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Remix extravaganza ahead! What started as an attempt to transport Feater's brillant outsider pop 'Time Millionaire' (taken from the Socialo Blanco album) onto a dance floor with one or two remixes, ended up as a feast served on three different platters with some heavy hitters. First up, Pépé Bradock and Ricardo Villalobos are crossing their beams. Spread over two 12s, the masters of idiosyncrasies and splendid aural design, Bradock and Villalobos treat the voice of Vilja Larjosto with love and care and bring it into their respective universe during peak time: vocals, dubs, acapellas and bonus bits included. Expertly, tricky and inventive. Remix EP no. 3 merges different trajectories of UK dance music traditions (or Ireland for that matter). Man of the moment Krystal Klear takes the material down to love town: the sound of 1980s Island records meets NYC boogie and UK street soul sounds. Hessle Audio's Pangaea follows the other path: uptempo bass fun with a driving dub and an instrumental pass. Last but not least, Feater & Sam Irl themselves deliver a blissed out dub of the original. Oh, and if you have enough time, flip over to the 10 with an Aba Shanti-I approved UK reggae and lovers rock take on it by Blood Shanti.

Remix extravaganza ahead! What started as an attempt to transport Feater's brillant outsider pop 'Time Millionaire' (taken from the Socialo Blanco album) onto a dance floor with one or two remixes, ended up as a feast served on three different platters with some heavy hitters. First up, Pépé Bradock and Ricardo Villalobos are crossing their beams. Spread over two 12s, the masters of idiosyncrasies and splendid aural design, Bradock and Villalobos treat the voice of Vilja Larjosto with love and care and bring it into their respective universe during peak time: vocals, dubs, acapellas and bonus bits included. Expertly, tricky and inventive. Remix EP no. 3 merges different trajectories of UK dance music traditions (or Ireland for that matter). Man of the moment Krystal Klear takes the material down to love town: the sound of 1980s Island records meets NYC boogie and UK street soul sounds. Hessle Audio's Pangaea follows the other path: uptempo bass fun with a driving dub and an instrumental pass. Last but not least, Feater & Sam Irl themselves deliver a blissed out dub of the original. Oh, and if you have enough time, flip over to the 10 with an Aba Shanti-I approved UK reggae and lovers rock take on it by Blood Shanti.

Seasoned Producer Oliver Kapp Takes Us Back To The Glory Days Of Underground Techno Where Pounding Sound Systems Ruptured The Space Time Continuum For Fun. The Old Guard Will Already Know That Kapp Has Pedigree, From Running And Releasing On His Own Record Labels Indulge And Raygun To A String Of Appearances On Stockholm Ltd, Logistic And Gigolo, His Dedication To The Cause Is Unquestionable. Which Is Why His First Appearance On Cocoon Recordings Is Long Overdue. What We Get Are Dj Friendly Tools Designed For That Time Of Night When The The Second Hand Stops Ticking. Kapp Presents A Perfect Collection Of Timeless Warehouse Techno, Like The Genre Itself There Are No Beginnings Or Ends, Just A Constant Barrage Of Hi Octane Machine Funk, Underpinned By Heavy Duty Beats That Somehow Manage To Induce A Sense Of Weightlessness On The Dance Floor. Scaling Down The Bpms To A Sub 130 Tempo, The Ep Is A Masterclass In How To Balance The Old School With The New. - loud Whisper Is Both Tough And Relentless, Generating An Hypnotic State That Ensnares The Dancer In Suspended Animation As Strobe Lights Flicker Across Closed Eyelids. Scattered Hihats Motor Forward And Trance Inducing Sequences Splice And Dice Causing Mind And Body To Drift Apart. - mantash Is An Altogether Gentler Excursion. Loose Tribal Rhythms Slalom Through The Metronomic Kicks Before Giving Way To Distant Chords That Embrace The Dancefloor In A Warm Fuzzy Glow. This Lush Vibe Extends Over The Rest Of The Track While The Beats Roll On, Accompanied By Delicate Melodies That Enhance The Ride. Euphoria And Delirium Combine On The Aptly Titled - rapture , As Chopped Up Vocal Fx Alternate Across A Hard Hitting 909 Pattern Complete With Angular Snares And Ride Cymbals That Bang The Box Into Submissio

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

Imagine if you could put together a dream line-up of MCs and producers from all four corners of the rap world
That's what artist and illustrator Gangster Doodles set out to do when he put together a stellar collection of tracks by the rappers and talent that inspire his work.

The all-star line-up features everyone from hotly-tipped emerging producers like Eets, Caleb Stone, Maze Mountain and LoVibe next to underground perennials like Onra, Mndsgn and Jon Wayne all the way up to top flight producer Kaytranada and established rap vets like Madlib, Oh No, Blu and Defari.

This second collaboration between All City Records and Gangster Doodles is a jam-packed sonic adventure featuring 27 killer tracks from some of the finest creators out there. Doodles had the idea for a comp two years ago. Hyped after partnering with All City for Knxwledge's "Wraptaypes" project back in 2015, they initially set out to put together an EP but as the tracks kept coming in it exploded into the sprawling double LP of low-slung grooves and bangers from the best in the business.

With everyone on the record being a friend or friend of a friend, the comp just kept growing as GD went to work with the hustle he has learned from penning his post-it sketches day in day out for the last decade.
Word spread fast and soon he was being sent beats from all over, even reaching behind the prison walls of Bergen County Jail, New Jersey and securing a track from former Dipset affiliate Max B.

The last few years have been busy for Marlon "Gangster Doodles" Sassy. He released his acclaimed Gangster Doodles (The Book) alongside an ever-expanding array of prints, original works, apparel and exhibitions across the globe. Topping that off with animation projects, a graphic novel in the works and now, with this LP titled " Gang$ter Music Vol 1", he is about to debut his first ever music compilation.
He says himself: 'Every time a new track came in it was like running down the stairs on Christmas morning to open a present. What started as a slow trickle of work coming in soon turned into a tsunami with some of my heroes like Onra, House Shoes, Blu, Jeremiah Jae joining up with young guns Kojaque, Kean Kavanagh, Dream Panther and others to beef up the record'

'When an email pinged through with a track from brothers Oh No and Madlib it felt like the final gift and Gang$ter Music Vol. 1 was complete.'

Nyami Nyami Records present a lost piece of Zimbabwean musical history: the only album from local legends the New Tutenkhamen, combining Jazz, Soul, Folk and Township rhythms. There are only 2 known copies of the original LP - this reissues make the music available again for the first time in over 40 years.

