Suche:sound of sound

After their highly acclaimed debut album »Decadent yet Depraved«, Berlin and LA-based producers Belief Defect invited a variety of artists to join their »Remixed« project. The following 12' EP is a first four-track release of this project. The original tracks of the album are only an approximate starting point for »Remixed«. In contrast to »Decadent yet Depraved«, largely conceived in song structures, this EP is about transferring the pieces back into abstract space, and each remixer does it in his very own way. Alessandro Cortini's one-take live recording is a lesson in classical ambient music. Telefon Tel Aviv's remix is timelessly modern and extremely delicate sound design. Rather opposite concepts are coming from Surachai's brutal pattern design and Kangding Ray's expressive and analogously saturated repetitions for the dance floor.

For the third release 'Purify Records' presents the first solo EP of the cologne based label co-founder 'Tangram'. Having refined his craft for many years 'Circadian Rhythms' showcases his unique ability to create immersive and hypnotic soundtrips tailored for dancefloor usage and home listening pleasure alike. Deep electronic excursions in their purest form.

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

Left Ear are issuing two previously unreleased Full-Length versions of Space Farm's mid 90's Egyptian inspired tracks. Both, 'The Dawn of Birds' and 'Camels in Desert Air' were initially cut short to allow for additional remixes on the original release. For their 2019 issue, Left Ear have decided to focus only on these downtempo original songs allowing the heavy percussion and synth workouts to shine through on a loud 45RPM press.

Space Farm is the story of three friends Darrin, Bill and Waleed their love for 80's NY culture, Egyptian music and a cross continental business plan that never materialised. Darrin and Bill grew up in North New Jersey only a few miles from NY city and met while studying in '90. Bill spent his formative years listening to the emerging sounds of 80's left-leaning New York radio stations, while Darrin immersed himself in the DJ and B-Boy culture. Fast-forward to '94 and the two found themselves living in Boulder, Colorado. By this time the tag-team had started producing music and would look to their NJ roots for a group name, deciding on the title 'Space Farm' after a kooky local petting farm they often cracked jokes about. Armed with an open mind and a bunch of old studio gear the duo began producing music inspired by 80's NY, however after a budding friendship began with Egyptian native Waleed they were inspired to start experimenting with Egyptian and Arabic sounds. After hearing their output Waleed pushed for the release of an Egyptian inspired record saying 'it would sell like crazy in Egypt', that 'he would bring it back to Egypt on his next visit and get it to all the right people that need to hear it'. The record got done but, due to circumstances beyond their control it never made it over to Egypt. The duo performed live a few times in Boulder before finally returning to NJ. Darrin recalls playing their final party in Boulder in which the Space Farm record was played from start to finish, 'Some joker ran up to us while we were playing and kept signalling to up the tempo we were like F Off! raver boy'.

Kumasi was a group comprised of Ray Phiri, Jabu Sibumbe, Isaac Mtshali and Lloyd Lelosa. Sometime between their formation as The Cannibals (*needing reissues*) and the almighty group Stimela, Kumasi released one album and a couple of singles. The artists had contracts under Gallo and couldn't reveal that they were linked to the music in any way, leading Kumasi to have only a brief mysterious run in the early 80s.

But the secrets out! This release presents a collection of five songs from their incredibly rare full length LP, and adds to that their version of the South African classic, 'Picnic'. Pressed as a 2x12' compilation, sounding incredible! Kumasi brings a unique blend of disco funk with that special South African tinge.

Ray Phiri died in 2017 - this album goes out in his dedication.

*Release has four variations of the Protea flower sticker*

After a spell on the disco sidelines, Dublin label Fatty Fatty Phonographics are back with the 2nd instalment of their 'International Disco Mafia' series.

Extending its reach around Ireland and then again over the sea to Italy, it begins with a 13 minute disco trip by a young man called The Crown Prince of Waterford, with the wirey Catholic white boy spirit of Walter Gibbons in his veins.
The immortally titled 'Getting Fingered On The Waltzers' is overloaded with fizzing disco-rock dynamics, crazy organs and driving endless drum breaks that keep on pushing you all the way to an inevitable, gushing disco climax. Phew!

On the flip we have another Irish up and comer, Island Times, and his chunky disco driver 'Together'.
Just like his debut on the first volume, this one comes up trumps with a big, drum driven sound and a loose, live feel.

Last but not least, we're travelling up along the Adriatic from Trieste with Umberto Lumber, who takes a classic slow jam and pitches it down Baldelli style to a sweet cosmic sludge.
Perfect as a mood setter or as a spaced out bump and grind to finish the night off, it rounds off this 3 tracker in some style...

Mark Van Hoen (prior jaunts in Seefeel, Scala, Autocreation among others) as Locust emerges with the first of a series of EPs for Transfusions that dive into unadulterated techno spaces that you were clearly not prepared for. Four powerful weapons start this series with sounds and textures that clearly incorporate Locust's indescribable signature that we have all fallen in love with but take the dance floor to an undisclosed locale where deep vibes transfix our minds into pure bliss. Armed with a new razor sharp identity and vision, we are in for an adventure. Completely new Locust logo and extra special sleeve artwork masterminded by Paul Nicholson (OG Aphex Twin artwork visionary). This is serious.

Top-debütalbum Der International Teachers Of Pop, Bestehend Aus Den Moonlandingz-gründern Adrian Flanagan (eccentronic Reaserch Council) Und Dean Honer (all Seeing I/i Monster) Sowie Sängerin Leonore Wheatley (the Soundcarriers). Itop Erzeugen Begnadeten Electro-pop Aus Analogen, Pre-1980er Us- Und Sowjet-synthesizern Und Einflüssen Aus Disco Und Pop Von Giorgio Moroder, Martin Rushent Und Bobby Orlando Bis Kraftwerk, The Human League Und Broadcast. Ihre Sheffielder Kollegen Jarvis Cocker Und Roisin Murphy Sind Itop Fans Der Ersten Stunde Und Luden Die Band Bereits Zu Supportgigs Ein.

Cin Cin opens it's 2019 account with the inspired pairing of Joe Goddard and Kiwi.

A production 'tour de force' over the last decade, Joe Goddard has had his fingers in many pies (Hot Chip, The 2 Bears, Greco-Roman Soundsystem to name but a few) but it's on this Cin Cin debut that he bares his solo chops and delivers something for the floor. The darker roots of acid house are channelled on 'Jack Come Back', with a rubbery bassline and churning keys loaded over the vintage drum machine rhythms as the deviant vocal calls out the track title. 'Moebius Trip' takes a headier journey through wave upon wave of melodic modular synthesis and crumpled beats, with a nod to Detroit's techno-soul heritage, whilst packing a punch with the energy levels.

It gives me the greatest honour to finally be able to announce the release of this amazing triple vinyl masterpiece by log(m) and Laraaji on Invisible, Inc.

It's been over a decade since Laraaji first joined forces with log(m) in their Canadian studio in early 2007. In those ten years the trio recorded many hours of music. Over time these recordings, beginning essentially as live jams, were polished, dissected, processed, re-arranged and then finely and painstakingly distilled down to the 105 minutes of music that now form this album, which finally reached completion just earlier this year. The wait has been more than worth it.

The Onrush Of Eternity is a melding of minds like no other. Ever the pioneer of experimental ambience, Laraaji's signature hammered dulcimer, zither, mbira, auto harp, sruthi drone box and of course his exceedingly positive vibes are here combined with log(m)'s unique vision of gronky hi-tech psychedelic space dub. The resultant voyage into deeply meditative ambience and trance-inducing dub is as unexpected an outcome as it is a bona fide "Eureka" moment. It sounds neither like log(m) OR Laraaji....but of course like both. It is one of those rare collaborations that is, without a doubt, even greater than the sum of its already great parts.

Log(m) started making waves in the early '90s as Legion Of Green Men with their visually striking 12"s, complete with eternal opuscules (locked grooves) and mathematically inspired titles, all lovingly issued on their own Post Contemporary imprint. These deservedly got the attention of Richie Hawtin who promptly asked the duo for an album on his own classic Plus 8 Records. 20+ years later and the music (much like their name) has morphed into something more sophisticated: even more complex, atmospheric and deeper than ever.

Laraaji's reputation of course precedes him: he first came to wider attention when Brian Eno released his "Day Of Radiance" as part 3 of his Ambient Series in 1980. Since then, Laraaji has released over 40 albums, yet his stellar path seems still to be on the ascendant - a recent landmark being the 2017 "Sun" series of albums for the wonderful All Saints' Records.

This unique triple LP in tri-fold sleeve is limited to 200 copies on coloured vinyl and 300 copies on black vinyl featuring ten of log(m)'s signature eternal opuscules and cryptic engravings on all three discs.

A welcome branching out into the reggae universe, Rocafort is proud to present The Circle of Confusion featuring the legendary sweet falsetto voice of Cornel Campbell. Lausanne Switzerland meets Kingston Jamaica in this heartfelt, stripped back, feel-good homage to the late 70s roots reggaestyle.

The Circle of Confusion are a Swiss production duo: Seb.K (Shakedown productions) and Phil'eas (Black Diamond Sound). Diehard reggae fans, they dared to contact their favourite Jamaican singer and got a result with Campbell delivering the lyrics on the spot, written on the day of Nelson Mandela' death. There's depth and feeling in this wonderfully lilting, plaintive song, typical of Campbell's social consciousness and beautiful soul. Hard to believe it was all strung together in a shiny, clean Swiss studio when the sound is so simply warm and Jamaican. Beautiful run on the keyboards by Jah Lou.

If you were moved by the Rhythm and Sound album of 2001, you will not be disappointed with this splendid roots collaboration. We can only hope there's more to come.

Midday Moon is a survey of ambient and experimental music that emerged from Australia and New Zealand between 1980 and 1995. These recordings are sourced from a rich variety of micro-labels, private pressings, theatre soundtracks and artists' personal archives. Curated by Melbourne based DJ and archivalist, Sanpo Disco (a.k.a Rowan Mason), the collection delves deep into the world of outsider music that emerged in Australia and New Zealand in the latter half of the twentieth century, as synthesisers and early workstations began to enter the consumer marketplace. The record is an odyssey in itself, a journey that takes listeners into the unsung world of Australian new age composers. There are stories abound within this volume, from the mysterious disappearance of Helen-Ripley Marshall after the release of her 1988 album 'Green Chaos', to the journey of American-born, Perth based blues/rock guitarist John Heussenstamm, who unexpectedly turned his finger to 'ambient' music in the late 80's; and again from Melbourne based Ros Bandt, who made a series of recordings exploring the resonance of a hollow concrete cylinder 5 stories beneath busy Collins Street in Melbourne's CBD. Compiled by Sanpo Disco / Mastered by Mikey Young . '(Ambient music is) a surrounding influence that induces calm and a space to think... it can accommodate many levels of listening attention without enforcing one in particular.' - Brian Eno / 'A richer and more diverse ambient genre began to form. Music that crafts a unique cultural geography of landscapes and atmospheres: real and imagined, natural and man-made. Some artists turned their attention to the singular acoustic ecologies of overlooked spaces around the country. Others fostered interests in non-Western music cultures and instruments. The common thread is their use of new technologies to conjure interior and exterior regions, through acoustic and synthesised sounds.' - Sanpo Disco

'learning To Cope With Cowardice', The Groundbreaking Debut
Solo Album By Visionary Post Punk Iconoclast Mark Stewart, Is To Be Given A Definitive Reissue Alongside 'the Lost Tapes', A Newly Discovered Cache Of Unreleased Material.
'learning To Cope With Cowardice' Is Released On Double Cd,
Double Vinyl With Digital Download Code And Separately As
Digital Download Albums. 'learning To Cope With Cowardice' Is A Vital Chapter In The Legacy Of Mark Stewart & The Maffia, A Project That Would Prove To Be A Revolutionary Benchmark For Many, From The Innovators Of The 'bristol Sound' (the Wild Bunch, Smith & Mighty, Tricky, Massive Attack) Through To The Likes Of Trent Reznor And Nine Inch Nails. Collected Together This Set Realizes An Expansive Restoration Of One Of Stewart's Most Audacious Statements. As It Was In The Early 1980s So It Is Now, 'learning To Cope With Cowardice' Is A Masterwork Of Mutant Design And A Rude Awakening Of Extraordinary Bite.
Mark Stewart Himself Perceives 'the Lost Tapes' As A Document
That Now Possesses A Storied Significance: it Was A Real
Adventure Discovering This Forbidden History, A Twisted Tale Of
Muswell Hillbillies, French Pirates And A Dutch Schizophrenic
Doctor Doing Psychic Archaeology.' Whilst Adrian Sherwood
Describes These Works As Characteristic Of A Distinct Primitivism: ('the Lost Tapes' Represent) The Early Childhood Of The Songs Before Mark And Me Conducted Frenzied, Scorched Earth, Slash And-burn, Twenty Hour Mental, Manic Editing Sessions At Crass' Studios That Led To Birthing The Finished Album.'

