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"Very Urgent" is the second EP for the label is coming in March 2018. It features one original track and remixes from M.E.S.H., Peder Mannerfelt, and Kangding Ray. The label Refined Productions was launched by Aleksandra Grünholz, graphic designer and producer as We Will Fail, and Jakub Mikolajczyk, head of MonotypeRec label and MonotypePressing.

Mannequin Records presents a trilogy of reissues from the avantgarde Italian-born producer Doris Norton, "Nortoncomputerforpeace" (1983), "Personal Computer" (1984, originally released by Durium Records), "Artificial Intellingence" (1985).Apple's first music "endorsement" and Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro / computer music. Norton is the wife of Antonio Bartoccetti, progressive rock guitarist, and mother of the musician and techno producer Rexanthony. As a teenager, she was drawn to medieval, Renaissance and Baroque music, not to mention quantum physics, differential equations, organic chemistry, the experimentalism of John Cage and animated movie soundtracks. Her love for modules and circuits found expression through the waves of an old harmonium, the frequencies of a Minimoog, a Roland System 100M, a Roland System 700 and the ARP 2500/2600.

In 1980, Norton began her solo career by recording at Fontana Studio 7, the Milan studio of the composer and musician Tito Fontana, resulting in the electronic opera "Under Ground". Norton became more prolific, continuing her adventures in experimental electronics and computer music with Parapsycho (1981), Raptus (1981), Nortoncomputerforpeace (1983), PC (1984) - whose album cover prominently features Apple's colored logo - and Artificial Intelligence (1985).

While the beat-oriented style of Norton's music aligns her with such global fellow-travelers as Yellow Magic Orchestra and Kraftwerk, her championing of the personal computer as a tool for self-sufficient musical creativity also connects her to more artsy musicians such as Pietro Grossi, Laurie Spiegel, and the League of Automatic Music Composers. Norton's predilection for the bright, glossy timbres of early digital instruments also recalls Hubert Bognermayr and Harald Zuschrader's bizarre 1982 one-off Erdenklang.

Later, her talent and expertise attracted the attention of IBM, who in 1986 named her as an official consultant. Already the reigning queen of the Italian electronic scene, she recorded two CDs for IBM: Automatic Feeling and The Double Side Of The Science. Influenced by her son, the musician and producer Rexanthony, Norton brought her fascination with the early days of techno into the 1990s, when she released three volumes of Techno Shock on Italian trance/hardcore label Sound Of The Bomb.

While her music remains largely out of print and inaccessible, Norton's early records have recently begun to receive the inevitable rediscovery treatment.

"In the late sixties I had already conceived computers as personal.' I have always trusted in the benefits of solitude, (being) alone means freedom... What's better than a personal' computer for materializing ideas, by oneself" (Doris Norton)

LP+DL+MC Limited

To those familiar with the output of Cologne-based imprint Firm from back in the early '00s, the name of Geiger, alias Nass, shall undoubtedly ring a bell. Herald of an hedonistic melange of funk- soaked electro pop and guitar-riddled synth music, sitting somewhere close to acts like Ween and Junior Boys, Alexander Geiger is about to break a eight-year hiatus with the drop of his debut album under the newly-founded moniker of Fahrland. A release that both encompasses a healthy dose of the discoid tropes from the Firm era but also aspires to split with a segment of it, geared towards exploring further undisclosed fringes of his shape-shifting sound universe, 'Mixtape Vol.1' is the fruit of a decisive move from the sleepless Berlin to the peaceful countryside landscapes of Fahrland - a lushly forested area near Potsdam which you'll have understood played an essential role in Geiger's longed-for return. Versatile and inclusive, the album sweeps a polyamorous gamut of styles and tempos like an answer to the virtual prisons that inhibit us on a daily basis, straying away from normative standards and classic full-length calibration as a result. Instead weaving a singular narrative course, clear from all type of shackles and chains, Geiger navigates on sight, reflecting on notions as wide and universal as freedom, friendship and love across a multiversal patchwork of sounds and feels. From the languid sexy vibe of 'Beggin', 'Plastic People' and 'Yesterday' - all three featuring the sensual whispers of multi-talented vocalist and artist MZ Sunday Luv, through the heavily vocodized, chip- implemented groove of I AM ROBOT - reminiscent of Telex and Space Art, balearic jazz & rap shine of 'Sky So High', smokey lounge ambience of 'L AND H' onto broader ambient-friendly spans such as 'Suspension', 'Windshield Gently Wipers' and the smooth, sun-basking closer 'Get Down', each track holds a fragile cocooned world at its heart.

Bei denjenigen, die mit dem Output vom Kölner Label Firm aus den frühen Nullerjahren vertraut sind, sollte der Name Geiger alias Nass zweifellos die Glocken klingeln lassen. Als der Herold einer hedonistischen Melange aus Funk durchdrungenem Elektro-Pop und Gitarren durchzogener Synthie-Musik irgendwo zwischen Ween und den Junior Boys, bricht Alexander Geiger seine achtjährige Schaffenspause mit der Veröffentlichung seines Debüt-Albums unter neuen Pseudonym: Fahrland.

Ein Release, das sowohl die diskoiden Tropen der Firm-Ära affirmiert, als auch danach strebt ein bestimmtes Segment davon zu spalten. Aufgenommen um ungeahnte Interferenzen seines gestaltverändernden Sounduniversums zu entdecken, ist 'Mixtape Vol.1' das Resultat eines bewussten Umzugs aus dem schlaflosen Berlin in die friedliche Landschaft von Fahrland - einem üppigen Waldgebiet in der Nähe von Potsdam, das eine entscheidende Rolle in Geigers ersehnter Rückkehr zur Musik gespielt hat.

Vielfältig und offen erforscht das Album polyamorös eine Skala von Stilen und Tempi als Antwort auf die virtuellen Ketten, die uns tagtäglich hemmen. Bewusst vergessen werden dabei normative Standards und klassische Langspieler-Kategorien. Geiger webt stattdessen ein einzigartiges Narrativ, frei von jeglichen Fesseln und Ketten und führt uns auf seinem multiversalen Flickenteppich aus Sounds und Gefühle mit Sichtkontakt an so allgemeingültige und universelle Begriffe wie Freiheit, Freundschaft und Liebe.