The New Tutenkhamen included many stars of Zimbabwean township music: Elisha Josamu was an alumnus of the fabulously-named Hallelujah Chicken Run Band (alongside Thomas Mapfumo), and Green Jangano's long-running Harare Mambos, and would later form Two Plus Two with bassist Christopher 'Chex' Tavengwa. Jethro Shasha played the drums, and would arguably become the New Tutenkhamen's most famous export, making continental waves working with likes of Salif Keita. Paul Sekerani played the rhythm guitar, with Amos Chatyoka on the organ, while the enigmatic Maggie Mbuli provided vocals and F. Manda played the sax.I WISH YOU WERE MINE was recorded at Teal Records and was produced by Crispen Matema, a talented jazz drummer in his own right who had played drums on the all-time classic 'Skokiaan', and had backed Louis Armstrong on his 1960 Rhodesia visit. Combining the heavyweight producing talents of Matema and the writing chops of Josamu, the New Tutenkhamen band created an album showcasing various musical styles popular at the time.

From the afro-jazz jam session aesthetics of 'Tutenkhamen Theme', 'Big Brother Malcom' and 'Forever Together', to the almost Van Morrison-sounding 'Sunday Morning'; from the upbeat rock ballad 'True Love', to the funk-infused dance song 'Togetherness'; from the bouncy jazz exhortations to work hard in 'Ane Nungo', to the brassy, raunchy foot-stomper 'Me & Dolly'. The title track 'I Wish You Were Mine' is a ska-infused ballad that wouldn't be out of place in post-war Birmingham, while the star of the show is 'Joburg Bound', itself a fast-paced rock piece with Motown undertones and funky guitar lines.

A holy grail of European electronic dance music, and a classic at the Italian disco scene and Hamburg's Front club alike (you might have heard it on their recent Mastermix), is finally available again. Produced in 1984 by two mysterious friends during a hazy studio session in the small town of Aschaffenburg, Germany, it is best described by Discogs member goulashdj as 'a funny version of some Imam praying on top of an electronic Groove', .'Kairo' is all you want from an oddball record: fun and funky, weird and wonderful. Featuring original vocals by one of the two friends, it seems to be offensive to religious fanatics and devout Muslims (you better watch, where you play out the original). Therefore, a philosophical advisory or religious warning: 'No religion, god or believer was harmed during the creation of this record. We believe in the right to believe or disbelief in anything and everything that isn't inhuman.' For safety reasons, it includes a persecution-proof instrumental version by Boris Dlugosch as well as the original B-side and completely atheistic 'Kosak 2000'. And to close with Mark Twain: Man was made at the end of the week's work, when God was tired.

Sit down in your comfiest jawn, strap those noise-cancelling jawns on and prepare for those jawns in your eye sockets to tumble out your head when you hear this collection of thumping jawns whipped up by Philadelphia's BPMF. One half of legendary electro duo Synapse with John Selway (who he co-runs the equally-esteemed Serotonin imprint with), BPMF has been churning out no-nonsense electro smangers and experimental techno since the early 90s. Currently he holds the title of Eastern Pennsylvania's premier live-PA electro dad while also running his own label, Schmer. Various Jawns is exactly that; four varied jawns packed on one plate. 'Tell Mommy Bye' is an electro ripper in the true American lineage while 'Trunq' and 'J'pn' are lighter, more noodling affairs. This plate's entrée, 'House of Jawn', is a fourteen-minute knob-twiddling trip through the twisted fever dream of a raver long past. Thankfully our esteemed producer has given us a respite from the beatdown about halfway through. Drop the needle there to start the adventure at the Lower House of Jawn if brevity is your thing, man.

Black Rain returns with Computer Soul: the final part of a sequence of Blackest Ever Black releases that began with 2011's Now I'm Just A Number: Soundtracks 1994-95, and a first glimpse of the project's richly imagined future. For this outing Stuart Argabright (Ike Yard, Dominatrix, Death Comet Crew) is joined by BR founder member Shinichi Shimokawa as well as more recent recruit Soren Roi and Zanias (vocalist on 2015's Dark Pool) - making for the most most group-oriented iteration of Black Rain since its earliest days. Sonically too, there is a sense of evolution but also of coming full circle: the cyberpunk techno of Argabright's celebrated William Gibson soundtracks (compiled on Now I'm Just A Number) and extrapolations of Dark Pool's neuromantic yearning cut with glimpses of the thrash and industrial rock energies that animated Black Rain's incendiary live shows - and sought-after tapes for Kombinat and TPOS - in the early 90s. More than ever, Black Rain is propelled by a powerful science fiction impulse, whether responding to the themes and characters of Gibson's Sprawl or the Blade Runner universe (particularly K.W. Jeter's spin-off/continuation novels which extended its mythology, and timeline, further). It's not news that many of these works' most powerful predictions and prophesies have come to pass - the replicants are already living among us - so Computer Soul projects further into several possible unforeseen futures, its events 'set' in the second half of the current century, fifty or so years after those of Dark Pool. The hyperpopulated metropolises of Dark Pool are no more; the apartments are empty, haunted by ghosts of AC current, devices and machines running lonely without their owners...a melancholy internet of things. Where has everyone got to Gone but perhaps not gone. Oblivion beckons - always does - but on the other side of that, something else... another time, another place, a river....and a new way of living.

D-Leria returns to the scene more than a year after debuting on Berlin-based label Delirio, releasing a collection of work produced between 2014 and 2018; ten tracks which mark a new beginning for this young Italian producer, sweeping between heavy ambient excursions to hypnotic/ tribal techno, modernized and polished off in his own way.'Driving to Nowhere' is the summation of an extended journey; a year-long hiatus due to unforeseen health concerns allowed time to meditate and consider his past experiences in Italy's various underground electronic music scenes, and the potential directions inspired by thriving Berlin.
From 2014 to 2017 he released several EP's, each developing upon this new style, until joining the young label Delirio as both a musician and a manager. With Delirio he has hosted artists such as Stanislav Tolkackev, Roberto Bosco, Plaster, Retina.it and more, with a unique agenda to record precisely produced music live, instead of laboring in the studio to achieve over-polished audio. His first album inaugurates the beginning of the new DLP catalog, which will be dedicated to LPs, albums and other projects released on 12-inch vinyl. Through these 10 tracks D-Leria experiments with various production methods, as in 'Makumba' where he precisely combines the kick drum with a tight bass line in a 12-step sequence, making the track fluid and never predictable. 'Reborn' is an even more ambitious undertaking, initially recorded on tape before being sent back to the mixer via Hi Fi stereo, D-Leria modulated the cassette coil with a bic pen to create a unique 'detune' effect. 'From the Ground' and 'Driving to Nowhere', both made through the same setup, combine tribal voices and moans, combining an ethereal ambience with drums and analog percussion, connecting the rhythm directly to the soul. The opening track 'Libero' is dedicated to himself, while 'Her Smile' and 'Uragano' are both dedicated to the person that was closest to him in his last period of stop and realization of the album, where he expresses his most deep moments in the first, and more difficult in the second.
Just like in most of the EP already released on Delirio, Giuseppe Tillieci aka Neel took care of the mastering of the tracks, while the artist has taken care of the smallest details from the production, to the mixing, to the graphics and also to the titles of the tracks, which refer to personal thoughts and events that happened during this long journey to nowhere.

