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The name Hugo Mari might not ring a bell just yet, but we've got a feeling this is about to change real soon. He's released a handful of EP's under his former alias Books on Omena and XVI including his own edit series on the latter label (check out his killer track 'in the groove or his jazzy deep house collaboration with Zodiac called 'Feel it in my Bones'). Considering he's also remixed well known artists like afrobeat legend Dele Sosimi and grime master Trim, you might share our view of this amazingly talented and versatile producer. His 'Change ur ways' EP for Heist is soulful, jazzy, deep and energetic with three varied originals and a classic soulful house remix by man of the moment, NDATL label head Kai Alcé.

'Get Loose' features the silky-smooth vocals of Zodiac, some lovely solo work on the Rhodes and a 'free jazz' vibe on the horns. There's a constant funk bassline looping throughout the track to keep the energy going while the loose arrangement as well as the drum programming give the track that care-free feeling of a never-ending live jam. With that, 'Get Loose' is a great club track that crosses the boundaries between funk, jazz and house.

The title track still has that jazzy feeling but moves towards a quirkier territory with some 'Frits Wentink' style harmonization, detuned piano's and loosely chopped samples. There's a definite gospel feel to the track, thanks to the choice in vocal chops, which is complemented perfectly by a filtered disco bassline. The percussion layer and rhythmic elements are full of energy without ever crossing the line where of subtlety that makes this track so catchy.

On the flip, there's 'Feel ur senses', the most straightforward deep house track of the release, that gets its mood from an ongoing tremolo on the Rhodes pads. Space bleeps, bells, a hidden arp and 'reverbed-out' hits give the track an almost balaeric sound that will certainly put a smile on your face.

The B side is complemented with a vocal and instrumental remix of 'Get Loose' by Kai Alcé, who has been throwing out one killer tune after the other, remixing Volcov's Isoul8 project (one of our favorites of the year), as well as kicking out releases on his own NDATL label. Kai goes for a full-on soulful house vibe, giving his own chord progression center stage along with a set of rimshots. He chooses to leave the horns out, and instead work the vocal, Rhodes, and cowbells from the original to great effect, adding a little solo work of his own on a bell-like piano where he freestyles happily throughout the track and copies the vocal for added harmonies.
The instrumental version is perfect for those moments where you're done with all the vocals and just want a tight soulful groove.

We couldn't be happier with this release so play it loud and get loose!

Yours Sincerely,

Maarten & Lars

Bristol-based producer Drone finally makes his bow for Coyote Records with the release of new four-track EP, 'Light Speed'. Written over the first six months of 2018, 'Light Speed' forms Drone's most accomplished and absorbing release to date, bringing new textures, layers and depth to his music and to the club - a space where his beats have been a mainstay in the sets of producers like Kahn & Neek since debuting on Hear Other Sounds in early 2017. A regular at Coyote's Bristol parties over the course of 2016 and 2017 and inspired by the clinical, freeze-dried grime of label contemporaries like Last Japan, as well as Sector 7 bosses Boofy and Lemzly Dale, Drone has probed, honed and developed his sound to marry the raw impact of his early beats with detailed, widescreen scope. There are nods to the soundsystem culture of his new home city of Bristol on the coarse textures and booming, dubby low-end of 'Narroways' for example, while title-track 'Light Speed' captures the icy, shimmering Coyote sound aesthetic in full view. B-side tracks 'Probiscus' and 'Fangz' continue this theme apace, bleeding into one another like patchwork to showcase a grime sound moulded by the club, but finessed away from it. Born in Hastings, Drone has spent the last three years studying Music Production in Bristol, during which time he's guested on Rinse FM, released on London's Hear Other Sounds and Boofy and Lemzly Dale's influential Sector 7 imprint, as well as self-releasing a limited edition USB - comprised of a slew of unreleased beats - in February 2018.

Friend and supporter of the Bass Cadet team, Jenifa Mayanja steps up for the new chapter of the Orbits series. She offers three very personal tracks, carefully crafted, evolving in their own space-time, showcasing a crossbound vision of deepness and soulfulness. Partner in life, DJ Jus-Ed is also here on the remix duty. This release definitely wraps up a family affair about good vibes !

With a hypnotic spell-bound deep tech groove, Artresia kicks off this three-tracker with hints of the past as well as echoes from the future. Nima Khak then offers two tracks for the release, the hypnotic, intense and effective techno remix of Artresia that takes us even further down the proverbial rabbit hole, landing us comfortably in the warm embrace of "Beach 2015", an ambient, nostalgic daytrip to the seaside.

Kamazi is a freshly coined moniker of Andy Hart, the founder of Voyage Recordings and now contributor to Deep Sound Channel."Inner M31" premieres three tracks rooted in the world around us. The whispering "Aerocentric" introduces the EP. Broad sonorous strokes are met by bubbling bass and skittering beats as Hart creates a work of pure immersion. Drums are bolstered in "Flight Inertia." Amidst the glazed rinses and metallic sheen runs a line of deep melody, beautifully fragile strings cutting through the trembling resonance of air and speed. The finale comes in the form of "LOx." Returning to nature, Kamazi crafts an ambient work of embracing warmth, shimmering chords and stargazing hope. From the bucolic to the urban, Hart sculpts atmopheric and intimate music with a tenderness of touch that is simply unique. First run on solid blue vinyl.

Inner Makes His Debut On Ministerium Records With A Forward Thinking Stripped Down Infectious Three Tracker.

