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“Every time I play Cour T.’s “Black Magic” the room changes. The entire vibe of the party goes from hands in the air to grinding, sexual energy. This track has arcane properties on the dance floor. I wish I had 10 tracks with this vibe because nothing else sounds like it and when I play it, I always wish I could keep the vibe for longer.

Selfishly, I asked our label manager to hold back this track for 6 extra months just so I could have it all to myself. That’s how much I’m into it. For all the DJs complaining about how everything sounds the same right now, take a risk and drop this one in your sets.”

-VonStroke

LP comes pressed on 180 gram vinyl.

On 29th March, Reclaimed Records are proud to present pianist and composer Taz Modi's elegant debut solo album 'Reclaimed Goods', which brings to light his love for contemporary composition – something which may come as a surprise to fans of soulful dance music heavyweights Submotion Orchestra, and jazz trumpeter Matthew Halsall's Gondwana Orchestra - for both of whom Modi plays keys/piano. Whilst also gaining further demand as a musician, including for A-list studio and live work for funk 'n' soul legends Dennis Coffey and Fred Wesley, plus beatmaker heroes DJ Shadow and Mr. Scruff, Modi has been discreetly pursuing an additional passion during down-time for years – and his prolonged, patient crafting shows in the record's tasteful and beautiful spirit.

Calling to mind the piano music of Cage, Frahm, Hauchska, Sakamoto and Aphex Twin, 'Reclaimed Goods' is a graceful affair, in which lush strings and gently pulsing rhythmic flutters sit alongside prepared and plaintive piano, with the tunes ranging from sparse beauty to weightier moments of electronic rhythms. This allows the music to appeal equally to fans of heavier electronic acts such as Cinematic Orchestra and Bonobo, to devotees of ambient and contemporary classical music, as well as those familiar with Modi's work with both Submotion Orchestra and Matthew Halsall.



Positive review by John Lewis for the Guardian's contemporary music album of the month section: 'An even more effective exploration of solo piano territory comes from British pianist Taz Modi; best known for his work in various jazz and funk ensembles, his solo debut Reclaimed Goods features a host of introspective instrumentals that are reminiscent, variously, of Ryuichi Sakamoto (Libra), Nils Frahm (Time to Practise, Crystalline) and Hauschka (Ethical Tourist).

Featured in Music Week's Tastemaker section, 15th April 2019 with Haydon Spenceley: 'Listen to it; it'll lift you high above our care-worn world to a place of safety and grace'.

First single 'Ethical Tourist' featured as a premiere on 18 Feb 2019

Second single 'Crystalline' premiered on Boiler Room's 4:3 video channel, 12 Mar 2019

'A kaleidoscopic album that seductively pulls you in and leaves you curious about the inspiration behind the songs' - AAA Music

Positive review on Magazine Sixty

Support on Soho Radio, Dom Servini

Played on Worldwide FM, April 3, Gondwana Records show

Featured on Bleep's Spotify playlist 'For Your Ears and For Your Head', April 2019

Played by Mischa Kreiskott, NDR Radio Germany, ndr.de

Worldwide FM's Gondwana Records show on May 1 featured an interview with Taz Modi, along with multiple tracks from the album.



Musicians:

Taz Modi – piano, keyboards/electronics, arrangement and production

Natalie Purton – violin + viola

Liz Hanks – cello

Margit van der Zwan – cello

Seb Hankins and Jon Scott – drums

Vor 20 Jahren startete Chloé Thévenin ihre Karriere mit Mixer und
Plattenspieler, bereits 1999 zählte sie zur Speerspitze der Pariser
Techno-Szene. Seitdem kennt man Chloé als technisch versierte und
groovig agierende DJ mit Vorliebe für Deep House und Minimal. In der
französischen Kapitale sind besonders die Batofar-Residency und PulpNächte im Rex in Erinnerung geblieben. Ihre Skills präsentierte sie einem
größeren Publikum auf Mix-CDs wie "I Hate Dancing" (2004) oder "Live
At Robert Johnson" (2008). Hinzu kamen regelmäßig eigene
Produktionen, die sie auf über einem Dutzend 12_ÇÖ_ÇÖes
veröffentlichte. Daneben brachte Chloé mit "The Waiting Room" (2007)
und "One In Other" (2010) auch zwei Großformate heraus. Dass es bis
zur Fertigstellung ihres dritten Langspielers sieben Jahre gedauert hat,
erklärt sich für Chloé durch die Wechselfälle des Lebens. Aufgrund
spannender Kollaborationsarbeiten und verschiedener
Kompositionsaufträge für Filme und Installationen blieb ihr zu wenig Zeit
für die Albumproduktion. Außerdem gründete sie mit Lumière Noire ein
eigenes Label, auf dem "Endless Revisions" als eines der ersten Werke
erscheint. Dieses gleicht einem elektroakustischen Soundabenteuer und
hat mit Tanzmusik nichts am Hut. Zwar mäandern immer mal wieder
satte Beats durch die Tracks, aber eben nur als ein Element unter vielen
anderen. Ein Album für den kontemplativen Hörgenuss

Berlin based trio Keller Crackers collective likes to shape haunting esoteric sounds, in which self-built instruments dance with ritualistic synthesised rhythms, field recordings, psychoacoustic drones and poetical spoken silhouettes.

After a self-released MC and a mesmerising tune called “Anem” out in February 2019 on the custom-made Kashual Plastik 007 double-vinyl compilation, now they give birth to their own debut record “KC”, a four track EP resulting from various improvisational studio sessions, a bag full of spontaneous visionary DIY sound fashion that melts meandering serialism, foggy ‘Chris & Cosey’-ness, exoticism and freely expressed emotions. Some pieces are given time to evolve, being dragged through long arrangements and slow transitions, while others are playful and short. To close up the magic circle, the release includes a tripping Tolouse Low Trax signature remix.

The opening tune “Specialised” swings on a trance-like hypnotic bass line, while a self-made kalimba played through a tape delay and overtones from a DIY circuit bended device inject dynamics and colour to the composition. Out of the sonic depth, the spoken words of Sylvana Wickman emerge enchanting and unreal, naming a series of technical terms, assembling a deep notion on the specialised society we live in.

“Cow Tongue” follows, a fleeting composition of crackling electronic clicks jumping off a micro-modular device. They got overdubbed again by Sylvana’s voice, delightfully reciting phrases from a recipe of regional delicacies.

The A side of KC`s first strike finishes with a spaced-out synth bass and the lo-fi beats of a Yamaha RX15 drum machine. They are the gripping foundation of “Aithouses Anamonis“, which means “Waiting Rooms”. It describes the scene of a man sitting in a waiting room observing the consumerist behaviour by the folks around him.

The B-side opens with a Tolouse Low Trax remix of “Specialised”, elevating the original with the bass line of “Aithouses Anamonis“, while melting the all into a dark nebulous Tolouse Low Trax signature stripped down funk for endless nights in neon lights.

For their final track “Colours”, Keller Crackers invited a steady free member of their live shows to record with them: free jazz musician Robert Würz. He tuned his flute enthralling over a suspenseful bass line formed in a whirlwind of synth-sounds. The whole frenzy gets divine through sliding chords that rise from a self-built guitar.

A musical bouquet for open spirits, that value charming minimal wave zones, undefinable post-industrial psychedelics and hallucinogenic poetry reflections on the current state of our mechanical times.

For its first release of 2019, Sol Power Sound is pleased to welcome back Nenor -- formally Obas Nenor-- to the label family. Since his now-classic Color Soul EP on Sol Power Sound back in 2015, Nenor has gone on to release a string of hugely successful EPs on Heist, Whiskey Disco, and on his own imprint, Nenorion Music.