Mark Barrott is the man behind International Feel, Roca, Future Loop Foundation, as well as being a founding of the Balearic boy-band 'Talamanca System' alongside Gerd Janson & Lauer. Nature Sounds of The Balearics is Mark's debut LP on Running Back Incantations.

Black Sun Records returns with a monster collaboration from Unhuman & Surit. Unhuman is best known for his contributions on labels such as Instruments Of Discipline, Liber Null & Veleno Viola among many others, his sound running the gamut between noise, power-electronics, EBM & techno; Surit is better known as one half of NX1, recently releasing some solo remixes on his own Nexe Records label and on some others. Together they deliver a powerful 4 track EP, opening with 'Moral Poverty', a perfect driving track with fat bass, metal percussion and layered pads that trap you from the very beginning; next is 'Surrender', a twisted break-cut full of character, complex yet effective, a mind-warping, beautiful journey. Turning to the B-side, the track that gives name to the EP 'Impact Bashing', delivers pure, raw, industrial- techno, oppressive, incisive & brutal. 'Precipitated Paranoia', closes the record, a higher bpm techno cut, defined by the power of the drums and held in tension by jittering, nervous synths.

* The long running KFA series 'True Skool' returns to vinyl for the first time in years, with 4 amazing tunes. The True Skool EPs have always pushed the boundaries, and this one is no exception. True Skool resident Radiophonic Oddity comes in hard with a furiously edited breakbeat and hip hop collision, while Doughbiy switiches from his usual style to bring some proper jungle flavor. Label newcomers Innercore and Evolutionize flex their muscles with two heave breakbeat workouts, once again demonstrating that KFA is most comfortable meandering about where others fear to tread.

CLub / Dj Support
Billy Bunter, The Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-c, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder And Many Others

Marti Caine's infamous Point Of View is a groovy blend of slow-mo funk, dark disco and precise pop. Originally released on BBC Records in 1981, it has attracted a considerable cult following this century. The odd charity shop score aside, it has been impossible to find a copy for less than eye-watering sums (often selling for over £200) and, as such, it's an honour to present the first officially licensed vinyl reissue of this sublime record. Featuring expert liner notes written by Bill Brewster - perhaps the record's most notable champion - this lovingly curated release is limited to just 500 copies.

Marti Caine was a popular UK TV entertainer in the late 1970s onwards and Point Of View presented her with an opportunity to proceed in a hip direction by working with British R&B heavyweight Barry Blue. His legendary reputation was secured with a string of great records, among them the first three Heatwave albums, the Balearic hit "Afro Dizzi Act" by Cry Cisco and the cult smash "Breakin' In" by Javaroo. However, despite the array of talent working on the album, Point Of View sank without trace at the time. It's something that Blue attributes to the bizarre way BBC Records worked, and he entertainingly expands upon this within the liner notes.

Musically, the highlights are many and memorable. Its most notorious track is the sublime soul stepper "Love The Way You Love Me", the reason most people covet this album so profoundly. However, from the dark dubby disco of "Snowbird City" to the moody ballad "Love Is Running Through Me", the lesser heralded tracks are nothing short of exquisite. Indeed, the chugging elegance of sleazy disco opener "Can I Speak To The World Please" showcases a string-drenched strutting-funk that would've been enviable the world over. It's that good.

The outlandish artwork - presenting a striking, green-eyed Marti treating a tiger to a headlock - has been faithfully restored and is arguably worth the price of admission alone. With access to the original tape transfers, Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g. Sadly, Marti died of lymphatic cancer at the tragically early age of 50 in 1995, so is not here to experience what we hope will be a long overdue reappraisal of the hitherto underheard genius of Marti Caine, the singer

Studio One Freedom Sounds Is The New Collection From Soul Jazz/studio One Focussing On The Intense Period In The Second Half Of The 1960s When Studio One's Vast And Unbeatable Output Of Ska, Soul, Rock Steady And Reggae Made It Literally One Of The Hottest Musical Empires In The World.
During This Highly Successful Period, Clement 'sir Coxsone' Dodd Released Hundreds And Hundreds Of Superlative Singles Seemingly On An Almost Daily Basis, In The Process Making Huge Stars Out Of Jamaican Singers Such As Alton Ellis, Delroy Wilson, The Wailers, Slim Smith, Jackie Opel And Many More.
Powered By The Finest In-house Musicians Working In Jamaica, Whether It Was The Skatalites, Jackie Mittoo's Soul Brothers, The Sounds Dimension Or The Soul Vendors, Studio One Functioned As Hit Factory On The Scale Of Motown In The Usa, Shaping And Defining Reggae Music For Decades To Come.
Singlehandedly Studio One's Founder Clement Dodd Was Able To Create The Most Successful Vertically-integrated Record Company That Jamaica Had Ever Known With Pressing Plant, Printers, Studio, Shops, And Sound Systems All Running At Once, With Over 50 Employees And Hundreds Of Artists Working With Studio One During This Time.
Studio One Freedom Sounds Tells The Story Of Studio One In The 1960s With A Stunning Set Of Ska, Soul, Rock Steady And Reggae Killer Tunes As Well As Informative Sleevenotes And Track-by-track Info By Noel Hawks. The Album Is Released As Heavyweight Double Vinyl (+ Free Download Code), Deluxe Cd And Digital Album.

*Another UK roots reggae treasure unearthed by Partial Records in the shape of
Mikey Mystic's` Burial' which originally appeared on the CD version of Mikey's `Warzone'
album on Roots Records in 1994.
* Produced by Nick `Manasseh' Raphael, who back in the 90's was running Manasseh sound system and also the label Riz Records, along with Gil Cang.
* First time on 45 for this gem, backed with a Manasseh dub cut.
* Tracklist:

Through the years Intacto Records became a household name. The label was founded in Amsterdam in 2004 under the collaborative genius of Shinedoe and 2000 and One.It was nlaunched as a platform for the by then strongly emerging Amsterdam scene supporting a pack of local artists shaping a fresh distinctive sound which took over the electronic scene by storm. Intacto's defining sound included many styles and its catalogue is a melting pot of influences of which house and techno are the key elements. After running Intacto Records successfully for 14 years, Shinedoe and 2000 and One have joined forces on their very first collaborative release. A ten year old unreleased 2000 and One track 'World of Acid' have been played out by Shinedoe for years and received ecstatic feedback from the clubbing crowds. Convincing him to release this timeless tune to scorch the dancefloors worldwide, Shinedoe was inspired to do a remix. In return 2000 and One remixed her track 'Acidploitation' which she recently produced. 'Acidploitation' EP is the culmination of two Dutch legends, defining their brilliant take on music once again.