James Baldwin was an unparalleled master of the written and spoken word. He was best known for his brilliant essays, plays and novels that shone light on his insights into race, sexuality, spirituality and humanity. Baldwin was an incredible orator who commanded the power of words. Whether on the pages of his books or in speeches and debates, he was passionate, compelling and powerful. This EP is the second half of a project that is a tribute to Baldwin. It features extracts from the audio portion of a documentary film shot of a discussion led by James Baldwin and Dick Gregory at the West Indian Student Centre in London in 1968.

Peabody & Sherman is a partnership between Phillip C Hertz and Curtis Ruptash - drummer and bass player respectively. They share common interests in dub, afrobeat, funk, jazz, ambient and improvisational music. They have long histories of the employing 'studio as instrument' approach to recording. The foundations for this EP was P&S rhythm tracks recorded at the Wayback Machine Studio in 2011. Supplemental instruments were layered on to create the final product. The same original sessions were also the source for their James Baldwin EP released in 2012. That EP featured remixes by Area and Afrikan Sciences.

The same concept is applied here, with remixes being contributed by Waajeed and BusCrates. Waajeed is a Detroit producer known for inventive and genre-defying music. He is background includes his work with Slum Village through to the Platinum Pied Pipers and to his work with his own Dirt Tech label today. BusCrates is a Pittsburg based producer known for his inventive use of electric and vintage synths to create deep layers of analog goodness.

Vaal announces the release of debut album 'Nosferatu' via new label Pale Blue Dot.

A dark, cinematic triumph, title track 'Nosferatu' was the first song to be released from the record, following a huge few years of touring and underground releases, including one of 2016's most ubiquitous tracks 'Wander To Hell' and 'Monument' on Afterlife.

Vaal has established a sterling reputation as one of the key members of the Afterlife family. Steadily cultivating a strong identity and sound, merging a crossover of techno and breaks, traces of 'Bachian' melodies and UK rave culture.

Gaijin Blues is Naphta and band mate PlaystationYoga Music's tribute to Japanese pop culture, manga and video games. This EP is the result of tours to different regions of Japan and spending time in record shops, as well as playing classic RPGs. Gaijin Blues is a blend between Japanese and Western music with live studio instruments. It's a feeling, an expression and a time and space vehicle.

Secret of Mana explores live percussion and bass with strings, live flute and dreamy vocals, whilst Cafe LeBlanc references a peaceful location in JRPG Persona 5 and features more soothing strings and is inspired by manga soundtracks.

Metal Gear Rex is string-lead and features complex melodies and vocal chops. Another tribute to Japanese gaming culture, this one has a driving, hypnotic bassline and an eye on the dance floor.Guardia Castle opens with a 4/4 disco beat before introducing unexpected layers of blissful, melodic female vocals, acoustic guitars and flutes.

* 180g Vinyl cut at D&M including CD and DOWNLOAD CODE! *

** played by Steve Barker, BBC Radio Lancashire, ON THE WIRE, 1.12.2018 **

*** interview and exclusive mix etc radio, WNUR FM, Chicago, 4.1.2019 ***

** interview & airplay of the whole album @ OE1, ORF - Zeitton Extended 3rd of february 2019 **

In his latest composition, DOLOMITE DUB, the Vienna-based South Tyrolean sound artist Ulrich Troyer presents his perceptions of a several-day high alpine hike across the Dolomites transformed into a soundscape.

The more than 40 minute track DOLOMITE DUB leads the listeners through this landscape of heights transgressing different moods - in which autobiographical memories flash up as well.

Subsequently to the experimental dub trilogySongs for Williamand the EPDeadlock Versions, a cooperation with Vin Gordon and Didi Kern, DOLOMITE DUB features besides Didi Kern on drums & percussion, Susanna Gartmayer on contra-alto clarinet and Juergen Berlakovich on bass, both long-time ensemble members of the joint project "The Vegetable Orchestra".

Mystique Sound Explorer Scherbe Is Bursting Out Danceable Groove Science Between Epiphany And Delusion. Urban Misty Visions Of A Past And Current Future Deconstructed And Cludged Together Again, Twisted And Dubbed Into Danceable House.
The Ep Contains 6 Tracks In Mid Tempo, Each Of Them Having A Distinct Emotive And Dense Energy. Ready To Be Played In Clubs As Well As Tailored To Accompany You In Your Everyday Frenzy.
Steady Work By Dear Friends, A Heidelberg (germany) Based Label, Is Feeling Honoured To Disseminate His 3rd Release Featuring Scherbe, Who Used To Live A Long Time In Heidelberg And Is Now Based In Dresden. This Release Fits Well Into Scherbe¥s Discography Who Yet Released A Variety Of Records On Numerous German Underground Labels Like Uncanny Valley, Or*s, Kashual Plastik And Big Bait.

For Fans Of... Durand Jones, Leon Bridges, Otis Redding, Al Green, Son Little.. Limited Honey Yellow Vinyl orders are for Indie stores only, stock is very limited and orders may well be cut. Fresh, sweet soul from Akron's Wesley Bright & The Honeytones. After going through some changes in both personnel and sound, Wesley and the guys have found their groove. This tune represents a new direction for the band, produced by Colemine Records' in-house producer Leroi Conroy at their Loveland, OH studio, these tunes are rough and tough, yet super sweet as well. Maybe that because lead singer Wesley Bright is also a beekeeper. That's right. He's a sweet soul singer that makes honey. You can't make that up.

White Shadows In The South Seas is the title of a book written in 1919 by Frederick O'Brien as part of a trilogy he wrote based on his experiences living in the Pacific islands in the early part of the 20th century. His book was taken as the starting point for a film to be directed, initially, by Robert Flaherty (famous at the time for his groundbreaking documentary / fiction film Nanook Of The North) with W.S.Van Dyke as his support. The film, ultimately, apart from the title, had little to do with O'Brien's book and Flaherty left the film after a few months leaving Van Dyke to finish it.

I purchased O'Brien's book, along with many others, from Basement Books, a secondhand bookstore in Melbourne/Australia. Part of my 'Islomania' and on going fascination with all things Pacific. When I discovered there was a 1929 silent film based on the book I sought it out and started to present it as part of my 'Live Music/Silent films' repertoire. Tabu by Frederick Murnau, which coincidently also had Flaherty as co-director originally, was the first film I ever wrote / improvised a score for and presented as a live film/music performance. My repertoire extends to over 23 films now.

My eclectic and diverse musical and artistic interests extend into 'Hawaiian', 'Exotica', 'Ambient' and 'Electronic' Music. I have produced several volumes of so called 'Electronic, Ambient, Exotica' on CD and Vinyl, including Kiribati, Globe Notes, Rayon Hula ( on Vinyl, CD and digital format ) and most recently, New Globe Note on Vinyl and White Shadows In The South Seas on CD.
White Shadows In The South Seas features some of the music presented in my live screenings of the 1929 silent film.

The film is the story of Dr. Matthew Lloyd, an alcoholic doctor who is disgusted by the exploitation by white people of the natives on a Polynesian island. The natives dive for pearls, however, numerous accidents occur and one diver dies. In anger, Dr. Lloyd punches Sebastian, the employer. As revenge and to prevent further interruption of his activities, he tricks Dr. Lloyd onto a ship with a diseased crew (thinking they are ill) and his men rough him up and send the ship off into a storm. Dr. Lloyd survives and is washed ashore on an island where none of the natives have ever seen a white man before. Lloyd is rescued and ultimately falls in love with the chief's daughter, who is Taboo, hence Lloyd is prevented from pursuing his love for her. An incident occurs and a young boy is thought to have drowned but Lloyd is able to revive him, earning him points and permission with the chief's daughter. Lloyd begins to realise that the local islanders have no sense of the value of the black pearls which grow in abundance around their island and he starts to dive for them and collect them. One morning the white man Sebastian unexpectedly turns up on a scooner and starts to offer the islanders trade for their pearls. Llloyd tries to interrupt the encounter and is shot and dies. His wife and the islanders morn for his dead body and, symbolically, the passing of a way of life.

Mike Cooper plays - Electric and acoustic lap steel guitars / electronics / Zoom Sampletrack / Kaos Pad / Casio SK1 / Korg Drum Machine / Self Made Instruments.

It also features field recordings made on Pulau Ubin by Mike Cooper during a month as Artist In Residence for The Artist Village / Singapore.

I would like to acknowledge and thank Lawrence English (Room40 Records) for his assistance and encouragement with the original recordings and the CD version of White Shadows In The South Seas.

All music written and played by Mike Cooper PRS/MCPS - except Po Mahina (trad. Arr. Cooper) and Hilo Hanakahi (trad. Arr. Cooper)

Recorded and Mixed at the Steelworks in Rome 2012/2013.

A White Shadow In The South Seas
In February 2014 'A White Shadow In The South Seas' was the title of an audio-visual installation I made at the Teatro In Scatola in Rome, Italy, presented as part of a series of sound installations titled 'Visitazioni' produced by Proposte Sonore.

The essay below, as well as our collection of Hawaiian shirts, Exotica and Hawaiian vinyl records, was an inspiration for this installation.

'..the transformation and reconstitution of the souvenir commodity as an indigenous ethnic art form and a scarce relic of Hawai'i's romanticized past...' from - Clothing and Textile Reasearch Journal - From Kitsch to Chic by Marcia A. Morgado.

And....
Michael Thompson's Rubbish Theory (1979)
' ...a critical aspect of Western culture is the pre-disposition to see objects in terms of two overt categories: the transient and the durable. Objects identified as transient have finite life spans and lose value over time, whereas those identified as durable have infinite lives and over time increae in value....category assignments are arbitrary, but once assigned a category membership determines relative value. Fashion apparel-by defenition-is assigned to the transient category; paintings commonly are designated durables....how is it that transient objects.. ( e.g. Hawaiian shirts and vinyl records ) ..sometimes become durables.

Objects assigned to the rubbish category are largely invisible, have no value and, ideally, no life span. Fashion for example, no longer worn and relegated to the back of the wardrobe has fallen into the covert rubbish category. But rubbish can be rescued and transformed. Thompson says ' What I believe happens is a transient object gradually declining in value and in expected life span may slide across into rubbish. Here it exists in a timeless and valueless limbo where it has a chance to be re-discovered and be successfully transformed to a durable. Such transferes are radical: objects gradually slide from transcience to rubbish, but the transformation from rubbish to durable involves an all-or-nothing leap across two boundaries, that separating the worthless from the valuable and that between the covert and the overt. Things drift into obscurity but they leap into prominence.

The delightful consequence of this hypothesis is that in order to study the social control of value we must study rubbish.

The rubbish-to-durable transformation is accompanied by the development of highly specialized knowledge derived from the discovery of subtle variations and complex details that went unnoticed in the objects transient stage. The discoveries initiate renewed interest in the object and its market value begins to climb. As prices soar beyond the reach of ordinary people, the object becomes available only in high priced collectors' markets. Furthermore, as market values rise, the aesthetic value of the object undergoes a reassessment as well, and it becomes increasingly apparent that the objects intrinsic beauty has been overlooked. Ultimately the object is re -assigned as a durable and becomes recognized as a timeless classic.

Exotica, Ambience and Pacificism - A dialogue with Mike Cooper & Professor Philip Hayward Deputy Pro Vice Chancellor of Research Southern Cross University, Lismore, Australia.

Belgium DJ / Producer ED1999 kicks off the debut release for his newly minted 'Porpax' imprint with 'Melodius Hubbub, a 4-track EP of hypnotic dark Techno saturated with modular wizardry. The release confidently displays ED1999's production power as well as the serious direction the label is aimed at taking. The music featured clearly inspired by the energy found in Tbillisi, Berlin, Detroit and anywhere else heavy duty underground music is celebrated.