Vom nochalanten Vibe von 'Beggin', 'Plastic People' und'Yesterday' (alle drei mit der sinnlich wispernden und vielseitigen Sängerin MZ Sunday Luv), bis zu dem durch den Vocoder gejagten und computergenerierten Groove von I AM ROBOT; Reminiszenzen an Telex und Space Art, balearischen Jazz und Rap erklingen in 'Sky So High', rauchiges Loungeambiente auf 'L AND H' bis zu völliger Ambient-Anschlussfähigkeit in 'Suspension', 'Windshield Gently Wipers' und dem sanften, Sonne anbetenden Schlusslied 'Get Down' - jeder Track hält eine Welt für sich in seinem Herzen.

Organic Analogue may be best known for its deep-diving techno and house and star-gazing electro, but on this latest transmission it digs into its roots in 1980s club music by way of the supremely talented Croza.Florence-based Adrien F Costes makes his first solo outing here with tracks lifted from his treasure trove of home-made, boogie-influenced beats. The sounds may tap up a direct line to the 80s, but there's a distinctly modernist slant to the heads-down groove that Costes cooks up.
Italian producer Ad Bourke also makes a rare appearance to remix "Night Heat". His version plays out like a hazy dream sequence injected with a little Italo strut, rounding this record out as a celebration of the deep-seated influences that guide Organic Analogue.

" After his initial release on World Unknown records way back in 2011 - a tunethat featured on Andrew Weatherall's Ministry Of Sound 'Masterpiece' 2012 compilation - Kalidasa has also released music via Magic Feet and Tusk Wax. This latest release sees him ploughing along a similar musical line. 'The Mirage' and 'Sun Aki' are both tracks for those who like to chug-along to the more refined, no frills tunes that do exactly what they say on the tin. Both are perfect spaced out and otherworldly grooves for strobe filled and lazer infused dark basements. Soft Rocks throw around some magical dust on the flip for their 'Sun goes up, Sun goes down' remix which sees them turn 'The Mirage' into a 9 minute time lapse venturing from an early morning ambient start through to a pulsating electronic drive through the stars. "

* Idealz has been involved with Kniteforce since the early Influential days, all the way through KFA and into this new relaunch of Kniteforce Records. This EP is a long time coming - Idealz should always have had a Kniteforce release under his belt, as he has always been, and remains, a distinct sound within the label. This EP brings his unique sound to its perfect place - proper Jungle / D'n'B, but in the old style, and on vinyl where it deserves to be. Run The Tune is one of the best examples of this style released this year, and would fit in perfectly in any 1994-96 jungle set. It is a classic slice of precision jungle, one that moves the dance floor and the mind equally.
On the flip side, Ice Breaker and War On Jungle take the same themes but twist those vibes into other directions. This release, and Mannik's (KF73) really put the flag in the sand for Kniteforce. We do old skool the way it should be done, and embrace all the styles. This is a proper EP for the real underground!

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

* The Timespan was a regular artist on the famous Kniteforce subsidiary label, Remix Records. One of Luna-C's many aliases, The Timespan has always been on a mission to make simple, effective hardcore. This EP takes that formula and applies the years of knowledge gained since 1994 to make something that sounds...almost the same as it would in 1994. Only better. Full on pianos, running break beats, happy vocals, hip hop snippets and hectic stab patterns, this EP was made almost entirely on hardware rather than software. The result is that it contains not only the ideas of the old skool, but the warm analogue soundscapes from that era. It also features a 'revisit' by label mate Cru-l-t of the Timespan's classic track 'Music' - an updated and rebuilt from the ground up version of that tune.

Club / DJ Support
Billy Bunter, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker and many others

15th release of the strong Barba records! And its FBK who's back featuring a remix by none other than Claude Young - a Detroit heavy-weight who's been particularly selective with his output. Kevin's previous record for Barba, a 2016 twelve titled "Screaming Her Name", also featured a remixes by Terrence Dixon and Plural. Between then and now Kevin managed to put out a track for "The Cast Project" VA and a solo EP for Radio Slave's "Rekids" imprint. As we mentioned earlier, "Eclipse" features two original tracks, the title one and "To A Place I Know". "Eclipse" track is closer to the sound we've come to associate to FBK's productions - equally banging and meditative. This track takes you for a spin with hypnotizing lead synth, distorted acid lines and drums that intensify the vibe as the track progresses. It's dark and moody, but perfect for those moments when the dancefloor is ready to dive really deep. "To A Place I Know" starts on the similar note but as soon as the sampled vocal loop takes the lead it takes the song to a much happier place. Hypnotizing element is still unavoidably present but here the synth line is more subdued and plays a supporting role to the vocals. Something you would play when you need to dive out from the deep and feel some sun on your skin. Finally, Claude Young's remix of "Eclipse" is a fairly different affair, focusing on the meditative aspect of the original quite literally, and taking it to a whole other level. It is an exercise in restraint and patience, with a slowly-rising tension masterfully achieved by a piano line, ambient pads and synth textures subtly exchanging roles throughout the whole length of the song. Simply wonderful. All that, pressed onto a heavy duty 180 gram vinyl and beautifully packaged in an original artwork traditionally featuring local artists

Having recently relocated to the remote redwood forests of Northern California in order to set up a satellite mixing studio for his old stomping ground, Glasgow's Green Door Studio, Sordid Sound System returns to Invisible Inc with 4 cuts of Psychedelic Dungeon Disco.

The EP opens with his most blissed out track to date 'Die Ewige Nacht', an eight and a half minute inverted sun ritual based around shimmering cascades of dubbed up electronic percussion and an overdriven tintinnabulated FM arp.

Hi-NRG meets 80s B-Boy electro on 'Crescent City' with a careering off-road excursion into tripped out mutant carnival cavalcade territory.

Dia De Muertos's offbeat eerie percussion and driving low frequencies are met with spectral buzzing melodic refrains from the furthermost reaches of a decaying Oaxacan cemetery.

