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Back in 2015, to celebrate the 50th anniversary of the BBC broadcast of Delia Derbyshire & Barry Bermange’s “Inventions For Radio: The Dreams”, The Eccentronic Research Council released their own super-limited edition cassette soundtracking the recalled dreams (and nightmares) of friends, artists, actors, musicians, scientists, poets and filmmakers. The release was called “The Dreamcatcher Tapes Volume 1”. Five years on, and with a large part of the planet under lockdown and with nowhere to go but within their imagination, the ERC put a call out once again to music collaborators, nurses, teachers, truck drivers, writers, journalists and shop workers to upon waking, record their dreams straight into their phones and to then send them to the ERC to soundtrack. And thus, Volume 2 of The Dreamcatcher Tapes was born!

How did you make the album during lockdown?
“We got around 26 dreams sent to us via email over the space of a couple of weeks then Dean Honer my partner in The ERC and I revved up the old analogue equipment and would record music and collage sounds to the dreams (remotely) from our home recording studios and bounce them back and forth to each other till they were done. It was a really good way to work actually, sometimes I didn’t even have to put on any trousers!” says ERC/ Moonlandingz founder Adrian Flanagan. Why a second volume of The Dreamcatcher Tapes? “I was really interested to see how the enforced lockdown and the removal of people’s basic needs such as human contact and hanging out in close proximity to friends was affecting the dreams of my friends, peers and those at the very front line of this horrible pandemic”, Adrian continues. “The Important shared experiences for people’s mental health such as going out to gigs, the pub, the cinema etc. ”It was an interesting experiment. Nurses dreaming of inadequate PPE and having to use blow up Elvis costumes to protect themselves. Teachers dreaming of zombies and lots of people dreaming about sex - where the hair of Greek sorceress’s Circe meets bouncy castle breasts and where other dreamers dream of serial killers or seeing dead family members, or taking baby elephants for a walk, or having discos for one in the middle of the ocean and so much more. I’m really proud of this record. It’s psychedelic in its truest most cerebral form”

Who’s on “The Dreamcatcher Tapes Volumes 1 & 2”? Who are the dreamers?
“Although our long time collaborator Maxine Peake wasn’t on the very first tape (her dream ended up on LTD edition split 7” ERC single we did with Pye Corner Audio) - she was the first dream that we soundtracked when I came up with the idea of doing the concept record. However, on the new vinyl and tape box set - she opens volume 1. Across the 2 volumes there’s film maker Carol Morley, Andy Votel from Finders Keepers records, John Doran from The Quietus (who also wrote the albums brilliant sleeve notes), acclaimed writers Benjamin Myers & Adelle Stripe, musicians such as Evangeline Ling from the group Audiobooks, Lias Saoudi from my ‘semi fictional band’, The Moonlandingz and fat white family, Sidonie from The Orielles, journalists /writers Wyndham Wallace (he wrote lee Hazelwood’s brilliant biography) and Daniel Dylan Wray amongst a whole array of musician friends, eccentrics and people with actual proper jobs!”

Why did you chose Castles in Space for this release?
“Jim Jupp at Ghost Box records suggested them to me so I looked into them and saw they were doing loads of really great strange little bespoke electronic record releases. I think that because this is a very niche limited run release, it required a label that was willing to treat it like a piece of art and not a throwaway mass produced commodity. So making sure the packaging was special, the artwork was bang on point and the sleeve notes were written by a writer we like all were very important to us. “It was also important that we could turn it around from the finished recording to being in people’s hands really quickly as Dean and I have another ten projects between us on the boil - and so far, Castles in Space have been true to their word. It’s an artists label done with love and there’s not many of them about anymore - believe it or not.“

“The Dreamcatcher Tapes Volumes 1 & 2” is an immense collaborative achievement which makes for a thoroughly compelling, and gloriously disorientating listening experience.

