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Fusing dexterous hand-percussion, hypnotic guitar riffs & soaring melodies, Waaju rise from London’s rich cultural palette with their latest album ‘Grown’, proving UK Jazz doesn’t have to sound the way we expect it to. Led by drummer and percussionist Ben Brown (Alfa Mist, Dizraeli, Ashley Henry), the band comprises percussionist Ernesto Marichales (Jordan Rakei, Sigala), guitarist Tal Janes (Nubiyan Twist, Bahla), Sam Rapley (Fabled, Maria Chiara Argiro) and Joe Downard (China Moses, Judi Jackson), each with their own strong presence on the UK’s extensive music scene. Waaju’s refined and divergent sound connects the dots between the likes of Ali Farka Touré, Alain Peters, Los Muñequitos de Matanzas, Oscar D’Leon and Beth Carvalho. Waaju formed as a means of exploring music’s hidden connections, from trance-inducing Moroccan Gnawa to Caribbean carnival music, and embracing them to reflect different shades of London’s own musical culture. It was the band’s love for Mali’s folk music – and Ali Farka Touré’s stylistic prowess in particular – that first set the project in motion. London’s Jazz Cafe invited Waaju to reinterpret classic tracks from Farka Touré’s catalogue to sold-out audiences in 2018 and 2019. According to Brown: “Ali’s one of the best. He has such a unique sound. His playing is so gnarly. His spirit and attitude are things I always think of when making music.” Waaju (meaning ‘to urge, inspire or influence to take action’ in Malian language Bambara) blends pulsing Latin polyrhythms, psychedelic Malian blues licks and cinematic textures. Following the group’s 2018 self-titled debut record, Grown presents a group more unified and distinctive-sounding than ever with six fresh, bold compositions. The record begins with Moleman, a potent reminder of the intricacy and energy Waaju’s become known for. Gritty, clattering metal defines the landscape for sizzling builds, hinting at rave culture styles like Bashment and Jungle. Listening Glasses follows and it’s clear why this is the album’s lead single – its Afrobeat-like energy and joyful interplay between guitar and tenor sax lies somewhere between Tony Allen’s grooves, Chimurenga guitar and Headhunters’ funk. On late night jam Rollando, Joe Downard’s skulking bass frequencies rule and wonkiness reaches new heights as heavy dub grooves almost tear themselves apart. Time’s Got a Hold was co-written by Waaju and Jordan Rakei for a show together in November 2018. Kicking off side B, this version features special guest vocalist Will Heard over bouncing triplets evocative of 1970’s Sega from La Reunion. A kind of looseness found only at night, the quiet drive of Wassoulou is sparse yet purposeful. Pulling back the tempo and dimming the lights, cavernous percussion fills each corner of the room, springing back as spectral reverbs. The title and final track shows the many dynamic sides of the outfit’s far-reaching sound, with its expansive harmonies and explosive psychedelia, spanning Yoruba Andabo to Hendrix, signing off an exciting and energetic second LP from Waaju at their most scintillating.

The 1986 self-titled Aretha Franklin album was a successful one, notable for containing five R&B hits, including the number 1 hit “I Knew You Were Waiting (For Me)” and “If You Need My Love Tonight”. Aretha herself says in the liner notes that this is one of her favorite albums, and it’s easy to see why. She sings her head off on this album, and sounds like she’s having so much fun on each and every song. The album is noteworthy for the cover, which was Andy Warhol’s final work before his death in early 1987.

Aretha is available as a limited edition of 2000 individually numbered copies on translucent green vinyl. The package includes an insert.

In terms of "legendary" House records, it doesn't get any better than LNR's "Can't stop the house".
Originally released in the golden year of 1987 the Chicago duo of Larry Thompson and Rick Lenoir (with a helpful production assist from the mighty Adonis and a dope remix from Steve "Silk" Hurley) crafted this anthemic slab of chunky, funked out jacking House. "Can't stop the house" is a straightforward, stripped back club track, no special FX - just straight up party music for sweaty dancefloors. This official 2016 reissue contains 4 mixes of this stone cold classic - The vocal mix, basement mix, house of trix mix and the rapid edit, all culled from the numerous pressings that came out in 1987 - 1989. In a sense, this is "the complete" collection of this cornerstone of Chicago House. The full set. All audio has been lifted from Rick Lenoir's private collection of reel to reel tapes from his basement and remastered accordingly. This reissue has been realised with the full involvement of Thompson & Lenoir and is 100% legit! Don't snooze, this one deserves a spot in any self respecting House heads record bag or DJ set, classic material made available again for 2016 - You can't stop it!

Newcomer Hekla releases her uniquely beautiful debut album for solo theremin and voice Á through Phantom Limb Records - run and curated by former FatCat Records, Thrill Jockey and Royal Albert Hall execs James Vella, Ken Li and Mark Pearse.

A Berlin-residing Icelander, Hekla's sparse, delicate, fractal music exists within these two worlds: dark and magical as Iceland's permanight folklore; and (though beatless) as deeply sonic and intense as Berlin's electronic scene. A long-term scholar of solo theremin, Hekla (shortened from her own name Hekla Magnúsdóttir) uses her instrument as an otherworldly and highly evocative Siren-call. A spectral, wailing, howling, lamenting yearning second-voice that underpins a soft vocal delivery, as if her studio had been haunted with a chorus of ghostly backing singers.

While a handful of reference points share a similar ground to Á - Colleen's interplay of voice and instrumentation; the richly immersive filmscore work of sadly passed fellow Icelander Jóhann Jóhannsson's; 'grandmother of theremin' Clara Rockmore's close relationship with such a singular instrument; Julia Holter's intelligent and classically-aligned songwriting - Hekla's music still exists singularly. A one-off talent, emerging from no particular scene, ascribing to no particular rules.

As a creative tool, the theremin - bizarre, unique, rarely heard - can be expressive, intuitive and highly adaptable. In Hekla's hands, her instrument covers an enormous range, from skittering birdsong of high frequency chirrups and chirps, to grinding, tectonic sub-bass. We are given the throbbing, apocalyptic dread of 'Muddle' and the baroque beauty of traditional Icelandic hymn 'Heyr Himna Smiur' in sequential tracks on the album's a-side. Appropriately, she also writes that the album title - Á - is similarly multifaceted in her native Icelandic: 'a river is an á and also it means ouch like when you hurt yourself, and also when you put something on top of something you put it á (on) something.'

The album was written and self-recorded by Hekla in her home studio in Berlin around her son's daycare schedule. Icelandic super-musician Mr Silla (a part-time múm member) guests on a number of tracks. Tallinn-based engineer Jose Diogo Neves - a stalwart of Icelandic and Portuguese music - mixed and mastered Á.

James Vella formed Phantom Limb in June 2017 after eight years in A&R for FatCat Records. Mark Pearse (formerly head of contemporary music programming at the Royal Albert Hall) and Ken Li (formerly of Thrill Jockey, now of Nettwerk) joined the team shortly after.

DNGDNGDNG is Dengue Dengue Dengue's new alias for this release of extra sensory perception. The duo have projected rhythmic visions of lost continents, unknown worlds and the unseeable past and future that is present all around us. By channeling rhythmic patterns from the matrix they're able to translate the waves of radiation around us which originated at the cosmic event which created the universe. DNGDNGDNG reach deep into their sonic imagination to draw from interlocking time signatures and variant tempos. From the cosmic interference and mathematics DNGDNGDNG create a polyrhythmic theme that brings the sound of continents lost and imagined to our ears. Dengue Dengue Dengue have established themselves as one of the most pioneering artists on the leftfield electronic scene in recent years with heavyweight support by the likes of Boiler Room, Resident Advisor and Bandcamp weekly.

Strut kick off a brand new deal with the seminal independent black jazz and soul label Black Fire in May with 'African Rhythms 1970-1982', a comprehensive 2CD / 3LP compilation of Oneness Of Juju, led by Plunky J. Branch. Tracing their career from the band's earliest work in 1970 with South African exiled jazzman Ndikho Xaba in San Francisco, the compilation covers the band's journey to New York's loft jazz scene, forming Juju and releasing two landmark albums of hard-hitting percussive jazz on Strata-East. "I saw myself as a cultural warrior," explains Plunky. "We studied about Africa and tried to infuse our music with an African spirit." Moving back to his hometown of Richmond, Virginia during the mid-'70s, Plunky drew in a superb new group of musicians and vocalists and created the band's new incarnation, Oneness Of Juju, retaining the African influence but fusing his sound with funk and R'n'B on the classic 'African Rhythms' album. "We realised that, if we put a backbeat to the Afro-Cuban rhythms, people in Richmond and Washington D.C. could be drawn into it; it didn't change anything about our message." The change would lead to a series of enduring soul-jazz classics on Jimmy Gray's Black Fire label, including 'River Luv Rite', 'Plastic' and 'Don't Give Up' and their biggest crossover international hit, 'Every Way But Loose' in 1982, later famously remixed by Larry Levan. The band received renewed interest in their music during the mid-'80s as Washington D.C.'s go-go innovators cited the band as a major influence and rare groove DJs revived their albums for London dancefloors.

ORANGE COLOURED EDITION

Black Vinyl Edition

The Log and the Leeway follows a 6 year journey of personal exploration and drastic change for Bram Bosteels and his singular Kaboom Karavan universe. What entails is a sound-curiosity of rare format, following a metamorphosis that goes beyond the musical.

Early in the process, Bram was struck by the word/concept of a Leeway : the gradual departure from an intented course due to external influences. Following a boyish fascination for explorers travel journals, logbooks and the far fetched corners of the world, he could not have forseen how fitting of a title he had chosen. Drastically all of a sudden one day, completely unexpectedly, Bram experienced his own father dying in front of him from a rare disease. Shocked and confused by this intense encounter, his perspectives and musical course departed from its original path. But at the same time it was an enlightenment and a necessary influence for him to realise the initial idea and finish this album, started over half a decade before.

The ones familiar with Kaboom Karavan already know that nothing really sounds quite like it. Bram’s musical (and non-musical) universe is of the rare breed that seems to be entirely his own. Self-contained, but never opaque. Quite the opposite actually. Bram never pushes us away, instead, by listening to his music we are given view to a synesthetic wunderkammer of images, places, objects and possibilities. Distant but magnetic, alien but intimately familiar, Kaboom is folk music from another dimension. Listening to The Log and the Leeway is like waking up next to a bonfire in the middle of a swamp wearing somebody else’s clothes: You may not know how you got here, but whatever is happening seems to very directly involve YOU. What will happen?

Note from Erik K Skodvin (Miasmah): All the sounds, fabrics, instrumentation and stories that binds The Log and the Leeway together go far beyond what can be touched up in this simple writeup. As someone who have followed this journey since the beginning, and seen it shift from lighthearted fun to the most crepuscular personal experience, heard the stories behind (almost) every field recording and gone through boundless amounts of clips, visual details, notes, and inspirations – I can only say that it is with great pleasure and certain nostalgia I can present this record in full through Miasmah and close this quite extraordinary chapter. Bram is without doubt the most fascinating person I know. Like I told him in April 2020 during a trying time: “If everything fails, we´ll open a Kaboom Karavan museum” - an idea that might not be as far-fetched as it sounds.

