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France is the trio of Jeremie Sauvage on electric bass, Mathieu Tilly on drums and Yann Gourdon on amplified hurdy-gurdy. They play one note / one rhythm producing energetic performances reminiscent of the early collaborations between Faust and Tony Conrad. Creativly recycled influences result in intense shows with pounding overtones and repetitive pulsing rhythms. Loud straight and trance-inducing.

The pertinency of the recordings only slowly appear On Occitanie" in the mass of sound, the rhythmic repetition and the elongated drones. The hurdy-gurdy forces you deeper, highlighting points of microtonal flux, cracking open the single note, the nodding rhythm, to imply the presence of every note, every sound, inside it. The insensible evolution, lurks in a corner of noise and finally imposes itself slowly on careful listening.

The band members of France perform in various other projects: Tanz Mein Herz, Toad and Jérico, all are member of the collective La Novià, an organisation based in Haute-Loire which brings together professional musicians and is a place for reflection and experimentation around traditional and / or experimental music.

In 2009, France was invited to play in Pau, a city far south-west of France, next to spain, by the people running Pagans Musica, a like-minded traditionnal-oriented group of people, also bent on educational issues concerning the local music and dialect: Occitan and on fusioning traditional musics and rock related sounds and instruments. They had set up a show for France and their band Artus and originaly wanted to have Acid Mother's Temple join the bill. The japanese band had done versions of songs coming from their village (eg. "La Nòvia") but weren't touring near France so instead they invited Duo Ancelin Rouzier as the third act, a band both Artus and France were also very fond of.

Pagans had everything set-up for the concert to be recorded and as France had plenty of time for sound-check, they went on to record the Pau" album in the afternoon, taking a thirty seconds pause in the middle of the session so as to mark both sides of the vinyl. The Occitanie Lp is the recording of the live set later that night, with no cut and a longer, more savage performance.

2022 Repress

Second Woman is the collaborative project featuring Turk Dietrich of Belong and Joshua Eustis of Telefon Tel Aviv.
Josh and Turk have been friends for over 17 years, having met in New Orleans in the late '90s through mutual friend and future collaborator, Charlie Cooper. The duo have been working on music together on and o since that time.
The concept of Second Woman began with the idea of taking tropes from footwork, dub, house, and techno, and twisting these ideas into something kaleidoscopically liberated from the grid. Their work first materialized with two LP's and an EP on John Elliott and Peter Rehberg's Spectrum Spools.
Second Woman tweak the perception of time and space within the audio field into something ASMR-inducing and ultimately satisfying to listen to. Both Josh and Turk experience ASMR in response to certain rhythms and sounds, and e ort was made to incorporate these triggers into the music, hopefully for other people to experience as well.
With Apart / Instant, Second Woman present their signature sound as well as a new, more measured dimension to their work.

Clear Vinyl
Dominique Lawalree (b. 1954) is a composer born and based in Brussels. 'First Meeting is Lawalree's first archival release to date. Culled from four different albums originally self-published on his private label Editions Walrus, circa 1978-1982, this compilation highlights the composer's unique sense of ambient and minimal composition. Originally considered for release on Brian Eno's Obscure Records, Lawalree's music is now no longer hidden.

In this collection the listener finds the sounds of piano, synthesizers, percussion, wurlitzer, organ, and voice, all performed by Lawalree. Using these tools Dominique creates miniature themes that gallop across the speakers in slow motion, stretching our normal sense of dynamics and color, effortlessly widening the stereo plane. On "Musique Satieerique," Dominique pays homage to the influence of Satie with simple repeated piano figures and a lush field of organs and flutes. And on other selections, like "Le Maison Des 5 Elements," he takes a more wistful, ambient approach, layering keyboard lines, and invoking found/tape sounds to create a hypnogogic world of his own. Childlike in its playfulness and surreal to the bone, the music spins like a carrousel placed inside the Rothko Chapel. Lawalree's sense of timbre, tone, and overarching composition is like an impression of a home movie whose charm lies in its knowledge of intimacy, shared by few.' An incantation of innocence.

"a quiet, understated music that is both touching and elegant" - Gavin Bryars

Trees Speak is an experimental rock band that transcend mainstream influences by incorporating elements of Avant-garde, Neo-psychedelic, Minimalism, art and electronic - along with violin-bowed guitar, Theremin and a glut of effects pedals, and it's an ear-bending rush of lush soundscapes.

