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A post-Tropicalia masterpiece from one of the movements key figures and true legends of Brazilian music, Gal Costa. Features a stellar line up of musicians including Gilberto Gil, Arthur Verocai, Dominguinhos, Rogério Duprat and Tenorio Jr. amongst others.
Replica original gatefold including the cover that was banned by the Brazilian military government in 1973 during the brutal dictatorship.
'India' includes the incredible 'Pontos De Luz' as sampled by Kaytranada on 'Lite Spots' - one of our favourite Brazilian songs of all time. A wonderful album from start to finish, touching on MPB, folk, jazz, funk and rock with strong Tropicalia and Nordestino influences throughout.
A record that we have long been wanting to reissue! Licensed courtesy of Universal Music Group Limited.

Say You Love Me wasn't "Om" Alec Khaoli's first solo recording but the 1985 EP solidified the bass player and songwriter's standing as one of South Africa's most consistently innovative pop auteurs. He built a career on ubiquitous rock, pop and soul hits with groundbreaking bands like the Beaters, Harari and Umoja.

But Khaoli's seemingly endless fountain of music continued outside these ensembles, where he usually played bass and contributed songwriting and vocals. Khaoli released several successful solo works while he made records with Umoja and worked on other productions with friends. This creativity was aided by Khaoli's own recording studio. He was the first South African to have a privately-owned studio.

As black artists were forced to record during lunch breaks and didn't get sufficient access and time in the white-owned studios, having his studio allowed Khaoli to develop in his own way. Hence his productive output during the 80's and early 90's, releasing 5 LPs with Umoja and 5 solo LPs, along with numerous singles and EPs. There's something broad and dynamic about the almost epic pop sound Khaoli creates on Say You Love Me.

Being the first South African to take control his recording process and thereby free himself from one of apartheid's many strictures, he took his vision of music to new realms and made timeless music for the dance floor in the process.

'White Punks on E' is the taste of bike chains rubbing against black leather. Heavy cast iron forged across studs and hot-wired organs. The howls from blazed skull hordes jacked up to distortion engines broadcasting into neglected cellar units.

It's shrill echoes from the parking lot carried along the financial district, overturning lobotomised business lunches, attache cases and $50 slick-backs. Nasty club rock fed through biohazard cassettes, doom arcades, sabres and scorpion tattoos - new blood to rock the neighbourhood and a pleasure to welcome Stratton into the fold.

The Numero Group's dive into the deep end of America's private press continues. Having battled the witches and wizards of Darkscorch, the outlaws of Cosmic Americana, and traveled alongside Ladies From the Canyon and their Lonesome Heroes, it's time to take it easy.With pop music's volume knob adjusted for deflation in the early '70s, softness begat smoothness. Crewmen arrived from the worlds of jazz, folk, rock, and soul, all peddling a product that was sincere, leisurely, and lofty. A sound that was buoyant, crisp, defined. Sometimes classified as West Coast—and, later, Yacht Rock—the compass points of our Private Yacht expedition are the blue-eyed harmonies of Hall and Oates, the cocaine-dusted Fender Rhodes of Michael McDonald, and the combover strums of James Taylor. Here, at the glassy apex of rock's softer side, 20 strong swimmers are gathered together. An album for both relaxation and reflection, where listeners can enjoy the present, a cool breeze, and a taste of the good life.

For our fourth release, we're pleased to welcome The Showfa inside the Excursions kitchen, to cook us up something sizzling for your mind, body & soul. Wielding a nifty set of disco scissors, he's selected the finest of gospel cuts and brought them neatly to the boil, serving up three delectable dishes of hot spiritual gumbo. Soul food of the highest calibre.

Taking us to church straight off the bat, 'Thankful' builds and builds along an infectiously uplifting piano-heavy hook, an edit that bubbles away effortlessly akin to a Moodyman-esque disco groove, perfectly crafted for the dancefloor.

'He'll Answer' drops the tempo and tone to something slower & lower, lending its sound to that of the most proficient beat-masters, incorporating moody synths and haunting strings, in a true future gospel style and pattern.

The last serving on the plate is 'Jus' A Little Talk' - a cheeky flip of a classic that's destined to make the AOR diggers and connoisseurs salivate profusely. This retro yacht rock bumper closes out this joyously ethereal platter perfectly.

Already finding its way into the crates of selectors such as Gilles Peterson, Horse Meat Disco and Patrick Forge, it's also received love in Mixmag and across the airwaves, from NTS to Mi-Soul to Rinse FM.

Another essential Excursion on wax, and one that will never leave the box.

Looky Looky is the new project from Jeffrey Sfire and Ian Clark, both residing in Detroit, Michigan. The pair met in the late 90s when Ian was performing as one half of Le Car with Adam Miller of ADULT. Ian also recorded under the moniker Perspects, and released on Clone, Ersatz Audio and Interdimensional Transmissions. Jeffrey has released a series of singles and remix EPs with Samuel Long as Sfire on CockTail d'Amore Music and Ultramajic.
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The duo released their 8-track debut album 'Part Flamingo' in 2016. All 8 tracks represent one body of work but are presented as 2 distinct concept EP's: 'Part Flamingo' and 'Nurse Coven'. They're loose, fun pastiches of 80's movie soundtracks with accompanying imagery. For the 'Flamingo Boots' EP we chose 4 songs from the album which the pair extended for maxi 12' throbbing dance mixes. Looky Looky describe the project as equal parts light and dark, a contemporary recasting of Italo, Hi-NRG and electro. The songs infuse bright '80s sonic textures with a seedy, sweaty thump. The Motor City duo is about a year into the project, but is already known for their hardware-heavy live set after playing the Honcho Summer Campout last year and the 2017 edition of Gays Hate Techno in northern California.

Rich La Bonte is a musician, writer and editor from upstate New York born in 1946. At age 11 he figured out how to record a piano backwards with his first tape deck and discovered Monk, Mingus and Art Blakey. In 1965 Rich moved to Ithaca, bought an electric guitar and started singing in garage rock band the huns. After the band dissolved, he moved to NYC and played bass and sang in the original cast production of the musical Godspell. In the late 70s La Bonte moved to Hollywood with Shari Famous, released a a few 7' singles as Dada2, and started fLAtDiSk Records, a vinyl subsidiary of Dave Gibson's Moxie Record Company.

Rich released his debut solo album 'Mayan Canals' in 1981. The seven songs were recorded between 1973 and 1980 while living in New York, Pennsylvania and Hollywood. Influenced by everything from Apple Records to Zappa, the album veers from oozy psychedelia to synthesized breezy folk. Vocally Rich sounds like a cross between Tom Verlaine and Lou Reed. Some tracks feature an EMS Synthi A synthesizer, known to generate the sci-fi sounds from Dr. Who. Other songs utilize feedback from a Maestro Fuzztone box into a TEAC 4-track SimulSync tape recorder. Lyrically La Bonte tackles themes of dying celestial bodies, the birth of his daughter, and a critique of Bowie's character in The Man Who Fell To Earth. Included on this reissue are two bonus tracks originally released on the double A side 7' single Chance Circumstance/Drums Along The Maple Wood, a tribute to Irwin Chusid, the eminent WFMU DJ, with vocals by Shari Famous.

All songs have been remastered from original tapes by George Horn at Fantasy Studios in Berkeley. The jacket features a replica of the original jacket with a Mayan figure screen printed using the original rubber stamps from Rich's archives. Each copy includes a 6-page xeroxed booklet with lyrics, never before seen photos, and liner notes by Rich La Bonte.

Outstanding three track EP from the archives of Caliban (A side project of London musician Milton Myrie, a session guitar player who worked with cult UK buddhist afro and reggae band Ozo as well as on the much sought after Steel and Skin 'Afro Punk Reggae' 12'). Talk about bang for ye buck.. 1 side crucial oddball digital cuts, b side sounds like a UK jazz funk classic... Gold Print Sleeve. BIG TIP!
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Caliban produced only one self-released 7' 'Open Mind / Digital Reggae' in 1984.

Following the re-discovery of this very little known 7' by Caliban a few years back, UK producer Jackson Bailey aka Tapes managed to track Milton down, who as well as being in possession of most of the stock of the original record, was also sat on a number of amazing unreleased recordings from the Caliban sessions. With an album of unreleased Caliban material compiled by Tapes to follow later on Music From Memory, this EP introduces one of the unreleased tracks, the incredible feel good disco anthem Supernatural'. Taking us on a glittering, rhythm charged rocket tour of the Funk Cosmos, this until-now-unheard future classic will surely set the summer nights alight.

The three track 12' also includes Digital Reggae' which featured on the original Caliban 7'. This computerised dancehall/funk hybrid was partially penned to address the lack of black culture included in the payload of the United States' first space station, Digital Reggae will be included in the Payload of Skylab!'. As well as the original mix, the EP also includes a new dub put together by Milton himself and assisted by riddim specialist Tapes!

avorite Recordings proudly presents Natureza, first album of Joao Selva. The story of Natureza is made of the meeting between two passionate artists who are Jonathan "Matuto" Da Silva and Bruno "Patchworks" Hovart.Born and raised in Ipanema and son of a pastor, Jonathan Da Silva grew up in a community of ex-prisoners and converted artists. He made his first guitar notes before his 10th birthday, under the watchful eye of Wanda Sa (muse of the bossa nova), and influenced by a father who in addition to his work, was also a true music lover with a collection, where black music, rock and classical meet. From the age of 18, Jonathan began a life of entertainer, traveling the world to offer shows for disadvantaged children and intensively practicing the Brazilian traditional music arts (Capoeira Angola, Maracatu, Samba de Roda, Coco de Roda...). It was later in France and in Lyon that he put down his instruments. There he formed the trio Forro de Rebeca in 2008, touring the all country and winning many praise in media. The trio recently joined forces with American producer Maga Bo on the project Sociedade Recreativa, whose album was released in 2016 on The Jarring Effects label.Bruno Hovart is a recognized producer, multi-instrumentalist, and remixer. After passing through Angers, Birmingham and London, he's based in Lyon since 2001. Bassist and guitarist for various bands, he switched to production in the mid-90s. Passionate about music and tireless creator, Bruno has practiced in almost every imaginable style, when it comes to groove music, collecting many aliases and projects for more than 10 years: Patchworks, Voilaaa, Uptown Funk Empire, Mr President, Taggy Matcher, Mr. Day, Hawa, John Milk, Lightnin 3, The Dynamics or Metropolitan Jazz Affair ... Nothing resists and escapes his talent and production skills. Thus, when he discovered and met Jonathan and his music, Bruno saw an immediate opportunity to broaden the spectrum of his discography a little more, by looking at Brazil. Beyond its traditional heritage, Brazil has always been a land of extremely varied music, influenced by the international scene. Soul, Jazz and American Pop did inspire many local stars such as Chico Buarque, Carlos Jobim, Gilberto Gil, Tom Zé, or Erasmo Carlos. Both fervent lovers of this movement and these names, it's with the idea to pay them a faithful tribute, that Jonathan and Bruno began the Joao Selva adventure. Together they gave birth to Natureza and embark us for a trip into the heart of the Tropicalist Pop influences of Jorge Ben and Caetano Veloso, the intoxicating Funk of Tim Maia, and the social poetry of Vinicius de Moraes.

Beautiful Full Cover Art, Limited to 300 - Lumière Noire - The new label by Chloé!

Il Est Vilaine aren't from Brittany, but they sure are tricksters. The Francophiles among you might have caught on to the corny pun in their name (beating a certain presidential candidate to the punch all while turning the name of the pastoral Ile-et-Vilaine region into, literally, 'he's a nasty woman") but the real takeaway is that these born-and-bred Parisians don't take themselves too seriously - especially in an era in which there is much too much of that happening. It was in 2014 (and on Dialect Recordings) that Florent and Simon tossed their debut 12 into the ring, the rightfully named Scandale - a tight little bombshell released that roused the electronic music scene out of its complacent little catnap.So there we had it, two outcasts refusing to eat at the same table as the tech-house scene queens, serving up three whiplash-on-the-dancefloor cuts drenched in sweaty hedonistic disco and wrapped in a battered motorcycle jacket (with a gooey post-punk-pop core for good measure.) A clear mission statement right out of the gates, watermarked with mystical incantations and throbbing with rock 'n' roll's primitive drive. Everything and the kitchen sink, and a bag of chips - an invitation to just let lose that's even better than the sum of its parts. Moving on to this new platter. We set the scene: motorcycles blazing from the airport strip to the strip joint, our heroes traded their Oberkampf stomping grounds for a sleepless weekend of Spanish groupies, discount bikinis, whiskey and bukkake. And a creative spurt that left us with a mutant of a record, the sound of rock and techno crashing through a drum kit mid-coitus, interrupted by La French Chanson

Searing platter of krautrock with scorching doses of The Stooges & Judas Priest. Another ripper from this legendary Finnish horde!

Circle are the very definition of genre-defying, a rare feat for any band, but effortlessly achieved by this prolific Finnish collective. Circle's latest album Terminal is pure hedonistic pleasure. Never content on staying the same, they have created an idiosyncratic cocktail of sonic fusions, conjuring an impulsive, dizzying energy that stirs a spirit of curiosity within the listener, and has the ability to possess all who encounter them.
Whilst many would run out of creative steam (certainly after 30+ albums), Circle continue to boldly explore sonic soundscapes, venturing curiously into terrains of Stooges-esque swagger, trance-inducing kraut rock mantras, beautiful electronic ambience, psychedelic rock noodling, arena storming AOR weirdness, 70s prog rock extravagance, glam pop pomp, and of course their core sound, heavy metal, not to mention other peculiar and daring sounds that simply cannot be pigeon-holed. Terminal is gloriously fruitful in tones, shapes, colours and sounds. Eccentric, accessible, delightful and thrilling.

First sampler from the new W&O Street Tracks vinyl only series includes four massive records from Waze & Odyssey, Lancelot, Neville Watson & Paolo Rocco.

