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Sarah Benabdallah and Alexis Lebon are a very 21st century musical coupling, absorbing their metropolitan surroundings while tapping into a rich cultural heritage, not unlike fellow countrymen PNL or the Dutch band Altin Gün. A Paris-based duo set for greatness they might be, but it’s fair to say Mauvais Oeil are operating under a misnomer: while their name means “evil eye” in French, you’ll only experience enlightenment when you lay eyes (and ears) upon them. Mauvais Oeil are set to release their debut EP Nuits de velours, a magical melting pot of musical shibboleths and contemporary grooves. On opener “Mes nuits de velours”, we’re transported in the land of 1001 Arabian Nights, with the music every bit as smooth and alluring as the subject matter. “Afrita” is a trance-inflected musical acclamation evoking all
the madness and gayety of a midsummer souk. Sung entirely in Arabic with delightful blasts of strings, it’s a North African-influenced banger with a delicate wistfulness. “Asha” meanwhile is in a reference to Asha Vahishta, the middle-eastern concept of truth
according to the ancient religion of Zoroastrianism. Sung again in Arabic, it features catchy Phrygian guitar manoeuvres played over ambient analogue keyboard strokes. The E.P. is completed by “Constantine”, a song of longing, dedicated to the home of Sarah’s forebears. Having met in the arty northern faubourgs of Paris, Sarah and Alexis soon developed a musical telepathy and a shared sonic agenda, mining their own histories for the profound
cultural roots that underscore Mauvais Oeil, while absorbing the ubiquitous sounds of the suburbs, where Turkish, Armenian and Ethiopian music ring out. The band’s moving and melancholic chansons are delivered with a delightful French pop sensibility, making Mauvais Oeil one of the most exciting and musically diverse prospects in 2019.

Microdosing is a series of compilation 12”s selected by Julienne Dessagne aka Fantastic Twins, and designed in collaboration with French visual artist Geff Pellet. Microdosing is a collective experiment aimed at helping you fighting back your modern obsession with happiness. You may deserve a nice day but the day does not need a nice you, nothing should be forced, everything is permitted. Microdosing will provide you with sonic healing weapons on regular basis and at irregular dosage. Those doses will favour psychedelic social techniques against self help tyranny, creation over soma, provoking over numbing, our outer-selves over our inner-selves. Microdosing refuses the fatality of the pleasure principle. Life is a struggle, time to embrace it. —— "My battery is low and it’s getting dark” We at Microdosing will make Opportunity’s famous last words fully ours. Some would see these as an epitaph on a black screen, we embrace them as a reclaimed fragility. Are we grains of sand wandering in space, hoping for a goal? No. We are the cosmos, the cosmos is us, unafraid of the end, unafraid of the void. Before the rise of the infinite silence, Microdosing brings you new guiding lights, white sun or black hole being a simple permutation of the kinetic rainbow. Oceanic’s “Parallel Lines Of Stripes” is a meandering mantra, an synthesised Moebius ring, a mission to your heart, that furthest star in the sky. Gilb’R’s “Cosmogonie” simply reminds us of the profound relation between spatial systems and the holy act of birth (cosmo, world and gon, conceive). The universe is a body, your body is your universe. Lucas Croon’s “Threshold Stimulus” is the soundtrack of a never ending voyage, the man is on a trip to the core sanctum. Imagine Space as a reverberation room cladded with bakelite. Losing yourself in delay repeats sometimes is the shortest way. Neuzeitliche Bodenbeläge & Sam Irl’s “Faeden” is another hymn to the umbilical chords joining us to the outer world, a black monolith of kraut acid, a pagan dance as portal to a destination only you can choose. Microdosing will be back soon with more enablers, helping to turn your petty struggles into a search for a meaning of life. The Quest lives on.

SLEEPERS POETS SCIENTISTS is the compilation of 9 female Georgian artists. It showcases works by Natalie Beridze's students at the CES (Creative Education Studio), where Beridze teaches song-writing and music production. Natalie Beridze is an international well-established artist with releases on Max Ernst, Laboratory Instinct, and Monika Enterprise, through live performances, theatre and movie soundtrack works, as a member of artists collective Goslab, and collaborations with Ryuichi Sakamoto, Thomas Brinkmann, Gudrun Gut, Nikakoi – to name but a few. "This compilation is the backbone of what I try to persuade as a lecturer and as a person, who endlessly loves the music-making process. "Sleepers, Poets, Scientists " is the embodiment of intelligent, benevolent, dedicated, talented and beautiful women, who I believe have a bright future as female composers in Georgia and this album is a significant step towards it."

The retro cover is a nod to the famous group shot from the 1927 Solvay conference, which brought together physicists like Albert Einstein, Erwin Schrödinger, Marie Curie, and others. With this in mind, the name Sleepers, Poets, Scientists rings like a call to action for today's brightest minds, to wake up and save our chaotic, troubled world.

The infamous Kiwi returns to Needwant with his second EP on the London label (home to the likes of The Revenge, Ejeca, Maxxi Soundsystem and many more) On this cut Kiwi does what he does best by incorporating emotion and grit into dance music. The EP features 3 mixes of ‘Kiya’ as well as a remix from underground hero Brian Ring.

The record opens with the original version of ‘Kiya' which features warm bass tones, spaced out synth lines, shuffling percussion and a tribal-esq vocal. The Rave mix gives ‘Kiya’ dance floor authority, introducing driving acid synth lines and a weightier low end. On the B side Kiwi delivers a deconstructed ‘Dreamscape’ mix stripping ‘Kiya' back to it’s beautiful bare bones.

‘Kiya’ will be another addition to Kiwi’s already impressive physical discography which includes releases on imprints such as Disco Halal, Future Boogie & 17 Steps. His unique approach to remixing and producing over the years has meant that he has seen a wealth of support from names such as Andrew Weatherall, DJ Harvey, Gerd Janson, Daniel Avery, Erol Alkan, Optimo, Annie Mac and Skream.

FILE UNDER: jazz, modal jazz, spiritual jazz
- 2xLP gatefold- 180g pressing- free download card

With 20 years passing since his first foray into recorded jazz, Nat Birchall now ranks as one of the premier saxophonists of his generation. With several highly acclaimed albums in the locker, he now returns with his most ambitious project yet – a tribute to the legend that is Yusef Lateef.