Featuring: Cover painting by John Lurie. 16 page booklet of Musical illustration / collagés by Walter Dhoogh & Erik K Skodvin that more or less connects (or confuses) the dots between the music and stories behind. Mastered by Lupo at Loop-O

Bari's based Dj/Producer, Innocent Soul, brings his Disco, Italo and House influenced sound to French label Happiness Therapy’s eight release. Having previously teamed up with Black Loops on a few acclaimed productions on labels such as Toy Tonics, Rough Limited and Defected’s sub-division Classic Music Company, his biggest impact has possibly been with his DJing. Having found success and notoriety as a resident in Barcelona’s club scene, Innocent Soul, makes a bigger name for himself as a producer with his latest release ‘Poison’.



Opening up is title track ‘Poison’ a throwback to the 80’s dance music with an italo touch, driving percussion and mesmeric synths. This track highlights the diversity of Innocent Soul’s production style. The following track is ‘Don’t Make It’ a heart pounding, trance inducing progressive disco track with a prominent foot stomping kick drum, looping Afro-Caribbean percussion, rolling bassline and spacey synths. Next up on the release is a heater, ‘Feelin’ Love’ is a raw soulful house track with an infectious rhythm that gets your head nodding from the get go, beautiful female vocals with bright and uplifting melodies. If you’re looking for a feel good track this is it! Closing out the EP is ‘Bring Your Mind’ a bumpin loop oriented house track with hypnotic basslines, horns and vocals. The perfect after hours track.

Carac Records is a Swiss bred record label aiming on promoting young artists from Switzerland. Our first vinyl release welcomes two members of the Geneva crew “La Gourmandise”- Reyaz & L1.



This record is a club oriented ep that blends different influences; fast shuffling house with sharp synth melodies to dubby pads as well as chords to acid lines with touch of broken drum patterns.



Hope you’ll have as much fun playing these as they had creating the cuts

200 hundred copies don’t sleep on this one !

DJ Support and positive Feedback by the likes of
Laurent Garnier, Dixon, Ame, Adriatique, Ian Pooley, Timo Maas, Trikk, Frankey & Sandrino, Sacha, The Drifter, Severino (Horse Meet Disco), Alex Dallas (Zukunft Zürich),
Yør Kultura, Lehar, Denis Horvat, BOG, Echonomist, Fred Everything, Luca Bachetti, Karotte, Roberto Rodriguez…

We're happy to announce the fourth chapter of our sought-after Outbound series which also marks Lossless' second release in 2020. After two extended chapters of Outbound, fully showcasing our labels artist roster, Outbound.4 is a crisp double A-Side affair - featuring two killer Techno workouts courtesy of our French stalwart Anthony George Patrice followed up by two Deep/Dub House delights delivered by Son Dos.

Without a doubt, Berlin based frenchman Anthony George Patrice steadily adjusted and developed his sound to a higher level over the last years. His contribution on Side A - "DBZU (Eine Brücke Zum Übermenschen)" and "Crowned Eagle" exposing new artistic shades and Anthony's ability to take you on a sonic journey and soak you into his rich and driving deeper Techno soundscapes.

Side AA belongs to Son Dos - a creative power plant by two Sweden born men: Barcelona based Marco Gegenheimer and Tapia J. Arriagada living in Malta. The duo already caused a stir with their debut "Children Of Almost" on Outcast Oddity. Marco also released some great music on Studio Barnhus as one half of MLiR!
On our Outbound.4 the guys showcase two amazing cuts originated from fruitful studio jams.

The beautiful "Cala" is hypnotizing us in deep, meditative balearic territories while her powerful brother "Maffio" might have had a little testosterone injection along the way and moves us straight onto the dancefloor. Both tunes are capable to unveil their power outdoors just as much as they will in a sweaty basement!

Son Dos quoting on Anthony George Patrice's tracks:
"These songs sound like a Movie score to us, a soundtrack taking you further and further into an unexplored forest: ...you are on a mission ... chugging drums, haunting strings and rolling percussion guide you... your heartbeat intensifies, with each step that you take...
all of a sudden, the floor underneath you turns into flowing geometrical patterns and you start falling...
a voice tells you "Happiness Is A Miisunderstanding", and the fear you had leaves your mind...you connect yourself with a higher power and realise why you started this mission in the first place"

Anthony George Patrice quoting on Son Dos tracks:
"Lovely balearic yet powerful atmosphere on "Cala"… Head flies and shoes get used. All that you wish for!" ...
"Hands in the air for "Maffio"! Here comes the peaktime booming system. Simple, efficient yet super interesting and deeply rooted dance floor killer. This is ace!

Alastair Galbraith is considered nothing less than a genius around these parts. A New Zealand underground legend active since the '80s, his solo works have seen release on Siltbreeze, MIE, Emperor Jones and Grapefruit Records while his own labels, Xpressway and Next Best Way have released the likes of The Dead C and Damo Suzuki. His list of collaborators reads like a who's who of freeform musicianship: Peter Jefferies, Bruce Russell, Robert Scott (The Clean; Flying Nun) and Maxine Funke to name but a few. Seconds Mark III is Galbraith's first solo album since Mass (2010) and is a collage of pensive, longing and almost forgotten pieces stitched in his inimitable style. A thrilling addition to A Colourful Storm's ever-expansive catalogue. 21-track LP

Italian producer Clap! Clap! returns to Bristol's Black Acre with his third album, ‘Liquid Portraits’. Born and bred in Florence, Cristiano
Crisci’s musical career extends back to the mid-90s where he started out as a rapper, before picking up a saxophone and exploring
both jazz and jazz/punk fusion with Trio Cane, and then returning to his electronic roots with A Smile For Timbuctu project - a
collaborative effort that released four albums and performed across Europe. By 2008, Crisci decided to strike it out on his own as Digi
G’Alessio, channeling the same hip-hop meets electronic music energies as those animating the nascent Los Angeles beat scene for a
string of EPs and albums. Soon Crisci hit upon a new formula when he started combining samples from the African continent with
energetic drum programming. The results led to the birth of Clap! Clap! in 2013, which has since been recognised and supported by the
likes of Paul Simon and Gilles Peterson. The stripped-back, high-energy yet inventive sound caught the attention of Black Acre with
whom Crisci has been working with ever since, including his first and second albums ‘Tayi Bebba’ and ‘A Thousand Skies’. Returning
to Black Acre, Clap! Clap!’s third album once again deploys his inimitable technique in fine style, however with new eyes as this new
project signifies a definite shift in his work having spent the last few years learning the art of mixing which has lead to some
breakthroughs: “In recent years I’ve spent a lot of time studying essential mixing techniques. I then built an acoustic-treated room and
set up my new studio. I started to convert digital into analogue and vice versa with good converters and achieved sounds that I’ve
never heard before from my speakers. This had a huge positive impact on my mixes and result on my music.” Entitled ‘Liquid Portraits’, the album - as the name suggests - is a collection of sonic paintings, an attempt at capturing furtive, subconscious memories through sound. The tracks reference trips Crisci took and people he met – from southern Italy to Hokkaido via the Kif Mountains of Morocco – as well as more abstract ideas of loss, calmness, and childhood. Having been approached by Paul Simon to work on his 2016 album ‘Stranger To Stranger’ after Simon discovered ‘Tayi Bebba’ through his son, Clap! Clap! is no stranger to collaborations and this album features a small cast of talents, such as south Italy percussionist Domenico Candellori (‘Southern Dub’), Belgian artist Martha Da’ro (‘Moving On’) and harpist Kety Fusco (‘Rising Fire’)

MindTrip returns to the shelves with a new collaborative release, introducing head honcho Pfirter sharing the same 'room' with Token's label boss Kr!z.

Their Purification of Malice EP opens with Kr!z, presenting his first original material outside of his own platform; while on the B side, Pfirter extends his musical research with 2 trademark cuts. The final outcome is worth every second of the wait.

This is MindTrip.

Cascade Symmetry is the culmination of an intense and transformative year-long period. It is an ode to new beginnings and the disintegration of the past.

Recorded and mixed September - October 2017 in San Jose, CA; additional recordings and field recordings taken September 2017 in South Korea.

Gear used: Eurorack modular synthesizer (Mutable Instruments, Make Noise, Orthogonal Devices, Intellijel, TipTop, Ladik, Malekko Heavy Industry, Mannequins, Qu-Bit Electronix, Doepfer), Novation Peak, Korg Electribe 2, Elektron Analog Heat, Strymon El Capistan, Hosa Technology Cables

Initially released on tape and digital through the artist on November 6, 2017.

"Michoacan, has been producing music since 2002. and after a few years hiatus this ultra cool, left of centre producer, returns to freak us with the 'Knights Are Cold EP'.

On 'Knights Are Cold', the A side is all about left leaning, synth led, shiny disco-ness with shades of the 80s, while the B side - 'Be Side Me' is a moody, low slung, cosmic disco destroyer. "

As a long-time admirer of his work, R&S/Apollo boss Renaat has signed up Italian craftsman Nuel for a stunning concept album that finds the artist becoming "my own imaginary band" after ten years of personal growth and exploration. Nuel has been revered in underground techno circles for many years. He is a meticulous sonic sculptor who has made some of the most meditative and hypnotic electronic grooves of the last decade on labels like Semantica, Kontra-Musik and Sublunar. He also put out cult classic and highly sought after album 'Trance Mutation', which found him playing all the sounds himself on a wide array of instruments. 'Fantasia' is physical, dance-able music but crafted from unfamiliar sound sources that make it as suited to a campfire gathering as an experimental club setting. It's expertly assembled and utterly unique.

Maestro Egisto Macchi (Gruppo di Improvvisazione Nuova Consonanza - The Group) recorded this mystical ethnographic trip to the South of Italy imbued with its rites, superstitions, magical symbols and popular mythologies in 1977 for the TV Documentary 'Sud e Magia'. Astoundingly evoking the intensity, magic and psychedelia of its subject with the use of inventive and unconventional techniques (aerophones, crystal glasses, prepared piano), Macchi harmonizes kindred spirits from transcendental, religious and metaphysical sound forms. Produced in the Feeling Records Studios, Turin, which had the highest level of equipment and technicians, this pinnacle of experimenal library music is released for the first time with audio restored from the original masters tapes.

The second volume of Nothing Is Real’s self-titled compilation builds on their towering reputation as leading lights within the global electronic music community. As the label’s first release distributed by the respected Dutch record label and store Bordello A Parigi, the collection is set to further establish their international presence and spread their eclectic sound far and wide.

Bringing together diverse influences from across the spectrum of electronica and into new wave and ambient music, Nothing Is Real stand at the forefront of modern dance music as sonic innovators that continue to push boundaries with each offering.

Curated by Alberto Iovine and Alessandro Fumagalli, also known under the stage name Modular Project, this four-track collection takes listeners on a journey through the outer atmosphere of techno, expanding and evolving the genre into new forms along the way.

Cantor’s opening track kicks things off with a hypnotic, driving groove built on acidic synths before Niv Ast & Roe Deers bring a human touch to the proceedings with a vocal-led heater that recalls classic ‘80s sounds. Dharma pairs shuffling rhythms with extraterrestrial soundscapes that recall Squarepusher and Aphex Twin, before Argia closes the record with force and momentum, surrounding voltaic synthesizers and tribal drums with expressive atmospherics.

Optimo Music presents “Vanessa 77” the debut album from New Zealander Vanessa Worm. Originally due in May it was rescheduled due to the lockdown but we couldn’t wait any longer to get it out into the world, so here it is, on vinyl and digital.

