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Daniel Maunick returns with a new EP, Musica Encantada via Far Out Recordings. Continuing the theme of his debut album Macumba Quebrada – which saw support from the likes of Moodymann, Ron Trent, Gilles Peterson, and Benji B – Maunick draws on the deep-rooted Brazilian influences from the many years he has spent in the country, producing records with Azymuth, Marcos Valle, Sabrina Malheiros and Ivan 'Mamão' Conti.

The bossa-jazz house smash ‘Black Magic’ stays exclusive to the vinyl, while the percussive deep-house roller ‘A Chance To See Again’, the tight and groovy ‘Hurt Feelings’, and the slow-mo Brazilian Balearic ‘Africana’ will all see a limited vinyl and digital release on the 23rd October 2020.

Long sought after by collectors, DJs and lovers of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Alfredo Linares is a globetrotting pianist, composer, bandleader and producer from Peru with a long, prolific career in latin music. His long sought after by DJs and collectors of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Details: Alfredito "Sabor" Linares is a globetrotting pianist, composer, bandleader and producer from Lima, Peru with a long, prolific career in hot Latin music spanning more than half a century. Though Linares has come to recent international fame through his work with William "Quantic" Holland, he was already quite popular and famous in his adopted countries of Colombia and Venezuela in the 1970s and 80s during the salsa boom. However, his career began in Lima, backing timbalero Ñico Estrada at age 17 in 1961, and Alfredito's first notable recording as a sideman was a few years later on the now legendary 'El Combo de Pepe' album for IEMPSA/Odeon. Subsequently Linares would advance his career by recording two fabulous records under his own capable leadership as Alfredo Linares Y Su Sonora at the end of the decade for the MAG label. These releases capitalized on recent developments in New York Latin music, namely Latin jazz, boogaloo, descarga (jam session) and what would later be marketed as "salsa" with roots in the Cuban guaguancó and guaracha genres. One can hear direct inspiration coming from Joe Cuba, Ricardo Ray, and Eddie Palmieri, especially on the first album, 'El Pito', and yet by the second record, there are plenty of original tunes as well. More importantly there is a 'swing' and assertiveness to the playing (and arrangements) that prove every bit as authentic, tough and danceable as their New York inspirations. As Linares himself recounts, "In that era, we fought against a generation that was half-blind, because the people who understood what we were doing were few. We had to fight hard for our space in Perú, that's where the swing comes from." That special 'swing' also emanated from Linares' ace backing band, which happened to be a talented stable of MAG studio musicians who all understood Cuban and jazz music: percussionists Mario Allison and Coco Lagos, bassist Joey di Roma, Kiko Fuentes and Carlos Muñoz on lead vocals and Melcochita on coro (vocal chorus). According to Linares, the studio band was "open-ended, some musicians came some days, others on other days_Nilo Espinoza on saxophone, Betico Salas and Tito Chicoma on trumpets. Otto de Rojas played piano, and so did Charlie Palomares, who played vibraphone. Another good musician was guitarist Carlos Hayre." Though the recordings were cut "live in the studio" and many were basically composed on the spot, the intrinsic strength and maturity of the performances on 'Yo Traigo Boogaloo' stand the test of time as one of Peru's most important contributions to tropical music across the decades, establishing Alfredito Linares as a master of the idiom and serving as a harbinger for great things to come for him in Colombia and Venezuela. Long sought after by collectors, DJs and lovers of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Pablo E Yglesias DJ Bongohead of Peace & Rhythm

A stunning new production by the Rhythm And Sound ace, drawn from his recording sessions with some of Senegal’s greatest musicians — a griot clan of Sabar drummers from Kaolack in Senegal, led by Bakane Seck, with guest players and vocalists, including many mainstays of the bands of Baaba Maal, Youssou N’Dour and company.
Jeri-Jeri’s style of Mbalax is swingeingly masterful — heady and hard-grooving, with highly complex, fiercely succinct poly-rhythms — an ancient-futuristic music, mesmeric but sharp as nails, super-charged with drama. Featuring the lovelorn vocals of guest Mbene Diatta Seck, Sabar traditions are fused with furious Afro-Cubanismo, hard funk-rock, and shards of high-life.

Ernestus’ nasty, hypnotic, stripped dub — an Mbalax first — edges in the bass, profiles the talmbat and tungun drums, and scoops the semantics out of the singing.

A very welcome reissue of this amazing LP. Beautiful deep Brazilian music that soothes the soul.. Tip!!

The self-titled debut by the duo Jaime & Nair is a revelation of all sorts. Released in 1974 on CID under the influence of albums like "Clube Da Esquina" it is an expressive album full of charm through a gesture of swing. It shows an overall dreamy lullaby vibe with subtle touches of Brazilian folk and features well-known artists such as Wilson Das Neves, Orlandivo or José Roberto Bertrami as studio musicians. The outstanding and largely hailed song 'Sob O Mar' brings us back to a pure Brazilian soft-bossanova-beat adorned by luscious orchestral arrangements. It became a popular DJ tune for those in the know after being comped in the fantastic "High Jazz" series in the early 2000s, gaining this album grail status among collectors worldwide. An essential addition to any serious Brazilian music collection.

Long-time friend of the label Parris debuts on Wisdom Teeth with a unique set of steppy house mutations, including a collaboration with AD93 star Minor Science. The record begins in downtempo mode. ‘Soft Rocks With Socks’ rolls out majestically on a slo-mo drum break and a two-tone bass loop, with shimmering pads and bleeping melodies counterbalancing a deceptively punishing low end. ‘Terrapin’ - a link-up with Minor Science - is a pristinely produced 100 bpm stepper, featuring razor sharp drum synths and crystalline MIDI melodies. To close, ‘Sabor a Ceniza’ pushes the tempo up towards peak time. What begins as a broken rhythm settles into a 4x4 groove, finding the exact midpoint between Roska’s UK Funky and Margaret Dygas’s work on Perlon.

No Tengas Miedo' es un disco que se gestó durante los recientes tiempos de pandemia y que nos hace recordar que no debemos de tener miedo de vivir ni de morir, que tenemos que replantear las formas de vida que teníamos antes de que todo el mundo se detuviera pero que sigue siendo un privilegio seguir vivos. Creemos que esta es
una nueva oportunidad de remediar todos los daños que le hemos hecho a la Madre Tierra, a nuestro cuerpo, a nuestra alma, a nuestros semejantes. Creemos que debemos de tener fe y esperanza en el humano, aún cuando nuestros gobernantes nos dan demasiados motivos para creer lo contrario gracias a sus acciones (y sus inacciones). Todos enfrentamos diferentes obstáculos en nuestras vidas, pero debemos de saber que no estamos solos, que nos tenemos los unos a los otros, todos como hermanos y hermanas, sin banderas ni fronteras. Muchas veces pensé en no realizar este disco por el miedo que la sociedad y gobiernos nos inculcan a siempre esperar los peores escenarios, pero estoy harto de vivir con miedo, de vivir aguantándome las ganas de averiguar lo que puede ser o no ser. Además, desde que yo recuerdo, mis abuelos ya hablaba de crisis, mis padres también, y siempre hemos sabido salir adelante, porque nuestro espirítu es más fuerte que todos sus intentos por derribarnos. He decidido que no voy a parar de luchar por lo que quiero hasta el último día de mi vida. Queremos que todo aquel que compre este disco sienta el mismo espíritu con el que fue hecho y quenos ayude a esparcir la esperanza y fe que tanta falta le hace al mundo. Queremos salir adelante junto con todos ustedes, hombro a hombro, corazón con corazón.

From their early singles and their 1993 Mercury Music Prize winning debut album to their break up in 2003 , Suede were a fixture in the single and album charts , and in the music press too . They scored twenty hit singles and five hit albums (three of which debuted at # 1), and a double album of B sides even charted at # 9.

The band reformed for a one off charity concert in 2010 and decided to make it permanent they have released three new studio albums since 2013 .

Compiled by the band , this comprehensive six LP set features the huge 90s hits like “Metal Mickey”, “Animal Nitrate”, “Stay Together”, “Trash, “Filmstar”, “Lazy”, “Beautiful Ones”, “Saturday Night”, “Electricity”, “She’s In Fashion”, “Everything Will Flow” and “Can’t Get Enough”Enough”, along with favourite B sides like “To The Birds”, “My Insatiable One” and “Killing Of A Flashboy”Flashboy”. Also featured are classic album tracks like “The Asphalt World” and “He’s Gone”. The collection brings the story up to date with sixteen tracks from the three recent albums , including “Life Is Golden”, “It Starts And Ends With You” and “ Outsiders”.

The six LPs are pressed on 180 gram white vinyl and are housed in inner sleeves featuring all the lyrics as well as photos of dozens and dozens of items of Suede memorabilia and promotional items , all lent by fans.

'Ianua' is the stage name of Filippo Midali, a 360 degrees electronic musician that sweeps primarily from techno, electro, breaks, jungle to Chicago footwork with a stable contamination from HipHop culture and scratch, the art of vinyl manipulation.

The self-titled album, his debut album, fully represents this, moving from track to track between various musical genres. The name 'Ianua', 'door' in Latin, comes from the idea of the multiverse and inter-dimensional doors; this is depicted on the cover, on which the front represents the door distorted by the journey through space and time and the back, together with the titles, the sketches and formulas of the presumed door- building scientist.

Reissue des zweiten von drei Alben des US-polnischen Braindance-Produzenten Bogdan Raczynksi, die 1999 auf Rephlex erschienen. "Samurai Math Beats" lag irgendwo zwischen dem Drill'n'Bass von Aphex Twin und Squarepusher und sonnengetränkter Electronica von Plone oder Boards Of Canada. Die Kollision aus hyperkinetischen Rhythmen und Spielhallenmelodien wies einer Vielzahl zukünftiger Mutationen den Weg, von den frenetischen BPM des Footwork bis zum dekonstruierten Pop von Mica Levi. Neu geschnitten auf schwarzem Doppelvinyl samt Download-Code und 4c-Poster. Die LP ist der zweite Raczynski-Release auf Disciples nach dem Sampler "Rave 'Till You Cry" (2019) mit unveröffentlichtem Material.