'Path Of Hope' is a punchy mover heavy on the reverb, with washes of metallic gray atmospherics floating in and out of the steady analogue drum patterns. The track grows in energy throughout with additional claps, hi hats and melodies generating an absolutely effective tension building weapon.

Title track 'Melodius Hubbub' is pure hypnotic Techno at its absolute finest. Black as midnight elements drive the energy to dark territories. ED1999's perfectly positioned sonic peaks and valleys of thick musical textures ensure the dancefloor never loses a moment getting lost in the incredibly positioned hypnosis of sound.

'Winding Course' is centered around a gurgling synth ride which gives the track an uneasy and twisted vibe throughout. Additional melodic effects join the main synth, adding a romantic sense of danger and dancefloor movement. Akin to ED1999's brilliant ability to keep his music restrained and effective for serious club-goers.

'Sleazy Nook' is the darkest of the dark tracks found on the release, with shudder inducing effects and ice cold soundscapes residing alongside the winding rhythms. A truly intense breakdown midway through the track generates a clever sense of sinking, with only the kick drum returning to keep people safe from going under.

Art is a matter of different phases and influence. The artists' core reaches out like heat waves. And very rarely do these artists' core merge like Brigitte Fontaine and Arseki Belkacem have. Their Saravah Era lasted ten years (1969 to 1979), ten years of "folle sagesse" (crazy wisdom), above all genres and song limitation.

"Le plaisir secret que donne une chanson, dessin à la craie sur le mur de tes sons" (the personal delight within song, a chalk drawing on your wall of sounds) whispers Areski, right after Brigitte's voice on the penultimate song of the double album "Vous et nous". Released in 1977, this free flowing record contains 33 songs, it's their 6th album after "Comme à la radio", "Brigitte 4", "Je ne connais pas cet homme", "L'incendie" and "Le bonheur", and it continues to spread the wide and generous spectrum of the couple fully blossoming talent. Electronic experiments, North African trance, refined acoustics and medieval drones gracefully blend with the acid and candid tongues of the singers, surprising us each step along the way. The making of this record was also full of twists and turns. It started out as a solo effort by Areski at Jean-Pierre Chambard's studio. Little by little, as Areski was filling tapes with poems and improvised skits, Brigitte would sneak into the studio at nightfall, adding her voice here and there, her whispers then became screams, giving fuel to the fire in a total blaze, a surreal blaze. The solitary work ("je") thrived to become us ("nous") and you ("vous") ...

Benjamin Barouh, June 2018

Analog Room Director and co-founder Mehdi Ansari expands his dedication to the electronic music scene of the Middle East. After six years of weekly events, presenting quality and cutting edge electronic music from around the globe, the educating continues with the launch of Moozike Analog Room. Moozike ('Music of' in Farsi) Analog Room launch is to showcase the sounds and artists that Analog Room is all about.
The first release is an EP by Analog Room's co-founder and resident artist Salar Ansari who has been producing for over a decade. Salar's sound is influenced by a very unique mix of
residencies from Tehran and Dubai to Detroit, Michigan. It took all these years for Salar to reach a place where he is happy to share his work with the world.
In this release he speaks jazz in house music by a very romantic conversation of percussions, horns, keys and bass. The release contains of 2 special remixes by Patrice Scott and Donald
Lee Roland II where both explain their angle of these heavenly compositions.

Die mit Hochspannung erwartete zweite Ausgabe der Dancer-Anthologie von Pauli Steinbach, Sascha Dive und Patrick Kunkel dreht sich rund um eines der vermutlich meist zitierten Vocal-Samples der Housegeschichte - eine mehr als würdige Hommage an Soul Train, Paradise Garage und andere Hotspots
aus den Frühzeiten elektronischer Tanzmusik zu Beginn der 1980er Jahre. Funky, flächenbetont und mit dem Dancer-typischen modernisierten Kinky-Verständnis tänzeln
Pauli und Sascha durch die glitzernden Pforten des Soul Train, eine entspannte Deep- Disco-Hymne, bei der sogar Saxophon-
Samples wie das Tüpfelchen aufs i passen.
Der von Pauli gemeinsam mit Patrick produzierte Remix auf der Flipside bewegt sich etwas weiter weg von den originalen
Songstrukturen und präsentiert sich dabei als kongeniale Handclaps-Orgie mit Aciddisco- Anleihen. "Come on spread yourself over me like peanut butter", aber sehr gerne doch.
The highly anticipated second issue of the Dancer anthology by Pauli Steinbach,
Sascha Dive and Patrick Kunkel centres on one of the most quoted vocal samples in the history of house music. It is a
homage to Soul Train, Paradise Garage and other hot spots from the initial period of electronic dance music in the early
80s. Pauli and Sascha dance through the glitzy portal of Soul Train, a relaxed deep disco hymn where even the saxophone
samples fit like the icing on the cake.
Pauli and Sascha do this in a funky way and with the modernized kinky understanding that is characteristic for Dancer.
The remix on the flip side produced by Pauli in cooperation with Patrick ventures a little further from the original sound structures. It presents itself as a kindred handclaps orgy with borrowings from
acid disco. "Come on, spread yourself over me like peanut butter", but of course -- with pleasure.

Estimated shipping date: 18.01.2019

In 2012 Important Records released a historic 12 CD box set compiling much of Pauline Oliveros' early and unreleased electronic work. Reverberations 1 is the first release in an ongoing series dedicated to releasing the entire 12 CD box set on vinyl.

Organized chronologically by studio (here: Pauline Oliveros Home Electronic Music Studio, 1961 & San Francisco Tape Music Center, 1964-1966), the complete Reverberations not only documents Pauline's earliest electronic music but it also functions as an early history of electronic music itself.

Pauline Oliveros, composer, performer and humanitarian was an important pioneer in American Music. Acclaimed internationally, for four decades she explored found, forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it and it eludes many who try to write about it.

In partnership with the Pauline Oliveros Trust, Imprec will be releasing essential titles from Pauline Oliveros' catalog on vinyl including the complete Reverberations box set, Tara's Room, Sounding/Way (with Guy Klucevsek) and many more.

"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." John Rockwell

"Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." John Cage

The third release in the Anopolis trilogy coincides with the founding of Anopolis Records.
Like the previous two EPs, DIMADOU takes reference points from the sound of the 90s and avoids getting bogged down with track titles. The first track, A19 is noticeably influenced by the Sheffield scene and Rising High records. The EP continues with the heavy bass line and the TR-707 drums of A18, a strong nod to the Chicago sound. On the B side, drum machines dominate in A21 and A20 with their piercing sound hinting towards the style of Ron Hardy. Rounding off the EP is the atmospheric A17 and its warm, hazy pads.
This final part of the trilogy is simultaneously the beginning for further releases through the project s new imprint Anopolis Records.

'Sometimes it's hard to say how you feel,' says songwriter-vocalist
Jade Vincent. 'These songs are vulnerable stories for me to tell -
they're things I couldn't say out loud. But I found that I could sing
them. And then I closed my eyes when they would listen.'
Listening to Vincent's songs were her partner - producer/composer
Keefus Ciancia - and DJ and producer/composer David Holmes.
Together, Vincent, Ciancia and Holmes make up Unloved, the musical
project that evolved out of a late-night Hollywood bar in 2015,
releasing a stunning debut album the following spring and this year
crafting the soundtrack to Phoebe Waller-Bridge's acclaimed new
series 'Killing Eve'.
Introduced to Ciancia through soundtrack work, Holmes found
himself invited to DJ one night and to curate other nights at the
Rotary Room. To invite Holmes to DJ is to unleash a kind of whirling
dervish of musical enthusiasm but through those nights the trio
discovered a shared love for 60s girl groups and French pop and film
noir soundtracks, Brigitte Fontaine, Shuggie Otis, George 'Shadow'
Morton, Bruno Nicolai, Lee Hazlewood and Jack Nitzsche, along with
a tremendous desire to work together.
Their debut EP - 'Guilty Of Love' - and the full-length, self-titled
album that followed in the spring of 2016, offered a quite remarkable
thing: a sound at once hauled out of the silty depths of the past and
simultaneously wholly modern. There was the soft hiss of a lo-fidelity
recording - the murky crackle of sample, beats and half-remembered,
long-lost favourite tunes. However, much of the songs' success
belonged to Vincent's sublime voice and lyrics, both possessed of an
aching, rich-smoked tone of loss and love.
Unloved's second album, 'Heartbreak', is about love. The album plays
out each song like a vignette of nothing but love. The songs that rose
up were in some ways surprising, but also felt insistent. 'They're real
feelings and real experiences that I had the guts to finally say, but
always ambiguous, this is very important to me,' she explains, 'and
always about love, one way or another.'
LP pressed on red coloured vinyl with digital download code.

Off the back of the highly conceptual project 'Plata - Last Dayz', Circadian Rhythms quickly return to focus on their white label series and solidify their signature sound. CRWL003 takes form of three club driven tracks from the arsenal of Leicester based producer R@ (Lewis Ireson). The 21 year old's current studies in Video Game Development have evidently started to seep into the ferocious sound that has drawn him attention.
His praised debut EP 'Neural' was released on Stella Beats in October 2018 and following his DJing debut at the CR003 Live event alongside Mssingno and Plata, he now continues this run with his first vinyl release, showcasing his signature production.

In the cracks that sprawl between electronic and analog music, visual art, and craft creation, Yamila dances on the edge of sound and conceptual heights. The Spanish composer, cellist, singer and producer is based between Belgium, Holland and Spain. In recent years Yamila has created music for contemporary dance productions in places such as The Gothenburg Opera, Netherlands Dans Theater, and Dance Forum Taipei, among others. Her projects have been presented at festivals such as Sonic Acts Festival (Amsterdam), Arts Electronica (Linz), Seoul International Computer Music Festival, STRP Festival (Eindhoven), and Today's Art festival (The Hague) to name a few.

With 'Iras Fajro' (Forbidden Colours), her debut album, Yamila, summons in 11 songs with the strength of electronic sounds in front of a fragile voice that at times unfolds in small coral clusters. The brilliant electronic arpeggios and rhythms dissolve in the velvety voices of the cello, which are sometimes intertwined with the creations of two collaborators, the British producer and composer Clark (Warp) and the multifaceted ex- flamenco Nin~o de Elche (Sony).

My love wears forbidden colours My life believes My love wears forbidden colours My life believes in you once again

* These recordings stretch back to the tail end of the late 1980's, with the original line up of Dub The Earth, who were one of a few dub reggae-inspired groups sprouting up in the west of England in those times, such as Military Surplus (who morphed into Radical Dance Faction), Rhythmites and Revolutionary Dub Warriors who all had a strong presence in the free festival scene in the UK at that time.* Featuring the late Steve Swann (Revolutionary Dub Warriors, On-U Sound) on vccals and mixed & produced by Rej Forte from Jah Works.
* The 10" features a vocal, dub and a violin cut.
* The vocal and violin cut have only previously appeared on the cassette only various artists release `One Foundation' from 1990.

Rebar continue their geography-infused musical journey with the second EP, Lost in New York City. While the first release unveiled the majestic anthropophony of the Japanese capital, this release is centered around the city of New York. As in the previous offering, the three tracks all pertain to different styles, exploring different facets of techno, while carrying the common soundprint of the American metropolis. The first cut unveils a mesmerizing techno construction, while the second makes for a groovy interlude, rounded up by rolling techno in the third track. A mysterious and compelling affair, released on vinyl and digital at exactly one year from the inaugural opener.

Sydney Valette has earned a solid reputation among post-punk scene of Paris. 'Space and Time' is a sample of his very upcoming new album. Minimal synthetic maneuvers combined with sharp guitars for a perfect modern dark sound, probably his best studio work to date. It arrives presented on 12 EP format and produced in a ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid WHITE vinyl. All tracks have been specially remastered for LONG CUT vinyl by Eric Van Wonterghem.

Being introduced to the work of Ludovico Einaudi at a young age, Joram started composing and home recording his own neoclassical piano pieces. The thread that runs throughout his compositions is the minimalist character: repeating structures that slowly build and fade. The works are electroacoustic spaces of sound with a felt, warm, melancholic undertone - translating indefinable moods into music.

Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released on CD by Unit Records in 1995. Born in 1948 and residing in the medieval Swiss town of Lenzburg, and virtually unknown outside of the German-speaking world, Häusermann is a multi-instrumentalist and enormously prolific composer who works primarily in the medium of absurdist music-theatre. A virtuoso wind player and free improviser who also composes for traditional classical instrumentation, his work is characterised by subtly surreal humour and the unlikely combination of extended technique and simple, at times almost child-like, melodic ideas. Named after his rehearsal room in Lenzburg, Galerie Randolph uses an enormous array of instruments to craft a work of singular compositional vision. Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones played on a home-made contraption stretching two guitar strings between the top of Häusermann's alto saxophone and an amplified cup, and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements (whose pitch gradually raises throughout the record) are complemented by entirely different material, all of it played by Häusermann. Ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time. Calling up the most unlikely combinations of possible predecessors - Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -Galerie Randolph ultimately defies comparison. Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before.

Presented in a deluxe gatefold sleeve with gorgeous archival images by the composer. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

Key selling points: - Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released in 1995, the album utilises an enormous array of instruments to craft a work of singular compositional vision.

- Calling up the most unlikely combinations of possible predecessors - Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -Galerie Randolph ultimately defies comparison.

- Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements are complemented by entirely different material, ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time.

- Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before.

- Galerie Randolph is presented in a deluxe gatefold sleeve with gorgeous archival images by the composer with design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

Martina Lussi's second album fuses together disparate sound sources with a disorienting
quality that reflects the modern climate of dispersion and distraction. The Lucerne, Switzerland- based sound artist released her debut album 'Selected Ambient' on Hallow Ground in 2017, and now comes to Latency with a bold new set of themes and processes.

The range of tools at her disposal spans field recordings, processed instrumentation, synthesised elements and snatches of human expression. The guitar is a recurring figure, subjected to a variety of treatments from heavy, sustained distortion to clean, pealing notes. Elsewhere the sound of sports crowds and choral singing merge, and patient beds of drones and noise melt into the sounds of industry and mechanics. The track titles manifest as a compositional game of deception complete with innuendos, empty phrases and claims - flirtations with perfume names and ironic assertions.

From the volatile geopolitical climate to the changing nature of music consumption in the face of streaming and digital access, 'Diffusion is a Force' is a reflection on fractured times where familiar modes and models change their meaning with the ever-quickening pace of communication.

Following a run of sought-after releases on cassette from artists including Anthony Naples, Xvarr and E Ruscha V, Good Morning Tapes switch to vinyl for their latest (and first with HJ).

By Mahbunzi Nahgo Pihndi ("All the Healing Green Leaves of the Forest') aka Brian Close, one half of New York avant-garde duo Georgia:

'This record is an extension of a foray into trance ritual music. It is structured as a companion for film, meditation, vision seeking & sound rest.

It is by nature a nature worship record, combining acoustic percussive improvisation, sensory foley, vocalized staccatos, and a specific brew of physical / metaphysical sound relations... mind hush / thought flush / spirit rush / sun rise.

Inspired by an initiation ceremony of the Bwiti / Fang people of Gabon. This collection relays a fragmented branch of timings of this ceremony and proposes other paths for the sacred (Mougongo) instrument.

Recoded + Restructured + Reflected as a time capsule, with fullest respect / blessings to breeze the Bwiti understandings through the current climate.

Proceeds of this record will be donated to Tata-Yo (Nganga), Ebando.'

Born Marian Himburg, Causa has been on the rise for several years now, with a tight and impressive discography on labels including Crucial Recordings, Infernal Sounds, and J:Kenzo's Artikal Music UK. Known for carefully focused cuts that marry dub sensibilities with dubstep weight, his debut for ZamZam is exactly what you'd hope: heavy 140 wares for deep dances.

'Space Dub' is an orbiting station of decaying delays and insistent bleeps that resolve into an absolutely massive riddim that causes pure murderation on the floor. Machine sounds and lasers spar over dread, lurching bass, while thick snares cut through the reverb haze to reveal the cold, starry cosmos beyond.
'Concrete Dub' works with a similarly industrial sound palette in the service of a minimalist, skanking steppers that drives hard into the heart of sound system. Disembodied voices, growling-deep horn stabs, a single piercing flute note, and a myriad of other sonic signifiers emerge and retreat, as if being pulled under by the unrelenting force of the primordial sub & kick attack. You've been warned!

'Pavel Milyakov aka Buttechno is mostly known for his brilliant take on dance music, but we're also big fans of his avant-garde ambient material. This LP combines the amorphous electronic soundscapes of Artemiev with the strangeness of Chiastic-Slide Autechre and the beautiful expansiveness of Pete Kember's best work. It could be a spiked film noir soundtrack... and it's also great because it sounds like a late night walk around Moscow (at least to us).'

Gatefold sleeve by Will Bankhead.

This is a special release... Sometimes you just feel right about it... O'girl is Ellinor Jackson P, hailing from Karlskrona - Sweden. Her experiments with freeware on different devices turned up to be a real good Lo-Fi production... And yes! The original tracks has this feeling of a bad mp3 copy, so the Lo-Fi sound you hear at the snippets is aswell on the vinyl too... If you're looking for a high end house 12" dont buy this. If you're looking for something special then you might have a listen to this. A side is the two original tracks and on the B side there is two remixes / edits by VILLA ABO. ==A VERY LIMITED PRESS==

ovely lush emotive dancetracks full of cosmic! vibes In the opening track, a male soothing voice warns us for a gravitational collapse, and he couldn't be more right! Our new family member, INTIMACY, drags you from one musical dimension to another. His outerworld soundscapes and propelling drum rhythms make you doubt whether or not you're still on earth. Enjoy the trip!

Official, remastered reissue of this disco tinged, afro funk treasure and the first time the 'Karam Bani' single has been cut to 12' - maximising every ounce of highlife soul from Sidiku Buari's productions.

That undeniable US funk flavour coupled with Buari's Ghanaian rhythms bring a zest to these grooves even the tangiest of forbidden fruits couldn't draw out. Those fuzzed keys and dusty highlife guitar licks sprinkle the West African flavour, whilst drumming demi-god Bernard Purdie provides the wizardry behind the infectious, yet precision like beats that make the track so unique. Purdie's killer breaks combined with Buari's jubilant vocals give a spirituality to this cut that'll liven up any dancefloor - alongside being a gold mine for samples.

Flip it over and you're hit with the joy filled jam, 'Ye Koaba'. Tribal drums lead the way for a chorus of jubilant chants supplemented by glistening synth sounds and funk fuelled guitar riffs. It's a feel-good slice of Ghanaian sunshine, capturing that community spirit and good-hearted nature Ghana's famous for.

Two afro funk sensations sure to put a smile on your face, even when the skies are grey and you're 5000 miles away from the glorious West African coastline.

On this record, the little-known Charles Brackeen brings his saxophone to a party with most of Ornette Coleman's band. As might be expected, while Brackeen certainly holds his own, it's Ornette's boys who bring the thunder, playing around Brackeen's muscular alto as if they were a gang jumping on a new member. Haden's bass playing provides the frantic pulse, here and there ceding the stage to Blackwell's flexible drumming and dropping out to provide rolling sheets of sound by bowing his instrument. Brackeen and Cherry wrestle across this solid bedrock, with results that are often surprising and never short of beautiful.

by Rob Ferrier /AMG

Sometimes you produce a track with nothing but a dancefloor and a good sound system in mind. "Twelve Inch Jams" is offering you just that - strictly two A side tunes for the floor cut at 45 revolutions per minute. Jazz & Milk pays tribute to this classy release format with their new 12" vinyl series. Each record comes in a hand silk-screened printed and stamped sleeve!

The dreamteam of the highly successful first installment (JAMS001) teamed up again to share their love for raw and sample-based house music tunes produced on the MPC. Label artist Sam Irl and the man behind Jazz & Milk, Dusty never fail when it comes to layering colorful sample fragments and enriching them with raw beats and deep synthesizer chords.

"Broken Spell" starts off with a super moody atmosphere that slowly opens up until it reaches its energetic peak with bright synth stabs and a smooth bassline before colorful arpeggios are drifting the track into other spheres. "Love Prelude" has a rather dreamy vibe but its deep chord progressions and rough bass drums and claps create a truly unique contrast and a hypnotic atmosphere on top of it, while a later incoming bouncy bassline and dubby sample parts eventually pull you in cosmic dimensions!

Black Rain returns with Computer Soul: the final part of a sequence of Blackest Ever Black releases that began with 2011's Now I'm Just A Number: Soundtracks 1994-95, and a first glimpse of the project's richly imagined future. For this outing Stuart Argabright (Ike Yard, Dominatrix, Death Comet Crew) is joined by BR founder member Shinichi Shimokawa as well as more recent recruit Soren Roi and Zanias (vocalist on 2015's Dark Pool) - making for the most most group-oriented iteration of Black Rain since its earliest days. Sonically too, there is a sense of evolution but also of coming full circle: the cyberpunk techno of Argabright's celebrated William Gibson soundtracks (compiled on Now I'm Just A Number) and extrapolations of Dark Pool's neuromantic yearning cut with glimpses of the thrash and industrial rock energies that animated Black Rain's incendiary live shows - and sought-after tapes for Kombinat and TPOS - in the early 90s. More than ever, Black Rain is propelled by a powerful science fiction impulse, whether responding to the themes and characters of Gibson's Sprawl or the Blade Runner universe (particularly K.W. Jeter's spin-off/continuation novels which extended its mythology, and timeline, further). It's not news that many of these works' most powerful predictions and prophesies have come to pass - the replicants are already living among us - so Computer Soul projects further into several possible unforeseen futures, its events 'set' in the second half of the current century, fifty or so years after those of Dark Pool. The hyperpopulated metropolises of Dark Pool are no more; the apartments are empty, haunted by ghosts of AC current, devices and machines running lonely without their owners...a melancholy internet of things. Where has everyone got to Gone but perhaps not gone. Oblivion beckons - always does - but on the other side of that, something else... another time, another place, a river....and a new way of living.

Jaye P Morgan's 1976 million dollar private press featuring the cream of the LA jazz and funk scene and one of David Foster's first productions is finally reissued. Wewantsounds is delighted to announce the release on deluxe LP and CD of Jaye P. Morgan's ultra rare private press originally released in 1976. This lost classic recorded in LA at the legendary Sound City Studios is also the first full-blown production by David Foster two years before he co-produced Earth Wind and Fire's album I Am and went on to become one of the hottest producers on the scene. Featuring an extraordinary line up of the best LA musicians including Harvey Mason, Ed Greene, Jay Graydon, Ray Parker Jr. Tower of Power, Ernie Watts and many more, it's probably one of the most expensive private press ever produced and a delight of sophisticated Los Angeles funk featuring Jaye's superb soulful vocals. The LP edition will come with the original 4 page insert full of session photos and credits.

With a line-up that reads like a who's who on the 70s Californian scene, this album was a bold move for the singer who had made her mark in the 50s and 60s as a popular music singer and actress. Hiring Foster was a masterstroke as he hadn't yet produced any noticeable hit but together they gathered the most impressive crew of musicians you could think of including two of Foster's closest associates, guitarist Jay Graydon and singer / arranger Bill Champlin (of Sons of Champlin's fame) and created the perfect white Soul album with a breezy California feel.

Featuring masterful renditions of such iconic songs as Stevie Wonder's songs as Seems So Long and Earth, Wind And Fire's Can't Hide Love (for the anecdote, Foster, Champlin and Graydon would soon pen After The Love Has Gone which would become a mega hit for Earth Wind AND Fire two years later), together with a handpicked selection of originals, the sound alternates between uptempo funk and soulful mid-tempo ballads, all served by Morgan's superb vocals. The missing link between Steely Dan and Earth, Wind and Fire, Jaye P. Morgan is pure, undiluted Funk music and an essential LA classic which Wewantsounds is glad to make available for the first time.

