quête:sam c

Australia based artist Inkswel is widely known for his funk infused dance music that incorporates ingenious sample work and memorable vocal cuts. For the ninth installment of the PULP series the 'Edible Pyramid EP' is a journey through the mind of the Australian artist. The package includes a melancholic remix by no one else than long time champion of vinyl and Red Motorbike label boss Eddie C, 'Edible Pyramid' is a work of positivity, the title track excels in it's blissful ambiance that is supported by a back bone of thumping rhythms and jovial vocal cuts. The Eddie C Remix is showcasing a wistful approach by incorporating a rhythm that is reminiscent of those from the early days of Hip hop. 'Let Go' is a confident sounding work of samples. Rhythmically firm with an emotive break that is a welcome change from the slow base-rhythm that flows throughout.

On the B side The Posse comes up with a remix that cleverly incorporates oozing synth pads and a more upbeat vibe. The original is flipped into a more dancefloor friendly version with an acidic touch to it. The final track is called 'Yesterdays Flava of The Month' this boogie tainted cut uses tasty breaks and lively pads that again depict a positive atmosphere.

PULP09 - Inkswel - Edible Pyramid EP will be available from all specialized retailers starting June 2018.

Repress!

First Word Records is very proud to present the debut album by Children of Zeus - 'Travel Light'. It's been a long road leading to this album for Tyler Daley and Konny Kon.

They first embarked on their expedition into the music game two decades back - Tyler entered the scene as a songwriter, producer and vocalist, originally under the moniker Hoodman, whilst Konny began MCing, DJing and beat-making for hip hop crews The Microdisiacs and Broke'n'£nglish, along with DRS & Strategy.

To date, Children of Zeus have released three sell-out singles on First Word ('Still Standing', 'I Can't Wait' and 'Slow Down') and a compilation EP comprised of tracks made by the duo over the last decade entitled 'The Story So Far...'. Children of Zeus are finally at the stage where they are releasing their debut album proper, the over-riding ethos of which is about keeping their eyes on the road ahead, whilst shedding the baggage they've accumulated over the years - 'Travel Light'.

Features mainly come from Manny family, ( K S R ), LayFullStop, Metrodome (Levelz) and former Broke 'n' £nglish spar DRS. Guest production comes in the form of Switzerland's Sebb Bash, Nottingham's Juga-Naut, and London's Beat Butcha, and there's your favourite DJ's favourite DJ,

Mr Thing, slicing up the turntables on two tracks too. There's a few extra special ingredients on this album, along with their trademark sub-heavy, rhodes-laden hip hop soul hybrid. Reggae music has always been an integral piece of the CoZ sound-system ethic, so we see Tyler putting on his lover's rock hat for 'Hard Work', and they invite soul queen Terri Walker to join them on the fierce 'Sling Shot Riddim', while the album closes with the epic K15-produced jazz-bruk opus, 'Vibrations', on which Konny breaks it down quite simply: "high frequency means that you travel light, so get lifted yo, we'll live gifted".

Long as the journey has been, the time for looking back is over. This is about the present and future of Children of Zeus. A shining light in Manchester's now-school, and rightly heralded by many as the best new act to emerge in British soul music in the past decade. Aside from the above features, this project is written, performed and produced entirely by Tyler and Konny.
Since the crew first took flight, the end destination has never changed, the aim remains the same - to create timeless music, in their own unique style, without compromise, irrespective of industry and life distractions. The moral being this - travel light.

First Ever Vinyl Reissue, Limited Edition To 500 Copies Only, Bonus Tracks Not On The Original Lp, Remastered Sound, Insert With Liner Notes By Nick Rossi And Photos, Beautifully Housed In Three Back-flapped 1960s Uk Style Picture Sleeve ! The Wynder K. Frog Story Evolves Around Mick Weaver. After He Switched From Piano To Organ He Joined A Band Named The Chapters That Would Soon Be Renamed Wynder K. Frog And Perform Material From James Brown's Flames, Booker T. And The Mgs Or Even Songs Learned Through Georgie Fame's Recordings And Graham Bond's Repertoire. Wynder K. Frog Moved To London And Became Regulars In The City's R&b Scene Playing At Swingin' London's Clubs Like The Tiles Or The Marquee. A Contract With Island Records Was Secured And -under The Wings Of Producers Like Chris Blackwell, Guy Stevens, Jimmy Miller Or Gus Dudgeon- Wynder K Frog, A Name That Would Eventually Be Used As A Pseudonym For Weaver More Than A Proper Band Name, Did Some Some Amazing Hammond Organ-ized Recordings And Issued In Three Lps And A Bunch Of Cool 45s.

At The End Of The 1960s, Weaver Would Quit The "band Scene" To Become One Of The Most In Demand Session Musicians And Throughout His Career He'd Be Heard Backing Names Such As Eric Burdon, Roger Chapman, Dave Gilmour, Keef Hartley, Alexis Korner, Ralph Mctell, Taj Mahal Or Otis Rush A.o, But His Lps As Wynder K Frog Are Classic Hammond Sound From The 1960s Uk And Will Appeal To Those Into Brian Auger, Graham Bond, The Artwoods, Zoot Money, Jimmy Mcgriff, Booker T. & The Mgs And The Likes.

Out Of The Frying Pan

Released At The End Of The Summer Of 1968, And With A Host Of Session Musicians That Included The Brass Section Of John Mayall's Bluesbreakers, Producer Gus Dudgeon Helped Weaver / Wynder K Frog To Improve The Results Obtained On The Debut Lp And Get One Step Closer To The Live Action. The Formula Was More Or Less The Same, Instrumental Hammond A Go Go Covers Of Hits From The Era, Including The Rolling Stones' "jumping Jack Flash", A Funked Up Version Of The Classic Tommy Tucker Blues Number "hi Heel Sneakers", An Exploding Cover Of "tequila" Or The Standard "green Door", But It Also Included The Sensational Weaver-penned "harpsichord Shuffle".

Remastered And Resissued Double A Sider For Soul Aficionados, B Boys And Jazz Funk Lovers.

Both Instantly Recognisable Across The Generations, The A Side Sees A Reissue Of One Of The Most Feel Good Records Out There In - 'express Yourself'. Most Famously Sampled By The Mighty N.w.a. In '89.... 'whatever You Do, Do It Good'.

On Flip You Get Pure Funk Destruction In The Form Of The Meters - Just Kissed My Baby. An Insatiable, Groove Laden Intro Which Has Been Prime Sampling Material Throughout The Years - Most Notably In Public Enemy's 'timebomb'.

Limited repress on Black vinyl, with a large / dinked centre hole.

At last, the vinyl reissue of this masterwork, adding two hitherto unreleased gems recorded solo for Charles Fox's Radio 3 programme Jazz in Britain, in the same few months of 1980 as the stunning Aida performances.The phrase 'in the moment' is often bandied about with reference to free improvisation, and indeed there's no better way to describe Derek Bailey's playing. The acoustic guitar is notoriously lacking in natural reverberation — notes barely hang in the air for a couple of seconds before they disappear — which explains the almost non-stop flow of new material in these stellar performances. Bailey knew from one split-second to the next exactly where to find the same pitch on different strings, either as a stopped tone or a ringing harmonic, and there's never a note out of place. 'He who kisses the joy as it flies,' in the words of William Blake, 'Lives in eternity's sunrise' — and this music is forever in the moment, constantly active but never gabby, kissing the joy.One of the special pleasures of the BBC set is the guitarist's own laconic commentary, a deliciously deadpan description of what he's doing while he's doing it — 'I like to think of it... as a kind of music' — and the interaction between words and music is a particular delight. 'You may have noticed a certain lack of variety,' he quips, while unleashing a furiously complex volley. Is it a coincidence that the final seconds recall the famous cycling fifths of the coda to Thelonious Monk's Round Midnight Surely not — for Bailey, like Monk, was a note man par excellence. And they're both still alive and well in eternity's sunrise.

* "Of all the dubplates in my bag from this last few years, the ones I've selected most often have Walton's name scribbled on the sleeve. 'Black Lotus' is a unique creative statement; I'm very proud to release it on Tectonic and to support Walton, who I believe is a true talent." Pinch

* On July 6th Tectonic recordings presents the game-changing second album by 26 year old Mancunian Sam Walton, better known as simply Walton.
* 'Black Lotus' follows his inclusion on Tectonic's landmark 100th release - Riko Dan's 'Hard Food' EP, plus the 'Praying Mantis'/ 'Koto Riddim' 12' (also on Tectonic) and the 'Taiko' EP on Kaizen - the latter two of which hinted at the album's sound, but didn't fully prepare us for the brilliance to come.

* Abstract electronics, grime, dubstep and new styles that don't even have a name yet coalesce perfectly on this classic in the making. It finds Walton at peak power, reaching just as far (if not more so) than anything on the Pan, Different Circles, Boxed or Tectonic catalogues for pure futurism and new-terrain-traversing brilliance.

* Spacious and modern sounding, with just the right amount of grit, on 'Black Lotus' Walton has taken things the next level - setting an impressive new high bar. This is the best music to take inspiration from far eastern culture since Photek's seminal 'Ni - Ten - Ichi - Ryu' and 'The Water Margin'.

* Cinematic may be a term bandied about too often, but on this record it unquestionably applies, with the whole thing playing out like an epic movie, full of highs, lows, action, reflection and changing scenes.

* The album kicks off with 'Black Lotus', which makes it quickly evident that this isn't just another generic longplayer; a weightless/sino style intro segues into a mystical kalimba line, which is then is enveloped by huge waves of synthesized, pitched-down brass.

* 'Point Blank' offers locked, harsh mechanical funk, full of aggravated excitement, before sleek, spacious grime and disguised pop garage achieve twisted anthem status, on the hugely satisfying 'Koto Riddim'.

* 'No Mercy''s Yakuza crime riff is perfect for Riko Dan's threatening menace, especially at the point his voice gets distorted into a guttral and unsettling, demon-like wretch.

* 'Mad Zapper' is abstract, comprised of simple yet challenging beats, tones and stutters, whilst 'Angry Drummer''s taiko/kumi-daiko style percussion has a rousing, heavy thump.

* 'Pan' sounds equally enthralling whether soundtracking a dark movie scene of impending danger, or carying enratptured ravers on a danceflor journey, especially one suited to the synapse-prodding drama of a high production, lazer-heavy festival set.

* Choppy drums and bouncy bass tones are laced with the georgeos melody of 'Ehru', and 'Vectors' is sleek 'n' deep breakbeat-garage-meets-IDM.

* Although already known for elements of musicality, Walton raises his game even higher with the beautiful closing track 'White Lotus', which has a wow factor akin to hearing Aphex's Twin's 'Jynweythek Ylow' for the first time.

* 'The title came from the idea that I wanted it to be sweet and melodic in areas, but dark and grimey at the same time', recalls Walton. 'I never really listened to much Japanese and Chinese music before working on this, and that element originally came from listening to a lot of Sino grime stuff. It wasn't until I was deep into the process of making the album that I started listening to loads of traditional stuff on YouTube for melodic ideas, which changed how it turned out. The whole dubstep techno crossover thing was also a big influence.'
* 'I'm really happy to have Riko Dan & Wen on there', he adds. 'I've done a few remixes of Riko tunes which have had a great response, so it's been wicked to get some original material done together. The track with Wen was first started a while back, so I'm glad it was finally finished and will see a release.'
* Walton has been steadily gaining serious clout through releases since 2011 on Hyperdub, Keysound, Tectonic and Kaizen, with supporters including Mumdance, Logos, Slimzee, Laurel Halo, Wen, Hodge, Mary Anne Hobbs, Giles Peterson, Paleman, Teki Latex, Commodo, Loefah and Kode9. Key club, festival and radio shows include FWD at Plastic People, Fabric, Outlook, NTS, Rinse and BBC 1xtra.

Tokyo based DJ/Producer Tsuyoshi Ogawa presents "Seven Samurai". This vinyl-only label has been founded in 2018 and it is operating in Tokyo, Japan. It pays tribute to the Japanese legendary movie director 'Akira Kurosawa'. This 2nd EP inspired by the movie "The Hidden Forest'. 1st track Himatsuri by Tsuyoshi Ogawa that recorded using the voice sample of Yuki's song from the movie and this song based old Japanese poem book 'Kangin Collection' in 1518, The impressive phrase 'Think it over - How dark this world is - The floating world is no less than a dream - Just go crazy ' will be brought to us as a universal theme to this day. 2nd track Hitomi's Temple by Paris Samurai viDa, He recorded using sound of Japanese Koto, Samurai Sword and Samurai Voice to respect Japanese traditional manner. it's a Japanese satellite like a spiritual space temple, because the track bring you from Paris to Japan to space. This EP is dedicated to Akira Kurosawa as a new spiritual soundtrack for The Hidden Forest.

