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The Tolbert Family Singers with 'Ride The Gospel Train' is one of the finest examples of gospel meets disco with it's left field electronic drum beats underpinning the wonderful gravel vocal delivery of OC Tolbert. The original 7" pressing on MTF has been consistently rising in price in recent years. On the flip we're treated to a previously unreleased on vinyl solo song by OC with the inspirational 'Give It To Glory.'

Miami legendary producer Willie Clarke sat on this glorious Kat Roberts solo version of 'Stand Up For What You Want' since 1984 and we're happy to have worked with Willie to release these versions on vinyl for the first time. The 12" version with Les Brown was originally released in 1984 and is highly respected by collectors across the globe. The general feeling was that the song would have been better received with Kat pushing her vocals to the front and thankfully Willie had recorded two different takes of the song at the time when he recorded it originally. The song itself brings a positive message and provides Kat with a great platform to show off her warming vocals.

After a triplet of solo 12"s, all courtesy of label main man Rupert Marnie, Hamburg-based imprint The Press Group are set to break 2018 in with the multi-flavoured TPG004 - a versatile debut VA that offers a fine close up on the label's whole cast of operating forces with some choice contributions from TPG's core tetrad including Youthman(29), Ten Letu, DJ Dodo and Marnie himself. Mind your backs!

Shape-shifting yet coherent as a whole, this collective effort puts together a swinging confluence of sounds and aesthetics - clearly aimed at the dancefloor but equally poised for laid-back chill sessions. First release on the label to reunite the entire crew, TPG004 mashes up a wide-spanning array of grooves and tempi in exploded view, giving full vent to each artist's idiosyncratic universe whilst establishing a hyper-modern sound ID, both infectiously funky and undeniably potent.

Casting its net far and wide: from the pared-down astronautical breakbeat of Youthman's 'Aemilia' to DJ Dodo's breezy jacking jazz-footwork hybrid 'The Machine' via Rupert Marnie's lithe ganjah-smelling shuffler 'Health' and Ten Letu's muscle-flexing acid roller 'Ah, You Shot Me!', it's a feast of feelgood beats that you're invited to, neatly connecting the dots between the guys' shared love for video game soundtracks, liquid dubstep, heavy jungle breaks, minimal house and further daydreaming, hazy harmonics to drape yourself into.

- Slow Attack' ist das dritte Soloalbum von Brett Anderson. Produziert von Brett zusammen mit seinem neuen Songwriting-Partner Leo Abrahams, wurde Slow Attack während des "düsteren Londoner Winters" konzipiert und aufgenommen.
Diese Bedingungen, wie Brett behauptet, sind, was ihn am kreativsten hat werden lassen. Das Album wurde im Allgemeinen besser angenommen als seine vorherigen zwei Solo Alben.

2022 repress

currently the rediscovery of long forgotten japanese electronic, jazz and new age music is at a peak like never before. but although many re-issues already flood the record stores around the world: the large, diverse musical culture of japan still got some gems in store that are really missing.

for example, it is still quiet around the the work of japanese bass player, new-age and ambient musi-cian motohiko hamase. when the today 66-years old artist started to be a professional musician in the 1970's, he quickly gained success as a versed studio instrumentalist and started to be part of the great modern jazz isao suzuki sextett, where he played with legends like pianist tsuyoshi yamamoto or fu-sion guitar one-off-a-kind kazumi watanabe.

he also was around in the studio when legendary japanese jazz records like 'straight ahead' of takao uematsu, 'moritato for osada' of jazz singer minami yasuda or 'moon stone' of synthesizer, piano and organ wizard mikio masuda been recorded.

in the 1980's hamase began to slowly drift away from jazz and drowned himself and his musical vision into new-age, ambient and experimental electronic spheres, in which he incorporated his funky medi-tative way of playing the bass above airy sounds and arrangements.

his first solo album 'intaglio' was not only a milestone of japanese new-age ambient, it was also fresh sonic journey in jazz that does not sound like jazz at all. now studio mule is happy to announce the re-recording of his gem from 1986, that opens new doors of perception while being not quite at all.

first issued by the japanese label shi zen, the record had a decent success in japan and by some overseas fans of music from the far east. with seven haunting, stylistically hard to pigeonhole compo-sitions hamase drifts around new-age worlds with howling wind sounds, gently bass picking and dis-creet drums, that sometimes remind the listener on the power of japanese taiko percussions. also, propulsive fourth-world-grooves call the tune and all composition avoid a foreseeable structure. at large his albums seem to be improvised and yet all is deeply composed.

music that works like shuffling through an imaginary sound library full of spiritual deepness, that even spreads in its shaky moments some profound relaxing moods. a true discovery of old music that oper-ates deeply contemporary due to his exploratory spirit and gently played tones. the release marks another highlight in studio mule's fresh mission to excavate neglected japanese music, that somehow has more to offer in present age, than at the time of his original birth.

One half of the KWC 92 (who has previously delivered two top notch lps for L.I.E.S.), Swedish producer Max Stenerudh aka Maxxx Bass steps forward with a 9 track solo effort titled "Gone Fishing". Right off the bat we hear Stenerudh immersing himself in a world of chilled out and narrative FM electronic explorations that call to mind places past. The untitled tracks leave it to the listerner to create a story on their own, as voice pads, hand drums and dare we say pan flutes push and pull their way through the album creating dreamlike textures and otherwordly escapes. Ideal music to fall into a late afternoon summer siesta to. LP comes come with full color 22cmx28cm color poster and download card

For this EP, Jófríður Ákadóttir has re-recorded some of the finest songs from her bands and solo-projects (JFDR, Samaris, Pascal Pinon) with new string arrangements. These versions have a simple, inherent beauty that is juxtaposed with their seething, stark intensity.

To replace the original arrangements with strings was originally planned as a one-off event: When preparing a Pascal Pinon performance in Portugal, Jófríður asked NYC-based composer Ian Davis to help her re-arrange four tracks. After the show Jófríður realized that the material deserved to be captured.

The featured songs were chosen from the repertoire of JFDR (her solo project) and Pascal Pinon (the duo she forms with her sister Ásthildur). There were no objective selection criteria: - I chose the songs that called for strings, songs that I was interested in continuing their story', Jófríður says. - Making this EP was meant to cast new light onto old bodies, to explore what is song and what is arrangement'. Indeed, the arrangements establish a fresh perspective on the selected songs (except for - My Work' - as the track will appear on a forthcoming JFDR album). Being freed from genre, these versions also expose JFDR's voice and its dynamics— the absence of beats gives her vocal performance new possibilities.

The EP was recorded live in a studio in Reykjavík, where Jófríður was joined by producer Albert Finnbogason, her sister Ásthildur (additional vocals and piano) and a string quintet. Ian Davis also made it to the recording sessions and brought two new transcriptions: - I wanted to have moments of clear simplicity juxtaposed with more dense, experimental passages. Sometimes the strings are just holding root notes and simple chords and other times they open up into more contrapuntal and textural moments', Ian explains. As a result, you'll find both moments of modest beauty as well as intensely seething passages. Even if Jófríður's voice clearly is the main attraction here, this EP - as she emphazises herself - is a collective work of those involved: - Trusting your collaborators is the truest gift'.