After entrusting us to release 3 much loved singles it seemed right to let Vanessa stretch out across an album and show the world what she is about and how talented she is. Vanessa is exactly the kind of artist Optimo Music dreams of finding; her music fits in with no genre and no scene – it is its own genre and its own scene. Musically free and anarchic, Vanessa conforms to nobody’s dogma. Before lockdown Vanessa played a series of Southern Hemisphere live shows that entranced all who saw them. Hopefully next year she can come and do the same in the Northern Hemisphere.

We asked her for a few thoughts about her album. Vanessa says – “Vanessa 77, like most creative endeavours is a journey of self discovery. Mentally, emotionally and creatively. I spent most of my time alone in winter 2019 – focused solely on personal development & self realisation via the creation of this album. It was a way for me to put my mental state onto a plate – the joys, the fears, the epiphanies, and so on. I so desperately wanted to share what I was learning with the world too – I intended for Vanessa 77 to help others to heal, self-realise and alchemise. It was a 9 month process of death and a re-birth from the old into the new. Much like the world is experiencing now entering 2020, I hope this album can provide some form of healing, soothing, celebration and act as a sub-conscious guide for us as we enter into this New Earth. Thank you to all who listens, enjoy!”

Friends, it is time for a finish. Here's the seventh and last chapter of the festivities that we put together for our 50th catalogue number. Once again, the mighty graphics wizards Doppeldenk from Leipzig provided us with a delightfull artwork. And once again, you'll get a record that sports a kaleidoscope of sophisticated dance music from Uncanny Valley veterans and newcomers. This time with the emphasis on bright and positive timbres which can be associated with the colour yellow. Cuthead starts things with a bang and his PARTY CHORDS set the tone perfectly (including neck pain after nodding your head to the beat like there's no tomorrow). If chords could be president this would get a lot of votes. Massimiliano Pagliara shifts down a gear with the acoustic road trip SUNSET FUNK, a masterfully arranged track, made up for driving around on your bike, skateboard or whatever vehicle you are using to get from A to B. The slow and sexy IWESU YEWISU from the soul brothers of Duererstuben is a longtime favorite in the Uncanny Valley headquarters. We are super happy that this groover will finally see the light of day. Panthera Krause provides the subtle but euphoric THE NAKED NOW, a House music lesson that's bubbling under the surface. And finally, Uncanny Valley first-timer Daniela Da Luz closes the record with WHEN YOU GO ALL IN AND WAIT, a drum heavy but also embracing excursion into your own neural circuit

This is the 4th ep that continues a volume of a 5 ep project. Its own kind of album type edition so to speak. Destination celebrates the drum and bass genre with its own style reminiscent of Aphex Twin and Squarepusher. type programming. It fuse’s eclectic beats with a more common flow of bass licks that cruise throughout the track. With a more psychedelic presence this track offers a complexity of rich sounds that will encapsulate any avid lover of electronic music from the headphones to the dance floor. Bouncy and fun yet with deep exploration of ‘Abstract sounds’ bringing a serious edge, Destination is equipped for any explorer seeking any type of Destination. Then comes Arrival. Not an ordinary piece of music, with the artist expressing themselves from past musical influences, to curve their own piece of storytelling art, through audio sonic means. An inner world reflective explanation can be as follows - An epic piece revealing the adventures of seeking depth, from ones dense conscious reality, tribal like mannerisms, traveling to a higher frequency of light and wonder, breaking through to the heart centre of ones own unique truth. By doing so, welding together the whole aspects of being, Arriving at ones own true balance of self. Reuniting with the dense tribal like self yet with a complete transformative understanding of life and self in relation to life as a whole. Ones outer world of reflective explanation can be this - starting from earth, leaving the tribal terrains of earth based reality, exploring out into the cosmic wilderness, looking back from a distance, witnessing Earths magnificence and enigmatic beauty. Continuing to swim out to the depths of the galaxy to ‘Arrive” at an unexpected splendour unknown to the human consciousness ,to a cosmic giant….. giant what? This remains to be unseen! It’s left to the imaginators discretion of wonder within the experience of the audio sonic delights presented in,….. ‘Arrival’.

Absolute Unity' is the new Dance Music project from Ryan Grieve, a cofounder of Hole In The Sky Records. Ryan has produced as one half of bands Canyons, Fred Cherry and Heart People, among others, with releases on labels DFA Records, Modular Recordings, Universal Music, Warner Music, Hole in the Sky & I'm A Cliche.

Returning from the haze of major record label obscurity and confusion, Absolute Unity is a return to roots with a focus on simple, raw sounds aimed for DJs to play to dance floors.

Basic Soul Unit has become one of Dolly's regulars over the years. He is wel known for his perfect blend of stepping Chicago house, Detroit techno and UK broken beat. Every release is party guaranteed material with a deep elegant twist that makes his music stand out like no other. Beautiful basslines, breaks and bleeps make his new 'Unbound' EP a super powerful 3 tracker for serious dance floor workouts!

Gwendoline is the project from Micka (a.k.a. Mikoune) and Pierre (a.k.a. Daniel). Based in Rennes, musically influenced by the classic cold wave which originated in their country, precarious and aimless, they shape Gwendoline to their own image. Pure DIY ethics, quick recordings at their home studio. Dark lyrics, self- mockery, criticism, sarcasm derived from the world’s mediocrity.

“Après c’est gobelet!” is their first album. Melodic but dark, ironic but direct, sophisticated but absolutely minimalistic. A testimony of today’s world viewed under a grey prism of sarcasm and wrapped around beautiful melodies and rhythms.

We are really happy to present you this very special record on a limited, hand numbered edition of 140 copies, housed in a matt finish sleeve and including a download code. The digital download includes two bonus tracks.

For the third instalment of the Dispatch Blueprints series, another of our favourite artists presents their unique take on the Blueprints ethos.

Continuing the theme of exploring organic musical progression, DLR delivers two exceptional tracks that perfectly capture the spirit of the label.

An idea in development for several years, 'You Leave' began life as a hardware-based tune. No longer using the same equipment when returning to finalise the idea, the track was rebuilt with modern emulation, combining old school inspiration with contemporary techniques.

'Intermix' is a stripped-back, two-step journey. Slowly developing changes progress into dynamic and unexpected directions.

With our first vinyl release in 15+ years, RESOURCE RECORDS is excited to welcome back San Francisco’s THE TOURIST for MEASURED SPACE, with serious remix support by DAVE AJU (Circus Company, Mule Musiq, MFF, Planet E), JAY TRIPWIRE (Mr. Barcode, Kwench Records, Superfreq, Motuer Ville Musique) and CHRIS JACKSON (Resource Records, Sonic Groove, Cloned Vinyl). 4 fresh mixes, all tech influenced!

Originally recorded direct to disc and released by Incus in 1978, this new edition from Treader is pressed from the original stampers. Hand-finished sleeve.

‘Parker uses rapid tonguing techniques and circular breathing to create a sound all his own, marked by the simultaneous intonation of multiple notes. One hears a note as well as all the residual tones around it; each breath ends up sounding like a battle between the different registers of the horn. At various times, Parker’s saxophone sounds like dolphin speech, electronic tape squeals, or human murmurs; namely, anything but what it actually is. His language on the instrument is essential listening for anyone interested in acoustic experimental music’ (AllMusic).

‘Eight years after Topography Of The Lungs, and two years after his Saxophone Solos, Monoceros was the most muscular statement of Evan Parker’s solo saxophone muse. Superbly recorded, it seemed to place the listener within the chaotic air flows of the saxophone’s own tubing. Philip Clark said: ‘Parker’s dialogue with the saxophone throws up so much that is unexpected, and indeed unknowable, that the problem he faces is how to keep pace with his own invention’’ (The Wire, Best Albums Of The Year).

Midnight Resistance ist das 4. Album von The Toxic Avenger. Und zweifellos das außergewöhnlichste, bei dem seine musikalische Handschrift am besten zur Geltung kommt. Das Album gleicht einer Symbiose aus unterschiedlichen Einflüssen und Elementen, von energiegeladenem Elektro bis zu Popavancen, vom klassischen Song bis packenden House der 90er Jahre, vom neoklassischen Piano Revisited bis zum aktuellen Synth-Pop. Ein Album, bei dem der Fokus klar und direkt auf Emotionen und Gefühlen ausgerichtet wird und die Technik bewusst einen Schritt zurück tritt. Keine Frage - es ist auch sicherlich das Genre durchbrechendste und dabei offenste aller seiner Alben, bestückt mit echten Pop-Singles, wie die berauschende "Lies" (feat. Look Mum No Computer), die nostalgische Ballade "Mandala" aus den 80er Jahren (feat. Ornette) oder der packende Popsong "Rent Boy" (feat. Jay-Jay Johanson). Ein besonderes Highlight des Albums ist die Zusammenarbeit mit Maxence Cyrin bei dem sehr ausdrucksstarken und emotionalen Titel "On My own". Die wohl größte Überraschung dieses Al- bums besteht darin, dass Toxic Avenger bei "Les Heures" das erst Mal selbst singt und der Platte eine ganz besondere Note schenkt. Zum Abschluss beglückt Toxic Avenger mit zwei besonderen Gäste. Diese runden die Platte mit der luftigen und hedonistischen Teilnahme von Simone bei "Falling Appart" und dem Spoken Word und immer ungewöhnlichen Flow von Diamond Deuklo auf dem treffend benannten "L'Avenir d'Avant" genussvoll ab. Über zwei Jahre beschäftigte sich Toxic Avenger intensiv mit modularen Synthesizern – aus seiner leidenschaftlichen Klangforschung ist nun ein neuer Sound entstanden, der die Seele der Synthesizer "lebendiger" und organischer erscheinen lässt. Hier ist ein beeindruckendes Werk eines "Klangchirurgen" entstanden, dem es gelingt Stimmen im Detail zu sezieren und ihnen eine magische Aura zu verleihen und dabei ebenso eine intensive Reise in die Tiefen von Melodie und Klangwelten unternimmt, ohne den Fokus auf die Songs selbst zu verlieren. Dieses Album wird zu einer Zeit besonderer Aufmerksamkeit und Sichtbarkeit für The Toxic Avenger veröffentlicht, der gerade die Musik für Hugo Boss Parfum kreiert hat: (Europa/LateinamerikaKampagne für TV/Kino und Web for the World, für zwei Jahre sowie die Musik für die nächsten Web-Werbung von Armani und Yves Saint Laurent unterschrieben hat

Like many electronic artists, Ryan Lee West aka Rival Consoles spent his early years experimenting with IDM, glitch and dance, but one consistent element in his musical journey has been his desire to create a more organic, humanised sound. Through these experimentations he has found a process of producing electronic music that feels close to this urge. Restricting himself to a small selection of analogue equipment, West engages his hands directly with instruments and is very selective about what he then records into the computer. He reduces musical parts even further, leaving enough space around the sound for it to breath.

‘Odyssey’ is a reflection of West’s quest to create atmosphere and space from minimal arrangements. ‘I don’t like music to sound overly laboured, so I restrict how much is going on. I’m kind of obsessed with the idea of reduction.’ The new 5-track EP was mastered by Naweed and will be released worldwide on October 21 in the form of a 12" Vinyl and Download via Erased Tapes.