Trees Speak - as much a sound laboratory as a rock and roll band - is the musical venture of acclaimed visual artist and musician Daniel Martin Diaz (formerly of Blind Divine and Crystal Radio). For the debut double-LP Trees Speak is joined by Michael Glidewell (Black Sun Ensemble), Gabriel Sullivan (XIXA, Giant Sand), Connor Gallaher (Myrrors & Cobra Family Picnic), Damian Diaz (Human Error), and Julius Schlosburg (Jeron White Acoustic Trio). The studio itself should also take top billing, because in the tradition of krautrockers Can and Bitches Brew-era Miles Davis, the band takes its winding, incandescent motoric rock and roll improvisations and edits them into coherent compositions using the mixing desk after recording. And that's where the sound lab half of the equation appears. The end result is flowing and droning ambient proto-punk reminiscent of fellow travelers NEU!, Stereolab, - Joshua Levine

Our intention is to create music with an unrehearsed minimalist approach performing simple beats, riffs, and sequences that take one inward. We attempt to create a sonic environment to set one's mind free and to become aware of the nuances of tone, melody, and structure. We organize our recording equipment with the same approach, in a transparent manner. Our recorded performances are never rehearsed. Our belief is that a brilliant rehearsal is a lost opportunity to capture a magical moment. We are chasing the mystery of music and tone. We let the musical performance sculpt its own destiny and create imperfect perfection. Our tool of creation is the anxiety one feels when they are unrehearsed or prepared for a performance. We believe this approach brings us closer to the authentic self. The result is genuine music without an agenda that captures the unfiltered spirit.
- Trees Speak


The music was recorded live in one room with no overdubs or repairs, only using edits to create arrangements. All tracks were written over a 5 day period at Sacred Machine Studio and Dust & Stone Studio.

On paper, a full collaborative album from Doom and space age production from Jneiro Jarel

can't fail. In practice it's even better. Doom is in the form of his life here. JJ produced all the

tracks, Doom provided the bulk of the vocals and compiled the cut and paste skits. Doom

recorded the album while 'banished' from the States and back living in london. He references

British culture throughout the album, name dropping British institutions, and possibly being

the first emcee to reference My Big Fat Gypsy Wedding. Jneiro recording the beats in the dirty

south, got into a UK state mind, and turned in heavy hip hop production that leans towards

grime, dubstep and British techno. The album will appeal to fans of classic Doom material.

JJ's tough, far out hip hop production will appeal to fans of Dilla, Flying Lotus and el-p. It also

features guest appearances from Beth Gibbons, Damon Albarn and Khujo (goodie mob).

Album artwork is by graffiti artist Steve Powers aka Espo.

On the 11th May 2018 USM will release a vinyl (180 gram) and CD reissue of the Jay-Z's In My Lifetime, Vol. 1' and Vol. 2...Hard Knock Life' on 2LP.
- In My Lifetime, Vol. 1 is the second studio album by American rapper Jay-Z, released on November 4, 1997, by Roc-A-Fella Records and Def Jam Recordings. The majority of the production is handled by Puff Daddy's production team The Hitmen from the Bad Boy label, giving the album a generally glossier sound than its predecessor.
- Vol. 2... Hard Knock Life is the third studio album by American rapper Jay-Z. It went on to become his most commercially successful album, selling over 5 million copies in the United States. Vol. 2... became Jay-Z's first album to debut at #1 on the Billboard 200. The album won Grammy Award for Best Rap Album at the 41st Annual Grammy Awards.

Being as LSD was first developed in a laboratory in Basel, it is perhaps no coincidence that one of the most far out albums of all time was made by this Swiss band (no small feat, given the competition!). Braintickets 1971 debut, Cottonwoodhill, begins normally enough with two fine psychedelic/Krautrock-influenced tracks, but the remainder of the album plays like an acid trip with a soundtrack, dominated by Joel Vandroogenbroecks endless droning organ, a variety of musique concrète-type sound effects and vocalist Dawn Muirs trippy vocals. The album, banned in several countries, even came with this self-imposed warning: After Listening to this Record, your friends may not know you anymore. / Only listen to this once a day, your brain might be destroyed!. Gatefold sleeve. Fully remastered from the original master tapes!

140 gram black vinyl, Double sided record sleeve, Double sided photo insert

In 2013, a 16-year-old LORDE quietly, yet confidently asserted herself as the voice of a generation with her full-length debut, Pure Heroine. The album would go triple-platinum, selling over 4 Million worldwide, win two GRAMMY® Awards, a BRIT and spawned the seven-times platinum record-breaking international juggernaut single, Royals,' and quadruple-platinum follow up Team.'

She also curated the official soundtrack for The Hunger Games: Mockingjay - Part 1 and recorded Yellow Flicker Beat' as the lead single. Her last trip to the UK was when she was personally asked by David Bowie's family to perform her spellbinding tribute to the late artist at 2016 BRIT AWARDS. Having once been described by David Bowie himself as "the future of music', Lorde is proving to be that and much more.

Following LORDE's triumphant return with comeback single Green Light,' the singer released her second full-length album Melodrama on June 16.

Melodrama will now be released on standard & deluxe vinyl this April

After a first untitled EP came out earlier this year on the occasion of Record Store Day, saxophonist Mattias De Craene (Nordmann) and his drummers Simon Segers (De Beren Gieren/Absynthe Minded) and Lennert Jacobs (The Germans/Hong Kong Dong) also known as MDCIII will launch their blazing debut album Dreamhatcher on 28 September 28th.