Sinking Into A Miracle is the debut album by Glasgow's AMOR, a quartet of musical travellers exploring the sonic open-ended-ness of dance music. Following two critically acclaimed 12-inches, this is a fully developed treatise on ecstasy and transcendence. Here, Richard Youngs, Michael Francis Duch, Paul Thomson and Luke Fowler are more honed, razor sharp in focus and timing, testing their instrumental prowess on condensed song structures and new, enlightened feelings of expansive hope and bliss. From the outset, it's an ambitious yet ultimately inclusive journey. Recorded to 24-track tape at Chem 19 and mixed by Paul Savage and Richard McMaster (Golden Teacher), this full length retains the elastic grooves of Paradise and Higher Moment, the group's previous singles, but relinquishes the classic Philadelphia International-tinged sound in favor of looser rhythmic patterns. There are new depths to the compositions: a more free-flowing approach to percussion and deft experiments in hybridity make for a full and rounded, emotionally tinged record. Indeed, there are times when AMOR sound like the lost house band from David Mancuso's Loft parties: Richard Youngs' uplifting, gospel-tinged lyrics talk about moving beyond, universal truths, sailing through the horizon. It's a wideeyed optimism Mancuso would perhaps have approved of and which is embroidered with spectral details that begs to be auditioned on large, tweaked out sound-systems.
Fantastic cover art by Robert Beatty.

The story of Seattle's rise to global rock supremacy in the late 80s and early 90s begins with Green River. Made up of Jeff Ament (bass), Mark Arm (guitar/vocals), Bruce Fairweather (guitar), Stone Gossard (guitar) and Alex Shumway (drums), the
quintet put out three 12's and a 7' single during its brief existence.
Green River's influence on Seattle's music scene spread far and wide thanks to the members' dispersion into bands including Pearl Jam, Mudhoney and Love Battery, as well as the punk glam sludge rock songs they left behind. 'By '83, '84, there was
definitely a movement that was happening within hardcore, like Black Flag slowing down for My War,' says Arm. 'The Replacements and Butthole Surfers were rearing
their heads, and they're very different bands, but they're not hardcore - the Replacements are pretty much straight-up rock, and Butthole Surfers were God knows what. Sonic Youth's Bad Moon Rising was around, and a lot of really
interesting post-hardcore things were happening.'
Green River, formed in 1984, were part of that evolution, with a sound that straddled a lot of different genres - blues, punk, bloozy straight-ahead rock. The mini-LP 'Dry As A Bone' - which came out in 1987 - and the band's lone full-length
'Rehab Doll' - which came out in 1988 - were released as a single CD with a few bonus cuts, including their sneering cover of David Bowie's 'Queen Bitch' and their marauding version of Dead Boys' 'Ain't Nothin' to Do', in 1990 - but they've been
unavailable on vinyl for years.
Now, these slices of Seattle music history are not only back in print, they're accompanied by items from the vaults that had been forgotten about for decades.
'Dry As A Bone' was recorded at Jack Endino's Reciprocal Recording in 1986 and it shows the band in furious form, with Arm's yowl battling Fairweather and Gossard's
ferocious guitar playing on 'This Town' and 'Unwind' opening as a slow bluesy grind then jump-starting itself into a hyperactive chase. The deluxe edition includes Green
River's cuts from the crucial Seattle-scene compilation 'Deep Six', as well as long-lost songs that were recorded to the now-archaic format Betamax.
'Rehab Doll', recorded largely at Seattle's Steve Lawson Studios., bridges the gap between the taut, punky energy of 'Dry As A Bone' and the bigger drums and thicker
riffs that were coming to dominate rock in the late 80s. This new edition of 'Rehab Doll' includes a version of 'Swallow My Pride' recorded to 8-track at Endino's Reciprocal Recording, which features a more accurate depiction of how the band
sounded when they played live. 'When I listen to these mixes, I think, 'This is how we actually sounded - this is the kind of energy we had,'' says Shumway.
Green River's place in American music history is without question but these recordings paint a more complete picture of the band - and of rock in the mid to late 80s, when punk's faster-and-louder ideals had begun shape-shifting into other ideas.
CDs in digipack with 12-page booklet. 2LP formats in gatefold jacket with custom dust sleeve and digital download code.

2018 played host to a bumper crop of sounds from some of Philly's grittiest, including Great Circles mainstays M//R and Chaperone. To close out the year that was, we are pleased to present Heckadecimal's 'Murder Tape.'

A Minneapolis-based producer and acid auteur, Heckadecimal has been a fixture within the vibrant Midwestern electronic music community for nearly 20 years. Founder of the legendary 'Anti-human' events and co-curator of the ever-prolific Always Human Tapes imprint - alongside Ryan Wurst and Peter Lansky - Heckadecimal's reputation is one of unrelenting creativity and tireless advocacy for sonic experimentation. His work has found its way to light via a slew of pseudonyms and stage monikers, including The Worm, noface and Wonder Sirens.

In short - Heckadecimal lives and breathes the sonic matter that he leaves pouring out of studio monitors, busted bar systems and finely tuned rave stacks, wherever his travels take him.
Live performance lies at the core of Heckadecimal's practice. When he stormed through Inciting HQ in Philly earlier this summer, he took command over an arsenal of hardware that reminded us of how Octave One or Shawn Rudiman might show up. These were machines that he had lived with; touched with custom modifications, hand-drawn stickers and pockmarks incurred in battle, one got the sense that the gear was a personal extension of the artist.

Perhaps it's a bit maudlin, but we feel a certain kinship with this project. Indeed, these tracks at times feel very much of a piece with the gnarled tonalities in which our stable typically traffics; all low-slung riddims that reach at equal lengths towards mutated IDM aesthetics and post-Packard Plant techno extrusions. These are future perfect grooves that glide along under the vast Midwestern sky, providing a fertile communication conduit with the City of Brotherly Love.

Give thanks for acid. Great Circles will see you in the New Year..

Split album by Joe Corfield and Slim, two of UKs most promising beatmakers. It's the follow-up to the 'KO-OP 1' album by Smoke Trees and Juan Rios on KO-OP, the sub-label and community dedicated to the art of beatmaking founded by reknown hip-hop label Melting Pot Music from Cologne, Germany.

When we started KO-OP in the summer of 2017, little did we knew where this journey would take us to. Ever since we had the pleasure to work with 21 artists from all over the world and have put out almost 80 tracks on lp, tape and digital. Now we are happy to share with you KO-OP 2 - a split album by two of our favourite producers from the UK: Slim and Joe Corfield. Slim is one half of London rap group Summers Sons. The Sons are signed to MPM where they have released two albums ('Undertones' & 'Uhuru').

In February 2019 Summers Sons will play their first German tour together with Children of Zeus. Slim has released instrumental cuts on KO-OP, Brownswood and Banoffee Pie, plus a beattape on Yogocop Records. Joe Corfield hails from Birmingham and has released a string of albums via Radio Juicy and Yogocop.

He is coming with his very own sound. Futuristic and soulful, with a great ear to detail. It was actually Flofilz' idea to have them both on one record. 'KO-OP 2' will be released on one LP with two individual covers by Rahel Süßkind, a Berlin based artist (and part of Money $ex Records) who is responsible for all KO-OP artwork.

Duckett returns to Wisdom Teeth with another otherworldly four-tracker of melodic, trippin' house-n-techno. While recent outings on Berceuse Heroique and Solar Phenomena have showcased the more abstract edges of his sound, Corde Raide Vers Nulle Part comprises a collection of the Welsh producer's most melodious work to date. Throughout, the tracks are driven by snaking FM basslines, shimmering video game synths and tonal drums, creating a record that will appeal equally to fans of golden era Night Slugs, bleeping minimal techno, and the compositional electronica of labels like RVNG International and Latency.

Ken Oath slip on their moon shoes for a joint venture with Freda & Jackson, pressing up four cuts that will have you slipping the surly bonds of earth and dancing in the skies. Loaded with basslines heavier than a neutron star and well-chopped breaks, produced with a dubwise ear for space, this is some of the duo's finest material yet 'Kendama' is the heaviest cut here, a deep psychedelic outing that's swathed in an foggy haze. Abstracted digi-flutes and koto plucks are paired with a skull-boring bassline and exacting breakbeat dissection, adding some levity to the leaden heaviness of the track's bass-weight. 'Cubone' slows but retains the hallucinatory haze that coils around all these trackers. Thudding bass anchors the floating drones and glitches, while percussion snakes through the track, building, like smoke slowly filling a room. The steady build is transportive, to the point where you hear the final echo tail trailing out into silence, and wonder how that all time dissipated Flipping over the record, 'Platform 22' is where you'll find the two of them at their loosest. Submerged vibraphone melodies and swirling voices play over a bassline that sounds like its descending the stairs, boisterous and half-drunk, to culminate in an orgiastic percussion frenzy at the end. Spacious and dubwise, 'Noggin' is a tellingly heady closer. Samples are set adrift across the track as they are dubbed-out and dissolved into smears of sound. There's a buoyancy to the whole piece, a pleasant weightlessness that keeps you floating after the final notes fade out. One time for ya mind.

I Marc 4, the brilliant quartet that collaborated with Ennio Morricone, Nino Rota, Armando Trovajoli, Gianni Ferrio, Piero Piccioni, Piero Umiliani, Alessandro Alessandroni, and their fantastic sound, now again available on a unique and really representative release, their holy grail session: G.L.P. 1007 from 1971. The best and most valued volume of the GLP series featuring the fantastic modal madness of "André", "Peroche", "Suoni Distorti" and the milestone 'Alfio' feat the flute by Alfio Galigani. The music goes from insane Psychedelic tunes to Jazz, Funk and more Bossa and Lounge tracks with plenty of Fuzz guitars, amazing Hammond job, and totally catching drum Breaks. An insane trip into early gold Italian Psychedelic and Underground vibes with loads of laden beats and grooves with the mark of the legendary Italian quartet. Simply essential!

Tårne Spirer is blood too heavy for circulation, hope is a naïve but natural attitude, deprivation is everything...

Tårne Spirer's 'Varm Blod', their first EP for Instruments Of Discipline is a result of their love for cold, non-danceable techno, power-electronics and Hölderlin.

Tårne Spirer is Kelvin Brorson Thomasen and Jesper Bagger Hviid; starting in 2015, their debut cassette was a result of their mutual love for hardware synths, drum machines and soundtracks.
Through the last years the duo has mainly been collaborating with, recording and producing underground metal bands, their devotion to the deep realms of the Danish metal underground has led them down a darkened path.

The latest episode on Piezo's no nonsense, hand stamped and heart warmed Ansia label has arrived! ANSIA003 is the follow up to his early 2018 'Parrots EP' and for this release the Milanese producer has enlisted 3 other disparate yet like minded artists to let loose on this monster 4 tracker. StabUdown Productions (James Donadio aka Prostitutes) kicks it off with the opener 'FyeRRR!' A deadly burst of blown out ragga replete with an arsenal of kicks and vocal cut up shrapnel. Next up label head Piezo drops 'OiOiOi', a masterwork of electro gated basslines, jungle breaks and absurd delay feedbacks. A perfect continuation of the surrealistic/abstract path started by tunes like 'All My Money' on 'Parrots EP'. Fresh off his Lobster Theremin's album, Kreggo/G-23 (Super Rhythm Trax, Secret Rave, Art-Aud) delivers 'Ligeti': a flat out mover with it's skittering percussion and deep haunted stabs hovering around the supernatural subs. It all finishes up with Bristol's Facta, whose releases on Idle Hands, Livity Sound and his own excellent Wisdom Teeth really needs little introduction. 'Not Now' is an elastic, low gravity heavy hitter that snakes through bass bins and before you know it, you're completely wrapped.

Diskotopia is extremely proud to kick-start 2019 with Girar, a four-track EP of new kaleidoscopic productions from Lisbon-born, London-based producer Silvestre.

Silvestre is no stranger to Diskotopia, this being his third release with the label, debuting with the gritty noise-and-thump Frank Pike EP in 2014, and following that up with the more buoyant, latinate Floresta EP in 2016. In addition to producing, Silvestre also co-runs the Padre Himalya imprint, putting out 2018's critically acclaimed Focus EP from tombak virtuoso Mohammad Reza Mortazavi, Renato's 2016 Alo Alo, plus his own Sport Theories and All The Things 12"s.

With the Girar EP, Silvestre presents four idiosyncratic cuts: the bubbling psychotropic mutant rhumba of Ir a Sagres, woozy spliff-house Deptford Bus, RC Surfer, a time-stretched reggaeton soundclash and the pseudo-jubilant breakbeat-house Everybody Is Happy; testimony of a truly unique and exciting artist in the modern current of electronic music.