‘Odyssey’ and ‘Voyager’ are both incredibly stripped down and have a great sense of space throughout them. It's all about using the right ingredients at the right points in time. A lot of these ingredients are short recordings, such as ice cracking, mechanical clicks, clicks from synth errors, sounds of debris, guitar plucks etc., which interact with the simple arrangements and create little hints of rhythm. I also love the technique of swelling in music, but I realised that hardly anyone has done that in electronic music. So when I first got the synth to swell in and out with the opening chords of ‘Philip’, it was a great moment. Because it creates a human mood in a matter of seconds, which is very difficult to do with electronic sounds. That track is very important to me, and I think it will influence how I make music in the future.’ – Ryan Lee West

West will perform alongside his contemporary composer mates Ólafur Arnalds and Nils Frahm for a special electronic Erased Tapes night as part of London’s The Hydra series on October 18. The same day will also see a special in-store event at Phonica Records, where West will showcase the ‘Odyssey’ EP amongst other tracks on his beloved analogue gear, joined by South London artist Supermundane creating a live art piece in the shop window.

‘SAWAYAMA’ is the debut album from Japanese pop auteur Rina Sawayama - an exploration of identity, family, gender and sexuality, set to a backdrop of future-facing, genre-splicing pop music. ‘SAWAYAMA’ is an exciting first step from an artist unafraid to push pop into new realms. Championed by Pitchfork, The New York Times, The Guardian, BBC Radio 1 (Hottest Record In The World), NME, Dazed, The Fader and many more, Rina Sawayama is heading out on tour this September, October and November with an all-new live show.

Tropical psych outfit, Lola’s Dice, return with an exhilarating double AA side 45 on “Cacri 'e Playa” b/w “Señor Cartujo” . Venezuelan strains of Caribbean rhythms blend with South American grit and humour; aided and abetted by studio maverick and renown bandleader Alex Figueira ( Fumaça Preta, Conjunto Papa Upa).

Lola’s Dice, an ensemble born and battle-tested by years of punk and hard rock before fusing into its current form, a consolidated tropical-psych quartet. The band’s evolution has resulted in music that is a pure body-moving delight — a fuzzy blend of guitars, synths and musical sabor that is very much rooted in the percussive sounds of Latin America, where all band members hail from, yet still comfortable in its punk-ethos.

One such fusion of sounds took place at the Barracão Sound studio in Amsterdam where they first asked rhythm sensei Alex Figueira (who currently joins them on stage whenever his agenda allows him) to help them twist their sound and bring it into the incendiary tropical realm his production work was known for.

Together they vandalized all sorts of rhythmic traditions. The resulting 4-track EP, “Viaje al Centro de Ritmo”, was a perfect match of genre-defying psychedelic madness and Caribbean cool and was duly signed and released by on-the-pulse NY based Names You Can Trust label.

After two years and a plethora of stages Lola’s Dice returned to Figueira's Barracão Sound for another dose of experimentation, diving deeper into their Caribbean roots and twisting them even further. The first fruits are now offered for release jointly by Names You Can Trust (later this year) and Figueira’s own Music With Soul.

The African Caribbean vibrations of “Cacri 'e Playa” tell a story of a stray dog whose sole habitat consists of the beach. A common phenomenon all across the Caribbean coastline shared by Venezuela and Colombia. Wonky synths and surf guitars interplay over a stomping extra syncopated drum beat. All things collide towards the end into a 1970’s style Salsa street party, the relentless cowbell driving everyone forward.

On the flip, “Señor Cartujo” contains a humorous tale about the most popular brand of anise liquor in Venezuela ("Cartujo") and a shameless ode to the glory days of "Techno Merengue", when Latino rappers in the US started making Dominican Merengue with hip hop influenced vocals and house production techniques and equipment. Lola’s Dice, however, take a more psychedelic approach to this merengue, oozing with funky guitars and percussion.

RIVAL CONSOLES IS 21-YEAR OLD ELECTRO ACID-SMITH RYAN LEE WEST FROM LEICESTER. INFLUENCED BY IMPRESSIONISTS LIKE CLAUDE DEBUSSY AND MODERN ELECTRONIC ARTISTS SUCH AS AUTECHRE AND SQUAREPUSHER, HE CREATED HIS UNIQUE SIGNATURE. A PLAYFUL AND BRUTAL MIX OF IDM ACID BEATS AND WARM, EMOTIVE SYNTH STRING ARRANGEMENTS. IN FEBRUARY HE RELEASED AND TOURED THE MORE QUIRKY "VEMEER EP" UNDER HIS SECOND MUSICAL ALIAS APARATEC, WHICH SOLD LIKE HOT CAKES AND EARNED HIM A LOT OF FANS. RYAN RECENTLY REPRESENTED ERASED TAPES RECORDS AT THE BRITISH MUSIC WEEK 2007 IN COLOGNE, GERMANY AND CRAFTED REMIXES FOR UPCOMING LABEL COMRADE AND PRODUCER JUSTIN LOCKEY (YOURCODENAMEIS:MILO). "THE DECADENT EP" WILL HIT THE UK SHOPS AS A FUSION OF TRADITIONAL AND CONTEMPORARY FORMATS - A 10" VINYL RECORD WITH A DOWNLOAD CODE, THAT ALLOWS THE PURCHASER TO BE ABLE TO GET THE ENTIRE EP PLUS BONUS TRACK DIGITALLY FOR NO EXTRA COST.

Luar Domatrix (Rudi Brito) is perhaps more recognizable as half of the artsy-duo Yong Yong that emerged in 2012. After a long season spent in Glasgow, and with editions by Naivety (Naive’s sublabel of Inês Coutinho aka Violet) , Sucata Tapes (Discrepant) and with a track inserted in a VA from 12th Isle, comes back to Lisbon (his hometown) clearly soaked by the sounds of the Scottish industrial center.

“Baía Stamina”, produced in Glasgow, is strongly inspired by the local club scene and evokes the utopia of a heavenly bay somewhere in Italy. Although always looking to bend the barriers of that “squarish” side of dance music, “Baía Stamina” is a dance record. It starts with “Bo Teias”, a track full of percussive elements and unusual sound effects that presents itself as a hymn of the “Baía Stamina” - pure boilling energy. “Take” is the least functional theme on the record. Metal percussion layers are overlapped over a string, creating a certain unrest and discomfort. A vocal incites consumption ("Take, Take, Take") to the point that a pad clears the way for liberation creating a more relaxing and dreamy ambience.

Closing the A side “Bo Teias” gets a remix from the Glasgow duo General Ludd, with whom Rudi used to live. In this version, and as the name implies, “Bo Teias (Gen Ludd Disco Problem Remix)” moves the focus away from the dance floor, ands transforms itself into a rhythmic exploration over the void, punctuated by some recognizable elements. “Outra Face” is a track made to blow up soundsystems! Anchored in distortion and in a broken beat led by the kick of the infamous TR-808 there is an almost epic vibe to it, that shows the confidence that Rudi Brito has acquired in his relaxed production style. “Heavven” closes the record in a completely British tone. The soulful vocal reminiscent of some garage tracks, echoes Bristol production and a time when dubstep producers decided to lower their bpms to something closer to the house. Without ever rushing the theme moves through different sonic landscapes and electronic glitches until a Portuguese voice announces “Acabou-se a brincadeira” (“Playtime is over”). This is peaktime; it's time to go dancing.

Ragoo Records celebrates its debut on wax with an highquality record, “Break It Down”. The release features an
original cut from Astratto & Brine plus three stunning
remixes from the best young talents in the Italian house
scene. Recorded and fully composed on the first day they
met in the studio, the Original Mix is a dusty deep house
jam perfect for the club or for chillin’ wherever you want
to. For Astratto, Ragoo Records co-founder, this
represents his first official vinyl release. Brine has
delivered hot tracks through the infamous Irma and has
recently appeared on Boogie Cafè Records and Trend
Records. On the A2 Sam Ruffillo offers an impressive
remix that merges the Original to the land of jazzy vibes
with some smooth Rhodes and an extra groovy bassline.
Over the last years Sam Ruffillo has been releasing great
EPs via Irma Records and the Bristol-based Boogie Cafè.
DJ Rou’s remix occupies the flip side with a real classic
deep house joint full of warm pads and rolling drums. Chief of L'Archivio record store in Bologna, charismatic DJ and
outstanding producer, DJ Rou has released his music
through labels such as Bosconi Records, Cognitiva, Red
Rooster and Daphian Prod. The B2 remix is produced by
D’Arabia, Red Rooster founder and House of Disco
affiliated artist, who accomplishes an hot groove
explosion, with a special Jamiroquain feeling, perfect for
burnin’ the dancefloor. This EP is intended to be a
snapshot of Bologna’s house music scene. All artists
featured on it are based in the city and contribute to its
musical landscape.

Finland’s Luke Lund is one of the most inspiring modern dub aesthetes. Using odd number time signatures, warped bottom end, and proper experimental murk, HOPIUM creates fiendishly innovative electronic groove and atmosphere. Existing in a far away land tucked north of techno, dub, and noise where all blend and connect, HOPIUM is a wise encoding of fear, frustration, anxiety, and false hope. Luke Lund’s sound is unquestionable sincerity of exploration, equally inspired by Finnish electronic masters such as Mika Vainio and Ilpo Väisäinen, as well the legends Justin K Broadrick and Mick Harris – as such, absolutely at home on our label. Releasing on labels such as Youth, Co-Depedent, Totes Format, as well his own encyclopedic Terranean Recordings, Luke’s catalog of work continues to expand as does his global profile – assisted by touring Europe and playing at venues from Berlin to London to Helsinki. All tracks produced and recorded at Solace, April 2018 – June 2019. Mastered by Daniele Antezza at Dadub Mastering Studio. Design by Luke Lund. Executive producer Kurt Gluck.

Wieder lieferbar Harald Grosskopf ist seit den 60er-Jahren einer der umtriebigsten deutschen Musiker. Der Schlagzeuger aus Hildesheim spielte seitdem bei so unterschiedlichen Acts wie den Scorpions, Wallenstein, Klaus Schulze, Ashra, Joachim Witt, Lili Berlin und 17 Hippies. Grosskopf war 20, als ihm ein LSD-Trip "die Realität weghaute" und er seine eigene musikalische Sprache entdeckte - und die Elektronik. 1980 erschien auf Sky Records Grosskopfs erstes Soloalbum. "Synthesist" bietet acht instrumentale Kompositionen, die Grosskopf überwiegend allein einspielte. Die von Synthesizern und Schlagzeug getragenen Melodien erinnern an die Arbeiten seiner Berliner Elektronikfreunde wie etwa Klaus Schulze und Tangerine Dream und auch an die "kosmischen" Sessions der frühen 70er-Jahre - haben aber doch eine individuelle Klangfarbe. Auch deshalb gilt "Synthesist" weltweit unter den Liebhabern elektronischer Musik längst als Klassiker, der an eine aufregende musikalische Ära erinnert und auch in diesem Jahrtausend noch aufregend ist.

We all go through phases. We don’t always feel the way we felt yesterday. Despite all these phases, we’re always drawn to music. It accompanies, touches and feeds us. This debut album is the story of Austrian Apparel and their journey up to this day. “AAplus” stands for inclusion - it takes paths into the openness of sound. It shows two sides. light and dark. While the light side features tracks outside of the four-to-the-floor realm, the dark side showcases their club oriented material. Never leaving behind their signature sound forged from their expertise on stage and in the studio. In coherence with their previous work, Austrian Apparel continue to explore an unconventional approach with their audio equipment, departing from a habitual studio process and emerging with a carefully condensed sonic episode of their journey.

With this collection of deeply personal tracks, I wanted to reconnect to my inner emotions and to my love of melody, showing my most introspective and passionate side. Locking myself away in my studio, surrounded by vintage analog machines and acoustic instruments, my desire was to create a late night journey of contemplative experiences in music.