Ever since Onom Agemo & The Disco Jumpers broke the dreaded curse of the difficult second album by releasing "Liquid Love", a cocktail so spicy and delectable that it could warm the cockles of the grumpiest man alive's heart, even in the most Arctic conditions, everybody wondered how the Onom crew could top that one. But now you have an opportunity to whip out your "Magic Polaroid" as proof that this wasn't an impossible Project. Never before has the band so successfully captured their full-on live sound as they do here, thanks to three days of recording frenzy at Daniel Nentwig and Sebastian Maschat's Butterama studio, a haven of analog hardware hidden in a remote part of Berlin's Neukölln district. The exploding kaleidoscope of styles that make up this album, perfectly reflected by the stunning cover artwork from Nick Henderson and photography by Christoph Rothmeier, means that they can no longer be confined to their early description as an "Afro-Funk Quintet" or merely described as a lively tribute to the artists which have influenced them: their sound is 100 per cent pure uncut Onom Agemo, even though every track feels like a new beginning. The presence of a charismatic in-house vocalist who brought her own lyrics along has also boosted their confidence considerably and provided a further knock-out punch to their onstage performances.
And no one will be disappointed as soon as the first bars of "The Trumpets Of Denmark" stomp on stage like a boisterous fanfare, with Johannes Schleiermacher's impressive wall of sound production making the musicians sound like a much bigger band than what their line-up suggests (with Maria Schneider from Andromeda Mega Express Orchestra adding some extra percussive clout) and just the right amount of dizzying cross-rhythms to steer it away from potential bombast. When Onom Agemo's powerhouse vocalist Natalie Greffel starts chanting what at first sounds like a string of Onomatopoeia, it soon becomes clear that she's laying down her manifesto for a nostalgic Space-Age yet to come, with a few key words serving as Mantra (Focus, patience, tears and creation): an invitation to drive off the Information Superhighway and its endless litany of polite noises, to redirect our gaze inside ourselves and learn to understand and sometimes question how others perceive us.

This is the second release from the Parisian label Aperçu, which has uncovered European producers for this compilation featuring 4 titles.The story of this compilation came about gradually, with one thing leading to another as the artists involved met up all over Europe and their musical affinities became apparent. Two years after their EP Stara Zagora,Metshka and Roman Delore are issuing the second release of their label, Aperçu, promoting three producers well deserving of attention. Ben Kaczor, the resident DJ at the legendary, intimate Elysia Club in Basel, Switzerland has his own label, KCZ, and is an adept of dark, sharp-edged sounds such as in 'Navel,' which plays out like a hypnotic, melancholy adieu but with well-defined kicks.Temiri, a native of southern France having spent time in Berlin, now lives in Switzerland as well. With the Swiss mountains and Geneva's rave parties shaping his sensibility, he created 'Love Intentions' - a soft gift to the world. HiromaKeo, a Lisbon-based French producer, champions a wide-ranging, contemporary approach to electronic music. After three years spent comanaging the collective and label ESITU (between Lille and Brussels), he has started a new project in Portugal: Vilamar. In 'SonheiContigo' we find his signature precision and the Japanese influences he likes.
Last but not least, Metshkaand Roman Delorecontinue to appear at parties and events in Paris and to work on hybrid events through their Pauza collective. At the crossroads of techno, ambient and experimental music, here they give us 'Ocre,' a work of slow violence.

Mr. Savio is a Stockholm underground legend and a good friend of Born Free since the early days. On BF36 he's serving up three house jams paying homage to Lovisa, Valle, Hjalle and Manfred, his immediate family. The vibe is soulful, deep and simple, just like a warm heart pumping at 120 bpm.

In celebration of Aretha Franklin's Iconic legacy, her first Christmas album and 36th studio album will be re-released in November for the first time ever on vinyl. The acclaimed artist puts her timeless stamp on a mix of 11 traditional and contemporary classics associated with the Christmas season. Aretha Franklin herself produced three tracks and arranged and added her inimitable touch as a pianist to two tracks ("Silent Night" and "14 Angels"). 

Arguably One Of The Most Acclaimed And Loved Bands Of The Past 20 Years, By Both Fans And Their Musical Peers Alike, The Beta Band Formed In St. Andrews, Scotland, In 1996. Innovative And Singular, Their Unique Musical And Aesthetic Approach To Everything They Did Set Them Far Apart From Their Musical Contemporaries. Together For A Relatively Short Period Of Time, The Three Albums And Three Eps They Released Between 1996 And 2004 Would Nonetheless Help Define Them As One Of The Most Exciting And Cherished Bands Of Their Generation. After A Short Hiatus The Band Gradually Gravitated Back Into The Studio And Recruited Noted Uk Producer Colin Emmanuel, Aka C-swing, To Oversee The Process Of hot Shots Ii' Which Was Released In Mid 2001. Notoriously The Band Had Intended To Release squares", Which Featured A Sample From The Günter Kallmann Choir's 1970 Version Of Wallace Collection's daydream", As The Lead Single. However After Filming The Music Video And Taking The Single To Radio It Suddenly Transpired That Another Single daydream In Blue' By I Monster Featuring The Sample From Günter Kallmann Choir Recording Was Also To Be Released At The Same Time Causing The Band To Release broke' Instead. Touring Extensively And Supporting Radiohead In August 2002, They Made No. 3 On Q Magazine's List Of 50 Bands To See Before You Die".

Strut present the frst ever international reissue of in-demand '80s zouk LP 'Las Palé'
by Feeling Kréyol, out of Guadeloupe.
Producer Darius Denon explains: 'This was 1988 and bands like Zouk Machine and Kassav
were huge. I had met producer Frankie Brumier when I was performing at festivals and
parties and he wanted to record a girl group so we began scouting venues, mainly around
the Grande-Terre district in the island's capital, Pointe-à-Pitre. I ran auditions and picked out
the best three voices - Fabienne, Leïla and Yolande. One was singing in a choir and none of
them had met each other previously.'
Recording at a studio in Le Gosier, Denon trained them to sing the songs and spent around
6 weeks recording the album: 'I gave them a couple of compositions that I had planned for
my own solo album. I remember that we all got on really well; the sessions were fun.'
The title track 'Las Palé' was the lead track pushed as a single and achieved modest
success domestically. The band did a few promotional performances in the island's
discotheques but, in the end, the album stalled. 'Studios were expensive and there was
no cheap technology as we have now. So, the producer ended up cutting corners with the
production - the mix was not completely fnished and the voices were not synchronised
right to some of the tracks.'
For Denon, he continued his career to the present day, successfully moving to Paris and
breaking through with the hit 'Je t'emmene' in 1998. Meanwhile, although 'Las Palé' turned
out to be Feeling Kréyol's only recording, the interest in the album has grown in recent years
with the title track's lo-f charm fnding its way into sets by Invisible City and onto Red Light
Radio and more. This frst full reissue is remastered by The Carvery and features full original
artwork along with a new interview with Darius Denon.
KEY POINTS:
- First ever reissue of sought after original zouk LP from 1988
- Sleeve notes by modern day zouk star and album producer Darius Denon
- Remastered by The Carvery
- Tracks already cult classics through plays by Invisible City, Motor City Drum
Ensemble and more
FOR FANS OF:
Sofrito, Digital Zandoli, Kassav, William Onyeabor, Soundway, Invisible City, Motor
City Drum Ensemble, Disques Debs, zouk, Haitian compas, Gilles Peterson, Darius
Denon, Les Vikings

LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

James Clarke's Mystery Movie was released in 1974 as modern, small group compositions in various moods. Ideally suited to the new Americanised style of T.V. and cinema flm where music is used to create the mood and carry the action'.
So this collection covers a lot of bases, but it does so brilliantly and has absolutely no right to be such a fantastic listen from start to fnish.Mystery Movie is best known for the slick drum breaks underpinning the top-notch jazz-funk chase theme Car Patrol', the fuzz rifng and ARP soloing of The Heavies' and the slow-mo strut of Mystery Moll'. Study In Fear' and Empty Streets' are horror soundtrack fodder of the fnest sort.
However, it's the understated, plaintive pieces that we fnd the most rewarding.
Ambient feels and strung-out fried-folk treats, full of cyclical naïve melodies.
Music that evokes the 'downlifting' Ronnie Lane and Ron Wood instrumentals from their great Mahoney's Last Stand LP, as well as the beautiful soundtrack work of Jack Nitzsche and Ry Cooder. You might also recognise Waiting Game' from being sampled by melodic downbeat masters Express Rising.
Check Relaxed Theme', Quiet Girl', Routine Procedure' and Quietness Sustained' for a melodic, melancholic set, with the last three performed on just acoustic guitar and harp. Gorgeous work.
As with all ten re-issues, the audio for Mystery Movie comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

Russian producer Nocow returns to Rekids with an enthralling full-length album entitled 'Atoner' this November.

Real name Aleksei Nikitin, Nocow is known for his versatility, producing a large body of genre spanning work on labels like Clone Royal Oak, Figure, Fauxpas Musik, Gost Zvuk and Styrax. The St. Petersburg-based producer debuted on Rekids last year with his 'Samaya Dolgaya Noch' EP, a mellow release complete with vocal driven cuts as well as 2-step rhythms, and now returns with a myriad of productions in a fourteen track album entitled 'Atoner'.

'Atoner' opens with an eponymous track that gently unravels with soaring synths and subtle percussion before Nocow's voice emerges alongside twinkling atmospherics in 'Complie'. Throughout the long player are also intricately produced short tracks sitting between the two and three-minute mark such as looping vocal number 'Dancerecter', the melodic and rattling 'Leto' and ominous 'Delore'.

Ostanovitsa' is a murky offering featuring a meandering organ riff, leading into the pitter-patter drums and serene chords of 'Starveme (feat. Tayut Ogni)'. 'Come Along' is a crystalline and otherworldly experience from start to finish, whilst 'Melting Lights' is comprised of echoing, subterranean sounds, making way for reverberating snares and metallic stabs in 'Standalone'.

Husky murmurs and soothing notes then make up 'Neva', moving into the syncopated beat and idyllic chord sequences in 'Can't Get Enough' ahead of 'Stonecold' and its icy aesthetic. Finally, the album reaches a mesmerising conclusion with the spellbinding 'Footer'.

Africa Seven's next installment returns to Cameroon with a special edition version of Momo Joseph's in-demand LP, "War For Ground", with three extra tracks. Momo may be better known for his work as an actor, having featured in such titles as "La Haine" (1995) and "The African" (1983), but his small foray into music is definitely memorable as he lays it out in true Afro-Boogie style. Apart from two singles, "War For Ground" represents Momo's only other body of work, and only studio album which was self-released in 1983. With this "Edition Speciale" reissue we provide you all the originals from "War For Ground" remastered alongside his party-time classic "Cameroon Airline", "Love Africa Soul" and his lesser known tack "Oh Momo".

The A-side starts with "Africain", which also featured on our compilation "Africa Airways Four". Glistening synth lines work it out over the top of romantic guitars, while the continual and hypnotic vocal chant of "Africa" tells you exactly where this music is coming from and what it means. The tempo creeps up a bit with "N'Gon Le Bek" which again takes advantage of driving guitar lines, this time facing off with the horn section. The last cut on the A-Side is "Out Side No Fine", which flows great after the previous two, keeping up the same aesthetic with a bit more of a tropical feel to it.

The B-side kicks off with the title track "War For Ground". In this one Momo starts off rather melancholic before things end more triumphantly with the backing vocals and horn section again providing much of the driving force. The final two tracks on this record make up the "Edition Speciale" element of this reissue. "Love Africa Soul", taken from Momo's 1980 single of the same name, at first seems to be one of the more straight forward disco led tracks on this release until an ecstatic synth line breaks things up in a forward thinking break down before a trademark Momo groove kicks back in. The other track featured on that single was"Cameroun Airlines", a bonafied afro-disco classic. Next we delved into the vault and unearthed a recording session for "Oh Momo", this never released version of the track reflects a slightly different side of the signer, with a more afrobeat feel.

This "Edition Speciale" version of "War For Ground" offers a thorough observation of Momo Joseph's work as a musician and looks to help shine a light on Momo's career and musical genius.

Following their previous Mantra EP, Polybius Trax present here another three track EP from Mantra showcasing a variety of acid styles. Opening track, Blackout, is a solid, no-nonsense acid techno workout, perfect for a strobe filled warehouse, and features builds and drops layered with ethereal tones. Emanation is a maelstrom of moving synth sounds, bouncing delay lines and vocal-like klaxons that combine to disorientate the listener. Final track, Mirage is a classic bad attitude acid track with an unnerving acid line that weaves in and out of aggressive percussive lines.