Mattias Decraenes sensationally strident sax parts elevate the hypnotising grooves of rhythmic duo aSimon Segers and Lennart Jacobs to an ecstatic level. The almost alarming sound that stems from this combination leaves every listener in the kind of cinematic daze that would enthuse even directors like David Lynch and Quentin Tarantino.

But is it jazz Who cares! As prodigies of the new wave of Belgian jazz, Mattias and his two soulmates effortlessly marry the virtuosity and free spirit of jazz to influences from the other end of the musical spectrum: from tribal rhythms and roots to far out electronics. It makes it hard to categorise their music unless the category extraordinary counts of course!

**Double LP - 180 GRAM** Already Platinum. Impeccable design. Although this is one of the more talked about records of his career, there's no doubt that this is a testament to JAY Z's diligence, entrepreneurship, and artistic vision. Picking up where Watch The Throne left off, Magna Carta Holy Grail is JAY Z's twelfth studio album, and a portrait of an emcee embracing fatherhood, marriage, and striking a balance between a past spent coming up and a future shuffling around the top. The LP also includes a limited edition flexi-disc postcard of exclusive non-album track ''Open Letter'' hidden under the artwork on the back cover. Production is helmed largely by J-Roc, Timbaland, Pharrell Williams, Hit-Boy and others, while featuring performances by Beyoncé, Rick Ross, Justin Timberlake, Frank Ocean, Nas, and more. With MCHG, JAY Z understands that hip hop is starting to enjoy the same clout as fine art and, even better, hip hop is alive, a part of the world, evolving, and not cordoned off in a museum. Play it forward and grab a copy now.

Album features Ernie K Doe’s ‘Here Come The Girls’, The Meters, Eddie Bo, Professor Longhair, Lee Dorsey, Wild Magnolias and more.

This is the definitive collection of New Orleans Funk featuring acknowledged masters next to some of the earlier artists who shaped the meaning of funk. The album is also filled with many rare, sought after and undiscovered funk tracks. It covers the period from the emergence of New Orleans Funk in the early 1960's through to the mid-seventies.

The record is an essential part of anyone in any way interested in Funk's record collection. It has some vital ingredients in it that you can't find elsewhere. With the sound of the New Orleans Funeral March Bands, Mardi Gras Indian Tribes and Saturday Night Fish Fries all as inspiration New Orleans Funk developed into a unique sound.

New Orleans is a port town. Originally owned by the French, this was where many slaves were brought from the West Indies. Many of these slaves came from Haiti and brought with them the religion of Voodoo and its drums and music. It became one of the first parts of America to develop a strong African-American culture leading to the invention of Jazz in the early 1900's.

A main feature of Jazz in New Orleans were the Jazz Funeral Marching bands. Solemn Brass bands accompanying a coffin would, on burial, be joined by a second line of drummers and dancers which would turn the event into a celebration of the spirit cutting free from earth. This African tradition is strong in New Orleans and still goes on to this day. The backline drums play a syncopated style that is neither on the beat nor the off-beat. It is these rhythms that are the basis of New Orleans Funk.

The album comes with a booklet presenting a historical explanation to how and why this music came about, and with lots of information about the people involved.


Reviews: "A Perfect Primer For Funk Fans" Q (Top 5 albums of the year). "Probably the finest compilation that Soul Jazz has released. Essential" Time Out.

Freestyle techno nonstandard DJ Sotofett produced this cosmic ambient excursion together with two Finnish producers Kalifornia Keke and Stiletti Ana.

To celebrate the 10th anniversary of Dekmantel's goings on in the world of events, festivals, and great music, the team behind the label have been releasing a record a month featuring some of their favourite artists, as part of a ten-year anniversary series collection. Featuring acts close to the label's collective, debuts, and legacy talents the crew have always wanted to sign, the series has seen the likes of Gigi Masin, Call Super, Fatima Yamaha, and more. This penultimate EP, sees Dekmantel debut releases by Lena Willikens, Space Dimension Controller, and Dutch lo-fi star Betonkust and Palmbomen, in addition to a special cut by Bufiman.The EP kicks off with a new track by Salon Des Amateurs resident Bufiman — real name Jan Schulte — who also goes by Wolf Müller. 'Hymn to the Moonface' ensures that percussion comes first and foremost, in this upbeat, prog-breaks, jaunty, summer cut following up on his Dekmantel debut "Peace Moves". Dutch duo Betonkust and Palmbomen release their first track on Dekmantel with 'Onrust Bij Tihange' - an ode to the Tihange Nuclear Power Station in Belgium. Specialists in crafting lo-fi, nostalgic sounds, Betonkust and Palmbomen do what they do best, with a pulsing, analog, nostalgic electro track that sounds as if its been fed through a VHS player, a top of recording of Miami Vice. What happened at Tihange through is another question. Belfast-producer Space Dimension Controller, a.k.a. Jack Hamill adds some galactic, space-flare, mid-tempo, D-funk to the flip side. With a debut EP dropping on Dekmantel soon, SDC contributes one of his most beautiful compositions to date, highlighting his flair for melody, blending it astutely together with rich techno hat and snare combos. Concluding the record, is Dekmantel favourite, Lena Willikens. After so many appearances across so many of Dekmantel festivals, it's a pleasure to have the astute selector release a rare production on the label. Willikens' dark wavey cut is something one would expect to hear in one of her sets, sounding like a modern take of a long-forgotten, and unknown krautrock band.

