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Welcome to the strange musical world of Tolley & Dara, an experimental duo whose incredible music held a marginal yet vital position on the fringe of the Australian music industry during the late 1970s and early 1980s.

Consisting of jazz bassist and synthesist David Tolley and percussionist Dure Dara, their union was a relationship of romance and intense creativity, a deep spiritual bond consecrated amidst banks of modular synthesizers and racks of exotic percussion instruments.

Recorded over a series of live performances in the spring of 1979, the music featured on Cutheart was edited and assembled from eight improvised pieces recorded at the Universal Theatre Melbourne. Comprised of analogue synthesizers and a vast array of tuned and non-tuned percussion, Tolley and Dara sculpted a cluster of electronic abstractions and organic splashes of Gamelan-influenced percussion; a dense otherworldly soundscape coloured with trance-like vocal scatting and deranged muttering.

Known for his bass playing on the classic Australian jazz-rock album Carlton Streets by The Brian Brown Quintet and also as a member of EX-, (the collaborative project with Daevid Allen from Soft Machine/Gong), Cutheart sees Tolley explore the outer realms of heady improvised electronic music.
While the music of Tolley & Dara exists in a sonic universe all of it's own, similarities could easily be drawn to another likeminded musical partnership, the American husband and wife duo Annette Peacock and Paul Bley. Cutheart is a pioneering recording of extended synthesiser and percussion technique from the Australian experimental underground.

Günter Schickert, four decades of multi-instrumental cosmic explorations, under Berlin's sky, above genres, and compromises.

It was memorable the time when I firstly listened to his debut LP of 1974, the monumental Samtvogel. It overwhelmed me with layers of echoing guitars roaring into space, causing a powerful release of dopamine spreading through my skin, in the way an Interstellar Overdrive', or a Richard D James Album would do. It was a proof of the divine to discover Günter Schickert, it is a profound honour today to present on Marmo his seventh album to date, Labyrinth, the first to be released on vinyl format since 1983`s Kinder In Der Wildnis.

Schickert's Samtvogel, self-published first, then licensed to Brain, equaled the imaginative leap and sonic power of the early Pink Floyd, Manuel Gottsching's Inventions For Electric Guitar or A.R. & Machines's Die Grüne Reise. What followed, from his second LP Überfällig on Sky Records to his collaborations with Klaus Schulze, Jochen Arbeit and Schneider TM, even if little acclaimed, spans a large spectrum of music styles, always through a distinctive and personal aesthetic, that is deeply linked to the one he firstly crafted back in '74, when Schickert pioneered the use of echo effects applied to guitar playing.

And now Labyrinth, a record that stands for versatility, where genres do not matter, soundscapes or life situations take over, song-writing emotions pop out, handing out a spectrum of surprises to the listener. You may find yourself flying low along steep cliffs and with a blink of eye you are thrown into a Middle Eastern scenery.

The album is divided into two parts, two different production bulks and periods of Günther Schickert's life. Side A features a selection of tracks recorded in 1996, appearing on the 2012 album HaHeHiHo, released via Pittsburgh based VCO Recordings, on a limited press of 100 units, tape format only. I felt that the visionary and emotional richness of these pieces deserved the vinyl format and a chance to reach to a wider audience.

The Raga-inspired Morning' opens Labyrinth with exotic charm and bitter-sweet nostalgia. Sieben' kicks off with the same guitar scales of the previous theme, before the motorised progressions of a Korg MS-20 synth surprisingly storm in, carrying along an intersecting multitude of filters and sharp guitar effects, flowing into an epic, paradisiac ending. Ninja Schwert' remains on astral dimensions, it is a struggle of cosmic forces, where the steady ride of a pounding beat gets embraced by different guitar layers and analogue electronic filtering. The side closes up with HaHeHiHo', a slow ballad featuring Mr. Schickert on vocals, guitar, bass guitar and drum machine - an example of simple, stripped down yet gifted songwriting that is capable to reach the heart of the listener.

Side B contains material produced between 2007 and today. The intricate, bewildering Tsunami' shows the multi-instrumental and recording abilities of Günter Schickert: a field-recorded storm with mesmerising powers, a peculiar progressive approach to guitar playing. Mysterious sinister spirits and sounds are emerging and the feeling of being lost in a pleasant trance arises. In contrast, Oase' muffles the intensity and jumps into a completely different soundscape, where in liaison with the sounds of a rolling drum tom and a desert-like trumpet, the microphone carefully captures the found sound tones of everyday-life objects and actions. Like HaHeHiHo on side A, Checking' represents the vocal gem of the B side, in a raw and direct way of songwriting like if Syd Barrett was his invisible helper. Palaver' (which means unnecessarily talk' in German) assembles different vocal recordings of Schickert into a bizarre free-style conversation through a mysterious language, where he attempts to emulate illiterate children conversating. The final track, Morning (Slide)', reprises the opening theme, this time solely performed through the caressing dilated sounds of Günter's slide guitar.

After the release of their playful debut album "Worldstyle" the Budapest duo are now returning with their 2nd album "Brotherhood" and this time their message is more serious. The music if often summons blues elements but also influenced by dub, funk and a little hip-hop while the lyrics are mainly about the social and personal problems of our time interpreted by talented guest vocalists from all over the world. The guest performance of KRSA puts the point on the letter 'i' in 'Brotherhood' and in the other reggae-inspired song 'Pass It On'. Being one of the dominant figures of the Hungarian ska movement he is an
important guest on the album. As the main driving force behind the 90's very popular and recently revived British band Freak Power Ashely Slater needs no introduction. He has worked with Dub Pistols, Dublex Inc., or Fort Knox Five, and his
talents and professional performances are turbocharges three
completely different songs. 'Revolution!' has previously released in 2016 as a 7' single and features dazzling electro blues and Ashley's food for thought lyrics. In 'Life Is Love' he proves that his talent has no barriers whether he sings lonely doo-woptempo or the dub-ska of 'People Kill People' which is a unique cover of Éric Serra's seminal 80's cult classic 'Guns & People'.
Denise M'Baye known as the MC/singer of Mo'Horizons is featured in two downtempo tracks. 'Wings' is a laidback song about love while and 'All My Life Is In This Bag' smuggles back a little bit of the mood of 'Worldstyle'.Fedora is the best-known female MC/singer of the Hungarian bass music life. She made her own solo album in 2017. With 'Come Away With Me'
she proves that she's not only an bass music MC, but a great singer with deep emotions. Another guest from Hungary is the lead singer of the downtempo-funk band Mystical Plants. Bryant Goodman contributes to the album in two different tracks with his gravelly voice. 'Bad Man's Ballad is bittersweet song about the average politician of our age while 'Keep Going On' on
the other hand is full of playfulness and delivers a short but positive message.
At last but not least we have the Ghanaian M3NSA on the board from Fokn Bois and RedRed. His lyrics in 'It Works' is very motivating for everyone and spreads the message of not giving up even if the world is seemingly against you.
Savages Y Suefo's new album 'Brotherhood' is a lot different from their previous one in many ways but it remained just as eclectic as its predecessor 'Worldstyle' and still proves Savages Y Suefo's wide interest and openness in music that is needed today... and not just in music.

Anders Trentemøller's career is a travel-heavy one, with his touring schedule taking him pretty much all over the world. But it's his home port that's inspired his latest project, the sprawling, stunning compilation mix 'Harbour Boat Trips Vol. 02: Copenhagen'. Clocking in at just over an hour long, the compilation sees Trentemøller curate and craft sixteen songs into a heavy, hazy mix that ranges from shoegaze to electronica, featuring both familiar and celebrated artists like A Place to Bury Strangers (with a new Trentemøller remix) and Slowdive to more obscure finds, as well as Trentemøller's own tracks and remixes, most notably a brand new Trentemøller cover of Neil Young's classic 'Transformer Man'. The mix sees him pick up a thread he left off earlier in his career. In 2009 he put together 'Harbour Boat Trips - 01: Copenhagen', a compilation mix comprised of his favourite music, both Danish and international, from across four decades, loosely inspired by the motion and movement of Copenhagen's busy harbour. Closing in on a decade later, we're getting the second edition, with 'Harbour Boat Trips - 02' arriving this November.

For half a decade, Doncaster deejay Parly B has been a fixture of the UK and international sound system scene. His first album on Glasgow's Scotch Bonnet Records, Lyrics Spree, builds on 2016's EP 'This Is Digital'. Blessed with a voice as deep as Bounty Killer's, a crowing gimmick reminiscent of the great Dennis Alcapone and a bottomless bag of verbosity, Parly is the complete microphone talker. He rides a shopping trolley load of digital rhythms by likeminded producers - including Danny T & Tradesman, Stalawa, Interrupt and Mungo's Hi Fi - ranging from upbeat celebratory skanks to sweltering body winds. Tracks include the exuberant 80s vibes of the title tune, the brass-driven UK sound of You Mi A Look featuring fellow Mungo's mic man Charlie P, and the moody reality chant Skylark. Lyrics Spree is infectious, verbally dexterous dancehall, spraying lyricism in your direction

In these troubled times, a spiritual squirrel has landed in the woods to try and spread some peace and harmony amongst the creatures of the night.

With a world turned upside down, we all need some life affirming music to get us back into the groove and on the floor.

For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London's dance scene, from where it has ricocheted around the world. Having conducted the first set of major interviews with David Mancuso, Lawrence started to put on Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In early 2004 he published Love Saves the Day: A History of American Dance Music Culture, 1970-79, which tracked the influence of the Loft on the wider New York DJ, dance and disco scene. In 2009 his biography of the iconic musician Arthur Russell became the first book to map the wider downtown music scene. These beautifully written and politically insightful histories have educated, inspired and celebrated the previously overlooked foundations of contemporary dance music.

Lawrence's most recent publication, Life & Death On The New York Dancefloor, 1980 - 1983, published in late 2016, shines a light on 'one of the most dynamic and creative periods in the history of New York City'. Falling between the more regularly celebrated sounds of disco, house and techno, the period produced a uniquely hybrid series of sounds that never acquired a settled name. This led them to be largely ignored by historians and even DJs, yet the power of the period's music and the scenes it birthed, Lawrence argues, remains undeniable. Met with a rapturous response, Life and Death On The New York Dance Floor saw Lawrence on the road for most of the next year as he spread the word about the characters, the records, the clubs and the bands that shaped the post-Disco, post-Punk, and burgeoning Hip Hop landscapes of New York City during the early 1980s—a period when freedom still ruled.

This, the first of a 2-part sonic tribute to the 1980 - 1983 era as well as a musical companion piece to Life & Death On The New York Dance Floor sees recognised musicians (David Byrne of Talking Heads) nestle up alongside the belatedly recognised (Arthur Russell's Dinosaur L and Loose Joints, and Suicide's Alan Vega) and the downright obscure (Gray, 2 Teens Kill 4 and Tuxedomoon). An indication of what's to follow, Dinosaur L's original album version of 'Go Bang' has been dramatically overshadowed by the definitive François Kevorkian remix yet received regular play by David Mancuso and remains an enthralling experimental Arthur Russell jam.

Lovingly curated across 2 slabs of vinyl, the album introduces listeners to a stunning array of sounds, styles, vibes and feelings that encapsulate this most fertile and forward-thinking era, when music, fashion, sound system innovations, leaps in music technology, a DIY attitude and a freedom from corporate politics combined with extraordinary expressivity. All music contained within this album has been hand-picked and programmed by Tim Lawrence. It represents a selective yet rich introduction to one of the most extraordinary periods in New York City's epic musical history.

This is the first release on Reappearing Records, a label led by Tim Lawrence and distributed worldwide by Above Board distribution. Licensing courtesy of Tracksuit Music. Mastering by Optimum Mastering, Bristol UK. Artwork & design courtesy of Atelier Superplus. 2018.

Bitter End continue to forge a path that's entirely their own, with another in the limited pre-release series...