The acid drenched ambient lullaby 'You & Me' brings proceedings to a fittingly fucked up close.

Sordid Sound System's last release on Invisible Inc, 2017's 'Fear Eats The Soul', received plays and praise from the likes of Manfredas, Trevor Jackson, Sascha Funke, Optimo's JD Twitch and Thomas Von Party.

With its latest reissue, Majik's Back Into Your Heart - Melodies International dug deep into the back catalogue of Hi Records, legendary soul label from Memphis found ed in the 1950s.

Originally signed as a recording artist, Willie Mitchell took the reigns of the label and guided it through its most successful period in the 1970s, notably producing a string of studio recordings for Al Green, Syl Johnson and O.V. right among other eminent soul musicians of the time. Whilst the Hi Records catalogue shifted hands multiple times since the late 1970s, it was mainly exploited as a means to reissue recordings from Al Green and other high profile Hi Records artists (notably by Motown) while the label's more obscure back catalogue remained largely untouched. Years later, a few lesser known one offs from the label's vaults holding the distinctive raw Hi Records production sound and a circling hypnotic quality that makes them potential successful records for modern day dance floors have been getting a second life with record collectors, DJs and on dance floors worldwide. As such, recordings such as Africano's Open Your Hearts have become You're A Melody classics for some years now and Melodies International are glad to bring you one more reissue which in our hearts hold at least the same level of quality and potential as the former. With Back Into Your Heart, Majik pull through with a strong up-tempo disco tune that embodies Mitchell's sound as well as a level of modernity that might explain why it has remained largely unnoticed up until now.

Licensed and re-mastered, MEL010 comes forth in its original 7' format with a folded 14'x14' poster designed by Mafalda.

Damian Lazarus' magical live project The Ancient Moons returns today with their new single Five Moons.

The band led by Lazarus, is comprised of Ben Chetwood on drums, Rob Gentry on keyboards, and new vocalist J Appiah. On Five Moons they are also joined by the Australian punk sensation Chela for a dubbed out, soulful excursion into the darker recesses of the dancefloor.

The Ancient Moons first debuted in 2014 with Lover's Eyes, and followed that with the acclaimed album 'Message From The Other Side', dubbed a 'a journey into techno's dreamiest recesses' by The Fader and a 'psychedelic masterpiece' by Vice. Since then The Ancient Moons have travelled the world with their highly immersive live show, supported Roisin Murphy on tour and played at Glastonbury festival and Melt! amongst others.

Last year the band resurfaced, after locking themselves away to record in the Italian countryside, with I Found You, which nabbed a BBC Essential New Tune and stunning remixes from Black Coffee and Patrice Baumel. Today Five Moons offers another glimpse into this summer's forthcoming album..

On 30thMarch, Wah Wah 45s will release ORANGE WHIP, the new album by their latest signing, Honeyfeet. The outfit, who have received praise from the likes of The Guardian, have also set festivals alight up and down the country with their unique melange of sounds.

For the last couple of years the Honeyfeet (who name from a line in the Blues Brothers film) have been a conduit for the ideas and expressions of an exotic mixture of Manchester based musicians. This genre-defying band incorporate styles including jazz, folk and hip hop into their music. Someone once called it Folk-Hop and Barrelhouse-pop, and that's just vague enough to make sense.

The band are fronted by Ríoghnach Connolly - also known for her work with Real World artists Afro Celt Sound System and The Breath - "a remarkable singer and flautist who...can ease from Irish traditional influences to soul" (The Guardian). The line up is completed by Rik Warren (vocals/harmonica), Gus Fairbairn (tenor sax), Biff Roxby (trombone/vocals), Ellis Davies (guitar), Lorien Edwards (bass guitar), John Ellis (keyboards) and David Schlechtriemen (drums).

ORANGE WHIP finds the band at their most incredibly diverse. Opening with recent single Sinner (received radio play from the likes of 6 Music and BBC Manchester), which showcases Ríoghnach's extraordinary agile and emotive voice, the album moves with dizzying swagger on songs covering a wide range of subjects. Quickball tells the story of being so infatuated with someone you want to eat them, while Whatever You Do addresses the fear-mongering of the press over folk-hop and oom-pah, and Demons deals with love and redemption on a blast of harmonica-driven country, sung by Rik Warren.

Rik also takes lead vocal on a re-working of Robert Johnson's Love in Vain, a song showing Honeyfeet's more reflective side, his Skip James-esque drawl bringing an eerie quality to the lyrics about a doomed relationship. The band reshape the progression too, swinging the tune slowly and creating a little underground blues club in the midst of the recording.

Elsewhere the band go all New Orleanian on Colonel Hathi's Trunk Juice, a sinister tale inspired by trombonist Biff Roxby's horn riff recalling one of the elephants of The Jungle Book. Further showcasing their virtuosity, on one of the album's best moments - especially the nuanced vocal performance by Ríoghnach, who was raised on Irish folk - on Hunt and Gather the band do their own take on prog-folk, with a flute and cello melody running alongside a brass counterpoint.

Ríoghnach turns in another incredible vocal on the album's final track - future single Meet Me On The Corner. With a pounding beat, it is one of the album's main highlights. Guitar and brass propels Ríoghnach to sing lyrics that could be straight out of the playground, but suggest something deeper, possibly mystical even, in it's demands for a dalliance on the street. It closes the album on a high note, for a band who have that rare ability to distil all their disparate influences, while always sounding like their unique selves.

ORANGE WHIP heralds the sound of a remarkable band going overground.

Limited Edition Clear Vinyl

Includes 12' Vinyl and Deluxe CD album, 30 page hard back book

Now that I've been to Nashville,' Kylie Minogue says with audible affection, I understand. It's like some sort of musical ley-line...'