Buoyed by the success of Endless, their 2015 primer on forgotten electronic explorer Dimitris Petsetakis, Into The Light Records has worked with the Greek composer to compile a follow-up album that takes an even deeper dive into his archive of previously unreleased material. Like its predecessor, On Shores draws on music recorded in the 1980s and early '90s. It contains just two previous released tracks, the humid 'Clearance (Part 2)' and poignant 'On Endless Shores', both of which first featured on Petsetakis's cult 1991 album Missing Links.

On Shores offers another unparalleled insight into the picturesque and atmospheric soundscapes created in the Piraeus-based composer's basement studio using a mixture of electronic and acoustic instruments, a wide range of global influences and a keen interest in both minimalism and new age ambience. Listeners will encounter a range of stunningly beautiful and beguiling compositions, from the creepy, slow-burn exoticism of 'Pythia's Dance' and rhythmic, otherworldly escapism of 'Violated Asylum', to the gentle bliss of 'Like a Knife' and sun-bright joy of 'Nearxi (Minimal Marimba Edit)'.

Recorded in 1972 at the legendary Landsdowne Studios in London, Cosmic Eye is an extraordinary piece of recorded music. Led by Indian born guitarist Amancio D'Silva, Cosmic Eye was a highly innovative studio experiment in which 'Jazz Meets World'. Following in the footsteps of other pioneering Landsdowne jazz recordings such as Joe Harriott & John Mayer's Indo Jazz sessions, Cosmic Eye is modal, but is also under-pinned with traditional Indian instrumentation and structure, resulting in a hypnotic, psychedelic jazz excursion.
Constructed into two conceptual pieces (Dream Sequences), two side-long jazz ragas showcasing D'Silva's soulful guitar playing reminiscent of his earlier 60s sessions, Hum Dono and Integrations, as well as his session work for the Bollywood film industry under the musical directors Laxmikant-Pyarelal. Featuring a host of UK and Indian musicians, Cosmic Eye is a Singular recording from a fervently rich period of British modern jazz. Finally this phenomenal jazz recording sees a legitimate reissue.

'Mallumo' is the introspective and therapeutic works of Nottingham born musician, producer and composer Neil Tolliday.
Known to most simply as Nail, on this his first solo LP under his given name, Tolliday releases four meditative dark ambient pieces recorded between 2010 and 2015 that explore the depths of his psyche.Made as a direct response to a period of clinical depression this self therapy gave birth to soundscapes that branch between hope, tranquility and torment as a man searched for solace through sound and his own creativity resulting in the listener being taken on a heady ride through their own subconscious mind. Limited to 300 copies, this 180 gram double vinyl LP comes with your own Utopia Project incense and a download code for the full hour long versions of each movement.
Cover photography shot and printed by Michael Bradley, Design and curation by Alexander Bradley for Utopia Records, London 2019.

Five years after his track 'Mr. Croissant Taker' appeared on Soulwax's Grand Theft Auto V radio station, Belgian producer Transistorcake releases his official debut release, the 'Future Plans' EP on Eskimo Recordings. Featuring 4 tracks of hazy electronica that would sit neatly alongside early releases on Aphex Twin's Rephlex label or recent excursions by the likes of Palmbomen and Betonkust.

Opening tracks 'Future Plan I' and 'Future Plan II' sets out Transistorcake's stall nicely. Swirling synth melodies, an ever evolving bassline that leads you down a labyrinthine maze and diaphanous strings and pads all add up to create an ecstatic yet at the same time melancholic quality to the music that manages to sound both ancient and modern.

"Future Plans I and II are constantly changing routes of ideas, improvisations and coincidences," explains Transistorcake, "nothing is a constant in the two numbers, outside the pulse of the drums. You can see them as two possible versions of the future or as an old version of the future alongside its current variation."

Whilst cut from the same cloth as the previous tracks 'Ribbles' has more than a touch of the Nordics to it. Sparkling, playful melodies glitter like snowflakes caught in the flash of a strobe light before a pulsing disco beat rockets the track into the stratosphere. In his own words the track is "an ode to spontaneity and dancing without braking. I pictured it being played by a live band next to a pool at an LA cocktail party in the '80s."

