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Samosa Records return with De Gama's new 'Funktastic' EP, a disco and funk groove machine of an EP. Ever since his game changing 'Afrika' release back in 2010, De Gama has been turning heads and this new EP shows why he continues to do so. Not only is it filled with fantastic music but it is only the fourth release on his own label, Samosa Records. Continuing his own form, it is also shows a continuing commitment to great music from the new label and is sure to keep everyone watching to see what they do in the future.


The EP opens with 'Son Of A Slave', a deeply grooving and moving throwback to heyday's of funk. The multi-layered groove will call to mind the heights of dirty groove typical of the Ohio disco-funk bands in the second half of the 70's, reimagined in a way thoroughly suited to the modern dancefloor. '1972' follows, a nod to the same era. It opens in a far murkier manner than 'Son Of A Slave' and exudes a far more modern feeling than the opener. Before long, the irresistible Afro-carribean grooves join in and get your head and shoulders swaying and bobbing, the kind of sound which characterized the Cosmic Wave era. Keys join in and plant a firm smile on your face. This is the other side of soul music.


De Gama closes off the EP with 'Star-Buk' and some handheld percussion. Funky guitar follows in before the big synth and kick join in. Where can the groove go next The bassline answers this question by taking it into outer space. 'Funktastic', it does what it says on the tin.

IT'S TIME TO PAAAARTY! Why The Universe knows that Tramp is celebrating their 40th trip around the sun in 2018. And what about planet Earth Well... it is as blind as it is in so many other situations. Therefore, it is time to shine the light on Tramp for all of its unremitting efforts. As musical diversity is vanishing, especially in the field of African American music from the 1960s/70s, it is our duty to stop the extinction of threatened species of music in the same way an animal welfare activist would do anything to save a gorilla's life. Tramp Records keeps this beautiful heritage alive, every single day, again and again and again. So we are here wondering why Earth people and especially to those from our beloved home country, why why are you just sitting there, going about your life unaware of this historic event What a pity!

The announcement is especially striking when it comes to the prestigious "Movements" series. Like all its predecessors, this ninth volume contains Rare Groove nuggets recorded between the early 1960s and the late 1970s. The fact that only one of the songs appear anywhere else is a jaw-dropping phenomenon! The chronological track listing starts with two amazing cover versions: "Fever" by Gee Gee Shinn & the Boogie Kings and "I'm A Woman" by Connie Kaye Trio. Bus Brown, Earl Demus and Chuck Finney remain in the same direction although their contributions are slightly jazzier. Chick Willis' gut-wrenching "Sometime Soon" easily rivals James Brown's "It's A Man's World" and the recordings by Australia, J.R. and Joe Akens are beautiful examples of privately produced soul from the 1970s. The latin-soul of "Cho Cho San" by Hummingbird 4 heads the sound in another direction for the next three tunes, highlighted by one more stunning cover version, Oscar Brown Jr.'s "Brother, Where Are You". The album closes with some pre-disco tracks from The Counts, Reunion and Hot Cakes' dance floor bomb cover of "Harlem Shuffle".

Over a hundred great unknown songs have been re-released on the first eight volumes in the "Movements" series, the majority of which can not be found elsewhere, and Vol. 9 is no exception. The work of Germany's tiniest but grooviest record label is still incomprehensibly underestimated. We know you diggers, collectors, mavens, aficionados, fanatics, completists, enthusiasts, and just plain record geeks know what's up and we heartily salute you! Without your support there would be no Tramp Records. But now it's time for a broader cultural shift for good music and a sweeping move to uphold the legacy of the unsung heroes of funk and soul. Therefore, we humbly petition you: in 2018, Don't keep all this glory to yourself! Turn your friends and neighbors on! Thank you!


- the double vinyl LP comes with a full album download code

- deluxe double-gatefold LP with detailed liner notes, label scans & unseen photographs

- all but one song appear on vinyl-LP for the very first-time

As the title implies, it's the fourth installment in the series of the same name, which kicked off in 2016 and has since comprised the bulk of Parrish's output. This one includes the full mix of "Leave The Funk To Us," a track that initially appeared on Gentrified Love Part 2. The full version features contributions from Amp Fiddler, John Douglas and Ideeyah.

