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Salford's Cong Burn drop the latest in their ongoing 12" series feating entries from regulars Chekov, Perfume Advert & Lack, with newcomer Tonto making their debut. At A1 Lack provides a low key roller subtely flashing glimpses of their studio sleight of hand and their ability to craft rhythms with real momentum. Tonto's 'Rust' slows things down with a sub 110bpm DJ tool that pings splashy springs, bird calls and ascending sine tones - made for long blends and layering!

Leeds' own Chekov continues to intricately weave interlocking melodies in their most finely sculpted effort to date - with some
Idiots Are Winning indications which are more than welcome. Salford/Teeside's Perfume Advert wear their heart on their sleeve
for an emotional 130bpm+ closer.

Vinyl Only

Stop Light Series is a parallel project of Squeeze The Lemon focused on music by artists and friends we estimate and respect. For the first release we have four gems from the past by Takecha and Enrico Mantini that split the EP, enriched with an edit by the Italian duo Nudge.

John Power is the singer, songwriter and guitarist known as the frontman of Cast and previously from the La’s. Following the split from Cast, Power released three solo albums. The third and final (to date) studio album is Stormbreaker (2008). Featuring Powers unmistakable vocals, highlights from this blues-rock album include; ‘Good Life’, ‘Ain’t No Woman’, American Dream’ and ‘Stormbreaker’.

John Power is the singer, songwriter and guitarist known as the frontman of Cast and previously from the La’s. Following the split from Cast, Power released three solo albums. Willow She Weeps (2006) is his second solo studio album. The album embraces a powerful acoustic, folk, blues sound, harking to Power’s classic singer-songwriter roots. Highlights include; ‘Jumpin’ Bean’, ‘Willow Weep’, ‘Give It To Me’ and ‘Old Red Sea’.

John Power is the singer, songwriter and guitarist known as the frontman of Cast and previousle from the La’s. Following the split from Cast, Power released three solo albums, his first solo album is
Happening For Love (2003). Highlights include; ‘Small Farm’, ‘Mariner’, ‘Happening for Love’, ‘Paradise’ and ‘Electrify’.

For Patrick Flegel, Cindy Lee is more than just a recording music project. It is the culmination of a lifelong exploration of art, the electric guitar, queer identity and gender expression. "Singers like Patsy Cline and The Supremes carried me through the hardest times of my life," explains Flegel, "and also provided the soundtrack to the best times."

Following the dissolution of Canadian experimental indie band Women, Flegel would delve deeper into songwriting that bends further toward high atmospherics and bracing melodies – a unique space where splendor naturally collides with experimentation. Delivering moments of sheer beauty through somber reflections on longing and loneliness, Cindy Lee is something to hold onto in a world of disorder.

What's Tonight To Eternity, Cindy Lee's fifth long-form offering, showcases the project's most entrancing strengths: ethereal snowdrift pop and sly nods toward classic girl-group motifs. Recorded at Flegel's Realistik Studios in Toronto and featuring younger brother Andrew Flegel on drums, the album travels hand in hand with a spectral guide.

Flegel found inspiration for Cindy Lee in the form of Karen Carpenter, drawing on the singer / drummer's early recordings as well as her look and style. "I found a deep interest and comfort in Karen's story, which is a cautionary tale about the monstrosity of show business, stardom at a young age and being a misfit looking for connection. The darkness and victimizing tabloid sensationalism she suffered is easily tempered and overwhelmed by her earnest output, her artistry, her tireless work ethic. Something utterly unique and magical takes shape in the negative space, out of exclusion. What I relate to in her has to do with what is hidden, what is unknown."

What's Tonight To Eternity remains a mix of pop culture indoctrination, pain and suffering, hopes and dreams, fierce confrontations and wide-open confessional blurs. Closing with the song "Heavy Metal" (dedicated to the memory of former Women bandmate Chris Reimer) and adorned by Andrea Lukic's Journal of Smack artwork, the album continues the bold and rewarding path on which Cindy Lee has embarked.

