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Moscow Is The City Full Of Posh Decorations. Like A Black Hole, It's Gorging Clouds Of Chaotic Ideas. Madly Fast, It's Flooded With Shallow Hippies, Jealous Dealers And Susceptible Artists. Everyone Desires To Have Its Own Piece Of Luck, Looking For The Shortest Way To Some Easy Life. Most Of The Nomads Arrive From The Capital Suburbs And Other Big Cities Of Immensely Corrupted Russia. Everyone Can Tell A Tale From Outskirt. Senseless Rivalry And Art Falsity Together Make The Special Demands: Your Tale Has To Amaze, To Inculcate, You Must Do Something Notable, Freaky One And Truthful. To Dare To Let It. There Are No Any Rules. Your Voice Has No Matter, The Only Important Is A Sales Skill. The Local Scene Is Tired Of Identical Copying Outside World's Standards. Thereby The More Your Approach Is Unacceptable, The More Valued Is It. But The More It's Valued, The Faster It Will Depreciate. The Glossy Shell With Cheap Content Is The Way To Survive In Such A Tight Plexus Of Cruel Love, Substance Abuse And Electronic Music.

ADULT. '20 years ODD.'
Over the course of the last two decades, Detroit-based duo ADULT. (Nicola Kuperus and Adam Lee Miller) have released six albums and nineteen EPs and singles across some of our favorite labels: Mute, Ghostly International, Thrill Jockey, Clone Records, Third Man Records, and their own label, the revered Ersatz Audio. November 1998 marked their first release: the five-song 12" 'Dispassionate Furniture'. This September, twenty years later, Dais Records is proud to announce ADULT.'s seventh full length album: THIS BEHAVIOR.
The album began as 23 demos written and recorded in a remote cabin in the woods of Northern Michigan during the dead of winter. In total isolation, and with a reduced amount of gear (a modified version of their live setup) on the cabin's kitchen table, the duo were completely immersed in an incessant inescapable studio of their own making - looping, repetitive analogue sequences grinding away day and night. At the end of the intense demo session, a handful of peers were enlisted by the band for the difficult task of paring down the demos into the final album.

The result is 10 tracks of uncompromising dark electronics, showcasing ADULT.'s return to aggressive and energetic dancefloor mastery. Album opener 'This Behavior' alongside the follow-up 'Violent Shakes' (which ascends into synths wailing like warning sirens over Kuperus's commanding vocals) set the stage for an on-edge listen, while the heartbreaking 'Silent Exchange' unfolds as a beautiful sad synth dirge.  'Perversions of Humankind' breaks the mood - driving the listener into a slow and low groove before the frantic album midpoint of 'Irregular Pleasure'. 'Does The Body Know' is the album's post-punk anthem, with irresistible singalong 'we're out of order - we're undefined!' The latter half of the album drives forward with 'On The Edge (You Put Me...)' and 'Lick Out The Content', refusing rest and demanding movement and response. 'Everything & Nothing' emerges slowly from sparkling synth textures, snowballing with nervous energy into an acid techno stomper before the album comes to a close on the icy landscape of 'In All The Debris', a goose-bump inducing slow electronic mantra that closes the curtain on a massive album.

Artist statement on the album's writing process:
'It's confounding how often we negate the importance of disconnecting, getting weird, getting lost. Discomfort and joy intertwined. Day to day, theatrical self-presentation set to rest in our frantic social world. Public becomes private, almost too private. Looking out into frozen woods as you deliver your vocals. For who For what Taking walks along icy shorelines as you try to overcome writer's block, as you try to overcome yourself. Not seeing anyone for days and weeks on end. Overwhelming thoughts and feelings come rushing in; anxiety, fear, purpose, banality, futility of task, power structures, power struggles, pointlessness, collapse.You're faced to face yourself. Your awareness is heightened. You are neither here nor there. You are in a liminal state As you work in this isolated cabin your windows become mirrors.'

"Are we distortions. Are we distortions, perversions of humankind.Are we distortions. Are we distortions, twisted somewhere in time."