* Idealz has been involved with Kniteforce since the early Influential days, all the way through KFA and into this new relaunch of Kniteforce Records. This EP is a long time coming - Idealz should always have had a Kniteforce release under his belt, as he has always been, and remains, a distinct sound within the label. This EP brings his unique sound to its perfect place - proper Jungle / D'n'B, but in the old style, and on vinyl where it deserves to be. Run The Tune is one of the best examples of this style released this year, and would fit in perfectly in any 1994-96 jungle set. It is a classic slice of precision jungle, one that moves the dance floor and the mind equally.
On the flip side, Ice Breaker and War On Jungle take the same themes but twist those vibes into other directions. This release, and Mannik's (KF73) really put the flag in the sand for Kniteforce. We do old skool the way it should be done, and embrace all the styles. This is a proper EP for the real underground!

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

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

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

Hailing from sunny California, Subtle Mind have been making not so subtle waves in the US bass scene for quite some time. Their debut release on Subaltern Records brings in a different style to the imprint with a flavourful, melodic yet weighty selection.

Tracklist:

A: Ambitions feat. Ill Chill
Opening the EP, and featuring Bay Area artist, 'Universal Future MC' Ill Chill on the vocals, lounge vibes greet the listener before sinking into a bathe of bliss and bass. Words and synth lines transcending with low frequencies and space, 'Ambitions' is floating above clouds and diving in the deep ocean at the same time.

AA: Gelato
Subtle Mind are putting the classic 808 drum kit through its paces in 'Gelato'. Mellow pads disguise the heaviness at first, but once the ground shaking bass-line hits, there is no doubt that this one is a tactical weapon; it carries the dance easily while satisfying your melodic desires.

AA2: Standard Strain feat. Saule
With this high-grade collaboration we are welcoming the incredibly talented San Francisco-based Saule to the imprint. Carried by airy bells and soulful vocal hits, Standard Strain brings a jazzy twist to the table. Contrasted by dark synth shots and a bumping bass-line this track is an excellent showcase of the producers' musicality.

With its latest reissue, Majik's Back Into Your Heart - Melodies International dug deep into the back catalogue of Hi Records, legendary soul label from Memphis found ed in the 1950s.

Originally signed as a recording artist, Willie Mitchell took the reigns of the label and guided it through its most successful period in the 1970s, notably producing a string of studio recordings for Al Green, Syl Johnson and O.V. right among other eminent soul musicians of the time. Whilst the Hi Records catalogue shifted hands multiple times since the late 1970s, it was mainly exploited as a means to reissue recordings from Al Green and other high profile Hi Records artists (notably by Motown) while the label's more obscure back catalogue remained largely untouched. Years later, a few lesser known one offs from the label's vaults holding the distinctive raw Hi Records production sound and a circling hypnotic quality that makes them potential successful records for modern day dance floors have been getting a second life with record collectors, DJs and on dance floors worldwide. As such, recordings such as Africano's Open Your Hearts have become You're A Melody classics for some years now and Melodies International are glad to bring you one more reissue which in our hearts hold at least the same level of quality and potential as the former. With Back Into Your Heart, Majik pull through with a strong up-tempo disco tune that embodies Mitchell's sound as well as a level of modernity that might explain why it has remained largely unnoticed up until now.

Licensed and re-mastered, MEL010 comes forth in its original 7' format with a folded 14'x14' poster designed by Mafalda.

The early 2000s were a time of upheaval for hip-hop. The underground and mainstream divide that had dened so much of the previous decade was showing the rst signs of irrelevance. Timbaland and The Neptunes made radio rappers sound futuristic while independent artists struggled in a quagmire of backpacks and misguided claims to keep it real. Away from this, in a misunderstood middle ground between hip-hop and electronic music, a new generation of artists were busy imagining a new sound for hip-hop.