Unreleased baroque jazz horror score to controversial lesbian sex cult witchcraft exploitation drama from 1973, composed by the man who wrote the Catweazle theme! Hell yeah!

HISTORY:
Ted Dicks is not that well known as a composer these days, but back in the mid 1960s he was composing library music as well penning some of the greatest comedy songs of the era, including 'Hole In The Ground' and 'Right Said Fred'. His work was performed by Kenneth Williams, Petula Clarke, Bernard Cribbins, Topol and more. But until now, little has been known of his brief flirtation with film music.

Virgin Witch was his first brush with film scoring - one of only two score he wrote. The film was produced by legendary wrestling commentator Ken Walton (under his Sexploitation pseudonym of 'Ralph Solomans'), with the help of Hazel Adair, a woman famed for co-creating the long running UK TV soap Crossroads. Virgin Witch was a racey film, turned down at least once for certification by the BBFC, passed uncut with an X for release just in London, then cut and passed for general release shortly afterwards.

The score itself is a unique and quite beautiful pop baroque work, utilizing the cimbalom, an instrument more than likely played here by 'Ipcress file' musician John Leach.

This is a very limited release of a most unique 1970s pop horror lesbian witch score. Get it before they are all sold and you start moaning you didn't order it in time.

After being absent for a while, Glance is returning with a uncompromising authentic record on Footjob. It recently has become quieter around the man who used to be a founding member of Running Back, but for this occasion he went and dug in his archives and came back with some beautiful old tracks, just to compile them in a classic, full of groove second Footjob EP. As a bonus he finishes and ends the record with two Downbeat sounding songs in reminiscence of his former genre crossing alter ego Siro. So this goes out to all the realkeeper, oldschooler und newcats. Glance is back on the map.

Planet Mu Are Very Happy To Be Releasing 'vicious Circles', The Debut Ep By Sinjin Hawke And Zora Jones, Who Aside From Producing Music Also Run The Audio-visual Production Unit 'fractal Fantasy'. Zora Released Several Collaborations On Last Year's 'visceral Minds 2' Including 'dark Matter' With Planet Mu's Jlin, While Sinjin Has Collaborated With Dj Rashad, Just Blaze And Mikeq, And Also Produced Music For Monoliths Like Kanye West And Frank Ocean. Remarkably, Given The Breadth Of Their Work, 'vicious Circles' Is Their First Collaborative Ep, And The First Time Either Have Released A Vinyl Record Too. The Ep Is A Great Showcase For The Duo's Emotional, Maximalist Chimeras Of Abstract Pounding Beats. From The Punchy, Circular, Grandiose Build-ups Of Opener 'vicious Circles', To The Unyielding Melancholy Of 'god' With Its Sinister Bulgarian Choir Sample Against A Peak Timbaland-era Rhythm, The Record's Potent Synths And Manipulated Vocals Are Both Simultaneously Fierce And Friendly. 'source Of Conflict' Is A Poised Dance Between Pulsing Ambient Textures And Drilling Beats, While 'lurk 101' Pits A Volley Of Abstracted Juke Toms Up Against A Hammering Drumline. 'babyboysosa' Feels Like Drum-less Drill, Manipulating Vocals Into Strange Alien Shapes Over A Bassline Before Spiraling Toms And Hi-hats Start To Form A Forceful March. The Ep Concludes On The Love Anthem 'and You Were One' With A Chipmunked Vocal Running Through Its Wonky Chorus Of Bent Notes And Chords.

Sampled by Drake ( Jungle') and G-Eazy ( Running'). Instrumental versions of Gabriel's Stones Throw Records debut Jardín now available on limited edition wax. Gabriel Garzón-Montano's formidable skills have come to fruition on Jardín in his Stones Throw debut. This album came out of wanting to make music that reminds people how beautiful life is and how delicate their heart is,' he said. I've always wanted to make music that is healing, comforting, and funky. I named the album Jardín hoping for it to create a space for healing when people put it on. A garden is full of life, growth and beauty,' Gabriel said of choosing that unifying image as the title for his new album. It makes me think of green and white and all the colors as they appear in different flowers.' That vivid spectrum bursts forth on Jardín itself and the album contains references to fruit of all sorts, sour mango, juicy tangerines and sweet peaches. From the heartache and aching vocals that float over the dusty drums of Crawl' to the stutter-step thump of Bombo Fabrika' to the high falsetto he nails on Octave,' Garzón-Montano proves himself to already be one of 2017's biggest breakout talents.

Earthboogie's debut album, Human Call, rightly earned praise on its release earlier in the year, with listeners responding positively to its sticky and humid dancefoor fusions of African and South American rhythms, chunky dub disco, retro-futurist house,
spacey analogue electronics and sun-kissed Balearica. Hot on the heels of that release, Leng Records has sourced new remixes of two album highlights - 'High Minded Man' and 'Silken Moon' - from Running Back label boss Gerd Janson and synthesizer-wielding Balearic boogie stalwart Pete Herbert.
It's Janson who steps up frst, offering up two total overhauls of 'High Minded Man' that re-cast the undulating, Afro-fred original as a dreamy, drum machine-driven chunks of vintage deep house goodness. Where Earthboogie's album version bobbed
and weaved around horns and live bass, Janson's Deep House Mix places the duo's original chanted vocals above a bouncy, polyrhythmic rhythm track, Larry Heard style chords, Kwaito-esque electronic bleeps and a smooth, soul-stroking bassline. Janson's
Deep House Dub, which strips out the vocal for a more sparse and ethereal listening experience, is also included on the EP.
The EP's other remix comes from sometime Reverso 68 member Pete Herbert, who gets his mitts on previous single 'Silken Moon'. While he retains some key elements from Earthboogie's original - specifcally the vocals, Afro guitars and house stabs - he
naturally adds a little of his own rubbery electronic disco favour via spacey synthesizer fourishes and a massive electronic bassline that brilliantly tracks the rising and falling
movement of the main melody. It has the feel of a terrace anthem in the making.

Belgium's favourite underground house DJ Red D celebrates the 10 year anniversary of his We Play House Recordings label with 6 vinyl samplers containing new tracks and some very wanted gems from the catalogue. Artists featured are San Soda, Fabrice Lig, FCL (featuring Lady Linn), Kiani & His Legion, krewcial, Reggie Dokes, Raoul Lambert & Nacho Marco, Art Of Tones and many more. Voices Near The Hypocentre
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About We Play House Recordings

We Play House Recordings - WPH - is the work of Belgian DJ & producer Red D. Started 10 years ago to release the music of his friend san Soda, the label had (and has) the aim to release house music in all its shapes and forms. WPH's house ethics date back to the days where house was just a name for music that was played in clubs. There is no such thing as tech house, no such thing as deep house or minimal, there is simply (house) music, good or bad.