ADULT. '20 years ODD.'
Over the course of the last two decades, Detroit-based duo ADULT. (Nicola Kuperus and Adam Lee Miller) have released six albums and nineteen EPs and singles across some of our favorite labels: Mute, Ghostly International, Thrill Jockey, Clone Records, Third Man Records, and their own label, the revered Ersatz Audio. November 1998 marked their first release: the five-song 12" 'Dispassionate Furniture'. This September, twenty years later, Dais Records is proud to announce ADULT.'s seventh full length album: THIS BEHAVIOR.
The album began as 23 demos written and recorded in a remote cabin in the woods of Northern Michigan during the dead of winter. In total isolation, and with a reduced amount of gear (a modified version of their live setup) on the cabin's kitchen table, the duo were completely immersed in an incessant inescapable studio of their own making - looping, repetitive analogue sequences grinding away day and night. At the end of the intense demo session, a handful of peers were enlisted by the band for the difficult task of paring down the demos into the final album.

The result is 10 tracks of uncompromising dark electronics, showcasing ADULT.'s return to aggressive and energetic dancefloor mastery. Album opener 'This Behavior' alongside the follow-up 'Violent Shakes' (which ascends into synths wailing like warning sirens over Kuperus's commanding vocals) set the stage for an on-edge listen, while the heartbreaking 'Silent Exchange' unfolds as a beautiful sad synth dirge.  'Perversions of Humankind' breaks the mood - driving the listener into a slow and low groove before the frantic album midpoint of 'Irregular Pleasure'. 'Does The Body Know' is the album's post-punk anthem, with irresistible singalong 'we're out of order - we're undefined!' The latter half of the album drives forward with 'On The Edge (You Put Me...)' and 'Lick Out The Content', refusing rest and demanding movement and response. 'Everything & Nothing' emerges slowly from sparkling synth textures, snowballing with nervous energy into an acid techno stomper before the album comes to a close on the icy landscape of 'In All The Debris', a goose-bump inducing slow electronic mantra that closes the curtain on a massive album.

Artist statement on the album's writing process:
'It's confounding how often we negate the importance of disconnecting, getting weird, getting lost. Discomfort and joy intertwined. Day to day, theatrical self-presentation set to rest in our frantic social world. Public becomes private, almost too private. Looking out into frozen woods as you deliver your vocals. For who For what Taking walks along icy shorelines as you try to overcome writer's block, as you try to overcome yourself. Not seeing anyone for days and weeks on end. Overwhelming thoughts and feelings come rushing in; anxiety, fear, purpose, banality, futility of task, power structures, power struggles, pointlessness, collapse.You're faced to face yourself. Your awareness is heightened. You are neither here nor there. You are in a liminal state As you work in this isolated cabin your windows become mirrors.'

"Are we distortions. Are we distortions, perversions of humankind.Are we distortions. Are we distortions, twisted somewhere in time."

Comma And A.fruit Land Two Unadulterated Bangers On Rua Sound, Backed With The Unmistakable Sounds Of Tmsv And Itoa On Remix Duties.

Oakland's Comma Roars Out Of The Blocks On His Rua Debut With A Crushed-up Glitchy Cut Entitled Gasworks. Comma Rams The Heavier End Of The West Coast Beat Scene Into The Uk Hardcore Continuum, On A Track Buzzing With Furious Energy.

If You Don't Know Itoa Yet - It's Time To Catch Up. Exit Record's Latest Addition Brings His Singular Production Style To The Remix With Whip-sharp Drums, A Colourful Sound Design, And Fresh, Unconventional Arrangements.

A Producer In Ascendency, Russia's A.fruit Serves Up The Darkness On The Flip With A Stepping Growler, Sodden With Bass. Her Production Is Tightly Bound Together By D.e.'s Intense Vocal And Delivers A Punch.

Rua Regular Tmsv Picks Up The Pace On The Remix, Rounding Off The Ep With Dancehall-infused Dread-rave Vibes, Like Only He Can.

Support From Deft, Fixate, Tim Parker, Breaka, Mister Shifter, Dolenz, Yorobi, Executive Steve, Coco Bryce, Hyroglifics And More.

Phonogramme, the house subdivision of parent label and integral Parisian record shop Syncrophone dedicates itself directly to the French music scene, with previous releases from the likes of Professor Inc, John Jastszebski, Aleqs Notal and a handful of other local heads. Phonogramme continues to keep things close-to-home through the labels next edition presented by Gibs, who's most notably known for works on his own imprint, 'An.Art Records' - a family run label with music shared by himself and his two brothers.