Originally released digitally on Luke Solomon & Derrick Carter's Classic Music Company last summer; Girls of the Internet's deep-house-dub-techno-afro ballad 'When U Go' is now being pressed up to vinyl on RAMP Recordings. Since it's release, 'When U Go' has been burning up some of the more discerning dancefloors worldwide, with club support from DJ's as diverse as Mark Farina, Stacey Pullen, Eli Escobar, Oliver $, François K, Soul Clap, Roger Sanchez, Carl Craig, Booker T, Serverino, Riva Star, Doc Martin, Karizma, Marco Carola, Tensnake & Mousse T. Peckham's finest pervayers of Deep House, Bradley Zero approved duo FYI Chris, turn in an exclusive dubby West Coast-vibed remix of the track available only on this vinyl.

The B side is a brand new track from Girls of the Internet - 'Running' featuring Nattlie Maddix, of the House Gospel Choir. Mixing live instruments with synths and drum machines, 'Running' is a soulful yet driving disco tinged deep house track. To finish off this massive package, Local Action's Finn delivers a genre-straddling remix of 'Running'.

Goatherder is the seventh album from underground London producer Kristian Craig Robinson, AKA Capitol K. This ace manipulator of audio and punk warlord of groove has crossed a tapestry of styles and approaches with his own secret compass since 1998.

Along with everything from Chinese pop to the marching band music of the United Arab Emirates in his early musical vocabulary, the influence of rave, new wave, grunge, and noise-core would collide to create a bold new sound. His early studio experiments gave birth to his debut, Sounds of the Empire (Planet Mu, 1999) built upon a heady balance of samples and live sources that placed Capitol K at the forefront of the UK's electronic scene. The follow-up, 2002's Island Row, was released via XL Records, with lead single Pillow becoming a daytime Radio 1 crossover. Nomad Junk (2005) combined Asian field recordings into a vibrant psychedelic collage, while Notes From: Life On The Wire With A Wrecking Ball (2008) paid homage to London's squats and free anarchistic artistic spaces of which K was a part for many years. Andean Dub (2012) was an exploratory South American-influenced album of heavy synth laden cumbia sound system tracks.

The last seven years have seen Capitol K's stature as a producer elevated with his establishment of the renowned Total Refreshment Studio and recording work with musicians such as the Mercury Music prize nominated The Comet Is Coming, global dance act Ibibio Sound Machine (Merge), the pan-Arabic Flamingods (Moshi Moshi), Serafina Steer and her BAS JAN project, and contemporary folk artist Rozi Plain, among many more.

This latest work was developed and recorded in his native Malta, where he built a studio in a cave (a former goat stable). K gathered bamboo instruments collected around the world, including an ancient Quecha reeded pipe (his new-found lead instrument), and various resonating vessels and percussive objects including dry fennel storks collected from Punic troglodyte sites, and atonal flutes built from fresh cut farmland reed. Ritualistic improvisations took place over a series of seasonal visits, awakening genetic memory and plant communication.

Back in London the tracks were interfaced and expanded with post-industrial machine beat and bass guitar lock down. Homage is paid to New Age synthscapes, while a Spirit Jazz overtone arrives from K's recent years as the sonic muscle behind a plethora of luminous albums born in his Total Refreshment Studio. Goatherder follows on from the 2016 collaborative incarnation LOOSE MEAT and sonically abridges 2012's Capitol K album Andean Dub.

Outside of studio production and his solo repertoire as Capitol K, Kristian has toured as guest musician with multiple bands over the last 15 years, including Brazil's Cibelle (Crammed Discs), Archie Bronson Outfit (Domino) (whom he also co-produced), and recently Du Blonde (Mute Records).

His last project, Loose Meat, was a collaborative album of poetic dance music received lots of radio play in the UK and toured across the country for a year, performing a number of festivals.

He established the Faith and Industry record label which handled his subsequent releases and through which now he releases a number of other artists that he develops and produces.

The music on this EP was conceived in China, between 1989 and 1993. The original tracks were mixed to DAT in real time, in a small neighbour-proof studio inside my apartment in Macau, a 19th floor with a view to the hurricanes. There's a small, unexpected or improbable story behind each track, some little magic fused with the local atmosphere, certainly guaranteeing their lasting authenticity 25 years later.

TAIPEI DISCO
Late 80s Guangzhou was an exotic city where the traditional past coexisted in harmony with the present and even already with the future.
I'd rather spend my weekends in Guangzhou than diving into Hong Kong consumerism - as most ex-pats in Macau did. I took a cab at the border and travelled 150 Km through chaotic roads with family and friends until reaching the hot, humid, mega South China metropolis.
We ate on street joints in the evenings, went on to a karaoke bar and ended up at Taipei Disco, the only proper club in town. All the others were inside hotels and played generic music or they were seedy, sleazy, smoky cabarets.
Taipei Disco used to be a cinema and played cantonese pop music and anglo-saxon pop/rock (that was new). The spacious dance floor was generously lighted, the atmosphere was airy and modern. Boys and girls were in the habit of dancing in pairs, one in front of the other, observing a respectful yet sensual distance. When the girl took a few steps back, the boy went along and vice versa. With legs and feet (more than the upper bodies) synchronized with the music, they never exceeded in extroversion. Cool.
I always carried a MicroComposer and a portable DAT recorder in my travels through China and weekends in Canton. Any spontaneous musical idea was imediately recorded and memorized. The MicroComposer allowed multitrack recording, which was very handy on the road. Based on the emphatic choreography of Taipei Disco's dancers, i started to compose a rhythm track while sitting at a table, with headphones, listening to Cantopop in the background. As if by magic - not a rare occasion in music - everything began fitting together. Odd as it may seem, the track ended up sounding more germanic (Kraftwerkian) than Cantonese pop.

The story ends in a circle: the cantonese DJ at Taipei Disco, whom i used to ask to play certain records, wanted to play my music at the disco when it was basically only just a rhythm track and little else. From a cupboard under his set up he took out a battered keyboard (unrecognizable brand) and invited me to play over the track with the available sounds on the keyboard. The circle was complete, with Cantonese clubbers happily dancing forwards and backwards, as if it were another Cantopop hit.
I didn't get payed but the house offered us free ice cream cups in which little Portuguese flags were sticked.
The track would be finished later, in studio, with vocoder strings ensemble and synth solos.

TAIPEI DISCO (LIVE)
The live version of 'Taipei Disco' was recorded during a live set at the China Pop venue, in Macau, 1993. China Pop was a rock club built in the ample space of an old fishing warehouse, located in the labyrinthic Inner Harbour area. It was decorated with large Mao Zedong and Cultural Revolution posters and memorabilia and had a unique atmosphere, fusing Pop Art with film noir. We began our performance at 1AM, pretty early for Macau's nightlife standards. We were lucky. An audience showed up. And in Macau there were always several friends among the audience, which tranformed a musical performance into a relaxed party.
The atmosphere was particularly surreal on that night. The front row was dominated by French Crazy Horse dancers, a sort of Oriental Moulin Rouge. The girls had finished their last performance of the evening at the Crazy Horse and were still energized from their show. During our performance, right in front of us and perfectly synched, we could hear the famous irreverent screams of can-can dancers. You always had to expect the unexpected in Macau.

