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Mehmet Aslan returns to his own Fleeting Wax imprint, in order to deliver the first in a series of releases as part of a new project, ghost station, including a collaboration with fellow Turkish singer, songwriter and vocal producer, Idil Mese.


Efsun, translating to enchantment in Farsi, is the sound of Idil Mese transforming an understated, somewhat folksy instrumental of Aslan's into a bewitching and subtle musical spell. Initially tense,
Idil Mese's vocal spell wraps beautifully around a brittle guitar motif, inches above a sea of atmospheric ambience. In it's second half, synthesis and sitar unite, taking efsun into more revelatory territory, employing a playful melody and warm, cosmic textures.

Meanwhile, on 'ghost station', from which the project takes its name, layers of meaning and recording slowly unravel, revealing a compelling soundscape. Recorded in one take, and completed across one night, 'ghost station' began with Aslan and his sampler surfing the busy radio waves of Berlin, eventually settling on a beautiful score broadcast on one of the city's classical stations. Just as soon as Aslan had the frequency on lockdown, the signal disappeared unable to be retrieved quickly enough, if ever. Loosely inspired by the work of Swiss visual artist and musician Pipilotti Rist, the track instead unfolds woozily like a dream, undulating through offbeat bleeps, ghostly voices and improvised swells of noise, while still maintaining it's own quietly propulsive groove.

Sounding more like himself than ever on his own Fleeting Wax outlet and incorporating an impressive range of musical techniques over just two tracks, 'ghost station' further establishes Mehmet Aslan as a restlessly inventive musical talent. -Text by John Thorp

Gel Abril & Oskar Szafraniec joining the Cardinal family! Seb Zito & Ilario Liburni support with a remix! Enjoy

As I'm sure you're aware D&B doesn't pass through state51 that often but here we have a 12" that can quite rightly sit proudly amongst our more usual esoteric offerings.

With legendary label Juice, Rhythm Rollers present these 2017 remixes of Undercover Agent's 1994 classic 'Babylon'. The original is without a doubt one of the most highly rated jungle tracks and this time round DJ Future has delivered an absolute tearing remake and brought it into the 21st century. On side B, for the original heads who loved the first press Blade Runner has rebuilt the original masterpiece from scratch.

DJ support: Andy C, Randall, Uncle Dugs, Ray Keith and many more.

More CULT EDITS from IÑIGO VONTIER, PIETNEV, DREEM LION, and ALEXI LE FAN. Everyone loves these. No one has them. Only edits in circulation requiring a vow of silence and a paid subscription. Cannot be stolen, shared, or caned to death. Rename the track titles in a random internet café for maximum secrecy/exclusivity/emotional well-being. CULTED002 - blood in, blood out.

Ryan Parks is a mixed media artist, music producer/performer,
and CEO/founder of critically robust cassette tape label, HARSH
RIDDIMS. He was born in College Park, GA and grew up skating
all around Atlanta, soaking up the dense kaleidoscopic cultural
ooze found both in and outside the perimeter of Atlanta. Aside
from his visual practice, which usually takes shape as mixed
media (Jacob Lawrence/Matisse inspired in my opinion!) collage,
he has been releasing music as FIT OF BODY for seven years. Fit
of Body crafts soulful house ballads that draw on freestyle, Bell
Hooks, old school Detroit techno, jazz, and southern rap passed
through a No Wave paradigm. Fit of Body has previously released
work on CGI, DKA, Ransom Note, and his own label,
Harsh Riddims.

Helsinki's We Jazz Records presents "Y-OTIS", the debut LP from Berlin-based Swedish saxophonist/composer Otis Sandsjö, joining forces with keyboardist Elias Stemeseder, bassist Petter Eldh and drummer Tilo Weber. The album is a forward-reaching, multilayered collection of eight originals penned by Sandsjö and produced by Sandsjö and Eldh. What you get is a form of "liquid jazz", born in an era where the understanding of jazz as a musical language has evolved way beyond the concept of the previous "modern". Informed by hiphop and electronic music, "Y-OTIS" is pure jazz in that the quartet stays true to its constant mission of creating a new form of musical communication. Sandjö's circular sax riffs, the album's rich production touch, and the chopped-up jazz form creates a musical concept which stays melodic and beat-laden while being "free" right to the edge of avantgarde. It's as if the music is sampling itself, constantly keeping ahead of the curve in the musical lineage of jazz.

Otis Sandsjö (b. 1987) hails from Gothenburg, Sweden. He is known previously for example for his inspired work on singer Lucia Cadotsch's globe-trotting trio formation "Speak Low", also featuring "Y-OTIS" co-producer and bassist Petter Eldh. Elias Stemeseder was dubbed one of the top 15 young European musicians to watch by All About Jazz in 2017. Tilo Weber ranks among the most creative young drummers in the scene. Stemeseder is currently based in New York, while the remaining three musicians here live in Berlin. Live on stage, the band performing the material on the new release is called Y-OTIS.

Sun yellow vinyl, comes with download.

Airplay: Worldwide FM

Extremely hot on the heels of 'A Library Excursion', Earl Jeffers teams up again with Don Leisure, his partner-in-beats for another EP of Darkhouse Family goodness. Following on from their highly acclaimed debut album 'The Offering' from late last year on First Word, the Cardiff duo have hand selected a group of friends, dons and legends (including DJ Spinna & Kaidi Tatham) to serve us up 'An Extra Offering'. Five remixes curated by the crew.

For the refix of 'The Accession' (which originally featured Kamaal Williams, Dave Newington and Daf Davies from Boy Azooga), label-mate Kaidi Tatham kicks off with some down-low bottom-heavy boom bap, before switching up the tempo mid-way for a blast of his inimitable jazz-funk bruk boogie.

Next up we're honoured to have not one, but TWO tracks from the Brooklyn legend, DJ Spinna. His Galactic Soul rub of 'Another World' flips the original into a deep soulful 4/4 house cut, featuring the lush vocals of Esther (and one Charlotte Church on backing vocals, pop fact fans).

Then there's DJ Spinna's Galactic Funk take on 'Just So You Know' with the marvellous Vanity Jay on vocals. This one is on the same mid-tempo tip as the original, but with that unmistakable Polyrhythm Addict flavour of big kicks, crisp snares, hench bassline and sweet spacey synths.

For the 'GAEA' remix we keep it Cardiff and introduce the man like Alfie Swan. Doubling up the tempo of the original, this adds some seriously wavy sonics and flips the groove entirely, creating a seriously innovative cocktail of riddims. One for those not shy of some jazz ethics in the dance.

And to close out this offering, Andromeda Jones lays down a ridiculously delectable broken beat mix of 'Journey To Love', this one again featuring Vanity Jay. No messing with this one, this is straight dancefloor fire, transforming the hip hop soul track into a future boogie heater. One for the ravers.

This EP illustrates once again Darkhouse Family's wide range of influences and sounds, as selectors and as music makers themselves, and is no doubt one that will stay in your box for a very long time...n

Way back in 1967, an animated superhero cartoon was released into the world. It was created by Grantray-Lawrence Animation and was based on a web-spinning, crime fighting blue and red dressed character that had originated in1962, in Marvel Comics by Stan Lee and Steve Ditko. This amazing series (that we're not allowed to mention the name of for legal reasons) ran on ABC TV in the USA, then Canada, then a few years later started to spread its web further, running here in the UK throughout summer holidays, after school and possibly early mornings at weekends in the late 1970s. The series then got released on VHS video (and probably Betamax too) in the mid 1980s and still continues to spin its animated magic around the world through further broadcasts, YouTube and DVDs.

