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Adeen Records and it's partnership with Red Light Bangkok are bringing you the funky sounds of Scott Hess. Hailing from Detroit, Michigan With time being spent living in Shanghai and Berlin now residing in Bangkok, 'Red Light Bangkok 01'. The 3 track EP was forged out of the thick haze of Thai funk that permeates the vivid colours of this city. From the low-slung freakiness of 'The Rhythm', to the subtly sinister, synth-heavy groove of 'Circle Of Funk', and all the way through to peak-time, jacking house of 'Red Light' - each track is fused with Michigan flavour and South-East Asian steam in almost equal measure.

Soul Jazz Records set Sounds of the Universe:
Art + Sound 2012-15 features some of the heaviest Afrofuturistic producers out there, PITCHFORK.

Soul Jazz Records new Sounds of the Universe: Art + Sound 2012-15 is a new double album CD (and two separate volumes of double-vinyl) featuring a line-up of some of the most forward-thinking and progressive artists and producers working with electronic music around the world today.

This lovingly compiled collection features a stunning array of contemporary artists: Chicago’s Afro-futurist genius Hieroglyphic Being; Kaseem Mosse (aka Gunnar Wendell/Siege of Troy), one of the most talked-about, respected artists in underground house and techno; out of Detroit’s Moodyman stable comes Andres; also featured is Los Angeles-based Ras G, associated with the Brainfeeder label established by fellow producer Flying Lotus; and many more!

This new collection features a first CD of tracks recorded exclusively for Soul Jazz Record’s bespoke Sounds of the Universe label. These were originally issued under their Art + Sound series between 2012 and 2015 as unique hand-etched and original commissioned art pieces (reproduced here) collectors’ 12” singles - all pressed in micro-editions of 250 copies for each artist’s release that were only ever available exclusively from Soul Jazz Records’ boutique Sounds of the Universe shop in Soho, London.

The second CD features a fantastic set of all brand new exclusive tracks from the likes of Seven Davis Jr, Drexciya collaborator DJ Stingray, deep house virtuoso Mike Huckaby, Glaswegian noise-punk six-piece Golden Teacher, and lots more – all created and commissioned especially for this release. These songs are not available anywhere else in the world.

Together these 2CDs comprise an amazing selection of new progressive electronic music.

This album is released as double CD pack with slipcase and booklet. It is also available as two separate limited edition double vinyl editions in heavyweight vinyl and gatefold sleeves with full artwork + free download codes, and as a worldwide digital release.

In der Pause' (During the Pause) was the title of the last track on the b-side of , the first album by Die Tödliche Doris. In der Pause' was pause music, as well as the announcement of the interval between their debut album, released in 1982, and the box format project 'Chöre und Soli' that followed in 1983. The original sounds of In der Pause' survived on a single audio tape dating from 1981.Now, about 35 years later, Chris Dreier and Wolfgang Müller have used the material recorded on the audio tape as the source for five new tracks of pause music. The material on the original audio tape has was reworked using Moog analogue effect modules and Ableton Live. It has been supplemented with archived announcement interludes from radio and television stations, including German stations WDR, NDR and HR, Radio Italy IBF and Radio Kamerun.Sprechpause' was recorded in 1981 — 1982 by Chris Dreier, Nikolaus Utermöhlen and Wolfgang Müller and reworked by Wolfgang Müller and Chris Dreier in 2017.

M!R!M is the solo project of Jack Milwaukee, italian multi-instrumentalist based in London since 2011. Inspired by early 80's synth pop, cold and dark wave, M!R!M has been releasing on labels as Fabrika and Manic Depression. Since his debut album, he’s been touring and playing shows all around Europe building an important following and a significant name within the scene.

On January 31st, 2020, Avant! Records will release his third full-length, The Visionary. Still featuring Milwaukee at the helm along with selected collaborators as supplementation, The Visionary is a further evolution in M!R!M sound, which showcases how the musician’s vision has evolved throughout the years.

Holding firmly to the vibes that recall the most dreaming 80’s, Jack Milwaukee this time blends together that typical FM synth timbre, which has always characterized the artist, with deeper and sumptuous sounds found within the notes of Mellotron and sax; overcoming previous Lo-Fi approaches to undertake a solid, prominent and more mature path.

The Visionary is a collection of songs pieced together in a meaningful and harmonious way where the storytelling is very vivid and fundamental. Trapped between hope and melancholy each track evolves smoothly into another one until it gets to a mystical end, a point of no return. From syncopated punchy bass lines drove by solid drum beats to elegant violin quartets accompanied by almost religious choirs, The Visionary is an engaging work that doesn’t remain only inside the robes of shimmering synth-pop tunes but also explores more intimate and private territories as an ode to the most deep feelings.

Pulling from the ‘pop’ approach of mid 80’s synth-pop pioneers like New Order, The Wake, Tears For Fears to most iconic figures of the Italian 80’s era, M!R!M dialed in on a clear understanding of it's own specific sound, which has since evolved. The Visionary is the ultimate unified vision of M!R!M’s work, it’s the sweetest transition of the most nostalgic daydream.

· This compilation features the rarest and unknown instrumental tracks of that Funky Groove early sound.
· Light music along with wind section and keyboard ready to hit the dance-floor, that we call Spanish-Grooves.
· Composers, musicians & arrangers like Gregorio García Segura, Rafael Martínez, Antonio Barco, Antonio Latorre, Jaime Botey, etc.

During the 70's, an important number of orchestras and dance bands popped up in our country but not many of them released their own songs or covers on vinyl, so we can’t say that our music library has bulky volumes, rather it’s just the opposite.

You have to dig deep in the catalogue of obscure record labels to find some quality pieces, which we will usually attribute to Tinglado 13, Conjunto Nueva Onda, The Matches, Conjunto Don Pelegrin, Rafael Martínez, Carlos de Ros, Salgado y su Grupo, Mesié Bató, Pedro González, Jorge Enrique.

Most orchestras played bossa nova, soul, some lounge and easy listening, and a usual mix of light music with wind section and keyboards, something like “spanish-soul” or “rhythm'n'blues-pasodoble”.

It was a time when the bands survived playing shows with a repertoire based, mostly, on Spanish popular songs and international hits.