- "Classic braindance" - Hardwax
- "Bogdan was a massive inspiration for some of my tracks on the Drukqs album, the fact he was doing it all on a shit PC tracker… totally amazing. This was before 99.9 percent of people used the computer for everything. His records are so underrated." - Aphex Twin

"I am sitting in a garden, I haven't left the property in weeks, someone is dropping off food once a week. I haven't seen a human being in ages, I feel like a reverse Schroedinger cat - do I exist when nobody sees me? I must be somewhere in France but I don't remember. I have lost my consciousness again. When I wake up I hear a broken record looping somewhere in the mansion. A washed-out opera. Behind the trees I see the dilapidated hermaphrodite sculpture in a field of verdant nettles and fern. I hear gunshots far afield, aeroplanes in the sky, sirens on the main road.
When unconscious I dreamt of sitting on the Concorde observing the scarab blue ocean and iridescent clouds from above, an erstwhile receding memory. Sometimes I hear the organ of the nearby Renaissance Cathedral merging with the Russian Church bells.
I am hallucinating again. Someone's humming in the kitchen? Singing? A Radio? I overhear two young women talking about art galleries in the neighbour's garden. Bees attack, again…..again and again. The hairspray finally intoxicates them. An amphoric japanese voice is whispering in my head saying I will die soon. Someone (something?) bangs on the vases. The fountain's water turns dark red.
Fleur calls and says mum died. The funeral will be televised on tuesday. We opt for the synthetic choir for the service. The call is suddenly interrupted. Mold is slowly taking over the house.
I go back inside."

Une Fille Pétrifiée is the debut album of new Black To Comm related entity Mouchoir Ètanche (after one recent 12" on Richter's own Dekorder label). Combining real and fake acoustic instrumentation, sampling, field recordings and excessive yet inaudible post production this is another sublime and ethereal statement. Influences are ranging from (French) Classical & Opera to the anecdotical compositions of Luc Ferrari, Chinese Opera, Chanson, Sacred Music / Church Music, JG Ballard and Surrealism.

Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produces soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe and Kunstverein Hamburg.

Pressed lovingly on 180 gram vinyl, with art from the talented Evan Geltosky, Sabota returns after a bit of a hiatus with some music they are very proud of. These songs have been getting played in their live set over the last couple years and it's time they saw the light of day for dj's and music collectors alike.

Brand new release on SARIN’s X-IMG imprint…

Minyo Crusaders rework historic Japanese folk songs (min'yo) with Latin, African, Caribbean and Asian rhythms for their debut album 'Echoes of Japan'.

Releases from Ryuichi Sakamoto, Haruomi Hosono and Midori Takada have re-ignited global interest in Japanese music and 'Echoes of Japan' marks the arrival of a big band like no other.

'For Japanese people, min'yo is both the closest, and most distant, folk music' explains band-leader Katsumi Tanaka: 'We may not feel it in our daily, urban lives, yet the melodies, the style of singing and the rhythm of the taiko drums are engrained in our DNA'. Initially indifferent to min'yo, a tragic event in recent Japanese history set Tanaka on his current path: 'Following the Tohoku earthquake of 2011, I reflected on my life, work and identity. A fan of world music, I began searching for Japanese roots music I could identify
with. Discovering mid-late 20th century acts Hibari Misora, Chiemi Eri and the Tokyo Cuban Boys, I was
captivated by their eccentric arrangements and how they mixed min'yo with Latin and jazz.'

Originally sung by fishermen (Kushimoto Bushi; Mamurogawa Ondo), coal miners (Tanko Bushi) and sumo wrestlers (Sumo Jinku), these songs deal with topics such as the returning spirits of ancestors (Hohai Bushi), Japan's smallest bird (Toichin Bushi) and a bride's love for her husband's pockmarked face (Otemoyan).

Minyo Crusaders are one of the most hyped acts on the Tokyo music scene that went national in 2018 through festivals such as Fuji Rock. The band features veterans of the Tokyo roots music scene such as bassist DADDY U (Ska Flames), keyboardist Moe (Kidlat), sax player Koichiro Osawa (Matt Sounds/ J.J. Session), Yamauchi Stephan (J.J. Session), percussionist Mutsumi Kobayashi (Banda de la Mumbia), conga player Irochi (Cubatumb) and vocalist Meg (DJ collective Tokyo Sabroso).

- Wild blend of Japanese folk music with cumbia, boogaloo, Ethio jazz, Afro funk + more
- Ry Cooder, Mario Galeano (Ondatropica/Frente Cumbiero), Clap! Clap! are all fans
- European touring plans for autumn/fall 2019
- Includes Japanese lyrics + English translations

- Lacquers cut @ The Carvery

Mr Bongo presents a new and exciting collaborative project with Swedish label Piano Piano Records.

Hearing the Swedish outfit Sven Wunder for the first time is as refreshing as an ice-cold Limoncello after an Italian meal. One of those bands that feel instantly familiar like an old friend, yet simultaneously fresh and new. Straight away we fell in love with their sound and knew we had to work with them.

The Sven Wunder 'Wabi Sabi' 7" is the second collaborative release between Mr Bongo and Piano Piano Records. 'Wabi Sabi' is Sven Wunder’s follow up to the already contemporary cult-classic album 'Doğu Çiçekleri (Eastern Flowers) from 2019. Not one to be complacent and recreate a carbon copy of their previous works, Sven Wunder switched from the psychedelic-Turkish-funk sounds of 'Doğu Çiçekleri' to the Japanese inspired ethereal funk of 'Wabi Sabi'. We have selected the tracks ‘Hanami’ and ‘Shinrinyoko’ for this collector’s edition 7’. Japanese artists such as Hozan Yamamoto, Tadao Sawai, Kazue Sawai, spring to mind, but also David Axelrod and Dorothy Ashby on the beautiful string-led 'Hanami' with it's laid-back funk breaks. 'Shinrinyoku' has a slightly more raw cinematic-funk sound, yet is cushioned with warm strings and tripped-out keys - pure, rare-library music vibes.

We are delighted to be able to release these amazing tracks, cut at the Timmion Records Cutting Lab in Finland.

MASH UP Bootyyyyy Hack Sabbath The Wizhard (WHR001)

Strut kick off a brand new deal with the seminal independent black jazz and soul label Black Fire in May with 'African Rhythms 1970-1982', a comprehensive 2CD / 3LP compilation of Oneness Of Juju, led by Plunky J. Branch. Tracing their career from the band's earliest work in 1970 with South African exiled jazzman Ndikho Xaba in San Francisco, the compilation covers the band's journey to New York's loft jazz scene, forming Juju and releasing two landmark albums of hard-hitting percussive jazz on Strata-East. "I saw myself as a cultural warrior," explains Plunky. "We studied about Africa and tried to infuse our music with an African spirit." Moving back to his hometown of Richmond, Virginia during the mid-'70s, Plunky drew in a superb new group of musicians and vocalists and created the band's new incarnation, Oneness Of Juju, retaining the African influence but fusing his sound with funk and R'n'B on the classic 'African Rhythms' album. "We realised that, if we put a backbeat to the Afro-Cuban rhythms, people in Richmond and Washington D.C. could be drawn into it; it didn't change anything about our message." The change would lead to a series of enduring soul-jazz classics on Jimmy Gray's Black Fire label, including 'River Luv Rite', 'Plastic' and 'Don't Give Up' and their biggest crossover international hit, 'Every Way But Loose' in 1982, later famously remixed by Larry Levan. The band received renewed interest in their music during the mid-'80s as Washington D.C.'s go-go innovators cited the band as a major influence and rare groove DJs revived their albums for London dancefloors.

Tropical psych outfit, Lola’s Dice, return with an exhilarating double AA side 45 on “Cacri 'e Playa” b/w “Señor Cartujo” . Venezuelan strains of Caribbean rhythms blend with South American grit and humour; aided and abetted by studio maverick and renown bandleader Alex Figueira ( Fumaça Preta, Conjunto Papa Upa).

Lola’s Dice, an ensemble born and battle-tested by years of punk and hard rock before fusing into its current form, a consolidated tropical-psych quartet. The band’s evolution has resulted in music that is a pure body-moving delight — a fuzzy blend of guitars, synths and musical sabor that is very much rooted in the percussive sounds of Latin America, where all band members hail from, yet still comfortable in its punk-ethos.

One such fusion of sounds took place at the Barracão Sound studio in Amsterdam where they first asked rhythm sensei Alex Figueira (who currently joins them on stage whenever his agenda allows him) to help them twist their sound and bring it into the incendiary tropical realm his production work was known for.

Together they vandalized all sorts of rhythmic traditions. The resulting 4-track EP, “Viaje al Centro de Ritmo”, was a perfect match of genre-defying psychedelic madness and Caribbean cool and was duly signed and released by on-the-pulse NY based Names You Can Trust label.

After two years and a plethora of stages Lola’s Dice returned to Figueira's Barracão Sound for another dose of experimentation, diving deeper into their Caribbean roots and twisting them even further. The first fruits are now offered for release jointly by Names You Can Trust (later this year) and Figueira’s own Music With Soul.

The African Caribbean vibrations of “Cacri 'e Playa” tell a story of a stray dog whose sole habitat consists of the beach. A common phenomenon all across the Caribbean coastline shared by Venezuela and Colombia. Wonky synths and surf guitars interplay over a stomping extra syncopated drum beat. All things collide towards the end into a 1970’s style Salsa street party, the relentless cowbell driving everyone forward.

On the flip, “Señor Cartujo” contains a humorous tale about the most popular brand of anise liquor in Venezuela ("Cartujo") and a shameless ode to the glory days of "Techno Merengue", when Latino rappers in the US started making Dominican Merengue with hip hop influenced vocals and house production techniques and equipment. Lola’s Dice, however, take a more psychedelic approach to this merengue, oozing with funky guitars and percussion.

Insane times like these call for insane measures to counter all that's going to shit in music these days. Great music in all its glorious forms should be timeless with no expiration date. Here at PRSPCT this has always been our mission and especially now this should count for every record any of the labels releases.

Thank god we got Limewax aka Maxim Anokhin in our ranks delivering a work so unique, only this artist could even be capable of producing. An album that for sure will survive the test of time and not lose any of its relevance in the years to come.

Limewax at his absolute best bringing his signature out of the box sound. Snaredrum warfare. Pots & pans, Moodswings, Weirdness, Dancefloor smashers and total mindfuckers. Settime LP by Limewax is a record any lover of good music needs in his or her life.

11 tracks on this record. 8 solo tracks + 3 collabs with KRTM, Dolphin and Baseck. Available as 2 12" in printed gatefold sleeve & digital formats.