The series was notoriously low budget, with animated errors everywhere and numerous scenes, sequences and backgrounds being re-used all the time, often across the same episode. Even a certain spider logo on a costume would appear with six legs, then eight legs later on, then back to six again in the same show.

Series One opened with a newly written spider theme, a classic, hooky song all about doing whatever spiders can, and had, as Big George (RIP) once pointed out to me, a set of session singers falling slightly out of time with the backing track after the first verse. Series One also featured background music by jobbing composers Bob Harris and Ray Ellis but these cues and master tapes are now believed to be lost.

After Series One the company Grantray-Lawrence went bankrupt, so the amazing spider series (that we're not allowed to mention for legal reasons) was taken on by producer Steve Krantz. He brought in new talent, including animation director Ralph Bakshi who later went on to turn a Robert Crumb strip cartoon into the feature Fritz The Cat. Krantz also slashed the already cripplingly small spider budget, and brought in the idea of using economic library music. Here, thanks possibly to an independent sync agent (it has been suggested that a company called Music Sound Track Services may have been the one) production turned to the KPM catalogue. This was one of the few really established library catalogues around at the time with a modern edge, it was full of fabulous, modern dramatic music tracks - often all on the same LP. But more importantly all the tracks were far longer than the one minute musical cuts that many of the fledgling USA library companies were issuing at the time. Not only would this KPM music be efficient, affordable and very easy to use, it would also mean syndication worldwide would not be held up by any future musical issues. Krantz produced two amazing spider series (that we're not allowed to mention for legal reasons), and both were smothered with KPM music. In fact barely a spider second goes by without music playing in either the background or foreground.

For many years I - and many nostalgic others - have been thinking about putting this vinyl album together. For many enthusiasts this really is formative music - a junior foray into hip swinging crime jazz and esoteric musical grooviness. I've also read on line accounts by DJs from WFMU on the trail of original spider master tapes, and there's even a whole forum dedicated to Spidey-Jazz'. Then recently I was looking at an old spider tracklist and realized that several of my favourite KPM cues were there including Syd Dale's Hell Raisers' and Walk And Talk', both from one of the most elusive and desirable KPM albums of all time (yes, you just try and find yourself a copy of KPM 1002 right now), so I decided to push on and get the album made.

So, what features on this Spider-Jazz Lp Well it's music from the amazing TV series we are not allowed to mention for legal reasons, BUT, not music from Series One. No, but it is all from Series Two and Series Three. From looking at archival cue sheets, over 50 tracks from various early KPM 1000 series albums were used across episodes. I've distilled this down into one exciting and enthralling LP, and if this works a further Spider Jazz album may well swing in to production. If you're interested (and I'm sure you may well be) cues here came from KPM1001, KPM1002, KPM1015, KPM1017, KPM1018 and KPM1043 and were composed by master library composers of the era - Dale, Hawkshaw, Hawksworth, Mansfield etc.

And if you are listening over there in the USA, you may well recognize many of the cues here not just from the amazing TV series (that we're not allowed to mention for legal reasons) but also from classic 1960s and 1970s NFL highlight shows that we are allowed to mention.

Shunter, the new album by the Berlin-based duo Driftmachine, is their most ambitious work to date. Although instantly recognizable, featuring their trademark Kosmische and Avant-garde sounds, it also presents a new journey into abstract and hallucinatory worlds. Filled with eerie textures, their electronic visions are darker and more vaporous than ever.

Driftmachine's fourth album (also the fourth one for Umor Rex) offers a new perspective on their ample sound spectrum and systemic narratives. Shunter overlaps and mutates their post-industrial-dub motives. It was conceived and produced in search of a very different kind of imagery, with sections of noise and field recordings intersecting with analogue sounds, a mixture of contrasted fragments, where the usual creative process of modular-synthesis leads Gerth and Zimmer to the discovery of a dark, hazy and diffused experience. There is a protean quality to the rhythmic elements, with tempos constantly contracting and expanding, a departure from the mono-beat-rhythms of "Nocturnes" and "Colliding Contours". The first half of Shunter is made of four pieces named "Shift", although individually separated, they are conceptually linked and can be understood as a sort of score. Imagine a late stage of the industrial revolution, with the interaction between heavy machinery and human beings. The second half of the album is not completely separated, but it has three other substantial melodic moments. Somewhere between the hauntological and the realms of archive-music, a huge range of subterranean beats and distinct patterns dotting the landscape of early electronic and post dub music.

All songs written & produced by Driftmachine (Andreas Gerth & Florian Zimmer), Berlin.
Mastered by Rafael Anton Irisarri. Design by Daniel Castrejón.

Colin Potter Is A Sound Engineer And Musician Currently Based In London. He Has Worked Within The Fields Of Electronic And Experimental Music For Over 35 Years, Collaborating With The Likes Of Current 93, The Hafler Trio, Organum, Andrew Chalk, And Most Notably As A Key Part Of Nurse With Wound Alongside Steven Stapleton. He Started The Esteemed Icr (integrated Circuit Recordings) Label In 1981 Releasing A Clutch Of Wonderful Home Recordings Of His Own, Over Half A Dozen Small Run Cassette Only Releases.'the Where House' Was Recorded In 1981 At Ic Studio, A Converted Wash House In Sutton On The Forest In North Yorkshire. The Album Was Self-released On Cassette That Same Year Via Icr. This Expanded Double Lp Edition Features All 13 Tracks From The Original Tape On Vinyl For The First Time Plus 4 Bonus Tracks. 'the Where House' Is A Prime Example Of Early Uk Post-punk/industrial Electronic Music. combining Dub, Electro, And Krautrock Rhythms With Psychedelic, Kosmische Noise In Multiple Mutations Ranging From Almost Pop-wise Songcraft To Horizon-scanning Motorik Flights,' Says Boomkat. Most Of The Damage Was Done By Colin Using Guitars, Synths, Sequencers, Drum Machines, Percussion, And Modified Toy Keyboards With Fairly Primitive 4-track Recording Equipment. He Was Assisted On Some Of The Tracks By Stephan Jadd-parry (guitar, Percussions), Jon Caffery (guitar, Bass, E-bow, Percussion) And Nick Jackson (synth). All Songs Have Been Remastered For Vinyl By George Horn At Fantasy Studios In Berkeley. The Record Is Sleeved In A Replica Of The Original Cassette Artwork By Jonathan Coleclough. Every Copy Includes A Double Sided Postcard Insert With Notes From Colin.