It is released as a double coloured vinyl LP in deluxe gatefold sleeve w/insert and a highly limited deluxe double cassette box set. The album is released on March 19th, 2021.

La Musica is a dreamy track for the perfect Balearic experience. Written by the "Balearicos" it comes with 2 great remixes, one from the chillout legend Cris Coco and another one from Rudy's Midnight Machine .

The original version comes with a long and chill intro of over 2 minutes where echoes and synthetic pads build up the atmosphere to a heavenly happy place until the beloved classic combo of tr 909 and Korg M1 Pianos send all us back to 90s open air dance floor in Ibiza.

There is where the journey starts, accompanied by the piano chords and Brazilian sounding voices, saying: "La Musica".

After the Hype we go back to a chill place, and a soft ending of the track.
Perfect for a set on the beach or as a warm up record, will fit perfectly in your Balearic session.

Rudy's Midnight Machine takes the elements written by R.B. and shakes everything into a Disco dimension.

All the elements for the perfect track are in place: Funky Bassline, Open Hi Hats and muted guitar plus an exploding chorus with a great melodic hook.
You can't miss this tune if you are into Disco with a classy and modern feeling.

Chris Coco's remix is a classic take made with great taste.
He keeps the harmonic elements as well as the bass line almost intact, plays around with the vocals and adds melodic bits that almost give a tropical feeling.

Don't be fooled by a soft intro because the rhythm is soon coming in and taking the listener to the dancing zone. It may generate good moods and generally happiness.

Be assured that even dawning on sixty and with a career spanning more than 30 years, Popa Chubby continues to fight against the injustices of this world !
And the least we can say about 2020 and the COVID-19 pandemic is that it offered him the “magnificent” inspiration that fed into the creation of his new album “Tinfoil Hat”! As he writes himself, this record’s creation was self-evident from the beginning of the first lockdown in March.
Back at his base in the Hudson Valley and following his last show played in Florida, our man immediately wanted to send a message of empathy and support to his fans, and that’s how the song “Can I Call You My Friends?” was conceived. The reaction was so sudden, warm, and intense that he found there was enough material for continuing this “dialogue” by composing other songs that today form the framework for “Tinfoil Hat.”
The whole thing was entirely “homemade,” recorded and played by Popa Chubby with the extra Guts and Soul that great causes often bring to life. “Tinfoil Hat” and the 11 songs that make it up were born from a mixture of love, despair, fear, frustration, pain, joy, sorrow, resolution and the leap into the great unknown imposed by the coronavirus that has been with all of us all since last
March. The Trump administration’s chaotic and reckless management of the crisis provided Popa Chubby with the inspiration for uncompromising lyrics. Like those of the title song (supported by, to say the least, an explicit clip) or themes such as “You Ain’t Said Shit,” “No Justice, No Peace,” or “Another Day In Hell.”
Without forgetting to pass on messages of hope (“Someday Soon, Change Is Gonna Come”) or even for good behavior in the face of the virus with “Baby Put On Your Mask.” In the album notes, he writes, “Like all of you, this pandemic has pushed me to the very edge of my humanity. But the music, the sweet music, has put me back on the right path once again. So I offer this work with humility and the deep devotion I have for you!”. That says it all!

Gator Boots returns… On the A side, Roy deeply flipped and reinterpreted with underground appeal for the discerning DJ. On the B side, an absolute Wonder classic. Rounding it out 'Send a Letter', expanded and splashed out with lush pads, warmth and a lil' drum machine flex to boot!

