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It is Melodies International's greatest pleasure to bring forth its latest reissue comprising two stripped-back, reflective pieces of US folk soul.

Largely forgotten for the past forty-odd years, Bobby Wright (now Abu Talib)'s "Blood Of An American" and "Everyone Should Have His Day" resurface as politically-infused works that shine bright and still hold meaning to this day.

The 60s and 70s constituted an exceptional era for its unique blend of popular culture and political radicalism. Household names such as Sly Stone, Marvin Gaye and Gil Scott-Heron used art to express their discontent with the current state of affairs, namely the US government's involvement in warfare and their inability to deal with critical social issues of the time. Though not a musician, Muhammad Ali (born Cassius Clay Jr) was advocating a similar anti-government stance in the boxing ring, and his objection to serving in the Vietnam War sealed his status as an icon for the wider counterculture generation.

Meanwhile in Queens, New York City, Abu used to work several jobs as a construction worker and cab driver - but still found time to play with his band in clubs for $100 a night to support his family. Against the backdrop of international conflict and violence, most of his surroundings failed to listen to how he felt. However, he considered music to be the greatest form of communication with the world and it was his belief that a positive message should be spread to future generations.

After one band member was killed in Vietnam and another went into the service, Abu resolved to pick up his guitar and record these songs as a duet in 1974 with his bassist - the only other remaining band member. Combining guitar, bass and a voice that quavers with emotion he self-released the record in 1974, one which holds its own alongside the all-time greats.

These songs of introspection remind us of the beauty there is in simplicity and how moving art can be when the feelings expressed come from the heart. MEL009 will be released in its original 7" format alongside a 16-page Melozine, featuring words from Abu Talib, social studies professor Paul Rekret and much more.

Capra Black remains one of the seminal recordings of jazz's black consciousness movement. A profoundly spiritual effort that channels both the intellectual complexity of the avant-garde as well as the emotional potency of gospel, its focus and assurance belie Billy Harper's inexperience as a leader. Backed by an all-star supporting unit including trombonist Julian Priester and drummer Billy Cobham, Harper's tenor summons the brute force and mystical resolve of John Coltrane but transcends its influences to communicate thoughts and feelings both idiosyncratic and universal. This is music of remarkable corporeal substance that somehow expresses the pure language of the soul.

1973s brilliant Celestial Ocean, by the legendary Swiss krautrock band BRAINTICKET, is a concept album that details an ancient pharoahs journey into the afterlife (substitute the word "journey" for "trip" and youll get what they were driving at). However, Brainticket were not mere products of their time, they explored some truly compelling musical territory and produced a superlative blanket of sound-featuring a pioneering mix of early synthesizers, flute, zither, sitar, and male / female stream-of-consciousness spoken word vocals-that ebbs and flows in the same general cosmos as classic Gong. This reissue is fully remastered from the original master tapes.

Following the success of the Retro-Zouk mixtapes series (4 volumes / 15k plays on Soundcloud), Secousse Radio proudly presents its first official vinyl reissue of a long lost Zouk banger.

Originally released in 1993-1994, those two tracks have been road-tested in various clubs and parties for months and the feedback is clear: it's dancefloor devastation business.

Their author is Jules Henri Malaki, an established and self-produced artist from Guadeloupe, a French overseas island in the Southern Caribbean Sea.

As the popularity of Zouk music keeps growing every day in Europe, America and Asia, just whisper the name Makiyaj' to any of the best DJs from the current tropical diggers scene and watch their eyes scintillate... This secret weapon shall not remain secret very long.

Born in Poland and now operating out of the ever-effervescent London, the adoptive city where she's learnt the ropes of music production and Djing, Anii - real name Ania Iwinska - has lived many lives in one. Yet if one thing's remained a constant over the years, no matter the harshness of the obstacles life threw at her, it's indeed a deep and inextinguishable love for music; be it behind the mixing desk at Wired Studios or in her own Shoreditch workroom, the key place where she's kept honing her skills with unfazed diligence, up to the point of making it her actual second home.

Anii lands her debut transmission on Kompakt and surely not the last. Named after the Polish word for 'roots', 'Korzenie' finds Ania threading her way in between subtle deep-house and techno folds, delving into the essential strength of her past and present to carve out an hypnotic maelstrom of traditional Polish music strings, tribal percussions and elegiac melodies. Coupling eerie ostinatos with stealthy bass moves, it's an ode to the magnitude of memory and power of resilience that reels out, blurring the line between late night club environment and further spacious, moony soundscapes.

Females have never figured strongly in the ranks of blues and rock guitar players, but the woman featured on this LP can claim to be one of the formative influences on modern rock 'n' roll guitar. Sister Rosetta Tharpe is remarkable, not just because she was an acclaimed gospel singer from the late Thirties to her death in 1973, but because she was also one of the earliest exponents of the electric guitar. In fact she helped to invent the whole concept of rock lead guitar. Her guitar-playing, which featured a fingerpicking style unusual at the time, strongly influenced Elvis Presley, Johnny Cash, Jerry Lee Lewis, Etta James, Little Richard and Bonnie Raitt. Enjoy some of those moments on this collection selected from her prolific first recording decade.