"The Storyteller - A Musical Tribute to Yusef Lateef"

"When Jazzman Gerald first mentioned to me the idea of doing an album as a tribute to the jazz giant Dr Yusef A. Lateef, my first thought was "Where on earth do I start?" Lateef was such a colossus of music, and his scope so broad, that I couldn't hope to begin to cover his musical universe. He was a master of the tenor saxophone, a master of the flute, a master ballad player, a master blues player. Not to mention his skills as a composer and arranger and of course his exploration and use of musical methodology and instruments from all over the world."

"I've always been a great admirer of Lateef, and the challenge was intriguing, so I decided to give it go. We interpreted some of his own compositions (Brother John, Morning & Ching Miau) as well as some compositions by others that he made his own by careful arrangement and interpretation (Love Theme from Spartacus, Ringo Oiwake). I also wrote some original songs that, while certainly not written in his style, might be said to fall into his very broad approach to music making."

"I also wanted to utilise as many different instruments as possible, something I hadn't explored too much until this album. So it was a nice opportunity to finally get around to playing some of the many small instruments I've collected over the years; the Turkish zurna, the mbira from Zimbabwe, the balaphon from Mali and the arghul from Egypt. We have also tried to use varied time signatures in the music, so we have songs in 3/4, 5/4 and 7/4 time, as well as the standard 4/4."

"Ultimately the best music tells a story to the listener and takes them to places they might not have imagined themselves. Yusef Lateef certainly did that, and as such was a master storyteller."

Nat Birchall

The visionary singer, songwriter and composer returns to her Havana roots
A sun-baked, vibrant record backed by a killer band of fellow Cubans The new album from Daymé Arocena is a vivid return to her Havana roots. Backed once again by a killer band of fellow Cuban musicians, the visionary singer, composer and songwriter has stripped everything back to the core. Holding sessions in a simple, repurposed artist’s studio in Havana, Daymé produced the record herself, taking the reins to make “Sonocardiogram” her most raw and arresting outing yet.

A jazz-tipped record rooted in the rhythms of rumba, she draws on the island’s intertwined rituals of family, music and religion. Ringing with echoes of the greats, songs nod to the likes of Tito Puente and La Lupe, inspirations which carry the sound of Cuba’s sun-baked, vibrant daily existence. Odes to Santería deities are underscored by the sacred frequencies of the batá drum, translated to be played on a Western drum kit. It’s an intoxicating window into a singular artist’s worldview. An important voice in Latin music, Daymé has collaborated with influential peers in Cuban music, like Roberto Fonseca, and US heavyweights like Dexter Story and Miguel Atwood-Ferguson. From a recent appearance at Primavera Festival, to sold out tours across Japan and the US, her spectacular live show continues to draw crowds around the world.

Strut presents an all-time classic of South African music, the definitive remastered edition of Miriam Makeba’s ‘Pata Pata’, her first album recorded for Reprise in 1966.
The album marked a significant international breakthrough for Makeba. Moving to the US after the anti-apartheid film ‘Come Back, Africa’ gained international attention and staying there in exile, she quickly built her career in New York during
the ‘60s, mentored by Harry Belafonte. Signing with Reprise after a period with RCA, she returned to one of her older songs: “I wrote ‘Pata Pata’ back in 1956, back in South Africa,” remembered Makeba in her autobiography. “It was a fun little song and I was thinking of a dance that we do at home (“pata” means ‘touch” in Zulu and Xhosa).” Originally a hit in South Africa with her early vocal harmony group the Skylarks, the new recording, produced by Jerry Ragovoy, brought a lighter uptempo R’nB arrangement, adding some English lyrics. “It was my first truly big seller. All of
a sudden, people who never knew I had been in America since 1959 were asking me to be on their television shows and play at their concert halls during 1967. In the discotheques, they invented a new dance called the ‘Pata Pata’ where couples dance
apart and then reach out and touch each other. I went to Argentina for a concert and, across South America, they are singing my song.” The track peaked on the Billboard Hot 100 at no. 12 and the album. Other songs In the album included a version of the traditional Xhosa classic, ‘Click Song Number One’ (‘Qongqothwane’), the atmospheric ‘West Wind’, later famously
covered by her friend Nina Simone, and a version of Tilahun Gessesse’s ‘Yetentu Tizaleny’ which Makeba learned on a trip to Addis to perform for Haile Selassie at the Organisation Of African Unity. Mastered by The Carvery from the original reel to reel tapes, ‘Pata Pata’ is released in its mono and stereo versions for the first time. Physical formats feature brand new sleeve notes alongside rare photos from the time of recording and session details.
The album is released on 6th September on 2LP, 1CD, streaming and digital

Available on vinyl for the first time in 40 years, Outernational Sounds proudly presents a cornerstone document from the Los Angeles jazz underground, Flight 17 – the first appearance on record of the legendary Pan-Afrikan Peoples Arkestra, led by their founder and mastermind, Horace Tapscott.

"The Arkestra would allow the creativity in the community to come together, would allow people to recognize each other as one people and ask, “Now what can we do to make this community better? What can we do for this community together?”...That’s how the Pan-Afrikan Peoples Arkestra – the Ark – began, with the knowledge that we wanted to preserve the black arts in the community."
Horace Tapscott

Horace Tapscott’s Pan-Afrikan Peoples Arkestra (P.A.P.A.) was one of the most transformative, forward-thinking and straight-up heavy big bands to have played jazz in the 1960s and 1970s. Countless musicians passed through its ranks, and in Tapscott it was led by a musical visionary who should be ranked with the very greatest names in the music. If P.A.P.A. doesn’t have the interstellar rep of that other famous Arkestra, and if the name Tapscott doesn’t ring bells like Monk or Tyner, there’s a reason why: in an industry dominated by record labels, a band that doesn’t record doesn’t count. And the Pan-Afrikan Peoples Arkestra didn’t record for nearly twenty years. But recording success was never their concern – they weren’t about that.

First formed as the Underground Musicians Association in the early 1960s, Tapscott always wanted his group to be a community project. From their base in Watts, UGMA got down at the grassroots. They played for the people, organising fundraisers in parks and coffee houses, hosting teach-ins and workshops for young and old, and mixing it with radical theatre groups, firebrand poets, political radicals, Black separatists, community groups and churches. They lived communally, supporting each other and their people, and built an ark for the Black arts in the heart of the city. The group was renamed the Pan-Afrikan Peoples Arkestra in 1971, and soon after they established a monthly residency at the Immanuel United Church of Christ which ran for over a decade, while still playing all over LA and beyond. But through all this, they never released a note of music.