Lost Horizons release their new album ‘In Quiet Moments’ via Bella Union. The album features a stellar array of musical guests including John Grant, C Duncan, Marissa Nadler, Porridge Radio, Penelope Isles, Karen Peris (the innocence mission), Tim Smith (Midlake), Ren Harvieu and many more.
In 2017, Simon Raymonde and Richie Thomas had both abstained from making music for 20 years until they united as Lost Horizons and released a stunning debut album, ‘Ojalá’ - the Spanish word for ‘hopefully’ or ‘God willing.’
“These days, we need hope more than ever, for a better world.” Thomas said at the time. “And this album has given me a lot of hope. To reconnect with music.... And the hope for another Lost Horizons record!” Thomas’ hopes had a mixed response.
On the plus side, the new Lost Horizons album ‘In Quiet Moments’ is an even stronger successor to ‘Ojalá’ with another distinguished cast of guest singers and a handful of supporting instrumentalists embellishing the core duo’s gorgeously freeflowing and loose-limbed blueprint that one writer astutely labelled, “melancholydelia.”
On the minus side, any hope for a better world, as Earth continues to freefall toward political and social meltdown. Then, to make matters worse, as Raymonde and Thomas buckled down to create the improvised bedrock that Lost Horizons is built on, the former’s mother died. At least Raymonde had a way to channel his grief.
“The way improvisation works,” he says, “it’s just what’s going on with your body at the time, to let it out.”
Raymonde (bass, guitar, keyboards, production) and Thomas (drums, occasional keys and guitar) forged ahead, creating 16 instrumental tracks to send to prospective guests. When he did, Raymonde suggested a guiding theme for their lyrics: “death and rebirth. Of loved ones, of ideals, at an age when many artists that have inspired us are also dead, and the planet isn’t far behind. But I also said, ‘The most important part is to just do your own thing, and have fun.’”
Lost Horizons’ melancholy-delia also feels buoyed aloft by airy currents, informed in part by Raymonde and Thomas’ former respective bands: the legendary Cocteau Twins and Dif Juz. Their former bands were labelmates on 4AD in the mid-80s, which is how they first met.
“I think ‘In Quiet Moments’ is more in the direction of where we’re going,” Thomas concludes. “People have retreated into their lives and, in those quiet moments, reflected on the world, how we fit in and who we and trust. Maybe the next album will be about rebellion! But the road is long and winding. We just need to express ourselves in how we feel at the time.”
Coloured vinyl 2LP (disc one green, disc two blue) in PVC outer sleeve with printed text, 350gsm wide spined sleeve on uncoated/reverse board, 16pg booklet on standard paper with contributions from all featured artists and digital download code.

"On March 2, 1991 Serge Gainsbourg bowed out and left France orphaned by one of the most important singer-songwriters of French song. Thirty years later, his songs are still with us, proof of their quality. Indeed, beyond the many successes that have marked a career spanning more than thirty years, Gainsbourg's repertoire is abundantly rich. Always at the forefront of innovation, he has been able to adapt his delicate and classical writing with the most modern musical styles: jazz, reggae, funk ... without ever losing his eloquence or his soul. This 2LP Set sends us back and shows how Serge Gainsbourg was an emblematic and major figure.Reviews L’Echo, London Macadam,
ADS - L’Echo, London Macadam"

We last heard from Radeckt on the Spektrum 2 compilation, now he’s back with his debut solo EP. The Danish producer specialises in emotionally-driven club music, designed to spark inspiration and moments of contemplation. The dance floor is a safe space for free expression, human interaction and catharsis… Radeckt’s music is the perfect accompaniment to these channels of connection, while encouraging you to dance. On the Corroded Mind EP we get four original cuts, all of which encapsulate Radeckt’s penchant for music that moves the soul… It all begins with the title track. ‘Corroded Mind’ has a subdued intro, gently guiding us into a mesmerising sonic landscape. Soft pads massage the mind while siren-esque effects and metallic beats encourage the body to move to their hypnotic rhythm. Radeckt imbues the second half with drama and energy, while still keeping the mood sombre. ‘Narrative Lie’ utilises layers of emotive synth and serene sounds, along with a meandering melody that lures you into its rhythmic flow. The glum low end counteracts the brighter elements of the track creating a neat juxtaposition. As the track progresses, the intensity of the main motif increases, sending temperatures rising. Next up is ‘Invisible Guard’ with its oscillating bass and simple, yet highly effective riff. Radeckt confidently applies the pressure, carefully increasing the tension until we reach a scintillating breakdown which takes us into the glorious second half.
‘Silver Lining’ closes the EP, bringing a little bounce to the release. Radeckt gives us stuttered beats with great use of percussion to provide the energetic allure of this cut. As it builds, he incorporates an earworm melody along with neon laser synth lines and the whole thing feels like an eighties TV show theme with 21st Century sheen.