Greensleeves classic dancehall re-issue on vinyl 12 inch backed with "Trench Town School"

Soul Jazz Records' latest album 'Yoruba! Songs and Rhythms for the Yoruba Gods in Nigeria' is newly recorded in Lagos, Nigeria. The album is co-produced by Soul Jazz Records label head Stuart Baker and Laolu Akins (founding member of the legendary 1970s Nigerian Afro-Funk/Rock group Blo). Yoruba! features an array of local master drummers led by Olatunji Samson Sotimirin and singers (featuring the lead vocals of Janet Olufanmilayo Abe) performing heavyweight Afro-rhythms, with talking drums, Bata and Dundun drums and a mass of percussion in these deep spiritual and sacred songs used to honour and worship the traditional and ancient Yoruba gods in Nigeria, West Africa. 
The enormous impact of Yoruba and West African music and culture is worldwide - from the first Afro-centric explorations of African-American jazz musicians in the 1950s such as Art Blakey, Randy Weston and Dizzy Gillespie, the explosion of Nu Yorican Latin music in New York City starting in the 1960s - Mambo, Boogaloo, Latin funk and soul - through to the sacred and powerful Afro-derived music of the religions of Santería in Cuba, Candomblé in Brazil and Voodoo in Haiti, which all came into existence on account of the Atlantic slave trade which began over 400 years ago. On a wider scale West African music remains the primary root of all African-American musical forms - from New Orleans jazz to Bronx rap, gospel, soul and more.
This album features songs honouring the Nigerian gods of the Yoruba traditional religion - Yemoja, Obatala, Ogun, Sango and others - as well as a selection of instrumental cuts focussing on the Bata and Dundun drums. The album comes complete with extensive text and photography included in the 40-page outsize booklet/gatefold double vinyl + inners showing the influence of Yoruba culture throughout the world and the social and historical context for the music contained here.
Watch out for a limited edition remix of the project by Osunlade, also forthcoming on Soul Jazz Records.

For its seventh offering, Sol Power Sound taps into the pulse of the French Antilles for Tambours de Martinique, a blistering EP of original and remixed versions of rare, drum-centric dance floor workouts. Licensed directly from the legendary Martiniquan label Hibiscus Records, the EP features cuts by Eugène Mona and Max Ransay, two of Martinique's most storied musicians. With reworks by Spanish DJ and producer Kiko Navarro and the Sol Power All-Stars, this one will be in the record bags of discerning DJs all summer long.

The A side features 'Lizo' by Eugène Mona, an essential figure in the folkloric music of Martinique based on the bamboo flute, bèlè drums, and the island's specific variant of Antillean creole. Lizo was originally released in 1990 on Mona's Blanc Mangé Blan Manjé LP and is anchored by frenetic percussion, a driving bassline, and house-evocative key stabs. Kiko Navarro's remix takes an already dynamic cut to deep Afro-space with thumping drums and a bubbling synth-bass groove that will put dancers through their paces.

With its powerful combo of urgent brass and ensemble vocals, Max Ransay's 1988 recording of the traditional Martiniquan folk song 'Ti Kanno' fills the B-side. 'Ti Kanno' was previously recorded by Ti Émile, Ransay and Mona's legendary forebear. Full of surprises, Ransay's version is a sonic melting pot of hand percussion, horns, unexpected synth lines, and bass. The Sol Power All-Stars edit fills out the low-end thump and teases out the groove for maximum impact.

Two of Russian electronic music's rising stars, Phil Gerus and Alexander Lay-Far, invite you to join them at the Solitary High Social Club. While table service is provided, they'd much rather you throw caution to the wind and head to the dancefoor.
Before joining forces in the studio, both Moscow-based musicians have delivered a string of memorable solo productions. Lay-Far has previously released a wealth of material on such labels as Local Talk, City Fly, Lazy Days and 4Lux Black, while synthesizer fetishist Gerus has showcased his electrofunk and disco-fred cuts on Futureboogie Recordings, Sonar Kollektiv, Public Release
and Superior Elevation Records.
The fve tracks that make up Solitary High Social Club deliver a perfect marriage of the two producers' distinctive solo styles, combining the rich musicality of Lay-Far's house productions with the spacey, intergalactic electronics of Gerus's discoid adventures. In many ways, it's a marriage made in heaven - or in Lay-Far's celebrated In-Beat-Ween Studio, at least.
The duo's spacey and melodious musical fusion is arguably best exemplifed by lead cut City 2 City, Star 2 Star', a widescreen, mid-tempo disco epic rich in tactile Rhodes riffs, supernova synth solos, delay-laden drum beats, tumbling melody lines and heavy analogue bass. Fittingly, the track returns in Reprise' form - think sweeping, weightless ambient bliss - to round off the EP.
Elsewhere, the duo provides further proof of their combined musical talents.
Check, for example, the gentle drum machine electro beats, cascading new age melodies and sparkling, stretched-out synthesizer chords of the impeccably beautiful Am I Tripping', or the devilishly percussive, mind-altering brilliance of Love Life', where mutant electro bass, wide-eyed chords and alien melodies rise above a heavy, Afro-infuenced groove. As for Snowfakes On Her Lips', you'll struggle to fnd a more confdent and positive dancefoor workout all year. Blessed with killer piano parts, darting analogue synth-bass and a range of disco-tinged musical fourishes, it's by far and away the most celebratory moment on an already happy-go-lucky EP. It confrms, too, our initial hunch: at the Solitary High Social Club, life is always good.

Sing a song fighter have never been more proud and happy than to finally announce and release this unissued and unheard fantastic recording South African in exile Johnny Dyani was one of the greatest bass players. Played with Don Cherry, Chris McGregor, Archie Sheep, Dollar Brand / Abdullah Ibrahim etc etc. He also made many great albums as a bandleader. And a few rare minimal albums where it was mostly him and his upright bass. He died way too early, in 1986. Karl Jonas Winqvist (Sing A Song Fighter) ranks some of Dyani's works ("African Bass", 'Witchdoctor's Son" with Okay Temiz and "Good News From Africa', with Dollar Brand) as "the most natural, creative musical force there is'. KJW investigated for years if there was more recorded Dyani material waiting to be heard. And where After e-mailing endlessly with the National Radio Museum in Switzerland he finally found what he was looking for.In 1978 graphic designer Niklaus Troxler arranged the great Willisau Jazz Festival in Switzerland. A lot of legendary artists like Max Roach, Jan Garbarek, Elvin Jones and Don Cherry were performing, and Johnny Dyani was one of them. He did this rare solo concert with some of the material that two years later would end up on his great album "African Bass". This LP contains the concert from beginning to end, showing Dyani at his very best on piano, gong, bass and vocals. Spiritual, adventurous and truly free,beautiful music.Gatefold cover, with extensive liner notes from Francis Gooding and Niklaus Troxler

"Soundboy A-Go Dead Tonight!"

SKRSINTL Crew load up their dub boxes deep and deliver a wide-ranging, rapid-fire display of their unique vision for musical murderation. Pulling the best from their clashes and world travels They weave together a bewildering barrage inna dance leaving a soundboy downright dazed and dusted. And yet within this deadly encounter, there is deliverance When the smoke settles, unscathed, only Life remains Sekkle urself in this Infinity; tune can't run out.

Surface are back after a 5 year break with the first 65d Mavericks ep in over ten years ! With many struggles, false dawns and respectfully one man down, the long-awaited return of the 65d Mavericks shocks and awes with output as bizarre as ever!
Included are 4 deviations of the techno template, ranging from the spoken word rage of False Prophets on 'Notions of Progress' to the insane techno jazz workout of A2's 'Cosmic Drift'. 'You Lost Your Mind' goes abstract with live bass guitar and vocals while B2's 'Immovable (Dub)' throws down the angry man dub vibe.
Rebelling against the safety of the current scene and pushing the sound once more, expect more far out Surface releases from friends like Claude Young, Rich Oddie and new project 'The Downfall of Society' (Simon Shreeve + Nick Dunton) amongst others in the coming months.