A multi-platform production that explores the overlap between the digital and the organic through field recordings of Inuit throat singing may sound, on surface level, to be something that is a rather niche. However, Zoe Mc Pherson's exploration of this world on String Figures is a deeply rhythmic, immersive and forward-thinking piece of electronic- leaning music that remains just as danceable as it does experimental.
The album is fundamentally one of duality, exploring the traditional and the contemporary, organic and electronic, audio and visual, history and the future. Rooted in this duality is also a core theme around string being one of the most ancient and playful art forms and the seemingly infinite possibilities it offers in terms of shapes, structures and figures lines up with this as a trans-global art project. One that over time will involve video art, choreography, 3D motion design, macro film, instrumental and electronic sound. Although for now is being presented through an AV performance, films and a record with Mc Pherson collaborating with director Alessandra Leone.!
Over the seven tracks (which are laid out as chapters) the record explores glitchy electronics, dub-tinged grooves, polyrhythms, and a huge array of instruments that takes in quiet blasts of atonal sax alongside wonky synths. This of course cross-pollinates with the throat singing and experimental field recordings to create an utterly inimitable sonic sphere. For Mc Pherson it's about mixing worlds, histories and timeframes and she uses a 1991 quote from Laurie Spiegel to hit home how she has elaborated upon this original thought of history and future overlapping. 'Folk music is considered anonymous common property in a culture and that's what a lot of computer music and other kinds of music data may end up becoming.' However, there's also a purer reason for the exploration of these worlds and colliding them together. 'Basically I thought that electronic music that is only digital is a bit boring and as I'm connected to jazz music for many reasons, I wanted it to sound organic: real instrumentation, field recordings.'

Andrew Scott, aka NY*AK, Scott has remained a consistent representative of the music scene and we're delighted to have him on board for the first release of 2018 on Local Talk, Bound EP.

We're treated to four tracks, the opening track 'Bound' is a cut up, soulful disco house slammer.
Next up we got Dancing, a perfect example of Andrew's skill when it coms to slowing down the tempo but still letting the track have enough character to keep you...'dancing'.

On the flip we got 'See More' which takes you straight to a dark and gritty club with it's stuttering chords, tight drums and pulsing bass.
Last but not least we got 'Sandwiches' which features long time collaborator Ian Blevins.
A stunning low deep groove for any Theo Parrish or Marcellus Pittman fans out there.

2023 Backstock

A Compilation of Minimal Wave From Around The World (1980-1991), The Bedroom Tapes features rare, unreleased, and licensed tracks all the way from Belgium to Australia to Japan. The Bedroom Tapes excitedly marks Minimal Wave's 66th release and is a follow up in the series to The Lost Tapes, The Found Tapes, The Hidden Tapes and of course The Minimal Wave Tapes. The twelve artists on this compilation mostly recorded their music onto 4-track tape in their bedroom studios. The sounds on this record range from German new wave to experimental electronic, to early industrial body music from the Swedish countryside, to dreary melodic minimal synth. The theme is music recorded in the bedroom for listening in the bedroom. The Bedroom Tapes presents songs from Pink Elln, Karen Marks, Disque Omo, Vorgruppe, Iham/Echo, Perfect Mother, Arvid Tuba, Subject, Denial, Unovidual, Aural indifference, and Autumn all lovingly remastered.

Limited edition of 999 numbered copies, pressed on 180 gram vinyl, and housed in heavy printed jacket accompanied by printed inner jacket with artists photos and info.

Dark Entries Editions is proud to reissue Ghost Town' the 1984 debut 12' single by Mono Band from Italy. The project was conceived by producer Rene 'D'Herin and Massimo Fantinatiti aka Fantenax. They teamed up with songwriter and guitarist Luigi Venegoni aka Svengile who had previously worked with progressive and jazz-rock bands Arti & Mestieri and Venegoni & Co. as well as cosmic disco group Stratosferic Band. Treading the lines between Italo Disco and the darker side of New Wave, the trio crafted a mysterious sound. Melancholic arpeggiators, a throbbing baseline, stuttering samples, and the classic Linn drum machine run throughout the track. Vocals were handled by an uncredited Carlo Rossi who raps about a ghost town filled with fear. When female vocalist Elena Sansonetti begins to softly whisper the chorus one might get goose bumps. The trio were joined in the studio by DJ Mike aka Michele Paolino of Make Up/Mike Up, DJ Moody, Fabrice Bellini of Art Fine and producer Miceli. The song was recorded in a few days at Dynamo Sound Studio in Turin and originally released on the popular Discomagic Records. This reissue includes the original vocal version, backed with a longer dubbed out instrumental Ghost Version' on the B-side. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The 12' is housed in an exact replica of the original sleeve with an astrological photo the planets orbiting the sun. Each copy also includes a 2-sided postcard.

Fantasy Life was a one-off Italo disco studio project that consisted of various producers, songwriters, and vocalists from Turin, Italy. The line-up included Lorenzo Avico, Maurizio Camoletto and Sergio Bergamin. They recorded their only single Over and Over' at Minirec Studio in 1985 with mixing engineer Gigi Guerrieri. It was released that same year by Thick Record a sublabel of Il Discotto Productions and became one of the most coveted Italo Disco 12's. Over and Over' is a parable that describes the story of a girl growing up, comparing her life to the changes of the moon. Signature Linn drum and Simmons drums create the driving rhythm track that hauntingly sways back and forth. The vocal version has a nearly two minute extended instrumental break in the middle of the song heightening the dramatic pace. On the B-side is a Dub Version with extended instrumental breaks, bass lines and occasional vocals. Both songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl is housed in the original jacket featuring a painting by Andrea Franzoso and includes a double sided postcard with lyrics and notes