Back again it’s the return of the Originals kicking off the new decade with some pure fire and a fresh new label design. Side A features the Bob James classic break Farandole which has been spliced down to a 45 edit courtesy of them doctors of funk over at the DNA labs.
Flip to the B side and DJ Muggs samples the A side to great effect creating a B-Boy banger featuring rhymes from Planet Asia and a guest appearance from B Real – sure to light up the dancefloor. Limited as always – don’t sleep – snooze you lose!

Auf "Small Favours" - der 6–Songs Vinyl–Auskopplung des Albums "Favours", verbündet sich Elektronikmusik–Zauberer Wolff Parkinson White mit verschiedenen SängerInnen, unter anderem Norah Jones, Natalie Beridze und Pascal Leboeuf.

Wolff Parkinson White's typisches Maschinengewehr–Feuer aus manipulierten Audio–Splittern steht hier in krassem Kontrast zu der Wärme der menschlichen Stimme. Seine erste EP–Veröffentlichung auf Nonplace bedient sich an vergleichsweise bekannten Liedstrukturen und beantwortet die Frage, wie ein Projekt von Björk und Venetian Snares klingen würde, wären sich beide jeweils der Nachteile diatonischer Monotonie und der endlosen harmonischen Wüste bewusst.

Die 6 Tracks der EP wurden von Labelchef Burnt Friedman persönlich von den 13 Album–Tracks ausgewählt. Der Schlagzeuger Jochen Rückert, der hinter dem Spitznamen "Wolff Parkinson White" steht, spielt auf "Heaps Dub" (nonplace20) von Root 70 und "Coptic Dub" (nonplace27) von Hayden Chisholm's Projekt The Embassadors.

Mega rare and collection Ben and Platano group is for me another Long awaiting 45s release. Massive B-boy dance “Platano split is worth it's weight in Gold! And Castle Battle – just gets me every time. Hammond groove!!!

Splendid techno mental tribe sound. Precise and dancefloor. Spirally.

This split cassette by Unconscious (Italy) & HKKPTR (Germany) includes 8 tracks of uncompromising & state of the art body-techno floor killers. Both acts are emerging at the forefront of a new breed of underground stalwart producers. Edition of 100 C-47 tapes with download code attached to the J-card. Released by X-IMG.

Fixon returns home with a brand new and powerful EP, after his release in collaboration with DJ Saint Pierre on our latest No Boundaries Series number Two in split EP with DJ Surgeles, Fixon it’s back with ‘Destroyed Landscape’ which contains four Original Cuts, three of them on Vinyl and a bonus track for the digital release, as usual quality music from the Mexican Producer. For this release we also counting with outstanding remixes from two great Producers who we give a warm welcome to the label, first remix from the Italian Distant Echoes who has brilliant releases on labels such as Dystopian and Non Series and for the second and last remix the British Producer BNJMN who is an active contributor of the legendary Tresor Records.

Memorial Home and Arnaud Le Texier team up for this split vinyl on REVOLT by bringing you these 4 individual cuts that contrast a distinctive sound between both sides of this vinyl.

Dwight Yoakam occupies a singular position in contemporary country. No artist has better balanced mainstream commercial success with
artistic, alt-country credibility, while somehow managing to embody both the music’s most traditional and its most progressive impulses. ‘Blame The Vain’ marked a milestone for Yoakam as his first self-produced effort since splitting with producer / guitarist / bandleader Pete Anderson. Released in 2005 to critical acclaim, ‘Blame The
Vain’ has sold nearly 200,000 records to date. In honour of the 15th Anniversary of this album, New West Records are proud to present ‘Blame The Vain’ on vinyl for the first time.
Gatefold sleeve, 140g vinyl.

"In popular imagination, the early 80s were dreadful. Thatcher and Reagan led the world on a diet of austerity, unemployment and depression. The Berlin Wall separated East from West. The Sex Pistols had broken up. In sum, the future was unsure. Belgium was no exception. While Punk had been declared dead by some, its spirit was still roaming in country parishes and city alleyways. As the Catholic bourgeoisie provided young people with few opportunities, music was an obvious pastime. Teenage hopes of starting a band and putting out a record were everywhere. Organized Pleasure and Satin Wall were two bands living the dream. In contrast to a thousand others, they left us sounding evidence. This split 7” gathers two tracks originally recorded in 1981. It was the first and only studio excursion for both groups. After some local gigs, the people involved moved on to other projects. While their music is illustrative for the era, their story is distinct. Same but different."