Golden, Kylie's fourteenth studio album, is the result of an intensive working trip to the home of Country music, a city whose influence lingered on long after the pop legend and her team returned to London to finish the record: We definitely brought a bit of Nashville back with us,' she states. The album is a vibrant hybrid, blending Kylie's familiar pop-dance sound with an unmistakeable Tennessee twang. It was Jamie Nelson, Kylie's long-serving A&R man, who first came up with the concept of incorporating a Country element' into Kylie's tried-and-trusted style. That idea sat there for a little while, with Minogue and her team initially unsure about how to bring it to life. Then, when Grammy-winning songwriter Amy Wadge's publisher suggested Kylie should come over to collaborate in Nashville, a city Kylie had previously never visited, something clicked. You know when you're so excited about something,' she recalls, that you repeat it an octave higher and double the decibels I was like that. 'Nashville! Yes! Of course I would!'. I hoped it would help the album to reveal itself. I thought 'If I don't get it in Nashville, I'm not going to get it anywhere.''

Kylie's Nashville trip involved working alongside two key writers, both with homes in the city. One was British-born songwriter Steve McEwan (whose credits include huge Country hits for Keith Urban, Kenny Chesney and Carrie Underwood), and the other was the aforementioned Amy Wadge, another Brit (best known for her mega-selling work with Ed Sheeran). It was then a truly international project: Golden was mainly created with African-German producer Sky Adams and a list of contributors including Jesse Frasure, Eg White, Jon Green, Biff Stannard, Samuel Dixon, Danny Shah and Lindsay Rimes, and there's a duet with English singer Jack Savoretti.

However, the album's agenda-setting lead single Dancing was, significantly, first demoed with Nathan Chapman, the man who guided Taylor Swift's transition from Country starlet to Pop megastar. If anyone knows how to mix those two genres, Chapman does. Nathan was the only actual Nashvillean I worked with. He's got a huge studio in his house, which is probably due to his success with Taylor... there's plenty of platinum discs of her, and others on his walls.' There's something of the spirit of Peggy Lee's Is That All There Is, of Dylan Thomas' Do Not Go Gentle Into That Good Night, even of Liza Minnelli's Cabaret about Dancing, a song which not only opens the album but sets out its stall, providing a microcosm of what is to come. You've got the lyrical edge, that Country feel, mixed with some sampling of the voice and electronic elements, so it does what it says on the label. And I love that it's called 'Dancing', it's immediately accessible and seemingly so obvious, but there's depth within the song.'

The experience of simply being in Nashville was an overwhelming one, before Kylie had even arrived. Once I knew I was going to Nashville, people talked about the place with such enthusiasm. They said without doubt I would love it and, I would come back with songs. They were sending lists of restaurants, coffee shops and bars. It really was a beautiful and genuine response and it felt like I was about to have a life changing experience and in a way, I did.' The reality came as something of a surprise, when she found a far more modern metropolis than the vintage one she'd envisaged. I thought it would be like New Orleans: little houses and bars, with music spilling out onto the street. It reminded me more of Melbourne: apartment blocks going up everywhere! The main strip, Broadway, where the honky tonk bars are, that's where the street was filled with music and it was just amazing.' Mainly, Minogue remembers the heat and humidity. It was 100 degrees. It was like it was raining with no rain.' She also relished the chance to wander around unrecognised, visit a few venerable music bars and soak in the atmosphere. I didn't get to the Grand Ole Opry or the music museums but I managed to go to a couple of the institutions there like The Bluebird Cafe and The Listening Room, and just by being there, through some kind of osmosis, you get this rejuvenated respect for The Song, and the writing of The Song. There's no hoo-hah around it. There's a singer-songwriter there, talking about the song and singing the song, to an audience who are there to listen. Although, I have to confess I was guilty of starting to clap too soon during a long pause at the end of one of the songs. The guy made a bit of a joke out of it and got a laugh from it, but I thought 'Of all people in the audience, no...''

It's probably no coincidence, therefore, that every track on Golden is a Kylie co-write, making it arguably her most personal album to date. The end of 2016 was not a good time for me,' she says, referring to well-documented personal upheavals, so when I started working on the album in 2017, it was, in many ways, a great escape. Making this album was a kind of saviour. I'd been through some turmoil and was quite fragile when I started work on it, but being able to express myself in the studio made quick work of regaining my sense of self. Writing about various aspects of my life, the highs and lows, with a real sense of knowing and of truth. And irony. And joy!'

The songwriting process allowed Kylie to get a few things out of her system. Initially, she admits, it was cathartic, but it also wasn't very good. I think I was writing too literally. But I reached a point where I was writing about the bigger-picture, and that was a breakthrough. It made way for songs like Stop Me From Falling and One Last Kiss. It also meant I had enough distance to write an autobiographical song, like A Lifetime To Repair, with a certain amount of humour. The countdown in that song: 'Six-five-four-three, too many times...'. I don't know if that will be a single, but I can just imagine a girl with framed pictures of past boyfriends, and kind of going 'Oh god, when am I going to get this right'' When she listens back to Golden, Kylie can vividly hear the Nashville in it. It is, she'll agree, probably the first time that a Kylie album has sounded like the place it was made. You wouldn't normally relate my songs to the cities. Can't Get You Out Of My Head sounds more like Outer Space than London. But Shelby '68, for example, was written in London but it was done with Nashville in mind. It's about my Dad's car, and my brother recorded Dad driving it! I don't think I'd have written a number of the songs, including Shelby '68 and Radio On without having had that Nashville experience.'

The latter, she says, is about music being the one to save you.' Throwing herself into the making of the record, she says, crystallised that idea. If there's one love that will always be there for you, it's music. Well, it is for me, anyway.' That song, in particular, carries nostalgic echoes of the golden age of Country, as heard through Medium Wave transistors and tinny home stereos in the distant past. Like any child of the Seventies, Kylie had a basic grounding in Country music, mainly absorbed from older family members. My Step-Grandfather was born in Kentucky and though he lived most of his adult life in Australia, he never stopped listening to his beloved Country artists.' If there's any classic Country singer whose imprint can be heard on Golden, it's Dolly Parton.