Breakbeat Paradise Recordings is back with another big vinyl release from the amazing producer due Lack Jemmon, which consists of DJ Clairvo and Kid Panel, who are both well-established producers, DJs and label owners on their own. Together they are an explosive cocktailed of big funky grooves, filthy glitcy basslines and banging beats!

Lack Jemmon has been around for a couple of years and quickly signed up with the successful ghetto funk label Scour Records where they have dropped a few tunes and remixes. When the boys reached out to us and said they had 4 bangers they wanted to drop on vinyl we didn't hesitate to say Hell Yeah!

The self-titled EP showcases their style of heavy breaks and funky basslines perfectly across the 4 bangers that are tried and tested for complete dancefloor destruction.

You can always count on BBP for your doze of party rocking beats - and for keeping the vinyl alive...

Over the years, Phil Mison has become the go-to selector for those looking for Ibiza-themed compilations. None of his previous collections, though, have been quite as personal as Out Of The Blue, a compilation inspired by his first spell behind the decks at the Café Del Mar in 1993 - and the remarkable chain of events leading up to it.

Mison made his first trip to Ibiza in the summer of 1991 and quickly fell in love with the magical music being played by Café Del Mar resident DJ, Jose Padilla. On his return to the UK, Mison began to cultivate his own take on the laidback, open-minded style, recording mix-tapes of Ibiza style chill out' tunes to give to friends.

In November 1992, Mison was hanging out in Tag Records, Soho, when Padilla walked in. He plucked up the courage to speak to the Spaniard because earlier that summer Mison had given one of his friends some tapes to take out to Jose in Ibiza so he wanted to see if he had got them. During the conversation Mison invited him down to his next DJ set at Nicky Holloway's club, the Milk Bar and less than three months later, and clearly impressed by what he'd heard on the tapes, Padilla invited Mison to fill in for him at the Café Del Mar, beginning in April '93.

It's that first trip to DJ in Ibiza - a crazy six-weeks spent dividing his time between spinning records at Café Del Mar, hanging out in Jose Padilla's house in the hills, and meeting some particularly eccentric White Isle residents - that proved the inspiration for Out Of The Blue.

The compilation contains a mixture of records that Mison played in his earliest Ibiza sets, those that remind him of that period, and recent discoveries that boast a similarly warm, loved-up vibe. Mison is at pains to point out that it's not a track-for-track representation of his first sets, but rather a collection inspired by this most momentous of experiences.

As you'd expect from a selector of Phil Mison's standing, Out Of The Blue is an outstanding collection. Some will no doubt hear the influence of his mentor - the man he credits with effectively turning his DJing career around - in the undulating rhythms and new age melodies of Kamasutra's Sugar Step', the meandering synthesizer solos and Spanish language vocals of Congarilla's sublime Sacred Tree', and the lilting flamenco guitars of Gambarra', an unreleased mix from Mison's popular Cantoma project.

Elsewhere, listeners can marvel at the starry ambient bliss of Belgian legend Frank De Wulf's The End', recline to the saucer-eyed fusion jazz of the Christoph Spendel Group, shuffle along to tactile, hard-to-find period deep house from Language, Moodswings and Don Carlos, and marvel at The Cactus Rose Project's ridiculously rare Jelly', a sparkling, disco-era jazz-rock outing partly inspired by the Doobie Brothers' Long Train Running'.

Out Of The Blue may well be a very personal selection of tracks celebrating a moment in time, but it's happily one that we can all enjoy.

It was a tragic waste of a life, but the influence Cochran imparted on those he'd played and toured with, like Joe Brown, Georgie Fame and Marty Wilde, would ensure he'd not be forgotten. And with acts as diverse as the Who, Sex Pistols and Rush reviving his songs in future years, it was certain he would not be forgotten. But who needs an excuse to enjoy Eddie Cochran's music These tracks, some well known and others less so, tie up the first half of his tragically brief but unbelievably influential career. Pull your blue jeans on and enjoy!

(2x 180 gr LP in a gatefold sleeve with download card) The debut album of Talamanca System, aka Gerd Janson + Mark Barrott + Philipp Lauer. Their past is your future!

On the white island, between Ibiza Town and the infamous fish shack high up on a rock next to a bird sanctuary, you will find the beach of Talamanca. Plagued by too much seaweed, anchored middle-class yachts and joggers, it is also surprisingly the spiritual home of a correspondent post-Balearic group. As luck would have it, a remix request by Mark Barrott bedded the International Feel boss in a trio with Philipp Lauer and Gerd Janson, alias Tuff City Kids. A highly sought-after 12-inch later ("Balanzat"), as well as fantasies of getting together to work on more material, led to a fruitful and effortless studio session on the non-Balearic outskirts of Frankfurt am Main.

The outcome of that meeting forms the homonymous debut album of Talamanca System. A documented vision, or a sunburned imagination of a day and night spent on said island, during a moment in time that probably never was or will be. Still summed up best by dungarees, long hair, yellow sunglasses, espadrilles or that famous picture of people grouped around roofless Amnesia's pyramid well, it is the food of the Balearic gods. But, dear nostalgia, stop right here! Even though Talamanca's debut flies the Balearic flag, it is not about turning back the clock, but rather about a past that could be the future. Dusted, danceable, driving, dreamy and dapper at the same time, this is an album for the club, the car, the beach, the (coke)float and the fountain.

Coined by the colourful and respective talents of the three individuals behind Talamanca, you will hear nine tracks ranging from up to downtempo, piano house smashers that would have deserved the prefix Italo-, percussion rituals captured by a group of Zoo animals on the loose, soundtracks for dusk and dawn, hushed vocals, rites of ambient passages, powerful synth ballads and vamp choirs. If this album were a car, it would be a Citroen 2CV remade by Tesla.

We've said it before and we'll say it again: their past is your future!

SUMS is the collaborative project of French electronic producer Kangding Ray and Mogwai multi-instrumentalist Barry Burns.

develop a new group that brought together different elements of both Kangding Ray and Barry Burns' musical traditions. Adding drumming savant Merlin Ettore, the pair devised a musical world that crafts post-rock soundscapes and structures using the sound-language of contemporary techno and experimental electronic music.

After a grand debut performance during the 2013 edition of the festival, the group decided take the project into the studio. Over a two-year period, working with a range of range of instruments, SUMS began to produce tracks that achieved an organic fusion of spatial electronics and rousing post-rock sounds that manages to seamlessly blends the best of the musical legacies of Mogwai and Kangding Ray.

The first action of this new phase of the project comes in the form of a 3 track EP on Berlin Atonal Recordings. A new live show will be shown first at Rewire festival on April 2nd.

This box contains all four solo albums by Bill Wyman, the first Rolling Stone to release a solo record. The first two (from 1974
and 1976, both issued on Rolling Stones Records) were made the help of a galaxy of musical friends like Lowell George, Dr John,
Joe Walsh, Van Morrison, the Pointer Sisters, Danny Kortchmar, Dallas Taylor, Leon Russell, Bob Welch and Nicky Hopkins.
- The eponymous third album was home to Bill's 1981 big hit single (Si Si) Je Suis Un Rock Star' as well as follow-up hits
Come Back Suzanne', A New Fashion' and Visions, while fourth album Stuff' appeared in 1992, originally in Japan only.
- The albums are now issued on vinyl for the first time since their original release (and 'Stuff' on vinyl for the first time ever),
gathered together in a beautiful rigid slipcase. The new inner sleeves feature all the lyrics and the musician credits.

This Rough Guide features deeply cool cumbia influenced by 1960s Western rock and the hippy movement, spanning the spectrum of psychedelic cumbia from the 1960s pioneers to today's innovators. A classic selection ranging from the vintage Peruvian recordings to classic contemporary bands from Colombia, Chile, Mexico and beyond highlighting how cumbia was reborn in the 1960s to make it relevant to the younger generation.

Includes a FREE download card allowing you to download the full album

Peru has had its share of great electric guitarists bending strings to the rolling beats of cumbia - from Enrique Delgado to José Luis Carballo - who came from its own important domestic tradition of criollo guitar music as much as rock). So it's not an exaggeration to say cumbia peruana (and regional variants at times referred to as cumbia andina, cumbia selvática, and more recently chicha) has had the lion's share of Carlos Santana influences evident in the mix.

Interestingly the Peruvian psych sound so prevalent in the early 1970s had a profound effect on the originators of cumbia; hence we offer the two fine examples from 1970s Colombia that follow. We round out the mix with a gaggle of contemporary artists from Chile, Mexico, USA, Peru, Colombia, Argentina, and Germany, bringing the psychedelic tropical vibe up to date while still retaining the trippy trappings of yesteryear.

Al Massrieen: Disco, Funk and modernized Arabic Pop from Egypt

In the beginning of Habibi Funk, our search was focussed on vinyl records. Around a year ago though, we got to the point where we realized that it became substantially harder to discover music, that we enjoyed and hadn't heard before. It became apparent that it was time to start looking for other formats. Cassette tapes were the obvious alternative. These were introduced in the arabic world around the late 1970s. In some countries they took over a bit earlier, in others a bit later, but eventually they pushed the vinyl format out of the market in the 1980s. In Egypt this trend already even started in the late 1970s.

Al Massrieen was one of the first bands I learned about once I discovered the tape format for myself. They were really popular in Egypt in the 1970s and the more of their music I found on either tapes or Arabic pirate mp3 sites, the more I was becoming a fan. Only very few bands from the region can match the band's versatility as well as their strive for innovation. Hany Shenoda is the man behind the Al Massrieen band. He is a reknown figure of the Egyptian music scene and has worked with everyone from Abdel Halim Hafez to Mohamed Mounir. Al Massrieen was his attempt to introduce his ideas of modernizing Egyptian music, heavily encouraged by Naguib Mahfouz (Egypt's only winner of the Nobel Price for literature) after discussing his ideas with him.
Al Massrieen's sound goes from lush disco like 'Sah' to psych rock like 'Horreya' or incredible jazz fused pop on songs such as 'Edba Mn Gded'. I was shocked to realize the band seemed to be hardly known outside Egypt, even though I feel they're at least on the same level as Ahmed Fakroun. An relative obscurity which I largely attribute to the fact that their releases never have been pressed on vinyl (apart from a Greece best of LP which wasn't a strong compilation of the group's songs). One way or another it felt like this band and especially their composer, band leader and overall brain Hany Shenoda was in need to get some recognition outside of Egypt. The release is fully licensed from the band and comes with an extensive booklet with liner notes, interviews and unseen photos.

Another great release on the 'Santiago-Amsterdam label' Cachai: LTD 005 on clear vinyl! German pride Christian Burkhardt and Daniel Roth: two artists who have been rocking the game for a long time. Pure groove - the way we love it at Cachai. This release hits two remixes: Chilean all-star Felipe Venegas and Amsterdam based quality producer Onno. A pack of four tracks that can't disappoint.

Acclaimed Russian producer, DJ and live musician Kito Jempere is back with a stunning second album, this time on Italian label Hell Yeah. Entitled Sea Monster and due for release in early 2017, the nine track album is a fantastic fusion of live instrumentation and electronic production.

Kito Jempere is a musical polymath. The Russian artist, producer, multi-instrumentalist and band leader has been involved in many projects over the last ten years plus. These range from rock to acid jazz to electronic bands and often call upon a rotating cast of other members who are all equally talented.

From playing in small bars to headlining big shows for thousands of people in Saint Petersburg, he has put out a number of albums and singles on labels like Freerange, Room With A View and Hell Yeah and DJs around Europe.

Jempere plays live as the Kito Jempere Band, and here he calls upon his bandmates for their many skills to lend the album a richly musical feel.

Mixed and co-produced by band member Roman Urazov, the album features Artemiy Gunbin aka Noteless, the voice of the Kito Jempere Band and front man of his own rock band Videatape, as well as Ruslan Gadzhimuradov, a long time drummer on many projects, plus Matvey Averin, the bassist but also co-producer for cult group Manizha and finally Sergey Lipsky who here plays guitar and is also half of Simple Symmetry as well as having played for Kito's other project Saint Petersburg Disco Spin Club group.

Sea Monster kicks off with Lifetime Theme, a heavenly groove with loose drums and percussion and gorgeous keys. Form there, Artemiy Gunbin's ethereal and crystal clear vocals take centre stage amongst balearic guitars on album single 'Ampa', and then 'To Talk' is a deeper cut with bumpy drums, long tailed pads and shiny synths all making for a curious and whimsical atmosphere.

'Grid Cells' is a lush instrumental track with clever revel and echo adding a sense of grandeur to the freeform jazz drums and frazzled synths, 'Uohha' is as sunny and laid back as an afternoon on the beach and 'Puzzled' then layers up scuzzy basslines, popping hits and suspenseful synths into something smooth and seductive.

The final third of the album closes out with blissful guitar licks, lazy broken beats and brilliant drum playing that all have you wishing it was summer again.

This is an album with elements of jazz, house, disco, balearic and many more sounds all smoothly blended into one coherent and captivating album full of soul and musical skill.

After sending out these tracks last summer and getting great reactions from DJs and dancers alike, Hell Yeah is pleased to finally officially release virtuoso musician Verdo's Little Blue EP, complete with a remix from Lauer. Fully remastered for vinyl, the likes of Lexx, Chris Coco, Soft Rocks, Leo Mas and many more have all be playing these tunes with great results.

The talented Verdo runs the famous Gratis Club in Senigallia on the Italian east coast. It is a place he calls home, and that has really allowed him to hone and sharpen his DJ skills so that now he is a slick, unpredictable and singular DJ with many tricks up his sleeve. Bjorn Torske, DJ Fettburger, Prins Thomas, Kenji Takimi, Glenn Underground and more have all played there in the last decade and Verdo himself is a skilled pianist who has played for Zero7 singer Mozez in the past. He has worked with Hell Yeah before now, as well as releasing on Danny Was A Drag King, and here serves up his biggest bit of dance floor dynamite to date, including his previously digital only cut 'Big Fish' (mixed by DJ Rocca).