Woods 786 is back. The alter ego of Roberto Bosco returns with “Exploration 01”, a live jam recording split in two tracks performed with Elektron Analog 4 and Analog RYTM. Last Drop Records and Sonorous Waves' founder has been for years both a producer and a DJ with dates all around the world, now takes another step forward into ambient music. His hypnotic textures invite the listener to travel without moving. Mastered at Mixmastering Studio, the first joint effort between Souterraine.org and Envlp_Imprint, “Exploration 01” is a dreamy continuum of twenty-five minutes or a way to escape from everyday chaotic life. Synthesizers brings you the sound of outer space.

3x12"

The SENTINEL LP represents the manifesto of one part of the spectrum of MethLab's club-oriented sound. Featuring a cross section of our forward-thinking artists and special guests and illustrating a dynamic set of sonic aesthetics to usher in a new era of diverse music and an open-minded approach to the dancefloor. Expect searing audio that resides on the very cutting edge of bass music.

Cynosure returns with OHMS, a playfully uplifting collaboration from Mike Shannon and Ohm Hourani. The three-track EP features two originals laced with twisted drums and slippery synths, equally fitting for intergalactic exploration or a beachside sunrise. The original tracks’ intimately minimal production is complimented by a remix from Akufen of elegant deep house, making for a record that is both contemporary and classic. “Hightower PSA" slips out the gate with a carefree ambling baseline over a slow, swelling tide-like pad. Breezy, pulsing synth stabs pull the groove together while precise, quick hats and snares weave around buzzing tones like alien chatter. “Nova In The Sun” moves into steadier and darker territory: the bass hops between a stark kick-snare, with hats tastefully drizzled on top.

But when singer Ilhem’s sultry voice cues subtle hand drums and squiggly echoes, the track transforms from a slick minimal affair into a soulful throwback. “Nova In The Sun (Akufen’s Aldo Nova In The Sun mix)” takes the female voice of the original and jumps right in with an upbeat staccato piano and swirling violins. A full-blown house arrangement ushers in lush strings, electric piano chords, and loosely fitting open hats and snares, all conspiring to bring a splash of joy to any peak-time crowd. On the whole, OHMS deliver a versatile EP that swaggers with a smile.

Early Days maps out Nine Circles interpretation of Cold Wave and Minimal Synth. Unbelievably the tracks are mostly from a brief time period, ’80—’82. Alienation and uncertainty course through the 2LP with heavy Yamaha chords, metallic machine beats and brittle vocals.

Nine circles was formed in the early 80s by Peter Van Garderen and Lidia Fiala. In 1980 there was a band called Genetic Factor. This band split up when their three members got girlfriends and they started to make music together with their girls. So at that time there were 3 bands living together in one house.

One of the couples were Peter van Garderen and Lidia Fiala. Lidia had been writing lyrics since she was 15 years old. Nine Circles was born. Within 2 years they wrote about 60 songs.

Also living in the house was Richard Zeilstra, who had a job at the VPRO radio, hosting a show called „Spleen“ where he gave New Wave bands a chance to play. He asked bands to send tapes to him and the best bands had the opportunity to play live at the radio and also got the chance to be on the „Radio Nome“ compilation. Peter and Lidia sent their tape to him and were the only ones from this house to be on the show. Richard knew their music was special. Nine Circles never played a live show on stage, only one concert live at the radio which is also featured on this LP.

Two years later Peter and Lidia split up and Nine Circles disappeared. In 2009 Lidia’s son googled her name just for fun and found a lot about the band Nine Circles. Lidia was surprised, she never knew how popular Nine Circles have been over the years. She got herself on Facebook and since then she got in touch with many people and decided Nine Circles should come back! Peter was not able to join the band these days, he had a different life but he was supporting Lidia and liked that she enjoyed doing music again. Peter still had all the old recordings and sent Lidia a lot of the music they made together back in the days. The best tracks are collected on this 2LP.