Kylie saw Dolly live for the first time at the end of 2016, at the Hollywood Bowl. It was like seeing the light,' she beams. It was incredible. Everyone, whether they know it or not, is a Dolly Parton fan. When I was in Nashville, I did pick up a T-shirt that said 'What Would Dolly Do' Maybe that should be my mantra.' And, whether consciously or otherwise, there's a timbre and trill to Kylie's vocals on Radio On that is distinctly Parton-esque. My delivery is quite different on this album,' she says. A lot of things are 'sung' less. The first time I did that was with Where The Wild Roses Grow. On the day I met Nick Cave, when I recorded my vocals, he said 'Just sing it less. Talk it through, tell the story.' This album wasn't quite to that extreme, but a lot of the songs were done in fewer takes, to just capture the moment and keep imperfections that add to the song. I remember on my last album, a lot of producers were trying to take out literally every vibrato they heard. And that's not natural to my voice. I mean, I can make myself sound like a robot, but it's nice to sound like a human!' Working within the Country genre also gave Kylie permission to write in the Nashville vernacular. Because we were going there, I wasn't afraid to have lines like 'When he's fallen off the wagon we'd still dance to our favourite slow song', 'Ten sheets to the wind, I was all confused', 'I'll take the ride if it's your rodeo'. The challenge of bringing a Country element to the album made the process feel very fresh to me, kind of like starting over. I started to look at writing a different way, singing a different way.'

If ever Kylie lost confidence in the Country-Pop concept, and found herself pondering This is great, but back in the real world - my real world - how will this work', Jamie Nelson was there to badger her into sticking to the path. We found a way to make it a hybrid with what we'll call my 'usual' sound. It had to stay 'pop' enough to stay authentic to me, but country enough to be a new sound for this album. The closer we zoomed in, and the more we honed it, I knew Jamie was right. We sacrificed good songs that weren't right for this album, because we wanted it to be as cohesive as possible. The songs that were hitting the mark were these ones, so we decided to be strong, and that's how we wrapped up the album. What he said, that stuck with me, was that 'I'd hate to get to the end of this and really wish we'd gone for it.'' Having worked with Kylie for so long, Nelson was able to put this latest shift of direction into perspective. He said 'You've traditionally done it throughout your career. You had your PWL time, then you did a complete turn when you went to deConstruction, then another complete turn with Spinning Around, and R&B dance-pop, and then another turn with Can't Get You Out Of My Head, icy synth-pop, and this is another one.' He was right. It felt like the right time to have a change sonically. New label, new stories to tell, and a new decade almost upon me.'

Kylie Minogue will, it's scarcely believable, turn 50 this year. This looming milestone is partly behind the album's title, and title track. I had this line that I wanted to use: 'We're not young, we're not old, we're golden' because I'm asked so often about being my age in this industry. This year, I'll be 50. And I get it, I get the interest, but I don't know how to answer it. And that line, for my personal satisfaction, says it as succinctly as possible. We can't be anyone else, we can't be younger or older than we are, we can only be ourselves. We're golden. And the album title, Golden, reflects all of this. I liked the idea of everyone being golden, shining in their own way. The sun shines in daylight, the moon shines in darkness. Wherever we are in life, we are still golden.' One of the album's shiniest moments is Raining Glitter, an exuberant banger which ventures closest to Kylie's traditional dance-pop comfort zone. Eg White, who is one of the producers and writers and a great character, was talking about disco one day. I said 'I love disco, but you know the brief.' We needed to be going down the Country lane, so to speak. But we managed to bring them both together. When I wrote it, I was thinking about the Jacksons video for Can You Feel It where they're sprinkling glitter over everyone. And I think there's a Donna Summer record that's got that feel to it. I think that's my job: I basically leave a trail of glitter after every show I do anyway.'

Kylie is looking forward to the challenge of incorporating the Golden material into her live shows. Mixing these songs in with my existing catalogue is going to be fun. And it could be fun to do some of those songs with just a guitar. It'll make my acoustic set interesting...'Her incredibly loyal fans - to whom one Golden song, Sincerely Yours, is intended as a love letter' - will, she believes, have no problem with her latest stylistic shift. My audience have been with me on the journey, so I shouldn't be afraid that they won't come with me on this part. I've had fun with it, and I'm sure they will too.'

The time spent making Golden has, Kylie says, been a time of creative and personal renewal. I've met some amazing people, truly inspiring writers and musicians. My passion for music has never gone away, but it's got bigger and stronger.' And if there's an overriding theme to the record, it is one of acceptance. We're all human and it's OK to make mistakes, get it wrong, to want to run, to want to belong, to love, to dream. To be ourselves.'

I was able to both lose and find myself whilst making this album.'

First new LP in over 15 years. Builds on 3 successful ATFA reissues of Mergia's music. Legendary artist still active after decades of historic work. Modern Ethiopian jazz built on ancient scales and standards. Capping several successful years traveling the world performing to audiences big and small, Hailu Mergia's Lala Belu has been a long time coming. It builds on Mergia's remarkable career resurgence over the past few years. Beginning in 2013 with the reissue of his dreamy Hailu Mergia and His Classical Instrument followed by the enormous success of his seminal Ethio-jazz masterpiece Tche Belew and continuing with last year's widely acclaimed Wede Harer Guzo, Mergia has received considerable accolades from listeners and press globally, including The New York Times, Pitchfork and The Wire. His old recordings are cherished revelations for Ethiopian music fans; however, Mergia's return to the stage has been just as inspiring and electrifying. Mergia's vintage recordings are known for an inherently mysterious and worn-in quality, while his new recordings echo his band's 21st century live show with modern instrumental interpretations of crucial Ethiopian standards and Mergia's own original compositions. Tony Buck (drums) and Mike Majkowski (bass), who have backed Mergia on tour throughout Europe and Australia, form the bass-drums trio on the recording. Having played venues from Radio City Music Hall and the Kennedy Center to jazz festivals, rock clubs and DIY spaces all over North America, Europe and Australia, Mergia and Awesome Tapes From Africa want to document this moment in his landmark career with a snapshot of Mergia's current sound. Since he emigrated from Ethiopia and built a life in Washington, D.C. around 1981—where he remains working as an airport taxi driver when he is not on tour—Mergia's career has followed a humble trajectory. He made a few recordings in America but they didn't easily reach fans back home. He kept making music on his own and with friends but after the early 80's his gigs in the U.S. mostly dried up. It wasn't until he began working with Awesome Tapes From Africa and putting together bands with the help of booking agents and musicians in Europe and the U.S., that he was able to chart a new path. With a broad audience of young listeners in diverse venues and distant locales, at age 71, Mergia is enjoying his comeback and is not slowing down.