Many artists recorded with nicknames, many others used licensed songs paying rights to the original authors and some orchestras changed their names when they pressed their records, in an attempt to appear modern or simply for pure commercial purposes, that's why it is difficult to trace accurately the musical path of many of these artists. This scene was especially intense in Aragon and Catalonia, where a bunch of labels emerged, often simply as platforms for bands to promote their own music.

This compilation aims to discover to a wider audience some of the most sought-after instrumental gems by discjokeys and disco music collectors, eager for soul, groove and hot sounds.

· This compilation features the rarest and unknown instrumental tracks of that Funky Groove early sound.
· Light music along with wind section and keyboard ready to hit the dance-floor, that we call Spanish-Grooves.
· Composers, musicians & arrangers like Gregorio García Segura, Rafael Martínez, Antonio Barco, Antonio Latorre, Jaime Botey, etc.

During the 70's, an important number of orchestras and dance bands popped up in our country but not many of them released their own songs or covers on vinyl, so we can’t say that our music library has bulky volumes, rather it’s just the opposite.

You have to dig deep in the catalogue of obscure record labels to find some quality pieces, which we will usually attribute to Tinglado 13, Conjunto Nueva Onda, The Matches, Conjunto Don Pelegrin, Rafael Martínez, Carlos de Ros, Salgado y su Grupo, Mesié Bató, Pedro González, Jorge Enrique. Most orchestras played bossa nova, soul, some lounge and easy listening, and a usual mix of light music with wind section and keyboards, something like “spanish-soul” or “rhythm'n'blues-pasodoble”.

It was a time when the bands survived playing shows with a repertoire based, mostly, on Spanish popular songs and international hits.

Many artists recorded with nicknames, many others used licensed songs paying rights to the original authors and some orchestras changed their names when they pressed their records, in an attempt to appear modern or simply for pure commercial purposes, that's why it is difficult to trace accurately the musical path of many of these artists. This scene was especially intense in Aragon and Catalonia, where a bunch of labels emerged, often simply as platforms for bands to promote their own music.

This compilation aims to discover to a wider audience some of the most sought-after instrumental gems by discjokeys and disco music collectors, eager for soul, groove and hot sounds.

* Classic UK vocal and dub LP from 1992 gets the reissue treatment from Partial Records
* This was the first album from the Conscious Sounds label which features UK-based singer Tena Stelin and the then in-house Conscious Sounds group (Nigel Lake, Chris Petter and Dougie Wardrop).
* Presented in a showcase, with the vocal followed by dub version.
* The original pressing is long-deleted.
* Limited to 500 copies only.

The Word is one of the better kept secrets of 1980s Austrian disco music. Yet once you put the needle on this record, you notice that it sounds oddly familiar. The awe inspiring signature piece “Lobster” has the same analogue, slow moving aesthetic as Zenit’s timeless “Waiting” that was featured on Edition Hawara’s first release. The same goes for the three other wonderfully unconventional, proto electronic songs: “Easy”, “All My Life” and the eponymous “ The Word”. And there are even more commonalities with Zenit’s LP: The vocals are Linda Sharrock’s, who here teamed up with Karl “Charly” Ratzer and Peter Ponger, the twin brother of legendary Falco producer Robert Ponger. The result of this collaboration is, well, also quite legendary. How this kind of sound emerged in Vienna in 1984 is still a bit of a mystery, but clearly all the stars were aligned when Sharrock, Ratzer and Ponger were jamming in the studio. We are very proud to share this secret with you. Just as there are very few lobsters in landlocked Vienna, there are very few records like this out there.

This is the long-awaited second installment of the layer series by Eqwel and Jeff Thompson is to soon come. The fifirst release amd all releases that are part of this series is always minimally processed, using less compression with higher sample rates. The primary side has been cut with Eqwel’s original version, which carries on his style of artistic creativity. The track is layed with hard rhythm’d kicks with illustrious soundscapes incorporating sticky basslines. On the flflipside, track one is Eqwel’s answer to a club banging version of the original creation. This track starts strong and ends strong and the events that happen in between is beautiful and uplifting! This is defifinitely a banger for the clubs, that can be incorporated at the peakest of your sets. The fifinal track has been taken from Eqwel’s ” Audio Telemetry EP “. As always, these tracks are recommended to test and push your sound system!

Yes, we know the soul and funk world of the glory days, big labels, radio shows and bands amid a social context of segregation. A context that starts becoming less important when this music genre enters the mainstream in the late 70’s to eventually fade away at a fast pace in the 80’s until its complete disappearance in the 90’s and beyond. This time though, we dive a bit deeper into the hoods, because the social context of today ain’t no greatly different and it has its very own music, deeply rooted in the sounds of the early days, although more immediate and dense of beats and urban feel.

We are in Chicago, a place where every 2 hours someone is shot, and every 14 hours someone is murdered. It ain’t no Iraq or Afghanistan but one of the biggest and most sophisticated cities in the world. In the city’s west and south sides, which are considered the heart of Black America, gang rivalry is tearing its people apart. It has become so brutal that both police and perpetrators agree that this urban warfare is out of control. I started this release process after Yann sent me an heads up on this song and it took me most part of last year to build some mutual trust with Lay Lemons aka Biggz from North Lawndale, main area in the west side of the city and one of the most dangerous places in the world. When I first contacted him, Lay was having a hard time (and still does) as his daughter Raven was caught innocent in a gang shooting crossfire.

After the following investigation, the FBI (yes, big gangs are federal business) arrested and charged some members of The Four Corners Hustlers, yet Raven’s murder has no responsible and Lay suddenly lost his daughter overnight in the summer of 2017. He simply couldn’t concentrate on music, and the silly requests from a mad Italian with his crooked english were probably sounding to him like aliens speaking from outer space. I’m pretty sure this wouldn’t have been possible without the help of Lay’s cousin, sound engineer and recording studio owner living today in Detroit, so accept my gratitude Mr. Tony Amos.

Lay Lemons has never been involved with gangs nor was Raven, nowhere near that business. They are people of music, family and religion trying to survive in one of worlds toughest places. This song, its vibe, the beats, the voice... Are coming straight out of their hood, written around a fire bin on the side of the street and put together with 3 instruments. It has no chorus, it’s verses all the way through, it is a kind of prayer to the unknown in the hope of salvation through everyday strength.