Designed by Mike Redman.
Mastering by Bryan Fury.








h C2 Fingers With KRTM

This 3rd of the Motordiscs opens with a slow and delighted beat by The JuanMacLean, which turns into an electro mesmerizing track. Is it slow trance or is it some kind of house ? Are we early in the night or late in the after party ? Are we still dreaming ? A2 « Mark 211 » by Javi Redondo takes the energy level up with some acidy synth and punchy snares, proving that the power of a track does not necessarily lies in its speed. It is now time to flip the disc, Naduve takes us later in the night, bringing a murky vibe, thanks to haunting pads and low frequency instruments, picturing a proper underground club. The sun now starts to rise on the Seine river, the last track sounds like an ode to the dawn, where voices and shiny synths will emerge and open the crowd’s eyes. It was « Peppi » by Fairmont. This was a night at Garage

Sano ha vuelto! Todos lo conocen por su ya famosa serie de Latino Body Music. Esta vez trajo a Siwo de Mozambique en la voz. Juntos presentan 6 éxitos garantizados para mover los pies. Hi nkensa a misava ni matiku ya Colombia na Mozambique. Khanimambo ni lirhandzu hi nkensa: M&V at PP. Phran & DJ Phidias at Vimana Studios, Barcelona. Mixmaster Leo Li at Mockba. Palma. Bailar es una terapia!

Killer 13-track compilation of 70's music from Mauritius that evolved from the original sega genre - the music of the slaves as well as their descendants, sung to protest against injustices in Mauritian society.

Created at the crossroads of Afro-Malagasy, the 70s strain fused Western and Indian cultures, pop, soul and funk arrangements, syncopated polyrhythms, saturated guitars, psychedelic organs and Creole vocals. Although the exact origins of sega remain unknown, it contains vocal and percussive practices that originated from Madagascar, Mozambique and East Africa. A social escape and a space for improvisation, satire and verbal jousting, it transcended everyday life and made room for the expression of conflicts and the transgression of taboos.

The main instrument of sega is the ravanne, a large tambourine-like drum made of a large wooden frame and goat skin. It is accompanied by the maravanne, a rectangular rattle filled with seeds, and other homemade forms of percussion. Eric Nelson a solo guitarist and arranger, set up the band Features Of Life which, in the mid 70’s, gave birth to a new sound. Fuzzy distorted guitars and funky beats invite each other to play over the unbridled beats created by fabulous drummer Raoul Lacariate.

The band accompanied a new wave of singers, including the atypical Joseph Roland Fatime aka Ti L’Afrique, a hyperbolic and hyperactive character, a fan of blues and James Brown who launched an explosive raw, and funky style of sega.

Sepultura’s acclaimed 1989 album, Beneath The Remains, marks the band’s major label debut on Roadrunner. Widely regarded today as a thrash-metal classic, the album perfectly distilled the Brazilian band’s potent mix of piercing melodies and pummelling rhythms.

In December 1988, brothers Max (guitar/vocals) and Igor Cavalera (drums), Paulo Jr. (bass) and Andreas Kisser (guitar) recorded Beneath the Remains in Rio de Janeiro, Brazil with producer Scott Burns. Soon after it's release in April 1989, the album was hailed by fans and critics alike for standout songs like “Inner Self,” “Primitive Future” and the title track. The album has been remastered especially for this collection.

The Deluxe 2CD Edition also features nine unreleased “mixdown” recordings taken from the Beneath the Remains sessions at Nas Nuvens Studios in Rio de Janeiro. Highlights include versions of “Lobotomy” and “Mass Hypnosis,” as well as instrumental versions “Slaves Of Pain” and “Sarcastic Existence.”

The studio tracks are complemented by unreleased recordings of the band performing live on September 22, 1989 at the Zeppelinhalle, West Germany. The concert features songs from Beneath the Remains (“Primitive Future” and “Inner Self”) and the band’s previous albums (“Troops Of Doom” and “Escape To The Void”), along with covers of Black Sabbath’s “Symptom Of the Universe” and the Dead Kennedys “Holiday In Cambodia.”

Founded by the Cavalera brothers in 1984, the group recorded two full-length albums – Morbid Visions (1986) and Schizophrenia (1987) – before signing with Roadrunner Records in 1988. Since then, Sepultura’s dynamic studio recordings and intense live performances have earned it fans everywhere.

The current version of Sepultura (Derrick Green, Paulo Jr., Andreas Kisser, Eloy Casagrande) released a new album, Quadra, on February 7 and will tour the U.S. this spring. Former members Max and Igor Cavalera – who perform together in the band Cavalera Conspiracy recently completed a sold-out European tour in December 2019.












k 2) Inner Self (Mixdown) Instrumental
[l] 3) Stronger Than Hate (Mixdown) [Instrumental]


[o] 1) Sarcastic Existence (Mixdown) [Instrumental]
[p] 2) Slaves Of Pain (Mixdown) [Instrumental]

[r] 4) Hungry (Mixdown) [Instrumental]

► One half of duo Lumisokea and persistent sonic explorer ANDREA TAEGGI (Opal Tapes, SM-LL, Type, Präsens Editionen) debuts on OOH-sounds with a new solo album under-the-influence of mushrooms.

► Recorded at Willem-Twee synthesis studios in Holland, Mycorrhiza is a lucid excursion into a new form of 'ritual-computer-music' — gamelan from the future.

►Master + Cut by Helmut Erler, D&M Berlin. Limited Edition of 200, 12" black vinyl housed in gold cardboard sleeve with 'ad-hoc' fluo sticker.

Of course this is not the first album born under-the-influence of mushrooms, but apparentlyTaeggi doesn't take them here as he rather observes the cognitive and intelligent behavior of mycorrhizal fungal roots—one of the great mysteries inhabiting the forest soil, and from which a network of beneficial underground relationships with plants sprouts. Known as Mycelium, this fascinating wood-wide-web very much resembles the intricacy of the human neural system—transporting carbon, water and nutrients from one tree to another. A mutualistic symbiosis that Taeggi similarly establishes with the rather rare arsenal of sound machineries he had access to at Willem-Twee synthesis studios in Holland—a center for experimentation inspired by Berio and Maderna's Studio di Fonologia RAI in 1950s Milan.

In the process of tweaking and feeding electric impulses and sound signals into instruments of the likes of the iconic ARP 2500/2600 and a number of testing/measuring units from the 50/60s—originallynot conceived as musical instruments—Taeggi engages into an exchange of nutrients and information, while abruptly sabotaging un-welcome elements, hence accelerating the sound superhighway towards spectral psychedelic tension—a process he seems to be extremely in control of. Taking a step aside from his usual minimal approach to address more complex structures and augmented mind-sets, Mycorrhiza sounds at times like gamelan from the future: a lucid excursion into a form of "ritual-computer-music" with a conspicuous penchant for detail,alluding to a continuitybetween pseudo-cerimonial and laboratory-like computer music, steering clear from any reference to a specific creed or religion—imagine Stockhausen drinking the Amazonian sacred brew Ayahuasca..

The swarming micro-movements of "Cuttleburrs" multiply in a series of crescendos marked by sudden falls, saturated drums incursions and tense sonic clusters, introducing the more explicit gamelan percussive tones and compositional forms of "Kodama" and "Icaro". Recorded on the ARP 2500, "Mycorrhiza" uses white noise generators, resonant bass and spring reverb to conjure up a magical fungal diorama, which expands into the spooky shadows of skeletons and demons of "Phantasmagoria" and the spectral mystics of "Oculus Cordis"—the Eye of the Spirit — in which Taeggi grapples with the same sine-wave generators that Stockhausen used in his seminal "Studie I" and "Studie II".

Eklo is starting 2020 with a new record from the owner Seuil, it will be released in 2 volumes, some lost unreleased tracks put together to build this 2 parts. Here is the first one, 4 tracker, Breaks, Acid, Deep , D3 Vibe, a panel of what he likes as a Dj, great for the floor. Essential 12”

Los Afroins was the flagship salsa band of the obscure but beloved INS label from Colombia. Their 1975 LP "Goza La Salsa" is just as hard to find as their first record, and contains 10 bright and sassy salsa dura treasures that light up the dance floor with their incessant rhythms, syncopated trumpets and trombone and buoyant melodies. There are smoking covers of hits by Panama's Bush y sus Magníficos ('Salsa Al Pindin') and Bronx timbalero Orlando Marín and His Orchestra ('Está De Bala') as well as updated renditions of old Cuban chestnuts 'La Masacre' (written by Joseíto Fernández of 'Guantanamera' fame) and 'Matusa' (originally titled 'Macusa', composed by Francisco Repilado aka Compay Segundo).

The entire record makes for a very tasty and satisfying party platter filled with guaguancó, mozambique, pachanga, descarga and bolero that deserves to be more accessible and better known by today's fans of Colombian salsa who may have heard of The Latin Brothers or Sonora Carruseles, but have yet to discover the short-lived but highly sought after Los Afroins. "Goza La Salsa" is presented here in facsimile artwork and pressed on 180 gram vinyl.

“The aptly named Goza La Salsa (Enjoy Salsa) is the second album by Los Afroins, the flagship salsa band of the obscure but beloved INS label (Industria Nacional Del Sonido Ltda., Medellín, Colombia). The combo's repertoire focused mostly on cover versions hit tunes from New York, Cuba and Puerto Rico, both classic and contemporary, but for this record, their sophomore outing from 1975, their arrangements got tighter and there are more original compositions, which makes for a satisfying evolution in both style and content. Pianist Agustín "El Conde" Martínez, who would later work with Joe Arroyo and Juan Piña, led the group and did some arranging, with studio session production by INS artistic director Alfredo "Sabor" Linares. The vocals were handled by a pair of fresh-faced singers, Lucho Puerto Rico and Roy "Tayrona" Betancourt, who would later go on to fame in the 1980s, the former with his own Lucho Puerto Rico Y Su Conjunto Sonero and Conjunto Son Del Barrio (both in collaboration with Alfredo Linares), and the latter with Willie Salcedo, Reales Brass De Colombia, and Los Caribes. Additional arrangements were by Luis Felipe Basto of Los Black Stars and Luis E Mosquera, while the rest of the band was made up of INS related studio musicians. Goza La Salsa is just as hard to find as their first record and contains 10 bright and sassy salsa dura treasures that light up the dance floor with their incessant rhythms, syncopated trumpets and trombone and buoyant melodies. There are smoking covers of hits by Panama's Bush y sus Magníficos ('Salsa Al Pindin') and Bronx timbalero Orlando Marín and His Orchestra ('Está De Bala') as well as updated renditions of old Cuban chestnuts 'La Masacre' (written by Joseíto Fernández of 'Guantanamera' fame, and a hit for Cuarteto Caney) and 'Matusa' (originally titled 'Macusa', composed by Francisco Repilado aka Compay Segundo and made famous by Duo Los Compadres). This time around there are six excellent originals with the hottest pair being Lucho Puerto Rico's theme song 'Puerto Rico Power' and the percussion heavy final track, 'Alejada' sung and composed by Roy Betancourt. Just like the first album, the entire record makes for a very tasty and satisfying party platter filled with guaguancó, mozambique, pachanga, descarga and bolero that deserves to be more accessible and better known by today's fans of Colombian salsa who may have heard of The Latin Brothers or Sonora Carruseles, but have yet to discover the short-lived but highly sought after Los Afroins." Pablo E Yglesias DJ Bongohead of Peace & Rhythm

Fantastische Best-Of-Compilation des venezuelanischen Ambient/Electronic-Musikers Miguel Noya mit remastered Highlights seiner Karriere seit seinem Solodebüt, dem deepen Sci-Fi-Electronic-Werk "Gran Sabana" (1984). Inspiriert von Brian Eno, Jon Hassell und Tangerine Dream vereint Noya Ambient, Space-Electronica, Soundtrack, Psychedelia und organische Geräusche zu einem intensiven Sound, der sich - ähnlich japanischer Ambient-Produzenten - mit einer eigenen Note von den westlichen Pendants abhebt.