* THE No.1 Wigan Casino and Northern Soul anthem
* THE most valuable record in the world
* THE first ever legal reissue, outside of Motown
* THE last record ever played at Wigan Casino

EXACTLY 40 years ago the original copy of Do I Love You' arrived on these shores and, for the first time the true identity of its author and performer was revealed.
The story of the world's most valuable record has been told many times and perhaps most authoritatively by Tim Brown in his book 'Wigan Casino Years'. In brief, here are the salient facts...
The tale begins in 1976 when Northern Soul pioneer Simon Soussan gained access to the Motown archive in Los Angeles where he discovered, and purloined, the original, promotional 45. At the time Soussan was the main source for rare Northern Soul that debuted at the famed Wigan Casino, and in due course he sent an acetate of the track to the club covered up as by Eddie Foster. It was an instant hit with the Casino dancers and soon attained exalted status.
By 1978 Soussan had turned his back on Northern Soul and sent his entire collection to the UK to be sold piecemeal. The original label of the disc was now revealed as the Motown subsidiary 'Soul' and the artist was the Motown writer Frank Wilson. The 45 was sold to record collector Jonathon Woodliffe for the handsome sum of £250. After the near collapse of Northern Soul in 1981 Woodliffe's attentions turned to Jazz/Funk and he traded the disc to former Wigan DJ Kev Roberts for £500's worth of disco twelves!
For 9 long years the legendary record languished in a frame on the wall of Roberts' Staffordshire home until a pending divorce prompted the sale to collector Tim Brown for, at the time, the unheard of sum of £5,000. It remains the property of Tim Brown to this day, the pinnacle of a lifetime of record collecting.
In 1997 Detroit producer, Frank Murphy, sold his entire record collection to Anglo-American, a company owned by Martin Koppel and the aforementioned Tim Brown. Lo and behold, a second copy of Do I Love You' was found and subsequently sold to Scottish DJ Kenny Burrell for an inflated sum of £15,000. In 2008, Burrell's copy was auctioned for a staggering figure in excess of £25,000 making history and further cementing the iconic status of the world's most collectable 45.
Today Do I Love You' has transceneded the strange world of Northen Soul and has become enshrined in the wider public's concsiousness due to mainstream radio play, TV advertising (most recently the 'Happy Egg Co.') and in 2017 an appearance on the country's most popular TV show Strictly Come Dancing.
Now you too can own a copy of Do I Love You'...

Mopo, a trio of sax, bass and drums from Finland, has been on the radar of international tastemakers already for a while thanks to their unique blend of jazz, punk, and inpisration from the Finnish nature. Now the trio of saxophonist Linda Fredriksson, bassist Eero Tikkanen and drummer Eeti Nieminen is set to release their fourth album on Helsinki's We Jazz Records.

"Mopocalypse", a highly flammable mix of rough-around-the-edges jazz and melodic songwriting, is the remarkable next step for one of Finland's most potent exports. Mopo swing, grind, drive hard, and slow down with an impeccable sense of dynamics. Their music is raw and beautiful.

The vinyl version of the album is housed in an "old-style" high gloss tip-on sleeve. The album comes with the first issue of "Mopo Zine" (12 pages), edited by Mopo, plus digital download with 2 bonus tracks.

The 2017 remaster of David Bowie's astonishing Heroes.

The first Bowie release to feature Robert Fripp, the incendiary and innovative Heroes was the second release in Bowie's celebrated 'Berlin trilogy'.

180g vinyl edition.

Try love was originally recorded by Norma Jenkins and pitched to Motown who passed on the track (this version only survives on acetate). Master of the girl group Herb Bernstein picked up the track and recorded the version you hear on this 45 which for whatever reason failed to make a dent until it was picked up first by the Belgian Popcorn scene and later the Northern scene, demand far outstripped supply and this rare 45 became very expensive. A haunting, odd and beautiful record to this day the members of The Sparkles remain a mystery.

A solid two sider for your soul box from the Old Town vaults, 'Say It With Feeling' is a great mid tempo soul track which i have used as a warm up track for many years and had remained popular on the soul circuit as well. For me the real magic happens on the flip. 'Conscience' is a haunting mid tempo off-kilter number, memorable in the extreme, challenging to work it into a set, a charming, fascinating record, no wonder it was a huge popcorn spin in belgium.

Go! Finger returns to the vinyl grooves again! And this time showing a more dramatic and darkest side. Holland's underground legends Das Ding and DJ Overdose, join forces, for the first time, to deliver "AM/PM". A puzzling split release composed of two pairs of gloomy, sinister and hard to classify gems of the finest west coast electro. Absolutely remarkable. A delightful and state of the art chiaoscuro of today's freshest dark electronics.

East Londonder Sukh Knight has remained one of the most consistent dubstep artists over the past decade, through a long list of releases on Hench, True Tiger and New World Audio among other record labels.

The Scorpion EP remains on level, boasting a variety of heavy bass music styles - from the gritty dubstep sounds of the title track, the digital bonus Foot Soldiers and First Contact, to the anthemic 93BPM roller Creation and finally DJ Madd's percussive, deep 160BPM remix of Scorpion. A well-rounded bass music record for the heads - don't miss.