One such artist was Scott Prefuse 73' Herren, whose perpendicular MPC chops on his 2001 debut for Warp Records set curious minds racing with possibilities. That same year Tadd Mullinix released his debut as Dabrye on Ghostly International, a sonic wildstyle that appealed to both hip-hop heads and IDM nerds. Sometime that same year Herren and Mullinix met after sharing a bill in Detroit. CD-Rs were exchanged and a year later Eastern Development, Herren's newly launched label, released Dabrye's Instrmntl, a short album with a big impact. On its fteenth anniversary Ghostly International is reissuing Instrmtl on vinyl and making it available digitally for the rst time.

Instrmntl is a continuation of the beat experiments Dabrye began with One/Three and a bridge to the diverse textures that would dene Two/Three four years later. About half of its nine tracks (ten if you lived in Japan) were created at the same time as One/Three while the rest were newer or made specically for the album. Once again Mullinix looked outside of hip-hop to techno, house, and drum & bass for stylistic and technical ideas while embracing the blissful minimalism of a good hip-hop instrumental and the rhythmic nuance of Detroit.

Despite the similarities between Dabrye's debut and this follow up, Mullinix didn't simply replicate what had made One/Three so arresting. He pushed and pulled further between the two cornerstones of his approach to reveal more potentials. Instrmntl takes you deeper into electronic depths — the rugged synth stutter of 'Won', the tumbling, wobbling bass in 'No Child Of God', the electro get down of 'Prospects (Marshall Law)' — while also treading more organic grounds by letting samples breathe and moods unfurl at a gentler pace ('Take Me Home', 'Evelyn', and 'You Know The Formula Right'). And then there are the moments where this push and pull nds balance and the result becomes more, as it does on the mournful march of 'D-Town Tabernacle Choir' and the twinkling daydream of 'This Is Where I Came In'.

At just over 30 minutes, Instrmntl offers a snapshot of a time when potentials seemed innite, when lines could be drawn between jazz, ragga jungle, techno, and hip-hop and the resulting shape divined an exciting future.

- Reissue of the out of print 2002 album, available for the rst time on Ghostly.
- Includes previously Japanese-only bonus track, Gimme Lowlands'
- Standard weight blue vinyl is housed in a matte jacket.
- Dabrye's beats are like Jay Dee getting crunked up with Autechre.' — Prefuse 73

- Astonishing solo debut by acclaimed cellist and composer Lucy - A daring, non-conformist and deviant approach to composition and instrumentation - One side of filigree, multi-layered autobiographical collage-work, the other of raw and phased cello glissandi - RIYL: Mark Leckey, Alvin Lucier, Beatrice Dillon, Nate Young, Valerio Tricoli, Popol Vuh

Lucy Railton is a prolific performer who has appeared on countless recordings and collaborations with many important figures in contemporary music over the last few years. Paradise 94 is, remarkably, her solo debut - featuring archival, location and studio recordings which serve as a time capsule of all the myriad disciplines and influences that have brought her to this point in time. It both plays up to and shatters expectations of her music, which harnesses a duality of energies - acoustic/electronic, real/imagined, iconic/iconoclastic, pissed-off/romantic; out of place and androgynous - resulting in a visceral emotional insight and rare narrative grasp. Variegated, asymmetric, and located somewhere between her usual fields of exploration, Paradise 94 gives free reign to aspects of her creativity that have previously been subsumed into collaborative processes and interpretations of other composers' work. Here, she's free to probe, sculpt and layer her sounds through a much broader range of techniques and strategies, placing particular focus on non-linear structural arrangements and exploring the way her cello becomes perceptibly synthetic through collaging, rather than FX. At every turn Paradise 94 is bewilderingly unique. The A-side unfolds an oneiric, inception-like sequence traversing temporalities, timbres and tones from what sounds like a spectral ensemble playing on a traffic island in Pinnevik, to bursts of rabbit-in-headlights trance arps emerging from meticulously dissected musique concre`te in The Critical Rush, and a collision of masked vocals, string eruptions and a deeply moving, light-headed Bach rendition in For J.R. On the other hand, Fortified Up on side B tests out a far rawer approach, sampling herself playing the same glissandi over and again, which she layers into a sort of perpetual, sickly motion, the Shepard Tone riffing on the listener's psychoacoustic perceptions before calving off into a cathartic dissonant folk coda in its final throes. In the most classic sense, you can only properly begin to f*ck with something from the inside once you truly know it. Railton's dedicated years of service have more than equipped her with the nous and skill to do just that, gifting us with what will no doubt be looked back on as a raw, exposed and important solo debut in years to come.