Together with Per-Anders Kurenbach Lidia revived Nine Circles. They recorded new material (released on the album „Alice“) and played live until Lidia had to stop playing live for health reasons in 2016. Nevertheless they‘re working on a follow-up album called „Emerge“ which is planned to be released in 2020 and hopefully Lidia will be able to go on stage again soon.

Two great 'Tom Moulton' Mixes back to back! 'SOUTH SHORE COMMISSION' were a self contacted soul/funk band from Chicago.
They released their one self-titled, Billboard Dance Chart No.1 album in 1975 on Wand Records from which comes the Bunny Sigler composed/produced track “Free Man” featuring Instant Funk.

It was recorded at Sigma Sound Studios in Philadelphia. This Tom Moulton mix on “Free Man” was an original feature of the album and is considered one of the first proto-house records.

ULTRA HIGH FREQUENCY:
More Philly splendor here from 1973 with “We’re On The Right Track” co-written and co-produced by Norman Harris. Mixed by Tom Moulton. Never previously released before on 12” single.

... BLR’s Lyon connects Ethyène and Saint Paul unite for a split 4 tracker soundly in the tasteful disco house vein of their Moonrise Hill Material crew.

After being blown away by a few tunes - probably just as you will be after listening to this - Samy Ben Redjeb travelled to the infamous capital city of Somalia in November of 2016, making Analog Africa the first music label to set foot in Mogadishu.

On his arrival in Somalia Samy began rifling through piles of cassettes and listening to reel-to-reel tapes in the dusty archives of Radio Mogadishu, looking for music that ‘swam against the current’.

The stars were aligned: an uncovered and unmarked pile
of discarded recordings was discovered in a cluttered corner of the building. Colonel Abshir - the senior employee and protector of Radio Mogadishu’s archives - clarified that the pile consisted mostly of music nobody had manage to identify, or music he described as being ‘mainly instrumental and strange music’.

At the words ‘strange music’ Samy was hooked, the return flight to Tunisia was cancelled. The pile turned out to be a cornucopia of different sounds: radio jingles, background music and interludes for radio programmes, television shows and theatre plays. There were also a good number of disco tunes, some had been stripped of their lyrics, the interesting parts had been recorded multiple times then cut, taped together and spliced into a long groovy instrumental loop.

Like everywhere in Africa during the 1970s, both men and women sported huge afros, bell-bottom trousers and platform shoes.
James Brown, Stevie Wonder, Marvin Gaye and The Temptations’ funk were the talk of the town. In 1977, Iftin Band were invited to perform at the Festac festival in Lagos where they represented Somalia at the Second World Black and African Festival of Arts and Culture.

Not only did they come back with an award but they also returned with Afrobeat. While Fela Kuti’s ‘Shakara’ had taken over the continent and was spreading like wildfire throughout Latin America, it was the track ‘Lady’ that would become the hit in Mogadishu.

London’s Axe On Wax Records have been coordinating a quality stream of house since 2014, a trend that continues with their latest release from Zopelar vs Brothermartino. Creating a fraternal connection between Brazil and Italy, these are six tracks of woozy, charismatic house funk of the finest pedigree.

Zopelar - one half of Apron Records associates My Girlfriend - takes the first-side easing in with 'Fin', a starry-eyed and expansive instrumental that let us know immediately what his synths can do. Taking this shimmering sound, he adds distinct pressure funk on the bubbling, West Coast groove of the tellingly titled, ‘Funky Juno’, which delights with sensual vocoder and tough drums. ‘Thamis’ is left to take things in a more psychedelic direction, with Zopelar pushing his studio into fizzy, almost anti-gravitational territory.

On the flip, Brothermartino (Money $ex Records) establishes a sensual atmosphere with the lo-slung slap of ‘For 8 Freakin' Hours’, followed by ‘Dem Type Stars’, which stretches out the acidic funk, creating wormholes of spectral grooves. The release closes with the warm and nostalgic ‘We All Love People Who Die’, a cool, beatless interjection loaded with the charm of a cult film soundtrack.