Lay Lemons I salute you.

As the world turns the page towards yet another decade the Two Swedes from SpaceTM in MLU embraces new beginnings and paves the way for their very first, and very own musical outlet. MLU Private Press is their new label-not-label and the result of years of joint music making. “We looked ourselves in the mirror and all we saw was us” - it’s a vanity label in the truest sense. An audial outlet candidly and simply releasing streams of future and past sounds flowing through a crack from their Stockholmian mountain and out into the world.

The first release features three tracks of MLU-matic electronics, spanning in making over the last decade. From the energetic rave-sentimentality of “Blue...” eloquently dreaming of approaching future skylines to the sound of breakbeats, to the nostalgic arpeggios of “Astro Travelling Pt. 2”. A track which got lost but recently resurfaced in the MLU lost-and-found bin, recorded almost 10 years ago and sound-wise very reminiscent of their earliest work. The aptly named “Madame of the Magic Mushroom” with it’s mix of acoustic drums and shroomy synthesis ends the 12” in weightless psychedelia recollecting memoria of ecstatic driven 70’s loft-rock.

Cocada, a project which emerged as a diffuser of the musical talent present throughout Latin America, quickly spread its sounds to the four corners of the world, becoming a great initiative for electronic music. We couldn't be happier by this time, Cocada's first release as a record label is born with some respected artists and a beautiful story behind.

The wonderful artwork was illustrated by the Brazilian artist Paula Dornelles, who dedicates herself to the production of experimental artworks, she was able to convey through all her creative potential the depth of the meaning present in the word "freedom", a small sample of Latin American talent also in the visual arts.

On the album, who begins the work is the Brazilian duo, Diogo Vaille and Marcelo Abreu aka Bruce Leroys, with "Liberdade" (Original Vocal Version), a rework of a classic MPB song. The artists managed to perfectly merge the melancholy voice present in the song with a deep and dense bass line, bringing all the emotion present in the lyrics, causing goosebumps.

However, the duo isn't alone in this release. None other than Ricardo Villalobos has also left his trademark with a great remix, featuring fuller grooves and inserting multiple textures for the track.

4 techno tracks with rave and '90 trance sounds, wisely mixed with modern ones. Lucretio in the A side with an industrial digital track; same taste for Dove Quiete's track. The B side is characterized by two melodic and trance tracks from Albanish People and Stic.

On the A side LXK takes us on a dark and mysterious journey thru the backwoods of the German Schwarzwald, with lots of organic sounds and crackles. The second track on the A side features a groove heavy Dub Version.
Orlando Voorn closes out the EP in a nice Afro-Tech remake of the title track.

Nederland Acid Tribe killer.... With living sounds inna superb forest of beats... Music to drive fast...

Japanese artist Kosei Fukuda is back with his new series from his own platform. compilation of tracks with different approach towards experimental field in texture of sounds and beats. 4/5

For the 10th Shaw Cuts release, Lazarus and Farron join forces on their new collaboration project Pollaar, defying Pai Mei and his alliance with the ruling Manchurian Court who aim to quash the revolutionary rebels. Crane and tiger techniques vs. the seemingly invincible versatile villain and his squad.

The story begins when Pai Mei and his entourage raid the shaolin temple where the rebels have found refuge. Only a few rebels and students escape the attack, among them, Hung Hsi-Kuan. "Haslam" and its blasting drum patterns paired with bright sounding synth fragments help Hung Hsi-Kuan and his copartners to safety. They finally find a safe haven with a traveling opera group. Along the way, Hung encounters the fair Ying Chun, herself a master of the crane technique. They fall in love and have a son, Wen-Ting. Hung could not forget though, and dedicates himself to mastering the art of the tiger style for the next ten years, to finally compete against Pai Mei. The superiority of Pai Mei in the following clash is accentuated by the vigorous drum punches and spacial undertone of "Bonucci Unit". But Pai Mei spares the wounded Hung's life, letting him go. While Ying Chun teaches her son the crane style, Hung devotes himself to relentless tiger style training for seven more years, to challenge Pai Mei once again.

"P-9" and its forceful breakbeat punches, energizing pads and resonant percussion, sets the tone of the duel resulting in Pai Mei's victory and Hung's death. Wen-Ting vows vengeance and continues to tirelessly perfecting his crane style while still dedicated to learning the tiger style. Both combined is the only way to defeat Pai Mei. One year later, Wen-Ting is ready and embarks on the journey to Pai Mei's temple. The menacing and gritty atmosphere of "Compound" and its spellbinding groove filled with abstract machine sounds pushes Wen-Ting to his limit. The white-bearded master has been vanquished, but is he gone forever? Judge for yourself...

'Control Voltage Project' is a long running project of Alper Maral & Mert Topel; Alper Maral is one of the most significant sound discoverers around Turkey through auditory and academical researches he has made about experimental electronic music.

Mert Topel is a versatile musician, one of the most important keyboardist for many artists in popular music in Turkey. He has released his first solo album “Serendipity” in 2017.

Control Voltage Project is named after the electric signals which are used for the interactions between various physical sound layers. Recordings of CVP -first album from the duo- was finished in 2005, and released in 2015 on “Müzik Hayvanı” as free download on web.

The album is making its roots through an endless sound pool that created by synthesizers, vocoders and tape recorders such as KORG MS 20, YAMAHA Motif 8, PROPHET 5 and TASCAM MS 16 which have characterized by different styles and times.

The duo’s 12 track album is a complete adventure from abstract
and fragile moments to groovy but spooky sounds.
Control Voltage Project is finally released on vinyl via Müstesna Records.

Side A: Band' Azul - Melo Do Fricote
Licensed From Top Tape Musica Ltda ©1982

Side B: Octavio Burnier - Que Nem Sol
Licensed From Top Tape Musica Ltda ©1980

Club Internacional unearth more long lost Brasilian grooves from the archives of Rio imprint Top Tape for lovers and collectors around the globe.

This edition kicks off with the funk-driven sounds of Melo Do Fricote by Band' Azul.
Fusing rapturous vocals, guitar and horns this track originally appeared in 1982 and was the band's only 45 single release.
Here it is in its original format at last.