Opener 'Little Blue' is a perfectly sunny track with hip swinging claps, bobbling bass and boat party vibes that soothe your soul. Rich with instrumentals and golden synth lines, it's a perfect beat that gets followed up by the retro disco pump of 'Sazerac', another tropical cut with loose drums and rubbery bass to get you up on your toes.

The massive 'Big Fish' then hits hard with its tin pot percussion and wild synths all making you flail your arms like you just don't care. Jumbled jungle vibes and big chords all swell your heart as your feet skip about down low.

Closing out the package is Phillip Lauer (Tuff City Kids), one of the most in demand stars of the day, and his version is a direct house jam with percolating and rugged synths and slapping hits, all demanding you ditch your cocktail and get up and groove.

"all good stuff here! OG for early / mornings and Lauer for peak. really nice release! " Piers - Soft Rocks

"Big fan of Verdo! great tunes here as expected. Sezarac fav at first listen." - Dream Chimney

"Little blue is super nice!!" - Phil South (Golf Channel)

"Yes, some great stuff here. Sezerac and the Lauer mix are really great, perfect sunshine session material." - Chris Coco

"I love Big Fish's keyboards! strong!!! Arigato!!!" - Chida

"Little Blue and Big Fish are fun for sure, def will play em on a rooftop sooooon" - Jacques Renault

"Yeah, feeling Little Blue, heavy rotation this Summer! " - Jason Boardman (Aficionado)

"Little Blue, i like." - Lexx

"This is tremendous. Driving peak time track that you can imagine Joe Claussell really working the dancefloor with." - Andrew Pirie

"killer ep guys!!!" - Discodromo

Following the recent reissues of Pop Impressions, Super America,
Soul Impressions, and Chorus, Underdog Records label follows
up to the series with another brilliant album by French underrated
composer and producer, JANKO NILOVIC.
JANKO NILOVIC certainly was one of the greatest studio talents of Europe in the 70s!
He is a musician who devotes himself to music, which resulted in a great number of published works, but most of them made for library music labels and also not available for sale. His oeuvre stretches from classical, jazz and funk to pop, psyche
and easy listening. And has been sampled many times by hip-hop
artists such as JAY-Z, DRE, DAFUNIKS or GUTS...

Shara Music starts 2017 with the second vinyl of our label called 'Basic Drink'.Signed by one of the most prolific Italian producers of this past 2016, Dj Rocca. Also along with the Marc Piñol remix. It's the beggining of a year loaded with great references A vinyl that consists of 4 cuts, 3 originals plus the Piñol remix. A new bet for the slow European sound. As a prolific prolific producer Rocca this time show us that electronic music is experiencing a great artistic moment, in which more and more sophisticated producers opt for quality harmonies, arpeggios, solos and other musical aspects. A palette of sounds that cover diverse styles like the Funk, Disco or hippest House and perfect for the most cultured sessions.The remix by Marc piñol revolves around a more minimal world but with a great Techno feeling. Darkness of quality and a long journey to mix.

Peter Hunnigale aka Mr Honeyvibes was born in South London on December 12th, 1960. Peter Hunnigale was to develop into one of Britain's most formidable reggae 'Lovers Rock' artist of our time. It was clear at a tender age Peter's main interest was in music and being born of Jamaican parentage, he was exposed and influenced by music of West Indian culture.

Untamed Love is an UFO in Peter Hunnigale's career, recorded at Omega studio (London) and originally released on the Cosmic label in 1986. Some people have no words to describe it. You can call it brit-boogie, rare funk, sick jam, musical bomb, or god jam, whatever it's a typical mid 80's tune with a rhythmic background sound that is captivating and memorable, thanks to heavyweight synth and awesome vocals. The original 12'' vinyl record is still very hard to find and expensive nowadays. If you are about to discover this song, make sure you are sit down when you listen to it because this song will blow you down hey girl I like the way you smile'.

Growing up in Britain meant that Peter Hunnigale was also open to other genres of music and with seeing the popular acts of the day perform on television and hearing the songs on the radio Peter knew what he wanted to be. Peter is also a great musician and did live work with reggae legends such as The Chosen Few, The Pioneers, B.B. Seaton and many others, while earning the respect of their peers as a competent bassist and qualified engineer. He won a Best Newcomer award at the Celebrity Awards in 1987, and won Best British Reggae Album at the British Reggae Industry Awards the same year.

2 black LPs in gatefold sleeve with CD included T
A relentless vinyl collector and a fervent connoisseur of Anglo-American culture, the founding painter of the Figuration Libre movement (with Di Rosa, Blanchart and Boisrond) in the early 80's, Robert Combas has always connected his art with rock music. The two are always intertwined and fuel his inspiration. During his exhibition Sans Filet, Robert Combas made an essential encounter: the artist and video maker Lucas Mancione, also from the town of Sete, and decided to make the leap. Together, at the start of the decade, they created the band Les Sans Pattes. Notre Renaissance is a dazzling discharge, a geyser of cold and searing emotions, a conscious search for a unique and extreme experience. The tension in each track is palpable, as constant as it is pregnant. This band is full of character. Sometimes electronic, often a bit punk, always particularly rock'n'roll. Raw and physical tracks, compact and heady. Les Sans Pattes always lean towards psychedelics and repetition.

'This is a journey into sound...,' These familiar words, accompanied by the rumble of a distant train, signal the opening of 'Let's Take A Trip', the sophomore album from Terrel Wallace aka Tall Black Guy. Since 2013's '8 Miles To Moenart' TBG has cemented his position as a standard bearer for the current hip-hop / beats scene. Born in Detroit and now residing in the UK, Wallace's signature style of incredibly clever sample flips and deft production chops has won fans across the globe including Gilles Peterson, Lefto, Jazzy Jeff and House Shoes.

Since his debut release in 2011 (a daring and addictive flip of Fela Kuti), TBG has become revered for his unique take on soulful hip-hop production. The swing of the drums, the textures of the instrumentation as well as a fearlessness in taking on the classics (his Soundcloud page includes flips and chops of tracks from James Brown, De La Soul and Michael Jackson) have marked him out from the crowd. One of the best-kept secrets in the scene, his singular talent is now beginning to get the recognition it deserves. In the last 12 months he has remixed Little Dragon and been invited to take part in Jazzy Jeff's Playlist Retreat alongside the likes of Eric Lau, James Poyser, Ali Shaheed Muhammed, Questlove and countless others.

For this album Wallace had a simple inspiration: 'This album is all about taking a journey. As simple as that. Be it physical, emotional or spiritual. It's asking and answering personal questions from myself within some of the tracks and also touching on social issues i.e. racism, inequality and privilege...that have been at the forefront of my mind over last three years.' Sonically there is also a shift: 'Jazz has definitely been more of an influence in this project, as I have been really inspired by so many up and coming musicians who I've been blessed to connect with'. Some of these musicians, including Kenny Keys, Miles Bonny, Diggs Duke and Dee Jackson feature on the project as well as regular collaborators Ozay Moore and Mario Sweet and fellow Playlist alumni Daniel Crawford and Masego. But this is one man's vision, and for Tall Black Guy this trip is just the beginning...,.

Breakbeat Paradise Recordings is turning back time to the early 70s when funk music was made by talented musicians joining forces in bands with the objective to create the next big funk anthem. So many big tunes and classic funk productions came out of this era and it also harnessed a new breed of funk bands across the globe who is dedicated to continuing the legacy of the funk music in the new millennium.

Breakbeat Paradise Recordings has proudly collected 4 bands to represent the new era of funk from various parts of Europe. German based Grand Slam, Swiss funk band Grand Mothers' Funck, Nasa Funk from Greece and A Man About a Dog from the UK has all provided original funk jams to this groovy 12" vinyl.

Leading the way on the a-side is Grand Slam who has created a big summer tune which sits in well with some of the current radio funk jams and will be sure to bring the ladies on the floor. Grand Slam has been around since 1985 by incorporating various flavors from Rock, Jazz, Soul and Hip Hop. The Get On Down jam from their upcoming release due May 2017 shows just how its done to do classic oldskool P-Funk which sounds as fresh as anything else on the radio here in 2017! Produced by (and featuring) veteran P-Funk legend Gary "Mudbone" Cooper!

Grand Mother's Funck means business on the straight up funky The Dog tune taken from their brand new album Take The Money. A special edit was done for this release as they are celebrating their 12th album release from a legendary veteran funk band who has been tearing up the Swiss funk scene for over 23 years now.

On the flipside the funk is riding equally high as Nasa Funk rolls in their Stand Up jam. Straight outta Thessaloniki, Greece comes this 5-man band with vocalist George Perin leading the way. This tune is produced with old friend of label Basement Freaks.

Last but certainly not least we turn our attention to the UK where the band A Man About a Dog has cooked up a latin-inspired and jazzy funk tune called Pollos.

That sums up the first all original funk release to be dropped on Breakbeat Paradise Recordings. After digging in a sampling so many great funk tunes over the years, this seemed like only right way to pay our respect to the genre of music we love and cherish so much.


[B] A2 | Grand Mother's Funck - The Dog (Throw Me A Bone Mix)

Jerome Meyer AKA Von D is a master craftsman, well-known for releasing dubstep and bass music since 2009. On an increasingly prolific trajectory since last year, recent 12's on Infernal Sounds, Trojan Audio and Scotch Bonnet have signaled his renewed focus on dubwise productions. We are proud to say that Von D's Khaliphonic debut sees him fully committing to reggae and dub - in his words, going back to my musical roots.'

Politricks' is a masterwork, cut from the same living rock as the classic Cuss Cuss riddim, a simply huge bass and drum workout that is truly one for the ages. Politricks is an anthem for now, a call to avoid the dead-end of politics-as-usual and a warning to beware of the lies politicians tell to keep themselves in power - full of promises but changing nothing. Von D says that working with Don Cotti was very natural,' and their easy relationship is audible - the tune fits the vocal like a glove, and Cotti's instantly-recognizable singjay style gives even more gravitas to an already heavy track. The dub version spools out Von D's signature saturated echoes even further, and opens up spectral chambers of reverb that shimmer and glow.

The B side Ygrec' is an equally massive tune, just as compelling if more meditative and mysterious, coming in both one drop and power-steppers mixes for maximum versatility and vibes. Both tunes and their versions feature an incredibly robust, warm, human sound - one that simply can't come from machines alone - live drums, bass, and kete drum among other instruments maintain the tradition of live musicians in dub - to say nothing of expert desk-based mixing and deployment of live analog effects the way the elders intended. Both tunes dial in at 140 making them perfect for roots and dubstep selectors alike.

Von D got his start as a drummer and engineer outside Paris, in the heady days of original jungle. Early releases on Disfigured Dubz, Hench, Boka, Black Acre and the seminal V Recordings, as well as his reggae-oriented Liquid Wicked project, cemented his reputation. Don Cotti is a prolific producer, DJ and MC with releases stretching back to 2006 on labels as varied as Bass Face, Studio Rockers, and Soul Jazz.

Mastered by Lewis at Stardelta. Art & design by Polygon Press.

Muyei Power or Orchestre Muyei (muyei means 'our country') was one of the top dance bands of the1970s in Sierra Leone. Soundway Records' first collection of music from this West African country ('Muyei Power: Sierra Leone in 1970s USA') is an album of rock-infused, 'afro' music from a group that traveled the world throughout the mid 1970s. Fusing elements of electric Congolese and Nigerian music with fast, syncopated, uptempo modernised arrangements of traditional music, Muyei Power produced a series of unique single-only releases that have been unavailable for 35 years. The rare recordings featured here are a glimpse of a dynamic and powerful band at the very height of its powers.

Even though lyrically Orchestre Muyei focused on traditional themes and songs, the arrangements and formulation of the instrumental side of things still very much reflected the mixed nature of urban Sierra Leone music, exemplified by a small collection of bands that also included Afro National, Sabanoh 75 and Super Combo.



For the early part of 1970s the band toured extensively throughout Sierra Leone, Liberia and Côte d'Ivoire before making a handful of 45s in local TV and radio studios. The recordings featured here however come from a period of touring the college circuit in California during late 1975 and early 1976. Later that year, as they played the colleges of the east coast, they gave the tracks to the owner of the African Record Centre in Brooklyn, New York. He initially released two of them on his in-house Makossa Records label as 7-inch 45rpm singles in 1976. The tracks from 1975/6 were then not heard of again until 1979/80 when the African Record Centre released many of them on a series of Makossa Records 12's that sounded far superior than the records that had been released a few years earlier.


Orchestre Muyei Power finally split up in 1979 leaving no proper album releases and only a handful of recordings for us to enjoy all these years later.

It's a pleasure to introduce Tony Rainwater - undoubtedly the most productive and creative savage we've come across recently. See usually we don't do this, Lehult is a crew affair, but this guy left us no choice. Being a music enthusiast, DJ and dancer for a long time, Tony has only most recently picked up producing his own music, yet at a stunning rate: When we first asked him for a demo - three months after he started producing - he swiftly dropped us a set of twenty-five tracks, another set of fifty more soon followed. His productions are straight rough edged, no-prisoners-taken Jams, combining samples from the most far-flung corners of his eclectic music collection. His magical patchwork wild style is on full display on his debut "Rockberry Jam" EP for Lehult. The A-Side takes us through the lighter side of his repertoire with the title tracks slow building house groove, some dizzy medieval monk grooves on "To All The World" and seductive R&B on "Lay It On The Line". On the flip "Operalight" irresistible groove and "Black Dream Flowers" provide some darker moments, before "Alone" closes on a soft note. The Vinyl version includes an extra goodie after the runout's. Tony is now a fixed member of the crew already and we're proud to have him and his crazy energy on the team. This won't be the last you'll hear of him.