'Find an Oasis' kicks off the release with rolling organic percussion before progressing elegantly into layered emotive lead synths and mellow bass stabs. 'Jarkarta' is a subdued deeper house cut, filled with an uplifting, undulating melody and raw lo-fi elements collectively creating a luscious calming effect. Last up, 'Der Germain' offers up a fluid, groove filled number balanced with charming, jazzy flutters and tender keys providing a warm, breezy atmosphere to the end the release.

When Aretha Franklin joined Atlantic Records in 1967, it was the beginning of an unprecedented run that would ultimately cement her place as a music legend, a global household name, and one of the most influential singers of all time.

The Atlantic Singles Collection 1967-1970 features 34 singles which Franklin released during her first three years with Atlantic Records. Arranged chronologically, the songs on the new collection originally appeared on six studio albums: I Never Loved A Man The Way I Love You (1967), Aretha Arrives (1967), Lady Soul (1968), Aretha Now (1968), Soul '69 (1969), This Girl's In Love With You (1970), and Spirits In The Dark (1970). The only exception is Franklin's cover of Elton John's 'Border Song', which was released as a single in 1970 and later appeared on her 1972 album Young, Gifted and Black. The vinyl version is a double LP with 25 tracks.

The album is stacked with many of Franklin's best-known songs, including 'I Never Loved A Man (The Way I Love You)', 'Respect', 'Baby I Love You', 'Chain Of Fools' and '(Sweet Sweet Baby) Since You've Been Gone.' Several of the songs on this collection are cover versions that underscore Franklin's exceptional skill at reinterpreting music and making songs her own. Among the highlights are her versions of Sam Cooke's 'You Send Me', The Band's 'The Weight', The Beatles' 'Eleanor Rigby', and Dionne Warwick's 'I Say A Little Prayer', which became a Billboard Top 10 hit for Franklin in 1968.

Polish producer CYD joins the ever impressive E-Missions with six leftfield cuts in 'Disassemble Yourself' EP.

Launching in New York last year, the first three E-Missions releases came from co-founders P.Leone and Caiazzo. Since then the label has relocated to Berlin, developing its roster throughout 2018 with quality releases coming from Tred and Rush Plus that further cemented the label's growing reputation as one of the most interesting labels to emerge in recent years. Joining the roster now, CYD aka Karol Kazmierzewski has been making music under various aliases for the best part of two decades and has developed a versatile yet distinct sound as a result.

Swelling synths and grainy effects open the release in 'A Warmness You Can't Touch' before moving into the downtempo beats and scintillating melodies of 'Halcyon Dreams'. Up next, 'One Winged' ups the energy with crashing percussion, twisted effects and serene female vocals, making way for a layered composition complete with echoing atmospherics titled 'Hidden In The Forest'. With its dystopian aesthetic, 'Initiation' is the most ominous on the package, whilst 'Not So Shallow' incorporates chopped samples and quivering chords for a hypnotic conclusion.

The Suedehead Sound Of The Early 70's Followed The Skinhead Style Of The 1968-70 Period.
The Notable Difference Could Be Seen And Heard, The Sharp Jerky Upbeat Rhythms Were Slowing Down A Notch To What We Soon Be Calling That Early Reggae Sound.
The Tougher Harder Look Of The Rude Boy/skinhead Style Was Relaxing A Little To Almost Meet With The Less Frantic Rhythms To A More Slowed Down Groove Like Sound. The Hair Got A Little Longer, Going From A Mark 1 To A Feather Cut Style..
The 'rude Boy Out Of Jail' Type Lyrics Were Becoming More Conscientious, This Was Another Twist And Turn In The Ever Evolving Sound Of Jamaican Music,
But What Is Sure The Artists And Producers Never Disappointed Us In This Period , So Here Is A Compilation Of Some Tunes That The Suedehead Crowd Were Grooving To....
Hope You Enjoy The Set....

Limited Edition 400 Only Translucent Violet Coloured Vinyl Lp. Housed In A Full Colour Outer Sleeve With Mind Bending Artwork And Download Code.

