MERC releases - this is limited to initial pressing only - Get with it

It's been 16 years since the guy's debut on Moving Shadow and throughout those years they have recorded for a number of labels such as Reinforced, Good Looking, Hospital, Botchit & Scarper, Southern Fried, Polydor and Mr. Bongo. But their real passion is Passenger, 14 years of pushing out the cutting edge dance music of all genres and things have come near full circle.

After releases and remixes out on Lovemonk Records and Nickodemus' Wonderwheel label Pablo Sanchéz is currently throwing out hot jams from his studio in Barcelona.
For GAMM he sorted us with a blazin' discoish dub of Pointer Sisters 'Yes We Can Can' that gives the original a more dj friendly push.
On the b-side 'Monkiez' delivers a classic meltdown of hip hop beats Thelonius Monk jazz samples.

Lowfish originally released his 'Burn The Lights Out' LP in 2007 on the US label Satamile but we have found some copies of it in the warehouse. Synth-pop meets breakbeats in an electrifying fusion of emotive melodies and bass-heavy beats across all four sides of the long player with ten then-new tracks and two classics from his Sat.31 EP. They all show that his music, complex yet accessible, evokes images of Blade Runner, Wave Noir, or William Gibson. It is post-modern in approach as it skilfully blends past and present styles to create a sound uniquely his own, seamlessly bridging the gap between eras while pushing the boundaries in his own way.

With Contemplative Figuration we see Broshuda pushing his amorphous, impossible-to-pin-down music in exciting new directions. Stitched together in various European cities over the last few years, it is the artist’s most dynamic and ambitious release thus far, drawing equally from musique concrete, beat research, ambient, tape collage, and spoken word. Episodic in nature, the collection functions well as a sort of impressionistic travelogue, with romantic, hazy atmospheres coaxed from borrowed equipment, serendipitous recording sessions with old friends, and even a drum sequence programmed with Mario Paint, among other curios and sleights of hand. Broshuda deftly wrings bonafide cohesion and balance from these disparate source materials, tools, and locations, as on opener “Kakigori,” which allows a snaking harmonic drone the space to evolve before exploding it into a sort of seething, dubbed out pointillism. Later, “Lied Für Hase” concocts a potent, humid atmosphere of beautifully evolving acoustic piano loops and elegant narration. Taken as a whole, Contemplative Figuration is a weightless, transportive record, one that is bursting at the seams with ideas, mischief, and a restless spirit.

Mastered by Helmut Erler at D&M, Artwork by Alex McCullough and Niall Wynne Lewis.