A trio of guitar, bass and drums, Elektro Guzzi overcome the boundary between analogue versus digital, performing techno live with the drive of a machine and the sonic detail of an instrument - without any computers or loopers. For their upcoming album Polybrass, Elektro Guzzi have drastically expanded their sonic repertoire: both in the studio and on stage, they are joined by an ensemble of three trombonists, opening up a whole new realm of possibilities. With Hilary Jeffrey, Daniel Riegler and Martin Ptak, the band are joined by three brass heavyweights, each of them well renowned for both their solo ventures as well as projects such as The Kilimanjaro Darkjazz Ensemble, Sand and Zeitkratzer. By treating the three trombones not simply as a set of extra instruments but rather as one coherent body of sound on its own, Elektro Guzzi dissociate the brass instruments from their conventional use and repurpose them into something completely different: a modular synthesizer, with each trombone representing one oscillator. In doing so, Elektro Guzzi add new layers of depth to their music, emphasizing a more cinematic side of their music: like the soundtrack for a movie, Polybrass is bigger, darker, more dramatic, more intimate. Warm and fuzzy textures float weightlessly above fragile soundscapes and complex sonic fragments. At the same time, the band's signature sound runs distinctly through the entire album: solid percussive grooves, stripped down to the absolute minimum it takes to make your body move. Hypnotic repetition, building tension and suspense up to a point where the energy of the music gets so intense you feel like you can physically touch it with your hands, interlaced with organic patterns of sound, constantly changing and evolving, pulsating and oscillating. Vinyl: heavy sleeves + heavy printed inner sleeves, 180g vinyl with download code.

Since 2015 Tiger Stripes has been an invaluable contributor to Drumcode's 'little brother' Truesoul.
As recent as March he released 'Sound of the Bettest' in collaboration with Riva Starr, their fresh ragga influenced take on techno entrenched as a 2018 highlight for the label.
Drawing from a wide palette of sounds to craft his groovy, personality-laden take on techno, the Swede has produced arguably his finest work yet with the 'Insanity' EP.
'Baby' is a melting pot of three decades worth of influences, from James Brown, to Northern Soul and indie pop of Ariel Pink.
The result is a stunning kaleidoscopic techno treat, that brims with rave, garage and funky house spirit. 'Insane' is a dynamic feast for the eardrums as trippy arpeggios, a persistent vocal and lush synth leads cascade throughout the seven-minute track.
'Too Deep (to Bear) follows, an exhilarating slice of late-night techno before the EP concludes with 'Dying Planet', mixing up a potent environmental message with tough dancefloor functionalism.

Three different takes from two different periods of time meet up in this acid focused 12". The record features two Skudge originals from 2009, optimized into today's standards. And also a classically trained Splice track, where a fierce drum pattern goes in parallel with the acidic bass line. A current take on a very classic machine.

Play It Say It welcome New York artist David Berrie for a first EP on the label and one that offers three dynamite pieces of punchy, high impact and inventive house music.

Raised amongst the diverse culture of NYC's nightlife, Berrie started sneaking into clubs as a youngster and since then has risen through the ranks to have now played iconic rooms like Output NY and DC-10 Ibiza. Fusing his musical history with other genres to create his own, unique style of house and techno, David has taken his passion to the studio and served up essential tunes on Hot Creation and Cuttin' Headz.

Opening the account is 'Revolution', seven superbly programmed minutes of slick and involving house beats and knotted bass. It's a restless, body shaking track to make the floor move with futuristic synths fleshing it out and bringing a vital sense of machine soul.

The equally compelling 'JB Loop' is another dynamic bit of electronic house music. Rubbery drums bobble and bounce about with wild computer sounds and infectious bass all ramping up the energy levels and making for a standout track.
Last but not least, 'Rear End' is a supple, intricately designed track with slippery synths, spinning hi hats and bass surges all wrapping around each other to make for real minimal funk. It's a track that oozes Detroit vibes and cannot fail to sweep up the floor.

These are three characterful and masterfully produced cuts of high-class dancing music.

The second vinyl release from Nollern Records draws together three cuts of minimalistic groove-driven techno.
Francesco Passantino has delivered two hypnotic dance floor excursions built on throbbing basslines and eerie vocal samples. Tuberoom' is a melodic ride with haunting synths and groovy percussion, whilst Tabu' goes a shade deeper, as mesmerising as it is stripped back.

On the flipside the label founders craft a mind-bending modular kissed restyle of the original, with inspiration taken straight from the Far East. Rich in emotive energy, Nollern envelope the track with a prime vocal sample and subtly enchanting chords.

Arguably One Of The Most Acclaimed And Loved Bands Of The Past 20 Years, By Both Fans And Their Musical Peers Alike, The Beta Band Formed In St. Andrews, Scotland, In 1996. Innovative And Singular, Their Unique Musical And Aesthetic Approach To Everything They Did Set Them Far Apart From Their Musical Contemporaries. Together For A Relatively Short Period Of Time, The Three Albums And Three Eps They Released Between 1996 And 2004 Would Nonetheless Help Define Them As One Of The Most Exciting And Cherished Bands Of Their Generation. After A Short Hiatus The Band Gradually Gravitated Back Into The Studio And Recruited Noted Uk Producer Colin Emmanuel, Aka C-swing, To Oversee The Process Of hot Shots Ii' Which Was Released In Mid 2001. Notoriously The Band Had Intended To Release squares", Which Featured A Sample From The Günter Kallmann Choir's 1970 Version Of Wallace Collection's daydream", As The Lead Single. However After Filming The Music Video And Taking The Single To Radio It Suddenly Transpired That Another Single daydream In Blue' By I Monster Featuring The Sample From Günter Kallmann Choir Recording Was Also To Be Released At The Same Time Causing The Band To Release broke' Instead. Touring Extensively And Supporting Radiohead In August 2002, They Made No. 3 On Q Magazine's List Of 50 Bands To See Before You Die".

Friendship. Gratitude. Music Passion. Turbo Recordings is proud to present the feel-good story of the year with the debut release from Tiga & The Martinez Brothers.

"This is a true labour of love,' says Tiga. 'Two of the most refreshingly positive figures in dance music teaming with me, the heartless cynic with a heart of gold. Positivity and actual quality: the best of both worlds."

Tiga was originally meant to produce tracks for the DJ duo, but the sessions soon evolved into a full-fledged collaboration. The three men manned the studio in psychic unison, laying real-time drum programming and minimal storytelling over a techno foundation to create a truly dynamic dynamic. The result is some of the best work of their careers.