Third Earthling Society Album For Riot Season Following The Previous And Now Sold Out 'england Have My Bones' (2014) & 'ascent To Godhead' (2017)
 
'mo - The Demon' Was Recorded At Leeds College Of Music Between November 2017 - February 2018. The Basis Of The Album Was To Record An Imaginary Soundtrack To The Shaw Brothers Bat Shit Psychedicrazy Kung Fu Horror 'the Boxer's Omen' Aka Mo Or Demon.
 
The Story Is An Everyday One.
 
After A Hong Kong Kick Boxer Is Paralysed By A Cheating Thai Competitor, His Mobster Brother Vows Revenge And Journeys To Thailand For A Duel. Along The Way, Our Hero Is Met By Bizarre Visions, Entered Into A Buddhist Monastery, And Begins A Quest To Save The Soul Of A Deceased Monk (his Twin Brother In A Past Life) Who Died At The Hands Of A Powerful Black Magician.
 
We've All Been There. However The Movie Descends Into A Kind Of Spiritual Jodorowsky Mushroom Fest That Is Completely Deranged And Is Therefore One Of Those Perfect Midnight Movies.
 
So We Got Free Studio Time At Lcm In November And Just Went 'fuck It' Lets Make An Imaginary Soundtrack In Homage To Such A Great Movie.
 
Taking Inspiration From All The Things Musical That Have Inspired Us Over The Years. Berlin Era Bowie, Prime Magazine Circa 'correct Use Of Soap', Electric Funk Miles, 'caravanserai' Santana, Embryo And God Knows What Else (it Doesn't Really Matter As It All Ends Up Earthling Society), We Think We've Made A Groovy As Fuck Concept.
 
Then, Invited Back In February We Decided To Record 2 Stand Alone Pieces 'spring Snow' And 'jetavina Grove' And Bring All Our Space Rock Elements And Psych Raga Back Into The Fray. Throw In Some Super Cool Korean Vocals Courtesy Of Bomi Seo Of Tirikiliatops And Run The Guitars Through A Harmonizer H910 (as Used By Visconti On Low An Heroes) And Its The Perfect Swansong To The Last 14 Years Of Playing Live And Recording Together.

 

*Another UK roots reggae treasure unearthed by Partial Records in the shape of
Mikey Mystic's` Burial' which originally appeared on the CD version of Mikey's `Warzone'
album on Roots Records in 1994.
* Produced by Nick `Manasseh' Raphael, who back in the 90's was running Manasseh sound system and also the label Riz Records, along with Gil Cang.
* First time on 45 for this gem, backed with a Manasseh dub cut.
* Tracklist:

To be released on World Mental Health Day, part of the album's proceeds will be donated to a UK-based mental health charity. 'I often wonder how sadness moves through people,' Emika says, 'through time, through stories and history, and if it's something that becomes us rather than coming from us.'
% of album sales will be donated to charity Help Musicians UK
emikarecords. com Invites fans to anonymously share their experiences of depression and create a waterfall of comments inspired by the song Wash It All Away
Studio video promoting the album via Soundcloud, Autumn
Live / DJ video, promoting the album with Beatport, Autumn
Live streaming of the album from Emika's studio via FB, Insta, YT, September.
Bookings by Christopher at Melt Bookings. Team chose to give fans time to listen to the album first, shows starting early 2019, special album show with live band and dome visuals planned in the Berlin Planetarium Feb 2019. A few promo shows summer / fall 2018.
Boiler Room live show as part of Open Dance Floor series tbc
* Given its years of manifestation behind the scenes of other projects, Falling In Love With Sadness reflects a renewed understanding of Emika's own genealogy, kindred lineage and its connection to modernity. Marking a drastic departure from the menacing, stripped-down qualities of albums past, Dva and Drei, Emika has surfaced with a new upwelling of sound gracing the bittersweet, melancholic and sanguine.

* With the interplay of myriad genres both rhythmically and melodically intertwining between spacey, dub tinged Promises, lush synth pop hooks on Escape and the title track's soulful electro, a full spectrum of musicology remains primary to the ever-evolving chroma of Emika's umbrous sound.

* Further characterised by the breathy sibilance and sultry tones of Emika's noirish, vocal aesthetic, the album navigates through the morose and trappings of misanthropy by illuminating a narrative of emotional resilience and recovery.