With the Future Ancestor EP, Nenor revisits the African-inspired textures that made the Color Soul EP unforgettable, but ventures further into the subterranean reaches. On "Tike Ye Ya Kende", Nenor teams up with Congolese-born vocalist Natalie Wamba for a rousing dancefloor heat-rock, with pulsing marimbas and hazy synths.

"Nova Man" is a straight-up banger with huge chugging bass, dubby vocal samples, and thrilling atmospherics.

"Ibe" dives head-first into the deep with tripped-out arpeggios, complex, layered percussion, and more of those gritty signature Nenor synths.

"Knwo" speeds ahead on a bruk-n-bass trajectory as a frenetic stomper that will inspire late-night dancers to throw crazy shapes.

With early support from Simbad, Soul Clap, Jacques Renault and more, the Future Ancestor EP is sure to be another staple in ever-growing Nenor and Sol Power Sound catalogs and will keep dark rooms ablaze all summer long.

Communication is key. Every machine communicates with you in a different way. All you need is a room, machines, electricity and a vision of subtle movement. Some say nothing really changes, but it does. Every so seemingly small element plays a vital part in the whole process. So don't be fooled. It moves - in every direction - constantly.

Italo-disco inspired house music, IN MY DREAMS is the latest single from New York/Moscow duo IPF aka INTERNETPOWERLIFTINGFEDERATION. A warm, galloping bass line fuses with razor-sharp synth stabs, creamy pads and late-80’s house drums. A dual-vocal exchange explores self-delusion, obsession and a single-sided relationship between girl and the boy who lives in her head. Melancholic yet pop-y, IN MY DREAMS wouldn’t be out of place in club run by Erasure, Depeche Mode or Human League at their most soulful and dancefloor-ready. In the spirit of classic 80’s dance music traditions, the original mix gets three additional reworks: a classic Electro version, a “big room” friendly HI-NRG version and stripped down version. This is the first release from New York city based label Daddy Issues, limited pressing 150 copies only.

Melody (vocals, synth), Casey (vocals, synth), Bill (bass), Scott (guitar) and Marcus (drums) united through a shared post-punk sensibility and began experimenting with some angular drum and guitar give-and-take, layered with duelling synth refrains.

Over this Melody and Casey worked-up their vocal harmonies through impulse, developing an interplay reminiscent of The Go Go's at both their most serene and severe. The pairs vocals drift through each track, punctuating the profound and guiding us through each song's uncanny terrain.After a busy year of local shows and bouts of instinct-first songwriting, Red Channel chose a number of their most resonant songs to record with Andrew Schubert at Golden Beat. These were subsequently mixed by Eric Carlson and then mastered by John Hannon for this debut 7' EP on Upset The Rhythm entitled 'Crazy Diamonds'.

The title track launches the listener through a stratosphere of cascading notes, swoonsome lyrical turns and tack-sharp pivots in rhythmic practice. 'Crazy Diamonds' is an exhilarating rush of a song, both wistful and defiant. Melody explains that it is 'about the forever fluctuating reality that weaves in and out of ecstasy, loneliness, yearning and destruction. It's about women being free from a superficial beauty, it's about the cessation of ideals and power worship.'  'Giver' is a similarly sprightly yet pointedly questioning track, 'alone in your room, alone with your thoughts, of sleepless shadows, but what do I get' sing Casey and Melody in spooked unison.

'Demons' swirls with minimalist pop moves, a trailing backing vocal and a tumbling bass motif, whilst a dream-like quality pervades the guitar and keyboard lines. Melody then peppers the song with references to extinguished lights, evil forces, bags of sugar, floods and heaven on earth, drawing us so close that we enter the vision too. 'Slowness', which brings this debut EP is a close, is another triumph of illusory lyrical association and punchy gesture. In fact the band sound 'caught in a fragment, non-corporeal' throughout all the four tracks. Opalescent passages freewheel into splintered eruptions, there's a duality constantly in play, 'somebody dies, somebody's born'.

The songs collected here are manifestly catchy, conjured in cyclical patterns that are distorted by a desire that tends towards stream of consciousness. It's this willingness to wake-up in the unreal and see each moment reflected in the mirror which really sets apart Red Channel's first record.

Dark Grooves Records starts with the aim to rediscover cult tracks from Deep-House to Uk Garage and old-school Techno. This third release comes from the Philly producer Dozia Blakey, who put out this ep on 1996 under the alias Music From The Trees. The whole EP is a quality Deep House / US Garage record, also including a remix by King Britt (Dynamics Birthday Mix). On Side B we also find "Back to Basiks" which which showed up as the first track on Prosumer Boiler Room mix from 2012.

Initially a duo formed in Berlin, FITH have since multiplied and expanded to become a revolving collective of musicians and poets spread out across a Paris/Manchester/Berlin axis. The project, currently comprised of members Dice Miller, Enir Da, Rachel Margetts, ChrIs Lmx, & Arnaud Mathé gesture towards notions of the literary salon, expanded cinema happenings, and the ancient traditions of Greek oratory and religious sermons. Driven by the spell of the spoken word, minimal percussive refrains, oneiric textures & deep melodic synths, FITH channel cinematic imagery, enigmatic narratives & spiritual frenzy.

Their self-titled debut 12' album was released via their collectively run imprint Wanda Portal in November 2016, a 'quietly alluring debut of post punk tempered avant-pop songs' (Boomkat) that laid out the project's foreboding mystique and intoxicating dream sequences with a lurking, devastating sense of purpose and (mis)direction. Other outings have included myriad solo collections of poetry, a two-track release of lurid dissonance and elegiac elevation (Signs / Cornerstone, December 2016) and an extraordinary reinterpretation of the soundtrack for cult film & iconic document of modern alienation Wanda (1971, dir. By Barbara Loden)

With Swamp, their sequel to this activity and their first appearance on Outer Reaches, FITH become a refined force, on a record where all their compelling pluralities and attributes are honed and augmented; everything dilated to delirium. The atmosphere here is one of veiled dread and psychic disturbance, a haunting and macabre psychedelia strewn with echo and dub FX, fragmentary fever dream poetics, elemental drum patterns and volatile synthetic interference. Although the collective conserve the raw crux of their earlier material their execution is, in this special instance, heightened by an intent to broaden and prolong their unique strain of intensity.

Emphatically sinister openers like Forest and Pound present sidereal sequences before building to barrelling, corrosively processed percussion, paroxysmal free jazz and a baleful, concrète-inflected score of electronics, while Swamp introduces phasing currents and a vocal evocative of a chorale from some forgotten giallo film. Elsewhere l'au delà (the beyond) presents a stunning, sombre passage to another state entirely, like some desolate new inflection on Coil's Going Up, before Bialystok shifts into a finale of transportive and meditative evaporation. Together these tracks make for an incredibly immersive and congruous conception; an utterly complete and mesmerising document.

In Swamp's various dimensions perhaps there's comparisons to be drawn with the ritualistic krautrock of Conny Plank and Holger Czukay's Les Vampyrettes, with the hallucinatory, tribal rhythm cycles of Shackleton & Anika's Behind The Glass collaboration, with the primeval drone of Jeremie Sauvage, Mathieu Tilly and Yann Gourdon's France project, with the echoic, disquieting chamber intimacies of Tuxedomoon's Pink Narcissus material and with Lucrecia Dalt's eerie free verse abstractions. But really, we've not heard anything like this before.

Discussing their own inspirations and touchstones the collective cites Franz Kafka, Dario Argento, Lucrecia Martel's La Ciénaga (The Swamp - the film the record is named after) and Yiddish ghost theatre as figures, works and artforms that were prominently drawn upon during the making of Swamp. Yet whilst their imprints could be traced by some, they resemble more of a covert presence within a nuanced whole rather than obvious aspects which moor this record to any familiar setting.