'Chris and Steve brought a deep knowledge of house music and DJ energy-flow, while I left my deep hatred of live studio jam sessions at the door," adds Tiga. 'These tracks are tougher, funkier and weirder than 99.3% of contemporary dance music, and it's all because we were brave enough to get sincere and real."

The material was written and recorded over the course of two sessions at Montreal's Lost Star Studios, a haven for vintage gear and laid-back vibes right out of your most casual dreams. It was easily the most fun anyone's had in a studio since 2014.

"You can keep your VIP laminates and hot flavors of the moment,' concludes Tiga. 'I'm here to tell you that there's nothing cooler than the magic of friendship.'

Part II of the collaboration is set for release on The Martinez Brothers' Cuttin' Headz label under the name The Martinez Brothers & Tiga, an inspiring nod to the importance of fairness in project credits

Materia Obscura, launches with witchcraft themed three-part techno series entitled "Trilogia Del Aquelarre", inaugurating with Abstract Division, Cadans, NX1 and Lucindo. Based on Francisco de Goya's black paintings "El Aquelarre", which is exhibited at the Museo del Prado in Madrid.

"Parte 1" is a high-octane and thunderous techno package that includes contributions from Dynamic Reflection duo Abstract Division, Neighbourhood and Clone's Cadans, Nexe Records bosses NX1 and 3TH Records co- founder Lucindo. Kicking things off, Dutch duo Abstract Division's "Blue Void" delivers winding transcendental polyphonics balanced over synthetic techno drums. Cadanss "Don't Tell Me" employs tough heads down percussion and pulsating, metallic drone-like sonics. Then Spanish pair NX1's "MO1" offers heavy duty, machine-like crunches layered over resilient twisted modulations before Berlin's Lucindo concludes matters, supplying thunderous kick drums in "Atto 170" as unearthly type bleeps join vigorous swells.

Dokutoku four is here courtesy of Guillaume & the Coutu Dumonts. The Yuzo Kosho Do EP is a three tracker featuring a sound that's always intriguing but equally difficult to define. All three tracks are intricately rhythmic and very much indicative of the Montreal-based producer at his most emphatic.

Seattle-based artist Archivist brings his atmospheric sound to the Insula imprint amounting to a deep emotional record. Three originals highlight his meticulous production skills combining driving rhythms with submerged warm harmonies, joined with a floaty remix by Cyspe this forms a distinct work for the early and after-hours in the club.

Milton Bradley debuts on AVION's Crossing with three ferocious techno cuts under his Doomsday Device moniker this November.

Since its launch in 2013, Crossing has mainly acted as a platform for its founder, Index Marcel Fengler and Stress Research producer AVION, however the imprint has also hosted techno artists like Thomas Hessler, Pfirter, Doka, The Automatic Message and Stefan Rein. The label now presents a full release from Milton Bradley, appearing under his Doomsday Device guise. Founder of Do Not Resist The Beat!, the German producer has also appeared on labels like Prologue, MDR, Ann Aimee, and many more.
First up, The X-Planet' uses relentless drums, arcane vocal murmurs and bursts of white noise to

set the tone for a truly militant release. Device 4' is then a twisted journey from start to finish, with its pitter- patter sequences and oscillating sci-fi inspired atmospherics, making way for The Yesterday Machine' with its menacing aesthetic complete with ebbing synths, crashing hats and off-beat snares.

For its next release, No.19 Music welcomes one of dance music's most celebrated contemporary artists in Ryan Crosson for a new single coming on vinyl and digital.

Crosson is a true techno tastemaker who hails from Detroit. He's released on long established labels like Minus, as well as going on to form Visionquest with Seth Troxler, Shaun Reeves and Lee Curtis, and the label of the same name where he also put out key EPs and LPs with Merveille. From headline sets at festivals round the world via club gigs at the most tasteful venues in the scene, he is a real giant of underground dance music with studio skills to match, as this standout three tracker proves.

Superb opener 'Comet Pills' is a deep and thoughtful track that encourages your mind to wander off into the cosmos. Slick drums and melancholic chords set the tone, while the bass fleshes things out and sci-fi details bring out a cinematic quality.

The brilliantly mysterious 'Roscoe' is expertly stripped back and reduced house music that takes you on a trip. It's quick and smooth, with watery sound design, soft hits and muffled vocals adding intrigue to a track that is both cerebral yet designed to make you move.

Last of all, 'Snake Oil' is another fully realised offering which journeys to the edges of the galaxy, with long lingering ambient pads suspending you in mid-air as squelchy synths and shuffling drums keep one foot on the dance floor.
These are three terrific cuts of seriously atmospheric house and techno.

Berlin-based collective African Acid Is The Future inaugurates its new label partnership with The Vinyl Factory by releasing the first in a three-part 2×12 series Ambiance.

The first instalment, Ambiance I, captures two extraordinary live performances in Berlin, backed by remixes from AAITF members Dauwd and Wolfonacid on the second 12.

The live performances feature Kenyan dodo singer Ogoya Mengo & The Dodo Women, and the woman once described as Zimbabwe's mbira queen Stella Chiweshe. The former was recorded live in Romain's Azzaro apartment, while Chiweshe's performance was captured in front of an enraptured crowd at Berlin's iconic Funkhaus venue.

* Featuring Kenyan singer Ogoya Nengo and 'the queen of mbira' Stella Chiweshe
* 2 x 12 180g heavyweight vinyl includes in a gatefold sleeve
* Includes printed inner and outer sleeves and an African Acid Is The Future booklet
* Artwork by Louis Vignat
* Vinyl edition of 500

For Fans Of Hot Chip, J-pop, Dada. Perlita Is Responsible For 'sex Instruments', The First Ever Song Made Entirely Out Of Sounds Produced By Sex Toys, Including Guitars Played With Vibrators, Bass Notes From Anal Beads And Strokers For Rhythm. The Track Was Made Especially For A Pornhub Toys Ad Campaign.