* Co-produced with Robert Witschakowski of The Exaltics, and continuing her collaboration with guitarist Chris Lockington (as heard on Drei and Dva), Falling In Love With Sadness provides a fifth solo album for Emika, but moreover, defines itself as an overture for her future works.

Hot on the heels of Rapid Eye Movement's journey of discovery and growth comes the EP 'Split: Remixes' featuring reworks of the quartet of cuts originally signed by label founders Memorial Home and VII Circle.

Invited to apply their own reflections onto the material are rising producers Nur Jaber and Wrong Assessment as well as renowned artists on the underground experimental scene Edit Select and Reggy Van Oers.

First up is Nur Jaber's take on VII Circle's 'Metaphysical Functions' showing how the young Berlin-based Lebanese artist is as much inspired on remix duties than in crafting her already much acclaimed productions. The perfect mixture of dark and intense driving techno beat with haunting ambient-driven melodic motifs and dramatic breakdowns encompasses much of what her sophisticated sense of sonic exploration is about.

Up next on a heavier kicking note is 'Dogma' refashioned by Milanese fellow Wrong Assessment who transmits his vision of both minimal and hard pounding techno by merging a strait rugged beat with undulating synth lines and bouncy cymbals that will drive the audience to an insane rave-spirited dance floor venture.

Following the path, Tony Scott a.k.a Edit Select's interpretation of Memorial Home's 'Second Floor' is a clear example of the unique and forward-thinking sound that the Scottish techno scene 'veteran' has developed throughout the years. Deftly combining a tension-building drum and bassline work with layers of hypnotic synth textures that makes the track both suggestive and trippy-hitting in equal measure.

Concluding the journey is Reggy Van Oers (RVO)'s rework of Memorial Home's 'Ampere' which evinces this quest for organic and mental techno soundscapes inspired by classical and cinematic music, characterising the both complex and powerful crafting signature of Dutch Telemorph label's owner.

Between dark shadows and brightness, REM confirms with this new release that quality and free-minded artistry are the key pillars of the platform's curation philosophy.

Confunktion Records own Mr. Confuse returns with his fifth studio album 'Only A Man'.

This album is about the depths of Mr. Confuse and therefore a very personal album in a way. From well-known soul topics of love and hate to social issues of modern life - this album is all about an odyssey through time, rhythm and music.

Times of big studio personals are long gone so a big part of creating this album was the imagination what kind of instruments, musicians and sound design is wanted. With up to 16 international musicians, Mr. Confuse created incredible sounding big arrangements.

The way Mr. Confuse produces his music is inspired by growing up with the 90s hip hop producer technique of creating something new by referring unheard funk and soul. This from of appreciating 60s and 70s music in order to bring it on a new level of musical expression is a clear trademark of Mr. Confuse.

The process of sampling and resampling recorded musicians creates an organic, powerful, authentic and danceable funk sound, which can be heard in each and every second on this record.

Twisting electro funk from the 80s into heavy 60s and 70s funk that could have been the blue print for the original version became a true Mr. Confuse feature already years ago. This time he re-funked the well-known freestyle electro classic 'Let The Music Play' by Shannon.

Also one of the reasons it's entitled 'Only A Man' is because it means composing, producing, arranging, mixing, recording, organising, promoting and going abroad preforming by just one 'man'.

Bill Brown and Al Hall jr met around 1971, they were both in south central L.A and shared the same apartment building, also in the same building was Doug Carn and brownstone singer billy Wilson.
These studio sessions were don't at Paramount studios Hollywood where Al Hall jr was working for producer Art Smith a&c music.
The main distributor for A&C was Accent records. So the Soul Injections very first single "Stay off the moon" was released via Accent, as was Bill Browns "Bip Bam" The group wasn't that pleased with how Accent handle the releases so Bill took it upon himself to set up his own label called Brownstone records. Many musicians were called in for studio sessions these included
Doug Carn, organ; Kirk Lightsey, keyboards; Mel Bolton,
guitars; Mel Lee, drums; Al Hall jr (trombones), Willaim 'Bill'Henderson strings.
The label was met with some confrontation from other Hollywood labels and many of the Brownstone releases were told not to hit the shops by Mafia run labels. Later around 1975 Brownstone released a track by Everyday people feat Alexis "world full of people"....A now cult soul 45 ....But wait, we at Super disco edits have unearthed the original tapes with the very first incarnation of that song and music, different lyric content and sung by Bill Brown. Not just this you get the instrumental on the b side!!