J A surfaces on RUBBER with six disorienting wave tracks, reigniting the catalogue after a short hiatus. Crafted by Andrea Noce (Eva Geist, As Longitude) and Jonida Prifti (Acchiappashpirt, Opa Opa), these productions find elegance in their noir aesthetic and sketch-like composition, breathing filmic atmospheres of its creative process and the hedonist self alike. Straying away from the societal drift for efficiency and make belief, this record was produced over a timespan of five years, while shifting between Berlin and Rome. Dancing and loafing, mirrors were splintered and scattered shards reflected a new light. Here, Noce her serpentine sense of melody guides uncharted signatures of reverberating syncopated drums, while soundscapes move in and out as apparitions fogging the mind. The poetic spoken-singing of Prifti subdues the tracks, through a linguistic form where Albanian and Italian intertwine, channeling her scientific field into art. Cleverly processed, the vocals take on many shapes, blurring lines between instrumentation and recognition, creating meaning where language ends.

Following his critically acclaimed 2017 debut album Apeiron, enigmatic artist Noumen, aka Andriy Vezdenko, returns to CPU with his second album 'Obscurium'.

Vezdenko demonstrates mastery in the studio again with his signature melodic, uneasy and challenging rhythms. Obscurium travels down a path seldom trod in experimental electronic music; thoroughly enjoyable and brimming with musicality.

Quintessential abstract electronics.

If you like Autechre's LP5 or Jega's Geometry you will love this.

Phillipi is set to release his debut solo EP ‘Amadurecimento’ on November 29th via DEEWEE, the multi-faceted label and creative space operated by brothers David and Stephen Dewaele (2manydjs, Soulwax).

São Paulo duo Phillipi & Rodrigo dropped their beautifully uplifting debut album ‘Paciencia’, which earned the backing of an eclectic array of supporters including 6 Music, Mixmag, DJ Mag, PAPER, Tiga and Joe Goddard + more.

While ‘Paciencia’ pulsated with a euphoric beach party vibe, Phillipi’s solo project explores much darker territory. By uncompromisingly maximising the bass alongside a relentless beat, lead track ‘São Paulo’ is immediately oppressive and ominous. That intensity only amplifies as it’s blown open with tribal percussion, almost whispered vocals and glitchy synth stabs. ‘Vibe De Verao’ then takes a more progressive approach, with minimalist techno constantly evolving in surprising and inventive ways.

The EP’s second half extends Phillipi’s impossible-to-pigeonhole approach. In complete contrast to the preceding tracks, ‘9000’ is cinematic in scope and lighter in tone, feeling like the score to a lost ‘70s sci-fi cult classic that’s been reworked for 2019. And ‘Gelo Seco’ caps an unorthodox sonic adventure by setting a spliced, stuttered vocal simple around a dancefloor-friendly soundscape - making the title, the Portuguese phrase for dry ice, entirely appropriate.

As with all DEEWEE releases, ‘Amadurecimento’ was recorded, produced and mixed at the label’s inspiring headquarters Ghent, Belgium.

In the fall of 1978, after working with a series of bands, New York-based musician and composer NickWest became interested in experimenting with minimalism, collaborating with guitarist and songwriter Ramona Jan and Lyn Byrd. They decided to play pure pop but to substitute a primitive electronic beatbox for a human drummer. The result was Comateens, becoming one of the first groups to discard the traditional sounds and line-ups used by everyone else in New York City’s downtown music scene of
the late 1970s. In 1980 Nick’s brother Oliver joined them as guitarist, and after going on to release three major label albums (Comateens, Pictures On A String, and Deal With It), and with some
successful tours and dance-club hits behind them, the band split up following the terribly untimely death of Oliver in June 1987.
However in 1988 Virgin Records issued another LP entitled West & Byrd, recorded by Nick and Lyn as a duo, and in 1991 released a retrospective compilation called ‘One By One: Best Of Comateens’, now a rare and much sought-after record among collectors of new wave music. Acclaimed by Etienne Daho, the band has made a name for itself with the singles “Late Night City“, “Get Off My Case“ and “Don't Come Back“.