Two Dutch institutions in Delsin and 2000 And One team up for a reissue of the 1994 EP Belongings. It was an early release on 2000 and One's influential 100% Pure label and found him in full on space-techno. The EP has been fully remastered and sounds as gloriously futuristic now as it did more than 20 years ago. 'It Belongs To Me (Version)' is an intergalactic techno track with pads drifting off to an infinite horizon as a soft acid line burrows into the big, icy hi hats and punting drums. It's perfectly spacious and sombre, while 'It Belongs To Me (Reprise)' is a much more downtempo and thoughtful version of the track where pained leads synths take the lead and the drums are off in the distance. It's the sound of resignation and dejection in techno form. 'Crystal' then layers in new age harmonies as classic dusty break beats do their dance below. Again the synths are smeared and grand in scale and the whole thing feels like a blissful rave comedown. Last of all, 'Bowed' is a happy and manic melodic track with warped bass and fluttering snares that carry you away to the stars.

Phantasm is a new vinyl label and collaboration between Amsterdam's Sinchi Collective and the much-admired Night Noise outlet, based in Geneva. It kicks off with a strong EP from The Soviet Union aka Richard Baldwin, including classy remixes from Sinchi themselves and In Flagranti.Baldwin has a signature style that is cinematic and synth heavy and has been formed over the last decade plus. A fine DJ, experienced promoter and self-confessed addict of vintage analogue synthesizers and drum machines, Richard pulls his influences from early electronica, 80s film-scores, and shades of techno right up to the present day. This track was first written on a cold evening in December 2010 using a Roland TR707 and JX8P Synth. After collaborating with his songwriting partner the track was given a haunting vocal and released as 'The Disappearance of Becky Sharp', while the original remained on Baldwin's Soundcloud and got ID requests from all over the world. 7 years later it comes back to life in the form of its original instrumental, with a 2017 rework, plus remixes by Sinchi and In Flagranti.The superb original is a perfectly spaced out and a retro-future bit of synth heavy electronic music. Arpeggiated bass props up rueful chords and icy percussion brings that essential cosmic vibe. It's a timeless track that overflows with emotions and is sure to really make a mark in any DJ set thanks to its rich musicality. The 2017 Rebuild is even more lush and zoned out with sombre chords forcing you to reflect on the deeper meanings of life. In Flagranti—the Codek Records duo based in Switzerland—then lace in some hip swinging claps and make this one a deep disco track that is riddled with little synths, chords and melodies that exude warmth and sci-fi soul. Last of all, Amsterdam's Sinchi cook up a storm with corrugated basslines, long tailed pads and turbulent solar winds that make it that bit darker and moodier. This is a brilliant package of emotive music that is a real statement of intent.

Khan presents: Jammin Unit - Remote Car Babe

Jammin' Unit is not only my brother but one of the most prolific producer of electronic music since the early days of techno. He is one half of legendary electronic super group Air Liquide and made his way into history books with tracks like 'If The Was No Gravity' and 'Revelation' lately featured on Nina Kraviz - Fabric 91 mix.

'Remore Car Babe' was originally released on clear 10' via Temple Records NYC in 1997 and is now remastered by the man himself for our 2018 ears. Re-issued on 12' black vinyl for more gain and better audio quality.

In his own words he describes the 4 track e.p. as: 'The sound was created for headphone listening during remote car racing. Enhancing the feel of speed and aggressiveness was the goal'.

To me it feels like a manga comic strip eched on vinyl. No headphone necessary to go on this speed racing trip of extacy and pounding bliss.
A re-issue I am especially proud of to hear on dance-floors around the globe.

'Don't eat before going to sleep but Do eat before going out!'

Yours sincerely,
Khan (Of Finland)

Classic Original mix (Remastered) + 4 (!) long Ricardo Villalobos Remixes All
Get Physical's 16th year continues to serve up plenty of excellent and exciting new music with this, an EP full of mesmeric remixes from the one and only Ricardo Villalobos. The source material here is the classic 'We Are Phuture' by pioneering Chicago acid outfit, Phuture. The original is included in specially remastered form and the Chilean minimal techno hero serves up four of his own unique versions. Ricardo has been remixing for this label for well over a decade and just last year his 'Hauswiedermischung' version of Reboot's 'Are You Losing My Mind' was one of the standout tracks of Get Physicals´s oeuvre. The original is an abrasive and jittery house track that bristles with frazzled synths, dark filtered vocals, acid twitches and coarse percussion. It's one to electrify the floor, and still does plenty of damage 20 years after it first came out on Trax. Up first is Phutur I Remix, which strips everything away to leave a fluttering snare line, rubber drums and minimal synth that shapeshifts for nearly ten minutes. Add in some trademark Villalobos vocals that are alien and unsettling and you have a real classic in the making. The Phutur II Remix is busier, with deft drums that ride up and down and have a spoken word vocal floating up top. Alien sound designs and occult acid all join the mix later on, while Phutur III sits somewhere in between.

The Afro-Funk side of the Latin Soul maestro!

Born in Gao (Mali), Boncana Maïga is one of the most talented and popular producer of West-African music since the 60's. He studied flute and Latin arrangements in Cuba during the 60's and founded the famous Les Maravillas du Mali' in 1968.

He became orchestra leader for the national Ivorian TV in Abidjan in the mid-seventies, and toured all over the world with the famous Africando band. During his recording sessions in NYC at the beginning of the 80's with a lot of Latin musicians' from Puerto Rico, Venezuela or Colombia, Boncana Maïga also recorded few rare Funky tracks with heavy breaks!

With the artist, we decided to reissue four rare tracks from 1978 to 1982 dedicated to dancefloor, including a really rare soundtrack for the oil company of Ivory Coast called Petroci'.