When it comes to soulful house, Detroit native Alton Miller is about as ingrained as it gets. Peacefrog, Planet E, Moods & Grooves, Mahogani and Sound Signature have all endorsed his talents and with an album looming later in the year, Waella's Choice sow the seeds with 'All Things Good'. Club music for the sensitive souls, with some arresting spoken word poetry and even a broken beat deviation.'All Things Good' is the fourth release from London label Waella's Choice, following Hanna, RANGEr and the London on Key compilation.

For the last decade, Argentina has become the epicenter of a musical explosion that characteristically blends folk music from the surrounding Andes and electronic beats. The artist arguably responsible for its emergence on a global platform is one named Chancha Via Circuito- a Buenos Aires native named Pedro Canale whose first album Rodante (2008) opened the floodgates by pushing the borders of Cumbia listeners weren't even aware existed. He's gone on to release other highly acclaimed albums such as Rio Arriba (2010), which Resident Advisor described as 'aural magical realism', and Amansara (2014), which catapulted him onto acclaimed international stages and received praises from Pitchfork to the New York Times.

Four years later, in the midst of some very notable global turbulence, Chancha Via Circuito brings us his highly anticipated new album Bienaventuranza- a word that essentially means bliss. Replete with his signature touches of Andean instruments (think lots of flute and charango), the folkloric elements on this album blend fluidly with danceable and digestible electronic beats. He's been cooking this record slowly, with unprecedented amounts of care and in a much more collaborative manner than his past albums.

Appearing on the album are heavy hitters in the digital cumbia scene, including Mateo Kingman, Kaleema, and Lido Pimienta, all of whom contribute their highly distinguishable sounds to the natural flow of the album. Most of these collaborations came about almost effortlessly. La Victoria is a track that blends cumbia, dancehall, and a bit of mysticism- carried by Lido Pimienta's luminous voice, Colombian Dancehall wizard Manu Ranks happened to be in town and slipped into the song naturally. Kawa Kawa came from an improv jam during rehearsal one day with Kaleema (Heidi Lewandowski) and Federico Estevez (percussionist in Chancha Via Circuito). Niño Hermoso, which is lyrically a fable, sounds the way it does because Pedro saw a video of Gianluz (Gianluca Zonzini), who he knows from dance classes, singing a Pocahontas song on Youtube.

As dancefloor-friendly as it is mystical, Bienaventuranza is as Chancha as it gets- with elements from Cumbia to Dancehall to Andean Folk to Global house, crystal clear production, and collaborations that are evidently natural and genuine, the record holds true to the sound that Canale has played such a huge part in creating. Since the release of his last album, the digital folk scene has also grown exponentially. From a new generation of producers to more listeners in unassuming parts of the globe, Pedro has been humbled to see the sound develop- and proves with this album that he's grown swiftly alongside it.

A near-perfect record, White Magic was the lauded CD-only debut album by Sorcerer (Californian native Dan Judd, one half of Windsurf with Hatchback). Just in time for Spring/Summer, we present the first ever vinyl issue, released as a deluxe double LP.

Back in summer 2007, this majestic set gently nestled itself into the Balearic soundtrack-to-summer slot for many, making him a household name for Cosmic Disco heads alongside the likes of Lindstrom, Metro Area, Todd Terje, Mudd, Studio and Quiet Village. In the intervening years, exceptional producers have created vibrant variations on the dreamy, dubby, melodic nu-disco theme. Happily, the emergence of such luminaries as Jex Opolis, Harvey Sutherland, Suzanne Kraft, Tornado Wallace et al has only served to make the master - Sorcerer - sound ever more brilliant and vital.

Utilising his array of guitars, drum machines, synths, and trusty MPC, the loved-up Sorcerer sound inspires halcyon memories of warm days, endless sunsets and pure youthful abandon. Influenced by surf, 80s dance pop, acid-R&B, space jazz, krautrock, disco, dub, and am radio gold, his music maps a tour through a uniquely Californian lifestyle. Yet when music so vividly captures a vibe and a feeling, it can make writing about it appear almost redundant. Instead, to glean the full colour of what your turntable will soon gratefully radiate, we prescribe the generous soundclips presented here.

And, for a unique insight into the process behind the wonderful sounds conjured up, here's Sorcerer himself:

"White Magic is a reflection of personal freedom and discovery. Having been in bands for years, this was a chance to develop music that stood alone and for me to be in full control.

I was living alone and worked on jams whenever I could. I was highly inspired by a new openness to music as a pure inspiration, not being part of any scene. I tapped into the mixes I was hearing coming out the UK where deejays were playing "cosmic" sounds that were so strangely familiar.

I was picking up all kinds of $1 vinyl and throwing bits of it into my sampler almost randomly to see what would come out.

In my mind, I was making music to be played at my friend's Broker/Dealer Pop nights where they fused golden German techno sounds with the new disco emerging at the time. Also, I took vacations and reconnected with the Pacific Ocean where I spent so much time as a kid: it spilled out into the sounds.

Lastly, I forged a partnership with Hatchback (Sam Grawe) who was working on music in the same way. I learned so much about arrangement and the colors of music. We began recording together as Windsurf and released our own stuff. It all seems like a small glorious moment in time, so I am so excited to keep the legacy alive and I continue to work on my music with these spirits inside of me."

Lovingly remastered by the esteemed Simon Francis, cut reassuringly loud on to heavyweight double vinyl and presented in a deluxe gatefold jacket with freshly commissioned artwork throughout from original designer Rich Robinson, this limited edition of 500 copies is sure to fly.

Described by Crack Magazine as a 'hypnotic slow-burner' and noted by Ransom Note as one of the most interesting albums to emerge in 2017, not only did Dollkraut's second album 'Holy Ghost People' herald the launch of Jennifer Cardini and Noura Labbani's adventurous new label with fitting mystic gusto... It also gave us a beguiling LP that keeps on giving, exciting and inspiring over a year later. Proof can be found in these three superlative remixes. Subversive Berlin duo OTTO take the lead with a warm, Arabic twist on the album opener 'Bonnie Says' by lifting the groove with a little organ-squeezing spring while maintain its faraway haze and mystique. Accurately hyped Romanian-also-in-Berlin Borusiade follows with an overwhelming floor-ready update on 'Have I Told You'. Already a familiar face with the label, she weaves a chasm-like new-wave narrative that sucks you deep into the mix and galvanises the pundit attention she's getting right now. Finally Mannequin Records founder Alessandro Adriani joins the party with a tunnelling twist on the somnambulant aesthetic of 'Valium'. Flipping the dreams for a much darker 3am reality, it will leave your dancefloor pining for more. Don't worry, there's plenty more to come. Dischi Autunno are only just warming up...

For his third album for Far Out Recordings, London based multi-instrumentalist and one of Europe's finest saxophonists Sean Khan ventures to Rio de Janeiro to collaborate with iconic Brazilian polymath Hermeto Pascoal. Taking its title from the escaped slave settlement 'Palmares' in the Northeast of Brazil during the 1600s, Palmares Fantasy is Khan's utopian jazz message for the world, and features Azymuth drummer Ivan 'Mamao' Conti, bassist Paulo Russo, guitarist Jim Mullen, and guest vocals from Brazilian chanteuse Sabrina Malheiros, and Cinematic Orchestra frontwoman Heidi Vogel.