We Play House Recordings is lovingly led by Red D (real name Bart Van Neste), one of Belgium's leading underground music figures. Be it in his role as DJ, A&R, promoter, music panel host or general nitelife instigator, Red D does things with passion, humor and a healthy dose of keeping-both-feet-firmly-on-the-ground...with a twist...

WPH was started in 2007, so it takes no math genius to know that in 2017 the label is celebrating its 10 years anniversary. Running from the spring till winter 2017 this anniversary will be celebrated with special vinyl releases, a triple CD, a digital compilation, a Spotify playlist and a series of label nights all over Belgium and beyond. True to form the compilation will have WPH classics but also a BIG bunch of new material from core artists of the label like Locked Groove, San Soda, Kiani & His Legion, Fabrice Lig and many more.

As a Dutch label, we're proud supporters of the homegrown sounds of guys like Nachtbraker, Frits Wentink and Fouk. Adding another Dutchie to our list of exquisite producers, we present you 'Pitto' with his debut on Heist Recordings. Pitto is a musically omnipotent creature, venturing into deep house with the underground hit 'Richklap' on Wolfskuil back in 2012 and dreamy electronic pop with his album 'Breaking up the Static' on Sonar Kollektiv and Virgin. He has also moved beyond producing his own music, running 'Studio Stekker'; a Dutch music festival that focused on freeform creative interactions between musicians where the artists performing on the festival locked themselves up a week in advance in Kytopia (Colin Benders' synth paradise) to make new music together. Through this, he's worked with people like Kyteman, Matthew Johnson, Sebastian Mullaert and Colin de la Plante, better known as 'The Mole', who is also present on Pitto's Heist debut with a remix.

The 'Late night studio moves' ep is one of varied styles, where Pitto's inspiration from African music, jazzy and soulful samples becomes evident. He finds his 'funk' in repetition, clever sample combinations and combining electronic and live elements in the most organic way.

'Late night studio moves' finds its basic groove in an African percussive loop. Over the 9:26 minutes, the track slowly adds elements, chopped African chants and piercing synth hits. It's all really dreamy and energetic at the same time, but it is when the bass and main keys kick in, that you really feel the euphoric vibe of the track. The Mole chose to remix this track and he turned it completely upside down, both in vibe and tempo. His version is an atmospheric and mesmerizing downtempo track, where the percussion works in an intoxicating way and bells, birds and chants move in and out of the spotlight.
Pitto's second original track on the ep is the mesmerizing 'Treat me like a fool'. 16th hi-hats, claps on the hats, and a chopped piano loop set the mood here, but it's the vocal that steals the show. A mantra like 'You love me' builds up and breaks down into 'you love me like an angel, but you treat me like a fool'. Each time, the track builds and builds, never quite giving in to a massive drop, but instead, focuses on the stripped back soul that is the heart of the track.

'Jazz kids' evolves around a jazzy bass loop and a set of quirky African percussive elements that you could imagine Henrik Schwarz making if he were in a more leftfield mood. A syncopated synth melody filters in and out throughout the track and a basic kick and hi-hat combo keeps the energy going strong on this on.

We're proud to bring you this deep, dreamy and provocative EP by Pitto and hope you'll enjoy it as much as we do.

* With a number of high profile releases already behind him for labels including the legendary XL Recordings and Dusky's 17 Steps imprint, Hugo Massien has carved a sound for himself that sees him bring together elements from house, techno, dubstep and hardcore, all combining force to produce this killer 4-track EP, running at the techno-friendly tempos of around 128bpm.

* 'Advanced Aerial Threat' kicks things off with a fractured half-step rhythm that gives more than a nod to his formative years as a fan of the early UK dubstep movement. Stark, deadly and meticulously constructed, the rhythm taps a pace as wild bass stabs rip across a theatre of sound.

* Next up is the delightful melancholy of 'Ursa Minor' which takes a rolling breakbeat as its backbone before a Reese-like bassline emerges from beneath, rising and empowering. An intimate piano line comes in, providing an introspective element, balancing the otherwise rave-savvy ingredients in place.

* 'Candy Flip' takes things into a more electro direction, providing a reliable work out for the dance floor as the tightly tuned drums and bass hold down the spooky synth stabs.

* Last up, closing the EP is 'Divisions From The Start' where once again we see Hugo's intuitive sense of soundscape grandure, creating a kaleidoscope of moods all strung together with precision drum programming and heavyweight sub work.

* DJ Support from: Shed, Loefah, Pinch & many more.

Way back in 1967, an animated superhero cartoon was released into the world. It was created by Grantray-Lawrence Animation and was based on a web-spinning, crime fighting blue and red dressed character that had originated in1962, in Marvel Comics by Stan Lee and Steve Ditko. This amazing series (that we're not allowed to mention the name of for legal reasons) ran on ABC TV in the USA, then Canada, then a few years later started to spread its web further, running here in the UK throughout summer holidays, after school and possibly early mornings at weekends in the late 1970s. The series then got released on VHS video (and probably Betamax too) in the mid 1980s and still continues to spin its animated magic around the world through further broadcasts, YouTube and DVDs.

The series was notoriously low budget, with animated errors everywhere and numerous scenes, sequences and backgrounds being re-used all the time, often across the same episode. Even a certain spider logo on a costume would appear with six legs, then eight legs later on, then back to six again in the same show.

Series One opened with a newly written spider theme, a classic, hooky song all about doing whatever spiders can, and had, as Big George (RIP) once pointed out to me, a set of session singers falling slightly out of time with the backing track after the first verse. Series One also featured background music by jobbing composers Bob Harris and Ray Ellis but these cues and master tapes are now believed to be lost.

After Series One the company Grantray-Lawrence went bankrupt, so the amazing spider series (that we're not allowed to mention for legal reasons) was taken on by producer Steve Krantz. He brought in new talent, including animation director Ralph Bakshi who later went on to turn a Robert Crumb strip cartoon into the feature Fritz The Cat. Krantz also slashed the already cripplingly small spider budget, and brought in the idea of using economic library music. Here, thanks possibly to an independent sync agent (it has been suggested that a company called Music Sound Track Services may have been the one) production turned to the KPM catalogue. This was one of the few really established library catalogues around at the time with a modern edge, it was full of fabulous, modern dramatic music tracks - often all on the same LP. But more importantly all the tracks were far longer than the one minute musical cuts that many of the fledgling USA library companies were issuing at the time. Not only would this KPM music be efficient, affordable and very easy to use, it would also mean syndication worldwide would not be held up by any future musical issues. Krantz produced two amazing spider series (that we're not allowed to mention for legal reasons), and both were smothered with KPM music. In fact barely a spider second goes by without music playing in either the background or foreground.