Running Back welcomes Andreas Grosser for the start of it's non-dancefloor series 'Running Back Incantations'. Think Tornado Wallace's 'Lonely Planet' or Suzanne Kraft's 'Missum' who both would have been good and early contenders for a series like that, and you are half way there. Andres Grosser though, was 'there' and that way before. Probably best-known for his 1987 collaboration 'Babel' with Klaus Schulze, Grosser is a bit of a dark horse in the universe whose big bang was krautrock and that went on to be called cosmic, space music or simply new age.

A native East-Berliner, Grosser crossed the Wall in 1981 and next to studying piano, his day job was to advise, sell, maintain and invent electronic music instruments. Naturally, Grosser had a good connection to and support from local Berlin musicians and groups, while working at night in his own studio and in those of others. Fast forward 37 years and Andreas is now one the worlds leading microphone technicians specialising in German and Austrian vintage types.

'Venite Visum' is an anthology of recordings made between 1976 and1980. Released in 1981 on UK's York House Recordings as a cassette tape only, it features some of the most out there, hypnotic and still state-of-the art space music ever to be known to man. For the first time transferred onto vinyl, compact disc and available as a digital download, it was perhaps best described by one reviewer at the time as; "powerfully relentless, repetitive themes which are constantly embellished and subjected to variations in tone colour and instrumentations. The music surges, coming in waves that approach and recede, but with each surge the waves seem to be higher up the shore.'

Now carefully transferred from an archived tape, remastered and compiled on a double album for the first time, it features the previously unreleased and not less mesmerizing 'The Quantum Leap'. Come and visit the hidden and almost forgotten

Toby Tobias has a lengthy history of disturbing the peace. This is his second offering for the ESP Institute. On side A, Second Stimulus stirs shimmering staccato chords, roaming pipes and detuned robotic sighs into quite the disorienting stew—the loose arrangement remaining fragmented over 9 minutes of touch-and-go 808 programming, picking up a pseudo bassline assembled from sub toms, introducing a gritty break loop and eventually blissing out into oblivion. With side B's Synchro Surfer, Toby plays with the notion of suspense by gently teasing a muted kick and percussion rhythm under washes of white noise, bleeps and sirens that are tape-dubbed and which, over time, begin a dialogue with each other, as if the machines have declared mutiny on the garage. Toby continues to stretch his limits with his output for the ESP Institute, possibly headed toward a full-fledged devolution of conventional dance music. These two songs may have you arrested for public nuisance.

Originally trained in classical piano through his mother and some of Indonesia's legendary classical music virtuosos, Fariz made his own historical moment when he became Indonesia's legendary Pop Icon of the eighties. With his unique talent as a multi instruments musician, Fariz wrote not less than 1,760 songs within his magnificent years between 1980-2000 and still leading the role as one of the most in demand and legendary Indonesian performers and producers ever noted by history. During his brilliant career, Fariz collaborated with the most famous names in the business, locally and internationally. This stunning compilation of incredible and hard to find tracks covers his early years from 1977 to 1982.

- Remastered from original sources in collaboration with the artist
- Strictly Limited Edition of 500 copies
- First reissue ever of collector's material

Fresh for 2018 the ever pioneering Octave One are bringing us some brand new music for the new year. Using their much loved Random Noise Generation alias the upcoming release entitled 'N2 The Enfinate, contains a new single as well as a remake of 'Rock my Soul' in the form of the 'Reborn Vocal Remix'.

The first Random Noise Generation release was 'Falling in Dub' in 1991 and sounding just as fresh 27 years later, 'Enfinite Soul EP' is due for release this April.

For this single a retro energy has been explored in the title track 'The EnFinate', running parallel to a more contemporary groove and rolling, marauding baseline. The second track on the package, 'Rock my Soul' (Reborn Vocal Remix) starts with a strong intent and a weighty bassline paving the way for precise and bright chord stabs.

The single is taken from the new album 'Endustry', a full body of work encompassing 7 full length cuts, set for release in spring.

After touring and making music for decades the spirit and essential energy of the craft is what keeps them eternally inspired to keep creating and touring the globe... 'Once it takes hold of you you can't stop even if you wanted to.' say the brothers.

Midi Deux Entertainment is back with his first compilation dedicated to Zizou & the Roudourou stadium. Artists of the EP come from Bretagne and offer us great techno & acid tracks.

Hell Yeah Recordings are pleased to announce they have been tempted into the reissue market. As such, the label starts a new offshoot, PERDIO (roughly meaning 'lost' in Portuguese) which will focus on putting out re-issues and new remixes of classic or forgotten gems.

The first one is a newly remastered instrumental version and new Francisco Dub of Giorgia Morandi's 'Children of the Sky', a cover of the Italo-classic "Figli delle Stelle" by Alan Sorrenti which just happened to be released 40 years ago.

Tar Hallow's Rhyw returns to the label with 2 penetrating techno bangers plus a mesmerizing remix from the man called Paleman!

Ltd. edition of 500 numbered copies on clear vinylGnashing, thrashing and teeming with enchanting microtones - Machine Guitars is the definitive recorded work of Remko Scha, although the late Dutch artist didn't play a single note himself. Rather, Scha arranged a motorized, rotating wire brush and saber saw in front of suspended electric guitars and let these metallic torrents flow.Scha was a linguist and generative artist, enamored of computers' capacity for algorithmic creativity. A leading researcher at the University of Amsterdam, he also cofounded the famed arts-space Het Apollohuis in a former cigar-factory in 1980. This haven for intellectuals and underground autodidacts served as the recording studio for most of Machine Guitars (as well as Ellen Fullman's brilliant The Long String Instrument), which originally appeared in 1982 on the small Dutch label Kremlin. Machine Guitars, as the critic Byron Coley has noted, ranks among the best of the era's minimalist-inspired, avant-garde guitar statements by Glenn Branca and Rhys Chatham. The semiautonomous sound-making sculptures also evoke contemporaneous work by Christian Marclay. Scha's work falls somewhere between conceptual art and avant-garde music - a total revelation for minimalists and No Wave fans alike.First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.