'Dimension Extension' on side A, cooks up a sumptuously throbbing, cockle-warming Disco stew from the meagre ingredients of a sprouted wah wah guitar potato, brass carrots and a bouquet garni of dizzying strings. Yum
On the flip 'Be There Again' takes as inspiration a swirling Funk-Soul nugget from '77, augmented with some 21st century sonic sorcery and most welcome synth noodle in the 3rd act

Once again Bitter End rips up the rule book, and crafts a whole set of new, better ones in which freedom reigns

Light years ahead !

LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Goners ist das fünfte Studioalbum der Songwriterin und Multiinstrumentalistin Laura Gibson. Ihre Sprache hat sich nie lebendiger angefühlt, ihre Geschichtenerzählung ist schärfer, ihre Vorstellungskraft lockerer. Für das neue Album engagierte Gibson eine Vielzahl befreundeter Musiker, darunter Death Cab For Cutie Gitarrist Dave Depper, Schlagzeuger und Perkussionist Dan Hunt (Neko Case) und Stand-up-Bassist Nate Query (The Decemberists); dazu bauten sie Horn- und Holzbläser-Arrangements mit Kelly Pratt (St. Vincent und David Byrne, Pater John Misty) und fantasievolle Streicherparts mit Kyleen King (Stephen Malkmus, Case/Lang/Veirs). Das Album wurde gemeinsam mit Engineer und Freund John Askew in seinem Studio in Portland, OR, produziert, Askew und Gibson haben bereits auf ihrem 2016er Album Empire Builder zusammengearbeitet. Für etwa die Hälfte der Songs legte sie ihre Gitarre zur Seite und spielte stattdessen Klavier und Wurlitzer. Produktausstattung der UIN Version: dunkelgrünes Vinyl, Poster, DL-Code

"Witness the sunrise from the tallest tower of the rainforest canopy, watching daylight slowly spread across the jungle valley, and the morning mist dancing to where the wind is blowing."

Snaketime Series is one of the earliest and rarest of Moondog's recordings, originally released in 1956. Snaketime' is what Moondog himself referred to as his unique sense of time in music, what he called a slithery rhythm'. And indeed, almost nobody else was making music as unique as this in the 1950s, drawing influence from city sounds, and working on many of his own instrumental invitations, Snaketime Series is truly cutting edge American avant-garde. Reissued on 180 gram LP with deluxe jacket, and a download card.

After two visionary LPs for his own tiny Nodlew label, Weldon Irvine signed to RCA for Cosmic Vortex (Justice Divine), exploring the deeply spiritual and political terrain of his previous efforts on the kind of grand musical scale that major-label funding accommodates.

This is a big, bold record by any measure, with a startlingly pronounced focus on lyrics and vocals. At the same time, however, the melodies spread out like tentacles, informed by the improvisational sensibilities of jazz and the deep-groove spirit of funk. Jason Ankeny/AMG

Skin Town's unexpected return with their new album 'Country' finds the duo upping the already high bar set on their striking dark pop gem debut 'The Room' with a dauntless artistic statement that trades clever posturing for vulnerability. Yielding their prowess with more restraint, Skin Town's 'Country' hits harder and cuts deeper - doubling down on their narcotic cocktail of strong R&B hooks, spacious bewitching productions, and marked sense of melody that puts vocalist Grace Hall and multi-instrumentalist Nick Turco in a class of their own.

Many saw that potential on their debut with support from Dazed, Interview, The FADER, KCRW, as well as artists like Tinashe shouting out Skin Town. Lamenting on the duo's unmistakable chemistry, Pitchfork says, "Turco's synthscapes are huge and scene-stealing, while Hall's husky voice strikes a glorious medium between Abel Tesfaye and Sade." Their latest is even more potent, a particular strain of sad dance music that feels timeless and raw.

'Country' refines Skin Town's minimal framework of tethering hip-hop/R&B rhythms to Hall's smoky, precise phrasing exploring richer atmospheres and darker concerns. Written and recorded over 3 years, the album touches upon depression, loss, hedonism, poverty, rebellion, sex work, empowerment, and love's contradictions. The album's completion was sidetracked many times with Hall suffering a string of life-threatening mysterious immune system ailments, as a result there is a lot of pain and joy in this record, made with literal blood and tears.

The opener "Bad" signals at this departure from their upbeat predecessor stripping away the beats, relying on the interplay between Turco's ringing chords, the enveloping synthwork and Hall's melancholic, rhythmic intonations. "Mute" brings back the drums, couched in a slinking hip-hop beat and a creeping synth lead. Throughout the record, Turco's productions glean from an eclectic, disparate mix: melodic Amiga tracker music, Metro Boomin', New Age, The-Dream while Hall seems ever more comfortable exploring syncopation and half-rap/half-sung excursions. This is inventive, uncanny pop music where Enya, Offset, Zola Jesus, and Future inhabit the same space.

Skin Town's unerwartete Rückkehr mit ihrem neuen Album "Country' hebt die sowieso schon recht hohe Messlatte ihres markanten Dark-Pop-Juwelen-Debüts "The Room' noch ein wenig höher. Skin Town's - Country" schlägt härter zu und schneidet tiefer - und verdoppelt ihren narkotischen Cocktail aus starken R&B-Hooks, einer großzügigen, betörenden Produktion und einem ausgeprägten Sinn für Melodie. Das ist erfinderische, unheimliche Popmusik, bei der Enya, Offset, Zola Jesus und Future im selben Raum leben.

Viele sahen dieses Potenzial bei ihrem Debüt und so gab es reichlich support von Dazed, Interview, The FADER, KCRW sowie Künstlern wie Tinashe. Pitchfork hob die unverwechselbare Chemie des Duos vor und sagte: "Turcos Synth-Landschaften sind riesig und szenenraubend, während Halls heisere Stimme eine Klasse für sich ist, angesiedelt zwischen Abel Tesfaye und Sade.'

Country' verfeinert den minimalen Rahmen von Skin Town, Hip-Hop/R&B-Rhythmen mit Hall's rauchigen, präzisen Vocals, die weitere Atmosphären und dunklere Anliegen erforschen. Das Album behandelt verschiedenste Felder von Depressionen, Verlust, Hedonismus, Armut, Rebellion, Sexarbeit, Empowerment bis zu den Widersprüchen der Liebe. Die Fertigstellung des Albums wurde mehrmals aufgeschoben, wobei Hall eine Reihe von lebensbedrohlichen, mysteriösen Immunsystem-Krankheiten erlitt, was dazu führte, dass viel Schmerz und Freude auf dieser Platte zu finden sind, die sprichwörtlich mit Blut und Tränen gemacht wurde.

Sonnenstadt - We've Been Hiding To Long - Album »in The Depth
Of A Undiscovered Tonal Cosmos, Hidden Beyond The Obstacle
Of Lunar Dust: We've Been Hiding To Long.« Leipzigs Downbeat
Gem »sonnenstadt« Sprinkles Nine Tracks Of Its ¡rst Full Length
Album On A Lovely Tape. Good To Have In A Cozy Mood. First
Release On Newly Founded Label »unforced«.

Berlin-based collective African Acid Is The Future inaugurates its new label partnership with The Vinyl Factory by releasing the first in a three-part 2×12 series Ambiance.

The first instalment, Ambiance I, captures two extraordinary live performances in Berlin, backed by remixes from AAITF members Dauwd and Wolfonacid on the second 12.

The live performances feature Kenyan dodo singer Ogoya Mengo & The Dodo Women, and the woman once described as Zimbabwe's mbira queen Stella Chiweshe. The former was recorded live in Romain's Azzaro apartment, while Chiweshe's performance was captured in front of an enraptured crowd at Berlin's iconic Funkhaus venue.

* Featuring Kenyan singer Ogoya Nengo and 'the queen of mbira' Stella Chiweshe
* 2 x 12 180g heavyweight vinyl includes in a gatefold sleeve
* Includes printed inner and outer sleeves and an African Acid Is The Future booklet
* Artwork by Louis Vignat
* Vinyl edition of 500

Invigorating, skewered electronica and bristling, off-kilter techno drive the first release in 15 years by Dublin electronic duo Ambulance (Sunken Foal & Dave Nuremburg), delivering the first EP on the Open Ear label, the latest adventure in sound from the eponymously-titled Irish music festival.

Previously of Planet Mu and Front End Synthetics, the Ambulance project had been put on hold in any capacity this decade until 2017 when they were invited to close out the 2nd edition of the Open Ear festival, Ireland's leading experimental & alternative electronic music festival. Inspired by this performance, the pair returned to the studio and the first fruits of this labour make up the Combover EP. This also marks the first release by Open Ear on it's label which, like the festival, will serve as a platform for experimental dance floor & avant-garde music from the Irish underground.

Kickstarting with the sprawling, ever-evolving, glitched funk of "Caitríona Chéile", the tense, paranoid techno of "Douche Noir" then takes over with the following "Luxury Crackers" keeping the unsettling atmosphere pitched up before it opens up to reveal aslightlygentler side. The EP closes with the *Greasy* title track, a collage of shimmering synthesisers, jittery, free-wheeling drums and oddball sampling, all reaching for air at the same time.

* This triple pack LP is the 100th release from Kniteforce Records, and is a showcase for the brand new 'old skool' styled hardcore. Containing a spread of big name artists from the originals, such as Liquid, Hyper On Experience, Luna-C, Alk-e-d, Dj Ham and Future Primitive, to newcomers such as Pete Cannon, Alex Jungle and Ant To Be, every track slams home the new old sound of today (yesterday) with the style and competence expected from the Kniteforce Family. Full of variety, and the very essence of the music from 1991 - 1996, this is not to be missed!

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

The neon lights that decorate a dive bar's window cast a vivid reflection in rainwater on the pavement outside, as steam rises from deep beneath the ground. A slow pan across the scene, past alleys cast in shadow, twilit corners & glass doorways streaked with the mist of humid bodies fuming inside: the camera catches the denizens of an unnamed city, studying faces heavy with secrets too sad to bear. Cut to the motorway. Sleek cars barrel through the night. Sirens moan. Engines rev. You're behind the wheel, over the edge as the credits roll.

This film does not exist — but the soundtrack does. Symmetry is Johnny Jewel & Nat Walker, & Themes For an Imaginary Film is their two-hour cinematic opus pokus, a sprawling score for a movie that screens only in your mind. A 'conceptual tangent between Glass Candy, Chromatics, Mirage, & Desire's more abstract sides,' as Jewel himself describes the project, Symmetry is a vigorous, electric, restless exploration of ideas on the bleeding edge of instrumental sound. Analog synthesizers roll and crest, drums collide, keys cascade clear & crystalline. These themes evoke the phantasmic images that inspired them: urgent and ethereal, sinister & romantic. It's a neo-noir epic of pink fog & femme fatales hidden behind rain drenched windshields after dark.

Produced By Johnny Jewel & Nat Walker

For the first Sprechen foray into vinyl we are pleased to have been able to coerce Justin Unabomber out of his self imposed studio retirement & 'borrow' him briefly from being a Manchester restauranteur so that we can drop 4 previously un-released cuts, tailor-made for the very dance floor of the legendary Electric Chair!

No 10 minute, Ableton stretched, kick-hat-snare kinda 'edits' here...just 4 powerhouse pumpers designed for maximum fist pumping/camo netting pulling, basement boogyism for late night jackers & early morning style crackers.

4 serious units that many will have lost their shit to on the dance floors of The Roadhouse (RIP) & The Music Box (RIP again!) as well as that annual gathering of misfits & dandies, The End Of Year Riot.

Exclusive to a limited run on vinyl with screen printed sleeves & hand stamped centres.

Behind the pseudonym is the Finnish producer Samu Vesterinen. Latmos is Samu's way to express the mindset of a Nordic enviroment. He gets inspired from minimalism and his surrounding habitat with it's beautiful spruce forests. He incorporates these natural images into he's restrained, yet layered soundscapes, using different synthesizers and hardware.