Like Hermeto Pascoal, Sean Khan is a self-taught musician. Never able to afford his original dream of studying at Berklee, and having been turned away from Guildhall School of Music for being 'too raw', he became disillusioned with what he saw as the exclusivity, elitism and dangerous institutionalisation of the jazz world. Yet Sean's love for music and the drive to create never faltered.

Hermeto Pascoal, the man Miles Davis once dubbed the most impressive musician in the world', is a similarly independent artist. A true maverick whose ingenuity and freedom from conventional restraints is so great that he has essentially conceived his own musical language, made him the dream collaboration for Sean.

Aspiring to inclusivity and equality also informs the message in Khan's music. Inspired by the 17th Century settlement of Palmares in Brazil's Alagoas region, which was free from the Portuguese crown's murderous exploitation of South America for a century, Khan notes his fascination with the fact that while majoritively made up of escaped African slaves, many deserter conquistadors also joined the settlement.

Hearing the deep-grooving title track with this history in mind, the listener is transported to a futuristic musical eden, with Mamao's insatiable 10/8 rhythm back-boning Hermeto's wild improvised vocals, rhodes and whistles, while Sean's harmonically brilliant sax and flute add more layers of moody, characterful expression. 'Moment of Collapse' is Sean's poetic study on the uncertainties of modern day western civilisation, delicately presented by the gorgeous vocals of Heidi Vogel and drenched in lugubrious strings and Alice Coltrane-esque harp. The two covers on the album are of Hermeto's own 'Montreux' (on which Hermeto plays solos on a teapot and a pint of water), and an uplifting soulful jazz-funk take on Milton Nascimento & Lo Borges MPB classic 'Tudo Que Voce Podia Ser' featuring the vocals of pioneering nu-bossa voice Sabrina Malheiros.

The recording sessions for the album were part of an intensive and hugely productive eight-week excursion to South America for Far Out boss Joe Davis in the summer of 2016, which also saw the sessions for Azymuth's Fênix and a forthcoming album from Uruguayan fusion legend Hugo Fattoruso.

Fantastic' Gilles Peterson

Loving this!' Opolopo

Thank you!' Sassy J

Proper! Great track.' Colin Dale

this is great!' Yannick Elverfeld (RBMA / Needs Records)

I've enjoyed Sean Khan's earlier releases, but this really seems like he's grown into his fairly considerable talent.' Mark Sampson (Songlines)

His last album was his best so far, but I think this one may be even better.' Laurence Pragnell (Soul Brother Records)

dope!!!' Kyri (R2 Records)

this is great - really cool vibe!' Sam Redmore

wonderful track - can't wait to hear the lp.' Simon Harrison (Basic Soul Radio)

This is very tasty indeed.' Gavin Boyd (Soul Has No Tempo)

Stunning!!!' Mark Milz (Further In Fusion)

Oi Oi' Samuel Lloyd (Balamii Radio)

PRESS / ONLINE

VINYL FACTORY (UK) News (Anton Spice) 09/03/18 online

SOUNDS & COLOURS (UK) News (Gabriel Gahan) 09/03/18 online

THE WIRE (UK) Review confirmed (Joseph Stanard) print

EVENING STANDARD (UK) Review confirmed (Jane Cornwell) print + online

ECHOES MAGAZINE (UK) Review confirmed (Laurence Pragnell) print

LIBERATION (FR) Feature confirmed (Jacques Denis) print + online

MUSIC IS MY SANCTUARY (CA) Premiere confirmed (Mike Jones) online

JAZZ MAGAZINE (FR) Review confirmed (Frederic Goaty) print

SHINDIG! (UK) Review confirmed (Grahame Bent) print

MUSICA MACONDO (UK) Premiere confirmed (Tim Garcia) online

RAWCKUS MAGAZINE (USA) News (Randy Radic) online

KIND OF JAZZ (UK) Review confirmed (Fernando Rose) online

TONART MAGAZINE (DE) Review confirmed (Michael Moehring) print

WORLD MUSIC NETWORK (USA) Review confirmed (Raul Da Gama) online

BADD PRESS BLOG (USA) Review confirmed (Kevin Press) online

ORKESTER JOURNALEN (DK) Review confirmed (Patrik Sandberg) print

LIVE

WORLDWIDE FM (UK) Sean Khan live session confirmed (Gilles Peterson)

RADIO

BBC RADIO 6 (UK) Gilles Peterson - Palmares Fantasy (24/02/18) link

OTHER

BRITISH AIRWAYS On board BA flights (June 2018)

With this new work Maurizio Abate recovers the discourse started with Loneliness, Desire and Revenge (2016) but with a different narrative sensitivity. The symbolic air that you breathe suggests a personal and universal experience in which thoughts and perceptions remain as enveloped in an eternal cosmic wheel. It's a condition that flows sincerely into an emphatic introspection and identification between the stasis of an inner soul and the flowing vitality of stagnant aquatic landscapes. In this direction the music of Abate always condenses multiple ranges of different emotional spectra evoked by profound naturalistic references. The airy openings of the strings, the distant whispers of the harmonica, cascades of phrasings more calm or more torrential can lead into the magnificent climax of the Nostalgia. The string arrangement for violin and cello by Lucia Gasti introduces in a dimension of idyll, in elegiac passages of touching poetry almost of chamber music but at the same time wet by the pastoral and bucolic moods of autumn landscapes, they are paintings imbued with different flavors and colours that recall the light and the candor of the Venetian tonalisms or the moving paintings full of meaning of Tarkoski. In the darkest and saddest moments the open chords are like suspensions of unresolved questions and torments, but the cathartic finale with a free and minimalist piano prelude to possible future glares, almost to perceiving that even where there's stasis the sun can still shine the hope for the new on the clearing of the pond. Remains the feeling with that stylistic "freedom of expression" dear to the visionaries Fahey and Basho, but also a clear interpretation of the expressive possibility of the lead guitar, absolutely lyrical and contemporary for refinement of the crystalline sound, which places this work in parallel with the basic acoustic tests of others great like Jim O'Rourke, Jack Rose or James Blackshaw.

2023 Repress Spice 1 is an undisputed West Coast legend, who first hit the scene after the N.W.A. and – closer to home – Too $hort explosion of the late ‘80s. As history showed, he continued that bloodline with finesse and authority. His nasal flow is menacing and strong, and fans have been consistently captivated by his ‘hood tales since his self-titled debut in 1992. If you want thematic range with your MCs, Spice isn’t that dude – he is all about crime tales and the perils of ghetto life. And he attacks that storytelling sweet spot with each new cut. Spice 1 boasted four singles by the time it was all said and done, and breezed to Gold status on the strength of cuts like the catchy “East Bay Gangster”; the heartfelt tales and truths of “Welcome To The Ghetto”; and the thick, grooving “In My Neighborhood.” He even produced the alcohol-themed “187 Proof,” another of the album’s singles, and the hands-down cleverest vocal outing on the LP. Sonically, the backdrops on Spice 1 range from plunky, keyboard-bassline funk to deeper, fuzzy ‘70s samples – and he sounds strong on top of both. “Break Yourself” is fueled with an electro-funk drive; “1-800 Spice” brings reggae flavor; and “Peace To My Nine” gets chunkier, with a well-placed P-Funk “One Nation Under A Groove” sample. Presented here on official retail vinyl for the first time since its initial release 26 years ago, Spice 1’s debut holds the test of time and carries the California gangsta flag with pride. Some colors just don’t fade.