Children Of Tomorrow will celebrate soon its 10 years anniversary. The label was created by Emmanuel Ternois back in the day and being joined by Arnaud Le Texier in 2011. Since then they focused on Techno producing amazing artists, to name few: Terrence Dixon, Zadig, Tensal, Antigone, Oscar Mulero, Jonas Kopp, Samuli Kemppi etc... Children Of Tomorrow is now presenting the first album from Arnaud Le Texier. After almost 30 years Dj-ing around the world and almost 20 years producing. Signing many releases over the years and always busy delivering dance floor releases, it's been a long wait to finally get an album from ArnaudOn his first album we can feel that he wanted to tell a story and to express something deeper with his production experience. There is a different variety of Techno that stretches from ambient / broken beat / hypnotic / raw Techno along with subtles grooves, wondrous atmospheres & sonic textures. On A side the album opens with Dusk, an ambient atmospheric mid-tempo track with sonic sounds that is a perfect intro.Pattern 2 starts with drones and blip sounds and a broken beat groove follows with a pad that sounds like a voice coming from the space. The track ends with some modular click sounds that make the whole track clever. Followed by the album title Granular Therapy, a deep techno track with modular bass line and melancholic pad. A perfect track to play in after or to warm up a party.The B Side is more dedicated to the dance floor with Black Nympheas that is a proper dark modern techno with a grinding bass line and magic drones. A simple beat makes the track evolve in a nice way. Blade Pass frequency is 4/4 effective Techno with a 909 kick, a syncope acid bass line and a pad that sends you to another dimension. It is a powerful track but with a sense of deepness and sensibility that Arnaud can achieve sometimes. This side closes with Binary Sun Dawn which is an ambient track with melody that has a jazz feeling mixed with dark atmospheres, sonic drones and water drops. The C side opens with Mono Driver, a minimal track with a little synth that stays until the end repetitively until it makes you travel and lose your mind. Deep and dance floor at the same time.

Then Snapper is a more percussive track with some shinning bells and a grinding modular bass line.

The last track Virgo Consortium is a cosmic broken beat with dark atmospheric drone, simple bass and phasing efx. The D Side starts with Midi overdub which is a beauty. A mix between ambient and broken beat. The pad has the deepness that transports you somewhere else with an angel choir on top. The beat is spacial and groovy at the same time with smart high hats. This reminds Arnaud's past ambient production but with a modern approach. Surely a special track of the album.

Hideous Engine is more dance floor with metallic bass line and 4'4 beat going towards a sonic pad that closes the track.The last track Dawn is ambient with drones and blip sounds and an acid bass line modulate. A perfect end of the album.This album is an accomplished journey that makes you dance and travel from dusk till dawn. Arnaud Le Texier shows a coherent vision and illustrates his vast diversity in the techno world. Hopefully we won't have to wait 20 years to get another one.

Okocha Records sendet Grüße aus „Jazzenatico“ und nimmt euch mit auf eine musikalische Reise an der italienischen Adria entlang. Nehmt euch eine kurze Auszeit und genießt den sonnigen Tag am Strand von "Jazzenatico" mit harmonischen Melodien und warmen, jazzinspirierten Instrumentals von u.a. FloFilz, Wandl, Wun Two, Twit One, digitalluc, Melodiesinfonie uvm.