Drifting away from the harder, dancefloor oriented sound, this concept album reveals a thoughtful observation on the state of our world today and on these times of turmoil and uncertainty, ending with a positive message of hope and peacefulness".

For their sophomore album, Chemical Reaction, Galaxians have stripped back the music and pumped up the vocals. Emma Mason's unstoppable voice elevates the group to a fully-formed musical act. This new LP is all about her voice.

Mason's powerhouse vocal on the West End Records-inspired Chemical Reaction beckons you onto the dancefloor. Jed Skinner's bright and breezy synth melodies allow the song to really breathe, whilst Sam Bell's front-and-centre conga groove (straight out of Double Exposure's My Love Is Free) and Matt Woodward's intricate rolls ramp up the track's energy and momentum. The shorter Mama Ghetto Vogue Edit is brought to life by Darren Pritchard, vogue dancer and mother of Manchester's House of Ghetto, who meets a neon wonderland in the electrifying video.

Elsewhere on the album, Heartbreaker champions female empowerment and personal freedom over a pounding boogie groove. It's a tight arrangement which drops into a delay-drenched Levanesque drum break before crescendoing back into a final chorus via one of Skinner's trademark JX-3P synth solos.

On the proto-house funk of Fight For Love, where Emma flexes her vocal chords to jaw-dropping effect, a failing relationship is thrust into the spotlight over a punchy Linn Drum groove. On the silky shuffle of after-hours jam Work It Out, which brings to mind the classic Sly & Robbie Compass Point productions, Emma croons about a lover, her voice cast in a softer, more subdued glow. Heat of the City sizzles with the essence of an urban summer, and is peppered with heart-stopping hand claps.

Third single Horizon sees the band in more reflective low-key mode, and could be their minor hit of the summer. There's some neat drum programming here, intertwined with Woodward's intricate fills and hi-hat playing.

On Not The Money, Mason's vocal shifts to a lower register in the mid-section, bringing to mind Grace Jones at her most commanding.

All in all it's a life-affirming experience, one born out of a sense of community and collaboration. Seven years on from their early explorations Chemical Reaction sees Galaxians retain sight of the principles that make their output, and dance music as a whole, so vital - commonality of experience, singular moments shared by a crowd, and rhythm as the best medicine.

Following January’s acclaimed vinyl debut from Exterior and summer’s much-loved Kota Motomura EP, Edinburgh’s Hobbes Music label ends 2019 with its first album release, also a debut, from GAMING, a fresh new braindance electronica project straight outta Glasgow, from producer and musician Alan Bryden.

GAMING is a new solo outing that brings together a lifelong love of music and technology and creating left field, rhythmic electronica. It’s the sound of IDM, nineties techno and mensch maschine computer music that is as spontaneous as it is programmed.

“Scenes From A Deserted City is a collection of tracks that started as a set of riffs, loops, rhythms and grooves and unfurled around a sense of growing unease about the future of the urban environment around me.
It’s an album that started out as sound…and ended up as a way of telling stories about the age of anxiety we live in, how our world is changing, and how we find a way through that.
This is DIY electronica from Glasgow – it was made on a growing collection of digital and analogue synths and FX units, including a bunch of modular racks, each with its own idiosyncrasies and character that belies the assumption of the binary.
The studio where it was recorded – an abandoned, and often very cold, school building reclaimed by the community some twenty years ago – offered up stories of resilience, even when all seems lost. (I’m not sure what the mice contributed but they definitely climbed in and out of some synths).
This album is ultimately about my changing relationship with Glasgow, a city I’ve lived in for more than 25 years. It’s about how I feel now about the increasing sense of urban decay and how the city can be a very isolating place. It’s about how I reflect on my younger creative self trying to find a direction but mainly feeling a sense of dislocation and not fitting in. And it’s about the questions I have about how that relationship is changing, how it will be forced to move forward.
The result is a soundtrack for walking home on your own, in that headphone bubble when it’s just you focusing on that music that makes sense to you alone. It’s for early in the morning, after the night before, or going to work with the memories of that slipping and sliding inside your head. It’s about how it feels to be both elated and lonely, to be lost in the familiar, despairingly hopeful.”
ALAN BRYDEN (Glasgow, August ‘19)

Black Ark Vol. 2 is another piece of Lee ‘Scratch’ Perry’s limitless musical puzzle. It’s a bedrock of deep and heavy rhythms recorded around Jamaica =just before the demise of Perry’s famed Black Ark Studio. Black Ark Vol. 2 is the follow up album to the acclaimed Black Ark In Dub that unsurprisingly for an Upsetter release, took a different path. More vocal oriented, the album features extended dubwise cuts of (former wife and co-producer) Carol Cole’s ‘Ethiopia’, The Originals ‘Got To Be Irie’, Junior Byles ‘Mumbling & Grumbling and The Inamans remake of the Bee Gees hit ‘How Deep Is your Love’, along with an alternate take of the Silvertones roots classic ‘Give Thanks’ with flute overdub and a couple of solid covers from Third World lead vocalist Bunny Rugs. Originally released in 1981 the hard to find Black Ark Vol. 2 remains a frozen sonic timepiece, captured at the beginning of the end of one era and poised at the start of another.

The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack works of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express ('Theme From The Watcher).

Everything released on ATA is written and guided by the label heads Neil Innes and Pete Williams, who frequently dip their toes in the Library pond while working on other projects. These occasional one-off tracks have accumulated over the past few years and have now found a home on the first volume of an ongoing series : The Library Archive

Ranging from heavy big band brass (Whack, Slap & Blow, Kaye Okay) to evocative thriller soundtrack (Midnight Heist, Wiretap, The Needlenose) via introspective ethereal soundscapes (Nuclear Wind, Siren's Sea) these 11 tracks faithfully recreate the feel of the Library music catalogues of the 60s and 70s.

Gudu Records returns with its fourth release, courtesy of a debut EP from London-based newcomer, JRMS. His music will already be anyone who has caught Gudu boss Peggy Gou's DJ sets over the past couple of years, with JRMS tracks being mainstays of her mixes, including her 2019 DJ-Kicks compilation.

The memorable title track is a percussive, elasticated house delight, blending springing breaks with disorienting rave stabs. This taste for naive melody is further cemented on the loose-limbed 'Shake', while '3' defies it's purely numeric title with gleefully offbeat electro and a shuffling card deck of drums leading forward delicious oscillations. Finally, 'Solo' cruises on with space and sunsets in mind, a rich house journey that underscores both the distinct and versatile promise of JRMS.

On The Corner Records is delighted to announce the release of Dialectic Soul, the debut album from one of Cape Town's most cuttingedge, visionary artists and musicians, the drummer Asher Gamedze. This is Jazz at its most spiritual, most progressive and most appealing form. As Asher himself says: Dialectic Soul is about motion and a refusal to remain static or stay still. It's the commitment to be continually moving'. Recorded live over two days at the Sound and Motion Studios in Cape Town with renowned musicians (Thembinkosi Mavimbela (bass), Buddy Wells (tenor sax), Robin Fassie-Kock (trumpet) Nono Nkoane (voc)), Dialectic Soul is breathtaking in its musical vitality and expression of soul seeking truth. By incorporating the concept of the Total Art for this project, it fits perfectly within On The Corner's aesthetic of music, art and vision for creative innovation. Label art director Victoria Topping created the sleeve design working with Asher's drawings and concept.

NYC's legendary West End record label has contributed a fair few classics to the disco cannon and continues to influence dance music today with it's forward looking releases. 'When you touch me' is no exception, recorded and released in the golden year of 1979 and featuring the breathy, sensual vocals of a young Tanaa Gardner who had previously worked as a backing vocalist for numerous other projects until the label released her (other) stone cold solo classic 'Work that body' the same year on 12".
Both cuts featured on her self titled debut LP and boasted the combined production and studio talents of Kenton Nix, Bob Blank and of course - Larry Levan. Now, that's a serious line-up to have behind the boards (& in the clubs!) and of course 'When you touch me' was a classic with it's slow, elongated intro that calls to mind a sleazier version of Donna Summer's 'Love hangover' before launching into a full-on disco assault that you won't forget in a hurry! Yes, the record surprises you, Tanaa leads us into a false sense of a 'slow jam' and then - Boom - We're off!
Backed with the incredible instrumental version the 12" is repressed here in it's original 1979 glory, an essential classic that has stood the test of time for the last 30+ years & is now available again, remastered & repressed for 2017 in conjunction with West End Records, NYC.

Black Ark In Dub is another piece of Lee ‘Scratch’ Perry’s limitless musical puzzle.

Featuring a bedrock of deep and heavy rhythms recorded at the Black Ark just before its demise, Black Ark In Dub features bass heavy spooky dub deconstructions of ‘Jah Love Is Sweeter’, ‘Ethiopia’, ‘Lion A De Winner’, ‘Open The Gate’, ‘Guideline,’ and ‘Mr Money Man’, along with an embellished dub version of Ras Keatus I ‘Dreadlocks I’ and the much sought after ‘Guidance’ a longime Jah Shaka killer exclusive to this set.

Originally released in 1981 the hard to find Black Ark In Dub remains a frozen sonic timepiece, captured at the beginning of the end of one era and poised at the start of another.

Nummer’s excursion “Night Confidence” is an ode to their surroundings, a contemplation of urban myths and nature divinities. Take a deep breath and let the tribal echoes resonate with your inner 303

The globe-trotting Robert Millis returns to Helen Scarsdale for this beautifully fragile album of dissolved glass rendered as a collage of recontextualized minimalism. To astute listeners, Millis should be a household name due to his work in the unpredictably diverse Climax Golden Twins as well as his impeccable curations for Sublime Frequencies (collections include the Deben Bhattacharya: Men and Music on the Desert Road and Indian Talking Machine books). Hie previous solo work include Relief (released here on The Helen Scarsdale Agency in 2013) and The Lonesome High for the Sun City Girls’ Abduction Records in 2016. His scholarship into the hidden corners of music across the world has also earned him Guggenheim and Fulbright fellowships.

Related Ephemera is an album composed mostly from the hiss, the crackle, the surface noise of 78rpm shellacs and wax cylinders. “Horrifying,” Millis explains “is the concept to record collectors that vinyl degrades and can be easily damaged. however, initially records were considered ephemeral, especially 78rpm records. They were novelties. Fleeting. Entertainment.” Millis intends for the album to be a feedback loop whereby the patina of handling, playing, living with the record will circle back to the original source material. Furthering that metaphor, Millis amplifies and dilates feedback tones generated from his collection of vintage gramophones.

That said, Millis does cite the intrusion of exactly one field recording, a broken toy, and a few notes from a cello. But the construction of these rarified tones, crispy textures, ghostly rattles, and fluid resonance that ripples through all of Related Ephemera has its origins in the tactile nature of the vinyl medium. It’s hardly the stuff of sentimental nostalgia though. Related Ephemera is more an act of time travel, slipping backwards and forwards with the scratch of a needle (Watch out! What pre-recorded needle jump sound is not your turntable going haywire!). The emotional core to the album is that of a resigned melancholy, almost Bergman-esque in its starkness but not without a brief moment of dark humor.

Here is an album that aligns itself aesthetically with Nurse With Wound’s Soliloquy For Lilith, Philip Jeck’s more languid collages, and even some of Harry Bertoia’s sculptural atmospherics.