RED MAMBO (IMPROMPTU)
I was familiar with the Portuguese-speaking African countries well before having lived in China. I found myself returning several times to one in particular, always attracted by its magic and very distinct, identitary culture and music: Cape Verde.
During the early years of DWART a lot of the inspiration for drum machine rhythms (Roland's TR series) came from African music, especially from new musical trends that gained full autonomy with Cape Verde's independence from Portugal, as was the case with funaná.
I had the privilege of having known and befriended some of the greatest Capeverdian composers, musicians and singers during the 70s and 80s, such as Bana, Luís Morais, Cesária Évora, Paulino Vieira, Chico Serra, Tito Paris, and historical bands such as Bulimundo (ambassadors of funaná) and Os Tubarões (great innovators of morna, coladera and funaná, with the sonic impact of an afro-beat big band).
When Luís Filipe de Barros began playing Os Tubarões for the first time on Portuguese radio, that was the turning point for African music in Portugal. The 'Tabanca' album was so widely heard and talked about that it quickly got a Portuguese release through one of the big labels of the time.
The mystic of this band from the Santiago Island would reach the East. Os Tubarões played to a packed room in Macau in 1992, and after the bombastic gig we arranged a dinner and party at my place.
We ate and drank generously and the moment came for a jam session at the small studio on the 19th floor. Because Os Tubarões didn't all fit in the studio, we recorded an impromptu with only three of the musicians: Tótó Silva (electric guitar), Mário Russo Bettencourt (bass) and Zeca Couto (piano). And there we were improvising without barriers, suddenly detached from cultural roots, labels and constraints, a truly unique moment. The track is now being released exactly as it was recorded, imbued with the real communion between the musicians. And it could only be titled 'Red Mambo'. I wish to dedicate it to the memory of Ildo Lobo and Jaime do Rosário, founders of Os Tubarões, sadly and too soon departed from the land of music.

Das ursprünglich 2013 erschienene und international gefeierte Werk "Stories" war das erste Album, das der in Berlin lebende Komponist und Vibraphonist Masayoshi Fujita unter eigenem Namen veröffentlichte. Es bildete den Auftakt für eine Trilogie von Solo-Vibraphon-Alben, dessen letzter Teil, "Book Of Life", im Sommer 2018 bei Erased Tapes herauskommt. "Book Of Life" ist letztlich auch der Grund dafür, warum das Londoner Label "Stories" als weltweite Neuauflage noch einmal in die Läden bringt. Der Zeitpunkt ist gut gewählt, da 2018 perkussiver Ambient eine Art Renaissance erlebt, unter anderem befeuert durch die Wiederveröffentlichung von Midori Takadas wegweisendem Album "Through The Looking Glass" in 2017 sowie Ryuichi Sakamotos "Comeback", dessen Soundtracks durchaus Parallelen zu Masayoshis Storytelling-Klangwelten aufweisen. In den vorangegangenen Jahren fokussierte der ausgebildete Schlagzeuger sein künstlerisches Schaffen ausschließlich auf das Vibraphon und prägte so einen ganz eigenen Ansatz zwischen Ambient und moderner Komposition. Das Vibraphon "ist ein recht junges Instrument, und doch wird es fast immer auf dieselbe Art gespielt", so der Berliner Exilant. "Ich habe das Gefühl, dass es da noch viel mehr zu erkunden gibt mit dieser spannenden Erfindung."

Originally Hailing From Columbus, Ohio, Where He Was Born In July 1948, Bill Mason, The Son Of A Baptist Minister, Had First Learnt Music In Church. Starting Out On Piano He Switched To Organ In His Late Teens. Mason Had Come To Bob Porter's Attention When As Part Of The Bryant Group He Recorded At Prestige On Two Sessions In 1971. Bill Mason Proves Himself A Formidable Leader With His Solo Album, The Aptly Titled Jazz-funk Outing gettin' Off'. The Album's Physicality Is Astounding, Mason Is An Extraordinary Soulful Hammond Organist, Conjuring Spiraling, Spellbinding Grooves That Seem To Grow Deeper And More Relentless With Each Successive Track. He Also Proves His Talent As A Composer With Originals Like "mister Jay" And The Scorching Title Cut Standing Tall Alongside Covers Highlighted By Al Green's Immortal "let's Stay Together".
Gettin' Off Features Idris Muhammad On Drums, Which Means A Frenzy Of Funky Jb-influenced Over-the-top Soul-jazz Drumming. Featured On Bass Is The Legendary Gordon Edwards (known For His Work With James Brown, Weldon Irvine, Funk Inc., Aretha Franklin, Etc.) And Saxophone Duties Are Handled By Hubert Laws (quincy Jones, Gil Scott Heron, Moondog).
All Of The Above Is Carefully Overseen By Engineer Rudy Van Gelder & Producer Bob Porter (known For Their Work With Herbie Hancock, Coltrane, Thelonious Monk, Miles Davis...and Many Others). Bill Mason's First (and Only) Album Was Originally Released In 1972 On Eastbound Records, Super Rare And Fetching Large Sums On The Collectors Market, Now Finally Back Available As A Limited Deluxe Vinyl Edition (500 Copies). This Album Also Comes With The Original 1972 Art By Prestige Records Photographer Al Johnson.

Jonny Drop's debut, Sub Plot, was the very first album release on the fledgling Albert's Favourites label at the beginning of 2016. The initial offering, a 7" of album favourites Mind Field and This Is The One had quickly been picked up on by the good people at BBC Radio 6 Music as well as some of Drop's personal heroes including Kenny Dope, Mr. Thing and Nightmares On Wax.

But when the infectious rhythms and warm production of the beat tape landed, its impact was greater than anyone at the label could have hoped.

Although Jonny never stopped producing beats in the following years, he was also kept busy as a drummer, playing live for Andrew Ashong, The Bongolian and Connie Constance, whose Boring Connie EP he also laid down beats for.

Then in early 2018 his band The Expansions delivered their celebrated Murmuration LP. All the while, with the support of his label family, Drop had been evolving his solo sound too.

'The Only Sound sees a huge progression in my writing direction, as I collaborated with multiple vocalists and musicians, instead of the usual 'one-man band' approach.

The development of these processes make this LP a steady departure from the beat-tape influence of my past releases, and hopefully, showcase the more original sound I've been working to achieve over the past few years.'

The new album is more atmospheric, emotional and expressive. It is filled with beautiful vocal performances, musical contributions from label partners and close friends Deoke and James O'Keefe, and inspirational London jazz composer, flautist and master saxophonist Tamar Osborn (Collocutor/On The Corner).

Voices here include Shea Soul, Grace Walker, former Myron and E soul man Eric Boss with his Lucid Paradise and Pendletons partner Ishtar, plus First Word Records producer/Golden Rules collaborator Sarah Williams White.

While there are thoughtful, down-tempo moments of electronica in abundance here, Drop brings his favourite elements of disco and soul into the picture too.

And there's no shortage of low end throughout. The Only Sound is a welcome next step from Jonny Drop, the sound of a beat maker not just finding his feet as a composer, but thriving in new territory.

Huey Morgan (BBC Radio 6 Music),

Music Is My Sanctuary premiere for All This Trouble, Bonafide Magazine premiere for Looking Glass
'A really talented musician, absolutely loving that" Lauren Laverne on This Is The One, BBC Radio 6 Music

Ahead of the release of his new album Book Of Life, Erased Tapes will re-issue Stories, the first in a trilogy of vibraphone solo albums by Berlin-based composer Masayoshi Fujita. This quietly exquisite album is like a book of illustrations, evoking scenes of natural beauty and poetic poignancy that combines climactic crescendos laced with electronic detail and luxurious melody. Stories is the beginning of Masayoshi's mission in bringing the vibraphone — a relatively new invention in the history of instruments often kept in the background in orchestras and jazz outfits — into the spotlight. Having trained as a drummer, Masayoshi began experimenting with the vibraphone, preparing its bars with kitchen foil or beads, playing it with the cello bow or using the other end of the mallets to create a more ambient texture of sound. Focussing on the vibraphone in this way sets Masayoshi apart, dedicating his artistic life to celebrating this fascinating and often under appreciated instrument and making his take on ambient and modern compositional styles a unique one.