The latest work of Keita Sano's MAD LOVE Records is a 12 inch split by up-and-coming musicians: Daisuke Kondo and Keita Sano. They hail from Okayama!, the alternative dance music label "MAD LOVE Records, and continue to release good quality music one release after another. The fourth release features Daisuke Kondo who is part of a new generation of producers from the same town as Keita Sano.

Gqom Oh! records presents "The Originators", a five track EP respresenting the past, the present and the future of Gqom - the thunderous club sound from Durban, South Africa. The Gqom Oh! label was set up by Rome-based DJ and musician Nan Kolè to highlight the music and artists of Durban, the often overlooked cradle of the new South African sound. The label's 2016 compilation - 'Gqom Oh! The Sound of Durban Vol.1' - broke the sound out of South Africa, Pitchfork calling it The largest and most thoughtful survey of the genre available to western audiences to date'. Recently joining Kolè is Sboniso Brandon Luthuli aka Citizen Boy on the ground as local A&R. The EP's A-Side is dedicated to two of the genre's most prominent producers. DJ Lag is a frontrunner in pushing Gqom worldwide. Making music from a young age and building up a solid reputation in South Africa, he's known as the "King of Gqom". Griffit Vigo, a real innovator in the Gqom genre, grew up in the same area as DJ Lag and has attained a legendary status amongst his peers. "When I was in Durban the first time I noticed that Griffit Vigo was a kind of legendary figure, he'd been inspiring all the Gqom Durban artists for a long time. Nobody knew where he was but everybody was playing him and sometimes using his beats to make new songs. The main track 'Ree's Vibe' was the peak moment of DJ Lag's sets all over the world. If Lag is the Gqom King then Griffit Vigo is the Gqom Legend."- Nan Kolè. Sbucardo is one of the most respected DJs around the streets and the townships of Durban. Featuring Abnormal on 'Iphoyisa', whose lyrics in Zulu translate to We at the club, Mr police man don't disturb us", the track represents the South African scene and Gqom culture in Durban very well. Naked Boyz (officially the first in Durban to explore new territories in broken beat in 2011) 'Story Teller' is characteristic of the Sgubhu style, a blend of Gqom with more conventional house sounds, the new genre taking over Durban and finding its way onto mainstream radio. Scene kingpins Rude Boyz round off the release's line up of Gqom originators with 'Umshunto'.

"Real name Takeshi Fukushima, Takecha has been a key figure within Japan's electronic music scene for decades and belongs to the same pioneering crew as Soichi Terada and Shinichiro Yokota. Now in his mid- fifties, 'Deep Soundscapes' is an album encompassing Fukushima's sound with every track written by the producer between 1990 and 2013. Intricate percussion and crystalline chords set the tone in 'Deep Drive' before a funky bassline joins serene synths in 'Midnight Things'. Appearing in Soichi Terada's mix for Resident Advisor (under its promo title 'Deep Loop C'), 'Gradual Atmosphere' is comprised of a galloping beat and saccharine chimes, 'Factory 141' sees Takecha demonstrate a murkier aesthetic, whilst 'Rhodes Detox' is a definitive example of Takecha's flair for expertly balancing elements within his productions. An homage to Shufflepuck Cafe´, an old Mac Plus video game Takecha would play on a black and white 9- inch monitor back in the day, 'Shufflepuck' blends ghostly melodies with clicks, whirrs and pops. 'Calm Imagination' is a poignant affair from start to finish with its hypnotising atmosphere, contrasting to the more up-tempo 'Warm Rondo' with its soulful keys and purring low-end. Tying it all together, 'Genuine Innocence' is a cut that Takecha made two versions of; one with a solo from a pianist and another with more emphasis on the beat, the latter of which appears on this album."