Emotional Rescue is delighted to present a collection of works by the founding father of the modern drum movement, Glen Velez. Collated from his first 3 solo albums from 1985 to 1989, Sweet Season is a snapshot in to the pioneering composing and performance of this four-time Grammy winner. Born in 1949, of Mexican American ancestry, Velez grew up in Texas before moving to New York in 1967. Playing jazz on the drums he soon gravitated to hand drums from around the world (frame drums in particular), seeking out teachers from many different musical traditions.

Among the many instruments Velez favours are the Irish bodhran, the Brazilian pandeiro, the Arabic riq, the North African bendir and the Azerbaijani ghaval. Although these instruments are similar in construction they have their own playing techniques that open new possibilities.

Sweet Season highlights this vocabulary, mixing and adapting techniques from various cultures to develop new ones. The music, often composed as cross-cultural ensembles, has a particular fondness for polyrhythms - superimposing different meters simultaneously - while incorporating Stepping Split-tone and Central Asian Overtone singing to complete the global horizons.

This new genre of contemporary drumming has been hugely influential and seen Velez work with the likes of John Cage and Steve Reich, as well as teaching his virtuosic combinations of hand movements and finger techniques to many emerging players.

• This is Latin Soul from the heart of Spanish Harlem. A non-stop boogaloo party that never lets up with
plenty of cha-cha and funk grooves
• 1966 album sees Rivera making his biggest splash as the bandleader and vocalist
• Album highlights include Includes Do It To Me, At The Party and Drown My Heart
• Boogaloo classic reissued on 180g heavyweight black vinyl with printed inner sleeve, and original artwork

‘Portuguese electronic alchemist Bruno Silva aka Ondness aka Serpente lands his first ever vinyl release as Ondness on the ever-evolving SOUK imprint. The last year couldn’t have been better for Bruno Silva. Two major releases under his moniker Serpente, “A Noiva” (Tormenta Eléctrica) and “Parada” (Ecstatic) and a Ondness tape, “Not Really Now Not Any More” (Holuzam). “O Meio Que Sumiu” is the first vinyl release by Ondness, following more than a dozen releases on tape, CDRs and digital. He’s also graduating to vinyl on the Discrepant family, after his 2018 tape “Celas Death Squad” combining Serpente and Ondness works as a split.

“Meio Que Sumiu” can be translated as the “community that disappeared” and it alludes to the disappearance of outdoors communities and how it affects the music we listen (and how we listen to it). Ondness wanted to release an album less about himself and his inspirations and more about his aspirations about how dance music could be in an era of constant interactivity and information.

But also, how it fails to be that aspiration. Once again, like in “Not Really Now Not Any More”, Bruno works in the territory of science fiction. Investigating the present and future with nostalgia about how things could be and could evolve.
It’s music in the realm of non- existing, instead of raving nostalgia about dance music from the 1990s, Bruno explores the idea of possible futures with different approaches to dance/electronic music in each song.

In “Meio Que Sumiu” it’s obvious his music has matured and found its listenes. Bruno is no longer a bedroom musician. (He never was, but he sure worked on that idea. And very well, we might say). The dancefloor is now his, with music that explores the deeper immersion of ourselves. Communities may be changing, but the principles of dance music are always the same. Even with motion sickness for future nostalgia, like the music in “Meio Que Sumiu”.

Da Lata’s highly anticipated fourth album Birds is a genre busting journey through London Afro-Brazilian soul music.
The most homogeneous Da Lata record to date, Christian Franck has honed his craft and expanded his art to create a glowing testimony from the melting pot of the capital’s musical life.

Gathering his family of collaborators with diverse musical backgrounds in soul, jazz, and gospel as well as African and Brazilian forms, Birds is an album that finally lays waste to that tired idea of World music.

There are tracks that are inspired by Chris’ journeys to the source, there are elegant horn and woodwind arrangements recorded in Belo Horizonte, Brazil, there are lyrics in different tongues, but this is a London record.