It was the intervention of Tom Albach, a fan of Tapscott and the group, that finally got them on wax. Determined that their work should be documented, Albach founded Nimbus Records specifically to release the music of Tapscott, the Arkestra, and the individuals that comprised it. The first recording sessions in early 1978 yielded enough material for two albums, and the first release was Flight 17. From the surging avant-gardism of Herbie Baker’s title track to the laid- back summertime groove of Kamonta Lawrence Polk’s ‘Maui’, or Roberto Miranda’s uptempo Latin jam ‘Horacio’, Flight 17 showcased the radical voices of the Arkestra’s members. Led out by Tapscott’s hard-swinging piano, this is the first flight on wax of the West Coasts’ foundational community big band – energised, hip and together. Open up the gates and prepare for departure!

This edition of Flight 17 contains two tracks previously only available on the 1997 CD edition: ‘Coltrane Medley’ and ‘Village Dance’, recorded live at the Immanuel United Church of Christ. It is released as a limited vinyl-only edition on a 180g pressing by Pallas. Fully licensed from Nimbus West founder Tom Albach.

When the Tramp Records crew read the internet-sweeping spam/story of Nigerian Astronaut and Air Force pilot Abacha Tunde, they knew that they had to spring into action to help this unfortunate fella out. Dr. Bakare Tunde, the cousin of Abacha Tunde explained the situation as follows: "My cousin was the first African in space when he made a secret flight to the Skylab Space Station in 1979, shortly before it crashed to Earth. 19 years later he was on his second spaceflight, this time to a secret Moon Base located on the far side of the Moon. In 1999 his crew members returned to earth, but his place was taken up by return cargo. There have been occasional supply flights to keep him going since that time. Although he is in good humor, he wants to come home, now, after 20 years in space."

After this hilarious story the idea of a compilation album was born - and "Trip To The Moon" is the result. The goal to raise three million dollars to cover the cost of Abacha Tunde's return flight may never be achieved. Nevertheless, a 41 year experience in the music business is the basis for a fantabulous track listing of 11 amazing and highly underrated Rare Grooves about the Moon!

The Swinging Astronauts open the set, followed by La La Wilson's equally great rhythm & blues rocker "The Moon Man Is Back". With The Moon-Dawgs, this album makes a slight turn into the 1960s garage rock era while Hase Cäsar (backed by none other than the famous Ingfried Hoffmann and his orchestra!) contributes one of two songs of german origin. Now it's time for some funk: Rev. Jamel & Bob Johnson's "Walking On The Moon (Men Are Starving)" criticizes the US government for spending millions of dollars for their space program instead of supporting their own people. "Mars in 75" is deepfunk at its best although some may lament the lack of production. Sidney Ownen's breakbeat-laden "Sputnik" is sought after in collector's circles and needs no justification as to why it is included on this album. Ernest & D.L. Rocco's "Moon Child" is our personal favourite, closely followed by the hypnotic groove of "Mondgesicht" by legendary german saxophonist Ambros Seelos. Scott Cunningham's name should ring a bell as he was featured on several Tramp compilations over the past few years. Finally, the album closes with a psychedelic folk track titled "Voyage To The Moon".

Tramp Records is absolutely convinced that this album will surely be the best way to shorten the wait for Abacha until a rescue space mission finally brings our African soul brother back home.

Key selling points:

- deluxe gatefold LP with detailed liner notes and unseen photographs
- the vinyl LP comes with a full album download code
- most of the songs appear on a 12" album for the very first-time

Both Unhuman and Roberto Auser
should be names that ring a bell… Unhuman is from Greece but
residing in Berlin… with his music he is always bordering techno,
industrial and noise… for Enfant Terrible/Gooiland Elektro he crafted
two tracks which pay tribute to old school EBM and New Beat… slow
and dark beats… with a post-punk attitude and a decadent touch which
makes them perfect for the dance floor early in the morning… Roberto
Auser has built a name of his own but still stays something like a best
kept secret of the Dutch electronic music scene… this mainly due to his
output which is never to be pinned to one specific genre or style… For
this release he came up with two harsh pounding tracks with dark
beats and industrial sounds and a true rave spirit… see you on the
dance floor!

Stylotone in association with The Frank Cordell Estate and director Larry Cohenis proud to announce the World Premiere Release of... Composed and Conducted by Frank Cordell (Khartoum, Ring of Bright Water)

An Academy Award-nominee in 1970 for his soundtrack to ‘Cromwell’ and composer of the infamous unused score to Stanley Kubrick’s ‘2001: A Space Odyssey’

A 4-Track 7” 45RPM Vinyl EP featuring music from the Original Motion Picture Soundtrack to the cult 1976 horror film (also known as ‘God Told Me To’)

Mastered & Cut by Sean Magee at Abbey Road Studios, London

Nils Frahm veröffentlicht heute seine brandneue 5-Track-EP Encores 1.Nils Frahm hat die letzten zwei Jahre damit verbracht, sich sein neues Studio im Funkhaus Berlin zu bauen und dort Aufnahmen zu machen: In diesem Rahmen entstand nicht nur sein zuletzt veröffentlichtes, international gefeiertes siebtes Album All Melody, sondern obendrein etliche weitere Tracks, von denen fünf ab heute als - erste Zugabe erscheinen: die EP Encores 1.

Aus insgesamt 60 ersten Ideen und Songskizzen habe er schließlich jene 12 ausgewählt, die auf dem Album All Melody versammelt sind, was bedeutet, dass ein Vierfaches davon zunächst in der Schublade bleiben sollte: - Die Idee zu den Encores hatten wir dabei genau genommen schon vor All Melody: Nämlich drei Veröffentlichungen zu machen, von denen jede ihren eigenen musikalischen Stil hat und ihr eigenes Thema. Wir dachten dabei zunächst an ein Triple-Album.

Doch dann wurde All Melody immer größer und verdrängte diese ersten Konzeptideen , so Frahm. Als eine Art begleitender Anhang zu All Melody gedacht, wobei sich zum Beispiel das Stück - The Dane auf der aktuellen Welttournee bereits als absolutes Live-Highlight entpuppt hat, konzentriert sich Encores 1 durchweg auf akustische Aufnahmen mit zwei Instrumenten: (Solo-)Klavier und Harmonium. -

Ich glaube, man kann die Idee der Encores mit klanglichen Inseln vergleichen, die All Melody erweitern , sagt Nils Frahm weiter - und deutet damit an, dass die Geschichte von All Melody womöglich noch längst nicht zu Ende erzählt ist ...