Born in Croydon, UK in 1960 and working in Switzerland for decades, Michal Turtle has led a storied career as a composer, arranger, technician and producer, consistently aligned with some
of the most exciting bands and projects within the realms of pop and experimental music. A figure as masterful in the realm of expansive ambient recordings as advertising jingles, it’s only in recent
years that Michal’s solo productions have gained acclaim and a cult following that continues to grow ever wider.
Turtle made a long-awaited return earlier in 2020 with the extended ‘On a Canvas Lived a Baby’, a one-sided twelve of new material released on Planisphere Editorial. Now, the Basel based label
invites a diverse and international cross-section of electronic musicians to reinterpret the artist’s back-catalogue, each delivering a thoughtful remix driven by the same sense of curiosity,
exploration and genre-blurring that Turtle himself helped pioneer. Each track on the remixes collection was originally recorded between 1980 and 1985, in between Turtle’s regular tours with established bands. Opening the collection, Laurel Halo adopts her LH alias for a textural and tripping revisit to ‘Phantoms of Dreamland’, transporting the haunting original to a hyper-detailed alternate dimension. Zoning back in, Neue Grafik finds typically eclectic form with ‘Men in Green’, turning the dials and blending ideas as if tuning between the emerging musical scenes that defined Turtle’s early-eighties life in Camden, London. In stark contrast, avant-garde polymath Felicia
Atkinson designs a ‘Fennel and Moon’ version, weaving between earthy field recordings and an aching piano line, conjuring an almost ritualistic atmosphere, far from the city. Radical musical turns continue to define the collection as son of Detroit, Jimmy Edgar takes
‘Rainwater Fijit’ down a dark, damp tunnel, expanding on the pitter patter of Turtle’s more outlandish studio experiments, blending vocal experiments with fresh funk. Colombian experimentalist Lucrecia Dalt pulls further bizarre shapes from a patchwork of samples, a heaving,
gasping industrial shuffle, before French producer D.K. returns a stronger rhythm, both building on Turtle’s lovingly naive tributes to the legacy of sample culture and his trusty ARP2600.

Ostgut Ton mainstay and Panorama Bar resident Nick Höppner proceeds to sensitively rewire ‘Maid Of The Mist’ into a blossoming, introspective celebration of melody and ambience, an
almost weightless experience that lends itself well as a breather before Luca Duran’s analogue, acid-tinged take on Spookie Boogie takes Turtle’s esoteric touches back into the direction of the
funk and italo records at the heart of his initial inspiration.
The Remixes final chapter continues to expand in distinct and wide-reaching sonic directions. London’s Object Blue seems to slow time itself across her sublime interpretation of ‘Ball Of Fire’.
Initially Turtle’s tribute to Howard Hawks 1941 film classic and the legacy of old Hollywood, worlds further collide into rolling, weightless bliss.

Fellow Swiss citizen Mehmet Aslan stirs an enchanting, percussive mystery that unfolds with great
pleasure on El Teb, while Parco Palaz conjures not one but two radically different remixes of ‘Are
You Psychic?’, demonstrating both their imaginative nous, as well as the depth of Turtle’s legacy.
Finally, an irresistible vocal contribution from Oso Leone adds even further colour and joy to ‘Maid
of The Mist’, sending off this ambitious collection on a transformative, dream-pop high.
With further details set to be revealed, there is an ongoing development focused around the
accompanying art and visuals. The Peruvian born and now Amsterdam based graphic designer
Jonathan Castro leads the art direction, along with visual artist Chris Harnan. Both artists look to
explore the intersection between sound, imagery and its reorientation, exhibited through the
musical contributors and visual translation.

“I am happy and honoured to have been the spark for this remarkable compilation.
The magnificent work done by this collection of very special people speaks for itself, so listen and
be transported. It has been half a lifetime since my original tracks were written, and I am gratified
to know that they are somehow still relevant enough to be reworked and reinvented.”