Released on the Music For Nations label. In the wake of their triumphant Bloodstock Festival headlining show this Summer, the kings of viking metal return with a live album/documentary film. This will be followed by a brand new album in spring 2019. Recorded live from 2017's headlining show at the Summer Breeze Festival in Germany. Tracks include 'Raise Your Horns' and 'A Dream That Cannot Be', where they are joined on stage by heavy metal legend Doro. The documentary covers the band's 25 year career in great detail and is essential viewing for fans of the band old and new. The band will be in market for promo around the release. There will also be a premier of the documentary at a central London cinema with a Q&A with the band and director. Specialist promo/marketing activity across all media outlets.

Strut Present An Exclusive New Compilation Curated By Optimo's Jd Twitch, 'kreaturen Der Nacht', Bringing Together Classics, Rarities And Oddities From Germany's Original Post-punk And Diy Scene. 1979 To 1984 Was An Era Of Particular Artistic Upheaval In Germany As Strong Subculture Scenes Formed In Many German Cities. Emphasis Was Placed On Expression Rather Than Technical Perfection, Artistic Impact Rather Than Skill. Diy Self-organisation Prevailed With The Establishment Of Small Record Labels And Independently Produced Records And Cassettes. Bands Experimented Across Genres And Consciously Abandoned The English-speaking Mainstream With German Band Names And Lyrics. 'although We Had A Small Underground
Scene, It Was Very Vibrant,' Explains Gudrun Gut Of Malaria! 'bands Like Die Haut, My Frst Band Mania D., Malaria!... We Organised Gigs Ourselves Or Friends Would Open A Gallery And
Have Bands Playing. We Hung Around Together In A Handful Of Clubs Like Risiko Or Dschungel And Went To Gigs At So36. West Germany Had Other Regional Scenes Too: Düsseldorf And
Köln Around Der Plan And The Ata Tak Label And There Was The Hamburg Side With Abwärts. Germany Didn't Have A Real Music Industry Like The Us Or England Back Then.'
This New Collection Is A Personal Selection From Jd Twitch, Built Over Years Of Playing The Tracks In Club Sets. 'it Is Not Designed To Tell A Defnitive Story Of What Was Going On In
Germany In This Era,' He Explains. 'rather, It Is Simply An Arbitrary Collection Of Records I Adore From A Specifc Era With A Specifc Attitude That Hopefully Together Sum Up Some
Of The Musical Undercurrents In Germany At That Time.'
The Package Features A Host Of Rare And Unseen Photos From The Period Along With Extensive Interviews With Artists Including Beate Bartel (mania D.), Christoph Dreher (die Haut),
Michael Hirsch (p1/e) And Thomas Voburka (weltklang). All Tracks Are Remastered By The Carvery With Artwork By Optimo's In-house Design Man Andrew Beltran.

It's not the fall that hurts, it's when you hit the ground - that's what - Failing Upwards' is all about. On Lehult's fourteenth release Lucky Charms breaks away from 4-to-the-floor territory to deliver a fun trip through skippy drum workouts and jazzy warmth. Spread out across the full A-Side is 'Einbahnstraßen-Sound". Heard first on the Lehult Worldwide FM Special last year, this highly requested tune finally sees the light of day in all its trippy, warm, analogue glory. 'Oase' takes things a notch deeper by layering lush synths, swarming melodies and ski field recordings over a laid back electro-groove. 'Rex Dubius' translates the vibe of the first two tracks into a more straightforward, dubby groove - not without the skipping beats and the warm counterparts, though.

180g vinyl, limited pressing

'Breathe The Machine' is the first installment of Dojostudio and presents a musical world rich in harmonics, low frequency and melodic impact, yet with enough space in between to allow that perfect breathing room essential for powerful dance cuts. 'Breathe The Machine' portrays a world that initially feels robotic, yet instills an organic fluidity known only to come from humanoid beings, breathing life into a system littered with code and coldness. Billy Dalessandro presents 3 original cuts, plus a rendition of the title track by Mike Shannon.

Both for 'Breathe The Machine' and 'Tractor Beam' the Waldorf Microwave XT 2 and the Jomox 888 were the primary sound sources. For 'Breathe The Machine' the 888 was processed through a Jomox T-Resonator, which added harmonic distortion, and also spread the stereo spectrum out a bit offering the drums a more washed-out feel. The XT was layered track by track by performing patterns live into an editor until the desired ideas were properly recorded. Mike Shannon was brought on board to offer a contrasting expression of 'Breathe The Machine' and when asked how the process went he stated:

"I took the source sounds, edited them and processed them to work with a groove I had written for this remix. I mainly used the pad, lead synth and synth effects from the original. The rest of the gold I engineered."

On 'Tractor Beam', subtle use shows that ample space in between ideas make things seem larger than life. By allowing a more minimal approach in the production process the sounds can easily co-exist, allowing for that 'big room' sound without overwhelming the overall experience.

The digital exclusive 'Deliverance' was created using NI's Maschine for the drums, and FM8 and Reaktor were the sources of the synths. Drum patterns were created in Maschine and then recorded in realtime back into the DAW as it played, with real-time tweaking of the hi-hat to create the desired impact, especially at the break. The synth and pad patterns were recorded as MIDI into the editor, and then automation of the synths' VCF rounded out the expression needed to complete the emotional process.

All in all, DOJ001 is mostly an all-hardware showdown, with 'Deliverance' being the only 'virtual' attempt. Life is in nature, not in machines, yet the culmination of the two worlds can be beautiful, if only properly tamed and understood. Lest we beware! Stay tuned... and thanks for listening!

For his first appearance on Spring Theory, a twelve inch by Bryce Hackford, Brooklyn producer best known for conceptual experimental recordings incorporating field recordings and sampling in improvisation that often resides somewhere between ambient and techno. Recorded mostly during time living in London in 2015, this is Hackford's most floor-oriented release. Coming from a time of extensive all night DJing everywhere from private affairs in upstate New York's mountains to Panorama Bar, these tracks combine a rawness reminiscent of Theo Parrish and long form cosmic droning of eternal music. Fans of dub techno, ambient, psychedelic music...

Since 2010, Buyepongo has led a steadily growing Los Angeles underground movement that combines the vast influence of traditional tropical sounds with the streetwise edges of the Latin American diaspora. Much like their name implies (translation: to cause a ruckus), their hybrid style is focused on the celebration, an infectious, energetic vibe that is universally and rhythmically connected. It'll get your feet moving, and much like many of the records from the golden age of cumbia, these two offerings demonstrate an updated and adapted reverence for the roots that is truly distinct to their own unique place and time.

For the group's latest single, that place, the sprawling Latinx scene east of Los Angeles, met head on with the east coast hot pot of Brooklyn. Recorded and produced in collaboration with Names You Can Trust during the band's serendipitous 2017 trip to NYC, this new release takes two of Buyepongo's most fan-favored and party-tested original songs, two that had yet to be recorded, and combines them with the NYCT forty-five ethos: a stripped-down, warm analog recording that perfectly captures Buye's live, bring-the-ruckus style in the room as it happened. "Por La Vida" romps over the A-side, a modern-day classic in the making whose lyrics (how beautiful is life, always full of surprises...) compliment a sunny, easy-going house party vibe, while "Miri" on the flip evolves from a loping, almost reggae groove into a transcendent journey through Caribbean feel-good sounds.

In a time when Jazz music is entering a contemporary renaissance and exciting the ears and minds of new audiences, Zombie Zombie's Étienne Jaumet offers us his unique, idiosyncratic take on the sound with the sprawling '8 Regards Obliques', his 3rd solo album with the Versatile label.

Jazz requires a certain freedom of technique, interpretation and improvisation that already matches Jaumet's own production style and sonic aesthetic as well as his playful approach towards music. The eight pieces that make up the new LP were very quickly recorded; Jaumet let himself be carried away by the atmosphere without focusing too much on fine details or the laborious aspects of the composition process. The finished article is a spontaneous collection that stands out, a true mirror image of the creative process adopted by the artist. Not surprisingly, spontaneity is one of the characteristics already present in his music, in both his recorded output and his live happenings, where he leaves much room for freedom and improvisation.

'8 Regards Obliques' was recorded at the Versatile studio in less than 3 weeks with quite a basic set up: TR 808, selected synthesizers, vocals and of course the saxophone, which is a constant presence also in his previous albums. For the mix Etienne has again appealed to the maestro I:Cube, a central figure of the Versatile story and a prdigious engineer and artist in his own right. He immediately understood that it was necessary to keep the spontaneous side alive and to not over-produce the pieces or over-edit them, being constantly mindful to retain the power in the sound and in the frequencies. From Sun Ra with 'Nuclear war', Miles Davis in 'Shhh / Peaceful' or 'Theme from a symphony' by Ornette Coleman to 'Caravan' (already quoted by many jazzmen), Etienne enjoyed revisiting classic masterpieces and paying tribute to his inspirations. He allowed himself only one personal and original composition, 'Ma révélation mystique'.

With a knack for crafting up-front, jacking house music, Danish producer Niles Cooper proves he's right at home with the Super Tuff family. Just after his first release on his own Pale Springs imprint, his follow-up EP for Brooklyn's Super Tuff appropriately pays homage to its NYC influences. The title track "House Gospel" is a heartbreaking peak hour track full of old-skool NYC garage flavor. It is impressively followed by a remix from Berlin's Black Loopsia certified deep house belter. On the B-side, "Floor Juuc" is a rolling early morning chugger with a bassline reminiscent of "I Get Deep." Rounding out the record, Cooper shows his versatility with "If We Try We Can Start Anew" jumping into darker DnB territory with well-cut breaks and moody ambient chords reminiscent of Burial. Welcome home Niles!

Hailing From Nashville, Tennessee - A City Better Known For Being The Cradle Of Country Music, Jaundice And Dzee Form The Backbone To The Future Dz Duo, Which Has Way Less To Do With Johnny Cash Than With The Hague Sound, And Their Latest Offering For The Label They Help Co-run, Tram Planet Records, Although Tracing Rings Of Fire In Its Wake, Further Ratifies That Lineage.

A Shape-shifting Collection Of Post-apocalyptic Detroit Electro And Squelchy Acid Grooves Sieved Through Filthy Filters - Perfect To Play In Your Muscle Car While Speeding The Highway At Night, 'splint Mask' Finds The Duo At Their Most Epic And Unhindered. Premiering Today Through Our Channels, 'sawed Off' Is A High-octane 303 Fuelled Racer Blazing With A Hint Of Unit Moebius Weirdness And Off-the-cuff Rugged Hardware Spritz. If You Like Your Electro Scruffy, Grinding And Aggro Like We Do, Future Dz Have You Covered. Get In The Zone And Feel The Burn, You're In For A Treat.

Studio One Freedom Sounds Is The New Collection From Soul Jazz/studio One Focussing On The Intense Period In The Second Half Of The 1960s When Studio One's Vast And Unbeatable Output Of Ska, Soul, Rock Steady And Reggae Made It Literally One Of The Hottest Musical Empires In The World.
During This Highly Successful Period, Clement 'sir Coxsone' Dodd Released Hundreds And Hundreds Of Superlative Singles Seemingly On An Almost Daily Basis, In The Process Making Huge Stars Out Of Jamaican Singers Such As Alton Ellis, Delroy Wilson, The Wailers, Slim Smith, Jackie Opel And Many More.
Powered By The Finest In-house Musicians Working In Jamaica, Whether It Was The Skatalites, Jackie Mittoo's Soul Brothers, The Sounds Dimension Or The Soul Vendors, Studio One Functioned As Hit Factory On The Scale Of Motown In The Usa, Shaping And Defining Reggae Music For Decades To Come.
Singlehandedly Studio One's Founder Clement Dodd Was Able To Create The Most Successful Vertically-integrated Record Company That Jamaica Had Ever Known With Pressing Plant, Printers, Studio, Shops, And Sound Systems All Running At Once, With Over 50 Employees And Hundreds Of Artists Working With Studio One During This Time.
Studio One Freedom Sounds Tells The Story Of Studio One In The 1960s With A Stunning Set Of Ska, Soul, Rock Steady And Reggae Killer Tunes As Well As Informative Sleevenotes And Track-by-track Info By Noel Hawks. The Album Is Released As Heavyweight Double Vinyl (+ Free Download Code), Deluxe Cd And Digital Album.