Max Graef and Julius Conrad are Ratgrave. ‘Rock’ is their
second album - ongoing transmissions of Electronic PFusion from Earth. It follows a stellar debut on Funkineven’s imprint Apron. The duo’s sound palette draws inspiration from 80's funk, soul, rock and electronic but through a contemporary lens from two versatile multiinstrumentalists.

 In their own words: “Rock is the essence of energy and
vibration we felt in different styles of music, almost like a
parallel component connecting all things we like. In the
process of recording the new album we kept coming back
to this essence no matter what style the original idea was.
There was the raw and brutal energy of Jazz-Rock, a lot of
video game influences that somehow adhered this essence
just as well as quieter Pop and Psychedelic passages that
we recorded. Among other things we absorbed a lot of
heavy music during the time of the recording like Blue
Cheer, Black Sabbath, Frank Zappa or Jimi Hendrix and
realized while writing our own music how much impact
they had even on quieter songs. This is why ‘Rock’ felt like
the perfect title although the music ranges from P-Funk
and Spiritual Jazz to various styles of Pop and beyond.”

 Max Graef has previously collaborated with Glenn Astro on
records for Ninja Tune and both artists have previously
released on Tartelet.

 This marks the fourth official album on Black Focus, a
London label founded by Kamaal Williams.

 4pp digipack. 180g vinyl LP in reverse board printed sleeve
with 3mm spine and digital download card.

"Available again for the first time since original release in 1974, Outernational Sounds proudly presents one of the deepest custom press jazz recordings of all – Jaman’s spiritualised and funky Sweet Heritage.

The history of jazz is often told as though it was principally a history of releases and recordings. On those terms, it’s easy to mistake a small recorded footprint for obscurity or silence. But that is to put the cart before the horse, for the true history of the jazz is the story of the music as it was played night after night in the clubs, bars, concert halls and backrooms of cities and towns across America and the world. Only a tiny fraction of this living tradition ever makes it onto a recording. The far greater part is embodied in the musicians and their music as they play it and live it. And even though 1974’s Sweet Heritage is James Edward Manuel’s only release, the pianist and educator better known as Jaman has undoubtedly lived it.

Brought up in Buffalo, New York, Jaman studied classical piano before beginning formal jazz studies under greats including Earl Bostic and Horace Parlan. Quickly becoming a respected regular on the club scene in Buffalo, Jaman held down innumerable residencies and worked with top local musicians – one of his early trios included the renowned bassist John Heard and drummer Clarence Becton, both of whom were poached one night by a visiting Jon Hendricks; sometime Sun Ra Arkestra bassist Juini Booth and regular Ahmad Jamal sideman Sabu Adeyola (also of Kamal & The Brothers) have graced his groups too. At famous night spots all over Buffalo’s East Side and on excursions to Manhattan’s storied jazz clubs, Jaman has shared the stage with some of the most illustrious names in jazz and blues: Big Joe Turner, Muddy Waters, Joe Henderson, Ruth Brown, Frank Morgan, Woody Shaw, Sonny Stitt, and too many others to mention. His eponymous group, Jaman, was formed in 1970; they toured the US and Canada steadily in the years that followed. He became, in short, one of Buffalo’s true jazz stalwarts, and so he remains.

But despite a life lived deep within the music, Jaman only recorded a single LP, 1974’s Sweet Heritage. Pressed in tiny quantities by the Mark Records custom service, and issued with a stock landscape cover, Sweet Heritage featured the regular Jaman group playing a mixture of covers and originals. The whole LP showcases an ensemble in compete control, and with the flying, spiritual sound of ‘Free Will’ and the upful, Latin-tinged ‘In The Fall of The Year’ – both Jaman originals – the album has since become a legendary collector’s classic. Unavailable since its original issue, Outernational Sounds is proud to present Jaman’s Sweet Heritage – the soulful and spiritualised sounds of a master at work."

Ionisation is the first LP by Italian poet Adriano Spatola. Born in Yugoslavia in 1941, by the age of 23 he became a major force in the Italian avant-garde. “Towards Total Poetry,” Spatola’s critical study on the state of modern poetry, spells out his position: “to become a total medium, to escape all limitations to include theater, photography, music, painting, typography, cinematographic techniques, and every other aspect of culture, in a utopian ambition to return to origins.” Graphic poetry (cut-up zeroglyphs), volatile and beautiful prose (particularly his books The Porthole and Majakovskiiiiiiij), and of course sound poetry, represented here for the first time. Spatola was the editor of many underground publications: Baobab (a legendary audio-cassette magazine), Tam Tam, and Edition Geiger. Each of his pursuits spread the margins of the format, all done with a relentless, piercing curatorial eye.

Spatola has dark, drunken wit in spades. In his sound poems, an even more saturated persona is conjured. A desperate humor sneers through this LP, a humor that has surrendered to the severe joke of life long ago - lashing out on syllables and ingrown word games. Particularly, his classic “Aviation/Aviateur” (akin to his “Seduction/Seducteur,” & “Violacion/Violateur” etc.). Read by lesser performers, these pieces would falter and float by in the trough, though Spatola’s bull-like confidence tears through. “Poker Foundation” features the poet hysterically singing “the play of the words” over a classical radio piece, mocking and squawking against the string swells. Steve Lacy plays scissors, knife, and saxophone on “Hommage à Eric Satie,” a piece originally recorded for the luxurious Cramps LP boxset Futura. Collaborators Gian Paolo Roffi and Paul Vangelisti are also featured across the collection.

The LP concludes with the titular work “Ionisation,” recorded just days before his premature death in 1988. Feeling his sinking health, his belly in the quicksand, he prefaces the piece, “a funeral march for my body.” He proceeds to scrape and pound the microphone on his chest, face, and clothing. This thick pumping of Adriano’s torso rapping across the speakers abruptly stops after two minutes. A piercing moment.

I was born the day after Adriano died, which has some poetic meaning to me, naturally. I am indebted to him, his sickly sweet manner. The opportunity to publish these largely unknown sound works is an honor which brings a warmth to my torso. Much appreciation goes to Giovanni Fontana (poet and dear friend of Adriano), who helped produce this edition with me. “Every single word has been a tempest of gestures.“

Sean McCann, January 2020

La Sabbia is a group of friends who share the passion for music. In the last five years we succeeded in building and developing our own studio, where nine people are working and researching. We see music as a universal language to connect people, telling stories and creating new life shapes and patterns accessible to everybody, without boundaries of any kind.

Voltage Controlled Fingerz is Alessandro Paolone's first album, the synthesis of his trip in the various forms of electronic music. From the obsession for the Yamaha DX7's and Roland 707's raw sounds, through the complexity of jungle drums and poly-rhythm, to an almost maniacal analysis of the '70s progressive rock scene, you will taste these classic ingredients mixed in the new recipe of Doc Pavlonium.

Fabrizio Lapiana's Attic Music label reaches release number 20 on the main series with a new EP from the boss himself: Collective Chaos features remixes from fellow Italian techno luminaries Neel & Laertes.

Rome's Lapiana has been a vital voice in the global techno underground for more than 10 years now. His Attic Music label has played a key part in that, while his own evocative techno soundscapes have come on the likes of M_Rec ltd, Figure Jams, ARTS and Out-Er. This is his first outing of 2020 and is a superbly stylish techno trip.

Opener 'Crystal' is deep, drawn out techno with perfectly smooth and supple drum programming that soon gets you in a state of hypnosis. Subtle synth loops rise up through the mix as things grow more urgent, and once the percussion joins you're utterly locked. The title track is a more turbulent and edgy affair that sound tracks a dystopian urban wasteland - the synths are riddled with static, the hurried drums are punchy and there is an urgency in the molten synth lines that keeps you right on the edge of your seat.

Sound sculptor Neel runs Spazio Disponibile with collaborative partner Donato Dozzy and has an impeccable knack for sound design. Here he links with Laertes (half of Modern Heads with Dino Sabatini), a Mental Modern and Concrete Records associate who produces artful techno. Together, they remix 'Collective Chaos' into a dark and moody techno roller with glitchy textures and high speed synth lines that sweep you off your feet.

Closing out this terrific trip is 'Koyuk', a Millsian adventure into an intergalactic techno future, with polyphonic synths rippling above a rubbery drum line that is both propulsive and pensive.

This is high grade, perfectly distilled and meditative techno from some of Italy's finest exports.

Belonging is the second full length album by Berlin based producer Takeleave.

The multi-instrumentalist dedicates this release to an allegory of arrival and homesickness, after his first album Inner Sea focused on the journey itself. While the latest album was mostly written in different places, Belonging has been produced solely in the same place in Berlin, where most of the songs have evolved from intuitive jams on the instrument.

„This album turned out to sound as intimate and intuitive as it was for me when writing these songs. I feel like i got a little step closer to my own sound over the last year.“

UFO Inc. starts the new decade with fast, dark improv-techno tracks by the New York DJ, producer and singer Heidi Sabertooth. The four tracks on UFO4 are an impressive testimony to her passion for vintage gear and are the result of an interplay of mainly three machines with which she also plays live: Roland SH-101, Korg ESX2 Electribe and Yamaha DX200 - Sabertooth knows her tools inside and out by heart and tried on this EP to sound as "live" and spontaneous as possible. She plays her machines like instruments and want them to have some life and breath in them because she grew up playing all kinds of wind and string instruments and played in bands many years before she became a DJ. Her approach to making tracks is to capture as much live experimentation and weirdness as possible, while still making something that grooves and kicks on the dancefloor. She is not so concerned about making things perfect, in fact sometimes she intentionally try to disrupt things if it starts sounding too polished or square: ,,I like things to be human. I think you can feel it in the recording when the hands are touching the machine - it is human/machine/spirit connection.?This is why I named the EP as such - With The Void - this is how I like to create: jump into outerspace, into the unknown, with my machines and we all have an experience together - a cosmic electric dance - and that's when I hit the record button." On UFO4 you can definitely hear the fun she and her machines had in the recording process.