Techno Album of the month March 2018 in Mixmag UK!

Central to the Israeli club scene, Deep'a & Biri have long been defying expectations even within a community they helped construct. Serving as resident DJs, activists and bookers for Tel Aviv's legendary Barzilay Club, the pair helped build a transcendent club scene. Hugely influential artists such as Robert Hood, Derrick May, Rødhad, Ben Klock and Moritz Von Oswald passed through the club, enjoying legendary crowds and what they could surely sense was a genuine air of anarchy, rebellion and unadulterated rave pleasure.

As the duo held down dozens of parties with dozens of DJs, there was no 'eureka' moment for their emerging sound; just a steady stream of brilliant, inspiring electronic music, much of which left an indelible imprint on the pair. Now based in Berlin, for Deep'a & Biri, things are much the same, even if the landscape and the city is different. Always rooted in the fertile ground between machines and emotion, on their second full-length LP, 'Dominance', the duo demonstrate their unique grasp of the sensitive, unfolding relationship between man and machine. Steadfast in their insistence never to remain in one lane in terms of their sound, 'Dominance' flawlessly segues between forcefulness and weightlessness. From beginning to end, this is not a record afraid to show its teeth with an uncompromising, instantly recognisable techno palette that kicks the foundations of any sound system with menace, anger and determination, particularly on tracks such as the dense 'Voltage' and pulsing throughout the more industrial flourishes of 'Ecole De Nancy' and 'Seeking Solace'.

Beyond these grittier, although never mindless, moments of authority, a sense of escapism and curiosity imbues the album. 'Alpha Cephei' offers the first hint of Deep'a & Biri's more wistful concepts, producing a smoke trail of twinkling electronics out of a smudged but distinctive bassline. That understated sense of emotional catharsis carries throughout, to be found between the complex-yet-familiar bells that drive 'Flow Diverter's' rhythm to a Detroit-indebted landscape that will surely instantly elasticate any keen dancers, while 'False Memories' offers big-room techno fulfillment with none of the character or sincerity removed for cheap thrills. Saving the most remarkable moments for last, the pair sign off 'Dominance' with the poignant and purifying 'Astral Trails', fusing an ethereal, ambient landscape with the more pronounced rhythms of their hardware.

The album's distinctive artwork comes from the studio of Jewish orthodox artist Avraham Guy Barchil, who forged a powerful connection with Deep'a, both was immediately drawn to 'weird atmosphere, amazing technique and emotions involved with his work'. Perhaps one of the most interesting painters from Israel, Avraham is known for his unique perspective, taking his inspiration from the Zohar - the foundational work in the literature of Jewish mystical thought known as Kabbalah. The ambiguous figures represent mystical aspects of the Torah (the five books of Moses), as well as material on mysticism and mythical cosmogony.
Ensuring their natural, conscious touch always remains at the forefront of this unapologetically machine-driven music, Deep'a & Biri have produced an album in the lineage of their heroes and greatest influences. Cerebral yet satisfying, deep yet always engaging, 'Dominance' both reasserts and evolves Deep'a & Biri's forward facing and singular sound.