Closing the EP we have 'Kluts', driven by a stuttering, head-nodding, rhythm that recalls that rapping sound of a woodpecker in the forest, the track is gently swaddled in a warm embrace of synthetic stings that gradually develops and asserts its dominance over the course of nine, all-too brief as it happens, minutes. For all its gauzy textures there's also an undeniable solidity to these tracks, an underlying organic quality and nostalgic warmth that permeates them.

Having previously studied jazz composition and played in several bands over the years, Transistorcake brings a sense of spontaneity to the often all-to-structured world of electronic music. This EP just capturing a snapshot in time of these songs that can be endlessly reworked and reimagined in his live set, where live bass and drums, are added to his collection of vintage synths to an endless back and forth between man and machine.

Schwarzes Standard Vinyl inklusive Downloadcode.

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

In the lead up to part two of the highly anticipated Outro Tempo compilation, MFM drops this teaser EP with the never before heard cassette madness of São Paulo's Bruhahá Babélico and Individual Industry's ethereal electro pop on the flip.

Music From Memory announces a series of Brazilian releases for this Spring that pick up where their 2017 Outro Tempo compilation left off. Circling around the musical projects that emerged out of the art world in Brazilian cities during the late 1980s and 1990s, 'Outro Tempo II: Electronic and Contemporary Music from Brazil, 1984-1996' takes anotherdive into the depths of the Brazilian underworld, exploring the rhythms that lurk beneath the Ipanema sunset. It shines light on more illustrious unknowns and on the genre-defying music that maintained asymbiotic, yet uneasy, relationship with mainstream popular culture.

Duplicated with care on clear-smoke tapes. Limited to 100 copies.

Amazing and unique private soul/jazz-funk fusion LP, 'New York To L.A.: Coasting' is the first release (1980) on Andrew Scott Potter and David Eric Tillman's PO/ET label. Sublime from the beginning to the end, it has become, just like their second and final release '...Space...Rapture...', a sought-after collector's item.

Andrew and Eric both come from Chicago. They met in the early 70's, shortly after Eric's discharge from the U.S. Air Force. They played together on the local jazz scene for several years (among others, with Maulawi). During that period, Andrew also toured with Minnie Riperton and Eric toured with The Dells, Linda Clifford and others. In the late 70's Eric left Chicago for Los Angeles, when he began touring with The Temptations. Since moving to California Eric has played and/or recorded with a variety of artists, including, Willie Bobo, Justo Almario, Alex Acuna, Norman Connors, Billy Paul, GAP Band, Linda Hopkins, Billy Higgins, O.C. Smith, and many others.

The latest addition to the James Holden archive is an album of solo synth work originally written to accompany the critically-acclaimed documentary 'A Cambodian Spring': fourteen tracks of pulsing melancholy, foreboding drone and even the occasional burst of beatless trance in the form of the uplifting arpeggios of surefire album highlight 'Solidarity Theme'.

Picking up where his classic 2013 album 'The Inheritors' left off (and giving album closer 'Self-Playing Schmaltz' a new cinematic airing) Holden's debut soundtrack project combines the sound palette of his beloved Prophet 600 with a cranky old Hammond organ to showcase the full breadth of his musical tastes across the epic documentary format.

Includes download code and sleeve notes by 'Imaginary Cities' author Darran Anderson.

With His Concept Ep grey Specters Of Dead Communication' Breaklab Aims To Explore The Atmospheres Of Computing Systems.
Focussing On The Processes Underneath The Surface Of Our Electrified And Digitalized Mechanical Age.

InFiné reissues Murcof`s seminal soundtrack for 'La Sangre Iluminada' in red-vinyl Version. The soundtrack produced by Murcof was originally released by Mexican label 'Intolerancia Records". This version by InFiné includes new editing of the original recordings, remastering by Rashad Becker. It features Murcof´s classic rework for Los Angeles Negro´s Como Quisiera Decirte. 'La Sangre Illuminada' is a feature film directed by Ivàn Dueñas in 2009 and inspired by Jose Carlos Becerra's poems. It tells the story of six characters who mutate into new bodies.

First Terrace Records is thrilled to announce that Justin Wright - the Montreal cellist & composer hand-picked for support duties by luminaries such as Colin Stetson, Hauschka,  Bing & Ruth, and the late great Jóhann Jóhannsson - is gliding calmly into the spotlight with his debut long player.

With an assembled quartet of violin, viola, cello and double bass, the record was tracked in Rolston Hall at the Banff Centre, in the Canadian Rocky Mountains, and carries in its sound the location's stately beauty.

Over the duration of Music For Staying Warm, nine experimental compositions and improvisations are unwound for the listeners pleasure, each with its own gentle patience, as Justin invites you to 'relinquish your sense of anticipation' and enjoy the drift.

Announcing itself like sunshine on frost, Harmonic Loops opens the record and begins to thaw the path ahead. Throughout the album, woollen strings swell at their unforced pace and combine to swaddle the brain's pleasure sensors in frequent moments of pure hygge.