A fresh iteration of the mid-eighties LP (itself a compilation of recordings from the previous five years or so), replacing two tracks — Dancing In The Rain and All Things — with their full 12' versions.This is a deeply personable, expert, limber blend of roots and lovers, kicking off with an exclusive mix of the deadly Mash Down Babylon; dropping classic, lush, spaced-out Wackies dub science to close; and taking in reworkings of Lickshot, Billie Jean and The Righteous Flames' I Was Born To Be Loved, along the route.The moniker 'Chosen Brothers' is Lloyd Barnes' spiritual way of sharing the credit for his solo projects. "Anyone in the studio at the time could be a Chosen Brother,' he says. In this case a full crew includes Sugar Minott and Prince Douglas at the desk; Jah Batta, Milton Henry, Wayne Jarrett and Junior Delahaye all on backing vocals; and such dream-team Bullwackies instrumentalists as Clive Hunt, Jerry Johnson, Fabian Cooke and Ras Menelik.

The long awaited answer from the notorious southern-hemispherian sound system, Subtle Sound System. This debut release from their record label aptly named Subtle Recordings is bringing some heavy weight straight out of Christchurch, New Zealand, first up with local legend Headland. Exquisitely imprinted 'no holds bar' by the masterful Optimal Media in a full art sleeve, this 180 gram, vinyl only, no-repress recording superbly ushers in a new beginning for the sound system and is another pillar of foundation to the future sound of bass music.

Headland, with his atmospheric soundscapes, sparatic drums, jarring percussion and punishing basslines, has been taking his unique sound to the world for the past few years and has sequentially been picked up by some of the most forward thinking labels in the bass music scene. From notoriety like Innamind Recordings and Zam Zam Sounds, Headland is one of the most noteworthy artists on the scene today and is a staple in sets from artists including, Samba, Mala, VIVEK, Commodo, Sleeper, just to name a few. Headland's infamy continues on Subtle Recordings debut release with the two outstanding tracks, Quiver and Deathbed.

From a spacious beginning, Quiver quickly builds pressure, manifesting into a track that by the end of, you'll have to regroup your crew as all would have been taken on their own solo journey. Navigate through high level percussion, sonic stabs, sub-temperate basslines and menacing vocals, all encompassed within a 130 bpm landscape where the richters leave you feeling vulnerable and insignificant. Quiver is a force of nature not to be taken lightly. After setting the stage, this behemoth pushes to another level, with erratic note changes and misplaced beats, before opening up to a plateau of relative safety within rolling basslines and familiar haunts. Recollecting yourself, you are once again thrust into unknown territory. A barrage of death blows commences until eventually you find yourself on the other side, disorientated, demoralised, but thankfully unharmed. With support from dons like Gantz, Boofy, J Kenzo, Mr K, Quiver has begun to leave its mark through the next frontier of bass music.

A usually silent, still and chilly affair, Deathbed is anything but, with its uplifting groove, conscious beat scape and warm bassline. But don't get too cosy, cause this assortment of frequencies is cold. Foreboding basslines. Wholesome mids. Trademark Headland accents. Deathbed builds in monumental 140 bpm splendure, in a simplistic formation, that will have you calling home to tell Mum of your triumphant return. Bask in all the glory as the track sheds back into its essential ingredients before collapsing into a well rewarded breakdown. Another confident drop will re-immerse you within the ride, reminiscent of what has been conquered and celebrated in the dystopian sound Headland has crafted in this atmospheric masterpiece. Banging dancefloors worldwide by artists like, Commodo, VIVEK. Deathbed produces the goods for an old fashioned shelling.

If you think of music as a moving, changing form, and painting as a still form, what I'm trying to do is make very still music and paintings that move. I'm trying to find in both of those forms, the space in between the traditional concept of music and the traditional concept of painting.' Brian Eno.

Musician, artist, thinker, activist Brian Eno first came to international prominence in the early '70s as a founding member of Roxy Music, and immediately followed by a series of highly acclaimed solo albums. His visionary production work includes albums with U2, David Bowie, Talking Heads, Coldplay and many others.

His recordings and other collaborations are endless and endlessly known, however his visual experiments with light and video covers an even longer span of time and have been exhibited all over the globe - from the Venice Biennale to the Marble Palace in St. Petersburg, from Beijing's Ritan Park to the Sydney Opera House. Eno's installations are the fertile ground from which so much of his other work has grown and continue to parallel his musical career.

Music For Installations is a collection of original recordings from these installations with new and unreleased work covering the period from 1986 until the present and beyond.
________________________________________________

Designed by Brian and long-time collaborator Nick Robertson, this limited edition 9LP Vinyl boxset comes with a 64-page booklet featuring rare and unseen exhibition photographs and a new essay written by Eno.

- 12 x 12 rigid box set of 9 LPs containing music from Brian Eno's installations past, present and future.
- 64 Page book containing a brand new essay by Eno plus rare and previously unseen photographs from his various exhibitions from 1997 to the present.
- Each album is housed in a beautiful die-cut sleeve designed with long-time collaborator Nick Robertson and all music is guaranteed first time on vinyl.
- 50% of the music contained in the box set has never been available in any format and the rest has only ever had very limited cd release direct to consumer release.
- Vinyl mastered and cut by Matt Colton at Alchemy Mastering, London
- 100 % First time on vinyl, strictly limited edition

Seth Troxler & The Martinez Brothers' Tuskegee Music welcomes Chicago legend K- Alexi Shelby for a new EP that features some essential solo cuts as well as two great collaborations with Tony Lovlesss.K-Alexi is a genuine Chicago great. He's been at the core of the scene since the eighties and releasing his raw grooves on DJ International, Trax and Transmat, as well as his own K Klassik label. He has recently remixed for Seth Troxler's other label, Say It Play It, but is now back serving up the sort of engaging originals that have made him such an enduring star.
Excellent opener 'Cherry K Moon' is a raw slice of deep and soulful tech. The driving bassline melts your mind as afro percussion and driving drums make for a solid groove below. It's one for the late-night hours that will twist and turn any crowd inside out. The superb 'Dark Smile' is less tense and more house oriented in nature, with preacher style vocals up top and busy kicks down low. Live, chattery hand claps bring an organic feel and synth stabs inject looseness that will get hands in the air.
The pressure then builds through the manic Tony Lovlesss collab 'Anal Probe', a powerful techno track with hi tech drums and taught synths freaking you out as they ride up and down the scale. Their second track together 'Fly Shit' is more playful with radiant synths opening it up to the skies and lively, funky drum programming bringing a real sense of a sun kissed terrace party. Last of all, the standout 'Run With Jackals' feat. A.D.M is another heavily percussive track with rattling toms, vocal chants and hammering hits all adding up to a compelling afro-house rhythm. These are all innovate tracks that explore various different moods and grooves with a real sense of quality.