The flip side features the much more established artist and celebrated guitarist Octavio Burnier. As one half of Burnier & Cartier he produced one of the most sought after LPs in Brasilian music in 1974, which became like gold dust to collectors of Brasilian music. It was recently reissued by the excellent Mr Bongo to the relief of all lovers of Brasilian sounds.

In this later solo track 'Que Nem Sol', Burnier demonstrates his exquisite guitar playing as well as his talents as a composer and singer.
A seriously delicious slice of soft boogie funk it was released only on 45 single on the Top Tape label back in 1980, and again has never been repressed.

Club Internacional hopes you enjoy bringing these long lost, blissful funk vibes back to life via this limited edition vinyl 45 pressing.

Kaitlyn Aurelia Smith is an American composer, performer and producer, originally from Orcas Island and currently based in Los Angeles. After several self-released albums, Smith was signed to independent record label Western Vinyl in 2015, who released her first official album, Euclid, in January 2015. Her latest album, T ides: Music for the Meditation and Yoga , was released in January 2019.
Smith grew up and was home-educated on Orcas Island, Northwestern Washington. She left the island to study composition and sound engineering at Berklee College of Music in Boston, before returning to the island after her graduation.
It was after returning home that Smith discovered synthesizers, when a neighbor introduced her to the Buchla 100 Synthesizer. Having originally intended to use her voice as her primary instrument, and then moving to classical guitar and piano, Smith switched to the use of synthesizer after being leant and experimenting with the Buchla 100 for a year.
Smith formed indie-folk band Ever Isles whilst still at Berklee but left the project after discovering the Buchla 100, explaining, “I got so distracted and enamored with the process of making sounds with the Buchla’s potential that I abandoned the next Ever Isles album”.
When developing her composition skills, Smith used visual aid as inspiration for her music. She has said that she is always composing to a visual in her head, explaining, “Sometimes I let the sound create the image for me and then I build off that. Or vice versa: I come up with imagery that is inspiring to me, or I see something that is inspiring, and then create sounds that I feel match it”.
Recorded in 2013, Tides is a glimpse into the early phase of what has become Kaitlyn Aurelia Smith’s signature approach to electronic music. Composed and played on a Buchla Music Easel––the modular synthesizer that gives Smith’s music its organic feel––this collection of instrumentals is at once uplifting, transportive and meditational.

'P&F Recordings' returns with it’s fourth release. This time they are coming at you straight outta NAPOLI, ITALY with a four track EP by MILORD (known to many as one half of the duo “The Normalmen” and one-third of “The Mystic Jungle Tribe”).

M • E • T • A / M • U • S • I • C is one part vintage library-music studio wizardry another part lowkey house. Imagine a slinky G-funk synth at a new-age retreat, a spacey kraut jam at an eighties video arcade - all at once familiar, yet unglued from any particular moment in time.

DJ SUPPORT: “Bro, I’m finding it hard to control the sunset with this damn Japanese remote,” said Crockett. “Can you lend me a hand?” Tubbs side-eyed with extreme shade and replied, “You’re such a k-hole, dude, that’s not a remote. It’s the car phone and you’ve been staring at it for an hour. Put that shit down and let’s hit the sauna.”

-Lovefingers (ESP Institute)

Meditative sunset sounds I could also use whilst taking an Epsom bath or a Hawaiian hike at dawn. Artwork also 10/10 another epic release from my fave new label.

-Danny McLewin (Psychemagik)

Thanks for the music - its right up me alley. I’m also already a fan of Mystic Jungle Tribe and Normalmen, so that is a formula I can definitely chemicalize with.

- Dreems (Multi-Culti)

Worked this album in the studio with Milord and I never got sick of listening to the tracks! "The kemetist" brings me in that fabolous druggy-place I would like to be at every weekend …
- Manny Whodamanny (Periodica - Naples IT)

Multi-instrumentalist and composer David 'Dijf' Sanders combines a broad mix of styles with a boundless approach full of multicultural blends. The Ghent based artist has always been working on various projects, collaborations or productions at the same time - lately he worked with Warhaus, Sylvie Kreusch, Mattias De Craene's MDC III and Wim Vandekeybus (Die Bakchen - Lasst uns tanzen), to name a few - but that did not keep him from releasing successful solo records as well.

Dijf, who was a member of the (synth)pop bands Teddiedrum and The Violent Husbands, already raised excitement with the exotica-oriented 'Moonlit Planetarium' (2016), an album that created an experimental clash between percussive, ethnic sounds and rather Western beats, occasionally topped off with his mysterious vocals.

After the acclaimed eclectic gem Java (2017) for which he recorded in Indonesia, Dijf Sanders sets off on another musical adventure to another part of the world. This time it is a world infused by Nepalese, Tibetan, Chinese and Indian culture. Dijf traveled to Nepal, and used his field recording and impressions to create a new universe together with drummer Simon Segers, Saxophone player Mattias De Craene and sitar player Nicolas Mortelmans.

Expect a sound trance where monk chanting, eclectic beats but also mantra style techno will be fused. Namaste!

Led by some of Senegal's most famous singers, like Youssou N'Dour and Laba Sosseh, Star Band achieved the perfect gumbo of Cuban and Senegalese sounds. Changüí, Guajira, Salsa, and Son mingled with cosmic Mbalax guitars, Sabar rhythms, Afro-Latin horns, and Spanish vocals spiced with a Senegalese twang.

With just two microphones and a four-track Revox tape recorder, Ibrahim Kassé, Star Band's founder and owner of Le Miami nightclub, recorded their entire catalog in his venue. Each album contained one stand-out Afro-Cuban tune, often covers of Cuban classics or original compositions using the deep, layered sound that had evolved over centuries from the roundtrip journey across the Atlantic. Six of Star Band's most psychedelic Afro-Cuban tracks, an ode to their finest hour, are selected here.

Remastered in the original mono, and accompanied by 12-page booklet containing an essay on Cubanismo in Senegal, a rare interview with Star Band guitarist Yakhya Fall and vintage photos from his personal collection, this album is the soundtrack to a time when Cuban music was the future for 1970's Senegal and commemorates the anniversary when another way — the Cuban way — was possible.

Justin Strauss and Max Pask have joined up to form the new project Each Other, who will release their self-titled debut EP ‘Be Nice To Each Other’ on February 7th, 2020 via Soulwax/2manydjs label DEEWEE. While Strauss and Pask have DJ’d together on numerous occasions, this is the first time that they’ve collaborated on a production project.