Lithuanian based label Sodai started its journey in 2016, making it a label still in it's infancy but making a big impression. Owned by artist Gardens Of God, who started the label to create his own 'no limits' platform for his experimental sounds and projects. While at the same time a platform to give other artists the chance to also have freedom with art and music.

With releases from Raxon, Few Nolder and Alex Krell under their belt, they can announce the exciting debut from UK producer Third Son this April. 'I've been an admirer of Gardens Of Gods' music for a long time, when he asked me if I could do something for his imprint, I was more than thrilled!' adds Joseph.

'Syncope's' synths spread far and wide, making this a journey of a track, modulating and panning in and out, pushing and pulling along a percussive drive. His broad musical range can be felt in this mix, with its slightly hypnotic tones.

'Irony' has a punctuated low end, which creates a deep and dark groove. The synthetic elements in this track gain in attitude, on top of ambient pads, leading nicely into 'Bach' to close out the release. It's driving and determined bass makes the backbone of the track, with a modulating hook line, along building and expanding frequency ranges.

The whole package makes for a very strong first release from Third Son, and Sodai are excited to be welcoming him to the family.

Since his 2015 Night School debut E.P. Nouveauree, James Donadio - aka Prostitutes - has been traveling stages and rigs from Los Angeles to Berlin, from prestigious festival slots to slimy Glasgow basements, burning his own path through the modern techno and electronic scenes. On Aluminum Garage, Donadio is at his most playful, laying down unmistakably mid-tempo BPM early-electro jams indebted to early sampling before crashing the soundsystem with frantic, detourned Gabber. Unlike his previous LP for Spectrum Spools or indeed his Night School debut which rankled with austerity and minimalism, here Prostitutes is instinctive, multi-layered and unashamedly, brilliantly borrowing from myriad genres.

In past 3 years, Donadio has racked up critically praised releases on labels like Diagonal and CGI, refining his wares into a precise, bludgeoning toolkit that surprises and develops with each release. Aluminum Garage creeps into life with Born Wanderer, before a sub-heavy kick and bongo pattern blasts into a heavy break that feels like the earth moving from under your feet. With the utmost clarity, the track builds disparate layers - a white noise solo, warped sample piano chords straight from 1986 - into a Rave-o-matic climax, holding steady with the BPMs and immeasurably funky. Jah Elegant further blows apart any image we have of Prostitutes' music as austere' with a loping intro based on teased drum samples and a ghost MC. The Jungle break comes in by stealth before the heavy drop blasts the music into Drum + Bass momentum. It's both blistering fun and undeniably cheeky, a driving track that cuts up Remarc on a dimly lit table in suburban Ohio.

On Side 2, Errant Seagull takes the genre mess into techno territory though put through a heavily distorted grinder. Built around a skeleton of sampled bass guitar and thumping kick, the track layers drums upon drums, building in saturation until a searing synth strafes the criss-crossing rhythms. The effect is dizzying, insuring both a propellant, heavy forward motion and a grimey, angst-ridden climax. Before we're at the end of the track, the stereo field is so filthy with distortion and analogue muck the listener is desperate for a palette cleanser. Final track Shroud of Cellophane however, doesn't let up. With a ramped up BPM we're in a Cyberpunk Gabber club, nothing but 160 beats per minute, layers of frequency-tweaked noise and the light at the end of the tunnel racing towards us. It's sweet oblivion and we've earned it.

LYBES DIMEM is a project by visual artist and musician Lukas Rehm. With a focus on digital sound-de- sign, elaborate beat structures and the use of error, the music plays with cognitive phenomena and abstraction while maintaining an emotional refuge. LYBES DIMEM is presented in formats ranging from spatial sound experiences to sy- nesthetic shows complementing the auditive layers with visualiza- tions of real-time data, computer graphics and moving image. Lukas Rehms installative art, and compo- sitions have been internationally presented and awarded with multi- ple emerging arts prices.

SYNCLEFT CHRONEM is the first album released by LYBES DIMEM in both digital and vinyl format and accompanied by a moving image artwork. The title reflects the pro- jects interest in the potential of difference, cognitive frictions and exertion: sync = variability in the processing of auditive and visual signals, syncleft = the synaptic cleft, which is a crucial empty spa- ce in biological neural networks, chronem = the chroneme as a the- oretical unit to measure the time of

an articulated sound. Mathemati- cally clean sounds juxtapose pat- terns and transitions familiar from the realm of organic acoustics. Multi-layered noise textures ex- plore the simulated space. A tem- porary continuity is provided by percussive and melodic elements, right until the next escalation, eventually awaiting a concluding resolution.

The visual language explores dif- ferent phenomena and techniques of cognition inspired by the rhe- torics of big science (computer graphics, discontinuity of materi- al, pop cultural references). Both the moving image artwork and the graphic design of the release pay tribute to the multi-layered appro- ach of the music. The design of the vinyl cover by studio BNAG.cc uses subtractive colour synthesis to interchange between abstract for- mality and representationalism.

SYNCLEFT CHRONEM is the first release by LYBES DIMEM on SVS Records following a first encounter at the SVS residency at the 4D Spa- tial Sound Institute in Budapest.