New Order Presents Be Music is a compilation of productions by members of iconic Manchester group New Order, including classic dance and electro tracks released on Factory Records between 1982 and 1985, as well as more recent remixes for current artists such as Factory Floor, Marnie, Tim Burgess and Fujiya & Miyagi.
The generic tag Be Music was first used in 1981 and covered studio production work by all four members of New Order: Bernard Sumner, Peter Hook, Stephen Morris and Gillian Gilbert. Sumner often teamed with Donald 'Dojo' Johnson of A Certain Ratio, including the pioneering electro cuts featured here by Quando Quango, 52nd Street, Marcel King, Paul Haig and Surprize. Morris and Gilbert worked with Thick Pigeon, Life, Red Turns To and also 52nd Street. Although more rock orientated, Hook proved he was no slouch on the dancefloor either with the mighty Fate/Hate by Nyam Nyam.
'Producing was a really important sideline,' recalls Bernard Sumner of the Factory era. 'It's OK doing it because although all the groups are skint, you learn a lot and you're helping somebody.'
After 1985 the band focused more on producing their own records, both as New Order and solo projects such as Electronic, Revenge, The Other Two, Monaco and Bad Lieutenant. However in recent years Stephen Morris in particular has remixed several newer artists, notably London industrialists Factory Floor, as well as former Factory workers A Certain Ratio and Section 25.
Bonus tracks on the 3xCD box set include Knew Noise by Section 25, produced by Ian Curtis and Rob Gretton of Joy Division way back in 1979, and the complete 22 minute version of Video 586, recorded by New Order themselves in 1982.
 All tracks (12 on vinyl, 36 on the CD) are newly remastered. The liner notes feature commentary on the tracks by the artists and the members of New Order. Design and packaging are by Matt Robertson/Peter Saville Studio.

COMPILED BY PETE PASQUAL, ERICA OLSON & DJ KINETIC

Following on from acclaimed compilations like 'Down Under Nuggets' and 'Heavy Soul' (and two other new titles 'Running The Voodoo Down' and 'Dodgy Bossa (& Silly Sambas)' - details below), Festival Records presents another deep dig into the archives, this time shining a light on rare Australian soul-jazz, jazz-funk, and freaked-out groove rock from the late '60s and '70s.

BACK ON THE STREET AGAIN - AUSTRALIAN FUNK, SOUL & PSYCH (MOSTLY) FROM THE FESTIVAL VAULTS is a stunning 20 track CD and 2LP release that highlights a point when the previously disparate styles of rock, jazz and soul all started influencing each other, and exciting new genres were created. To quote the liner notes (by DJ Kinetic):

Australia produced some amazing music during the 60s and 70s that sat outside of the normal rock mould. Avant guard artists like John Sangster pushed boundaries and experimented with the fusion of local and overseas influences, artists like Dalvanius recorded soaring disco music that was lost amongst the popular music of the time, only to be rediscovered by DJs overseas who were searching for unknown sounds, composers like Brute Force and His Drum took risks and recorded left-field funky sounds hidden within their more mainstream compositions, and popular artists like Billy Thorpe occasionally strayed from their A&R directions and took leaves from the books of American artists who were largely unknown in Australia at the time. Beneath the veneer of bland rock and roll lay an unknown multitude of funky sounds hidden from mainstream view.

In addition to the artists that Kinetic mentions (and the compilation features two John Sangster tracks - stunning versions of 'Hair' and the Beatles' 'A Day In The Life'), the collection includes iconic names of the era like the Daly-Wilson Big Band (featuring Kerrie Biddell), Renee Geyer and the Johnny Rocco Band. '60s sides from Ross D Wyllie and The ID (featuring Jeff St John) reveal the various styles' roots in American rhythm & blues, and the unexpected inclusion of some legendary Australian rock outfits like Tamam Shud and Blackfeather reveals the psychedelic and progressive rock influences at play. The full range of the music is highlighted by the inclusion of both cabaret/daytime TV performer Al Styne and outrageous Kings Cross club act Count Copernicus & The Cosmic Fire as well as the in-house studio 'pops' orchestra, Festival Studio 24 Orchestra.

Co-compilers Pete Pasqual, Erica Olson and DJ Kentic to undertake interviews with specialist media around release. Facebook ad's around release.

'Deep session! It is rare to hear folk music from Japan in such beautiful fidelity and incredible dynamics. This recording is intensely gorgeous and hauntingly disarming. This should open up a whole new world of adventurous listening for folks outside (and inside!) Japan.'Brian Shimkovitz (Awesome Tapes From Africa)

'Sounds absolutely great! Super interesting and engaging.'Ben UFO

'Just Give Me That Old Time Religion, It's Good Enough For Me.'Japan Blues

A hotline to the gods! Kagura is a thousand-year-old form of Japanese Shinto sacred music and dance, accompanying the chanting of myths; the word "kagura" can be translated as "god-entertainment". Passed down over countless generations, the music is rare and recordings even rarer. Shigeo Tanaka was a master of the yumi (bow), an uncommon single-string percussion instrument, which is a true bow: arrows are fired off at the end of each ceremony to fend off evil sprits. The instrument is difficult to play; it's hard to draw out the proper sound and maintain the rhythm.
Yumi kagura is the oldest of all the various forms of kagura. The Tanaka family, based in rural Joge-cho, Hiroshima prefecture, has passed down this yumi kagura tradition for hundreds of years; this lineage continues to this day in the person of his daughter Ritsuko Tanaka. The Joge-cho yumi kagura, which prays for family well-being, bountiful crops and good fortune, was designated an Important Intangible Cultural Property in 1971. The piece featured here, "Takusa saimon", based on the myth "Ama no iwato" (The Rocky Celestial Cave), is mesmeric, reaching back across ages to the time before time, with Tanaka's voice and yumi, accompanied by flute and metal percussion, drawing us closer to the primal activities of the gods. Listeners may find affinities with aspects of musics as diverse as German electronic minimalism like E2-E4, certain Ethiopian music, "spiritual jazz" and more, all tapping into the deep root of forever. Previously available only on a ridiculously obscure 1990 cassette release, Yumi kagura is the first collaborative release by EM Records and Riyo Mountains, a Japanese folk song research team. Available on LP and CD, with the CD featuring a bonus track: "Inagahachiman jinja yumi kagura hono" recorded in 2016 by Tanaka's daughter and successor Ritsuko Tanaka.

+ Direction/liner notes by Riyo Mountains
+ English liner notes & lyrics

Mit mittlerweile 78 Millionen verkauften Alben ist Marshall Bruce Mathers III alias Slim Shady alias Eminem als HipHop-Künstler längst in Dimensionen vorgestoßen, von der die Konkurrenz nur träumen kann. Sein kreatives und persönliches Tief hat er bereits mit dem 2009 veröffentlichten Comebackwerk Relapse hinter sich gelassen. Statt, wie zuerst angekündigt, diesem Album einen bereits weitgehend fertiggestellten zweiten Teil folgen zu lassen, hat er alle diese Pläne kurzentschlossen wieder über den Haufen geworfen und komplett von vorne angefangen. Mit Recovery ist ihm eine der stärksten Platten seiner an Höhepunkten nicht geraden armen Karriere gelungen. Unter der wie gewohnt souverän zurückhaltenden Regie von Executive Producer Dr. Dre lieferten unter anderem DJ Khalil, Mr. Porter, Emile Haynie, Just Blaze und Boi 1da ausschließlich erstklassige Beats ab, die Eminem mit seinen Reimen in gewohnter Manier verziert. Bereits beim Opener, dem wütenden "Cold Wind Blows", präsentiert sich Slim Shady in absoluter Bestform, ebenso wie beim etwas verhaltener aber nicht mit weniger Nachdruck vorgetragenen, stark autobiographisch eingefärbten "Talkin' 2 Myself", bei dem Sänger Kobe und dezente Rock-Elemente für den nötigen musikalischen Kontrast sorgen. Nach einer kurzen Verschnaufpause folgt dann mit dem gemeinsam mit Pink eingespielten "Won't Back Down" einer der absoluten Höhepunkte der Platte. Eine ungemein elektrisierende Nummer, bei der Produzent DJ Khalil erneut erfolgreich auf harte Gitarrenklänge setzt. Besonders beeindruckend fällt auch die Midtempo-Hymne "Going Through Changes" aus, deren Gesangsrefrain sich Eminem kurzerhand beim Black Sabbath's Klassiker "Changes" ausgeborgt hat. Doch auch ohne fremde Hilfe macht er zum Beispiel im Track "Not Afraid" eine gute Figur. Sehr stark fällt auch der zusammen mit Lil Wayne aufgenommene Titel "No Love" aus, bei dem als tragendes Element ein Sample von Haddaway's unverwüstlichem Hit "What Is Love" aus dem Jahr 1993 zum Einsatz kommt, sowie das bereits als Single erfolgreiche Love The Way You Lie, bei dem Rihanna als Gastsängerin brilliert.

Stirred up from deep within, from an abstract spiral of sound and movement, from a sensation of time and space absolving and converging at once, the Black Flower musicians have molded a tangible matter: the album Artifacts. Their second full album sounds international and ageless. Eastern influences, Ethiodub and jazz effortlessly merge. Fantasy and reality seem to fuse. In a word: nourishment for body and soul.

"Psyche-delicious and accessible 20th century Ethiodubjazz. As if John Zorn put on Fela Kuti's shoes and imbibed Mulatu Astatke's whirls."

Piloted by saxophonist /flutist /composer Nathan Daems (Ragini Trio, Dijf Sanders, Antwerp Gipsy-Ska Orkestra), this instrumental band aims for originality. Fellow musicians and 'brothers down the road' are Jon Birdsong (dEUS, Beck, Calexico) on cornet, Simon Segers (Absynthe Minded, De Beren Gieren, Stadt) at the drums, Filip Vandebril (Lady Linn, The Valerie Solanas, Antwerp Gipsy-Ska Orkestra) at the bass and Wouter Haest (Los Callejeros, Voodoo Boogie) playing keys.

For many of us, the Ethiopian aspect once made known to the world by Mulatu Astatke will stand out. Still, Black Flower further adds oriental scales, Afrobeat à la Fela Kuti, jazz in a John Zorn way and varied western music traditions such as rock and dub. The resulting melting pot is undoubtedly inspired by Nathan's distant travels and the multifariously colorful city of Brussels.

...Pretty legit if you ask me - LeFto, Studio Brussel

After their well-received debut album Abyssinia Afterlife (2014, W.E.R.F. / Zephyrus Records) that created an atmosphere of mythical figures and psychedelia, Black Flower now reflects on ancient and modern cultures. The album title Artifacts refers to centuries-old fragile objects or tools that empowered the development of human culture. The world today would look entirely different without those artifacts. The seemingly brittle suddenly becomes a powerful welding cornerstone. Add the musicians' personal musical backgrounds and the result is an album with an ageless mystique. Artifacts is the synthesis of different cultures, of the past and present, and personal and collective memories. It is the soundtrack to modern reality, based on the elements that connect us.

Brilliant - Gilles Peterson, BBC Radio 6

One of Belgium's Best Bands of these past years (...) Black Flower does not simply play a tune, they always groove! - Kurt Overbergh, Ancienne Belgique

Uncomplicated originality, plenty of space for fantasy and an organic tone: those are the ingredients for Black Flower to lay claim to an age-old human ritual: dancing! Still, Black Flower also stands out in various other settings. Their audience at a jazz club will have felt exalted, their audience at a late-night show will not have resisted dancing. The band wields influence over their surroundings in a way only heart-and-soul musicians can. This mastery has repeatedly taken them to United Kingdom, France, the Netherlands and Germany.

Cristal clear lakes, impressive mountains, soothing forests and
Berlin Techno music.The National Park of Saxon Switzerland in eastern Germany, south-east of Dresden offers endless ways to have a great hiking journey. The 93km region between Pirna and the Czech border is one of the most beautiful landscapes in Europe. More than 700 summits are available to rock climbers, while for those who prefer to keep their feet on the ground, there are 400 km² of marked hiking-trails, steep treks, paths and some cycle routes through the National Park. In this area, called the Erz mountains, we found our beautiful cover stone with a typical Ore layer inside.

Recorded in 1969, the fourth album from Sly And The Family Stone, "Stand!" was the crowning musical statement by this unisex, multi-racial rock and soul combo from the Bay Area of San Francisco, featuring four chart hits, including the number one smash "Everyday People", "Stand!" virtually invented the 'progressive' funk of the 1970s and 80s, jettisoning the trappings of 60s soul and paving the way for a new sound that would influence other artists to this day.

From the whip-like crack of Yako's signature staccato vocals and impossible-to-memorize lyrics to the relentless overdrive tempo of their oneof-a-kind prog-core, Melt-Banana have long resided in a cybertopia of their own devising where the limits of technology and human capability are old-world concerns as quaint and cumbersome as bartering with a blacksmith. The demos for Fetch, their first studio album since the severely fried pop-punk of 1997's Bambi's Dilemma, were completed in March 2011, but the Fukushima earthquake changed everything, including
their ability to concentrate on recording. Which stopped completely.

Once they felt ready to return to their music, they decided to approach the songs on a sound-by-sound basis, choosing each tone with meticulous attention to detail, affirming their personal connections, being themselves naturally and openly.


Fetch scrapes glam shimmers off punk's outermost fringes and forges them into a rather intensely technical Deanscape packed with fantastical hybrids. Agata's guitar riffs, seemingly composed in tandem with skipping CD players, are more bad-ass than ever, bright and fractured like the soundtrack for a CC-Hennix-scored biker flick. The album is juiced with electronics and post-rock production, tempering what could easily be a
tiresome and predictable frenzy, yielding unexpected associations: Kate Bush climaxing on Walter White's blue meth; demos of late-period Wire playing metal run through Wasp synthesizers and Autotune; unripe wild
lychees keeping time on an Ankgor Wat tin roof during a monsoon.