In an interview with Jazz Magazine in the early 1970s, Dharma, as a collective voice, outlined their method: 'we try to reach, within free jazz, the same sort of rhythmic cohesion as in Bop, a cohesion based not exactly on tempo, but something which feels like tempo. A kind of underlying pulse'. Evidence of these ideas can be heard immediately on listening to Mr Robinson, the first album by the Dharma Quintet, for whom community living seemed obvious, in order to add to the aforementioned cohesion. Through this, the group members played together on a daily basis, trying out things which were worked on day in, day out. They were also listening to a lot of records, with of course a preference for free jazz, but not forgetting Miles Davis in his electric period, notably for the keyboards of Keith Jarrett and Chick Corea. To which should be added esthetical-political concerns based on a refusal of hierarchy, and a desire to escape from a restrictive academic approach... It was within this framework that Jef Sicard and Gérard Coppéré (saxophones, flute, bass clarinet), Patricio Villarroel (electric and acoustic piano), Michel Gladieux (bass) and Jacques Mahieux (drums) formed the first version of a collective united by structured intentions. Because, within Dharma, individual improvisation cannot be envisaged outside of a clearly designated framework, even non-tempo. The result is a beneficial cohesion, and moments of great beauty born of a collective excitement and giving rise to ambiances which seemed almost possessed. The use of modes could seem to link Mr Robinson to the spiritual jazz of the past but that is without taking into account the fact that the benevolent spirit of Eric Dolphy seems to watch over this album. In France, a similar desire for cohesion could be found in the Cohelmec Ensemble, who had parallel preoccupations, to the point where their bassist, François Méchali, ended up by joining Dharma: there is unfortunately no recorded trace of this, just the memories. As a quintet, with however some personnel changes, Dharma recorded three albums (there is also one as a trio, under the name of Dharma Trio), which are all of fundamental importance (Dharma would also accompany, and to great effect, the songs of Jean-Marie Vivier and Colette Magny). Individually, the members would record with musicians passing through (notably Anthony Ortega, Dave Burrell) and participated in other key groups including Machi Oul and Full Moon Ensemble.

The Grateful Dead forged its legend on the road, traveling countless miles between 1965 and 1995 to perform a world record 2,318 shows for millions of devoted fans. The band's refusal to ever play a song the same way twice has endeared generations of fans, many of whom prefer certain live versions of songs over their studio counterparts, and garnered the popular phrase among Dead Heads: There is nothing like a Grateful Dead concert.'

The live albums the band released during its 30-year career are the primary source for the collection, including tracks like Bertha' from Grateful Dead (Skull & Roses) (1971), Fire On The Mountain' from Dead Set (1981), and The Music Never Stopped' from One From the Vault (1991). A testament to its ongoing popularity, the revered double-album Europe '72 (1972), is represented by no less than five tracks, including Sugar Magnolia,' Jack Straw' and a searing rendition of Morning Dew.'

Other performances on the set were selected from the growing number of live releases that have emerged since the death of founding member Jerry Garcia in 1995. Some of those recordings include Touch Of Grey' from Truckin' Up To Buffalo (2005), a 1990 version of Eyes Of The World' with saxophonist Branford Marsalis featured on Wake Up To Find Out (2014), and Estimated Prophet,' which debuted earlier this year as part of Cornell 5/8/77, a recording of the Grateful Dead's mythic show at Cornell University in 1977, thought by many to be the band's greatest live performance.

Made for die-hard Dead Heads and new fans alike, The Best Of The Grateful Dead Live Vol. 1 1969-1977 will be available as a on 180-gram vinyl as a 2-LP set, covering the first half of the album, on March 23rd. The music will be available through digital and streaming services as well.