Led by some of Senegal's most famous singers, like Youssou N'Dour and Laba Sosseh, Star Band achieved the perfect gumbo of Cuban and Senegalese sounds. Changüí, Guajira, Salsa, and Son mingled with cosmic Mbalax guitars, Sabar rhythms, Afro-Latin horns, and Spanish vocals spiced with a Senegalese twang.

With just two microphones and a four-track Revox tape recorder, Ibrahim Kassé, Star Band's founder and owner of Le Miami nightclub, recorded their entire catalog in his venue. Each album contained one stand-out Afro-Cuban tune, often covers of Cuban classics or original compositions using the deep, layered sound that had evolved over centuries from the roundtrip journey across the Atlantic. Six of Star Band's most psychedelic Afro-Cuban tracks, an ode to their finest hour, are selected here.

Remastered in the original mono, and accompanied by 12-page booklet containing an essay on Cubanismo in Senegal, a rare interview with Star Band guitarist Yakhya Fall and vintage photos from his personal collection, this album is the soundtrack to a time when Cuban music was the future for 1970's Senegal and commemorates the anniversary when another way — the Cuban way — was possible.

Pacific Express emerged from Cape Town, South Africa in the 1970s. The band were from the so called "Coloured" community and were ground breakers in both musical and political arenas. The founder members Paul Abrahams (Bass), Jack Momple (Drums) and Issy Ariefdien (Guitar) were joined by Chris Schilder (Piano), Vic Higgins (Pecussion), Barney Rachabane (Alto Sax), Stompie Manana (Trumpet) and Zayn Adams & Kitty Tshikana on vocals for their second album "On Time" in 1978.

On several occasions the group fell foul of Apartheid laws and discrimination by the state broadcaster, SABC. On one occasion they were asked to leave the stage of an international tour by Australian act John Paul Young, because the law forbade racially mixed performers on the same stage. The promoter, management and band members all resisted and once he incident made the Australian newspapers the authorities had little choice and turned a blind eye.

And so to the music. The most important thing. The LP opens up with the slick jazz-boogie funk of "We Got A Good Thing Going On", a perfect vehicle for the vocals of Zayn and the statement-of-intent, on-point musicianship of the band.

"I Hear Music" is the first of three smooth sweet string-laden ballads to feature on the LP. The majority of the songs on the LP were written by keyboard player Chris Schilder. As well as high-craft songwriting Chris also contributes layers of effortless musicality with his Rhodes and piano. "Good Old Days" (the only cover on the LP) is next and its smooth-rock grooves swing effortlessly to the fore. The A-Side of the vinyl closes with the instrumental jazz funk of "Saturday Night".

The flip side of the album opens with the bands biggest commercial success. A sweet soul ballad penned "Give a Little Love". Stepping outside their usual sound. This hit however was not without controversy as the video was removed from the TV airways after the South Africa Broadcasting Corp realised that the group were of mixed race, which was against rules for so called local artists in public performance at the time.

"Dream" follows on with the driving jazz rock and travelling keyboard solos. "Reaching Out For Love" is a power-pop boogie groover powered by guest vocalists Erica Lundy and Kitty.

"Say The Last Goodbye" is the last of the trio of ballads. A smooth style moment sounding all the bit like a 70's US TV drama closing theme. The LP features with a funky workout where the band show off their chops and slick level of musicianship.

Besides the success in southern Africa this album became a regional hit as a pirated music cassette in Nigeria. It was also released in France and Japan.

The band would go on to record one further LP in 1979 and a single in 1981. They carried on performing however well pass that. Throughout their years together the band acted as central hub for Jazz musicians within the Cape Town area. Players as Tony Cedras, Jonathan Butler and Alvin Dyers gaining experience alongside established names such as trumpeter Stompie Manana and alto saxman Barney Rachabane.

Here at World Seven we are ever so pleased to be re-releasing what we consider the bands finest album moment.

Dick Verdult, a.k.a Dick el Demasiado is the Philip K. Dick of multi-disciplinary art, the Moby Dick of “cumbia lunática”, and the Charles Dickens of literature and experimental cinema. He first fell in love with cumbia when he heard his nursemaid singing the classic “La pollera colorá”. From this moment on, he adopted the genre and reinvented it, in a perpetual degeneration called Cumbia Lunática, twisting up the elements of traditional cumbia, the “cumbia of the mucamas”, to create an anarchotropical vertebral rhythm, one which supports every moving part.

Celulitis Illuminati is the powerful debut of the anarchotropical gentleman knight of the abstract, Dick el Demasiado, eight dangerous tracks recorded for the first time on vinyl, songs that, upon listening, will liposuck all that grotesque accumulation of adipose tissue out of buttocks and brain. They interweave an amalgam of South American folklore and the cables of electronic music, the plugged-in Ranqueles indians, as in “Asi Que Los Que Sí” (“So That Those Who Yes”) on Side A, surrealist and lugubrious beats, poetry made song and “the dead man’s drool is good for painting watercolors”, as he sings in “Búho Sin Un Ratón” (“Owl With No Mouse”).Euphony that will abduct you away to a viscous street party with “Son Cosas De Hoy” (“They’re Things For Today”) and to an eclectic and excessive dimension with “pero bien bweno” (“but very proper”).

Side B is pure dynamite: “Mecha flan” (“Pudding Fuse”), “Sábado cultural” (“Cultural Saturday”) and “En la jeta” (“In the face”) represent the perfect blend of Lucho Argain (La Sonora Dinamita) and Muslimgauze (Bryn Jones). On top of this, the album includes an as-yet unheard gem, “Llama Mi Abogado” (“Call My Lawyer”), produced by Dick himself and Manuel Schaller, the telepathic mage of the Theremin. When the Dutchman stepped off the boat and onto the block, as well as offering us the TV set, the sculpture of a deranged English woman who devours islands like they were sandwiches, the synthesizer, the sound effect, the African drum, the maraca, the indigenous whistle, he obtained for us the song and the stanza, he provided us with the language and the poetry, the truthful, the epic of the ugly. Cellulite for mortals, cumbia lunática for the enlightened ones! Alfredo Padilla (Trans. Komurki)

The relationship between Norm and Core is in terms of sunlight playing over a mountain and a valley. Norm is the brightly lit portion, Core is the dark area occluded by the mountain's bulk. As the sun moves across the sky, Norm and Core gradually trade places with each other, revealing what was obscured and obscuring what was revealed. Norm is solid, focused, hot, dry, and active.

Fire – Sky – The Sun – Day Time.
Core, by contrast is yielding, cold, wet.
Water – Earth – The moon – Night-time.

Contagious is a solid blending of avant-garde experimentation and electronic music. Formed by two innovative voices from the Improvisation scene of Berlin (Andrea Neumann and Sabine Ercklentz) and Mieko Suzuki, a well-crafted and creative DJ and musician who’s operating in Berlin venues and festivals since a long time.

Contagious is one of the most forward thinking, mind-melting projects to hit the electronic music scene. Intense and powerful, yet rooted in a tradition of crafting and sculpturing of in the most creative ways, all this building up within a solid structure of instant composition and improvisation. The trio plunder each other’s musical spheres, appropriate them and switch roles. Andrea Neumann on her infamous Inside Piano, an instrument she pioneered and crafted, is applying the most creative feedback processing to simple piano strings and sending them occasionally to Mieko Suzuki’s processing rig, who also uses her own pre-recorded sounds and her skills on turntables, while Sabine Ercklentz’s trumpet sounds blast through her processing system and altogether the three musicians communicate into logics of composition and futuristic structures, where fragile sound textures and pulses become monumental.

Contagious is also the debut album recorded and produced by Rabih Beaini. The Trio wanders in new aesthetic areas, sound is a texture where the processing rigs are constantly developing new forms and evolutions. Structures and grooves implode in noisy fragments, growing into a deep trance state.

Second volume in VampiSoul's series focusing on Peruvian cumbia from the 60's and 70's. Beat and psychedelia mix with Andean and Amazonian folk to create pure tropical magic!

After their brilliant label debut with "Grow Yes Yes" in 2017, Professor Wouassa now returns with their brand new third album on Matasuna Records.

The Swiss band's career spans more than 15 years, where they have played at many major festivals in Switzerland and abroad. The 11 members of the band have perfected their musical qualities over the years and captivate as a well-rehearsed live band with their energetic and rousing shows. So it isn't surprising that they supported concerts of Afrobeat legends like Ebo Taylor or Seun 'Anikulapo' Kuti.

Their still exuberant creativity can also be heard on their new work entitled Yobale Ma!, which in Wolof's language can be translated as "take me" or "get me". With their new album they take the listener to their musical island to explore the borders of Afrobeat and beyond.

The song Fallou Fall opens the album in a jazzy & big band way, and quickly switches to an afrobeat theme and solo. In the middle the song breaks into an Afro-style pattern, which is performed by Thaïs Diarra in Bambara (Malian dialect) in a traditional Mandingo way of singing. The track ends with a Sabar percussion part - a traditional Senegalese drum.

Yobale Ma is the single of the album, which is inspired by the funky guitars of a Nile Rodger and some typical fast Ghanaian highlife of Ebo Taylor.

The track Thiaroye Gare is about the Tirailleurs sénégalais, a unit of the French army who fought for France in WWII. After returning from captivity they were taken in Camp Thiaroye northeast of Dakar. Corrupt and racist colonial officials led to a revolt, which was bloodily suppressed by French troops.
From the musical point of view the song shows a link between afrobeat and funky James Brown rhythms, which ends in a fast afrobeat style with baritone saxophone and trombone solos.

Beguente Len in the middle of the album is a kind of interlude that represents Wouassa's own way of interpreting traditional afro beats and rhythms.

With the two songs Djongoma and Sama Yone Professor Wouassa leaves his usual afrobeat path to explore the "sound of the islands" (Mauritius, La Réunion, Cape Verde or Cuba) and blend it with their personal and unmistakable style.

With Iba Niawoulo the professors investigate a kind of Ghanaian highlife medium tempo with a chord progression from Serge Gainsbourg's song "Initial BB". The tracks change in the middle to a fast Rhythm'n'Blues beat, which is accompanied by afro guitars. The singer "Mamadou Diagne" talks about his alter ego in Dakar.