They've been performing live as a duo since summer 2012, and will do the same for their '2 do what 2 fetch' tour in support of the album. After nearly 20 years of playing with a live rhythm section, their use of a PC, while opening possibilities for a variety of drum and synth voicings, does not signal a move away from the traditional live band sound, as heard, for example, via the future transmissions from downtown Noiseapolis on
2009's Lite Live: Ver. 0.0. Yako and Agata say they need to feel real band sounds onstage as much as someone in the audience. This is a group that routinely excels at several kinds of impossible simultaneously, so of course any new challenge they come up with for themselves is sure to blow the doors off your Mini Cooper. - First record as a duo expands the M-B sound
into multiple dimensions - LP includes digital download card; first
pressing on clear vinyl

EMERGENCE is an epic, operatic, ambitious amalgamation between audio-visual show, scientific research project, art installation and IDM record, the debut release on Max Cooper's Mesh label and his second full-length release.2 LPs housed in a gatefold sleeve, featuring black and gold ink printed onto silver laminated board to create a unique and beautiful effect.The record was conceived as a soundtrack to a new series of 11 pieces of video art, each exploring a different facet of the concept of 'emergence'. The full A/V live show will premiere at Mutek, Japan on November 2nd 2016. Together the work is a marriage between the cosmic awe of a Carl Sagan film and the musical wonderment of Sigur Ros, made for meditating on the mystery of our emotional connection to fundamental natural form.
Cooper collaborated with film composer Tom Hodge and vocalist Kathrin deBoer to put together a rich piece of music that incorporates post-rock, Warp-y brain-dance, hi-def digital techno and shimmering neo-classical. Few musicians are as qualified as Max to tackle as profound an idea as 'emergence' through electronic music. Emergence is the story of the development of the universe, the way in which, very complex things like human beings where created from the immaterial by the action of simple laws.Max has synthesised his skill as a producer and his deep interests in science to create a Hadron Collider-grade ambient techno world, in the lineage of The Future Sounds of London's 'Lifeforms' for 2016. It's also one of the most beautiful records you'll hear all year. Early support at radio pledged from Lauren Laverne and Mary Anne Hobbs.

Green Vinyl

Back in the days at the west-Saxon highlands there was a missile, which marked the starting point. When Credit 00 saw the legendary rocket rise on Tetris' final screen, it was the first time he became aware of electronic music at all. Since then it actually hasn't changed that much. He keeps pushing that buttons that belong to the impressive pool of music machines towered up next to his bed.

After moving to Dresden in 2000 to study fine arts, his passion for synthesizers and drum machines got nurtured through visits of Dresden's club-canalisation. He quickly made himself a name as a DJ, who is just doing his own thing and got popular for that reason. As a part of the Idealfun-crew he started hosting parties always in the twilight zone between legal and illegal. This led to Robo Dance', Dresden's only and (also for some other reasons) best Electro club night featuring guests like DMX Krew, Luke Eargoogle or Imatran Voima. The track Credit made with Randy Barracuda of Imatran Voima has probably been created some time after the show. Apparently, Randy was not in good shape anymore and so Lebensraum' unmistakably bears Credit's hallmarks.

For his own music he's inspired by cannibal movies, number theory and birds. Still, his music is not easy to pigeonhole. After all, he loves Synth Wave, Electro, Afro, Kraut, Kosmische, Disco, Italo, Miami Bass and other Proto stuff - a lot of machine music.

yes it's the Amsterdam rockstar, who over the last fifteen years rocked major clubs and festivals to smaller bars and dodgy underground locations all around the world.TIP!

Virginia-born singer/songwriter Nicole Wray has everything you'd want in a singer: an infectious Jackson-5-family-member flare, a range like Aretha's, and a church upbringing that's brought a pure, healing texture to her voice. But the struggle she's been through has made her more than a singer. Nicole Wray is an artist. When talking about Queen Alone, her first solo album in some time, Nicole explains, It's a reflection of my soul. It's who I am today.' And aptly so. Nicole is writing and singing songs about her life. And yet to even start to know her soul, you have to go back to the beginning. Growing up in Portsmouth was tough at times for Nicole. However, at the age of fifteen, life opened up quickly when Missy Elliot paid a visit to Nicole's family home to audition her on the spot. Missy was there on the rumored strength and quality of her voice. Instantly blowing her away, she signed and left with Missy that night. Two years later, at age 17, she had a hit gold single off a solid debut album (Make It Hot). Suddenly she was part of a team that included late '90s R&B and rap royalty: Missy, Aaliyah, Ginuwine, Playa, Timbaland and Magoo. She made it, and fast. However, as rapidly as she achieved success, Nicole then found herself needing to re-make it. By late 2001, her time with Missy and company had run its course. They amicably parted ways and Nicole, once on top of the R&B world, was unsure of what was next. It was a very low, but important, point in her life. While neck-deep in this struggle, Damon Dash and Roc-A-Fella Records called. They signed an album deal and by 2004, in what was starting to be a pattern, just as things were looking up Roc-A-Fella suddenly (famously) split. Nicole found herself in a familiar situation. In 2013, Nicole paired up with London vocalist Terri Walker and released the album Lady. Once again, Nicole was tested. Terri parted ways with the group to pursue her own projects shortly after the album's release. Fast forward to now-the transformation from singer-for-hire to pure artist is evident in this new full-length solo release, Queen Alone. The record was written and recorded in 10 days at the legendary Diamond Mine Studios, in Queens NY with Leon Michels and Tom Brenneck handling production. Nicole says she is Singing out loud now-singing from the stomach.' Back in 1998 she was coached how to sing, and told to stay in a pocket that never let her show her range, power, and passion. Today, after stutter-stepping in and out of the industry, there is a new soul and substance to her songs-all of it from her life. They Don't Hang Around", tells the story of her post Roc-a-Fella days, Guilty", is about her brother's incarceration, Make Me Over" tells the relatable story of being broke with expensive taste, and 'Let It Go', a perfect way to end the record, is about the simple act of letting go and moving on. Almost echoing her new record, Nicole says, You have to go through something for it to be real.' She has been living with one foot in fame and the other in real life. The result is clear: she's feeling something real in her music again. And it's hard for us as listeners not to follow suit.

Jam Money is the shared musical vision of Kevin Cormack and Mathew Fowler. Mathew (Bons) and Kevin (Half Cousin, Harry Deerness) first began collaborating as part of the Blank Tape Spillage Fete, an ongoing collective project of art and music which focuses on the creation and perpetuation of small DIY exhibitions, related events and limited releases that celebrates the hobbyist nature of home recording.

Jam Money revolves around a passion for the simple and sometimes restrictive nature of four-track cassette recording. Using old half-broken guitars, clarinets, charity shop keyboards, toys, family heirlooms, zithers, home-made percussion, and household objects a shared dialogue appears, involving both mark making and musical mishaps, allowing the makers to be carried along as the music finds its own way.

Genre definitions melt away in Jam Money's music as ambient dissolves into lo-fi rock, noise into fragile naive classroom melodies. Creativity beyond easy categorisation.The first recordings titled 'Blowing Stones' were self-released in 2014. The cover and insert artwork for this record featured abstract paintings by the artist Aimée Henderson whose work and process is a great influence on their music. Having played gigs alongside kindred spirits National Bedtime and Plinth, the tail end of 2015 saw the the band travel to Germany to play with the Notwist and Le Millipede for a series of 'Alien Disko' nights organised by Alien Transistor, a label with a shared kinship of both the weird and wonderful.

'A Gathering Kind' is the second album by Jam Money: a journey of sound and colour, subliminal images and narrative. The roots of this collection found Fowler and Cormack using an earthier, more instinctive language, making it a rougher-edged sibling to their other recordings, with parallels to the home-spun worlds of Flaming Tunes, Pumice, Maher Shalal Hash Baz and World Standard. Aimée's artwork features again, both paintings and music forming a collective language of dream-like adventure.

"Poignant and exploratory. Melting together acoustic and electronic elements, the narrative throughout is one of a ghostly world heading for winter. A firm fan favourite Stephen Pastel (The Pastels & Monorail Music) on Blowing Stones.

"Created in question and answer form, their songs exist like little sculptures - wayward and peaceful, sometimes whirring into automatic life under the pair's combined attention."

Double LP heavyweight vinyl, gatefold sleeves, printed inserts and download code.

Metallica will release their eleventh studio album, Hardwired...To Self-Destruct, on November 18th, via Blackened Recordings. The 2 CD / 2 Vinyl set is the Grammy® Award winning Rock and Roll Hall of Fame inductee's first studio album since 2008's multi-platinum Death Magnetic. Hardwired...To Self-Destruct is available on various configurations including: CD, Vinyl, Digital, Deluxe, and Deluxe Deluxe Versions. The album is produced by Greg Fidelman, who engineered and mixed Death Magnetic.

Double 180 gram, half-speed vinyl re-release of the orchestral epic. Norwegian Grammy-nominated and critically acclaimed masterpiece «The Mechanical Fair» finally gets it's long awaited vinyl release

Jampacked with a wellspring of harmonic slingshots, pumping beats and melodic rollercoasters, critics called The Mechanical Fair «the best movie you'll never see» and drew comparisons to Igor Stravinsky's «The Rite of Spring» upon it's original release in 2014. It's apparent appeal to an surprisingly wide range of musical communities finally brought it right into DJ dance-wiz Todd Terje's hands. And make no mistake: the physicist hands doesn't settle for an iPad. It craves vinyl. His wholehearted endorsement led the captain of the Olsen Family to clear the rights, assemble his own killer remix and requisition Grammy-winning cutting engineer Matt Colton for a gorgeous double 180 gram, half-speed vinyl re-release of the orchestral epic.

Originally written for a quintet including heavily merited jazz cats Erik Nylander, Ole Morten Vågan, Petter Vågan and Even Helte Hermansen in 2013, The Mechanical Fair expanded at the initiative of the Trondheim Chamber Music Festival, growing bolder and more powerful with the addition of the adventurous and Grammy-winning chamber orchestra The Trondheim Soloists in 2014.

Having just spearheaded seven genre-blending shows in just six days as the «Artist in Residence» of this years prestigious Molde International Jazz Festival, the multi award-winning Norwegian violinist/multiinstrumentalist, composer and producer Ola Kvernberg (35) can look back at an already impressive recording- and performing career. The once 17 year old jazz manouche violin sensation quickly and impatiently moved beyond the jazz realm for inspiration - resulting in seven albums as a solo artist, eight feature films as a movie score composer and countless additional recordings as a sideman. His list of collaborators range from jazz legends Pat Metheny and Joshua Redman, via post/prog-rock act Motorpsycho, to collaborations with world renowned novelists Lars Saabye Christensen and Jo Nesbø. His fearless attitude and relentless drive towards the boundaries of genres has given him a well-earned high standing on the Scandinavian scene today.

Don't miss out on this rollercoasting, genre-twisting magnum opus as it finally hits is true potential on the Olsen label on November 11 this fall.

The Tiger is back - finally on full length again! The second studio album for Tiger & Woods not only marks a desired return to a specific format, but is also a huge leap forward in their area of expertise: their brand of fun and functional dance music gets broadened by influences from electronica, italo disco and up-tempo house, while keeping a groove that is distinctly linked to what some people refer to as boogie. After travelling the world from left to right and from top to bottom with a live-set to boot and skilful DJ sets that resemble that genre melting approach, "On The Green Again" is the result of spending valuable studio time at the "Tiger's Lair" - a carefully-built new work place that plays its own part in the creative process of one of the most prolific production teams of our days, while simultaneously starting T&W Records for all sorts of adventures that are linked to Tiger & Woods, but not narrowed to a specific sound. See "Unleashed Tapes Vol. 1" for further reference. A double A-sided 12-inch that owes as much to disco as an influence as it pays homage to the funkier and brighter sides of house and techno. Honing a craft that is rooted in edit culture as an ethos, but has since long left that bumpy road dependable on samples and their clearance, T&W make "On The Green Again" work as the second album that defies the difficulty usually attached to such ventures. 10 brand-new tracks (and three previously released bonus tracks on the CD version) make up the course between peak-time prime cuts similar to "RockMeLoveMe" or "Come And Get My Lovin" and an almost heart-aching track like "Endless Affair". Mixed with bits and pieces in-between and neatly placed between a classic intro and outro segment, those tracks are testament

The first instalment in our new 'Mr Bongo Record Club' compilation series - a selection of favourites, recent discoveries and sought after obscurities, which form the basis of our DJ sets and our radio show of the same name. Including cuts by Claudia, Cortex, Dave Pike Set, Fruko, Neno Exporta Som, Connie Laverne, Barbosa and more. The original concept for 'Mr Bongo Record Club' was a radio show that allowed us to air our treasured record collections, recorded and broadcast once a
month. We wanted to create an outlet free from any genre or BPM restrictions, not constrained by the need to beat-mix every record, a space where we could play latest finds alongside favourites. The only self-imposed rule being that
it had to be played from vinyl. We have always DJ'd across-the-board, but playing in an eclectic way hasn't
always been easy. Recently DJ's such as MCDE, Floating Points, Nick The Record, Leon Vynehall, Four Tet, Jeremy Underground, Antal (Rush Hour), Sassy J and Young Marco - to name a few - have opened things up with very diverse sets to
younger audiences; Brazilian samba-rock, next to modern soul, highlife, disco, boogie, jazz, house, techno and beyond.  
We're seeing a rare groove like sensibility. A shift towards the attitude of legendary club nights hosted by the likes of Mr Scruff and Gilles Peterson, where you could hear house, hip hop, Turkish funk, boogie, jazz, dub and Latin
back to back. At the same time it isn't a nostalgic or retro movement, people have a progressive attitude and a thirst for new-old music. It is a vibrant and exciting time - we are proud to be a part of it.