Here We Are Releasing The Second Album Of Cologne Born Producer Thyladomid Who Is Familiar To Many Through His Work On Hamburg Label Diynamic Which Has Lead Him To Perform Around The World, Together With Artists Such As: Adriatique, Solomun, Kollektiv Turmstraße, Hosh, David August, Stimming, And Many More. More Then 30 Minutes Playing Time, 6 Tracks And Artwork By Florian Kramer Offer A Lot To Discover. Thyladomid Is Famous For His Forward Thinking Deep Melodic Dance Music Which Earned Him Respect And Support From Many People Of The Scene And Evolved Also In Cooperations With Adriatique And The Singer Mahfoud. You Can Find Two Tracks Featuring Mahfoud On The Album. With His First Album "interstellar Destiny" In 2015 Thyladomid Has Already Changed Towards More Introspective Music And You Will Hear He Has Taken That A Step Further Here. In Comparison To His First Album, "places" Refers To Different Places Which Inspired Him To Write The Album And Offers A Higher Level Of Complexity In The Making Of Music Which Has Helped Thyladomid To Enhance The Moody Quality In A Dazzling Way Sometimes Even Spine Tingling When You Let Yourself Go To Explore The Abundance Of The Trax. As He Said In His Own Words: - the Albums Intention Was That Of An Organic Produced Album With Different Moods. Instruments Such As Piano And And Violin As Well As Field Recording Bring Alive A Special Quality. The Bouncing Of Stones On A Frozen Pond Recorded With Multiple Microphones Suggest For Example An Authentic Spacious Quality. The Self Recorded Percussion, Sometimes Quite Exotic Were Included In All Of The Tracks. The Combination Of Synthetic Sounds With Traditionally Instruments Was One Of The Big Challenges For Me. The Piano And Prophet 6 Und The Moog Sub37 Were The Main Instruments Used For The Album'. Thyladomid Started Working On The Album 2 1/2 Years Ago. His Classical Training On The Piano Helped To Quickly Come Up With A Musical Theme Which Is Based On Different Tonalities Which Were Then Linked To Each Other And Which Actually Helped To Structure The Whole Release. The Good Weather In Summer Was A Good Inspiration And Finally Led To The Idea To Dedicate Tracks To A Certain Place, A Place Which Means A Lot For Him. From That Idea The Title Of The Whole Album Derived: "places ". "a Little Church In Amsterdam" As He Says "is Such A Track Encouraged By The City Of Amsterdam I Love And Respects So Much And Actually Have Spend So Much Time In. It Is A Track I Played Outside In My Garden To Friends And Which Works Perfectly For Me.' "a Little Church In Amsterdam" Is A Track Where Melodies Bloom And Flourish. It Feels Like Zooming In On Nature Grasping A Time Lapse Symphony. "blossoming Limburg Ft Mahfoud" Was Born In The Capital Of Limburg Which Is Located In The South Of The Netherlands And Reflects The Summer Of 2017 And Was Recorded In A Warehouse. It Reflects The Intimacy And Synergetic Level Between Mahfoud And Thyladomid. The Fantastic Deep Vocal Track Is Spiced Up With Lots Of Acoustic Details Which All Happen In The Background But Effectively Surface To Pull The Listener Into His World. "night Owl" Is A Lyrical Dreamy Piano Piece With A Melancholic Note And An Ear For Details. Acoustic Finesse Presented On An Episodic Scale. We Guess The Track Was Influenced By The Works Of Four Tet Or Pantha Du Prince. "kollwitzplatz" Is A Small Park In Berlin's Prenzlauer Berg Which Was Thyladomid's Home For 2 Years . - the Cafes And Restaurants Laced By The Alleys Of The Kollwitz District Resemble A Piece Of Home For Me And Represents The Time Of My Stay In Berlin'. Musically "kollwitzplatz" Is Full Of Life. You Can Hear Children Talking While The Piano Attracts Sounds Like Moths Are Attracted To Light. The Track Offers This Richness Of Percussive Elements And Sound Sources Creating A Stunning Complexity Which Does Not Limiting Itself But Rather Creates This Free Flow Of Acoustic Signals. You Instantly Will Feel: There Is A Lot To Discover At "kollwitzplatz". "underwater Rhapsody", The Title Says It All: It Has That Episodic, Free-flowing Structure, Featuring A Range Of Highly Contrasted Moods, Color And Tonality. What It Actually Means To The Listener Is That Grande Chords Meet Dissonances Of Sound That Fly In Like Drones Cross The Big Time Melodies That Gain A Centrifugal Force At Times... And All This Leaves You Dizzy And Creates Another Big Listening Experience As The Whole Album Is Directed To Entertain You In A Smart And Distinguished Way.






[E b2 | Places Ft. Mahfoud

Tune after tune, Coops consistently delivers truly original and unique music, his newest single 'Jetpack' taken from
the recently announced 'No Brainer' project is no exception. Twist up a paper plane and take ight with Coops as he transports us out of the mundane into completely uncharted territory with this perfectly executed audio/visual experience. At High Focus Records, we are rm believers in artistic freedom, so when an artist as versatile as Coops delivered this 14 track project, it was a 'No Brainer' to share these highly innovative creations with the
world. 'Jetpack', alongside previous singles 'That Jazz', 'Bob Dylan' & 'What You Want' can all be found on Coops'
forthcoming 'No Brainer' project which is now available to pre order on limited edition splatter vinyl, CD, cassette tape and on all digital platforms. This forthcoming record showcases Coops' versatility and creative approach to his craft displaying a broad palette of sounds and moods. The cosmic cover art shows the two sides of the brain, representing the different approaches Coops has taken when crafting this project, ranging from experimental modern soundscapes to that classic Hip Hop sound. 'No Brainer' isn't really a album but more an experiment... I made most of these tracks alongside music I'd been making for an album... People have always tried to categorise me as a "Boom-Bap artist" but that I have never been. I am constantly making music of different styles and never work on one project at a time. Sadly some of these tracks never see the light of day, even though they are still of high quality and sick, so this time it was a 'No Brainer' that I put some of these tracks out.' - Coops
Coops - 'No Brainer' is offcially released on the 27th of April 2018 on High Focus Records.

ESHU, the production collective and record label from Nijmegen are back with their next offering. Their 12th release is a various artists release that features BLM, Jburg and Steven Siwalette alongside label members Ivano Tetelepta and Jocelyn Abell. It comes on the heels of Tetelepta's absorbing dub techno album, Senang, and is another high class offering. Nijmegen based Siwalette is first, previously contributed to the label as part of SYS. His Stragglers is a sparse but atmospheric track with industrial drones and slowly turning drums taking you through a desolate factory late at night. His second offering is Alien Encounter which is just as it sounds - a spooky, unsettling bit of cinematic sound design with menacing bass and icy pads all growing in loudness until they eventually consume your mind. Lastly on the A-side, UK producer and Fear of Flying label boss BLM lays down a skeletal groove that's embellished with beautiful, yawning synths. Scattered little details and fx making this a cavernous piece that encourages your mind to wander and get lost. On the flip, Jocelyn Abell and Ivano Tetelepta cook up a heavyweight, mid tempo bit of dub techno with sharp hits and rolling kicks lulling you into a trance. Last of all, the emerging Jburg picks up the pace with a perfectly chiselled bit of rock solid dub with looping drums and icy hi hats sinking you deep into its midst. This is an excellent EP that packs in a range of fascinating sounds for both the home and the club.

Oddball space disco/fnk tracks, composed between 1970 and 1985. Big tip!
.
A master of the mixing board, from the late 60s until the 90s Bernard Estardy was the wizard of French musical recordings. As head of CBE studios, he shaped everything from Gérard Manset's concept albums to Claude François' hit singles, Françoise Hardy's delicate tear-jerkers and Michel Sardou's soul-stirrers. This giant' had his hand in the whole range of mainstream French music by making his studio a veritable playground for experimentation. His legendary album La Formule du Baron,' released in 1969, and the eight LPs of production music he made between 1974 and 1978 for Tele Music are vivid proof. In the CBE studio, which she runs today, his daughter Julie Estardy discussed his singular career.

Audio-visual artists Soundwalk Collective were granted exclusive access to the personal archive of the groundbreaking filmmaker and present their ambitious New Album and Remix EP: What We Leave Behind released on 18th & 25th May 2018.

The NYC and Berlin based group were invited to aurally explore the archive of the seminal French director Jean-Luc Godard and release their interpretations in an innovative new album What We Leave Behind. Drawing on Godard's personal collection of shot film, reel- to-reels and historical ephemera, the recordings reveal the moments before and after the camera rolls, from stage directions and on-set asides to rehearsals, false stars and outtakes.

'There are boxes filled with sounds, words, chaos, and also silence. For Godard sound is a musical composition and when I began listening to the tapes and heard his voice between takes, it was like little bits of life...each sound has its own value. It has always been part of our working practice to venture into untapped sonic territories, discover the poetics behind them, and explore how we (as humans) relate to it, it is part of a larger discourse.' - Stephan Crasneancki, Soundwalk Collective

Revealing much insight to the director's process and personality, the 6-track album will be followed by a remix EP, featuring unique reworks from Ricardo Villalobos, Jan Jelinek and Petre Inspirescu.

What We Leave Behind, and the subsequent remix EP, arrive 50 years to the day that the the Cannes Film Festival, 1968, was closed after Jean-Luc Godard, Francois Truffaut and Claude Lelouche, publicly announced their closing of the festival in solidarity with workers and students protesting across the country.