Instead, the acutely unsettling yet poignant spoken word of Miller and the mercurial nocturnes and visitations produced by Margetts, Lmx, Mathé and Da make for a record of strange, novel and striking energies. In revealing the remarkable location and period in which Swamp was recorded Margetts and Miller give a vivid indication as to how these energies are so potently invoked:

'The record was mostly recorded in a caretaker's wing of a 17th century castle in Normandy. It was early March 2018, and our first encounter with the Spring. We had no idea how everything would unfold. There was a lot of tension. Some of us felt compelled to get out the attic room where we had set up our makeshift recording studio and just walk and walk down the vast flat meadows and explore the relics of the wartime barracks, others wanted to keep recording. The outside was serene and inviting, and even though we had been cooped up indoors recording for long stretches of time, we could see from the corner of our eyes, the branches of the trees quivering; an impersonal energy blew through us and then things just happened.'

Schmer Schmer has been looking for the next Prototype 909 since 1995. While they may never be found, we have instead found a few artists that with the same spirit of adventure have taken electronic music to new frontiers of unimaginable creativity. Primary among them is Lena aka Galcid aka Lenacid.

Lena's electrifying live performances utilizing eurorack modular synths with vintage and modern machines follow three simple 3 rules:

NO PCs, NO Presets, NO Preparation!

She has been called Jeanne d'Arc of modular because her style her appearance and her fearlessness.

For Schmer, Lena has created an EP made for the melting of your mind, if it doesn't first melt your speakers.

Lena uses her electronics in the most effective way possible. The classic acid machines are deployed to establish the themes the modular synths bring in sounds that take these tracks to another level. The eponymous track will hypnotize you into the state of focus necessary to allow you to go deep inside. Then the Acid Police show up! A funky drum machine rocker sure wake you out of your trance. Steel Vein has the intensity to rewire your modular mind. bpmf provides an hard driving aggressive take on Melting to help us turn on the switch.
Legendary DJ and producer Hisashi Saito has been making acid and techno since the early 90s. Using his unique
skills this EP has a rare clarity of sound not often heard on such ambitious recordings. Lenacid “Melting EP” opens up a new frontier for acid, for Schmer and for Lena that you are invited to explore with us this spring.

As Galcid, she has played alongside world renowned artists such as Nina Kraviz, Daniel Miller, Oval, DJ Nobu, Isao Tomita, Takkyu Ishino, Ken Ishii, G-man (LFO) among others. In 2016, she was invited by the Japan Media Art Festival to play at the special exhibition, held at the Eyemyth Media Arts Festival in Mumbai, India. Her 1st album “Hertz" received a worldwide release in digital format on the Detroit Underground label. The release attracted the attention of Karl Hyde (Underworld), Chris Carter (Throbbing Gristle) among other well-known musicians the world over. Shortly thereafter, Galcid played at "Boiler Room Tokyo". In July 2017, she embarked on her first EU tour playing shows in Barcelona, London, and Madrid, after she came back, she participated in Iron Island Festival and Mutek Japan garnering high praise in the media. In December 2017, she was invited to headline Future Mix's 20th Anniversary event and workshop in Shenzhen where she performed and held a talk with techno pioneer Mijk Van Dijk.

In late 2017 Hyperdub released 'Diggin In The Carts', a compilation put together by Nick Dwyer and Kode9 of pioneering and rare Japanese video game music from the 1980s and 1990s.
Since then, from Sonar Festival in Barcelona to Liquid Rooms in Tokyo, Kode9 has been touring a live audio-visual set in collaboration with visuals from anime legend Koji Morimoto, who also designed the artwork for the original compilation.Finally, on this first new Kode9 EP since 2014, a handful of these remixes see the light of day.

9 rivets his 80/160bpm rhythms onto these classic 8bit and 16bit melodies, re-animating the Steve Reich-ian arpeggios of Soshi Hosoi, the grimelike horn fanfares of Yuzo Koshiro, the sour pads of Koichi Ishaibashi, and pitching Tadahiro Nitta down into a slow building, frantic low end grind.
Sleeved in artwork by Konx-om-Pax, adapted from the visuals from the live A/V performance

On their debut album as DOVS, Tin Man and AAAA summon the ethereal spirit of acid. Tin Man, AKA Johannes Auvinen, has been studying the emotional potential of the Roland TB-303 for 15 years now, and AAAA (Gabo Barranco), a fixture of the Mexico City underground, might as well be his acolyte. While the coincidental similarities of their studio and live approaches make this collaboration feel natural, even expected, Silent Cities is anything but. We recognize most of the elements here—the ubiquitous acid box and hardware drum machines—yet Auvinen and Barranco arrive in new, mysterious territory this time out. Lush arpeggiation, breakbeats and atmosphere imbue tracks like 'Nostalgic Oblivion' with a widescreen grandeur. 'Rene Figures' recalls Specific Momentific-era Cristian Vogel, symphonic, melodic techno with a kick heavy enough for dark, cavernous rooms. Meanwhile, beatless cuts like 'Whining Acid' are as intricately crafted as Tin Man's well-loved classical work (Vienna Blues). But as a duo, they craft a virtuosic harmonic narrative almost solely with 303s. Tin Man and Donato Dozzy's 'Nonneo' was the first release on Acid Test, setting the tone for the label and unlocking new potential for the genre. DOVS' closer on Silent Cities, 'Diazepam Blues', is the label's new melancholic acid anthem and a statement of purpose for Tin Man and AAAA, two hardware masters who have created an album of remarkable emotional depth.










[J}] D2 - Dysphoric Fix

The Berlin Based “BEIN” kicking off his Be As One debut with a mental shaded and well crafted 4 tracker EP, with his own take on modern meets old school techno. from the dark room melodies and pads of “Undo Redo” trough the Detroitish touch of “Ante Litteram” and “Crystal” to the broken beats and heavy bass of on “Rawk”, Classic not to be missed release from Shlomi Aber’s Long Standing Imprimt.

* The latest EP (S.U.F.O.S. Save Us From Ourselves) from South London based producer, arranger and multi-instrumentalist, Wu-Lu.
* Pressed using 180g clear heavyweight vinyl
* Includes collaborations with long-term friends, Binisa Bonner, Kwake Bass, Nubya Garcia, Eun, Demae Wodu, and Morgan Simpson.
* Recorded at The Room and Abbey Road Studios
* Limited edition of 300

Having worked with the likes of MNDSGN (Stones Throw) and Andrew Ashong on his previous 2015 EP Ginga, Wu-Lu has already secured some strong production credits. These include Ego Ella May, Oscar Jerome and Poppy Ajudah, as well as work alongside Joe Armon-Jones (Ezra Collective) and Kwake Bass (Kate Tempest, Sampha) on a brand new project coming in 2020.

S.U.F.O.S. sees Wu-Lu collaborate with long-term friends Binisa Bonner, Kwake Bass, Nubya Garcia, Eun, Demae Wodu, and Morgan Simpson (drummer from band Black Midi). Thematically, it’s a reflection of where Wu-Lu sees himself and his people in 2019 London. This EP taps into racial injustice in Britain, black empowerment and self-exploration. Spending much of his time working behind the scenes for a range of artists, this EP helps define him as a soloist.

Speaking about S.U.F.O.S. Wu-Lu says, “The EP is about family in every sense of the word: blood family, spiritual family, extended family, your family. It’s the perception of my own experience and the young people who haven’t got a loud enough voice yet”.

Wu-Lu is no stranger to experimentation within his music. He has constantly been experimenting with the various influences on his Brixton doorstep, as well as some of the complex issues that a young, mixed race man living in London may face. It’s the live stage where the impact of Wu-Lu’s passionate retellings really come into their own. Recent standouts include sharing the Field Day main stage with the likes of Erykah Badu and Loyle Carner, Brainchild Festival and a feverish Clash Music LIVE appearance at Metropolis Studios alongside Masego.