Following their album SAVE! AKA COLDER & MUTADO PINTADO are back on DLM, with another deadly attack! Kamikaze style. We've been waiting a longtime for an I-CUBE remix. We've been fans and friends since his debut and we love that he strayed from his more technoey recent work, as great as it is. This is full on psychedelia, almost rock in its approach. A trip, not a track. Russia's great hope (not Ivan Drago), LIPELIS, hot on the wheels of his MacDonald Flack And The Ack-Ack Pack Pack remix delivers two radicals/tangents. Police & Robbers. They fly high, both in their own manner. RAINY MONDAY is dubbed out in space with that "jungle screw" feel. Slowed down breaks that are all the rage with the yoof, apparently but LIPELIS takes it to another level. Last floor his version of DARKNESS IN THE MIDDLE is a trickster, you'd think almost ambient kraut before you end up on an italo-piano-expansives beach.

Based out of San Francisco, Extra Classic is a unique live band formed with a keen appreciation of vintage reggae & vintage sounds. The aesthetic, and certainly the skilled method of their production, is an ode to the art of that classic style as referenced to the term coined by the Cool Ruler himself. Recording in their own studio, Nopal Recording, the band employs a taster's choice of analog equipment and is devotedly tracked, spliced and mixed in-house direct to tape. However, as the group's name itself implies, there is a dose of something extra and new in this swirling mixture of space echo, heavy phase, and emotive, psychedelic California-soul.Built upon the rock of an early-era dancehall swing, their first single in conjunction with Brooklyn-based imprint Names You Can Trust entitled In This Life, is a perfect slice of lover's rock gone sideways, a decidedly left-coast piece of roots and bliss driven by Adrianne deLanda's lovely lead vocals and the steady, dusty echoes of the locked in players. Presented in the traditional format with a version as per NYCT fashion, the dub mix incorporates a soothing dose of synare beams and underwater instrumental dreams.

Black Truffle is pleased to present Speak To Me, the sixth full-length release from 3/4HadBeenEliminated, the Italian trio of Stefano Pilia, Claudio Rocchetti and Valerio Tricoli. Based on source material recorded in Bologna and Berlin over the course of several years, the album is made up of two side-long pieces meticulously constructed in post-production by Tricoli in his singularly dense and unpredictable style. Although their live performances have always been entirely improvised, in their recorded work the group focuses on using improvised recordings as source material for compositions built up through layering, editing and analogue manipulation, extending the practices of Teo Macero, Faust and This Heat. Melancholic instrumental ruminations sit alongside cracked electronics, concrete sounds and Tricoli's whispered vocals, drawn together into dense assemblages animated by gradual transformations and sudden jump cuts.
Beginning from the abstractions of their self-titled debut release in 2004, the group embarked on a trajectory that saw them move toward near-song structures, Tricoli's voice becoming a dominant element amid an increasingly dense and layered production style. On Speak To Me, however, the listener feels confronted by the ghost of music, sonic memories echoing across a psychedelic expanse. Evacuated of any clear structure, the music becomes a reverb-saturated morass, from which crystalline details momentarily emerge: shimmering echoed guitar, bowed double bass, tactile hand percussion, skittering electronics. Suffused with a darkly pensive atmosphere, Speak To Me is an elegant summation of the distinctive blend of electroacoustic techniques, instrumental improvisation and contemporary psychedelia pioneered by 3/4HadBeenEliminated over the last decade.

Len Leise - Ing Ing - The first release for General Purpose (GP), a record label created by Len Leise and longtime DJ partner and collaborator Salvador. Leise and Salvador neither plan to release exclusively on GP, nor promise regular releases. It's a label for when they can find the time, energy, money and, most important, the sound they believe in. Ing is about embracing change, experimentation and progression. Terrified to follow a format, Leise looked to other genres for inspiration. He turned to his love for dub, afro, post punk and experimental music to find guidance. Artists like Scientist, Jah Shaka, Savant, Adrian Sherwood and Andromeda all in their own way influence Ing. Ing is not what you'd expect from Leise. Ing is a dub record, a post punk record, an experimental record, a balearic record, a homage record, a record with a purpose.

THE ASSISTENZ is the culmination of a four year creative hot streak as vivid as any part of CRISTAN VOGEL's long career. The trio of dance oor-oriented records formed by 2012's The Inertials, 2014's Polyphonic Beings and now THE ASSISTENZ are sensual pleasures rst and foremost: a lifetime of study of frequencies and rhythms on the frontline of the world's clubs has been put into the creation of sounds that interface with the nervous system and emotional re- sponses with extraordinary immediacy. But there's much more too: together with the more ab- stracted album Eselsbru¨cke, these form an enticing sonic narrative, encoded themes running through them, each part revealing more about the whole. THE ASSISTENZ, then, is many things: a personal document, a tribute to Copenhagen where it was recorded and after whose famous cemetery it is named - but also the nal piece in this bigger puzzle, which unlocks untold secrets from the previous three records.

There's a deeper history, of course. CRISTIAN's productions going back to the start of the 1990s have woven their way into the fabric of underground culture. His own recent remasters of his early albums, and the Sub Rosa Classics 1993-1998 collections have shown just how potent his early work remains. But his new work exists in a very different world to those past works, and is far removed from the recent electronic generations who he has in uenced too. In fact, as you listen to THE ASSISTENZ, you realise that there's no point making comparisons with other elec- tronic producers at all. While you will certainly hear some of the most fundamental and enduring vectors of underground music - dub, electro, acid, funk - owing through the tracks, even those things are rebuilt from the molecular level, created completely afresh with new, precise, but some- what skewed vision.

CRISTIAN's understanding of music now is spectral. That is to say, with every step through his exploration of sound over the years, he has made more and more detailed analyses of the specif- ic frequencies that make up speci c sounds and produce speci c effects on the human mind and body. And as a result, his own sound synthesis - increasingly done via the Kyma programming platform - is more and more able to reach beyond the 'synthetic' and impact in uncanny and wonderful ways. The most obvious sense of this is the way his sounds touch on the human voice: not just in the chattering, shimmering, singing tones of THE ASSISTENZ's ghostly centrepiece 'Barefoot Agnete', in the alien radio signals of 'The Merman's Dream' or even in the subliminal 'aaah's hiding in the background of the noisy 'Vessels', but in the way any sound, anywhere in any track can sound peculiarly vocal, heard from the right angle.

And it's not just the boundary between human and non-human, or that between acoustic and synthetic, that get blurred to the point of non-existence. CRISTAN's creative methodology now is all about leaving you so uncertain about where anything came from, or what scale the sounds are operating on, that you have no choice but to let go of preconceptions and standardised criti- cal faculties and go with it. Sometimes that can take you to places where darkness and physical- ity close in on you as on 'Vessels' or 'Telemorphosis', or into haunted spaces on the edge of the void like those of 'Snowcrunch' and 'Barefoot Agnete', but even in those, there is euphoria. And in the voluptuousness of 'Hold' or the body-rocking funk of 'Cubic Haze', all the abstraction is grounded in the sheer pleasure of your own bodily responses to the sound.

So many of the science ction dreams of the 1990s are now (virtual) reality. We live in a time when social networks consciously manipulate our emotions, where data is money, where ma- chines learn, where images can't be trusted, and where the synthetic can feel more real than real. Over some 25 years, CRISTIAN's experiments have traced much of this weirdness and evolved with it, and his understanding of synthesis and algorithmic processes to create structure makes him one of the most important composers working today. But THE ASSISTENZ doesn't just ex- periment with the interfaces between mind, body and machine: it expresses those relationships in ways that are beautiful, troubling, moving and scary, and which even make you want to dance. Together with the preceding three albums it enacts a glorious, endlessly-explorable mapping of just what electronic music can do.

It means Noisy Stars'' - Fergus Lawrie.

So it's coming up for the 20th anniversary of the We Are Urusei Yatsura' album, so what better time to look back at the broken Woolworths guitars, damaged eardrums and bleeding knuckles of Glasgow's lo-fi, Tokyo dreaming geek rock quartet

You could say it all began at the Glasgow Sound City event, when legendary BBC DJ John Peel came along to check out Urusei Yatsura at the 13th Note at the invitation of future Franz Ferdinand front-man Alex Kapranos. Liking the chaos that he saw, Peel invited the band to record a session for his show, asking live on air while guitarist and singer Graham Kemp was visiting the studio to talk about his Kitten Frenzy' fanzine the next day.

Peel arranged for us to record the session in Glasgow' says Kemp, We didn't have any amps or any money to get to London.' Producer Stewart Cruickshank told the band that it was the first Peel Session recorded outside of Maida Vale since the Undertones. So no pressure there then.

This began a long association with John Peel and the BBC, which saw the band record 5 Peel Sessions, 3 Evening Sessions for Steve Lamacq, play live to air for Mark Radcliffe, and appear regularly on Radio Scotland for John Cavanagh and Mark Percival. Digging through old C-90's that had been partly taped over with that week's charts, the band have pieced together a compilation of the best tunes for you, the discerning 90's indie rock aficionado.

..they sounded a bit like the Saints' - Thurston Moore, SELECT

Some of the recordings we did for the BBC, I think, are better than what eventually made it onto vinyl. We did Kewpies Like Watermelon' live in the control room for Radio Scotland and we had just learned it so it sounds really fresh and exciting. The version of Siamese' is the best we ever captured, and I love the Dice/Nae Dice' tune we wrote especially for Peel'. - Kemp

The challenge of recording and mixing four songs in a single day brought out the best in the band, and suited their impulsive, DIY rock n' roll spirit. The album, available on CD and vinyl, features 11 songs, including session versions of 6 singles, choice album tracks and live favourites from the only band who have been threatened by both the Yakuza and the Mafia (the latter incident generating the hilarious headline Nerds Threatened With Death' in the Sun newspaper'). The band have decided to call this hand-picked selection of the highlights of an eight year career', You Are My Urusei Yatsura, BBC Radio Sessions.

Other highlights of said career include, a number one indie single with a video shot in a Star Trek themed bar (Phasers On Stun), a Peel Festive Fifty placing (Kewpies Like Watermelon) an actual top 40 hit (Hello Tiger), numerous chaotic tours of Europe, UK and USA ,narrowly surviving a collapsing stage at Benecassim and a tent fire at Phoenix Festival, releasing three studio albums and 13 singles (including splits with Mogwai, the Delgados and the Blisters), taking Mogwai, Eska and Pink Kross on their first UK tours, supporting Super Furry Animals, Pavement and Teenage Fanclub, playing at Roskilde, Reading and T In The Park festivals, The CMJ festival in New York and MIDEM in Cannes.

The band consisted of the writers Fergus Lawrie (guitar and vocals) and Graham Kemp (guitar and vocals), with brother and sister rhythm section Elaine and Ian Graham on bass and drums respectively.

Celebrating the 50th anniversary of the creation of the Rocksteady music genre, 17 North Parade presents "First Class Rocksteady". The collection captures early work from some of the genre's defining artists, and here are further 24 hot tracks additionally to the tracks of the limited edition 7x7Inch box set of the same name. Available as double vinyl with deluxe printed inner sleeves featuring sleeve notes and images.

Tracklisting: Side One A1. Hold Them - Roy Shirley with Lynn Taitt & His Band A2. I Am Lonely - The Heptones with The Supersonics A3. Dance All Night - The Tartans A4. Rock Steady - Alton Ellis and The Flames A5. Ba Ba Boom - The Jamaicans with Tommy McCook & The Supersonics A6. Pata Pata Rock Steady - Patsy & The Count Ossie Band Side Two B1. You Don't Care - The Techniques with Tommy McCook & The Supersonics B2. Little Boy Blue - Pat Kelly and The Uniques with Bobby Aitken & The Carib Beats B3. I'm A Loving Pauper - Dobby Dobson with Tommy McCook & The Supersonics B4. Return Home - Alva Lewis with Lynn Taitt & His Band B5. Just Like A River - Stranger Cole & Gladdy B6. El Casino Royale - Lynn Taitt & The Jets feat. Count Sticky Side Three C1. The Beatitude - The Uniques C2. Revelation - Alva Lewis C3. A Change Is Gonna Come - Ken Parker with Bobby Aitken & The Carib Beats C4. The Big Takeover - The Overtakers C5. I Am The Upsetter - Lee Perry C6. Musically - Keith Blake with Lynn Taitt Band Side Four D1. Lonely Heartaches - The Clarendonians with The Aubrey Adams All Stars D2. Napoleon Solo - Lynn Taitt & The Jets D3. Intensified - Desmond Dekker and The Aces D4. Hold Me Tight - Johnny Nash D5. Seeing Is Knowing - Stranger Cole & Gladdy with Lynn Taitt & The Jets D6. Darling Jeboza Macoo - Stranger Cole

After These Hidden Hands re-surfaced earlier this year with the collaborative single These Moments Dismantled featuring Lucrecia Dalt, Tommy Four Seven and Alain Paul a.k.a. Shards are set to release Vicarious Memories, their second full length LP, on August 8th 2016. Vicarious Memories builds substantially upon the sound forged with their debut album and brings a considerable new level of detail, complexity, and musicality, which ranges from flowing mellifluous grooves, somber drones, to the outright bizarre and unexpected. Although loosely an instrumental electronic album, the album makes extensive use of guitar and vocals and features prominent guest vocal contributions from underground Berlin based musicians Julia Kotowski and Ale Hop. The album's preceding single, SZ31X71, a track which features on the LP is out July 11th, featuring a remix by revered Tri Angle artist, Roly Porter. Vicarious Memories will be released via the group's own imprint, Hidden Hundred available both digitally and as a 12 vinyl LP featuring gatefold cover art by Norwegian illustrator Anders Røkkum. Vital Sales Points: - Upcoming press: The Quietus, Thump, I-D Magazine, XLR8R, Future Music, Boiler Room, Mixmag, Resident Advisor, Ransom Note, Tsugi, Rockerilla & more - These Hidden Hands play Berlin Atonal, August 2016

Breakbeat Paradise Recordings is pleased to welcome back the Laptop Funkers for another set of high-octane fun & funky breakbeat. This 8-track album is a symphony of samples and breaks designed for you to Feel The Goodness. Following up on the successful vinyl release Ready to Rumble from 2013 the Laptop Funkers is back in better shape than ever!