Limited 150 hand numbered copies signed by the unknown Thermit.
909 timbres and cosmic sequences make a balanced, subtle and useful resu

Transversales Disques presents KSHATRYA, (The Eye Of The Bird), never released before
recording by french avant-garde electronic composer Igor Wakhevitch, who composed a bunch of
major experimental albums in the 70's such as Logos, Docteur Faust, Hathor, Les Fous d'Or,
Nagual and Let's Start.
During this 10 years period, Wakhevitch was close to Jean-Michel Jarre, the Pink Floyd, the Soft
Machine, and legendary choreographer Maurice Bejart having with him many conversations around
dance and music, human body and soul, spiritual path, collective life, new society, human evolution.
As a composer Igor Wakhevitch collaborated with Salvador Dali, Carolyn Carlson, and Terry Riley to
name a few. He's considered as one of the first French composer using synthesizers like Synthi
AKS, ARP2600 or Moog modular systems.
After spending almost 30 years in India, Igor Wakhevitch dug in his archives this unreleased work
recorded in 1999 on his 'Mysterious Island 88' system. Esotheric, sacred and cosmic, KSHATRYA,
(The Eye Of The Bird) is the logical follow up of Igor's early works and a monumental piece of
electronic music. A must!

Alessandro Adriani has become a trusted source for all kinds of beyond-the-grave minimal synth, industrial and coldwave delights. Aside from his work in releasing forgotten gems and up to the minute synth incantations, Adriani has also been quietly issuing out his own music as well.

Originally released in 2016, 'Montagne Trasparenti' is now repressed on Mannequin Records with a full new graphic design.

'New wave/neu beta psychopomp, Alessandro Adriani ov Mannequin Records, makes an arresting solo LP debut with Montagne Transparenti's ghoulish suite of atypical Italian horror atmosfear and stylised body music, highly recommended if you're into Demdike Stare, Not Waving or Italian Library Records...' (Boomkat)

The album was recorded between Adriani's native Rome and adopted Berlin, 'in various years of travelling, composing, fighting with cables and machines.'

Recorded Between The Release Of Sand (1977) And Lost Secrets(1981), Symphonic Songs Is A Formerly Unreleased Work That Chronicles The Dynamic Shift And Development In Experimental Swedish Composer Ragnar Grippe's Canon.

Following His Seminal Release Sandin 1977, Swedish Experimental Composer Ragnar Grippe Worked On Various Art And Performance Commissions, Often Returning To Stockholm During The Summer Months To Focus His Efforts On His Compositional Practice. It Was There At The Famed Ems Studioswhere He Began Employing The Buchla Synthesizer And The Facilities Multi-tracking Capabilities As New Instruments To Map His Mining Of Sound And Movement.

During The Late 1970's, Grippe Formed A Creative Collaboration With Choreographer Susan Buirge, Specifically Writing Compositions For Her Works restes And tamis, Thus Pushing Grippe To Start Working In A More Intricate Studio Environment. These Passages Inspired Grippe Into A More Complex Layering Process That Focused More On Placement And Structure, Rather Than The Aural Floods And Flourishes Of His Previous Sand Album, Eventually Germinating In His First Full 24-track Composition Entitled orchestra.

After Debuting orchestra In 1980 At The Electronic Music Festival In Stockholm, Grippe Holed Up At Ems Studios With Those Lessons And The Fussy Buchla Synthesizer, In Which Grippe Affectionately Recalls needed To Be Tuned And Calibrated Every 20-30 Minutes. He Emerged With A New Commission For Susan Buirge Later Formally Titled Symphonic Songs And Used In Her Avant-garde Theater Piece ci-déla Which Debuted In Paris In 1981.symphonic Songsshowcased Grippe's Sound Au Courant, Pushing Dense Against Sparse, Calm Into Cacophonous, Using Each Track As Its Own Intersecting Plane. Using The Machinations Of Studio And Structure To Drive Symphonic Songs' Voice, Grippe Culled A Haunting, Often Cinematic Electronic Work That Dots And Darts Into Unexpected Corners With Curious Aplomb.

Listen To The Words, Both Terms Have Their Root In Classical Music, But Not In Its Form But Because Now I Had So Many More Stems Or Voices That Could Be Played Simultaneously Compared To My Earlier Pieces. Coming From A Classical Background, But With Big Nostrils For Pop And Jazz Music, I Can Now See A Thread In Which Classical Got A New Costume, Dressed Up In Buchla Synthesizer And Real Bass Sounds Grippe Says. Since Its Live Theater Debut Over 37 Years Ago, Dais Records Releases For The First Time Symphonic Songs, One Of Grippe's Most Ambitious Compositions, As A Deluxe Double Vinyl Lp (with Limited Edition Color Variants) And On Digital Formats. Artwork Packaging By Artist J.s. Aurelius (ascetic House) With Reflective Linear Notes By Ragnar Grippe.