Catch Wu-Lu headline The Windmill, Brixton on the 25th April 2019.

After the success of last year’s Mixbone EP, we once again invite four dance music experimentalists to remix Eric Copeland. Where 2017’s Goofballs was the first album recorded in its entirety in Eric’s current home of Palma de Mallorca, Spain, and the result of countless hours spent working in the studio, last fall’s Trogg Modal Vol. 1 pushed his ‘Freakbeat 4/4’ agenda even further, with a sense of humor that bubbles over and out through the speakers. Rife with chunky percussive layers and tweaked loopy vocals, these frenzied, self-described “rippers” are practically designed to be remixed. Parris (Trilogy Tapes, Hemlock) and RAMZi (RVNG, 12th Isle) both take on the singsongy rhythms of “Heads.” Parris’ take pares down the track, giving it room to glisten and expand, while RAMZi’s paddles along in a characteristically murky, laid-back manner. Lokier (Days Of Being Wild, Spirits) goes in for the jugular with an acidic rework of “321 Contact,” repurposing vocal samples as spooky EBM. Closing out the record is Gerry Read (Aus, Accidental Jnr), who pits the heavy stomp of “Electric Mud” against whizzing frequencies. Newfangled interpretations of tracks that were already out there to begin with.

Shape-shifting left
coast producer Sage Caswell likens his latest full-length to a surrealist
architectural space: "I walk up to a building and Evil Twin is playing. A copy of
me is at the door and I let myself in. Inside the house is inside my head; each
room is a different song and emotion." A distinct dream sequence logic threads
together these nine nuanced tracks, which swerve from vaporous melancholy to
ecstatic motion to nocturnal wanderlust, alternately lucid and opaque.

Last year's relocation
from his beloved home base of Los Angeles to Madison, Wisconsin certainly played
a role, as pulling up roots inevitably does: "I love L.A. more than I can
properly articulate, but I saw an opportunity to leave so I took it." The
experience prompted an exploratory set of recordings inspired by notions of separation,
vulnerability, and "how it feels to identify the things in your life that don't
feel like you." Evil Twin captures
Caswell at his most fluid and dualistic, mapping a multi-hued maze of twisted rhythms
and refracted textures, fluctuating between beatific expanse and amniotic
bangers.
Previous releases for
Spring Theory and Far Away showcased Caswell's capacity for innerspace club
voyaging but here his vision skews even more vividly elusive, immersive and
immaterial, lost and found. The record's contradictions were deliberate and,
most importantly, therapeutic: "Evil Twin was intended to be as much a visual idea
as a soundtrack to feeling out of control. I didn't really want to talk about
it, so I made this album."

Alien Transistor and Tokyo-based label Afterhours release a vinyl-version of tenniscoats' masterpiece "music exists". It consists of 4 LPs, which will be released over the year, full of intimate, wonderful, psychedelic folk-music. With the fourth LP, there will be a strictly limited box available, either for putting in your already purchased other 3 records, or as the whole glorious 4-LP-package.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s ), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the tenniscoats and their opus magnum "music exists".

The Tenniscoats are a duo that have enjoyed a long career in the music scene of their home country of Japan. They have collaborated with unique artists from different backgrounds (Tape, Pastels, Pastacas and Jad Fair), while maintaining their own laid back approach and sound. Their songs are built primarily from guitar and vocals with lyrical themes focusing on everyday life. It could be their expansion on simplicity that has captivated music lovers of all ages throughout their existence.

While the aforementioned collaborations produced bold and sensitive experiences and results, it has taken Tenniscoats five years to release an entire studio album of their own. The wait has not been in vain, as four discs will be released consecutively beginning with 'Music Exists - disc 1'. Music Exists saw a previously limited release on the Tenniscoats' own majikick label.

'We started recording around January of 2013 with just the two of us in our 10 tatami-room in Tokyo we were using as a private studio. Arrangements were produced without computers by overdubbing on an analog console with mixing assistance provided by Saya. As we sent selected songs to be mastered by Yasushi Utsunomia, we were able to see the tracks grown into a full length album.'

What turned into a huge 4 disc project began in earnest three years ago. Tenniscoats wrote and recorded themselves using an analog console, a microphone, and what few instruments they had. As the project developed, they were surprised to find that they had amassed several albums' worth of material.

'We tried throwing up the ideas we had in the beginning and not put too much of our strength into playing in order to develop the ideas of each song. Utsunomia, who did the mastering was the first person to ever hear the material for this album outside of the band. We sent songs to him carefully choosing an order that we felt would not make him bored. Thanks to his distinctive way of mastering, we were inspired to go further and further into the process.'

2016 marks the Tenniscoats' 20th anniversary together. You could consider 'Music Exists' as a sort of compilation of material stemming from these years spent together. With their unique combination of melodies, unexaggerated arrangements, and detailed mastering, Alien Transistor are extremely delighted to make this recording available to the public!

Darkly Melancholic, Driving And Highly Original; The Tracks From 'daughter Of Darkness Ep Have Been Tested, Tweaked And Perfected At Sisyphos' Cavernous Main Room Hammahalle, Where Fidelity Spins Monthly As One Of The Berlin Club's Leading Residents. Tracks 'daughter Of Darkness' And 'the Huntress' Are Intuitively Inspired By The Sunday Daytime Vibe From The Berlin Club Scene, Whereas 'wolf Clan' Builds And Raises Energy, Written From The Perspective Of Being Behind The Decks As The Dj. Appeals To Fans Of Anna, Charlotte De Witte, Marcel Dettmann, Ben Klock, Adam Beyer, Chris Liebing, Nina Kraviz
Upcoming Shows
Monthly Residency At Sisyphos, Berlin

With hopeless optimism, LMM continues the search for meaning and identity in his perpetual mystery, a self annihilating whodunit.
The result here forms as an EP in 5 inward, lonely big room, stream of consciousness club tracks that are left asking more than answering anything."

Jheri Tracks' 8th drop..

Info We Release Jazz is ecstatic to present its fifth release (following Ryo Fukui's Scenery and Mellow Dream, Le Cercle Rouge's soundtrack by Eric Demarsan and Stuff Combe 5 + Percussion), the first ever live performance and recording by Marc Moulin's sought-after jazz-funk band Placebo, captured at Casino Kursaal during the Montreux Jazz Festival in 1971 and never released before. Placebo's Live 1971 is available in a limited edition 180g vinyl mastered at half speed, housed in a 350gsm sleeve with UV coating and an obi strip. June 17th, 1971, the Montreux Riviera, its delightful microclimate and postcard scenery, its fabled music history and the luscious wines of the region. A dream setting for Marc Moulin to lead his ensemble on a 26 minutes+ jazz adventure - Nick Kletchkovsky on bass, Freddy Rottier on drums, Johnny Dover on bass clarinet, Alex Scorier on soprano saxophone, and Richard Rousselet on flugelhorn. The magic of that night is dripping through Placebo's sumptuous 'Showbiz Suite", a soulful piece in two parts in which every instrument gets enough room to shine, smoothly navigating between cozy cognac-by-the-fireplace funk and heartfelt grittiness, served with a pinch of Soft Machine vibes. It's the night Placebo was born, when foundations were laid for three classic albums: Ball of Eyes (on which you can hear a shorter studio version of 'Showbiz Suite"), 1973, and their final self-titled album. Born in 1942 in Ixell

Born out of a chance encounter in 2012 that led to a lasting friendship, Rhythm Section Int'l & producer, DJ, label boss, radio host, and record store owner Ruf Dug join forces to present 'The Committee'. Sitting somewhere between fictional band and studio collaboration, the record is the first fully in-house production for Rhythm Section, recorded start to finish at their own South East London studio and featuring vocals from label founder Bradley Zero and label mate FYI Chris's Chris Watson.