Malfunctioning speakers, & digital dreamscapes, SQUIRRELS ON FILM's 4th release explores the outer reaches of techno with impolite, reckless abandon.
Psychedelic sound explorer Its Own infinite Flower, who was
responsible, along with head squirrels Solar & C.l.a.w.s., for San
Francisco underground punk rave/happening Hostile Ambient
Takeover, unleashes his first official release, The Plumes of Love (ARE BLACK!). After contributing a track to 2017's Spacetime Continuum/ Juju & Jordash curated Air Texture V compilation, this four track EP of abstract tech-noise brings the sounds Its Own Infinite Flower refined in the basements & warehouses of the Bay Area's underground music scene to the wider world, whether it's ready or not.
'Drone, Drugs 'n' Dissonance' creeps into life as a thunderstorm of
white noise, out of which a cold-rave pulse somehow metastasizes into something resembling techno, although this is a deformed, uncivilized, unwanted mutation, separated at birth & raised in a toxic wilderness. It builds slowly before turning up in a rage of digital distortion, a black metal dub party held at the edge of a melting glacier. 'Oh, Empire of Roses' is a Dada Phycho Jazz Electro number. Dissonant synth chords snake around each other in a playful ouroboros of manic future funk, never knowing if it's starting or stopping, coming or going. Relentless bass throbs through the track, which almost threatens to bubble into classic acid electro before fizzling out. On side two there is 'Devotion to a Peacock Angel,' an angular breakdance groove for the characters in the bar scene in Star Wars. Electro dub rhythms keep stay grounded as everything else rips apart in all directions over the course of the track. On 'Misfortunes of El Dorado' a soundsystem bangs in the next room, only the deepest bass escaping, shaking reality until it's torn apart in waves of distortion, a classic techno synth string wandering over the top of everything in a full blown Techno Jazz Odyssey.

SQUIRRELS ON FILM continues its adventure at the edges of techno
with the mind bending stylings of Its Own Infinite Flower's debut EP,
fitted with another beautiful hand-drawn, full color sleeve by New York artist Bert Bergen. The Plumes of Love (ARE BLACK!).

Beautiful 1 Lp Edition 140g Vinyl, Heavy 350gsm Sleeve, Sticker

- Official Reissue Of Hard-to-find Favorite L'univers De La Mer By Dominique Guiot, Considered By Some The Greatest Library Album Ever Recorded. Available On Vinyl For The First Time Since 1978 And For The First Time Ever On Vinyl And Digital.
- For Fans Of Synthesizers, Library Music, Prog-rock, Experimental, Ambient, Folk, Medieval, Movie Soundtracks, Sci-fi, Schicke Führs Fröhling (sff), Tangerine Dream, Mike Oldfield, King Crimson, Didier Bonin, Claude Perraudin, Jacques Wyrs, Oceanic Vibes And Giant Squids.

Wrwtfww Records Is Honored To Announce The Official Reissue Of Super Rare And Fabled Prog-rock/library/synth Album L'univers De La Mer By French Composer Dominique Guiot. The Full Length Release Is Sourced From Original Masters, Available On Vinyl Lp For The First Time Since 1978 And Housed In A 350g Sleeve With A Spellbinding Artwork By Surrealist Sci-fi Artist Jacques Wyrs. It It Also Available On Cd And Digital Formats For The First Time Ever.

Written, Composed And Played By Dominique Guiot With His Mellotron, Minimoog, Clavinet, Organ, And Guitar, L'univers De La Mer Draws Its Inspiration From Deep Sea Exploration, Oceanic Creatures, And Underwater Kingdoms. The 12-track Album Navigates Organically Through Diverse Mutations Of The Prog-rock And Synth Kind, From Scenic Meditation Pieces ("wind Surf Ballad"), To Medieval Electronica ("une Ballade Pour Une Goélette"), Spacey Smooth Jazz ("les Deux Poissons"), Funked Out Fantasy Folk ("l'univers De La Mer"), Or Even Incredible Sega Mega-cd Vibes ("la Danse Des Méduses") - Altogether Painting A Fascinating World Of Eerie Magic And Subaquatic Sensuality. It's Escapism At Its Best With Subtle Overtones Of Schicke Führs Fröhling, Mike Oldfield, And Claude Perraudin.

The Sound Of The Album Is Brilliantly Captured By Its Surreal Cover Art, The Work Of Legendary Artist Jacques Wyrs, Whose Memorable Record Sleeves Include Klaus Schulze's Picture Music, Eloy's Floating, Ange's Le Cimetière Des Arlequins, And The 1974 Reissue Of Larry Coryell's Spaces.

It's been 6 years since ALTZ.P released their debut single 'Dodop' in 2012 from a label 'Crue-l', which Kenji Takimi presides over. They've produced the black fat tight band sound, which is exotic and toxic but sharmanic and heavenly. Pulseman, the singular genius, has a perfect command of vibration frequency originating the groove. His minimalism and the Middle East disco beats by the drummer, Mau (ex-NEWEST MODEL), and the bass player, Shake Yoshimura, are intersecting organically. The one and only sound view of ALTZ, the star that shines on the scene, is spiritually colored by the shrine maiden chorus girls, Maririns, whose names are all Mari. Their psychedelic power of language in the soulful chorus is interesting. Also, 21CH (ex-DAMAGE) is performing the synthesizer as a guest player.

Hungarian producer Giash has been on Metroline Limited radar for quite some time. It took a while to get him on board but the wait is finally over: the misteriously titled Sen_d_Ingo Ep is here and it is super-tasty!

An expert crafter of minimal beats and hypnothic grooves, Giash career has spanned over 10 years with his productions being released on wax through seminal labels such as Archipel, Plaisir, Why So Series and many more.

The opening track, Brunc_hc-_h, give us the first shot of underscores and a high dosage of machine funk minimalism. It's a full on/slow-mo industrial churning groover with sci-fi licks and lush pads work!

The second cut on the A side it's the beatiful Imagin__ary and it's deep minimalism at the highest level. It's a great mixture of new and old as far as reduced jacking grooves are concerned.
It could have easily fitted in the late 90's Perlon/Playhouse era but it surely sounds as current, fresh and forward thinking now.

Side B is solely occupied by the tripped out grooves of Sen_d_ingo. Close your eyes, imagine yuorself in an East London basement at the darkest of after-parties, this track is the perfect fit for that particular moment.
Over 13 minutes of dark and hypnotic beauty, the track is crunchy and punchy with a wigglesome broken rhythm, some subtle synth variations and plenty of dark and deep atmoshperics!

Continuing on the thematic thread of soundtracking an imaginary short movie, label founder DJ Tennis aka Manfredi Romano, asks some of the greatest contemporary club producers to take on the task of interpreting this idea in their own unique style. Romano explains that 'the score is a translation of our imagination, memories and emotions into music, with no protocols.' Opening the soundtrack, Vatican Shadow swaps his thunderous techno for a more cosmic and gentle approach, setting the tone for an equally serene soundscape from London based DJ and producer Midland. Japanese Future Terror head honcho, DJ Nobu, layers dense cerebral textures exuding the punk spirit of Life and Death. A similar rule defying energy can be heard by Ninos De Brazil who fuse carnival percussions with straight up old school techno. Both Scuba and Uchi bring the futuristic synths of a space age tomorrow we've all been waiting for. German producer Isolee interprets the task with his minimal productions and Italian producer Cosmo closes the compilation with Psychedelic Soundscapes turning into a distorted gabber missile. As the decade edges closer to it's decade anniversary, Romano proves yet again that Life and Death is a label which evolves through each reincarnation of itself, never failing to impress.

The man behind Workshop and Out To Lunch famously takes his time to make electronic productions that are, in turn, out of time. Over the course of his career he's released tracks that could have been made yesterday, years ago, or a decade into the future. with Avenue 66 he's found a leftfield home that celebrates pure creativity, that embraces the liminal, the weird and the sublime. Light Surfing fits all of these descriptors.

The double-LP rewards deep, repeated listening. There's plenty to unpack, but those who cherish the murky bangers that have been Lowtec's stock and trade will find plenty to love. "Boy With The Broken Glasses" weaves a subtle, dancehall-inflected riddim into hazy ambient house, while the closer, "Burnt Toast," is the latest example of Kuhn's uncanny ability to perfectly fit a soulful vocal sample into an alien dance floor soundscape.

Unexpected moments of sideways beauty also unfurl across the four sides. The two-part "Light Surfing" is one of Lowtec's most evocative suites to a date-its mournful string soundtrack is the album's recurring, longing motif. Elsewhere, as on "Mynthenquai," Kuhn applies avant-garde strategies to his synth leads, taking us on head-spinning melodic journeys.

Light Surfing is a masterful balancing act between dream states and machine-like efficiency, the experimental and functional, precision and spontanaeity. Lowtec could have only gotten here by taking his time.

Working with artists like David August and Daniel Brandt, Frieder Nagel is known for managing projects in venues ranging from theatres to clubs, for concerts to audiovisual experiments. He finally signs his first solo work Distract Robots to be released on January 18 on InFiné and invites his listeners to get lost in an universe that spans from euphoric to devastating excitement. - mastered by Zino Mikorey, the magician behind Nils Frahms latest album.

Frieder Nagel invites his listeners to get lost in a universe that spans from euphoric to devastating excitement. He is known for managing projects in venues ranging from theatres to clubs, for concerts to audio-visual experiments - working with artists like David August, La Boum Fatale and Daniel Brandt (Brandt Brauer Frick). The first time he appeared on stage, in 2016 at Berlin's infamous Radialsystem V, armed with several synthesizers, effects, drum machines, one grand piano; and backed by the German Symphony Orchestra (DSO). This critically acclaimed debut was streamed by Boiler Room later and led to further collaborations with Philharmonie Essen or his ensemble show at Reeperbahn Festival.

Now finally Nagel Žs first solo work Distract Robots will be released by French label InFineŽ. This 12" has become an album in miniature with a final polish by mastering guru Zino Mikorey known for his work for Nils Frahm Žs All Melody. This EP offers up a mystical world, full of warm synths and detailed sound clusters morphing into each other to form utterly dark and dystopian ballads. Nagel gets lost in obsessively endless sessions with his instruments. He isolates himself and spends night after night drifting away from reality. The result is that his tracks carry moments of utterly deep relief and deliverance, as well as despairing sadness and stoical escapism.

Pete 'Bassman' Bain, one of the founding members of the UK cult psych rock band Spacemen 3, formed Alpha Stone after Spacemen 3 and his other band The Darkside split up in the mid-nineties. In 1996 the band recorded the album 'Stereophonic Pop Art Music' and it was released on Bomp! Records on Compact Disc. The album hasn't had a 'proper' vinyl release until now, 2018, when Hoga Nord Rekords continues their collaboration with Pete Bassman by releasing the album.

You can clearly hear that Pete Bassman was the driving force behind Alpha Stone; fuzz, synthesiser -sweeps, programmed drums and processed vocals are the cornerstones in Alpha Stone's sound. Raga-like mantras, heard in Farmer C, lies track to track with more percussion driven grooves and psychedelic pop oriented songs. The album's sound has obviously survived the 20+ years shelved in obscurity and proves the 'Drugby' sound still vital!

It's always hard to sum up a bands particular sound in a few words, but you could say that if you put guitar and bass, synthesisers, a drum machine, and Julian Copes record collection in the hands of an alien, you've got Alpha Stone!

In folklore, the witching hour or devil's hour is a time of night associated with supernatural events. Creatures such as witches, demons and ghosts are thought to appear and to be at their most powerful and magic is thought to be most effective at this time.

It is also the time when we are at Underground parties, this is considered the main time of the party before it tapers off into the ethereal realm of translucent soundscapes and marionette dance moves. This is when we feast on sound intoxication and our parallel daywalker skins are shed into ancient dances and rites of sacred drums.

The witching Hour takes our souls back to our ancient pagan rituals of music and dance till the cleansing of dawn, this is where revelations happen and where groups of like minded people form a coven of sorts and bond in non verbal communications thru the expression of movement.

This is a new label project from Jay Tripwire and TJ Mc Au, they will be presenting underground minimal sounds specifically designed for the dancefloor and for the DJ.