As a singer-songwriter artist, JE (Jon Edward) Sunde composes abundant records that are as much folk as white soul, influenced by Nina Simone and Leonard Cohen. Without always being aware that he has gold in his voice, and Paul Simon's melodies in his fingers. A long-time friend of Bon Iver, JE Sunde shared the music scene with him at Eau Claire, their hometown, before leaving to Minneapolis. With his group Dardevil Christopher Right or solo, JE Sunde has played everything that the country has of small indie venues. After two albums released in the United States, JE Sunde releases his songs for the first time in Europe as a best-of album available on June 7.

Two stripped back box jams recorded straight to tape. No frills. Includes full downloads of LF001 and LF002.

Support from Intergalactic Gary, 12th Isle, Job Sifre, Solid Blake, Lanark Artefax, Murray CY, XVARR, Ekman, Nightwave, OKO DJ & Machine Woman

With more than 220 million cumulated streams in 2013, Poldoore is far to be unknown from international future-beat and hip-hop scenes. His new record, Mosaïc, comes back confirming to be the spearhead of a booming music genre, where beatmakers emerge from the shadows to the light, to assert themselves as artists in their own rights. Coming from Belgium, more precisely Louvain near Bruxelles, Thomas Schillebeeckx began to explore his parents record collection at age 5, when the family moved to the US. Since, the will to combine this musical heritage to his more modern surrounding sounds never left. Because Poldoore music has a credo: assembly the era with sampling, mixing the genres to create a new musical touch.

Since his beginning in 2013, with the album The Days Off, the young musician talents gave him the opportunity to perform for an international tour with famous venues such as Gilles Peterson's Worldwide Festival, Dour Festival, or the giant Tomorrowland. Everything you need to create a huge fanbase, one that never let you down through your musical evolutions. At this stage, Poldoore is already ahead of his time, playing a music focused on the future, making his place among lasting artists by getting to the top sales on Beatport. Six years after, he's still here, more than ever.
The following of his career brings him to Bulgaria, Spain, Turkey, Germany, Greece, and developing remixes for international artists such as Selah Sue, Wax Tailor, Declaime or Talib Kweli.
He is also nominated at the Red Bull Elektropedia Awards in Belgium, for both Album of the Year and Best Newcomer of the year, mostly thanks to the hit: the remix of the classic Fugees song, Fu-Gee-La. Everything to set the stage for his second album, The Days Off in 2016. The natural identity of Poldoore music rings out more than ever, and allows him to sign several projects and EPs on prestigious labels: Chinese Man Records, Nowadays, Cold Busted or Darker Than Wax.
His forthcoming album Mosaïc is a pure exploration of genres. The offbeat hip-hop, beautifully embodied by the track Lessons About Life, the electro-funk with Darts Is Not A Sport, his beloved jamaïcan sounds on A Brand New Day (featuring ASM and Balkan Bump), or the break-electronic on Solace. But it's mainly his unusual ability to give a second groove to 70s soul samples and epic strings, that makes this record truly essential. The whole tracklist is haunted, whether on the excellent Walking Through A Sunlit Forest or on Melatonin, last of the 13 tracks. Always seeking to marry different musical periods, always linking the past and the future. With Mosaïc, Poldoore is not only showing us his talent, but takes the listener through out Time. And isn't it what the music is supposed to do














 

New LP from French beat-makers La Fine Equipe featuring Illa J, T3, 20Syl, Mr J Medeiros, Georgia Anne Muldrow, Fakear ...

Let's be clear: La Fine Equipe is a band. The numerous hats wore by its four members are so various that it could mislead one's. Indeed, surrounding Blanka, oOgo, Chomsky and Mr. Gib, there are recording studios, collaborations, lives, side-projects... There is also and especially a whole universe built during the past ten years around their passion for beatmaking, embodied by the release of « 5th Season », new album.
So yes, La Fine Equipe is a band, but it's also much more than that.

Since their creation in 2006 and their first album « La Boulangerie » two years later, the four producers became inevitable when you think about a new scene breaking the barriers between musical genders. Hip Hop is at the heart of their craft, corner stone of their musical background and inspirations where the paths of J Dilla, Madlib, Flying Lotus, Kaytranada and the turntablists A-Trak, C2C and Birdy Nam Nam are crossing ways. Two things gather La Fine Equipe and those big names, the constant need of collaboration with other artists, and this thirst of discovery, main feature of the digger.

From 2008 to 2014, La Fine Equipe mastered its craft with the « Boulangerie », compilation gathering 34 beatmakers on 113 tracks. They also work on the creation of the label Nowadays Records (Fakear, Skence, Unno, Clément Bazin, Leska, Douchka...) and released more than 75 EPs and LPs in five years.
With an outrageous number of shows across the world, tour in Asia, South America, collaborations with several international artists... Their success changed the game: Whereas many producers coming from this environment where isolated, La Fine Equipe federated a growing scene and became its reference.
After years spent paving the way for other artists and creating a structure that could support the growth of a musical scene, they decided to go further and launch a new era with « 5th Season ».

Because the band works with eight hands and four brains, there's nothing surprising in the fact that the album sounds like a condensed of each and everyone inspirations and experiences, from hip hop and sampling, to electronica, jazz and Latinas inspirations. If homogeneity is the new trend, La Fine Equipe isn't ready to sacrifice its wishes to fit the mould.

« 5th Season » is also a glance at the world looking over our planet's current state, the cosmos, the vegetal and these things that are greater and stronger than us, and the things and behaviour that could led to our loss.
It's an almost apocalyptic vision of our future, but full of optimism at the same time. There is something solar and cinematographic in this album, a format that goes beyond the one chosen before, closer to playlist and compilations such as the three Boulangerie opuses remind us.

Loyal to their status of ambassadors, the four beatmakers keep on inviting other artists to complete their universe. Illa J and T3, respectively brother and partner (Slum Village) of the late J. Dilla, make the connection between a glorious past and the future embodied by La Fine Equipe on the track « The Source ». With « Aurora », it's the solemn and mystical voice of Madjo that take this electro-pop track to another level. The American rapper Mr. J. Medeiros on the boom bap anthem « What Eva », the Montrealer ZeFire on « Typical », each and every artists brings its stone to the edifice of « 5th Season », giving to the album a limitless and freed musical richness.