The vinyl was mastered and cut by Helmut Ehler at D&M Berlin, whose expertise was necessary given that part of the original compositions from Millis’ reworked surface noise were exceedingly problematic to cut. The D&M cut does temper the composition into a mysterious, diaphanous cloud; where the digital-only mastering provides a cascade of insects gnawing within your inner ear. Two facets. One piece of music.

More Swiss jazz bliss! We Release Jazz (Ryo Fukui’s Scenery and Mellow Dream, Marc Moulin’s Placebo Live 1971…) is madly happy to unleash another reissue from Geneva’s very own Boillat Thérace Quintet. The My Greatest Love album features none other than bebop and hard-bop legend Benny Bailey and is available for the first time since 1975 on vinyl LP as well as digipack CD. Galvanized by the creation of the Montreux Jazz Festival in the late 60s and lively local scenes, jazz music was healthy and booming in Switzerland in the 1970s. One band that beautifully captured this energy was Jean-François Boillat and Raymond Thérace’s Boillat Thérace Quintet whose self-titled debut and impressive Montreux appearance set the tone for quality Helvetic jazz in 1974. Following this first excellent impression, the Boillat-Thérace ensemble connected with American trumpeter Benny Bailey and recorded the magnificent My Greatest Love in May and June of 1975. The modal, hard bop and soul-jazz gem includes first-class takes on Freddie Hubbard’s “Gibraltar”, Kenny Dorham’s “Blue Bossa”, and Jimmy Heath’s “Gemini”, plus deliciously funky originals from the Geneva crew, including the upbeat “Le Colin” and the swaying fan-favorite “Prompt” and its thrilling solos. Bailey is on trumpet and flugelhorn, Boillat on Fender Rhodes and piano, Thérace on saxophone and flute, Roger Vaucher on Fender bass, Eric Wespi on drums, and Rogelio Garcia on percussion and tenor saxophone…heavy sessions and deep vibes! This is reissued in conjunction with Boillat Thérace Quintet’s self-titled debut album (1974), also available via We Release Jazz.

Fully immersive electronic music by US composer Maggi Payne, inspired by the arctic winds. Maggi Payne's sound worlds invite the listeners to enter the sound and be carried with it, experiencing it from the inside out in intimate detail. The sounds are almost tactile and visible.

The music is based on location recordings, with each sound carefully selected for its potential—its slow unfolding revealing delicate intricacies—and its inherent spatialization architecting and sculpting the aural space where multiple perspectives and trajectories coexist. With good speakers, some space in your schedule, and a mind-body continuum willing to resonate with Payne’s electroacoustic journey, but then it will take you to places that other music can’t reach.

From the sounds of dry ice, space transmissions, BART trains, and poor plumbing she immerses the listener in a world strangely unfamiliar. Maggi Payne is a composer, video artist, recording engineer, photographer, and flutist and is Co-Director of the Center for Contemporary Music and a faculty member at Mills College, in the San Francisco Bay Area.

Saturday Night is the debut LP by old friends and collaborators Alex Twomey, Matthew Sullivan, and Sean McCann. Recorded over numerous evenings at the artists’ homes, and completed just before the birth of Matthew’s daughter, Flora. The album became an excuse to spend time with one another as well as perform. As the trio ordered take-out, drank scotch, smoked on patios, laughing off the weight of reality–they stumbled into moments of musical focus.

This album has a prism of fidelities. High and low resolutions press together as the environment blows through the instruments. The woozy, side-long titular track of hesitant cello and pianos opens the record. Quiet music with blemishes and inebriated pauses, breathing an alleviated air. Phrases with failing propellers, teetering between melodic and apathetic. The true speed of their Saturday nights.

Side two opens with “London On My Mind.” Reflecting the other pole, manic cassette treatments duel over Twomey’s placid keyboard, ultimately breaking into a little joke on the piano. “Collection” features guitar by Sullivan, remembered for his thick fog of work under the alias Earn. With Sullivan’s return to the instrument, he is joined by Twomey on upright piano and McCann processing the room in real-time. The brief final work, “Bird,” recalls the style of the group's private press cassettes, The Bird and Charlotte’s Office: poorly-played pleasant-hearted music.

Each edition of the record includes a 20-page photo booklet of stills documenting the recording process.

Ju/Na is a collaborative project between Juri Corrado and Nathan Dawidowicz and was borne in Berlin where both of them live. It's a conjunction of free verse and analog soundscapes - which could be described as 'analog poetry'

This debut album 'Haiku' is an exploration of contemporary narcisism which unfolds against a backdrop of different facets of contemporary life in imaginary/imagined or concrete urban spaces. Each side of the record contains three tracks - reflecting the three phrases of Japanese Haiku poetry. With a surreal language and quotes from mythology, the opus potrays the dreamy delirium of the Ego, from Love to disenchantment.

Warning! This record contains traces of acid and spaced out tripping techno!
Classic unpredictable SW. goodness straight outta SUED: Detroit hitek soul & UK broken beat vibes meet subtle swinging & warm sounding lo-fi house. Artist Info: - SW. is one of the heads behind SUED records - his album from 2017 got voted by Rolling Stone Magazine to the top 20 electronic music albums of the year - this year he is releasing also on Kimochi and a famous label from Salzburg - his past remixes were on Kimochi, Acid Test, Klasse Wrecks, Bright Sounds, and Kalahari Oyster Kult

DRUMIRA features four heavyweight tracks by Stefan Schneider, ghanaian drummer Nicholas Addo Nettey and percussionist Sven Kacirek (Hamburg).

Nicholas Addo-Nettey was a former percussionist with Fela Kuti and his famous Africa 70 band during the most legendary years of his career. He has left band in 1979 in Berlin where he has been living ever since. His early solo album PAX NICHOLAS from 1971 has gained fame through a reissue in 2009.

It is interesting to note that DRUMIRA was first released anonymously in 2011 in a minuscule private pressing edition which only had a Spiegelmotiv hand stamp on the sleeve. Due to legal issues in 2009 with some of the mapstation releases, Stefan Schneider decided to put his project on hold until things got cleared. After nine years the record finally finds a place in the mapstation catalogue and gives full credit to all musicians involved. The EP comes with a luxurious hand assembled sleeve in a small edition.

Music-wise this EP is most distinguished by the combination of slow paced dark electronics and inimitable percussion patterns by Nicholas Addo-Nettey.

Nicholas Addo-Nettey: Percussion
Stefan Schneider: Electronics
Sven Kacirek: additional percussion

Return of the dirt. Two versions from the earth, from the dirt, our music includes that "what's in this pipe mix", the original home recordings of Orlando Florida session players directed by Tony Cole for Central AYR. This is PPU's teaser for their 10 track album coming this summer.

We are extremely happy to introduce you to Møzaika's first full-length record titled "Silver Tide". Its healing music has been a constant companion to us over the past two years. 2020 finally seems to be the right time to share it with the world. It is a wonderful album to be listened to as a whole - a continuous piece of music with many exciting turns showing the artist's close connection to nature as well as a deep knowledge of his musical ancestry.

Repress

MARA is the debutalbum of Munich-based jazz group FAZER. The young musicians combine African and Latin rhythms with dubby basslines and melancholic melodies. The unusual lineup with two drummers (Simon Popp, Sebastian Wolfgruber), bass (Martin Brugger), guitar (Paul Brändle) and trumpet (Matthias Lindermayr) leaves an open space for unfettered improvisation. Through the concept of repetition and finely measured dynamics, Fazer create a drawing energy that can be felt directly at their live shows and has been captured perfecty on this record.

Our first vinyl will go with a big bang!

Early support from Mano Le Tough, Dave DK, Maceo Plex, John Digweed, Gardens of God, Ame, Silicone Soul, Hunter/Game, Kevin De Vries, Massimiliano Pagliara, Fideles, Paul Ritch, Shall Ocin, Raxon, Mind Against, Ae:ther, Ilija Djokovic, Jeremy Olander, Frank Maurel, Alexi Delano & more

Barcelona based producer Adwer returns to his Bolygo Records imprint in 2020 with five alluring cuts entitled "Our Genome" EP with remixes from Amandra and Marc Pinol. Adwer has left his mark on the overall electronic music scene in the last few years through his melodic leaning productions that've picked up support from the likes of Sasha, John Digweed, Joris Voorn and Laurent Garnier. Adwer aims to capture emotion within his music with his synth focused tracks and euphoric vibrations that continue to solidify his reputation of being a purveyor of innovative sound design and gentle sonics.

"Our Genome" EP sees him deliver the first release of the new decade on his Bolygo label where he invites remixes from the Ahrpe Records label boss and French producer Amandra and Spain's Marc Pinol who is renowned for releases on John Talabot's Hivern Discs imprint.

"Messing with the DNA" begins proceedings with thudding kicks, growling bass rolls and dreamy oscillations fluttering underneath before "Recombinant" deploys undulating euphoria through tranquil tones, deep vibrations and progressing synth notes that unravel escapist intentions.

Amandra's remix of "Recombinant" lays focus on raw, crunchy percussion, lo-fi experiments and murky pads that keep you locked throughout whereas Marc Pinol's remix of "Messing with the DNA" offers up electro-styled grooves, cosmic waves and acid-tinged oscillations that carry outer space feels.

"Our Genome" then rounds things off with meandering, 80s styled synths, ethereal, revolving modulations and rumbling bass frequencies to finish.

Re-Release

Black Truffle is honoured to present the premier recordings of two recent works by legendary American experimental composer Alvin Lucier. A friend and contemporary of pioneers like Robert Ashley, David Behrman, Gordon Mumma, and Christian Wolff, Lucier has been crafting elegant explorations of the behavior of sound in physical space since the 1960s. Lucier is perhaps best known for I Am Sitting in a Room (1970), in which he repeatedly re-recorded his own speaking voice being played back into a room until the room's resonant frequencies entirely obscure the spoken text. Beginning in the early 1970s, he has written a remarkable catalogue of instrumental works that focus on phenomena produced by the interference between closely tuned pitches, such as audible beating, often using pure electronic tones produced by oscillators in combination with single instruments.

Demonstrating the restless creative drive of an artist now in his 80s, the two recent works presented here both feature the electric guitar, an instrument Lucier has just recently begun to explore. In Criss-Cross, Lucier's first composition for electric guitars, two guitarists using e-bows sweep slowly up and down a single semitone, beginning at opposite ends of the pitch range. The piece is a model of simplicity, exemplifying Lucier's desire not to 'compose' in the conventional sense, but rather to eliminate everything that 'distracts from the acoustical unfolding of the idea'. In this immaculately controlled performance of Criss-Cross by Oren Ambarchi and Stephen O'Malley, (for whom the piece was written in 2013), a seemingly simple idea creates a rich array of sonic effects - not simply beating patterns, which gradually slow down as the two tones reach unison and accelerate as they move further apart, but also the remarkable phenomenon of sound waves spinning in elliptical patterns through space between the two guitar amps.