Caballo Rojo ("red Horse") Is The Second Album By Perlita, A Band From Cádiz, Spain, Once Described By A British Critic As "a Hot Chip Fronted By Freddy Mercury". For The Follow-up To Their 2016 Debut Cangrejo Yeti ("yeti Crab"), The Threesome Have Come Up With A Titanic Piece That, Mood-wise, Jumps Around And Gallops Between Pop, Flashes Of Andalusian Folkloric Music, Drum Machines, Japanese Voices, Synths And Verses By Spanish Poet And Nobel Prize Laureate Juan Ramón Jiménez, Among Many Other Things.

Perlita Are Based Part-time Between Puerto De Santa María, Cádiz, And The Madrid Borough Of Lavapiés. That In Itself Could Constitute A Music Genre, But It's Not On Wikipedia Yet. Their Music Speaks Many Languages, Some Of Them Invented. There's Something In It That Echoes The South - The South Of The Andalusian Psychedelic Rock Bands Of Yore, But Also Of The Typical Cádiz Brand Of Humour, Of The Famous Carnival, And Of The Northwest-african Radio Waves Reaching The Beaches Of The City From Across The Gulf Of Cádiz.

Having Cut Their Teeth In Many Spanish Indie Bands, With Perlita, The Three Band Members Decided To Explore Other Worlds - Worlds Where Synths And Drum Machines Rule, Yet With Plenty Room For Wild Percussion And Marvellously Poppy Melodies. The New Direction Became Clear On Their First Effort Cangrejo Yeti, And Is Continued On Caballo Rojo: Electronic Pop Made With An Open Mind, With A Special Fondness Of The Poetry In Details, And With A Production That Is Morphing Throughout The Record - From A Sophisticated Accompaniment Gently Rocking Some Precious Verses To A Raw And Forceful Sound Slinging Almost Dada-like Shouts, Like A Poet At A Rave Hollering About The Dunes.

Following a first vinyl appearance on You And Your Hippie Friends' 'A Very Nice Combinado Volume Dos' (YAYHF 03) earlier this year, Mexican producer PAULOR aka Paulo Rodriguez gets ready for his first solo outing with Hippie Dance's sister label.

Curated by Rebolledo, the imprint has established an impressive talent pool within only three releases, including both veteran and upcoming talent such as Sebastien Bouchet, El Güero, Zombies In Miami, Beyou, Roman Flügel and more. It's a testament to the label's chiselled vision that an idiosyncratic and diverse group such as this is able to sustain individual approaches to electronic music while weaving a coherent sonic tapestry from all its ingredients, the whole quite organically being more than the sum of its parts.

Now, it's up to PAULOR to flesh out his own sound cosmos on You And Your Hippie Dance's latest 12' drop, presenting a concoction of salt-caked beats, riffing guitars and flexing bass that evokes a sense for space and untouched, psychedelic landscapes not unlike Rebolledo's very own desert funk vignettes. After 'La Race' (his contribution to 'A Very Nice Combinado Volume Dos') and the 'Discótico Desértico' remix for Rebolledo's 'Mondo Re-Alterado' (HIPPIE DANCE 10 LP) started making the rounds in tastemaker DJ sets, PAULOR caught a major moment of inspiration while performing at Monterrey's TOPAZDeluxe - which lead to the husky, hypnotic cut PAULOR'S BLUES, pièce de résistance and headstone in one, as it set the scene and also birthed enough follow-up tracks to naturally grow into a cohesive, full-blown EP.

From echo-drenched, beatless opener NEBLINA to the percussion-infused intrigue of DELIRIO EN CARRETERA, the athletic pop minimalism of AMIGOS or the slow burn of brooding mystery shuffle LUCES CALLING, PAULOR creates a unique, atmospheric sound panorama that excites minds and bodies alike. Adorned with a starry night sky, the record's cover artwork couldn't be more fitting - it's a dominant musical vista in PAULOR's work, whose vantage point is not necessarily a specific place (although all tracks were recorded in Xalapa), but a feeling of exquisite duality: the feeling of being lost between the stars, lonely and connected at the same time, a speck of dust and the center of the universe.

November 5th, 2018 would have been Charles Bradley's 70th birthday. In celebration of his extraordinary life, Daptone imprint Dunham Records is proud to announce the release of his fourth and final album, Black Velvet. Black Velvet is a celebration of Charles Bradley, lovingly assembled by his friends and family at Dunham/Daptone Records. Though chronologically the material spans Charles' entire career, this is no anthology, greatest hits or other shallow rehashing of the songs that already made him famous. Rather, this album is a profound exploration through the less-travelled corners of the soulful universe that Charles and his longtime producer, co-writer and friend Tommy "TNT" Brenneck created in the studio together over their decade-long partnership.
It features new songs recorded during the sessions from each of his three albums, heard here for the very first time in all their scorching glory: "Can't Fight the Feeling," "Fly Little Girl" and the heart-wrenching single "I Feel a Change"; hard core rarities like his funk-bomb duet with LaRose Jackson, "Luv Jones," the psychedelic groover, "(I Hope You Find) The Good Life" and the ever-illusive alternate full band electric version of "Victim of Love"; sought-after covers of Nirvana's "Stay Away," Neal Young's "Heart of Gold" and Rodriguez's "Slip Away"; and the title track "Black Velvet," a stirring Menahan Street Band instrumental to which Charles was never able to cut a vocal.


Charles was truly a transcendent singer who led a remarkable life, overcoming unimaginable adversity to achieve great success and international acclaim very late in his life. What was really special about him and made him different from everybody else in the world was how he understood his pain as a cry for universal love and humanity. He felt that if he loved enough—if we all loved each other enough—we could take away the world's pain and sadness. That is why he jumped off the stage and literally tried to hug everybody he could. It's why he took such great care of a mother that had abandoned him. It's why he sang and danced like a lunatic. It's why he screamed like an eagle. And that's why we love him.


Black Velvet is a celebration of his life, and is destined to join Charles' first three albums alongside the cannon of essential soul records for the ages.