PAUL LABRECQUE (SUNBURNED HAND OF THE MAN) and GHAZI BARAKAT (PHAROAH CHROMIUM) present two epic cosmic, dystopian tracks where guitars, synths and traditional instruments blend into an anarchic sound system.

After excessive years in rock bands like THE GOLDEN SHOWERS or his solo project BOY FROM BRAZIL, time had come for the German-Palestinian artist GHAZI BARAKAT to develop a new aesthetic - the birth of his alias PHAROAH CHROMIUM where BARAKAT creates "meta-music for meta-people in a meta-world", or in other words:a mutoid blend of post-krautrock, psychedelism, free jazz, ancient rituals, science fiction and electronics. So far the Berlin based sonic performer released a couple of solo albums on labels like GRAUTAG or TAPEWORM and a triple LP with krautrock legend GÜNTER SCHICKERT. For his latest output he decided to simply use his civilian name BARAKAT, as does PAUL LaBRECQUE (SUNBURNED HAND OF THE MAN) who contributesguitar and synthesizer to the two side-long tracks. "Jajouka Pipe Dream" is a clear reference to the MASTER MUSICIANS OF JAJOUKA, with lots of flutes and percussion, a very rhythmical, ritualistic track, while "Planet R-101" turns out a spacey trip with elements of krautrock and Kosmische Musik / Berliner Schule.

What may sound contradictionary on paper functions perfectly on LP - freeform / free-floating music, absorbing and integrating a wide range of influences and inspirations, sounds and styles - and highly psychedelic!

Credits:

Ghazi Barakat: guembri, moog synthesizer, beats, Rauschpfeife

Paul LaBrecque: guitar, synthesizer

Mastered and cut by Rashad Becker at D&M, Berlin

Artwork + photography: Nicolas Moulin

Corey Fuller Is One Half Of The Duo Illuha On 12k And Break Is His Frst Solo Recording For 12k. A Crashing Wave, The Breaking Dawn, An Impact, The Crushing Of Emotional Spirit... The Breaking Of A Storm. These Are All Relevant Ideas Behind His Choice Of A Title For This Highly Emotional Abum. Fuller Has Addressed The Universality Of Human Struggle Without Going Into Specifcs Of His Own Personal Waves. The Ideas That We As Humans All Share Many Of The Same Diffculties Is Both A Launching Point And A Message He Wishes To Share With Break — The Catharsis.
While Illuha's Music Is Known For Its Attention To Small Sounds And Light Textures, Break, While Equally As Fragile, Sees Fuller Working With Much Heavier Elements. Still Highly Melodic, The Work Pulls And Churns Between Harmony And Tension, Weight And Air, The Crash Of A Wave, The Pull Of The Undertoe. The Album Is Focused Intensely On Melody And Harmony, Progressions More Carefully Composed Than The Serendipitous Found Sound Of His Work With Illuha.
The Piano Is Often At The Center Of These Songs, An Instrument (his Own) That Has Become Much An Extension Of His Own Body. His Own Voice Plays An Important Role As Well, Sometimes Lyrically Ethereal And Sometimes Just A Breath Signifying The Ever-fragile Thread Of Life. Beautifully Recorded
In His Tokyo Studio, The Sounds Are Captured With All Of Their Inherent Physical Faws. As Fuller Himself States About The Piano Being recorded In A Way That You Can Hear The Bones, Like An Open Ribcage, Moving Contorting...' Everything On Break Is There For A Reason, Not Just The Sound And Soul Of The Piano But The Electronic Elements As Well, Rattling Bass Tones And Dramatic, Emotional Waves Of Synthesizer Rising And Dissolving.
If A Single Word Can Be Used To Describe Break It Is Physical. From The Instruments And Techniques Used To Produce The Album To The Concepts Of Vulnerability Of The Human Body. Break Is An Emotional Riptide Where Violence And Rest Struggle To Be The Last Voice.


i) Adrift
ii) Asunder
iii) Aground

SNTS Is An Underground Techno Label, Commitment To The Vinyl Format As The Main Pillar And Overall Bring The Electronic In The Anonymity.

Played & Supported by: Oscar Mulero, Sigha,Tommy Four Seven, Jonas Kopp , Giorgio Gigli, Sleeparchive , Nihad Tule , Kr!z (Token), Inigo Kennedy, Jeroen Search , Juho Kusti , Arnaud Le Texier , Angel Molina , Dj Deep , NX1 , Cio D'or , Tadeo , Edit Select , Bas Mooy , Electric Indigo , Ness, Deepbass , Par Grindvik , Go Hiyama , Adriana Lopez , J. Tijn , Ryuji Takeuchi , Max_M , Thomas Hessler and many more.