But to release an album isn't enough. In parallel, each member of La Fine Equipe continues to fulfil its multiples tasks and work on a new concept live show bringing a scenic and visual show in addition to their music. It is what the artists looking toward the future do, and La Fine Equipe is looking straight ahead.

_________________________________________________________________________

TRACK BY TRACK

AURORA (Ft. Madjo)
Already remixed by the quatuor on the beautiful track « Choose The Heart », it's Madjo's turn to be invited by La Fine Equipe for a collaboration. Her mystical voice, which fragility paradoxically seems to strengthen its power, turns the track into an epic pop anthem.

NOBU (Ft. Grems & 20syl)
The association of these three names seems obvious, like a family reunion. Grems did the visual of the anniversary box of La Boulangerie, 20syl (C2C, Hocus Pocus) was one of the beatmakers who took part in the project.
This time, the two big brothers are side by side behind the mic, for the first French speaking collaboration of La Fine Equipe.
On this trapy/footwork beat, the two rappers ring the alarm before it's too late to save our house, the earth.

THE SOURCE (Ft. T3 & Illa J)
In the family of Hip Hop jewels of 5th Season, here is one coming from the USA. Fans of J Dilla and Slum Village since the first hour, La Fine Equipe pays its respects to its influences by inviting T3 and Illa J. Respectively member of Slum Village and brother of the legendary Detroit producer, these two MCs build a bridge between the eras and let their sharpened flows confuse our perception of time.

5TH SEASON (Ft. Fakear)
A second collaboration with their little brother from the Nowadays Family, Fakear. Eponymous title, it represents the universe of both entities, true road trip through Fakearians melodies and La Fine Equipe's funk declined in five seasons.

TYPICAL BOY (Ft. ZeFire)
With « Typical Boy », La Fine Equipe express its love for House music with chopped rhythms and a heavy but swaying bass line. The freed track oscillate between power and lightness. A beat that quickly becomes ZeFire's playground. The Montreal singer, already heard on Her's tracks, brings a missing r'n'b touch to create the perfect chemistry.

FWM Entertainment has kept that same energy in its second release by label head, Stefan Ringer. The A side track 'SO' is instantly exciting! The chorded turned arpeggiated melody and rhythm section take over your body and the song invokes different feelings and emotions as it progresses; this is a song you will definitely want to have for this summer and beyond. Over on the B side, 'Afrotine' brings a more tropical broken beat type of flavor. The percussive yet chromatic sound of the kalimba is almost hypnotizing. Sunshine, cool breezes, and smiles come to mind when hearing this one. The B2, 'Time' is a slowed down vocal groove that slaps! The melody floats effortlessly along the beat with the bass line following closely behind, complimenting the changes throughout. Overall this one is a keeper and a great follow-up to the acclaimed FWM001

Rings Around Saturn’s debut for Voyage delivers four spacious impressions of classy techno & IDM. From the swirling melodies of “Circling Architecture” to the introspective atmospheres in “Decompression” and “The Edgelands”, RAS taps into the obscure-ozone of the outer limits.

Bogota Records rings in 2019 and brings long time friend and collaborator, Oslo based producer
REMII, back into the roster, Remii delivers an outstanding release with his two tracks Cruisin' and
Late Night'.

'Cruisin' rides an 80's wave of nostalgia with warm synths and naïve chords plotting the course
ahead, while Late Night' slowly tells you a story on its own, going back to the future.

On the flip side, Bogota boss Ivaylo is on the prowl for House with his interpretation of the original. A
warm bass line, dreamy keys and groovy percussion, take the track into a parallel dimension with his
searching for House' remix.

Movente Is A Debut Lp From A Vital And Long Standing Figure Of Italy's Clubbing Scene Under A Brand New Alias. That Alias Is Cleptophonic, And The Album, Due In 2019, Is An Autobiographical Collage Of Experimental Trip Hop Sounds That Is Truly Immersive.

Under A Former Alias, Cleptophonic Has Spent Years Djing And Experimenting In The Studio And Has Made A Real Impact On His Native Scene As A Result. He Is A Very Delicate Person With Serious Attention To Detail That He Puts To Best Use By Delving Deep Into What He Loves: Playing On Turntables And Immersing Himself In A Sonic Realm Cuts Him Off From The Real World And Acts As Therapy For This Meticulous And Selective Person And Artist.

He Is A Master Of A Stylish Musical Collage Technique - Both In Sound And Images. As Such Movente Is A Collage Of Different Sounds, Sampled With The Turntables And Put Together With Logic, While His Passion For Collage Also Spills Over Onto The Album Cover, Which Is Made By Pieces Of Paper From Magazines, Newspapers And Comic Strips. The Result Is An Experimental Trip-hop Album With A Singular Sound That Puts Together Pieces Of Life, Sounds And Images That Are Meaningful For Him, Especially The Last Song, Which Is Dedicated To His Mother Who Sadly Committed Suicide A Few Years Ago.

There Is A Beauty And Delicacy To The Music Throughout This Most Excellently Escapist Album That Is Utterly Absorbing. Pads Swirl Round Louche Beats, Crisp Hits Ring Out Into The Night And You're Left In A Deep State Of Contemplation Throughout. There Are Warped And Shimmering Cuts, Dub Tracks Drenched In Reverb And Melodically Rich Broken Beats. The Whole Thing Is So Spacious You Get Sucked Right Into The Centre Of It All And The Thoughtful Moods And Deft Sonic Details All Making A Truly Lasting Impact. This Is An Exquisite Album That Encourages You To Really Get Lost In A Unique Musical World.

This was Charles Tolliver's first album as a leader. The setting is unique only because his second Freedom-Black Lion album 'The Ringer' and all of his subsequent albums on Strata-East featured his quartet Music Inc. with pianist Stanley Cowell. Here he is surrounded in quartet and quintet formats with a truly stellar cast of the leading players on the New York jazz scene.

Charles plays the role of leader, composer and trumpeter. But it is surely that last role that deserves the most attention. The trumpet is a brass instrument that leans toward a hard sound and staccato phrasing. Yet Tolliver is the quintessence of fluidity. While it may be undeniable that he has learned from his musical heritage and past trumpet masters, a trumpeter of such flow, tone, control, lyricism and creativity is, by definition, a major musician.

Charles Tolliver first came to the professional jazz scene in the mid-sixties, when he first met Jackie McLean. Under McLean's leadership, he played on a number of Blue Note record sessions, some of which have yet to be released. He contributed original tunes to many of those sessions.