The EP finds Each Other creating an eclectic range of sounds in the space of just three tracks. The opener ‘Same As It Never Was’ is the most immediate of the set, becoming more hypnotic as the minimalist topline buries itself into your subconscious. The downtempo ‘Burn It Down’ then darkens the mood, feeling closer to a dystopian sci-fi soundtrack than an underground club classic, before the playful and progressive ‘Six Weeks’ up the energy with jittering beats, sparkling synths and a cooly understated vocal.

“What we were trying to do and what we’ve hopefully achieved was to merge our influences with a nod to what many consider to be the ‘golden age’ of New York,” explains Justin Strauss. “You don’t realise that these periods were becoming important markers in history when we were living through them. It only comes later with the added benefit of time. I hope that in years to come, history will find a place for what we’re doing now” - Each Other.

As with all DEEWEE releases, ‘Be Nice To Each Other’ was recorded produced and mixed at DEEWEE.

Swiss bass music maestro Bit-Tuner presents a widescreen ambient album about interactions and the traces they leave behind.

Bit-Tuner's 7th album "EXO" marks a milestone in his work: the widescreen and mostly beatless opus focusses on musical storytelling and atmospheric depth. The album was written and recorded towards the end of Bit-Tuner's 2-year stay in Athens.

Influenced by topics like the social and structural turmoils of the past years, the strong connections between communities and the sensation of being in an economic deadlock, Bit-Tuner wrote an album that urges to be listened to in a (self-)reflective way.

It is a call to listeners to listen closely, delve into the sounds surrounding them in any given moment and draw a quiet but firm inspiration from within. Following his field recording-based albums "The China Syndrome" and "The Japan Syndrome", "EXO" highlights his interest in cinematic music and soundtracks.

For the album, Bit-Tuner is collaborating with film maker Joerg Hurschler, who is creating animated footage that will be screened, mixed and live scored at Bit-Tuner's shows in 2020. Joerg Hurschler's work tells the story of molecular objects being propelled into a world similar to ours, where they operate, interact and affect their surroundings, creating and leaving behind something new and strange. What is it that surrounds us, and how do we approach and interact with forces that are beyond our (apparent) reach?

Harrison Kennedy was raised in Ontario, Canada before moving to Detroit and enjoying success as the lead singer of Chairmen of the Board with the classic ‘I’m The Chairmen Of The Board’, . He left the group in the 1970s to start on a solo career. Hypnotic Music’ is Kennedy’s 1972 debut album released on Invictus Records. It’s an in- demand folk funk album. Kennedy is still celebrated as a singer, songwriter and performer. He was awarded in 2016 at the Canadian Juno Awards with the Blues Album of the Year. This classic is reissued on 180g heavyweight black vinyl with original artwork and printed inner sleeve. Album features rock orientated songs like the Beatles cover, social commentary with 'You Hurt Your Mother Again’ and psychedelic sounds like ‘Night Comes Day Goes’ – showcasing Harrison’s musical talents.

White Vinyl 10"

A new release this winter marks a landmark moment in an important musical story. Way back in little 2009, the label hfn music was born in Hamburg, and made its introduction to the world with the release of the Trentemøller compilation Harbour Boat Trips: 01 Copenhagen.
Founder Tobias Lampe wanted to start a label that was more broad in scope than his previous, more electronic-focused projects, and the compilation provided the perfect opportunity to launch one. In the 10 years since then, the label has survived the whirlpool waters of the early 21st century’s constantly changing music industry, and released everything from pop to art-punk, with artists ranging from New York to the Faroe Islands.
Now, they’re about to put out their 100th release. Fittingly, given the label’s focus on new and innovative music, and the historic aspect of the release, hfn100 sees one of hfn’s best songs of 2019 put into the hands of the man it all started with, Anders Trentemøller. His Danish compatriots Blaue Blume’s new album Bell Of Wool is one of hfn’s standout releases this year, and so hfn100 sees Trentemøller remix one of that record’s standout tracks, the fragile, but soaring “Lovable”.
In Blaue Blume’s original, “Lovable” is an airy, tormented song, a gossamer-delicate composition that carefully stitches together layers and layers of shining synths that gradually build up and up into a peak, before crashing into a subtle beat, a musical journey that mirrors vocalist Jonas Smith’s trip from anguish to numbness. Whereas the original’s music sounds woven together from light, Trentemøller takes it into darker territory. He hooks the song to a harsh, sparse beat leaving Smith’s vocals bare and isolated in the burnt-out, dystopic musical landscape he creates.
Trentemøller mirrors the original’s careful building up, adding new elements to fill in the song’s sound, before it collapses into a tough, noir disco groove. It’s a perfectly realised remix – Trentemøller keeps the original song’s skeleton and soul, but fills in the space with sonic touches that could be no one else’s but his.Ultimately, it’s a fitting song for hfn’s hundredth release. For a label that’s always been a platform for its boundary-pushing artists, a collaboration between two of them, that sees an already innovative song pushed into a bold new shape is the perfect way for hfn to step into the next 100 releases..

Here it is! Our debut release. This is just the start of our journey and sculptured on to this record is what you can expect to hear from our releases. The VA is a perfect collaboration of artists with each track complementing the next and capturing the Sub:Conscious ethos through the medium of groovy dubby sounds.