This EP features Creepshow and Klangtone. Creepshow is a dark bassy roller with an eerie underground atmosphere that holds the groove but it also designed for mixing and layering. Klangtone features a percussive groove, voices from the Tikuna rainforest tribe and a haunting modular flute line with a massive sub bass that is sure to rattle bassbins. This is classic Tripwire with modern production but still keeping the his roots of his trademark sound.

Alter follow on from the bilingual dark ambient theatricals of Liberez with this four track EP from veteran Hamburg producer Christoph De Babalon.

As an affiliate of Digital Hardcore, Fat Cat and the recently founded V I S, CDB has tirelessly explored the intersections of breakcore, illbient and drum and bass. His work is at once uncompromising yet stylish - broken, punishing rhythms collide with dreary, doom-laden melodies and those eerie in-between spaces of vintage Unit Moebius or Deutsch Nepal. With Hectic Shakes he delivers a meditation on the 'inner abyss', the sort of abyss that lulls the listener into his sound world with next to no resistance.

'Shakes and Shivers' fixates itself on deceptively playful grooves with eerie, nightbus-to-nowhere atmospherics whilst opening cut 'Harakiri' manages to distort familiar jungle tropes into something even die hard devotees of the sound will find fresh. The EP closes with what we can only describe as a homage to 90s ambient techno in a ruff, post-hardcore fashion. Skittering drums weave in and out of longing, futurist synth lines and enough breakdowns to satisfy the dance floor.

South London's TROY TOWN once again draws from the local talent pool to follow the Wbeeza EP. This release opens up the detailed percussive and wide-eyed, rave-influenced productions of Copper Green Sedan.
The multi-instrumentalist was living a nomadic life through northern Europe formulating the key ideas of the EP from the back of a campervan before rounding them off back in the studio. The resulting three track EP that was delivered to us conveys a hectic melancholy.
'Pedestrian' is a driving, breaksy opener. It's sympathetic to the groovers on the dance floor and the thick chords balance the snappy percussion. 'Rolling in the Long Grass' is a glitchy trip through a meadow. Finally, 'Gene' is a dusty, hands-in-the-air banger destined to reignite a jaded dance floor as the sun comes up. Man of the moment Desert Sound Colony (Holding Hands/Touch From a Distance) lays down a beautifully bionic 'Pedestrian' edit to round off the EP.

The Chakachas are best remembered for their hit disco single 'Jungle Fever'. The album by the same name is a revelation of Latin funk, with horns playing against groovy rhythms and some fine vocal work. Exiting in every aspect it's a real tasty and nasty combination of sounds. The album is characterized by its versatile percussion, consisting of maracas, congas and drums, and funky guitar riffs and horns. There's a beautiful version of Earle Hagen's classic standard 'Harlem Nocturne', known for its groovy bassline and guitar breaks. Jungle Fever is a classic which should be included in every collection of funk and Latin music.

The Belgian based group of The Chakachas were a Latin soul studio musicians. They're also known as Les Chakachas or Los Chakachas. They started in the late 1950s, recording a playful mixture of Latin music, jazz, and European-style exotica.

Tikita return with more of their deep and groovy techno, this time from Lapien, who is one half of Artefakt and a master of deep voodoo sounds. His 'Brumal' EP includes a remix from label mainstays natural/electronic.system. that completes a deep and powerful three track disc.

Lapien s 'Brumal' kicks off with deep, swirling pads and punchy drums. It s soft and atmospheric techno with a dubby bottom end and cosmic moods that is soothing and warm. The natural/electronic.system. remix of 'Moonset' is simmered down into an absorbing ambient soundscape with rolling, rubbery drums deep down below. It s thoughtful mind music to get utterly lost in. Last of all, the original 'Moonset' is another richly layered and spacious techno groove, with gentle percussion over underlapping drums and synths smearing out in all directions. It s brilliantly expansive music for intimate dance floors.

After A Long Night The Sun ¡nally Rises As Our High Leader And
Big Boss Filburt ¡nally Blesses O*rs With His Very ¡rst Full
Artist Ep. The Emotive Three-tracker ‚unnoticed Love' Comes
Along With Two Originals Accompanied By A Remix Of None Other Than Charles Webster. As The Title Track's Relentless Groove Goes On And On Pianos Emerge And The Track Reaches Full Effect When The Vocoder-heavy Vocals Hit, Taking You To A Higher Place Of Emotional Consciousness. Trust Us, You Wanna Go There. ‚it's All About You' With It's Combination Of Harmonic Bleeps, Big Pads, Steel Drums And An Unique Arrangement Sounds Like That Sunrise We Mentioned Earlier. It Is Advised By Authorities To Sit Back, Relax And Take A Long Bath In It. And Then There Is This Charles Webster Remix Which Moves Through A Foggy Territory
Where The Best Kind Deephouse Grows. While There Charles
Plants Some Tribal Seeds Before Going Even Deeper With A
Bassline Richer Than The Sauce Your Granny Made For Christmas Dinner. Limited Edition Of 200, Handstamped+

Family is a sometimes great, if big, notion. Hard to sustain, most often dysfunctional. At LDDLM, we do not put pressure on anyone, and certainly not ourselves. But bounds are sometimes tightened, some artists we would never consider ours, but most certainly as closed friends.

This is the 3rd EP (a house record) by Antoine Harispuru aka GOLDEN BUG but the first, excitement renewed, in company of IN FIELDS.

They push the boundaries of GB's trademark ghost funk on this EP: BONES features once again Diego Hdez for a smacked out yet epic pop number (we would not call it shoegaze). CRACKS dissolves its ethnic funk into pure psychedelia, SHAKES dubbing itself out into oblivion. All in all, 3 strong bongs. Finally FANTASTIC TWINS (Hippie Dance/Optimo/Microdosing) builds her own wall of sound, expanding BONES into a mind bending prison.

Turn on, tune in, never drop out.

Funnuvojere is the new imprint founded by Massimiliano Pagliara. Now marking his third album release, after countless remixes and EPs, the Panorama Bar resident widens the horizon of his musical contributions by launching a label "deep as the ocean" as the name suggests, and open to different musical genres. The first instalment comes from James Booth. Known also as The Gardener and North Vest, the Manchester born producer has been known for his distinctive deep sound very dear to Los Angeles based imprint 100% Silk and Hamburg's Growing Bin Records that released his latest LP in 2017. "Bath Time" is a thrillingly deep-cosmic cut rich in melodies and emotions. The EP starts off with a spaced-out, italo classic cut where form assumes a different dimension as the music layers intertwine in an everlasting flow. If the title track seems ironically like a perfect place to start a party night, "Roller Chrome" is an emotional ballad for hopeful dance floors; while "Such Is Life" is a nostalgic piece of balearic tradition.

Welcome in 2019! Our first release this year comes courtesy of Iron Dubz & Mr Williamz. 'Haffi Bun', one of the anthems from Iron Dubz's recent album 'Sound Addict', will be finally available on vinyl, backed by a heavyweight dub version on the flip. Don't sleep on this one

The Japanese artist debuts in SNTS' label Sacred Court after her previous releases in Horo with a four-track EP of hypnotic shamanic rhythms and gridding sounds.

Jabal is the title of the forthcoming release by Kendojubaki and Dj Ali through Berlin based Label 'Live From Earth'. The release is the second instalment of the labels Live From Earth Klub series.

'Jabal' translates to mountain in Arabic. It is also where the two artists roots trace back to in their home country of Lebanon. The listeners receive a glimpse of the socio-political issues surrounding the jabal areas across Lebanon through unique sampling

KendojubakiKendojubaki is the pseudonym of Adam Rajab, an Australian-Lebanese Sound Designer and producer currently based in Melbourne. As the son of Lebanese refugees he spent parts of his childhood working in his parents Middle Eastern supermarket. In times of recreation he and his relative Ali would pretend to be an Arabic wedding band playing the tabla and the mijwiz to imaginary dabke dancers.Hatched from these activities and through years of back-and-forth between e Middle East and Australia, Adam has captured a unique sound-language which amalgamates traditional sounds of the Levant with modular synthesis, drum machines and industrial elements of unrelenting vim. His thematic music dwells on commonly unfair socio-political issues surrounding the east and the west, displacement and identity.

As a Dj Kendojubaki's sets are filled with long Arabic intros, old school hardcore rave tracks and tempos above 140. In his own productions and live sets, kendo recombines his sound design influence into powerful and cathartic riddims, along with thick echoes un-natural like drums.

Dj Ali Dj Ali is the stage name for Ali Chahine, an Australian-Lebanese live hardware act currently based in Melbourne, Australia. In his productions, Ali fuses sounds from his archive of field and foley recordings along with 90's hardcore rave melodies to create an emotive flow of fast techno music.As the son of Lebanese refugees, Ali also shares stories of conflict and socio-political issues through his music and art. In 2018 Ali joined the collaborative label 'Al Gharib' with relative Adam Rajab who is most commonly known as 'Kendojubaki's'. The two are collaborating on a 12' release named 'Jabal' in December, released through Berlin label Live From Earth.

With 'Caused Corruption & Spilled Blood', the second release on Voidance Records, Chafik Chennouf & Katsunori Sawa have created a soundtrack of the tragic drama of humanity´s fatal flaws, meditating on the question whether the angels were right to fear mankind's creation of causing corruption and spilling blood according to an anecdote that all Abrahamic religions share.
The follow up - Mediate Between Them' may not provide an answer to this question, but further elaborates on the topic. Whereas issues such as obstruction of truth for personal gains, affinity for internal destruction or longing for salvation were originally approached more internally by means of ambient or experimental electronics, the experience now emerges through the work of renowned artists Samuel Kerridge, Eomac, Nene H. and Stave using Noise, Techno and stepping Industrial as their weapons of choice.
Voidance Records is proud to present Chafik Chennouf & Katsunori Sawa´s vision once again, this time through different eyes of 4 unique artists. Not only is - Mediate Between Them' the reverence these tracks deserve, but also demonstrates a huge step forward in the Label's position as a striking new voice in contemporary electronic music.

Following the best-selling first volume, Robert Ouimet returns to Basic Fingers with a second 12" volume of edits. Another essential selection of extends and amends from a real connoisseur

BIOGRAPHY

Ouimet's career as a deejay started in the early 1970's
His obvious talent for moving and grooving the crowd was soon noticed and he was approached to join the in-house staff of a newly opened club on Stanley St. called The Limelight where he remained as their principal deejay from 1973 to 1981.

In 1977 Robert also went on to win Billboard Magazine's Best Canadian DJ Award. Similarly he received Gold records for introducing his public to such artists as Boney M, Donna Summer, Musique and Gino Soccio to name but a few, plus a special commemorative plaque/mirror from the Saturday Night Fever soundtrack.

Robert was also the driving force behind the Montreal live performances of The Salsoul Orchestra, James Brown, Grance Jones, to name but a few. He co-produced many records licensed in the US by such labels as TK Records, RFC/Warner Bros., Arista, and Quality Records of Canada.

Local Talk are proud to announce the first artist EP of 2019, 'Basic Knowledge' by producer extraordinaire Boddhi Satva, showcasing his unique quality and musicianship.

Basic Knowledge comes with two mixes.
First up is the 00's mix, a near-epic track, riddled with emotion and deepness, certain to cause more than just a few goosebumps. The key stabs and strings makes this one of the deepest cuts of house we've heard in a minute.

On the flip 'Together' is another elegantly realised stylistic track where all the moving chords are exposed and pushed to the front. A grand tour through the deep-rooted rhythms with a minimal yet spiritual sound.
Last but not least is the 90's mix of Basic Knowledge. It takes all the ingredients from the A side mix and infuses it with more jack, together with the kicks, snares and the swollen bassline.

THROUGH GODS OWN EYES
MusicForSunrises&SunsetsDarkCornersOfTheDanceFloorDarkCornersOfTheMind.
FastDeepSlowRaveInspiringInspirtational&CosmicUpliftingWildPitchedHeartMelting&HeartPoundingSexMusic

Conceived in Bali as a club event to allow Phil Cooper and Indonesian DJ, Dea Barandana a chance to flex their rave potential and dig out those obscure, heavy dance floor cuts it has been hosting sporadic parties for the last 3 years, with no specific musical boundaries, it is about the late night, early morning dance floor experiences, heads down and lost in music!