Birds is an album of warm organic grooves infused with sophisticated funkiness and splattered with instrumental colour. From the Afro skank swagger of the low slung opener Mentality to the Beatles-esque pathos of the closing title track, it’s a record packed with soulful surprises and beguiling rhythms.

The sound is both intimate and expansive, drawing the listener into Da Lata’s London tropicalia and out into the cosmos.

Birds is an album about keeping doors open and conversation flowing, it’s about survival, hope, family, resistance, awareness, unity and love. 

After two compilations and a split EP, Oscillate Tracks present their first solo EP. Having played dynamic DJ performances at Oscillate events as well as releasing top-notch productions on Livity Sound and Man Band, Toma Kami seemed the perfect fit. With 3 tracks of percussive body music, sharp rhythms and precise arrangements which build to hard-drum energies as well as a confidently layered and commanding remix from atmospheric techno icon Forest Drive
West, this EP packs a patient yet satisfying punch.

Ripperton is back with his first compilation on Tamed Musiq! Split in two vinyl parts including his favorite producers: Matt karmil, Lord of the Isles, Jackmate, Crowdpleaser, Dj Nature Iron Curtis, Mary Yalex or Andy Hart. House music with depth and warm! TIP!

Ripperton is back with his first compilation on Tamed Musiq! Split in two vinyl parts including his favorite producers: Matt karmil, Lord of the Isles, Jackmate, Crowdpleaser, Dj Nature Iron Curtis, Mary Yalex or Andy Hart. House music with depth and warm! TIP!

Mono Junk & Mesak split EP on Propaganda Moscow.

Blue Vinyl

This split release unites two female underground acts, both of whom have recently become pivotal parts of the contemporary electronic musical landscape in Japan. Hot on the heels of the acclaimed PAREDO EP compilation (TAL12), which has been released in May 2019 (and also includes contributions from Lena Willikens and Miki Yui), the SUPER MILD split album is the second outing by KOPY and TENTENKO on TAL. Their newest works punctuate their highly individual approaches to contemporary experimental dance music.

TENTENKO is a Tokyo-based electronic music producer. Her career began in 2013 when she joined the mainstream idol group BIS. Immediately after her departure from BIS in 2014 she commenced work on her solo project under her artist name TENTENKO. Since then she has radically reinvented her music away from glossy J-POP towards weird and industrial rooted dancefloor. TENTENKO first made a name for herself on the alternative Japanese music scene with a steady flow of live performances as well as collaborations with members of the legendary Japanese noise band HIJOKAIDAN.

For a few years now KOPY has been an unpredictable and charismatic part of the vital electronic music scene of Osaka. She has quickly garnered a reputation for creating her live sets exclusively with borrowed electronic equipment. Her name KOPY very much originates from this "concept". Apart from a few performances at Düsseldorfs famous nightspot SALON DES AMATEURS, she has been invited by LENA WILLIKENS to her showcase at the MEAKUSMA FESTIVAL in 2018. Her sinister dancefloor mystique is heavily steeped in the free spirited noise and rhythm cultures of her hometown.

Tim Tama is back with a four track EP called Phases Of The Tide, which is his first release on his own newly created imprint "Dreamscape Music". In these four tracks, the Dutchman further explores and delivers his signature blend of dream-like melodies coupled with pummeling drums, and occasionally even making use of his electric guitar.

Recital publish the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "Avant-Garde" (Calgary is the rodeo capital of the world). From a young age, Sarah was a driven pianist (and figure-skater, although that's a story for a different time). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel.

Sarah is a considered person. I find few people that have the diligence and resolve to take their time with music... especially in a live context. I respect that about her. The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty.

Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On..., recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion.

Two pillars of this album are "Mordents", which to my ears drops hints of her love for Progressive rock music - and "Buhrstone," comparable to a sombre funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics.

Writing this description now, I find it hard to separate "At Hand" from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship - frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul.

This is a lovely album to fill an evening living room with. A blanket, a cup of wine, a dim bulb, a wide window.

Three beautiful photo-prints by Davachi are included with Let Night Come On Bells End The Day. Frames are not included.

- Sean McCann