Tourist Kid's first release for Melody As Truth. Recorded in Perth and Melbourne between 2016 and 2017. Though the idea of movement between two places could be a somewhat romantic afterthought, a more palpable sense of dislocated unease creeps up on the listener throughout the album.
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On "Discourse II", stutters of digital trash segue seamlessly into a plateau of serene, glassy ambience - and on "Bacterial", the hiss and sting of rehashed foley seems to dance around a plaintive, oh-so delicate piano solo. These striking contrasts are deftly managed, playing upon notions of digital noise and ambient, while never feeling weighed down by the limits of reference or gesture. Indeed, numerous touchstones to Tourist Kid's earlier work - and to that of contemporaries - are synthesised and expanded upon to great detail and atmosphere. "Crude Tracer" sits in its own adeptly nuanced and assured space.

Tourist Kid's production encompasses all manner of tangible and otherworldly sounds as a vehicle to explore something far more intriguing than a simple instrumental fetish - so much so that the
overwhelming sting of blasted detritus or a broken and bent vocal is capable of eliciting such delicate impulses as glistening, heart-wrenching piano chords. It's a unique - and very special - kind of beauty that Tourist Kid gracefully achieves with "Crude Tracer'.

Due to popular demand, 22a presents the out of print Ruby Rushton LP's from 2017, in a deluxe gatefold vinyl format, strictly limited to 500 copies.

The Tenderlonious led jazz quartet Ruby Rushton and their 22a imprint have been at the forefront of the UK jazz scene since the release of their debut album 'Two For Joy' in 2015. The band transport you back to the 70s Headhunters era, whilst still adopting the spiritual concepts of John Coltrane and Yusef Lateef. Audiences can expect to be treated to high energy compositions, fusing flavours of afro beat, hip hop, and Latin jazz.

Both Trudi's Songbook Volume One and Two were met with mass acclaim in the summer and autumn of 2017. They received regular airtime and support from DJ's, tastemakers and radio stations across the world, including Gilles Peterson, Benji B, Bradley Zero, Jazz FM, BBC Radio 6 Music, Worldwide FM, NTS and many more. The huge support for the albums led to Trudi's Songbook: Volume Two being nominated for Jazz album of the year at the 2018 Gilles Peterson Worldwide Awards.

With a brand new album due for release in March 2019, this limited edition, 2xLP, deluxe gatefold issue of Trudi's Songbook: Volume One and Two closes this chapter for the band and paves the way for new material.

On 8th February 2019, Eric Gales returns with his brand new album 'The Bookends' on Provogue/Mascot Label Group and it features collaborations with B. Slade and Provogue artists Doyle Bramhall II and Beth Hart. The challenge for making 'The Bookends' was for Gales to challenge himself. 'As a guitar player it's been established that I can play a little bit, just a little bit,' he smiles. But for this album he not only wanted to push himself as a musician, but also as a vocalist, to build up his vocal discography. Gales' story is an incredible one, he was a child prodigy and released his debut album The Eric Gales Band in 1991 as a 16 year old on Elektra Records. It was the first of 10 albums on a major label through a blistering career. He has released 15 studio albums in total ahead of 'The Bookends' and a host of other collaborations. He has battled drink and drug issues and spent time in jail in 2009 for possession of drugs and a weapon. Gales proudly tells his story every night before every show, now over two years sober he is creating some of the most breath-taking music he has ever made. If his previous album 'Middle of the Road' was the rebirth of Eric Gales, then 'The Bookends' is him knocking away his boundaries and taking flight on a voyage of self-discovery asking himself what do you think you can do and pushing that into the stratosphere.

Midday Moon is a survey of ambient and experimental music that emerged from Australia and New Zealand between 1980 and 1995. These recordings are sourced from a rich variety of micro-labels, private pressings, theatre soundtracks and artists' personal archives. Curated by Melbourne based DJ and archivalist, Sanpo Disco (a.k.a Rowan Mason), the collection delves deep into the world of outsider music that emerged in Australia and New Zealand in the latter half of the twentieth century, as synthesisers and early workstations began to enter the consumer marketplace. The record is an odyssey in itself, a journey that takes listeners into the unsung world of Australian new age composers. There are stories abound within this volume, from the mysterious disappearance of Helen-Ripley Marshall after the release of her 1988 album 'Green Chaos', to the journey of American-born, Perth based blues/rock guitarist John Heussenstamm, who unexpectedly turned his finger to 'ambient' music in the late 80's; and again from Melbourne based Ros Bandt, who made a series of recordings exploring the resonance of a hollow concrete cylinder 5 stories beneath busy Collins Street in Melbourne's CBD. Compiled by Sanpo Disco / Mastered by Mikey Young . '(Ambient music is) a surrounding influence that induces calm and a space to think... it can accommodate many levels of listening attention without enforcing one in particular.' - Brian Eno / 'A richer and more diverse ambient genre began to form. Music that crafts a unique cultural geography of landscapes and atmospheres: real and imagined, natural and man-made. Some artists turned their attention to the singular acoustic ecologies of overlooked spaces around the country. Others fostered interests in non-Western music cultures and instruments. The common thread is their use of new technologies to conjure interior and exterior regions, through acoustic and synthesised sounds.' - Sanpo Disco