Return of the UK producer Allen Saei aka Aubrey on the mighty Barba label is another bold statement in the discography of this well-versed artist. Building on the relationship with the Burek/Barba/Pomalo family established through remixes of Information Ghetto's "Inspiration" track (Burek 2013), DJ Stingray's "Communication System" (Barba 2015) and his solo "Clock Funk EP" (Barba 2017), for this record Aubrey presents us with a continuation of his previous Barba release, simplistically titled "Clock Funk 2" EP. As is to be expected from a guy who's been spending time in the studio for better part of the last three decades, this 12" is pure techno, in the best sense of the word. As mature and consistent as the previous record of the series, we have Aubrey building on that ground and expanding the range into more abrasive and rough on one side, and even more subtle and humane on the other. A1, titled "Clock Funk 2" is among the subtle ones. Beautiful cascading keys, glitchy synth bleeps and lead lines intertwine into a gorgeous composition grounded by a driving bassline and counterpinted with distorted ride cymbals. Uniquely sounding track which draws influences from many corners of the planet. A2, titled "Sel Moulo" sets a point for the other side of the spectrum. The heaviest and roughest, it locks the frame in which this EP works. Direct, abstract and firmly aimed towards the dancefloor, this cut is for the peak moment of the night when its combination of jacking beats and trippy leads will just push the craziness off the edge. B1, the most humane and gentle track on the EP, "Triads" is a perfect match for the A1 cut, although slower and calmer. Again, the similar approach is used, where the perfectly tuned combination of small synth and keys elements form a complex image which will stay ingrained into anyone's mind once you play it in the right moment. Again, it's hard not to reach for the word "beautiful" when describing this one. B2, Ghost Mist, is on the other hand a match for the heavy A2, but also not as intense. A repetitive affair, with abstract synth lines and disharmonic pads serving as an emotion injection just when they're needed. Common thread moving through all four cuts is an infectious groove intertwined with synth lines that would not be misplaced amongst the best examples of space-influenced techno music firmly grounded on the floor. All that, pressed onto a heavy duty 180 gram vinyl and beautifully packaged in an original artwork by local artist EmaEmaEma.

The debut release from new Scottish producer North Sea Dialect, Local Guide is a dense musical world made of uneasy ambience, shimmering distortion, subdued rhythm and propulsive melody.

Buried in its soundscapes are the echoes and surrealness of alienated life - expectant youth, distant voices and broken folklore. It's industrialised music tied together with found sound, adrenaline fuelled synthesis and the depths of late night solitude. Conceived during a move from Glasgow across Scotland and composed in isolation, a blistering sense of reality creeps through the recordings.

Local Guide is accompanied by three videos for the tracks Mossy Cyphol, Subarctic Baltasound and Gloup. The short films are haunted and illuminated by the serenity of rural freedom, the power of the sea, and the collapse of industry.

Following on from the three highly-acclaimed CoOp Presents 'Selectors Assemble' compilation EPs from the past year, it's now time to focus on some of the individual talents from the ever-evolving movement. As the international foundation grows, we invite aboard the extremely talented Neue Grafik into the fold.

French producer, instrumentalist and DJ, Neue Grafik, has been building a strong rep for himself over the past few years, releasing records previously on labels such as Rhythm Section, 22a and Wolf Music. His sound is a hybrid of jazz, house, broken beat and hip hop, all with his unique geographical flavours of African ethnicity, Parisian roots and a love for London thrown into the mix.

So to the music - two brand new tracks, 'I Miss Something' and 'Bed Stuy's Mood', complete with remixes from EVM128, Danvers, Xtra Bruk and NameBrandSound (aka label bosses IG Culture & Alex Phountzi) respectively, making this one essential package for the bruk soldiers and beyond.

In Neue Grafik's words...

"I remember the first time I was at a CoOp party and met IG - I just said something like "unbelievable party, well done! Thank you, man". I didn't expect to be a part of this brilliant family a few months after that; it's totally insane to think about it now.

I began to hang properly with the CoOp fam during a DJ session at The Flex in East London. I was so happy to live in this moment; surrounded by these talented performers, artists and producers, excitedly talking about unreleased music on everyone's USB sticks.

This EP is a personal vision of the broken beat scene and my love for that. A meeting with artists who build my own taste, with friends keeping the same vibrancy and desire for this music. 'I Miss Something' and 'Bed Stuy's Mood' are two tracks dedicated to Porte Des Lilas (Paris), and Bedford-Stuyvesant (New York). One was made in my house, the other on holiday. These two tracks, as well as the remixes from the Selectors Assemble crew, represent a real and deep friendship."

More essential music from the CoOp Presents camp, available on limited vinyl and all digital services. Don't sleep.

In the expansive sleeve notes accompanying this superb triple-album, Analog Africa founder Samy Ben Redjeb accounts, in great detail, the epic tale of Dur-Dur Band, a Mogadishu-based deep funk outfit that took Somalian radio by storm during the early 1980s. It's a remarkable story, all told, but nowhere near as remarkable as the music contained on this essential retrospective. Redjeb has managed to license both of their previously cassette-only albums, stretching them across three slabs of wax. Brilliantly played and performed, the songs mix killer American and African style funk grooves with hooky Somalian vocals, spacey synths and occasional nods towards other styles (most notably reggae on later period cut "Diinleeya" and Juju on "Salkuu Dhigey"). Simply essential.

In the sweltering North-Eastern Brazilian state of Pernambuco lies the coastal city of Recife, where Amaro Freitas is pioneering the new sound of Brazilian jazz. For the prodigious young pianist, the spirit of his hometown runs deep. From the Afro-Brazilian maracatu born on the sugar plantations of slavery, to the high intensity carnival rhythms of frevo and baião, Amaro's heavily percussive approach to jazz is as indebted to these Pernambuco traditions as it is to Coltrane, Parker and Monk.

As with many of the greats before him, Amaro began playing piano in church aged 12, under the instruction of his father, leader of the church band. As his natural talents became obvious, the young prodigy quickly outgrew his father's instruction. He won a place at the prestigious Conservatório Pernambucano de Música but had to drop out as his family could not spare the money for the bus fare. Undeterred, Amaro gigged in bands at weddings and worked in a call centre to fund his tuition. The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert, 'he completely blew my mind, I'd never seen anything like it but I knew that's what I wanted to do with a piano'.