Always Seen With A Smile On His Face, Inja The Poet, Lyricist, Storyteller And Unparalleled Master Of Ceremonies Presents His Debut Album On Hospital Records. His First Drum & Bass Focussed Long-player 'blank Pages' Flexes His Lyrical Style With Heartfelt Sentiment, Roughneck Flows And Quick-fire Wordsmith Wizardry. All Partnered With Heavyweight Productions From Pete Cannon, Nu:tone, Logistics, Serum, Whiney And Anile.
Inja's Back With Partner-in-crime Pete Cannon On 'war Games'. A Funky Bassline Lays The Foundations For This Fear-fighting Tale. As The Breaks Roll Out Inja's Militant And Deep Rhetoric Puts This Track On A New Level, With Signature Percussive Flair From The Sought After Hip-hop Beatmaker.
Inja's Spoken-word Piece For Amnesty International 'she Just Wanna Dance' Was A Viral Online Hit In 2017. It's Now Been Given A Turbo-charged Re-work By Med School Young-gun Whiney. Inja's Poignant Commentary On The Prolific Problem Of Harassment In Club Culture Sits Atop A Grimey Half-time Stepper That Switches Up Into A Lethal Upfront Roller.
Inja Proves He Can 'juk' Any Riddim In 'samurai'. Serum's Steppy Beat And Woofing Bassline Balances Inja's Story Of The Samurai, Slicing Through The Tune Like The Lyrical Sensei He Is.
even With A White Page And Black Ink, You Can Spell Out More Colour Than The Eye Can See.' - Inja

In 2017, Benedikt Frey released his breathtaking debut album with the ESP Institute, Artificial, and now as we finally come up for air, we're more than proud to offer an eclectic collection of remixes that's nothing short of essential. Side A leads with H For Hysteria remixed by a beloved hero, Nicolas Chaix a.k.a. I:Cube, one of the most prolific and respected electronic artists Paris has to offer. His touch is considered and elegant, imbuing the track with a tasteful 303+808 backbone to support an array of patiently floating melodies and angelic vocal samples. Following this, Tolouse Low Trax of Du¨sseldorf's infamous Salon Des Amateurs remixes the same track, stripping instrumentation down to a skeletal palette of bass guitar and stabbing percussive punctuations, chopped up inna minimalist stylee that has become his beat-making signature. Side B leads with a remix by another Du¨sseldorfer, DJ Normal 4, whose re-imagination of Private Crimes takes us for an even more menacing ride, half-timing the tempo and skillfully rolling out a barrage of jungle snares from rave days of yore. Closing the release is the most aggressive remix of them all, a bonafide techno beatdown of the same track by DALO, the co-producing artist to whose haunting vocals lace the original version. Her dark vision opens with sparse industrial drums that blossom into a driving assault of raw machinery, definitely not for the faint-of-heart. An all-around solid release here, fun for all the family... more than just the tip!

For its tenth year as a label, 4Weed Records proudly presents Zion Kingdom, a special EP we've been working on since long time. A feature between historical sound system Dread Lion Hi Fi, also active as producer and promoter, and Mr Biska, this release is enhanced by legendary Henry Tenyue's trombone melody, aka Matic Horns, and it is mixed, dubbed and mastered by Steve Vibronics.
Over the years Matic Horns has been collaborating in studios and live performances with the best Jamaican and English talents such as Gregory Isaacs, Freddie McGregor, John Holt, Luciano, Aswad, UB40, Horace Andy, just to name a few. Dread Lion Hi Fi crew is a historical Italian sound system, that has been a reference point for the reggae vibez in Italy, promoter of historical events such as the Milano Dub Club and the Dubwise Festival, where the best producers, singers and selectas of the international scene have been hosted. The combination with master Steve Vibronics was born far away in time, from a consolidated relationship over the years that brought about this collaboration.
The track opens with a magical trombone melody by Matic Horns that perforates the pad carpet laying down the whole tune while indicating the path, a victorious march to Zion. The guitar riff, which perfectly fits to the trombone melody, introduces the drop of a deep overwhelming rhythm that transmits the desire of moving and dancing, and at the same time a spiritual mantra for high meditation. The production is enriched by three different dubs, mixed and made unique by Steve Vibronics' technique, reverbs, filters and delay, a very guaranty for the lovers of Uk Dub in roots and culture style.

While notorious in the Chicago streets, RP Boo's music had been unfairly confined to a few white labels and self-released mixtapes until his two archival Planet Mu LPs Legacy and Fingers, Bank Pads & Shoe Prints introduced broader audiences to his sonic history, some of it fifteen years after it was first recorded. I'll Tell You What! is the next step in his mission, and the first time he's released an album of contemporary material. The title, a favorite maxim of his, welcomes listeners to sit down and let him narrate in the unforgettable abstract fashion he's known for. He explores familiar motifs such as the cosmos, movement, and opposition, using densely interwoven vocals, unpredictable percussion, and evil humming bass as his tools of choice. RP Boo's music doesn't follow the traditional rules that most compositions do. Layering decades of samples from yesteryear to the present over his commanding vocal cut-ups, he transports the listener to their own realm of the space-time continuum. The main difference between this record and his prior work is now we hear Boo tell new stories about preaching his gospel outside of Chicago, from his experiences frantically touring the globe over the last five years. The words 'things ain't been the same / since I hopped the plane' are repeated on top of engine sounds and rumbling bass on Flight 1235, a glorious paean to his new jet-setting adventures. The spirit of competition runs through RP's veins as much as blood does, something you can't unlearn when you've been making music for Chicago's footwork circuit as long as he has. The local culture has served as a shelter from the violence that has plagued the city, pitting kids against each other with their feet rather than weapons. On At War Boo reminds us 'we are at war in the streets', a double meaning to both the mayhem in this world and the sweetness of rivalry on the dance floor. Another battle-themed track Cloudy Back Yard, one of the spacier moments on this album, is an abstract on the state of footwork's home. Chicago remains the backyard of this artform even though it's left the porch and traveled to new neighborhoods worldwide. Back at home though, competition among the DJs and dancers continues, and as the man himself says, 'with all this hate, there's smoke, and it's cloudy'. I'll Tell You What! throws more than a few curveballs into the mix. Footwork has always borrowed from hip-hop, and many vocal tracks are almost condensed raps, dating back to the street chants pioneered on Dance Mania Records in the ghetto house days. On Bounty, Boo grabs the mic and brazenly lays down a full-on verse of terror over a thick atmosphere of his signature sweltering low-end and erratic Roland R-70 patterns. While he's most famous for his confrontational battle anthems, his melancholy moments are just as powerful. You get the best of both of those worlds on U-Don't No, with soulful samples finishing his own cocky sentences, one of the most elegant tracks RP has made to date. Deep Sole closes the record out, with the words 'It's always beautiful at the end' looping over waves of hypnotic synthesis, confidently looking death straight in the eyes.

You know when the dj drops something so special you're mentally forced to ask for the track and the reply you get is 'its my own unreleased track'. That's how I (Art Alfie) stumbled upon all three of these. About ten years ago I witnessed Van Rivers & The Subliminal Kid (Peder Mannerfelt) turn Berghain upside-down with the dark techno epos 'Mars Attacks'. Around the same time I had the luck to see Nils Westerlund boogle minds with the broken beat psychedelics of 'Suspiria' at a Stockholm Open Air. Last but not least, a couple of years ago I heard 'Thicker Than Blood' for the first time, like the Sirens in greek mythology, it lured people on to the dance floor at Stockholms classic summer hot spot F12. I've been playing these tracks ever since and Im beyond happy I get to share them with the world at this point. //Art Alfie

A1: David Goldberg Revealed His Exceptional Talent Releasing An Extraordinaire Debut Ep On Svs Records. m4l-uv' Is A Euphoric Breakbeat Track That Won't Fail To Make You Dance.

A2: Kit Curse Made His Mark Within The Dnb Scene During The Last Years Having Released On Labels Like Cyclone, Onset Audio Or Shadowforces. weird Solace Master' Is A Broken Ritual That Reveals The Producers Experimental Side.

B1: zezbo Version' By Skee Mask Is A Superb Dnb Trip Leading You Through An Industrial Shadow World. The Producer Upholds His Reputation As An Exceptional Artist All Along The Way.

B2: Top Shotta Runs The Uk Bass Orientated Label Ruffhouse. m-performance Riddim' Somehow Sounds Like A Race And A Fight Both At The Same Time.

B3: The Style Of Bean Is A Postmodern Blend Of Ambient, Idm And Dubstep. tears' Showcases This Eclecticism Within Just Three Minutes.

Everyone is a moon and has a dark side which he never shows to anybody. Judas is back with one of the biggest collections of records since today, presenting more sides of his vision as an artist and as a conceptual persona, these are 4 cuts that brilliantly put you in the zone, right when the needle drops on the record. Judas present this project in 2 parts, both part of the same creature, and of the same concept, 'Unsaid' goes far beyond the usual aspect of the functionality, in this case, functionality is a pure tool, every single work shows you a path into his mind.

When Ann Arbor's Tadd Mullinix began exploring hip-hop under the name Dabrye 20 years ago, he soon honed in on a startling vision of what the genre could be: ingenious, refined, daring. This vision came to life across two albums for Ghostly International — 2001's One/Three and its 2006 follow-up Two/Three— with each record further positioning the quiet Michigan producer as one of his generation's best, equally comfortable creating minimalist instrumental meditations or sharp rap salvos. In the late 2000s, following critical acclaim and accolades from both peers and inspirations (including the late Jay Dee with whom Mullinix collaborated before his untimely passing), Mullinix put the Dabrye moniker on ice and dedicated himself to other genres and ideas. All the while the influence of his work on a new generation of electronic musicians continued to make itself felt in subtle but meaningful ways.

All this changes in 2017 as Dabrye makes his long-awaited return with Three/Three, a razor-sharp rap album that brings to completion a prophetic trilogy. Mullinix's incisive productions provide the backdrop for equally acute rhymes that run the gamut from intergenerational observations and being your best self to back alley deals and having fun in the ride. Guests include indie rap legend DOOM, whose previous collaboration with Dabrye remains a point of reference for many, Wu Tang storyteller Ghostface Killah, L.A word fanatic Jonwayne, and Long Island's rugged surrealist Roc Marciano. Most importantly Three/Three is, much like its predecessor, an unfettered celebration of Detroit-area talent with Guilty Simpson, Phat Kat, Kadence, Quelle Chris, Danny Brown, Shigeto, Clear Soul Forces and more all lending their touch to Dabrye's return.

The blend of American and British dance music, hip-hop sampling, and Jamaican sound clash energy that underpinned Two/Three remains a quiet, guiding principle. At the same time Mullinix rejoices in a refreshed perspective, having had time to incubate ideas and find clarity in the distance between albums and the evolution of scenes.The beats are looser and less angular, more embracing of repetition. Organic techniques inspired by soul and jazz round off some of the harsher sonics. The resulting broad palette of tracks reflects both this evolution and the range of the Dabrye persona: relaxed headnod ("Tunnel Vision"), nervous, slow-motion electro ("The Appetite"), glacial motifs ("Emancipated"), jazzy, cut-up funk ("Sunset"), minimal brutalism ("Electrocutor"), intricate layering ("Culture Shuffle").

Three/Three marks the return of an innovator after close to a decade of silence. Despite what the title might imply, the album isn't the end of the story but rather the completion of a creative arc. Expect more Dabrye in the near future. The game is far from over.

- Final installment of the /Three series, started in 2001
- Guests include Ghostface Killah, Jonwayne, Doom, Danny Brown, Shigeto, and more.
- Media support from: The Wire, FACT Magazine, The Detroit Free Press, Pitchfork, XLR8R
- Past collabs with Jay Dee (J Dilla), MF DOOM, Beans & more
- Vinyl is housed in a matte jacket with black hot foil and includes 24-page zine designed by Michael Cina.

Moscow Is Mythologized For Its Grandeur And Gravity But Its Parable Pleasures Offer Splendor And Even Absurdity. Over The Ten, Symmetrical Pieces Of For, Kate Nv Scores Her Native Urban Environment With Just Enough Whimsy To Gurgle Through The City Cracks And Grow Psychotropic Foliage. Each Sound Assumes Its Own Personality, Moving Through The Album Metropolis Like Miniature, Mutating Molecules Viewed From Nv's Apartment Window.

Alternately A Guitar-wielding, Post-punker And One Within The Multitude Of Moscow Scratch Orchestra's Avant-garde, Nv Is A Versatile Artist That Maneuvers Instinctively In Whatever Musical Environs She Finds Herself. Nv's Second Solo Album Is An Even More Abstract Endeavor Than The Hybrid Pop Of 2016's Binasu. Inspired By Casual Moments Of Ephemeral Sound From Within And Beyond Her Apartment Walls, The Record Has A Clarity Arrived Altogether And From Right Under Her Nose. Recorded At Home, Nv Says It Was As If The Music Was Not Written By Herself, But Her Chair.

For Inhabits A Stage That Piero Milesi & Daniel Bacalov, Ann Southam, Or Hiroshi Yoshimura May Have Written Music For And Dresses It With Viktor Pivovarov's Psychedelic Depictions Of Moscow - Contorting Bodies, Flying Pencils, And Multi-dimensional Faces Dance With Subtle Arpeggiations, Conversational Voice Synthesis, And Anthropomorphic Midi. Animating Objects Is Essential To The Album. Like A Surreal Still Life, Each Piece Is An Alien Arrangement Of Common Elements That Extend The Everyday Ritual Into An Eternal Landscape Of Unconscious Activity. Somewhere Along That Landscape, Kate Awaits And Greets With Apples For Hands And Fish For Feet.

Like The Album Title, Each Composition Contained Within Is Represented As A Three Letter Word, In Russian And English. The First Half Of For Was Written In The Spring. Starting With yxo Ear,' Previously Released On The Peaceful Protest Compilation Cassette In 2017, Melodies Meander And Lollygag. a Two' Incorporates Human Breath Played Like Notes On A Pump Organ. Oak' Offers A Warm Tune To Tango. How' Loops Curious Notes That Bump Into Each Other With A Chirpy Acknowledgement. You,' The Only Track On For With Lyrics, Sets A Wassily Kadinsky Poem To Song.