In 2018, he'll be back on tour with Les Maravillas du Mali', still have a weekly TV show on TV5 Monde and with this reissue will continue to warm your Afro-Funk parties!

Fully licensed, 12inch vinyl (45 RPM) including interview. Remastered by The Carvery!

55 minutes of relentless power electronics coming via courtesy of OAKE, presented for the first time on vinyl.

Originally recorded during a live performance in Marseille, 2015 and previously released on tape via Ascetic House in 2016.

'Live in Marseille' is now newly presented on 4 sides of wax which have been supervised and editing by OAKE, remastered and cut at Dubplates and Mastering, Berlin and pressed at Record Industry, Holland.

The 2xLP comes housed in a 6mm full cover record sleeve with each copy housing an individually, hand printed artwork and download code.

B. Fleischmann, the longest-tenured solo artist on Morr Music, returns with indie-spirited, electronica-enhanced moments of bliss on his new album Stop Making Fans': Recorded with a little help from friends including vocalist Gloria Amesbauer, Markus Schneider (guitars), and Valentin Duit (drums), it's a two-part reflection on artistic self-reliance vs. fame-seeking conformism, another deeply personal, utterly idiosyncratic album by the Indietronic trailblazer.Stop it and just DO,' Sol LeWitt once wrote to sculptor Eva Hesse - and listening to B. Fleischmann's new album, he indeed does both: He slams on the brakes and stops looking at what anyone else is doing, stops pleasing, stops being restrained, and at the same time he floors the accelerator and delivers the kind of high-paced work that bursts at the seams with polyphonic energy and an urgency unique to his music.Arriving with interlocked bleeps, the hustle and bustle of an invisible grand station's atrium ( Here Comes The A Train'), Fleischmann's trademark vocals serve as a gentle reminder to resist the siren calls, to not trust the latest hype. Energy levels remain high throughout the first part of the LP - whether it's the mumbling, personal stocktaking of what feels like an underwater hymn ( There Is A Head'), the robotic, immodest pop tune It's Not Enough' (feat. Gloria Amesbauer) or the return to light-speed mode on Wakey Wakey' - the first half of this album is indeed all about letting off some steam.After the collected canter of 7-minute instrumental Hand In,' the multi-instrumentalist & his studio mates kick off the slower-paced part II with the title song: a note to self, a reminder to never buckle or water down an original vision... and indeed, it's a sonic tapestry that's impossible to compare or pigeonhole when he changes the rhythm in mid-track and turns yet another corner when you thought you had discovered a fixed pattern. That said, B. Fleischmann certainly knows how to orchestrate an entire funfair full of sonic attractions. Guest singer Gloria Amesbauer returns for soothing tunes The Pros of Your Children and "Hello Hello . B. Fleischmann guides us to his almost jazz-tinged Little Toy , and leaves behind an Endless Stunner — another typically dense and shape-shifting stream of harmonies that keeps winding its way until the very end of this album It's rare that an album is great because it does not live up to its title - but here's one. Stop Making Fans,' his first full-length release in five years, is another totally unique, and thus potentially fan-base enhancing release. But then again, it's always been like that: We're usually at our best when we care the least - look at the delightful ways of toddlers or really old people. That natural ease, those invisible shrugs of shoulders: it's what does the trick. And you can hear a lot of that on Stop Making Fans'.

We are proud to announce the kick-off of a new Dynamic Reflections subseries: Dynamic Reflection LTD. A series that is set to explore a broad spectrum of electronic music, and aims to cross the barrier between the club floors and home listening. And to start in a proper fashion, we launch the LTD-series with a very special vinyl + full digital album package by Jonas Korbl.

Three years in the making, this anticipated album chronicles the musical, and in many ways, spiritual coming-of-age of Jonas Korbl. Having started producing house music at a very young age, this debut album under his birth name signifies a new direction for the young Dutchman. In these pieces you hear him shaking off the restraints of formulaic working, opting for more experimental paths instead. You could say Discovered 5 is a story about learning about music; An expression of the author's experience in broadening his horizons.

In the full release Korbl presents nine tracks with a sleek and undeniably dark aesthetic, taking you from ambient soundscapes to main room techno and back, touching down in Berlin and London along the way. Downtempo excursions comfortably rub shoulders with rough-and-tumble club destroyers, but as varied and idiosyncratic as the album is, the music feels far from contrived. Instead, the variation keeps you engaged, with the quieter moments acting as a counterweight to the pieces with a more straightforward approach. Somehow he manages to make all these different places and moods uniquely his own.

The most remarkable thing about this LP is Korbl's uncanny ability to take familiar elements and bending them to his will, creating a new context for the listener to experience his personal brand of electronic music in. The adventurous DJ will surely find a track to create that special dance floor moment on the vinyl release, containing four club-ready tracks. However, for the full experience the entire album is a must-listen, connecting the dots between the highlights placed on the physical LP. All in all, this debut bodes very well. With skills and experience beyond his years, Korbl's star is sure to only rise from here.