At 83 Years Of Age, Lee Scratch Perry Is Proud To Present To The World His Next Full Length Solo Album (with Dub Versions) , Continuing His Inimitable Roots Reggae Legacy.

Lee's Brief For The Album, Was To Blend The Vintage And The Obscure, During The Sessions Lee Referred To The Sound And 'black' And Wanted Space, Light And Darkness In The Songs And Their Respective Dub Versions.

The Result Sees Lee Having Mixed Up An Analogue Concoction Of Ultra-rare Effects, Sonic Wizardry And Deep Heavy Roots Rhythms.

Over 2017 and 2018, Lee Scratch Perry re united with Producer and Mixer Daniel Boyle, to start work on their second Solo album project for Lee.

Picking up where their last efforts ''Back on the Controls'' left off. Lee wanted to continue the raw analogue sound they had cultivated together over multiple past releases, and take it to the next level with new effects devices to create another sonic signature.

They entered the studio in 2017, to begin to put together ideas for the tracks, which were then taken to RAK studios in London with their ever changing Rolling Lion All Stars session band; to lay down the rhythm versions.

Using strictly vintage analogue equipment, they employed Neuman valve and RCA Ribbon microphones, and RAK's early model vintage API desk to record, the 'sound' for the album was sculpted in these sessions. Vintage, but punchy, which was then blended with Lee's choice of super rare and custom analogue effects. Ursa Major Space Station and Stargate delays and reverbs, old choruses, Plate and spring reverbs, and tape delays were used to create a tight vintage feel but retaining the rawness of the 'Low Fi' roots sound Lee was aiming for.

With the music coming together, the vocal sessions were held in Abbey Road studio 3, again using vintage RCA ribbon mics, over driving their EMI TG console and Fairchild compressors to create a pleasantly distorted Lo Fi vocal sound.

Lee and Daniel then returned to Daniels Rolling Lion Studio, to mix and Dub the album, live, on the mixing console.

'Rolling Lion All Stars' Musicians: Vocals: Lee 'Scratch' Perry Drums: Ed West Bass & Guitar: Hughie Izachaar Keys: Robbie Lynn Additional Keys: Calvin Bennion Percussion: Daniel Boyle Kete Drum: Mathias Liengme Hurdy Gurdy: Brian McCoy Horn Section: Rory Sadler, Robert Landen Melodica: Puraman Backing Vocals :

Hosono's solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO), who made their debut in 1978. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.
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The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer.

Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom.

Neneh Cherry returns with Four Tet-produced LP Broken Politics

Following the release of her first earth-quaking single in 4 years at the beginning of August, counter-culture pop icon Neneh Cherry announces her fifth solo album Broken Politics, produced in its entirety by Four Tet.

Continuing her blurring and conflation of the personal and the political, the second single Shot Gun Shack tackles the link between violence and deprivation using poetic logic. The track deals with the ever-present and always-global issue of gun violence in society. The track's name was the result of inspiration that sprung from a half-remembered conversation Cherry had at the funeral of late jazz great Ornette Coleman.

Broken Politics pointedly asks the question; how do we conduct ourselves in extraordinary times In an era where the signal-to-noise ratio is more uneven than ever, what are the measures we must take to retain and remember our own personhood It searches for answers, patiently and with great care, and with a fearlessness to acknowledge that sometimes the answers don't even exist. It's a record that's equal parts angry, thoughtful, melancholy, and emboldening, as Cherry and her collaborators continue to expand her ever-widening sonic palette to craft truly singular and potent music.

An Island In The Moon is the perfectly conceived minimal ambient project from Italian composers Pier Luigi Andreoni (Doubling Riders, ATROX) and Silvio Linardi. Andreolina being a mix of the names of the two musicians who were both deeply involved with the label Auf Dem Nil on which the album was originally released in 1990.

The duo stick to a disciplined and simple palette using only two synthesizers and a Roland S50 sampler. They are joined by fellow electronic journeyman Riccardo Sinigaglia who contributes piano and samples on two tracks. Taking influences from Italian minimalism while adding some jazz hints Andreolina sprawls, weightless instrumentals that never stay soporific for too long on this singular rare album.

Auf Dem Nil or ADN was one of the most adventurous Italian record labels of the 80's and early 90's with releases by De Fabriek, Riccardo Sinigaglia and Pierre Bastien. Leaving their mark on the experimental music scene back than and influencing musicians worldwide up until today.

Third installment from Dustmite on his own label imprint.

2018 was the hottest summer on record...so let's see if we can cool things down while still keeping it warm all over (and over). Enter Kool Customer: a new collab from LA's beatsmith B.Bravo and the Bay's croon daddy Rojai, coming out September 21 on Bastard Jazz. The vibe: think West Coast Boogie Funk A la Dam-Funk, thrown in Styrofoam cup with some 80s synth steez, then escorted to the strip club (at 3AM) dressed head to toe in a white tux lined with gold chains.

The LP's kick-off "Play" is an ode to bed springs, as is the grand finale "Tonight's the Night"— but what happens in between the sheets Prepare yourself for the smooth basslines and raspy bars of "Sweet Tea," the creamy licks and buttery synths of "Pure Delight," and the heads down r&b of "Rain on My Window." You can also envision yourself cruising in a low-rider when throwing on the breezy "Blackberry (Somebody Told Me)," or surfing (slash exhaling) a cloud above the city on the woozy "Nice Touch." Expertly produced beats are nestled up to warm vocals and crafty lyricism about life and love and lust in 2018 a plenty here.


Metaphors aside, the debut from Kool Customer finds two talented musicians doing what they do best: chilling you out while making you move, in perfect unison. Also, keep an eye out for the super-special deluxe pack, that might just come in handy when you need it most. Ooh La La.

South African gqom pioneer and producer DJ Lag is set to release his new 'Stampit' EP via London label and collective Goon Club Allstars. The new release follows the 22 year old producer's acclaimed 2016 self-titled debut EP for the same independent imprint. The EP follows the release of his first single, the thrilling dance floor heater '3 Step Culo', which draws from the hard-hitting percussive sound of gqom made up of searing synthesisers, broken beat and hypnotic vocal samples to create a darker, bass-driven strain of house music. The EP follows his self-titled debut to showcase his keen talent for crafting charged, minimalist genresplicing sound. 'Let's Do This' exhibits an intense and euphoric big room feel, whilst 'Drumming' and 'Switz' display tense, potent drumwork and sparse & spectral club patterns. Also known as the 'Gqom King', DJ Lag was at the forefront of shaping the futuristic, explosive sound of gqom, the raw and distinctive style of drum-heavy dance music originating from the underground scene of Durban, South Africa in recent years and swiftly proliferating across the internet through the spread of social media and gaining international recognition. DJ Lag's latest outing delves into the infectiously rhythmic and high-energy sound palette of his previous works, recorded fully in his home studio in Clermont, South Africa.

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

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

 

The spiritual and uplifting music of Clifford White is highlighted with two of his most sought after songs, taken from his 1989 album The Lifespring, and presented here in a special extended 12" for the first time. Starting in music production at just 15, White could be described as a protegee, however his take is that they were part of a music journey that continues today. With a centre found in electronic music and spirituality, his progress, from simple home use 4-track stereo to working in professional 16-tracks studios was swift, but matched by a deeper appreciation, greater confidence and wider palette of music styles. Utilising his love of early samplers, his first use of the Akai S612 to accompany and expand his keyboard recordings saw continued development from his debut album at just 17 with Ascension (1985), to the follow up Spring Fantasy (1987) and on to The Lifespring (1989). A small review in the local paper literally led to a knock at the door and offer of a deal from the Start (State Of The Art ) label to record his next album. With a subsequent advance, professional studio equipment was hired and out of these sessions his sound expanded to include ambient, orchestral, synth pop and even ballads. From this both Lifestream and Rain Trek emerged. With a love of Jean Michel Jarre's Oxygene in mind, Lifestream's smooth beginning soon gives way to the pulse of an arpeggio driven groove. Aiming for "relaxation with an edge", the track has become a secret play for the more Balearic minded DJ in the decades since and now sees the LP trade for dizzying sums. However, the original is achingly brief, gracefully fading as part of the album's journey. Here though, with DJs and collectors in mind, White returns to the song to craft a specially extended version that completes the song and will be appreciated at sunsets across the globe. Seeking to take the music and listener to another place, Rain Trek took White's interest in Sci-Fi and the mystic powers of water to a rightful conclusion. The healing nature of his music is apparent, the mystery, yearning and travelling, all emotions evident, but with a kick that will grace the more enlightened dance.

Back in 1995 while living on the West Coast, at the peak of the Rave Experience, Dj Spun and Dhyan Moller recorded a bunch of live tracks, without any sequencer, all direct to cassettes.
Spun aka Jason Drummond, reached out last spring after rediscovering all the cassettes and asked us if we'd be interested in releasing some of the tunes.
Jason shipped us the cassettes and after a good transferring session, we decided we had to release all the tracks under a 3LP set. This stuff is fire. We still love DJ SPUN - and Dhyan Moller!

The Strictly Rhythm imprint is legendary and is instantly recognisable by connoisseurs worldwide. It's a label that has contributed time and time again to dance music culture across it's almost 30 year lifespan. Countless classics passed through the NYC offices of Mark Finkelstein and Gladys Pizarro and this brand new 'Strictly Classics' series looks to celebrate this cornerstone dance label and it's immense catalogue by going back to the archives and presenting some double-header action for diehard fans and newcomers alike. That's right, the 'proper' mixes, reissued from source and remastered to the highest spec, each track spread across one side of a 12" for optimal sonic playback.

Number 3 in the series kicks off on a proper old-school tip with CLS' mammoth 'Can You Feel It' from 1991, a collaboration between Todd Terry and Benji Candelerio CLS made a huge and lasting impression with this euphoric and anthemic slab of dancefloor madness. Instantly recognisable from it's ravey riff and funky drum programming, file this one under 'rave classic'! Over on the flip side we have South Street Player's smoothed out '(Who) Keeps Changing Your Mind', a rolling and deep jam from Roland Clark and George Morel that came out in 1993. This one's some lights down, honest to god soulful house music, skipping garage drums and that organ driven groove offer the perfect vehicle for Clark's gorgeous vox to soar over. Yet another set of absolutely essential SR cuts from the archive!

Remastered with love by Optimum mastering, Bristol from original master sources. Made in conjunction with Strictly Rhythm 2018.

Auf ihrem zweiten gemeinsamen Album "Imagori II" zeigen Hans-Joachim Roedelius (Harmonia, Cluster) und Christoph H. Müller (Gotan Project) neue Facetten ihrer Zusammenarbeit. Die zwölf Stücke pendeln zwischen Zartheit und scharfen Kanten, zwischen Science Fiction und Garten Eden, lassen organische Klangkörper aufkommen, die sich wieder fragmentieren, erschaffen Stimmungen zwischen Melancholie und Euphorie, stets begleitet von jenem filmischen Pathos Roedelius', der ohne große Gesten auskommt und vielmehr die Grenzen des Minimalismus auslotet. Auffällig oft kommt dabei auch Sprache zum Einsatz, so zum Beispiel in der ersten Single "Fractured Being", der Miss Kenichi alias Katrin Hahner ihre Stimme leiht.