The Second Half Of The Album Was Written In The Autumn. The Feathery Edges Of One' Extend Like Watercolors Bleeding Off A Rubber Scroll. See' Is A Subdued, Shadowy Variation Of How', As If The Same Song Were Played In Different Weather, Dimmer Light, Or By Kate's Devious Doppelganger. The Electronics Unravel And Unwind On Dog' Until The Final Track, Who,' Ends With Vague Solemnity And Rattled Metals.

A Short Online Film Series By Shura Kulak Will Accompany The Release Of For. The Films Follow A Solitary Figure Performing Ordinary Tasks Through A Slow, Warped Lens — Each Song Enacting A Daily Habit: Waking, Dressing, Reading, And So On. In Her Live Performances Around The Album, Kate Nv Will Play Each Song From Memory, Allowing For Variation From The Recorded Tracks, And Scenes From The Films Will Be Re-created And Improvised In The Moment.

Cardiff-based singer-songwriter Ivan Moult returns with his latest collection of rich, confessional songs on new album Longest Shadow, out now via Bubblewrap Collective.

The album reflects Moult's progression through the fledglings of blissful romance into the fragmentation of embittered break- up. Each track combines Moult's intricate guitar plucking skills with his warm, soothing vocal to create something both compelling and incredibly moving throughout. His latest single Lay Me Down revolves around the feeling of giving in to depression whilst simultaneously fighting against it. Moult's beautifully natural vibrato soars effortlessly over the cinematic musicality to create something akin to that of Nick Drake or Jeff Buckley's distinctive songwriting charm.

Ivan's soft , subtly shattered vocals are complemented by the orchestral compositions and double bass of Callum Duggan, the precision percussion of Sam Thomas and backing vocals from Kadesha Drija

''Longest Shadow truly is a stunning piece of work and if the likes of Damien Rice, Nick Drake, Willy Mason are your thing, it's a safe bet that you will thoroughly enjoy this - Folking

"phantom Dancehall" Is The Exploration Of The Greensleeves / Vp Records Catalogue By Dj Spooky Aka Paul Miller. The Musical Tapestry Is Built On Samples From Familiar (and Not So Familiar) Reggae Tracks Over Electronic Beats And Melodies Produced By Miller And Protégé Stephen Levitin (stage Name Apple Juice Kid). Selected Tracks Include The Keyboard Work Of Alex Thompson Aka Fourth Shift. Guest Vocals From Walshy Fire (major Lazer) And Dancehall Newcomer Sanjay Added To Vocal Samples Of Busy Signal, Lady Saw And Garnett Silk Give The Project An Eclectic, Modern Dancehall Flavor!

Paul Miller, Better Known By His Stage Name Dj Spooky Is A Music Producer, Arranger, Dj, Author And Performance Artist. His Unique Brand Of Experimental Hip-hop, Dubbed 'illbient' Has Resulted In Collaborations With A Diverse Range Of Artists Including Ryuichi Sakamoto, Kronos Quartet, Lee "scratch" Perry And Killa Priest. With Remix Projects For Trojan Records, Manifold Records And Six Degrees Among Others To His Credit, Miller Created "phantom Dancehall" For His Exploration Of The Greensleeves/ Vp Records Reggae Catalogue.

For Fans Of: Major Lazer, Dj Shadow, Kevin Yost

New Zealand based EBM auteur Body Beat Ritual makes his debut on Bergerac with an incendiary EP of full throttle intense dark wave bangers. Growing up in North West England immersed in hardcore punk and rave culture led to musical experiments and Body Beat Ritual is his unique splicing of both aesthetics.
Using a combination of hardware, audio samples and midi sequencing, Body Beat Ritual reclaims the moment when underground musicians in Manchester, Chicago and Ghent put down their guitars and picked up drum machines and sequencers bringing the intensity, rawness and aggression of the band environment to the dancefloor. Mortal Sin is a certified smasher. Absolute dancefloor decimation whenever it's played out. No more description necessary. No Mercy evokes the Lost Boys vibe with an equally high octane raw workout. Trent Reznor meets Jeff Mills at a DAF gig on a flatliner. The EP closes with Body Politics which lowers the tempo to a chuggier zone, with an ode to female empowerment which keeps up that Body Beat pressure and intensity.

Laura Jones returns for another EP outing on her label. Despite weighing in with an incendiary first release that found Mandar's SAM remixing Infuse's Karousel and a follow up from Jones that included one of the sadly departed Trevino's final remixes, the label took a backseat to the birth of her daugter in 2017. A year on however and the pace has picked up with an EP from renowned modular wizzard Kamran Sadeghi at the start of the year and this latest EP from the label boss. The two originals are a snapshot of her evolving style. Pathway places skippy beats and sub heavy kicks under a soaring chord sequence, abstract vocal samples and ethereal pad riff. Tough Crowd takes a moodier approach with a menacing sub bass and drum arrangement, bubbling filters building to a hook that unfolds halfway through to create a moment of formidable intensity. Lee Renacre's recent revival of his 100 Hz alias courtesy of well received outings on Slow Life and Bosconi among others, has found the producer on career-best form and he turns in a sublime remix that makes deft use of delicate top lines and bubbling oscillators to create a powerfully heady atmosphere.

Following A Standout Appearance On Dvs1's Mistress Label With His 'just Pain' Track, The Man From Minneapolis, Doubt, Returns To Don't Be Afraid For The First Time Since 2014's Poor Dog Ep. In The Interim He Has Continued To Record On Disposable Commodities Under The Doubt Moniker, Whilst Also Exploring Experimental And Ambient Sound Under The Name Time Heals Nothing.

For His Most Inclusive Outing To Date, Doubt Mines The Outer Limits Of Minimal House Music Whilst Still Maintaining The Vibe Of Alienation And Melancholy That Characterises His Work. The Mood Of April Is Euphoric And Carefree But Dig Deeper And The Fragile Beauty Also Suggests An Impending And Ominous Apocalypse. What Is Happening And Samusex Counterbalance The A-side's Brief Suggestion Of Joy With A Mood Closer To Doubt's Previous Work. The Title Track Meanwhile Recalls The Work Of Labels Like Ifach And Trelik With A Swinging, Stripped Down Dub Sound.

Banoffee Pies Records drop their third Beats release 'Samba Del Sol' with Clifford Brown & Jeen Bassa Ft. Ella Mae Sueref - The album is influenced by Carnival and Latin sounds with Hip Hop drums and Soul roots - meeting in middle ground as an expression of the production duos upbringing, John's heritage in Mauritius and Cliffords childhood in South America. Partnered with Ellas Spanish language fluency and soft Badhu acclaimed voice as previously heard on the single 'Stop Rewind' credited by the like of Gilles Peterson and Mr. Scruff.

The tracks were recorded on Garageband by Clifford Brown and Jeen Bassa with 2 Karaoke Microphones, mixed in Bath and later buried on a hard drive for over 6 years never to be heard again. Sliding into the forgotten darkness of lost tracks and rediscovered in 2017. The production, originally just an instrumental, was then found and reignited, revamped with a vocal insert from the wonderful Ella Mae Sueref.

The 10 track album demonstrates a flurry of drums, latin inspired sampling, and mesmerizing vocals from start to finish. For the music and the lovers. Living room jams made in smoke. Banoffee xx
In Loving memory of Anna Sueref.

Helsinki's We Jazz Records Presents "y-otis", The Debut Lp From Berlin-based Swedish Saxophonist/composer Otis Sandsjö, Joining Forces With Keyboardist Elias Stemeseder, Bassist Petter Eldh And Drummer Tilo Weber. The Album Is A Forward-reaching, Multilayered Collection Of Eight Originals Penned By Sandsjö And Produced By Sandsjö And Eldh. What You Get Is A Form Of "liquid Jazz", Born In An Era Where The Understanding Of Jazz As A Musical Language Has Evolved Way Beyond The Concept Of The Previous "modern". Informed By Hiphop And Electronic Music, "y-otis" Is Pure Jazz In That The Quartet Stays True To Its Constant Mission Of Creating A New Form Of Musical Communication. Sandjö's Circular Sax Riffs, The Album's Rich Production Touch, And The Chopped-up Jazz Form Creates A Musical Concept Which Stays Melodic And Beat-laden While Being "free" Right To The Edge Of Avantgarde. It's As If The Music Is Sampling Itself, Constantly Keeping Ahead Of The Curve In The Musical Lineage Of Jazz.

Otis Sandsjö (b. 1987) Hails From Gothenburg, Sweden. He Is Known Previously For Example For His Inspired Work On Singer Lucia Cadotsch's Globe-trotting Trio Formation "speak Low", Also Featuring "y-otis" Co-producer And Bassist Petter Eldh. Elias Stemeseder Was Dubbed One Of The Top 15 Young European Musicians To Watch By All About Jazz In 2017. Tilo Weber Ranks Among The Most Creative Young Drummers In The Scene. Stemeseder Is Currently Based In New York, While The Remaining Three Musicians Here Live In Berlin. Live On Stage, The Band Performing The Material On The New Release Is Called Y-otis.

In 2015, something magical happened. We met a couple of talented young Swedes named Artur Bra¨ndstro¨m and Egil Kahlbom who excelled at composing and producing these lighthearted, breezy disco-hued house tracks (or house- hued disco tracks, perhaps) that both fit the aesthetic and character of LPH and brought something new into the fold. The result of that first encounter was Marathons, a full-length album, their debut to the world, and now, two years later, we're back for the much-anticipated follow-up.

Rehearsal is a little briefer than its predecessor—it's five tracks—and has a markedly different tone, one that's less about dusty, sun-bleached samples and more about tightly-engineered and delicately-crafted songs. If the first effort was marked by its carefree naivete´, the sophomore effort is, well, something a bit more advanced or, perhaps, rehearsed.

What hasn't changed, though, is these guys' ability to home in on grooves and coax something trasncednetally hooky, memorable out of them. The five tracks contained here are low-key in attitude but powerful and punchy in approach. They're uniquely juicy, nourishing numbers for mellow hours and fearlessly fun ditties for party hours.Lots of love went into the lot of them, and we hope all's you feel when you let them wash over you is that. Love.

Crosstown Rebels deliver their next album in the form of a masterful offering from Chic Miniature. The cosmic duo, Ernesto Ferreyra and Guillaume Coutu Dumont make a welcome return to the label with eight tracks of melodic bliss.Fourteen years in the making, a thread of mystery weaves its way through the tapestry of this melancholic LP. It's a true journey through a sublime sonic soundscape. Opening track Adormecido is shrouded in mystery, closely followed by Miso Drunky with its tribal drums and dramatic synth stabs. Kaléidoscope bubbles up next, swiftly followed by Tilt with its genteel cowbell. Then comes Año Uno the first track created back in 2004 with its impressive church-like bells. Suki Ni is twinkling and sublime that flows into the delicate groove of Let It Slide, which samples an ambient rain storm. The album closes on La Sandunga gracefully littered with plentiful percussion.Of the album, the pair explain how they were 'raised on old technology and integrated the newer technology in our everyday lives as it was developing' a fact that is clearly apparent upon listening to the album. They give a sonic hat tip to their 'love of melancholic melodies....almost always rooted in the past, but to us, no time is attached. Are the new machines dreaming about the past, or are the new ones contemplating the future that lays ahead'. The album proves their ability to fuse the new with the old to create an album bursting with timeless tracks.Ernesto Ferreyra and Guillaume Coutu Dumont's partnership is a true meeting of musical minds. Their first release was gifted to us way back in 2005- the Conexio´n Califa EP released on German imprint Raum Musik. Since then they've released on Musique Risque´e as well as a previous EP on Crosstown Rebels. Individually, they've released a plethora of music with Ferreyra also heading up his own label Loosen Up Records and Guillaume signing music to Musique Risquée amongst others.

Newly signed to Rhythm Rollers, Mr. Wonderful & Technical J introduce The Boss, a 7' vinyl scratched masterpiece with outstanding production and a compilation of diverse and unique scratch samples to DJ/Producer to utilize.
This unique piece of vinyl has a 'Skip Proof' scratch side dedicated for the DJ/Producer with over 4.30min of vocals, drums, synths, bleeps and basses that can make any DJ/Producer standout from the rest.
The Boss is a live Studio scratch track that will have any crowd rocking.  Super low sub frequencies, punchy drums and ear pricking scratches that only Wonderful and J could produce.
Samples
Choosing the right samples for our record was the major focus for this release. We wanted DJ's to standout from the crowd, so spent considerable time getting vocalists and secessionist in the studio to record some very individual samples for DJ's to use.
Skip Proof Technology
'Skip proof' technology - is a way of recording scratch records so that they do not skip from one sample to another. This is achieved by first calculating the time it takes for one revolution of the record (1.8sec). Once you have this information you can then customise your DAW to that specific measure (133.3333bpm). Then layout your samples so they repeat at the start of each bar.
Extra Deep Grooves
The record plant cut extra deep grooves perfect for the more aggressive style of scratching we all love (these will not jump). Making sure the weight of the vinyl was correct giving that nice feel and long lasting audio sound.

We present you the third release in our very successful collaboration series with "Roar Groove" and "The Revenge'.
Straight after his new brilliant album "When the Thrill Comes" that was release in May this year Graeme Clark is back
on Dirt Crew with four new gems.