After introducing Griffit Vigo 'the Gqom legend' on the Originators EP on Gqom Oh! Records back in February with the percussive anthem Ree's Vibe and the historical track featured on MTV Base Gqom Nation documentary "Gqom 5 - Gqom Oh! is finally ready to release Griffit Vigo's first solo single 'DJ' on a 7" vinyl, with on the b-side another Gqom viral Durban track coming from the numeric series "Gqom 6. Griffit Vigo, a real innovator in the Gqom genre who grew up in Clermont and started to produce music around 2007, has attained a legendary status amongst his peers as he was one of the originators of gqom, inventing sounds as Umshanelo (meaning broom in Zulu) and chopping vocals that everybody then started to sample. Many of his beats were appropriated or sampled, so now the time has finally come for him to show his talent and unique style and inspire the listeners in the same way he inspired everyone in Durban. This single introduces his forthcoming album on Gqom Oh!, to be released in September/October 2018 entitled 'Gqom is Alive'. As the Gqom sound has massively changed in the past year, taking over South Africa and the world, also by evolving into a more commercial-focused and melodic branch which derives from Sgubhu, Griffit Vigo's intention is to keep the original Gqom sound as pure and authentic as it was when it was first birthed whilst still pushing the sound forward in the future.

Meet Me On The Corner is taken from the band's sophomore album, Orange Whip, which itself was BBC 6Music's Album of The Day on its release. It follows previous singles Whatever You Do and Sinner, which garnered support from Craig Charles, Tom Ravenscroft and Huey Morgan. The song showcases Honeyfeet at their funkiest and chunkiest. A pounding beat beefed up by bass, guitar and brass propels forward while Rioghnach Connolly sings lyrics that could be straight out of the playground, but suggest something deeper, possibly mystical even, in its demands for a dalliance on the street.

Remixes on this more foot friendly single come courtesy of homegrown legends of funky house music, Crazy P who come through with both a vocal and dub version. Honeyfeet's latest opus is turned into a straight up soulful disco monster by the boys from Nottingham, with Rioghnach's rasping vocals playfully meandering over Hot Toddy and Ron Basejam's crisp beats and trademark live bass. Elsewhere, much hyped Russian production don, I Gemin, delivers his take - still aimed at the dance floor of course, but a slightly deeper house affair based around jazzy keys and chopped up vocals that take the song into more sonorous territories.

As a bonus, the 12" package also features the acclaimed remix of previous single, Sinner, courtesy of erstwhile Polish Innocent Sorceror, Envee - his shuffling, moody take only previously being available on vinyl via a super limited (and now impossible to find) 7-inch release late last year. For the last couple of years Honeyfeet (whose name comes from a line in the Blues Brothers film) have been a conduit for the ideas and expressions of an exotic mixture of Manchester based musicians. This genre-defying band incorporate styles including jazz, folk and hip hop into their music.

The band are fronted by Rioghnach Connolly - also known for her work with Real World artists Afro Celt Sound System and The Breath - "A remarkable singer and flutist who...can ease from Irish traditional influences to soul" (The Guardian). The line-up is completed by Rik Warren (vocals/harmonica), Gus Fairbairn (tenor sax), Biff Roxby (trombone/vocals), Ellis Davies (guitar), Lorien Edwards (bass guitar), John Ellis (keyboards) and David Schlechtriemen (drums).

Since their self-released debut album, 2013's It's a Good Job I Love You, keyboardist John Ellis jumped on board as full-time member, bringing his unique musical presence. This enabled the development of a more texturally adventurous style, as witnessed with the dual atonal solo between himself and guitarist Ellis Davies on Sinner. Similarly, for their current LP, Orange Whip, engineer, bassist and spiritual guide Lorien Edwards makes his Honeyfeet recording debut, so completing the 'kitchen' of this very special band.

- The album, Orange Whip, is out now.

French by way of Berlin DJ/producer La Fraicheur finally delivers with a first 9-track album, 'Self-Fulfilling Prophecy', her first release on the InFiné label. This remarkably dense, dancefloor-oriented album oscillates

between techno, ambient and electronic music, a mesmeric yet pounding effort that gets the body and the mind moving.

For over a decade now, first in Paris, then Montreal and now in Berlin, La Fraicheur has been brewing her own blend of Deep House & Techno beats, making a name for herself with her signature sound of emotionally charged

Techno sets. Marathon DJ, she is a resident in Berlin's renowned Wilde Renate and part of the Female:Pressure network. She can go on for countless hours, running the gamut from classics to new songs released only two hours earlier.

Expanding her craft by producing her own music ranging from ravy epic Tech-House to dark pumping Electro, spacious open air Deep House to melancholic Electronica, she spent the summer of 2017 doing an artist residency with the Berlin-Detroit Connection (organisation founded by Mike Banks (UR) and Dimitri Hegemann (Tresor) at the Underground Resistance HQ in Detroit, working on her first solo album. 'I want to use moments of dancing to stimulate a bit of political awakening' she says, and, speaking of her album in particular, (on which are scattered various samples of politically explicit content (for example, excerpts from aninterview with Angela Davis). While 'Self Fulfilling Prophecy' clearly aspires to raise awareness, it does so subtly, without ever relegating music to the second class. This is neither 'ready-to-think' or 'ready-to-dance', but an assembly of sophisticated rhythms, sounds and words that it are up to each listener to interpret in their own way. La Fraicheur does not seek to deliver a message, or impose a discourse, but to distil an idea and suggest a relationship to the world - a report to the world based on the affirmation of self and acceptance of others in all their differences.

From 'Breaking Bad' to Danish films and albums
Asger Baden is a productive composer and has created music for countless films, television productions and series. He has worked with directors such as Christoffer Boe, Nicolaj Arcel and Martin De Thurah, and his music is featured well known productions like 'Breaking Bad', 'The Wolfpack' and 'VICE' on HBO.
'Zarniqa' is recorded with a 40 piece major symphony orchestra in Prague. On the album, Asger Baden chases music's untouched essence.
Asger Baden is a composer and producer based in Copenhagen Denmark. 'Zarniqa' the 1st album in his own name - 16 cinematic, timeless compositions with a dramatic and dense expression ranging from melancholy to an etheric ease.
The main part of the album is recorded with a 40-piece symphony orchestra in the majestic Rudolfinum Dvoák Concert Hall in Prague. In stark contrast to the orchestra are the piano pieces - recorded solo by Asger Baden in Copenhagen. The contrast between the grand symphonic sound and the intimate piano pieces defines the album

Das selbstbetitelte Album des Rolling Stones Bassisten Bill Wyman war der dritte Versuch eines Soloalbums. Ihm gelang hier die perfekte Mischung aus komischem Humor und
Rock'n'Roll-Musik. Nach früheren Alben übernimmt Bill bei
diesem Album die meisten Instrumente selbst.
Dies gab dem Album einen klaren und konsistenten Sound und so gelangen ihm auch die beiden Hit Singles "A New Fashion" und "(Si, Si) Je Suis Un Rock Star".

Bill Wymans viertes Soloalbum wurde ursprünglich nur in Japan und Argentinien veröffentlicht.

Unterstützt wurde er diesmal vom ehemaligen Elton John Band-Perkussionisten Ray Cooper und dem ewig treuen Terry Taylor. Der ehemalige Rolling Stone Bill Wyman arbeitete an einer Reihe von Original-Songs für diese Veröffentlichung. Aber vor allem "Stuff (Can not Get Tough)", einem exzellenten R & B / Soul-basierten Track, mit eindringlichen Backing-Vocals und einem lockerrhythmischen Schub, gelang ihm hier hervorragend.

New album from Anthony Ferraro aka Astronauts, etc, who for most of his music career, served as Toro y Moi's keyboardist, with this album 'Living In Symbol' being his debut solo record.