Right from the studio's initial creation, Ruf Dug felt inspired by the space's unique musical identity, jumping at the opportunity to create a collaborative record there over a two week studio residency. And between his DJ residencies at Pikes, Gottwood and NTS radio the Manchester-via-Ibiza computer game freak and renowned vinyl digger found the time to meld his wide range of influences. Having been a key driving force behind Be With's Holy Grail reissue of Bô'vel's - Check 4 U , Ruffy has more than earned his stripes as a boss level Street Soul collector, pre-empting the resurgent interest in the genre, which began in the mid 80s and is still a popular sound in Manchester today. This new release draws parallels between the DIY attitude of Street Soul labels like TSR, Intrigue, Jam Today & Elite and the modus operandi of the RS studio.

A wholly synergetic work, the project's title 'The Committee' reflects the collaborative nature of this release, as Ruf Dug states: 'Authorship is a strange concept at the best of times but this genuinely is a group effort and I very much enjoyed feeling like just one piece of a larger entity - the complete opposite to my usual production experience of being all alone in my room for days at a time.' The EP also features additional production from Rhythm Section's own Mali Baden-Powell, who DJ's and produces as Z Lovecraft and comes from a background in Street Soul music, his father was also in legendary UK acid jazz collective D'Influence. In addition, the record features a dynamic range of vocalists: sultry deliveries from Natalie Wildgoose and Sienna Mustafa, a rap from her sister Nadina, and the vocal debuts of FYI Chris's Chris Watson and Bradley Zero. 'I had been joking with Bradley that he needed to be on the record somehow and he did appear, playing an egg shaker at one point, but his singing wasn't in the least bit planned... I got back from lunch, and the next thing you know he just starts singing...So I dragged him reluctantly down the corridor to the studio and that's it- now he's a pop star!'

Also playfully melding digidub, soul, chicago house and acid jazz, the release not only marks a new chapter in the development of the Rhythm Section sound, but also catalogues a crucial turning Point in Ruf Dug's musical development. Still oozing with the cheeky DIY approach that won his own label, RUF KUTZ an army of fans, this latest Collab steps things up and opens a whole new realm of possibilities for one of Manchester's favourite sons.

Mark Is Releasing A New Ep Called Integriert Euch Nicht. It Features Two Tracks Taken From His Berghain Debut And A Freshly-composed Drum & Bass Missile. 'fucking Sick Of Myself Since Day One (hot Desk Mix)' And 'hats Off To Herr. F' Were First Performed At Mark's 2018 Berghain Live Set During Ostgut Ton Nacht. The Former Is A Breakcore-adjacent Call To Arms For The Self-loathing, The Latter An Antarctic Shiver Of Predator- Mode Idm-illektro. 'integriert Euch Nicht (commercial Jump Up Mix)' Features Singing From Blackest Ever Black Alum Silvia Kastel. Mark Wrote The Vocal Parts With Sine Waves Before Kastel Recorded Each Tone Individually, Creating Microtonal Clusters In The Vein Of Luigi Nono. The Sax-like Sounds Are Wilted Woman Playing The Aerophone, An Electronic Woodwind Instrument. Otherwise, It's Mark's Most Deliberately Straight Ahead Drum & Bass Track To Date, Trading The Beat Science Of Former Releases For A Stubbornly Boneheaded Approach In Line With The Title's Message. Integriert Euch Nicht Is Something Of A Spiritual Successor To Last Year's Tech/gentrification/real- Estate-investment Themed Integrier Dich Du Yuppie And A Ruffer, More Floor-focussed Elaboration Of The Techniques Tested On His Unterton Debut The Least Likely Event Will Occur In The Long Run. Under His Klon Dump Alias, Mark Has Also Previously Released A Psych-mnml Double Ep Called Klon Dump Vs. The Open Air On A Colourful Storm And Two Rooms, A Tape Of Sound Art Improv And Knackered Pop-strumentals On Bristol-based Imprint Nocorner. When Not Playing Solo, Mark Also Accompanies Blackest Ever Black's Carla Dal Forno On Live Electronics.

Jakarta/Indonesia based DJ/Producer/Akamady Records boss Gerhan Ferdinal & friend's project "KOMODO" made 2x floor killer tunes. Many people have been waiting for this 12" since Ene boss CHIDA played "Night Time" at his Boiler Room show in 2014. And "Make It Scream" is massive & heavy killer tune too. Underground music/party scene in East South Asia has grown up so fast these years. and still there are many great artists world unknown. Ene planning to release more Asian artist, new stuff from friends in the world in 2019.

Born from Music of Life archive tapes (previously believed lost) which were uncovered by Robin Allinson in a Publishers warehouse in 2012.

The source material for this special record is" 1989 Hustlers Convention Live" (SPOCK1) ".

A Live Hip Hop Album, famously sampled by The Prodigy for the 'Everybody In The Place' vocal. The tapes of the night were multi tracks with 6 channels of audio recorded, Decks (Mono), 2 Mics (Mono) and the Room (Stereo). Being so old the tapes were first 'baked' and then transferred from a Studer machine in to Pro Tools via Prism Sound A/D converters at FX Rentals / FX Copyroom, Acton, London.

Notable performances by Artists on the Night came from MC Duke & Merlin; Mark The 45 King; Demon Boyz; Daddy Freddy. DJ's on the night were Westwood and Cut master Swift. Sections of their sets between Artists was captured. What did not make the Album was the Battle instigated by Overlord X coming on stage and stopping proceedings to battle MC Duke. As Duke once told me "X stuttered on the Mic".

Listening back, it's gold and puts Queen Latifa popping up in context. While restoring the Album as a multi track mixdown Robin started a series of new music projects plundering the MOL tapes and formed Stay On Target records to release them. Recordings were sent to: Sonars Ghost (SOT000), Stormski, 6Blocc, Bay B Kane and the last instalment was by Robbee Darkhalf.

Nothing Makes Us Jump Up From The Desk, Shouting 'whaaaaat ' Like A Bitter End New Release !

The Label Continue To Forge A Path That's Entirely Their Own, With Another In The Limited Pre-release Series...

'kneel B4 Thelma' On Side A, Flips One Of Her Biggest Hits Into An Utterly Futuristic Cyborg-soul Anthem !
Almost As If We'd All Forgotten How Good One Of Earth's Greatest 20th Century Divas Might Sound Over A Filthy 21st Century Klanken-banger !

On The Flip 'mast Song' Transports Us To A Seaside Tavern, Where The Old Folks Sit In The Back, Evoking (and Imbibing) Strong Spirits, With Traditional Shanty's While The Next Generation Find Communion In The Gentle Throb Of The 4/4 In The Tap Room Next Door

Light Years Ahead !

Part two of the Tunnelvisions remixes include four artists: Fort Romeau, David Mayer, Yor Kultura and Bawrut. Fort Romeau's remix is a typical track you will hear back in clubs such as Robert Johnson, Bawrut's remix is a big-room beast and David Mayer shows his typical tribal sound. Yor Kultura finishes this remix EP and Tunnelvisions' Celestial Ritual project with a downtempo version of Umai's Dance. The Remixes are out March 22nd on Atomnation.

Identity Theft is the solo electronic music pseudonym of Michael Buchanan, who is one half of the project Abandoned Footwear, and also a founding member of Nommo Ogo. Utilizing an arsenal of analog and digital synthesizers alongside rhythm machines and effects, he continues to explore themes of paranoia, surveillance and shadow psychology; prevalent in Identity Theft's catalog since the release of his first effort, 'Night Workers' in 2010. He has previously released music on various European labels such as Oráculo Records and Treue Um Treue, as well as domestically via the Record Label Records and Katabatik imprints.