Within a couple of years, Tolliver was a well known figure in New York circles, playing and/or recording with Booker Ervin, Archie Shepp, Andrew Hill, Roy Ayers, Art Blakey, Sonny Rollins, Willie Bobo, Gerald Wilson, McCoy Tyner, Hank Mobley, and many others. His compositions were getting recorded by many artists. He gained his greatest recognition during a two year stint with the Max Roach quintet that also included Gary Bartz and Stanley Cowell.

There is also a previously unreleased bonus track of the song, "Repetition", recorded by Charles for this LP which will be included on this new release of the album. This song was originally made famous by Charlie Parker's LP With Strings.

This album is certainly an important and lasting document in light of the musicians involved and in light of its unique context for Charles Tolliver. But basically, it is just a great album to listen to. Michael Cuscuna

It's safe to say that Detroit, a city steeped in economic, cultural and musical history, will soon weave its way into your soul should you spend any sustained time there. This rings all too true for Monty Luke. He has immersed himself in Detroit's scene since moving to the Motor City in 2008. His new eight track LP, released via Dogmatik, showcases the style of a new generation of Detroit producers carrying the beacon for a deep, Detroit sound that blends analogue weight and punchy drum programming together with masterful synth work and raw emotion.
Even at first glance the polarised artwork, an aerial map of Detroit, shows the more introspective nature of this Motor City ingrained release, with Luke purposefully steering away from writing club ready material. Introductory track 'City Lights' gives a first taste of this, combining swelling synths, dreamlike arps and crisp percussive hits. There's a real weight to the bass synth that compliments Abi B's soulful vocals all too well. 'Anton's Room' & 'Crime Wave' follow suit -the former with itslayered gritty bass, expansive stabs, glitchy bleeps and undulating arps and the latter creating a sonic swell between your ears manifested by a surging, panned arp, alongside sirens and punchy, gunshot like snares. Inspirations from Moodymann to Theo Parrish are clear to be seen in tracks like 'Move', taking a range of jazzy loops and samples and chopping them into a low slung, bouncing MPC laden jam.Progressing into the 2nd half of the album there's a transition from deep, Detroit house into harder hitting, electro territory. 'Willie Maze' with its killer drum programming, reverberating Rhodes and dynamic bass and 'Roja', combining emotive late-night chords and melancholic synth melodies, really honeinon that pensive, thought-provoking aesthetic. One of the highlights, 'Wasteland', is the best example of this transition -interlacing a commanding electro drum pattern with squelching, synth melodies and Serene Arena's introspective lyrics.
Then taking it full circle, closing track 'Block Is Hot (Black Hole Mix)' -co-produced by King Britt in Philadelphia (alongside City Lights, Crime Wave & Willie Maze), returns to the 4/4 path with a thumping party track, carrying through that raw nature emanating from the dark melodies and Monty's adlibbed vocals.
'Hard Work/ Not Hype' is a record flying the flag for those underground artists working tirelessly behind closed doors to produce material that's based on feeling, emotion and skill, rather than riding off the back of an inflated, socially constructed image. Monty Luke, as someone that follows that mantra, has been able toconstruct an album showcasing this, creating a real weight and depth to this release; it's raw, powerful and thought provoking, expertly capturing the soul of Detroit -the city that's had such a profound effect on him

DETROIT SWINDLE
Ouch that's HOT! Bring it on.
KRISTIAN RAEDLE/ INNERVISIONS
Yes please. Very nice.
AYBEE
Fanatastic Work Monty!!
ASHLEY BEEDLE
Thanks for sending over the Monty Luke album to listen too. It's a great
contemporary album with of course Detroit running through it's veins! It
really pulls you in and I think the arrangements and productions are great.
Fave tracks are City Lights, Roja, Willie Maze and Block Is Hot.
LAURENT GARNIER
Oh yes..This is so elegant and sexy. Love it Would love to play it
OSUNLADE
This one is a guilty pleasure vibe..hate that I love every song equally

The label turns 5! To celebrate, Ringard delivers a 4 tracks Ep.

Berlins premiere Bass Collective continue their march into history with yet another TKO vinyl from regular contributor Bridge Guy. His 4 originals are joined by an absolute hammer of Deepness from Jesse Bru who steps up to remix Psilocybin.

Bridge Guy is exploring Deeper sounds in this EP and Isopropyl opens proceedings with a trip of clattering percussion and synth work, all with a laid back slant. Deep enough for the heads but with a sound that just pulls you in.

The theme is somewhat continued in Lone Frenchman, but where the previous track takes a step to the left, The Lone Frenchman turns right and gets his rhythmic jam on. Tightening up the groove and laying the dancefloor to waste.

Psilocybin really pulls the bass and groove centre stage, bouncy and warm and with a whole load of rhythm in the boot. This one is for the turning point right in the middle of the night where things start to get a little more freaky.

Cheese on Toast, drops things back a touch. Thick tones and a more relaxing vibe perfect for losing yourself in, as the last of Bridge Guys originals rounds out a remarkably vibey EP.

Closing out the package we have Jesse Bru's storming remix of Psilocybin, easily up their with some of the best lo-fi House of the past few years. Jesse rings his own vocal work and really heats things up. Peak time killer.

The circus has been in town for years, now it's time to move on. But before we say goodbye, clear the ring please for one last demonstration of Bremen dancefloor madness. A fire ring of tracks by all acrobats and clowns from Drowned Records is ready to infest the record bags of deejays worldwide one very last time. Thank you for your support, it has been a great time.

R+R=NOW is a collective of like-minded boundary-breakers featuring Robert Glasper, Terrace Martin, Christian Scott aTunde Adjuah, Derrick Hodge, Taylor McFerrin & Justin Tyson. The 'R+R' in the band's name stands for Reflect+Respond, and was inspired by Nina Simone who said an artist's duty is to reflect the times.
With Collagically Speaking the band presents an urgent musical hybrid that is distinctly of the now. As Glasper says, R+R=NOW tells 'our story from our point of view... It's a very honest, fluid sound that rings of hip-hop, EDM, jazz, at times - hell - reggae... a bunch of cats that respect each other so much that we always pass the ball.' The album features guest spots by Omari Hardwick, Terry Crews, Stalley, Amanda Seales, Amber Navran, Goapele, Jahi Sundance and Yasiin bey.