Die Cut Sleeve with download. It’s a strange betweenworld, bookended by sleep and the jolt of being wide awake in a place where you wonder how you got there. You know the feeling… It seems familiar but the colours are, well, unreal. In a high-ceilinged room, a grand piano plays lush melodies as, meanwhile, somewhere, an Alice In Wonderland clock ticks, cellos are bowed, a swarm of something vibrates and the hallucinatory crowd around Rosemary’s Baby babble. An echoey electronic hum builds and falls like a 50s refrigerator passed through and effects board, things run backwards, staccato strings are plucked… and that’s not the half of it. “I’ve never been happy staying in one particular school of musical thought. The fun has been turning things on their heads, to try something you were not supposed to do.” We’re on an immersive and adventurous travelogue with the former member of the legendary Tangerine Dream, Paul Haslinger - this is a man who knows how to build tension, hold moods, illustrate contempt, lies, passion and pleasure; He can create fear, loathing and love - he’s been unlocking the nuances of such emotions in a hugely successful career as a TV and film soundtrack composer (Halt And Catch Fire, Underworld and the Golden Globe-nominated Sleeper Cell). ‘Exit Ghost’ is his long thought out opus, a moment caught in time, flicking through reference points, taking an ethereal excursion that permeates musical genres as it becomes awash with intricate sounds and cross-pollinating rhythms. Built originally from the warmth of his grand piano ‘Exit Ghost’ resonates with purity and power, from an eerie and evocative betweenworld, that’s at once expansive and rolling, then intoxicating and suffocating in equal measures; modern composition at its most uplifting; cerebral, celebratory, intense and beautiful. “The soul searching in connection with this record was extensive. Finding places of resonance, giving a colour to your memories. It was more challenging because it’s not somebody else’s narrative. Finding the core of your own story can be the most difficult task of all.” Created over the span of eight years and filled with literal and personal references, the album itself is a testament to the search - a quest filled with hints, particles and suggestions.

Banging circular techno ! Regular kick and crazy sounds for this kind of techno :)

"Mr Bongo" is proud to present three unique reworks of Kit Sebastian.
Each of the producers featured in this package created their own
interpretation of the 'lo-fi-hi-fi’ originals and have taken the duo’s
sound into bold new directions. When it came to choosing who should remix Kit Sebastian, Natureboy Flako (Flako/Dario Rojo Guerra) was a producer at the top of our list.

Keeping true to the original, whilst leaving his own stamp on the
track, his mix adds break-beat drums and middle-Eastern guitar riffs
that transform the track into a more cinematic piece. It sounds to us
like the music from an exotica dive-bar scene in a David Lynch film -
which of course, is a very good thing.

Producer and DJ Baris K, who was behind the awesome 'İstanbul 70'
series (re-edits of classic Turkish gems), takes ‘Durma’ in a very
different direction. Totally reconstructing the track, his remix has
flipped the original and totally run wild.

The results are an epic left-field electronic workout. By bringing the spoken-word vocals to the forefront and giving the track a darker industrial vibe, it wouldn't sound out of place bouncing around the walls of a Berlin basement club at 5am on a Sunday morning.

The paring of Kit Sebastian and Halal Cool J grew after DJing together
at the alternative Great Escape party at the Mr Bongo HQ in May 2019.
They share a love for dusty old psychedelic Turkish records. Halal Cool J (aka Aly Jamal/Don Leisure) has released records on First World and is a co-member of Darkhouse Family with Earl Jeffers.

For his interpretation he has delivered a mix-tape-collage with a hip-hop aesthetic, and rather than focusing on remixing a specific song, he has cut and paste his favourite elements of tracks taken off the band’s 'Mantra Moderne’ album. Available in 2 limited-edition, hand-numbered sleeve designs.

When Elena Colombi launched the Osàre! Editions label in the autumn of 2019, she explained that the label would become home to bold, daring, future-facing music rooted in experimentation and free-spirited musical abandon. These are all descriptions that could apply to the label’s latest release, a retrospective album of little-known works by Greek musician and producer Thanasis Zlatanos.

Many will not have heard of Zlatanos, or Nekropolis, the band he fronted alongside dear friend and regular collaborator Trygve Mathiesen, yet the music he made during the 1980s was otherworldly, intergalactic and undoubtedly alluring. These songs and instrumentals made extensive use of analogue synthesizers and lo-fi drum machines, as well as Zlatanos’s trusted Gibson Les Paul guitar and his own distinctive voice.

Stylistically, the musician and producer refused to settle on a specific sound, preferring instead to create inspired, often mind-altering pieces that join the dots between wave music, skewed leftfield pop, ambient, prototype electronic and Madedonian folk music. Operating for much of the period from a crumbling house earmarked for demolition, Zlatanos kept up a daily music-making vigil that resulted in a vast vault of music, most of which has remained unissued since the 1980s.

The breadth of and width of Zlatanos’s distinctive approach is laid bare on Retrospective, a compilation album prepared by Colombi and the artist himself that draws on tracks from his numerous albums, those by Nekropolis – whose sophomore set “The New Europeans” was banned in Norway – and his epic archive of previously unheard material.

The artist’s singular but wide-ranging musical vision is free for all to see across the 13 tracks stretched across the vinyl version of the album (digital buyers also get a further four superb cuts). It veers attractively from the ghostly, traditional-meets-futuristic new age electronica of “The Crystal Sight (Excerpt)” and the doom-laden coldwave throb of “Master Chameleon”, to the undulating, soft-touch creepiness of “Surreal Moment”, the Vocoder-laden operatic poignancy of “The New Barbarians” and the squally guitar solos and effects-laden electronics of “The Light”.

Words from the artist___:
"I live in the Internet. Visits from outer space make me compose. I breathe here. I am the master chameleon, the psychedelic clown. I am not here anymore, neither in the picture, nor the reflection. Our bed is a boat that takes us tomorrow without us.

Here is an album of dreams and digital emotions. Analogue recordings made with a Prophet, a Moog Rogue, a tape recorder and a Gibson Les Paul guitar.

As far as I can remember I have always been in a recording studio. I listen to, understand and live my life through songs and music. I have worked alone and with friends such as Trygve Mathiesen. Although I am a guitarist, I continue to work with synthesizers on music that blends elements of Macedonian folk music, recordings from the streets and embryonic electronic sounds.

Some of my albums have been critically acclaimed, others banned by radio stations. For years I worked on endless recording sessions in a crumbling house that should have been torn down. The music on this retrospective compilation was recorded at various points between 1982 and the present day. Some of the compositions first appeared on previous albums, while others have never been released before. They were sat on tapes waiting for a saviour. Now that saviour has arrived and they can be free.

For further proof of Zlatanos’s unique sonic approach, check the startling contrast between the bass-laden slacker pop headiness of “No Expectations” and the spacey ambience of “The Dead Don’t Remember”. Considered together, the selected pieces and those elsewhere on Retrospective forms a snapshot of a genuinely unique and visionary musician, composer and producer. It’s a celebration of someone whose work has previously been overlooked."