In Djougoudja typical afro rhythms are mixed with pure Ethiopian 70's brass sounds and funk guitars. As heard several times in other songs, the track breaks into a very personal and hard to describe Wouassa beat in it's middle. At this time, Mamadou Diagne recites a big slam about the spiritual ideas and the history of the famous senegalese theologian and poet Serigne Touba (Cheikh Ahmadou Bamba). Under his flow some sabar percussions (typical senegalese percussions) build a strong and intense musical rug.

"In his solo work and as a member of Nine Inch Nails, Alessandro Cortini's music casts the listener into an intricately rendered vortex of emotive dynamics,where he expertly maximises the boundaries of contemporary electronic music. His new album, 'Volume Massimo,' combines his fondness for melody with the rigour of experimental practice. Follows on from 2017's universally acclaimed album ‘Avanti. 8 tracks of deftly arranged synthesizers saturated with sonic artefacts and luscious pop sensibilities.
+ Includes download code."

The original freaks SES are back for another mind melting EP called “Saboteur”.

Completely tuned for a sweaty underground club system, the kicks in ‘Sounds Like’ hit deeper then your typical sound-boy bass lines of 2019.

Europa is on some dystopian Kraftwerk transeuropean express tip with all the attitude you’d hope to squeeze into four and a half minutes.

Hijacker kicks off the B side with continuing paranoid themes of the SES back catalog.

Flesh Tone simply jacks you in half and makes you throw shapes like it’s 1989. Only in Hi Def.

- all tracks blend with each other flawlessly, so buy two copies why don’t you.

Magic Carpet" is the first Compilation of the German Label "Harmonie Exotic". Jose Manuel selected 12 experimental ambient tracks from the 1982 to the 1994. They are combined by the same feature, namely the magic and mysterious character. Even though all the (remastered) tracks released in different countries, such as Japan, Italy, and France, they are all combined in being rare and obscure songs. In most of them it is possible to verify the oneiric melodies mixed with the different drum machines, typical of that year.

For this reason, they show how the magic has been developed over the chosen years, as they were all enveloped from the same carpet. Starting from this idea the Compilation's title plays an important role in anticipating the dreamlike listening experience.

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

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

"The Storyteller - A Musical Tribute to Yusef Lateef"

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

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

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

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

Nat Birchall

The "Duets" double cassette by Kristoffer Eikrem & Bendik Baksaas was awarded the Oslo-prize for "album of the year 2018" by Natt & Dag, Norway's biggest culture magazine. Due to many requests from our listeners we decided to pick the duo's 40 most precious minutes of music from the project and press a limited run of 300 copies on vinyl.

Apollo are delighted to welcome the return of Australia duo Albrecht
La’Brooy AKA Sean La'Brooy and Alex Albrecht with their blissful new
album 'Healesville' recorded in a mud-brick hut on a strawberry crop
in the Melbourne countryside.
Apollo are delighted to welcome the return of Australia duo Albrecht
La’Brooy AKA Sean La'Brooy and Alex Albrecht with their blissful new
album 'Healesville' recorded in a mud-brick hut on a strawberry crop in the
Melbourne countryside. 'Healesville' follows on from the bucolic wonder of
their Apollo debut 'Tidal River' which took inspiration from the duo's visit to
the beautiful Wilson's Promontory (a remote national park on the South
East coast of Australia). "Late last year, we trekked out to a beautiful mudbrick studio located next to a large strawberry crop in Healesville," Albrecht
explains. "We spent a few days capturing the feeling of the slow-paced,
relaxed surrounds: The wildlife, the strawberry pickers, the sounds of the
night, and improvising a response to them with music we felt suited."
Setting up their favoured musical equipment, which included two pianos, a
Waldorf, a Nord and a clutch of microphones the long-form improvisations
began. "The physical construct of the hut imparted a warm and acoustically
interesting environment to record in," Alex explains. "It also allowed us to be
as close to the strawberry crop itself - we positioned a mic out the window
to capture the recordings of the sound outside. During one of the sessions,
a harvest was taking place, and you can hear tractors passing and workers
talking and laughing in the recording. The resulting drowsy pieces were
completely improvised (augmented by percussionist Joseph Batrouney,
guitarist Carla Oliver (Badskin) and guitarist Oliver Patterson), freeform
recordings that explores themes of relaxation, sleep and dreams;
somnambulant piano figures are caressed with delicate guitar passages
bathed in the bucolic field recordings of the Healesville environs. Recording
the album proved to be as relaxing and civilised a process as listening to it:
"We cooked nice dinners, enjoyed good wines, and took plenty of walks
through the landscape to break up the sessions," Alex shares. The resulting
record is one of quietly sozzled majesty - a delicate fusion of ambient
electronic textures, live instrumentation and field recordings that beguiles
and soothes the listener in these troubled times. — Recorded live at Earth
Mud Straw in Healesville by Alex Albrecht and Sean La'Brooy. Guitar by
Oliver Paterson and Carla Oliver (Badskin), Percussion/FXs by Joseph
Batrouney. Mastered by Corey Kikos. Thanks to Sabbine, Boomtown wines
and the strawberry pickers in Healesville.

Suzanne Doucet was born in Tuebingen, Germany where as a three year old, Doucet discovered her innate artistic gifts. Instinctively, she was always drawing, playing music, singing, and writing. By the age of 18, Suzanne was an established pop star in Germany with several #1 hits. She also made her mark as a composer, actress, TV moderator, director, engineer, and producer. At age 25. she took a sabbatical from the music business to go on a spiritual odyssey. In 1970 she released a triple album of field recordings and mind-expanding psychedelia under the name Zweistein. For the next ten years, she developed her own style of New Age music while exploring many areas of metaphysics and spiritual practices, including astrology, music therapy, tarot, yoga and the Kabbalah.

In 1979, Doucet launched a record label in West Germany named Isis, after the Egyptian goddess of feminine divinity. She formed the duo New Age with her musical partner Christian Bühner, and released the 1982 cassette album ‘Transformation’ and the follow-up ‘Transmission’, released on cassette in 1983. After this release, Bühner and Doucet moved to Los Angeles, hoping to find more kindred spirits in the burgeoning New Age scene there. Doucet met Tajalli (William Wichman). William had a small home studio and they played music together almost every day. William had a Juno 60 and Suzanne had her SD-1 keyboard. Their album ‘Brilliance’ was released in 1984 on cassette with the critically acclaimed track "Crystal Flight," which was featured in several Visionary Videos. All songs have been remastered by George Horn at Fantasy Studios and each album is housed in jackets using the original cassette artwork.

Originally released by RGE in 1970 in Brazil, ‘É Ferro Na Boneca!’ features 13 songs composed by Luiz Galvão and Moraes Moreira. This record shows the roots of the group, moving through psychedelics, edgey pop, rock and Tropicália.



After writing ‘É Ferro Na Boneca!’ their music began to move towards MPB due to the influence of João Gilberto, who began working with the group. In 1972 they released their incredible ‘Acabou Chorare’ LP, which came top of Rolling Stone Magazine’s list of 100 Greatest Brazilian Records (published in 2007).

Part of the new wave of artists credited with stirring up the sound, including Kamasi Washington, Yussef Kamaal, Sons of Kemet and The Comet is Coming, Yazz Ahmed is thrilled by the possibilities of making something new. "I feel like I'm a part of modernising jazz and connecting it with audiences today" Yazz says, "it's exciting".

Her take on jazz weaves in Arabic melodies to evocative, cinematic effect.

'La Saboteuse' is a deep exploration of both her British and Bahraini roots. Ably assisted by musicians including Lewis Wright on vibraphone, MOBO-winning new jazz kingpin Shabaka Hutchings on bass clarinet and Naadia Sherriff on Fender Rhodes keyboard, it's composed of undulating rhythms, Middle Eastern melody and Yazz's sonorous trumpet lines. The record sounds like the passage of a desert caravan, bathed in moonlight. The theme of 'La Saboteuse' is the sense of self-doubt that Yazz feels when she is creating, personified in a female saboteur, an anti-muse that spurs her into action. "Giving 'her' a name has really helped me to identify those negative voices we all get," she says. "I know what it is and I know how to combat it"

After a sabbatical period, Roberto Auser makes a comeback with his analogical machinery with the exquisite mini-album called “Chaos Never Dies”. In this record he explores a broad range of sounds from minimal-electro to acid with a touch of improvisation from his particular perspective based in roughness, rhythm and immediacy. Limited to 300 copies.

Audioslave may be one the rare cases of remnants of 2 great bands coming together and creating an even greater band. Consisting of three quarters of Rage Against The Machine plus former Soundgarden singer Chris Cornell, Audioslave came onto the music scene with a mix of 70's Zeppelin & Sabbath warped into the year 2000 and beyond. Having Chris Cornell as their leadsinger was producer Rick Rubin's idea and the band penned no less than 21 songs in a period of 19 days, jamming and rehearsing.
Their live debut was a David Letterman gig on the rooftop of the Ed Sullivan Theatre in New York, kicking off a successful world tour. Debut single 'Cochise' was a worldwide smash and the 2nd single 'Like a Stone' even topped that (certified Gold by the RIAA)! The album was certified Gold in the USA within a month after its release. 2 Audioslave albums followed, before the members parted ways to join their former bands.

Hailing from different places in western Europe, Luc Bersier, Low Bat, Leonard Prochazka and Ariel Garcia created this vibrant EP. Their synergy tells a story of creativity, freedom in sound and, above all, playfulness. Serious music while similarly not being to earnest.

Their venture evolved into a very original blend of cosmic music, utilizing instruments that fit into the neofolk Krautrock domain, vocal experiments into French chanson territory, infused in Berlinian cosmopolitanism. Expect an exciting minimal wave synth punk orgy, punk definitely being the defining trait underneath these layers of sound.

This is boundless music with attitude, capable of making us drift off and disrupt us in equal measure.

2019 vinyl edition with printed inner-sleeve (with the lyrics). Includes a bonus 7" of original track 'Chacun fait (C' qui lui plaît).

Spring 1982: Grégory Ken and Valli aka Chagrin d'Amour bursts into the scene with 'Chacun fait (C'qui lui plaît)'. The track gets 9 airplays a day on the newly created NRJ radio and 35 000 copies of the 7" are sold every day !
In the blink of an eye, a team of experienced musicians is gathered around prominent sound engineer Dominique Blanc-Francard: Slim Pezin (guitars), Bernard Paganotti (bass), Philippe Drai (drums) and Jean-Pierre Sabar (keyboards). After a few days in New-York with Richard Avedon who shot the cover pictures the album is ready and set to become a cult release over more than three decades.