Despite not actually owning a piano, Amaro devoted himself to studying day and night - he would practice on imaginary keys in his bedroom, until eventually striking a deal with a local restaurant to practice before opening hours. By the age of 22 Amaro was one of the most sought-after musicians in Recife and resident pianist at the legendary jazz bar Mingus. It was during this time he met and begun collaborating with bassist Jean Elton and the pair went in search of a drummer. 'We kept hearing about this crazy kid who was playing in 7/8 or 6/4, we knew we had to meet him'. Hugo Medeiros joined, and the Amaro Freitas Trio was born.

'I want to show the simplicity of music, to break the stigma that the piano is for a particular social class. Yes, it's a difficult instrument, which many people do not have access to, but with it you can express everything.'

Following his critically acclaimed debut album Sangue Negro (black blood), the title of his sophomore release Rasif is a colloquial spelling of Amaro's home town. A love letter to his native northeast, Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti and Moacir Santos.

Preferring to see the piano as a though it were a drum with 88 unique tones, Amaro's intelligence and emotion intertwine on every track, from album opener 'Dona Eni': a scorching reconstruction of the baião rhythmic structure, played in seven measures instead of two, to the serene homage to the coastal reef and its ecosystems on the title track 'Rasif'. 'Aurora' is a suite of three parts, representing the sun's journey from the light and soft of the rise, to the aggressive dissonance at its midday zenith and descending chromatic cadences as the sun sets.

Due for an Autumn release on Far Out Recordings, Rasif sees Amaro Freitas take a deserved step onto the world stage. Having already made a name for himself in Brazil, Amaro and his phenomenal band will embark on their first European tour later this year.

Amaro Freitas - Piano

Hugo Medeiros - Drums & Percussion

Jean Elton - Double Bass

Henrique Albino - Baritone Sax, Flutes & Clarinet

All compositions by Amaro Freitas

Produced by Amaro Freitas

Recorded by Bruno Giorgi @ Carranca Studio, Recife, Brazil

Mixed and mastered by Bruno Giorgi @ Quarto Studio, Rio de Janeiro, Brazil

Executive producer and management: Laercio Costa

Continually pushing the boundaries of jazz, funk, electronic music and disco, as expressed through their signature samba swing, the Brazilian mavericks have recreated the energy of those spellbinding seventies' sessions which would launch them into international recognition and confirm their status as one of Brazil's most successful bands. Since the passing of keyboard maestro Jose Roberto Bertrami in 2012, remaining members Ivan Conti and Alex Malheiros have worked tirelessly to keep the spirit of Azymuth alive, and to continue the legacy of Bertrami's genius. But Fênix also marks a new era as the Azymuth trio is complete once again, by special guest keyboardist Kiko Continentino. A hugely talented pianist, composer and arranger, Kiko has worked with the likes of Milton Nascimento, Gilberto Gil and Djavan, and the fresh energy and inspiration he has brought to the group is undeniable. The album also features Brazilian percussion legend Robertinho Silva, one of Brazil's most important and influential players.

From the disco-carnival title track to sunny jazz-funk head-nodder Orange Clouds, through to the deep-space samba Corumbá, Azymuth have drawn upon five decades of consummate craftsmanship - which coupled with their endless desire for experimentation and improvisation - has resulted in a 10-track journey encapsulating the full spectrum of Azymuth's brilliantly coloured expressionist fusion. With all the cosmic energy and masterful musicianship you'd expect from the three-man orchestra, Azymuth rise from the ashes!

Recorded in Rio De Janeiro in May 2016 with producers Daniel Maunick and Joe Davis the official release date is set for December 2016, on super-heavyweight vinyl.

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

Four-and-a-half decades after the event, saxophonist Charles Lloyd's Love-In, recorded live at San Francisco's Fillmore Auditorium in 1967, the counterculture's West Coast music hub, endures as much as an archaeological artifact as a musical document. From sleeve designer Stanislaw Zagorski's treatment of Rolling Stone photographer Jim Marshall's cover shot, through the album title and some of the track titles ("Tribal Dance," "Temple Bells"), and the inclusion of John Lennon and Paul McCartney's "Here There and Everywhere," Love-In's semiology reeks of the acid-drenched zeitgeist of the mid 1960s, a time when creative music flourished, and rock fans were prepared to embrace jazz, provided the musicians did not come on like their parents: juicers dressed in sharp suits exuding cynicism.




It is likely that more joints were rolled on Love-In's cover than that of any other jazz LP of the era, with the possible exception of saxophonists John Coltrane's A Love Supreme (Impulse!, 1965) and Pharoah Sanders's Tauhid (Impulse!, 1967). Chet Helms, a key mover and shaker in the West Coast counterculture, spoke for many when he hailed the Lloyd quartet as "the first psychedelic jazz group."




It is to Lloyd's credit that, at least in the early stages of his adoption by the counterculture, he resisted dumbing down his music. The adoption stemmed from Lloyd's espoused attitude to society, his media savvy, his sartorial style and his sheer nerve in playing jazz in the temples of rock culture. He took the quartet into the Fillmore West three years before trumpeter Miles Davis took his into the Fillmore East—as documented on Live at the Fillmore East, March 6 1970: It's About That Time (Columbia)—by which time his pianist, Keith Jarrett, and drummer, Jack DeJohnette, were members of Davis' band (although Jarrett didn't appear at the 1970 gig).

Making his first appearance on the label, Argy lays down a three-part heavyweight production for Crosstown Rebels this October. The Greek producer effortlessly showcases his unique style and ability to create music that is sure to create heat on the dance floor.

Title track Worthless opens up the EP with a bouncy groove and sensual, breathy male vocal. Next, La Vida introduces a more percussive-led beat, creating an industrial soundscape. Get Ready closes the EP with its darkly hypnotic beat, lending itself to a more tribal aesthetic.

The word 'diverse' is most definitely one that can be used to describe Argy. Having been in the game for more than a decade, he's released music on Poker Flat, Cocoon, Objektivity, Desolat and Cuttin' Headz. He's worked alongside a range of key figures in the industry including Kerri Chandler and Manuel Göttsching. Argy has proved his prowess as a DJ holding down residencies at Amnesia, Space, Destino and Pacha as well as regular appearances at Berlin's Panorama Bar.