The Berlin based Gel Abril kicks off his new "Closed Circuits" label in a full form presenting a strong record by talented Polish artist Oskar Szafraniec, a crafted producer, known by his latest 12" on Rawax with Ricardo Villalobos, EPs on Murge Recordings, Cyclo or collaborations with Pier Bucci. For the debut release on Closed Circuits, Oskar has collaborated with the Swedish "Very Addictive" duo and has delivered his best work to date, a music piece called "Borderline", filled with lush vocals and hypnotic pads that kicks the label with a proper bang.

On the A side - the label boss himself, Gel Abril, turning "Borderline" into a burner, with his very own distinctive groove and effected vocals, surely to be one of the main tracks for 2018! On the flip side, already mentioned original mix of "Borderline" and another collaboration by Oskar, this time with legendary Chilean master "Pier Bucci", bringing minimalistic experimental goodness, perfect for those special after hour moments we all love. Gel Abril said: "listening to Borderline for the first time it just blew my mind and gave me that goosebumps feeling you rarely get with most of music out there these days, I felt very inspired remixing such an magnificent vocal, it is one for the books!"

the first collaboration of kuniyuki and japanese legendary jazz pianist fumio itabashi, it's originally released in 2009,recorded for kuniyuki's third album 'walking in the naked city'. kuniyuki and itabashi invited henrik schwarz as vocalist,maybe you remember henrik&kuniyuki's house version. itabashi said river is one of the best song which i have produced.

the first collaboration of kuniyuki and japanese legendary jazz pianist fumio itabashi, it's originally released in 2009,recorded for kuniyuki's third album 'walking in the naked city'. kuniyuki and itabashi invited henrik schwarz as vocalist,maybe you remember henrik&kuniyuki's house version. itabashi said river is one of the best song which i have produced.

finally available on vinyl!

Repress from space-disco LP from 1983/1984 by Argentinian group led by keyboardist Bruno Carlos Musso.

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Carefully remastered by Fabrizio Martina (Jolly Mare), who also produced the bonus track (a disco-club oriented remix).

'From a lost Australian electronic soul gem, to a cult classic: Shahara-Ja's 'I'm An Arabian Knight' has gained much momentum since it's 2017 reissue, so much so that the Egyptian Lover reached out to the label proclaiming he'd do a remix. The electro innovator who the original release appears to be highly inspired by seemed like a perfect fit for this sleazy late Night groover. The result is 3 fresh mixes using elements of the original session tapes and the perfect touch of the Egyptian Lover's signature 808'

8* Following recent excursions channeling the big room sound, Project Pablo returns with a sleeker, more refined EP for Technicolour.The resulting five tracks span upbeat opener 'Napoletana' - a rough and ready duet between a MFB 522 drum machine and Juno 106', through the swirling improvised piano loops of 'Last Day' - recorded in an hour just before he packed up his gear at the studio of fellow Montreal residents Braids and moved it all home, to the bumpy 2-step of 'Less and Less'. The Canadian producer has had a stream of quality releases via labels such as Clone's Royal Oak imprint, Spring Theory, Lone's Magicwire and most recently Ninja Tune's Technicolour imprint.

Label stalwart HumaNature's track Eleventh Hour gets a remix treatment by Zero T. We have an altogether different beast. Stripped back to that infectious groove which he is renowned for, Zero T delivers a funk laden remix. Eyes down business.

On the flip we have Polish wonderboy SATL on the remix duties! He gives his own unique spin to the track Untold Stories by HumaNature & Critical Event.

I cannot think of a better way to kick off our vinyl catalogue

JoeFarr and his label User Experience are pleased to welcome a very talented to the roster, Insolate. The artist formerly known as Miss Sunshine is a DJ, producer, label owner and promoter who has been in the business for 20 years and considered as one of the best techno artist's from Croatia. The two original tracks ride a perfect balance between groove, power and emotion. JoeFarr does what he does best and turns out a killer remix.

Breach returns with his first solo release since 2015 and with it a return to his roots as Breach. NKDLTD001 brings two deep, dark, moody tracks to the table plus a fantastic Mark E remix to boot.

incl Cab Drivers Remix

Inside Out is a brand-new series that invites DJs and producers to blur the boundaries between traditional artist albums and mix compilations. Coming from Aus Music label head and DJ-Kicks curator Will Saul, the concept encourages artists to showcase their own music and or the music of those in their own individual circles. The mix will be release digitally and on CD, while a selection of the tracks will also be available on double gatefold vinyl.

Each instalment will feature 100% new and unreleased music. It is a chance for artists to take sole creative charge, A&R as they see fit and then commission brand new music specifically for the cause. Depending on who is at the helm, Inside Out will take different forms: producers may wish to represent their own sound with only music they have made themselves or with close collaborators, while DJs and label heads may wish to reflect the sounds and scenes that surround them. The results will be a window into an artist's world that works as a coherent mix, but also as a treasure trove of fresh new music that steps outside the usual lines of a dance album.

The idea stems from Will Saul's own approach in the club, which often finds him seeking out brand new and unheard music to play for the first time. That feeling of taking people into the unknown is one that reminds him of the energy and excitement of his early days as a dancer.

For Will's mix he enlists an array of artists who he's worked with over the years, many of whom have released on one of his labels in that time. These include the likes of Lone, Pearson Sound, Move D, Gerd, Youandewan, Martyn, Falty DL, Dauwd, Appleblim and Marquis Hawkes.