Auch Auf Seinem Zweiten Album "dark All Day" Überzeugt Das Synth-pop-trio Gunship Mit 1980er Retro-sound Aus Analogen Synths, Cineastischen Vocals Und Cyperpunk-attitüde. Und Genau Wie Beim Selbstbetitelten Debütalbum Aus 2015 Übernehmen Diverse Persönlichkeiten Sprech- Und Gesangsparts, Darunter Schauspieler Wil Wheaton (the Big Bang Theory, Star Trek, Stand By Me), Celebrity-model Kat Von D Sowie Der Tina Turner- Und "the Lost Boys"-saxofonist Timmy Capello. Die Doppel-lp Wurde Audiophil Auf Halber Geschwindigkeit Gemastert Und Läuft Auf 45rpm.

"Uplifting boogie grooves to set your spirit free." (Paul Kane / Jordan Valley Records)

When The Unbelievable Two appeared on the scene in 2014, their pure underground, analogue boogie and disco sound mirrored what was going on in the vinyl infected bars and small cellar clubs in their hometown of Hamburg/Germany. "The Unbelievable Two" was inspired by the golden age of the genres, played live with skills and insight. Four years later, boogie and disco are all around us. So it is about time that these pioneers release their second album. Honest and authentic, "Power Plant" recalls late 1970s New York Disco and mid 1908s UK Boogie.

The Unbelievable Two still is Mzuzu and Mucka, who lead us through nine new songs of speedy disco, down low boogie and even some smokin' reggae. Recorded in late 2017 and through the spring of 2018, "Power Plant" tells stories beyond the surface level. "Even though our music is purely instrumental, it doesn't mean we haven't got anything to say," explains Mzuzu, a respected and well-travelled vinyl DJ on the Germany funk/disco scene. "Boogie and disco are a universal language. With the influence of Afro, Latin, Reggae, even European electronic music you do not need a lot of words to tell a story which gets everybody connected. These songs are about our friends, our everyday life, how we life and what we feel."

"Power Plant" is available as a limited edition vinyl LP (300 copies).

Recorded during Spring 2018 as Marc and Dave collaborated on the tracklist for their career box set, 'Northern Lights' and 'Guilty (Cos I Say You Are)' represent the first new music from the ever-fascinating Soft Cell. This limited edition double-A-sided 7' single features special radio edits created by Dave Ball. Original versions can also be found on the 1CD collection 'The Singles - Keychains And Snowstorms' also out September 28th.

Paying tribute to the Northern Soul scene which had such a pivotal influence on British electronica's most influential and fascinating band, 'Northern Lights' is the brand-new single from Soft Cell - their first since 2002.

Featuring all the magic and class of vintage Soft Cell, the track has an interesting origin. At the beginning of 2018 Marc Almond and Dave Ball dropped the bombshell announcement that they would reform for one night only at London's O2 Arena. In April it was also revealed that the September 30th gig would be preceded on September 7th by a 10-disc career retrospective box set, titled 'Keychains & Snowstorms'.

Editions Mego is proud to present the first outing from the legendaryEnglish musician, songwriter, composer and producer Simon FisherTurner alongside the highly acclaimed emerging Swedish sound artist KlaraLewis.
Care is a unique outing rife with delicious dichotomy. The openingtrack positions the aggressive directly against more fragile moments.On the subsequent track medieval melodies sprout from a dense rhythmichiss. Witness a Middle Eastern song appearing amongst a hauntedrattling reverb in the epic 'Tank' whilst a beautiful force of hope can befound within the sound world of the the closing track 'Mend'.
The wide scope of references and constant pull of forces make thisdebut offering a timeless patchwork of sonic spaces. Care is an albumwhich sways in such a salubrious manner one can't help but delight inits unique form of location/disorientation.

An Invitation To Disappear is the debut LP by British electronic musician Inland aka Ed Davenport - and his first release for A-TON. Based on his soundtrack for a video installation by conceptual artist Julian Charrière, Davenport has recast the material and field recordings into eight tracks of rhythmically intricate electronics and spectral, ambient techno, inspired by Charrière's visually striking, 76-minute tracking shot through a palm plantation toward a totemic soundsystem on full blast.
Both the album and original soundtrack were created in response to the 200th anniversary of the eruption of Indonesia's Tambora volcano in 1815, which plunged the world into darkness and caused a series of extreme weather conditions. At the time, the natural climate change crisis resulted in numerous global famines and is known throughout the northern hemisphere as 'The Year Without Summer', with global communities forced to adapt to sudden radical changes in temperature and weather.
An Invitation To Disappear offers a contemporary parallel, leading viewers - and listeners - down a seemingly endless direct path of gridded palms from dawn to dusk; a bio-commercial monoculture where ancient jungle once flourished. Light flickers between rows of fruit-laden trees and a distant fire burns in the undergrowth where the border between natural image and computer simulation breaks down. At the same time, formerly incoherent rumblings of sub-frequencies begin to transform into the contours of rhythm. This is reflected sonically in eight perspectives on the lush, synthetic jungle, made of myriad buzzing fauna, morphing melody and colossal bassweight. All paths lead toward an apocalyptic dancefloor, though speeds vary widely; rhythms dissolve from straight to broken, synth tempos operate by their own internal clocks (and logic). Juxtaposing industrial agriculture with rave culture, the album explores the industrialization and refinement of nature, and the new strange forms emerging from the synthetic grids of both.
As Inland, Davenport has previously contributed soundtracks to other installations by the Swiss-born Charrière, whose artistic practice focuses on bridging environmental science and cultural history, often taking place in remote geophysical locations, including ice fields, volcanos and radioactive sites.
Julian Charrière is a French-Swiss artist based in Berlin. A former student of Olafur Eliasson at the Institut für Raumexperimente, Charrière's art explores post-romantic constructions of nature, staging tensions between deep or geological timescales and those relating to mankind. His work has previously been shown across the globe, including at the main exhibition of the Venice Biennale in 2017, a solo show at Kunsthalle Mainz this past Spring and an upcoming solo show at the Berlinische Galerie opening September 26.
Inland (real name Ed Davenport) is a British producer, DJ and founder of Counterchange Records based in Berlin. Known for his detailed and explorative house and techno releases on his own label, Infrastructure, Naïf and more, Davenport has recently gravitated toward the contemporary art world, finding inspiration in the cross-pollination between Berlin's art and music scenes. Previous sound design collaborations with Charrière have been exhibited in institutions such as the Musée des Beaux-Arts de Lausanne in 2014 and Thyssen- Bornemisza Contemporary in Vienna in 2017.
The gallery version of An Invitation To Disappear premiered this past April at the Kunsthalle Mainz and will be on display at the Berlinische Galerie as part of Charrière's solo exhibition As We Used to Float, opening September 26, 2018. The LP will premier live together with the video installation during a special presentation in Berghain the same day for Berlin Art Week.

Freshly Re-pressed

Auf Einer Unscheinbaren Kassette, Die Nur Mit 'robert Rental' Beschriftet Ist, Liegen Diese Demos Seit Jahren Ungehört In Den Kostbaren Besitztümern Seiner Familie. Gepflegte Artefakte Eines Viel Zu Früh Geendeten Lebens.
Diese Lieder, Die Robert 1980 In Seiner Wohnung In Battersea Aufgenommen Hat, Geben Einen Verlockenden Einblick In Seine Allzu Seltene Soloarbeit. Meistens Arbeitete Robert Mit Thomas Leer, Daniel Miller Oder Anderen Musikern Zusammen. Es Handelt Sich Um Rohe Aufnahmen Auf Denen Seine Kreativität Durch Die Dunkelheit Scheint Wie Ein Ungeschliffener Diamant.
Mit Diesen Aufnahmen Scheint Sich Robert In Richtung Mehr In Richtung Songstrukturen Zu Bewegen Als Auf Seinen Früheren Arbeiten, Die Wild & Experimentell Waren Und Oft Direkt Aus Dem Fernsehen Aufgenommene Samples Beinhalteten.
Wir Kennen 2 Dieser Tracks Von Ihrer Späteren Neuaufnahme Für Die Mute Records Single'double Heart' Ende 1980. Robert Sprach Mit Freunden Über Seine Frustration, Seinen Sound In Einem Kommerziellen Studio Nicht Reproduzieren Zu Können - Es War Der Sound Dieser Demos, Den Er Nachbilden Wollte. Manchmal Kann Der Zugang Zu Den Rudimentärsten Geräten Das Kreative Talent Zu Etwas Schärferem Und Konzentrierterem Verfeinern.

Long time scene stalwart Darren Price is stepping out on brand new label, Kilsha Music, with a fantastic EP of monster house tracks arriving on both vinyl and digital.

Opener 'Charm Offensive' is a fantastic ten-minute trip into loose limbed techno. Drums, bass and percussion all wrap and weave around each other and melt your mind in the process. A rasping lead synth eventually becomes the focal point as background chords bring real soul.

The brilliantly bristling 'Everybody Jack (UW Live Maschine Mix)' is a full fat track with busy textured synths, sci-fi effects and old school jack vocals that will really work the dance floor into a lather. It's dynamic and ever evolving, with plenty of tense peaks and troughs throughout to keep the 'floor on its toes.

The final vinyl track is 'This is House Music', a deeper cut with warm, warbling bass and a muted acid line spraying about the mix. It slowly builds the pressure in heady fashion and is one to really hypnotise.

This is a fresh EP from one of the techno scene's most enduring and essential talents.

Released in 2006 as a follow-up to Sufjan Stevens' 2005 Illinois, Asthmatic Kitty Records is finally releasing Avalanche on vinyl on August 31st, 2018. Initially conceived as part of a double album version of Illinois, Avalanche instead became a 'companion' (a polite word for 'b-sides') to Illinois. Since its release, fans have had mixed reactions. '3 versions of Chicago!! Enough already,' wrote 'biografiend' on Sputnik. But 'cravenmonket,' who gave the album 4.5 stars on rateyourmusic, suggests that we all 'stop thinking of The Avalanche as more Illinois. It actually owes more to Michigan.' Cravenmonket may be right. Take 'The Mistress Witch' or 'Saul Bellow,' both of which could have lived on the 2003 Michigan as much as on Illinois. One can hear Sufjan's 2004 Enjoy Your Rabbit in 'The Undivided Self.' And the band jam on 'Springfield' looks forward to 2010's All Delighted People. Then there's 'Pittsfield,' which, at least lyrically, foreshadows the more personal themes of 2015's Carrie & Lowell.
All that to say, a vinyl release of Avalanche is long overdue. With gratitude, we happily present Avalanche as a 2xLP a mere twelve years after its release, complete with all 21 songs from the original release, including the three versions of 'Chicago'

Wild Style Lion feat. Kim Gordon how the fuck did that happen

Or better ask: how did this young band end up on a record box-set called Psych Box with Hawkwind, MC5, Nico and Kim Fowley out on Cleopatra Records
And if that was not enough they toured Europe with Dinosaur Jr. in Beyoncé's custom made night-liner for a whole freakin' month.

So you would think these guys sit back and get their hard-disks sucked but instead they keep partying and drop ecstasy at Berghain where Khan used to host a monthly party called Smegma with DJ Nd Baumecker presenting bands like The Gossip, GusGus, Opal Bastards or even Lady Gaga.

Wild Style Lion is Philipp Virus and Khan Of Finland a hard working producer-duo from Berlin. Tallmen 785 responsible for the B-side remix who already reworked for the likes of Little Dragon or his good fella Scuba.
Wild Style Lion currently working on a transgender Hip Hop project with mc BIG T shooting to drop a 12' in fall 2018 and a new full length album in spring 2019.

Anything else I forget to mention

Yours sincerely,
Khan (Of Finland)

Parisian-based Kodäma's experimental electro-soul is absolutely sublime (...) a warm and delightful sound to your ears !

Kodäma presents its second EP «Black Cloud», featuring five tracks to be released in spring, after the success of the debut EP end of 2016, highly acclaimed by Gilles Peterson and Bradley Zero. A mature and elaborate work, in which the band's influences take shape. From «Wonder» featuring Kiala Nzatovunga, to the impressing «Water No Get Enemy», covering Fela Kuti, along with «Black Cloud» 's enveloping harmonics, Kodäma delivers a unique & personal sound. The record was mixed in Los Angeles by Benjamin Tierney (Kamasi Washington, Shaq Husayn...) and mastering has been done by engineer Kelly Hibbert (J Dilla, Madlib, Flying Lotus...).