British blues-rock quartet Zior had their roots in the bourgeoning R&B scene that arose during the

late 1960s in the southeast coastal city of Southend; they built a strong reputation in live

performance, opting for ‘happenings’ in the style of Hawkwind and Pink Floyd that went beyond

mere musical events. By the time they recorded their self-titled debut album, issued on Larry Page’s

short-lived Nepentha label in 1971, they were clearly influenced by the emergent hard rock/

heavy metal scene of the West Midlands, drawing from Black Sabbath’s discordant riffs and occult

influences, along with shrill vocal attacks in Led Zeppelin mode; there were shades of Steppenwolf

and the odd Doors-sounding keyboard riff as well (and the Black Sabbath link was heightened

by an album design from Keith McMillan, who was responsible for Black Sabbath’s debut cover

too). The resultant Zior is a varied ride through different kinds of rock terrain, from blues rock to

hard rock and on to whimsical psychedelia and prog-rock, making it hard to classify. Though this

debut LP should have heralded a bright beginning, misfortune seemed to dog the band from the

start; other recordings were released under the name Monument, the band members listed under

aliases, and a second album, Every Inch A Man, was issued in Germany after Zior’s breakup in

1973, without the band’s knowledge or permission.

Summer is coming sooner this year, and you can tell from the heat of the two latest releases from Slow Motion: yes ladies and gents, Italian Dance Wave Compilations are back! The first of the two, “Italian Dance Wave Disco Sette”, is here to delight you: starting from a half Italo and half Asian influenced Altieri track, killing it with a dancefloor belter that will make you sweat the night away, raving sensations guaranteed. Lukebox (Fabrizio Mammarella and Umberto Saba from the duo Loudtone) will serve you a slightly more downtempo, modular, weirdo beast that will make your head bang without you even notice: banger. Back on your turntables, is also Robotalco who is providing some proto-house extravaganza and adding some charme to the dirty, chunky beats of the compilation. Last but not least, José Manuel, delivering a touch of biting deep house and electro tribal feels to close the gap, and make us scream “hell yes”.

Exciting first release by Nic de la Haye on Forbidden Concept. This premium 4 track EP comes packed with straight forward house tracks and acidy jazzy melodies. A peak time player with a twist from Den Haag.

The 10th Snaker is straight out of Bucharest, Rumania. Eirwud Mudwasser dreams about an imaginary tropical planet from his quiet place somewhere in between. Organic yet electronic past-futuristic soundscape created from daily ideas, in combination of FM synthesizers and African instruments (i.e. Balafon) and off course with interesting samples. 'Contemporary Library Sound' --an ongoing theme of Snaker -- is expressed again in 11 distinctive songs, treated with touch of East-Europianic feeling.

Consisting Neither Of One Lone Woman, Nor Hailing From Either The Eurasian Country Or The North American State, This Georgia Is In Fact Comprised Of Two Human Males Working Out Of China Town, N.y.c., Namely Brian Close And Justin Tripp. Together They Form A Creative Partnership Responsible For Not Just A Slew Of Output Upon Such Highly Regarded Imprints As Meakusma, Palto Flats And Emotional Response, But Also For A Kaleidoscopic Variety Of Multimedia Work With A Whole Host Of Clients, From The Corporate To The Counter Cultural. With An All Embracing, Freeform And In Some Ways Contradictory Approach To Production, Their Sound Is At Turns Stimulating, Terrifying, Comforting And Confounding. Separated From Any Visual Representation, The Audio On Its Own Becomes A Soundtrack For The Listeners' Own Intense Internal Projection Screen.

With 'time', Georgia's Vision Is Especially Well Realised As Here, In Collaboration With Fellow Intuitionists Firecracker Recordings, They Release Into This World An Album Which, With Any Luck, Shall Help You Unlock Your Inner Portals - Should They Need Assistance In That Regard Anyway. Unquantisable Polyrhythms Knock Against One Another In An Uncannily Externalised, Conflicting Collage Of Half Remembered Dance Ritual Memories. Fragmented Melodies, Disembodied Vocal Snippets, A Hint Of Ethnomusicality In Places All Give Deep Nods Simultaneously To Ancient Experience And To Post Human Intelligence, Condensing Past Present And Future Into One Eternal Instant.

'time' The Album Asks Us: What Happens When One Removes Ones Expectations Of Where In Time A Piece Of Music Or Art Must Sit And What Of Time Itself As A Construct, Now That We Have Myriad Ways Of Measuring It, Even At The Atomic Level; But Still Its Passing Is Completely Relative According To The Observer, And Indeed May All Be In Our Minds Anyway Equally, You Can Always Just Put It On - Again, And Again - Empty Your Mind Of Such Thoughts Completely, And Allow All Of Your Particles To Move Around Freely To This Joyful Noise... After All, That's The Point, Isn't It We're Gonna Have To Stop Asking Questions Eventually.

Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018
Mastering: Mathias Durand

Translations: Valérie Vivancos
Layout: Stephen O'Malley
Photos: Stéphane Ouzounoff, Bernard Bruges-Renard

Coordination GRM: François Bonnet
Executive Production: Peter Rehberg

SIDE A
Contrée (2013), 20'

SIDE B
Allégeance volatile (2002), 8'46
Esquive (2010), 10'10

The mastering of these tracks was done by Mathias Durand at François Lê Xuân's Studio 101, in Paris. I would like to warmly thank him for this.

Allégeance volatile and Esquive each tackle the same issue in their own way. Overcoming time: whether it be successive, additional, enumerative, or repetitive. However, there is nothing here about the ensuing nature of so-called "repetitive" music. These are types of high-end music. And it is more about insistence, the obstinacy of an individual who keeps knocking on a door that will never open.

Allégeance's rustic drumming, talkative, acidulous, colourful and overarticulated, with almost clownish desinences, eventually dies out in this very respite. The iterative and puffy shimmering of Esquive with its dull, thin and precise sounds, shifts and is engulfed into another sonic world — which appears as a gaping and collapsed response to this prime insistency.

This is, indeed, a 'volatile allegiance' and 'avoidance' from the sonic to the musical elements: the musical phenomenon anticipated and pursued as the non-sound of sound — or, in other words, the void of sound. This seems to be the lesson of the concrete attitude in music. Such is the kind of questioning that stirs the composer.

He returns with another title: Contrée, which, once again, speaks of a counter-event. Here, the movement is broader, more generous, more confident. Time spreads and stretches out. What seems to be a landscape of entanglements, trajectories, influx, masses and points emerges. "Something" rises and presents itself out of the sounds - these escaping beings, these "relatively short combustion flames " (Schaeffer).

The piece consists of five consecutive and uninterrupted parts: Entrée and Stance I — Véhémence de l'air and Stance II — Grande Allure. It is the central section of an electroacoustic triptych with Sables (2011) as the first and Nil (2017) as the last.

After the praise for Morning Worship, released back in 2015 on Royal Oak, Portuguese duo Sabre returns to releases with the EP "Fora de Turf", pointing directly towards the dance floor. There is in "Fora de Turf" a certain idea of transient existence as a series of car journeys cruising the night with no clear sense of direction, recalling the gradual disappearance of public space and loss of community. The weight of Kraut references such as Kraftwerk's Autobahn or Stratosfear by Tangerine Dream is somehow clear in its alignment with a 1995 Carl Craig who had just released Landcruising

On the A side, 'Condor Sense' and 'Sem Terra'. The first one is a banger built around broken beats and repetitive synth chords that guide us through the drone landscapes on the background, very clearly marked by the 808's rhythms. The second one is anchored in a broken kick and on a growing acid line, punctuated by warm chords and some sliced pads that reminds us of the pulsating heart of the city of Detroit.

On the B side, "Condor Senses" and "Driving Bruno" got some sort of a gliding character. "Condor Senses" is the only track on the EP to accept the classic four-on-the-floor to guide some dubby chords along a quieter landscape where organic and natural sounds lurk. Is it dawn arriving No. On the last track of the album, "Driving Bruno," Sabre get in the car and step on the throttle, full speed, on a bassline that could resemble some synthwave releases if synthwave had been lucky enough to be born a decade earlier and in the center of the state of Michigan.

Art Kinder Industrie was a band
from Tarbes, south of France. Formed in 1988 by Xavier Vincent (R.I.
P.) and David Carretta it was the first EBM act in France to have
distilled the legacy of DAF, Front 242 and Nitzer Ebb. Active between
the end of the eighties and beginning of the nineties their output
consisted of a few self released tapes and various live performances.
Lux Rec selected 6 tracks produced between 1988 and 1990 to be
released on vinyl. Andrea Merlini remastered them analogically, truthful
to the spirit of that age. In collaboration with Unknown Pleasures
Records.

Christy Essien was one of the leading female recording artists of her time in Nigeria. She was born in Akwa Ibom State in 1960 and enjoyed an accomplished career as a musician and an actress. Having conquered the music and TV worlds Christy moved on to feature in some of the early Hollywood films such as "Flesh and Blood" and "Scars of Womanhood", both of which addressed issues of child abuse and female circumcision. With a desire to make life better for Nigerian artists. She is also credited as having initiated the first meeting that brought about the formation of the Performing Musicians Association of Nigeria in 1981.

Dubbed Nigeria's "First Lady Of Song", Christy produced a respectable 9 studio albums across a number of labels. Her fifth album "Give Me A Chance" was released in 1980 by Afrodisia, and is being officially reissued again by the prolific Nigerian label.

"Give Me A Chance" showcases an impressive move on from her last album with a nice amount of variety. Her classic funky disco sound is most evident in what is her most notable song on the album "Rumours". This much sought after disco number is joined by a couple more disco grooves such as "Nobody Can Stop You" and "Onwu". "Ife" meaning love inflicts a little bit of reggae into the mix while the remaining tracks ("Saboteurs", "Don't Let Me Down", "Ikan Idomo" and title track "Give Me A Chance") take more of a traditional afrobeat - meets ballad approach.

Christy died after a brief illness in 2011. Close to the time of her death, she was involved in numerous successful businesses, organization and running the non-governmental organisation Essential Child Care Foundation involved in child welfare. Christy's achievements and awards are numerous. Too numerous to mention. Perhaps her greatest achievement however is her contribution to building a peaceful and tolerant Nigeria - which, alongside moral uprightness, remain constant themes of her songs.

Marcel Vogel aka Em Yee joins the RNT roster with a 4-pack of unsurprisingly heavy edits.