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

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

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

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

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

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

Yours Sincerely,

Maarten & Lars

Skin Town's unexpected return with their new album 'Country' finds the duo upping the already high bar set on their striking dark pop gem debut 'The Room' with a dauntless artistic statement that trades clever posturing for vulnerability. Yielding their prowess with more restraint, Skin Town's 'Country' hits harder and cuts deeper - doubling down on their narcotic cocktail of strong R&B hooks, spacious bewitching productions, and marked sense of melody that puts vocalist Grace Hall and multi-instrumentalist Nick Turco in a class of their own.

Many saw that potential on their debut with support from Dazed, Interview, The FADER, KCRW, as well as artists like Tinashe shouting out Skin Town. Lamenting on the duo's unmistakable chemistry, Pitchfork says, "Turco's synthscapes are huge and scene-stealing, while Hall's husky voice strikes a glorious medium between Abel Tesfaye and Sade." Their latest is even more potent, a particular strain of sad dance music that feels timeless and raw.

'Country' refines Skin Town's minimal framework of tethering hip-hop/R&B rhythms to Hall's smoky, precise phrasing exploring richer atmospheres and darker concerns. Written and recorded over 3 years, the album touches upon depression, loss, hedonism, poverty, rebellion, sex work, empowerment, and love's contradictions. The album's completion was sidetracked many times with Hall suffering a string of life-threatening mysterious immune system ailments, as a result there is a lot of pain and joy in this record, made with literal blood and tears.

The opener "Bad" signals at this departure from their upbeat predecessor stripping away the beats, relying on the interplay between Turco's ringing chords, the enveloping synthwork and Hall's melancholic, rhythmic intonations. "Mute" brings back the drums, couched in a slinking hip-hop beat and a creeping synth lead. Throughout the record, Turco's productions glean from an eclectic, disparate mix: melodic Amiga tracker music, Metro Boomin', New Age, The-Dream while Hall seems ever more comfortable exploring syncopation and half-rap/half-sung excursions. This is inventive, uncanny pop music where Enya, Offset, Zola Jesus, and Future inhabit the same space.

Skin Town's unerwartete Rückkehr mit ihrem neuen Album "Country' hebt die sowieso schon recht hohe Messlatte ihres markanten Dark-Pop-Juwelen-Debüts "The Room' noch ein wenig höher. Skin Town's - Country" schlägt härter zu und schneidet tiefer - und verdoppelt ihren narkotischen Cocktail aus starken R&B-Hooks, einer großzügigen, betörenden Produktion und einem ausgeprägten Sinn für Melodie. Das ist erfinderische, unheimliche Popmusik, bei der Enya, Offset, Zola Jesus und Future im selben Raum leben.

Viele sahen dieses Potenzial bei ihrem Debüt und so gab es reichlich support von Dazed, Interview, The FADER, KCRW sowie Künstlern wie Tinashe. Pitchfork hob die unverwechselbare Chemie des Duos vor und sagte: "Turcos Synth-Landschaften sind riesig und szenenraubend, während Halls heisere Stimme eine Klasse für sich ist, angesiedelt zwischen Abel Tesfaye und Sade.'

Country' verfeinert den minimalen Rahmen von Skin Town, Hip-Hop/R&B-Rhythmen mit Hall's rauchigen, präzisen Vocals, die weitere Atmosphären und dunklere Anliegen erforschen. Das Album behandelt verschiedenste Felder von Depressionen, Verlust, Hedonismus, Armut, Rebellion, Sexarbeit, Empowerment bis zu den Widersprüchen der Liebe. Die Fertigstellung des Albums wurde mehrmals aufgeschoben, wobei Hall eine Reihe von lebensbedrohlichen, mysteriösen Immunsystem-Krankheiten erlitt, was dazu führte, dass viel Schmerz und Freude auf dieser Platte zu finden sind, die sprichwörtlich mit Blut und Tränen gemacht wurde.

Hailing From Nashville, Tennessee - A City Better Known For Being The Cradle Of Country Music, Jaundice And Dzee Form The Backbone To The Future Dz Duo, Which Has Way Less To Do With Johnny Cash Than With The Hague Sound, And Their Latest Offering For The Label They Help Co-run, Tram Planet Records, Although Tracing Rings Of Fire In Its Wake, Further Ratifies That Lineage.

A Shape-shifting Collection Of Post-apocalyptic Detroit Electro And Squelchy Acid Grooves Sieved Through Filthy Filters - Perfect To Play In Your Muscle Car While Speeding The Highway At Night, 'splint Mask' Finds The Duo At Their Most Epic And Unhindered. Premiering Today Through Our Channels, 'sawed Off' Is A High-octane 303 Fuelled Racer Blazing With A Hint Of Unit Moebius Weirdness And Off-the-cuff Rugged Hardware Spritz. If You Like Your Electro Scruffy, Grinding And Aggro Like We Do, Future Dz Have You Covered. Get In The Zone And Feel The Burn, You're In For A Treat.

KARIN RABHANSL hat ihre Seele an den Teufel verkauft. Zumindest hat es sich gelohnt: Tod & Teufel, das vierte Studioalbum der Sängerin und Gitarristin aus dem niederbayerischen Trautmannsdorf, ist eine Mörder-Scheibe geworden: Leichtfüßig grenzüberschreitend, frei von jeglicher Befindlichkeitssäuselei und weder Kaff noch Großstadt (weil du das Mädchen zwar aus dem Wald, aber den Wald nicht aus dem Mädchen kriegst). No fillers just killers, wie man in KARINs Heimatdorf unweit von Passau zu sagen pflegt. Oder wie es die Menschen in ihrer derzeitigen Wahlheimat Nürnberg auszudrücken pflegen: Liederbayern strikes back! Zugegeben: Tod & Teufel, die neue LP/CD von KARIN RABHANSL, ist ein wenig sinister geraten. Ein düsteres Rockalbum mit krummen Taktarten und allerlei Geschrei. Eine Dämonenplatte. Diesmal ist die Ringelprinzessin abgetaucht in die Abgründe und Untiefen der menschlichen Seele. Rabhansl erzählt von Werwölfen und Irrlichtern, über Alter, Einsamkeit, Stalker, Organhandel, faustsche Vertragsangebote und darüber, dass man es eh keinem Recht machen kann auf dieser Welt. Auch musikalisch hat sich einiges getan. Wenn man schon eine Rockband hat, dann kann man es auch mal ordentlich krachen lassen, nickt das Stromgitarren-Mädchen und gibt die Devise aus: Pop raus, Rock rein! Das neue Programm ist gestartet. Die Themen werden wilder, die Ziele exotischer. Ab jetzt ist wieder alles offen im Rabiversum: KARIN RABHANSL segelt weiter ins Abenteuer, immer der Nase nach, und wahrscheinlich ist es das, was wir an der liederbayerischen Niedermacherin am allermeisten mögen: ihre Neugier. Und ihre Unerschrockenheit.