Almost instantly after Ready to Rumble was sold out and a repress was demanded , tunes started coming in for what quickly turned out to be a full album release. Now after tweaking and perfecting these jams for over 2 years we are ready to present you with Feel The Goodness - a 12" vinyl filled to the limited with the finest beats and breaks this scene has to offer.

The Laptop Funkers ( the alias used by producer and sound designer Nuno Soczka for this breaks project ) is an elusive underground act that only emerges when there are some fresh choons to showcase. The influences are not hard to discover and Laptop Funkers has no problem in taking us back to the glory days of Big Beat with tunes that would make even Fatboy Slim and The Chemical Brothers feel envious!

Some of the biggest grooves you've heard for a while can be found throughout this ruthless funky album : from the soul-gospel flow of the Feel The Goodness tune to the bouncy brass works on Ain´t Nobody Like We , the ghetto drops on Incredible Funk and the contagious funky groove of Soul Power , from the pump up energy on I Can Keep It Going to the laid back soulful vibes on Where The Funkers At , the b-boy banger attitude of Got The Party Rockin and the chemical psychedelics of The Temple.

8 golden joints of epic sampling inferno that'll be sure to keep you entertained from start to finish. Comes in a full-color front-and-back cover 12" vinyl package with custom illustrations by the talented Cristiano Suarez.

As so many times before BBP is here to provide the b-boys and girls with some proper breaks to keep the party going...,

Banda Black Rio's 'Maria Fumaca' is one of the strongest Brazilian samba-disco-funk-soul-fusion albums of all time.

Banda Black Rio were formed in 1976 by the late Oberdan Magalhães in Rio de Janeiro. They revolutionised 'black instrumental music' at the time with their Brazilian re-interpretation of soul, jazz, funk and disco grooves, inspired by the likes of Tim Maia and reminiscent of Kool & The Gang and Earth, Wind & Fire during their most on-point period of the 1970's. 'Maria Fumaca' is the groups first album, originally released by Atlantic in 1977, a record that bought the group worldwide fame.

The title track is a real stand-out for us and a long term firm favourite. 'Miss Cheryll', more of a disco/AOR jam, was released by RCA UK in 1980 as the track become popular within several London scenes.

Raised in a musical family Anastacia first developed a career as a dancer, appearing in video clips and on MTV shows. Her debut album Not That Kind was released in
2000 and immediately struck a nerve in Europe, Asia and
Australia, before hitting it big in the US.


Her striking looks and most of all her remarkable vocals had her searing up the charts, helped by hit singles such as 'I'm Outta Love', 'Cowboys & Kisses' and the title song. Teaming up with some of the most successful songwriters of the time, her expressive alto voice had that rough edge needed for an identity of her own in blasting Pop/Rock/Soul tracks that did well both at home and on the dance floor.

Influenced more by Aretha Franklin and Tina Turner than contemporaries Britney Spears or Christina Aguilera she appealed to an adult crowd, eventually turning her into the 'World's Best Selling New Female Pop Artist' at the 2001
World Music Awards.

Strut team up for the first time with respected French label Heavenly Sweetness for the brand new album by the inspired poet, novelist and musician, Anthony Joseph.The Caribbean is an influence that runs through Joseph's discography, obliquely or headon, suggested or on full display. It resonates on each of his albums, from the furious trance of 'Bird Head Son' to the more polished 'Time'. On 'Caribbean Roots', he has now decided to turn a guiding thread and a reference point into a communications cable - a powerful bond that makes light of distance and braves the seas to link his island to that of his friends in the Caribbean arc, dancing to the strains of tumbélé and mendé only a few miles
from Port of Spain where people live it up to rapso and soca beats. Caribbean Roots' represents a return to his roots for Anthony Joseph, who has always remained true to a powerful, deep-seated sense of his Caribbean identity. Having started
out as a joint project with the outstanding percussionist Roger Raspail (Cesaria Evora, Papa Wemba, Kassav), 'Caribbean Roots' swiftly grew into a creative force incorporating
the rhythms, sounds and vibes that rock the Caribbean from San Fernando, Scarborough, Kingston and Les Abymes to Port-au-Prince and Havana. Backed by a band made up
of a blend of local musicians, the album attempts to unite the different islands into a single entity whilst ensuring that the identity of each is in no way diluted by the mix instead creating a richer and stronger alloy. The saxophones of Shabaka Hutchings (The
Heliocentrics) and Jason Yarde, the trumpet of Yvon Guillard (Magma), the bass of Mike Clinton (Salif Keita) and the trombone of Pierre Chabrèle (Creole Jazz Orchestra) all combine to form a group of Caribbean All Stars to which Andy Narrell, the master of the steel pans, brings ringing drum beats. The album features bursts of catchy rhythms and slow percussive riff progressions, as on a film soundtrack, incandescent voodoo funk and rhythmic high-speed frenzies shot through with free-jazz sax. This reunion of the Caribbean diaspora was never meant to come up with a formula divisible into eleven separate tracks - its goal was to explore and discover new sounds. And all of this under Anthony Joseph's guidance, as he spins his lyrical blend of afro-futurism and surrealism, commemorating the Caribbean people's sometimes violent resistance to colonialism. Anthony Joseph, one moment a chronicler reciting his text against a background of simple percussion, the next a storyteller possessed by the power of a hypnotic bassline, then an adventurer chanting among mangroves where the rhythm section and the brass have created an impenetrable thicket. At turns, an MC too, strutting to a fat, throbbing groove in vocal tandem with Sly Johnson or David Rudder to pay tribute to Mighty Sparrow, the undisputed and indisputable king of calypso

Phil Collins revisits a career that can boast over 100 million sales and numerous worldwide #1 albums. Both Sides will be remastered by Nick Davis, who earned a Grammy nomination for Best Surround Sound album for his work on the Genesis '1970-1975' box set. Davis has also worked on all of the Genesis retrospective reissues.

Entirely curated and compiled by Collins himself, his idea for the 'Take A Look At Me Now' concept is to examine how his songs have evolved over time, with the majority of the additional content throughout the series focused on live versions of the tracks. By contrasting the original studio versions of the material with later performances, the series demonstrates how Collins' songs take on a life of their own once they're freed from the confines of the studio.

Collins returned to #1 in 2010 with 'Going Back' which represented his first studio album since 2002's 'Testify'. 'Going Back' was a personal labour of love project that found him faithfully recreating the soul gems that played such an influential role in his musical life.

The concept, he said at the time, 'Was not to bring anything 'new' to these already great records, but to try to recreate the sounds and feelings that I had when I first heard them.' That objective was achieved with the help of special guests including three surviving members of The Funk Brothers: Eddie Willis (guitar), Bob Babbitt (bass) and Ray Monette (guitar). 

'I decided to call this version of 'Going Back' 'The Essential Going Back',' he explains. 'In retrospect, I included too much music on the original version, and I believe that too much is not always a good thing. Hence this trimmed down selection of my favourite Motown songs.'

Some believe that the environment in which you make music - from the studio space, to the location itself - has a profound effect on the creative process. Immerse yourself in the world around you, the theory goes, and it will shape the music you make. Listen to Gorthleck, the third album from veteran downtempo alchemists Benjamin Smith and Paul 'Mudd' Murphy, and you can almost visualize the craggy, windswept and breathtakingly beautiful environment in which it was made. Reconvening after a near seven-year hiatus last summer, the duo headed up to the Scottish Highlands to spend a week recording in the surrounds of Gorthleck House, nestled on the shore of Loch Mhor in Inverness-shire. Earlier this year, they returned to the same venue, with its' stunning views of the tranquil loch and rocky, wooded hills rising in the distance, to complete the nine-track set. Certainly, the immersive environment and famously changeable weather seems to have inspired the longtime friends and studio partners. The album's epic centrepiece, the nine-minute Mhor', sounds like an emotional love letter to the body of water they strolled alongside every day. Its' undulating synthesizer line - reminiscent of classic Tangerine Dream and the Orb's A Huge Ever Growing Pulsating Brain' - mimics the slow ebb and flow of water across the loch, while Smith's shimmering guitar lines mimic the glint of sunlight reflecting off the surface. Elsewhere, the audio references are a little more subtle, but no less relevant. The hazy jazz guitars, twinkling pianos, rich grooves and fluttering clarinets of Nether' sound like the perfect accompaniment to a single malt whisky-fuelled sunset session at the water's edge, while the quietly foreboding aural textures, layered guitars and urgent electric violin of Enos' evoke memories of watching storm clouds gathering behind distant Highland mountains. The same could be said of Mr Coats' - a track arranged in steamy Mexico, and blessed with all the humidity you'd expect from such an excursion - while you can hear gale force winds whistling around the rafters on Dogwood'. As for Errogie', it's as bracing as a crystal clear morning in the Highlands, chilly, but hugely life affirming. The duo's previous two albums, 2007's Blue River and its' 2009 follow-up, Le Suivant, were both hugely evocative, but neither captured a distinct a sense of time and place quite like Gorthleck. Listen carefully, and you could almost be there with them, watching the sunrise and sunset.

British art-rock band No-Man (Tim Bownes & Stewen Wilson w Mick Karn, Richard Barbieri, Steve Jansen, Ben Coleman) recorded Heaven Taste in the studio sessions in summer 1992. It got first released as a complete 21 mins version on Painting Paradise EP on One Little Indian (1993). The track drew attention in the rising ambient techno scene and got played by DJs like Mixmaster Morris.

The track fuses ambient techno with art rock and features a distinctive fretless bass solo by Mick Karn.

This super sound 45rpm 12" features a Steven Wilson edited 11.21 mins version of the original and on B-side Jimi Tenor's rearrange with some solos with flute and keyboard.

We've had our eyes on Obas Nenor for a while and after his disco-meets-Detroit affair on 'Mahogani', and some great releases on his newly started own label 'Nenorian music' and 'Sol Power', we're happy to share his work for Heist with you. 'The Ceaper Buing EP" features 4 original cuts and a remix by Swedish "Mr. Tophat" that navigates somewhere between really weird, and really groovy. If you've seen any of his studio videos, you'll see he's has a great mix between live instrumentation, and sampling on his MPC, and each track on this EP has so many great elements working together, that it will be hard to pick a favourite. "The doors" has a great filtered funk loop going on with some roughed up disco percussion, whereas the Tophat remix twists and turns the original into somewhat of a tribal(ish) drum workout that is probably best enjoyed in a really really dark room. "Glimpse of light" has some really interesting sampling going on with a feel that is almost 'rock', but gets more and more disco with some lovely synth work as the track progresses. As a counterpart to the first part of the EP, 'Wacky' slows things down to give you a summery, afro inspired track that we forced him to send us after we saw a short clip online of him jamming away on his Korg x-911. UV lights is a somewhat special track for us that you wouldn't expect on Heist at first, but makes for a great addition to our musical world. It's perfect 'hands-in-the-air' end of the night material, with a serene and emotional vibe that is really hard not to love. Altogether, it's a great EP that we're really happy to share with you. Sincerely yours, Lars & Maarten

QND Philosophy starts with a new project from veteran cosmic disco originator Daniele Baldelli and his long time partner in crime Marco Dionigi . The two Gents will take us into a spaced out galaxy of sounds. So Sit Back , Fasten your seat belts and enjoy the trip .... SALES POINTS: Daniele Baldelli (Baia Degli Angeli/Cosmic) Considered worldwide as a truly innovator for his 'cosmic style trademark' a mix of African music, disco, psychedelic rock, krautrock and dub, often played at the wrong speed, he's a very active dj and respected artist. Marco Dionigi Resident DJ of top italian club Alterego since '89. Besides being the Mastermind and founder of Quantistic Division/QND Philosophy labels. He is a popular dj and and experienced producer KEY RELEASES ' Baldelli & Dionigi Cosmic Disco !' Cosmic Rock!!!' (Eskimo Recordings) ' Baldelli & Dionigi The Units Remix High Pressure Days' (Opilec Music) ' Baldelli & Dionigi Adaptors The Music of Richard Bone' CD (Prismatikone Records/Word And Sound) ' Baldelli & Dionigi Phil Manzanera Caracas - Mental Remix ' ( LN/CC Recordings) ' Baldelli & Dionigi Museum Of Love Remixes (DFA Records)

At this moment, Global Bass music is an intimate circuit in the electronic music landscape. Airplane tickets and the internet serve to connect producers and artists in every imaginable combination. Spanning across Africa, Europe, India, the Caribbean, and the Americas, allowing for the birth of new forms of collaboration. At the nexus of the Tropical music monsoon is producer Thor Partridge, aka Thornato. Born in Sweden, Thor grew up in a household filled with traditional Greek, African, and Carribbean music. Moving in early childhood to Queens, New York, the borough's diversity further influenced his style and taste. Thor added to his rich musical palette by studying classical piano, jazz guitar, and bluegrass banjo. A passion for electronic music production, remixing, and music of the entire globe soon developed. Thor's debut EP "Things Will Change" is an amalgamation of his global influence, coupled with strong roots in dance music culture. His music is not a product of samples downloaded from the internet, but from his driving wanderlust and ability to hand select musicians to work with on location in the countries where they are from. By recording in the field with a mobile studio, Thor captures the real essence and soul of the music and where it's coming from. The EP kicks off with "Chapinero", a bass heavy joint with an infectious Colombian Gaita melody. Handclaps and chopped vocal samples make for a booming floor rocker. "Deux a Duex" turns towards the African dancefloor incorporating infectious guitars and beautiful vocal harmonies courtesy of Kongo Electro from Cape Town. "Koz Kazah" heads to the Middle East with it's violin melodies, thick sub-bass, and Arabic vocals courtesy of Karen Be. Finally, "Tera Dewana" lands us in the Indian subcontinent with it's driving beat, tablas, and Hindi vocals from Vasanth S & AKS. Thornato's "Things Will Change" EP shows that while indeed the music does change, the soul and the heart of sounds from all over the world remain consistent, and that dancefloor music is universal - no matter where in the world you are!