The opening, funky and twisting, "Times Get Tough" is a deep rolling down tempo Disco/ House stomper that builds into this
ecstatic groove we got to love so much from his previous outings. Pure good times and hands in the air action promised on this one!
"Subconcious" is that darker and meaner side of House track with a slammin' Chicago beat he delivers this old school jackin' feel.
Big bass lines and soulful vocal samples tied together by "on the fly" drum patterns.

The B-side of this new EP opens with an hypnotic jam that builds and builds till those sweet synths start soaring in.
All carried by this ultra phat bass line, we can only imagine how this one will sound on a massive sound system!
"Searchlight" is def a highlight of this release. Can we go even deeper and darker oh yes! With "Come Down" we get
a proper come down to close this EP. Deep sub basses with floating tops and again that classic Jack House beat.
Certainly a late night track made for those sweaty and long dj sets.

Summer is here and "The Revenge" has the perfect soundtrack for hot and steamy nights, inside or on the open field!

2025 Repress

After a wildly successful collaboration on Thatmanmonkz's 'Turn It Out' from the LP, Columbus-ing, Dave Aju suggested they should continue their production streak for a new percussive tracks project. At the same time, Aju had finally kept his word to legendary Bay Area club/underground MC and personality, Foxxee aka Foxxee Brown aka Lawrence Petty, to work on a track together as well. Petty being a core part of the infamous Ya Mama's House radio show on 106 KMEL alongside Pete Avila and David Harness that introduced legions of young Bay Area DJs to real House Music, includ-ing Aju, in the early 90s. While Aju & Monkz had originally been working on more of a slick club romance narrative angle over some robust tumbling drums, some very tragic news had struck their hometown - at an under-ground event in Oakland California, more than 30 people including many dear friends and stalwarts of the local dance music community had been trapped inside a building and killed in a fire that broke out while doing what they love, in the now-infamous Ghost Ship. Lawrence and Aju immediately acknowledged and agreed that the track should serve as a tribute to the event and the loved ones affected by it. But decidedly, rather than it being a solemn requiem of sorts, it should reflect the communal power, strength and uplifting spirit of the underground scene they all helped build and knew so well. At first entitled They Sleep We Live, a representative reference to the iconic arm tattoo of the late Jonny Igaz aka Nacht, one of the more well-known and active DJs whose life was lost that tragic evening, and a lyrical direction idea for Lawrence for a direct tribute to the SF Bay Area scene,

LOYOTO are the East-Berlin born Eva Be and Cle from the western part of the formerly dived city. Both started their DJ and producer career almost at the same time in the heart of the then developing scene, the very center of Berlin, just after the wall came down. Originally rooted in very different styles of music, they encountered for the first time DJing together in 2011, finding common ground in more than just music - a gig, that should lead to more: They decided to combine their talents and knowledge and build a studio together. Here, and during legendary back2back DJ sets, they finally united their different musical backgrounds - dub/reggae and underground house music - and defined their very own sound.

On their very first shot, Count Five, one of America's most exciting mid-60s garage rock groups, hit the bulls-eye. And, fittingly, on Double Shot Records, a hot new label that was also making its debut. For both, it was a giant hit, "Psychotic Reaction," a driving, pulsating sound that zoomed to the top of the charts. To the five youngsters from San Jose, CA, "over-night" success came after 18 months of rehearsals, experimentations and unique innovations. Thanks to a tip from popular disk jockey Brian Lord, Double-Shot Records signed Count Five to a long-term contract in the summer of '66. The instant success of "Psychotic Reaction" prompted the release of this album of the same name, their one and only full-length studio record, which also includes covers of The Who's "My Generation" and "Out In The Street." 180g vinyl reissue with Stoughton jacket packaging.

Very little is know about the apparent duo Stevens & Foster who had this self produced release in 1977 on the Jerri Records label from Atlanta, Georgia that had national distribution though T.K. Productions Inc. Nevertheless original copies are now very scarce and crazy expensive. For decades, the B-side's piano intro has rescued a DJ's dancefloor all over Europe, with it's seductive qualities of lush strings, muted Wah-Wah, simplistic but addictive piano fuse into a must gulp down cocktail of soul delights. In more recent times it is the A-side, that formerly lived in the shadows of that essential DJ tool, is also gathering a strong following, using the same instrumental approach but taking the pace right down. Ballad fans will immerse themselves in the real feelings the girl lead projects as she gets more poignant the deeper she gets into the lyrics. Fully restored and officially licensed, this is your chance to obtain this great soul and funk record as a top quality European re-press at a regular price.

One of the world's most iconic drum & bass acts, Pendulum have announced their return for 2018 with a brand new album and brand new live shows. 'The Reworks' is a project unlike any
other released by the band before, and marks the end of their seven year hiatus, officially launching on 16th March.

To mark their return, the band have announced their first headline show since 2011 at London's unique new space, Printworks . The show sold out in under an hour and will be both an auditory and visual spectacle for fans.

Also announced is Pendulum's return to one of the UK's biggest events - Reading and Leeds Festival . Headlining the BBC Radio 1 stage - the same slot they graced the last time they played in 2010, the shows mark a welcome return for the band in the UK.

The news will undoubtedly be well received by Pendulum 's legions of fans, with the band having hinted at a comeback by returning to the live stage last year, headlining the UK's South
West Four and Nass Festival , and confirming for this years Snowbombing festival in Austria.
For 'The Reworks' , the internationally-renowned band have tapped some of the most innovative talents from over the past few years to deliver dynamic and refreshing interpretations of their
biggest hits and some of their personal favourites. Friends and collaborators Skrillex , Icarus ,Knife Party and Matrix & Futurebound take their turn on this who's who of electronic music
royalty, whilst Noisia 's explosive cut of the now-iconic track 'Hold Your Colour' will be available with the album preorder from the 16th March.

'The Reworks' album will be available in both CD and vinyl formats from the 29th June.

This exciting announcement marks the beginning of a new era for Pendulum , who have long been considered one of electronic music's most important and pioneering acts, famed for their
no-holds-barred live shows. With more huge festival dates TBA across the summer and new originals on the horizon, 2018 marks the an exciting chapter in Pendulum's already lengthy career.

Noisia' s remix of ' Hold your Colour' , the first single to be taken from Pendulum 's 'The Reworks' album, is set for release on 16th March alongside the preorder, with the full album set to drop on 29th June.

Out-ER sub-label Pregnant Void is proud to announce the release of hi.mo's debut album Urtiis. Landing on double vinyl in June 2018, it is a fantastically absorbing showcase of the Italian's weird and wonderful fusion of various strains of sound from jazz to hip hop to classical. "The alteration of conventional musical patterns thrills me," says the artist who is classically trained in piano and uses that knowledge to play with rules, structures and forms. Influenced by IDM, African drums, jazz and the interplay of chords, rhythm and harmony, hi.mo infuses his electro-acoustic productions with found sound samples and analogue and digital tools. This is a spelling-binding and intimate album that is filled with invention, but never at the expense of the overall experience, which is beautiful and beguiling throughout.

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

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

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

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

* Arikon is a solo project of Berlin-based drummer & producer, Arik Hayut - half of doom-tech duo Gainstage with Pierce Warnecke. Loyal to the sonic concepts of Gainstage, Arikon presents The Prophet's Blood Is Boiling, a solo enterprise into deepest 'drum & drone'. Hypnotizing distorted polyrhythms puncture through shards of fragmented melodies, producing potent mixtures of desperate tin can banging, a panoramic sonic scope, and the bleakest of soundsystem nightmares. Across the album, Arikon deploys an arsenal of samples plus electronic, acoustic, and self-constructed percussion instruments, constructing eight powerful productions that manage to embody both brute force and delicate decay.

* Formerly active in Tel Aviv's leftfield experimental scene during the 90's, Hayut made Berlin his permanent home for working on his own projects while composing and performing music for off-theater and contemporary dance. In 2004, a severe health crisis initially threw Hayut into crisis, slowing down his activity to a standstill. However, the precarious process of his fortunate recovery contributed to Hayut involving himself more deeply with concepts of time, death, and decay.

* Inspired by the decadent still life paintings of the Flemish Baroque, the cover artwork for The Prophet's Blood Is Boiling comprises a bowl of decomposing fruit. Like the music, its aim is to illustrate the beauty and perfection of the decay process, whilst also referring to the West's hyper-capitalistic, technology-centric culture. In recent years a new form of 'digital life' has been born, whereby all data - regardless of its worth or importance - is mummified, reproduced, and distributed with no real disintegration or loss in quality. This new digital life is resulting in a sort of 'frozen death', ending the hitherto natural cycle of life.

* The songs on themselves are inspired by the 'beasts of holiness' - mythological monsters that appear   in the Hebrew bible and the Jewish apocrypha (non-canonical scriptures). There's the punching of bassy thuds out of an oceanic ambient swell throughout 'Tanin Gadol', named after the ancient water monster of Babylonian times. The dense net of fumbling scrapes and amp-busting hits of noise on 'Nahash Akalaton' similarly refer to a titular sea-snake monster, its tendrils lashing out of the speakers aggressively. These demons symbolize a force of evil equal in power, yet in direct opposition to the monotheistic deity of their time. They were therefore neither acknowledged nor canonized in much dominant scripture. Arikon invokes these demons across The Prophet's Blood Is Boiling, setting them loose across these gnarled noisy chambers of pummeling percussion and cracked sampled detritus.

After previously releasing Starship Commander Woooo Woooo's - Mastership LP, Left Ear Records have continued excavating the archives of the artist more formally known as Omer Coleman Jr. The result is two handpicked mid 80's instrumentals salvaged from the original master tapes, as well as an extended vocal edit on the flip for good measure.
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After laying his alter ego to rest Omer made a handful of electronic releases on his own Kansas based 'Remo' label. Of these releases Left Ear has selected their two favourite instrumentals: 'Lovin 'Babe' Sure Is Fun' and 'So Good'. 'Lovin 'Babe' Sure Is Fun' was originally released in '85 and was created to celebrate a time in America where 'the economy was good, people were happy and love was in the air', the essence of which Omer captured using his Roland 808 and 303 in what may best be described as Acid-Boogie. 'So Good' on the other hand is a sensual downtempo cut shaped with heavy-bass, telephone samples and guitar solos that conjures images of late Night Rendezvous and compromising scenarios.

Red Hare's roots run all the way back to the Washington D.C. music scene of the 80's and 90's, where Shawn Brown, Jason Farrell and Dave Eight immersed themselves in the braids and tangles of that city's unique strain of hardcore.
In 1987, Brown (the original (and current) singer of Dag Nasty) and guitarist Farrell founded Swiz— a harsher take on melodic hardcore released via Dischord's sister-label Sammich and their own freshly-minted label Hell- fire. Eight joined Swiz on bass in 1989 and remained until the band wrapped it up in 1990.
By 1995, Farrell and Eight reconvened to immerse themselves in the angular post-hardcore stylings of Bluetip, yet found enough juice to again tap Brown for the short-lived Swiz reboot, Sweetbelly Freakdown. Meanwhile, Joe Gorelick was living a parallel existence drumming in the band Garden Variety. A fortuitous string of circum- stances led him down the Jersey turnpike straight into Bluetip's empty drum chair. Although Gorelick did not record with the band, his prowess was nonetheless noted and cataloged for future missions — first in 2002 with Farrell in Retisonic and now with Brown, Farrell, Jason and Eight in Red Hare.
Red Hare are set to release their second album Little Acts of Destruction on May 11th through a joint effort with Dischord and their own label Hellfire. Like their debut Nites of Midnite (2013) and their stop-gap 7', Lexicon Mist (2016), the album was recorded and mixed by longtime collaborator and friend J.Robbins. These 14 songs are a heady/hearty mix of the familiar and new that bristle with the energy of the hometown sound they helped shape.

Sfetsas formed GFO in 1976, in order to accomplish an ambition dating back to his 1960's Avant-garde period in Paris: to create a piece of work that would expand the boundaries of Greek traditional music. The result is a Progressive-Jazz Fusion masterpiece comprising complex and intriguing compositions, and performed by Athens' best musicians of the day.
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Sfetsas grew up on the island of Lefkada where he studied classical music from an early age at the local conservatory. At the same
time he was genuinely connected to traditional music and especially to the sound of the clarinet, the lead instrument in the region's
folk music. From a young age Sfetsas would perform with Gypsy orchestras in local feasts. It was this experience that inspired him
to create the GFO after his return from Paris in 1975. Sfetsas founded the orchestra while working at the National Radio, an orchestra comprised mostly of members of the Variety Music Orchestra, who had a solid background in both classical and traditional music. In that way, he was able to realise his ambition. Something he could not do in Paris, since it was impossible to find musicians trained
in both musical cultures.

The recordings on this album, forming only a small part of his overall body of work with GFO, are previously unreleased. The music
was recorded Stereo on Reel Tape and with high standards for the time, with the current mastering process highlighting even more
the quality of the recordings. The result is a truly impressive and pure audiophile album.

Two incredible 70's soul cuts from The O'Jays get the reissue treatment for 2018. The A side contains the mighty 'For The Love Of Money', a near 7 minute cautionary tale to the dangers of greed and exploitation. "For the love of money. People will lie, Lord, they will cheat. For the love of money. People don't care who they hurt or beat." As pertinent now as it was in the 70's if not more so considering current affairs. A much sampled record, loved by many! On the flip 'Darlin' Darlin' Baby (Sweet, Tender, Love)', the second hit single off the O'Jay's album 'Message In The Music', is a romantic soul serenade with that killer Gamble and Huff production - Philly's finest!