Chem Club's fifth EP, The Wrong Side of History, builds on Identity Theft's divergent production style, showcasing a mix of heavy sub frequencies, plucked modulars, tight delay, broken percussion and chuggy basslines. The A side, with tracks Johari Window, Climate Denial and No Response demonstrate the record's more rhythmic leanings. A1 and A2 use a forward moving sound palette rooted in heavy kicks, modular stabs and sequenced bass. A3 cleverly chops it's drums up while a throbbing sub and sharp synths create movement. The B Side with tracks Say Something and Vault7 opens the door to a darker room. B1 uses a fragmented arpeggiated bass that coincides with an array of plucks and melodies to create something uniquely catchy. B2 is the real low end face melter on this record where the drawn out bass notes, sonar like synth work and metallic pads conjure up thoughts of a lost submarine never making it home

+ download coupon

2LPX version is an indies only format.

An Album About Crossing Physical And Metaphorical Borders That Has Never Been Timelier: Calexico's Classic Album 'the Black Light' Turns 20 This Year. This Limited Celebratory Anniversary Edition Includes All New Artwork By Victor Gastelum, Extensive Linernotes, And 11 Bonus Tracks.

What Was Surprising About The Black Light (and What Set Its Architects Apart From Their Indie Rock Peers) Was The Album's Unusual Willingness To Wade Into The Rapids Of American And Mexican Culture, Fully Immersing Itself Midstream. From The Outset, With 'gypsy's Curse', The Record Combines Guitar Twang And Flamenco Flourishes; And By Its End, Almost An Hour Later, It's Contrived A Skillful And Instinctive Union Of Smoky Bar Room Jazz, Arthouse Indie Rock, And Compelling Mariachi Brass In 'frontera'. If Calexico Falls Short As A Name, It's Only In The Fact That - Alongside Their Mining Of Mexico's Fertile Musical Past - Joey Burns And John Convertino Weren't Just Digging Into California's Songbook...they Were Unearthing America's Too.

- Anniversary-edition On 180g Heavy Double Vinyl Including 11 Bonus Tracks
- Limited Clear Double Lp On 180g Heavy Vinyl
- New Alternative Artwork By Victor Gastelum
- Gatefold Cover With Embossed Logo And Silver Print And 8 Page Booklet
- Limited To One Pressing Only

'For the 9th Marionette, Kilchhofer and Anklin release their collaboration record Moto Perpetuo. Michael Anklin is a drummer and percussionist based in Switzerland. He's involved in various bands, collaborations and interdisciplinary projects. Anklin has previously appeared on a few recordings from Kilchhofer's Album The Book Room. Kilchhofer uses his main instrument - the modular synth - in a more electroacoustic manner, where he derives and processes voltages from Anklin's playing.

The album title describes the fascinating idea (yet impossible reality) of a perpetual motion - where no energy is lost yet energy is constantly being created, an endless music, yet far away from generic ambient or minimal music. Anklin's live drumming influences delicate feedback patches on Kilchhofer's synth, where dry and transient heavy percussion and synthesizer sounds erupt into a feral electroacoustic instrument.

A fluid concept of time where the Rhythmic Pulse constantly shifts is at the heart of the record. The idea was to create an instrument where acoustics and electronics are interconnected and dependent on each other. The smallest disturbance could sway the entire system out of order. This idea of a circular motion was at the center of the recording process and is also reflected in the artwork which resembles a topographical view of a closed natural habitat.

Kilchhofer and Anklin draw inspiration mainly from their rural surroundings and mountain landscapes where natural overtones and stumbling rhythms navigate through high plateaus and velds to stony ravines and wooden trails - on a never ending quest for an "ur-klang'; a primordial, ancestral music.'

* Five years have passed since the first release of Nowadays Records.Launched with Fakear's signature (seen on Ninja Tune), the label founded by oOgo and Chomsky from La Fine Equipe has seen the growth of many projects such as Clément Bazin, Everydayz, Phazz (who produced for Travis Porter, did remixes for Soulection, Interscope and Mad Decent), Leska, Jumo and many others, all of them carried by the irreplaceable quartet of La Fine Equipe.

Five years during which Nowadays Records released 75 EPs and LPs, toured in and outside of France, and generated several hundred millions stream plays.With its heart in the right place, its eyes on the emerging scene and its ears open on the world, Nowadays built itself a singular and racy identity through the time. Fed by inspirations like Stone Throw, Ninja Tune or Warp, the label places itself as an ambassador of a fast growing scene, defending it through its shows, releases, and events like the two Boiler Room shows in Paris and London.Without sticking itself to a musical gender, Nowadays keeps on widening its horizons by working with foreign artists and mixing the inspirations through its releases, driven by its sound and visual trademarks and aesthetics.

In order to celebrate those five years spent defending as many projects as musical crushes they had, and to thank its community made of more than 150 000 followers around the world, Nowadays unveils the 'Nowadays V', double album with a digital and physical release on November 30th.Through this compilation, Nowadays gathers on one side the tracks that marked its history and, on the other side, unreleased tracks that sometimes lead to collaborations such as the one between Clément Bazin and Leska, or the one between Fakear and La Fine Equipe.

Following on from last year's releases by Neue Grafik and Selectors Assemble, CoOp Presents step into 2019 with a new 4-track EP courtesy of Oliver Night; a DJ, producer & singer born and raised in North London.

In addition to joining the Selectors Assemble family recently, Oliver is a member and producer of Roots Manuva's Banana Klan. He established himself as a DJ some 15 years ago, and has since played across the capital, from the Tate Modern to Boiler Room. His music has been supported in the past by the likes of Tony Humphries, Kerri Chandler & Seth Troxler,

This four-tracker illustrates Oliver's diverse range of influences, from the initial inspiration of his Jamaican uncle, musician Hughie Izachaar (who worked with Lee Scratch Perry & others), through to his passion for London's broken beat movement. Oliver's sound epitomises tru-skool UK sound-system ethics; grounded in reggae and dub production sensibilities, whilst built solidly for the bruk and house music dances of today.

The set kicks off with title track, 'Make Believe', featuring the powerhouse vocals of BB.JAMES aka Bethany Barnett Bywater, who's had previous releases with EVM128, Spoek Mathambo and Waze & Odyssey. London-based singer BB is a talent to watch in her own right, as proven on this monster of a track, which has all the ingredients to crossover & damage dancefloors underground and over. Sassy soulful vocals ride a woofer-shattering b-line and synth stabs with devastating effect - a sureshot future anthem.

Next up is 'Swing For Life', an instrumental jazz-house affair, which features the talents of Vancouver-born trumpeter, Jay Phelps - a highly-prolific, highly-acclaimed musician in the jazz world, who found his base in the capital over a decade ago and has since worked with a veritable who's who of international jazz artists, including Courtney Pine, Wynton Marsalis, Amy Winehouse, Hugh Masakela & George Benson, to name a few.

Finally, the flipside brings with it two versions of the cut 'U Got To', remixed by Selectors Assemble family, Cengiz, and label founders IG Culture (fresh from receiving a 'Lifetime Achievement Award' at the 2019 Worldwide Awards) and Alex Phountzi (formerly of Bugz In The Attic) aka NameBrandSound, delivering more of their signature bassweight business. Oliver unleashes his own vocal talents on this track, deftly demonstrating a rich, soulful Omar-esque quality to his voice, and completing a truly heavyweight debut for the label.

This record is huge. Essential business, no BS. A truly firing start to the new year for CoOp Presents.

Limited vinyl & digital available on ********

Tachyon Audio 003 is the first release by label boss, Nick Payne. Spurn (A1) leads off the E.P. with hypnotic minimalist drums playfully twitching with a roaming bass-line in a sci-fi electro sound soup. Definitely a 3:00 a.m. melter.