Here at Death & Leisure we are on a continuing mission to surprise and experiment, and so with our new release we present something very special, Blackmoon1348 and The Tibetan Monks of The Tashi Lhunpo Monastary. This project sounds like nothing else, it fuses heavy drone guitar sounds with traditional tibetan throat singing and live instrumentation.

BlackMoon1348 in collaboration with the Tibetan Monks of the Tashi Lhunpo Monastery (Tibet/ India). 2017 BlackMoon1348 embarked on a cultural experimentation of cultural diversity in the arts, forming a collaboration of ancient Tibetan ceremonial practises and instrumentation with sub-harmonic drones and industrial soundscapes. The music amalgamates sacred mantras that date back to the early teachings of Tibetan Buddhism practised in the Tashi Lhunpo Monastery, with heavy detuned western instruments, synths, and electronic music for the first time in recorded history. The Tashi Lhunpo monastery was once home to the Panchen Lama who subsequently 'disappeared' under the oppressive Chinese rule of Tibet. A handful of the Tashi Lhunpo monks were fortunate to escape into exile and have since re-built the monastery in Mysore, South India - now flourishing with over 400 monks practising within the monastery. Tibetan Buddhism is an outlawed ancient tradition within Tibet - monks, nuns, and Tibetans cannot openly practise their heritage and traditions, forcing Tibetans to inhabitable plateaus, with such areas are now under 'Chinese Re-development', the land being stripped of natural resources for China's ever growing economy and totalitarian rule. Tibetans face persecution for as little as owning a Tibetan flag, or picture of the Dali Lama, with such actions landing you in jail, tortured, poised, and/or being released just before the point of death. It is important for us to remember and celebrate the traditions of the Himalayas and its sacred, peaceful practises.

The music was recorded live in one take at Flesh and Bone studio in Hackney for NTS Radio's Black Impulse show. Engineered, mixed, and mastered by Oliver and Owen at Flesh and Bone, capturing the raw, ethereal essence of the collaboration and ceremonial sounds buried deep within the Himalayas. This was the first time in history for such collaboration of tradition, ideology from Adeline Rozario and orchestrated by David Kerry of BlackMoon1348 who created this music to diversify and bring together ceremonial instruments, diversifying the metaphysics of transcendence through ceremonial Tibetan practises.

It is important to understand that BlackMoon1348 are not attempting to change the fundamental meaning or belief of the Tashi Lhunpo Monks, or assume to have a deep-rooted understanding of the ancient traditions of Tibetan Buddhism, This is our understanding of Tibetan culture and practices as truly and honestly as we see and feel it, and our attempt to spread this beautiful, sacred, culture, and keep it alive within today's society.

Liberation through hearing.

Helixir's back for his second 12'' on 7even Recordings!

After the buzz of his Narcotik Dub / Springz and Wires cut some months back, Helixir do it again with 'Helicraft' and 'Dub 4 P.', blending in his music shaker all kinds of influences, from Dubstep to Techno, Jungle, Breakstep and Dub, produced and executed with immense attention to detail.

'Helicraft'is just a mad track! Wicked beats, Techno loops, Old Skool sounds and tricky mixing potential make it a proper killer cut, as heard in Mary Anne Hobbs' BBC Experimental radio show. The other side of this double A Side, 'Dub 4 P.' is a real smasher, rolling on a broken beat+bass 4/4 riddim bringing the horns to the dancefloor. Killer.

There Smokes And Whistles In Zenker's Machine Jungle. The Best Loved And Best Known Brothers Of The Techno Scene Are Causing A Multi-layered Schwirbler, Which Is Likely To Destroy Many Dancefloor Lasting For Years.

Jelly3000 Are Essika And Andreas Damaschun. wave A Wand' Is Lashed Forward By A Powerful-impulsive Arp, While Synths And Piano Dances Light-footed About It And Spreads A Sustained Mood.

Kessel Vale Has Recently Caused Quite A Stir With Two Eps On Tanstaafl Planets And Rhythm Nation. stroke' Should Further Expand Its Reputation As An Idiosyncratic Excellent Producer With A Penchant For The Playful.

Steril - That Artist You May Know From International Deejay Gigolo Records, Erkrankung Durch Musik, Schamoni Musik, Lasergun And Müller Records...oldschool.

Ltd Edition!

Battle Lines Ist Das Zweite Album Von Bob Moses. Es Folgt Dem Debütalbum "days Gone By" Das Ende 2015 Veröffentlicht Wurde Und Zu Einem Auftritt In Der Ellen Degeneres Show, Zwei Nominierungen Bei Den Junos Und Den Grammys (und Einem Grammy-gewinn) Und Einem Top 15 Us Alternative Radio-hit Mit Der Single "tearing Me Up" Führte. Ineinandergreifende Gitarren-licks, Dancefloor-ambiente Mit Lyrischer Tiefe Und Klassischem Songwriting, Der Sound Von Tom Howie Und Jimmy Vallance Spricht Clubbesucher Und Rockmusik-fans Gleichermaßen An. Das Neue Album "battle Lines" Baut Natürlich Auf Dem Vorgänger Auf, Verstärkt Aber Den Groove Und Die Unmittelbaren Chöre, Um Eine Platte Mit Zukünftigen Hymnen Zu Liefern.

Battle Lines Wurde Von Bob Moses In Los Angeles Geschrieben Und Aufgenommen Und Von Lars Stalfors (health, Local Natives, Cold War Kids) Koproduziert.

- Keyfacts: Bunt Marmorierte Heavyweight Doppel-lp In Gatefold Sleeve Mit Mp3-downloadcode

A year after his debut outing on the label, Max Essa makes a welcome return to Hell Yeah with the Han zon Roc EP, which is another of his impossibly laidback offerings.Essa is of course the long time UK talent who has become a part of the Balearic mafia thanks to releases on labels like Aficionado, Music for Dreams, and his own Jansen Jardin. This is the second coming together of artist and label and is another timeless excursion far out to sea.
Opener 'Han zon Roc (Midori Coup)' is an epic 12 minute adventure that slowly awakens your spirit with new age guitar plucks and heavenly ambience before organic drums slowly being to drift into earshot. They grow ever larger as synths start to spray about the mix, hand drums pitter patter and big chords bring the soul-shine. It's like the soundtrack to an afternoon boat party all condensed into one brilliant cut. 'How You Showed Me Everything' then gets super chill with lazy drum tumbles, bendy guitar lines and scattered hits. Withering cosmic chords colour the airwaves and its a track that will slow your heartbeat to nothing. Last of all, 'Rain Bird's Alfalfa Jam' is a analogue drum work out with early 90s hip hop influences and diving basslines. It's light and airy, nimble and playful and of course filled with the sort of tropical rays that make all of Essa works so brilliantly escapist.

Nach Dem Sensationellen Erfolg Des Ersten Albums - oracle Im Letzten Jahr, Erscheint Nun Das Zweite Album Der Deutschen Jazz-supergroup Web Web. - dance Of The Demons Ist Ein Furioser Tanz Mit Den Dämonen - Mal Im Positiven Spirit Soul Jazz Rausch Wie Bei - land Of The Arum Flower , Das Mit Seiner Ergreifenden Melodie An Ethopian Jazz Der 60er Jahre Erinnert, Oder Mal Verrückt, Entfesselt Wie Bei - sandia .

Web Web Spielt Nun Mittlerweile Seit 2 Jahren Intensiv Zusammen, Man Hat Duzende Konzerte Absolviert Und Man Spürt Förmlich Die Geschlossenheit, Intensität Und Kraft, Die Sich Als Homogener Organismus Aus Einem Guß Heraus Zu Einem Phantastischen Sound Zusammenbraut.

Als Einen Besonderen Glücksfall Konnte Die Band Den Berühmten Marrokanischen Sänger Und Gembri-spieler Majid Bekkas Gewinnen, Der In Rabat Beheimatet Ist. Tony Lakatos Arbeitete Mit Majid Und Joachim Kühn In Den Letzten Jahren Immer Wieder Zusammen, Ebenso Roberto Digioia In Zusammenhang Mit Klaus Doldinger. Insofern Lag Es Nahe, Diesen Brillianten Musiker Mit Seinen Nordafrikanischen Wurzeln Mit Dem Ungeschliffenen Konzept Von Web Web Zu Verbinden. In - maroc Blues , Einer Soloperformance Von Majid, Hört Man Den Warmen Klangkörper Der Gembri, Einem Kontrabassartig-klingendem Instrument (dreisaitige Langhalslaute), Sowie Auch Majids Wunderbare Stimme, In Der Sich Die Jahrhunderte Alte Tradition Der Berber Widerspiegelt. - safar Zeigt Ebenso Die Große Improvisatorische Klasse Von Web Web, Vor Allem Wie Sie Auf Allen Ebenen In Die Spirituelle Sprache Eintauchen.
Majid Bekkas Ist Einer Der Bedeutendsten Musiker Und Vertreter Der Gnawa-musik, Die In Der Südlichen Sahara Beheimatet Ist. Am Konservatorium Für Musik Und Tanz In Rabat Studierte Er Seit 1975 Klassische Gitarre Und Oud.
Nach Ersten Erfahrungen Mit Eigenen Bands In Den 80er Jahren Gründete Er 1990 Sein Trio Gnaoua Blues Band, In Dem Er Blues Mit Gnawa-musik Verband. In Den Darauffolgenden Jahren Interessierte Er Sich Zunehmends Für Jazz, Trat Schon Bald Mit Größen Wie Archie Shepp, Louis Sclavis, Peter Brötzmann Oder Hamid Drake Auf.

- dance Of The Demons- Wurde Wie Auch - oracle An Einem Wochenende Live In München Eingespielt
Toningenieur Ist Wie Auch Bei - oracle Jan Krause (beanfield, Poets Of Rhythm U.v.m.)
Das Nächste, Dritte Web Web Album Wird Im Winter 2018 Ebendort In München Aufgenommen, Und Es Werden Wíeder Ein Oder Zwei Hochkarätige Gäste Dazu Eingeladen.

Web Web Sind: Roberto Di Gioia (piano, Synth, Percussion), Tony Lakatos (tenor- Und Sopranosaxophone), Christian Von Kaphengst (upright Bass) Und Peter Gall (drums).

Roberto Di Gioia Arbeitete Mit Zahlreichen Jazz-legenden Zusammen, Wie Z.b. Mit Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter U.v.m.
Anfang 1990 Wurde Er Mitglied In Klaus Doldingers Passport.
Als Pianist Machte Er U.a. Aufnahmen Mit Udo Lindenberg (mtv-unplugged,2011), Charlie Watts (- music Of The Rolling Stones , 2005), Console (- reset The Preset , 2003), The Notwist (- shrink 1998, - neon Golden , 2002).
Seit 2007 Arbeitet Er Zusammen Mit Samon Kawamura Und Max Herre Als Kahedi: Max Herre (- hallo Welt , 2012), Joy Denalane (- gleisdreieck , 2017), U.v.m.
Seine Eigene Band Marsmobil (produziert Von Peter Kruder) Wird Im Herbst Ihr 4.studioalbum Veröffentlichen.

Tony Lakatos Stammt Aus Der Berühmten Lakatos-familie Aus Budapest, Ungarn. Sein Vater War Ein Berühmter Geiger, Ebenso Sein Jüngerer Bruder Roby. Er Begann Mit Dem Saxofon-spiel Als Er 15 Jahre Alt War.
Tony Studierte Auf Dem Bela-bartok-konservatorium In Budapest, Machte Seinen Abschluß 1979 Und Spielte Seither Auf Über 350 Jazzproduktionen Weltweit Mit, U.a. Mit Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony War Mitglied Der Band Pili Pili Von Jasper Van´t Hof. Seit 1993 Ist Er Solist In Der Hr Radio-bigband.