Word Of Advice To Funk Lovers, There Is Not A Minute To Lose. Get On Board Of The Big Hustle's Spaceship. Before We Take Off, Let's Do A Little History. The Band Was Founded In 2014 By Bass Player And Composer Sébastien Levanneur And Its Aim Is To Bring Together 70's Old School Funk With The Hippest Actual Sound Laced With Influences Spanning From Steely Dan And Headhunters, To Snarky Puppy And Soulive. With Mighty Horn Players, A Rock And Funky Rhythm Section, The Big Hustle's Music Has A Very Large Variety Of Soundscapes.

The First Destination Takes Us To The Washington, D.c. Area With turn Up'. The Groove Is Clearly Go-go Music Flavored With The Trademark Sound Of Cowbells And Of Course It Reminds Us Of Zapp By The Use Of The Talk Box On Lead Vocals, Performed Here By Saad El Garrab. And Don't Miss Out Shaun Martin (snarky Puppy, Erykah Badu, Kirk Franklin Amongst Others) As A Very Special Guest Performing The Talk Box Solo! Second Stop Is a Curse, A Blessing'. It's An Instrumental Very Much In The Freddie Hubbard Vein During His Cti Years. The Last Leg Of The A Side Ends With An Instrumental Interlude Titled flying Donut'. Double Tribute To Jay Dee And Flying Lotus, The Music Is A Simple Hip Hop Loop Based On Samples.

The B Side Takes Us Back Into The Past With Two Brilliant Covers, Involving Rod Temperton The Late Great British Songwriter Who Scored Some Of Michael Jackson's Biggest Hits. Now The Idea For This B Side Is To Do The Opposite Approach From The A Side. Taking 70's And 80's Original Music And Make Them Travel Into Time To 2018. We First Land With A Heatwave Song Named the Star Of A Story' From Their 1976 Central Heating Album. Track 2 Is A Herbie Hancock Song Named gettin' To The Good Part' From His 1982 Lite Me Up Lp. This Time Traveler Ep Journey Ends With An Interlude. Called gimme Dat', The Song Deals With The Need Of New Music, New Sound.

Again, This Blend Of Deep Rooted Funk Laced With A Contemporary Edge Is To Be Consumed Without Moderation. And Do Not Forget That E.p. Also Stands For Extended Pleasure.

Swinging Flavors is BACK! After releasing material from names such as Simon Off aka Sun People, Moresounds, DJ Madd, Ticklish, Sully, Addison Groove, Itoa and Lynch Kingsley our 7' vinyl series devoted to Bass Culture and dancefloor vibes is back again with the the Sixth One aka BMRSF006. After having a Japan vs USA Chicago Footwork sound clash with DJ Fulltono and DJ Earl's 'Tribal Dancer', now it's time for an atlantic connection - in the name of Bass Music obviously.
On the A Side you'll find Sinistarr's '55555': the Detroit bass producer - with a 10yrs experience in sound design and recently appeared with an astonishing work on legendary dBridge label Exit Records - gives us a pure example of his sonic craziness with a minimal-but-high-impact work, with chopped vocal samples, magic flutes and heavy basses.On the B Side '55555' gets a full treatment by Philip D. Kick: Cosmic Bridge honcho Jim Coles - well known in the worldwide bass scene as Om Unit - surprisingly comes back with his iconic footwork moniker giving to the original vibes a more accentuate rave touch, with hyper speed drum patterns, amen breaks and piano notes.

"it Sounded All Right Through Two Walls, So What's The Problem" The Final Words Of 'two Walls', The Fast And Very Catchy Leading Track Of Dj Marcelle's New Record, Sum Up An Aesthetic Almost Lost In Today's Musical Climate, Where Often A Pleasing Attitude And Overproduced Music Sadly Rule, Even In So-called 'alternative' Circles.The Quote Comes From The Late Mark E. Smith (1957 - 2018), Legendary Frontman Of The Fall, And Is Taken From Some Of The Conversations Marcelle Had With Smith Over The Years. Smith Is Referring To A Recording Process But For Marcelle His Words Stand For Something Bigger.Although The Fall Have Been With Marcelle During Her Whole Musical Life (which More Or Less Started In 1977 During The Punk Wars) And She Has A Deep Love For Their Music, It Was Especially Smith's Attitude That Inspired Marcelle.Smith Was An Iconoclast, A Surrealist Dadaist Breaker Of Conventions In Music And Art More Generally. A Magically Creative Individual, A Brain-twisting Wordsmith. An Attacker Of The Pretentious And Dishonest Elements In Society And Music Scenes. An Autodidact Whose Singular Vision, Fired By Both Humour And Sharp Observation, Found A Voice In A Body Of Work Unlike Anything Else.The Day After Marcelle Heard Of Smith's Passing She Created A New Track, Lauding Smith, Whose Name Was An Institution In Itself: Mark E. Smith! Therefore, The Repetitious Use Of A John Peel Sample Pronouncing Smith's Name Celebrates The Life Of This Totally Unique Artist.This Track Opens With Another Smith Quote: "you're Probably Right, Marcelle". And Indeed, The Dutch Producer / Dj Shares Many Of Smith's Attitudes In That She Tries To Stay True To Herself, Doesn't Think Too Much About Audience Expectations And Always Tries To Stay Ahead Of The Public. 'punky' Energy Combined With The Avant-garde And Always Going Forward With Fresh Productions And Dj Sets. To Make And Play Music Which Reflects The Present And Doesn't Rest In The Comfort Zone Of One Dimensional Party Music.There Are Five More Versions Of 'two Walls' On This Ep, But They Differ So Much From The Original That You Can Count Them As Different Tracks. 'dubai Muezzin Dub' Was Partly Recorded In The United Emirates When Marcelle Played There Earlier In 2018. 'problematic Dub' Is Pure Industrial Techno Torn Apart By The Wildest Dub Effects, Its Coming And Going Of Sounds Equals A Ride In A Calypso. 'studio Door Dub' Celebrates The Repetition Of The Fall And The 'emerson, Lake & Palmer Symphony Dub' Is Both Pure Avant-garde And Hilarious Fun. And Belp, Who Owns The Jahmoni Label, Comes With A Wicked Abstract Noise Remix. The 'for' Ep Is The Fourth (get It) Vinyl Release Of Marcelle On The Munich Label Jahmoni Since 2016. As Always, Sleeve And Label Are Very Colourful. Both Labels Show Special Photos: On One Side We See An Old Picture Of Smith Embracing Marcelle, The Other Side Depicts The Label Of A 1985 The Fall Test Pressing That Once Belonged To John Peel But Which Was Stolen Out Of His Car In Amsterdam. Later Marcelle Found The Record On A Flea Market, Recognising Peel's Handwriting. "when I'm Dead And Gone" Smith Sang In The 1979 Song 'psychik Dancehall', "my Vibrations Will Live On, In Vibes On Vinyl Through The Years. People Will Dance To My Waves."Now We Can Listen And Dance To A Vinyl 'for' The Incomparable Mes, Made With Total Commitment And Which - Like The Fall - Defies Comparison.

In its second venture into reissuing hidden gems of electronic music produced in Eastern Europe in the 20th Century, LITTLE BEAT DIFFERENT ISSUES focuses on the work of a Czech composer, musician and producer, Alexander Goldscheider. Born in Prague in 1950, Goldscheider started as a music orrespondent in New York in 1968/69, went onto reading Music at Charles University whilst continuing as a music critic and radio/club DJ, before becoming a record producer at the top Czech label, Supraphon. As a composer, he pioneered the use of synthesizers in his songs for major Czech pop/rock singers as well as in his own instrumental tracks. After moving to London in 1981, he first recorded two albums at the renowned Red Bus Studios, then proceeded to work at the legendary BBC Radiophonic Workshop, before co-founding and establishing Romantic Robot, a software and hardware design and manufacturing company which later moved into music recording and publishing. Of the many original products, THE MUSIC TYPEWRITER was ground-breaking software enabling the writing and printing of real notation on the Sinclair ZX Spectrum. Similarly TEREZÍN: THE MUSIC 1941-44 was the first ever release of CDs with music written in the Theresienstadt Concentration Camp during World War II. Goldscheider's 1980s LPs THEMES FOR A ONE-MAN BAND Vol I & II reflect his work as a solo artist, always writing, recording and producing single-handedly. He had, though, a team of technical aficionados and inventors back in Prague, who adapted and developed his electronic music equipment incl. synthesizers, sequencers and even a Studer multitrack recorder, thus creating a revolutionary set-up, on par with the much later MIDI.This LP samples Alexander Goldscheider's music produced for records, films, TV and even an art exhibition in the space of 25 years starting from 1975.

I was gone for a while. But now I am back. Times have changed but the focus is the same. Primal, stripped down cuts'
Jeremy P Caulfield

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

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

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

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

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

Mehmet Aslan returns to his own Fleeting Wax imprint, in order to deliver the first in a series of releases as part of a new project, ghost station, including a collaboration with fellow Turkish singer, songwriter and vocal producer, Idil Mese.


Efsun, translating to enchantment in Farsi, is the sound of Idil Mese transforming an understated, somewhat folksy instrumental of Aslan's into a bewitching and subtle musical spell. Initially tense,
Idil Mese's vocal spell wraps beautifully around a brittle guitar motif, inches above a sea of atmospheric ambience. In it's second half, synthesis and sitar unite, taking efsun into more revelatory territory, employing a playful melody and warm, cosmic textures.

Meanwhile, on 'ghost station', from which the project takes its name, layers of meaning and recording slowly unravel, revealing a compelling soundscape. Recorded in one take, and completed across one night, 'ghost station' began with Aslan and his sampler surfing the busy radio waves of Berlin, eventually settling on a beautiful score broadcast on one of the city's classical stations. Just as soon as Aslan had the frequency on lockdown, the signal disappeared unable to be retrieved quickly enough, if ever. Loosely inspired by the work of Swiss visual artist and musician Pipilotti Rist, the track instead unfolds woozily like a dream, undulating through offbeat bleeps, ghostly voices and improvised swells of noise, while still maintaining it's own quietly propulsive groove.

Sounding more like himself than ever on his own Fleeting Wax outlet and incorporating an impressive range of musical techniques over just two tracks, 'ghost station' further establishes Mehmet Aslan as a restlessly inventive musical talent. -Text by John Thorp

'Turquoise', that is Turkuvaz, is a French-origin word inspired by the color of the Mediterranean, located within the borders of Turkey. Meaning; blue is the color that plays the green. At the same time it is relative. Because both colors are in it, if you love blue you will see blue, if you love green you will see it green. It means heaven and earth. The eternity is turquoise... The eternity is infinite. At the same time; the boundary between the earth and the sky. Some will find love in it , some will find serenity, some will remember the loneliness and find sadness, embracing some with zeal and reminiscent of the return to the nest, the power of holding hands tightly with two hands.And according to my opinion, the concept of life, the mortal world, is how we see these lands curtained until the last breath of life that we have been living on for centuries.There are billions of beings in our sky and on Earth that do not attract our attention, We can not see, can not hear, can only feel, there are enough lights to count and never disappear in the stage. This EP that you hold in your hand is a reflection of it.
Music was the easiest way to reach you. In doing so, the motto was 'never disappearing at the stage'. I know, because if nobody hears me, God, the real dominion of light the true owner of all the darkness will hear me.

Each sound I created, I filled it with a light and I added a little more sand to the clock. Sounds I created is to show you your own technique of finding your way to light, to make you understand that you are not alone, and that there is someplace really there for you. Without much effort, resting and reviving.

I believe that every one of us who lives on earth has a specific, holy purpose. The important thing is to find and catch it. Our inner journey is to be able to complete our enlightenment as spiritually as possible. And I still believe that we always need music to do that. Because the sounds; they will never disappear.

Turquoise, which is the work of this enlightenment period, which I have lived and found to be my self, will be a source of light for you and help you find God who lives in you.

Left of centre experiments from the Dutch underground of yesteryear. Muziekkamer was the name of the home recording studio that gave birth to the twelve tracks on 'Popmuziek', an intriguing document of sketch arrangements and primitive, fairytale sampling wave cuts. This is music which excels due to its inherent naivety; the limitless ambition of 'Black Box' almost sounding like a precursor to the 90s ambient techno of Likemind or Stasis. On 'Being Home Tonight' we can hear an early form of what the likes of Tolouse Low Trax have been bringing to the forefront of contemporary club culture whilst the erratic art-rock of 'Walkman' mirrors what Leven Signs & co were doing over the pond. In trying to create something which represented 'intrusiveness' as a contrast to an earlier ambient tape the trio incidentally blurred the lines between various musical fashions to come. An amazing snapshot of time and place!

Sharif Laffrey can charm the snake out of any basket. This is his first offering for the ESP Institute. Side A's Tangier is a long drawn-out exercise, an endurance test of the highest order. Over the span of some thirteen minutes, elements bob and weave intermittently and layers overlap haphazardly—the type of exciting dynamic that's born out of restriction—as if putting down a live jam without enough hands to work the console, yet Sharif perseveres. As touch and go as this arrangement may be, there is something that undoubtedly glues it all in place; the combination of his massive rolling 16th-note bassline and his tough-as-nails drumkit is so good that, upon first listen, we spat out our tea and insisted on its release. On side B, Everything Is Nice carries on with loose arrangement, dirty production and layers of inexplicable spoken- word samples (a Sharif calling card by now) but this time we're lead to a melancholy place, the blue comedown to Side A's antagonistic trial. With his ESP Institute debut, Sharif leaves you mentally unhinged, as if you've smoked something interesting and arrived bewildered in some Saharan labyrinth. These two songs will guide you through the medina to score the black meat.