Das Heise Experiment 2" marks the 6th album of The Exaltics. Lovely presented on double 10" vinyl with full cover artwork from non other than the mighty Godspill, who also designed the pre release of this album with an amazing looking shape picture disc. To hold things special the guys from SolarOneMusic put a full comic with the story of "Das Heise Experiment" in each record. The music ranges from dark experimental techno, electro, ambient and soundtrackish nightmares which goes perfect with the story of the comic. Also Drexciya's Gerald Donald collaborates with The Exaltics for one track , which is one of the highlights of the album. This music is nothing for the club its much more, a complete story to feel. Turn your headphones on and dive into the world of aliens, scientists and distant gallaxies. All records come with a comic book!!!

Matthew Dear's Black City Can't Be Found On Any Map. It's A Composite, An Imaginary Metropolis Peopled By Desperate Cases, Lovelorn Souls, And Amoral Motives. Like Most Literary Gothams, Black City Is A Place To Love And Hate, As Seedy As A Nightclub's Back Room And As Seductive As The Promise Of Power. Matthew Dear, The Musician, May Live In New York City, But The Matthew Dear Of Black City Inhabits A Sound-world Unlike Any Other: A Monument To The Shadowy Side Of Urban Life That Bumps And Creaks, Shudders And Wakes Up Screaming In The Middle Of The Night. Black City Is Matthew Dear's Third Album On Ghostly International, And It's His Darkest And Most Engrossing Work To Date.

From The rst Notes Of Album Opener "honey", It's Clear That The Love-obsessed Matthew Dear Of 2007's Asa Breed Has Given Way To A More Existentially Paranoid Entity, As Creeping Tempos Dominate, Cavernous Atmospherics Envelop The Listener, And Strange Distortions Crackle On The Horizon. In Black City, Nothing Is At It Seems: Leadoff Single "little People (black City)" Is A Nine-and-a-half Minute Disco odyssey, subverting its gleaming electronic lead with eerily giddy backing vocals and cryptic, ominous lyrics ("a frozen wasted heart / has died", "love me like a clown"); "You Put a Smell on Me" is a sordid sex romp set to hysterically chattering percussion and a serrated synth line that will set your teeth on edge; "More Surgery" at rst recalls the barely-there Krautrock of Harmonia in its burbling minimalism, until Dear's chanted chorus of "Alter genetics / to make my body glow / I need more surgery / there's so much more to know" sends the track hurtling into a dystopian future.

And yet, for all the foreboding moods on Black City, it's the album's sweeter moments that illustrate Matthew Dear's growing maturity as a songwriter. "Slowdance" is a futuristic lullaby in which Dear articulates a lover's helplessness ("I can't be the one to tell you everything's wrong") over breathy, Arthur Russell-esque cello swishes; the album-closing "Gem" is an achingly simple, reverb-drenched piano ballad that ends with a long, slow fade. Even in Matthew Dear's Black City, there is hope.

Through the years Intacto Records became a household name. The label was founded in Amsterdam in 2004 under the collaborative genius of Shinedoe and 2000 and One.It was nlaunched as a platform for the by then strongly emerging Amsterdam scene supporting a pack of local artists shaping a fresh distinctive sound which took over the electronic scene by storm. Intacto's defining sound included many styles and its catalogue is a melting pot of influences of which house and techno are the key elements. After running Intacto Records successfully for 14 years, Shinedoe and 2000 and One have joined forces on their very first collaborative release. A ten year old unreleased 2000 and One track 'World of Acid' have been played out by Shinedoe for years and received ecstatic feedback from the clubbing crowds. Convincing him to release this timeless tune to scorch the dancefloors worldwide, Shinedoe was inspired to do a remix. In return 2000 and One remixed her track 'Acidploitation' which she recently produced. 'Acidploitation' EP is the culmination of two Dutch legends, defining their brilliant take on music once again.