LillyGood Party! Is returning with the 3rd instalment of their officially licenced re-edits

Both tracks here are classics dancefloors tunes , nothing rare , just favourite tunes that Alex and Stéphane played for many years .On the A side the TWO TONS version is much longer than the original, and remastered for a full effect on the dancefloor. We love this tune so much, we played it a lot already and its still rocking so we thought we share it with you on a fat 12inch for more disco soul gospel pleasure.The B side is an amazing track from SEAWIND that everybody who is into jazz funk or latin jazz with vocals will dig it. This version is different than the original, we kept only the more 'dancefloor friendly ' parts and we extended the beginning and end of the track with only drum rhythmic reprogrammed for mixing easily in your sets with other tunes. Please enjoy as much as we do because we love those edits, we love those tunes, we love Music we are very happy with this release because its really really good!

Restive Plaggona recently released a brand new studio effort - a full-length album featuring 10 original tracks and a
remix from Ancestral Voices, with a dark and melancholic twist, as the title of the project might imply. Connected by a commonality of despair, nostalgia and desolation, Restive Plaggona elevated these elements into its maturity. At its core, each track has a soul-stirring significance, and is embalmed by titles that fringes on a political dimension.

* Opening number 'Intimacy is Violence' does a remarkable job capturing the vibe of the album, serving as a great
introduction. The track has a very industrial tone, with a strong cinematic feel to it. The following track, 'Rote Zora,' follows suit with a more percussive and colorful arrangement, with a more substantial focus on rhythmic patterns.

* 'Cut Off From Modern Society' its combination of dark atmospheres, lush melodies, and glitchy beats. 'Sudden Burst of Safety' is another excellent track worth mentioning, due to its stadium-sized drums and saturated sounds, adding an
aggressive feel to the music. All in all, the album is a real sonic journey, begging to be enjoyed from start to finish!

* Set for release in both physical and digital formats on December 15th, Silently Hopelessly marks Restive Plaggona's first LP for Swiss-based record company Thrènes (which takes its name from the Greek word for funeral lament) and are a label dedicated to the release of tenebrous electronica and techno.

Text: Masscomm & Andrea Caccese

This superbly crafted recording features the versatile Japanese jazz/fusion keyboardist Jun Fukamachi as a veritable one-man band in a lively album that captures the essence of the original Beatles' tunes throughout. The innovative arramngements of the artist, tailored to get the maximum benefit from a surrounding instrument array, produce one of the best technical efforts. Synthesizer effects provide special flavor,' particularly at the close of Lucy In The Sky With Diamonds' on side one, and in the evocative opening of She's Leaving Home' on side two. Fukamachi blends a concert grand electric piano, Arp synthesizer, glockenspiel, bass drum, tambourine and other electronic instruments with results that indicate a group, not a solo, with ample display of each. Recorded ten years after the original, in 1977, this recording still sounds exciting, and an eye-catching cover with a mirror image of the famous photo shoot remains one of the most creative reworks of this 50 years old masterpiece' (Billboard)

These rare recordings were recorded as part of the legendary prescription label
album series in the late 1990's that resulted in the album "Astral Disaster".
Coil were invited to record at sun dial's studios beneath the London Bridge Hop Exchange. This studio was originally know as Samurai studios that was originally built and owned by Iron Maiden. The premises in Victorian times was an old debtors prison which had three levels underground, and still had the original chains, manacles and wrought iron doors from the old prison. This caught the attention of John Balance and was very keen to record there.

At Gary Ramon's invitation, Coil spent a number of days recording at the studio during Halloween 1998 and they developed a number of tracks some of which resulted in the "Astral Disaster" album.
For various reasons, some of the unissued material and mixes released on this album were omitted from the original Astral Disaster album, and so now is the opportunity to listen to the "Astral Disaster" sessions.

The album includes previously unissued mixes, and the rare version of "I Don't Want To Be The One" that was only included on the very rare 1999 promo CD only Prescription sampler and the 14 minute track "Cosmic disaster" that was the original working title of the album.

Taken from the master tapes and remastered by Denis Blackham.

The next chapter in Shaw Cuts comes from Russian duo Poima, who celebrate their debut record 'Twin Blades of Doom' - a fierce revenge mission and hunt after the infamous Ghost gang.
The pursuit opens with 'Triglau', its linear machine groove levelling a fraction of the Ghost Gang. Heads roll on a crimson floor.
Teaming up with mysterious masked warrior Inland, 'Triglau' morphs into a hypnotic trip. Pushing drum rhythms and swirling pads combine with nasty noise elements, propelling the hunt.
The remaining enemy members are already hatching their next evil move. On the way to Lu He Village where the Ghost Gang plans its next assault, analogue break-beat punches and swinging percussions weave a menacing tapestry of sound, crushing the 'Bones' of rogue creatures in its path.
Serbian slayer Regen arrives in force for the final showdown at Qi Dou Town where the Ghost Gang plans a huge heist. Armed with atmospheric pads and a soaring drum crescendo, his interpretation of 'Bones' ends the Ghost Gang tyranny in one fatal sweep. And the saga goes on...

Preservation Records dug out two killer blue eyed soul tracks from the Mirage vault.

Here is the original version of "Just Cause I'm Guilty", taken from the unissed tracks from the group. Shelved for over 40 years.

The soulful B side is another sureshot killer soulful track, you have probably heard it by Ruben Howell and Carl Carlton. This version made it to a mega limited demo 7" run on Warner Brothers, but never had an official release. The track is so good that it deserved a place on our Mirage releases.

Carefully remastered and cut by Timmion for Preservation Records.

The latest vinyl slice from FBNM sees us head to the depths of central Africa via Paris to track down a feast of rare seventies afro funky jams from Cameroonian master musician EKO. We've brought FBNM favourite Riccio along for the journey too, who has provided us with a fantastic Rerub coaxing out some modern dancefloor sensibilities and production sparkle.