Christian Von Kaphengst Bekam Mit 6 Jahren Klassischen Klavierunterricht Im Peter-cornelius-konservatorium In Mainz.
Von 1988 Bis 1995 Studierte Er Jazz-kontrabass Sowie Instrumentalpädagogik An Der Musikhochschule In Köln.
Sein Jazzquartett - cafe Du Sport Absolvierte Im Auftrag Des Goethe-instituts Tourneen Nach Pakistan, Indien, Türkei Und Westafrika. Seit 1999 Ist Er Regelmäßig Bassist Von Patti Austin Sowie Der New York Voices Für Europäische Konzerte.
Von Kaphengst Spielte U.a. Mit Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall Gewann Bereits In Jungen Jahren Erste Preise Bei Jugendjazzt Und Tourte Mit Dem Bundesjazzorchester Unter Leitung Von Peter Herbholzheimer. Er Studierte An Der Berliner Universität Der Künste Und Am Jazz Institut Berlin Bei John Hollenbeck. Gall Absolvierte Sein Masterstudium An Der Manhattan School Of Music Bei John Riley.
Er Arbeitete U.a. Mit Kurt Rosenwinkel, Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

Feedback - Web Web - oracle :

"oracle Ist Nicht Nur Ungemein Packend, Sondern Klingt Auch Absolut International, Bewegt Sich Auf Einer Ebene Mit Leuten Wie Kamasi Washington Oder Shabaka Hutchings." - Jazzthetik

"ein Wirklich Erstaunliches Erstes Album" - Süddeutsche Zeitung

"sun Ra Wäre Stolz Gewesen Auf Web Web Und Ihr Erstes Album Oracle." - Soultrainonline.de

"...the Album Is Engaging And Fascinating In Equal Measures. ... Sonically, The Album Embraces The Various Late 1960s And '70s Jazz Aesthetics Of Modal, Fusion And Spiritual Jazz Soundscapes, But 'oracle' Isn't A Strata East Or Black Jazz Tribute Record. This Is Very Much A Contemporary Affair With Its Richness Emanating From The Group's Varied Musical Tastes And Sensibilities And It Favours An Entire Listening Experience." - Ukvibe.org

"raise A Glass And Toast This Supremely Enjoyable Recording." - Birdistheworm
"oracle Contains 13 Tracks Of Pure Retro Sounding Perfection. This Is Like A Long Forgotten Treasure. It's Certainly An Album Serious Lovers Of The Genre Will Embrace." - Reviewgraveyard
"wonderful Album!!" - Simon Harrison / Basic Soul

"this Is Amazing. Going To Have To Grab A Vinyl Copy For The Collection" - Kev Beadle

"fantastic Record ! Love It ! We Need More Music Like This !!" - Peter Kruder

Autre fell asleep in a gondola and awoke in the Krankenhaus. This is his first offering for the ESP Institute. Side A's Everybody In The Past is sharp techno aimed for the alleys of your mind — gritty, driving, and melodic combinations of blown-out drums and classic electro riffs that relentlessly sprint for a good 4 minutes before a squelching arpeggio and angelic solo kick in — tugging the heartstrings and lighting a beacon for those noble morning dancers lost at the front left speaker, channeling from the deep. On Side B, Frigo completely dismantles any expectations you might have after listening to its predecessor. An undoubtedly seductive Samba rhythm comprised of distant snares, rim shots and cowbells holds together an aggressively active bassline, a steel drum harmony and synth solo that crawl all over like a funky worm. This track is truly something special, a gift for the prodigious selector — when dropped in the deserved context, it has the potential to unlock unprecedented levels of euphoria. These two songs are as fluid as a paintbrush yet precise as a scalpel.

In the summer of 2017 Australia's premiere swamp/grunge/punk/noise band The Scientists unexpectedly sprang back to life and started playing shows and making new music again. Kim Salmon is back with his Scientists - Boris Sujdovic, Tony Thewlis, and Leanne Cowie (the mid-80s line-up) -- and are delivering their first recording in 30 years. For this occasion Scientists have recorded Braindead, a reworking of song from their 1987 Human Jukebox album, and a brand new track called Survivalskills. If you love the band's original fuzz-filled swamprock you will not be disappointed. The band will be touring the US for the first time ever and plan to release a follow up to this single on In The Red later this year.

New 4-track Ep From Austin, Texas Analogue Hardware Enthusiast Bill Converse. Immersed In The Early Days Of The 90s Midwest Rave Scene, Bill Began Djing At A Young Age In Lansing, Michigan. Luminaries Such As Claude Young, Traxx, And Derrick May Were Key Early Influences. Techno, Noise, Ambient And Tape Processing Are All Part Of His Uncanny Sound Palette. His Debut Album 'meditations/industry' Was Released On Cassette In 2013 And Edited For A Vinyl Release On Dark Entries In 2016 Followed By Two 12' Singles 'warehouse Invocation' And '7 Of 9' The Same Year. In 2017 Converse Released His Second Album 'the Shape Of Things To Come' Followed By The Double Ep 'salt Of Mars'.

'hulled' Is A 25 Minute Journey Spread Across 4 Tracks Of Glacial Abandon. All Tracks Were Recorded Directly To Tape With No Overdubs, Made At Converse's Home Studio. Bill Says These Tracks Represent 'ocean Waves In Stormy Conditions, Dark Grey Blue Water, Or More Generally Speaking Something Ominous And Beautiful.' The Songs On This Album Reveal A Sublime Influence From Detroit Techno, Idm, And Acid. Built Around Vintage Synthesizer Lines And Gritty Drum Machine Percussion, The Tracks Ebb And Flow Like The Effect Of Sun Shimmering On Water, Woozy, Gauzy And Ephemeral. All Songs Were Mastered For Vinyl By George Horn At Fantasy Studios In Berkeley.

Each Ep Is Housed In A Die-cute Jacket Designed By Eloise Leigh With Peachy Pink Patterns Landing On An Alien Water Planet And Seeing Mysterious Playing Forms Under The Turquoise Water. Each Copy Includes A Postcard Featuring Photo Of Bill With Notes.

Cat.no.: De 222
Format: Ep

Tracklisting

'A love project' from the heart and mind of UK broken beat stalwart and iconic keyboard maestro Kaidi Tatham, alongside an outstanding group of Danish musicians led by percussionist Peter Stenbæk.

12 Senses debuts with the Movement EP, a record drawing on jazz-funk, broken beat and disco, laced with the distinctive melodic progressions and boogie touches Kaidi Tatham is known for. Recorded over an intensely productive three-day session, which produced 20 plus songs, this EP is a first taste of what's to come from this creative gathering.

With recent records on First Word, Sound Signature and 2000Black, plus a brand new solo album 'It's A World Before You' it appears there is no letup in Kaidi Tatham's prolific output spanning a 2 decade long career, that has seen him work with artists such as Bugz In The Attic, 4Hero, Slum Village, Jazzy Jeff & Will Smith, Amy Winehouse, Leroy Burgess, Moonchild, Soull II Soul, Amp Fiddler, Mr Scruff and Dego, to name but a few.
Touch starts with the heavily syncopated rhythms of drummer Anders Meinhardt, accompanied by a bed of airy Rhodes, synths and guitar on top of a ruthless, disco-tinged bassline. Life evolves on a spiritual and hypnotic tip with a driving lick that just keeps on building, sprinkled with beautiful intertwining organ, piano and synth solos by Kaidi and pianist Poul Reimann. Movement slows the mood to a soul-tinged stepper with soothing choir and deft touches from the trumpet of Rasmus Juel. Kaidi changes up the pace on his remix with a smooth boom bap vibe before hitting the halfway point and switching up to his signature, breakneck latin bruk funk.12 Senses evolved from yearly marathon concerts at the Copenhagen Jazz Festival, arranged by percussionist Peter Stenbæk, who simply e-met Kaidi Tatham and insisted on him coming to Denmark to share the festival stage. Over the course of five years the friendship and musicianship between the two has gone from strength to strength, reinforced by the skilled musicians around them; drummer Anders Meinhardt, guitarist David Rosenkilde, bassist Andreas Hatholt, trumpeter Rasmus Juel and pianist Poul Reimann. The record was brought to life by Morten Trust (aka. Soulmagic), who kindly contributed his heart, studio and mixing skills to Movement.

Dirty Projectors Melden Sich Mit Neuem Album Lamp Lit Prose Zurück!

Lamp Lit Prose Erscheint Nur Anderthalb Jahre Nach Dem Selbstbetitelten, Lezten Album. Man Darf Es Getrost Als Yang Zum 2017er Yin Verstehen. Die Dunklen Zeiten Des Break-up-albums Hat Longstreth Hinter Sich Gelassen. Nun Herrscht Hoffnung Statt Das Gebrochene Herz. Die Stärke Aus Der Neuen Lebensbalance Macht Lamp Lit Prose Zum Wahrscheinlich Zugänglichsten Album Des Dirty Projectors Kataloges. Songtitel Wie I Feel Energy, I Found It In U Oder (i Wanna) Feel It All Sprechen Für Sich. Zurück Sind Die Gitarren, Zurück Sind Auch Die Verschlungenen Gesangsharmonien. Lamp Lit Prose Ist Das Wiederbekenntnis Zu Den Soundidealen Von Dirty Projectors. Produziert Wurde Lamp Lit Prose Vom Gesicht Der Band, Dave Longstreth, In Seinem Ivo Shandor Studio In Los Angeles. Und Wieder Hat Er Eine Illustre Schar Von Gästen An Bord: Syd, Empress Of, Amber Mark, Haim, Rostam, Robin Pecknol, Dear Nora Sowie Nat Baldwin Und Mike Johnson, Die Beide Schon Sein Vielen Jahren Die Rhythmus-sektion Der Dirty Projectors Ausmachen.

hand-numbered clear mint vinyl LP in spray-painted sleeve limited to 200 copies (comes in different coloured sleeve, we cannot guarantee which one you will receive)

A lucid, dynamic, atmospheric trip through consciousness, incorporating an incredible range of texture, tone, and three-dimensional space. This is a glimpse into the most emotive, most personal of Dead Fader's extensive work. There are delicate moments of introspection, furtive agitation, and exuberance, all tightly interwoven into a singular, enthralling whole.

Classic singles like Billy Fury's 'Halfway To Paradise', Dusty Springfield's 'I Only Want To Be With You' and The Walker Brothers' 'Make It Easy On Yourself' would not have been hits without Ivor Raymonde. As their arranger, and in the case of 'I Only Want To Be With You' songwriter too, he shaped the final recordings. He decided on the orchestration and backing
vocals, chose the instruments and determined what was heard on the radio - and what record buyers bought.
'Paradise: The Sound Of Ivor Raymonde' is a long-overdue celebration of Ivor Raymonde, collecting his work as an arranger, musical director, producer, singer and songwriter. The story of a British musical great is told for the first time.
Billy Fury, Dusty Springfield and The Walker Brothers are heard. So is the only vocal performance for which Ivor Raymonde received a credit on a record label. He worked with the pre-fame David Bowie and Tom Jones. He spotted the potential of Los Bravos, steering them into the charts with 'Black Is Black'. Near-misses and obscurities made with Brit-girls Cindy Cole and
Helen Shapiro, the soulful Sonny Childe and confrontational protopsychedelic London band The Flies are as fantastic as the hits. With these and more, 'Paradise: The Sound Of Ivor Raymonde' distils the essence of the magic of Ivor Raymonde.
'Paradise: The Sound Of Ivor Raymonde' is released by Bella Union, the label run by Ivor's son, former Cocteau Twins member Simon Raymonde.
Compiled by Simon and Kieron Tyler, it is a very personal tribute to a sadly missed father. Born in 1926, Ivor Raymonde passed away in 1990. The previously untold story is revealed through a moving reminiscence written by Simon and in-depth liner notes and a track-by-track commentary by Kieron. Ivor Raymonde played on the ocean liner The Queen Mary in 1949. In the Fifties, British television viewers saw him in legendary comedian Tony Hancock's 'Hancock's Half Hour' but music was always going
to be most important - the hits with Billy Fury and Dusty Springfield in 1961 and 1963 meant he was in demand. The 26 selections balance the wellknown with collectable rarities and tracks drawn from - until now - barely heard-of singles. Each is a gem and each shows the magic of an Ivor Raymonde recording.
'Paradise: The Sound Of Ivor Raymonde' is issued on CD and 180g heavyweight double vinyl album with digital download code. The vinyl version is sequenced slightly differently for listening flow. Every track was originally issued as a single issued in mono for the pop market until 1968 / 1969. Keeping the integrity of the compilation in mind, all but four tracks appear in mono as they did originally. The masters used are those of the original singles.