For many years I - and many nostalgic others - have been thinking about putting this vinyl album together. For many enthusiasts this really is formative music - a junior foray into hip swinging crime jazz and esoteric musical grooviness. I've also read on line accounts by DJs from WFMU on the trail of original spider master tapes, and there's even a whole forum dedicated to Spidey-Jazz'. Then recently I was looking at an old spider tracklist and realized that several of my favourite KPM cues were there including Syd Dale's Hell Raisers' and Walk And Talk', both from one of the most elusive and desirable KPM albums of all time (yes, you just try and find yourself a copy of KPM 1002 right now), so I decided to push on and get the album made.

So, what features on this Spider-Jazz Lp Well it's music from the amazing TV series we are not allowed to mention for legal reasons, BUT, not music from Series One. No, but it is all from Series Two and Series Three. From looking at archival cue sheets, over 50 tracks from various early KPM 1000 series albums were used across episodes. I've distilled this down into one exciting and enthralling LP, and if this works a further Spider Jazz album may well swing in to production. If you're interested (and I'm sure you may well be) cues here came from KPM1001, KPM1002, KPM1015, KPM1017, KPM1018 and KPM1043 and were composed by master library composers of the era - Dale, Hawkshaw, Hawksworth, Mansfield etc.

And if you are listening over there in the USA, you may well recognize many of the cues here not just from the amazing TV series (that we're not allowed to mention for legal reasons) but also from classic 1960s and 1970s NFL highlight shows that we are allowed to mention.

Belgian DJ & producer Mugwump performs an about-face with a new sound and live show and unveils the first extract of his second album 'Drape' and it's first extract,'No Trepidation', a fast-paced postpunk/electronic hybrid and a punch in the face of conformity, formatting and self-censorship.

Borrowing his name from a character from William Burroughs' famed novel Naked Lunch, Mugwump is an elusive presence, a reputation preceded by infamous DJ residencies at Belgian clubs and a longstanding recording relation with Cologne's Kompakt records, ongoing DJ support from Andrew Weatherall as well as a large catalogue of electronic 'disco-techno' records, released on leading labels R&S, Gigolo, Cocoon, Endless Flight, Eskimo, Permanent Vacation or International Feel. Mugwump is also well known for running the Leftorium clubnight in Brussels where like-minded DJ guests such as Ivan Smagghe, Andrew Weatherall, Superpitcher, Matias Aguayo, Optimo, Prins Thomas, Sascha Funke, Gerd Janson, Ata or Roman Flügel share decks leftorium
'Drape' is the follow-up to 2015's debut studio album 'Unspell', which boasted many guest vocalists, garnered media plaudits across the board internationally and was supported with live appearances at Benelux, French, UK and Dutch festivals & venues.Taking it further and morphing into a full live band with new members, Mugwump released the 'Metempsycho EP' in November 2016 on which Geoffroy made his singing debut. Driven by this live band experience, Mugwump's new album 'Drape' will release May 4th 2018

* TNO project is only 18 years old, and hails from Germany. Yet his music sounds like he lived through the old skool years, rather than being born after they had passed. His sound is deep, thoughtful. It maintains the happy vibe, but there is always a thread of darkness running through. Having done various remix work for Kniteforce, this, his debut EP, really showcases his ability to combine dark and light element to great effect. Heavy basslines and menacing samples with unusual arrangements and subtle tricks within the mix give a truly different take without straying too far from the traditional rave sound of the mid 90's

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

A high-speed car chase between a Dodge Charger and a Ford Mustang, with super-cop Bullitt at the wheel, who forces the hitman off the road and into a petrol station, which explodes and incinerates him. Prior to that, harsh clashes of metal, hubcaps flying all over the place, and the chief character Steve McQueen, who grimly changes gears and hurtles through the streets of San Francisco, wheels screaming and rubber burning. That was how Hollywood staged one of the longest and most dramatic car chases, long before the days of the Anti-Blocking-System and Anti-Slide-Control.

Very up-to-date and just as exciting as the screenplay is the music Lalo Schifrin wrote for the film, which embeds the characters, places and events in a musical context. For example, "Bullitt": the metrically angular main theme portrays a mysterious, cool character who sums up a situation with keen alertness and then makes his attack with the speed of lightning.

Initially the music travels through easy-going Latin terrain. But gradually the rhythmic texture changes and takes a rougher path, with clicks, knocks and hammering. Legendary flute lines create a compensatory placidness with airy clouds floating above the sharp mix. A really special track is "Shifting Gears": here you can listen to Schifrin tuning the car, how he manipulates a jammed springy bossa to take on the sound of clean, smooth-running rock.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Intimate November tour also announced After their 2012 Mercury Prize nominated debut and 2015's Top 20 follow-up 'Born Under Saturn', musical adventurers Django Django are back for 2017, exploring new sounds with their brand new album 'Marble Skies' which will be released on January 26th on Because Music. Today the album launches with first single 'Tic Tac Toe', a rousing, trippy upbeat rock track with an enormous echoing hookline which will excite fans of the band's rockabilly-influenced elements. The accompanying video for 'Tic Tac Toe' was directed by John Maclean, brother of Django Django drummer/producer David Maclean and director of the critically acclaimed modernist western 'Slow West'. It depicts vocalist/guitarist Vincent Neff enjoying a rapid-fire day-trip to Hastings which takes a turn into the surreal and sinister when a ghost train puts him on a collision course with a grim reaper inspired by Ingmar Bergman's The Seventh Seal. As John Maclean explains: The film could be about the fading era of the beach arcades, time moving too fast, love and games, horror and happiness but it is actually about a man who needs to go buy a pint of milk to make a cup of tea.' After the brilliant, rave-shaped grooves and expansive arrangements of its predecessor, 'Marble Skies' is a more concise and focused offering which recalls the dynamic, genre-blurring music of their debut. It's a return to form, an album which finds them returning to the handmade, cut-and-paste approach of the past. Upon finishing the 'Born To Saturn' tour, Dave ventured to LA to work on a production project, whilst the other band members went to India with the British Council. When they returned, the new album process began with a back-to-basics approach which recalled the DIY ethos of the band's early days, Django Django - minus an absent Maclean - assembled at Urchin Studios in Tottenham, London with Metronomy drummer Anna Prior to experiment with the idea of coming up with new tracks through loose jamming sessions. After ten days of recording, there was plenty of raw material to send up to Dave (then back in his hometown of Dundee) for him to edit, refine and evolve. As ever, all four band members (completed by Tommy Grace on synths and bassist Jimmy Dixon) contributed to the band's music, melodies and lyrics as the final album took shape. Parts of 'Marble Skies' find Django Django sailing into uncharted territories, not least the driving title track (propelled by Prior's drumming), with its echoes of Krautrock and Suicide. Meanwhile, the hazy Zombies-like summer pop of 'Champagne', which explores the joys and ills of alcohol, was inspired by the band's over-indulgence during a boat trip on the Seine that was hosted by their label. Those drawn to the more dance-orientated side of Django Django will find much to love in the twisted '80s electro pop of 'In Your Beat' and the dancehall-influenced 'Surface To Air', a dreamy-headed pop song fronted by Rebecca Taylor of Slow Club. The collaboration came as a result of the two bands meeting up at SXSW some years ago, where Rebecca and Dave in particular bonded over shared interests in R&B, hip-hop and dancehall. Another more surprising collaborator is Jan Hammer, the Czech-born, American-based jazz-fusion and electronic artist who shares writing credits with the band on the gorgeously floaty 'Sundials'. If there's a mood running through 'Marble Skies', it's one of reflection on things past and present, and finding some kind of peace with your place in the grand scheme of things.