The 36 track 2CD album comes with 50-page book featuring text, biographies and photography. It also comes in a limited run two volume double-vinyl super-loud super-heavy gatefold sleeve editions. Compiled by Stuart Baker (Soul Jazz Records) and sleevenotes biographies by Jonny Trunk (Trunk Records).

TV Sound and Image features British composers who worked in television, film and music libraries the second half of the 20th century.

Aside from John Barry, whose work on the James Bond films made him a household name, or Tony Hatch and Laurie Johnson, the majority of composers featured here - Simon Park, Keith Mansfield, Reg Tilsley, Syd Dale, Keith Papworth – remain relatively unknown. And yet ironically they have created some of the most recognisable songs in British popular culture, their music widely disseminated on television.

A quick role call of these would include Neil Richardson (who composed the theme tune to Mastermind) and Barry Stoller (who wrote Match of the Day). The Simon Park Orchestra’s Eye Level, theme song to the BBC series Van der Valk, reached number one in 1973. CCS’s cover of Led Zeppelin’s Whole Lotta Love was the theme tune to Top of the Pops. And so on.

This album is not however a stroll through the TV memories of the mind, but an exploration of the serious contribution that these creative musicians have on the landscape of popular music in Britain.

Here then is a guide to the amazing music of many of the composers (both well-known and obscure) responsible for some of the most widely known music ever to come out of Britain in the second-half of the 20th century.

Reviews:

Quietus

Der Spiegel: "spannende Klänge ... die oft funky und immer lässig klingen"

"thrilling sounds.... often funky and always chilled"

New Zealand Herald: ***** "Every track is a killer... This is more than just music to mooch too."

Irish Times: **** "downright funky"

Volkskrant: "Ze leverden spanning op maat, die onbekende makers van fenomenale Britse film en tv-muziek. Door de cd TV Sound and Image opnieuw in de aandacht"

Evening Standard: "deeply funky"

Uncut Magazine "excellent 36 track set ... welcome additions to your collection"

Q Magazine: ****

Italian cult combo CALIBRO 35 release their highly anticipated 7th studio album "MOMENTUM" on January 24th 2020. "Momentum" follows "DECADE" their previous studio album released in 2018 that had marked 10 years of Calibro 35 and it stands out as a new starting point for the project. In the last 10 years Calibro 35 have dug the golden age of soundtracks and they had been to the future with "S.P.A.C.E.", "Momentum", as the band stated: "represents a look at nowadays and a reflection about making music right in the time that we're living".

Inspired by the work of artists such as Tortoise, Jagajazzist, Dj Shadow, Budos Band, Stelvio Cipriani, Ennio Morricone, Sandro Brugnolini, White Noise, Comet is Coming, JPEGMafia and DJ Signify, compared to the previous Calibro 35's full lengths on the 10 tracks that make up the new album, band's instruments and sounds have increased in number and complexity as well as reality.

The music palette is further extended by incorporating even more synths and electronic sounds, but keeping everything true and 100% real, with all the instruments played live and with no presets or programming. The two featurings on the album serve the cause as well. On the first single "Stan Lee", they collaborated with rapper, producer and songwriter Illa J a former member of super group Slum Village and younger brother of the late legendary hip hop producer and rapper J Dilla.

On "Black Moon", the combo from Milan provided the groove for London-based artist MEI. "If Decade was the sum of everything that the band had felt in the previous ten years", Calibro 35 says, "Momentum is the prequel of what you will hear in the next ten".
To mark the new beginning and come full circle, the recordings took place under the expert hands of usual suspect Tommaso Colliva, in the same studio where Calibro released their self titled debut album twelve years ago.

AIDAN BAKER (NADJA, B/B/S) and bass clarinetist GARETH DAVIS continue their fruitful collaboration with "Invisible Cities II" - five new tracks of finest ambient/chamber jazz/subtle drones of a highly meditative quality. Two years ago, the Canadian guitar player AIDAN BAKER and clarinetist GARETH DAVIS from Belgium released their duo debut "Invisible Cities" that surprised many by it's quiet, even meditative quality.

DAVIS had made himself a name in a wide range of fields, from the postrock of A-SUN AMISSA or OISEAUX-TEMPÊTE, new music (PETER ABLINGER, BERNHARD LANG), or experimentation with the likes of ELLIOTT SHARP, MERZBOW or SCANNER, while BAKER is mostly known for his drone/postmetal duo NADJA, but that's just one out of several steady projects (e.g.B/B/S with ANDREA BELFI and ERIK SKODVIN aka SVARTE GREINER) and a multitude of solo albums.

On "Invisible Cities" the duo explored the calmer side of things – from chamber jazz to ambient/drone and back, giving much space and air to breathe to their respective instrument. Subtle guitar drones, sonore clarinet sounds, a sonic scenery of peacefullness and meditative introspection – all this you'll also find on the new album "Invisible Cities II" which is an accomplished continuation and refinement of the duo's first collaborative effort from 2018.

Recorded between 2018 and 2019 in Berlin and Amsterdam, mastered and cut at D&M Berlin by KASSIAN TROYER.

Peter Brown is one of the ultimate in Harlem underground music business entrepreneurs. From the 70's, all through the 80's he had a stream of releases on a plethora of labels, but ultimately under the
P&P banner. From soul, to disco to the birth of hip hop, he covered all the street sounds of New York and in a series of comps Demon are exploring his legacy. P&P soul and funk covers the 1970's with a number of rare, sought after masterpieces and some
equally essential obscurities.

From the former category we have the magnificent ESP by Four
Below Zero, Dennis Mobley's Rare Groove instrumental version of Superstition and Florence Miller's soul floor filler 'The Groove I'm In' Super rare funk is present from Wild Honey, Smokey Brooks and Flame & The Sons. The roots of disco is well represented with Magnetic Touch's original version of Ain't No Big Thing and Ella Hamilton's I'm Gonna Fool You.

A frustration with trends, hype and the system itself that permeates our current society has influenced LDWG to create ‘Hyperidiocracy’, an in-depth, aural analysis on the modern world in the form of a frenzied, fractured recollection of club influences from the past 20 years.

An angry dozen of tracks that shift genres and form, LDWG switches from mangled 80's to jungle-era drops to what sounds like porn heard through a walkie talkie faster than you can like a selfie on Instagram.