It was chance that brought about the release of One/Three, Dabrye's debut album. Early demos were tucked on the B side of a cassette Tadd Mullinix passed to Sam Valenti in 2000 while working at the Dubplate Pressure record shop in Ann Arbor. Mullinix had spent the late '90s producing jungle, techno, house, hip-hop and more using the All Sound Tracker software as a primary instrument. Each style pulled from a similar sound palette as Mullinix used limitations to define the contours of di-erent musical personalities. Dabrye was his hip-hop wildstyle, a captivating collage of sparse instrumentals inspired by the laid back vibes of midwestern hip-hop and east coast boom bap, the futuristic funk of Umma-era Jay Dee, and the calculated subtlety of Detroit dance music. Released in 2001 as the first in an intended trilogy, One/Three announced Dabrye's arrival with an unavoidable contribution to Detroit hip-hop. Ghostly International is reissuing the album in 2017 for the first time, including a long overdue vinyl edition.

On its release One/Three was the rare album that appealed to both fans of Slum Village's smooth yet rugged hip-hop and enthusiasts of the distinct American IDM released by labels like Schematic. Over the following decade, the inadvertent demo submission turned into a body of work that placed Dabrye alongside innovators such as Prefuse 73 amid the cannon of a new generation of producers. Today, One/Three remains a concise and intriguing study in instrumental hip-hop that helps join the dots between J Dilla and Flying Lotus.

One/Three is a record that says much with little. There are no obvious hip-hop tropes. Instead Mullinix captures the ingenious minimalism of '90s hip-hop instrumentals to build tracks both supple and hard, joyous and melancholy, full of sharply angled rhythms and warm rubbery basslines: 'The Lish' throws a sickly sweet saxophone against digitally fragmented melodies, 'How Many Times (with this)' draws you in with an irresistible, clipped guitar groove, the rhythmic stutter of 'Smoking The Edge' makes your head spin with pleasure. Playing with his inspirations, Mullinix injects omitted downbeats for imagined rhymes and repurposes the intricacy of ragga jungle for breakdowns.

But what really defines One/Three is the rhythmic sensibility and metric modulation of Detroit's school of hip-hop production, which Mullinix was a fervent student of. The beats feel like they're constantly escaping a rigid tempo grid even though they are, in fact, pretty tight. A lot of it is nuance,' Mullinix explains. I've been known to say that I'm not impressed by spectacle. I think that nuance is what really captivates people.'

If you like your beats with a dash of class, do not miss this. An essential purchase of the highest order.' -BBC

- First time all tracks from the original 2001 release appear on vinyl.
- Remastered by Daddy Kev
- Standard weight black vinyl is inserted in to 3.5mm matte finish vinyl jacket.
- Download card includes free download of the Payback EP

Daytoner are a 7 piece funk & soul remix band based in Cornwall, UK fronted by Lucy Richards and led by 'vintage breaks' producer, Moss Daytoner. They have been touring UK festivals since 2016 playing stages including Bestival, Boardmasters, Boomtown, Wilderness, NASS along with special events such as the opening of the Blue Whale exhibit at The Natural History Museum and supporting Craig Charles at his Funk & Soul Club nights.

Daytoner's debut single release as a band features 2 live favourites: the new northern soul stomp of 'Needed You' and the remake of a 60s jazz dance classic 'Sicka' delivered by the southern soul powerhouse that is Lucy Richards, backed with a unique 6 piece band. A second single appropriately titled 'Second Stomp' is to follow on 7' vinyl in May ahead of Daytoner's debut LP in their full live band line-up. Daytoner head off on an LP tour in April, taking in festivals such as Shindig, Great Estate & Boomtown plus support gigs for The Craig Charles Funk & Soul Show.

Radio Airplay: 4 plays on The Craig Charles Funk & Soul Show on BBC6 Music // BBC Introducing Feature on BBC Radio One // Repeat daytime plays on BBC Radio Cornwall and evening on BBC Introducing in Cornwall

DJ Support: Smoove, The Allergies, Renegades Of Jazz, Mr Bird

- Astonishing solo debut by acclaimed cellist and composer Lucy - A daring, non-conformist and deviant approach to composition and instrumentation - One side of filigree, multi-layered autobiographical collage-work, the other of raw and phased cello glissandi - RIYL: Mark Leckey, Alvin Lucier, Beatrice Dillon, Nate Young, Valerio Tricoli, Popol Vuh

Lucy Railton is a prolific performer who has appeared on countless recordings and collaborations with many important figures in contemporary music over the last few years. Paradise 94 is, remarkably, her solo debut - featuring archival, location and studio recordings which serve as a time capsule of all the myriad disciplines and influences that have brought her to this point in time. It both plays up to and shatters expectations of her music, which harnesses a duality of energies - acoustic/electronic, real/imagined, iconic/iconoclastic, pissed-off/romantic; out of place and androgynous - resulting in a visceral emotional insight and rare narrative grasp. Variegated, asymmetric, and located somewhere between her usual fields of exploration, Paradise 94 gives free reign to aspects of her creativity that have previously been subsumed into collaborative processes and interpretations of other composers' work. Here, she's free to probe, sculpt and layer her sounds through a much broader range of techniques and strategies, placing particular focus on non-linear structural arrangements and exploring the way her cello becomes perceptibly synthetic through collaging, rather than FX. At every turn Paradise 94 is bewilderingly unique. The A-side unfolds an oneiric, inception-like sequence traversing temporalities, timbres and tones from what sounds like a spectral ensemble playing on a traffic island in Pinnevik, to bursts of rabbit-in-headlights trance arps emerging from meticulously dissected musique concre`te in The Critical Rush, and a collision of masked vocals, string eruptions and a deeply moving, light-headed Bach rendition in For J.R. On the other hand, Fortified Up on side B tests out a far rawer approach, sampling herself playing the same glissandi over and again, which she layers into a sort of perpetual, sickly motion, the Shepard Tone riffing on the listener's psychoacoustic perceptions before calving off into a cathartic dissonant folk coda in its final throes. In the most classic sense, you can only properly begin to f*ck with something from the inside once you truly know it. Railton's dedicated years of service have more than equipped her with the nous and skill to do just that, gifting us with what will no doubt be looked back on as a raw, exposed and important solo debut in years to come.