As the lead singer of George Darko's legendary Burger-Highlife hit-band, Lee Dodou became the number one voice of 80's Highlife. Born in Kumasi, the epicenter of Ghanaian Highlife, he came to Berlin in the late 70's - by then the uprising epicenter of Burger-Highlife - to work as a back-up-singer for Pat Thomas. After joining and leaving Georg Darko and running his own band "Kantata", he stopped releasing music in the early 90's. Now, Philophon is proud to present new recordings of his soulful genius to the world of 2018.

Basa Basa is a song in the classic "concert party" style, as it was played in the glorious 60's. After a firey horn introduction Lee takes over in that funny and entertaining manner typical for "concert party" music. Buzz Duncker joins Lee's phrases with some gentle clarinet. Highlife at its best!

Sahara Akwantuo is anything but a classic: it's the start of a kind of philophonic Highlife, labeled as Kraut-Life. Ghanaian love of life meets German romantic melancholy. Happy rhythms meet mysterious synth landscapes. Eternal summertime and mangos are meeting a wet winter world and roast apples. Kraut-Life at its best!

Belgium's favourite underground house DJ Red D celebrates the 10 year anniversary of his We Play House Recordings label with 6 vinyl samplers containing new tracks and some very wanted gems from the catalogue. Artists featured are San Soda, Fabrice Lig, FCL (featuring Lady Linn), Kiani & His Legion, krewcial, Reggie Dokes, Raoul Lambert & Nacho Marco, Art Of Tones and many more. Voices Near The Hypocentre
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About We Play House Recordings

We Play House Recordings - WPH - is the work of Belgian DJ & producer Red D. Started 10 years ago to release the music of his friend san Soda, the label had (and has) the aim to release house music in all its shapes and forms. WPH's house ethics date back to the days where house was just a name for music that was played in clubs. There is no such thing as tech house, no such thing as deep house or minimal, there is simply (house) music, good or bad.

We Play House Recordings is lovingly led by Red D (real name Bart Van Neste), one of Belgium's leading underground music figures. Be it in his role as DJ, A&R, promoter, music panel host or general nitelife instigator, Red D does things with passion, humor and a healthy dose of keeping-both-feet-firmly-on-the-ground...with a twist...

WPH was started in 2007, so it takes no math genius to know that in 2017 the label is celebrating its 10 years anniversary. Running from the spring till winter 2017 this anniversary will be celebrated with special vinyl releases, a triple CD, a digital compilation, a Spotify playlist and a series of label nights all over Belgium and beyond. True to form the compilation will have WPH classics but also a BIG bunch of new material from core artists of the label like Locked Groove, San Soda, Kiani & His Legion, Fabrice Lig and many more.

James Ramey, better known by his self-depreciating stage name Baby Huey, was a potently flamboyant presence in Chicago's soul scene during the 1960s. Though he suffered weight problems throughout his life due to a glandular disorder, he was easily recognizable for his appearance, which featured an enormous afro, and long, flowing African robes. He and his band The Babysitters were a wildly popular and successful local act across Illinois, cutting numerous 45 singles, without releasing a single full-length album. A chance audition with Donny Hathaway and Curtis Mayfield of Curtom Records would change everything for the band. Though the two of them were pleased with the group, they opted only to sign Baby Huey without the Babysitters. Huey would go on to spend much of

1970 recording a studio debut of psychedelic soul and funk music, comprised largely of covers of tracks by Mayfield, Sam Cooke, and others, plus two original compositions. During this time the now 400-pound singer struggled with addiction to alcohol and heroin. Huey would not see the release of his debut album, dying at the age of 26 from a drug-related heart attack. So many years after its 1971 release, Baby Huey's studio album Baby Huey: The Living Legend went on to become a cult phenomenon, a massive influence to hip-hop artists and fans, and is now considered a classic of its era. Tracks from the album have been a treasure trove of sample material for artists like A Tribe Called Quest, Wu-Tang Clan, DJ Shadow, and The Chemical Brothers to name just a few. Additionally Huey's own vocal style, which dabbled in sing-song melodies and self-referential rhyming, has been said to have influenced the development of rapping itself.

'Intraverso is a journey in that momentary 'inbetween land' that many of us experience sometimes. It explores the turmoil of feelings of when one gets stuck in the middle, floating in between ambition and complete stillness'.

Fabrizio Lapiana is a well-known name on the contemporary Italian techno scene. He has been involved in music since the 90's when he started DJ'ing in his hometown Rome. To date he has over two handfuls of releases on labels such as Figure Jams, Arts and M_Rec Ltd - as well as his own imprint, the well renowned Attic Music, founded in 2008.
Intraverso is Fabrizio's debut album, set for release on his label. The record is a very personal journey, according to the artist himself. You here find him examining different territory than where he usually heads within his productions. The album, which consists of nine songs in total, was composed between April 2016 and February 2017 in his studio in Rome. Written in a state of 'introspect', we here see an artist in motion. Changing. Evolving. The perfect moment to explore something new and unveil a different side of yourself to the world.

The intro 'Early Morning Waves' opens the album with its own quiet dramatic tone, waves hitting the shore as we move into 'Bret'. A cloud-walking kind of melody welcomes you, accompanied by a curious beat driving the journey forward. A deep heavy bassline and almost ancient sounding melody rises in 'Onironauta' (reflecting 'Early Morning Waves' mystical mood) until more playful elements blends in. The contemplative bass elements continue in the title track of the album; 'Intraverso' is a track of mind traveling discovery, yet before drifting too far you are grabbed by a snare, a clap of white noise and a pulsating beat to keep you on track. Further on, 'Lost In Negative Thoughts (reshaped)' reveals itself with its heavy ominous drumbeats and a dark spun web of strings is joined by sounds of distant life and machinery. Then there is 'Distance' which is the album's first flirt with more dancefloor friendly territory. Still under a veil of ill-lit melodies, expertly programmed percussion and claps creates something for a more personal body move experience. Moving into 'Again' sees the expedition continuing journeying through the dancefloor, albeit in a deeper landscape where flickering extraterrestrial sounds watches you go along. In 'Backlit' you find the albums most organic moment, an ambient slow thoughtful walk through the consciousness of the producer - only to end up with the album's final moment; 'Freckles (beatless)'. Here we drift deeper off into slow ambient melodies with a comforting thoughtful bassline taking us to the end of our voyage.