Sonically, the album weaves its influences into an alien drapery. 'The Border' introduces Latin psychedelia to a groove à la David Axelrod, setting the stage for a vocal performance that manages to be equal parts Lee Hazlewood and HAL 9000. On 'The Room', a Borgesian story gets dressed up in an eerily graceful string arrangement reminiscent of Les Baxter. And 'Who I Talk To' nods to George Harrison in a soft rocking arrangement that supports Ferraro's ghostly croon.
Living In Symbol Is An Ode To Ambiguity, The Future, And Saying 'so Long' To The Known. A Member Of The Last Generation To Experience Life Before Total Interconnectedness, Anthony Ferraro (digitally Known As Tony Peppers) Aims To Be A Bridge Between Two Very Different Realities.

The Spirit Of Change Is Especially Pronounced In California's Bay Area, Where Technologies Dawn And Disruption Is The Noblest Goal. Critics And Advocates Of All Stripes Write Columns And Fill Talk Radio Hours With Their Analyses Of The Times. Ferraro Is A Funny Case: A Sometimes Luddite With A Romantic Streak, He Would Probably Be A Doomsayer If It Weren't For His Being Situated In The Middle Of It All. As It Happens, He Ended Up Writing A Generative Music Algorithm That Sold On Auction At The Smithsonian For $5,000.

His Take On Tomorrow Is Nonjudgmental, Meditative, Imaginative. It Keeps Away From Unqualified Hope Or Outright Alarmism, Choosing Instead To Embrace The Indeterminacy As Food For Dreaming.

Ferraro's Friendship With Chaz Bear, Who Co-produced The Album, Began Modestly Enough: Bear Walked Into The Coffee Shop Where Ferraro Worked While Attending Uc Berkeley. The Two Became Friends, And When Ferraro Graduated The Following Summer, He Signed On As Touring Keyboardist For Toro Y Moi. Musical Bonds Were Forged Over The Next Few Years, And The Pair Began Collaborating On What Would Become Living In Symbol.

Living In Symbol Is A Series Of Rooms, A Choose-your-own-tomorrow Story. Step In And Peer Through Its Open Doors.

A long time ago, in a Norway far far away in time, keyboardist Bugge Wesseltoft introduced his New Conception of Jazz to the world. We're talking about the late 90s, when Bugge's cosmopolitan blend of jazz, hiphop and techno beats was pretty much the coolest music coming out of Norway at that moment. That was a golden time for Norwegian music, in fact, when the rest of the world began to sit up and take notice that something was stirring up north, and realised the music was more than just glacial tones hurtled from icy mountaintops and frozen lakes. This was the sound of urban Scandinavia.

A few years later came the electronic dance genre 'space disco'. Along with Todd Terje, Bjørn Torske and Lindstrøm, Prins Thomas was at the epicentre of this next big wave to surge out of Norway. Now, the two generations have come together in this exclusive collaboration between Bugge and Prins Thomas on the Smalltown Supersound label. Jazz and electronics combine for that energising vitamin D shot of Nordic sunshine.

The Rainbow Studio in Oslo is a familiar name to anyone who follows the ECM label - many of its classic 1970s jazz albums were recorded there under the eye of resident producer Jan Erik Kongshaug. Bugge and Thomas booked a couple of sessions at the legendary space with Kongshaug at the controls, and improvised some tunes in the style and spirit of some of their favourite ECM moments, like the fresh, open sounds of Codona, Egberto Gismonti, Oregon and Kenny Wheeler. Bugge had previously done a remix of Thomas's 'Bobletekno' in 2015 but this is the first time they have worked together as active musicians. The results - also partly taped at Thomas's home studio - fuse programmed rhythms, live synths and percussion, all captured in a sumptuously spacious acoustic.

For an even more authentic touch they called up one of their all time local heroes and one of Norway's most famous jazz drummers, Jon Christensen, who's been the go-to guy for Jan Garbarek, Terje Rypdal, Keith Jarrett and many more. At 75 years he's still pretty spry behind the kit, as you'll hear on several tracks here.

Make no mistake, though, this is not retro pastiche but contemporary music, coasting on gently insistent programmed grooves and bubbling basslines. The whole thing feels not so much like a consciously hip fusion of DJ and jazz musician, more like two great musicians totally enjoying themselves. Which is exactly what it is.

Key facts:
Bugge Wesseltoft is one of Norway's leading jazz figures. He set up Jazzland Recordings in 1996. His solo Christmas LP It's Snowing On My Piano remains Norway's best selling jazz album!

Prins Thomas's real name is Thomas Hermansen. His label, Full Pupp, means 'full breast'. He's released several albums under his own name, as well as collaborations with Bjørn Torske and Lindström. Check out his amazing Paradise Goulash mixtapes.

Generation Next returns with his 6th solo EP on the 7 Days Entertainment label titled Phoenix. The EP opens with the song Sundance Kid, a tune that carries a high-spirited synth and bass throughout mixed in with a simple kick drum, high hat and snare combo. Next up on side A is Roseland, a cool, smooth house track from GN. A funky baseline accompanied with a warm piano, some complimentary synth and a clean rhythmic drum kit pattern.
On the flip side, the first track is Jungle 10.10.15. The recording used at the opening is from a voicemail received on the date 10/10/15. This track is pure memorization.
The voice of a woman over a frantic high hat pattern and knocking kick drums. The last song of this 4 song EP is Gold Scorpion. A simple dance tune with high- energy percussion, piano, and kick drum. This dance floor mover will definitely be a favorite.

Legalize Lambada step up for their 4th outing with four delectable afro disco edits from Sputnik.

'Superlove' see's Sputnik channel a South-African take on early garage house before melting 'Feeling Fine', the reggae tinged, afro boogie gem.

On the flip side, 'Groove Me' unearths some feel good Cameroonian disco gold complete with killer guitar solo, whilst 'Rick' closes out the e.p. dropping the tempo for a synth soul, slow jam.

With early support from Hunee, Lexx and the likes, LEG004 is shaping up to be one of the summers standouts.

47016 is Killawatt's third solo EP on 47. The 12' vinyl and digital formats will be released on July 20th 2018.
A1 'Accupunk' thrashes and beats with complex rhythm programming. A2 'The Roamer' continues with high-velocity alien minimalism. B1 'Polar Polemic' slows the pace to heavy stepping with cyborg talk. And B2 'Glacia Systemic' decelerates even more so the voices and synth-lines are glaciers twisting in space.
Portsmouth, UK-based producer and DJ Killawatt released the solo EPs 47010 and 47012 in 2017, and featured on the label's first release 47001 with label head Tommy Four Seven.

Next up on Francis Harris' exceptional imprint Scissor & Thread comes a collaboration with American Producer, DJ Aakmael. Aakmael has built a reputation for some of the deepest, rawest house music sounds coming out of the States, releasing well-received tracks on the likes of Freerange Records, Release Sustain, Kolour Dogmatik and NDATL. Returning to Scissor & Thread, Aakmael and label boss Harris cook up an intoxicating vibe across this 5 track EP. Each shares a track and work together on the fifth, while also remixing each other's solo cuts. First up Aakmael's Deep Muzik- a quintessential nod to its self-proclaimed mission statement. Skittering drums, a shuffling groove, deep keys, and chords make up this essential opener. Frank's (aka Francis Harris) All That Light Mix shows another side, finding pockets of space and developing the fizzing percussion to produce an equally affecting piece of dancefloor bliss. Sharing production duties from the outset on Mercy of Means, the guys slip into an easy mid-tempo groove with plenty of depth - the rhythm rolls along and offers the perfect basis for some sublime melodic touches. Frank's Part Song also hones in on the subtle deep grooves. Bumping, slightly filtered and saturated drums provide the main body, with beautiful washes and keys finding their way through, Aakmael's remix beefs up the groove somewhat, making the snares snap harder and kick hit a little stronger, but the essence of the tracks melodic atmosphere remains perfectly in place.