Alien Ensemble's trombone man Mathias Goetz caused quite a splash when he released his eponymous debut LP under his Le Millipede moniker back in 2015: The multi-instrumentalist's initial offering was clearly something else, impossible to grasp, a musical vessel beyond genre, beyond style or era, seemingly beyond space and time even, a vessel that carried an almost cosmic kind of song-craft - music with no fixed stamp of origin, though it did somehow feel like an Alien Transistor release. Followed by remix album Mirror Mirror, which comprised reworks by 1115, Protein, LeRoy, Olaf Opal, and Saroos, to name a few, it's now time for album #2: The Sun Has No Money.Let's face it: There's nothing as majestic as the sun. At least not in our world. If it runs out of juice one day, it's game over: The End. Light's out. For everyone. At that point, it wouldn't even matter if you're rich or poor. We're all equal under the sun. Same level. And yeah, this might not be major news, but then again... we're talking about the sun. The sun! Guess it's about time to acknowledge its power and superiority, right In fact, you can feel it on your bicycle: pedaling at night, when it's on duty in other hemispheres, and you're working hard at the dynamo, sweating, you can actually feel how powerful it is. In the end you get off the bike all recharged, a tune on your lips - and somehow feeling like a miniature version of the sun yourself. And whenever you feel like that, that's exactly the right moment to grab a melodica and get to work.Following an initial warm-up round sans electricity, this new album soon begins to glow: Mathias Goetz aka Le Millipede doesn't need pedals, he boosts circulation by single-handedly* playing tons and tons of different instruments - it actually feels like thousands, easily. And thus begins a show that has countless levels to it: There are various sonic illusions... and yet Le Millipede doesn't hide anything: He's also willing to show the inner workings, the actual recording process and everything else. In short: he goes meta. Makes songs about making songs. That's right: why not use all these beautiful means to address the issue of money It's not the sun that casts shadows, all it does is recharge, fuel: growth & thriving, that's the sun's area of responsibility. And yet there came a man whose plan was simple: steal the fruit from your garden, only to sell it right back to you, for money. We can hear the sea gulls crying in the distance, as somebody is throwing breadcrumbs up into the wind that carries their voices...It's not the sun that casts shadows - all it does is radiate light. And yet there came a time when someone blocked those rays of light. Now if you're some kind of Diogenes, you'll simply say, Move at least a little out of the sun.' But if you're a teacher, you'll maybe light up your pipe and use that to lighten up. What matters is that the percussion parts, in this case, resemble some serious musique concréte. The sun doesn't know shadows - all it knows, is itself. And yet somebody entered the picture and built an entire city. A city full of streets, so that houses can cast shadows into these avenues. Plus, there's music in the streets, music originally written inside the walls of said houses.One of those streets is known as the Tin Pan Alley: a place that got its name from a music writer who compared the sound of so many pianos to the banging of tin pans. That sound: that's one side of the road that is this album. Some of these melodies appear to be shadows of earlier tunes, dating back to, say, 1898 or even before that, melodies that were first registered in the Tin Pan Alley publishers' offices back in 1912 or 1917. We actually get to see this Alley at that point in time. We see the ropes, the workings. How things come together, the actual act of creation. Suddenly, we can hear the shadows!
Okay, so one side of this street is America. The US of A. The opposite side: Russia. And smack dab in the middle: Europe. A pothole in the center. All the back-and-forth that occurs between these two poles ultimately depends on the movement of the sun. Night and day, taking turns, commuting in and out of sight. We get to meet Prokofiew's and Scriabin's ghost, among other spirits, reframed and published by Le Millipede's own imaginary label imprint on the historic Tin Pan Alley. Indeed there are moments on this album when Le Millipede seems to be playing Scriabin's clavier a` lumie`res (tastiera per luce), when his performance seems to be based on synesthesia, a wild cross-pollination of colors and sounds. In case you didn't know this: In the States, Prokofiew goes by the name Brian Wilson, and Scriabin's also known as Sun Ra - yet another guy who's usually broke, but gets to spend a lot of time out in the sun. Together, these assorted protagonists ask the people of the Antilles for Mutabor dance-tokens and send postcards to Moondog in Germany, right back into the darkness. On the postcards you can see people dancing the Biguine...Firing foreign fossil fuels from all pipes (Brennelementsteuer!), Le Millipede controls the very center of this hustle and bustle: going as far as to employ some southern Chopped & Screwed styles, he's 100% current and zeitgeisty! Houston, we've got a problem: there's some kind of myriapod, centi- or millipede on the loose! Well, give me another sip of lean, sizzurp, dirty Sprite, and on goes the journey in the Pullman coach. Let's follow the sun! Keep on moving, keep things motorik! Here comes the Trans-Eureka-Express. Cherish the backpacking days! A piercing rhapsody of sound (bohrende Rhapsodie), we'll remember them fondly! And thus things move on, the sun, the days, the earth: rise, set, action, round and round... onwards eternally. The sun: the biggest loop known to mankind. As if it was some kind of sonic Rube Goldberg contraption, time seems to be stretching out while listening to that hmmm. After all: time is a lot (a lot!) more than just money. And yeah, the sun is the real big shot on (or rather: above) Planet Earth. Le Millipede's live line-up also includes Markus & Micha Acher (The Notwist etc.), Nico Sierig (Joasihno), and Manuela Rzytki (G. Rag & die Landlergschwister, Kamerakino etc.).
*sole exception: Evi Keglmaier (Zwirbeldirn, Hochzeitskapelle) plays the viola. Words/sun worship: Pico Be