Eko Roosevelt Louis has had a music career spanning over forty years, born the grandson of a Kribi tribal chief, his musical persuasion beginning humbly with his village's local church before his formal education at the Senegal conservatoire and Paris' École Normale de Musique. EKO made a number of jazz funk and disco records in the mid seventies during a stint recording and touring in and around France before returning to Cameroon to take over his grandfather's tribal chieftaincy, a role he still holds today! Alongside this position of office EKO has continued to work with music, performing, teaching and even leading Cameroon's national orchestra!

The tracks we have selected for reissue are all taken from EKO's third album, Funky Disco Music which was recorded in Paris and released on his own Dragon Phenix imprint. Sung in a combination of English and EKO's native tongue we've lined up a real excursion in feel good afro-jazz, funk and soul made purely for dancing feet and boogying butts!

All tracks have been officially licensed and lovingly remastered for this special release by Andreas (Lupo) Lubich (CALYX Berlin), packaged alongside Riccio's sympathetic work in the cutting room on 12" vinyl with a special interview with Eko Roosevelt Louis himself!

Special remarks : 12 Vinyl, 180gr, limited to 300 pieces Tracklist A1 Der Merowinger (Original) B1 Pure Awareness (Original) B2 Second Track (Original) Info: The second outing on his Midnight Themes imprint, Marlon Hoffstadt touches on featherlight acid, proto trance and jacking house across three tracks, also brimming with sub and dub. Fresh from recent releases on Hot Haus, Ransom Note Records and his own Retrograde, Marlon Hoffstadt is reemerging as a defiant staple of dancefloors far and wide. With his newest release, the Berlin producer encourages listeners to engage with the music without the parasitic interferences of 21st century life. So for the next 20 or so minutes - screens off and blinds down to enjoy some pure awareness. Vital Sales Points: ' 2nd release on Midnight Themes ' previous releases on HOT HAUS, Ransom Note Records, Retrograde, Axe On Wax, Dirt Crew ' Radio & Press PR by 'The Rest Is Noise

Lvis Mejía's newest project, titled Anthropology of AmnesiA is an acousmatic essay addressing our utter necessity to remember in the face of existential oblivion, an innate behaviour of the human race.
Presented as a 33 minute long continuous composition, Anthropology of AmnesiA unrolls as a series of chapters, the contemplative character of the piece opening a particular frame within the listening experience, where Lvis Mejía attempts to convey the phenomenon of the collective consciousness through the cultural traces we leave behind.
Mejía's takes the idea of one species, one culture, one past' and places it at the center of the concept of the piece. Anthropology of AmnesiA examines a number of interpretations of rituals, orchestrations, chants, synthesis and field recordings - nestled within the piece are recordings of animals, fire, water and a human heart - the sum of these sonic identities incidentally reshaping their roots.
The diversity of the sonic sources highlights the comparative study element of Mejía's work yet the common thread remains the human experience, recorded stories and the viva voce.

Boris Bunnik is no stranger in the worl d of electronic music. He released several albums and ep's under a variety of monikers since 2007 on labels like Delsin, Shipwrec, Frustrated Funk and his own Transcendent imprint. Fauxpas Musik welcomes him for a new project called Severnaya. Originally hailing from the Island of Terschelling, the most Northern and remote part of the Netherlands he now made a piece of music dedicated to this special place. Severnaya means north in Russian and refers to the bright frozen landscapes of the northern archipels. Boris often plays with the influences and elements of ambient in his music. If we have to believe the man himself, Polar Skies is his most personal sound trajectory to come from his mind. Drum programming is scarce and what remains is a lush and profound listening experience floating on scapes and melodies. We clearly hear his roots and intentions represented in the airy, tranquil sound design of this new album project. Things sound spacious, and life is at ease in these melancholic compositions. Crispy crackling percussions and icey pads place you in the midst of a resonant arctic landscape. You can hear influences drawn from producers like Biosphere, Pub, Brian Eno but we also hear more contemporary influences from modern day film composition but most of all we here Boris his own signature. The tracks were composed over a couple of years (2015-2017) in a more contemplative mindset. At some point this selection formed a consistent piece of music and as a result you hear his most personal and fragile works to date. Fauxpas Musik is proud to release this new project in 2018. written and produced by Boris Bunnik aka Conforce at the PasadenaOceanlab Studios Special thanks to family, friends and Fauxpas

The Norman Connors produced Aquarian Dream first appeared in 1976 with their debut album on Buddah, featuring the extremely popular 'Phoenix' along with the club dancer 'East 6th Street'.

Both tracks were only released previously on 12" in the UK and quickly became a huge collector's item with the release averaging £50 on Discogs some 38 years later.

Fully remastered on limited edition 180 gram heavyweight vinyl,
officially reissued for the first time since its original release.

RAWAX proudly welcomes Mr. Santonio Echols aka DJ Tone to the Family!
The man from Detroit presents his release from 1992 which originally came out on Vicious Music on our Motor City Edition Vol. 8. This remastered classic will be available on vinyl only!

(Disclaimer: release notes refer to the combined CD double-album release "Hot Flash: Best of The Voltags" on which all tracks appear together. "Electric Nightmare" and "Danger High Voltag" are released separately on vinyl format)

It does not happen that often any more that unreleased music from 40 years ago surfaces. Even more unlikely it is that the songs put on tape are such treasures. The Voltags were right at the forefront of the local Washington DC New Wave/Punk scene of the late 1970s. Influenced by Kraftwerk, Gary Numan, The Clash, and The B-52's, they have released only one 45rpm single during their existence. But during the time span of not even 18 months, they had recorded enough material for an entire album - but the songs remained in the can.