Hot On The Heels Of The Well Received Dirty Channels Vs Danny Russell 'watchin Out/ Frazelle 'today Is The Day' (linkwood Edit), We Bring You More Twelve Inch Heat. This Time In The Shape Of An Unreleased Nugget From Funk And Soul Legend, Bobby Boyd, The Founding Member And Lead Singer Of Bobby Boyd's Congress - Who Metamorphosed Into The Lafayette Afro Rock Band, After Bobby's Departure In 1971.

On The A-side, Producer And Engineer Extraordinaire Bob Blank - Who's Worked Closely With The Likes Of Arthur Russell, Taana Gardner,sun Ra, Larry Levan And Kid Creole - Turns Out A Mix That Hits The Sweet Spot Between Boogie And Proto-house With A Hint Of Latin Freestyle.

Whilst The Flip Sees Darting Synths And Swirling Pads Layered Over A Tight Machine Groove, As Bobby Reminds Us Of The Simply Joy That Dancing Can Bring.

4x12" Set , Special 15th Anniversary Edition, with Special Deluxe 4 Gatefold, shrink wrapped incl Download Card

Celebrating its 15th anniversary as well as the monolithic catalogue 100, Figure releases a gem-packed compilation featuring 15 artists who are shaping the current sound of the label. Ranging from machine-driven stompers courtesy of Juxta Position, Kirilik or Lady Starlight, to punchy electro by Viers and UBX127, to Nocow's signature style wavey melancho-electronics, or the straight-up high-voltage-techno of Shlomi Aber, Lewis Fautzi and captain Len Faki himself, all adequately framed by Setaoc Mass' beautiful ambient pieces - this 4 LP-set encompasses everything Figure both past, present and future. Arriving in a unique gatefolded sleeve that carries the exclusive handmade visual art by Munich artist Julia Schewalie. Whether long time fan or newly recruited follower, this one is a must-have entry in every techno-lover's collection.

'Bound to shake your walls and rattle your windows' Max Reinhardt, BBC RADIO 3 "The first bit of evidence that Elizabeth Bernholz's next album Pastoral - due out in September - could be her best to date". THE QUIETUS "Will likely be one of the year's very best records.' CLASH 'What species is this What century' Forged in a rural idyll in Middle-England, the new album Pastoral, by Gazelle Twin, exhumes England's rotten past, and shines a torch over its ever-darkening present. Told through a troupe of multi-gender voices, in vernaculars old and new; from the shrill echo of folksong to tabloid-tinged jaunts, the artist aka Elizabeth Bernholz, presents the notion that 'there is horror in every idyll, and danger lurking beyond the 'quaint' '. The village square - once host to centuries of public torture - becomes a floral framed postcard, dolled-up for the Summer Fête. A sunny, afternoon walk over the hills unsettles a cloud of angry flies feeding from unidentifiable remains. Bigoted vitriol gently murmurs amidst tearoom chatter, as the neatly framed pastoral picture dissolves into a solemn ennui. Four years in the making, amidst life-changing events, including a move far out of the city, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014, Anti-Ghost Moon Ray) and is seamlessly on-theme, together with Bernholz's J.G. Ballard-inspired A/V show 'Kingdom Come' (soundtrack released November 2017, Anti-Ghost Moon Ray) - a fascism-infused hellscape, this time set in deepest Old England. As its sole creator, Gazelle Twin 'The Composer, Musician and Producer' has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation - the harpsichord and the humble recorder, fed through myriad electronics - to the compelling, ritualistic application of found sample-looping. Beyond Bernholz's signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of '90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory. In its consummation it is an album that feels pan-century, even pan-species. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin 'The Artist and Performer', constructs an eccentric and commanding visual embodiment of all-of-the-above - a costume fit for a court Jester of the 21st Century. The colours of Neo-Nationalism. Coke cans, and DANGER. 'It' (not 'she') hints at folkloric traditions with a footy mascot twist. The 'Ye Olde' and 'The Everyman' of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder. A jeer and a square dance in red, Adidas Gazelle's, and a mad, fixed GRIN - first glimpsed in the single, 'Hobby Horse' (22 June, Anti-Ghost Moon Ray). A deranged, absurd reflection of deranged and absurd times.