We wanted to start this new year the best way we can and decided to welcome the italian stallion CHRISTIAN LISCO to our roster! Acid Cuts EP is a raw tour de force and fans of analog gear, distorted drums with acid bass-lines and soulful vocal samples will surely get their moneys worth! Remix support by the mysterious High Density System offering a totally new atmosphere of "66" keeping that same raw feeling.

Yellow Sunshine' by the band of the same name is an essential proto-Disco jam from back in 1973. A big one with the underground Disco heads and B-boy DJ's in the Bronx alike this record is a sure-shot! Often early Hip-hop DJ's would buy 2 copies of this 45 or the LP and cut it up long enough for the crowd to get loose and into the groove. A party-rocker of the highest order. Produced in Philadelphia, originally released on Kenny Gamble's 'Gamble' label and featuring some heavyweight players including Dexter Wansel, Roland chambers and more, 'Yellow Sunshine is the perfect blend of funk, Rock & Disco - old school style. Backed with 'Don't Tell Me later Girl' a la the original '73 Gamble Records promo this one's an essential for anyone who digs that Funk! There's always been poor imitations, but this 2017 repress is from the MASTER TAPES (Yes, we can prove it) and is fully, 100% LEGIT in every way. 'Yellow Sunshine' - now available again, released in conjunction with Gamble / PIR. Back on the streets. Same as it ever was! Buy on sight!

Cut from the same cloth as last year's double-cassette, 'Like All Mornings,' Vanessa Amara's new album trails shorthand piano pieces and wilted strings through magnificent, electro-acoustic surrounds, often settling into buzzing, syncopated reveries. 'Manos' takes its name from an abbreviated term of endearment. Spoken in this form, it's an affectionate and inclusive gesture from friend to friend, or indeed from gang member to gang member. Vanessa Amara seemingly take their cues from either usage. Their new album feels hesitant to reveal its parts, and is perhaps a document of the limits of what can be revealed, a memorial to its own process as it winds itself in and around its delicately hued landscape. Though beginning with a morose gait, the album quickly turns over. And revealing its softer self, the clarity of the moving string arrangements hang in the air like fine mist. Everything settles against surfaces as the day breaks, opening up the space, though eventually condensing into the unnerving crescendo of the album's final piece. A recurrent, gentle whirring, much like a gramophone's needle, tracks through much of 'Manos.' It carefully steadies the listener into a mode of measuring duration, a meditative self-awareness that deliver's Vanessa Amara's world. Always intricate, and effortlessly tender, 'Manos' is an album as textural as it is melodic, and it is certainly the most exquisite suite of works to have been presented by Vanessa Amara thus far.

Part of the current crop of artists spearheading the UK acid revival, Posthuman's output has evolved over the years, encompassing many genres & styles from their early electronica releases, to their later acid & slow-mo techno.

Their debut release in 2000 was a series of hand made CDs simply called "Posthuman" (though better known by the colour of the card inserts - grey, black, blue and brown). The duo then went on to host a number of parties in an abandoned underground train station in London between 2001 and 2004, and founded their own label Seed Records (2) with which they released 3 albums and several other releases of their own and other artists material. They also were the first act on Manchester based imprint Skam's SMAK sublabel.

Doherty left Seed Records to help relaunch UK techno imprint B12 Records in 2006, and started a new label Balkan Vinyl in 2010.

In 2007, Doherty founded London-based acid house retrospective clubnight "I Love Acid", where Posthuman are monthly resident DJs. In 2014 the clubnight launched a vinyl-only label of the same name. He also performs as AGT Rave Cru and as one half of Altern 8 live shows since 2015.