In the comparatively lush Hanover, Lucier draws inspiration from the beautiful photograph that provides the LP with its cover, an image of the Dartmouth Jazz Band taken in 1918 featuring Lucier's father on violin. Using the instrumentation present in the photograph, Lucier creates an unearthly sound world of sliding tones from violin, alto and tenor saxophones, piano, vibraphone (bowed) and three electric guitars (which take the place of the banjos present in the photograph). Waves of slow glissandi create thick, complex beating patterns, gently punctuated by repeated single notes from the piano. The result is a piece that, like much of Lucier's instrumental music, is simultaneously both unperturbably calm and constantly in motion.
Stunning LP design by Stephen O'Malley including an inner sleeve with a portrait of Alvin Lucier by Kris Serafin.
Criss-Cross' recorded at Studios Ina GRM, Paris by Francois Bonnet and mixed by Alvin Lucier. Hanover' recorded in Zurich and mixed by Alvin Lucier.
Mastered and cut by Rashad Becker at D&M Belin.
Criss-Cross' recorded at Studios Ina GRM, Paris by Francois Bonnet and mixed by Alvin Lucier. Hanover' recorded in Zurich and mixed by Alvin Lucier.
Mastered and cut by Rashad Becker at D&M Berlin.

French synth-pop talent Lucien & The Kimono Orchestra unveils his new solo piano album, a journey into cinematic soundscapes

Alone at the piano, Lucien takes us on a very personal album in a deep and quiet reverie. We spend a soft winter morning in his company, reminiscing about tender childhood memories.

Between previously unreleased tracks and revisited Kimono Orchestra pieces, "Piano Matinée" concludes a trilogy of recordings which have barely been released, while paving the way for a wider future. Universal, sensitive, cinematographic, the piano language spoken here by Lucien opens us to his musical world in a light that is both more authentic and accessible.

The album also tells us a personal story. That of a grandfather - an exceptional pianist but forced to give up his career when the Second World War broke out - who passed on to him a taste for music in his early childhood, before passing away.

Many years later, Lucien came across old cassette recordings of his eldest son, soon afterwards having a disturbing dream in which he swore he had had a dialogue with him and decided to go his own way. The self-taught musician spent a whole year honing his piano skills before deciding to freeze his performance in the summer of 2019 at the legendary Steinway at the Studios Saint-Germain.

Drawing freely on all his influences - jazz, funk, classical, cinema - Lucien's "Piano Matinée" is a special object, as intimate as it is melodious.

Repressed in 2023, limited!


Hull/Leeds based five-piece bdrmm release their much anticipated debut Bedroom on July 3, via Sonic Cathedral. The 10-track album was recorded late last year at The Nave studio in Leeds by Alex Greaves (Working Mens Club, Bo Ningen) and mastered in Brooklyn by Heba Kadry (Slowdive, Beach House). It's a hugely accomplished debut and a real step up both sonically and lyrically from their early singles, which were rounded up on last year's If Not, When? EP. Musically, there are nods to The Cure's Disintegration, Deerhunter and DIIV, while the band reference RIDE and Radiohead. There are also echoes of krautrock and post-punk, from The Chameleons to Protomartyr, plus the proto shoegaze of the Pale Saints' The Comforts Of Madness, not least in the cross fading of some tracks, meaning the album is an almost seamless listen. As a result, Bedroom becomes an unexpected and unintentional concept album, running through the different stages of a break-up set against the backdrop of the ups and downs of your early twenties. "The subject matter spans mental health, alcohol abuse, unplanned pregnancy, drugs_ basically every cliché topic that you could think of," reveals frontman Ryan Smith. "But that doesn't mean they ever stop being relevant. It's a fucker growing up, but I'm lucky enough to have been able to project my feelings in the form of this band, surrounded by four of the best people I've ever met." And that band name, in case it needs explaining, is pronounced the same way as the album title. "I never thought I'd get to the stage where I would have to explain it so much," says Ryan. "We have been pronounced as Boredom, Bdum and my old boss thought we were a ska band called Bad Riddim. We're all sarcastic cunts, so Bedroom spelt correctly seemed like the perfect title." He's right. The perfect title for the perfect debut album.

Hailed by none other than Seun Kuti as "one of the best things to come out of Lagos", Nigerian trumpeter, composer and bandleader Etuk Ubong has developed an original style he calls "Earth Music". Weaving together a unique combination of not only afrobeat, highlife and jazz, but also the ritualistic drumming of Ekombi, the result is urgent and highly energetic, yet spiritual; his compositions reflecting his heritage and life philosophy of goodwill, peace and love for humanity. Ubong's music is so vibrant and propulsive that one can easily make comparisons with leading lights of the UK scene, such as the Shabaka Hutchings-led Sons of Kemet, but at the same time it is distinctly Nigerian.

Hanagasumi - hazy curtain of flowers, cherry blossoms appearing from a far like a white mist - this phenomenon can be seen during the sakura blossom in Japan. The mysterious musician Shine Grooves inspired by Japanese culture is launching a label of the same name. Shine Grooves owns the underground Quadrat label, his tracks were released on the labels such as Kimochi, Rough House Rosie, Udacha, etc. Hanagasumi's first release is a mix of abstract rhythms with an influence of ambient tracks of the 90s. Each track is filled with magical synth chords with a cozy mood. Compositions with a smooth, atmospheric rhythm prevail on the first side of the vinyl, while the tracks on the second side will make you to get lost in zero gravity.

All tracks written and produced by Andrey Kurokhtin at 2019.
Mastered by Shine Grooves.
Limited 12" hand stamped vinyl, 150 copies, vinyl only.

The Humans were Toyah, her musical director Chris Wong and multi-instrumentalist the late Bill Rieflin (drummer for King Crimson and latter-day REM, as well as Ministry, the Revolting Cocks, Lard, KMFDM, Pigface, Swans, Chris Connelly, and Nine Inch Nails). Originally released in 2009 and issued on vinyl for the first time, this first album features “Noise In Your Head”, “Quicksilver” and “Is It Wrong”.

Listening to Angelo Repetto’s music, it leaves you with some kind of optimistic melancholy. There is always this touch of euphoric sadness in his melodies which he underlines with deep and heavy baselines. Kamiokande is the first release Angelo Repetto will present through his new musical home at Subject To Restrictions. The Zurich based producer is known for his live-sets he foremost performs for dancers in Zurich’s alternative scene. For this EP berlin Based Neu Verboten gave ‘Time Split’ a club-friendly retouch and delivered a strong Remix.

Black Truffle’s documentation of the prolific recent work of legendary American composer Alvin Lucier continues with Works for the Ever Present Orchestra. This is a very special release for the composer, as it presents pieces written for the thirteen-member Ever Present Orchestra, formed in 2016 exclusively to perform Lucier’s works. At the heart of the ensemble are four electric guitars, an instrument Lucier began composing for in 2013 with Criss-Cross (recorded by two core members of the Ever Present Orchestra, Oren Ambarchi and Stephen O’Malley, for whom it was composed, on Black Truffle 033). Through the use of e-bows, the guitars take on a role akin to the slow sweep pure wave oscillators heard in many of Lucier’s works since the early 1980s, but with added harmonic richness. Like much of Lucier’s instrumental music, the pieces recorded here focus on acoustic phenomena, especially beating patterns, produced by the interference between closely tuned pitches. The work presented here is some of the richest and most inviting that Lucier has composed. Though all of the pieces clearly belong to the same continuing exploration of the behaviour of sound in physical space and make use of related compositional devices, each takes on a strikingly different character. Titled Arc, for the full ensemble of four guitars, four saxophones, four violins, piano and bowed glockenspiel inhabits a world of sliding, uneasy tones, punctuated by a single piano note. Where Double Helix, for four guitars, rests on a pillow of warm, low hum, EPO-5, for two guitars, saxophone, violin, and glockenspiel possess a limpid, crystalline quality. Accompanying the four new compositions are two adaptations of existing pieces for radically different instrumentation, demonstrating Lucier’s excitement about the new possibilities suggested by this dedicated ensemble. Works for the Ever Present Orchestra is an essential document of the current state of Lucier’s continuing exploration, as well as offering a seductive entry-point for anyone who might yet be unacquainted with his singular body of work.

Presented in a deluxe gatefold sleeve with cover artwork and liner notes from Alvin Lucier. Includes a download code featuring hi-res vesions of the LP material. The download code also includes the bonus Adaptions for the Ever Present Orchestra featuring two pieces (“Two Circles” and “Braid”) that are not included on the LP version. Mastered by Rashad Becker. Design by Lasse Marhaug.

Kenton Slash Demon return to Tartelet Records with Zstring + remixes by Urulu and Kasper Marott + 12' comes in vintage Tartelet sleeves circa 2009-2010. Limited Edition 400 copies. It's been ten years since Kenton Slash Demon landed on Tartelet with their debut EP Khattabi followed by the much-celebrated The Schwarzschild Trilogy singles - Sun, Matter and Daemon all released 2009-2011.Ten years have passed since our first release on Tartelet and with this record it feels like we've gone full circle. It's a beautiful thing.'Zstring marks their return to Tartelet - but it's also a precursor for things to come within the next year. With talks of a full-length album, the KSD project is now being given the attention it deserves.
Kenton Slash Demon have always had an affinity for uplifting melancholic tunes - and Zstring cements their ability to create just that. The track oozes with dance-floor euphoria, offering up a distorted arpeggio bassline, lush pads and layered melodies, all built around a tight and ever- changing groove. There are clear references to Italo disco, early techno and trance, but it's hard to pin down the exact style - if that even matters.On remix duties, man of the moment and label collaborator, Urulu, delivers a fresh take in his signature early 90s style, while local hero and close friend Kasper Marott of Monkeytown fame comes through with an obscure melodic techno workout of the finest sorts.
To further advance the concept of 'full circle,' the 12' comes in vintage Tartelet sleeves circa 2009-2010, salvaged from three different releases - which have been in storage since being produced.Zstring will be available April 12 th 2019 on vinyl and April 26th on all digital platforms.

The Humans were Toyah, her musical director Chris Wong and multi-instrumentalist the late Bill Rieflin (drummer for King Crimson and latter-day REM, as well as Ministry, the Revolting Cocks, Lard, KMFDM, Pigface, Swans, Chris Connelly, and Nine Inch Nails) as well as Guest Human on this album, Robert Fripp.
Originally released in 2011 and issued on vinyl for the first time, this second album features “Sea Of Size” and “Small Town Psychopath”

The Humans were Toyah, her musical director Chris Wong and multi-instrumentalist the late Bill Rieflin (drummer for King Crimson and latter-day REM, as well as Ministry, the Revolting Cocks, Lard, KMFDM, Pigface, Swans, Chris Connelly, and Nine Inch Nails).
Originally released in 2014 and issued on vinyl for the first time, this third album features “Get In Your Car” and a previously unreleased 7 minute version of the King Crimson classic, “21st Century Schizoid
Man”.

The Humans were Toyah, her musical director Chris Wong and multi-instrumentalist the late Bill Rieflin (drummer for King Crimson and latter-day REM, as well as Ministry, the Revolting Cocks, Lard, KMFDM, Pigface, Swans, Chris Connelly, and Nine Inch Nails).
Recorded in 2010 at London’s Scala theatre, and issued in its entirety for the first time, the concert features Guest Human throughout, Robert Fripp. The set list includes Humans favourites “Labyrinth”, “Sugar Rush” and “Demigod”, as well the two encore tunes, covers
of Nancy Sinatra’s “These Boots Are Made For Walkin’” and Jimi Hendrix’s “Purple Haze”.

Written in 2012 using just a MicroKorg and a mic, “Penguins Can’t Fly” is a magnificent slice of italo disco and a tribute to the Ghent based italo night Pingwing. It became a bit of a local underground hit which lead to Club Mayz performing it live at one of the parties at SMAK Ghent – once. The track never saw the light of day before so we’re stoked to announce this 7inch containing the original version backed with a powerful instrumental on the flip.