A label was also planned, but when that would happen was always unclear, however a chance meeting in Croatia at Love International Festival 2018 between Phil and Carlo Bragagnini AKA La Mano has led to the inaugural release, TGOE001 La Mano 'Tana del Lupo' EP

Side A - Sirena, inspired by the classic Italo stable, a deep and driving intro that builds with a rolling, solid bass line, shimmering effects, gun fire handclaps and siren sounds before the piano line eases in to take it to a euphoric crescendo of soaring synths for maximum hands in the air vibes...

To add weight to the release, remixer options were discussed and both agreed on Man Power, and his rework has taken it to a much different place, adding a solid breakbeat to it, dirtying up the piano and extending the mix to 9+ minutes, this is HEAVY for the floor...

Side B - La Mano, the ying to the yang of Sirena, this is a much more progressive track, subtle in the arpeggio build up and layered to create a big sound culminating in a swirling series of dreamy chords and synth lines.
The Ambiente mix takes away the kick and percussion to allow the full dream like state to take effect, one for sunrises and sunsets across the globe...

Geelriandre/Arthesis is named for the pieces that fill its two sides. Geelriandre, realized on an ARP 2500 synthesizer in 1972, featuring Gérard Fremy on prepared piano, for whom the piece was originally composed. Arthesis, realized using the University of Iowa's Moog in 1973, comprises the full duration of side B.

Eliane Radigue has received much deserved praise for her transcendent composiitions for tape, synthesizers and acoustic instruments. Her work is deep, slowly changing and timelessly resonant with timbre so dense you can listen through the sound to find infinity. Accute physicality, overtones and psychoacoustic activity fills your space, follows you, grounds you, pulls you in or lets you go. It's all here/hear.

Jac Berrocal, David Fenech and Vincent Epplay return with Ice Exposure, their second album for Blackest Ever Black. A sequel and companion piece of sorts to 2015's Antigravity, its title couldn't be more apt: sonically it is both colder, and more exposed - in the sense of rawer, more volatile, more vulnerable - than its predecessor, capturing the combustible energy and barely suppressed violence of the trio's celebrated live performances with aspects of noir jazz, musique concrète, no wave art-rock, sound poetry and spectral electronics all interpenetrating in unpredictable and exhilarating ways. While there are moments of great sensitivity and even a cautious romanticism, the prevailing mood is one of anxiety, paranoia, and mounting psychodrama: close your eyes and Ice Exposure feels like a dissociative Hörspiel broadcasting from the seedy backstreets of your own troubled mind. Before he picks up an instrument or opens his mouth, Berrocal's unique and compelling presence can be felt: a combination of studied, glacial cool and anarchic, in-the-moment intensity that has served him well over a long and storied career. It was honed during his time as a theatre and film actor, and in the 70s Paris improv scene, it powered his influential Catalogue group in the 1970s, numerous seminal, sui generis solo sides, and far-sighted collaborations with the likes of Nurse With Wound, Lol Coxhill, Pascal Comelade and James Chance which have seen him come to be valorised by two generations of avant-garde agitators and eccentrics. Now in his eighth decade, it comes with an added gravitas, perhaps, but no less energy or vitality. On Ice Exposure, his lyrical, instantly recognisable trumpet playing is a key feature - see especially the ghostly, dubwise take on Ornette's 'Lonely Woman', the dissolute exotica of 'Salta Girls', and the sublime echo-chamber soliloquy 'Opportunity'. But more often it's his voice that commands centre-stage, whether casually discharging surreal poetic monologues or moaning in animal despair - a vocal tour de force that transcends language and culminates in the Dionysian frenzy of 'Why', Berrocal's half-spoken, half-howled exclamations jostling with David Fenech's slashes of dissonant guitar, over Badalamenti-ish, panther-stalk drums. Fenech's origins are in the mail-art scene of the early '90s, when he led the Peu Importe collective in Grenoble, and since then, in addition to his own recordings he has worked as a software developer at IRCAM and played with Jad Fair, Rhys Chatham and many others. Together with Vincent Epplay he is responsible for Ice Exposure's inspired arrangements and vivid, vertiginous sound design. Epplay is a visual artist and composer with particular interest in aleatory composition, concrete, and the reappropriation of vintage sound and film material. He and Fenech fashion a remarkable mise-en-scene for Berrocal to inhabit, one that embraces cutting-edge electronics while also paying homage to the best traditions of outlaw jazz and libidinous rock'n'roll ('Soundcheck' invokes the brutish spirit of Berrocal's hero Vince 'Rock N Roll Station' Taylor). On 'Blanche de Blanc', Berrocal's voice is framed by a groaning, ghoulish orchestra of industrial drones, while 'Equivoque' evokes the most humid and hostile Fourth World landscapes and 'Panic In Surabaya' lives up to its name, a hectic, pulse-quickening concrète collage that leaves you gasping for air. This is a searching and singular trio operating at the absolute peak of their powers, with an interplay that transcends studio and stage and occurs at an almost telepathic level. Ice Exposure is a triumph of that group mind, an underworld dérive as life-affirming as it is unnerving and psychologically precarious.













Panic In Surabaya

Domestic Exile are proud to present the devastatingly deplorable and malevolent recordings (that are sure to corrode yet electrify your ears) by Glasgow's very own KLEFT.

KLEFT aka Vickie McDonald is rooted in and has actively propagated the underground DIY radical queer punk and feminist movement here in Glasgow. Their projects have included the skull crushing sludge doom of Cartilage, the unflinching and infamous multi- membered hard core stars that were DIVORCE and the sacrificial, druid drone glitch of MOURN. Alongside these projects they have uncompromisingly disrupted, motivated and facilitated collective endeavors to take down the capital power structure of the dominant system of patriarchal club venues and abhorrent fuckers in this town.

For this record 'H+ Sexualis', KLEFT explores the neo-modern space where flesh is left behind. Negotiating, analyzing and tearing to shreds the relationship and balance between flesh and technology. KLEFT's expansive and palpable sonic offerings delve into themes of transhumanism and body hacking and seep into our collective skin begging the question; can flesh ever be created digitally. Does a lack of physicality alienate human experience in a post transhumanism society Are we all destined to be skinless yet digitally connected Will the body become superfluous Toward "the utopian dream of the hope for a monstrous world without gender," as stated on Donna Haraway's essay ''A Cyborg Manifesto.'

From the opening track 'Ossein' the listener grasps a foreboding lethargic build up, lurking out of the spatial ritualistic shadows into a sea of suffocating nothingness. A void where there is no gravity. Skeletal and brittle shattering rhythms which echo DMZ / Skull Disco dubstep alongside the more frozen, glacial ominous explorations of grime are often felt proving KLEFT is an artist whose inspirations run deep and wide and generally exist in the darkest recesses of our subconscious. These fearful, disjointed rhythms are set against weightless atmospheric oscillated synths, as if roaming through bleakly opaque, claustrophobic narrow corridors on a first person survival horror video game such as Resident Evil.

Moving through to 'CMBR', KLEFT's dissonant, degrading soundscape ferociously ascends. The resilient kick drum is propulsive and pulverizing akin to 'ardcore tekno - or intense gabba if you have the guts to adjust the tempo up to +8 - aesthetics that overwhelm and agitate finally revealing it's grotesque biological / amorphous bio structure. Elevating the repetitive 4/4 kick to a destructive, distorted banger of a track as layers of converging atonal noise and sound design simultaneously further enhances the sense of imminent radioactive contamination.

Next is 'Writhe, Squirm, Broken' continuing the convulsive, nauseating permutations of the prior track but reconfigured like a mangled, gruesome Cronenberg-esque parasite that has infiltrated an open wound, excruciatingly feeding off of the inner anatomy of it's hosts body from within. Repulsively reformulating the shape and dimension. The intro is akin to a panic stricken bouncy ball contracting and expanding, the spring reverb building momentum and traveling further away in distance and speed.

'Hackfleisch Deluxe' is a muuurrderous stomper and is one of the more grime / bass orientated tracks that deconstructs and disrupts the tempo familiar to sub-low producers on Black Ops / Jon E Cash / DJ Dread D. The crawling, plummeting frequency of the synth is a nauseating rush of coagulating blood to the heed; a deep throbbing sensory depravation in sharp, paradoxical contrast with the driving harmony layered on top which proves to be infectiously addictive. Furthermore are splintering programmed vocal samples that gives a sense of artificial disorientation, mind over matter, a possible hint at our evolving sentient cognition within a nightmarish simulated, augmented reality

Second to last we have 'Keratin' which is filled with the near fatal dissolving thud of Djax-Up acid that gives the impression that you're a biologist peering through a microscope into a petrie dish and witnessing the rapid and furious genetic cellular replication of bacterial and viral organisms.

Culminating in 'Bruised and Bleeding Hands' where the squashed density of a deflated and depressurized helium filled balloon and elastic umbilical cords, barbed wire and copper wires grind n' coil around the lens of a zooming camera. Taking no prisoners, this is a punishing grime weapon. A phat, surgical kick drum bulldozes its way thru causing carnage, syncopated punching snares after every rave stab and dizzying third beat. It won't be long until ye hear this on Silver Drizzle's youtube channel in the near future.

This record transports us to the hyperkinetic mutation scene on the cult cyberpunk film Tetsuo The Iron Man where the organic flesh / mechanical rust of the Iron Man metamorphoses with the Metal Fetishist during the rebirth sequence and we say 'LONG LIVE THE NEW FLESH!''.

With Recent Appearances On Boiler Room And The Groove Magazine Podcast Plus Sets Across Asia And Europe, Jamaica Suk's Fearsome Techno Sounds Are Winning Fans Far And Wide. A Year On From Her Debut Release On Her Own Gradient Label Comes This Stunning Second Volume.
A1 Stinger Ray Kicks Off The Ep With Zingy Modular-style Synth Sounds Pulsing Over A Bubbling, Murky Bassline. Sheet Metal Snares Punctuate The Beat, With A Switch-up Halfway Through Into Gnarled, Distorted Synth Crunches Catching You Unaware. These Brutalised Rhythms Morph In And Out Of Hypnotic Arpeggiated Pulses To Make For A Hallucinatory Ride With Ample Dashes Of Psychedelia Throughout.
A2 Fallen Sets It Outs Stall Immediately, With Filtered Down Acidic Bass Playing Out A Jagged Groove. A Manic Counterpart Mimics Its Rhythm But Dizzyingly Delayed Off The Beat To Create A Rugged, Funk-fuelled Feel. Cymbal Rides Pitch Up And Down, Unidentified Snarls Of Fx Mutate Around The Edges, All The While The Sharp Hi-hats Keep The Metronomic Heartbeat Going.
B1 Whispers Ups The Intensity. Delicate, Arpeggiated Chime Sounds Set A Crystalline Mood Before Swathes Of Intense, Darkly-tinged Synths Swell In And Out Of Focus Atop The Throbbing Kick Drums. The Effect Is That Of A Factory Full Of Machines Growing A Mind Of Their Own, Malfunctioning In A Pleasing Harmonic Dissonance.
B2 Twilight Rain (vinyl Only) Completes The Set With Infectious Triple Kick Drum Patterns Underpinning Dramatic Drum Hits And Warped Atmospheric Shivers That Create A Spooky Feel As Droning Bass Tones Carve A Path Through Your Speakers.

You might know Peter Matson as the founder, frontman, and guitarist of NYC-based breakout band Underground System, who recently released a debut album of otherworldly global-dance anthems (on Soul Clap's self titled imprint) and have been touring their live show at venues around the US. Matson's roots, while nestled in worldly live sounds, also firmly grip deeper dance music styles, though they manage to still pack a refreshingly eclectic energy.

His debut EP 'Short Trips' for Brooklyn's Bastard Jazz connects the dots between his time moving bodies in the club as a DJ, as well as in his group as a guitarist and producer, though this record is better suited for a woozy club floor. "Roma Norte" kicks off the wax with its soulful cocktail of latin-house styles and hypnotic basslines that would elevate the opening hours of any club night. Deep house legend and Freerange Records boss Jimpster provides an ethereal, creative remix that delves into afro-house territory. "3AM to Sete" is a warm and bubbly deep house tune that sounds like something you might hear late-night in a South London nightclub—it's all warm bass vibrations and subtle synth explorations. Matson's seasoned instrumental skills shine on "126," another breezy synth jam with just enough punch to make you move, eyes closed, of course. 'Short Trips' sounds like the work of someone not interested in where one scene ends and the other begins, but instead, where they connect.