Lapiana has composed an album where you get to travel with him on a sonic journey into the deepest corners of his mind, baring vulnerabilities as well as strengths. Intraverso carries a feeling of ancient atmosphere via its melodic language through its whole running time, perhaps since the foundation of the album is based on emotions and the mind. Thoughts, feelings and mental states that always have been with us, no matter the time and place. It is a mature debut album for an artist that proves he is willing to risk going into different areas than the tried and tested ground. One might say Intraverso is a record created for an introvert introspective dancer, willing to see what lies beyond that of which is visible at first glance.

Man Power his raw electronic sound, organic flourishes and diverse selection make him a perfect match for DGTL, both on stage as well as on the imprint. Next to releasing a steady flow of records on established labels like ESP Institute, Optimo Trax, Correspondant and Hivern Discs, Man Power is running his own shop as well: Me Me Me. This gives him an outlet to release music by both friends and himself. For his release on DGTL Records he created a three-track EP called Apologue EP, that showcases just two of different sides of his multi-faceted musical scope.

The a-side features two firm, acid influenced tracks. The first of these two, The Duelist, is an emotive house record, with a soundscape of piano melodies, synths and syncopated percussion laid on top of an acid bassline. El Mago del Tiempo features heavy hitting kicks combined with a sharp synth pattern. It has a long build up that keeps evolving throughout the entire composition. Halfway through, the track breaks in to a raw and fierce rhythm accompanied by yearning, drawn-out synth pads.
On the flipside, Put Your Hands on the Car (And Get Ready To Die) brings back memories of a long gone past with nods to Balearic Pop, EBM, and the Soundtrack work of Stewart Copeland, James Horner, and Jan Hammer. This multi layered production has a warm and analogue sounding feel to it that rounds off a 3 dimensional release.

You will find the new Man Power record in your favourite record shop, be it online or offline, on the 2nd of February.

OMEN Recordings is off running to the industrial techno races againand this third release has already been gaining traction around the globe with high anticipation and support from many respected producers and DJs alike. The Puppetskin EP written and produced by German and French artists RENDERED with remixes by American producers BLACK ASTEROID and AXKAN is off to a great start. RENDERED starts off strong with the title track Puppetskin" (A1), with strong breakbeat kicks, thrashing snares and rich synth lines that are melodic and spacey. The dancefloor will surely love the Charles Manson samples. Nightmoves' (A2) also heads the pack with shuffling kicks while rich, minor-tuned pads take you on a persistent journey. About half way through, you will be moved by a 4/4 pattern that sneaks in and will be a favorite for the dancers. BLACK ASTEROID's remix of Puppetskin' (B2) does not disappoint as signature Black Asteroid textures and rhythms come alive in this rendition. Although it has rounded, full soundscapes that sound perfect for a large venue, its pumping, hypnotizing bass lines and screeching sirens keep you pulled into the darkness. AXKAN stays in the pack with his earthshattering remix of Puppetskin' (B1) by starting slow with a profound intro to then push the audio boundaries with his powerful kick and bassline, to gain more and more strength with vocal samples, distorted drums and FX. AXKAN uses every stem of the original in such a creative way to help win the race. This EP, soon to be available on vinyl and digital formats, exceeds the expectations of sound design and techno together. No matter what time of night it is, these tracks can be played in a versatile way. While still employing darker textures, a breath of light creeps its way in. Listening to this EP start to finish is definitely worthwhile.

'Y.O.U' is an emotive album of tripped out ambient hip hop instrumentals by FROM, written and recorded in the mid 90s under Trevor Jackson's infamous production persona The Underdog. Originally planned as a vocally-led, song-based project that should've surfaced between his production for The Brotherhood's legendary British hip hop album 'Elementalz' in 1996 and his acclaimed debut PLAYGROUP release in 2001, for multiple reasons it hasn't seen the light of day, until now.
Only Available as a ultra limited edition Vinyl and CD release, the LP consists of 11 tracks. Dream-like synth lines, ambient melodies, blissful guitars, raw beats and soft, fractured vocals draw you into a hallucinatory 12bit world. Drawing on Jackson's progressive and jazz rock influences as well as psychedelia and early electronics, the album closes with 'Belladonna'- a piano-sampled homage to the east coast golden age hip hop pioneers. NB: The CD features a longer version of 'Veratrum' not available on the vinyl version. All created on an Akai S950 mono sampler (limited to only 20 seconds sampling time), an Akai MG1212 12 channel mixer (which recorded on Betamax style tapes) and primitive outboard gear, Jackson honed his skills from his bedroom, where he produced the majority of his output at the time. With a huge collection of obscure vinyl, he dug deep into uncharted territories for samples and sound clips
- using material no one knew about (or would think about touching) in the mid 90s. The Underdog's initial releases were on Jackson's own Bite It! recordings label, which was started in 1991. A unique platform for UK hip hop with a visual aesthetic and ethos more akin to ECM and Factory
than other rap labels, its mission was to push artists beyond musical and cultural limitations prevalent at the time.
Home to artists like The Brotherhood, Scientists of Sound, Little Pauly Ryan and Lewis Parker (who later signed to Massive Attack's Melancholic label), Bite It! became a great success;
finally British rap had artists and releases that looked and sounded as good as their revered American counterparts. In 1993 Richard Russell (who had just started running XL recordings) asked Trevor to remix House of Pain, resulting in a top ten record, which helped launch Jackson's musical career via further remixes Massive Attack, Run DMC, U2, The Cure and countless others. Off the back of his remix success, The Brotherhood signed a deal in 1994 with Virgin Records. Their 'ELEMENTALZ' album was produced by Jackson and is still lauded by many as one of the finest British hip hop albums of all time.
Jackson continued to remix and produce as The Underdog until managerial issues forced him out of the project he'd been instrumental in instigating.
Soon after his close friend and manager tragically passed away - which when combined with the UK hip hop scene becoming increasingly volatile and the moral demise of rap culture in general - convinced Trevor to hang up his hip hop hat for good.
After leaving The Brotherhood he started Output Recordings. Internationally and sonically diverse, it gave Jackson a free reign to do as he pleased, with genre twisting releases from the likes of Fridge, Four Tet, Sonovac, Colder, his own PLAYGROUP project, The Rapture and LCD Soundsystem. With a non-compromising attitude, strong DIY aesthetic and consistently groundbreaking releases across its ten year life between 1996 and 2006, it became one of the most important and respected independent labels in the world.