As part of their ambitious ‘The Feeding of the Five Thousand Remix Project’, punk pioneers Crass are returning with another exclusive coloured 12” single featuring remixes by industrialists Test Dept and LA based artist Maral. Late last year Crass took the step of making the original separate track stems of their seminal debut album ‘The Feeding of the Five Thousand’ available as a free download. With a call to take the original sixteen track recording in its pre-mix state, the intent was for people to create their own remixes and interpretations and breathe fresh life and ideas into this revolutionary music. First released in 1978, ‘The Feeding of the Five Thousand’ pre-empted rap and grime in its hard-on-the-beat, fast fire, uncompromising lyrics and the iconic sounds and messages are ripe for reinterpretation. Crass encouraged people to rip apart the sound and ideas and create something new, then send the files to Crass Records for future releases and charitable projects. The message is DIY like it never was before. “Yours for the taking, yours for the making,” Crass said.

Quattrovalvole is the future/past/disco/drive project designed by Joone and Miss Zagato. Four on the floor Italo-disco, glossy 80s new wave pick us up in this afterdark lifestyle EP. The title track ‘Into the Night’ is a curb crawler’s seduction. Dedicated to the leather hand-notated black book, our dial up lover calls with arpeggiators demanding, then teasing like feathers over the phone. Big chords push us to drive fast, ready for what we long for.

B-side ‘Too Many Lights’ squeezes us, just what we need when broken glass is swept up from the disco floor. Tame drums and retro claps dictate, as the chords are stargazing with Miss Zagato’s vocals. They preside over the party, with potions of bliss and intoxication, we are invited intimately into this dream life.

Joone’s ‘Into The Night’ remix takes us into the future, driving at the wheel of an alcantara suede upgraded Ferrari 308 Vetroresina. The layers of well-informed 80s synth wave sends us into another dimension.

These are three high class disco tunes with real song craft at their heart.

Limited edition 12” LP - 180 gram silver marble vinyl. In response to a
world struggling with disruption and discord, Tony Tixier has instinctively turned towards his music as a way to re-establish the sundered
connections of everyday existence.
‘I Am Human’, a series of remotely records duets - available only on limitededition vinyl - was created when he returned from a sell-out US tour to find himself locked down in his Paris apartment.
An escape route appeared out of a happy combination of chances: a loan of a new piano from Yamaha and an encounter with a neighbour, David Freiss, who turned out to be an expert sound engineer. Tixier conceived a plan to spontaneously record a series of pieces, all in one take, and then send them out across the world to a chosen band of his closest musical accomplices - Scott Tixier, Hermon Mehari, Ben Leifer, Logan Richardson and Adrien Soleiman - musicians with whom he felt so closely in tune that the enforced separation of time and space could be overcome - and invited them to overdub a response to create a series of virtual duet recordings “Each track is dedicated to a friend, someone I feel close to - I sent them the track in the morning, and by the afternoon I had the track back with their parts.”
Each side of the vinyl release is opened with a performance of an original solo piece by Tixier, both recorded back to back. ‘Leaking Life’ is a meditation on the passing of time and a call to action to make the most of every day. ‘Humain’ is an expression of his own identity “A presentation of myself - I don’t see myself as mixed race - I am 100% black, 100% white, 100% human.”
Tixier has travelled the world with the likes of Christian Scott and Keyon Harrold and performed for audiences across four continents, but this is his most personal, direct work to date. Reaching out across the world, sustained by a network of friends, he has delivered a statement for our times that transcends the limitations of remote recording with the sheer force of its emotional connection. Personnel: Tony Tixier (piano), Scott Tixier (violin), Hermon Mehari
(trumpet), Ben Leifer (double bass), Logan Richardson (alto saxophone), Adrien
Soleiman (tenor saxophone)

In 1978 Pharoah Sanders went into the studio with pianist, Ed Kelly, who was an important figure in the local San Francisco and Oakland jazz scene. The two of them recorded six tracks which ranged from covers of standards, through soul jazz through to two real gems. The album was originally released as Ed Kelly and Friend due to Pharoah being contracted to Arista Records at the time. Indeed, as you can see, the cover shows Kelly playing next to Pharoah’s hat, shoes and Selmer tenor saxophone.