The boy wonder from down under, Slamb, delivers his first solo EP, packing three booty poppin' summer jams. Skillfully blending boogie and r&b samples on top of his slamming house beats to bring about that infinite pleasure just in time for a hot summer.

It shouldn't come as a surprise that Applescal is the next in line for a release on DGTL Records, seeing as he has been part of the crew since day one, with multiple appearances at their shows to his name. The Atomnation label-head crafts out three tracks all coming from one single studio jam, aptly naming them Harmony One, Harmony Two and Harmony Three. The record is a special one for Applescal himself as well, as it's his first full EP in two years.

The EP starts off with Harmony One, a dubby and bass heavy track with a subtle vocal sample. It steadily builds up towards a more energetic part with synth stabs and heavy snares, while the pads in the background still make it keep its atmospheric feel. As all three tracks come from the same studio jam, it's obvious that this was the start of the jam, serving as the basis for the other two tracks. The second one, Harmony Two, was previously part of an Atomnation sampler and received a lot of great feedback, as well as airplay from a few big names in the industry. It builts around an arpeggio that playfully progresses and intensifies towards the break, where a raw synth is layered on top for the climax. With a more subtle bassline, but multiple rhythmic elements that add a proper swing, it makes an essential peak-time tune.

The flipside brings Harmony Three, which distinctly sounds as the final part of the studio jam. Hard hitting synth stabs and a rolling bassline set the track apart as the heavier hitter of the three, while still clearly building on the overall theme. It features an arpeggio that progresses along the break and into the main part, with sharp drum samples and tense synths. It wraps up this release perfectly.

In the studio Prototype 909 was a group that rarely agreed on a clear idea of exactly what they were trying to accomplish. The entire project was an experiment, and every time they hit record there was nothing better for them to do than to just try stuff.

Whenever it came time to put together an album they would go through what they had recently done and nd the tracks that seemed to fit together well, or that at least sounded like they were made by the same group. That left on the cutting room foor some really amazing worst that somehow just didn't 'fit" their goals at the time. At Schmer, we remember. P-909 leftovers have Schmer written all over them...

These four tracks were all recorded live in the studio in between their three studio albums 93-97. Brenecki ( half of Ontal ) provided his remix inspired by one of them.

"Hyperdrive" and "Datafash" were recorded shortly after Acid Technology was released in 93. They come from the "lets make Acid Technology Vol 2 approach'. That would have made a really cool record had they done it but they decided on making Transistor Rhythm instead. "ANOISE-NYC" aka "The Tracs that Dietrich Hates" is what you get when you let Jason go nuts on a Doepfer MAQ-16
( they never made that mistake again ). "Bobo" is possibly the most prototypical P-909 tracks ever: it took three guys making their own tracks simultaneously almost ignoring what the others

were doing but somehow mixing them into a flow to make this one, but it all comes together nicely in the end. Its amazing that they never released it before.

You've enjoyed the wait, now enjoy your "new" Prototype 909 while it still is new!

Who Do You Go To For Your Very First Session When You Have Just Been Gifted Your Very Own Top-flight 'stradivarius Of Synth Based Studios' Enter 'the Grid' ...mr David Ball: One Man Band Of Pioneering Electro-pop Distorters Soft Cell, Part Time Psychic Tv Personality, Film Soundtrack Composer And All Round Synth Afficionado & Richard Norris: Eclectic Beat-meister & Ambient Dj, Record Producer, Commited Psychedelicist From 'beyond The Wizard's Sleeve'. The 1990's Saw Worldwide Commercial Success As The Grid Scored 10 Uk Chart Hits, Many A Euro Hit Including 1994's International Mega-hit 'swamp Thing' Featuring A Twisted Use Of Sampled Banjos Lifted From The 1970's Okie Shocker Movie 'providence. In 1996 The Grid Went On A Holiday And They Didn't Return Till 2005. In The Initial Week Of The Moog Sound-lab In Early 2015 As The Studio Was Literally Put Together Around Them, Our Abiding Memory Was Their Absolutely Delighted Grins As Each Moog Unit Was Added To The Lab. Dave & Richard Created This Benchmark Album Of Deluxe 'tronic Trax That Showcased Their Prarie Wide Knowledge Of Electronica & Their Ocean Deep Skills As Both Technicians & Original Soundscapers - Kraftwerk-ian Werk-outs, Space Noise Jams, And Slinky Grooves With Subtle Pop-tones.

Tachyon Audio is a vinyl label that's focused on sounds in the techno realm targeting sweaty, dark dance floors, with large, high-quality sound systems.

Inhabitants come back strong in Mutations Volume II, Tachyon Audio's second offering. These two primates are often found inhabiting dark spaces, forging ahead on complex math equations. Their distinct, driving, mathematical, and drumming techno is a result. Expect more solid work and performances from these two mysterious beings on Tachyon Audio as the label continues its progression.

Tachyon Audio's second release follows a similar format to the first, in that, TAC002 is a diverse EP that touches on techno sounds that are helping to lead the march forward into the future of sound production and style. The second Tachyon Audio release also comes from the mysterious dark studio of Inhabitants, who build off their first, and display their precise, technical forms of production.

The A-side track, Mut11 (A1) is a sci-fi exploration that pleases the ear with thick sub and low basses, along with a pitch-twisted melodic element, and the Inhabitants distinct sound effects and automation. The track has a strong impact immediately, as you can feel the intensity of elements being added, manipulated, and combined, and a sturdy, grimy feel pervades the piece with an interesting driving rhythmic percussion.


Side A ends with two separate open-source NASA samples. The first, Sounds of Enceladus - Radar Echoes from Titan's Surface (A2), is a locked groove and according to NASA, 'was produced by converting into audible sounds some of the radar echoes received by Huygens during the last few kilometers of its descent onto Saturn's moon, Titan. As the probe approaches the ground, both the pitch and intensity increase. Scientists will use intensity of the echoes to speculate about the nature of the surface.'


The second sample, Cassini - Saturn Radio Emissions #2 (A3), is another locked groove. The sound as described by NASA, 'Saturn is a source of intense radio emissions, which were monitored by our Cassini spacecraft. The radio waves are closely related to the auroras near the poles of the planet. These auroras are similar to Earth's northern and southern lights. This is an audio file of radio emissions from Saturn.' These samples are poised for reuse in production and make for good intro and looping material during performances.


The second side of the EP starts with Mut1 (B1), a track that is well-rounded percussively, with a strong kick drum driving the track forward. A simple looping and effected tom drum also helps keep a good movement to the track. An ominously melodic pad that evolves subtly throughout the track helps to keep the Inhabitants err present throughout the track.


Mut8 (B2), is another acidic venture with solid percussion. The looping and other melodic elements provide a solid stricture, with the more adventurous sounds being placed and effected incrementally with distinct Inhabitants flare throughout the track.

Maeve kicks off their first label compilation 'Heavy Rotations Vol 1', covering all facets of the labels sound with tracks from Mano Le Tough, Isolée, Oliver Deutschmann, Ed Davenport, Aera and more. Comes as 3 LP in a specially designed cover consisting of 3 differently printed innersleves in a cut out outersleeve.

Paul Dickow Aka Strategy Is A Musical Polymath With A Signature Sound Derived From His Immersion In Hardware-based Electronic Music. He Has Spent Close To Two Decades Traveling Freely Through House, Techno, Rave, Noise, Ambient, And Sounds More Difficult To Categorize. Strategy's Sound Is Inimitable Because It Is Literally Built By Hand - His Hands. Through All Of This Sonic Journeying, Including Multiple Full Length Releases, A Constant Has Been His Love Of Reggae And Dub, Yet Somehow A Proper Dub Album Has Never Emerged - Until Now.

After Two Much-loved 7' Singles On Zamzam - To Say Nothing Of Dubwise Excursions On Idle Hands, Shockout, Peak Oil, 100% Silk And More - dub Mind Paradigm' Is The Fulfillment Of A Clear, Simple Goal. "i Set Out To Make A Full Set Of Dub Tracks Good Enough To Make An Album -- Something That Had Always Eluded Me-- And It Worked, Finally. A Simple Exercise In Seeing If We Could Launch The Capsule To Orbit Planet Reggae And Make It Home Again.'

Reaching Planet Reggae, The Album Explores Analog Caverns Of Dubwise At All Tempos, From The 80s To 140, Full Of The Ghosts Of Ancient And Future Technologies, Glimmering Shards Of Hope Among Heaps Of Folly, Ruin And Rubble. Music Fans With Crates Deeper Than The Contemporary Will Find Shades Of Wackies, Firehouse, Unity Sound, Burial Mix And More, But Only Winks And Nods... No One Sounds Like Strategy, And Strategy Sounds Like No One.

Mastered By Sam Precise.

Art & Design By Polygon Press.

Distributed By Unearthed Sounds Ltd.

Limited To 700 Vinyl Lps - No Repress, No Digital.

Bulkhead present their debut album - Aft Pressure - due June 1st on 2MR Records. In 2015, during the coldest Toronto winter on record, two old friends - Pop District and Patrik Benjamin - locked themselves away in the studio to experiment with a medley of hardware. Both solo artists in their own right, they had overseen their own projects prior, but had never considered how a collaboration might sound. Exploring the polarity of extreme cold and immersive warmth with a distinctly analogue feel, the duo carved themselves an aesthetic. And so Bulkhead was born. Using a raw, organic palette they repudiate formal structure and polish, opting instead for a freeform blend of unhindered mechanical techno and fuzzy ambience - slambient, if you will. Debuting in 2016, their 'Worker's Kampf' cassette album on LA imprint Far Away Tapes sold out quickly, warranting another release on 2MR featuring highlights of the cassette on 12' and digital. Continuing with the purveyance of abstract arrangements and machine wizardry, their forthcoming album - Aft Pressure - is a striking exploration of the intersection between frenzied techno and harmonic warmth.Fragments of techno and EBM mutate without strict guidance, rebuilding themselves into new forms with stunning physical qualities. Whilst many of the tracks might file under dance music, the DIY spirit of the album transcends a nightclub, occupying a peculiar space between the uncensored grit of the post-punk scene and some melancholic form of ambient minimalism. Angular percussion slices its way through dizzying synth leads whilst serene harmonies wander on their own accord. Darting melodies are made all the more powerful by their harsh timbre as drum-less excursions provide a cinematic backdrop. Aft Pressure is a statement of intent, blurring the parameters of dance music culture with equal doses of insanity and serenity. At the same time, it's also a hell of a lot of fun...

Helsinki's We Jazz Records presents "Y-OTIS", the debut LP from Berlin-based Swedish saxophonist/composer Otis Sandsjö, joining forces with keyboardist Elias Stemeseder, bassist Petter Eldh and drummer Tilo Weber. The album is a forward-reaching, multilayered collection of eight originals penned by Sandsjö and produced by Sandsjö and Eldh. What you get is a form of "liquid jazz", born in an era where the understanding of jazz as a musical language has evolved way beyond the concept of the previous "modern". Informed by hiphop and electronic music, "Y-OTIS" is pure jazz in that the quartet stays true to its constant mission of creating a new form of musical communication. Sandjö's circular sax riffs, the album's rich production touch, and the chopped-up jazz form creates a musical concept which stays melodic and beat-laden while being "free" right to the edge of avantgarde. It's as if the music is sampling itself, constantly keeping ahead of the curve in the musical lineage of jazz.

Otis Sandsjö (b. 1987) hails from Gothenburg, Sweden. He is known previously for example for his inspired work on singer Lucia Cadotsch's globe-trotting trio formation "Speak Low", also featuring "Y-OTIS" co-producer and bassist Petter Eldh. Elias Stemeseder was dubbed one of the top 15 young European musicians to watch by All About Jazz in 2017. Tilo Weber ranks among the most creative young drummers in the scene. Stemeseder is currently based in New York, while the remaining three musicians here live in Berlin. Live on stage, the band performing the material on the new release is called Y-OTIS.

Sun yellow vinyl, comes with download.

Airplay: Worldwide FM

The ep comes in 300 copies packed in hand burnt sleeves on the front and a silkscreen print on the back

Eocity is the result of a study on technological failure and the imagination of a non-existent urban landscape.

This project features the use of a Yamaha ex5r, one of the rst synths to ever implement VL synthesis.

The "Yamaha Virtual Acoustic" Synthesis tone generation was born to try to accurately emulate the complex vibrations and other acoustic phenomena of real instruments and their sounds within space, but the dubious results of this technology gave birth to something more.

Its nal output sound happens to be cold and synthetic while being also organic and warm at the same time, welcoming the listeners into a feeling of an arti cial world that is neither digital nor analog.

In this world man is not around anymore and the binary language survived him, communicating with the rest of the natural environment, in respect of its laws and dynamics, becoming one indistinct entity.

Eocity is a place that exists in between the imaginary and the real one, gently oating as a digital tactile experience.

Officially reissued at last! Considered by many to be a genuine 'holy grail' of soul & funk. Featuring 'Miracles' as sampled by Public Enemy, Basement Jaxx, Arrested Development and many more.