2022 repress

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

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

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

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

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

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

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

As we celebrate the 25th year of V Recordings, it couldn't be a better time for another release from DJ Patife & Vangeliez. One of the OG's of Brazilian D&B Patife teams up with fellow countryman Vangeliez (formerly one half of Human Factor) once again. Fresh from their last single, as well as features on last year's very well received 'Viva Brazil' compilation released in conjunction with SUNANDBASS, this duo has definitely found their own lane!

* On 'Living Together' they link up with two of the most recognizable voices in the D&B, MC Fats and Stamina MC to create an uplifting summer anthem, that spreads the positivity of music across the globe. These two vocalists need little introduction, but in case you don't know, they are behind some of the most seminal moments in our genre's history, classics like Calibre's 'Drop It Down' , DJ Hype's 'Peace, Love & Unity, DJ Marky & XRS's 'LK', D Kay's 'Barcelona' and so the list could go on... Basically with the coming together of these four names you're in safe hands! 'On The Floor' continues to push a euphoric feeling, but adapts a sub low bass that could tear through any system!

* Teaming up with Manchester's finest for vocals on 'Ain't That Bad', the tracks follow in the vein of their previous collaboration on Soul-R, and DRS delivers a stellar vocal performance that brings the track to life, and is again full of good vibes, definitely something you can never have enough of! 'Unexpected' is dripping with original liquid vibes - think Carlito & Addiction, Calibre, D Bridge Big Bud, Solid State - with a 21st-century twist - one for the those who like it deep.

* Drum & Bass as a genre now has so many different sounds and styles, but one sound that has ridden the waves of fashions and emerged as timeless is on display here as the duo deliver 100% organic, funk-filled Drum & Bass music for the soul.

* LABEL MARKETING: Features on V Recordings Podcast, Dedicated newsletter to 85,000 V Recordings subscribers. 80,000+ Facebook reach through label controlled Facebook and Twitter. Press on websites across the globe.

Fernando Sanz has been steadfastly dedicated to the craft of beats and breaks since he was a young sprout of 14 years in the sun baked southern Spanish port city of Algeciras. Under the imprint Orbe Records, Sanz has cultivated his own thriving techno community as artist and label head. Since 2014 Orbe Records has been lashing the block rocking techno of Sanz's comrades Eduardo De La Calle and Steve Stoll, but mostly of Sanz's own prolific moniker, Orbe. As DJ and producer Orbe keeps the mood surreal and dreamy while deploying understated drum machine patterns to hammer the platonic solids that keep his beloved community in tact.

His forthcoming 3-track 'Hohenheim' EP for the Barcelona label, Lone Romantic, keeps the Orbe buzz rolling. 'Hohenheim' kicks the record into motion with the resounding thuds of a multilayered big-room kick while bright synths and sharp edged sci-fi machinery climb the walls in obscure and narcotic patterns. 'Shimano's Tribute' is a study in the fundaments of techno that lull the listener with an extended 4X4 intro into a state of high mental absorption, just in time to drop the centre piece of the track, an eloquently ovular stutter sliced percussion sample. 'Edelweiss' sets the record on a outward course for somewhere between the hypnotic dance floor bliss of a pre-dawn Sunday morning and the impending angst beholden to glimpsing the dystopian sprawl of civilisation when flying out Monday morning.

The band formed in late 2013 by former Coldworker members Joel Fornbrant (vocals), Oskar Pålsson (bass) and Anders Jakobson (drums). The line-up was completed by guitarist Kristofer Jankarls (also in Livet som insats) a few months later and the quartet focused on songwriting. The first recording took place in the spring of 2015 and the 12 tracks were released on the two 7' EP's Time and again and Mankind crawls.Following the releases of the EP's and a few live shows Axis of Despair continued to work on material with the ultimate goal to create a striking grindcore album with an aggressive, yet diverse selection of strong songs. The writing process was spread out over a year until the band went into the studio and begun the recordings in the summer of 2017.Contempt for Man propels with twenty super-charged raging songs, clocking in around the half an hour mark - short enough to retain attention, and long enough to serve a good taste of the bands particular brand of European grindcore.

"Oozing.. oozing soul, oozing feel, oozing the essence of rhythm and the body. This is what Elbee Bad is about. A native New Yorker who has long since transplanted himself in Berlin, Elbee Bad AKA The Prince of Dance is back on Thema Recordings with a masterclass mini album that will resonate for years to come. "Crossing Dimensions" is more than just a record, it is a philosophy on turntablism and what it means to be engaged in this culture. Sitting comfortably on the shelf next to artists like Mr. G, Moodymann, and DJ Sprinkles, Elbee recalls this genuine house feeling while adding a spice that could only be summoned out of his creative nuance. From the anthemic knowledge of "Request Monster" to the bass blistering sonnets of "Crossing Dimensions", Elbee showcases the sound of an artist who is deeply in touch with himself, the crowd, and the history of this music. No filler, no bullshit, just truth, love, and HOUSE.
Text by: Nathan Levenson"

The Second Release Of Wataj Recordings Introduces For The First Time Mr. Tony Pianola. A Trip Inside His Conscious And Unconscious Mind During A Night In Which Dreams, Euphoria, Lost Loves And Desires Mixed All Together Give Life To luce Artificiale'. The Result Is A Pure italo-synth' Style Influenced By The Attraction For The Experimental Slow Disco Sensuality.

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

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

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

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

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

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

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

Cong Burn go deep on their third record with Freerotation affiliate Duckett making his first appearance on the label and Chekov following up his recent contribution to Timedance. The heady A-side opens with Chekov's 'Spring' which has spent the last few years popping up in sets from Lena Willikens, Call Super and the Hessle Trio. Duckett's 'Lost In Israel' rolls through its first half carried by complex arpeggios before its layers are broken down and evaporated. On the B side Lack provides a extended and dubbed out DJ tool sounding like if Kowton released on Workshop. Haddon's 'Anabiosis' ties this batch together having first appeared on Cong Burn's debut CDR back in 2015 - since then it has become a go-to opener, closer and after party ender.

Taking a turn to some of its roots, Emotional Rescue offers a reissue of Ramjac Corporation's UK house/breaks anthem Cameroon Massif!. First released on the increasingly cult-status Irdial Discs in 1990, this was very much the sound of the big bang explosion of Acid House morphing and splintering, as subsequent multi-genres developed, formed, imploded and reformed in new ways that still subsists today.

Within the melting pot of anything goes, chemically-enhanced optimism that spread across the UK during that return to the summers of love from 1987 onwards, the nascent sounds coming from Chicago and Detroit were mixed with a hybrid of 80s British influences, taking in European synth pop, US electro, new beat, hip hop and reggae. Out of this appeared a new sound, mixing that love of techno and house with dub bass and break beats into a proto-jungle swirl.

Like many growing up through the ever-evolving 60, 70s & 80s British music scene, Paul Chivers' early years of learning piano and guitar, moved from Beatles era pop to take in punk, jazz and anything an eager musical mind could explore. Developing a long-term interest and study of Cuban and Afro-drumming, his acquisition of an Atari and sampler soon moved to programming of both drum machines and TB303 and with that, Ramjac Corporation was born.

Playing live at some of the earliest raves in 1988, as often through luck and "right time, right place", including the infamous Back To The Future and Energy parties, Ramjac went from playing from 50 to 10,000 ravers in a matter of months, as the nation was gripped, depending on your cultural standing, by either a mixture of drug apocalypse paranoia or ecstatic celebration.

It was a meeting with Akin Fernandez, founder of Irdial Discs, that led some of the first studio experiments and creation of Cameroon Massif!. Utlising Akin's in-house studio and production skills, alongside Chivers' jazz influenced outlook of improvisation over arrangement, the track took shape, mixing the live programmed percussion, heavy doses of phase, delay and reverb and Sun Ra inspired keys that resulted in a number of mixes of Massif!.

Collected here are the original 12" "Massive" and "Massing" mixes, plus a special live version taken from the "Live At The Brain" reunion gig of 2009. The sought after 1990 versions and original Live mix are taken a step further with this 13 mins + mix, in essence a resampling and remixing reversion with didgeridoo and live on mic MCing, that gives a real glimpse of those early live sets. With more Ramjac Corporation material upcoming and a live reel-to-reel show appearing soon, the return of Cameroon Massif! is now.

Foreign Concept returns to the frontline with the 'Gozen EP'. Spread across five tracks FC weighs in with a tough selection including a huge collaboration with man of the moment Monty and a seething remix from Kasra and Insideinfo's new Circuits project.

Den Hague's Dazion (who previously released a 12" on MFM's Second Circle imprint), with a 2 tracker for Safe Trip.
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Label say:

''URGENT: THE SAFE TRIP ORGANISATION HAS TAKEN TO THE WATER IN A BID TO SPREAD THEIR CODED MUSICAL MESSAGES FAR AND WIDE. THEY HAVE RECRUITED A YOING OPERATIVE KNOWN AS DAZION, A KEEN WINDSURFER, TO DEVELOP A METHOD OF BROADCASTING THEIR ADDICTIVE AND MIND-ALTERING MUSICAL MISSIVES WHEREVER THERE IS A SUITABLE BODY OF WATER.

OUR OPERATIVES TRACKED DAZION TO A REMOTE SPOT ON THE DUTCH COAST, WHERE HE WAS SPOTTED TRIALLING THIS NEW TECHNOLOGY WITH HIS FAVOURED F2 DRAGON BOARD. AS HE RODE THE CHOPPY WAVES, WE WERE ABLE RECORD THE RHYTHMICAL ELECTRONIC MUSIC BROADCASTING FROM WITHIN THE BROAD. THIS MUSIC FEATURED THE KIND OF TRIBALISTIC, DELAY-LADEN DRUMS, SWELLING ELECTRONICS AND EXOTIC MELODIC REFRAINS THAT ARE KNOWN TO INSPIRE FRENZIED DANCING IN MEMBERS OF THE PUBLIC. WE HAVE CHRISTENED THE RECORDING DRAGON WAVE'.

WE LATER TRACKED DAZION TO A LIGHT INDUSTRIAL UNIT ON THE OUTSKIRTS OF AMSTERDAM. THERE HE CONTINUED TO TINKER WITH THE TECHNOLOGY, TESTING IT OUT BY BROADCASTING ANOTHER MUSICAL COMPOSITION. THIS WAS MORE POIGNANT AND MELANCHOLIC IN TONE, UTILISING SPAACEY ELECTRONIC MELODIES, GENTLY BOBBING CHORDS, HEART-ACHING GUITAR FLOURISHES AND A TOUGH BUT BROKEN RHYTHM TRACK. THE RECORDING - CODE NAME VX LTD' - HAD A HUGE IMPACT ON US EMOTIONALLY AND EVEN REDUCED ONE OPERATIVE TO TEARS.''

Jordan Magee brings together the best of Blighty and Berlin into a tightly-sprung package for Lisbon label Helena. The drive and determination of his new German hometown can always benefit from a little Northern swagger, and there's no shortage of it on 'Liberties' and 'Process'. Balance this with some late-night levity and early-morning nostalgia on 'Eksil' and 'Kilo Culture' and you've got yourself an all-rounder ready for any dancefloor.

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

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

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

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

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

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