This is the story of The Voltags, a short-lived band which could have become famous and mentioned in the same breath as the aforementioned music legends of that era - if their songs had been released back in the day. Dive in and enjoy the sound of The Voltags, it is truly special. We here at Perfect Toy are thrilled to be label to finally release their work and we sincerely hope that they are finally getting the appreciation they so richly deserve.

Detailed information:
Dave Bennett and Hangnail Phillips grew up in Brookside Park, Newark, Delaware, USA, a small suburban college town nestled midway between Philadelphia and Baltimore. Their first band project evolved into Pump Productions (Pump) under which they released their only 45rpm single in 1970 (one of the two songs, "Pappy's Rug", can be heard on "Down & Wired 3", Perfect Toy Rec.). Soon after the recording of the single the two graduated from High School and disbanded Pump. Both moved on to form two new Newark bands. Dave was a founding member of "Snake Grinder & The Shredded Fieldmice" and Hangnail co-founded "Rudy Baker & The Vegetables".

In early 1979, two friends of Dave's, Nick Norris and Mike Fisher, became partners in a music production company, White Clay Productions. One of White Clay's first artists was Dave Bennett who had just written two excellent songs: "Electric Jungle" and "Son Of Sam". White Clay set up a recording session and Dave assembled a group of friends to record the songs. Before the recordings were even mixed, Dave asked Hangnail if he would join in a band to support the single and other songs he had written. When James Keesey (drums) and Rick Reid (bass) were added the line-up was complete. For a while they didn't have a name and then one day Nick Norris was looking at a photo of Dave standing next to a "Danger High Voltage" sign. Dave's head was in front of the E in Voltage and Nick laughed "Danger High Voltag" and so it was soon suggested that the band should be called "The Voltags" (pronounced Vol'-togs). After months of preparing a repertoire they were ready to play out. Their first gig was (October 20, 1979) at a gay disco in nearby Wilmington called The Backstage. On December 30, 1979, White Clay decided to put on a big show at the State Theater to celebrate the end of the Seventies ("The End Of The Decade Bash").

For the next year, with the help of White Clay, they recorded 19 songs, both studio and live recordings with White Clay's mobile unit. If not for these "off the board" recordings, many of their songs would have never been recorded. There was always talk of a second Voltags single but the strains of working so closely together were taking their toll on them and Dave decided to leave the group in December of 1980. The Voltags couldn't be The Voltags without Dave, and by the end of 1981, Hangnail, James and Rick, too, were ready to disband.


- all songs previously unreleased
- mastered from the original reel-to-reel tapes
- limited vinyl release

Les Shadoks (50th Anniversary Edition) - Collector's VINYL Edition (LP + 7"): High glossy gatefold sleeve, French + English liner notes / poster inlay with Shadok drawing by Robert Cohen-Solal, hype sticker

- Les Shadoks soundtrack by Robert Cohen-Solal available for the first time ever in its entirety, cut and mastered from the original reels, made in cooperation with the artist.
- For fans of musique concrète, electro-acoustic, psychedelic, early electronics, experimental, soundtrack, library, oddities, cartoons, 60s and 70s music, Prospective 21ème Siècle series, Bernard Parmegiani, Jean-Jacques Perrey, Luc Ferrari, Pierre Schaeffer, Pierre Henry, Bruno Spoerri, Groupe de recherches musicales (GRM).

WRWTFWW Records is delighted to announce the release of the complete soundtrack of cult French animated TV series Les Shadoks (1968-1974) by Robert Cohen-Solal, available for the first time ever in its entirety. Right in time to celebrate the 50th anniversary of Jacques Rouxel and René Borg's legendary television cartoon, this collector's item comes in two versions: a limited edition 12" + 7" vinyl album housed in a high glossy gatefold and with an exclusive Shadok drawing by Robert Cohen-Solal, and a digipack CD. Both versions are cut and mastered from the original reels under the supervision of the artist, and contain liner notes in French and English.

Electro-acoustic pioneer and eminent member of the illustrious GRM (Groupe de recherches musicales, the French equivalent of the BBC Radiophonic Workshop), Robert Cohen-Solal has explored music and sound alongside luminaries such as Bernard Parmegiani, Pierre Henry, Luc Ferrari, and Iannis Xenakis, and is responsible for numerous projects in the field of applied music, soundtracks (documentaries, shorts etc.), and experimental recordings. His work on Les Shadoks is simply extraordinary - a fascinating and bizarre collage of wacky electro pop (à la Jean-Jacques Perrey), drones, musique concrète, classical, and dadaist sound experiments seamlessly mixing into a cohesive and cinematic listening experience. The ideal soundtrack for what will remain one of the weirdest animated TV series ever created!

A true literary, cultural and philosophical phenomenon in France, Les Shadoks caused a sensation while airing between 1968 and 1974. Its unique combination of Alfred Jarry-style surrealism, off-centered British humor, and US comic strip inspiration, all brought to life by illustrated bird-like creatures (reminiscent of Paul Klee's La machine à gazouiller), left a lasting mark, making the term Shadok an often-used satirical expression to describe policies and attitudes considered to be absurd.