The second track, xYyX (A2), offers classic drum kit sounds pounding down through ethereal fading pads. This muscular groove is sure to warm up any room.

Side B starts with a remix of xYyX (B1) by profound artist, Doubt, who brings his own distinct nature to the E.P. This mutation takes the original elements and brings them into a similar but all new realm, taking the listener down a driven, but esoteric path towards feet moving.

The second remix of XyyX (B2), by well-known Denver, CO, USA sound engineer and musician, Soundguy Josh, is a short broken- beat experimentation with strong drums leading the way to a dramatic climactic crescendo.

The last two audio offerings are open-source locked-groove National Aeronautics and Space Administration (NASA) samples. The first, Kepler Star KIC7671081B (B3), is described by NASA as 'light curve waves to sound.' The second locked groove, Stardust Passing Comet Tempel 1 (B4), is an audio recording of a satellite passing through the tail of comet Tempel 1.

Lost PHILIP GLASS Recordings from 1975 - ORTF
The newly discovered and unreleased concert from 1975 recorded by the Philip Glass
Sextet at La Maison de la Radio, Paris.
The sextet is composed of Philip Glass, Jon Gibson, Dickie Landry, Michael Riesman, Joan
La Barbara and Richard Peck.
Music in Twelve Parts is a set of twelve pieces written between 1971 and 1974. This
performance in France includes part 1, 2, 3, 11 and 12 on a double LP.
Also included a very rare Philip Glass interview from 1974 in his NYC loft during the
rehearsals of this piece, produced for the French radio by Daniel Caux - musicologist and
co-founder of Shandar Records.
A never before released -Philip GLASS (1975) live recordings, released in partnership with
the National Audiovisual Institute - INA.
"A new sound and a new chord suddenly break in, with an effect as if one wall of a room
has suddenly disappeared, to reveal a completely new view." - A. Porter

The Seeds of Fulfillment by David Drazin (November 2018)

Andrew Venson founded Seeds of Fulfillment (SOF) in early 1978. In the 1960s he had played electric bass with Arthur Conley, and later the original Peaches and Herb. On the same bill with Big Brother and the Holding Company, he hung out backstage with Janis Joplin. Yes! Vince was hoping SOF would get all of us to the top. He composed three tunes for the band, and we always had a ball playing them.

Roger Myers is a marvelous drummer. We co-composed Namaste. Roger would settle on a drum pattern of four measures at a time that he wanted to keep, and I'd put chords and melody right on top of his pattern. When he layered a second drum pattern on top of the first one, we'd get two melodies at the same time. We thought we were going to collaborate on more songs this way, but it didn't happen.

Lee Savory is a very inventive jazz man. He's musically literate, and wrote excellent transpositions. I remember Lee's asking for my input while he was composing Tight Squeeze, but it was clear he had it down. Once when I was visiting a DJ who played the album in a local radio station, the total of checks next to Tight Squeeze for number of plays was by far the highest!

Randy Mather's sax playing always knocked me out. I could hardly wait to hear him solo. When he left SOF to go with Woody Herman's orchestra it was amazing, but true.

Jeanette Williams had recorded 45s for the Duke and Peacock label when she was 17 years old. Her powerful singing was incredible to me. When we needed an original for Jeanette, Vince composed it, and Roger's wife Linda wrote the lyrics.

In 1978 I was in my senior year at Ohio State University when I met Vince. He came into a bar called My Brother's Place where I was playing with a trumpet player named Bobby Alston. When I was a freshman at OSU I'd played in an off campus band called Akadama. Before that I played in my home town of Cleveland, Ohio in the Brush High School Stage Band and a jobbing band called The Midnight Combo.

Everyone in the band contributed something to Egg Cartons in a composition jam session. We rehearsed in Vince's basement, and he had covered the walls with egg cartons to make the room sound more like a recording studio. The Provider was inspired by Country Preacher by Joe Zawinul. In those days I especially admired the way Zawinul would get his soulful feelings across, but also loved Herbie Hancock and to a lesser degree Chick Corea too. It took two years (with a break of several months) for the band to conquer Self-Fulfilling Prophecy. It shows you what consideration and dedication is, that ultimately they felt it was worth learning.

We recorded at Fifth Floor Studios in Cincinnati, Ohio. While we were there I got to shake hands with Bootsy Collins, who was recording in the rooms downstairs at the same time. Years later, Fifth Floor burned down and all the master tapes were destroyed.

Naeth makes his debut on new Irish label Move Slow Records following an EP release on Memphis label Future Everything in 2017. The Dublin-based producer wears his 90s and early 2000s influences on his sleeve and has delivered something truly special with this two-track house EP that journeys into breaks.
Produced in the middle of a rare Irish heatwave, the title track Poolhall Lovers brims with the optimism of school day summers, while the B-side It's My Job veers into the more sombre side of this promising young producer's talents.
The release is accompanied by artwork and a series of animations by Mason London (former Boiler Room art director).

As Metronomy work on their forthcoming sixth album, they take a moment to reflect on the 10th anniversary of their breakthrough album 'Nights Out'. Metronomy's Joseph Mount has delved into the archives for 'Nights Out: 10th Anniversary Edition' which will be released on February 8th on Because Music.

It features the original critically acclaimed album alongside a second LP which expands upon Mount's vision with a set of unreleased demos, rarities and b-sides - many of which make their first appearance on vinyl. Two of the highlights come with alternative versions which have become staples of the Metronomy live set: a bedtime dub version of 'Holiday' which takes it into a darker, glitchier direction, and a French-language version of 'Heartbreaker'.

Mount's Francophile leanings are also explored in Breakbot's remix of 'A Thing For Me', which contrasts French touch vibes with Mount's distinctly English-accented vocals. Previously issued on an exclusive Rough Trade bonus disc, 'Over' is an instrumental of cinematic scale, while the disc closes with four previously unreleased demos including the leftfield minimalism of 'Das Booty'.

Although Metronomy's 2006's debut album 'Pip Paine (Pay The £5000 You Owe)' was discovered by those in the know, it was 'Nights Out' that captured the imagination of a much wider audience. Mount achieved the seemingly impossible: he highlighted both the joyous atmosphere of a big night out and a taste of the resultant comedown in a set that playfully veered towards being a concept album.

About Nights Out Joseph Mount says: 'Oscar reminded me the other day how I said to him on completing Radio Ladio 'I think I've just written my first number 1'. I hadn't. We also reminisced about the day we borrowed the Honda Insight for the album artwork: I found the owner on an enthusiast chat room, we gave his daughter two Kate Nash tickets and a meet and greet with Kate in exchange for a few shots with the vehicle... simpler times. Shout out to Myspace.'

Metronomy's most recent album 'Summer 08' was released in 2016 to widespread critical acclaim. DIY described it as a 'pure-pop odyssey' and NME concluded, 'Mount has done it again. He could write music about the impact of Brexit on the UK's trade with China and make it sound amazing. He's that good.'

Metronomy bring 2018 to a close when they play Edinburgh's Hogmanay Street Party on December 31st. The 65,000 capacity show is headlined by Franz Ferdinand and completed by Free Love.