'WRWTFWW Records' is insanely excited to announce the first ever vinyl release of Tom Raybould’s award-winning movie soundtrack for excellent AI-themed sci-fi thriller The Machine (2013). The limited edition LP boasts 16 superb tracks and is housed in a special glow in the dark sleeve.

"Tom Raybould’s Music For The Machine Is Amazing" - Bloody Disgusting.

Undoubtedly one of the greatest (and most overlooked) movie scores of the 2010's, The Machine finds its influences in the works of John Carpenter, Vangelis, Brad Fiedel, and Tangerine Dream, but presents its own unique twist, one that cleverly evokes the thin line between man and machine that haunts the whole film.

Cold and tenacious rhythms suggest mechanical killer instincts, brooding synths crystallize the fear of an AI-controlled future, but the warm and gentle sounds of guitar and piano ease the tension and bring hope of humanity. From its menacing introduction to it's tender ending, Tom Raybould’s masterwork ingenuously blends ambient, electronic, neoclassical, and synthwave to recontextualize and upgrade the classic 80's sci-fi movie score template, holding it's own against mammoth soundtracks like Blade Runner or The Terminator. Truly.

Cold with a touch of humanity like the perfect machine, Tom Raybould’s movie score won the BAFTA Cymru award for Best Original Music in 2013.

Die Gruppe Automat - Jochen Arbeit (u.a. Einstürzende Neubauten, Die Haut), Achim Färber (Phillip Boa & The Voodooclub, Skip McDonald) und Georg Zeitblom (wittmann/zeitblom) - funktioniert wie eine gut geölte Maschine: Sie surrt, sie schnurrt, sie geht unbeirrt ihres Weges. Gemeinsam mit dem Modular-Magier Max Loderbauer sowie Paul St. Hilaire alias Tikiman, Lydia Lunch und Mika Bajinski am Mikrofon präsentieren sie nun mit »Modul« auf Compost Records ihr abwechslungsreichstes und konzeptionell stimmigstes Album.

Die Gruppe Automat funktioniert wie eine gut geölte Maschine: Sie surrt, sie schnurrt, sie geht unbeirrt ihres Weges. Auf seinem vierten Album allerdings schaltet das Trio einen Gang herunter, differenziert seinen musikalischen Ansatz weiter aus und geht fruchtbare Kollaborationen mit anderen Figuren aus der Musikwelt ein. Neben Max Loderbauer, dem Bandnachbarn aus den Candy-Bomber-Studios in Berlin-Tempelhof, mit dem Jochen Arbeit, Achim Färber und Georg Zeitblom bereits im Jahr 2015 für eine gemeinsame EP zusammenarbeiteten, sind das am Mikrofon die Dub-Legende Paul St. Hilaire alias Tikiman, die Königin der Gossenpoesie Lydia Lunch und die Newcomerin Mika Bajinski. Sie alle tragen ihren Teil nach dem Leitprinzip bei, welches »Modul« seinen Namen verleiht: Die acht Stücke entstanden gemeinschaftlich nach einem Baukastensystem, das den Kompositionsprozess dynamisch in Bewegung setzte und gleichmäßig auf alle Beteiligten verteilte. Das Resultat ist ein musikalisches Perpetuum Mobile - ein Album mit dem gemäßigten Ruhepuls einer Dub-Produktion, das unablässig in Bewegung bleiben.
»Modul« bildet als Album einen ständigen Veränderungsprozess ab, der erstmals im Jahr 2018 im Rahmen eines Auftragswerks für das Berliner Festival Pop-Kultur live erfahrbar gemacht wurde. Auf Einladung des kuratorischen Teams erarbeiteten Zeitblom, Färber und Arbeit gemeinsam mit ihren musikalischen Gästen St. Hilaire, Lunch und Gemma Ray ein Live-Set, das konsequent aus dem Studio auf Grundlage einzelner Passagen entstand, die nach dem Prinzip eines Resonanzmoduls miteinander (re-)kombiniert wurden: es geht zwischen den einzelnen Mitgliedern hin und her, die Strukturen morphen und der Sound nimmt immer andere Formen an. Eben dieser Ansatz bedingt auch die ständige Weiterentwicklung der Stücke, die gemeinsam mit dem Produzenten Ingo Krauss zu einem Album geschliffen wurden, das seinen nahbaren improvisatorischen Charakter keinesfalls verloren hat. Im Vergleich zu den drei thematisch ausgerichteten Vorgängeralben »Automat«, »Plusminus« und »Ostwest«, die sich jeweils explizit mit Berliner Flughäfen, dem Genre Dub und der europäischen Flüchtlingskrise befassten, setzt »Modul« auf eine inhaltliche Durchlässigkeit, welche die musikalische Offenheit der Platte widerspiegelt.
Nachdem »Modul 15« das Album mit satten Dub-Sounds und einer rollenden Bassline eröffnet, hebt »Easy Riding« passend zu St. Hilaires vor Fernweh triefenden Lyrics das Tempo mit dezenten Riddims an. Schon im nächsten Song, »Ghost«, debütiert Bajinski mit distanziertem Stimmeinsatz über einem melancholischen Stück, dessen Klangbild von den modularen Beigaben Loderbauers geprägt ist. So geht es weiter über die verzahnten Rhythmen von »Ankaten«, die von den verhallten Stimmen Lydia Lunchs und St. Hilaires begleitet werden, hin zum balladesken »Nothing Strange« mit St. Hilaire über das fiebrige Vocoder-Stück »Who For Eyes« schließlich zu den beiden abschließenden Stücken, »Pavo« und »Modul 11«, welche eine tiefenentspannte Coda zu den vorigen Tracks bilden. »Modul« durchläuft so eine Reihe von Stimmungen, ständig wechselnden Klangfarben und musikalischen Ideen, die sich in immer neuen Konstellationen zusammenfinden. Der erweiterte künstlerische Ansatz ebenso wie das vergrößerte Personal machen das Album nicht allein deshalb zur abwechslungsreichsten, sondern auch konzeptionell stimmigsten Platte Automats, die sich darauf in bester Form präsentieren: Als gut geölte Maschine, die surrt, schnurrt und unbeirrt auf dem Weg ist -
immer in Richtung neuer, unerhörter Sounds.