The Earth was incessantly covered in ice, it's landscape an immense, frozen desert. Boulders and sand washed to the valley, crushed under the glaciers' enormous weight, leaving nothing but the hardest rock behind.'
Neunau draws inspiration from natural phenomenons, sculpting his indelible and furious expression into materials: a ritual guided only by the rhythm of his own heartbeat.
Composed exclusively of sounds recorded at the ancient forge museum in Bienno, in the middle of one of the largest valleys in the central Alps, Neunau presents an experience that goes beyond simple listening. His tools — water, iron and microphones — are used to transport the listener through time and place. A true voyage through forgotten ritualism and symbolism, these extracts aim to grind contemporary dance music to its barest essentials, making long-lost times ours again.
Neunau is the debut EP from Sergio Maggioni's Neunau, released by Parachute on 12" vinyl

This is the new digitally remastered 2015 expanded edition of Soul Jazz Records' biggest ever selling release, 100% Dynamite! Ska, Soul, Rocksteady and Funk in Jamaica.
Since the album's original release nearly twenty years ago, 100% Dynamite has become a cornerstone of reggae: eighteen killer tracks that show the influence that American Jazz, Funk and Soul music had on Jamaican Reggae.
The proximity of the West Indies to the USA meant that many Jamaican musicians were influenced by American styles of music whilst at the same time defining new styles of their own such as Ska, Rocksteady and Dub.
100% Dynamite features some serious Jamaican funk by Jackie Mittoo, The Upsetters and Toots & The Maytals, the cream of Jamaica's jazz musicians such as Tommy McCook, Cedric Brooks and Lennie Hibbert. Also included here are heavyweight Reggae versions to Soul classics by Marlena Shaw's 'Woman of the Ghetto', Aretha Franklin's 'Rocksteady', Syl Johnson's 'Is It Because I'm Black', William DeVaughan's seminal 'Be Thankful' and more.
100% Dynamite also features revolutionary tunes such as Johnny Osbourne's 'We Need Love', Sound Dimension's 'Drum Song' and Lloyd Robinson's 'Cuss Cuss', songs that helped define a unique sound for Jamaican music in the sixties and seventies. These influences went both ways - check Brentford All Stars massive 'Greedy G', the basis for Boogie Down Productions' 'Jack of Spades', or Willie Williams' 'Armageddon Time', later covered by The Clash.
This new expanded edition features seminal tracks from the greatest Jamaican producers - Clement Dodd, Lee Perry, Winston Riley (Techniques) and many more.
The album is available as CD, heavyweight double vinyl (+download), plus digital.

Who would have thought that Gerd Janson and Phillipp Lauer, aka The Tuff City Kids, delivering a 'Rocker' mix for Alter Ego, wich is not only one of their best up to this date remixwork, but also probably one of the biggest electro-summerhits in 2016. The Tuff City Kids production work is quite similary eclectic like in Roman Flügel and Jörn Elling Wuttke's original version. They know exactly how to juggle with different styles, until they come up with a fresh new sound that transforms an ordinary rave into an unforgettable happening. In this case they are mixing real performed krautrockdrums, 90's prototrance-balearicstrings and an unexpectedly new, enthusiastic way of working with Alter Ego's trademark melodyhook. This melody-theme is dripping formally out of every programmed bass and synthesizer line without beeing to cheesy, superficial or over the top. Even their 808 electro-remix for the track Gate 23 is keeping to the premise of the legendary New York punk rock band The Ramones, that a good party track should not illustrate the effects of psychedelic drugs, the music has to be the pill itself. The rich details and playfulness of the mixes are showing Gerd Janson and Phillipp Lauer as real fans of the original versions.In the same spirit, they are trying to melt pop-appeal, art-sensibility and clubhit-function in one piece of vinyl.

Nearly a year after his acclaimed debut EP, 'Every Inch of You', a musical project meant as an ode to the memory of a once great man, his Grandfather, the enigmatic, Rosas Nievas, steps up to the plate with a sophomore outing for Scissor and Thread, Going Away Soon' On the A-side, the bombastic opener, wastes no time getting its feet moving with charged up percussion, guitar licks, and playful sampling with a clear ode to the likes of Matthew Herbert. Nearly Lost You, Though' sees Rosas Nievas pair up with the singer Poppy Roberts on an emotional house jam primed for a peak time lovers rave . A rock steady kick and shuffling percussion are the anchor, as smooth pads and ethereal, hypnotic vocal snips swirl around the listener before the singer's voice emerges forward with a heartfelt, soulful ode. The b-side takes things down several notches with the funky and loose, Roses are Dead, Violets are Blue,' a hypnotic rhythm cycle flanked by a powerful bass line a reverb-laden piano and a sax ensemble emerging as we are lead with eyes closed on a euphoric early morning dance ritual. The closer, Edge of Keys", continues the shuffling rhythmic patterning of the latter track, but couples with a loose form Rhodes piano, finishing off the EP on a gentle tone, as if coming to terms with loss, bittersweet and full of joy.

James K is a stranger to obviousness. Over the past few years the New York native has quietly honed her sound and peculiar aesthetic. Equally organic and electronic, her sound is a combination of odd dreams, industrial beats and vocals, both incomprehensible and appealing, with a thick layer of glitter on top of it. James K is a concentrated dose of emotion mixed with sorrowful iciness, which in turn ties together ripped, broken, morphed and enchanted samples. James K stands for a fusion of visual and sonic elements, deeply rooted in conscious art practice and downright freak-out. James K creates a mythology of her own.
'PET,' her first LP due out in early 2016, will be a co-release with Dial and her own label, She Rocks! A special edition of the album with added bonus tracks and interludes with be released on cassette through Canadian label 1080p.
In James K's words: 'The underlying desire of 'PET' divides into two parts: an escape into ethereality and a mischievous denial of my own experience. It narrates my search for honest expression by means of the premature denial- a childish excursion into a world of monstrosity and innocence.
PET reflects my mental state during its production - as a person, I was owned, objectified and hurt by other, and that wound I then unwillingly internalized. I turned to my music as a way to dissect these thoughts. The product became my possession, or 'pet.' In retrospective, this process gives me strength over myself; love—knowledge and wisdom enacted. The arrangement of the music and the PET itself relates to my endless struggle, namely, my attempts to reclaim myself.'
Her 'Sokit' 7' is a double track single for her album, which she released last Spring. James K is featured on the recent compilation released by Dial Records for their 15-year anniversary, and a mini LP of her noise pop project SETH (along with producer Gobby), was also recently released by label 1080p in June, in cassette and digital form. She rocks.

2016 reissue of an earlier album by Apparat, aka Berlin's Sascha Ring, who's also singing in Moderat, originally released in 2007.

"Apparat has had one hell of a year. His collaboration with Ellen Allien, the critically acclaimed album Orchesta of Bubbles, forged electrifying new connections between techno, electro and pop music. They developed the material into an electrifying live show that wowed clubs and festival audiences the world over. Apparat kept honing his solo show at the same time, delivering a powerful electro/techno laptop attack that would leave crowds twitching in its wake. And somewhere, in between all those activities, he managed to record Walls, his first solo studio album since 2003's Duplex. Despite its title, Walls isn't about dividing lines. Instead, it describes a circle that pulls many elements together into a protected, enclosed space where they jostle and roam free: strings and mallet instruments; rock guitar and gravelly sawtooth synths; stuttering digital percussion and muscular studio drumming."

Formed by MGM A&R man Michael Viner in 1972 to supplement the soundtrack to the virtually anonymous B-Movie flm The Thing With Two Heads, 'The IBB' went from a loose studio collectve to
an instrumental pop covers consortum, interpretng classics of the day in their own inimitable percus-sive fashion.
B-Movie soundtracks, The Beatles, drummers gone bad, Frank Zappa, Kool Herc... These albums have a remarkable story behind them which is detailed in the exclusive insert included in the boxset, writen by Angus Batey.
The IBB's cover of the 'Apache' track - originally made famous by The Shadows - has become simply legendary in the worlds of hip hop and dance music. The track was a staple of Kool Herc and Grand-master Flash in the 70s as they invented the art of Djing at Bronx block partes, leading to its logical status as one of the most sampled tracks of all tme and a hip hop and breakers anthem that has stood the test of tme. It is stll revered as THE break of all original breaks, with the rhythms of the LP it was frst found on helping to coin the term 'breakbeat'.
Apache has been sampled by Missy Elliot, Coldcut, Will Smith, Goldie, Jurassic 5, Moby, Run DMC, Sugarhill Gang, Beaste Boys and Massive Atack among many others.

˜Acabou Chorare™ is the second album from Novos Baianos, or ˜New Bahians,™ who formed in Bahia, Brazil, in the 1960s. They are considered to be one of the most important and revolutionary groups in Brazilian music. ˜Acabou Chorare™ ž which translates to šNo More Crying› ž was originally released in 1972 by Som Livre after the success of their first LP ˜É Ferro na Boneca™ in 1970. It charted at No. 1 in a Rolling Stone Brazil™s Top 100 Brazilian Albums Ever chart. šPreta, Pretinha› placed 20th in the same publication™s list of the greatest Brazilian songs of all time. The unique sound of this record is a result of the fusion of samba, MPB, rock ™n™ roll and bossa nova, and strong influences from Jo–o Gilberto, who frequently played with the group, and bossa nova legend Gilberto Gil.

Phoebe Killdeer & The Shift is the collaboration between newly Berliner Phoebe Killdeer (Nouvelle Vague, The Short Straws) with experimental musicians Thomas Mahmoud-Zahl (SFX, The Nest, Tannhäuser Sterben & das Tod, Von Spar) and Ole Wulfers (Kapaikos, Party Diktator), supported by actress and singer Maria de Medeiros (i. e. »The Saddest Music in the World«, »Pulp Fiction«).

»The Piano's Playing The Devils Tune« is »free music« in a most emphatic sense: The interplay between the abstract instrumentation on the one hand, equally recalling genres as diverse as noise rock, bass music and musique concre`te, as well as the intimate, concrete humanity of the sound on the other hand establishes a sprawling sonic space that gravitates around the haunting vocal passages of Killdeer and de Medeiros. »The Piano's Playing The Devils Tune« thereby succeeds in combining a decidedly experimental gesture with an urgent, uncanny familiarity and warmth; a precise sense of composition with an almost lavish casualness.

Phoebe Killdeer & The Shift do not resolve the numerous paradoxes that mark »The Piano's Playing The Devils Tune«: The result is an equally challenging and rewarding album that in fact — as played out as this predicate may be — truly defies categorization. Devils tunes.

WINTERSLEEP aus Montreal veröffentlichen am 4. März 2016 über Dine Alone Records ihr neues Album - The Great Detachment . Zwei Jahre arbeitete die Band an dem Album, das eine Rückkehr zu den Ursprüngen der Band darstellt, aufgenommen wurde es mit Produzent Tony Doogan (Belle & Sebastian, Mogwai) im Sonic Temple Studio in Halifax (wo auch - Welcome To The Night Sky und die beiden Vorgänger des Durchbruchalbums entstanden sind) . Das Album wurde größtenteils mit der kompletten Band im Studio aufgenommen, um den Livesound der Band einzufangen und dabei möglichst organisch und transparent zu klingen. - Die Energie war anders als zuvor sagt Murphy, - aber es war genau das, was wir etwas vermisst hatten. - The Great Detachment ist ein Rock-Album mit einer musikalischen Wärme, die stark an Wintersleeps ersten Hit ‚Weighty Ghost' erinnert. Es ist ein Aufruf an ihre Fans, ein neues Kapitel mit der Band aufzuschlagen und dabei trotzdem einen Bogen zur Vergangenheit zu schlagen. - The Great Detachment fängt Wintersleeps Stärken und Markenzeichen perfekt ein und markiert gleichzeitig einen neuen Meilenstein in ihrer Karriere

Utterly magnificent, sublimely soulful survey of the Gospel Roots label, subsidiary of the mighty TK Records at the height of the Miami Sound. Beautifully presented... the LPs with a 12"-square, full-colour, sixteen-page album of photos and original artwork. Check!!
A&R was co-ordinated by Gospel legends Ira Tucker — from the Dixie Hummingbirds — and Ralph Bass, veteran producer with Savoy, King and Chess. The label was run by Timmy Thomas, who had recently smashed with Why Can't We Live Together, for another TK spin-off, Glades. Operations were overseen by Henry Stone himself, unlikely King of Disco, who had recorded a young Ray Charles, and pushed forward James Brown. They drew in artists from all over the US, from St. Louis, Columbus, Memphis, Brooklyn, Cabrini Green in Chicago: unknowns like Camille Doughty, reluctant to jeopardise her job at GM ('Generous Motors') in Detroit, and huge-sellers like the revered Brooklyn All Stars, who started out on Peacock in 1958.

Choral belters, deep ballads, harmony quartets, epic city-blues, gritty funk, powerhouse female soul... Killer-diller Philly like a scorching version of Harold Melvin & The Blue Notes' Wake Up Everybody, and Jean Austin's raw Spirit Free, co-written by Ronnie Dyson, produced by Jesse James at Future Gold. Chicago Sound like The Fantastic Family Aires — named after the family's furniture store on North Cicero, but reminiscent of the Staple Singers at their best — through to the full-blown glory of The Fountain Of Life Joy Choir, led by Marvin Yancy from The Independents, and featuring Natalie Cole... Singers like Versie Mae Gibson, from the Jordans, by rights up there with Irma, Etta and Ree... Bangers 100%-guaranteed to find their way into Theo Parrish sets, and mortal delirium for the prissiest of soul and gospel purists.