Mono Han are brothers Alessandro and Davide, who collectively have a deep and long understanding of electronic music. Davide is a co-founder of N.O.I.A, one of Italy’s first electronic live acts to perform and record with drum machines and synths as early as 1978. He was also behind seminal Italo outfit Klein + M.B.O and proto-house hit “Dirty Talk”. Alessandro, following in his brother’s footsteps was inevitable and he too became hooked on the incredible new sound palette emanating from the early electronic machines.

Since then they have released under an array of aliases, have clocked up numerous club hits and this project brings them back to their 80’s roots.

If you collect vintage 70's soul-jazz vinyl, there is a good chance that you already own a record that features the amazing vocal talents of Dee Dee Bridgewater. Whether it be Roy Ayers, Norman Connors, Billy Parker or Carlos Garnett - Dee Dee is the glue that fuses these artists together. Although best known for her jazz work, Dee Dee has had a wonderfully rich and varied career encompassing soul, musicals, gospel, and underground disco from the 70's to the present day. She is still active as a vocalist, composer, and producer and remains one of our favourite vocalists at Mr Bongo HQ. We take things back to the early years of Dee Dee's career with her debut album 'Afro Blue'. Recorded in Tokyo in 1974, the album was released exclusively in Japan via two different Japanese labels (Trio Records in 1974 and All Art in 1985 respectively). Each release had unique cover art and we have opted to present the album in its original 1974 form.

'Afro Blue' features an exquisite collaboration of American and Japanese musicians, such as Cecil & Ron Bridgewater, Motohiko Hino and producer Takao Ishizuka. The result is a sublime deep soul-jazz masterpiece with timeless versions of 'People Make The World Go Round', 'Love From The Sun', and 'Afro Blue'. It is arguably one of the finest albums in its genre. This record has long been a sought-after item for DJs and collectors alike, so we are delighted to finally make this wonderful music from an understated great available to all.

Arguably poised as Kool Keith’s most sophisticated release to date, “Saks 5th Ave” serves as both a stepping stone forward in the artist’s prolific career, as well as a much needed reminder that the world’s most innovative emcee has a thorough grasp on far more than your average rapper. Touching on everything from the use of high fashion products to personal experiences including a near fatal car crash which occurred in 2017, The 16 track studio album produced by the versatile beat maker Dean “Landon Price Beats” Trotter channels Keith in a smoothly conscious state while laying down effortless bars over modern yet timeless hip hop production. From the artist who brought you "Dr. Dooom”, “Sex Style”, “Keith” and everything in between, “Saks 5th Ave” is the latest and greatest haute couture in a world of Gap and Old Navy hip hop.

R.A. The Rugged Man and Atmosphere are two of the most important names in underground hip-hop history. Among the original architects of the independent hip-hop revolution, both of these iconic artists have defied the odds to thrive for decades in the ever-changing rap landscape.

Now, R.A. The Rugged Man and Slug of Atmosphere are joining forces for the first time ever to bring some much-needed joy to listeners during these trying times. Featuring a hook by famed singer Eamon, the historic collaboration "Golden Oldies" is a feel-good trip down memory lane taken from R.A. The Rugged Man's new album All My Heroes Are Dead".

This Ltd. Edition 7" Single gives fans the opportunity to experience the nostalgic anthem in all it's old-school glory.

Kieron Ifill aka K15 has been releasing neck breaking music for quite a while now, wether on his own Esencia imprint or on established stables like Wild Oats, Eglo, Apron, Black Focus, WotNot and more recently Neroli. With the monikers K15 and Culross Close he has been honing his craft for years delivering a unique mixture of eclectic dancefloor grooves always infused with jazz elements, which clearly show his huge level of musical awareness. “Volume 1” is the first collaboration between Esencia and Mother Tongue, and prooves once again Kieron’s extreme sensibility and visionary approach with the songs ‘Elemental’ and ‘Intrinsic Value’. A jewel of a record and an instant classic so fitting for these trying times!

On Sunset features ten classic yet modern Paul Weller songs. On Sunset is a soul album. At the same time it’s also an electronic album, an orchestral album, an album packed with masterly pop songs and heart-tugging ballads, and an album filled with touches of experimentalism. It’s also an album that sees Weller taking a rare glance into the rear-view mirror as he speeds into the 2020s. Most of the album sees Weller multi-tasking on various instruments with accompaniment from his regular band - Ben Gordelier appears on all tracks and Andy Crofts on most whilst Steve Cradock pops up with his guitar on 4 songs. An eclectic and sometimes surprising gathering of guests appear on On Sunset including Slade’s Jim Lea contributing violin to the Bonzos-esque “Equanimity”, and Paul’s old Style Council chum Mick Talbot adds his signature Hammond Organ sound to 3 tracks. The beautifully lush “More” features a verse sung by French singer Julie Gros, from the band Le Superhomard (whose album Meadow Lane Park was one of Weller’s favourites of 2019) as well as the return of The Strype’s guitarist Josh McClorey. English folk trio The Staves contribute backing vocals for 3 tracks. Once again Hannah Peel sprinkles her magic over the album with string arrangements and The Paraorchestra were invited to add their expertise to 4 tracks. Formats include Black double Gatefold Heavyweight LP, a CD Mintpack and a Deluxe Hardback CD version with additional tracks.

While the ongoing global pandemic means our chances to gather and dance beneath deep blue skies are likely to be limited, there’s never been a greater need for warm, positive and life-affirming music. NuNorthern Soul has decided to do its bit by offering up a brand new 'Summer Selections' sampler that’s packed to the rafters with magical musical treats lifted from some of the label’s most potent forthcoming releases.

The EP begins with something rather special from Canadian producer Igor B: a gentle, sunrise-ready soundscape rich in languid hand percussion, bubbly synthesizer lines and glistening guitars. Entitled 'Deep Breath', the track is just one of the many highlights you’ll find on his forthcoming debut album, “Stranded Seaside”.

There’s a similarly tactile and immersive feel to 'Early Morning Ferry' by George Koutalieris, a Greek producer whose debut album 'Stop, Look, Listen' will be released by NuNorthern Soul later in the year. On his contribution to 'Summer Selections Two', Koutalieris wraps lilting, sun-soaked guitar solos and soft-touch electronics around a chunky groove that doffs a cap to the more laidback end of the 1970s West Coast rock spectrum.

Next up, long-time friend of the family Chris Coco delivers a stunning interpretation of 'Dinum', an overlooked neo-classical/ambient fusion track by Faroe Islands-based producer Kristian Blak’s Yggdrasil project. Coco’s simmering, string-drenched re-imagining is featured here as a teaser of NuNorthern Soul’s reissue of the 2014 track in the autumn, which will also feature a mind-blowing 10-minute rework by Mike Salta – an artist who is also featured on 'Summer Selections Two'.

This time round you’ll find Salta collaborating with Mortale on the starry, EP-ending ambient bliss of 'Bells of Burgibba', a deliciously drowsy mixture of twinkling electric piano motifs, chiming lead lines and woozy pads taken from the forthcoming “Celestial Hike EP”. It paddles in similar sonic waters to label boss Phil Cooper’s stretched-out, slo-mo Balearic dub of new signing Faint Waves’ 'Aphrodesia', a teaser of the artist’s “Islands In Time EP” which can be found elsewhere on 'Summer Selections Two'.

No NuNorthern Soul label sampler would be complete without a contribution from BJ Smith, an artist who has been with the imprint from its earliest days. Smith returns to the imprint with another reminder of his uncanny ability to deliver ear-catching cover versions that re-cast classic cuts as loved-up rays of Balearic sunshine. This time round Smith takes us on a huggable shuffle through Prefab Sprout’s 'All the World Loves Lovers', re-imagining it as a future Balearic anthem and a summer 2020 sing-along. It’s not only a sneak peak of what we can expect from 'Dedication to the Greats Volume 3', his first covers collection for nigh on six years, but also a life-affirming highlight of an EP that oozes musical positivity from start to finish.

Creole Soul!" Two words are enough for David Walters to qualify his music. The exclamation point to support radicalism and faith in its purpose.
A lapidary definition behind the doors of which hides the maze of a culture that crosses the oceans, connects continents and islands by an invisible but powerful thread. A deeply ingrained bond that allows Africa, America, Europe, and the Caribbean to converse with each other with a language as universal as music, dance, carnivals, or ceremonies.

Spread on the globe; the different creole cultures find a point of convergence where they are all represented: New York.
In this city, where motivated by his friend photographer JR, he once gave a concert in the street, David Walters decided to set the scene for his new album.

After five years of traveling the world, meeting musicians for the TV show “The New Explorers” (Canal +), it is around this hyperactive city that he chose to shine his Créole Sun. To imbue his music with the state of mind and aesthetics that reigned in the 70s and 80s.
While in 2018, he soloes produced Nola Is Calling (an album recorded in New Orleans with the Creole community of Black Indians, selected by Gilles Peterson in the best of 2019 on BBC 6). That’s with the essential contribution of the musical mastermind Bruno “Patchworks” Hovart (Mr. President, Voilààà Sound System, Da Break ...) that David produced Soleil Kreyol.

More than a musical partner, Patchworks turned out to be the sound engineer David was looking for. The second part of an ideal pair, the one with whom, set on the same frequencies, he wrote, composed, recorded, played all the instruments. Thought all the arrangements, tweaked the details as carried by a continuous breath. Or rather a light. The “Soleil Kréyol” (Creole Sun).

Martin Haidinger has released music on Worm Interface and Toytronic Records as Gimmik and is one half of Abfahrt Hinwil.

Released initially on hand-numbered cassette on Martin's own Hidden Reality micro imprint in October 2019, Entre Les Chambres gets the remaster treatment by n5MD for release on vinyl in early summer of 2020.
Entre Les Chambres is a highly personal work for Haidinger. And is his first new publicly released Gimmik since he appeared on our MD8 compilation back in 2004. We are proud to bring you the album on limited edition silver with black and white splatter vinyl on June 12th, 2020.
Those familiar with Martin Haidinger's work as Gimmik might be surprised by an entirely beatless return from Haidinger. However, those that have followed his music know that his synth work is undoubtedly his signature, and Entre Les Chambres' two long-form works bring his trademark to the fore, free from the confines of the grid.

The third release on Tempo Dischi is 'Keep On Dance' by Contact Music, a little gem that is part of the Italo Disco history, but has characteristics of the early Proto House sound.

Antonio Cucaro, the Italian musician, songwriter and producer behind this project recalls ‘I started playing guitar very early. I drew my inspirations from the echo of Woodstock that came through the ‘Bandiera Gialla’ show on Radio Rai: emotions that were equal to true revelations when listening to Jimi Hendrix, Eric Clapton, Cream, Jimmy Page, Ritchie Blackmore (Deep Purple), Joe Pass, Alvin Lee, George Benson. Stimulated by various musical contamination, which came from rock and Italian authorial music, I started immersing myself into searching new exciting sounds, applying composition to various directions while trying to produce something new without worrying about genres or people's judgements, all without a compromise. I would not have imagined that one evening in 1983, 'Keep on Dance' would be born. It was produced together with three DJs who wanted a sort of opening track for their sets, putting together some sequences recorded by myself using percussion, acoustic and electronic drums (Linn, Oberheim, Simmons). The fact that after almost forty years it has been revived and considered a Proto House pearl really honours me. Composing music is like breathing pure oxygen: you compose, record and realise that you are already thinking about the next step to keep breathing’.