The LP features a conversation between Stephan Crasneanscki, of Soundwalk Collective, and Franc¸ois Musy, Jean-Luc Godard's sound engineer, printed on a translucent paper insert. The LP and Remix EP both contain imagery taken by Stephan Crasneanscki of the archives, which he has also filmed to create a series of mesmeric short music videos of original and remix tracks.

An international genre-bending group of artist-musicians with studios in New York City and Berlin, the three members of Soundwalk Collective (Stephan Crasneanscki, Simone Merli, and Kamran Sadeghi) formed in Manhattan to produce concept albums, sound installations, and live performances, and have worked with a diverse range of collaborators, from Nan Goldin and Patti Smith to Berghain and Zaha Hadid.

Following on from his Livity Sound 12' released last year, Via Maris swings back into action with 3 tracks of low slung shellers for Beneath's Mistry label. The EP shows a focussed yet varied range in Via Maris' production. Shelley hits hard with wigged out stomping drums, Toys shows a more sultry, introspective side and Miasma rolls with impeccable pacing. All three tracks are designed, refined and engineered for the dark, hazy basements - you can almost taste that Plastic People vibe.

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Listening back to Roman Poncet's first releases on Figure just a couple years ago, they already hinted at the producer's keen technical abilities and a knack for rich texturing, resulting in tracks that were
both carried by force and form. What he delivers now is an impressively mature debut album, ripe with personal creative realization.

On Gypsophila the French producer uses the extended format to slowly shape up a scenery of epic proportions where surprise and constant change lurk around every corner. A certain sense of
progression and evolution runs throughout Poncet's music; it invariably keeps one locked in, no matter for the opening drones of Do Not or the patiently growing Thick Vegetation, which fuses tribal
percussion and choral chants to showcase another of this LP's key features: its dense soundscape, which at once feels inherently electronic yet deeply organic, translating the abstract futuristic themes
of techno into something jam-packed and heady albeit steadily grounded - a listening experience that is as dreamy as it remains tangible.

This holds true for the highly atmospheric synth-lead pieces, such as the cinematic intro Hello You, the elevating arp-ride Epreuve or the suspended celestial groove of Atlas. But equally goes for the floorfocused
rhythms, like relentless steam engine-workout Piege or mid-album mind-trip In Aeternam. Adding even more variety and depth to the mix, the tidal title track is given its own side to explore the
sheer endless expanses of dub...
Bundling the complete range of his influences, Gypsophila marks the pinnacle of Roman Poncet's work to date. Covering a spectrum this broad in his very own way, the album proves as relevant for the
current club scene as it will be for repeated return visits.

Anklepants Introduces His Brand New Album For Detroit Undergroud, A Collection Of Ten Cuts, Made With His Very Own Arsenal Of Digital And Hardware Toys, Most Of Them Self Made And Customised For His Purposes. This Multi Faceted Artist Creates A Blend Of Twisted Ryhthms, Synthetic Melodies And Weird Textures And Noises, Yet Danceable Stuff But With Heavy Focus In Experimentation And Risk.

Pollen Opens The Release With A Weird Arabic Style Riff And Arpeggiated Clean Synths Over A Simple Beat, Until More Melodic Layers Complete The Equation.

Chowsey In Upstyled Onesy Minor Follows With Sampled And Morphed Traditional Instruments, Laying Over Destructed Beats And Rythms.

The Perfect Adult Man Relies On Atmospheric Stabs, Four Four Kick And Analogue Bubble Bassline, Dark, Grey And Melancholic.

'lé Cavé_isnt It Funny To Think Once Apon A Time People Thought The World Was Blue White Flat And Squaré' Is Made Of Twisted Samples, Asymetrical Grooves, Organic Instruments Decimated And Multiple Sound Layers.

808 Frapé Is An Homage To The Classic Drum Machine, Electro Shaped Drum Patterns, Floating Sounds And Crispy Metalic Glitches Dance With Random Sequences And Bleeps In A Robotic Exercise.

Reecard Farche The Torture Of Credo Mutwa And The Theft Of The Necklace Of Mysteries_noel Goes Again To Weird Random Bleepy Fields, Alien Grooves, Heavy Sound Processing And Glitched Details.

Industrial Kingpins Und Drachoen Is Dark, Obscure Number, Clear Rythms, Strings And Resonant Bassline Collide, The Groove Transforms To Broken Beats After The Break Bringing New Life To The Overall Feel.

Sharkblood, Sure The Sharks, Repeats This Phrase In Different Pitches Over A Solid Kick Pattern While More Vocal Layers Are Added Progressively In A Voice Madness.

Golife_refracto Relationé Again Plays With Samples In A Mad Style, Altering Every Parameter, Creating Granular Efects, Destroying The Audio Files Creating An Asymetric Tune.

Attila's Own Photos From The Shoot It's The Epilogue, In A Relaxed Mood, Sound Textures, Various String Samples Melting In Different Pitches And Crunchy Atmospheres.

Since the early aughts, Alan Abrahams aka Portable has been producing records for labels like Perlon, Live At Robert Johnson, K7, and Süd Electronic. With his new band project 'RANGEr', the releases as Bodycode and Portable and his very own label Khoikhoi to be launched this summer, the South Africa born Alan Abrahams is an artist in-between genres. 'A Life Without Notifications' is now here, marking his first release for Dial records.

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It's the return of the sexual vigilante Sex Judas and his trusted sidekick Ricky. This time in full album mode. Norwegian producer Tore Gjedrem of Ost & Kjex fame, channels his love of comix, bohemia and fascination with human vice, the unspoken, the Red Light districts, the alleys of the mind into his alter ego.

Sex Judas is no bad character but certainly says what it's author cannot.

'I wanted to create a world where any musical idea is possible, wound together by the world and word of Judas, the ultimate sinner, reborn as a child of Venus.'

Inspiration ranges from Africa to 80's NYC, from Bohannon to Quasimoto, from Norwegian New Wave to Acid House. With contributions by friends in the Oslo scene as hometown legend Dj Pål Strangefruit Nyhus, composer Ole-Henrik Moe, jazzpianist Bugge Wesseltoft, Sidiki Camara from Mali playing that beautiful Ngoni, and multi instrumentalist Ivar Snuten Winther, the album touches anything from blues, funk, disco and post-punk to IDM, acid house and electronic explorer music.

A native of the Caribbean coast of Colombia, Abelardo Carbono achieved legendary status in his country's storied ranks of musical icons by combining the homegrown sounds of cumbia with the chiming guitars of West African soukous, enormously popular with the local tropical sound systems, and drenching the whole thing in his off-kilter, surreal and slightly psychedelic sensibility.

With the exception of a well-received compilation of songs from his 1980s heyday, Carbono has been rarely heard from outside the sweaty dancehalls he still commands in his hometown of Barranquilla. Now, Names You Can Trust has welcomed the reclusive guitarist and singer back to the vinyl format with a simmering Afro-Carib beast of a cut, recorded with the assistance of Will "Quantic" Holland on rhythm guitar and Mario Galeano (Frente Cumbiero, Ondatropica) on keys and in conjunction with Lucas SIlva of Palenque Records & Polen Records. It's a true cross-generational and international collaboration that is uniquely possible via Colombia. The first release of this expansive & power packed studio session is a cover of vallenato pioneer Guillermo Buitrago's La Piña Madura. This updated take veers heavily towards Africa on a rock solid foundation of bass and drums, with Abelardo's trademark guitar and quirky vocals leading the way.