Der Brooklyler Produzent Rizzla, Neben D'hana Perry Mitglied Des Stetig Wachsenden, Audiovisuellen Queer-punk-kollektivs Kunq, Präsentiert Sein Solodebütalbum "adepta", Auf Dem Er Diy-ästhetiken Mit Pop-inspirierter Produktion Verbindet. Dabei Treffen Hysterisch-wurzellose Club-tools Auf Frakturen Von Vocal-dance, Was Zu Wilden Schwankungen Bei Rhythmischer Ausführung Und Tempo Des 11-track-albums Führt.

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

Salvador Font studied violin, clarinet, composition and harmony at the Conservatori Municipal de Barcelona, but very soon started to gain notoriety as a saxophonist in the rich jazz scene of 1940s Barcelona. Font would soon be playing tenor sax and clarinet in the Orquesta Gran Casino. He was in his early twenties and his hot swing technique was already praised through the citiy's scene, he would grow to be considered the best saxophonist in Spain by playing in many orchestras and combos, among them: José Puertas', Antonio Vilá's Virgina, Bonet de San Pedro's band, Pierre Michel, El Lirio Campestre, Los Marios, Luis Rovira y su orquesta, Orquesta brasileña Fon-Fon, Jaime Camino, Los Embajadores, Italo Leone's... With these and others, Font toured constantly, visiting many countries and even staying on some for long seasons: Mexico, Morocco, Switzerland, Egypt... Hungarian violinst of Turkish ancestry Kurt Dogan gave him the "Mantequilla" surname - he felt "Mantequilla" (which means "butter") fit Font's mellow yet swinging improvisation style.

Mantequilla y su conjunto

In the early sixties, "Mantequilla" had the chance to lead his own combo, Mantequilla y su conjunto, with which he was to record the three splendid EPs that are compiled on the present album. All these 7" have become elusive collector pieces in the record market, with sellers demanding from 200 to as much as 950 euros per copy.

In 1961 "Mantequilla" was at his best moment, his gigs at the Jamboree Jazz Cava had brought him back to the first line of Barcelona's jazzmen after he had been working abroad for a long time, and was approached by the Belter label to record an EP. On the sessions he was accompanied by Manolo Mercedes on trumpet, Pedro Ferré on piano, Rafael Lizandra on double bass and Rafael Verdura on Drums. The material chosen for the disc were four original compositions by Salvador Font which had a high West Coast flavour all over: "La Tuna Club", "Whisky Jazz" and "Jamboree" named after famous jazz clubs and "Azul Trompeta", dedicated to Manolo Mercedes.

In late 1962, after spending some time in Madrid working as members of the Italo Leone combo, "Mantequilla" and pianist Manuel Gas came back to Barcelona for the recording of the second "Mantequilla" EP, also on Belter. We find again Manolo Mercedes on trumpet, Pedro Ferré on piano and Rafael Lizandra on double bass, the drummer this time was José Farreras. Another news is that Manuel Gas also sat on piano and vibraphone. The songs chosen for the occasion were two tunes from the Art Blakey Jazz Messengers repertoire: Bobby Timmons' classic "Moanin'" and the Jacques Marray track "No Problem" from the soundtrack of the Les liaisons dangereuses film (mispelled "Not Problem" on the sleeve and label), plus the Salvador Font penned "Blue Note" and "Full de ases" - on "Full de ases" "Mantequilla" trades his sax for the violin, which he also mastered under high influence from Stephane Grapelli. The record was released on Belter in early 1963 and showed "Mantequilla" adding a certain aggressivity to his sound, in a soloist style which has been compared to that of tenor saxophonists Barney Wilen or Benny Golson.

1965 was the year of release of Mantequilla y su conjunto's third EP, now on the Discophon label. Mercedes and Farreras are again present in the recording sessions, joined by Ricardo Miralles on piano and Enrique Ponsa on double bass. Four original Font compositions make up the fantastic EP: "Blues 3/4", "Atmósfera", "Vat 69" and "Balada".

There would be a further EP on Belter, released in 1971 as Mantequilla Group it was a cash-in operation to take some redits of the ye-yé discothèque phenomenon, it gets quite afar in style from the jazz works of Mantequilla y su conjunto, so we just left it aside for the present edition.

"Mantequilla"'s career would continue, in 1968 he would settle in Majorca and form a swing band with Bonet de San Pedro and Manuel Bolao. He played in local orquestras and also with first class world acts like Gerry Mulligan, Tete Montoliu, Errol Gardner, a.o. He was even approached by Henry Mancini to play sax on The Pink Panther Theme in a gig Mancini did with his orchestra in Palma de Mallorca in 1975, He also joined his son Salvador Font (a demanded drummer himself who has played with Máquina!, Orquestra Mirasol, Música Urbana, Gary Burton Quartet, Georgie Fame, and many others) and his peers Carles Benavent, Emili Baleriola, Josep Mas 'Kitflus' and Jordi Bonell with whom he recorded his acclaimed "Mantequilla" album in 1987.

Now, for the first time ever, the legendary three ultra rare and imposible to find EPs by Mantequilla y su conjunto are compiled in a lavish vinyl LP with remastered sound, featuring liner notes and photos and a fantastic period inspired, three backflaped, front laminated sleeve. It is a stricly limited edition of only 500 copies and they are expected to sell out very soon, do not miss your chance of getting yours - it may be the last chance of chasing the Mantequilla sound on vinyl at a reasonable price!














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The second part of the Seltron 400 trilogy on MOST, Trans i Bas, sees the group re-embark on their singular journey in search of the essence of the rave. Since the first EP in the series - Zabawa Trwa - came out last year, they have augmented their back-to-back dj sets with a full-on live show, which again fed back into their recording process.

The record's title cut, Trans i Bas (also available in an earth-shaking drum version) is as uplifting as it is spontaneous, complete with trance-infused pads and heavy, tripping bass. Jest Nadzieja brings a little swing and a mental breakdown, while Oo is all crunched riffs and one-finger-string-solo glory. Nuff said.

As The Title Suggests, Joakim Recorded This New Album Last Year At Studio Venezia, The Installation/sculptural Ensemble/recording Studio Created By Xavier Veilhan For The Prestigious 2017 Venice Art Biennale. Built Inside The French Pavilion & Inspired By The Grotto-like Merzbau By Kurt Schwitters, Studio Venezia Had Dozens Of Artists Create And Record There Over The 6 Months Of The Biennale (from Chassol To Brian Eno, From Joakim To Sebastien Tellier), Invited By Xavier Veilhan Himself With The Help Of Co-curator Christian Marclay.

With An Impressive Collection Of Rare Instruments From Medieval Horns To Rare Modular Synths (baschet Crystals And Percussions, A Buchla, A Clavinet...), Studio Venezia Was An Amazing Creative Playground For The Adventurous Musician. Those Instruments Were Captured By A Team Of Sound Engineers In The Best Possible Way Thanks To Nigel Godrich's (beck, Radiohead...) Mobile Studio Loaded With State Of The Art Vintage Recording Gear.