Originally from Compton, Los Angeles, the Jackson Sisters were one-hit wonders who briefly shone and made some noise in the early 1970s before quickly fading into obscurity. Their only US chart entry was 'I Believe In Miracles,' a funky slice of bubblegum soul with a catchy, sing-along chorus released on the Prophesy label that briefly saw them make the lower reaches of the R&B charts in September 1973.

FLIES 45-04

BRAEN & RASKOVICHAfro Beat / Afro Flower

7'' Limited Edition 400 copies

Four Flies Records continues its 7" line-up with anotherde rigueur repechagethat will have your dancefloor jump frantically up and down. Two freaky afro- flavoured tracks, written by Giuliano Sorgini and his partner in musical delices Alessandro Alessandroni. Recorded during a non-specified session which may be traced back to the recording of Sorgini'sUnder Pompelmoand Pawnshop's first 7". The sound and the ideas behind the music are exactly the same, even though there's more rhythmic and percussive emphasis on both tracks. Two little precious gems, unreleased to this day, brought back to light and finally available for DJs and fans all over the world.Afrodelic breaks for your pleasure!

Extremely hot on the heels of 'A Library Excursion', Earl Jeffers teams up again with Don Leisure, his partner-in-beats for another EP of Darkhouse Family goodness. Following on from their highly acclaimed debut album 'The Offering' from late last year on First Word, the Cardiff duo have hand selected a group of friends, dons and legends (including DJ Spinna & Kaidi Tatham) to serve us up 'An Extra Offering'. Five remixes curated by the crew.

For the refix of 'The Accession' (which originally featured Kamaal Williams, Dave Newington and Daf Davies from Boy Azooga), label-mate Kaidi Tatham kicks off with some down-low bottom-heavy boom bap, before switching up the tempo mid-way for a blast of his inimitable jazz-funk bruk boogie.

Next up we're honoured to have not one, but TWO tracks from the Brooklyn legend, DJ Spinna. His Galactic Soul rub of 'Another World' flips the original into a deep soulful 4/4 house cut, featuring the lush vocals of Esther (and one Charlotte Church on backing vocals, pop fact fans).

Then there's DJ Spinna's Galactic Funk take on 'Just So You Know' with the marvellous Vanity Jay on vocals. This one is on the same mid-tempo tip as the original, but with that unmistakable Polyrhythm Addict flavour of big kicks, crisp snares, hench bassline and sweet spacey synths.

For the 'GAEA' remix we keep it Cardiff and introduce the man like Alfie Swan. Doubling up the tempo of the original, this adds some seriously wavy sonics and flips the groove entirely, creating a seriously innovative cocktail of riddims. One for those not shy of some jazz ethics in the dance.

And to close out this offering, Andromeda Jones lays down a ridiculously delectable broken beat mix of 'Journey To Love', this one again featuring Vanity Jay. No messing with this one, this is straight dancefloor fire, transforming the hip hop soul track into a future boogie heater. One for the ravers.

This EP illustrates once again Darkhouse Family's wide range of influences and sounds, as selectors and as music makers themselves, and is no doubt one that will stay in your box for a very long time...n

to Me, Sounds Have Always Been More Interesting Than Words,' Says Agnes Obel. i Love It When The Voice Becomes An Instrument And You Almost Forget It's A Human Voice.' Never Is This More Apt Than On This Beautifully Programmed And Bewitching Selection Of Music.

Agnes' 2010 Debut Album Philharmonics Went Platinum In France And Belgium And, Unsurprisingly, Quintuple Platinum In Her Native Denmark, Where She Also Won Five Danish Music Awards (equivalent To The Brits) In 2011. The Follow-up Aventine, Released In Late 2013, Was Imbued With The Same Measured Calmness As Her Debut. It Went Platinum In Belgium And Gold In Denmark And France.

For The Mix You Have In Your Hands It Feels Almost As If Agnes Has Scoured The World Looking For Kindred Spirits - Or Kindred Songs. There's A Quietude About It All, The Antithesis Of A Rush Hour, Like A Frozen Lake On A Sunday Morning. This Is Aided By A Veritable Cornucopia Of New Obel Material, Including A Haunting Reading Of Danish Song 'glemmer Du', Inger Christensen's 'poem About Death' Set To Original Music, And An Agnes Original, 'bee Dance'.

Among Them, There's The Enigmatic Jamaican Singer Nora Dean Who Weighs In With The Hypnotic And Slinky Duke Reid Production, 'ay Ay Ay Ay (angie-lala)' And The Sparse, Sardonic 'party Girl' By Michelle Gurevich, So Good It Inspired The Eponymous French Movie. There Are The Plangent Voices, The Bulgarian Folklore Choir, Nina Simone, Ray Davies And Agnes Herself, Ringing True. Somehow, Ms Obel Makes Even Makes The Electronic Tracks Bow To Her Needs As With Yello Whose 'great Mission' Is More Martin Denny Than Underworld And Cult Greek Composer Lena Platonos' 'bloody Shadows From A Distance' Pulses Gently Rather Than Throbs And Can's Recently Rediscovered 'obscura Primavera', Unusually Hushed.

"i Was Surprised At How Much Time I Ended Up Spending On This. I Collected All The Songs Together With My Partner Alex And We Just Spent Time Listening To Records, Trying To See What Would Fit Together. Some Of The Music I've Included Here Is On Mixtapes We Made When We Were Just Friends As Teenagers. Each One Of The Tracks Produces Stories In My Head." - Agnes Obel, February 2018

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

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

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

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

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

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

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

Orestt / Markus Gibb / Disrute / Balaban

This is another incident of despair, hope and rhythmic adventures. Nothing beautiful without struggle.

Only one month after the release of their first ep on MT on May 2018, Vactrol Park continue surprising, this time with a full LP in the shape of 'Music from the Luminous Void'.The album sees VP delve much deeper into more atmospheric realms. Using modular synths and unexpected drum machine sequencing they leave the 4X4 beats behind in favor of off-world rhythms and ever growing bass. Starting with Drops's high frequency tension, laying on top of those heavy kick drums it keeps on growing and growing. From there it moves to the 'End of the party' groove that is Novikov's Notation, and its trippy monotonic rhythm. The A-side ends with the heavy sampled ambient track Macbeth, bringing forward that mesmerizing flute solo by Italian artist Luca Spagnoletti yet succeeding in avoiding the kitsch, and with a touch of class. The B-side delves even deeper into ambience and atmospheric muzak. Starting with Bells, that features again Spagnoletti on flute. Then we get into the real gems of the album - Anstruther and Glove. The first is a pure trip into modular psychedelia and repetitive jazzy-like drum rhythms, creating tension right from the start and plays with it throughout the track before decaying slowly into Glove, which is in sense both the catharsis and the decompression session of the album. Like a 2018 version of Vangelis, this track's soundscape will keep you dreaming with your eyes closed long after the album ends.

180g vinyl

The - here & Now Ep' Is The Second Instalment Of A Three-ep-series Coming Up In 2018. Christophe Salin Is Taking Us On His Musical Journey And Paves The Way For Cooperation With Future Artists On His Very Own Imprint - salin Records' That He Runs With His Wife Daria Salin As A Platform For Electronic Music And Art.

No Intro Needed As - dreams Sometimes Come True' Instantly Takes Us On The Groove Line. - astra Perle' Keeps The Groove Alive With Some Heavy Jazz Samples. You Maybe Remember Sitting In Your First Car (christophe's First Car Was Named - purple Pearl' And Was An - opel Astra ) And Just Cruising Thru The City. Imagine To Be Suddenly Overwhelmed By A Creative Hole, - ohh No, Not You ... Turn Over To - can You Pay My Bills' The Journey Continues With More Jazzy Vibes To End Up With A Downtempo Lounge-dub-work Which Is Indeed - different But Sweet .

LB aka LABAT is a regular cat in the french circuit with releases on Disques Solaires, DKO or recently WOLF Music. This ep highlights once again his unique style with an all inside MPC production blending samples with sharp signature beats. The opener is stone cold disco house jam in the deep Parrish tradition. Nothing New is a spacey hip hop joint taking you a ride to destination Spice Go- a detroish hip house beat. On flipside, CELESTIAL PLAN is a special party break with deep jazz samples mixed with a mpc signature that gives this track a very uncommon signature and groove. Better be ready for this one before landing to STICKY GREEN countryside.

Colin Potter Is A Sound Engineer And Musician Currently Based In London. He Has Worked Within The Fields Of Electronic And Experimental Music For Over 35 Years, Collaborating With The Likes Of Current 93, The Hafler Trio, Organum, Andrew Chalk, And Most Notably As A Key Part Of Nurse With Wound Alongside Steven Stapleton. He Started The Esteemed Icr (integrated Circuit Recordings) Label In 1981 Releasing A Clutch Of Wonderful Home Recordings Of His Own, Over Half A Dozen Small Run Cassette Only Releases.'the Where House' Was Recorded In 1981 At Ic Studio, A Converted Wash House In Sutton On The Forest In North Yorkshire. The Album Was Self-released On Cassette That Same Year Via Icr. This Expanded Double Lp Edition Features All 13 Tracks From The Original Tape On Vinyl For The First Time Plus 4 Bonus Tracks. 'the Where House' Is A Prime Example Of Early Uk Post-punk/industrial Electronic Music. combining Dub, Electro, And Krautrock Rhythms With Psychedelic, Kosmische Noise In Multiple Mutations Ranging From Almost Pop-wise Songcraft To Horizon-scanning Motorik Flights,' Says Boomkat. Most Of The Damage Was Done By Colin Using Guitars, Synths, Sequencers, Drum Machines, Percussion, And Modified Toy Keyboards With Fairly Primitive 4-track Recording Equipment. He Was Assisted On Some Of The Tracks By Stephan Jadd-parry (guitar, Percussions), Jon Caffery (guitar, Bass, E-bow, Percussion) And Nick Jackson (synth). All Songs Have Been Remastered For Vinyl By George Horn At Fantasy Studios In Berkeley. The Record Is Sleeved In A Replica Of The Original Cassette Artwork By Jonathan Coleclough. Every Copy Includes A Double Sided Postcard Insert With Notes From Colin.

Baiano & Os Novos Caetanos was a band formed by prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues. Satirising Brazil's Tropicalia movement in the 1970s, the duo took a friendly crack at the likes of Caetano Veloso and psychedelic rockers Novos Baianos, with their righteous tropicalista alter-egos 'Baiano' and 'Paulinho Boca de Profeta' poetically denouncing the dictatorship while simultaneously mocking those who took themselves too seriously. Jazz funk legends Azymuth play backing band with keyboard maestro Jose Roberto Bertrami also responsible for the arrangements on the album. Azymuth's free and funky psych sounds combine with accordion, harmonica, brass and plenty of rural Brazilian rhythms, for a hugely varied album drawing on MPB, funk and soulful samba rock. The album also features Orlandivo who co-wrote many of the songs, and renowned multi-instrumentalist and producer Durval Ferreira.

Closed Paradise brings his inimitably smooth ethos to Lovedancing. His sampladelic originals are a pastiche of sources, glued together for the booty and soul. At his request, none other than Whiskey Disco's own, Pontchartrain and The Silver Rider remix to round out and bring added funk and flex to the array.

Rebirth return for the second in their LTD series. Argy opens up the e.p. with an atmospheric arp laden stomper enriched by the magical vocals of Blue Jay. Acid Pauli then take on remixing Modular Project's 'Leaving', coupling glitchy vocal loops and pulsating synths together with a hypnotic groove to create a trippy minimal roller. Closing out the e.p. Tiger & Woods add their trademark touch to Lele Sacchi's 'Dreaming Won't Do', focusing the track around the exuberant piano melodies whilst manipulating the vocal sample into a percussive snare element to give a distinctive feel to the remix. Killer work as always from the Rebirth crew.

Soul Jazz Records' latest album 'Yoruba! Songs and Rhythms for the Yoruba Gods in Nigeria' is newly recorded in Lagos, Nigeria. The album is co-produced by Soul Jazz Records label head Stuart Baker and Laolu Akins (founding member of the legendary 1970s Nigerian Afro-Funk/Rock group Blo). Yoruba! features an array of local master drummers led by Olatunji Samson Sotimirin and singers (featuring the lead vocals of Janet Olufanmilayo Abe) performing heavyweight Afro-rhythms, with talking drums, Bata and Dundun drums and a mass of percussion in these deep spiritual and sacred songs used to honour and worship the traditional and ancient Yoruba gods in Nigeria, West Africa. 
The enormous impact of Yoruba and West African music and culture is worldwide - from the first Afro-centric explorations of African-American jazz musicians in the 1950s such as Art Blakey, Randy Weston and Dizzy Gillespie, the explosion of Nu Yorican Latin music in New York City starting in the 1960s - Mambo, Boogaloo, Latin funk and soul - through to the sacred and powerful Afro-derived music of the religions of Santería in Cuba, Candomblé in Brazil and Voodoo in Haiti, which all came into existence on account of the Atlantic slave trade which began over 400 years ago. On a wider scale West African music remains the primary root of all African-American musical forms - from New Orleans jazz to Bronx rap, gospel, soul and more.
This album features songs honouring the Nigerian gods of the Yoruba traditional religion - Yemoja, Obatala, Ogun, Sango and others - as well as a selection of instrumental cuts focussing on the Bata and Dundun drums. The album comes complete with extensive text and photography included in the 40-page outsize booklet/gatefold double vinyl + inners showing the influence of Yoruba culture throughout the world and the social and historical context for the music contained here.
Watch out for a limited edition remix of the project by Osunlade, also forthcoming on Soul Jazz Records.