New project by Kai Alcé and Stefan Ringer New York, Detroit, Atlanta...

Composer, filmmaker and photographer Phill Niblock is a true pillar of the New York avant-garde. In the past 50 years, he has curated over 1,000 performances at his Centre Street loft and steadfastly built a massive, multidisciplinary body of work. While his earliest musical compositions date back to 1968, Niblock waited until the early '80s to release any recordings. Nothin To Look At Just A Record, a powerful debut with densely layered trombones, would be the first to unfurl his unique approach to sound.

The second album and perhaps the most rare in Niblock's vast catalogue, 1984's Niblock For Celli / Celli Plays Niblock is a meeting of two great minds. Working with reed player Joseph Celli (a composer in his own right, who has collaborated with John Cage, Pauline Oliveros and Ornette Coleman), Niblock nimbly removes the breathing pauses from Celli's oboe and English horn to create seamless, enchanting drones.

Niblock insists that his music be played loud: only in this way can one experience the visceral ringing of these long instrumental tones through the speakers and their natural overtones generated by the room. Niblock For Celli remains deeply absorbing.

This first-time reissue is recommended for fans of Alvin Lucier, Yoshi Wada and Dome.

Depth.Request sees a new hat being thrown into the techno ring. The hat in question is the label's first EP Anvil—a post-tech five-tracker, and the person throwing it is Blasted—an Italian producer with a number of solid EPs to his name. Having had previously shared release credits with him on a number of occasions, Berlin's renowned noisemaker Unhuman fits into the picture as well, being the one charged with remixing duties regarding the titular track.

Setting common tact aside for a moment, the opener showcases Blasted indulging in esoteric inclinations by the means of concentrating on slick, abrasive sound design, cutting the number of kicks in half and utilizing a vocal sample to add a pinch of EBM into the mix. Unhuman's slowed-down rework in turn evokes gears' incessant grind at the backdrop of steam pressurizers going up and down in alteration, producing arrays of heavily plodding, whamming kicks. Breaking free of esoterism and leftfield production, the EP continues with Jawbreaker—a peak-time affair wherein the lows are ravaged by constant sub-bass pressure and ruthlessly striking, syncopated kicks, laid under the neatly-synthesized, impenetrable hats, pertaining to Blasted's signature sound. On Filthy Goat, the assault continues with a renewed strength as anxious synths and panning hats gradually invade the scene shortly before the devastating kicks storm down in a hail of obliterating projectiles, creating a battlefield-evocative environment within this decimating, explosive stomper. Lastly, demonic closer Belial bids its fair digital-only-money's worth of adieu with magnificent ambiance interwoven within the spectrum alongside meticulously arranged drumwork presented through plethora of varied, carefully picked samples.

Sleep D and Turner Street Sound split sides on one record to merge classic dub rhythms with a modern outlook. Kicking the spicy seven inch off, Sleep D melt ambient soundscapes, zonked out sound effects and spiritual percussion into a locked dub-house groove fit for the club and lounge. On the flip, Turner Street Sound (the duo made up of Rings Around Saturn and Midnight Tenderness) open their aural arsenal up to live instrumentation and inward dub excavations to produce the poisoness 'Redback Dub' huge bottom end and a instantly classic feel no doubt!

Following a greatest hits compilation in the late 90s the Human League signed to the Papillon label. The line-up
of Philip Oakey, Susan Sulley and Joanne Catherall recorded the 'Secrets' album, with keyboard player Neil
Sutton, who co-wrote most of the songs with Oakey, and programmer David Beevers providing the trademark
Human League sound.
The album's release in 2001 was preceded by the single 'All I Ever Wanted', but both the single and album lost
promotion and sales when Papillon ran into financial difficulties and was closed shortly after the album's release.
This 2LP edition features the original album over the first three sides, while the newly-added fourth side
features a non-album B-side, along with one rare remix each of 'All I Ever Wanted', 'You'll Be Sorry' and
'Love Me Madly'.
Housed in a gatefold sleeve, the inner sleeves features all the lyrics.

The rising London based label is quickly defining his own and unique sound laying down the law with another live jam recorded 4 tracks release by his own boss DOTHEDU.Following the success of the first release, Senseverse Records has came back with Lost Acids EP, a rough lost minded trip with an unusual sense of refinement. The producer lets the trip's curtain rise with Lost Acids which takes us to a gloomy hidden place on the edge of the house and techno roots with a banging 909 and crescendo 303 which dives smoothly into the background own producer's voice, Colombine Acids explores the happier stage of the trip and keeps the sound on the thin line in between the 2 genres with his fat kick and the flying and clashing crashes.
The B1 throws us right back deep into the dark with a slowed down and mentally twisted remix by the very well known producer Florian Kupfer. Finally Early Acids rings down the curtain's trip with some fine classic house music sonorities that lead us to a dreamy and dancy closing.

At last, the vinyl reissue of this masterwork, adding two hitherto unreleased gems recorded solo for Charles Fox's Radio 3 programme Jazz in Britain, in the same few months of 1980 as the stunning Aida performances.The phrase 'in the moment' is often bandied about with reference to free improvisation, and indeed there's no better way to describe Derek Bailey's playing. The acoustic guitar is notoriously lacking in natural reverberation — notes barely hang in the air for a couple of seconds before they disappear — which explains the almost non-stop flow of new material in these stellar performances. Bailey knew from one split-second to the next exactly where to find the same pitch on different strings, either as a stopped tone or a ringing harmonic, and there's never a note out of place. 'He who kisses the joy as it flies,' in the words of William Blake, 'Lives in eternity's sunrise' — and this music is forever in the moment, constantly active but never gabby, kissing the joy.One of the special pleasures of the BBC set is the guitarist's own laconic commentary, a deliciously deadpan description of what he's doing while he's doing it — 'I like to think of it... as a kind of music' — and the interaction between words and music is a particular delight. 'You may have noticed a certain lack of variety,' he quips, while unleashing a furiously complex volley. Is it a coincidence that the final seconds recall the famous cycling fifths of the coda to Thelonious Monk's Round Midnight Surely not — for Bailey, like Monk, was a note man par excellence. And they're both still alive and well in eternity's sunrise.