Before Going There In May 2017, Joakim Examined The Instrument List And The Specific Context Of A Studio Open To The Public Within An International Contemporary Art Exhibition To Anticipate His Creative Process. Instead Of Drafting Compositions And Demos Ahead Of The Recording Session, He Decided To Have An in-situ' Approach By Creating A System Involving The Visitors Of The Studio In The Composition Phase. Joakim Asked Random Visitors Of The Pavilion To Pick A Word, A Letter (between A And G), Tap A Tempo And Sometimes Choose The Instruments That He Would Play For Each Piece. The Word Was Translated Into A Chord Using A Transcription Table Joakim Invented. Hence The Song Titles Made Of The Given Word Plus The Name And Origin Of The Contributor. The Music Was Then Mostly Improvised, Based On Those Chords, Scales And Tempi. The Recordings Were Then Taken Back To New York Where Joakim Made Some Light Editing And Mixed The Pieces.

In Terms Of Influences, Joakim Tried To Channel The Spirit Of Proto-ambient German Heroes Cluster, 60s And 70s Modal Jazz, Japanese Evocative Minimalism And Drone Composers' Hypnotic Transcendence.

One Can Hear The Studio Through These Recordings, Which Was The Point, To Use The Studio As An Instrument, Like The Kraut Rock Pioneers Did. You May Hear The Floor Cracking, People Talking Or Coughing, And The Peculiar Quality Of Music Recorded In A Large Space With Its Acoustic Properties, A Rare Occurrence When Everyone Is Now Working From Small Home Studios And Major Large Studios Are Closing Down. This Album Also Marks A Return For Joakim To His Musical Education As A Classically Trained Pianist As You Can Hear Him Improvise On The Piano ( arms', air', dream'), Fender Rhodes ( trust') Or Harpsichord ( absense').

Following The Release Of The Studio Venezia Sessions, Joakim Will Create A Live Performance Based On His Experience In Venice. The Premiere Of This New Solo Performance Is Commissioned By The Villa Medicis In Rome For Their Villa Aperta Festival Early June. More Shows Will Follow.

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

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

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

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

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

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

2x12" !

An der Grenze (ADG) is glad to introduce you to its 5th release "Talka" on 2 x 12" (ADG005) by Moscow- based composers, live performers & DJs OID & Anrilov, and revisited by Unbroken Dub.

Whereas OID, a versatile artist, has made a name for himself with releases on DJ Koze's PAMPA, Milnormodern and PNN, Anrilov releases here his first solo track. Unbroken Dub, for his part, already has a significant experience with multiple releases on Rawax as well as solo EPs on Delsin and Resonance Moscow, amongst others.

On vinyl 1, each artist presents his own version of "Talka". Whereas OID proposes a dark, mind-blowing and bewitching version, Anrilov opts for a rather cadenced, breakbeat and mystic one.

On vinyl 2, Unbroken Dub delivers two different interpretations of "Talka". On the A-side, his Refix is deep, linear and mystic whereas, on the B-side, his remix appears to be the best musical translation of his artist name: serene and dubby.

Michael Beharie (new York) And Teddy Rankin-parker (chicago) First Met More Than 10 Years Ago While Attending Oberlin College. Since Graduating, Beharie And Rankin-parker Each Veered Into Markedly Different Avenues. In Addition To A Consistent Output Of Solo Releases On Nyc-label Astro Nautico, Beharie Also Recently Joined Up With The Ever-confounding New York Ensemble Zs (northern Spy, The Social Registry, Troubleman Unlimited), Recently Performed On Albums By Laurel Halo, Greg Fox & Colin Self, And Is A Regular Composer For Dance And Film. Rankin-parker Became An In-demand Cellist For His Prowess In The Work Of Improvisation, Avant-garde Music, And The More Exploratory Realms Of Indie Pop, Lending His Talents To A Wide Array Of Bands And Collaborators, Such As Primus, Iron & Wine, Steve Reich, Pauline Oliveros, Glen Hansard, Father John Misty, International Contemporary Ensemble (ice), Chicago Sinfonietta, And Nicole Mitchell's Black Earth Ensemble.

Austin Based Experimental Collective Thousand Foot Whale Claw Is Back With The New Cosmic Full Length black Hole Party, Out June 29, 2018. Featuring Members Of S U R V I V E, Troller, Single Lash And Future Museums, This Is The Supergroup's Second Lp And Their Most Accomplished Work To Date. Inspired By Progressive 70's German Kraut-rock, Thousand Foot Whale Claw Maintains A Classic Style While Establishing An Original Voice. With Album Art By Renowned Contemporary Sci-fi/fantasy Illustrator Kilian Ang, black Hole Party's Aesthetic Is Cohesively Curated Throughout Its Dense, Multi-layered Track List, Ranging From Serene Sound Baths To Driving Dance Beats.

Tfwc Was Founded In San Marcos, Tx By A Core Group Of College Friends Who Bonded Over Loose Collaborative Jams Of Effects Driven Improvisations. Eventually These Unstructured Practices Evolved Into Refined Studio Sessions And Intense Live Performances, Leading To A Rich Discography And Enthusiastic Fanbase. Balancing Repetition With The Unexpected, Tfwc's Sustained Motifs Slowly Reveal The Band's Signature Free-form Experimentation. Known For Heavy Walls Of Guitar And Electronic Drones, Tfwc Spirals Into Circular Rhythms And Looping Riffs Stacked With Shredding Guitar Solos And Ambient Soundscapes. Explorations Spurring From A Central Theme Is The Basis For The Band's Compositional Approach, Always Seeking New Instruments, Sound Sources And Production Techniques For Each Piece. Recorded And Engineered At Stassney Studios In Austin, Tx With Producer/artist Dylan Cameron, black Hole Party Has Become The Band's Most Defining Body Of Work Thus Far.  

On black Hole Party, The Polished Structure And Acute Development Of All Six Tracks Is Distinct And Tangible, Making This Record More Composed Than Any Of Their Previous Releases.  Propulsive Songs Such As deridium Rail' And The Album's Title Track Are Driven By Four-on-the-floor Dance Beats And Arpeggiated Synthesizers, Contrasting Songs Like genesis Effect' That Predominantly Features The Natural Tones Of 12-string Acoustic Guitar And Harmonium. The Wide Variety Of Sonic Flavors Is Reflective Of Tfwc's Vast Musical Tastes, Refusing To Settle On One Approach And Allowing The Band's Idiosyncrasies To Shine Regardless Of Genre. To Classify Tfwc As An Instrumental Psych Band Is Only Partially Accurate, However There Are A Lack Of Proper Terms To Fully Encapsulate The Band's Broad Scope. Black Hole Party Is The Latest And Brightest Collection Of Songs From Thousand Foot Whale Claw, Meant To Be Enjoyed In A Multitude Of Environments For All Fans Of Expansive Listening. 

MotorCity Wine Recordings returns in fine style with its second EP featuring a swashbuckling blend of house and jazz sounds from Detroiters and their compatriots. Rising live techno star Haz Mat leads this 12' with a house-tinged boogie funk cover of Blue Six's Music & Wine', complete with vocoder and massive drums. Kuumba Reunion Band slides through next with the Afro-Jazz number 3 Fingered Fist (Jabbar)', a cut loaded with hand drums and chunky saxophone solos for the jazzdancers and listeners alike. MotorCity Wine guest and London native Aroop Roy kicks off the flip with a dubbed out beatdown house joint, a brilliant midtempo track perfect for the dread moments of the night. Last but certainly not least, The Hughes/Smith Quintet finish the release with an uptempo Jazz-Funk piece, with generous amounts of Fender Rhodes and call-and-response melodies. Only 500 vinyl pressed— enjoy the soulful sounds of Detroit.