The remarkable thing about BELP's new album is its two-dimensional function. It works both on a loud and a quiet volume. Some tracks would go down well as a club track, like opener 'Travelling Thru Galaxies'. This track brings back memories of the best work released on the Hyperdub label, with it's fine combination of synths and irresistible, dubby beats. Elsewhere, 'Off Ending' might start off as 'dancehall-but-not-quite dancehall' track but when half way the synths kick in they change the feeling of the track to a more cerebral level.

BELP is the artist name of Sebastian Schnitzenbaumer. Born in Munich, he partially grew up on the Seychelles islands off the coast of East Africa. Educated in classical piano, those two gravitational poles, European and African influences, form the basis for his musical development. Currently he has close ties to the (dub) Sausage Studio in Hackney, London. In his hometown Munich, the Bavarian capital, BELP took a central role in a series of discussions and events aiming to improve the image and possibilities of Munich, which to his regret is a predominantly posh and hedonistic city where optimistic and uplifting music take central role.

In different guises Schnitzenbaumer works as a much needed antidote. Since 2013 he runs the Schamoni label, focusing on supporting local artists like Leroy and Protein. Its sublabel Jahmoni is responsible for recent works by international artists like Aaron Spectre and DJ Marcelle/Another Nice Mess.

BELP's music is dark, serious and layered. His love for dub and dancehall shines through in his broken beats. At the same time the synth layered tracks give the album an atmospheric feeling.

This also is what makes this album essential: it's refusal to be pigeonholed. The last track on side A, 'By Beauteous Softness', is an a cappella rendition of a 17th century Henry Purcell piece, beautifully sung by Alexander Schneider. This track is preceded by 'Transmission', which is a brilliant abstract work, sounding like wind closing on you from all sides. And you can sip a cocktail whilst listening to the jazzy 'Time And Again' (BELP once worked as a jazz pianist).

It's clear to hear BELP took a long time recording this album. Every note, synth, drum beat, is carefully placed. But what the album might lack on spontaneity it more than compensates this with its sheer musical beauty. This also reflects on the abstract sleeve, like 'Elephants' designed by BELP himself.

Enjoy this album on big speakers, as background music or simply on headphones. There will always be new sounds and layers to be discovered!

t's time for magaritas. Dresden's master of the sampler Alexander Scharf chops up cheesy germanness for greater good and varying experiences: Schlager-upcycling it is. »Nur mit Dir« is a lovely summer day's theme, the anthem of freshly found or long lasting love, the hymn for the night with your loved one. »Ode an die Fröbbe« is the morning after. The morning after the morning of too much togetherness: Honestly weird and weirdly lovable. In the end »Grünalge Christian« keeps it all together. Thank you, Christian. Thank you, Schleander.

Lowfish is back! The electro veteran, who's been programming 808s since the early '90s, returns to Suction Records, the label he co-founded and debuted on in 1997, for his first release since 2011. This is suction046 - the 'Hypersensitivity' EP. It's been a while, but as the sprinkling of Lowfish compilation appearances - on labels like Analogical Force and Fundamental Records - over the intervening years have shown, Lowfish isn't interested in radical changes; it's all about quality and consistency. Flawlessly produced 808 drums, meticulously processed for maximum slam, combine with Lowfish's trademark synthesizer melodies and heavily-manipulated dialogue samples... best heard on standout cuts 'Apr294ms' - a melodic techno/electro dancefloor killer - and 'Favourable Reports' - a slice of 808 synthpop with melodic nods to vintage OMD and Gary Numan.

Fresh on Francis Harris' Kingdoms imprint comes Rasmus Juncker's 'Ophold' - six tracks of sublime atmospheres and textures. The Danish musician, sound composer and DJ fits perfectly with the label's aesthetic, joining the dots between ambient, leftfield electronica and modern classical.

Juncker has a background in studying jazz drumming and has been playing improvised music within the jazz domain for many years. He also started to DJ at the age of 14 and was introduced to the world of electronic music production at the same time.

When Rasmus started to think about his debut album he spent several months trying to find his own way to combine his favourite musical influences, improvisation, electronics and classical music. 'Almost a year later', Juncker says, "I went to a sensory deprivation floating tank in Copenhagen while researching for another performance and while I was lying there, floating in the water, deprived from most of my senses, I got the idea to do something drastic in my musical process. Philosophers like Immanuel Kant describe this deprived state as a mental 'Cesura', which became some sort of guideline for the album."

So Juncker decided to start working on the album by leaving the process as well as the final result completely open. 'I wanted to create sounds and music that I had no idea what they would sound like, but would feel like a mental 'Cesura', an 'Ophold' (in Danish)' he states.

He invited musicians, one after the other, to his studio. "I had an electronic musician to improvise patterns and new interesting sounds based on my experience in the deprivation tank. I chose some of the takes and some weeks later I invited a jazz guitarist to listen and improvise on top of what he heard. Then a classical string quartet and a double bass player came to my studio months later, and finally I recorded myself on percussion and drums.

Throughout the recording process I've been experimenting with special microphones in various setups, used noises from the recordings and the room became absolutely essential for the pieces." Juncker states.

"The material I used was all first take improvision which I arranged, layered and edited into compositions. The final pieces were mixed by Andreas Pallisgaard with the same improvised and experimental approach of the recording and the production. None of the musician met each other, but their sounds developed into something completely fantastic I think. The presence of the acoustic instruments and the depth and complexity of the synthesized layers gave some kind of an indescribable sounding music from another galaxy.

Track by track:

'Norddrum' starts proceedings - ethereal, grainy sounds merge and disassociate, as a distant rhythm gradually finds its way to the fore.

The second track, 'Sora' , clocking in at under 2 minutes, is an interlude full of strings, pads, and percussive hits, rich in feeling. This strong sense of sound design and seemingly disparate sounds woven together into a whole carries through into 'Eksotisk Tirsdag' - the strings, plucked instruments and electronics harking back to 4th world adventurers like Jon Hassel and Brian Eno.

'Cyklus' dives into drone textures, pulsing and modulating to create an unearthly soundtrack.

'Havekunst' is another 2 minutes interlude, this time bringing a fully charged rhythmic barrage to the front.

'Cesura', the final track is in essence the EP's centerpiece - a sprawling 8 minute journey that traverses tense, fibrous sections and on into pulsing modular passages, before opening up into glorious moments of wonder and brightness. It's a hugely bold yet fragile endeavour, in line with the whole release.

Jaar's Other People is pleased to present a new solo record of guitar and live custom electronics artist Patrick Higgins, an American avant-garde composer and producer from New York City. Higgins is known for his work in experimental and contemporary classical music, playing guitar and composing in the mythical avant-noise-jazz ensemble Zs. His solo work as a composer unites European avant-garde forms with the post-minimalist howl of New York. His upcoming release on Other People, 'Dossier,' is a four-movement piece performed live without overdubs or edits. All of the samples and synthetic patches were custom built and specifically engaged to become elements of live guitar manipulation. The sound world is post-apocalyptic in spirit but builds to an intimate and reflective end. The material was developed over a two-year period and finalized at the end of 2016. Cover art is by Alfredo Jaar.

Max Loderbauer, who has so far made consistently engaging contributions to the Arjunamusic family, is back to lend his unique interpretive skills to the master recordings for the Brightbird album by João Paulo Esteves da Silva, Mário Franco and Samuel Rohrer. Loderbauer has set himself up for a chal- lenge, since the original album's completely improvised flow of small-ensemble, conversational jazz feels complete enough without outside intervention. However, Loderbauer's role as electronics operator in the similarly attuned Ambiq trio has already shown that, through his mastery of tone color, he has a talent for teasing out the additional hidden details within an apparently 'complete' sonic environment. It's a task he mana- ges to accomplish without ever overriding or contradicting the cohesive message provided by his collaborators.

Adding to the challenge here, Loderbauer chooses to re- mix using only sounds from the original recordings. By doing so, it might seem he is willfully denying himself the chance to use his own signature tools and turn Brightbird's source materi- al into stunningly new electro-acoustic hybrid blooms. Yet Loderbauer succeeds here by becoming something more like a translator than an augmenter - he finds a way to make mea- ningful syntactical changes to the trio's rich and versatile vo- cabulary, and once again unveils a verdant world of hidden details in the process.

The A-side 'Trusting Heart/Cosmos' has an anxious tone introduced by a set of Doppler-effected piano notes that seem to melt in the sun, and is soon complemented by a va- riegated, chattering rhythm line. Here Loderbauer builds up a tactile tension between rhythmic certainty and sharp-angled, de-tuned, and occasionally scrambled instrumentation, framing a disorienting (yet engaging) virtual space where ob- jects' bright hues rapidly change as they contract and expand along multiple dimensions. For the b-side 'Noontide', Lo- derbauer switches to a more focused and streamlined idiom with an uncanny ease, riding along steady waves of sequencer patterning and silvery, resonant shiverings. Reverberating, ho- lographic piano again provides the tonal center here, and the notes ring with a forward-thinking optimism not far removed from classics of the 'Krautrock' era.

Current supporters of all the artists involved will find this to be an invigorating synopsis of their work to date, while newcomers will be treated to a soundworld where skillful fu- sion (the act itself, rather than the music genre with the same name) is constantly on display.

Twenty-eight Years Ago, Pissed-off Twelve-year-olds Around The Universe Discovered A New Planet, A Black Planet. Public Enemy's Aggressive, Benihana Beats And Incendiary Lyrics Instilled Fear Among Parents And Teachers Everywhere, Even In The Border Town Of Laredo, Texas, Home Of The Future Founders Of The Latin-funk-soul-breaks Super Group, Brownout. The Band's Sixth Full-length Album (out May 25th) Fear Of A Brown Planet Is A Musical Manifesto Inspired By Public Enemy's Music And Revolutionary Spirit.

Chuck D., The Bomb Squad, Flava Flav And The Rest Of The P.e. Posse Couldn't Possibly Have Expected That Their Golden-era Hip Hop Albums Would Sow The Seeds For Countless Public Enemy Sleeper Cells, One That Would Emerge Nearly Three Decades Later In Austin, Texas. Greg Gonzalez (bass) Remembers A Kid Back In Junior High Hipped Him To The Fact That Public Enemy's bring The Noise' Is Built On James Brown Samples, While A Teenaged Beto Martinez (guitar) Alternated Between Metal And Hip-hop In His Walk-man, And Adrian Quesada (guitar/keys) Remembers Falling In Love With Public Enemy's Sound At An Early Age. when I Got Into Hip Hop, I Was Looking For This Aggressive Outlet . . . And I Didn't Even Understand What They Were Pissed Off About, Because I Was Twelve And Lived In Laredo . . . But I Loved It And I Felt Angry Along With Them.'

Joseph Abajian (fat Beats' Owner) Must Have Sensed The Deep Hip-hop Well Lying Beneath The Versatile Band's Latin-funk Veneer. i Thought Their Sound Would Work Covering Public Enemy Songs,' Abajian Says, And, it Was Good To Know They Were P.e. Fans . . . We Came Up With A Track Listing And They Went To Work.' Despite The Band's Eagerness To Work On New Original Material (an Album Of Original Songs Is Slated For Next Year), They Couldn't Pass Up The Opportunity To Pay Homage To This Iconic And Influential Posse.

Translating Sample-based Music To A Live Band Turned Out To Be More Of A Challenge Than They Anticipated. Adrian Tried To Get Inside The Bomb Squad's (public Enemy's Producers/beat-making Team) Head In Order To Find The Inspiration To Reinterpret P.e.'s Songs: imagine The Bomb Squad Going Back In Time And Getting The J.b.s (james Brown's Funky Backing Band) In The Studio And Setting Up A Couple Analog Synths And Then Playing Those Songs.' While Some Songs Closely Follow The Original Musical Blueprint, Others Use The Source Breakbeats As Jumping-off Points Later Sweetened By Trombonist Mark speedy' Gonzales' Horn Arrangements, Synth Wizardry Courtesy Of Friend-of-the-band Peter Stopschinski, And Dj Trackstar's Turntable Scratches. But Don't Listen Expecting To Hear Paint-by-numbers Recreations Of Classic Public Enemy Jams. our Approach Is Never In The Tribute Sense,' Adrian Explains. we've Always Taken It And Made It Our Own, Whether It's The Brown Sabbath Thing Or This Public Enemy Thing.' Coming Off Numerous Tours As Brown Sabbath And Even A Stint Backing The Late Legend Prince, Brownout Is Arguably The Tightest And Funkiest Band On The Road Today And They're Psyched To Bring This Revolutionary Music To The People. For A Band Without An Overt Political Agenda, They Collectively Couldn't Resist The Opportunity To Play This Music Live, Especially Now. if There's Any Way That We Can Use The Already Political And Protest Nature (of P.e.'s Music), We Would Like To Try,' Beto Says. the Album's Title, Fear Of Brown Planet Is Definitely A Relevant Idea Today And We're Not Afraid To Put It Out There, Because We Want To Speak Out.' By Reinterpreting These Hip Hop Classics In Their Unique Style And Channeling The Spirit Of Public Enemy That First Echoed Around The World And Captured Their Imaginations All Those Years Ago, Brownout Is Doing Exactly That.