Rainbow Song, a Kelly composition, opens matters in a manner far removed from Pharoah’s work on his Impulse albums (although there had been a dramatic change of course when he signed with Arista and recorded). This is firmly in Grover Washington Junior territory with a liberal sprinkling of oh so tasteful strings. The Master’s sound is full and mighty as ever.

With the radio track out of the way it is business as hoped for and Newborn is a Sanders composition that burns with intensity. The power of his solo is as good as anything he has produced and he runs over the full span of the tenor’s range and onwards into territory lesser known or explored by 99% of sax players.

Sam Cooke’s You Send Me is treated with reverence and respect, with Pharoah delivering a sensitive and heartfelt rendition and ending with some extraordinary phonics, which we will meet again on later albums. Kelly’s accompaniment complements Sander’s playing before he receives his own space for a shimmering yet restrained solo which discloses what this non-pianist assumes to be an agile right hand.

Answer Me My Love is an early 50’s ballad with a fascinating back story. On its initial release in post-war Britain, covers of this fine melody stirred sufficient controversy for the song to be banned by the BBC. What led to it being barred from broadcast on the Light Programme and treated like Anarchy For The UK, Wet Dream and Give Ireland Back To The Irish? I can reveal that the reason for this draconian action was that the original version was entitled ‘Answer Me, My Lord’. In the olden days, it seems that a direct appeal to God was considered to be blasphemous- especially if set in a secular or selfish. Further research indicates that Nat King Cole made the most celebrated recording and that Bob Dylan used to sing it live in the 1990’s, presumably during his overtly Christian phase. Anyway, it is a grand tune.

Pharoah went on to record at least three studio versions of his great anthem You’ve Got To Have Freedom but the one here is the earliest incarnation that I am aware of. It is also the most restrained treatment of the theme, although Pharoah’s solo shows his ability to play with fire and power over the entire range of the horn. There’s plenty of space for Kelly’s piano too and he provides an elegant setting for Sanders’ exploratory work.

When Lindstrom and Prins Thomas get together, expect the unexpected. The Norwegian production duo's third album III is also their first outing together in eleven years, since II from 2009 and as ever, Lindstrom and Prins Thomas have crafted their own unique sonic world between the two of them. This is expansive, luscious electronic music rich with texture and intricacy, patiently revealing every eccentricity while constantly pulling the listener in. Getting lost never sounded so good. Since the release of II, Lindstrom and Prins Thomas have remained more than busy with their respective solo careers, but work on III was taking place behind the scenes the whole time - slow and steady by sending files back and forth. "There's a different process with every album," Thomas explains. "With the first two albums, we had a door between separate rooms in the studio, so I could open my door and play him something. We also toured together a lot after the first album, and after that experience we realized that we work better together at a distance. We're doing our best work by not worrying too much about what the other one of us is doing." Eventually, the bulk of III came together over the last year, as Lindstrom and Prins Thomas teamed up to craft a lush and lovely work that recalls the hazy atmospherics of Air, the loose-fit jazz of Lonnie Liston Smith, and the genreresistant electronic music that both artists have made their name on over the course of their impressive careers. "Our partnership is very democratic "we never turn down each other's ideas. And if it goes wrong, we blame it on the other guy," Thomas says with a laugh. "The tracks that Lindstrom sent me this time were almost like standard house tracks. I already had an idea of what I wanted to do, so I forced those tracks into new shoes and dresses." Above all else, III is a testament to the adventurousness of Lindstrom and Prins Thomas when it comes to soundcraft. Both artists have established separate careers on bodies of work that feature infinite twists and turns, thrilling their audiences with the suggestion of where they've been and where they're about to go. Together, they've crafted what might be their most beguiling and inviting work yet, a jeweled box of electronic music ornately crafted but never losing the sense of playfulness that so many have come to love from them.