From four individual parts, with distinct musical pasts but also
overlapping histories, a new unified chapter begins with Piroshka and
the quartet's thrilling debut album 'Brickbat'.
The album is named after the word for a missile, which nails the
record's heavyweight lyrics if not the music's gorgeous, bittersweet
and euphoric pop. Think of 'Brickbat' as a wolf in sheep's clothing -
which suits the name Piroshka, the Hungarian take on the wolf
terrorised fairytale hero Little Red Riding Hood - a subtle nod, too, to
a certain red hairdo that stood out in the 1990s Brit-guitar-pop
scene...
The four band members are former Lush vocalist / guitarist (and
former redhead) Miki Berenyi, former Moose guitarist KJ 'Moose'
McKillop, Modern English bassist Mick Conroy and former Elastica
drummer Justin Welch. The connections between them are a
veritably tangled family tree. Before they lived together and raised a
family, Miki and Moose were notable figures on the so-called
shoegaze scene, while Elastica were Britpop peers. After post-punk
pioneers Modern English split for a second time, Mick became a
latterday member of Moose, while Justin joined the reformed Lush in
2015. And when Lush required a bassist for what proved to be their
final show (in Manchester) in November 2016, Mick stepped in.
It was the rehearsals for that Manchester show that laid the
foundations for Piroshka. 'We sounded great!' says Justin. 'Like a
proper punk band. Mick brings a huge amount of enthusiasm and
livens up the room, and I thought, this is the kind of band I want to
be in again.' Mick agreed. 'I'd seen Lush so many times, it was like
playing with old friends. Miki agreed it was good fun too. And with
Moose available, we thought, let's all have a bash, see what
happens.'
Though 'Brickbat' kicks off with a squeal of feedback, the album is far
from a proper punk record, with as much sublime delicacy as physical
force, with guitars to the fore but also electronic flourishes in all
manner of spaces. Combined, they drive the nuggety melodic bombs
long associated with Miki's songwriting
LP format includes digital download code.

Oh sweet melancholy. Jascha Hagen is back for Luise's largest sibling and takes it all down a notch. »A Touch of Cold Water« is a tale of minimalism and awareness, carefully placed and well de ned elements, light spaces and echoing rooms. A string of tracks that vary between unfazed euphoria and sober retrospection, slightly out of tune like the voice in your head. Who needs to wipe o the dust when it scratches so nicely.

White Shadows In The South Seas is the title of a book written in 1919 by Frederick O'Brien as part of a trilogy he wrote based on his experiences living in the Pacific islands in the early part of the 20th century. His book was taken as the starting point for a film to be directed, initially, by Robert Flaherty (famous at the time for his groundbreaking documentary / fiction film Nanook Of The North) with W.S.Van Dyke as his support. The film, ultimately, apart from the title, had little to do with O'Brien's book and Flaherty left the film after a few months leaving Van Dyke to finish it.

I purchased O'Brien's book, along with many others, from Basement Books, a secondhand bookstore in Melbourne/Australia. Part of my 'Islomania' and on going fascination with all things Pacific. When I discovered there was a 1929 silent film based on the book I sought it out and started to present it as part of my 'Live Music/Silent films' repertoire. Tabu by Frederick Murnau, which coincidently also had Flaherty as co-director originally, was the first film I ever wrote / improvised a score for and presented as a live film/music performance. My repertoire extends to over 23 films now.

My eclectic and diverse musical and artistic interests extend into 'Hawaiian', 'Exotica', 'Ambient' and 'Electronic' Music. I have produced several volumes of so called 'Electronic, Ambient, Exotica' on CD and Vinyl, including Kiribati, Globe Notes, Rayon Hula ( on Vinyl, CD and digital format ) and most recently, New Globe Note on Vinyl and White Shadows In The South Seas on CD.
White Shadows In The South Seas features some of the music presented in my live screenings of the 1929 silent film.

The film is the story of Dr. Matthew Lloyd, an alcoholic doctor who is disgusted by the exploitation by white people of the natives on a Polynesian island. The natives dive for pearls, however, numerous accidents occur and one diver dies. In anger, Dr. Lloyd punches Sebastian, the employer. As revenge and to prevent further interruption of his activities, he tricks Dr. Lloyd onto a ship with a diseased crew (thinking they are ill) and his men rough him up and send the ship off into a storm. Dr. Lloyd survives and is washed ashore on an island where none of the natives have ever seen a white man before. Lloyd is rescued and ultimately falls in love with the chief's daughter, who is Taboo, hence Lloyd is prevented from pursuing his love for her. An incident occurs and a young boy is thought to have drowned but Lloyd is able to revive him, earning him points and permission with the chief's daughter. Lloyd begins to realise that the local islanders have no sense of the value of the black pearls which grow in abundance around their island and he starts to dive for them and collect them. One morning the white man Sebastian unexpectedly turns up on a scooner and starts to offer the islanders trade for their pearls. Llloyd tries to interrupt the encounter and is shot and dies. His wife and the islanders morn for his dead body and, symbolically, the passing of a way of life.

Mike Cooper plays - Electric and acoustic lap steel guitars / electronics / Zoom Sampletrack / Kaos Pad / Casio SK1 / Korg Drum Machine / Self Made Instruments.

It also features field recordings made on Pulau Ubin by Mike Cooper during a month as Artist In Residence for The Artist Village / Singapore.

I would like to acknowledge and thank Lawrence English (Room40 Records) for his assistance and encouragement with the original recordings and the CD version of White Shadows In The South Seas.

All music written and played by Mike Cooper PRS/MCPS - except Po Mahina (trad. Arr. Cooper) and Hilo Hanakahi (trad. Arr. Cooper)

Recorded and Mixed at the Steelworks in Rome 2012/2013.

A White Shadow In The South Seas
In February 2014 'A White Shadow In The South Seas' was the title of an audio-visual installation I made at the Teatro In Scatola in Rome, Italy, presented as part of a series of sound installations titled 'Visitazioni' produced by Proposte Sonore.

The essay below, as well as our collection of Hawaiian shirts, Exotica and Hawaiian vinyl records, was an inspiration for this installation.

'..the transformation and reconstitution of the souvenir commodity as an indigenous ethnic art form and a scarce relic of Hawai'i's romanticized past...' from - Clothing and Textile Reasearch Journal - From Kitsch to Chic by Marcia A. Morgado.

And....
Michael Thompson's Rubbish Theory (1979)
' ...a critical aspect of Western culture is the pre-disposition to see objects in terms of two overt categories: the transient and the durable. Objects identified as transient have finite life spans and lose value over time, whereas those identified as durable have infinite lives and over time increae in value....category assignments are arbitrary, but once assigned a category membership determines relative value. Fashion apparel-by defenition-is assigned to the transient category; paintings commonly are designated durables....how is it that transient objects.. ( e.g. Hawaiian shirts and vinyl records ) ..sometimes become durables.

Objects assigned to the rubbish category are largely invisible, have no value and, ideally, no life span. Fashion for example, no longer worn and relegated to the back of the wardrobe has fallen into the covert rubbish category. But rubbish can be rescued and transformed. Thompson says ' What I believe happens is a transient object gradually declining in value and in expected life span may slide across into rubbish. Here it exists in a timeless and valueless limbo where it has a chance to be re-discovered and be successfully transformed to a durable. Such transferes are radical: objects gradually slide from transcience to rubbish, but the transformation from rubbish to durable involves an all-or-nothing leap across two boundaries, that separating the worthless from the valuable and that between the covert and the overt. Things drift into obscurity but they leap into prominence.

The delightful consequence of this hypothesis is that in order to study the social control of value we must study rubbish.

The rubbish-to-durable transformation is accompanied by the development of highly specialized knowledge derived from the discovery of subtle variations and complex details that went unnoticed in the objects transient stage. The discoveries initiate renewed interest in the object and its market value begins to climb. As prices soar beyond the reach of ordinary people, the object becomes available only in high priced collectors' markets. Furthermore, as market values rise, the aesthetic value of the object undergoes a reassessment as well, and it becomes increasingly apparent that the objects intrinsic beauty has been overlooked. Ultimately the object is re -assigned as a durable and becomes recognized as a timeless classic.

Exotica, Ambience and Pacificism - A dialogue with Mike Cooper & Professor Philip Hayward Deputy Pro Vice Chancellor of Research Southern Cross University, Lismore, Australia.