The Lumberjacks In Hell label boss takes us on a little trip through one of his own eclectic sets, starting with the oddball boogie of You Move Me and then moving on to the hands-in-the-air positivity of Spreading Energy.

On the flip it's the up-tempo afro burner Don't Be Sabi Say, with the 12' concluding on the whimsically catchy I Wish I Knew The Words. Tried and tested and found true!

Planet E present the Michele Chiavarini and DJ Steve Crawford remixes of 'Just Like Muzik' and 'The Sabath' taken from Terrence Parker's 2017 album 'GOD Loves Detroit'. The three-track remix EP is due for release March 8th. Handpicked by Terrence Parker himself, both remixers offer fresh takes on two of the standout tracks of the original LP. For the first and last track of the EP Michele Chiavarini reworks 'Just Like Muzik', with a bass lick which dances in and out of shuffling hats, channelling the high energy of the original house patterns and stabs into something different. Soulful pad progressions merge with Merachka's original vocal, before energetic strings and vibraphone solo take over, carrying the listener along. DJ Steve Crawford's remix of 'The Sabath' sees him transpose the arpeggiated synth rhythm and pads of the original into a fresh grooving 4/4 affair. Congas and punching kicks meet with harmonious string melody and slapped bass, creating a head-nodding reimagining of the master.

+++ Available in a non-specified number of copies, these releases are hand-cut on vinyl by the label itself.

Transparent vinyls with a center white silk screen design and hand stamped catalogue number.

External cover designed by Regno Maggiore in white silk-screen print on die-cut black paperboard.

Internal sleeve with an illustrated poetry by Regno Maggiore, tracklist and info +++

Written and recorded in 2018 during and after a nomadic travel in the open air, Astroveliero is the debut ep of Regno Maggiore and an introspective journey inside h** beliefs and experiences.

Across 6 free-flow tracks, the artist has created a world of multi- layered textured details and organic instruments, blended with a fine tune work of sound engineering.

Astroveliero joins together different musical influences as well as world cultures, with a result that could be assimilated to the fourth world tradition.

The ep spans from the quasi- krautock ambient composition in Oracolo to percussive songs like La Danza di Sabasaa and Selva Oscura, balancing haunting atmospheres and benign forces, drawing modern anxiety, spiritual raises and dreamlike visions.

With just a quick appearance on the recent compilation Paradisia V, out on Gang of Ducks as well, Regno Maggiore is creating a new bold world around h**, and we just can't wait to listen more.

Lebanon Hanover's bassist William Maybelline is back with his solo project. After the debut album Sable from 2015, Qual strikes back with a three-track 12' maxi-single. Each one of these new songs explore a different dimension of Maybelline's approach to Body/Wave electronics.

The title-track Cupio Dissolvi is what we may already call classic Qual: gloomy and throbbing, synth-driven and labyrinthine. A Bloody Blob explores new martial slants, with war-like timpani and a marching robot gait. Rape Me in the Parthenon is a 8 minute long dancefloor mayhem anthem scanned by some pounding techno drumbeat and EBM snare and pads. The most alert of you already checked this in some Ancient Methods DJset. By far the most extreme track Qual recorded so far.

'Buried in flowers with hands of gold / Buried together we'll never mold' shall be thy epitaph here, as well as your message engraved on virgin vinyl.

New edition of 300 on clear wax!

'For The Colleagues Of Ubu & Their Authorities' is the brainchild of Vienna based vinyl enthusiast, DJ & producer The Reboot Joy Confession. What once started as a series of mixes has been expanded into this compilation, on which he brings together diverse genres of music like electronica, modern minimalism, folk, post-rock, avant-garde or modular music, which also reflect his own versatile musical taste. 'As I stopped thinking in genres, my attempt was to merge my musical taste in the most fluent way possible onto one record. There are mesmerizing songs from some of my favourite contemporary artists - I feel a timelessness in their music, I can ´t get tired of. With the compilation I wanted to create a contemplative, fictitious, surreal world, merging those different styles together. Giving it that title, I wanted the listener to be able to imagine a tale that is building up with each song. I am really happy about the outcome of this compilation and hope that many other listeners can feel the magic.' The compilation includes the surreal work of Swiss producer Dim Grimm (also known as Dimlite), as well as a collaboration between Merz & Julian Sartorius Drum Ensemble who radically altered the original version of 'The Hunting Owl' into a monstrous percussive live version. Taken off the debut album from one of Poland ´s most interesting musicians at the moment, Waclaw Zimpel & Kuba Ziolek, 'Wrens' is a fusion of folk, jazz and modern minimal music. Experimental pop musician & filmmaker Tujiko Noriko appears with an emotional piece that challenges the paths between pop and avant-garde. Gerhard Zander, whose musical work started on the outskirts of experimental pop music in the early seventies in Germany, delivers a modular synth masterpiece with unique sounds, textures and a far-out synth choir. Rock and ambient influenced musician Helen Money (also known as Alison Chesley) is a Los Angeles based cellist and composer who appears with a massively dark post-rock song called 'MF', which was recorded at Steve Albini's Electrical Audio studio in Chicago in 2009. Often compared to Frank Zappa and known for their richness of ideas, Liverpool's a.P.A.t.T. contribute the hypnotic 'Young Free & Parasite', with references to British glam, post-punk or synth rock, but in a fresh and obscure sounding outfit. SSELLF, the moniker of New Zealand ´s Christoph El Truento, inspired by post-punk and noise. 'Visitors' is simple and simply in your face, with lo-fi drums, distorted synths and raw vocals by Christoph himself. After a few seclusive years, The Reboot Joy Confession returns with a new, crispy and soulful track. Cinematic strings written by Martin Riedler, arranged by Flip Phillip, and recorded at the established Vienna Konzerthaus, based on a properly arranged drum outfit and played by a villain named Gurlimu. Both strings and drums are guiding through the whole song and culminate in Glockenspiel and Rhodes melodies. Oceaneer aka Japanese pianist Oneechan Nanashi completes the compilation with her beautiful and profound composition 'The Sea, Forever'. She describes her music as 'improvised instrumental underwater music from the bottom of the Pacific Ocean, played with broken instruments, directed by the spirit of drowned people who are talking through the hands of the pianist. It's lonely and bleak music for the dead.'

Colombian musician, Mario Galeano, the force behind the band Frente Cumbiero, and English producer Will Holland a.k.a. Quantic, joined forces in 2012 to create the celebrated Ondatropica project.

Recorded at Discos Fuentes in Medellin, Ondatropica exists to explore and expand the tropical sound of Colombia in its rawest form and to marry it with contemporary influences from around the world. The concept brings together an iconic group of top Colombian musicians representing both the classic and more modern styles of la musica Colombiana. Artists such as Fruko, Anibal Velasquez, Michi Sarmiento, Alfredito Linares, Pedro Ramaya Beltran, Markitos Mikolta and Wilson Viveros joined a group of younger Colombian musicians, members of both Mario's band Frente Cumbeiro and Quantic's Combo Barbaro, to (re)generate the excitement that positioned Colombian music as one of the most influential in South America.

Ondatropica's eponymously titled double album fuses traditional Colombian styles such as cumbia, gaita, champeta with boogaloo, ska, beat-box, MCs, ska, dub, funk and creates a progressive collection of 26 tracks that re-interpret the tropical musical heritage of Colombia with new approaches in composition, arrangement and production.

"The bird songs which I had recorded in the West Indies in 1969 made me inclined to find out more about those of the nearby South American continent, and convinced me, moreover, that musically speaking, they possessed an unquestionable originality in comparison with those of Africa and Europa. I therefore decided to carry out a series of orthonological trips on this continent, starting with the North: Venezuela, and so, with this in mind, i disembarked at Caracas on 27th May 1972.

The unusual musical volume of this tropical country made its impact on my arrival in town, where the unbearably shrill chirping of the cicadas overwhelmed me each time I passed under a tree. At night fall, around even the meanest of ditches filled by the daily rain, myriads of toads and frogs struck up a concert, which, through its sheer intensity, muffled all other surrounding noises. When I penetrated the forest, I could hear bird species literally by the dozen and individuals by the hundred, all calling and singing together at dawn and at dusk..."
- Jean C. Roché

"Among many of his amazing records I came across Jean C. Roché's Birds of Venezuela, beautifully produced LPs of birdsong. I began to plan a trip to Amazonas, to record the unearthly song of potoos and Yanomami shamanism."
- David Toop

Jean-Claude Roché (May 11, 1931) is an French ornithologist and wild life field recordist. Roché recorded bird songs worldwide for over 30 years and released over 130 records out of his recordings.

'String Figures Remixes' is a series of remixes released on December 14th 2018 following the previous-ly highly acclaimed LP String Figures by Zoe Mc Pherson. (Watch her Boiler Room live show)

Remixers for this EP include Ben Vince (Hessle Audio co release w/ Joy Orbison & Where To Now solo album where collaborators include Mica Levi & Rupert Clervaux), N1L (Opal Tapes & UIQ), Hester-1, Bartellow (ESP Institute, Public Possession) & Sukitoa o Namau (First Terrace Recordings).

The EP is pressed on transparent vinyl & comes along with transparent sleeve.

When asked why Zoe chose each artist for her remix album she writes:

Ben Vince is my mate since he opened for my release in London last April and he was really excited about making a remix. Which I think is even nicer is that he only remixed and did not play saxophone. He actually properly very much remixed all the elements, all recognisable, which is a delight to listen to when you know all the parts seperately. The only thing he did is making it a UK club banger track !!!! :)


N1L is a friend whom I admire totally for his capacities of producing incredibly wicked tracks in no time. He's got 10 000 collabs going on ( abit like Ben). I don't know how he does it, but damn his remix is also one of these that are a delight to listen to when the samples are re organised in a very cool way which is his own.


Hester -1 is also a friend, violinist and producer from Antwerp. She is a nerd, her style and projects are developing, we jammed together, and I wanted her to be on the original album, so now she is in the remixes and made a very dark piece and now I'm thinking she should meet N1L :)


Bartellow is also a friend, behind SVS, and he was the first one to make a remix in 1 hour on a flight I think actually even before the album came out!!!! He had already made a proper groovy banger, as he always does, with his style.


Sukitoa O Namau I've been chatting with since a while, she's an incredibly inspiring artist, releasing on First Terrace records, she used to be a dancer and is an explorer of sound and of many things. She basically fucked up my track, by changing the rythms into no rythms and purifying it very much which reveals other things. Only keeping rough elements of it and I think it's absolutely brilliant.

[A] A1 | Sabotage Story (Ben Vince's Perculator Mix) 2) The Gate