San Diego's sweetest export is back with two sublime sides of West Coast flavored soul. The soft, tremolo-kissed intro of "Will I See You Again" seeps out of the speakers like a cool Cali breeze, allowing the drop to hit like Thor's hammer on the dancefloor. As the groove gets in you, Josh Lane's vocals send you to a place transcendent of time and space... A world where lovers love, and hate has no place. "It's Our Love"'s mellow but funky feel grinds out a vibe that tempers the "beat" in Beat-Ballad. Thee Sacred Souls are raising the bar to heady, elusive new heights.

4xLP in tote bag (black canvas with white screen print) limited to 50 copies

Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and 'swing' combined with progressive arrangements and uncompromising phrasing. "Lo Que Tengo" is full of rock solid dance floor killers and no filler, recorded in 1980 with some of the cream of the crop of contemporary Venezuelan salsa musicians (members of Mango, Madera, El Trabuco Venezolano, Los Dementes, Los Melódicos, Dimensión Latina, Guaco, and La Salsa Mayor) and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. This a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off, there is something for everybody on this record. Thankfully today's generation can now enjoy this rarity at a fraction of the cost of an original copy. Presented in its original artwork and pressed on 180g vinyl. Good to know: Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and 'swing' combined with progressive arrangements and uncompromising phrasing that puts one in mind of Eddie Palmieri. As a composer, arranger and band-leader Linares is highly respected as well. Ever since the 1960s in Lima Peru when his career began, his records have always been on point, being super tight, sharp, and hard as hell, what salseros call salsa brava con afinque. It's no surprise that Lo Que Tengo is exactly that: full of rock solid dance floor killers and no filler, played with verve and flair. Unlike some of his other records that were patched together from various sessions made in different studios (sometimes even in several countries!), this album has the advantage of being produced, recorded and mixed by Alfredo Linares all in one studio and block of time, and backed by hand-picked seasoned professionals who Linares had already played with, both in the studio and on stage, lending it a consistency and sonic integrity that is excitingly manifest in every groove. The album was recorded in 1980 in Caracas with some of the cream of the crop of contemporary Venezuelan salsa musicians (members of Mango, Madera, El Trabuco Venezolano, Los Dementes, Los Melódicos, Dimensión Latina, Guaco, and La Salsa Mayor) and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. The LP was also released in Colombia (INS, 1982) and the US (Gallo, 1984), both editions utilizing the Velvet Records cover. During this time Linares had been in Venezuela for some five years and was under contract with a nightclub in Caracas. Through being on the salsa scene there he became friends with the band Mango and even guested on an album with them in 1976. After the contract was up Linares was a free agent again and he was able to draw on his friendship with Mango and assemble a band to back him, first for the Colombian/Venezuelan production Salsa de Verdad (Fonodisco, 1976) and then again with ¡Con Todo! / Lo Que Tengo. One of the distinctive aspects of Alfredo Linares tunes is the 'break' (la cierre)-there are always plenty of dramatic hand-clapping breakdowns followed by an infectious tumbao (sustained vamp) section that sends shivers up the spine and makes the dancers go crazy. In addition, Linares always lets his musicians stretch out, especially in the percussion section. Again, Lo Que Tengo is no exception: there are so many examples of typical arrangements here that one could call this a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas, which was awash in petro-dollars at the time and so had the latest equipment and a strong consumer base for the salsa market. The album's title tune (originally credited on the Venezuelan edition as 'Lo que tengo que crear'-'What I Have To Create') is by Mango's timbalero José "Cheo" Navarro and sums up Linares' central career philosophy: the musician lives every day to create music, to spread joy and create a party, without complications, wherever he goes. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off (note the bluesy piano solo from Linares and the sublime vibes of Mango's Freddy Roldán), there is something for everybody on this record. Thankfully today's generation can now enjoy this rarity at a fraction of the cost of an original copy.

just a few in this bloody world...